title: Cheat on Me If You Can

text: On August 22, KBS announced that in an emergency meeting they decided to stop production. The filming of the series would stop to prevent the cast and crew become infected with the pandemic of COVID-19, as new outbreaks of the disease were reported. On October 13, first look poster and first air date was officially announced. The drama's first poster apparently purported to show an important clue, as it shows a document inside a plastic bag taped shut at the scene of a crime. The document is stained with blood and reads, "If Han Woo-sung has an affair with another person after he has married Kang Yeo-joo, Kang Yeo-joo will have all the rights to Han Woo-sung's body."


title: Cheat on Me If You Can

text: Episode 8 did not air on Thursday, December 24, 2020 to allow the airing of the 2020 KBS Entertainment Awards.


title: Cheat on Me If You Can

text: Episode 9 did not air on Thursday, December 31, 2020 to allow the airing of the 2020 KBS Drama Awards. It aired on Wednesday, January 6, 2021.


title: Cheat on Me If You Can

text: According to Nielsen Korea the first episode of the series recorded 5.8% average audience viewership nationwide and 6.2% in metropolitan area. It ranked first among Wednesday and Thursday dramas.


title: Dress shirt

text: A dress shirt, button shirt, button-front, button-front shirt, or button-up shirt, is a garment with a collar and a full-length opening at the front, which is fastened using buttons or shirt studs. A button-down or button-down shirt is a dress shirt with a button-down collar – a collar having the ends fastened to the shirt with buttons.


title: Dress shirt

text: A dress shirt is normally made from woven cloth, and is often accompanied by a tie, jacket, suit, or formalwear, but a dress shirt may also be worn more casually.


title: Dress shirt

text: In British English, "dress shirt" ("formal shirt" or "tuxedo shirt" in American English) means specifically the more formal evening garment worn with black- or white-tie. Some of these formal shirts have stiff fronts and detachable collars attached with collar studs.


title: Dress shirt

text: Traditionally dress shirts were worn by men and boys, whereas women and girls often wore blouses, sometimes known as chemises. However, in the mid-1800s, they also became an item of women's clothing and are worn by both sexes today.


title: Dress shirt

text: A shirt has several components: A one-piece back, which is usually pleated, gathered, or eased into a section of fabric in the upper part of the back behind the neck and over the shoulders known as the yoke (either one-piece or seamed vertically in the middle); one-piece sleeves with plackets at the wrist, or else short-sleeved (cut off above the elbow), though this is not traditional; a band of fabric around each wrist known as a cuff; the collar, a strip around the neck, which is normally a turndown collar, with the strip folded down away from the neck, leaving two points at the front, the width of which is known as the spread; and finally two front panels which overlap slightly down the middle on the placket to fasten with buttons (or rarely shirt studs).


title: Dress shirt

text: There are various styles of collar, which is the primary indicator of the formality of a shirt. Those discussed here are all attached collars, not styles specific to detachable collars. The very top button is number 1.


title: Dress shirt

text: The main distinctions between cuffs are whether they require buttons or cufflinks to fasten, and whether they are folded back ("double") or single. The main resulting types are therefore:


title: Dress shirt

text: In addition, there are some variations, for example barrel cuffs may be mitred, with the corner cut off at 45°. Less common styles include the "Portofino", or "cocktail" cuff, which is a double cuff closed with buttons rather than cufflinks, first made by the Jermyn Street shirtmakers Turnbull & Asser, and later popularised by the fictional character James Bond in the films from 1962 onwards.


title: Dress shirt

text: A high quality traditional shirt has long tails, extending almost to the knees at the back, and so has seven or eight buttons. The vertical strip of fabric running down the front opening is called the placket, and gives a more symmetrical appearance to the joint between the left side, on top, and the right. This left over right order is also seen in waistcoat and coat fastenings, though women's clothing buttons the other way (right over left). The buttonholes, aligned vertically, are placed on the placket, though the top button and buttons at the bottom of stiff fronts are aligned horizontally. The buttonholes are one of the few places where the difference between hand and machine stitching can be observed while the shirt is being worn, and fashion designers sometimes use contrasting thread here or on the buttons themselves for extra impact.


title: Dress shirt

text: To give extra fullness to the back, there are often pleats where the back panel joins to the yoke. On some fittings these are not needed, and handmade shirts may feature the extra fabric being worked continuously into the seam. In America, a box pleat is common (two pleats together in the centre), while in Britain the pleats are placed wider out under the shoulders.


title: Dress shirt

text: The less casual shirts in Britain will have no pockets, but the standard shirt in America has a single one on the wearer's left side, which is a sewn-on patch with a plain upper hem, optionally with a single button for closure. This small pocket is large enough to hold a pack of cigarettes or a few pens (a pocket protector can be used). Less formal shirts may feature larger pockets, dual pockets, or pockets with flap closures; safari or other military styled shirts often feature two large pockets with buttoned flaps. Less formal shirts may have small pockets on the sleeves as well. Shoulder straps are virtually non-existent on formal shirts, with the exception of military clothing.


title: Dress shirt

text: Short-sleeved shirts have a plain (no-button) hem above the wearer's elbow. They are considered a casual summer or tropical option, though many people wear only the traditional long sleeves in all circumstances.


title: Dress shirt

text: In the UK, the term "dress shirt" is reserved for a particular type of formal shirt. There are formal day shirts for wearing with morning dress, and the white dress shirts used as eveningwear.


title: Dress shirt

text: A day dress shirt is fairly similar to a normal shirt, and is usually white, with a stiff detachable collar, though other designs, such as a vertical blue stripe, are also appropriate. Double cuffs are most common. This sort of shirt is also conventionally worn by some barristers and judges.


title: Dress shirt

text: An evening shirt, for wear with eveningwear, for example as part of black or white tie has some unique features. In the U.S., this shirt is often called a "tuxedo shirt" or "tux shirt". The shirt is always white.


title: Dress shirt

text: The shirt required for white tie is very specific. It should have a detachable wing collar and be fastened with shirt studs instead of buttons on the front. The studs are normally mother of pearl set in gold or silver, but black onyx inlay is also permissible. The cufflinks should match the studs. The shirt front has panels made of different material from the rest of the shirt which are the only parts seen under the waistcoat. The shape of the panels, one on each side, is either rectangular, or the older U-shape (designed to sit under the older 1920s U-shaped waistcoats, now largely replaced by the more modern V-shape). The material for the panels is either layers of thick plain cotton that is heavily starched (this type is often called a "boiled front shirt" as the shirt needs to be put in boiling water to remove the starch before cleaning), or marcella (piqué) cotton. Marcella is more common, but a little less formal, though still appropriate, since it was originally designed to be used on formal evening shirts, as the ribbing can pick up more starch and create an even stiffer front. Traditionally, collarless shirts with a detachable wing collar fastened on with collar studs have been used, but all-in-one designs are occasionally seen, though this is considered incorrect and to give a poor appearance by many. Cuffs are single, and heavily starched (if the front is marcella, the cuffs usually match).


title: Dress shirt

text: Shirts are made of woven cloth. The natural fibers used more commonly in the past were cotton (the most frequent), linen (the oldest), ramie, wool or silk. Nowadays, artificial fibers, such as polyester or polyester blends, are also used, due to their low cost, despite being considered by most shirtmakers the poorest material, owing to less softness and breathability. However, while high quality cotton shirts can survive with care a few decades, a polyester/cotton blend may be used in more demanding environments. Giza cotton is a type of high-quality cotton which is the preferred choice among high-end shirtmakers, because of its long staple length. Linen produces a cool fabric that wrinkles heavily, and is mostly used in light summer shirts. Cotton is therefore the standard material for all but the cheapest shirts. Silk is occasionally worn, though it is hot to wear and has a marked sheen.


title: Dress shirt

text: Yarns from these fibers are woven into a variety of different weaves, the most notable of which include broadcloth, with double the number of warp to weft threads, giving a smooth, formal shirting; twill, where the tucks of the weft do not line up, giving a diagonal pattern, a weave used for most country checked ("e.g." tattersall) shirtings; poplin, with a heavier warp than weft, giving more formal fabric; and Oxford weaves. Plain Oxford or pinpoint Oxford weaves are popular as casual fabrics, so are generally used in combination with a button-down collar, while royal Oxford is versatile enough to be used on both sporty and formal shirts. There are many other weaves or variations on these, including end-on-end patterns, where alternate white and coloured threads are used, giving a mottled appearance, or more exotic weaves, including voile and batiste, which are extremely light fabrics only used for summer shirts or on the unseen parts of formal shirts.


title: Dress shirt

text: The use of pattern and colour is also significant. Originally, in the Edwardian era, when the modern shirt emerged, all shirts were white. Gradually more colours were introduced, including blue, the most popular colour, particularly in lighter shades such as Wedgwood. A full range of colours is now commonly available, although white, light blue, cream, and to a lesser extent pale shades of pink and lavender, remain the mainstays of conventional business attire. Less traditional shirts are also made with darker colours. Bright colours and prints for very casual wear were popularised after the War by light holiday clothes such as the Hawaiian shirt.


title: Dress shirt

text: For more formal business shirts, a plain weave or subtle pattern like herringbone is the norm. In more casual settings, stripes and checkered patterns are common along with plain weaves. In more rural areas, plaid or checkered shirts may be more common, such as the tattersall shirts associated with British country clothing. The size of the pattern is meant to coordinate with tweeds of different patterns. Further, the use of colour may be somewhat seasonal, with shades like green being associated more with autumn than summer ones like yellow. Colours and patterns may also be chosen for more than simply aesthetic reasons, as trends such as power dressing (first noted in Molloy, "Dress for Success" [1975]) emphasise the social impact of clothing. For example, a business executive might stereotypically prefer pinstriped suits and red neckties to project a particular image.


title: Dress shirt

text: A resin used for making non-wrinkle shirts releases formaldehyde, which could cause contact dermatitis for some people - particularly those who have already developed an allergy; no disclosure requirements exist, and in 2008 the U.S. Government Accountability Office tested formaldehyde in clothing and found that generally the highest levels were in non-wrinkle shirts and pants.


title: Dress shirt

text: The hem is tucked into the trousers. For informal- or formalwear, a coat and tie (or bow tie) are compulsory. When a tie is worn, the top button of the shirt is fastened, so the tie can fit snugly around the wearer's neck with a neat appearance.


title: Dress shirt

text: When a tie is not worn, conventions on buttoning differ globally: in the United States and the United Kingdom, the top button is virtually never buttoned if a tie is not worn – but unbuttoning two or more buttons is seen as overly casual. In France, unbuttoning two buttons is more common, and politicians appear on TV in this style. Buttoning the top button in the absence of a tie, has been in recent years popular with younger people, while it has become an identity of Lesbianism, often with plaid or checked shirts and rolled up sleeves.


title: Dress shirt

text: In casual usage, these conventions are often not followed, with many choosing to wear shirts not tucked in, or leaving the top button undone with a tie. This is commonly done by children and young men, particularly as part of school uniform, where it is not allowed. Even more casually, some now choose not to iron their shirts, or use non-traditional 'non-iron' fabrics.


title: Dress shirt

text: Similarly, as part of more casual work attire, some American men wear shirts with the top two buttons unbuttoned (buttoned at the third button), though buttoning at the fourth button is widely seen as too casual. Accordingly, some shirts are manufactured with a difference at the second or third button, by way of subtle cue as to where to button. Most casually, the shirt can be worn entirely unbuttoned, over a T-shirt.


title: Dress shirt

text: In the US, ready-to-wear sizes of dress shirts traditionally consist of two numbers such as "15½ 34", meaning that the shirt has a neck in girth (measured from centre of top button to centre of corresponding buttonhole) and a sleeve long (measured from midpoint of the back and shoulders to the wrist). However, to reduce the number of sizes needed to be manufactured and stocked, an average sleeve length is sometimes given in the form "15½ 34/35" (indicating a neck in girth and a sleeve). Since the cuff frequently features two buttons, the cuff diameter can be reduced so that the cuff does not come down over the hand, allowing the shirt to fit the shorter length. Since the sleeve and neck size do not take into account waist size, some shirts are cut wide to accommodate large belly sizes. Shirts cut for flat stomachs are usually labeled, "fitted", "tailored fit" "athletic fit" or "trim fit". The terms for fuller cut shirts are more varied ("Traditional", "Regular" "etc.") and are sometimes explained on a shirt maker's website. Additionally, "Portly" or "Big" are often used for neck sizes of or more. Very casual button-front shirts are often sized as small, medium, large, and so on. The meaning of these "ad-hoc" sizes is similarly not standardized and varies between manufacturers.


title: Dress shirt

text: In the bespoke (custom-made) industry where each shirt is made from an individually drafted pattern, these sizing problems are avoided, though there are still different ways of making the shirt fit. While many choose to cut the sleeve long and have the cuff catch on the hand to regulate its length, some prefer the much harder option of using a high armhole and carefully tailored shape, so that the cuff can be loose and still sit in exactly the right place wherever the arm moves.


title: Dress shirt

text: Made-to-measure shirts may not fit quite as well as bespoke, but can provide a similar degree of customisation and fit at a lower cost.


title: Dress shirt

text: For sixty years, US designers and manufacturers of neckties and dress shirts were members of the Men's Dress Furnishings Association but the trade group shut down in 2008 due to declining membership caused by the declining numbers of men wearing neckties.


title: Dress shirt

text: Dress shirts were formerly worn by men most times for nearly all activities. Although they have largely been replaced in recent years by pullover tops such as T-shirts or hoodies as casual wear, they remain overwhelmingly dominant as formal, business, and business casual attire, and they are almost always expected (or even required where dress codes are enforced) to be worn for such occasions. This tends to apply even when neckties or suit jackets are not, or when even jeans may be worn in lieu of dress pants.


title: Dress shirt

text: Traditionally, only solid or striped shirts in white, shades of off-white (such as cream or ecru), and light blue were seen as appropriate for business attire in the United States. In the United Kingdom, lighter shades of pink and lavender are usually seen as equally appropriate. Checked shirts, particularly tattersall patterns, are associated with British country clothing and other more casual modes of dress. Darker colors such as black, navy, and red are not usually seen with business attire and are sometimes associated with mobsters in the United States.


title: Parse tree

text: A parse tree or parsing tree or derivation tree or concrete syntax tree is an ordered, rooted tree that represents the syntactic structure of a string according to some context-free grammar. The term "parse tree" itself is used primarily in computational linguistics; in theoretical syntax, the term "syntax tree" is more common.


title: Parse tree

text: Concrete syntax trees reflect the syntax of the input language, making them distinct from the abstract syntax trees used in computer programming. Unlike Reed-Kellogg sentence diagrams used for teaching grammar, parse trees do not use distinct symbol shapes for different types of constituents.


title: Parse tree

text: Parse trees are usually constructed based on either the constituency relation of constituency grammars (phrase structure grammars) or the dependency relation of dependency grammars. Parse trees may be generated for sentences in natural languages (see natural language processing), as well as during processing of computer languages, such as programming languages.


title: Parse tree

text: A related concept is that of phrase marker or P-marker, as used in transformational generative grammar. A phrase marker is a linguistic expression marked as to its phrase structure. This may be presented in the form of a tree, or as a bracketed expression. Phrase markers are generated by applying phrase structure rules, and themselves are subject to further transformational rules. A set of possible parse trees for a syntactically ambiguous sentence is called a "parse forest."


title: Parse tree

text: A parse tree is made up of nodes and branches. In the picture the parse tree is the entire structure, starting from S and ending in each of the leaf nodes (John, ball, the, hit). In a parse tree, each node is either a "root" node, a "branch" node, or a "leaf" node. In the above example, S is a root node, NP and VP are branch nodes, while John, ball, the, and hit are all leaf nodes.


title: Parse tree

text: Nodes can also be referred to as parent nodes and child nodes. A "parent" node is one which has at least one other node linked by a branch under it. In the example, S is a parent of both NP and VP. A "child" node is one which has at least one node directly above it to which it is linked by a branch of the tree. Again from our example, hit is a child node of V.


title: Parse tree

text: A nonterminal function is a function (node) which is either a root or a branch in that tree whereas a terminal function is a function (node) in a parse tree which is a leaf.


title: Parse tree

text: The constituency-based parse trees of constituency grammars (phrase structure grammars) distinguish between terminal and non-terminal nodes. The interior nodes are labeled by non-terminal categories of the grammar, while the leaf nodes are labeled by terminal categories. The image below represents a constituency-based parse tree; it shows the syntactic structure of the English sentence "John hit the ball":


title: Parse tree

text: The parse tree is the entire structure, starting from S and ending in each of the leaf nodes ("John", "hit", "the", "ball"). The following abbreviations are used in the tree:


title: Parse tree

text: Each node in the tree is either a "root" node, a "branch" node, or a "leaf" node. A root node is a node that doesn't have any branches on top of it. Within a sentence, there is only ever one root node. A branch node is a parent node that connects to two or more child nodes. A leaf node, however, is a terminal node that does not dominate other nodes in the tree. S is the root node, NP and VP are branch nodes, and "John" (N), "hit" (V), "the" (D), and "ball" (N) are all leaf nodes. The leaves are the lexical tokens of the sentence. A parent node is one that has at least one other node linked by a branch under it. In the example, S is a parent of both N and VP. A child node is one that has at least one node directly above it to which it is linked by a branch of a tree. From the example, "hit" is a child node of V. The terms "mother" and "daughter" are also sometimes used for this relationship.


title: Parse tree

text: The dependency-based parse trees of dependency grammars see all nodes as terminal, which means they do not acknowledge the distinction between terminal and non-terminal categories. They are simpler on average than constituency-based parse trees because they contain fewer nodes. The dependency-based parse tree for the example sentence above is as follows:


title: Parse tree

text: This parse tree lacks the phrasal categories (S, VP, and NP) seen in the constituency-based counterpart above. Like the constituency-based tree, constituent structure is acknowledged. Any complete sub-tree of the tree is a constituent. Thus this dependency-based parse tree acknowledges the subject noun "John" and the object noun phrase "the ball" as constituents just like the constituency-based parse tree does.


title: Parse tree

text: The constituency vs. dependency distinction is far-reaching. Whether the additional syntactic structure associated with constituency-based parse trees is necessary or beneficial is a matter of debate.


title: Parse tree

text: Phrase markers, or P-markers, were introduced in early transformational generative grammar, as developed by Noam Chomsky and others. A phrase marker representing the deep structure of a sentence is generated by applying phrase structure rules. Then, this application may undergo further transformations.


title: Parse tree

text: Phrase markers may be presented in the form of trees (as in the above section on constituency-based parse trees), but are often given instead in the form of "bracketed expressions", which occupy less space in the memory. For example, a bracketed expression corresponding to the constituency-based tree given above may be something like :


title: Parse tree

text: As with trees, the precise construction of such expressions and the amount of detail shown can depend on the theory being applied and on the points that the query author wishes to illustrate.


title: June Gable

text: June Gable (born June Golub) is an American character actress, perhaps best known for her role as Joey's agent Estelle Leonard in the NBC sitcom "Friends". She also played a Nurse in the delivery room in season 1 episode 23 “The One With The Birth.” She received a Tony Award nomination for her work on Broadway.


title: June Gable

text: Gable has appeared in four Broadway productions including the 1974 revival of "Candide" for which she was nominated for a Tony Award for Best Featured Actress in a Musical for her portrayal of the Old Lady. She was featured as Snooks Keene in the infamous Broadway disaster, "Moose Murders", which opened and closed on the same night in 1983. She also appeared in a replacement cast of the off-Broadway revue "Jacques Brel is Alive and Well and Living in Paris". In November 2012 she starred in the lead role of "Marie" in the world premiere of Bill C. Davis' "All Hallowed" at the Waco Civic Theatre in Waco, Texas under the direction of George Boyd.


title: June Gable

text: On television, Gable played Detective Battista on the third season of "Barney Miller". She was also in the cast of the short-lived 1977 revival of "Rowan & Martin's Laugh-In". In 1979 she appeared as "Rhoda Rooter" on the live-action Hanna-Barbera TV specials "Legends of the Superheroes". From 1978 to 1981 she was regular cast member on the syndicated variety series "Sha Na Na". In the 1980s she guest starred on popular series including "Miami Vice" and "Kate & Allie", and had small parts in the films "Brenda Starr" and "She-Devil" (both 1989).


title: June Gable

text: From 1994 to 2004, Gable played Estelle Leonard, the agent of Matt LeBlanc‘s character Joey Tribbiani, on the NBC sitcom "Friends". Her character died in 2004 during the show's tenth and final season. She played a nurse on the same show in season 1, episode 23. She also appeared in a recurring role in the HBO comedy series "Dream On" from 1990 to 1996 playing Libby Friedman.


title: Choke (firearms)

text: A choke is a tapered constriction of a firearm barrell at its muzzle end. Chokes are most commonly seen on shotguns, but are also used on some rifles, pistols, or even airguns. Notably, some .22 LR match rifles have a constricted bore diameter near the muzzle.


title: Choke (firearms)

text: Chokes are almost always used with modern hunting and target shotguns to improve performance. Its purpose is to shape the spread of the shot "cloud" or "string" to gain better range and accuracy, and to deliver the optimum pattern of pellet density, for the particular target, depending on its size, range, aspect and whether it is traveling towards, across or away from the shooter. Chokes are implemented as either screw-in chokes, selected for particular applications, or as fixed, permanent chokes, integral to the shotgun barrel.


title: Choke (firearms)

text: Chokes may be formed at the time of manufacture either as part of the barrel, by squeezing the end of the bore down over a mandrel, or by threading the barrel and screwing in an interchangeable choke tube. Chokes may also be formed even after a barrel is manufactured by increasing the diameter of the bore inside a barrel, creating what is called a "jug choke", or by installing screw-in chokes within a barrel. However implemented, a choke typically consists of a conical section that smoothly tapers from the bore diameter down to the choke diameter, followed by a cylindrical section of the choke diameter. Briley Manufacturing, one maker of interchangeable shotgun chokes, uses a conical portion about 3 times the bore diameter in length, so that the shot is gradually squeezed down with minimal deformation. The cylindrical section is shorter, usually


title: Choke (firearms)

text: A choke is designed to alter or shape the distribution of the shot as it leaves the firearm. For shooting most game birds and clay pigeons, a desirable pattern is one that is as large as possible while being dense enough to ensure multiple hits on the target, at a particular range. The choke should be tailored to the range and size of the targets. Shotguns intended for defensive use often have cylinder or improved cylinder chokes for the widest shot pattern at typically short defensive ranges; "cylinder barrels" have no constriction. A skeet shooter shooting at close crossing targets might use of constriction to produce a diameter pattern at a distance of . A trap shooter shooting at distant targets traveling away from the gun might use of constriction to produce a diameter pattern at . Special chokes for turkey hunting, which requires long range shots at the small head and neck of the bird, can go as high as . The use of too much choke and a small pattern increases the difficulty of hitting the target; the use of too little choke produces large patterns with insufficient pellet density to reliably break targets or kill game.


title: Choke (firearms)

text: As far back as 1787 a Frenchman by the name of M. Magne de Marolles gave an account of choke-boring, though he argued against it.


title: Choke (firearms)

text: The invention of choke boring is usually attributed to American gunsmiths. J.W. Long, in his book "American Wildfowling", credits Jeremiah Smith of Southfield, Rhode Island, as the gunsmith who first discovered the concept, as far back as 1827.


title: Choke (firearms)

text: The first known patents for choke boring were granted Sylvester H. Roper, an American inventor and gunsmith. This was followed by a patent claim in London by W.R. Pape, an English gun maker, whose patent application was six weeks too late to the 1866 Roper patent.


title: Choke (firearms)

text: While American gunsmiths were the pioneers of the choke boring system, they had not really progressed beyond the elementary stage and their choked shotguns would lead, throw irregular patterns, and not shoot straight.


title: Choke (firearms)

text: W. W. Greener's first intimation of the choke formation was derived from instructions given in a customer's letter, in early 1874. The customer's instructions described a choke but did not give any details on the size or shape nor how it was to be obtained. Hence, Greener had to conduct many experiments to determine the perfect shape and size of a choke for a given bore. After that, he developed tools to produce the choke bore profile correctly and smoothly. The system of choke boring that he pioneered was so successful that it was later adopted by other manufacturers and hence, some authorities give him the credit for inventing the concept, since his method became the first repeatable method of choke boring. William Wellington Greener is thus widely credited as being the inventor of the first practical choke, as documented in his classic 1888 publication, "The Gun and its Development".


title: Choke (firearms)

text: In December 1874, the first mention of Greener's choke bore appeared in an article by J.H. Walsh, the editor of "Field" magazine. The article mentioned the extraordinary shot pattern that the Greener shotgun could produce. The next issue came with an advertisement from Greener, stating that the firm would guarantee that their new guns would shoot a closer pattern than any other manufacturer. The advertisement claimed that Greener 12 bores were warranted to shoot an average pattern of 210, when the best 12 bore gun in the London Gun Trial of 1866 could only average 127. Naturally, the advertisement generated considerable controversy, especially from rival manufacturers of cylinder guns, who refused to believe the numbers quoted in the advertisement.


title: Choke (firearms)

text: To resolve the controversy, the editors of "Field" magazine decided to conduct a public trial in 1875. The London Trial of 1875 pitted choke bores and cylinder guns of various manufacturers in four categories—Class 1 (large bores, any boring), Class 2 (choke bores, 12 gauge), Class 3 (guns of English boring or cylinders) and Class 4 (small gauges, any boring). The choke bored guns performed better than the cylinder guns in all these tests, and W.W. Greener choke bore guns won the class 1, class 2 and class 4 categories. Greener Choke bores also won at the London Gun Trials of 1877 and 1879, and the Chicago Field Gun Trial of 1879. The results of these trials were responsible for making the W.W. Greener name famous, and for confirming the practical advantage of a repeatable method of controlling the performance of a choke on a shotgun.


title: Choke (firearms)

text: The choice of choke type has an impact on performance in shooting competitions. At the Shoot-Off at the 2018 Shotgun World Shoot, U.S. shooter Scott Greene and Russian Roman Anikin both fired their last shots almost simultaneously, but Greene had chosen a more constricted barrel choke. This gave a tighter shot pattern and a greater risk of missing, but ultimately lead to his target falling faster to win the Shoot-Off.


title: Choke (firearms)

text: The exit end of a choke is smaller by some dimension than the actual bore of the barrel. This difference in diameter is the amount of constriction. For example, for a 12 gauge, the bore diameter of the barrel is nominally , although different manufacturers do vary their as-manufactured bore from this diameter slightly. This is commonly called "overbore", when the as-built diameter exceeds the nominal actual diameter of . The advantages touted for "overbore" are a perceived reduction in recoil, and a lessened shot deformation for improving shot patterns.


title: Choke (firearms)

text: Generally the constriction ranges for chokes will be 0.00-1.15 mm (0.00-0.045 inch) while the constriction for relatively common turkey chokes may be as much as 2.50 mm (0.10 inch). Choke is measured experimentally by observing the percentage of pellets in a charge that impact inside a 75 cm circle at 35 m (25 m for "cylinder" and "Skeet"). Although different choke manufacturers have different identification of their chokes, the notches in the chart below are generally accepted.


title: Choke (firearms)

text: A common method of expressing the amount of constriction is by "points". A "point" is equivalent to of constriction of the inner diameter of a choke. Hence, 40 points of constriction would correspond to a constriction of 0.040 inch (≈ 1 mm) in the inner diameter of a choke, corresponding to "Extra Full".


title: Choke (firearms)

text: The marking is usually stamped on the underside of the barrel for older guns without choke tubes, or is spelled out in abbreviated text on the barrel near the gauge marking.


title: Choke (firearms)

text: In the case of choke tubes, the amount of choke for each barrel is usually stamped on the side of the choke tube, or there may be thin slots cut in the exposed rim of the tube at the barrel opening with the number of slots corresponding to the number of stars in this table. (The four wider slots present in the exposed rim of the tube are intended for use with a choke wrench, in the event that a choke tube ever becomes stuck in the barrel, and have no relationship to the amount of choke.)


title: Choke (firearms)

text: For the case of older, side-by-side, Spanish guns, the choke is often marked on the tang of the barrels, becoming exposed when the wooden forearm is removed, after the double barrels are pivoted off of the break-action, such as when performing a field-stripping and cleaning. The manufacturer's mark, along with the proof marks, and the weight of the barrels in grams, and the proof test pressures are also stamped alongside the choke marking on the tang of the barrels, near where the shells are inserted into the barrels.


title: Choke (firearms)

text: In practice, choke tubes tighter than "Full", such as "Turkey", are also commonly marked with but a single thin notch on the end of the tube. Hence, to distinguish between "Full" vs. even tighter chokes, such as "Turkey", it becomes necessary to measure the bore exit diameter of the choke tube to determine precisely which choke type is present among the "Full" and tighter (smaller diameter) chokes.


title: Choke (firearms)

text: Other specialized choke tubes exist as well. Some turkey hunting tubes have constrictions greater than "Turkey", or additional features like porting to reduce recoil, or "straight rifling" that is designed to stop any spin that the shot column might acquire when traveling down the barrel. These tubes are often extended tubes, meaning they project beyond the end of the bore, giving more room for things like a longer conical section. Shot spreaders or diffusion chokes work opposite of normal chokes—they are designed to spread the shot more than a cylinder bore, generating wider patterns for very short range use. A basic spreader choke is simply a "choke" with a larger diameter than the barrel; the spreader choke still makes the barrel more restrictive than just having a shorter barrel, but a shorter barrel may not be allowed due to legal restrictions. A number of recent spreader chokes, such as the Briley "Diffusion" line, actually use rifling in the choke to spin the shot slightly, creating a wider spread. The Briley Diffusion uses a 360 mm twist (1:14"), as does the FABARM Lion Paradox shotgun.


title: Choke (firearms)

text: Oval chokes, which are designed to provide a shot pattern wider than it is tall, are sometimes found on combat shotguns, primarily those of the Vietnam War era. They were available for aftermarket addition in the 1970s from companies like A & W Engineering. Military versions of the Ithaca 37 with "duckbill" choke were used in limited numbers during the Vietnam War by US Navy Seals. It arguably increased effectiveness in close range engagements against multiple targets. Two major disadvantages plagued the system. One was erratic patterning. The second was that the shot would spread too quickly providing a very limited effective zone.


title: Choke (firearms)

text: Offset chokes, where the pattern is intentionally slightly off of center, are used to change the point of impact. For instance, an offset choke can be used to make a double barrelled shotgun with poorly aligned barrels hit the same spot with both barrels.


title: Choke (firearms)

text: For shotguns with fixed chokes integral to the barrel, it is sometimes still possible to change the choke to a tighter choke. This is done by increasing the diameter of the bore inside the barrel for a short length of barrel, while the portion of the barrel and bore nearest the muzzle is left as it was. The effect is to form what is called a "jug choke" or a "reverse choke". This method is sometimes used by gunsmiths to implement a tighter choke on an existing gun without replaceable chokes, and can be done without requiring replacement of a barrel and without installing new screw-in replaceable chokes. Advantages claimed for a "jug choke" include improved patterns, reduction of recoil, and an increase of choke in a shotgun that does not have replaceable choke tubes. When a "jug choke" is implemented in an existing choked barrel, the bore inside the bored-out section of barrel effectively becomes "overbored", and this also typically lessens the amount of shot deformation, thereby increasing the shot pattern density.


title: Choke (firearms)

text: Older shotgun barrels and chokes were designed for use with lead shot only. Due to changing worldwide waterfowl hunting law restrictions, the use of lead shot has been banned in many parts of the world by international agreement. The reason is that waterfowl hunting with lead shot was identified as a major cause of lead poisoning in waterfowl, which often feed off the bottom of lakes and wetlands where lead shot collects. In the United States, UK, Canada, and many western European countries (France as of 2006), all shot used for waterfowl must now be non-toxic, and therefore may not contain any lead. One method commonly used to work around this legislative change, at least for hunters with newer shotguns with chokes designed for steel shot, is to use steel shot, but the use of steel shot may damage chokes on older firearms that were designed for use with lead shot only such as Damascus-barreled shotguns. Most non-toxic shot shells produce higher chamber pressures than lead shot and can severely damage these older shotguns and as a rule of thumb, use a more open choke than one would for lead shells. An example would be an improved cylinder choke will perform like a modified choke when shooting steel or tungsten shells. For such hunters, wishing to continue to use older shotguns with chokes not rated for use with steel shot, the use of bismuth shotshells in the place of lead shotshells is common. Other alternatives to lead shotshells than bismuth also exist that are legal for hunting waterfowl, and which are safe for use with older chokes. Within recent years, several companies have created "heavier than lead" non-toxic shot out of tungsten, bismuth, or other elements with a density similar to or greater than lead, and with a shot softness comparable to lead. These shells provide more consistent patterns and greater range than steel shot. They are also generally safe to use in older shotguns with barrels and chokes not rated for use with steel shot, such as for bismuth and tungsten-polymer (although not tungsten-iron) shot. The increase in performance of "heavier than lead" non-toxic shot comes at a higher cost. Boxes of such non-toxic shotshells can cost upwards of $40 (2013) a box for twenty five shells, compared with less than $8 per box (2013) for lead pellet shotshells.


title: Choke (firearms)

text: In practice, steel shot patterns as much as two chokes tighter for a given amount of constriction. In other words, a choke that patterns "Modified" with lead or bismuth shot would give a "Full" pattern with steel shot. To avoid excessive wear or grooving from occurring within chokes when shooting steel shot, many manufacturers recommend avoiding shooting steel shot in any chokes marked tighter than "Modified", unless the choke tube is specifically marked as being safe for use with steel shot.


title: Ann Radcliffe

text: Ann Radcliffe (née Ward; 9 July 1764 – 7 February 1823) was an English novelist and a pioneer of Gothic fiction. Her technique of explaining apparently supernatural elements in her novels has been credited with gaining respectability for Gothic fiction in the 1790s. Radcliffe was the most popular writer of her day and almost universally admired; contemporary critics called her the mighty enchantress and the Shakespeare of romance-writers, and her popularity continued through the 19th century. Interest has revived in the early 21st century, with the publication of three biographies.


title: Ann Radcliffe

text: Radcliffe was born Ann Ward in Holborn, London on 9 July 1764. She was the only child to William Ward (1737-1798) and Ann Oates (1726-1800), and her mother was 36 years old when she gave birth. Her father worked as a haberdasher in London before moving the family to Bath in 1772 to take over management of a porcelain shop for his business partners Thomas Bentley and Josiah Wedgwood. Both of her parents were relatively well connected. Her father had a famous uncle, William Cheselden, who was Surgeon to King George II, and her mother descended from the De Witt family of Holland and had a cousin, Sir Richard Jebb, who was a fashionable London physician.


title: Ann Radcliffe

text: Growing up, Radcliffe often visited her maternal uncle, Thomas Bentley, in Chelsea, London and later Turnham Green. Bentley was business partners with a fellow Unitarian, Josiah Wedgwood, maker of the Wedgwood China. Sukey, Wedgwood's daughter, also stayed in Chelsea and is Radcliffe's only known childhood companion. Sukey later married Dr. Robert Darwin and had a son, the naturalist Charles Darwin. Although mixing in some distinguished circles, Radcliffe seems to have made little impression in this society and was described by Wedgwood as "Bentley's shy niece".


title: Ann Radcliffe

text: In 1787, when Ann was 23 years old, she married William Radcliffe (1763-1830), who was an Oxford-educated journalist. William had initially been a student of law, but he didn’t complete his legal studies and instead turned his attention to literature and journalism. Ann and William were married in Bath but soon after moved to London where William got a job working for a paper. William wrote for (and would soon become the editor of) the "Gazetteer and New Daily Advertiser", which was a campaigning newspaper that "celebrated the French Revolution, freedom of the press, and Dissenter’s rights."


title: Ann Radcliffe

text: Ann and William never had children. By all accounts, theirs was a happy marriage. Radcliffe called him her "nearest relative and friend". According to Talfourd's memoir, Ann started writing while her husband remained out late most evenings for work. She published her first novel, "The Castles of Athlin and Dunbayne," in 1789 at the age of 25, and she would go on to publish her next four novels in short succession. The money she earned from her novels later allowed her husband to quit his job, and the two of them travelled together, along with their dog, Chance. In 1794, they went to the Netherlands and Germany. This was her only trip abroad, and it became the inspiration for a travelog that she published a year later. On this trip, Ann and William were actually meant to go on to Switzerland, but this plan was “frustrated by a disobliging official, who refused to believe that they were English, and would not honor their passports." In 1795, William returned as editor of the "Gazetteer", and a year later, he purchased the "English Chronicle" "or" "Universal Evening Post", which was a Whig newspaper. Ann published "The Italian" in 1797, and it would be the last novel published in her lifetime. She was paid £800 for it, which was three times her husband’s yearly income.


title: Ann Radcliffe

text: In her final years, Radcliffe retreated from public life and was rumoured to have gone insane as a result of her writing. These rumours arose because Radcliffe seemingly abandoned writing after publishing her fifth novel and vanished from the public eye. While these rumours were later proven false, they were so popular that Talfourd’s memoir actually included a statement from her physician that spoke about her mental condition in her later years. Radcliffe remained secluded for 26 years, with no real explanation available to her many fans. However, this supposed seclusion is contradicted in "The New Monthly Magazine", which states that the tenor of Mrs. Radcliffe's life was characterized by the rare union of the literary gentlewoman and the active housewife. Instead of being in confinement in Derbyshire, as had been asserted, she was seen, every Sunday, at St. James's Church; almost every fine day in Hyde Park; sometimes at the theatres, and very frequently at the Opera.


title: Ann Radcliffe

text: Radcliffe spent the rest of her adult life traveling and living a comfortable life with her husband and their dog, Chance. They traveled domestically almost once a year from 1797-1811, and in later years, when they had stopped doing distant excursions, Ann and William would hire a carriage during the summer months so that they could make trips to places near London. Radcliffe did continue to write. She wrote poetry and another novel, "Gaston de Blondeville", but this novel was not published until after her lifetime. She was said to have suffered from asthma for which she received regular treatment.


title: Ann Radcliffe

text: In 1823, Radcliffe went to Ramsgate, but it was here that she caught a chest infection which caused her death. She died 7 February 1823 at the age of 58 and was buried in a vault in the Chapel of Ease at St George's, Hanover Square, London. Although she had suffered from asthma for twelve years previously, her modern biographer, Rictor Norton, cites the description given by her physician, Dr. Scudamore, of how "a new inflammation seized the membranes of the brain," which led to "violent symptoms" and argues that they suggest a "bronchial infection, leading to pneumonia, high fever, delirium and death."


title: Ann Radcliffe

text: Shortly after her death, "Gaston de Blondeville" was published by Henry Colburn, featuring "A Memoir for the Authoress", the first known biographical piece on Radcliffe. It also contained some of her poetry and her essay "On the Supernatural in Poetry," which outlines her distinction between terror and horror.


title: Ann Radcliffe

text: Christina Rossetti attempted to write a biography of Radcliffe in 1883, but abandoned it for lack of information. For 50 years, biographers stayed away from her as a subject, agreeing with Rossetti's estimation. Rictor Norton, author of "Mistress of Udolpho: The Life of Ann Radcliffe" (1999), argues that those 50 years were "dominated by interpretation rather than scholarship" where information (specifically on her rumoured madness) was repeated rather than traced to a reliable source.


title: Ann Radcliffe

text: Radcliffe published five novels during her lifetime, which she always referred to as "romances". Her first novel, "The Castles of Athlin and Dubnayne", was published anonymously in 1789. Early reviewers were mostly unenthusiastic about it. The "Monthly Review" said that, while the novel was commendable for its morality, it appealed only to women and children: "To men who have passed, or even attained, the meridian of life, a series of events, which seem not to have their foundation in nature, will ever be insipid, if not disgustful”. It was also largely criticized for its anachronisms and inauthentic renderings of the Highlands.


title: Ann Radcliffe

text: One year later, Radcliffe published her second novel, "A Sicilian Romance", which also received little attention. In 1791, she published her third novel, "The Romance of the Forest." Like her first two novels, this book was initially published anonymously. On the original title page, it stated that the novel was “By the Authoress of A Sicilian Romance”. "The Romance of the Forest" was popular with readers, and in the second edition, Radcliffe began adding her own name to the title page.


title: Ann Radcliffe

text: In 1794, three years later, Radcliffe published "The Mysteries of Udolpho." At a time when the average amount earned by an author for a manuscript was £10, her publishers, G. G. and J. Robinson, bought the copyright for this novel for £500, and it was a runaway success. The money from this novel allowed her and her husband to travel to the Netherlands and Germany, which she described in her travelogue "A Journey Made in the Summer of 1794" (1795). She published "The Italian" in 1797, and it was the last novel published in her lifetime. Cadell and Davies paid £800 making Radcliffe the highest-paid professional writer of the 1790s. This novel was written in response to Matthew Gregory Lewis's "The Monk" because Radcliffe did not like the direction in which Gothic literature was heading. One critic, Nick Groom, writes that, in "The Italian", Radcliffe "takes the violence and eroticism that so titillated readers of "The Monk" and subsumes them beneath the veil and the cowl of oppressive Catholicism."


title: Ann Radcliffe

text: A final novel, "Gaston de Blondeville" was published posthumously in 1826. This novel was published with Talfourd's memoir and Radcliffe's unfinished essay "On the Supernatural in Poetry", which details the difference between the sensation of "terror" her works aimed to achieve and the "horror" Lewis sought to evoke. Radcliffe stated that terror aims to stimulate readers through imagination and perceived evils while horror closes them off through fear and physical dangers: "Terror and Horror are so far opposite, that the first expands the soul and awakens the faculties to a high degree of life; the other contracts, freezes and nearly annihilates them."


title: Ann Radcliffe

text: Radcliffe portrayed her female characters as equal to male characters, allowing them to dominate and overtake the typically powerful male villains and heroes, creating new roles for women in literature previously not available. Radcliffe was also known for including supernatural elements but eventually giving readers a rational explanation for the supernatural. Usually, Radcliffe would reveal the logical excuse for what first appeared to be supernatural towards the end of her novels, which led to heightened suspense. Some critics/readers found this disappointing and felt duped. Perhaps the most eloquent complaint against the trope was penned by Walter Scott in his "Lives of the Novelists" (1821–1824). Regarding Radcliffe’s penchant for explaining the supernatural, he writes: “A stealthy step behind the arras may, doubtless, in some situations, and when the nerves are tuned to a certain pitch, have no small influence upon the imagination; but if the conscious listener discovers it to be only the noise made by the cat, the solemnity of the feeling is gone, and the visionary is at once angry with his sense for having been cheated, and with his reason for having acquiesced in the deception." Some modern critics have been frustrated by her work, as she fails to include "real ghosts". This could be motivated by the idea that works in the Romantic period, from the late 18th century to the mid-19th century, had to undermine Enlightenment values such as rationalism and realism.


title: Ann Radcliffe

text: Radcliffe's work have been considered by some scholars to be part of a larger tradition of anti-Catholicism within Gothic literature; her works contain hostile portrayals of both Catholicism and Catholics. "The Italian" frequently presents Catholicism, the largest religion in Italy, in a negative light. In the novel, Radcliffe portrays Catholic elements such as the Inquisition in a negative light, pointing to its discriminatory practises against non-Catholics. Radcliffe also portrays the confessional as a "danger zone" controlled by the power of the priest and the church. "The Mysteries of Udolpho" also contained negative portrayals of Catholicism; both novels are set in Catholic-majority Italy, and Catholicism was presented as being part of "ancient Italianess". Italy, along with its Catholicism, had been featured in earlier Gothic literature; Horace Walpole's novel "The Castle of Otranto" claimed in-universe that it was "found in the library of an ancient catholic family in the north of England" and "printed at Naples, in the black letter, in the year 1529".


title: Ann Radcliffe

text: Some scholars have suggested that Radcliffe's anti-Catholicism was partly a response to the 1791 Roman Catholic Relief Act passed by the British parliament, which was a major component of Catholic emancipation in Great Britain. Other scholars have suggested that Radcliffe was ultimately ambivalent towards Catholicism, claiming that she was a Latitudinarian.


title: Ann Radcliffe

text: Radcliffe used the framing narrative of personifying nature in many of her novels. For example, she believed that the sublime motivated the protagonist to create an image that was more idealistic within the plot. Her elaborate descriptions of landscape were influenced by the painters Claude Lorrain, Nicolas Poussin, and Salvator Rosa. She often wrote about places she had never visited. Lorrain's influence can be seen through Radcliffe's picturesque, romantic descriptions, for example in the first volume of "The Mysteries of Udolpho". Rosa's influence can be seen through dark landscapes and elements of the Gothic.


title: Ann Radcliffe

text: Radcliffe influenced many later authors, both by inspiring more Gothic fiction and by inspiring parodies. In the eighteenth century, she inspired writers like Matthew Lewis (1775 – 1818) and the Marquis de Sade (1740–1814), who praised her work but produced more intensely violent fiction. Radcliffe is known for having spawned a large number of lesser imitators of the "Radcliffe School", such as Harriet Lee and Catherine Cuthbertson. Jane Austen (1775 – 1817) parodied "The Mysteries of Udolpho" in "Northanger Abbey" (1817)"," and she defined her fiction as a contrast to Radcliffe and writers like her. Scholars have also perceived other apparent allusions to Radcliffe's novels and life in Austen's work.


title: Ann Radcliffe

text: In the early nineteenth century, Radcliffe influenced Edgar Allan Poe (1809–1849), and Sir Walter Scott (1771–1832). For example, Scott interspersed his work with poems in a similar manner to Radcliffe, and one assessment of her reads, "Scott himself said that her prose was poetry and her poetry was prose. She was, indeed, a prose poet, in both the best and the worst senses of the phrase. The romantic landscape, the background, is the best thing in all her books; the characters are two dimensional, the plots far fetched and improbable, with 'elaboration of means and futility of result'." Later in the nineteenth century, Charlotte and Emily Brontë continued Radcliffe's Gothic tradition with their novels "Jane Eyre, Villette," and "Wuthering Heights."


title: Ann Radcliffe

text: Radcliffe was also admired by French authors like Honoré de Balzac (1799 – 1850), Victor Hugo (1802 – 1885), Alexandre Dumas (1802 – 1870), and Charles Baudelaire (1821 – 1867). Honoré de Balzac's novel of the supernatural "L'Héritière de Birague" (1822) follows the tradition of Radcliffe's style and parodies it.


title: Ann Radcliffe

text: As a child the young Fyodor Dostoyevsky was deeply impressed by Radcliffe. In "Winter Notes on Summer Impressions" (1863) he writes, "I used to spend the long winter hours before bed listening (for I could not yet read), agape with ecstasy and terror, as my parents read aloud to me from the novels of Ann Radcliffe. Then I would rave deliriously about them in my sleep." A number of scholars have noted elements of Gothic literature in Dostoyevsky's novels, and some have tried to show direct influence of Radcliffe's work.


title: Ann Radcliffe

text: In 1875, Paul Féval wrote a story starring Radcliffe as a vampire hunter, titled "La Ville Vampire: Adventure Incroyable de Madame Anne Radcliffe" ("City of Vampires: The Incredible Adventure of Mrs. Anne Radcliffe"), which blends fiction and history. At the last minute a mysterious man on a white horse saves the day, none other than Lord Wellington fresh from the Battle of Waterloo.


title: Ann Radcliffe

text: Helen McCrory plays Ann Radcliffe in the 2007 film "Becoming Jane", starring Anne Hathaway as Jane Austen. The film depicts Radcliffe as meeting the young Jane Austen and encouraging her to pursue a literary career. No evidence exists that such a meeting ever occurred.


title: Still 2gether

text: Still 2gether (; , Because We (Still) Belong Together) is a 2020 Thai television series starring Metawin Opas-iamkajorn (Win) and Vachirawit Chiva-aree (Bright), which serves as a sequel to "".


title: Still 2gether

text: Directed by Aof Noppharnach and produced by GMMTV, the five-episode special series was announced on 1 June 2020. It premiered on GMM 25 and LINE TV on 14 August 2020, airing on Fridays at 21:30 and 23:00 ICT, respectively. The series concluded on 11 September 2020.


title: Still 2gether

text: As Tine (Metawin Opas-iamkajorn) and Sarawat (Vachirawit Chiva-aree) enter the second year of their relationship full of love and warmth for each other, they also begin to take on bigger responsibilities in the university with the former as the new president of the cheerleading club while the latter as the new president of the music club. With both clubs moving into adjacent rooms, this causes them to compete with each other during practice sessions. The growing quarrel between these clubs, which has already involved their friends, will challenge Tine and Sarawat's relationship.


title: Still 2gether

text: Its original soundtrack "ยังคู่กัน" ("Yang Koo Gun") ranked No. 1 for three consecutive weeks (Week 31, Week 32 and Week 33) in Joox Thailand's Top 100. It also ranked No. 1 in Week 32 of Joox Thailand's Top 20 Social Chart.


title: Still 2gether

text: With the release of its first episode on 14 August 2020, the hashtag "ยังคั่นกูEp1" () was the number 1 trending topic on Twitter worldwide and in 12 places namely Thailand, Vietnam, Singapore, Malaysia, Indonesia, Puerto Rico, Brazil, Japan, India, United States, Mexico, and Peru. On the same day, some online users used the hashtag "ยังอิกนอEp1" () as they expressed their disappointment on lead actor Vachirawit Chiva-aree for not making a stand amidst the ongoing 2020 Thai protests despite replying to a follower's tweet on 31 March 2020 that he would speak not just on COVID-19 but other issues affecting the youth.


title: Still 2gether

text: Viewers in the Philippines, who were used to the series' simulcast of "2gether: The Series" on GMMTV's YouTube channel, were caught by surprise after the series was not made available to the country because of the deal inked by GMMTV and iWant. This later prompted the latter to release the Thai version on English subtitles at 23:30 , an hour after its Filipino-dubbed version is released. The same issue was also experienced by viewers in Japan.


title: Still 2gether

text: With the airing of its fifth and last episode on 11 September 2020, the hashtag "ยังคั่นกูตอนจบ" () became the top trending topic in Thailand and also a trending topic worldwide on Twitter with over 2 million tweets. The series also garnered over 40 million views on YouTube and 27 million views on LINE TV one month after the airing of its first episode.


title: The Bridge (Billy Joel album)

text: The Bridge is the tenth studio album by American singer-songwriter Billy Joel, released on July 9, 1986. It was Joel's last studio album produced by Phil Ramone as well as the last to feature Joel's long-time bassist Doug Stegmeyer and rhythm guitarist Russell Javors. The album yielded several successful singles, including "A Matter of Trust" (peaking at No. 10), "Modern Woman" (which also appeared on the "Ruthless People" soundtrack, peaking at No. 10), and "This Is the Time" (peaking at No. 18).


title: The Bridge (Billy Joel album)

text: Joel began work on the album—on which two of his major influences (Ray Charles and Steve Winwood) made guest appearances—in 1985. Charles sang a duet with Joel on the song "Baby Grand", and Winwood played Hammond organ on the song "Getting Closer"; Charles and Winwood later covered "Baby Grand" and "Getting Closer" respectively in concert. Other notable musicians who made guest appearances on the album include jazz musicians Ron Carter and Michael Brecker, who both played on the jazzy track "Big Man on Mulberry Street".


title: The Bridge (Billy Joel album)

text: The album also had some New wave influences. For instance, the first song, "Running on Ice", is heavily influenced by the music of the Police, and "Modern Woman" borrows heavily from the styles of Huey Lewis and the News. The final song recorded for the album, "Code of Silence", featured Cyndi Lauper who contributed backing vocals and received co-writing credit for the lyrics; she later covered that song herself in concert. Joel would return the favor by contributing backing vocals on Lauper's song "Maybe He'll Know" for her 1986 album "True Colors".


title: The Bridge (Billy Joel album)

text: "The Bridge" was Joel's last album to carry the "Family Productions" logo which had appeared on all of Joel's albums up to that time as part of a deal that Columbia Records made to get Joel out of his first recording contract with Artie Ripp's Family Productions. In the closing song of the album—"Getting Closer"—Joel makes several of what are clearly attacks and observations on the iron-clad contract with Ripp, with references to "my stolen youth", "all the conmen and their acrobats who stomped me in the ground", and "I must live up to contracts".


title: The Bridge (Billy Joel album)

text: Reviewing in "" (1990), Robert Christgau said: "Maybe [Joel's] youthful lyricism, meaning his knack for the tearjerker, is abandoning him. … Here he's best when he's brassy and literal: failed wise guy in 'Big Man on Mulberry Street,' Ray Charles's coequal on 'Baby Grand.' And even at his most rockin' he's seventy-five years retro whether he likes it or not—whenever he doesn't hit it just right you want to quarantine him for life in Atlantic City."


title: The Bridge (Billy Joel album)

text: In a retrospective interview, Joel said: "Not a happy album. I wasn’t simpatico with the musicians, some of whom I’d been working with a long time. I don’t think the material was good; I was pressured by management to put it out too fast. By the end, I sort of gave up caring, which for me was unusual. I remember reading bad reviews and agreeing with them."


title: The Bridge (Billy Joel album)

text: Billy later admitted to "Rolling Stone" that at the time of the album's writing and recording, he was in no mood to be in the studio, saying "Christie and I had just had Alexa, and I'd have much rather have been home with the baby..." This angst over leaving his wife and daughter at home was poured into the album track "Temptation".


title: Angie (song)

text: "Angie" is a song by the English rock band The Rolling Stones, featured on their 1973 album "Goats Head Soup". It also served as the lead single on the album, released on 20 August 1973.


title: Angie (song)

text: The song is credited, as most Rolling Stones songs are, to both Mick Jagger and Keith Richards, but it is acknowledged to be almost completely written by Richards, with Jagger contributing some of the lyrics. "Angie" was recorded in November and December 1972 and is an acoustic guitar-driven ballad characterizing the end of a romance. The song's distinctive piano accompaniment, written by Richards, was played on the album by Nicky Hopkins, a Rolling Stones recording-session regular. The strings on the piece (as well as on another song, "Winter") were arranged by Nicky Harrison. An unusual feature of the original recording is that singer Mick Jagger's vocal guide track (made before the final vocals were performed) is faintly audible throughout the song (an effect sometimes called a "ghost vocal"). "Cash Box" said that "Jagger is at his best-slurring words by the dozens to ring out the feeling of every important line."


title: Angie (song)

text: Released as a single in August 1973, "Angie" went straight to the top of the US "Billboard" Hot 100 and reached No. 5 on the UK singles chart. The song was also a No. 1 hit in both Canada and Australia for five weeks each and topped the charts in many countries throughout Europe and the rest of the world.


title: Angie (song)

text: Because of the song's length, some radio stations made edits to shorten it to 3 minutes, omitting the longer coda and the second instrumental section of the song.


title: Angie (song)

text: There was speculation that the song was about David Bowie's first wife Angela, Keith Richards' newborn daughter Dandelion Angela, the actress Angie Dickinson, and others. In 1993, in an interview for the liner notes to the Rolling Stones' compilation album "", Richards said that the title was inspired by his baby daughter. However, in his 2010 memoir "Life", Richards said that he had chosen the name at random when writing the song – before he knew that his baby would be named Angela or even knew that his baby would be a girl – and that the song "was not about any particular person." According to "NME", Jagger's contributions to the lyrics referred to his breakup with Marianne Faithfull.


title: Angie (song)

text: The Rolling Stones have frequently performed the song in concert; it was included in set lists on their 1973, 1975 and 1976 tours. It has been a touring staple since their 1982 European Tour. Concert renditions were released on the albums "Stripped", "Live Licks" and "".


title: Angie (song)

text: "Angie" was covered by Welsh rock band Stereophonics in 1999, as the B-side to the single "Hurry Up and Wait". The song was also included on the 2010 deluxe re-issue of their 1999 second studio album "Performance and Cocktails."


title: Terri J. Vaughn

text: Terri Juanita Vaughn (born October 16, 1969) is an American actress, director and producer. She is best known for her role as high school secretary Lovita Alizay Jenkins-Robinson in The WB sitcom "The Steve Harvey Show" (1997–2002), for which she received three NAACP Image Award for Outstanding Supporting Actress in a Comedy Series. She later co-starred in the UPN/The CW sitcom "All of Us" (2003–2005), and TBS sitcom "Meet the Browns" (2009–2011).


title: Terri J. Vaughn

text: In her early career, Vaughn appeared in the films "Friday" and "Don't Be a Menace to South Central While Drinking Your Juice in the Hood". She co-starred opposite Joan Severance in the comedy-action film "Black Scorpion" (1995) and its sequel, "" (1997). Later in 1997, Vaughn was cast as high school secretary Lovita Alizay Jenkins-Robinson for the second season of The WB sitcom "The Steve Harvey Show". She received three NAACP Image Award for Outstanding Supporting Actress in a Comedy Series for her performance on show. The series ended in 2002, and Vaughn later that year joined the cast of Showtime drama series "Soul Food" as Eva Holly. She received another NAACP Image Award for Outstanding Supporting Actress in a Drama Series nomination.


title: Terri J. Vaughn

text: From 2003 to 2005, Vaughn was regular cast member on the UPN/The CW sitcom "All of Us". In 2007, she had supporting role in the Tyler Perry's comedy-drama film "Daddy's Little Girls" opposite Gabrielle Union, and later had a regular role on another of Perry's productions, "Meet the Browns" (2009-2011). She owns a production company called Nina Holiday Entertainment, that produced films such as "Sugar Mommas", "A Cross to Bear" and "Girlfriends' Getaway". In 2016, Vaughn made her directing debut with the comedy film "#DigitalLivesMatter".


title: Terri J. Vaughn

text: In 2016, Vaughn was cast in the recurring role as housekeeper in Oprah Winfrey Network drama series, "Greenleaf" opposite Keith David and Lynn Whitfield. In 2020 Vaughn had a recurring role as Robin in Shona Ferguson's South African TV series, Kings Of Jo'Burg shown on Netflix


title: Terri J. Vaughn

text: Vaughn grew up in San Francisco, California. She was married to Derrick Carolina and had a son, Daylen Ali (2001). She is currently married to former football player Karon Riley, and the couple have both a son and a daughter.


Sri Varaha Lakshmi Narasimha temple, Simhachalam, also known as Sinhachala or Simanchala is a Hindu temple situated on the Simhachalam Hill Range,which is 300 metres above the sea level in Visakhapatnam, Andhra Pradesh. It is dedicated to Vishnu, who is worshipped there as Varaha Narasimha. As per the temple's legend, Vishnu manifested in this form (lion's head and human body) after saving his devotee Prahlada from a murder attempt by the latter's father Hiranyakashipu.Except on Akshaya Trutiya, the idol of Varaha Narasimha is covered with sandalwood paste throughout the year, which makes it resemble a linga. The present temple was built according to Kalinga architecture by Eastern Ganga king Langula Narasingha Deva I of Odisha in the 13th century and consecrated by his son Bhanudeva I in 1268 AD.


title: Varaha Lakshmi Narasimha temple, Simhachalam

text: Simhachalam is one of the 32 Narasimha temples in Andhra Pradesh which are important pilgrimage centres. It was regarded as an important centre of Vaishnavism in the medieval period along with Srikurmam and Jagannath Temple, Puri. The earliest inscription at the temple belongs to 11th-century CE recording the gift by a private individual in the era of Chola king Kulottunga II. The second earliest inscription is a donation of Eastern Ganga Dynasty king Anantavarman Chodaganga Deva of Odisha. After an offering of private individual, this is the first Royal donation to the old temple of Simhachalam in 11th-century CE. In the later half of the 13th century, the temple complex underwent radical physical changes during the reign of the Eastern Ganga king Narasingha Deva I who built a new temple. The present temple was built under the Ganga ruler's guidance. Narahari Tirtha, a Dvaita philosopher and Eastern Ganga minister converted the Simhachalam temple into an educational establishment of renown and a religious centre for Vaishnavism. It later received patronage from many royal families, of which Suryavamshi Gajapati Dynasty of Odisha and Tuluva dynasty of Vijayanagara Empire are notable. The temple underwent 40 years of religious inactivity from 1564 to 1604 CE. In 1949, the temple came under the purview of the state government and is currently administered by the Simhachalam Devasthanam Board.


text: Simhachalam temple resembles a fortress from outside with three outer courtyards and five gateways. The architecture is a mixture of the styles of the Kalinga Architecture, Chalukyas, Kakatiyas, and the Great Cholas. The temple faces west instead of east, signifying victory. There are two temple tanks: Swami Pushkarini near the temple and Gangadhara at the bottom of the hill. The temple houses a number of sub-shrines and a few mandapams. The religious practices and customs of the temple are formulated by the Vaishnavite philosopher Ramanuja. They are modelled based on the "Satvata Samhita", one of the 108 texts of the "Pancharatra Agama".


text: Simhachalam is the second-largest temple, after Tirumala in Andhra Pradesh, in terms of income earned. Devotees believe that the deity is capable of giving progeny to women and fulfilling the wishes of devotees. Kalyanotsava and Chandanotsava are the two major festivals celebrated in the temple, followed by Narasimha Jayanti, Navaratrotsava and Kamadahana. The festivals celebrated in Simhachalam have an influence of the Dravida Sampradaya. Apart from those by well-known poets, the temple is found in many literary references and lyrical works (dedicated by anonymous writers), which are preserved in the Government Oriental Manuscripts Library, Chennai.


text: The "Sthala Purana" (local legend) of Simhachalam consists of 32 chapters; the number denotes the manifestations of Narasimha. According to Dr. V. C. Krishnamacharyulu, the legends of Simhachalam and other Hindu temples in Andhra Pradesh were written in the 14th century after the attempted establishment of Islam in the region. He added that the writers wrote the legends inspired from the stories of Narasimha available in the Hindu "puranas". Hence, "Vishnu Purana" and "Bhagavata Purana" form the major sources. However, the legend of Simhachalam provides new information about the previous life of the temple's founder Prahlada. The first four chapters of the legend cover the importance of Simhachalam, its deity and the principal water body Gangadhara.


text: Once, the Four Kumaras visited lord Vishnu abode Vaikuntha as children. Jaya-Vijaya, the demigod gatekeepers of Vaikuntha, failed to recognise them and denied their entry. In resentment, they cursed the duo stating that they would have to give up divinity, born and live the lives of mortal beings on earth. Vishnu failed to revoke the curse of the Kumaras and felt sorry. He later offered two solutions: either being Vishnu's devotees in seven human lives or his enemies in three demonic lives. Jaya-Vijaya could not bear separation with Vishnu for a long time and chose the second possibility.


text: In their first demonic lives, Jaya-Vijaya were born as Hiranyakashipu and Hiranyaksha to sage Kashyapa and Diti in an inauspicious time during a sunset. To tease lord Brahma and other gods, Hiranyaksha ensured that earth loses its vitality and sinks into the "rasatala", the lowest level in the cosmic universe. Vishnu assumed the form of a boar referred to as Varaha and restored earth to its normal position. Varaha later killed Hiranyaksha in a war that lasted for thousand years. Hiranyakashipu vowed to seek revenge and prayed to Brahma. He gained a boon which made him invulnerable to death either by day or night, either in the morning or the night, and either by a human or a beast.


text: When the gods headed by Brahma visited Vaikuntham to tell an account of the happenings to Vishnu, a guardian named Sumukha obstructed them. They manage to meet Vishnu and also convey the misbehaviour of Sumukha. Vishnu assured that Hiranyakashipu shall be killed and Sumukha would be the serving cause. Sumukha pleaded for a pardon but Vishnu denied, saying that an offence against his devotees is inexcusable. As per Vishnu's orders, Sumukha was born as Hiranyakashipu's son Prahlada.


text: Prahlada displayed staunch devotion towards Vishnu in his childhood. As a result, he had to face many death trails. In one such instance, Hiranyakashipu's soldiers threw him from the top of a hill and placed the mountain on him. Vishnu jumped over the hill and lifted Prahlada from the sea. Prahlada asked Vishnu to assume a deity form where the avatars of Varaha, who killed Hiranyaksha and Narasimha, the one who would kill Hiranyakashipu soon, can be seen together. Vishnu assumed the form of Varaha Narasimha, for whom Prahlada built a temple after Hiranyakashipu's death. Worship was conducted and the place was named Simhachalam (lion's hill). This is covered from 5th to 29th chapters of the legend.


text: At the end of the life cycle, the temple Prahlada built was neglected and subsequently decayed. The moolavar of Varaha Narasimha was covered with crests of earth. In another life cycle, king Pururava of lunar dynasty acquired Pushpaka Vimana (divine air car) from Brahma as a boon. He saw Urvasi, an apsara at the Kailasa mountain and both fell in love. They visited Simhachalam and settled here for a while. Urvasi recollected a dream and located the idol. Pururava performed penance at Gangadhara for the same. They unearthed the idol and consecrated it after renovation.


text: Despite his best efforts, Pururava could not find the idol's feet. A divine voice consoled him, saying that he need not worry about that, adding that the deity can provide salvation in its current form. Urvasi was instructed in the dream that the idol of Varaha Narasimha should be covered with sandalwood paste for the whole year except on the third day of the Vaisakha month. This custom is practiced strictly even today. The reconstruction of the temple by Pururava is covered in the last four chapters of the legend.


text: In the 11th century AD, after winning a debate at the Puri Jagannath temple, Vaishnavite saint and philosopher Ramanuja visited Srikurmam and Simhachalam temples. Simhachalam's deity was believed to be Shiva due to some reasons. The notable ones were the unusual position of the deity's idol, the gate at the lower terrain named Bhairava Dwaram, and the second temple tank being referred to with the name Gangadhara. The annual celebration of Kamadahana, a tradition usually observed in Shiva's temples, was practiced here which added strength to the beliefs.


text: Ramanuja argued that the idol of Varaha Narasimha is in a posture in accordance with the "Pancharatra Agama" rules. He added that Kamadahana is celebrated here for the temple's purification as per the "Sishtachara" traditions. Ramanuja pointed out that Shiva's manifestation Bhairava is neither the guardian of the Bhairava Dwaram nor worshipped as one. Ramanuja was able to defeat the scholars at Simhachalam and converted it into a Vaishnavite temple.


text: Varaha Narasimha's idol, when covered with sandalwood paste, resembles a Shiva Lingam. Ramanuja took personal possession of the temple and ordered the priests to remove the paste. The conversion work began and before completion, the idol started bleeding. Feeling the deity's anger for violating the rule, sandalwood paste was applied again which stopped the blood stream. They presumed that the deity wished to look like a Lingam and continued the tradition except for one day. Few Vaishnavites oppose this legend, calling it a deliberate attempt to "debase the prestige of Vaishnava shrines in general" and of Ramanuja in particular.


text: Sri Kantha Krishnamacharyulu was a poet and musician who composed sankeertanas in praise of Varaha Narasimha. As Narasimha danced listening to those songs, Krishnamacharyulu began showing offensive attitude towards others with arrogance. When Ramanuja visited Simhachalam later, Krishnamacharyulu did not treat him properly. Ramanuja wanted to know whether Vishnu would grant him salvation and requested Krishnamacharyulu to ask Narasimha about the same. He obeyed and asked Narasimha, to which the deity replied that Ramanuja is capable of giving salvation to others and hence can gain the same later.


text: Krishnamacharyulu requested Narasimha to grant him salvation. To teach him a lesson, Narasimha refused, saying that Ramanuja is the only one capable one to do so. Krishnamacharyulu was offended and cursed that the temple would be attacked in the upcoming days. It is believed that the attack on the temple in the 18th century by Muslim invaders was a result of the curse. Though this legend is considered imaginary, it is respected widely for emphasising the importance of teachers and spiritual masters over the divine.


text: Simhachalam temple has a past of nearly a thousand years. Epigraphists discovered nearly 500 inscriptions in the temple complex. Almost all of them were "dana sasanas" (donation records) which referred to the contributions made by the kings, their officers, and the citizens. Majority of the inscriptions are bilingual, written in Sanskrit and Telugu languages. While some are exclusively in Sanskrit, there are 46 Odia and three Tamil language inscriptions. As per the common acceptance of historians, Simhachalam temple has been recognised in the 11th century CE due to an inscription by the Chola king Kulottunga I. The earliest inscription discovered in the temple, it belonged to the 11th century and was dated to 1087 CE. It recorded the gift of a garden by a private individual. The temple functioned well during this period and received liberal patronage from the Later Cholas.


text: After the Later Cholas, the Eastern Ganga dynasty extended their patronage for the promotion and preservation of the temple complex. Their inscriptions ranges from 1150 AD to 1430 CE. In the later half of the 13th century, the temple complex underwent radical physical changes during the reign of Narasimhadeva I. Many additional architectural adjuncts were added to the temple which had a simple and modest look. An inscription dated 1293 CE refers to the addition of sub shrines by the Gangas in the temple, which were dedicated to manifestations of Vishnu: Vaikunthanatha, Yagnavaraha, and Madhavadevara. The renovators used the original slabs as much as possible and discarded a few of them. The removed ones were later used in the kitchen and other small shrines. The feudatory chiefs of the Ganga dynasty too contributed towards the temple's architecture and made donations in various forms.


text: Four inscriptions of the temple recorded the donation of land, jewels, and villages by the kings of the Reddy dynasty, who did some substantial service to the temple. After the fall of the Eastern Gangas, the Gajapathis came into power. Nine inscriptions written in Odia language recorded the contributions by Gajapatis Kapilendradeva, Purushottama Deva and Prataprudra Deva. The temple received support from the Tuluva dynasty of the Vijayanagara Empire. Their inscriptions range from 1516 to 1519 CE. During his military campaigns at the Kalinga region, Krishnadevaraya erected a Jayastambha (pillar of victory) at Simhachalam. He gifted ornaments to the deity for the merit of his parents. His wives Tirumala Devi and Chinnamma Devi also gifted ornaments. The Tuluva kings supported the perpetuation of the property of Simhachalam up to 16th century CE.


text: After the fall of the Vijayanagara Empire, the Muslim states of Deccan asserted independence. The Qutb Shahi dynasty began its rule with Golkonda as their capital. A solitary inscription dated 1604 CE records gifting the lands and resources of Narava village as a sarvamanya by Sarvappa Asraraya with a view to restore the regular religious practices and offerings. Apart from mentioning the military achievements of Asraraya, the inscription confirmed 40 years of religious inactivity from 1564 to 1604 CE. In these 40 years, two inscriptions were found dated 1579 and 1597 CE; they registered the gifts donated to the temple. Apart from the above, 300 inscriptions in between the 11th and 18th centuries make a note of the contributions made by private individuals. The latest inscription of the temple is dated 1798 CE, which recorded a gift made by Chengalvaraya of the Gode family.


text: In 1949, the temple came under the purview of the endowment ministry of the State Government. The members of the Pusapati Gajapathi family of the princely state of Vizianagaram are the current hereditary trustees of the temple. The members of the family are serving the temple for the last three centuries.


text: The temple is situated on Simhachalam Hill Range above the sea level at a distance of ten miles to the north of Visakhapatnam. The hill range is a part of the Eastern Ghats and is named Kailasa. It is situated on the top of the northern side of the hill in an amphitheatre like structure. The height of the temple is nearly above the sea level. A natural valley is seen running along the north western slope of the hill, which covers almost half of its height. The hill range, cut into terraces, was used later to cultivate large plantations of pineapple, jack fruit, and Banana. A small village grew around the temple in due course of time. Steps were built alongside the stream of water to serve as a way of approach to both the village and the temple.


text: Due to the soil nature, rainfall and the climatic conditions influenced by the sea level, the growth of flora is abundant on the hill range. The hills also contain medical herbs used to cure the diseases of both humans and cattle. There are various ways to reach the temple. The most popular one is the flight of one thousand steps from the foot of hill whose entrance is referred to as the Bhairava Dwaram. On one side, a pathway runs from Madhava Dwaram to the top. On the other side, at the foot of the hill, roads were laid starting from the Bhairava Dwaram to the top. Simhachalam has two temple tanks: the Swami Pushkarini at the top and Gangadhara at the bottom, which is referred to as the Varaha Pushkarini. They are similar to the ones found in the Tirumala Venkateswara Temple. In addition, there are three natural springs named Akashadhara, Chakradhara, and Madhavadhara. At the foot of the hill, two gardens are available where festivals are celebrated.


text: Simhachalam temple resembles a fortress from outside with three prakarams (outer courtyards) and five gateways. Majority of the temple's present form is the one rebuilt by Narasimhadeva I. Its architecture is a mixture of the styles of the Kaligan (Odisha), Chalukyas, Kakatiyas, and the Cholas. It faces west, an unusual case in the usual tradition of temple architecture. It is believed that the temple initially faced east, but was changed to west due to inexplicable reasons. As per the Hindu texts "Purushottama Samhita" and the "Vishnu Samhita", a temple facing west signifies victory unlike the east ones which denotes prosperity. It is believed that the Gangadhara's flow from the east to the west might be a reason why the temple faces west. A prakaram covers the entire temple with two gateways on the northern and western sides. The temple has a five-tier rajagopuram (main tower) on the western gateway. Devotees enter the temple through a side door with a stairway, which leads into the Kalyana mandapa (wedding hall), which has 96 pillars. It has coloumns and walls on which the images of Vishnu, his consort Lakshmi and the Alvars are carved. Near the entrance, the foot prints of Hindu saint Chaitanya Mahaprabhu installed by Bhaktisiddhanta Sarasvati in the year 1930 can be seen. At the end, a gateway leads to the main hall. Before the sanctum sanctorum, an altar with the images of Radha and Krishna can be seen.


text: The sanctum sanctorum of the temple is cubical-shaped whose walls feature sculptures carved in Kalinga style. The three-tier vimana, called "pidha deula" in Odia silpasastra, is similar to that of the Konark temple, is shaped like a stepped pyramid with proper carving of sculptures. The corners of the base of the vimana bear lion statuettes symbolising Narasimha. On the eastern face of the vimana, images of Indra and Gajalakshmi are found. A gold plated dome with a Vaishnavite symbol caps the vimana. On the southern wall of the sanctorum, a sculpture of Narasimha killing Hiranyakashipu in Prahlada's presence is present. Narasimha is seen in a standing posture, a unique feature of the temple's architecture. The fore arms lay on Hiranyakashipu whose is kept on the left thigh, and the rear arms hold a weapon and a conch. On the northern wall, a sculpture of Varaha is seen, which is similar to the ones found in the Belur Chennakeshava and Hoysaleswara temples. Krishna's images are found above these two sculptures. The southern wall depicts a scene of Kalinga Marthana and the northern wall has an image of Krishna lifting the Govardhan Hill.


text: In the north western corner of the temple, there are two halls named Vaisakha and Jyestha mandapas where special occasions are conducted. To the right of the northern entrance, there is a 16-pillared Natya mandapa (dance hall) where the pillars feature simhalalathas (lion heads) at their base. The temple has two jagattis (railed parapets). The outer jagatti around the artha mandapa carries a row of sculpted elephants denoting strength. The inner one, around the sanctum sanctorum contains a row of swans. Above this, a scrollwork with sculpted figures and a row of simhalalatas are found. On the supporting pillars, simhalalatas are seen on elephant sculptures, with convolution carrying figures in between. The eaves of the sidewalls feature stone-made filigree work. A study of the sculptures and pillars in the Kalyana mandapa revealed that basalt and schist were used in the construction. The thirty two manifestations of Narasimha, including the temple's deity, are carved on the pillars of the Kalyana mandapa. In the Mukha mandapa (main hall), there is a pillar named Kappam Stambham which is believed to have curative powers. It is consecrated using the Santana Venugopalaswamy Yantra and is known to grant unfulfilled wishes.


text: The moolavirat of Varaha Narasimha is kept in a separate hall named Prahlada mandapa. In its original form, the idol of Varaha Narasimha is two and a half feet tall. The deity stands in a tribhanga posture with a boar's head, a human torso and a lion's tail. On either side of the deity, the idols of Sridevi and Bhudevi holding lotus flowers are seen. The sculpture of Varaha Narasimha has no ornaments and drapery carved on the body. Its limbs and face are disfigured due to vandalism. The moolavar is covered with sandalwood paste imported from Srivilliputhur, Tamil Nadu. After application of the sandalwood paste, the moolavar resembles a four feet tall Shiva Lingam. There is enough space for the devotees to offer pradakshinas (circumambulations) to the deity inside the Prahlada mandapa. There are only four main ornaments used in the temple: a Thirunamam made of diamonds and rubies, a chain of emeralds, a 100-tola gold bracelet, and a golden crown.


text: A number of sub shrines are housed inside the temple complex. Two of them are dedicated to Andal, one of the 12 Alvars and Lakshmi, the consort of the principal deity. The latter is housed in a small room located near the north western wall; it served as a cell of the temple's treasury in the past. Lakshmi is referred to as Simhavalli Thayar, and her idol is in a lotus position with four hands. The fore arms display abhayamudra and varadamudra, and the rear arms hold a pair of lotus flowers. The remaining eleven Alvars are accommodated in separate rooms. Sub-temples are dedicated to Ramanuja, Manavala Mamunigal and Vishvaksena inside the main complex.


text: Shiva's manifestation Tripurantaka is the kshetrapala (guardian deity) of Simhachalam. The guardian deity is identified with Bhairava, a fierce manifestation of Bhairava. Tripurantaka and his consort have a temple dedicated to them which is located on the way to Gangadhara. It is one of the oldest South Indian temples dedicated to this deity. Bhairava was believed to be more fierce than Narasimha and hence, the devotees used to visit this temple first in the past to pacify him. The idol does not have any clothing and ornamentation in accordance to the legend, which terms Bhairava the god of seasons. Due to its obscure location and insufficient funds, the temple is currently in a dilapidated state. The other prominent sub-temples are the ones dedicated to Rama, Anjaneya, and Kasi Vishweswara, a form of Shiva. These temples are located near Gangadhara.


text: The staff of the temple is divided into three groups: the ones involved in religious duties, those who help in preparations for worship, and the administration and supervision related personnel. The Parikshagar and the Sthanapati (or Sthanacharya) were the biggest dignitaries of the temple. These two posts were held by the family members of the Tirumala Peddinti family. At a later point, due to reluctance of the family members, the office of the Sthanapati was merged with that of the Parikshagar. The main duty of a Parikshagar was to ensure that all the daily and special rituals were being conducted in accordance with the injunctions of the past. On the other hand, the Sthanapati used to initiate every proceeding on the temple and served as the representative of the trustees. At present, the temple is maintained and administered by the Simhachalam Devasthanam board, which is under the purview of the Government of Andhra Pradesh.


text: The priests of the temple are divided into three main groups: Archakas, Nambyas, and Paricharakas. The priests belong to the Sri Vaishnavite clan. These priests were classified into three groups: the local Vaishnavites, Tirupathi Vaishnavites (hailing from Tirumala), and Ekaki Vaishnavites (those who are unmarried and practice celibacy). Archakas look after the actual conduct of rituals in the main temple, of whom one is the head priest. Equivalent to Sthanacharya, the head priest has the additional responsibility of decorating the deity with ornaments on important occasions. The priests of the sub-temples and shrines are called Nambyas or Samardhaka Brahmins. Paricharakas assist the archakas by performing tasks such as cleaning vessels required for rituals, bringing water to the kitchen, and collecting items required for the prayer.


text: Scholars are appointed by the temple to read various religious texts. One of them referred to as the Bhagavata Vishyam Pandit, along with six adhyapakas (teachers) recite the "Dravida Prabandha" text daily. These people belong to the Vaishnavite families of Simhachalam. Scholars who read out chapters from the "Mahabharata", the "Ramayana" and the "Bhagavata Purana" are known as Parayandars (Parayana reading pandits). Apart from these, vedic scholars are also appointed for regular recital of the Rigveda, Samaveda, and Yajurveda. In the medieval period, a group of sanis or devadasis used to perform four important tasks: performing dance and music, singing "mangalagitas" and "namasankirtanas", waving fly-whisks to the deity, and cleaning and decorating the temple's premises. They were looked upon with respect as the temple's dancers. Women were either gifted as sanis or voluntarily dedicated themselves for the same. They either remained unmarried (referred to as the sampradaya sanis) or had an independent marital life, working in the temple on a part-time basis. At present, the temple does not encourage the presence of such dancers.


text: Cooks hailing from Vaishnavite families and well-versed in the Agni mantra were employed to prepare the bhoga (offerings) to the deity. Other important personnel include water carriers, gardeners, potters, fuel suppliers, goldsmiths, flag bearers, torch bearers, watchmen, repairers and renovators, and cattle maintainers.


text: The religious practices and customs of the temple are formulated by Ramanuja and his followers like Anandalvan. They are similar to the ones followed in South Indian Vaishnavite temples such as Tirumala, Srirangam, and the Varadharaja Perumal Temple in Kanchipuram. The prayers are made as per the Para, Vyuha, Vibhava, Antaryami, and Archa traditions of Vishnu. The religious practices are modelled based on the "Satvata Samhita", one of the 108 texts of the "Pancharatra Agama". There are five metallic idols associated with the deity which serve as the substitute of the moolavar for certain practices. Yogananda Narasimha is the snapana bera (bathing idol), Govindaraja is the utsava bera (festival idol), and Sudarshana Chakra is the bali bera (guardian idol). Madanagopala and Venugopala, two forms of Krishna, are the kautuka bera (representative idol) and the sayana bera (sleeping idol) respectively.


text: The deity worship commences in the morning around 5:30 am. The inner gates of the temple are opened and the Vayu mantra is recited. The priests chant the Suprabhatam for about an hour and half as a prelude to the regular worship activities. It is accompanied by people playing nadaswaram (pipe instrument). The laghvarchana (preliminary worship) is performed; priests offer jaggery and coconut after which the mangala harathi (incense) is provided to the deity. Devotees are allowed to visit the sanctum sanctorum from 6:30 am for the next five hours. The actual worship continues up to 8:00 am which consists of shodasha upachara (sixteen services). Abhisheka (anointment) is performed to the Yogananda Narasimha idol. The last phase of the morning worship is the Baliharana (pacification ceremony), where a portion of the consecrated food is offered to the spirits. Sudarshana Chakra idol is used in this phase. The morning rituals in the sub-temples follow a similar pattern, with the preliminary worship and offerings provided in each temple in succession.


text: After 11:00 am, the temple's mid day worship begins. After half an hour, rajabhoga (main offering) is offered to the deity. The pilgrims are not allowed to visit the sanctum for the next half an hour. Rajabhoga consists of cooked rice, dal, soup, cooked vegetables, ghee and curd. Another half an hour break is given to the deity at 2:30 pm. Devotees are then allowed to visit the sanctum up to 7:00 pm. In the evening worship, which begins at 6:00 pm, begins with the Divviti Salam (salute with torches) ceremony. Two men go round the temple; one holds a torch and the other plays a drum. The rituals offered in the evening are similar to that of the morning worship. The importance given to music is the major deviation. Night offering is provided to the deity. Devotees are allowed to have a glimpse of the deity for half an hour from 8:30 pm. At 9:00 pm, sayana seva (sleeping ritual) is performed and the temple is closed.