title: Time Crisis

text: The game expanded on the series' gameplay mechanics by allowing players to use three additional weapons in each level, alongside the traditional handgun of the playable characters, though unlike the main weapon, each has limited ammo that can only be replenished by defeating a special type of enemy during combat sections. In addition, a health bar element was included for bosses and certain enemies that must be depleted in order to defeat them, and destructible objects that can take out enemies close to them when they explode. The ported version for the PlayStation 2, released in the same year, featured additional content including a side mission mode, which is focused on Alicia's perspective of events in the story. While it featured similar gameplay, it also included the addition of stages in which players take out enemies using a sniper rifle.


title: Time Crisis

text: In 2006, "Time Crisis 4" was released and introduced a refined multi-hiding system (similar to the one featured in "Time Crisis: Project Titan") where the player can move the gun in a certain direction to move the character's position in certain areas of the game regardless whether or not the player may hiding or attacking the enemy. A PlayStation 3 version was released in 2007 in the United States and Japan, and in 2008 in Europe and Australia, bundled with the GunCon 3 light gun peripheral. It was notable for introducing a first-person shooter mode to the series.


title: Time Crisis

text: "Time Crisis 5" was released by Namco in March 2015 in the arcades. It is the first entry in the "Time Crisis" series to use Epic Games' Unreal Engine. Unlike its predecessors, the game uses two pedals. Namco later showed a "True Mastermind" edition (真の黒幕編 "Shin no kokumakuhen") of the game which was released near the end of August the same year, and includes the second half of the game, consisting of three new stages, for a total of six stages, the largest in the series. It is currently the only main entry in the series not released on any home console.


title: Time Crisis

text: In August 2022, it was reported that Bandai Namco filed a new trademark application for "Time Crisis".


title: Time Crisis

text: "Crisis Zone" was released in 1999 in the arcades. While "Crisis Zone" had similar play mechanics as with "Time Crisis", "Crisis Zone" featured solo play with a fully automatic machine gun (as opposed to the standard pistol, though the pistol can be used later in the remake version), interactive backgrounds, and a different storyline centering on the anti-terrorist tasks of elite S.T.F. trooper Claude McGarren (spelled "Croad MacGalain" in the arcade version). A PlayStation 2 remake of the title was released in 2004 and turns it into a subtitle of its full name, "Time Crisis: Crisis Zone".


title: Time Crisis

text: A side story to the first "Time Crisis" game "", was released in 2001 for the PlayStation, featuring a new multi-hiding system.


title: Time Crisis

text: "Cobra the Arcade" is a Japanese spin-off based on the "Cobra" manga and anime franchise, released for arcades in 2005. The game uses the same gameplay engine as the main "Time Crisis" series, adding elements such as the "Psycho Shot" which allows players to lock-on to multiple targets.


title: Time Crisis

text: In 2009, "Razing Storm" was released in the arcades. It was re-released in October 2010 with the title "", for the PS3. This version is known in Japan as "Big 3 Gun Shooting" and comes packaged with "Deadstorm Pirates" and the arcade version of "Time Crisis 4". All games feature full PlayStation Move and GunCon 3 support.


title: Time Crisis

text: "Time Crisis Strike" was released by Namco in January 2009 for iOS and J2ME. It is a spin-off of "Time Crisis 3", with a different story.


title: Time Crisis

text: "Time Crisis 2nd Strike" was released by Namco in September 2010 for iOS. It is the sequel of the "Time Crisis" spin-off and the alternate version of "Time Crisis 4". It allowed players to use another iOS device as a gun controller via the app iGunCon. It is no longer available for purchase as of March 30, 2015.


title: Māori mythology

text: Māori mythology and Māori traditions are two major categories into which the remote oral history of New Zealand's Māori may be divided. Māori myths concern fantastic tales relating to the origins of what was the observable world for the pre-European Māori, often involving gods and demigods. Māori tradition concerns more folkloric legends often involving historical or semi-historical forebears. Both categories merge in to explain the overall origin of the Māori and their connections to the world which they lived in.


title: Māori mythology

text: Māori had yet to invent a writing system before European contact, beginning in 1769, so they had no method to permanently record their histories, traditions, or mythologies. They relied on oral retellings memorised from generation to generation. The three forms of expression prominent in Māori and Polynesian oral literature are genealogical recital, poetry, and narrative prose. Experts in these subjects were broadly known as .


title: Māori mythology

text: The rituals, beliefs, and general worldview of Māori society were ultimately based on an elaborate mythology that had been inherited from a Polynesian homeland (Hawaiki) and adapted and developed in the new setting. Alongside different Polynesian cultures having different versions of a given tradition, often the same story for a character, event, or object will have many different variations for every , , or individual who retells it, meaning there is never a fixed or 'correct' version of any particular story.


title: Māori mythology

text: The reciting of genealogies () was particularly well developed in Māori oral literature, where it served several functions in the recounting of tradition. Firstly it served to provide a kind of time scale which unified all Māori mythology, tradition, and history, from the distant past to the present. It linked living people to the gods and the legendary heroes. By quoting appropriate genealogical lines, a narrator emphasised his or her connection with the characters whose deeds were being described, and that connection also proved that the narrator had the right to speak of them.


title: Māori mythology

text: Prose narrative forms the great bulk of Māori legendary material. Some appear to have been sacred or esoteric, but many of the legends were well-known stories told as entertainment in the long nights of winter.


title: Māori mythology

text: Māori poetry was always sung or chanted; musical rhythms rather than linguistic devices served to distinguish it from prose. Rhyme or assonance were not devices used by the Māori; only when a given text is sung or chanted will the metre become apparent. The lines are indicated by features of the music. The language of poetry tends to differ stylistically from prose. Typical features of poetic diction are the use of synonyms or contrastive opposites, and the repetition of key words.


title: Māori mythology

text: Few records survive of the extensive body of Māori mythology and tradition from the early years of European contact. The missionaries had the best opportunity to get the information, but failed to do so at first, in part because their knowledge of the language was imperfect. Most of the missionaries who did master the language were unsympathetic to Māori beliefs, regarding them as 'puerile beliefs', or even 'works of the devil'. Exceptions to this general rule were Johan Wohlers of the South Island, Richard Taylor, who worked in the Taranaki and Wanganui River areas, and William Colenso who lived at the Bay of Islands and also in Hawke's Bay. Their writings are valuable as some of the best sources for the legends of the areas where they worked.


title: Māori mythology

text: In the 1840s Edward Shortland, Sir George Grey, and other non-missionaries began to collect the myths and traditions. At that time many Māori were literate in their own language and the material collected was, in general, written by Māori themselves in the same style as they spoke. The new medium seems to have had minimal effect on the style and content of the stories. Genealogies, songs, and narratives were written out in full, just as if they were being recited or sung. Many of these early manuscripts have been published, and scholars have access to a great body of material (more than for any other area of the Pacific) containing multiple versions of the great myth cycles known in the rest of Polynesia, as well as of the local traditions pertaining only to New Zealand. A great deal of the best material is found in two books, (The Deeds of the Ancestors), collected by Sir George Grey and translated as "Polynesian Mythology"; and "Ancient History of the Māori" (six volumes), edited by John White.


title: Māori mythology

text: The earliest full account of the genealogies of and the first humans was recorded from Ngāti Rangiwewehi's Wī Maihi Te Rangikāheke in (The Sons of Heaven), in 1849.


title: Māori mythology

text: Myths are set in the remote past and their content often have to do with the supernatural. They present Māori ideas about the creation of the universe and the origins of gods () and people. The mythology accounts for natural phenomena, the weather, the stars and the moon, the fish of the sea, the birds of the forest, and the forests themselves. Much of the culturally institutioned behaviour of the people finds its sanctions in myth, such as opening ceremonies performed at dawn to reflect the coming of light into the world.


title: Māori mythology

text: The Māori understanding of the development of the universe was expressed in genealogical form. These genealogies appear in many versions, in which several symbolic themes constantly recur. The cosmogonic genealogies are usually brought to a close by the two names Rangi and Papa (sky father and earth mother). The marriage of this celestial pair produced the gods and, in due course, all the living things of the earth.


title: Māori mythology

text: The main corpus of Māori mythology are represented as unfolding in three story complexes or cycles, which include the world's origin, the stories of the demigod Māui, and the Tāwhaki myths.


title: Māori mythology

text: In one generalised telling of the universe's creation: in the beginning, there was Te Kore (The Nothing; Void) which became Te Korematua (The Parentless Void) in its search for procreation. From it came Te Pō (The Night), becoming Te Pōroa (The Long Night), and then becoming Te Pōnui (The Great Night). Gradually Te Ao (The Light) glimmered into existence, stretching to all corners of the universe to become Te Aotūroa (The Long-Standing Light). Next came Te Ata (The Dawn), from which came Te Mākū (The Moisture), and Mahoranuiatea (Cloud of the Dawn). Te Mākū and Mahoranuiatea wed to form Rangi.


title: Māori mythology

text: Generally, Rangi's wife is Papa, though they are known throughout Polynesia, even when they're not considered spouses. The pair laid in a tight embrace which blocked light from touching the world. From them came the children Haumia, Rongo, Tāwhiri, Tangaroa, Tū, and Tāne. Some traditions may list some of these children alongside Rehua, Urutengangana, Aituā, Tiki, Whiro, or Ruaumoko, among others. Often, a war or skirmish between the siblings ends with them becoming the ancestors of certain concepts, habitats, mannerisms, animals, tools, or plants that they each represent. For instance Tāne became Tāne Mahuta, the father of birds and the forest, and Tū became Tūmatauenga, the father of humanity and its activities, such as war. Sometimes, Tāne Mahuta ascends to the sky after Ranginui to dress him with stars, who mourns for his wife every time it rains. Similarly, Papatūānuku strains in an effort to reach the sky, causing earthquakes, and the mist comes from her sighing.


title: Māori mythology

text: In a version involving Urutengangana, Whiro, Tāwhiri, Tangaroa, Tuamatua, Tumatakaka, Tū, Paia, and Tāne; Tāwhiri "finally" agreed to the separation, while Whiro was against it. Tāne instructed Tumatakaka and Tū to fetch axes with which to cut Rangi's arms off, and the blood that dripped from him down onto Papatūānuku is said to be where the red sunset now comes from, as well as the origin of the colours red and blue in painting: red oxide and blue phosphate of iron. This is very different to the telling in which Tāne discards Tū's suggestions to slaughter the parents to ensure their separation, where Tāwhiri is the brother most upset by the idea to separate the parents at all.


title: Māori mythology

text: In South Island traditions, Rakinui weds at least three wives including Papatūānuku. Poharuatepō is one of Rakinui's wives, and they are Aoraki's parents. In these versions, the gods that are usually considered Rakinui's children may become each other's half-siblings, some even becoming Rakinui's grandsons.


title: Māori mythology

text: Aoraki and his brothers Rakiora, Rakirua, and Rarakiroa travelled across the waters of the ocean to visit Rakinui's new wife - Papatūānuku. On the return journey, their canoe () became capsized on a reef, so they climbed atop its hull to escape drowning. They froze into stone, becoming the tallest peaks of the Southern Alps. Afterwards they were discovered by Tūterakiwhānoa who enlisted Kahukura's help in shaping and clothing the land. Hence became the South Island.


title: Māori mythology

text: In a slight variant, Aoraki and his grandfather Kirikirikatata landed at Shag Point aboard the , where they turned into the ever-associated mountain and range. Kirikirikatata persuaded Aroarokaehe to come sit with them there, while her husband Mauka Atua became a peak on the Ben Ohau Range.


title: Māori mythology

text: There are many mythologies that describe the creation of humankind. Though Tūmatauenga is the major god associated with humanity and its activities, humanity's creation is sometimes credited to Tāne Mahuta, and often involves Tiki. In one story, Tāne Mahuta abandoned his wife Rangahore, for only giving birth to a stone.


title: Māori mythology

text: One such legend of humanity's origins is which Tāne Mahuta created the first woman, Hineahuone, from soil and with her became the father of Hinetītama. Tāne Mahuta concealed Hinetītama's parentage to her, and together they had children. Upon the realisation that he is her father, she flees to the underworld and renames herself to , becoming the goddess () of night, death, and the underworld, where she receives the souls of their descendants. A similar story tells how Tiki found the first woman in a pool, imagined through his reflection and birthed into reality by covering the pool with dirt. She later became excited by the sight of an eel, passing on the excitement to Tiki and resulting in the first reproductive act.


title: Māori mythology

text: Other versions say either Tāne Mahuta or Tūmatauenga created Tiki as the first man. In Ngāti Hau traditions, Mārikoriko is said to be the original woman created by Ārohirohi with Paoro's help. After seducing Tiki, she gave birth to Hinekauataata.


title: Māori mythology

text: In the days of old Tamanuiterā, the sun, used to move through the sky at much too fast a pace for humanity to complete all their days' chores leaving long, cold nights that lasted for many hours while Tamanuiterā slept. Māui and his brothers journeyed to Tamanuiterā's sleeping pit with a large rope, which in some tellings was made from their sister Hina's hair. The brothers fashioned the rope into a noose or net, and in doing so "discovered the mode of plaiting flax into stout square-shaped ropes, (); and the manner of plaiting flat ropes, (); and of spinning round ropes", which when Tamanuiterā awoke found himself caught in. Using a patu made from the jawbone of their grandmother, Murirangawhenua, Māui beat the sun into agreeing to slow down and give the world more time during the day.


title: Māori mythology

text: In south Westland, Kāti Māhaki ki Makaawhio's Te Tauraka Waka a Maui Marae is named in honour of the tradition stating that Māui landed his canoe in Bruce Bay when he arrived in New Zealand.


title: Māori mythology

text: In a tale collected from a Kāi Tahu woman of Lake Ellesmere / Te Waihora, Māui threw a giant to the ocean and then buried him beneath a mountain at Banks Peninsula. The next winter, the giant remained still underneath the mountain, but stirred during summer, which caused the land to split and form Akaroa Harbour. Māui would continue to pile earth on top of the giant, and the giant would continue to stir every summer, creating a lake and Pigeon Bay in the process, until finally the giant could not move anymore.


title: Māori mythology

text: Māui's brothers constantly shunned him, and so never allowed him to join their fishing trips. One day he managed to sneak out to the waters with them by hiding in their canoe. Once they were far out to sea he revealed himself and used Murirangawhenua's jawbone, now fashioned into a fishing hook, to catch fish. Since his brothers would not allow him to use their bait, he pierced his nose with the hook and used his blood instead. Soon, Māui caught hold of a giant fish said to be a gift from Murirangawhenua, which he successfully hauled up to the surface of the ocean, the canoe getting caught atop Mount Hikurangi which according to Ngāti Porou, is still there. Māui went to examine his catch, and have it blessed by priests from Hawaiki, trusting his brothers to look after it. Out of jealousy though, the brothers took to beating the fish and cutting it open, carving out the mountains and valleys of what would become , the North Island. , the South Island, likewise was the name of Māui's canoe, Stewart Island was , Māui's anchor stone, and Cape Kidnappers became , Māui's fish hook.


title: Māori mythology

text: One night, Māui put out all the fires in his village, out of a curiosity to learn where it actually comes from. His mother Taranga, the village's , sent Māui to his grandmother Mahuika, the of fire, to retrieve more. She gave him a fingernail, but he extinguished it, so she kept giving him fingernails until she became furious with him, setting fire to the land and sea to attack Māui. He transformed into a kāhu to escape, but the fire singed the underside of his wings, turning them red. He talked to his ancestors Tāwhirimātea and Whaitirimatakataka to send rain to extinguish the fire. Mahuika threw her last nail at Māui, which missed and set fire to the , , , , and "māhoe" trees; the dried sticks of the were brought back by Māui to show his people how to make fire for themselves.


title: Māori mythology

text: Māui turned Hina's husband, Irawaru, into the first dog () after a dispute they had during a fishing trip. Once they reached the shore Māui crushed Irawaru underneath the canoe, breaking his back and stretching out his limbs, turning him into a dog. Upon learning of this, Hina threw herself to the ocean. Instead of drowning, she was carried across the waves to Motutapu, where she became the wife of Chief Tinirau, son of Tangaroa. She took on the name to reflect her mood since Māui changed Irawaru.


title: Māori mythology

text: With Tinirau, Hina became the mother of Tūhuruhuru. The , Kae, performed the baptism ritual for the child, and so Tinirau allowed Kae to ride his pet whale (possibly a ), Tutunui, in order to return home. This proved to be a mistake on Tinirau's part, as despite his strict instructions to the contrary, Kae rode Tutunui into shallow water where he became stranded and died. Kae and his people then used the whale's flesh for food. Hinarau and a party of women put Kae to sleep with a magical lullaby and brought him back to Motutapu. After he woke he was taunted and killed. This broke out into a war, a notable event of which Whakatau assisted Tinirau in burning his enemies.


title: Māori mythology

text: In a South Island variant of that myth, Tinirau and Tutunui met Kae who was in a canoe. Kae borrowed Tutunui, and Tinirau borrowed a nautilus from his friend Tautini in a continued search for Hineteiwaiwa. When Tinirau smells the wind he realises Tutunui is being roasted.


title: Māori mythology

text: In a very different variant, Hina was Māui's wife. Over a period of time where Hina visited a bathing pool Te Tunaroa, the father of eels, molested Hina. As revenge, Māui cut Te Tunaroa's body into bits, throwing them into different habitats where they became different kinds of fish; conger eels, freshwater eels, lampreys, and hagfish.


title: Māori mythology

text: One day Māui followed his mother to the underworld in search of his father, Makeatutara, who mistakenly performed the baptismal rituals for Māui's birth improperly, making it certain that he would die, so Māui decided to overcome death by facing his ancestress Hinenuitepō. Makeatutara instructs that she can be seen as the red flashes of sunset. His companions vary from version to version, usually being either his brothers or a group of small birds. To defeat Hinenuitepō, Māui had to crawl through her vagina in the form of a worm, and climb out through her mouth. Unfortunately, one of his brothers, or one of the birds named Pīwakawaka, bursts out into laughter at the sight of Māui beginning the task which wakes Hinenuitepō, who crushes him with the obsidian and pounamu teeth between her thighs.


title: Māori mythology

text: In one rare tradition, Māui swapped faces with his wife Rohe against her will, out of jealousy that she was much prettier while he was ugly. She left to the underworld in anger, becoming the of night and death. The spirits of those who pass through her realm of Te Urangaoterā may get beaten by her. Māui and Rohe's child was Rangihore, the of rocks and stones.


title: Māori mythology

text: Whaitiri, a cannibalistic of thunder and a granddaughter of Māui, married the mortal Kaitangata ("Eat people") believing, as his name suggested, that he too was a cannibal. After she killed her favourite slave for him, she was disappointed to learn that he is instead a kind man, who was horrified at the flesh offering. His diet consisted of fish instead, but Whaitiri grew tired of eating fish, and so killed Kaitangata's relatives. When he returned from a fishing trip she asked him to perform the chants that are used to offer flesh to the gods, but he did not know any such chants. After eating, she turned his relatives' bones into barbed fish hooks for Kaitangata to use, with which he caught a few . She ate the fish, which had become infused with from the hooks, and as a result she was gradually blinded. Later she was insulted by her husband when he remarked at her strange nature, so she revealed that she is 'thunder' from the sky, and returned there.


title: Māori mythology

text: Whaitiri's son Hemā had been killed by the . His sons, Tāwhaki and Karihi, made an ascent into the sky, where they found Whaitiri, who had since become fully blinded. Her only food consisted of and taro. She reveals to her grandsons how to climb further into the heavens but, in some versions, Karihi falls to his death.


title: Māori mythology

text: While they were in the sky, Tāwhaki met his wife, either Tangotango or Hinepiripiri. In the version with Tangotango, the couple quarrel and she returns to heaven. There's another version where Tāwhaki was entirely human, and offended his wife Tangotango (daughter of Whaitiri), prompting her to return to the sky. In order to find her he meets his blind ancestress Matakerepō, who helps him climb further.


title: Māori mythology

text: The brothers managed to save their mother, and together they trapped the in their house and blocked off all potential sources of light or escape. Their mother explained that sunlight could kill the , so the three tricked the into believing it was still night, and then suddenly lit the building on fire, and tore the door off. Only two survived; Tongahiti and .


title: Māori mythology

text: A son named Wahieroa was born to Tāwhaki and Hinepiripiri, so named because after an attack on Tāwhaki, Hinepiripiri warmed him by the fire, with firewood. Alternatively, Tāwhaki's people were too lazy to collect firewood for their village, so Tāwhaki collected it himself and threw it to the ground, startling the people. Wahieroa would marry Matoka-rau-tāwhiri, who when pregnant had a craving for flesh, and so asked her Wahieroa to kill for her to eat. In journeying through the forest, Wahieroa is captured and killed by the ogre Matuku-tangotango.


title: Māori mythology

text: Rātā, the son of Wahieroa and Hinepiripiri, set out to avenge his father's death. How he killed Matoka-rau-tāwhiri is dependent on where the tale is told, but, he won in the end, and used the ogre's bones to make spears. He soon found out though, that Wahieroa's bones were lying with Tāwhaki's old enemies, the .


title: Māori mythology

text: In order to get to the , Rātā had to build a canoe. Rātā set about chopping down the tree for his canoe, cutting the top away, and went home after the day's work was over. The next day, he found the tree standing upright as if it had never been touched. He repeated the task of chopping it, and the next day it was again re-erected. He decided to hide in a nearby bush for the night to understand what was happening, and discovered that his work was being undone by the birdlike spirits, who explained that he didn't perform the correct rituals and thus his attempts to fell the tree were an insult to Tāne Mahuta. With expressing regret, the constructed his canoe for him.


title: Māori mythology

text: While rescuing Wahieroa's bones, Rātā overheard the singing a song called while banging the bones together. He killed the priests and later used the song to turn the tides of a losing battle against them. In a flash, the dead of Rātā's people returned to life and slaughtered the in their thousands.


title: Māori mythology

text: Rātā's sons by Tonga-rau-tawhiri were Tūwhakararo and Whakatau. In other accounts, their parents were Tūhuruhuru and Apakura. In other accounts still, Apakura as Tūwhakararo's wife threw an apron or girdle into the ocean, which a deity named Rongotakawhiu turned into Whakatau. The boy was taught a handful of magical secrets by the deity, and he was capable of living under the sea. As Whakatau's brother, Tūwhakararo had been murdered by the Āti Hāpai (or Raeroa) tribe, so the former avenged him by gathering an army and slaughtering the offending tribe. This is one event that was said to trigger migrations from Hawaiki.


title: Māori mythology

text: The South Island's earliest , Waitaha, traces its ancestors back to the , captained by Rākaihautū who sailed from Te Patunuioāio to New Zealand with the (astronomer) Matiti's advice, and in mythology was credited with digging many of the island's great lakes and waterways. The is sometimes said to have arrived at a similar time, bringing the progenators of Ngāti Hawea - an that became absorbed into Waitaha. Similar ancient groups that have slipped into mythology might include Maero and Rapuwai.


title: Māori mythology

text: Toi (Toi-kai-rākau; Toi-the-wood-eater) is the traditional origin ancestor of the tribes of the east coast of the North Island. Their traditions make no mention of his coming to New Zealand, and the inference is that he was born there. Ngāi Tūhoe say that Toi's 'ancestor' Tīwakawaka was the first to settle the country aboard , "but only his name is remembered". A man named Kahukura would take Toi's canoe, the and return to Hawaiki with it. He sent back to the new lands with the canoe, which in Ngāti Kahungunu traditions was accompanied by Kiwa, who later sailed around to Gisborne and became the first man there.


title: Māori mythology

text: According to the of North Auckland and the west coast of the North Island, Kupe sailed to New Zealand in the from Hawaiki after murdering a man called Hoturapa, and making off with his wife, Kuramarotini. Traditional songs recount Kupe's travels along the coast of New Zealand. In Ngāpuhi tradition, he brought the first three dogs and sent them to Cape Reinga with a few men to guard the passage to the afterlife, who would become the Ngāti Kurī. Kupe's exploration of Marlborough had been impeded by Te Kāhui Tipua, frequently described as a tribe of ogres or giants that arrived with Rākaihautū. Kupe managed to kill Te Kāhui Tipua by creating Lake Grassmere and drowning their villages. He sailed back to Hawaiki and never came back to the land he discovered. However, others came to New Zealand according to his directions.


title: Māori mythology

text: Ngahue, a contemporary of Kupe, sailed to New Zealand in his canoe, the . While there he killed a moa and discovered pounamu. After returning to Hawaiki, Ngahue helped build the using adzes made from the pounamu.


title: Māori mythology

text: A deifed person, or persons, named Uenuku features with certain roles in some canoes' migration stories. Often he is an of Hawaiki who serves as a catalyst for disputes, which end with the migrations to New Zealand. The name Uenuku also belongs to one or more associated with rainbows and war; depending on the telling, he was either a mortal who was visited by a mistmaiden from the heavens and then turned into a rainbow to be with her after tricking her into staying in his house past dawn, or he was a spirit who visited Tamatea Arikinui's wife night after night and impregnated her. is a Tainui artefact associated with the rainbow entity.


title: Māori mythology

text: Each tribal group, whether or , maintained its discrete traditional record, which generally concerned "great battles and great men"; these stories were linked together by genealogy, which in Māori tradition is an elaborate art. were often named after a notable ancestor from the wider ; the name of the itself was often borrowed from a founding ancestor. Sometimes, a group was named after a particular event.


title: Māori mythology

text: After the arrival of the in the Bay of Plenty, its people dispersed outwards and towards Lake Taupō. From the canoe, a separate Waitaha evolved. Descendants of the canoe's priest Ngātoro-i-rangi, Ngāti Tūwharetoa, began attacking the local Ngāti Hotu and Ngāti Ruakopiri, and drove them from Lake Taupō and Lake Rotoaira. The Whanganui Māori would later drive them from Kakahi further into the King Country, after which they disappeared from history.


title: Māori mythology

text: Most of the greatest remembered traditions of the South Island are often told by or involve Kāti Māmoe, Ngāi Tara, Ngāti Wairangi, Ngāti Tūmatakōkiri, Ngāi Tahu, or Rangitāne; Waitaha was conquered and absorbed into Kāti Māmoe, which along with Ngāti Wairangi and Ngāti Tūmatakōkiri were conquered by Ngāi Tahu. Ngāti Tūmatakōkiri were additionally harassed by their brethren Ngāti Kuia and Ngāti Apa.


title: Māori mythology

text: The Māori that clashed with Abel Tasman's crew at Golden Bay in December 1642 were of Ngāti Tūmatakōkiri, and it is sometimes theorised that Ngāti Tūmatakōkiri may have interpreted the Dutch as . Another theory suggests that the was concerned about the intruders possibly waking the Ngārara Huarau in anchoring too close to a certain point.


title: Māori mythology

text: One battle that Kāti Māmoe won against Ngāi Tahu was at Lowther under Tutemakohu, whose retreated to the mist after their victory. A Kāti Māmoe chief of Waiharakeke Pa named Te Whetuki was described as being "of strangely wild aspect", and covered in long hair. One tradition states that a group of Kāti Māmoe managed to escape an attack by forever disappearing into the forests on the other side of Lake Te Anau, the descendants of which were possibly sighted in the Hāwea / Bligh Sound by Captain Howell in 1843, and again in 1850/1 by Captain Stokes, and in 1872 by Kupa Haereroa at Lake Ada, and finally in 1882.


title: Māori mythology

text: Io is a godly figure whose existence before European (specifically Christian European) arrival has been debated. He didn't appear in manuscripts or oral discourse until late in the 19th century. At least two references to him from 1891 appear in Edward Tregear's "The Maori-Polynesian comparative dictionary", where he is described as "God, the Supreme Being", and as a figure in Moriori genealogy, but as Tiki's descendant. A third reference might be found in the same book under Ngāti Maniapoto's genealogy. It should also be noted that Io seems to be present in mythologies from Hawai‘i, the Society Islands, and the Cook Islands.


title: Māori mythology

text: In some versions of Tāwhaki's story, he sends his people to a high place to escape a flood which he summons to drown the village of his jealous brothers-in-law. There is a suggestion that this story might have inspiration from the Genesis flood narrative, and Hemā is sometimes reimagined as Shem. The way George Grey recorded the myths of Tāwhaki in his 1854 "Polynesian Mythology" may have given rise to these connections:


title: Māori mythology

text: Similarly, in the migration story where Ruatapu attempts to kill his brother Paikea, one Ngāti Porou tradition says that Ruatapu summoned great waves that destroyed their village, which Paikea only survived through the intervention of a goddess named Moakuramanu, and that Ruatapu then threatened to return as the great waves of the eighth month.


title: FCF Beasts

text: The FCF Beasts are a professional Indoor Football team founded in 2020. They are a member of the Fan Controlled Football League and are currently owned by Marshawn Lynch, Miro, Todd Gurley, and Renee Montgomery.


title: FCF Beasts

text: On December 2, 2020, The Beasts team name and logo were announced, along with three other teams (Glacier Boyz, Zappers, and Wild Aces). On January 14, 2021, all four team uniforms were revealed.


title: FCF Beasts

text: The Beasts won their first franchise game 48–44 against the Zappers and Former Heisman Winner Johnny Manziel on February 13, 2021.


title: FCF Beasts

text: On March 5, 2021, to load up for the Playoffs, The Beasts signed Robert Turbin, a former teammate of team owner Marshawn Lynch.


title: FCF Beasts

text: The Beasts finished the regular season 3–1, securing the #1 seed in the playoffs, but ultimately ended up losing to the #4 seed Glacier Boyz 38–20 in the semi-finals, Finishing the 2021 Fan Controlled Football season 3–2.


title: FCF Beasts

text: For the new season, The Beasts would franchise-tag Quinn Porter and draft Jordus Smith with the first round pick in the FCF draft. First game in the season would be against the Glacier Boyz, where they beat them 36 to 20. In Week 2, The Beasts would franchise-tag Jordus Smith and draft the Heavy Hitters defensive unit in the first round pick in the FCF draft. The Beasts would go against Shoulda Been Stars and lose 24 to 6. In Week 3, The Beasts would franchise-tag LaMarcus Caradine and draft Jacoby Herring in the first round pick in the FCF draft.


title: FCF Beasts

text: The Beasts made a controversial decision in Week 3 when they drafted Alphonso Howard, who's been the Beasts backup quarterback for the first 3 games, for the starting quarterback position instead of Jason Stewart, who would be drafted by the Kingpins. The Beasts would go against the 80ki Football Club and lose 44 to 38. On April 29th, The Beasts recruited Martavis Bryant to the team. In Week 4, the FCF League would move the Beasts back-up quarterback, Dentarrius Yon to the Knights of Degen after the departure of Danny Southwick, and moved Jason Stewart back to the Beasts as Yon's position. The Beasts went against the Zappers and beat them 28 to 0, being the first team in FCF history to shutout a game.


title: FCF Beasts

text: The Beasts would be a part of the first trade in FCF trade history, trading Jacoby Herring to the Knights of Degen in exchange for Dentarrius Yon, and trading Jason Stewart and the Beasts' draft picks to the Zappers for their draft picks. The Beasts would have a rematch against the Glacier Boyz in week 5, losing by 34 to 18. In week 6, the Beasts would lose 34 to 16 to the Should Been Stars, sealing the Stars to the playoffs.


title: .455 Webley

text: .455 Webley is a British handgun cartridge, most commonly used in the Webley top break revolvers Marks I through VI. It is also known as ".455 Eley" and ".455 Colt".


title: .455 Webley

text: The .455 cartridge was a service revolver cartridge, featuring a rimmed cartridge firing a .45-caliber bullet at the relatively low velocity of 650 ft/s (190 m/s). The result was a cartridge and handgun combination with comparatively mild recoil. The .455 MK III "cupped" cartridge was rated superior to the .45 Colt in stopping power in the disputed United States Thompson-LaGarde Tests of 1904 that resulted in the adoption by the U.S. of the .45 ACP cartridge.


title: .455 Webley

text: The .455 Webley cartridge remained in service with British and Commonwealth forces until the end of the Second World War.


title: .455 Webley

text: In addition to the Webley revolvers, the British and Canadian armies also ordered several thousand Smith & Wesson .44 Hand Ejector revolvers, chambered in .455 Webley, in a rush to equip their troops for the Great War. The urgency was such that the earliest of these were converted from revolvers already completed and chambered for .44 Special. Approximately 60,000 Colt New Service revolvers were also purchased, in .455.


title: .455 Webley

text: The Italian firm Fiocchi and American firm Hornady are currently the only commercial manufacturers of the .455 Webley cartridge (in Mk II). Hornady, RCBS and Lee produce equipment for reloading .455 Webley cartridges.


title: .455 Webley

text: The .455 Webley Auto Mk I cartridge was produced from 1913 to about the middle of World War II. This is a semi-rimmed cartridge for the Webley & Scott Self Loading pistols.


title: .455 Webley

text: The early version of the cartridge (c.1904) had a shorter 21.7mm semi-rimmed case with a narrow rim and a pointed bullet. A later improved version of the cartridge (c.1910) was similar except it had a 23.54mm long case and a round-nosed bullet. The Mk 1 service round (c.1913) was identical to the 1910 version of the cartridge except it had a thicker rim.


title: .455 Webley

text: The Mk 1 cartridge's bullet headspaced on the rim. It was loaded with a 224 grain cupro-nickel-jacketed bullet with a muzzle velocity of 700 feet per second.


title: .455 Webley

text: The Webley & Scott pistol was sold to the Royal Flying Corps and Royal Navy during World War I. There were also some Colt M1911 pistols chambered in .455 Auto purchased by the Royal Navy. Although not a standard sidearm or a standard service cartridge, a few Colt M1911 "British service models" chambered in .455 Auto were sold commercially to British navy and army officers through outfitters. The service ammunition came packed in seven-round boxes stamped "not for revolvers" to prevent confusion.


title: .455 Webley

text: Despite the apparent difference in caliber name, .476 Enfield was quite similar to the .455 Webley. The .476 had a shorter case than the .455 Mark I and could be fired in weapons regulated and marked as safe for the caliber, such as the Webley "WG Army" model. This had a cylinder that was long enough to accommodate the significantly longer cartridge in which the bullet swelled out to .476" beyond the case. It would not chamber in any government-issue .455 Webley Marks I–VI. The .450 Adams (1868), .476 Enfield (1881), and .455 Webley Mk.I (1891) British service cartridges all featured a case diameter of .476 inch [12.09mm].


title: Fuse (automotive)

text: Automotive fuses are a class of fuses used to protect the wiring and electrical equipment for vehicles. They are generally rated for circuits no higher than 32 volts direct current, but some types are rated for 42-volt electrical systems. They are occasionally used in non-automotive electrical products. Automotive fuses are typically housed inside one or more fuse boxes (also called an integrated power module (IPM)) within the vehicle, typically on one side of the engine compartment and/or under the dash near the steering wheel. Some fuses or circuit breakers may nonetheless be placed elsewhere, such as near the cabin fan or air bag controller. They also exist as circuit breakers that are resettable using a switch.


title: Fuse (automotive)

text: There may be a fuse for ignition off draw (IOD), which controls the drawing of electric current in a vehicle while it is shut off; removing this fuse while the vehicle is shut off for more than a few weeks will prevent excessive depletion of the battery.


title: Fuse (automotive)

text: Blade fuses (also called spade or plug-in fuses), with a plastic body and two prongs that fit into sockets, are mostly used in automobiles. Other common usage is in equipment with comparatively simple, low voltage DC electrical systems such as towed campers and marine applications such as sailboats and motor boats (typically smaller cabin cruisers).


title: Fuse (automotive)

text: Where space permits, a miniature circuit breaker is sometimes used to replace a blade-type fuse in the same fuse holder.


title: Fuse (automotive)

text: Blade fuses use a common coloring scheme for the Micro2, Micro3, low-profile (LP) Mini, Mini, and regular size fuses, and a partial color similarity with the maxi size fuses. The following table shows the commonly available fuses for each size group.


title: Fuse (automotive)

text: Regular fuses (ATO) rated 0.5 A, 35 A and 40 A are not mentioned in the DIN standards, but are available in some products from Littelfuse, among others.


title: Fuse (automotive)

text: Bosch type fuses (also known as continental, torpedo, European, or GBC type fuses) are used in old (often European) automobiles. The physical dimension of this type of fuse is 6×25 mm with conical ends. Bosch type fuses usually use the same color-coding for the rated current. The DIN standard is 72581/1.


title: Fuse (automotive)

text: Lucas type fuses are used in old British-made or assembled automobiles. The physical length of the Lucas ceramic type of fuse is either 1 inch or 1.25 inch, with conical ends. Lucas glass tube fuses have straight ends. Lucas type fuses usually use the same color-coding for the rated current. Lucas fuses have three ratings; the continuous current they are designed to carry, the instantaneous current at which they will fuse, and the continuous current at which they will also fuse. The figure found on Lucas fuses is the continuous fusing current which is twice the continuous ampere rating that the system should be using; this can be a source of confusion when replacing Lucas fuses with non Lucas fuses. The Lucas 1/4" diameter glass tube fuse have a different length as compared to the standard US item. The Lucas 1/4" diameter glass tube fuse is 1 and 5/32" [≈29.4 mm] long, while the US standard 1/4" glass tube fuse is 1 and 1/4" [≈32.0 mm] long. However many Lucas fuse holders permit the longer US version to be installed easily.


title: Fuse (automotive)

text: North-American built automobiles up to at least 1986 had electrical systems protected by cylindrical glass cartridge fuses rated 32 volts DC and current ratings from 4 amperes to 30 amperes. These are known as "SFE" fuses, as they were designed by the Society of Fuse Engineers to prevent the insertion of a grossly inadequate or unsafe fuse into the vehicle's fuse panel.


title: Fuse (automotive)

text: There are a number of lookalike fuses which can easily be confused with these. In general this type of fuse will have an "AG" label of some kind, which originally stood for "Automobile Glass". There are at least seven different sizes of fuses with a 1/4 inch diameter. The fuses listed are the most common for the size, which is always a fast-acting fuse:


title: Fuse (automotive)

text: These and other fuses are still being manufactured for many applications, including for AC circuits and DC uses. Some are time delayed, slow reacting, or have leads for terminals used in circuits without a fuse holder. Many of the fuse dimensions and characteristics are published by the Society of Automotive Engineers as Standard SAE J 554.


title: Fuse (automotive)

text: "Limiter fuses" consist of a metal strip for currents over 10 amperes. Also referred to as Current Limiting Fuses, they feature an internal fuse element that melts when current passing through the fuse element is within the specified current limiting range of the fuse. As the fuse element melts, it creates a high resistance to reduce the magnitude and duration of the current flowing through the fuse to protect the electrical circuit and connected equipment.<ref name="17/11/2020"></ref> Frequently, these are used in close proximity to starter battery fuse boxes. They are used also in electric vehicles, e.g., in forklift trucks. Because strip fuses require the use of tools for replacement they are therefore legally considered non-serviceable components for end-users.


title: Shawty Lo

text: Carlos Rico Walker (March 22, 1976 – September 21, 2016), better known as Shawty Lo, was an American rapper from Atlanta, Georgia.


title: Shawty Lo

text: He initially came to prominence as a founding member of the Southern hip hop group D4L, and in 2000 founded D4L Records. The group reached national status in 2005 when their single "Laffy Taffy" topped the "Billboard" Hot 100 and went on to be certified platinum thrice by the Recording Industry Association of America (RIAA).


title: Shawty Lo

text: In 2007, Walker began pursuing a solo career with his debut single "Dey Know", which was included on his solo debut album "Units in the City", released in February 2008.


title: Shawty Lo

text: On September 21, 2016, Walker died in a car crash. His second studio album, "R.I.C.O.", was released posthumously in March 2017.


title: Shawty Lo

text: In 2003, Shawty Lo formed the Southern hip hop group D4L, with fellow Atlanta-based rappers Fabo, Mook-B and Stoney. Shawty Lo subsequently launched his indie record label D4L Records. Shawty Lo self-funded the group in its early days. He explained that the group's name stands for "Down for Life". The group signed to the indie label Dee Money Entertainment, which released the group's debut in conjunction with Asylum Records.


title: Shawty Lo

text: D4L's debut album, titled "Down for Life", was executive produced by Shawty Lo and eventually certified gold by the Recording Industry Association of America (RIAA). The album had spawned the hit singles "Betcha Can't Do It Like Me" and "Laffy Taffy". The latter of which attributed much to the group's success, as it broke records as the most downloaded song in the history of music according to the 2007 Guinness Book of the World Records. It was also a multi-platinum ring tone and scored a ASCAP award.


title: Shawty Lo

text: The group debuted with "Betcha Can't Do It Like Me", which "Billboard" claimed to have popularized snap music. In January 2006, D4L's single "Laffy Taffy", reached the top of the "Billboard" Hot 100 chart. As was another Atlanta-based hip hop group Dem Franchize Boyz, D4L was part of the snap music trend in 2006, which continued when Mississippi-based rapper Soulja Boy Tell 'Em, came out with the number one hit single "Crank That (Soulja Boy)", in 2007.


title: Shawty Lo

text: On December 4, 2007, Shawty Lo released "Dey Know", his solo commercial debut single. The single charted in the Top 40 of the US "Billboard" Hot 100 chart. On February 26, 2008, his solo debut studio album "Units in the City", was released. The album features guest appearances from Shawty Lo's D4L cohorts, as well as Gucci Mane, among others. "Units in the City" peaked at number 14 on the US "Billboard" 200 chart and at number two on the Top Rap Albums chart, selling over 160,000 copies to date. The album spawned two other singles, "Dunn Dunn" and the remix to "Foolish". Shawty Lo also released a music video for the album cut, "Got Em 4 da LO". The songs "Dey Know" and "Foolish", were both officially remixed, featuring new verses from several high-profile artists. These include Ludacris, Young Jeezy, Plies, Lil' Wayne, DJ Khaled, Birdman, Rick Ross and Jim Jones. The "Foolish" music video also included cameo appearances from Pitbull, Jadakiss and Ace Hood.


title: Shawty Lo

text: In late 2008 Shawty Lo started working on a new album entitled "Carlos"; artists that were to be featured on the album included Rick Ross, T-Pain, Lil' Kim, Bun B, Nate Butler, Lyfe Jennings, Mýa, T.I., Lil Wayne, and Gucci Mane. On December 8, 2008 Shawty Lo released a song from the album entitled "Supplier"; it featured vocals from Trey Songz and Lil Wayne.


title: Shawty Lo

text: On March 9, 2009, Shawty Lo released a song titled "Roll the Dice"; the song is known for marking the end of the feud between him and fellow Atlanta-based rapper T.I. On March 23, 2009, Shawty Lo announced that he had changed his second album's title from "Carlos" to "I Am Carlos" and its release date would be June 3, 2009. On April 27, 2010 Shawty Lo would release a new single, titled "Atlanta, GA", which featured vocals from Gucci Mane, Ludacris and The-Dream.


title: Shawty Lo

text: On June 10, 2011, during an interview, it was confirmed by both Shawty Lo and AllHipHop that he had signed a new label deal with G-Unit Records, after it was reported they were in talks. Shawty Lo said, "My new situation with G-Unit was just solidified and I got off the phone with 50 yesterday, I just signed a really large deal, as well as, It's like a new beginning and all I needed was someone behind me. 50 Cent is a marketing genius and I got my new thing D4L and G-Unit and we going to be working the south and the rest of the world if need be." It was later clarified by Shawty Lo that he had not signed as an artist but instead he had signed his label D4L Records to G-Unit South a subsidiary record label of G-Unit Records. On July 27, 2011, Shawty Lo would announce that he had changed his second album's title from "I Am Carlos" to "Still Got Units."


title: Shawty Lo

text: On June 10, 2014, it was announced that Shawty Lo was working and prepping the release of his new mixtape entitled "King of Bankhead," which was released on February 3, 2015.


title: Shawty Lo

text: D4L Records, is an Atlanta, Georgia-based record label founded in 2003, by Carlos "Shawty Lo" Walker. On June 22, 2011 it was announced that Shawty Lo had signed the label to a distribution deal with 50 Cent's subsidiary label G-Unit South, for a worth of over $10 million. On January 15, 2015, during an interview, Shawty Lo would announce that he had signed the label to a new label deal with Grown Money Entertainment.


title: Shawty Lo

text: In 2008, Shawty Lo was involved in a highly publicized feud with another Atlanta rapper, T.I. The feud was characterized by Shawty Lo's track "Dunn Dunn", and T.I.'s reply "What Up, What's Haapnin". The song "Dunn Dunn" appears to question T.I.'s roots in Bankhead, Atlanta. The music video for "What Up, What's Haapnin" was shot in Bowen Homes, Shawty Lo's neighborhood. In an interview, T.I. insisted that his song "No Matter What" was only partially aimed at Shawty Lo. The feud reached its climax at the November 2008 "Dirty Awards", where the entourages of both artists clashed during the ceremony, forcing it to be shut down. Two incidents forced police to use pepper-spray and evacuate the audience. The feud was publicly ended on March 7, 2009, when Shawty Lo and T.I. appeared on-stage together at Club Crucial in Bankhead, for T.I.'s farewell concert. After this performance, T.I. gave an interview to MTV, in which he stated that the feud with Shawty Lo was exaggerated by the media, and was not a 'beef'. Shawty Lo also made a song titled "Roll the Dice", which samples Coldplay's popular 2008 single "Viva la Vida". "Roll the Dice" marked the end of the feud between Shawty Lo and T.I.


title: Shawty Lo

text: His TV series, "All My Babies' Mamas" was set to air later in 2013 on the Oxygen channel. On January 15, 2013, Oxygen Media cancelled the show, stating in a press release that "as part of our development process, we have reviewed casting and decided not to move forward with the special." However, on February 26, 2013, Shawty Lo announced that there were other television networks that were interested in the reality show.


title: Shawty Lo

text: By the age of 17, Walker had fathered his first child. On June 16, 2011, Walker announced that he had diabetes. Walker had a total of 11 children: nine daughters and two sons from 10 women.


title: Shawty Lo

text: On September 21, 2016, Walker was killed in a single-vehicle accident in Fulton County, Georgia. The crash happened around 2:20 a.m. when Walker's Audi A7 went over a guardrail, hit two trees, and caught on fire; he was ejected from the vehicle and pronounced dead at the scene. Two female passengers in the vehicle experienced non-life-threatening injuries.


title: Shawty Lo

text: Shawty Lo's funeral was held on October 1, 2016 at Jackson Memorial Baptist Church in Atlanta. Following the service, the funeral procession proceeded to The Blue Flame Lounge, one of the rapper's favorite strip clubs, where a large group of patrons and mourners honored his casket with a moment of silence "filled with just the glow of the candles, and the lights from the strip club". Shawty Lo was buried at Forest Lawn Memorial Gardens in College Park, Georgia. Artists who paid tribute to Shawty Lo after his death include Gucci Mane, Lil Marlo, Beyoncé, Vince Staples, Future, Kendrick Lamar, Lil' Kim, 50 Cent, T.I., Dej Loaf, Joe Budden, DJ Drama, DJ Khaled, Jon Connor, Young Thug, Soulja Boy, Mack Maine, Tony Yayo, Young Scooter, Rick Ross, Raekwon, Kid Ink, CeeLo Green, Pastor Troy, ILoveMakonnen, Mistah F.A.B., Lil Durk, Jermaine Dupri and Girl Talk.


title: You Belong to Me (1952 song)

text: "You Belong to Me" is a popular music ballad from the 1950s. It is well known for its opening line, "See the pyramids along the Nile". The song was published in Hollywood on April 21, 1952, and the most popular version was by Jo Stafford, reaching No. 1 on both the UK and US singles charts.


title: You Belong to Me (1952 song)

text: Price, a songwriting librarian at WAVE Radio Louisville, had written the song in its virtual entirety as "Hurry Home to Me", envisioning the song as an American woman's plea to a sweetheart serving overseas in World War II. Afforded songwriting credit on the song mostly in exchange for their work in promoting it, King and Stewart did slightly adjust Price's composition musically and lyrically, shifting the focus from a wartime background "into a kind of universal song about separated lovers" (World War II having ended some years previously) and changing the title to "You Belong to Me". Price had previously had success with another hit which she had written, "Slow Poke", under a similar arrangement with the two men.


title: You Belong to Me (1952 song)

text: The first recording of the song, in February 1952, was by Joni James. She had seen the sheet music in the Woods Building in Chicago, and the lyrics attracted her. She recorded the song in Chicago, and it was released in March on the local Sharp Records label. After she signed to MGM, it was reissued as her second single on that label on August 5, 1952, after Jo Stafford, Patti Page, Ella Fitzgerald and Dean Martin had covered it. James' version was also issued on MGM Records for national distribution. The best-known version of the song in early 1952 was recorded after James, by Sue Thompson on Mercury's country label as catalog number 6407. It was soon covered by Patti Page, whose version was issued by Mercury (catalog number 5899), with "I Went to Your Wedding" (a bigger Page hit, reaching No. 1) on the flip side. It entered the "Billboard" chart on August 22, 1952, and lasted 12 weeks on the chart, peaking at No. 4. A cover version by Dean Martin, released by Capitol Records (catalog number 2165), was also in play at that time. This version first entered the US chart on August 29, 1952, and remained on it for 10 weeks, reaching No. 12. All the versions were combined in the rankings on the "Cash Box" charts, and the song reached No. 1 on those charts as well, lasting on the chart for more than half a year.


title: You Belong to Me (1952 song)

text: In the UK, the song also topped the sheet music sales chart. It first entered the chart on November 1, 1952, peaking at No. 1 on December 27, where it stayed for 7 weeks. Jo Stafford's recording was amongst the first batch to be issued in October 1952. British cover versions were also available by Larry Cross, Alma Cogan with Jimmy Watson (trumpet), Monty Norman, Dickie Valentine with Ted Heath and his Music, Victor Silvester and his Ballroom Orchestra, Jimmy Young, and Wally Fryer and his Perfect Tempo Dance Orchestra. American recordings by Patti Page, Grady Martin and his Slew Foot Five (vocal by Cecil Bayley), Dean Martin, Joni James, Ken Griffin (organ), Jan Garber and his Orchestra (vocal by Roy Cordell) and Mickey Katz (a Yiddish parody) and his Orchestra were available in the UK. In all, the song remained in the sheet music chart for 24 weeks. Despite the many recordings issued in the UK, only that by Stafford appeared in the singles sales chart.


title: You Belong to Me (1952 song)

text: A cover version by Jo Stafford became the most popular version. It was recorded on June 24, 1952, when she was several months pregnant. Stafford's husband, Paul Weston, produced the record and provided orchestral accompaniment. Issued by Columbia Records as catalog number 39811, it was Stafford's biggest hit, topping the charts in both the United States and the United Kingdom (the first song by a female singer to top the UK Singles Chart). The single first entered the US chart on August 1, 1952, and remained there for 24 weeks.


title: You Belong to Me (1952 song)

text: The Stafford version appeared in the first ever UK singles chart of November 14, 1952 (then a top 12) and reached number 1 for a single week on January 16, 1953, its tenth week on chart. It thus became only the second record to top the chart, and remained on it for a total of 19 weeks.


title: You Belong to Me (1952 song)

text: Stafford was to re-record "You Belong to Me" twice, both in the 1960s. The first of these later recordings was made on January 13, 1963, and issued in January 1964 on a stereo Capitol LP, "The Hits Of Jo Stafford". On May 14, 1969, another recording was made, issued by "Reader's Digest" on a various artists boxed set, "They Sing The Songs".


title: Gil Grissom

text: Gilbert Arthur Grissom (born August 17, 1956), Ph.D. is a fictional character portrayed by William Petersen on the CBS crime drama "" and its sequel, "". Grissom is a forensic entomologist and for the series' first nine seasons, a CSI Level III Supervisor employed by the Las Vegas Police Department. He appeared in 198 episodes of the original series, where he was succeeded by Raymond Langston (Laurence Fishburne) and later D.B. Russell (Ted Danson). Grissom returned in the sequel series, "CSI: Vegas", in 2021.


title: Gil Grissom

text: Petersen appeared in every episode of the original series' first eight seasons, with the exceptions of:


title: Gil Grissom

text: Petersen then appeared in the first ten episodes of the ninth season, before departing the main cast.


title: Gil Grissom

text: Anthony E. Zuiker, who created the show, loosely based Grissom on real life Las Vegas Metropolitan Police Department criminalist Daniel Holstein. Zuiker was "fascinated" by Holstein, who, like Grissom, kept maggots and pig's blood in his refrigerator. Holstein worked as a consultant for the show. Zuiker originally named the character Gil Sheinbaum, but after he became part of the cast, William Petersen requested the name to be changed. Petersen and Zuiker decided to rename the character "Grissom," after astronaut Gus Grissom, of whom Petersen was a great admirer. The name Gil came from one of the actor's hobbies, fishing.


title: Gil Grissom

text: In 2000, CBS had bought the pilot script from Zuiker, and Nina Tassler, CBS's head of drama development, passed it on to Petersen, who had a pay or play contract with the network. Petersen has said that many TV shows were offered to him over the years, but he "didn't want to get locked down." However, he was impressed with the complexity of Grissom's character and he decided to audition. It was the second time Petersen portrayed a forensic scientist, having portrayed Will Graham in the 1986 film "Manhunter."


title: Gil Grissom

text: Gil Grissom first appears in "" in the pilot episode. After this he appeared in almost every single episode of the show's first eight years, except in "Hollywood Brass", from , an episode that turns entirely around Jim Brass; besides him, only three other regular characters appear. William Petersen did not appear during the episode "Gum Drops." This episode was originally going to be how Grissom was convinced that an abduction victim was still alive. When Petersen's nephew died, he flew home and was unavailable for the filming of the episode, which was rewritten to be centered on Nick. During 2007 ("CSI" ), William Petersen took a break from "CSI" to appear in a five-week run of the Trinity Repertory Company production of "Dublin Carol" in Providence, Rhode Island, resulting in Grissom taking a sabbatical, being replaced by Liev Schreiber, as Michael Keppler, who developed a small story arc through "Sweet Jane", "Redrum", and "Meet Market". Also in 2007, the character appeared in a two-part crossover with another CBS series, "Without a Trace". It was the sixth episode of the sixth season, entitled "Where and Why." The plot of the crossover involved a serial killer that had eluded capture in Nevada and had escaped to New York City. Gil Grissom was brought in to assist in the apprehension.


title: Gil Grissom

text: Grissom was born as an only child to a middle-class family in Santa Monica, California. Grissom's father taught botany at a local college and passed his enthusiasm for natural sciences onto his son. His father died when Grissom was nine years old. Grissom recalls the day his father died to Catherine Willows in the episode "Still Life", "He came home from school, one hot humid day, laid down on the couch. I was watching TV, my mom brought in some cold drinks, but she couldn't wake him up. No one would tell me why." Consequently, as a young child, Grissom "played doctor" by performing necropsies on small, deceased animals in the local area.


title: Gil Grissom

text: Gil's mother, Betty, who became deaf as a result of the genetic disorder otosclerosis, was responsible for his love of books. As a result of his mother's deafness, Gil became fluent in American Sign Language in order to be able to communicate with her.


title: Gil Grissom

text: In the earlier seasons of "", it becomes clear that Gil is also beginning to lose his hearing as well; eventually he requires surgery to fully restore his hearing.


title: Gil Grissom

text: Grissom earned his Bachelor of Science degree in biology "magna cum laude" from the University of California, Los Angeles (UCLA), and his Ph.D. in Biology from the University of Chicago. He became a forensic entomologist. In the episode "Grissom vs. the Volcano", Catherine tells the story of losing at a science competition as a child against a "kid with some lame red ants." Later in the episode Nick also reveals that he lost a science competition and Grissom tells him to let it go. In his childhood science competition, Grissom was the kid with the ants.


title: Gil Grissom

text: In the episode "Bully for You", he told Warrick that in high school he was a "ghost" (meaning that he did not belong to any group in particular). When he was in college, Grissom financed his first body farm with his winnings from a high-stakes poker game. At the same time, he also attended boxing matches to learn about the patterns of bruise formations on bodies and eventual blood spatters from the injuries.


title: Gil Grissom

text: Grissom became a crime scene investigator around 1985 (Grissom mentioned in "Living Doll", which first aired on May 17, 2007, that he had been a crime scene investigator for 22 years). Grissom once mentioned losing a body while in Minneapolis, implying he spent time there before taking a job in Las Vegas. This was mentioned again when he works with his former mentor, Dr. Phillip Gerard, played by Raymond J. Barry, stating that he used to work for him in Hennepin County, whose seat is Minneapolis.


title: Gil Grissom

text: He became the night shift team supervisor for the Las Vegas CSI unit on the second episode of the series, after Jim Brass was demoted following the death of co-worker Holly Gribbs. In , Grissom took a sabbatical to teach a class at Williams College in Williamstown, Massachusetts, for four weeks. Prior to his sabbatical, Grissom had been showing signs of "burnout." Upon his return, however, he appeared reinvigorated and told Warrick Brown that he "missed" Las Vegas. After the resignation of Sara Sidle, his fiancée, from the lab, and the murder of Warrick Brown, his burnout seemed to be resurfacing. This is particularly evident in "Say Uncle", where, at the end of the episode, he expressed deep regret over solving a particularly depressing case.


title: Gil Grissom

text: Grissom announced his retirement just as evidence comes to light that the Dick and Jane Killer, a serial killer from the 1990s currently serving two life sentences, did not act alone and that his accomplice had begun killing again. Rather than leave in the middle of a case, Grissom stayed on to help solve it, and ultimately proved instrumental in saving the life of a woman who would have been the killer's latest victim. The case closed, Grissom, having already had a series of one-on-one farewells with his co-workers, silently left the crime lab and departed for Costa Rica for a reunion with fiancée Sara Sidle, an allusion perhaps to his comments in a episode that when he left, people would not throw a party for him because he was not the sort of person whom people would get deeply involved with. He also says to Warrick in season two ("Ellie") that when he left there would not be a cake in the break room—he would just pick up and leave.


title: Gil Grissom

text: After reuniting with Sara Sidle, Grissom presumably remains in Costa Rica for a short time, before guest-lecturing at the Sorbonne, as noted in the tenth season. During the series' eleventh season, Grissom begins consulting for the Peruvian government on the etymology and physicality of the Inca . It is during this time that Sara and Grissom divorce, citing geographical differences. He later joins a group dedicated to protecting fish and wildlife in the Pacific, a role described as a "CSI at sea." After his activities lead him to the Port of San Diego, Grissom reunites with Willows and the CSI team in order to consult on a series of bombings in Las Vegas. During this case, he reconciles with Sidle, and the two sail off together in order to continue his work as a wildlife advocate.


title: Gil Grissom

text: Early episodes revealed Grissom to be a witty, enthusiastic, and quirky scientist who had some sense of humor. He flirted regularly and seemed to be constantly in a hyperactive state.


title: Gil Grissom

text: However, when he began to lose his hearing, Grissom retreated into himself and became easily irritated and unapproachable. After his surgery, he lightened up a bit but never returned to the whimsical science nerd he once was.


title: Gil Grissom

text: Grissom is often regarded as well-educated but unusual in his approach toward his work and social life. In the series, some of his comments and actions can be seen to dumbfound his coworkers and superiors. His relationship with his subordinates in the office is portrayed as being a father figure to the team, but he is very professional in his work.


title: Gil Grissom

text: Despite being calm, Grissom can get angry when interrupted during an interrogation as seen in the season one episode "Table Stakes", when he berates Nick Stokes for calling him out of an interrogation.


title: Gil Grissom

text: In addition to being a genius and somewhat of a polymath beyond his career training, he exhibits Asperger-like traits. In "Caged", it is hinted that (in fact) he has Asperger's syndrome. Another character on "CSI" who shares these kind of traits is his subordinate (and ex-wife) Sara Sidle. She once insinuated that Grissom was a misanthrope when he quoted her Thoreau's "Walden".


title: Gil Grissom

text: In the season two episode "Alter Boys", Grissom confides in a priest that he does not believe in the concept of organized religion and is a lapsed Catholic but does believe in the idea of God. In addition to belief in God, Grissom and Greg would later agree that scientific education should not necessarily preclude belief in occultism and other paranormal concepts.


title: Gil Grissom

text: Although he is very dedicated to his job and sometimes goes to extremes in his investigations, his unwillingness to dabble in office politics often alienates his superiors and sometimes his subordinates. He gets a lot of help in these areas from right-hand woman Catherine Willows, who is always trying to make him "look up from the microscope."


title: Gil Grissom

text: Grissom claims to have never hired a prostitute for sex, stating that sex is intended to create a human emotional connection. He has also expressed distaste for carrying a firearm when in the field, a tendency that has brought several scoldings from coworker Jim Brass. Despite this, he has proven to have exceptional accuracy at the firing range.


title: Gil Grissom

text: He once listed his hobbies to Lady Heather: "I have outlets. I read. I study bugs. I sometimes even ride roller coasters." Indeed, he has proven to be a very cultured man on many occasions, having a wide knowledge of history, literature, and art. He often offers quotes from a variety of literary sources, including Shakespeare and Keats. Later in this , he reveals himself to be a baseball fan. Sara notes that this is typical of Grissom, saying that he would like "all those stats." However, Grissom is not too familiar with popular culture. In "Two and a Half Deaths", Jim Brass was talking about a TV program that he thought had already "jumped the shark," but Grissom did not know the term. While trying to explain, Brass says, "Remember the Fonz?" which Grissom did not know either.


title: Gil Grissom

text: Being an entomologist, he has a wide and varied knowledge of insects, which he applies to his investigations. This has led to his nickname, "the Bug Man". At the beginning of the show, he was referred to as "Gruesome Grissom" for his sometimes morbid fascination with the more bizarre aspects of man and nature. Grissom keeps a variety of specimens in his office, including a radiated fetal pig, a tarantula, and a two-headed scorpion. He also has a bulletin board that looks like a fish on which unsolved cases go: "the ones that got away." Occasionally, he keeps evidence from closed cases (such as the models created by "The Miniature Killer"). In , CSI newcomer Michael Keppler takes a look around Grissom's office and observes that he must be quite a freak. In "The Grave Shift", even after his office has been cleared out (and later reclaimed by a somewhat-reluctant Nick Stokes after Catherine Willows passed on the offer), the fetal pig in a jar was placed back in there by Hodges, who stated simply that "[it] belongs here."


title: Gil Grissom

text: When asked why he is a CSI, he responds, "Because the dead can't speak for themselves." This is one of his favorite expressions.


title: Gil Grissom

text: Gil Grissom has a more than passing similarity to Sherlock Holmes. Like Holmes, Grissom is dispassionate with a fierce devotion to logic and little regard for societal norms of behavior; Grissom once smashed mustard jars in a grocery store to illustrate a theory ("I-15 Murders"), much as Holmes once practiced spearing a pig in a butchers to determine how strong a man would have to be to transfix a man with a harpoon.


title: Gil Grissom

text: Grissom possesses a Moriarty-like nemesis, Paul Millander, whom he pursues in several episodes ("Pilot", "Anonymous", and "Identity Crisis"). Coincidentally, "Paul Millander" has the same initials as "Professor Moriarty." There's also a woman, Lady Heather, in whom he takes an unusual interest. Their relationship is similar to that of Irene Adler and Holmes. Both Irene and Lady Heather enchant Holmes and Grissom with their beauty, their wit and their resolution. Lady Heather often wears Victorian-style dresses, referencing Holmes's era ("Slaves of Las Vegas", "Lady Heather's Box", "Pirates of the Third Reich", and "The Good, the Bad, and the Dominatrix").


title: Gil Grissom

text: In the sixth-season episode "Bang-Bang", Grissom tells Doc Robbins, concerning a woman shot in the mouth, "This was someone who was emotionally close to her." Doc Robbins asks him if he has ever even been close to getting married. Grissom tells him about "Nicole Daley", who, like him, was interested in bugs. He goes on a bit about her, then says, "Second grade."


title: Gil Grissom

text: Grissom may not ask to take on the role of mentor, but it seems to happen naturally, going all the way back to Sara Sidle when they first met in San Francisco, then Nick Stokes and Greg Sanders in Vegas. Although he can be annoyed with his protégés at times, he is visibly proud when they succeed, as Greg did by passing his field test and becoming a CSI. He is also protective of his staff and defends them as much as he can, as seen in episode 521 ("Rashomama") for example.


title: Gil Grissom

text: He also shares a good friendship with Dr. Al Robbins and the two were seen singing together in the autopsy room while processing the body of a murdered rock 'n' roll star (season 7, "Built to Kill, Part 2"). In the finale, it was revealed that Jim Brass's living will gave Grissom power of attorney, showing that Grissom was the one person Brass trusted with his life. He has also been shown to be something of an inadvertent mentor figure to David Hodges, who looks up to him and often seeks his advice or approval, despite not always receiving it. Upon learning of Grissom's plans to quit CSI, Hodges becomes visibly upset.


title: Gil Grissom

text: His relationship with Warrick Brown had aspects of a mentor/student bond, but out of all the CSIs (Catherine included), Grissom seemed to view Warrick as his successor, the one who would lead when he was gone. Grissom found Warrick after he was shot by McKeen and held Warrick as he died in his arms.


title: Gil Grissom

text: Some fans have always expected to see a relationship between Grissom and Catherine Willows, in whom he is shown confiding many times, once even likening her to being his "wife." The two were never more than very good friends, as the show's producers see them as more of brother and sister than lovers. Catherine has many times encouraged Grissom to be more open and less self-absorbed, and to pursue something with Sara Sidle.


title: Gil Grissom

text: Grissom has been allegedly involved with forensic anthropologist Teri Miller and with S&M parlor operator Lady Heather, whose "safeword" it has been suggested that he knows—however, as all he says is "Heather, stop!" and "I'm saying stop," he evidently does not use it, as "stop" is never a "safeword". Rather, this is a reference to the episode "Lady Heather's Box", in which she reminds Grissom that the submissive is in control; Grissom tells her when they begin kissing, "You can always say stop," and she replies, "So can you."


title: Gil Grissom

text: Since the , there were hints that both Sara Sidle and Grissom were interested in each other romantically. In fact, the show's creators made Sara Sidle while thinking of a future love interest for Grissom, but during the show's first three seasons, Grissom flirted with all the female characters, and when Sara asked him out to dinner, he rejected her, claiming that he did not know what to do about what is going on between them.


title: Gil Grissom

text: In season four, Grissom's true feelings are revealed in "Butterflied", an episode that centers entirely around him discovering his sentiments for Sara. It was then that he admitted not being able to risk his career to be with her. In season four, Sara apparently develops a drinking problem, which Grissom acknowledges on the season finale; after this, they would hardly see each other, and Grissom becomes interested in detective Sofia Curtis.


title: Gil Grissom

text: In mid-season five, Sara is suspended for insubordination and she reveals to Grissom her tormented childhood. He refuses to fire her and has her working in every case of the next two seasons with him.


title: Gil Grissom

text: It was not until the finale that it is revealed that Grissom and Sara have worked through whatever issues they had, and are, in fact, a couple, and have been for two years. This revelation caused mixed reviews among critics, some of them see this relationship as "CSI" "jumping the shark," an attempt to include more drama and romance to the show, so as to be able to compete with the medical drama "Grey's Anatomy", which airs at around the same time. By killing off the sexual tension between the two characters and making them an item, the production crew were seen to be adding more personal drama to the show, increasing the appeal to some of "Grey's Anatomy"'s younger audience. This has been denied by the writers, Carol Mendelsohn even said that she has never been able to see Grissom with someone else other than Sara and that this episode was seen by the writers as the right time to reveal the relationship, Jorja Fox and William Petersen have also admitted that the relationship is not new.


title: Gil Grissom

text: Throughout , the audience sees Grissom and Sara as a couple, but the relationship is kept secret from the others in the lab until Sara's abduction by The Miniature Killer in the season finale when Grissom unwittingly refers to his feelings for Sara. During season eight, they have become engaged. When Jorja Fox decided to leave the show, both she and the writers decided not to kill the character, so as to leave the doors open for a possible comeback. Consequently, Sara Sidle is submerged into depression after her kidnap in the season seven finale, and, even though she accepts Grissom's marriage proposal on the season's fourth episode, she shows signs of burnout during the subsequent episodes, breaking down on the season's seventh episode, leaving Las Vegas and the CSIs with only a goodbye letter for Grissom and a good luck note for Ronnie Lake. In the letter she claims that ever since her father's death she has been dealing with "ghosts" and that she now needs to go away and deal with them before self-destructing.


title: Gil Grissom

text: After Grissom leaves CSI, he goes to Costa Rica, in hopes of finding Sara. Once they see each other, they embrace in a passionate kiss, and Sara's return to CSI in the first episode of season ten reveals that she and Grissom are now married. In "", Sara reveals "he's not my husband anymore" as she and Grissom had split up. According to her, he was the one to propose an end to the relationship, saying that it was in her best interest. However, in the series finale, Gil and Sara reunite. They sail off together in the final scene of the series.


title: Gil Grissom

text: This fictional character has an extensive fan base. There are more than one thousand videos made using the character on sites such as YouTube and a thousand more depicting his relationship with Sara Sidle.


title: Gil Grissom

text: Of more than 25,000 fan fictions written about "CSI" on FanFiction.Net, more than half include Gil Grissom. There are also many other sites that update daily news about either Gil Grissom's status on "CSI" or William Petersen's activities in real life.


title: Gil Grissom

text: On September 27, 2007, after "CSI"'s season eight premiered, a miniature model of Gil Grissom's office (which he was seen building during ) was put up for auction on eBay. The auction ended on October 7 with the prop being sold for US$15,600, which CBS donated to the National Center on Addiction and Substance Abuse Association.


title: Gil Grissom

text: "" executive producer and showrunner Carol Mendelsohn considers Grissom the center of the show. Grissom has received positive responses from critics, ranking number 82 on Bravo's 100 Greatest TV Characters list, along with Catherine Willows. He was ranked at number 9 on Sleuth Channel's poll of "America's Top Sleuths". AOL TV named him one of TV's Smartest Detectives. Grissom's final episode as a regular drew over 23 million viewers.


title: Oshin

text: It was one of the country's most watched serials of all time and has aired in 68 other countries, with subtitles ranging from English to Arabic. In 1984, the earlier episodes of the drama (focused on young Oshin) were made into an animated movie by Sanrio. The movie reused Sugako Hashida's scripts, and Ayako Kobayashi, who played young Oshin, did Oshin's voiceover.


title: Oshin

text: "Oshin" is based on the fictional biography of a Japanese woman, modeled after Katsu Wada (和田加津), who co-founded the supermarket chain Yaohan with her husband Ryohei Wada. The structure of the story was developed through a collection of anonymous letters assembled by Sugako Hashida. "It is the untellable past of a woman of the Meiji period, composed right on her deathbed," Hashida said. "I felt that the telling of her hardships while serving as an apprentice and being sold at a brothel was an obligation our generation needed to honor. However, the themes were so harsh and dark that the show was rejected by every [Japanese] television network. Even NHK opposed it." Hashida said she was told "We can't confront Meiji issues." It was settled when then-station director gave his approval.


title: Oshin

text: The story starts in 1983. Instead of attending the opening festivities of the 17th store, Shin Tanokura (Oshin) decides to go on a train trip. Her family is in a frenzy, not knowing where she disappeared to. Oshin's grandson, Kei, remembers the story of the kokeshi doll she once told him. Based on a hunch thinking about the story, he goes on a trip of his own and finds Oshin in Yamagata. From there, the two of them begin a journey back in time, traveling through various parts of Japan including where she once lived years earlier, and starts remembering the difficult times that she faced in her life.


title: Oshin

text: In 1907, Yamagata, seven-year-old Oshin is sent off by her father to work as a babysitter to support her sharecropper family. Her boss was a timber trader, and despite the physical and verbal abuse from the chief servant at his household, Oshin insisted on enduring it for the sake of her family. A sympathetic local teacher persuades the trader to allow Oshin to attend elementary school and bring the baby along. However, Oshin's classmates bully her and threaten to harm the baby. Oshin reluctantly stops going to school. However, when she is unjustly accused by the family of stealing money, she runs away, and for days suffers through blizzards as she walks back home to be with her mother Fuji, nearly freezing to death.


title: Oshin

text: Oshin is rescued by a man named Shunsaku, an Imperial Japanese Army soldier-turned-deserter, and a self-described "hunter". She stays with him during the long winter until the snow melts. She furthers her reading and writing skills under Shunsaku. When the blizzard subsides, they are found by an army unit and Shunsaku is shot dead. Oshin is then escorted by the soldiers to a hut and interrogated about Shunsaku. A senior soldier then comes into the hut and tells Oshin that the unit will escort her home. However, Oshin declines the offer, mentioning that she knows the way, and walks to Sakata on her own.


title: Oshin

text: Upon her return, Oshin is once again sent out to work as a babysitter, this time to Kaga-ya in Sakata. Things do not start well because of Oshin's association with the deserter, Shunsaku. She also clashes with Kayo, the family's eldest daughter and designated heir, who is the same age as her. But the matriarch and owner of Kaga-ya, Mrs. Yashiro, views Oshin as a role model to make Kayo more sensible and less like a spoilt child. Kayo resents this but they eventually become good friends. Mrs. Yashiro sees the potential in Oshin and personally trains her in reading, writing and arithmetic using the abacus. Kayo's mother is unhappy with the attention Oshin receives, feeling that it is socially out of place for a servant. However, she accepts Oshin into the family when Oshin saves Kayo from a falling electricity pole.


title: Oshin

text: Oshin stays at Kaga-ya for eight years until she turns 16. During this time, she is loved by everyone, including her co-workers. In the interim, Oshin's beloved grandmother dies and the kind Mrs. Yashiro sends Oshin back home in time to spend the last moments with her dying grandmother. Her death steels Oshin's resolve to make something out of her life and to no longer be poor.


title: Oshin

text: One day, a mysterious man, Kota Takakura, visits Sakata. While Oshin is looking for Kayo, who was at the beach, Kota uses Oshin as a foil, as his girlfriend, to elude the police. Kayo and Oshin's lives are changed by this man, the son of a wealthy landowner and an idealist, who is a strong follower of socialism and wants to better the lives of the indebted sharecroppers through political agitation and land reforms. Kota reveals to Oshin his political mobilization efforts and wins her over with his idealism and passion. Unfortunately, both Kayo and Oshin fall in love with Kota; Kota does not reciprocate Kayo's love, feeling that it is simply an infatuation as he feels something special with Oshin.


title: Oshin

text: In the meantime, Mrs. Yashiro trains Oshin in the tea ceremony and other feminine arts to boost her chances of marrying well. She attempts to set Oshin up with the second son of a wealthy Sakata family. But the match falls through because of Oshin's secret love for Kota. Kayo, who has grown up to be passionate about painting and literature, has no interest to take over Kaga-ya, nor in the feminine arts to improve her marriage prospects. She believes in marrying the man she loves. A rebellious Kayo leaves home on the day she was supposed to meet her prospective husband, fleeing to Tokyo with a reluctant Kota. Heartbroken and feeling troubled by Kayo's decision to run away from home, and unable to reveal the truth to the Kaga family about Kota, a guilt-stricken Oshin decides to leave Kaga-ya and return home.


title: Oshin

text: Upon returning, Oshin is re-united with her older sister, Haru, who was sent home from the textile mill where she had contracted tuberculosis. Haru's last wish is to see her secret love, her former supervisor, Hirano, who is persuaded to visit her. While visiting, Hirano reveals the poor working conditions at the textile mill and his failure to improve the workers' welfare for fear of losing his job. In the meantime, Oshin discovers that her father wants her to work as a barmaid to supplement the family's income. Haru warns Oshin that the agent touting the job had previously conned her fellow textile workers into prostitution. Haru persuades Oshin to run off to Tokyo, giving her a name and address in Tokyo and some money. Haru dies at the age of 19 in 1916. Oshin's mother Fuji, who had also returned home to take care of Haru, supports Oshin in her decision to go to Tokyo. Following her sister's death, Oshin runs off to Tokyo to follow Haru's dream of becoming a hairdresser.


title: Oshin

text: Oshin trains under Isho in traditional Japanese hairstyling. Two years into the apprenticeship, Oshin receives a letter from her mother informing her of the sudden death of Sayo, the younger sister of Kayo, from pneumonia. Oshin had also been her babysitter at Kaga-ya in Sakata. Oshin takes leave to visit the grieving family in Sakata. She is told that Kayo had not returned home and was somewhere in Tokyo. Kayo's mother pleads with her to stay behind but Oshin is unable to do so. Oshin is still hurting emotionally from the time Kayo and Kyota left Sakata two years earlier.


title: Oshin

text: A year later, Oshin bumps into Kayo at a coffee house in the Ginza district while visiting prospective clients on a house call. Kayo had been working as a waitress at an upscale Ginza coffee house. Due to his agitation work, Kyota was not usually around. Upon learning about Sayo's death, Kayo decides to visit her family in Sakata, staying there for a month.


title: Oshin

text: In the meantime, Mrs. Yashiro arranges Kayo's marriage with the third son of an Osaka rice dealer, Masao, a graduate of the Tokyo Imperial University (present-day University of Tokyo), who is prepared to marry into the family to help the family business succeed. Kayo wants to leave for Tokyo to be present for Kyota's return. But Mrs. Yashiro collapses from a heart attack, so Kayo reluctantly stays behind. She telephones Oshin to inform her when Kyota returns to Tokyo. Oshin meets Kyota when visiting Kayo's rented room to clean it. He tells Oshin not to let Kayo know that he is back in Tokyo and tells Oshin that he does not love Kayo, and that he had only used her to fill the emotional void left behind when he was not able to be with Oshin. Oshin leaves for Sakata to attend Kayo's wedding. She does not update Kayo with news about Kyota for the sake of Kagaya's future. Through Kayo, Oshin meets Ryuzo Tanokura, a seemingly rich textile trader who frequents the Ginza coffee house. The third son of a prominent Saga family, Ryuzo decided to leave home for Tokyo to strike out on his own. Seven years Oshin's senior, Ryuzo falls in love with her, and the two get married despite initial opposition from both their parents.


title: Oshin

text: Ryuzo's business begins to go downhill due to the post-war depression and his lack of business acumen. Oshin's attempts to improve business practices are badly received by Ryuzo who believes that business is a man's world. To supplement the family income, Oshin decides to return to work for Isho with Ryuzo's reluctant approval as married women did not usually work. As she increasingly takes on the role of breadwinner, Ryuzo feels undermined as he believes that it is the man's job to look after the family. He becomes increasingly despondent and indolent, and turns to alcohol and women, while Oshin turns a blind eye because of her love for him.


title: Oshin

text: After a confrontation during which Ryuzo makes clear his bitterness, Oshin realises that her working to supporting the family had wounded his pride. She decides that it would be better for Ryuzo if she were to leave him. However, Oshin then discovers that she is pregnant. She decides to quit hairdressing to save her marriage. But with the loss of her income, the household comes to the brink of starvation before Ryuzo realises that he cannot let his pride get in the way of supporting his family. He borrows money to tide them over, and they start to think of a new business venture.


title: Oshin

text: Realising they need capital to start a new business, Oshin persuades Ryuzo to allow her to try selling their cloth at a night market. After a rocky start, she manages to sell all their stock within 10 days with help from gang ringleader Ken. They decide to use the proceeds to start a new business selling Western-style children's clothes designed by Oshin. Due to lacklustre business, Ryuzo arranges to sell their products at Onoya, a large local shop. The affordable clothes are sold out at Onoya on the first day, and Ryuzo begins to expand production despite Oshin's misgivings.


title: Oshin

text: With Oshin's baby arriving soon, Ryuzo arranges for Fuji to visit. Oshin gives birth to a healthy baby boy whom they name Yu ("courageous"). After Fuji leaves, Ryuzo's father also pays a visit to see the baby. The couple learns that Ryuzo's mother Kiyo still refuses to accept Oshin. Ryuzo decides to borrow large sums of money to buy a plot of land and build a large factory, convinced that a successful business will prove his worth even as a third son and persuade his mother to accept their marriage.


title: Oshin

text: One day, they receive an unexpected visit from Kayo who says she has come to see the baby. However she soon reveals that she wishes to run away from her unhappy marriage in Sakata and find Kyota, whom she has learned is at his parents' house in Tokyo. Kyota agrees to meet with Kayo who expresses her desire to be with him. However Kyota tells her that the only reason he met with her was to apologise for the way that he had left her. With his continued involvement in the workers' movement, he was not in a position to have a relationship. Kayo finally realises what a fool she has been all these years and that Oshin was the one Kyota had loved. Kayo resolves to return to Sakata and bear an heir to carry on the family business.


title: Oshin

text: After months of building work and preparation, it is finally the day of the grand opening of the new factory. However disaster strikes, and the Great Kantō earthquake and subsequent fire destroy their factory and house. Their faithful retainer Genji dies protecting Yu, who survives unscathed.


title: Oshin

text: With only shattered dreams and debts, Ryuzo decides that they have no choice but to return to his family in Saga. Oshin is fearful of the treatment she will receive at the hands of her mother-in-law and urges Ryuzo to try once again to build their lives in Tokyo. But after so much disappointment, Ryuzo no longer has the will to try again. Although Oshin wants to stay on in Tokyo with Yu, her mother (whom the Kagayas have sent to Tokyo to find Oshin) persuades her to stay together with Ryuzo for the sake of their son.


title: Oshin

text: Upon their arrival in Saga, they are greeted warmly by Ryuzo's father, who is overjoyed that they are unharmed. But Oshin receives a barrage of criticism from Kiyo, who blames her for all the disasters that have befallen Ryuzo, including Genji's death. Ryuzo's eldest brother makes it clear that Ryuzo will not receive another penny from the family since he took his share of the inheritance when he left home. Kiyo informs them that they will have to work the fields to earn their keep – the very life that Oshin thought she had escaped when she left home.


title: Oshin

text: Kiyo is controlling and domineering, criticising Oshin at every turn while chiding Ryuzo for not taking charge of his wife. As Ryuzo and Oshin have no money, they are unable to purchase even simple items like soap, needles and thread. Oshin is keen to offer her services as a hairdresser to the villagers, but Ryuzo and Kiyo refuse to allow this as it would bring disgrace to the family. Ryuzo asks Kiyo for money, but she scolds Oshin for complaining to Ryuzo, leading to marital discord between the couple.


title: Oshin

text: Oshin wants to leave and go to the nearby town or back to Tokyo, but Ryuzo will not hear of it as he is worried about how they will support themselves without any money. He decides to join a scheme to reclaim land from the sea, which he will own after 10 years. Oshin is concerned about such a high-risk endeavour but Ryuzo presses ahead nonetheless. While Oshin continues to be bullied by the household, Ryuzo becomes fed up with Oshin's complaining and begins to side with his mother. He even moves to a separate room, much to Kiyo's delight, who encourages him to divorce Oshin.


title: Oshin

text: One day Oshin receives a letter from Isho who has returned to Tokyo after the earthquake and will be opening another hairdressing shop in a few months. Oshin decides to join her in Tokyo when the time comes. As she plans her escape, Oshin discovers she is pregnant with their second child.


title: Oshin

text: On the day that she is due to catch a train to Tokyo, Ryuzo finds out and intercepts her. When he is unable to persuade her to stay, he struggles with her to take their son from her. Oshin falls and hits her head, paralysing her right side. She has no choice but to return to Ryuzo's home.


title: Oshin

text: The partial paralysis in Oshin's hand renders her unable to cook, sew or look after Yu, who is now cared for by Kiyo. As the visible injury was to her head, not her hand, the family including Ryuzo begins to think that Oshin is feigning the injury. Aware that she is a burden to the family, Oshin cannot bring herself to tell anyone that she is pregnant. However Ryuzo finds out that she is pregnant, which brings them closer together once more.


title: Oshin

text: Unfortunately, Kiyo learns that Oshin had planned to run away and wants to throw her out of the house. Ryuzo reveals that Oshin is pregnant and that she must therefore stay with the family. But Kiyo believes it will be inauspicious for Oshin and her own daughter Ritsuko, who is also pregnant, to give birth in the same house at the same time – it is said that one of the births will not go well. Oshin agrees to move into the shed, which Kiyo hopes will prevent the superstition from coming true.


title: Oshin

text: After a difficult labour, Ritsuko delivers a healthy baby. Oshin goes into labour at the same time, but the malnutrition and forced labour have taken their toll – Oshin's baby is too weak to survive. With this latest calamity, Oshin's mind becomes unhinged.


title: Oshin

text: As Ritsuko does not have enough milk for her baby, Kiyo asks Ryuzo to let Oshin breastfeed the baby. While he is initially taken aback by the idea, he agrees thinking that it might comfort and restore Oshin's mind. After feeding the baby, Oshin comes back to her senses and agrees to continue feeding the baby. Kiyo is immensely touched and grateful and promises to treat Oshin better.


title: Oshin

text: After a month, Ritsuko returns home with the baby. Unbeknownst to the family, Oshin had already decided to leave the household as she realised that she would have to work the fields for the rest of her life in Saga and would never amount to anything. Now that her duty is done, she informs the family that she will be leaving for Tokyo. Ryuzo agrees to let her leave as a sign of love and they part believing that they will be together again one day. Ryuzo's father and eldest brother give her some money to help her in Tokyo. However Kiyo is furious and refuses to let her take Yu with her.


title: Oshin

text: While preparing to leave the next morning, Kasumi, Ryuzo's sister-in-law tells her that she will bring Yu to her. As Kiyo refuses to hand over Yu, Oshin has no choice but to trust her sister-in-law. Kasumi turns out to be true to her word and stole Yu while Kiyo is out and Oshin leaves for Tokyo with Yu.