title: The Pebble and the Penguin

text: The songs were written by Barry Manilow, who previously wrote the songs for "Thumbelina", along with longtime collaborator and lyricist Bruce Sussman. The film's score was composed by Mark Watters. Manilow, who had "started off wanting to be a composer", got an opportunity to do this when he was approached to "compose songs and the underscore" for the film and "Thumbelina". The songs and score for the soundtrack were both performed by the Irish Film Orchestra and the Irish Chamber Choir. Barbadian singer Geoffrey Holder sang the deleted song "The Beachmaster" for the film.


title: The Pebble and the Penguin

text: An accompanying soundtrack was released on April 11, 1995. This soundtrack is currently out of print. The soundtrack includes various artists with actors singing their parts for the film, including Martin Short, Annie Golden, Tim Curry, and James Belushi among others. he album was given a rating of 2 and a half stars at Allmusic.com. Reviewer Peter Fawthrop wrote: "Barry Manilow's soundtrack would have upped the mediocrity on a better project, but "The Pebble and the Penguin" as a film was conceived with such dismal effort from the then struggling Don Bluth studio that the songs and score work on a somewhat passing level".


title: The Pebble and the Penguin

text: The version of "Now and Forever" sung by Barry Manilow and Sheena Easton is not on the soundtrack, but was later put on Barry Manilow album "Duets" and a later reissue of this soundtrack as a bonus track when Kid Rhino reacquired the rights in 2012.


title: The Pebble and the Penguin

text: "The Pebble and the Penguin" was released in the United States and Canada on April 12, 1995. When the film was nearing completion, Metro-Goldwyn-Mayer purchased the distribution rights in North America, while Warner Bros. under its Family Entertainment label obtained the foreign distribution rights.


title: The Pebble and the Penguin

text: The film's tagline was "The adventure of a lifetime begins with one small pebble". Seventy-five readers of San Antonio Express-News each won four tickets to the film. The special showing was held at 11 a.m. on April 8 at the Embassy Theaters. "The Pebble and the Penguin" was cross-promoted with Anheuser-Busch's Sea World Parks.


title: The Pebble and the Penguin

text: "The Pebble and the Penguin" was accompanied in its theater run by a new "Pink Panther" short entitled "Driving Mr. Pink" in the United States, which was adapted from an episode of the successful Pink Panther TV series (though "The Pebble and the Penguin" was accompanied in its theater run by a new "Looney Tunes" short entitled "Carrotblanca" internationally). The short was directed by Charles Grosvenor and Byron Vaughns, and the lead animator was David Feiss, who would go on to create "Cow and Chicken" and "I Am Weasel". The short also featured the character of Voodoo Man from the 1995 TV show. It is a late one-off short in the Pink Panther short series – they were abundant and popular until 1980. SFGate described the short as "loud, obnoxious, [and] idiotic".


title: The Pebble and the Penguin

text: "The Pebble and the Penguin" did poorly at the box office, grossing a little over $3.9 million against a $28 million budget, mainly because it was overshadowed by "A Goofy Movie" which was released five days earlier. However, the movie became popular among audiences and later gained a cult following through home video releases.


title: The Pebble and the Penguin

text: On Rotten Tomatoes the film has a rating of 18% based on 11 reviews, with an average rating of 4/10. The film was given a Two Thumbs Down on "Siskel & Ebert", with Gene Siskel noted that the film's animation looks "cheap and unfinished" and that "none of the songs are memorable" while Roger Ebert added his dislike of the "dumb songs", "silly story", and the film's color-coding of its heroes and villains. Ebert took this a step further by arguing: "What do kids learn from this? Nothing overt. Just a quiet, unstated impression: White is good and brave, and brown is scheming and negative. Reinforce that through lots of cartoons (examples: "Aladdin" and "The Rescuers Down Under") and no wonder even black children choose white dolls in some psychological experiments". "Deseret News" said "the songs are forgettable, the story one-note and the characterizations quite weak". "The Austin Chronicle" said the film "lacks dramatic structure and narrative drive: Songs and animated action pieces are narratively connected but the film doesn't feel as though it is an organic whole. All the elements are here, they just don't come together". "Time Out" wrote: "The characterisations are weak and unendearing. Worse, the big 'action' sequences turn up with the pacing and predictability of clock chimes. And, in what is perhaps the last great medium for musicals, the perfunctoriness of Barry Manilow's songs and arrangements seem guaranteed to put off yet another generation". "The New York Times" wrote that 4 would be "the optimum age for viewers of this gentle, animated musical", adding that "the action seems flat and low-rent compared to those earlier movies", and that it "doesn't have the vivid characters, first-rate animation or sense of adventure that turns movies like "The Lion King" into endlessly watchable favorites".


title: The Pebble and the Penguin

text: "Washington Post" Staff Writer Hal Hinson wrote "the banality of the story, the pallid look, the flatness of the characters add up to a product that is, at best, second rate". SFGate said the "gnashing whale scenes are intense enough to push the G-rating envelope". "The Spokesman-Review" wrote that "it is only an average effort in virtually every respect". "The Record" said "the orchestration is too fancy, too loud and often drowns out the lyrics. This is a kid's movie, but musically it sounds like a full-costume Broadway show with full-supporting chorus line. It's a little disturbing to see a children's movie that perpetuates the erroneous image of killer whales as violent creatures. It is, however, a perfect indication of the limited imagination which went into writing The Pebble and the Penguin". "The Free Lance–Star" said the film got a "charming mating ritual" and turned it into "sappy action romance with celebrity voices". The book "Contemporary North American Film Directors" suggested that the film suffered from "the same unimaginative and clichéd Disney of the 1970s that Bluth had been so critical of". "The Animated Movie Guide" said, "the hero was a stuttering wimp, the songs didn't advance the plot, the dialogue was incessant and superfluous, and the pacing was plodding and dull", and also said the film was an "utter waste of talent and resources", due to interference from external forces.


title: The Pebble and the Penguin

text: Some critics did praise various aspects of the film, particularly in regard to Bluth's animation. These reviews, however, were almost exclusively mixed. Common Sense Media said that "the background animation of capricious weather conditions is lovely, as are the top-notch original songs by Barry Manilow and Mark Watters". "Deseret News" wrote: "Bluth's strength continues to be colorful, classical-style animation, and there are some gorgeous moments here — especially some underwater sequences". "The Austin Chronicle" wrote: ""The Pebble and the Penguin" features some beautifully animated sequences [...] The characters are great and the voice talents of Martin Short...and James Belushi...are terrific". "Variety" said the film has a "heartwarming story, some lively songs and professional animation", adding that it is "a sweet, enjoyable romantic tale more likely to succeed as an afternoon diversion on home video than on the big screen". "The New York Times" wrote "the tunes Mr. Manilow has written for the movie are, like his familiar pop standards, bouncy and catchy", and commented that "the animation is fine". "Washington Post" staff writer Hal Hinson wrote that "a flourishing opening number—titled 'Here and Now'—proves that Short can belt out a song with the best of them", adding that the "Bluth studio style of animation is passable, and, in the case of a Brecht-Weill flavored production number, occasionally inspired".


title: The Pebble and the Penguin

text: SFGate described the "show-tune- style songs" as "pleasant but forgettable", adding that "the singing by Short, Belushi, Curry and Broadway belter Golden is the best thing about the film". It also noted that "one of the obvious obstacles was how to color a film whose natural shadings tend toward black, white and degrees of gray. The result is a lot of odd but fascinating colorations -- the sky might turn up yellow at times, or the sea a deep maroon". The "Spokesman-Review"' wrote "in an era when G-rated movies are as rare as Hollywood humility, any attempt at family entertainment should be lauded", adding "let us salute Don Bluth and his team of animators". In a rare case, The Daily Gazette gave the film 4 stars. Monica Sullivan of Movie Magazine International noted that the film was "heartily enjoyed by the two little girls who saw it with me at a kiddie matinee".


title: The Pebble and the Penguin

text: The 2007 DVD release of "The Pebble and the Penguin" was nominated for a Satellite Award for "Best Youth DVD" from the International Press Academy but was beaten by Disney and Pixar's "Ratatouille".


title: The Pebble and the Penguin

text: "The Pebble and the Penguin" was released on VHS and LaserDisc by MGM/UA Home Video on August 15, 1995.


title: The Pebble and the Penguin

text: Throughout 1997, songs from the film were released alongside others from the MGM vaults in four MGM Sing-Along cassettes released by MGM/UA Home Video. The loosely themed tapes had titles such as "Searching for Your Dreams", "Having Fun", and "Being Happy". "The Pebble and the Penguin" was first released by MGM Home Entertainment on DVD on January 19, 1999.


title: The Pebble and the Penguin

text: A "Family Fun Edition" of the film was released only in the United States and Canada on March 27, 2007, by 20th Century Fox Home Entertainment. Though, they were initially unsatisfied with how the movie turned out, Don Bluth and Gary Goldman returned to supervise the restoration for the "Family Fun Edition", which features color corrections, refielded scenes to hide missing effects and correct other errors from the theatrical and LaserDisc releases and the VHS and un-restored 1999 print of the DVD releases. The Family Fun Edition was nominated for the Satellite Award for Best Youth DVD.


title: The Pebble and the Penguin

text: The 2007 DVD release of "The Pebble and the Penguin" was according to The Hindu News a part of a wave of penguin-related media consisting of "March of the Penguins", "Happy Feet", "Farce of the Penguins", and "Surf's Up". This trend was also picked up on by The Paramas Post and The Age. In 2010, the film was re-released, along with "Rock-a-Doodle" as a double-sided DVD, but the DVD print utilized is the open matte and un-restored 1999 DVD.


title: Jamie Blackley

text: Jamie Alexander Blackley (born 8 July 1991) is a British actor. He is known for his role as Adam Wilde in the film "If I Stay".


title: Jamie Blackley

text: Blackley was born in Douglas, Isle of Man, and was raised in London, England, with his father Martin, mother Marina, and older sister Holly-Anna. His first major appearance was as Hanschen in the London stage production of "Spring Awakening". Blackley had a small role as Iain in the fairy tale/action-adventure movie "Snow White and the Huntsman" (2012), but some of his most prominent film roles include Mark in the thriller "Uwantme2killhim?" (2013), Sigurdur Thordarson in the thriller "The Fifth Estate" (2013), and Adam Wilde in the romantic drama "If I Stay" (2014). He played Freddie Hamilton in "The Halcyon".


title: Darren McCarty

text: Darren Douglas McCarty (born April 1, 1972) is a Canadian former professional ice hockey forward, best known for his years playing with the Detroit Red Wings of the National Hockey League (NHL). McCarty has been known for taking on the role of the Red Wings enforcer most of his career, a role in which he won the Stanley Cup four times in 1997, 1998, 2002, and 2008, the last of which after resurrecting his career in the Red Wings minor league system.


title: Darren McCarty

text: McCarty spent much of his childhood in the small town of Leamington, Ontario, playing for the Southpoint Capitals (OMHA) minor teams.


title: Darren McCarty

text: McCarty played for the Belleville Bulls of the Ontario Hockey League from 1989 through 1992. As captain of the team during the 1991-92 season, McCarty recorded 55 goals and 72 assists for 127 points in 65 games. He was awarded the Jim Mahon Memorial Trophy as the top scoring right winger.


title: Darren McCarty

text: Drafted in the 2nd round, 49th overall, by the Red Wings in the 1992 NHL Entry Draft, McCarty scored 26 points in his rookie season as the Wings won the Central Division title. In the 1996–97 NHL season, McCarty scored a career best 19 goals and 42 points as the Wings swept the Philadelphia Flyers for their first Stanley Cup in 42 years. McCarty scored the Cup-clinching goal in Game 4. This goal, scored on an inside-outside move around a Flyers' defenseman (Janne Niinimaa), and goalie (Ron Hextall), was honored as one of the best goals of the year.


title: Darren McCarty

text: From the 1997–98 season until his departure from the team, McCarty was part of Detroit's famous Grind Line with center Kris Draper and winger Kirk Maltby, which was often matched up against the opponent's top offensive line.


title: Darren McCarty

text: One of McCarty's most infamous moments was in the famous "Fight Night at the Joe" on March 26, 1997, where a massive brawl broke out between the Colorado Avalanche and Red Wings. McCarty stunned Avalanche right winger Claude Lemieux with a blistering punch, and continued punching Lemieux while Lemieux "turtled" his body to avoid damage. The fight was revenge for a hit that Lemieux inflicted on Kris Draper in the previous years playoffs that caused significant injuries to Draper. The fight was also considered as what had broken the curse over the Red Wings, as the Red Wings went on to win their first Stanley cup in over 40 years. McCarty also scored the overtime winning goal to make it 6-5.


title: Darren McCarty

text: In the 2002 Stanley Cup Playoffs, McCarty registered his first hat-trick in Game One of the Western Conference Finals against the Colorado Avalanche's Patrick Roy. McCarty scored four goals in the series, a career best. Detroit won the series and eventually a third Stanley Cup in six years.


title: Darren McCarty

text: After 11 seasons with the Red Wings, McCarty and the team parted ways as the lockout cancelled the 2004–05 NHL season. McCarty's contract was bought out by the Red Wings as a result of the newly implemented salary cap. He then signed as a free agent with the Calgary Flames on August 2, 2005. He scored seven goals for the Flames during the regular season. He scored the overtime winning goal in Game 1 of the Flames first round series against the Mighty Ducks of Anaheim, a series Calgary would eventually lose in 7 games. In the 2006–07 season, McCarty appeared in only 32 games and for the first time in his career, failed to register a point.


title: Darren McCarty

text: On December 31, 2007, the Flint Generals of the International Hockey League announced that McCarty had signed with the team. The Generals are co-owned by McCarty's former Grind Liner, Kris Draper, who encouraged McCarty to make a comeback to professional hockey. McCarty made his home debut for the Generals on January 12, 2008 and recorded one assist in the 4–3 victory. In ten games with the Generals, McCarty had three goals, two assists, and thirty penalty minutes.


title: Darren McCarty

text: On January 30, 2008, "The Grand Rapids Press" reported that McCarty would sign a professional tryout contract with the Grand Rapids Griffins. On February 4, 2008, this was made official. On his Griffins debut at Van Andel Arena, he tallied a hat trick and added an assist to power Grand Rapids to a 6–3 win over the Lake Erie Monsters.


title: Darren McCarty

text: On February 25, McCarty signed a one-year contract with the Red Wings and was called up on March 7. Facing Nashville in the opening round of the 2008 playoffs, McCarty scored the opening goal in Game Two, a 4-2 Detroit win. The Red Wings eventually won the Stanley Cup in June 2008, McCarty's fourth championship with the team. McCarty signed a one-year contract with the Wings in the offseason. Because he played in the 2008 Stanley Cup Finals, he qualified to get his name included on the cup a 4th time.


title: Darren McCarty

text: On November 18, the Red Wings placed McCarty on waivers, knowing he would not be claimed. McCarty cleared waivers and remained with the team. After being sent to Grand Rapids for one game, McCarty was soon recalled. He played 13 games in the 2008-2009 season scoring one goal and 25 penalty minutes. McCarty later suffered a groin strain which landed him on injured reserve in late November. On February 24, 2009 the Detroit Red Wings reassigned McCarty to the Grand Rapids Griffins, after being activated from the injured reserve list. There, he played in 19 games for the Griffins, scoring 5 goals and 6 assists while also collecting 21 penalty minutes. During the Griffins' playoff run McCarty scored 3 goals, 1 assist and 8 penalty minutes in 10 games. After the Griffins were eliminated in the playoffs by the Manitoba Moose, McCarty was recalled by the Red Wings along with several other Griffins players on May 10.


title: Darren McCarty

text: On July 1, 2009, McCarty became an unrestricted free agent. One week later, Red Wings' general manager Ken Holland stated that the team would likely move on from McCarty.


title: Darren McCarty

text: On December 7, 2009 McCarty officially retired, and had already accepted a job as color analyst for Versus. A fifteen-season veteran and fan favorite in Detroit, McCarty thanked the Red Wings and Flames organizations as well as the fans for helping him to realize his dream.


title: Darren McCarty

text: On November 23, 2009 McCarty made his debut as an NHL Analyst for Versus. McCarty made occasional appearances on the Versus post game show, Hockey Central. McCarty served as a fill-in co-host on WXYT-FM (97.1 The Ticket) in Detroit.


title: Darren McCarty

text: McCarty appeared on the January 24, 2012 episode of the truTV reality series "Hardcore Pawn", where he appeared with a friend who was trying to sell an alligator hide. Later, American Jewelry and Loan owners Les and Seth Gold and tru TV hired McCarty to do some cameo appearances on the show.


title: Darren McCarty

text: McCarty started his weekly podcast, Grind Time with Darren McCarty, in December 2018. He broadcast weekly from Radio for One Studios featuring guests to discuss topics ranging from hockey to music to life's journey to legalization of cannabis. The "Grind Time with Darren McCarty" team consist of his Co-Host Perry Vellucci and Executive Producer / Business Manager Nick Antonucci, which has joined Woodward Sports Network in Birmingham, MI as of January 2021.


title: Darren McCarty

text: McCarty's father, Craig, was diagnosed with multiple myeloma, an incurable cancer of the bone marrow and blood, in 1995. In 1997, Darren McCarty established the McCarty Cancer Foundation to raise funds to finance research for a cure of this type of cancer.


title: Darren McCarty

text: During the early 2000s he was part of an investigative journalism piece for Rob Wolchek of WJBK-TV Fox 2 News in Detroit, Michigan, in which a self-proclaimed masseuse fabricated family ties to McCarty in an attempt to further garner clientele from the local area while practicing without any certifications.


title: Darren McCarty

text: During the offseason, McCarty is the lead singer for hard rock band "Grinder" which has been in hiatus with the sudden passing of their bass player and friend, James B. Anders from cardiomyopathy.


title: Darren McCarty

text: McCarty appeared on the 2005 ESPN game show "Teammates" with his teammate on the Red Wings at the time, Brendan Shanahan.


title: Darren McCarty

text: McCarty's autobiography, "My Last Fight: The True Story of a Hockey Rock Star", was released on December 1, 2013 by Triumph Books.


title: Darren McCarty

text: McCarty is a proponent for the legalization of cannabis. He credits cannabis with helping him overcome his alcohol addiction.


title: Darren McCarty

text: McCarty now occasionally appears and wrestles for pro wrestling company ICW No Holds Barred. He was brought in to feud with current pro wrestlers Brandon Kirk and Kasey Kirk.


title: Ruspoli family

text: The House of Ruspoli is historically one of the great aristocratic families of Rome, but is originally from Florence. Following World War II and the fall of Fascism, the newly established Italian Republic officially abolished titles and hereditary honours in its 1946 Constitution, with the exception of the papal nobility of Rome (fourteen families, among which is the Ruspoli family), as those titles had been created by papal authority.


title: Ruspoli family

text: The origins of the family can be traced back to the Ruspoli of Florence in the 13th century, and more remotely from Marius Scotus in the 8th century and his descendants the Marescotti of Bologna. In the 16th century, the Ruspoli family moved to Rome, where the last descendant, Vittoria Ruspoli, Marchioness of Cerveteri, married Sforza Vicino Marescotti, Count of Vignanello, a descendant of the Farnese family on both his mother's and father's side. One of Vittoria's sons took the Ruspoli name and coat of arms to guarantee the continuity of the house.


title: Ruspoli family

text: In 1708, Vittoria's grandson, Francesco Marescotti Ruspoli, head of the Ruspoli Regiment, fought to defend the Papal States. In 1709, he forced the Austrians to retreat, and Pope Clement XI named him the first Prince of Cerveteri. This title would then pass down to the first-born son of each generation. The papal title of Roman Prince was later conferred in 1721, and it is also held by the first-born son of each generation.


title: Ruspoli family

text: Since 1808, the head of the family also served as Grand Master of the Sacred Apostolic Hospice, which was an hereditary official of the Pontifical Household. He was a Participating Privy Chamberlain and the sole lay member of the Noble Privy Antechamber, as well as a Participating Privy Chamberlain of the Sword and Cape (who were all laymen, traditionally holding hereditary posts). The post was removed in the reforms of the Papal Curia after 1968, leaving just the honorific title.


title: Ruspoli family

text: There are traces of members of the Ruspoli family from the 13th century on tombstones in the churches of Ognisanti and of Santa Maria Novella in Florence.


title: Ruspoli family

text: It is Bartolomeo, son of the above-mentioned Lorenzo, that the family moved away from the imperial Ghibellines and came closer to the Vatican State in Rome.


title: Ruspoli family

text: Bartolomeo Ruspoli was born in Florence in 1496. He formed a business partnerships with the Altoviti family, who were influential wool traders and bankers. In 1529 Bartolomeo travelled to Rome where he married Maria Ardinghelli niece of Cardinal Niccolò Ardinghelli, an influential member of the Farnese fraction and an intimate associate of Alessandro Farnese, future Pope Paul III. The Ruspoli were thus integrated into the Roman Curia and the papal court, and Bartolomeo's children, both sons and daughters, were all married into families of the Roman nobility: Muti, Cavalieri and Floridi. In 1531 Bartolomeo Ruspoli was named Petitioner of the apostolic letters by Pope Clement VII. In 1535 he was made Prior of Florence.


title: Ruspoli family

text: Gradually, and certainly by the 17th century, the Ruspoli had lost their identity as Florentine merchants and bankers, referring to themselves exclusively as Roman nobles.


title: Ruspoli family

text: According to the Marescotti-Ruspoli archive and as often seen on various family trees and reported on the official "Libro d'oro della Nobiltà Italiana" published by the Collegio Araldico, the origins of the Marescotti can be traced back to Marius Scotus born in Galloway in south west Scotland in the 8th century.


title: Ruspoli family

text: In the year 773 king Charlemagne started a military campaign against the Lombards in Italy, because they were not respecting an agreement made with Pepin the Short to give part of their land to the state of the Church. He asked for help from king of Dál Riata (Western Scotland) Eochaid IV. The latter asked his cousin Count William of Douglas to recruit and bring to France a brigade of 4,000 men, which he did. But soon thereafter he had to return to Scotland to govern the family clan, leaving his command to his younger brother Marius Douglas, who at the time was described as courageous, tall, strong and with a reddish beard.


title: Ruspoli family

text: The army of the Franks crossed the Alps and took base in the Benedictine Abbey of Novalesa, in the high valley of Dora Riparia. Mario Scoto, as he was known in Italy, discovered a small path through forests between the mountains which was absolutely unusable by the army, but perfect for the Scottish highlanders. After walking quietly for three days along the path, Mario Scoto and his men attacked the Lombards by surprise from the back, while king Charlemagne attacked with the cavalry from the front. It was a major victory for the Franks which marked the decline of the Lombards in Italy.


title: Ruspoli family

text: In the spring of the following year, Pope Adrian I and the king decided to meet. With a small escort, amongst whom Mario Scoto was present, Charlemagne travelled the ancient via Cassia to Saint Peter's Basilica where he was received and blessed by the pope. Mario Scoto was Catholic as were the majority of Scottsmen at the time and at the service of his king became himself a defender of the Faith. He became an appreciated military advisor and distinguished himself in the Spanish campaign and in the battle against the Saxons at the confluence of the Weser with the Aller in which of the 5,000 Saxons, only the 500 who chose to be baptised were spared their lives.


title: Ruspoli family

text: Towards the end of the century Mario Scoto retired from the army, married an Italian noblewoman called Marozia and, for his devotion to the pope, settled in Rome where he was granted the honor to escort the pope. He was therefore present when in April 799 Pope Leo III was assaulted and kidnapped near the church of San Lorenzo in Lucina. Mario Scoto was able to find the pope in a monastery on the Aventine Hill and rescued him and returned him to his throne at the Holy See. The scene was later painted in Bologna by Giuseppe Antonio Caccioli.


title: Ruspoli family

text: On Christmas Day 800 Mario Scoto was invested Count of Bagnacavallo in Romagna and was granted the privilege to adorn his family crest, which already had the rampant leopard of Scotland, with the three fleur-de-lis, characteristic symbol of the French kings.


title: Ruspoli family

text: The family still conserves an old portrait of a soldier with the following encryption in Latin: "Marius de Calveis, Scotus, Carl Mag M Dux Familiam Marescotti Fundavit ANN D. DCCC" (Marius of Galloway, Scottish, military commander under Charlemagne, founder of the Marescotti family. AD 800)


title: Ruspoli family

text: In the 9th century the Marescotti people (name derived from Mario Scoto) carried the title of counts of Bagnacavallo, a large fiefdom between the Lamone and Savio rivers. Charlemagne had received vast lands in the Bologna area and had later distributed them, as was the custom in those days, to the veterans of his army.


title: Ruspoli family

text: Alberto il Malvicino de Calveiso de' Calvi Count of Bagnacavallo. Alberto Count of Bagnacavallo. Ermes, Massimiliano and Oddo Marescotti (Mariscotti) were Consuls of Orvieto respectively in 1035, 1091 e 1099. Carbone - in 1120 build a tower in Bologna. Marescotto - Consul of Imola nel 1140


title: Ruspoli family

text: Marescotto - Consul of Bologna e Captain general of Bologna in the war against Imola in 1179. Pietro de' Calvi Marescotti - Podestà of Faenza in 1185. Marescotto Consul of Bologna 1227 Guglielmo - Podestà di Siena nel 1232, his son Corrado was Chancellor of Emperor Frederick II in 1249. Alberto Marescotti son of Ugolino was Consul of Bologna, Captain general of the infantry of Bologna, then took Faenza in 1281 and regained Imola in 1290.


title: Ruspoli family

text: The navy commander Fabrizio Ruspoli son of Bartolomeo Ruspoli and Maria Ardinghelli distinguished himself in the Battle of Lepanto. The Ottomans lost all but 30 of its ships and as many as 30,000 men, a decisive victory for Christianity and a strategic military one, that marked the start of the decline of the Ottoman's power in the Mediterranean. The Christians attributed the victory to the protection of the Virgin Mary, whom they had invoked by reciting the Rosary, and Pope Pius V instituted a feast in its honor as Our Lady of Victory.


title: Ruspoli family

text: Orazio Ruspoli, brother of Fabrizio, became a successful banker and was then named magistrate of the colleges in 1557. Together with his third brother Alessandro he started the Banco Ruspoli in Siena and the family became very wealthy. Orazio married Felice Cavalieri and had two children.


title: Ruspoli family

text: Lorenzo Ruspoli, their cousin, was in the wool trade and also became a successful banker in Florence and then Consul. he then married lady Maria di Bernardo Franceschi and had two children; Antonio and Francesco (born on August 20, 1579). The latter became a published satirical poet.


title: Ruspoli family

text: Vittoria Ruspoli, daughter of Orazio and Felice Cavalieri, married in 1617 Sforza Vicino Marescotti, Count of Vignanello, Lord of Parrano, Roman noble and Patrizio of Bologna, Magistrate of Conservatori of Bologna in 1632 and Conservatore di Roma in 1654. Vittoria's brother, Bartolomeo Ruspoli after acquiring the fiefdom of the Marquis of Cerveteri and in Rome the Palace on the Ara Coeli, having no children of his own donated everything to the heirs of her sister.


title: Ruspoli family

text: Vittoria's husband, Sforza Vicino, descended from the Farnese family from both his mother's and his father's side (see the image on the right). From his father's side he inherited the fiefdom of Vignanello (from the wedding between Sfortia Marescotti and Ortesia Farnese Countess of Vignanello). His grandmother was Giulia Farnese. The entire branch of the Farnese (Dukes of Latera) became extinct and the descendants of the Marescottis (later called Ruspolis by will of Vittoria Ruspoli) kept the fiefdom and the Castello Ruspoli in Vignanello up to our days.


title: Ruspoli family

text: Meanwhile, Clarice born March 6, 1585, sister of Sforza Vicino Marescotti, became a nun in the convent of San Bernardino in Viterbo with the name of Sister Giacinta. She was canonized Saint by Pope Pius VII in 1807.


title: Ruspoli family

text: Francesco Maria Marescotti Ruspoli, first-born son of Alessandro (of Sforza Vicino Marescotti, 4th Conte di Vignanello and Vittoria dei Principi Ruspoli), was born March 2, 1672. In 1695 he married lady Isabella Cesi, daughter of Giuseppe Angelo, fifth Duke of Acquasparta and Giacinta Conti of the Dukes of Poli and Guadagnolo (sister of Pope Innocent XIII).


title: Ruspoli family

text: Francesco Maria appreciated and helped the development of Academy of Arcadia of which he was a member under the pseudonym Olinto. He was the first patron to welcome them in one of his villas on Via Merulana. The first volume of the "Rime degli Arcadi" was dedicated to Francesco Maria. In 1725 the Arcadia took permanent residence in the Gianicolo villa of Bosco Parrasio.


title: Ruspoli family

text: In 1707 George Frideric Handel arrived in Rome where for two years he was a guest of Francesco Maria Ruspoli, who named him "Kapellmeister". During this period he composed "Salve Regina" (HWV 241) which he performed in the Ruspoli Castle in Vignanello and "Diana Cacciatrice" (HWV 79) which he performed in Palazzo Ruspoli in Cerveteri. In Rome at the Ruspolis and the Ottobonis he performed the oratorios "La Resurrezione" (HWV 47) and the "Trionfo del Tempo e del Disinganno" (HWV 46a) both dedicated to Francesco Maria Marescotti Ruspoli. Between 1709 and 1716 he was succeeded as "Kapellmeister" by Antonio Caldara.


title: Ruspoli family

text: Cardinal Galeazzo Marescotti watched over his beloved nephew and was pleased with the brilliant life, but more so with the great culture, munificence, and devotion to God of Francesco Maria. The cardinal had a precise plan: to persuade the pope to elevate the title of the fiefdom of Cerveteri from marquis to prince. Other Roman noble families such as the Aldobrandini, Boncompagni, Borghese and Erba-Odescalchi were made princes by their respective popes. The Ruspolis did not have a pope and it was necessary to make a munificent gesture and to acquire particular merits with the Holy See. In 1707 the cardinal persuaded his nephew to arm a brig to donate to the Holy See. The modern hull with wide sails was delivered in Civitavecchia. Handel had composed for the occasion a choral of white voices on a text greeting the pope king. But that was not enough to elevate Cerveteri to a principality.


title: Ruspoli family

text: In 1708 Francesco Maria created the Ruspoli Regiment at his own expense. Formed by nearly 1,000 men, the regiment enjoyed some minor victories, until 1709 when in Ferrara thanks to a superior armament they were able to push the Austrians back to the north of the Po River. A great victory for which on February 3, 1709, full of gratitude, Pope Clement XI elevated Cerveteri to a Principality.


title: Ruspoli family

text: In 1710 Prince Francesco Maria Marescotti Ruspoli acquired the fiefdom of Riano where he enriched the town with privileges and public works.


title: Ruspoli family

text: In 1713 he acquired the fiefdom of San Felice Circeo which then passed in 1718 to his daughter's husband, Filippo Orsini.


title: Ruspoli family

text: Still in 1713 Francesco Maria bought the Palazzo Ruspoli in Rome from the Caetani who had charged Martino Longhi the Younger to build the sumptuous loggia on the courtyard and the famous staircase, one of the four wonders of Rome.


title: Ruspoli family

text: In 1721 Pope Benedict XIII conferred to Francesco Maria the title of "Principe Romano", for himself and his descendants, "ad infinitum" so the family could conserve the prestige of its ancestors.


title: Ruspoli family

text: Pope Benedict XIII then came to Vignanello in 1725 to solemnly consecrate the new parish church built by the will of Prince Francesco Maria.


title: Ruspoli family

text: In 1792 Francesco Ruspoli, 3rd Prince of Cerveteri was created Prince of the Holy Roman Empire by the Emperor Francis II.


title: Ruspoli family

text: Today Prince Francesco Ruspoli, 10th Prince of Cerveteri is the head of the House of Ruspoli and resident in Palazzo Ruspoli in Rome.


title: Ruspoli family

text: The Prince Camillo Ruspoli, third son of Francesco Ruspoli, 3rd Prince of Cerveteri and Countess Maria Leopoldina von Khevenhüller-Metsch, was married with Carlota Luisa de Godoy and Borbón, daughter of Manuel de Godoy and Alvarez de Faria, , and his first wife, María Teresa de Borbón y Vallabriga, XV countess of Chinchón, who was daughter of Infante Luis Antonio de Borbón and Farnese.


title: Ruspoli family

text: These branches originate from Prince Bartolomeo Ruspoli (1800-1872), third son of Francesco Ruspoli, 3rd Prince of Cerveteri and Countess Maria Leopoldina von Khevenhüller-Metsch, and brother of Alessandro Ruspoli, 4th Prince of Cerveteri and Camillo Ruspoli, Duke of Sueca He married Dona Carolina Ratti. His son Emanuele Ruspoli was named first prince of Poggio-Suasa after participating in the Italian unification and being the first Mayor of the Italian Rome. He was the grandfather of , Duchess of Segovia and Duchess of Anjou by her marriage to Infante Don Jaime, son of Alfonso XIII of Spain.


title: Anbariv

text: Anbariv, also known as Anbumani and Arivumani or Anbu and Arivu is an Indian duo of action choreographers and stunt coordinators who work in primarily in Tamil, Telugu, Malayalam, Kannada and Hindi cinema. The duo is well known for their action sequences in films such as "Madras" (2014), "Kabali" (2016), and "" (2018). Anbariv won the National Film Award for Best Stunt Choreographer in 2019 for their work in 2018 box office hit Kannada film "K.G.F: Chapter 1".


title: Anbariv

text: Anbumani, also known as Anbu, and Arivumani or Arivu, were born as twins and were raised up in Puzhal.


title: Anbariv

text: Both of them pursued their careers as stunt choreographers in film industry. It was Anbu who joined the film industry initially before his twin brother Arivu. Both of them initially served as training assistants to some of the leading stunt masters in the Indian film industry including Stun Siva, Peter Hein, Vijayan, Kecha Khamphakdee, Silva and Dinesh Subbarayan.


title: Anbariv

text: The duo debuted in Kollywood as assistant stunt directors in the 2010 film "Naan Mahaan Alla" before becoming prominent full fledged stunt choreographers in Indian cinema. They made their full fledged debut as stunt masters in "Idharkuthane Aasaipattai Balakumara", In 2014 their work in the critically acclaimed film "Madras" which is based on street football earned them lot of appreciation and accolades. Their performance also raised spotlight and attention on them earning them nominations at the 4th South Indian International Movie Awards and in the 9th Vijay Awards for Best Stunt Director. Since then, the twin brothers have worked together in about 100 films in various languages such as Tamil, Telugu, Malayalam, Kannada and Hindi.


title: Anbariv

text: In 2018, the duo was suspended from the South Indian Cine and TV Stunt Artistes Union for allegations on violating the union rules and code of ethics regarding the stunt sequences and action performances. The court granted relief to the duo and allowed to rejoin the union.


title: Anbariv

text: Anbariv received the National Award for "" as the Best Stunt Choreographer at the 66th National Film Awards which was held in August 2019.


title: Ye (pronoun)

text: Ye () is a second-person, plural, personal pronoun (nominative), spelled in Old English as "ge". In Middle English and Early Modern English, it was used as a both informal second-person plural and formal honorific, to address a group of equals or superiors or a single superior. While its use is archaic in most of the English-speaking world, it is used in Newfoundland and Labrador in Canada, and some parts of Ireland to distinguish from the singular "you".


title: Ye (pronoun)

text: "Ye" is also sometimes used to represent an Early Modern English form of the definite article "the" (pronounced ), such as in "Ye Olde Shoppe". "The" was often written "" (here the "e" is written above the other letter to save space, but it could also be written on the line). The lower letter is thorn, commonly written þ but which in handwritten scripts could resemble a "y" as shown. Thus, the article "The" was written "Þe" and never "Ye". Medieval printing presses did not contain the letter thorn. Thus, the letter y was substituted owing to its similarity to some medieval scripts, especially later ones. The "thorn" character was supplanted during the later phases of Middle English and the earlier phases of Early Modern English by the modern digraph "th". This substituted orthography leads most speakers of Modern English to pronounce definite article "ye" as ("yee"), when the correct pronunciation is ("the") or .


title: Ye (pronoun)

text: In Old English, the use of second-person pronouns was governed by a simple rule: addressed one person, addressed two people, and addressed more than two. After the Norman Conquest, which marks the beginning of the French vocabulary influence that characterised the Middle English period, the singular was gradually replaced by the plural as the form of address for a superior and later for an equal. The practice of matching singular and plural forms with informal and formal connotations, respectively, is called the T–V distinction, and in English it is largely due to the influence of French. This began with the practice of addressing kings and other aristocrats in the plural. Eventually, this was generalised, as in French, to address any social superior or stranger with a plural pronoun, which was believed to be more polite. In French, was eventually considered either intimate or condescending (and, to a stranger, potentially insulting), while the plural form was reserved and formal. In Early Modern English, "ye" functioned as both an informal plural and formal singular second-person nominative pronoun. "Ye" is still commonly used as an informal plural in Hiberno‐English and Newfoundland English. Both dialects also use variants of "ye" for alternative cases, such as "yeer" (your), "yeers" (yours), and "yeerselves" (yourselves).


title: New Model Army (band)

text: New Model Army are an English rock band formed in Bradford, West Yorkshire, in 1980 by lead vocalist, guitarist and principal songwriter Justin Sullivan, bassist Stuart Morrow and drummer Phil Tompkins. Sullivan has been the only continuous member of the band, which has seen numerous line-up changes in its four-decade history. Their music draws on influences across the musical spectrum, from punk and folk to soul, metal and classical. Sullivan's lyrics, which range from directly political through to spiritual and personal, have always been considered as a key part of the band's appeal.


title: New Model Army (band)

text: Whilst having their roots in punk rock, the band have always been difficult to categorise. In 1999, when asked about this, Sullivan said, "We've been labelled as punks, post-punks, Goth, metal, folk – the lot, but we've always been beyond those style confines". Following a large turnover of personnel, both permanent and as touring members, as of 2021 New Model Army comprise Sullivan, Dean White (keyboards and guitar), Michael Dean (drums) and Ceri Monger (bass).


title: New Model Army (band)

text: The band were formed in Bradford, West Yorkshire in the autumn of 1980, taking their name from the standing army formed in 1645 by the Parliamentarians during the First English Civil War, and played their first concert in Bradford in October of that year, playing songs based on their shared love of punk rock and Northern soul.


title: New Model Army (band)

text: After a few months in the band, original drummer Phil Tompkins lost interest and quit, to be replaced by Rob Waddington. By the time they began making their first records in 1983, Robert Heaton, a former drum technician for space rock band Hawkwind, had replaced Waddington.


title: New Model Army (band)

text: Until the mid-1980s, Sullivan used the alter ego of "Slade the Leveller" (Levellers being a radical political movement of the 1640s), supposedly so that he would not lose his unemployment benefits if the authorities realized he was making money from music. They continued to gig around the United Kingdom with little recognition, but in 1983 released their first singles "Bittersweet" and "Great Expectations" on Abstract Records, and were given airplay by BBC Radio 1's disc jockey (DJ) and radio presenter John Peel.


title: New Model Army (band)

text: In February 1984, they were invited to play on popular music television programme "The Tube", being introduced by Scottish host Muriel Gray as "the ugliest band in rock and roll". The producers of the show however were concerned about the lyrics of "Vengeance", which the band were due to perform ("I believe in justice / I believe in vengeance / I believe in getting the bastards") and so the band played "Christian Militia" instead.


title: New Model Army (band)

text: Following this performance, the band's debut studio album "Vengeance" reached Number 1 in the UK independent chart in early 1984, pushing the Smiths from that position. After a further single "The Price" also reached a high placing in the independent charts, the band signed a recording contract with major label EMI.


title: New Model Army (band)

text: The band then made four studio albums (plus a live album) for EMI and one studio album for Epic Records, in a period of eight years. 1985's "No Rest for the Wicked" and associated single "No Rest" both made the mainstream top 30 in the UK, the latter leading to some controversy when the band sported T-shirts with the phrase "Only Stupid Bastards Use Heroin" during an appearance on "Top of the Pops". During the "No Rest" tour, bassist Stuart Morrow left the band, and after some delay was replaced by 17-year-old Jason "Moose" Harris. However the band were refused work permits to enter the United States, as the US Immigration Department had said the band's work was of "no artistic merit".


title: New Model Army (band)

text: In December 1986, the band finally got permission to tour in the US. By this time "The Ghost of Cain", produced by Glyn Johns, had been released, and was named best album of the year for 1986 in "The Times" by David Sinclair, who said that it "was the best thing to happen to English rock music since the first Clash album". Concerts included the Reading Festival and a gig with David Bowie in front of the Reichstag in Berlin, and the band for the first time expanded their touring line-up to include a second guitarist in the shape of Ricky Warwick, as well as harmonica player Mark Feltham from blues band Nine Below Zero.


title: New Model Army (band)

text: "Thunder and Consolation" was released in February 1989, and saw the band moving towards a more folk rock sound, especially on the tracks including violinist Ed Alleyne-Johnson. Described as the band's "landmark" album, it reached number 20 in the UK charts, the singles "Stupid Questions" and "Vagabonds" making an impression in America, and the band was able to tour the album there with Alleyne-Johnson also providing additional guitar and keyboards. At the end of the year however, Harris left the band, to be replaced by Peter "Nelson" Nice, who would play with the band for more than 20 years. 1990's "Impurity" continued the folk-driven theme with Alleyne-Johnson still to the fore and Adrian Portas joining the band on guitar.


title: New Model Army (band)

text: The next studio album was to be a musical change of direction; as Sullivan later said, "just as this folk-cum-rave-cum-crusty-cum-new-age thing broke and became big in the early 1990s, we went – whoosh – done that – and went and made a very angry hard rock album". "The Love of Hopeless Causes", New Model Army's only release on Epic Records, appeared in 1993 and led with the single "Here Comes the War", which spawned controversy when it came packaged with instructions on how to construct a nuclear weapon.


title: New Model Army (band)

text: The band had previously decided to take a year out to concentrate on personal and other musical issues, and reconvened in late 1994 with Dean White, playing keyboards and guitar, replacing Alleyne-Johnson. It became clear that all was not well between Sullivan and Heaton; Sullivan later said, "We wrote "Thunder and Consolation" and it was brilliant, but very shortly after that, we started falling out, which went on during the making of that album. His life went in one direction and mine went in another". It was agreed that they would go their separate ways after the forthcoming studio album and tour. "Strange Brotherhood" was released on 13 April 1998 to mixed reviews, but then Heaton was diagnosed with a brain tumour. He suggested that his drum technician Michael Dean take over from him to tour the album. By this time the band had formed their own independent label, Attack Attack, and former tour manager Tommy Tee had returned to manage the band. A live album "...& Nobody Else" followed in 1999, and their eighth studio album "Eight" in 2000.


title: New Model Army (band)

text: After touring "Eight" (2000), the band again took time out, most notably so that Sullivan could concentrate on his debut solo studio album "Navigating by the Stars" which was eventually released in 2003, and toured by Sullivan, Dean and White. As the band got together to record their ninth studio album, Robert Heaton died from pancreatic cancer on 4 November 2004. "Carnival" was finally released in September 2005, and includes Sullivan's reaction to Heaton's death, "Fireworks Night". Dave Blomberg was unable to take part in touring the album, and was replaced by guitarist Marshall Gill.


title: New Model Army (band)

text: The band's tenth studio album, "High", was produced relatively quickly and was released in August 2007. The tour suffered a slight setback when the United States Citizenship and Immigration Services again denied the band visas; this time the issue was relatively quickly resolved and the dates rescheduled for early 2008. Soon afterwards, the band was again shaken as manager Tommy Tee died unexpectedly at the age of 46. By 2009, though, the band were again back in the studio. "Today Is a Good Day" was a far more uncompromising album, the heavy rock title track and others directly referencing the stock market crash of 2008. As the tour to promote the studio album came to an end, it was drawing close to 30 years since the band had formed.


title: New Model Army (band)

text: Towards the end of 2010, the band's 30th anniversary was celebrated with special shows across four continents every weekend from September until early December; in most cities, the shows were across two nights with completely different sets, the band having promised to play at least four songs from each of their eleven studio albums plus "Lost Songs" (2002) and "B-Sides and Abandoned Tracks" (1994), their rarities and B-sides collections. The final shows at the Forum Kentish Town in London were collected on a double CD and DVD release containing all 58 songs played over the nights of 3 and 4 December.


title: New Model Army (band)

text: After the band had played their traditional Christmas shows the following year, the news was released that Nelson had decided to leave the band for personal reasons, a decision that had been taken some time before. A few days later, on Christmas Eve, a fire destroyed the band's recording studio and rehearsal space in Bradford. Numerous guitars and other instruments were lost along with recording equipment and memorabilia. However, the studio was back in operation within three months, and after a number of auditions, Ceri Monger was announced as the band's new bassist and multi-instrumentalist.


title: New Model Army (band)

text: In 2013, the band's twelfth studio album, "Between Dog and Wolf", mixed by Joe Barresi, was released and became the band's most successful since "The Love of Hopeless Causes" (1993) 20 years earlier. The album showed a marked shift away from the band's traditional sounds, including rhythms that were described as "tribal", though Sullivan claimed they were merely different ways of using drums – "We really like complex tom-tom rhythms, we really like that pounding (beat)". A year later, "Between Wine and Blood" (2014) was released, including six previously unreleased studio tracks from the "Between Dog and Wolf" (2013) sessions, along with eleven live tracks from that album. In October 2014, a documentary feature film about the band's career, "Between Dog and Wolf: The New Model Army Story" by director Matt Reid premiered at the Raindance Film Festival in London and the Festival du nouveau cinéma in Montreal. The band's fourteenth studio album, "Winter", was released on 26 August 2016. "Winter" was named the #1 album of 2016 by The Big Takeover.


title: New Model Army (band)

text: On 23 August 2019, the band's fifteenth studio album, "From Here", was released. The band had intended to play a number of shows for their 40th anniversary in 2020, but these were cancelled due to the COVID-19 pandemic. They did however play an online show on 23 October to mark the exact 40th anniversary of their first show.


title: New Model Army (band)

text: They finally played the 40th anniversary shows towards the end of 2021, although guitarist Marshall Gill was absent for these and the early 2022 shows, the band reverting to a four-piece line-up with Dean White predominantly playing guitar as well as keyboards. On 11 November 2022, Gill indicated in a Facebook post that he had been dropped from the band for refusing a COVID-19 vaccine; at the end of 2021 performers still required proof of vaccination to play in a number of countries that the band were visiting.


title: New Model Army (band)

text: This is a list of musicians who were (or currently have been) a permanent – not touring – member of the band for a significant amount of time.


title: New Model Army (band)

text: Over the years, New Model Army have gathered a wide selection of fans, many of whom dedicatedly follow the band. Originally calling themselves "The Militia", after the song "Christian Militia", they later universally adopted the term "The Family" for their multi-generational and gendered group. Joolz Denby, long-time collaborator of Sullivan and the band's main artist has referred to the Family as "not a formal, contrived organisation, but a spontaneous sense of fellowship that has developed over the years", whilst elsewhere it has been described as "sanctuary ... and acceptance".


title: New Model Army (band)

text: Frequently noted for their musical lyricism, Justin Sullivan has noted in interviews that some of the band's (and his own) lyrical inspiration has come from Tom Waits, Bruce Springsteen, Gillian Welch, Joni Mitchell, and Bob Dylan, as well as "lots of country and hip-hop artists, all for their precision and poetry."


title: Wobbegong

text: The wobbegong is the common name given to the 12 species of carpet sharks in the family Orectolobidae. They are found in shallow temperate and tropical waters of the western Pacific Ocean and eastern Indian Ocean, chiefly around Australia and Indonesia, although one species (the Japanese wobbegong, "Orectolobus japonicus") occurs as far north as Japan. The word "wobbegong" is believed to come from an Australian Aboriginal language, meaning "shaggy beard", referring to the growths around the mouth of the shark of the western Pacific.


title: Wobbegong

text: Wobbegongs are bottom-dwelling sharks, spending much of their time resting on the sea floor. Most species have a maximum length of , but the largest, the spotted wobbegong, "Orectolobus maculatus", and banded wobbegong, "O. halei", reach about in length.


title: Wobbegong

text: Wobbegongs are well camouflaged with a symmetrical pattern of bold markings which resembles a carpet. Because of this striking pattern, wobbegongs and their close relatives are often referred to as carpet sharks. The camouflage is improved by the presence of small weed-like whisker lobes surrounding the wobbegong's jaw, which help to camouflage it and act as sensory barbs. Wobbegongs make use of their camouflage to hide among rocks and catch smaller fish which swim too close, typical of ambush predators. Wobbegongs also have a powerful jaw with needle-like teeth that assist in catching reef fish and other sharks for food. The blood cells of several species of wobbegong have also been described


title: Wobbegong

text: Wobbegongs are generally not considered dangerous to humans, but have attacked swimmers, snorkellers and scuba divers who inadvertently come close to them. The Australian Shark Attack File contains more than 50 records of unprovoked attacks by wobbegongs, and the International Shark Attack File 28 records, none of them fatal. Wobbegongs have also bitten surfers. Wobbegongs are very flexible and can easily bite a hand holding onto their tail. They have many small but sharp teeth and their bite can be severe, even through a wetsuit; having once bitten, they have been known to hang on and can be very difficult to remove.


title: Wobbegong

text: There are many more attacks by humans on wobbegongs: in Australia, the flesh of wobbegongs and other Wobbegong skin is used to make leather.


title: Wobbegong

text: Although most wobbegong species are unsuitable for home aquaria due to their large adult size, this has not stopped some of the larger species from being sold in the aquarium trade. Small wobbegong species, such as the tasselled wobbegong and Ward's wobbegong, are "ideal" sharks for home aquarists to keep because they are an appropriate size and are lethargic, enabling them to be accommodated within the limited space of a home tank, although they will consume tankmates, even quite large ones. Some aquarists, by contrast, see the lack of activity to be a drawback to keeping wobbegongs, and prefer more active sharks. Wobbegongs are largely nocturnal and, due to their slow metabolism, do not have to be fed as often as other sharks. Most do well on two feedings weekly. Underfed wobbegongs can be recognised by visibly atrophied dorsal musculature.


title: Wobbegong

text: Tasselled wobbegong. Oceana. (n.d.). Retrieved October 10, 2021, from https://oceana.org/marine-life/sharks-rays/tasselled-wobbegong.


title: Shehzada (2023 film)

text: Shehzada () is an upcoming Indian Hindi-language action drama film directed by Rohit Dhawan and written by Hussain Dalal.It is produced by T-Series Films, Haarika & Hassine Creations, Geetha Arts, and Brat Films. The film stars Kartik Aaryan in the lead role alongside Kriti Sanon, Paresh Rawal, Manisha Koirala, Vin Rana , Ronit Roy , and Sachin Khedekar. It is the official remake of the 2020 musical blockbuster, "Ala Vaikunthapurramuloo".


title: Shehzada (2023 film)

text: Bantu grows up being constantly subjected to his father's scorn. However, he later learns that he was replaced from his real parents by his father, and decides to carve a place for himself within the family he truly belongs to.


title: Shehzada (2023 film)

text: The film was announced on 12 October 2021. Principal photography began on the next day i.e. 13 October 2021 Mumbai. The next schedule took place in Delhi. After many sequences were shot in Mauritius, filming wrapped up on 20 August 2022.


title: Shehzada (2023 film)

text: "Shehzada" is scheduled to release on 10 February 2023. Initially the film was scheduled for theatrical release on 4 November 2022 but was delayed due to production"."


title: Plucked string instrument

text: Plucked string instruments are a subcategory of string instruments that are played by plucking the strings. Plucking is a way of pulling and releasing the string in such a way as to give it an impulse that causes the string to vibrate. Plucking can be done with either a finger or a plectrum.


title: Plucked string instrument

text: Most plucked string instruments belong to the lute family (such as guitar, bass guitar, mandolin, banjo, balalaika, sitar, pipa, etc.), which generally consist of a resonating body, and a neck; the strings run along the neck and can be stopped at different pitches. The zither family (including the Qanún/kanun, autoharp, kantele, gusli, kannel, kankles, kokles, koto, guqin, gu zheng and many others) does not have a neck, and the strings are stretched across the soundboard. In the harp family (including the lyre), the strings are perpendicular to the soundboard and do not run across it. The harpsichord does not fit any of these categories but is also a plucked string instrument, as its strings are struck with a plectrum when the keys are depressed.


title: Plucked string instrument

text: Bowed string instruments, such as the violin, can also be plucked in the technique known as pizzicato; however, as they are usually played with a bow, they are not included in this category. Struck string instruments (such as the piano) can be similarly plucked as an extended technique.


title: Plucked string instrument

text: Plucked string instruments are not a category in the Sachs-Hornbostel classification, aside from 335 and 336, as some of them are simple chordophones and others are composite (depending on whether the resonator is the removable part of the instrument).


title: Decree 770

text: Decree 770 was a decree of the communist Romanian government of Nicolae Ceaușescu, signed in 1967. It restricted abortion and contraception, and was intended to create a new and large Romanian population. The term ' (from the Romanian language word , meaning "decree"; diminutive ') is used to refer to those Romanians born during the time period immediately following the decree.


title: Decree 770

text: Before 1968, the Romanian abortion policy was one of the most liberal in Europe. Because the availability of contraceptive methods was poor, abortion became the foremost method of Romanian family planning.


title: Decree 770

text: Through a combination of Romania's postwar modernization, high participation of women in the workforce, and a low standard of living, the number of births significantly decreased after the 1950s, reaching its lowest recorded level in 1966. Romanian leaders interpreted the decreasing number of births to be a result of the 1957 decree that legalized abortion.


title: Decree 770

text: To counter this sharp decline in the birth rate, the Communist Party decided that the country's population should be increased from 20 million to 30 million inhabitants. In October 1966, Decree 770 was personally sanctioned by Ceaușescu. Abortion and contraception were declared illegal, except for:


title: Decree 770

text: To enforce the decree, society was strictly controlled. Contraceptives disappeared from the shelves and all women were forced to be monitored monthly by a gynecologist. Any detected pregnancies were followed until birth. Secret police kept a close eye on hospital procedures.


title: Decree 770

text: Sex education was refocused primarily on the benefits of motherhood, including the ostensible satisfaction of being a heroic mother who gives her homeland many children.


title: Decree 770

text: The direct consequence of the decree was a huge baby boom. Between 1966 and 1967 the number of births almost doubled, and the estimated number of children per woman (TFR) increased from 1.9 to 3.7. The generation born in 1967 and 1968 was the largest in Romanian history. Hastily, thousands of nursery schools were built.


title: Decree 770

text: When, after the revolution, lots of business closed or shrank their workforce, the latest hires were fired preferentially.


title: Decree 770

text: The decree was abolished on 26 December 1989,<ref name="1/1989"></ref> days after the Romanian Revolution.


title: Decree 770

text: In the 1970s, birth rates declined again. Economic pressure on families remained, and people began to seek ways to circumvent the decree. Wealthier women were able to obtain contraceptives illegally, or bribed doctors to give diagnoses which made abortion possible. Especially among the less educated and poorer women there were many unwanted pregnancies. These women could only utilize primitive methods of abortion, which led to infection, sterility or even their own death. The mortality among pregnant women became the highest of Europe during the reign of Ceaușescu. While the childbed mortality rate kept declining over the years in neighboring countries, in Romania it increased to more than ten times that of its neighbors.


title: Decree 770

text: Many children born in this period became malnourished, were severely physically disabled, or ended up in care under grievous conditions, which led to a rise in child mortality.


title: Decree 770

text: A consequence of Ceaușescu's natalist policy is that large numbers of children ended up living in orphanages, because their parents could not cope with looking after them. The vast majority of children who lived in the state-run orphanages were not actually orphans, like the name implies, but simply children whose parents could not afford to look after them.


title: Decree 770

text: In their book "Freakonomics", authors Steven Levitt and Stephen J. Dubner make the argument that children who are born after their mothers are refused an abortion are much more likely to commit crimes or refuse to recognize authority when they reach adulthood. They further argue that the Decreței are exactly the same people who spearheaded the effort to violently overthrow Ceaușescu's regime in 1989. In that year, the oldest would have been 22 years old, in the general age range of most revolutionaries. Levitt and Dubner note that Romania was the only east-European communist country with strict anti-abortion and anti-contraception laws at the time, and also the only country whose ruler was violently overthrown and killed at the end of the Cold War. Most other such countries experienced a tumultuous, but peaceful, transition. There were however other aspects of totalitarian rule that would promote violent reaction instead of peaceful transition, including a lack of associational life and legal gatherings, a more extensive system of informants and special police than any state other than East Germany, and a cult of personality built up around the supreme leader. The actual violence of the revolution can be attributed to divisions among the ruling and military/secret police and the vacuum of power that resulted. Revolutions are often observed to come in waves, and it is believed by some authors that Romania would have experienced violent revolution no matter its demographic situation.


title: Decree 770

text: Although in the early 1990s, shortly after abortion was legalized, the abortion rate was very high, it has gradually decreased, as more couples started using contraception, and the economy also started to improve after the instability of the transition. Abortion statistics, according to the National Institute of Statistics for data between 1990 and 2010 and according to Eurostat for data between 2011 and 2018.


title: Decree 770

text: This article, or a previous version, was translated from . This Dutch article used the following sources:


title: Arabic maqam

text: Arabic maqam (, literally "rank"; "") is the system of melodic modes used in traditional Arabic music, which is mainly melodic. The word "maqam" in Arabic means place, location or position. The Arabic "maqam" is a melody type. It is "a technique of improvisation" that defines the pitches, patterns, and development of a piece of music and is "unique to Arabian art music". There are 72 heptatonic tone rows or scales of maqamat. These are constructed from major, neutral, and minor seconds. Each "maqam" is built on a scale, and carries a tradition that defines its habitual phrases, important notes, melodic development and modulation. Both compositions and improvisations in traditional Arabic music are based on the "maqam" system. "Maqamat" can be realized with either vocal or instrumental music, and do not include a rhythmic component.


title: Arabic maqam

text: An essential factor in performance is that each maqam describes the "tonal-spatial factor" or set of musical notes and the relationships between them, including traditional patterns and development of melody, while the "rhythmic-temporal component" is "subjected to no definite organization". A maqam does not have an "established, regularly recurring bar scheme nor an unchanging meter. A certain rhythm does sometimes identify the style of a performer, but this is dependent upon their performance technique and is never characteristic of the maqam as such." The compositional or rather precompositional aspect of the maqam is the tonal-spatial organization, including the number of tone levels, and the improvisational aspect is the construction of the rhythmic-temporal scheme.


title: Arabic maqam

text: The designation "maqam" appeared for the first time in the treatises written in the fourteenth century by al-Sheikh al-Safadi and Abdulqadir al-Maraghi, and has since been used as a technical term in Arabic music. The "maqam" is a modal structure that characterizes the art of music of countries in North Africa, the Near East and Central Asia. Three main musical cultures belong to the maqam modal family: Arabic, Persian, and Turkish.


title: Arabic maqam

text: The notes of a maqam are not tuned in equal temperament, meaning that the frequency ratios of successive pitches are not necessarily identical. A maqam also determines other things, such as the tonic (starting note), the ending note, and the dominant note. It also determines which notes should be emphasized and which should not.


title: Arabic maqam

text: Arabic "maqams" are based on a musical scale of 7 notes that repeats at the octave. Some "maqams" have 2 or more alternative scales (e.g. Rast, Nahawand and Hijaz). "Maqam" scales in traditional Arabic music are microtonal, not based on a twelve-tone equal-tempered musical tuning system, as is the case in modern Western music. Most "maqam" scales include a perfect fifth or a perfect fourth (or both), and all octaves are perfect. The remaining notes in a "maqam" scale may or may not exactly land on semitones. For this reason "maqam" scales are mostly taught orally, and by extensive listening to the traditional Arabic music repertoire.


title: Arabic maqam

text: Since microtonal intervals are impractical to accurately notate, a simplified musical notation system was adopted in Arabic music at the turn of the 20th century. Starting with a chromatic scale, the Arabic scale is divided into 24 equal quarter tones, where a quarter tone equals half a semitone in a 12 tone equal-tempered scale. In this notation system all notes in a "maqam" scale are rounded to the nearest quarter tone.


title: Arabic maqam

text: This system of notation is not exact since it eliminates microtonal details, but is very practical because it allows "maqam" scales to be notated using Western standard notation. Quarter tones can be notated using the half-flat sign ( or ) or the half-sharp sign (). When transcribed with this notation system some "maqam" scales happen to include quarter tones, while others don't.


title: Arabic maqam

text: In practice, "maqams" are not performed in all chromatic keys, and are more rigid to transpose than scales in Western music, primarily because of the technical limitations of Arabic instruments. For this reason, half-sharps rarely occur in "maqam" scales, and the most used half-flats are E, B and less frequently A.


title: Arabic maqam

text: The 24-tone system is entirely a notational convention and does not affect the actual precise intonation of the notes performed. Practicing Arab musicians, while using the nomenclature of the 24-tone system ("half-flats" and "half-sharps"), still perform the finer microtonal details which have been passed down through oral tradition.


title: Arabic maqam

text: "Maqam" scales that do not include quarter tones (e.g. Nahawand, ‘Ajam) can be performed on equal-tempered instruments such as the piano, however such instruments cannot faithfully reproduce the microtonal details of the "maqam" scale. "Maqam" scales can be faithfully performed either on fretless instruments (e.g. the oud or the violin), or on instruments that allow a sufficient degree of tunability and microtonal control (e.g. the nay or the qanun, or the Clarinet). On fretted instruments with steel strings, microtonal control can be achieved by string bending, as when playing blues.


title: Arabic maqam

text: The exact intonation of every maqam scale changes with the historical period, as well as the geographical region (as is the case with linguistic accents, for example). For this reason, and because it is not common to notate precisely and accurately microtonal variations from a twelve-tone equal tempered scale, "maqam" scales are, in practice, learned auditorally.


title: Arabic maqam

text: Each passage consists of one or more phases that are sections "played on one tone or within one tonal area," and may take from seven to forty seconds to articulate. For example, a tone level centered on g:


title: Arabic maqam

text: The tonal levels, or axial pitches, begin in the lower register and gradually rise to the highest at the climax before descending again, for example (in European-influenced notation):


title: Arabic maqam

text: "When all possibilities of the musical structuring of such a tone level have been fully explored, the phase is complete."


title: Arabic maqam

text: The central tones of a maqam are created from two different intervals. The eleven central tones of the maqam used in the phase sequence example above may be reduced to three, which make up the "nucleus" of the maqam:


title: Arabic maqam

text: but be distinguished by different nuclei. Bayati is shown in the example above, while 'ushshaq turki is:


title: Arabic maqam

text: "Maqam" scales are made up of smaller sets of consecutive notes that have a very recognizable melody and convey a distinctive mood. Such a set is called "jins" (; pl. "ajnās" ), meaning "gender" or "kind". In most cases, a "jins" is made up of four consecutive notes (tetrachord), although "ajnas" of three consecutive notes (trichord) or five consecutive notes (pentachord) also exist.


title: Arabic maqam

text: "Ajnas" are the building blocks of a "maqam" scale. A "maqam" scale has a lower (or first) "jins" and an upper (or second) "jins". In most cases maqams are classified into families or branches based on their lower "jins". The upper "jins" may start on the ending note of the lower "jins" or on the note following that. In some cases the upper and lower "ajnas" may overlap. The starting note of the upper "jins" is called the dominant, and is the second most important note in that scale after the tonic. "Maqam" scales often include secondary "ajnas" that start on notes other than the tonic or the dominant. Secondary "ajnas" are highlighted in the course of modulation.


title: Arabic maqam

text: References on Arabic music theory often differ on the classification of "ajnas". There is no consensus on a definitive list of all "ajnas", their names or their sizes. However the majority of references agree on the basic 9 "ajnas", which also make up the main 9 "maqam" families. The following is the list of the basic 9 "ajnas" notated with Western standard notation (all notes are rounded to the nearest quarter tone):


title: Arabic maqam

text: It is sometimes said that each maqam evokes a specific emotion or set of emotions determined by the tone row and the nucleus, with different maqams sharing the same tone row but differing in nucleus and thus emotion. Maqam Rast is said to evoke pride, power, soundness of mind, and masculinity. Maqam Bayati: vitality, joy, and femininity. Sikah: love. Saba: sadness and pain. Hijaz: distant desert.


title: Arabic maqam

text: In an experiment where maqam Saba was played to an equal number of Arabs and non-Arabs who were asked to record their emotions in concentric circles with the weakest emotions in the outer circles, Arab subjects reported experiencing Saba as "sad", "tragic", and "lamenting", while only 48 percent of the non-Arabs described it thus with 28 percent of non-Arabs describing feelings such as "seriousness", "longing", and tension", and 6 percent experienced feelings such as "happy", "active", and "very lively" and 10 percent identified no feelings.


title: Arabic maqam

text: These emotions are said to be evoked in part through change in the size of an interval during a maqam presentation. Maqam Saba, for example, contains in its first four notes, D, E, F, and G, two medium seconds one larger (160 cents) and one smaller (140 cents) than a three quarter tone, and a minor second (95 cents). Further, E and G may vary slightly, said to cause a "sad" or "sensitive" mood.


title: Arabic maqam

text: Generally speaking, each "maqam" is said to evoke a different emotion in the listener. At a more basic level, each "jins" is claimed to convey a different mood or color. For this reason "maqams" of the same family are said to share a common mood since they start with the same "jins". There is no consensus on exactly what the mood of each "maqam" or "jins" is. Some references describe "maqam" moods using very vague and subjective terminology (e.g. "maqams" evoking 'love', 'femininity', 'pride' or 'distant desert'). However, there has not been any serious research using scientific methodology on a diverse sample of listeners (whether Arab or non-Arab) proving that they feel the same emotion when hearing the same "maqam".


title: Arabic maqam

text: Attempting the same exercise in more recent tonal classical music would mean relating a mood to the major and minor modes. In that case there is some consensus that the minor scale is "sadder" and the major scale is "happier".


title: Arabic maqam

text: Modulation is a technique used during the melodic development of a "maqam". In simple terms it means changing from one "maqam" to another (compatible or closely related) "maqam". This involves using a new musical scale. A long musical piece can modulate over many "maqamat" but usually ends with the starting "maqam" (in rare cases the purpose of the modulation is to actually end with a new "maqam"). A more subtle form of modulation within the same "maqam" is to shift the emphasis from one "jins" to another so as to imply a new "maqam".


title: Arabic maqam

text: Modulation adds a lot of interest to the music, and is present in almost every "maqam"-based melody. Modulations that are pleasing to the ear are created by adhering to compatible combinations of "ajnas" and "maqamat" long established in traditional Arabic music. Although such combinations are often documented in musical references, most experienced musicians learn them by extensive listening.


title: Arabic maqam

text: During the Islamic golden age this system influenced musical systems in various places. Some notable examples of this are the influence it had in the Iberian peninsula while under Muslim rule of Al-Andalus. Sephardic Jewish liturgy also follows the maqam system. The weekly maqam is chosen by the cantor based on the emotional state of the congregation or the weekly Torah reading. This variation is called the Weekly Maqam. There is also a notable influence of the Arabic maqam on The Music of Sicily.


title: Chilean Navy

text: The Chilean Navy () is the naval warfare service branch of the Chilean Armed Forces. It is under the Ministry of National Defense. Its headquarters are at Edificio Armada de Chile, Valparaiso.


title: Chilean Navy

text: The origins of the Chilean Navy date back to 1817, when General Bernardo O'Higgins prophetically declared after the Chilean victory at the Battle of Chacabuco that a hundred such victories would count for nothing if Chile did not gain control of the sea.


title: Chilean Navy

text: This led to the development of the Chilean Navy, and the first legal resolutions outlining the organization of the institution were created. Chile's First National Fleet and the Academy for Young Midshipmen, which was the predecessor of the current Naval Academy, were founded, as well as the Marine Corps and the Supply Commissary.


title: Chilean Navy

text: The first commander of the Chilean Navy was Manuel Blanco Encalada. Famous British naval commander Lord Cochrane, who formerly had been a captain in the British royal navy, was hired by Chileans to organize and command their Navy. Cochrane recruited an almost all-anglophone complement of officers and midshipmen and crews of British, Irish, and American seamen. He became a key figure in the war against loyalist forces in Peru, and was instrumental in taking control of the fortresses of Valdivia, though he failed in his attempt to conquer Chiloé Island.


title: Chilean Navy

text: In March 1824, the Chilean Navy and Army undertook an expedition to expel the Spanish from Chiloé Archipelago. An expedition was dispatched to Chiloé Island, but it ended in failure when the Chilean Army led by Jorge Beauchef was defeated at the Battle of Mocopulli. Only after Ramón Freire's Chiloé expedition in 1826 did the royalist forces at Chiloé, under the command of Antonio de Quintanilla, surrender and Chiloé joined the new Chilean nation.


title: Chilean Navy

text: After the wars of independence, a series of conflicts demonstrated the importance of the navy to the nation. First of these conflicts were the War of the Confederation (1836–1839), the Chincha Islands War (1864–1866), and the War of the Pacific (1879–1883). The founding of Fuerte Bulnes in the Strait of Magellan marked the starting point of a series of Chilean Navy explorations, led by navy hydrographers, such as Francisco Vidal Gormaz and Francisco Hudson, in the unknown zone between the Strait of Magellan and Chiloé. To deal with this new area of activity, the navy founded in 1874 the Hydrographic Office, whose first director was Francisco Vidal Gormaz.


title: Chilean Navy

text: Chilean war hero and martyr Arturo Prat is regarded as the ultimate example of the commitment of the navy to its country, after his death while leading a boarding party onto the enemy ironclad at the naval battle of Iquique on 21 May 1879, during the War against Peru and Bolivia. The anniversary of this battle is celebrated every year as a public holiday called "Día de las Glorias Navales". Prat is also considered to be one of the co-founders of the Naval Seaman Training School in 1868, which began operating a year later, and was one of the Naval Academy's finest graduate officers that in 1943 it became the National Naval School "Arturo Prat" in his honor.


title: Chilean Navy

text: The navy further distinguished itself during the Battle of Pisagua in 1879, led by both the Navy and the Marine Artillery Groups and Marine Infantry, the world's first modern military landing operation, that resulted in Chilean victories in other parts of Peru's Tarapacá region, and resulted to its annexation by Chile.


title: Chilean Navy

text: After navy visits to Easter Island in 1875 and 1887, Chilean navy officer Policarpo Toro managed to negotiate an incorporation of the island into Chile with native Rapanui in 1888. By occupying Easter Island, Chile joined the imperial nations.


title: Chilean Navy

text: With the Peruvian Navy destroyed, Bolivia becoming a landlocked country, and Argentina having only a brown-water navy, the Chilean Navy had a regional hegemony in the years following the War of the Pacific. To secure this advantage and not let new Argentine acquisitions challenge Chilean naval power, the Chilean government decided to modernize its navy. The modernization plan included the ordering of two cruisers and two torpedo boat destroyers, and the modernization of two armoured ships in English docks.


title: Chilean Navy

text: A new predreadnought battleship, , was ordered under the new construction program in 1889. The advent of the 1891 Chilean Civil War had a breach between the two branches of the Chilean armed forces, while the bulk of navy sided with the congress side, the majority of the Chilean Army remained loyal to José Manuel Balmaceda. When the majority of the national congress broke relations with the government, Jorge Montt took control of the fleet at Valparaíso and with notable politicians, such as Ramón Barros Luco, on board, the fleet sailed north to the nitrate-rich Tarapacá area, which Chile had seized from Peru 10 years earlier. Tarapacá was, by that time, Chile's richest region in terms of natural resources and was without the fleet practically out of reach for the Chilean Army. From here, the navy organized an army made of nitrate miners, whom they armed and trained to face the 40,000-men-strong Army of Chile. In August 1891, the new army was disembarked in Quintero and defeated the Chilean Army at the Battle of Concón and the Battle of Placilla before the presidential faction disbanded and the congressional side took power. On the elections of October 1891, Jorge Montt was elected president.


title: Chilean Navy

text: Not all navy officers sided with the congress. Some like Juan Williams Rebolledo, Juan José Latorre and Policarpo Toro remained on the presidential side and Francisco Vidal Gormaz declared his neutrality. After the war these officers were removed from their offices. In contrast to these officers whose career or influence in the navy was truncated by the war, the 1891 Chilean Civil War served as a starting point of a successful career in the navy for a generation of young officers like Francisco Nef and others who sided with the congressionals who won the war.


title: Chilean Navy

text: After incidents with Chile in 1872, 1877, and 1878, Argentina had decided that a brown-water navy, even if modern, was not enough to back up its ambitions in Patagonia and the South Atlantic. Both countries were distracted in the next few years by Argentina's internal military operations against natives and Chile's War of the Pacific against Bolivia and Peru, but by 1890, a full-fledged naval arms race was underway between the two. The Boundary treaty of 1881 between Chile and Argentina had been a major success in laying the groundwork for nearly all of Chile and Argentina's of shared borders, but the drawing of boundaries in the largely unexplored inland Patagonia soon became a major source of territorial disputes. Over the 1880s and 1890s, Chile and Argentina engaged in an arms race fueled by nationalistic rhetoric and tax income from their blooming economies. Both countries signed a treaty in 1902 to end the arms race.


title: Chilean Navy

text: During the 1890s, the Chilean Navy carried out many hydrographic surveys in the Patagonian channels aimed to improve navigation, and explored the river basins of Patagonia. A German geographer, Hans Steffen, led navy explorations to western Patagonia, laying the groundwork for colonization of what would be Aisén Region years later. The navy occasionally collaborated with European naturalists such as Carl Skottsberg in their surveys of Chilean territory.


title: Chilean Navy

text: In 1904, Brazil ordered two dreadnoughts to be built by the United Kingdom. In response, Argentina ordered two dreadnoughts with an option for a third from the United States. They also ordered 12 destroyers from three nations in Europe. With its major rival acquiring so many modern vessels, Chile was forced to respond, though this was delayed by a financial depression brought on by a major earthquake and a drastic fall in the nitrate market in 1906 and 1907, respectively. Eventually, Chile ordered two "Almirante Latorre"-class super-dreadnoughts and six "Almirante Lynch"-class destroyers from British shipyards, but received only two destroyers before the rest were purchased by the Royal Navy during World War I; of these, Chile would finally receive three destroyers and one battleship, the "Almirante Latorre", after the War.


title: Chilean Navy

text: Chile also received six British H-class submarines from the Royal Navy in 1917, and purchased three "Capitan O'Brien"-class submarines and six "Serrano"-class destroyers in the late 1920s. Its fleet of cruisers, though, all built in the 1890s, were totally outdated by the time the Great Depression forced their retirements without replacements.


title: Chilean Navy

text: In 1931, the navy once more made headlines in Chilean politics when large portions of it (26 ships) began a mutiny that demanded the president to rescind a salary reduction. The demands were later expanded to include an agrarian reform, industrial "solidarity", and the payment of the external debt by the "millionaires". The mutineers had their ships located at Coquimbo and Talcahuano's naval base, which they controlled. Chilean government responded by sending the Chilean Air Force to bombard the ships in Coquimbo and charging Talcahuano's naval base. After the quelling of the rebellion, the navy was purged, though the mutiny had its origin among the lower ranks.


title: Chilean Navy

text: These economic and political factors, along with Chile's neutrality for much of World War II, meant that the navy did not acquire any warships until after the war.


title: Chilean Navy

text: Chile formulated its Antarctic claim in 1940. In 1947, the navy established the first Chilean base, the Captain Arturo Prat Base, on the continent before the Chilean Army or Air Force established their own bases. Since then, the navy has played a major role in supplying Chilean bases and performing numerous rescue missions, among them, the in 1972 and 2007.


title: Chilean Navy

text: The Navy's most recognizable sailing-school ship, the , began operations in 1952. It since has made various trips around the world with selected cadet officers and NCOs on board trained in ship handling and operations, as a requirement for graduation. Prior to the "Esmeralda", another sailing ship, the "General Baquedano", fulfilled the same functions.


title: Chilean Navy

text: In the 1950s, the Chilean Navy became involved in a series of incidents with the Argentine Navy and Argentine civilians in the disputed areas of the Beagle Channel and Cape Horn. These incidents took the form of incursions into Chilean waters by Argentine fishing ships, and provocations, such as the shelling of a Chilean lighthouse by the Argentine Navy during the Snipe incident of 1958. During the late 1970s, the Chilean Navy played an important role in defending Chilean sovereignty over the Picton, Lennox and Nueva islands that the Argentine Navy planned to seize.


title: Chilean Navy

text: The birth of the modern Chilean Marine Corps of today began in 1964. Naval educational institutions were reformed in 1968, when president Eduardo Frei Montalva created the "Naval Specialities Schools System" with headquarters at the Las Salinas Naval Base in Viña del Mar. One of its schools, the Naval Seaman Training School, became the Seamen's School of the Navy "Captain Alejandro Navarrete Cisterna" in the same year as its centenary, in honor of the first naval seaman to rise through the ranks to become a naval officer. The NSSS soon became the Naval Polytechnic Academy in 1995, through a merger of all its component schools, with some of these schools staying as independent constituent academies.


title: Chilean Navy

text: After the 1973 Chilean coup d'etat, together with the Army, the Air Force, and the Carabiniers, the navy, led by Admiral Jose Toribio Merino, became part of the government "junta" led by army commander in chief Augusto Pinochet. Upon the latter's resignation from the "junta" leadership in 1981, Adm. Merino became its chairman until March 1990, presiding over its sessions and those of the Legislative Commission. He was also, concurrently, the national defense minister. The training ship "Esmeralda" functioned as a floating prison and torture chamber for political prisoners during the 1973–1980 period of the military dictatorship. It is claimed that probably over a hundred persons were kept there at times and subjected to hideous treatment. It was also an unprecedented period of growth and expansion of the naval service, as more vessels became part of it, the marines strengthened and the navy's special forces unit raised.


title: Chilean Navy

text: The 25,000-person navy, including 5,200 marines, is directed by Admiral Julio Leiva Molina Martin as of 2017. Of the fleet of 66 surface vessels (soon to be increased to 74), 21 are major combatant ships based in Valparaíso. The navy operates its own aircraft for transport, patrol, and surface and antisubmarine attack. The navy also operates four submarines and a tender ship to support them, all based in Talcahuano.


title: Chilean Navy

text: The navy also provides access to services for residents of Chile's Pacific and Southern island regions, thus integrating its disjointed geography. The transport of passengers, especially during the school year or in cases of emergency, together with the supply of provisions and fuel, are of key importance to the inhabitants of these insular zones.


title: Chilean Navy

text: The institution regularly carries out civil operations whereby navy professionals provide social assistance and health care to the civilian population, and provide support in cases of natural catastrophe.


title: Chilean Navy

text: It also undertakes preventive education campaigns for Chile's population on issues that include security on beaches and seaside resorts, and measures to be taken in the case of a tsunami.


title: Chilean Navy

text: The most important naval bases and supply depots are (from north to south) in the Pacific Ocean: Iquique, Easter Island, Valparaíso, Talcahuano, Puerto Montt; in the Atlantic zone: Strait of Magellan and Tierra del Fuego: Punta Arenas, in the Beagle Channel, Cape Horn and Drake Passage: Puerto Williams, and in Antarctica: Captain Arturo Prat Base. These are now spread into five naval zones.


title: Chilean Navy

text: The Chilean Marines or (Infanteria de Marina de Chile) are the land/amphibious attack force of the Chilean Navy. The 5,000 man force combines special training and tactics with state-of-the-art equipment.


title: Chilean Navy

text: The Servicio Hidrográfico y Oceanográfico de la Armada de Chile (SHOA, Spanish for Hydrological and Oceanographic Service of the Chilean Navy) is an agency of the Chilean Navy managing situations dealing with hydrology and oceanography including tides and tsunamis. SHOA is also the official Chilean government timekeeper.


title: Chilean Navy

text: Ranks and rates are shown on the sleeves of all Chilean Navy summer uniforms (and on the shoulder boards on winter or summer service uniforms as well for officers and WOs only). Shoulder and sleeve ranks are inspired by those in the British Royal Navy, the French Navy and the German Navy. Officers, WOs and NCOs of the Marines add the "Infante de Marina" (Marine Soldier) title to their ranks from Seaman onward, as the Marines are part of the Navy.


title: Chilean Navy

text: All officers, active or reserve, study at the Arturo Prat Naval Academy and later in the Naval Polytechnic Academy and the Naval War Academy receive improved training and education to be promoted as well as training in his/her specialty field while all active and reserve NCOs (known in the Navy through the general term "Men of the Sea") study at the Seamen's School of the Navy "Alejandro Navarette Cisnerna" and later in the Naval Polytechnic Academy and its attached and independent colleges for later specialty training.


title: Ritwik Ghatak

text: Ritwik Kumar Ghatak (; 4 November 19256 February 1976) was a noted Indian film director, screenwriter, and playwright. Along with prominent contemporary Bengali filmmakers Satyajit Ray, Tapan Sinha and Mrinal Sen, his cinema is primarily remembered for its meticulous depiction of social reality, partition and feminism. He won the National Film Award's Rajat Kamal Award for Best Story in 1974 for his "Jukti Takko Aar Gappo" and Best Director's Award from Bangladesh Cine Journalist's Association for "Titash Ekti Nadir Naam". The Government of India honoured him with the Padma Shri for Arts in 1970.


title: Ritwik Ghatak

text: Ritaban Ghatak, his son, is also a filmmaker and is involved in the Ritwik Memorial Trust. He has restored Ritwik's "Bagalar Banga Darshan", "Ronger Golam" and completed his unfinished documentary on Ramkinkar.


title: Ritwik Ghatak

text: He made a film titled "Unfinished Ritwik". He is working on adapting Bibhutibhushan Bandopadhyay's novel "Ichhamati". Ghatak's elder daughter Samhita, made a docufeature titled "Nobo Nagarik". Ghatak's younger daughter died in 2009.


title: Ritwik Ghatak

text: In 1948, Ghatak wrote his first play "Kalo sayar" (The Dark Lake) and participated in a revival of the landmark play "Nabanna". Ghatak, who was a member of the Communist Party of India till he was expelled in 1955, was one of the main leaders behind the party's cultural wing, the Indian People’s Theatre Association. He was renowned for his partition trilogy Meghe Dhaka Tara (The Cloud-capped Star), 1960; Komal Gandhar (E Flat), 1961; and Subarnarekha (The Golden Thread), 1962.


title: Ritwik Ghatak

text: Ghatak entered the film industry with Nimai Ghosh's "Chinnamul" (1950) as actor and assistant director. "Chinnamul" was followed in two years by Ghatak's first completed film "Nagarik" (1952), both major breakthroughs for the Indian cinema. Ghatak's early work sought theatrical and literary precedent in bringing together a documentary realism, a stylised performance often drawn from the folk theatre, and a Brechtian use of the filmic apparatus.


title: Ritwik Ghatak

text: Ghatak moved briefly to Pune in 1966, where he taught at the Film and Television Institute of India (FTII). His students included film makers Mani Kaul, Kumar Shahani, Adoor Gopalkrishnan, Saeed Akhtar Mirza, John Abraham. During his year at FTII, he was involved in the making of two student films: "Fear" and "Rendezvous".


title: Ritwik Ghatak

text: At the time of his death in February 1976, Ghatak's primary influence seemed to have been through former students. Although his stint teaching film at FTII was brief, one-time students Mani Kaul, John Abraham, and especially Kumar Shahani, carried Ghatak's ideas and theories, which were elaborated upon in his book "Cinema and I", into the mainstream of Indian art film. "Cinema and I" was called by Satyajit Ray as a book that covers all aspects of filmmaking. Other students of his at the FTII included Saeed Akhtar Mirza, Subhash Ghai and Adoor Gopalakrishnan.


title: Ritwik Ghatak

text: While other filmmakers like Satyajit Ray succeeded in creating an audience outside India during their lifetime, Ghatak and his films were appreciated primarily within India. Satyajit Ray did what he could to promote his colleague, but Ray's generous praise did not translate into international fame for Ghatak. For example, Ghatak's "Nagarik" (1952) was perhaps the earliest example of a Bengali art film, preceding Ray's "Pather Panchali" by three years but was not released until after his death in 1977. His first commercial release "Ajantrik" (1955) was one of the early Indian films to portray an inanimate object, an automobile, as a character in the story, many years before the Herbie films. Ghatak's "Bari Theke Paliye" (1958) had a similar plot to François Truffaut's "The 400 Blows" (1959), but Ghatak's film remained obscure while Truffaut's went on to become one of the more famous of the French New Wave. One of Ghatak's later films, "Titash Ekti Nadir Naam" (1973), is one of the early to be told in a hyperlink format, featuring multiple characters in a collection of interconnected stories, predating Robert Altman's "Nashville" (1975) by two years.