title: The Big Payback (Atlanta)

text: Michael Martin of "The A.V. Club" gave the episode an "A-" and wrote, "For a show labeled comedy (for lack of a more apt genre), 'Big Payback' isn't a fun 30-plus minutes, but it is great television. "Atlanta" is tackling the big, uncomfortable questions no one else would dare — namely, can we resolve systemic racism and reconcile this country's history with slavery, when some won't even acknowledge either — and this episode is worth spending time with. Unfortunately, the people who most need to consider its themes won't see it; they can afford to turn away."


title: The Big Payback (Atlanta)

text: Alan Sepinwall of "Rolling Stone" wrote, "This one doesn't work nearly as well as 'Three Slaps', though, and suggests there's a limit to even this great show's ability to do and be anything from one episode to the next. Usually, even when "Atlanta" is going off-format, it still in some way feels like "Atlanta". This one, though, seemed more like a leftover installment of another FX show, B. J. Novak's clumsy social satire anthology "The Premise"." Darren Franich of "Entertainment Weekly" gave the episode an "A" and wrote, "This is great, vital television. I'd rank 'Big Payback' just behind the season premiere's feverishly funny white-adoption nightmare. Does it matter that the best two episodes of season 3 don't really feature the show's main cast? I've seen some theories that the show is becoming an outright anthology. I hope that is not true, because anthologies suck. But I think Segal's reappearance suggests some hazy-but-potent continuity between these episodes, and maybe a larger thematic story that will only become clear with time."


title: The Big Payback (Atlanta)

text: Jordan Taliha McDonald of "Vulture" gave the episode a 3 star rating out of 5 and wrote, "Unintentionally, the episode exposes the limits of reparation without revolution. "Atlanta" sublimates Black precarity to fixate on white fragility and thus, forecloses a more complex exploration of the problems money cannot solve. Perhaps this would explain why its satirical engagement with Black characters is so secondary and sensational." "Thrillist" wrote, "'The Big Payback' and 'Three Slaps' find "Atlanta" pushing the boundaries for a series that already felt unconfined. Almost midway through this penultimate season, viewers are unsure what to expect on the other side of that cold open. That's a testament to the risks Glover and crew are willing to take to get these stories heard. Black shows have tackled the reparations conversation before, but never to this degree. It's hard to think of a series on television right now that would dare go this far, and when you couple that with the fact that these conversations are starting to actually pop up in your news feeds, it's hard to tell if any show can match "Atlanta"s prophetic brilliance."


title: Lady Margaret Hall, Oxford

text: Lady Margaret Hall (LMH) is one of the constituent colleges of the University of Oxford in England, located on the banks of the River Cherwell at Norham Gardens in north Oxford and adjacent to the University Parks. The college is more formally known under its current royal charter as "The Principal and Fellows of the College of the Lady Margaret in the University of Oxford".


title: Lady Margaret Hall, Oxford

text: The college was founded in 1878, closely collaborating with Somerville College. Both colleges opened their doors in 1879 as the first two women's colleges of Oxford. The college began admitting men in 1979. The college has just under 400 undergraduate students, around 200 postgraduate students and 24 visiting students. In 2016, the college became the only college in Oxford or Cambridge to offer a Foundation Year for students from disadvantaged backgrounds.


title: Lady Margaret Hall, Oxford

text: In 2018, Lady Margaret Hall ranked 21st out of 30 in Oxford's Norrington Table, a measurement of the performance of students in finals.


title: Lady Margaret Hall, Oxford

text: The college's colours are blue, yellow and white. The college uses a coat of arms that accompanies the college's motto ""Souvent me Souviens"", an Old French phrase meaning "I often remember" or "Think of me often", the motto of Lady Margaret Beaufort, who founded Christ's College and St John's College at Cambridge, and after whom the college is named.


title: Lady Margaret Hall, Oxford

text: The principal, since October 2022, is Stephen Blyth. Notable alumni of Lady Margaret Hall include Benazir Bhutto, Michael Gove, Nigella Lawson, Josie Long, Ann Widdecombe and Malala Yousafzai.


title: Lady Margaret Hall, Oxford

text: In June 1878, the "Association for the Higher Education of Women" was formed, aiming for the eventual creation of a college for women in Oxford. Some of the more prominent members of the association were George Granville Bradley, Master of University College, T. H. Green, a prominent liberal philosopher and Fellow of Balliol College, and Edward Stuart Talbot, Warden of Keble College. Talbot insisted on a specifically Anglican institution, which was unacceptable to most of the other members. Some of the Anglican members of the association had specifically wanted to endow an Anglican college after the Moncure Conway from the humanist South Place Religious Society in London offered a large sum of money towards a secular women's college; the established church was already concerned that University College London, which had recently become the first university to admit women, would lead "advanced women" away from Christianity.


title: Lady Margaret Hall, Oxford

text: The two parties eventually split, and Talbot's group founded Lady Margaret Hall, while T. H. Green founded Somerville College. Lady Margaret Hall opened its doors to its first nine students in 1879. The first 21 students from Somerville and Lady Margaret Hall attended lectures in rooms above a baker's shop on Little Clarendon Street. Despite the college's High Anglican origins, not all students were devout Christians.


title: Lady Margaret Hall, Oxford

text: The college was named after Lady Margaret Beaufort, mother of King Henry VII, patron of scholarship and learning. The first principal was Elizabeth Wordsworth, the great-niece of the poet William Wordsworth and daughter of Christopher Wordsworth, Bishop of Lincoln.


title: Lady Margaret Hall, Oxford

text: The land on which the college is built was formerly part of the manor of Norham that belonged to St John's College. The college bought the land from St John's in 1894, the other institution driving a hard bargain and requiring a development price not only on the practical building land but also on the undevelopable water meadows. However, this land purchase marked a change in ambition from occupying residential buildings for teaching purposes to erecting buildings befitting an educational institution.


title: Lady Margaret Hall, Oxford

text: In 1897, members of Lady Margaret Hall founded the Lady Margaret Hall Settlement, as part of the settlement movement. It was a charitable initiative, originally a place for graduates from the college to live in North Lambeth where they would work with and help develop opportunities for the poor. Members of the college also helped found the Women's University Settlement, which continues to operate to this day, as the Blackfriars Settlement in south London.


title: Lady Margaret Hall, Oxford

text: Before 1920, the university refused to give academic degrees to women and would not acknowledge them as full members of the university. (Some of these women, nicknamed the steamboat ladies, were awarded "ad eundem" degrees by Trinity College Dublin, between 1904 and 1907.) In 1920 the first women graduated from the college at the Sheldonian Theatre and the principal at the time, Henrietta Jex-Blake, was given an honorary degree.


title: Lady Margaret Hall, Oxford

text: During the Second World War women were not permitted to fight on the front line, and thus many of the students and fellows took up other roles to aid in the war effort, becoming nurses, firefighters and ambulance drivers. The Fellows' Lawn was dug up and the students grew vegetables as part of the Dig for Victory campaign.


title: Lady Margaret Hall, Oxford

text: In 1979, one hundred years after its foundation, the college began admitting men as well as women; it was the first of the women's colleges to do so, along with St. Anne's.


title: Lady Margaret Hall, Oxford

text: In 1919 J. R.R. Tolkien started to give private tuition to students at Oxford, including members of LMH where his tuition was much needed given the limited resources and tutors the college had in its early years. Later his daughter, Priscilla Tolkien, attended the college, graduating in 1951.


title: Lady Margaret Hall, Oxford

text: In 2017 Malala Yousafzai, the youngest-ever Nobel Prize Peace laureate and Pakistani campaigner for girls' education, became a student of the college; she described the interview as "the hardest interview of [her] life", and received an offer of AAA in her A-Levels. She graduated in 2020. Also in 2017, prospective Chemistry student Brian White faced deportation at the hands of the Home Office, but was able to take up his place at the college.


title: Lady Margaret Hall, Oxford

text: Lady Margaret Hall is the only Oxford college to offer a foundation year; the scheme recruits students from minority and underrepresented backgrounds, and offers successful applicants lower grade requirements than the standard Oxford entry grades. Students choose a subject to specialise in, and also take courses in study skills and other general subject areas, with the aim that they progress to an undergraduate degree at the college after a year of study. Pupils live in the college and have access to the same university facilities, both academic and social, as other students.


title: Lady Margaret Hall, Oxford

text: Modelled after a programme at Trinity College, Dublin, the four-year pilot scheme began in 2016 with 10 students, seven of whom went on to study at Oxford, with the other three receiving offers from different Russell Group universities. It was praised by David Lammy, a Labour MP who said the foundation year is "exactly the sort of thing that needs to be done", and by Les Ebdon, director of Office for Fair Access, who described the programme as "innovative and important".


title: Lady Margaret Hall, Oxford

text: The development of the college's buildings is perhaps best thought of as a zigzag, beginning in the 1870s at the end of Norham Gardens and making its way down towards the River Cherwell, and then running back towards Norham Gardens forming quadrangles on the return journey. The following account of the buildings moves through the college as these spaces emerge for a visitor entering the college at the Porters' Lodge and walking to the river. Because of the way the college developed, the dates and styles of the buildings enclosing the quadrangles are not all of a piece.


title: Lady Margaret Hall, Oxford

text: The Leatare quadrangle was completed in March 2017 and includes both the college's newest and oldest buildings. The main entrance consists of the front gates flanked by classical columns along with the porters' lodge (2017). On the North West side the Donald Fothergill Building (2017) contains student accommodation while the Clore Graduate Centre (2017) extends further out to the South East towards the University Parks.


title: Lady Margaret Hall, Oxford

text: The college's oldest buildings are along the South East side of the Leatare Quadrangle. The college's original house, a white brick gothic villa, is now known as Old Old Hall, while the adjoining red-brick extension designed by Basil Champneys is known as New Old Hall (1884). Old Old Hall originally housed the college chapel until the construction of the Deneke building. Opposite the entrance is the Wolfson West (1964), which was previously the entrance to the college.


title: Lady Margaret Hall, Oxford

text: Old Old Hall, which had been built as a speculative development on land leased from St John's College, was described as an "ugly little white villa" by the college's founder, Bishop Talbot in his 1923 history of the college. On several occasions in the twentieth century consideration was given to demolishing the earliest buildings of the college, but the temptation was resisted.


title: Lady Margaret Hall, Oxford

text: The only remaining visible evidence of the road that used to run alongside Old Old Hall and past the steps of Talbot Hall are the two large linden trees, which used to line the pavement before the road was removed to allow expansion of the college. The two smaller trees were planted during construction of the quadrangle. The recent expansion designed by John Simpson Architects was modelled after the Porta Maggiore in Rome, in conjunction with the simple façade of the Wolfson West building.


title: Lady Margaret Hall, Oxford

text: The MCR, located in the Clore Graduate Centre, is named after the first female Prime Minister of Pakistan, Benazir Bhutto, who studied at the college from 1973 to 1977.


title: Lady Margaret Hall, Oxford

text: The architect of the main early college buildings, including Lodge, Talbot and Wordsworth, was Sir Reginald Blomfield, who had earlier worked on other educational commissions such as Shrewsbury School, and Exeter College, Oxford. He used the French Renaissance style of the 17th century for the buildings and chose red brick with white stone facings, setting a tone the college was to continue to follow in later work.


title: Lady Margaret Hall, Oxford

text: These buildings describe the south and east of the Wolfson Quadrangle and run out into the gardens to the east. Blomfield was also involved in establishing and planning the gardens.


title: Lady Margaret Hall, Oxford

text: The central block, the Talbot Building (1910) on the North East of the main quad houses Talbot Hall and the Old Library (currently a reception and lecture room), while the accommodation for students and tutors is divided between three wings, the Wordsworth Building (1896), the Toynbee Building (1915) and the Lodge Building (1926).


title: Lady Margaret Hall, Oxford

text: Talbot Hall contains some fine oak panelling donated by former students to honour Elizabeth Wordsworth and, prior to the Deneke building, was used as a dining hall for the students. In recent years, it is used to house termly live music nights among other college events. The portraits in the Hall include the work of notable artists; among the portraits of principals are:


title: Lady Margaret Hall, Oxford

text: On the North West is the Lynda Grier building (1962) housing the college library; this was officially opened by Queen Elizabeth II in 1961. The ground floor of Lynda Grier was originally student accommodation but in 2006 it was converted into a law library, which was opened that year by Cherie Blair. The library was of great importance when founded as women (remarkably) were not permitted to use the Bodleian Library, and thus is relatively large for an Oxford college. The Briggs room originally contained the entire archive of rare and antiquarian books donated to the college over the years. However, due to its size of around 2,000 books, the archive is now stored in the Lawrence Lacerte Rare Books Room in the new Law Library extension on the ground floor. The collection includes a Quran created circa 1600 and a Latin translation of Galileo's "Dialogo" from 1663.


title: Lady Margaret Hall, Oxford

text: Lynda Grier and Wolfson West were designed by Raymond Erith. In recent years the Wolfson Quadrangle, in contrast to many Oxbridge quadrangles, has been planted with wild flowers instead of an intensively managed, striped quadrangle lawn.


title: Lady Margaret Hall, Oxford

text: Named after former principal, Dame Frances Lannon, the quadrangle consists of the Sutherland Building (1971) and the Pipe Partridge Building (2010). Behind this is Sutherland's sister building, Kathleen Lee (1972), which houses the JCR.


title: Lady Margaret Hall, Oxford

text: The first phase of the recent plan to expand the college, the Pipe Partridge Building, was completed in early 2010 and was opened by the Chancellor of the University of Oxford, Lord Patten of Barnes, in April 2010.


title: Lady Margaret Hall, Oxford

text: The Pipe Partridge Building includes the 136-seat Simpkins Lee theatre, a dining hall, seminar rooms and 64 new undergraduate study bedrooms.


title: Lady Margaret Hall, Oxford

text: To the north-east extends the large Deneke block (1932) along with the hall and the college's Byzantine-style chapel where the choir practises and carol services are held in Michaelmas term. These were designed by Giles Gilbert Scott. The chapel has simple decoration with several paintings on the walls, and a statue of Margaret Beaufort that lies in the central section of the chapel. The passageway that leads to the chapel is referred to within the college as "Hell's Passage". The name was derived from the 19th-century illustrations of Dante's "Inferno", by John D. Batten, that used to decorate its walls.


title: Lady Margaret Hall, Oxford

text: The chapel is in the form of a Greek cross was dedicated by the college's founder Edward Stuart Talbot, in January 1933.


title: Lady Margaret Hall, Oxford

text: In April 2019, he and other LGBT clergy in the Church of England started the "Campaign for Equal Marriage in the Church of England", calling on the church to allow same-sex couples to be married in Church of England parishes, and to stop discriminating against people in such marriages.


title: Lady Margaret Hall, Oxford

text: Lady Margaret Hall is one of the few Oxford colleges that backs onto the River Cherwell. It is set in spacious grounds (about ). The grounds include a set of playing fields, netball and tennis courts, a punt house, topiary, and large herbaceous planting schemes along with vegetable borders. There is a Fellows' Garden – hidden from view by tall hedgerows – and a Fellows' Lawn, on which walking is forbidden.


title: Lady Margaret Hall, Oxford

text: The Junior Common Room (JCR) is a physical room as well as being the association of the undergraduate members of the college. It represents its members to the college authorities and facilitates activities and budgets as well as clubs and societies. Officers are elected by the student body to communicate internally and externally on matters regarding student life.


title: Lady Margaret Hall, Oxford

text: In 2022, Lady Margaret Hall was the first Oxford college to sign a government-backed pledge on ending non-disclosure agreements in cases of sexual misconduct. This followed reporting by "The Times" that eight female LMH students felt unsafe after the college's response to their complaints of student sexual violence between 2015 and 2021. One undergraduate said that she was threatened with expulsion if she spoke about being raped by a man who was previously reported to the college for sexual violence, and was made to sign a confidentiality agreement by the then Principal Alan Rusbridger. The college initially disputed the undergraduate's claim, but under Rusbridger's successor Christine Gerrard settled the case and paid damages to the woman. Gerrard described the pledge as part of reforms to strengthen safeguarding procedures.


title: Lady Margaret Hall, Oxford

text: Accommodation is always provided for undergraduates for 3 years of their study, and provided for some graduates. The accommodation is found throughout college with a ballot system giving first choice of room to the students of higher years. The Deneke building contains exclusively accommodation for first year undergraduates and students visiting from other universities.


title: Lady Margaret Hall, Oxford

text: Given the River Cherwell running past the bottom of LMH's grounds, the students have always had a strong history of spending time by or on the river with the first boat, "Lady Maggie", purchased in 1885. The punt house, by tradition, opens on May Day.


title: Lady Margaret Hall, Oxford

text: In addition to university-wide societies, students at Lady Margaret Hall can also join societies specific to the college The college has a gym, found near the entrance by Pipe Partridge.


title: Lady Margaret Hall, Oxford

text: LMH's rowing club, Lady Margaret Hall Boat Club (LMHBC) is one of the largest sports club within the college. In recent years, the club has won blades in OURCs events multiple times. The club has a boat house shared with Trinity College on Boat House Island by Christ Church Meadows, along with a purpose built erg shed, constructed to aid in training.


title: Lady Margaret Hall, Oxford

text: The Men's 1st VIII have raced in the Temple Challenge Cup at Henley Royal Regatta on several occasions. On multiple years including 2018 and 2019, members of the club have rowed in The Boat Race, an annual competition between Oxford and Cambridge.


title: Lady Margaret Hall, Oxford

text: The college's boat club has, like other UK Rowing Clubs, distinctive blazers that can be awarded by the club to members who attain membership of certain VIIIs or race with distinction in Summer Eights or Torpids. These blazers have blue and yellow trim and a blue Beaufort portcullis on them, which is the emblem of the boat club and increasingly other sports clubs.


title: Lady Margaret Hall, Oxford

text: Rowing blades commemorating success in the intercollegiate rowing competitions decorate the walls of the bar.


title: Lady Margaret Hall, Oxford

text: The college football ground is situated adjacent to Oxford Centre for Islamic Studies and is shared with St Catherine's College and Trinity College.


title: Lady Margaret Hall, Oxford

text: In light of its history, the hall has a collection of portraits of early/distinguished women academics. Early Principals Lynda Grier, Dame Lucy Sutherland and Sally Chilver, along with other members of the college, were keen collectors of contemporary art and bequeathed many of these works to the College.


title: Lady Margaret Hall, Oxford

text: The original coat of arms consisted of three daisies intertwined and bore the motto - "Ex solo ad solem" meaning "From the earth to the sun" and can be seen to adorn Talbot hall, and the Wordsworth and Toynbee buildings. The previous coat of arms gave its name to one of the early college student publications from the 1890s – "The Daisy".


title: Lady Margaret Hall, Oxford

text: After the 50th anniversary of the college, the coat of arms was replaced, now encompassing features that represent the history and founding of the college.


title: Lady Margaret Hall, Oxford

text: In the 20th century, the yearly Deneke talks were held in memory of Philip Maurice Deneke who died in 1924. Lectures in this series included "Goethe on nature and science" in 1942 by Nobel laureate Charles Scott Sherrington, and in 1933, Albert Einstein gave the talk "Einiges zur atomistic", concluding the address as follows: "The deeper we search, the more we find there is to know, and as long as humanity exists I believe it will always be so." Margaret Deneke, daughter of Philip, wrote of the talk in her memoirs:


title: Lady Margaret Hall, Oxford

text: In Phillip Pullman's "The Secret Commonwealth", the character Lyra Belacqua attends an Oxford college, St Sophia's, which bears many similarities to Lady Margaret Hall: from its location on the map seen in "Lyra's Oxford" to being one of the first colleges to offer women an education.


title: Lady Margaret Hall, Oxford

text: A thinly disguised version of the college appeared as "Lady Matilda's College" in an episode of "Lewis;" portions of the episode were filmed within the hall.


title: Lady Margaret Hall, Oxford

text: The grounds, along with those of Trinity College, Oxford, were the basis for Fleet College in the American author Charles Finch's novel set in Oxford University, "The Last Enchantments".


title: Lady Margaret Hall, Oxford

text: "Death on the Cherwell" by Mavis Doriel Hay includes a St Simeon's College, located approximately on the site of Lady Margaret Hall.


title: Lady Margaret Hall, Oxford

text: "Fire and Hemlock" by Diana Wynne Jones had a St Margaret's College, which is based on Lady Margaret Hall.


title: Lady Margaret Hall, Oxford

text: The fictional St Scholastika's College in Val McDermid's 2010 novel "Trick of the Dark" is a formerly all-female college located in North Oxford, adjacent to the University Parks, with grounds backing on to the river, and buildings of red and yellow brick; it thus appears to be inspired as much by Lady Margaret Hall as by McDermid's own alma mater, St. Hilda's College, Oxford.


title: Lady Margaret Hall, Oxford

text: A Great Western Railway 6959 Class locomotive named "Lady Margaret Hall", number 7911, was built in 1950.


title: Lady Margaret Hall, Oxford

text: Unusually for Oxford colleges, students are permitted to walk on the Talbot Quadrangle, the main quad of the college. In Trinity term, a spiral of wildflowers are planted, creating a grass walkway into the centre of the quad. This is the only wildflower quad in Oxford. There is a circular wooden bench dedicated to Iris Murdoch in the college gardens where she used to go walking.


title: Lady Margaret Hall, Oxford

text: Lady Margaret Hall is one of nine Oxford colleges to use the "two-word" Latin grace; this grace is also used by five colleges at the University of Cambridge. The person presiding at High Table says the grace in two parts at formal meals. The first half of the grace, the "ante cibum", is said before the meal starts and the second, the "post cibum", once the meal's conclusion. It is as follows:


title: Lady Margaret Hall, Oxford

text: "Benedicto benedicatur" - "Let praise be given to the Blessed One" or "Let a blessing be given by the Blessed One"


title: Lady Margaret Hall, Oxford

text: In contrast to some other colleges, gowns are not worn to formal hall, though they are still required at special occasions such as the Scholars' dinner and the Founders' and Benefactors' dinner.


title: Lady Margaret Hall, Oxford

text: The chapel at LMH holds weekly evensong every Friday, with services lead by Andrew Foreshew-Cain, as well as Catholic communions and other seasonal services such as the Christmas carol service and the Ash Wednesday service. The LMH Chapel Choir is led by Paul Burke.


title: Mercedes-Benz S-Class (C217)

text: The Mercedes-Benz S-Class Coupé and Convertible (C217/A217) are grand tourers manufactured by Mercedes-Benz from 2014 to 2020.


title: Mercedes-Benz S-Class (C217)

text: The C217 model succeeded the C216 CL-Class and is the last version of the S-Class coupé. It is also the first Mercedes coupé to carry the S-Class name since the C126 model.


title: Mercedes-Benz S-Class (C217)

text: The Concept S-Class Coupé was unveiled at the 2013 Frankfurt Motor Show to showcase the appearance of the upcoming S-Class coupé model. It features a new design compared to the previous CL-Class model, utilizing the brand's "Sensual Purity" design philosophy first developed for the W222 S-Class in 2009.


title: Mercedes-Benz S-Class (C217)

text: The production version of the S-Class coupé was announced and unveiled in February 2014, with its first public showing at the Geneva Motor Show in March 2014. Mercedes showed the S500 model (known as the S550 in the United States market) at the Geneva show.


title: Mercedes-Benz S-Class (C217)

text: At the New York Auto Show in April 2014, Mercedes made the first public showing of the S 63 AMG 4MATIC model. The S 65 AMG model, which includes a V12 Bi-Turbo engine, was unveiled in July 2014.


title: Mercedes-Benz S-Class (C217)

text: In September 2017, the S-Class Coupé facelift was launched at the 2017 Frankfurt Auto Show. The outgoing S500/550 nameplate has been replaced by the S560. A whole new range of engines have been introduced. The new M177 4.0 V8 Biturbo replaces the old M157 5.5 V8 Biturbo in the AMG S63 4MATIC+. 4MATIC+ All Wheel Drive is now standard in the AMG S63 featuring drift mode. The S560 uses a detuned version of the same engine, dubbed the M176. A new Europe-only base model, the S450 4MATIC (replaces S400 4MATIC), uses the M256 I6 Turbo. A new 9G-Tronic transmission is now standard across the range, with the exception of the AMG S65, which still uses the 7G-Tronic.


title: Mercedes-Benz S-Class (C217)

text: The S-Class Coupé and Cabriolet were discontinued after the 2021 model year without replacement. The market for the full-sized S-Class Coupé and Cabriolet had never really caught on, with customers likely better served by the SL-Class hardtop convertible or E-Class Coupé/Cabriolet, the latter two nameplates having more brand equity. Although Mercedes-Benz had released numerous model variants in the early 2010s to grow sales, by the end of the decade Mercedes-Benz aimed to simplify its lineup to leave room for new electric vehicles, as well as making things less complex for its dealers.


title: Mercedes-Benz S-Class (C217)

text: It features the most advanced driver assistance and safety technology that was available in 2013, including Traffic Sign Assist with wrong-way driving warning function.


title: Mercedes-Benz S-Class (C217)

text: The C217 coupé continues to offer the AIRMATIC semi-active air suspension as standard. The C217 introduced an update to the hydraulic fully active Magic Body Control suspension (which debuted on the W222 sedan model), which allows the vehicle to lean up to 2.5 degrees into a turn, similar to the way a motorcycle leans into a turn. The leaning is intended to counter the effect of centrifugal force on the occupants and is available only on rear-wheel drive models.


title: Mercedes-Benz S-Class (C217)

text: Like the W222 sedan, the C217 coupé includes full-LED lighting on the exterior (including full-LED headlamps with Intelligent Light System and Adaptive Highbeam Assist PLUS) and interior of the vehicle. Optional headlight features include 47 Swarovski crystals in each headlamp: 30 crystals for the turn signals and 17 for the daytime running lights.


title: Mercedes-Benz S-Class (C217)

text: The C217 S-Class coupé launched with the S 500 model, known as the S 550 in the United States market. The vehicle features a twin-turbocharged 4.7L engine paired with a 7-speed or a 9-speed (only for rear-wheel drive version) automatic transmission. In most markets, the S 500 is fitted to a rear-wheel drive drivetrain with optional 4MATIC all-wheel drive; in the US, 4MATIC is standard.


title: Mercedes-Benz S-Class (C217)

text: Through the Mercedes-AMG sub-brand, the second S-Class coupé model launched is the S 63 AMG. Featuring a 5.5L turbocharged V8, the S 63 is the performance model V8 within the S-Class lineup. Like the S 500, the S 63 is offered with rear-wheel drive or all-wheel drive, though with only all-wheel drive (without Magic Body Control) in the United States.


title: Mercedes-Benz S-Class (C217)

text: The S 65 AMG is currently the top-of-the-line S-Class coupé model. It features a 6.0L turbocharged V12 Mercedes-Benz M279 engine paired with a 7G-Tronic automatic transmission. The V12 model is available only with rear-wheel drive (4MATIC not available).


title: Mercedes-Benz S-Class (C217)

text: The convertible version of the S-Class (codenamed A217), which was unveiled at the International Motor Show Germany in 2015, has many lightweight reinforcements such that its driving style is similar to that of the coupé version. Safety is maintained by a roll-over system, which is pyrotechnically actuated behind the rear passengers if required.


title: Mercedes-Benz S-Class (C217)

text: Based on the convertible version of the AMG S 65, the Maybach S 650 Cabriolet will be produced in a limited run of 300 units, each priced at $335,000, or €273,000 without tax.


title: Jim Diamond (singer)

text: James Aaron Diamond (28 September 1951 – 8 October 2015) was a Scottish singer-songwriter, best known for his three top 5 hits: "I Won't Let You Down" (1982), as the lead singer of PhD; and his solo performances "I Should Have Known Better", a United Kingdom No. 1 in 1984, and "Hi Ho Silver", the theme song from "Boon", which reached No. 5 on the UK Singles Chart in 1986.


title: Jim Diamond (singer)

text: He started his music career at the age of 15 with Tony Divers band, The Method. When aged 16, he also fronted a Glasgow band called Jade. That line-up included bassist Chris Glen who went on to play with the Sensational Alex Harvey Band, and Jim Lacey on lead guitar who later went on to join the Alan Bown Set. Jade played many pub, club and university gigs in London in 1969, playing at Brunel University, West London College in Cricklewood, The Pied Bull in Islington, West Hampstead Country Club, another college in Virginia Water and many more in 1969. They also supported The Move on their Scottish tour with The Stoics in the same year.


title: Jim Diamond (singer)

text: He later toured Europe with Gully Foyle. Rare recordings of his performances with Gully Foyle were recently discovered on the internet.


title: Jim Diamond (singer)

text: Alexis Korner then discovered Diamond, who spent the next couple of years as part of Korner's band. He provided additional and backing vocals on many of Korner's songs, most of which would appear on "The Lost Album".


title: Jim Diamond (singer)

text: Diamond left Korner in 1976, to form Bandit. The line-up included future AC/DC member Cliff Williams. They were soon signed up by Arista Records and released a début album, "Bandit", which failed to reach the chart. In 1979, Diamond was lead vocalist for a Japanese band called BACCO, whose debut album was "Cha Cha Me".


title: Jim Diamond (singer)

text: He went to Los Angeles, California to form Slick Diamond with Earl Slick. He spent some time touring and recording and provided music for a film soundtrack.


title: Jim Diamond (singer)

text: In 1981, Diamond formed PhD (Phillips, Hymas and Diamond), with pianist/keyboard player Tony Hymas and drummer Simon Phillips. They were signed by WEA Records and had a hit single with the multi-million selling "I Won't Let You Down".


title: Jim Diamond (singer)

text: The band later decided to part ways. In 1984, he decided to go solo and was signed to A&M Records. He had a number-one hit with "I Should Have Known Better", and was also number one in Latin America. Bob Geldof praised Diamond for publicly encouraging fans to buy the Band Aid single instead of his own.


title: Jim Diamond (singer)

text: He scored another hit soon afterward with the theme song from "Boon", "Hi Ho Silver". It reached No. 5 in the UK Singles Chart in May 1986. Diamond is also known for some guest vocals on two Genesis band members' solo outings, including:


title: Jim Diamond (singer)

text: The 1999 compilation "The Best of Jim Diamond" compiles singles and B-sides from his short time with A&M Records.


title: Jim Diamond (singer)

text: In the late 1990s, Diamond teamed up with saxophonist Chris "Snake" Davis, known for his work with soul outfit M People. The pair were known as The Blue Shoes, but were later billed as Jim Diamond and Snake Davis.


title: Jim Diamond (singer)

text: In 2005, Diamond released his first studio album in eleven years, "Souled and Healed". The singles "When You Turn" and "Blue Shoes" were released from this. In 2009 he re-united with Tony Hymas to produce a third PhD album entitled "Three".


title: Jim Diamond (singer)

text: Jim Diamond's last album, "City of Soul", released by Camino Records in 2011, featured among others Wet Wet Wet drummer Tommy Cunningham and Greg Kane of Hue and Cry. All proceeds from this album of soul music covers benefited the children's charity, Radio Clyde Cash for Kids.


title: Jim Diamond (singer)

text: Diamond married Christine Bailey (born 1951, New Zealand) in 1978. The couple had a daughter, Sara Rosaline Diamond (b. 1978 in Hammersmith and Fulham, London), and a son, Lawrence James Diamond (b. 1984 in Hammersmith and Fulham, London). Lawrence is the keyboardist of the UK indie pop group Citizens! and the former bass player of Official Secrets Act.


title: Jim Diamond (singer)

text: Diamond was a friend of "Father Ted" star Dermot Morgan and was present at the small dinner party at which Morgan died suddenly in 1998.


title: Jim Diamond (singer)

text: Diamond died in his sleep on 8 October 2015, at the age of 64. According to his daughter Sara, the cause of death was a pulmonary edema.


title: Day of the Dead (2008 film)

text: Day of the Dead is a 2008 American horror film about a virus outbreak that causes people to turn into violent zombie-like creatures. It is a loose remake of George A. Romero's 1985 film of the same name, the third in Romero's "Dead" series, and it is the first of two remakes of the original 1985 film; the other is "" (2018). The 2008 film was directed by Steve Miner and written by Jeffrey Reddick. "Day of the Dead" (2008) was principally shot in Bulgaria, with limited shooting in Los Angeles, California. Tyler Bates provided the soundtrack, and screenwriter Jeffrey Reddick has a cameo appearance as an ill-fated police officer.


title: Day of the Dead (2008 film)

text: Minors Trevor Bowman and Nina meet in an abandoned warehouse in Colorado. At the same time, military roadblocks seal the city off for a 24-hour quarantine exercise. Corporal Sarah Bowman leaves her barricade and drives with Private Bud Crain to visit her sick mother. There, Trevor and Nina reveal that the local populace got infected by an influenza-like virus and that their friend Kyle gushed blood from the nose that morning. Sarah and Bud head to Kyle's house to investigate and uncover his parents' mauled corpses. She radios Captain Rhodes about the situation and heads homeward to bring her family and Nina to the Medical Center.


title: Day of the Dead (2008 film)

text: As the CDC's Dr. Logan questions Sara in the crowded hospital, the infected become catatonic and reanimate as zombies. As carnage ensues, Nina and Trevor seek refuge at the local radio station, and Captain Rhodes is mauled. Dr. Logan, Sarah and Bud rush to a storage room, but Bud inadvertently drops the car keys before entering. Sarah and Bud resolve to reach the room Captain Rhodes was mauled in through the air ducts to retrieve his Humvee keys. When they land on the floor, Private Salazar appears. During their return to the storeroom, Rhodes rises to pursue them and bites Bud's hand as he replaces the ceiling grille. The group jumps from the window into the undead-infested parking lot. Dr. Logan deliberately pushes a woman toward a zombie and departs in a vehicle.


title: Day of the Dead (2008 film)

text: The remaining members set off in the Humvee. They stop at a gun store and restrain Bud with plastic wrist-ties inside the vehicle. Upon reentering, Bud has transformed. Sarah insists that he is harmless and should not get shot. Meanwhile, they hear Trevor over the radio and dash to his location. They collect the couple and attempt to exit the city but collide near the abandoned warehouse. They access an underground bunker and encounter Dr. Logan, who divulges his involvement in the government project under Dr. Engel. Engel intended to produce a bioweapon to paralyze enemy combatants by temporarily affecting their nervous system, but the virus mutated, zombifying the scientists. As the group traverses the bunker, Dr. Engel stealthily kills Logan. Zombies encircle Salazar and he sacrifices himself to enable Sarah to escape and reunite with Trevor and Nina. They find a bundle of gas cylinders and modify them into flamethrowers. While Sarah lures the zombie crowd, Dr. Engel descends from the ceiling and grabs her. When Bud shoots at him, Engel decapitates him. Sarah directs the undead to the cylinders, and they incinerate them. The group sets out in Dr. Logan's car, and as they proceed towards the distance, a zombie screams at the camera.


title: Day of the Dead (2008 film)

text: Sarah is referred to as Cross during the film, but she and her brother are listed as Bowman in the credits.


title: Day of the Dead (2008 film)

text: Reddick, who adapted the script from Romero's original concept, has stated that this film does not have any connection to Zack Snyder's 2004 remake of "Dawn of the Dead" (although Ving Rhames had also appeared in that film, but as a different character). He told ComingSoon.net: "It's going to be a separate movie...We wanted to pay homage to the original with the military and the scientists and the socially relevant stuff that George Romero always does, but we wanted to put a fresh spin on it." "Variety" announced the project in July 2006, and shooting ended on September 7, 2006, after six weeks in Sofia, Bulgaria. Re-shoots took place in June 2007.


title: Day of the Dead (2008 film)

text: The film was poorly received by both fans and critics. Rotten Tomatoes, a review aggregator, reports that 13% of 8 surveyed critics gave the film a positive review; the average rating is 2.66/10. Steve Barton of Dread Central rated it 2/5 stars and called it "dead on arrival". Barton called Cannon's performance offensively stereotypical. Buz Wallick, also writing for Dread Central, rated it 1.5/5 stars and called it "an awful film with awful special features that will hopefully fade from memory in time". Heather Seebach of Shock Till You Drop called it "cheap horror for indiscriminate genre fans" that "tiptoes on so-bad-it-is-funny territory". Brian Orndorf of DVD Talk rated it 0/5 stars and called it "a vile, pathetic, slapdash motion picture".


title: Havelock Ellis

text: Henry Havelock Ellis (2 February 1859 – 8 July 1939) was an English physician, eugenicist, writer, progressive intellectual and social reformer who studied human sexuality. He co-wrote the first medical textbook in English on homosexuality in 1897, and also published works on a variety of sexual practices and inclinations, as well as on transgender psychology. He is credited with introducing the notions of narcissism and autoeroticism, later adopted by psychoanalysis.


title: Havelock Ellis

text: Ellis was among the pioneering investigators of psychedelic drugs and the author of one of the first written reports to the public about an experience with mescaline, which he conducted on himself in 1896. He supported eugenics and served as one of 16 vice-presidents of the Eugenics Society from 1909 to 1912.


title: Havelock Ellis

text: Ellis, son of Edward Peppen Ellis and Susannah Mary Wheatley, was born in Croydon, Surrey (now part of Greater London). He had four sisters, none of whom married. His father was a sea captain and an Anglican, while his mother was the daughter of a sea captain who had many other relatives that lived on or near the sea. When he was seven his father took him on one of his voyages, during which they called at Sydney, Australia; Callao, Peru; and Antwerp, Belgium. After his return, Ellis attended the French and German College near Wimbledon, and afterward attended a school in Mitcham.


title: Havelock Ellis

text: In April 1875, Ellis sailed on his father's ship for Australia; soon after his arrival in Sydney, he obtained a position as a master at a private school. After the discovery of his lack of training, he was fired and became a tutor for a family living a few miles from Carcoar, New South Wales. He spent a year there and then obtained a position as a master at a grammar school in Grafton, New South Wales. The headmaster had died and Ellis carried on at the school for that year, but was unsuccessful.


title: Havelock Ellis

text: At the end of the year, he returned to Sydney and, after three months' training, was given charge of two government part-time elementary schools, one at Sparkes Creek, near Scone, New South Wales, and the other at Junction Creek. He lived at the school house on Sparkes Creek for a year. He wrote in his autobiography, "In Australia, I gained health of body, I attained peace of soul, my life task was revealed to me, I was able to decide on a professional vocation, I became an artist in literature; these five points covered the whole activity of my life in the world. Some of them I should doubtless have reached without the aid of the Australian environment, scarcely all, and most of them I could never have achieved so completely if chance had not cast me into the solitude of the Liverpool Range."


title: Havelock Ellis

text: Ellis returned to England in April 1879. He had decided to take up the study of sex and felt his first step must be to qualify as a physician. He studied at St Thomas's Hospital Medical School, now part of King's College London, but never had a regular medical practice. His training was aided by a small legacy and also income earned from editing works in the Mermaid Series of lesser known Elizabethan and Jacobean drama. He joined The Fellowship of the New Life in 1883, meeting other social reformers Eleanor Marx, Edward Carpenter and George Bernard Shaw.


title: Havelock Ellis

text: The 1897 English translation of Ellis's book "Sexual Inversion", co-authored with John Addington Symonds and originally published in German in 1896, was the first English medical textbook on homosexuality. It describes male homosexual relations as well as adolescent rape. Ellis wrote the first objective study of homosexuality, as he did not characterise it as a disease, immoral, or a crime. The work assumes that same-sex love transcended age taboos as well as gender taboo. The work also uses the term bisexual throughout.The first edition of the book was bought-out by the executor of Symond's estate, who forbade any mention of Symonds in the second edition.


title: Havelock Ellis

text: In 1897 a bookseller was prosecuted for stocking Ellis's book. Although the term "homosexual" is attributed to Ellis, he wrote in 1897, "'Homosexual' is a barbarously hybrid word, and I claim no responsibility for it." In fact, the word "homosexual" was coined in 1868 by the Hungarian author Karl-Maria Kertbeny.


title: Havelock Ellis

text: Ellis may have developed psychological concepts of autoeroticism and narcissism, both of which were later developed further by Sigmund Freud. Ellis's influence may have reached Radclyffe Hall, who would have been about 17 years old at the time "Sexual Inversion" was published. She later referred to herself as a sexual invert and wrote of female "sexual inverts" in "Miss Ogilvy Finds Herself" and "The Well of Loneliness". When Ellis bowed out as the star witness in the trial of "The Well of Loneliness" on 14 May 1928, Norman Haire was set to replace him but no witnesses were called.


title: Havelock Ellis

text: Ellis studied what today are called transgender phenomena. Together with Magnus Hirschfeld, Havelock Ellis is considered a major figure in the history of sexology to establish a new category that was separate and distinct from homosexuality. Aware of Hirschfeld's studies of transvestism, but disagreeing with his terminology, in 1913 Ellis proposed the term "sexo-aesthetic inversion" to describe the phenomenon. In 1920 he coined the term "eonism", which he derived from the name of a historical figure, the Chevalier d'Éon. Ellis explained:


title: Havelock Ellis

text: Ellis found eonism to be "a remarkably common anomaly", and "next in frequency to homosexuality among sexual deviations", and categorized it as "among the transitional or intermediate forms of sexuality". As in the Freudian tradition, Ellis postulated that a "too close attachment to the mother" may encourage eonism, but also considered that it "probably invokes some defective endocrine balance".


title: Havelock Ellis

text: In November 1891, at the age of 32, and reportedly still a virgin, Ellis married the English writer and proponent of women's rights Edith Lees. From the beginning, their marriage was unconventional, as Edith Lees was openly bisexual. At the end of the honeymoon, Ellis went back to his bachelor rooms in Paddington. She lived at Fellowship House. Their "open marriage" was the central subject in Ellis's autobiography, "My Life". Ellis reportedly had an affair with Margaret Sanger.


title: Havelock Ellis

text: According to Ellis in "My Life", his friends were much amused at his being considered an expert on sex. Some knew that he reportedly suffered from impotence until the age of 60. He then discovered that he could become aroused by the sight of a woman urinating. Ellis named this "undinism". After his wife died, Ellis formed a relationship with a French woman, Françoise Lafitte.


title: Havelock Ellis

text: Ellis was a supporter of eugenics. He served as vice-president to the Eugenics Education Society and wrote on the subject, among others, in "The Task of Social Hygiene":


title: Havelock Ellis

text: In his early writings, it was clear that Ellis concurred with the notion that there was a system of racial hierarchies, and that non-western cultures were considered to be "lower races". Before explicitly talking about eugenic topics, he used the prevalence of homosexuality in these 'lower races' to indicate the universality of the behavior. In his work, "Sexual Inversions", where Ellis presented numerous cases of homosexuality in Britain, he was always careful to mention the race of the subject and the health of the person's 'stock', which included their neuropathic conditions and the health of their parents. However, Ellis was clear to assert that he did not feel that homosexuality was an issue that eugenics needed to actively deal with, as he felt that once the practice was accepted in society, those with homosexual tendencies would comfortably choose not to marry, and thus would cease to pass the 'homosexual heredity' along.


title: Havelock Ellis

text: In a debate in the Sociological Society, Ellis corresponded with the eugenicist Francis Galton, who was presenting a paper in support of marriage restrictions. While Galton analogized eugenics to breeding domesticated animals, Ellis felt that a greater sense of caution was needed before applying the eugenic regulations to populations, as "we have scarcely yet realized how subtle and far-reaching hereditary influences are." Instead, because unlike domesticated animals, humans were in charge of who they mated with, Ellis argued that a greater emphasis was needed on public education about how vital this issue was. Ellis thus held much more moderate views than many contemporary eugenicists. In fact, Ellis also fundamentally disagreed with Galton's leading ideas that procreation restrictions were the same as marriage restrictions. Ellis believed that those who should not procreate should still be able to gain all the other benefits of marriage, and to not allow that was an intolerable burden. This, in his mind, was what led to eugenics being "misunderstood, ridiculed, and regarded as a fad".


title: Havelock Ellis

text: Throughout his life, Ellis was both a member and later a council member of the Eugenics Society. Moreover, he played a role on the General Committee of the First International Eugenics Congress.


title: Havelock Ellis

text: Ellis' 1933 book, "Psychology of Sex", is one of the many manifestations of his interest in human sexuality. In this book, he goes into vivid detail of how children can experience sexuality differently in terms of time and intensity. He mentions that it was previously believed that, in childhood, humans had no sex impulse at all. "If it is possible to maintain that the sex impulse has no normal existence in early life, then every manifestation of it at that period must be 'perverse, he adds.


title: Havelock Ellis

text: He continues by stating that, even in the early development and lower functional levels of the genitalia, there is a wide range of variation in terms of sexual stimulation. He claims that the ability of some infants producing genital reactions, seen as "reflex signs of irritation" are typically not vividly remembered. Since the details of these manifestations are not remembered, there is no possible way to determine them as pleasurable. However, Ellis claims that many people of both sexes can recall having agreeable sensations with the genitalia as a child. "They are not (as is sometimes imagined) repressed." They are, however, not usually mentioned to adults. Ellis argues that they typically stand out and are remembered for the sole contrast of the intense encounter to any other ordinary experience.


title: Havelock Ellis

text: Ellis claims that sexual self-excitement is known to happen at an early age. He references authors like Marc, Fonssagrives, and Perez in France, who published their findings in the nineteenth century. These "early ages" are not strictly limited to ages close to puberty, as can be seen in their findings. These authors provide cases for children of both sexes who have masturbated from the age of three or four. Ellis references Robie's findings that boys' first sex feelings appear between the ages of five and fourteen. For girls, this age ranges from eight to nineteen.


title: Havelock Ellis

text: For both sexes, these first sexual experiences arise more frequently during the later years as opposed to the earlier years. Ellis then references G.V. Hamilton's studies that found twenty percent of males and fourteen percent of females have pleasurable experiences with their sex organs before the age of six. This is only supplemented by Ellis' reference to Katharine Davis' studies, which found that twenty to twenty-nine percent of boys and forty-nine to fifty-one percent of girls were masturbating by the age of eleven. However, in the next three years after, boys' percentages exceeded those of girls.


title: Havelock Ellis

text: Ellis also contributed to the idea of varying levels of sexual excitation. He asserts it is a mistake to assume all children are able to experience genital arousal or pleasurable erotic sensations. He proposes cases where an innocent child is led to believe that stimulation of the genitalia will result in a pleasurable erection. Some of these children may fail and not be able to experience this, either pleasure or an erection, until puberty. Ellis concludes, then, that children are capable of a "wide range of genital and sexual aptitude". Ellis even considers ancestry as a contributions to different sexual excitation levels, stating that children of "more unsound heredity" and/or hypersexual parents are "more precociously excitable".


title: Havelock Ellis

text: Ellis' views of auto-eroticism were very comprehensive, including much more than masturbation. Auto-eroticism, according to Ellis, includes a wide range of phenomena. Ellis states in his 1897 book "Studies in the Psychology of Sex", that auto-eroticism ranges from erotic day-dreams, marked by a passivity shown by the subject, to "unshamed efforts at sexual self-manipulation witnessed among the insane".


title: Havelock Ellis

text: Ellis also argues that auto-erotic impulses can be heightened by bodily processes like menstrual flow. During this time, he says, women, who would otherwise not feel a strong propensity for auto-eroticism, increase their masturbation patterns. This trend is absent, however, in women without a conscious acceptance of their sexual feelings and in a small percentage of women suffering from a sexual or general ailment which result in a significant amount of "sexual anesthesia".


title: Havelock Ellis

text: Ellis also raises social concern over how auto-erotic tendencies affect marriages. He goes on to tying auto-eroticism to declining marriage rates. As these rates decline, he concludes that auto-eroticism will only increase in both amount and intensity for both men and women. Therefore, he states, this is an important issue to both the moralist and physician to investigate psychological underpinnings of these experiences and determine an attitude toward them.


title: Havelock Ellis

text: Ellis believed that the sense of smell, although ineffective at long ranges, still contributes to sexual attraction, and therefore, to mate selection. In his 1905 book, "Sexual selection in man", Ellis makes a claim for the sense of smell in the role of sexual selection. He asserts that while we have evolved out of a great necessity for the sense of smell, we still rely on our sense of smell with sexual selection. The contributions that smell makes in sexual attraction can even be heightened with certain climates. Ellis states that with warmer climates come a heightened sensitivity to sexual and other positive feelings of smell among normal populations. Because of this, he believes people are often delighted by odors in the East, particularly in India, in "Hebrew and Mohammedan lands". Ellis then continues by describing the distinct odours in various races, noting that the Japanese race has the least intense of bodily odours. Ellis concludes his argument by stating, "On the whole, it may be said that in the usual life of man odours play a not inconsiderable part and raise problems which are not without interest, but that their demonstrable part in actual sexual selection is comparatively small."


title: Havelock Ellis

text: Ellis favoured feminism from a eugenic perspective, feeling that the enhanced social, economic, and sexual choices that feminism provided for women would result in women choosing partners who were more eugenically sound. In his view, intelligent women would not choose, nor be forced to marry and procreate with feeble-minded men.


title: Havelock Ellis

text: Ellis viewed birth control as merely the continuation of an evolutionary progression, noting that natural progress has always consisted of increasing impediments to reproduction, which lead to a lower quantity of offspring, but a much higher quality of them. From a eugenic perspective, birth control was an invaluable instrument for the elevation of the race. However, Ellis noted that birth control could not be used randomly in a way that could have a detrimental impact by reducing conception, but rather needed to be used in a targeted manner to improve the qualities of certain 'stocks'. He observed that it was unfortunately the 'superior stocks' who had knowledge of and used birth control while the 'inferior stocks' propagated without checks. Ellis's solution to this was a focus on contraceptives in education, as this would disseminate the knowledge in the populations that he felt needed them the most. Ellis argued that birth control was the only available way of making eugenic selection practicable, as the only other option was wide-scale abstention from intercourse for those who were 'unfit'.


title: Havelock Ellis

text: Ellis was strongly opposed to the idea of castration of either sex for eugenic purposes. In 1909, regulations were introduced at the Cantonal Asylum in Bern which allowed those deemed 'unfit' and with strong sexual inclinations to be mandatorily sterilized. In a particular instance, several men and women, including epileptics and paedophiles, were castrated, some of whom voluntarily requested it. While the results were positive, in that none of the subjects were found guilty of any more sexual offences, Ellis remained staunchly opposed to the practice. His view on the origin of these inclinations was that sexual impulses do not reside in the sexual organs, but rather they persist in the brain. Moreover, he posited that the sexual glands provided an important source of internal secretions vital for the functioning of the organism, and thus the glands' removal could greatly injure the patient.


title: Havelock Ellis

text: However, already in his time, Ellis was witness to the rise of vasectomies and ligatures of the Fallopian tubes, which performed the same sterilization without removing the whole organ. In these cases, Ellis was much more favourable, yet still maintaining that "sterilization of the unfit, if it is to be a practical and humane measure commanding general approval, must be voluntary on the part of the person undergoing it, and never compulsory." His opposition to such a system was not only rooted in morality. Rather, Ellis also considered the practicality of the situation, hypothesizing that if an already mentally unfit man is forced to undergo sterilization, he would only become more ill-balanced, and would end up committing more anti-social acts.


title: Havelock Ellis

text: Though Ellis was never at ease with the idea of forced sterilizations, he was willing to find ways to circumvent that restriction. His focus was on the social ends of eugenics, and as a means to it, Ellis was in no way against 'persuading' 'volunteers' to undergo sterilization by withdrawing Poor Relief from them. While he preferred to convince those he deemed unfit using education, Ellis supported coercion as a tool. Furthermore, he supported adding ideas about eugenics and birth control to the education system in order to restructure society, and to promote social hygiene. For Ellis, sterilization seemed to be the only eugenic instrument that could be used on the mentally unfit. In fact, in his publication "The Sterilization of the Unfit", Ellis argued that even institutionalization could not guarantee the complete prevention of procreation between the unfit, and thus, "the burdens of society, to say nothing of the race, are being multiplied. It is not possible to view sterilization with enthusiasm when applied to any class of people…but what, I ask myself, is the practical alternative?"


title: Havelock Ellis

text: Ellis was among the pioneering investigators of psychedelic drugs and the author of one of the first written reports to the public about an experience with mescaline, which he conducted on himself in 1896. He consumed a brew made of three "Lophophora williamsii" buds in the afternoon of Good Friday alone in his apartment in Temple, London. During the experience, lasting for about 24 hours, he noted a plethora of extremely vivid, complex, colourful, pleasantly smelling hallucinations, consisting both of abstract geometrical patterns and objects such as butterflies and other insects. He published the account of the experience in "The Contemporary Review" in 1898 ("Mescal: A New Artificial Paradise"). The title of the article alludes to an earlier work on the effects of mind-altering substances, an 1860 book "Les Paradis artificiels" by French poet Charles Baudelaire (containing descriptions of experiments with opium and hashish).


title: Havelock Ellis

text: Ellis was so impressed with the aesthetic quality of the experience that he gave some specimens of peyote to the Irish poet W.B. Yeats, a member of the Hermetic Order of the Golden Dawn, an organisation of which another mescaline researcher, Aleister Crowley, was also a member.


title: Havelock Ellis

text: Ellis resigned from his position as a Fellow of the Eugenics Society over its stance on sterilization in January 1931.


title: Havelock Ellis

text: Ellis spent the last year of his life at Hintlesham, Suffolk, where he died in July 1939. He is buried in Golders Green Crematorium, in North London.


title: Celebrity Beyond

text: Celebrity Beyond is a cruise ship owned by Celebrity Cruises, taking its name from the company's slogan. The third in the Edge-class, the ship was constructed at the Chantiers de l'Atlantique shipyard, and entered service in April 2022. The ship is captained by Kate McCue.


title: Celebrity Beyond

text: On 25 May 2016, Royal Caribbean Cruises Ltd., parent company of Celebrity, announced that it had signed a memorandum of understanding with the STX Corporation (then owners of Chantiers) for the third and fourth ships of the Edge class.


title: Celebrity Beyond

text: Steel cutting for "Celebrity Beyond" occurred on 28 January 2020, at which point Celebrity confirmed the ship's name. At the same time, it was reported that the ship, and sister ship Celebrity Ascent would be an evolution in the Edge class design and feature an increase in gross tonnage, length, and passenger capacity.


title: Celebrity Beyond

text: In August 2020, it was announced that the delivery of Beyond (as well as that of "Wonder of the Seas") would be delayed by approximately 10 months due to shipyard closures and delays caused by the COVID-19 pandemic.


title: Celebrity Beyond

text: The ship arrived in Southampton on 21 April 2022 for its maiden voyage on 27 April to Barcelona. This initial itinerary called at La Rochelle, Bilbao, Lisbon, Cadiz, Malaga, Palma and concluded in Barcelona.


title: Celebrity Beyond

text: On May 10, 2022, Celebrity Cruises announced that gymnast Simone Biles will be the godmother of the ship. The christening ceremony was held in Florida on November 4, 2022.


title: Celebrity Beyond

text: Kate McCue is the current Captain of Celebrity Beyond and she often brings to the bridge her Sphynx cat named Bug Naked, whose semi-official title on board is “Maneuvering Support Mammal”. Captain Kate McCue is also the first American Woman to Captain a "Mega" Cruise Ship.


title: Celebrity Beyond

text: Like the other Edge-class ships, "Celebrity Beyond" features Eden, a 270 degree, three-deck observation lounge, which features a ramp connecting decks 5 and 6, in addition to a cafe, a bar, and a dining venue.


title: Celebrity Beyond

text: Like the other ships in the Edge class, "Celebrity Beyond" is fitted with the "Magic Carpet" tender dock, designed to prevent hull collisions while anchored offshore. While sailing, the Magic Carpet is equipped with a bar and can be used as a patio, when positioned at three different decks (Decks 5, 14, and 16).


title: Celebrity Beyond

text: "Beyond" was the first in the Celebrity fleet to be equipped with SpaceX Starlink internet connections. The service launched on the September 5, 2022 Celebrate With the CEO cruise.


title: Shinedown discography

text: The American rock band Shinedown has released seven studio albums, two live albums, five extended plays, three video albums, and 29 singles.


title: Shinedown discography

text: All of Shinedown's singles have charted on at least one "Billboard" tracking chart. Their biggest hit is "Second Chance", the second single from their album "The Sound of Madness". The single reached number seven on the Hot 100, number three on the Mainstream Top 40, and number one on the Hot Mainstream Rock Tracks, Alternative Songs, and Adult Top 40 charts.


title: Shinedown discography

text: Shinedown has found much of its success on the Hot Mainstream Rock Tracks chart, as each of their 29 singles has reached the top five, with "Daylight" becoming the most recent in July 2022. Of those 29 singles, eighteen of them have climbed to the number one spot, a chart record.


title: Shinedown discography

text: The band also has three singles that spent at least 10 weeks at number one. Their first single to do this was also their first ever chart topper, "Save Me", which came from the 2005 album "Us and Them". "Second Chance" became the second during its massive run of success. The third and most recent was "Bully", which was released in 2012 off of the album "Amaryllis".


title: Double Diamond (design process model)

text: Double Diamond is the name of a design process model popularized by the British Design Council in 2005, and adapted from the divergence-convergence model proposed in 1996 by Hungarian-American linguist Béla H. Bánáthy. The two diamonds represent a process of exploring an issue more widely or deeply (divergent thinking) and then taking focused action (convergent thinking). It suggests that the design process should have four phases:


title: Measurement problem

text: In quantum mechanics, the measurement problem is the problem of how, or whether, wave function collapse occurs. The inability to observe such a collapse directly has given rise to different interpretations of quantum mechanics and poses a key set of questions that each interpretation must answer.


title: Measurement problem

text: The wave function in quantum mechanics evolves deterministically according to the Schrödinger equation as a linear superposition of different states. However, actual measurements always find the physical system in a definite state. Any future evolution of the wave function is based on the state the system was discovered to be in when the measurement was made, meaning that the measurement "did something" to the system that is not obviously a consequence of Schrödinger evolution. The measurement problem is describing what that "something" is, how a superposition of many possible values becomes a single measured value.


title: Measurement problem

text: To express matters differently (paraphrasing Steven Weinberg), the Schrödinger wave equation determines the wave function at any later time. If observers and their measuring apparatus are themselves described by a deterministic wave function, why can we not predict precise results for measurements, but only probabilities? As a general question: How can one establish a correspondence between quantum reality and classical reality?


title: Measurement problem

text: A thought experiment often used to illustrate the measurement problem is the "paradox" of Schrödinger's cat. A mechanism is arranged to kill a cat if a quantum event, such as the decay of a radioactive atom, occurs. Thus the fate of a large-scale object, the cat, is entangled with the fate of a quantum object, the atom. Prior to observation, according to the Schrödinger equation and numerous particle experiments, the atom is in a quantum superposition, a linear combination of decayed and undecayed states, which evolve with time. Therefore the cat should also be in a superposition, a linear combination of states that can be characterized as an "alive cat" and states that can be characterized as a "dead cat". Each of these possibilities is associated with a specific nonzero probability amplitude. However, a "single, particular observation" of the cat does not find a superposition: it always finds either a living cat, or a dead cat. After the measurement the cat is definitively alive or dead. The question is: "How are the probabilities converted into an actual, well-defined classical outcome?"


title: Measurement problem

text: The views often grouped together as the Copenhagen interpretation are the oldest and, collectively, probably still the most widely held attitude about quantum mechanics. N. David Mermin coined the phrase "Shut up and calculate!" to summarize Copenhagen-type views, a saying often misattributed to Richard Feynman and which Mermin later found insufficiently nuanced.


title: Measurement problem

text: Generally, views in the Copenhagen tradition posit something in the act of observation which results in the collapse of the wave function. This concept, though often attributed to Niels Bohr, was due to Werner Heisenberg, whose later writings obscured many disagreements he and Bohr had had during their collaboration and that the two never resolved. In these schools of thought, wave functions may be regarded as statistical information about a quantum system, and wave function collapse is the updating of that information in response to new data. Exactly how to understand this process remains a topic of dispute.


title: Measurement problem

text: Bohr offered an interpretation that is independent of a subjective observer, or measurement, or collapse; instead, an "irreversible" or effectively irreversible process causes the decay of quantum coherence which imparts the classical behavior of "observation" or "measurement".


title: Measurement problem

text: Hugh Everett's many-worlds interpretation attempts to solve the problem by suggesting that there is only one wave function, the superposition of the entire universe, and it never collapses—so there is no measurement problem. Instead, the act of measurement is simply an interaction between quantum entities, e.g. observer, measuring instrument, electron/positron etc., which entangle to form a single larger entity, for instance "living cat/happy scientist". Everett also attempted to demonstrate how the probabilistic nature of quantum mechanics would appear in measurements, a work later extended by Bryce DeWitt. However, proponents of the Everettian program have not yet reached a consensus regarding the correct way to justify the use of the Born rule to calculate probabilities.


title: Measurement problem

text: De Broglie–Bohm theory tries to solve the measurement problem very differently: the information describing the system contains not only the wave function, but also supplementary data (a trajectory) giving the position of the particle(s). The role of the wave function is to generate the velocity field for the particles. These velocities are such that the probability distribution for the particle remains consistent with the predictions of the orthodox quantum mechanics. According to de Broglie–Bohm theory, interaction with the environment during a measurement procedure separates the wave packets in configuration space, which is where apparent wave function collapse comes from, even though there is no actual collapse.


title: Measurement problem

text: A fourth approach is given by objective-collapse models. In such models, the Schrödinger equation is modified and obtains nonlinear terms. These nonlinear modifications are of stochastic nature and lead to a behaviour that for microscopic quantum objects, e.g. electrons or atoms, is unmeasurably close to that given by the usual Schrödinger equation. For macroscopic objects, however, the nonlinear modification becomes important and induces the collapse of the wave function. Objective-collapse models are effective theories. The stochastic modification is thought to stem from some external non-quantum field, but the nature of this field is unknown. One possible candidate is the gravitational interaction as in the models of Diósi and Penrose. The main difference of objective-collapse models compared to the other approaches is that they make falsifiable predictions that differ from standard quantum mechanics. Experiments are already getting close to the parameter regime where these predictions can be tested. The Ghirardi–Rimini–Weber (GRW) theory proposes that wave function collapse happens spontaneously as part of the dynamics. Particles have a non-zero probability of undergoing a "hit", or spontaneous collapse of the wave function, on the order of once every hundred million years. Though collapse is extremely rare, the sheer number of particles in a measurement system means that the probability of a collapse occurring somewhere in the system is high. Since the entire measurement system is entangled (by quantum entanglement), the collapse of a single particle initiates the collapse of the entire measurement apparatus. Because the GRW theory makes different predictions from orthodox quantum mechanics in some conditions, it is not an interpretation of quantum mechanics in a strict sense.


title: Measurement problem

text: Erich Joos and Heinz-Dieter Zeh claim that the phenomenon of quantum decoherence, which was put on firm ground in the 1980s, resolves the problem. The idea is that the environment causes the classical appearance of macroscopic objects. Zeh further claims that decoherence makes it possible to identify the fuzzy boundary between the quantum microworld and the world where the classical intuition is applicable. Quantum decoherence becomes an important part of some modern updates of the Copenhagen interpretation based on consistent histories. Quantum decoherence does not describe the actual collapse of the wave function, but it explains the conversion of the quantum probabilities (that exhibit interference effects) to the ordinary classical probabilities. See, for example, Zurek, Zeh and Schlosshauer.


title: Measurement problem

text: For a more technical treatment of the mathematics involved in the topic, see Measurement in quantum mechanics.


title: The Cenotaph

text: The Cenotaph is a war memorial on Whitehall in London, England. Designed by Sir Edwin Lutyens, it was unveiled in 1920 as the United Kingdom's national memorial to the British and Commonwealth dead of the First World War, was rededicated in 1946 to include those of the Second World War, and has since come to represent British casualties from later conflicts. The word "cenotaph" is derived from Greek, meaning 'empty tomb'. Most of the dead were buried close to where they fell; thus, the Cenotaph symbolises their absence and is a focal point for public mourning. The original temporary Cenotaph was erected in 1919 for a parade celebrating the end of the First World War, at which more than 15,000 servicemen, including French and American soldiers, saluted the monument. More than a million people visited the site within a week of the parade.


title: The Cenotaph

text: Calls for the Cenotaph to be rebuilt in permanent form began almost immediately. After some debate, the government agreed and construction work began in May 1920. Lutyens added entasis (curvature) but otherwise made minimal design alterations. The Cenotaph is built from Portland stone. It takes the form of a tomb chest atop a rectangular pylon, which diminishes as it rises. Three flags hang from each of the long sides. The memorial is austere, containing almost no decoration. The permanent Cenotaph was unveiled by King George V on 11 November 1920 in a ceremony combined with the repatriation of the Unknown Warrior, an unidentified British serviceman to be interred in Westminster Abbey. After the unveiling, millions more people visited the Cenotaph and the Unknown Warrior. The memorial met with public acclaim and has largely been praised by academics, though some Christian organisations disapproved of its lack of overt religious symbolism.


title: The Cenotaph

text: The Cenotaph has been revered since its unveiling, and while nationally important has been the scene of several political protests and vandalised with spray paint twice in the 21st century. The National Service of Remembrance is held annually at the site on Remembrance Sunday; it is also the scene of other remembrance services. The Cenotaph is a grade I listed building and forms part of a national collection of Lutyens's war memorials. Dozens of replicas were built in Britain and other Commonwealth countries. While there was no set or agreed standard for First World War memorials, the Cenotaph proved to be one of the most influential. Lutyens designed several others, which all shared common features with the Whitehall monument. The Cenotaph has been the subject of several artworks and has featured in multiple works of literature, including a novel and several poems. The public acclaim for the monument was responsible for Lutyens becoming a national figure, and the Royal Institute of British Architects awarded him its Royal Gold Medal in 1921. For several years afterwards much of his time was taken up with war memorial commissions.


title: The Cenotaph

text: The First World War produced casualties on a scale previously unseen by developed nations. More than 1.1million men from the British Empire were killed. In the war's aftermath, thousands of war memorials were erected across Britain and its empire, and on the former battlefields. Amongst the most prominent designers of war memorials was Sir Edwin Lutyens, described by Historic England as "the foremost architect of his day". Lutyens established his reputation designing country houses for wealthy clients around the turn of the 20th century; his first major public commission was the design of much of New Delhi, the new capital of British India. The war had a profound effect on Lutyens and following it he devoted much of his time to the commemoration of its casualties. By the time he was commissioned for the Cenotaph, he was already acting as an adviser to the Imperial War Graves Commission (IWGC). In 1917, he travelled to France under the auspices of the IWGC and was horrified by the scale of destruction. The experience influenced his later designs for war memorials and led him to the conclusion that a different form of architecture was required to properly memorialise the dead. He felt that neither realism nor expressionism could adequately capture the atmosphere at the end of the war.


title: The Cenotaph

text: Lutyens's first war memorial was the Rand Regiments Memorial (1911) in Johannesburg, South Africa, dedicated to casualties of the Second Boer War (1899–1902). His first commission for a memorial to the First World War was for Southampton Cenotaph. The word "cenotaph" derives from the Greek word , meaning 'empty tomb'. Lutyens first encountered the term in connection with Munstead Wood, the house he designed for Gertrude Jekyll in the 1890s. There he designed a garden seat in the form of a rectangular block of elm set on stone, which Charles Liddell—a friend of Lutyens and Jekyll and a librarian at the British Museum—christened the "Cenotaph of Sigismunda".


title: The Cenotaph

text: From 1915, the British government prohibited the repatriation of the bodies of men killed overseas, meaning that most bereaved families did not have a nearby grave to visit and thus war memorials became a focal point for their grief. Cenotaphs originated in Ancient Greek tradition, where they were built when it was impossible to recover a body after the battle, as the Greeks placed great cultural importance on the proper burial of their war dead. Lutyens remembered the term when working on Southampton's memorial in early 1919. He broke with the Ancient Greek convention in that his designs for London's and Southampton's cenotaphs contained no explicit reference to battle. The result at Southampton (unveiled a week before London's permanent Cenotaph) lacks the subtlety of London's monument, but introduces several design elements common in Lutyens's subsequent memorials.


title: The Cenotaph

text: The First World War ended with the Armistice of 11 November 1918, although it was not officially declared over until the signing of the Treaty of Versailles on 28 June 1919. The British government planned to hold a victory parade in London on 19 July, including soldiers marching to Whitehall, the centre of the British government. The initial design for what would become the Cenotaph was one of a number of temporary structures erected along the parade's route. The prime minister, David Lloyd George, learnt that the French plans for a similar parade in Paris included a saluting point for the marching troops and was keen to replicate the idea for the British parade. How Lutyens became involved is unclear, but he was close friends with Sir Alfred Mond and Sir Lionel Earle (respectively the government minister and senior civil servant at the Office of Works, which was responsible for public building projects) and it seems likely that one or both men discussed the idea with Lutyens. Lloyd George summoned Lutyens and asked him to design a "catafalque" as the centre point for the parade. Lloyd George emphasised that the structure was to be non-denominational. Lutyens met with Sir Frank Baines, chief architect at the Office of Works, the same day to sketch his idea for the Cenotaph and sketched it again for his friend Lady Sackville over dinner that night. Both sketches show the Cenotaph almost as-built.


title: The Cenotaph

text: At the end of the war, there was considerable social upheaval and civil unrest in Britain and Ireland, and industrial relations were tense. The government, fearful that revolutionary ideologies such as Bolshevism might start to take hold, hoped the parade and a central saluting point would unite the nation in celebrating the victorious conclusion to the war and commemorating the sacrifice of the dead.


title: The Cenotaph

text: Although Lutyens apparently produced the design very quickly, he had had the concept in mind for some time, as evidenced by his design for Southampton Cenotaph and his work for the IWGC. Lutyens and Mond had previously worked together on a design for a war shrine in Hyde Park, intended to replace a temporary structure erected during the war. Though the shrine was never built, the design started Lutyens thinking about commemorative architecture, and the architectural historian Allan Greenberg speculates that Mond may have discussed the concept of a memorial with Lutyens prior to the meeting with the prime minister. According to Tim Skelton, author of "Lutyens and the Great War", "If it was not to be on Whitehall then the Cenotaph as we know it would have appeared somewhere else in due course." Several of Lutyens's sketches survive, which show that he experimented with multiple minor changes to the design, including a flaming urn at the top of the Cenotaph and sculptures of soldiers or lions at the base (similar to the lion heads on Southampton Cenotaph).


title: The Cenotaph

text: Lutyens submitted his final design to the Office of Works in early July, and on 7 July received confirmation that the design had been approved by the foreign secretary, Lord Curzon, who was organising the parade. The unveiling of the monument, built in wood and plaster by the Office of Works, was described in "The Times" as a quiet and unofficial ceremony. It took place on 18 July 1919, the day before the Victory Parade. Lutyens was not invited. During the parade, 15,000 soldiers and 1,500 officers marched past and saluted the Cenotaph—among them were American General John J. Pershing and French Marshal Ferdinand Foch, as well as the British commanders Field Marshal Sir Douglas Haig and Admiral of the Fleet Sir David Beatty. The Cenotaph quickly captured the public imagination. Repatriation of the dead had been forbidden since the early days of the war, so the Cenotaph came to represent the absent dead and serve as a substitute for a tomb. Beginning almost immediately after the Victory Parade and continuing for days afterwards, members of the public began laying flowers and wreaths around the memorial. Within a week, an estimated 1.2million people came to the Cenotaph to pay their respects to the dead, and the base was covered in flowers and other tributes. According to "The Times", "no feature of the victory march in London made a deeper impression than the Cenotaph."


title: The Cenotaph

text: After the Victory Parade, the temporary Cenotaph became a point of pilgrimage for many people, including grieving relatives. Deputations arrived from as far away as Dundee, and schools organised excursions to take children to see it. The crowds were particularly large on 11 November 1919, the first anniversary of the armistice. An estimated 6,000 people were crowded round the memorial and it took the intervention of the police to create space for Lloyd George to lay a wreath. The French president, Raymond Poincaré, also laid a wreath; King George V and Queen Mary sent a wreath but were not present at the Cenotaph. A two-minute silence was observed, after which veterans' groups marched past. The government, caught by surprise by the strength of feeling, resolved to lay on an organised event for 1920.


title: The Cenotaph

text: Suggestions that the temporary cenotaph should be re-built as a permanent structure began almost immediately, coming from members of the public and national newspapers. Four days after the parade, William Ormsby-Gore, Member of Parliament for Stafford—an army officer who fought in the war and was part of the British delegation at Versailles—questioned Mond about the Cenotaph in the House of Commons, and asked whether a permanent replacement was planned. Ormsby-Gore was supported by multiple other members. Mond announced that the decision rested with the cabinet, but promised to pass on the support of the House. The following week, "The Times" published an editorial calling for a permanent replacement (though the writer suggested that there was a risk of vehicles crashing into the Cenotaph in its original location and that it be built on nearby Horse Guards Parade); many letters to London and national newspapers followed. The cabinet sought Lutyens's opinion, which was that the original site had been "qualified by the salutes of Foch and the allied armies [and] no other site would give this pertinence." Mond agreed, telling the cabinet that "no other site would have the same historical or sentimental association." The cabinet bowed to public pressure, approving the re-building in stone, and in the original location, at its meeting on 30 July 1919.


title: The Cenotaph

text: Concerns remained about the Cenotaph's location. Another editorial in "The Times" suggested siting it in Parliament Square, away from traffic, a location that was supported by the local authorities. The issue was again raised in the House of Commons, and Ormsby-Gore led the calls for the Cenotaph to be rebuilt on its original spot, stating, to acclaim, that he was certain that this option was the most popular with the public. Opposition to the site eventually quietened and the construction contract was awarded to Holland, Hannen & Cubitts. Construction began in May 1920.


title: The Cenotaph

text: Lutyens waived his fee, and Mond gave Lutyens the opportunity to make any amendments to the design before work began. The architect submitted his proposed modifications on 1 November, which were approved the same day. He replaced the real laurel wreaths with stone sculptures and added entasis—subtle curvature, reminiscent of the Parthenon, so that the vertical surfaces taper inwards and the horizontals form arcs of a circle. He wrote to Mond:


title: The Cenotaph

text: Lutyens had earlier used entasis for his Stone of Remembrance, which appears in most large IWGC cemeteries. Some religious groups objected to the lack of Christian symbolism on the Cenotaph and suggested the inclusion of a cross or a more overtly Christian inscription. Lutyens objected to the proposal, and it was rejected by the government on the grounds that the Cenotaph was for people "from all parts of the empire, irrespective of their religious creeds". The only other significant alteration Lutyens proposed was the replacement of the silk flags on the temporary Cenotaph with painted stone, fearing that the fabric would quickly become worn and look untidy. He was supported on this by Mond and engaged the sculptor Francis Derwent Wood for assistance, but the change was rejected by the cabinet. A diary entry by Lady Sackville from August 1920 records Lutyens complaining bitterly about the change, though documents in The National Archives suggest that he had been aware of it six months previously.


title: The Cenotaph

text: The temporary Cenotaph, originally intended to remain in place only a week, was dismantled in January 1920, its condition having deteriorated severely. The work was carried out behind a screen to shield the partially dismantled monument from public view. The top section, along with the flags, was preserved for the fledgling Imperial War Museum (founded in 1917), as part of its exhibition on the war. The acquisition was the idea of Charles ffoulkes, the museum's inaugural curator. It was displayed prominently, and was used for the museum's own remembrance services in the interwar period until it was destroyed by a bomb during the Second World War. The Imperial War Museum collections also include a wooden money-collection box in the shape of the Cenotaph, made from part of the temporary Cenotaph by St Dunstan's.


title: The Cenotaph

text: The Cenotaph is made from Portland stone formed as a pylon on a rectangular plan (two long sides and two short ones), with gradually diminishing tiers, culminating in a sculpted tomb chest (the empty tomb suggested by the name "cenotaph") on which is carved laurel wreath. The structure rises to a height of just over and is about at the base. Lutyens described it as "an empty tomb uplifted on a high pedestal".


title: The Cenotaph

text: The pylon's mass decreases with its height; the sides becoming narrower towards the bottom of the coffin. The base is in four stages from the top of the steps starting with the plinth, which connects to the base block. The plinth projects from the base block on all four sides. Above it is the transition moulding which is in three stages—torus (semi-circular), cyma reversa, and cavetto—taking the lower part of the structure just over above the ground. Greenberg describes this section as "quietly establish[ing] the memorial's overall character: an outward appearance of simple repose which, on close observation, shows itself to be dependent on the more complex forms of its masses".


title: The Cenotaph

text: At the top, the coffin is connected to the main structure by its own base of two steps, the transition smoothed by a torus moulding between the bottom step and the pylon. The coffin lid finishes with a cornice, appearing to be supported by an ovolo (a curved decorative moulding beneath the edge), which casts a shadow over the coffin; it is crowned by a laurel wreath. The bottom of the structure is mounted onto three diminishing steps on an island in the centre of Whitehall surrounded by government buildings. The monument is austere, containing very little decoration. At each end, on the second tier below the tomb, is a laurel wreath, echoing the one at the top, and on the sides is the inscription "". The only other inscription is the dates of the world wars in Roman numerals—the first on the ends, above the wreath, and the second on the sides. The sculptural work was carried out by Derwent Wood.


title: The Cenotaph

text: None of the lines on the pylon is straight. The sides are not parallel but are subtly curved using precise geometry so as to be barely visible to the naked eye (entasis). If extended, the apparently vertical surfaces would meet above the ground and the apparently horizontal surfaces are sections of a sphere whose centre would be below ground. The use of curvature and diminishing tiers is intended to draw the eye upwards in a spiralling direction, first to the inscription, then to the top of the flags, to the wreath, and finally to the coffin at the top. Many of these elements were not present in Lutyens's early design, and the progression can be seen in several of the architect's sketches. In his sketch for Lady Sackville, he omitted most of the setbacks, and had the wreaths on the sides hanging from pegs. In another drawing he included an urn on top of the coffin and sculptures of lions flanking the base (similar to the pine cones on Southampton Cenotaph). Other experimental designs omit the flags, and one included a recumbent effigy atop the coffin (in place of an urn). A wooden model from an early stage in the design process is in the collection of the Imperial War Museum, as are several of Lutyens's original drawings; others are in the Royal Institute of British Architects' drawing library.


title: The Cenotaph

text: The Cenotaph is flanked on the long sides by flags of the United Kingdom—the Royal Air Force Ensign, Union Flag, and Red Ensign on one side, and the Blue Ensign, Union Flag, and White Ensign on the other. Lutyens intended the flags to be carved in stone like the rest of the monument. He was overruled and cloth flags were used, though Lutyens went on to use stone flags on several of his other war memorials, painted on Rochdale Cenotaph and Northampton War Memorial (among others), and unpainted at Étaples and Villers-Bretonneux IWGC cemeteries.


title: The Cenotaph

text: On the day of its unveiling, "The Times" praised the Cenotaph as "simple, massive, unadorned". Catherine Moriarty, of the Imperial War Museum's National Inventory of War Memorials project, observed in 1995 that the Cenotaph met with widespread public acclaim, and that the public adopted the unfamiliar name with enthusiasm. She described an empty tomb as a highly appropriate monument for the experience of the British public, considering that the vast majority of the British dead were buried overseas. Nonetheless, Moriarty believed that the Cenotaph, "...although popular, was too abstract in form and generalised in its commemorative allusion to fully satisfy the need for a focus of grief." This, Moriarty felt, was the reason that many local memorials, including some by Lutyens, adopted some form of figurative sculpture, such as a statue of a soldier.


title: The Cenotaph

text: According to the historian Alex King, the Cenotaph fitted the convention of a shrine, such as the temporary memorials to the dead established across London during the war, including the Hyde Park shrine. King believed that the public response, particularly the laying of flowers, treated the Cenotaph as a shrine—a place for paying respects to the dead. Nonetheless, the austerity and apparent simplicity of the Cenotaph leaves its meaning open to a wide variety of interpretations, not all of which have been in keeping with Lutyens's intentions. Some ascribed imperialistic or nationalistic meanings to the monument, including Haig, who called it "a symbol of the empire's unity". The "Catholic Herald" called it a "pagan monument" and felt that it was insulting to Christianity, and other traditional Christian groups were displeased by the lack of religious symbolism. Lutyens was a pantheist, heavily influenced by his wife's involvement with Theosophy. He opposed overt religious symbolism on the Cenotaph and in his work with the IWGC, a position which did not endear him to the church.


title: The Cenotaph

text: Roderick Gradidge, an architect and author of a biography of Lutyens, commented on Lutyens's use of geometry—"He [Lutyens] recognised that in this careful proportioning system he had hit on something that people could recognise though never understand; a sort of music of the spheres which expressed what they felt about the horrifying destruction [...] both of human life and the shape of society itself."