title: Violence against men

text: According to the 2002 SAVI (Sexual Abuse and Violence in Ireland) Report, 9.7% of Irish men reported experiencing contact sexual assault as adults (when they were aged 17 or older); 0.9% of those involved penetrative sex. A further 2.7% reported unwanted non-contact sexual experiences. By comparison, 20.4% Irish women reported experiencing contact sexual assault as adults, 6.1% of which involved penetrative sex; a further 5.1% reported unwanted non-contact sexual experiences.


title: Violence against men

text: According to the 2018 Family, domestic and sexual violence in Australia report, the Australian police recorded 4,100 male victims of sexual violence in 2016, as opposed to 18,900 female victims that year (thus, male victims constituted 17.8% of all victims). For male victims experiencing sexual violence since the age of 15, 55% reported a female perpetrator while 51% reported a male perpetrator (some who experienced sexual violence multiple times were victimised by men and women); by comparison, 98% of female victims since age 15 reported a male perpetrator, while 4.2% reported a female perpetrator (also some overlap here).


title: Violence against men

text: In 2012, The UN refugee agency issued guidelines for UNHCR staff and aid workers on how to support and treat male victims of sexual violence and rape in war and human rights situations.


title: Violence against men

text: The guidelines "include tips on the challenging task of identifying victims of sexual and gender-based violence (SGBV), given the stigma attached to rape".


title: Violence against men

text: Adult men have been forcefully circumcised, most notably in the compulsory conversion of non-Muslims to Islam and more recently especially in Kenya. In South Africa, custom allows uncircumcised Xhosa-speaking men past the age of circumcision (i.e., 25 years or older) to be overpowered by other men and forcibly circumcised. While some scholars view forced adult male circumcision as (gendered) sexual violence, the International Criminal Court ruled in 2011 that such acts were not "sexual violence," but rather fell under the label of "other inhumane acts".


title: Violence against men

text: Conscription, sometimes called "the draft", is the compulsory enlistment of people in a national service, most often a military service. Historically, only men have been subjected to military drafts, and currently only three countries conscript women and men on the same formal conditions: Norway, Sweden and the Netherlands.


title: Violence against men

text: Male-only conscription, or compulsory military service, has been criticized as sexist. Critics regard it as discriminatory to compel men, but not women, into military service. They say conscription of men normalizes male violence, conscripts are indoctrinated into sexism and violence against men, and military training socializes conscripts into patriarchal gender roles. However, some feminist organizations have resisted inclusion of women in conscription, most notably the Norwegian Association for Women's Rights.


title: Violence against men

text: Wartime sexual violence committed by men against men is used as psychological warfare in order to demoralize the enemy. The practice is ancient, and was recorded as taking place during the Crusades. During periods of armed conflict men may be raped, sexually mutilated, sexually humiliated, forced incest, or even enslaved. Castration in particular is used as a means of physical torture with strong psychological effects, namely the loss of the ability to procreate and the loss of the status of a full man. In recent conflicts such as the Bosnian war and a number of smaller conflicts across East Africa the most commonly reported act of sexual violence was genital violence. While sexual violence in all its forms is criminalized in international law, the culture of silence around sexual violence against men often leaves male victims with no support.


title: Violence against men

text: In one study, less than 3% of organizations that address rape as a weapon of war, mention men or provide services to male victims.


title: Violence against men

text: In the U.S., crime statistics from the 1976 onwards show that men are over-represented as victims in homicide involving both male and female offenders (74.9% of victims are male). Men also make up the majority (88%) of homicide perpetrators regardless if the victim is female or male. According to the Bureau of Justice Statistics, women who kill men are most likely to kill acquaintances, spouses or boyfriends while men are more likely to kill strangers. In many cases, women kill men due to being victims of intimate partner violence, however this research was conducted on women on death row, a sample size of approximately 97 during the last 100 years.


title: Violence against men

text: In Australia, men are also over-represented as victims, with the Australian Institute of Criminology finding that men are 11.5 times more likely than women to be killed by a stranger.


title: Violence against men

text: Data from the U.K. also shows a homicide rate for males to be twice that of females. While the proportion of homicide victims in the U.K. in the 1960s was fairly evenly split between men and women, the genders have since showed different trends: while female victim numbers remained static, male numbers increased.


title: Violence against men

text: In the United States, police killings are one of the leading causes of death for young men. The likelihood of dying as a result of police use of force is 1 in 2,000 men and 1 in 33,000 women. Studies using recent data have found that Black, Hispanic, and Native American/Alaskan individuals are disproportionately stopped by police and killed in encounters. These inequalities in turn show higher rates of death by police for people of color, particularly black men having 1 in 1,000 chance of being killed by police use of force.


title: Violence against men

text: Data from Australia, the European Union, and the United Kingdom also demonstrates that death while in police custody is more frequent among men.


title: Gandikota

text: Gandikota is a village and historical fort on the right bank of the Penna river, 15 km from Jammalamadugu in Kadapa district, Andhra Pradesh, India. The fort was the centre of power for various dynasties, such as the Kalyani Chalukyas, Pemmasani Nayakas, and the Golconda Sultanate. Gandikota was the capital of Pemmasani Nayakas for more than 300 years. Pemmasani Ramalinga Nayudu constructed the huge fort at Gandikota with 101 towers replacing the previous sand fort constructed by Kaka Raja, Vassals of Kalyani Chalukya rulers. Various additions of Islamic architecture were made during subsequent Muslim rule.


title: Gandikota

text: The fort of Gandikota acquired its name due to the 'gorge', formed between the Erramala range of hills, also known as Gandikota hills and the river Penna (Pennar) that flows at its foot, reducing its width to a mere 100 m (look for the river image in the montage/main image).


title: Gandikota

text: Gandikota is a village on the right bank of the river Penna, 15 km from Jammalamudugu in Kadapa district, Andhra Pradesh, India. Gandikota area was first identified and made Sand fort in 1123 by Kakatiya Raja of nearby Bommanapalle village and a subordinate of Ahavamalla Someswara I, Kalyani Chalukya ruler. Gandikota came under the rule of Kakatiya dynasty from 1239 A.D to 1304 A.D and ruled by their various subordinates.


title: Gandikota

text: Recently, Tavva Obul Reddy, a Mydukur-based historian, discovered a copper plate inscription on the history of Gandikonda Fort. The inscription dates back to 16th century.


title: Gandikota

text: Vemana poet, native of Kadapa district and believed to have lived in Gandikota area for a short period.


title: Gandikota

text: In the fort are two ancient temples, dedicated to Madhava and Ranganatha. They are in ruins and the fort area is full of the debris of ages and many ancient structures in varying stages of decay. The large granary, with a vaulted roof, is now used as watchman's quarters. The Jamia Masjid has two adjacent minarets. A heritage festival is held every year in the fort area.


title: Gandikota

text: The other structures in the fort, include another large granary (used for storing food and grains late back), a magazine, a graceful 'pigeon tower' with fretted windows and an extensive palace built by bricks with some plastered decorations and some wells. There is an old cannon lying in the fort. There is the 'Rayalacheruvu' with its perennial springs irrigating some lime and plantain gardens. It is said that this 'Cheruvu' was connected to a fountain in Jamia Masjid by pipes, traces of which can still be seen.


title: Gandikota

text: There were other gardens and springs. There is an undated inscription on a boulder, near the 'Nagajhari' outside the fort, recording the gift of two gardens at the place to the temple. There was a garden called 'Parebagh' with a waterfall at the foot of the hills, on the bank of the Penneru.


title: Gandikota

text: The other main attractions at the fort includes House of the Drum (drums were used to alert the army in case of invasion), Charminar, Jail (where in the prisoners were held captive) and Red Koneru (Also known as pond of Swords, The huge lake in front of the mosque, where the warriors used to dip their swords in this lake and the waters used to turn blood red after the war).


title: Gandikota

text: The nearest railway stations are Muddanuru which is 26 km (railway code: MOO) and Jammalamadugu (JMDG) in Kadapa District. There are number of trains from Gooty Junction. Recently the town of Jammalamadugu which is closest to Gandikota fort also got railway connectivity due to the completion of Nandyal–Yerraguntla section railway line. However frequency of trains on this line is very low.


title: Gandikota

text: Inside the fort there is no means of transportation except to walk by foot. It is ideal to engage a guide as the fort area is huge. There is a good downhill trek through the canyon that leads to the riverbed. There is a dam upstream (Gandikota Dam) and a dam downstream (Mylavaram Dam).


title: Gandikota

text: There is a Haritha hotel run by Andhra Pradesh Tourism department which has lodging facilities. However the facilities are limited during the weekdays as the visitors during weekdays are low


title: Gandikota

text: In November 2015, Andhra Pradesh government cited a plan to develop Gandikota as next major tourist hub of Andhra Pradesh.


title: Floor area ratio

text: Floor area ratio (FAR) is the ratio of a building's total floor area (gross floor area) to the size of the piece of land upon which it is built. It is often used as one of the regulations in city planning along with the building-to-land ratio. The terms can also refer to limits imposed on such a ratio through zoning.


title: Floor area ratio

text: Floor Area ratio is sometimes called floor space ratio (FSR), floor space index (FSI), site ratio or plot ratio.


title: Floor area ratio

text: Index numbers are values expressed as a percentage of a single base figure. Thus an FAR of 1.5 is translated as an FSI of 150%.


title: Floor area ratio

text: In Australia "floor space ratio" (FSR) is used in New South Wales and "plot ratio" in Western Australia.


title: Floor area ratio

text: In the United States and Canada, "floor space ratio" (FSR) and "floor area ratio" (FAR) are both used.


title: Floor area ratio

text: Use ratios are used as a measure of the density of the site being developed. High FAR indicates a dense construction. The ratio is generated by dividing the building area by the parcel area, using the same units.


title: Floor area ratio

text: One of the purposes of the 1916 zoning ordinance of New York City was to prevent tall buildings from obstructing too much light and air. The 1916 zoning ordinance sought to control building size by regulating height and setback requirements for towers. In 1961, a revision to the zoning ordinance introduced the concept of floor area ratio (FAR). Buildings built before 1961 often have FARs that would be unachievable today, such as the Empire State Building which has an FAR of 25 - meaning that it earns considerably greater rent than a newer building on the same land could hope for.


title: Floor area ratio

text: The floor area ratio (FAR) can be used in zoning to limit urban density. While it directly limits building density, indirectly it also limits the number of people that a building can hold, without controlling a building's external shape.


title: Floor area ratio

text: For example, if lot must adhere to a 0.1 FAR, then the total area of all floors in all buildings on the lot must be no more than one-tenth the area of the parcel itself. In other words, if the lot was 10,000 sq. ft, then the total floor area of all floors in all buildings must not exceed 1,000 sq. ft.


title: Floor area ratio

text: An architect can plan for either a single-story building consuming the entire allowable area in one floor, or a multi-story building that rises higher above the plane of the land, but which must consequently result in a smaller footprint than would a single-story building of the same total floor area. By combining the horizontal and vertical limits into a single figure, some flexibility is permitted in building design, while achieving a hard limit on at least one measure of overall size. One advantage to fixing this parameter, as opposed to others such as height, width, or length, is that floor area correlates well with other considerations relevant to zoning regulation, such as total parking that would be required for an office building, total number of units that might be available for residential use, total load on municipal services, etc. The amounts of these things tend to be constant for a given total floor area, regardless of how that area is distributed horizontally and vertically. Thus, many jurisdictions have found it unnecessary to include hard height limitations when using floor area ratio calculations.


title: Floor area ratio

text: Common exclusions to the total calculation of square footage for the purpose of floor area ratio (FAR) include unoccupied areas such as mechanical equipment floors, basements exclusively used for parking, stair towers, elevator shafts, and parking garages.


title: Floor area ratio

text: In India FAR and FSI are both used. FAR regulations vary from city to city and generally it is from 1.3 to 3.25. In Mumbai 1.33 is the norm but higher FSI is allowed along the Metro rail line and slum areas like Dharavi. In Bangalore, 40 feet streets allow only an FAR of 1.75 but 100 feet streets allow 3.25 FAR.


title: Floor area ratio

text: A 2022 study found that lower maximum-allowed FAR in New York City led to lower land value and lower density.


title: Floor area ratio

text: Clarifying Duany's second criticism in reference to "lot coverage": If localities seek to regulate density through floor area ratio, the logical consequence is to encourage expansive one story building with less green space, as single story construction is less expensive than multi-story construction on a per square foot basis. On the other hand, if density is regulated by building coverage ratio (a.k.a. lot coverage or site coverage) then green space can be preserved and multi-story construction becomes financial advantageous. This outcome is demonstrated in the illustration comparing FAR to BCR.


title: Meezan Bank

text: Meezan Bank () is the first Islamic bank in Pakistan and commenced operations in 2002, after being issued the first-ever Islamic commercial banking licence by the State Bank of Pakistan. The Bank is headquartered at Meezan House in Karachi, Pakistan. It has a network of over 890 branches.


title: Meezan Bank

text: The bank started as an Islamic investment bank in 1997 and was then known as Al-Meezan Investment Bank.


title: Meezan Bank

text: In 2014, Meezan Bank signed an agreement with HSBC Bank Middle East to acquire HSBC's Pakistan operations consisting of 10 branches.


title: The Living Years

text: "The Living Years" is a soft rock ballad written by B. A. Robertson and Mike Rutherford, and recorded by Rutherford's British rock band Mike + The Mechanics. It was released in December 1988 in the United Kingdom and in the United States as the second single from their album "Living Years". The song was a chart hit around the world, topping the US "Billboard" Hot 100 on 25 March 1989, the band's only number-one and last top ten hit on that chart, and reaching number-one in Australia, Canada and Ireland and number 2 in the UK. It spent four weeks at number-one on the US "Billboard" Adult Contemporary chart. Paul Carrack sings lead vocals on the track.


title: The Living Years

text: The song addresses a son's regret over unresolved conflict with his now-deceased father. It won the Ivor Novello Award for Best Song Musically and Lyrically in 1989, and was nominated for four Grammy awards in 1990, including Record and Song of the Year, as well as Best Pop Performance by a Duo or Group with Vocals and Best Video. In 1996, famed composer Burt Bacharach opined that the song was one of the finest lyrics of the last ten years.


title: The Living Years

text: The music video was directed by Tim Broad and premiered in January 1989. It was filmed in October 1988 in West Somerset, England, near Porlock Weir and the hamlet of Culbone. The video features Mike Rutherford with his then-eight-year-old son, Tom. It also includes an appearance by actress Maggie Jones, best known for playing Blanche Hunt in the soap opera "Coronation Street".


title: The Living Years

text: The video also shows the group playing the song (with Paul Young playing keyboards), with two sets of choirs singing the chorus with them, an all-boys church choir and an adult choir.


title: The Living Years

text: There are alternative recordings of the song, instrumental as well as vocal, reggae to classical crossover, from artists as diverse as American country music band Alabama, Chris De Burgh, West End theatre star Michael Ball, Marcia Hines, Engelbert Humperdinck, James Last, The London Symphony Orchestra, Christian artist Russ Lee, Rhydian, John Tesh, Russell Watson, the London Community Gospel Choir, the Newsboys, The Isaacs, The Katinas, Japanese singer Kaho Shimada, Italian band Dik Dik and Michael English.


title: The Living Years

text: Mike + The Mechanics band member Paul Carrack, who performed the original lead vocal, has made a number of solo interpretations. His father died in an industrial accident when Carrack was eleven, making the lyrics particularly poignant for him. It is still a mainstay of Carrack's live performances today.


title: Strategic nuclear weapon

text: A strategic nuclear weapon (SNW) refers to a nuclear weapon that is designed to be used on targets often in settled territory far from the battlefield as part of a strategic plan, such as military bases, military command centers, arms industries, transportation, economic, and energy infrastructure, and heavily populated areas such as cities and towns, which often contain such targets. It is in contrast to a tactical nuclear weapon, which is designed for use in battle as part of an attack with and often near friendly conventional forces, possibly on contested friendly territory.


title: Strategic nuclear weapon

text: Strategic nuclear weapons generally have significantly larger yields, and typically starting from 100 kilotons up to destructive yields in the low megaton range for use especially in the enemy nations interior far from friendly forces to maximize damage, especially to buried hard targets, like a missile silo or wide area targets like a large bomber or naval base. However, yields can overlap, and many weapons such as the variable yield B61 nuclear bomb which could be used at low power by a fighter-bomber in an interdiction strike or at high yield dropped by a strategic bomber against an enemy submarine pen. The W89 200 kiloton (0.2 MT) warhead armed both the tactical Sea Lance area effect anti-submarine weapon for use far out at sea and the strategic bomber launched SRAM II stand off missile designed for use in the Soviet Union's interior. Indeed, the strategic attacks on Hiroshima and Nagasaki utilized weapons of between 10 and 20 kilotons, but that was because the "Little Boy" and "Fat Man" bombs were the most destructive and indeed only nuclear weapons then available. There is no precise definition of the "strategic" category for either range nor yield. The yield of tactical nuclear weapons is generally lower than that of strategic nuclear weapons, but larger ones are still very powerful, and some variable-yield warheads serve in both roles. Modern tactical nuclear warheads have yields up to the tens or potentially hundreds of kilotons, several times that of those used in the atomic bombings of Hiroshima and Nagasaki.


title: Strategic nuclear weapon

text: Strategic thinking under the Eisenhower administration and Secretary of State John Foster Dulles was that of massive retaliation in the face of the Soviet Union's nuclear arsenal. The two superpowers developed many of the most destructive deployed thermonuclear weapons. Every bit of destructive power that could be delivered to the enemy's interior was considered advantageous in maintaining deterrence and would become the basis of the US strategic arsenal. Flexible response was a defense strategy first implemented by John F. Kennedy in 1961 to address the Kennedy administration's skepticism of the policy of massive retaliation in the face of strike options limited to total war during the Cuban Missile Crisis. That, along with cost, increasingly-accurate targeting, multiple warheads per delivery vehicle, and a desire for greater flexibility in targeting especially with respect to increasing sensitivity to collateral damage in some scenarios, began the trend to reducing individual warhead yields in strategic weapon systems.


title: Strategic nuclear weapon

text: Strategic missiles and bombers are assigned preplanned targets including enemy airfields, radars, and surface to air defenses; but the strategic mission was to eliminate the enemy nation's national defenses to allow following strategic bombers and missiles to more penetrate and threaten in force the enemy nation's strategic forces, command, population, and economy more realistically, rather than targeting purely military assets in nearly real time using tactical weapons, with range and yield optimized for this type of time-sensitive attack mission often near friendly forces.


title: Strategic nuclear weapon

text: Early ICBMs had an unfavorable circular error probable (CEP); the strategic missiles and, in some conditions, bomber had low targeting accuracy. Additionally, much early Cold War strategic asset construction was above-ground soft targets or minimally-hardened such as airfields, pre-nuclear command and control installations, defensive infrastructure, and even ICBM bases. When every missile carried only one poorly-guided warhead designing systems with massive warhead yields to cause a huge damage footprint, with the possibility of potentially destroying several nearby soft targets of opportunity and increasing the likelihood that the primary target was within the overlap of CEP and destruction circle the highest possible yield warhead for the missile was considered an advantage. The enemy being targeted a continent away was a low ratio of side effects to friendly areas, which contrasted the potential damage to enemy assets. As navigation technology improved the accuracy and many missiles and nearly all bombers were equipped with multiple nuclear warheads the trend was to reduce warhead yield both for weight and to give more flexibility in targeting with respect to collateral damage, target hardening also created a situation in which even a very large warhead with excellent targeting would still destroy only one target, gaining no advantage to its large weight and expense, as opposed to several smaller MIRVs.


title: Strategic nuclear weapon

text: A feature of strategic nuclear weapons, especially in the transcontinental nature of the Cold War, with continent-spanning superpowers that are oceans apart, is the greater range of their delivery apparatus, such as ICBMs, giving them the ability to threaten the enemy's command and control structure and national infrastructure even though they were based many thousands of miles away in friendly territory. ICBMs with nuclear warheads are the primary strategic nuclear weapons, and short-range missiles are tactical. In addition, while tactical weapons are designed to meet battlefield objectives without destroying nearby friendly forces, one main purpose of strategic weapons is deterrence under the theory of mutually assured destruction. In the case of two small bordering nations, a strategic weapon could have a quite short range and still be designed or intended for strategic targeting. Specifically, on the Korean Peninsula, with a nuclear-armed North Korea facing off against an NPT-compliant South Korea there have been calls to request a return US-owned short range low yield nuclear weapons, nomenclatured as tactical by the US military, to provide a local strategic deterrent to the North's growing domestically produced nuclear arsenal and delivery systems.


title: Strategic nuclear weapon

text: After the Cold War, the tactical nuclear weapon stockpiles of NATO and Russia were greatly reduced. Highly-accurate strategic missiles like the Trident II can also be used in substrategic, tactical strikes.


title: Strategic nuclear weapon

text: According to several reports, including by the Carnegie Endowment for International Peace and Bulletin of the Atomic Scientists, as a result of the effectiveness and acceptability of USAF use of precision munitions with little collateral damage in the Kosovo conflict in what amounted to strategic destruction once only possible with nuclear weapons or massive bombing, Vladimir Putin, then-secretary of Security Council of Russia, formulated a concept (""escalate to de-escalate"") of using both tactical and strategic nuclear threats and strikes to de-escalate or cause an enemy to disengage from a conventional conflict threatening what Russia considers a strategic interest. The lowered threshold for use of nuclear weapons by Russia is disputed by other experts.


title: SAP Ariba

text: SAP Ariba is an American software and information technology services company located in Palo Alto, California. It was acquired by German software maker SAP SE for $4.3 billion in 2012.


title: SAP Ariba

text: Ariba (now SAP Ariba) was founded in 1996 by Bobby Lent, Boris Putanec, Paul Touw, Rob Desantis, Ed Kinsey, Paul Hegarty, and Keith Krach on the idea of using the Internet to enable companies to facilitate and improve the procurement process, which was paper-based, labor-intensive, and inefficient for large corporations. The name Ariba is a neologism, chosen by a branding company since it was easy to pronounce and spell. The pre-launch name was Procuresoft.


title: SAP Ariba

text: Ariba went public in 1999 under Krach's leadership as CEO, and was one of the first business-to-business Internet companies to do an IPO. The company's stock more than tripled from the offering price on opening day, making the three-year-old company worth $4 billion. In 2000, the stock value continued to climb, and Ariba's market capitalization was as high as $40 billion. With the bursting of the dot-com bubble, Ariba's stock price fell dramatically in July 2001 to its IPO level, where it remained for the rest of its life as an independent company.


title: SAP Ariba

text: On December 17, 1999, Ariba announced it would acquire Atlanta-based Tradex Technologies in a stock swap valued then at $1.86 billion. Tradex was the leader in the nascent Digital Marketplace Software field. The stock market liked the acquisition and the price of Ariba's shares rose from $57 at the time of the announcement to $173 at closing on March 9, 2000, which also marked the peak of the Internet Bubble. The 33.2 million shares that Ariba issued to buy Tradex were then worth $5.6 billion to Tradex shareholders.


title: SAP Ariba

text: In January 2001 Ariba announced that it would acquire Agile Software in a $2.55 billion stock swap. By April, with Ariba facing a disappointing second quarter and cutting a third of its workforce, the deal had fallen apart.


title: SAP Ariba

text: In early 2004, Ariba acquired FreeMarkets which gave the company a software package in the upstream (sourcing) of the sourcing process. In late 2007, Ariba bought the company Procuri for $93 million, which enhanced the company's client base and on-demand abilities.


title: SAP Ariba

text: In December 2008, Ariba announced that the U.S. District Court for the Eastern District of Texas had issued an injunction against Emptoris, which prohibits the company from infringing on two of Ariba's patents related to overtime and bid ceilings in reverse auctions. On 16 December 2008, the court ordered Emptoris to pay an enhanced damages award of $1.4 million for willful infringement in connection with Emptoris’ infringement of the two reverse auction-patents held by Ariba. This was in addition to the 29 October 2008 jury award of $5 million in damages to Ariba, bringing the total fine to approximately $6.4 million, a significant penalty for Emptoris which earned approximately $50 million in revenue for 2008. In an Emptoris press release, that company noted that it had released a new software "patch" that eliminates any infringement. The U.S. District Court, in February 2009, issued an order noting that the "patch" is colorably different, effectively concluding the case.


title: SAP Ariba

text: In November, 2010, Ariba announced that it would acquire Quadrem, a privately held provider of one of the world's largest supply networks and on-demand supply management solutions. The acquisition closed in January 2011.


title: SAP Ariba

text: In October, 2011 Ariba announced the acquisition of b-process, a privately held French company and European leader in electronic invoicing service provider, for approximately €35 million in cash.


title: SAP Ariba

text: In April, 2013, Ariba partnered with Medassets to "extend the latter's supply chain management and outsourced procurement functionalities".


title: SAP Ariba

text: On February 19, 2009, Ariba announced AribaWeb, an open source framework for Rich Web Applications. It is designed to generate a user interface automatically from base Java or Groovy classes and includes Object-Relational Mapping features. It also encapsulates AJAX functionality and has a broad selection of UI widgets.


title: SAP Ariba

text: SAP Ariba now only sells the cloud version of product in the market and calls it SAP Ariba On Demand Suite of Applications. Customers using the On Premise versions will eventually have to migrate to the cloud version.


title: SAP Ariba

text: On May 22, 2012, the German business software maker SAP SE announced it planned to acquire Ariba for an estimated $4.3 billion. SAP said it would pay $45 a share. JPMorgan Chase and Deutsche Bank AG advised SAP SE on the sale, while Morgan Stanley provided financial counsel to Ariba. Ariba's shareholders approved the acquisition on August 29, 2012, and it was completed on October 1, 2012, for $4.4 billion.


title: SAP Ariba

text: As of March 2022 SAP Ariba indicates that it currently supports 5.3 Million companies (between buyers and suppliers) on the "SAP B2B Network" transacting $3.75 trillion annually.


title: SAP Ariba

text: In January of 2022 SAP Ariba announced that it would be building a partnership with CLM specialist Icertis as well as taking minority stake within the company for an undisclosed amount. The two companies have committed to building a joint roadmap.


title: Subdural hygroma

text: A subdural hygroma (SDG) is a collection of cerebrospinal fluid (CSF), without blood, located under the dural membrane of the brain. Most hygromas are believed to be derived from chronic subdural hematomas. They are commonly seen in elderly people after minor trauma but can also be seen in children following infection or trauma. One of the common causes of subdural hygroma is a sudden decrease in pressure as a result of placing a ventricular shunt. This can lead to leakage of CSF into the subdural space especially in cases with moderate to severe brain atrophy. In these cases the symptoms such as mild fever, headache, drowsiness and confusion can be seen, which are relieved by draining this subdural fluid.


title: Subdural hygroma

text: Subdural hygromas require two conditions in order to occur. First, there must be a separation in the layers of dura mater of the brain. Second, the resulting subdural space that occurs from the separation of layers must remain uncompressed in order for CSF to accumulate in the subdural space, resulting in the hygroma. The arachnoid mater is torn and cerebrospinal fluid (CSF) from the subarachnoid space accumulates in the subdural space. Hygromas also push the subarachnoid vessels away from the inner table of the skull. Subdural hygroma can appear in the first day, but the mean time of appearance is 9 days on CT scan. Subdural hygroma does not have internal membranes that can easily rupture like subdural haematoma, but hygroma can sometimes occur together with hemorrhage to become hematohygroma.


title: Subdural hygroma

text: Subdural hygromas most commonly occur when events such as head trauma, infections, or cranial surgeries happen in tandem with brain atrophy, severe dehydration, prolonged spinal drainage, or any other event that causes a decrease in intracranial pressure. This provides the basis for why subdural hygromas more commonly occur in infants and elderly; infants have compressible brains while elderly patients have a greater amount of space for fluid to accumulate due to brain atrophy from age.


title: Subdural hygroma

text: Most subdural hygromas are small and clinically insignificant. A majority of patients with SDG will not experience symptoms. However, some commonly reported but nonspecific symptoms of SDG that have been reported include headache and nausea. Focal neurologic deficits and seizures have also been reported but are nonspecific to SDG. Larger hygromas may cause secondary localized mass effects on the adjacent brain parenchyma, enough to cause a neurologic deficit or other symptoms. Acute subdural hygromas can be a potential neurosurgical emergency, requiring decompression. Acute hygromas are typically a result of head trauma—they are a relatively common posttraumatic lesion—but can also develop following neurosurgical procedures, and have also been associated with a variety of conditions, including dehydration in the elderly, lymphoma and connective tissue diseases.


title: Subdural hygroma

text: In CT scan, subdural hygroma will have same density as the normal CSF. Meanwhile, in MRI, subdural hygroma will have same intensity with CSF. If iodinated contrast is administered during CT scan, the hygroma will produce high density because of the contrast at 120 kVp. However, at 190 kVp, hygroma with contrast will have intermediate density.


title: Subdural hygroma

text: In the majority of cases, if there has not been any acute trauma or severe neurologic symptoms, a small subdural hygroma on the head CT scan will be an incidental finding. If there is an associated localized mass effect that may explain the clinical symptoms, or concern for a potential chronic SDH that could rebleed, then an MRI, with or without neurologic consultation, may be useful.


title: Subdural hygroma

text: It is not uncommon for chronic subdural hematomas (SDHs) on CT reports for scans of the head to be misinterpreted as subdural hygromas, and vice versa. Magnetic resonance imaging (MRI) should be done to differentiate a chronic SDH from a subdural hygroma, when clinically warranted. Elderly patients with marked cerebral atrophy, and secondary widened subarachnoid CSF spaces, can also cause confusion on CT. To distinguish chronic subdural hygromas from simple brain atrophy and CSF space expansion, a gadolinium-enhanced MRI can be performed. Visualization of cortical veins traversing the collection favors a widened subarachnoid space as seen in brain atrophy, whereas subdural hygromas will displace the cortex and cortical veins.


title: Subdural hygroma

text: Most subdural hygromas that are asymptomatic do not require any treatment. Some might opt to perform a simple burr-holes to alleviate intracranial pressure (ICP). Occasionally a temporary drain is placed for 24-48 hours post op. In recurrent cases a craniotomy may be performed to attempt to locate the location of the CSF Leak. In certain cases a shunt can be placed for additional drainage. Great caution is used when choosing to look for the CSF leak due to them generally being difficult to spot.


title: Marcel Cerdan

text: Marcellin "Marcel" Cerdan (; 22 July 1916 – 28 October 1949) was a French professional boxer and world middleweight champion who was considered by many boxing experts and fans to be France's greatest boxer, and beyond to be one of the best to have learned his craft in Africa. His life was marked by his sporting achievements, social lifestyle and ultimately, tragedy, being killed in an airplane crash.


title: Marcel Cerdan

text: Marcellin Cerdan was born at 9:00pm on 22 July 1916 in the "Little Paris" neighbourhood of Sidi Bel Abbès in Algeria. He was the fourth son of Antonio Cerdán (1880–1946), a day labourer, and Asunción Cascales (1886–1942)"," "pied-noirs" of Spanish origin.


title: Marcel Cerdan

text: Cerdan began boxing professionally on 4 November 1934 in Meknes, Morocco, beating Marcel Bucchianeri by a decision in six rounds. He then ran a streak of 47 wins in a row between that first bout and 4 January 1939, when he lost for the first time, to Harry Craster by a disqualification in five rounds in London. Cerdan campaigned heavily in the French territories of Algeria and Morocco during that part of his career, as well as in metropolitan France. In 1938, he beat Omar Kouidri in a 12-round decision at Casablanca to claim the French welterweight title.


title: Marcel Cerdan

text: After his first loss, Cerdan recorded five consecutive wins, which led him to challenge Saviello Turiello for Europe's welterweight title in Milan, Italy. He won the European title by a decision in 15 rounds to continue his ascent towards the championship (back then, it was considered essential to own at least a Continental title belt to earn a world title shot; nowadays, it is not considered as important).


title: Marcel Cerdan

text: Cerdan's winning streak eventually reached 23 bouts before he suffered a defeat to Victor Buttin by disqualification for a second time, in eight rounds in Algiers in 1942. They would later re-match in 1945, and Cerdan would avenge the defeat by knocking Buttin out in the third round.


title: Marcel Cerdan

text: For his next bout after the first fight with Buttin though, Cerdan put his title on the line against José Ferrer (namesake of the Hollywood star). He knocked out Ferrer in one round, and won four more bouts in a row before facing another boxer with a namesake: James Toney, who shared that name with another boxer who would become world Middleweight champion five decades later. Cerdan knocked out Toney in two rounds to keep this new winning streak alive. The new streak would reach 37 wins. In between, he joined the American allies in World War II during 1944, and he won the Inter-Allied Championship.


title: Marcel Cerdan

text: He also went up in weight to the Middleweight division, and won the French title by beating Assane Douf by a knockout in three rounds. He later claimed the vacant European title by beating Léon Foquet by a knockout in one round. He retained that title a couple of times before losing it to rugged Belgian Cyrille Delannoit by a decision in 15 at Brussels, Belgium. Soon, he went back to Belgium and re-took the title by beating Delannoit, also by decision.


title: Marcel Cerdan

text: Finally, after the rematch with Delannoit, Cerdan was given a world title opportunity and he travelled to the United States, where he beat World Middleweight champion Tony Zale. Cerdan became a world champion by knocking Zale out in the 12th round in Roosevelt Stadium, Jersey City, New Jersey on 21 September 1948.


title: Marcel Cerdan

text: During his short period as a world champion, Cerdan became a popular figure of the Paris scene. Although married with three children, he had an affair with the famous singer Édith Piaf. The affair lasted from summer 1948 until his death in autumn 1949. They were very devoted to each other and Piaf dedicated one of her most famous songs, "Hymne à l'amour", to Cerdan.


title: Marcel Cerdan

text: For his first defense Cerdan returned to the United States, where he fought Jake LaMotta in Detroit. Cerdan was knocked down in round one, his shoulder was dislocated, and he had to give up after the tenth round. It would be the last fight of Cerdan's life. A contract was signed for a rematch and Cerdan went to training camp for it, but before camp began he boarded an Air France flight to visit Piaf in New York, where she was singing. The Lockheed L-749 Constellation crashed into Monte Redondo (São Miguel Island, Azores), killing all 11 crew members and 37 passengers on board, including Cerdan and the famous French violinist Ginette Neveu, while approaching the intermediate stop airport at Santa Maria. The following day, LaMotta lauded Cerdan's sportsmanship, saying: "You had to fight him as I did to know what a fine sportsman he was." Cerdan was interred in the Cimetière du Sud, Perpignan, Pyrénées-Orientales, France.


title: Marcel Cerdan

text: In 1983, Cerdan and Piaf had their lives turned into a big screen biography by Claude Lelouch. The film, "Édith et Marcel", starred Marcel Cerdan, Jr. in the role of his father and Évelyne Bouix as Piaf. He is portrayed by actor Jean-Pierre Martins in the 2007 Piaf biopic "La Môme" (entitled "La Vie en Rose" in English-speaking countries).


title: Marcel Cerdan

text: In 1991, a sports arena located in Levallois-Perret, the Palais des sports Marcel-Cerdan, was named in his honor.


title: United Counties League

text: The United Counties League (also known after its sponsor as the "Uhlsport United Counties League") is an English football league covering Northamptonshire, Rutland and Bedfordshire and most of Leicestershire as well as parts of Buckinghamshire, Cambridgeshire, Derbyshire, Lincolnshire, Norfolk, Nottinghamshire, Oxfordshire, Warwickshire and the West Midlands. It has a total of five divisions, three for first teams and two for reserve teams, but the reserves' divisions were merged into a single division for the 2013–14 season and remains so at present.


title: United Counties League

text: Clubs in the Premier Divisions are eligible to enter the FA Cup in the Preliminary Round stages. Those clubs in the league with floodlights are eligible for the FA Vase, and there are knockout cups for the Premier/Division One clubs and for the Reserve Divisions clubs.


title: United Counties League

text: The United Counties League was formed in 1895 as the Northamptonshire Junior League, dropping the 'Junior' one year later. It took its current name in 1934 as teams from other counties had long since been a part of the league. Over the years the UCL has 'united' teams from Northamptonshire, Rutland and Bedfordshire with those from parts of Buckinghamshire, Cambridgeshire, Huntingdonshire, Leicestershire, Lincolnshire and even Norfolk. Northampton Town joined the league in 1897 and became champions in their second season before moving up to the Southern League. They would become the league's first former member to reach the Football League in 1920. In 1900 Bedford Queens became the first club from outside the county to join the league.


title: United Counties League

text: The Football Association announced on 12 April 2021 that United Counties League would administer a new Step 5 division since the 2021–22 season after the scheduled National League System restructure had a one-season postponement due to the COVID-19 pandemic in England.


title: United Counties League

text: The Premier Division North is at level 9 (step 5) of the National League System (NLS), feeding into the Northern Premier League Division One Midlands and East. There are currently 18 clubs in this division. The member clubs take part in cup competitions organised by the county FA to which they are affiliated and other cup competitions.


title: United Counties League

text: The Premier Division South is also at level 9 (step 5) of the NLS, feeding into the Southern Football League Division One Central. There are currently 21 clubs in this division. The member clubs take part in cup competitions organised by the county FA to which they are affiliated and other cup competitions.


title: United Counties League

text: Division One is at level 10 (step 6) in the football pyramid above four smaller local leagues below the recognised NLS: Central Midlands League, Leicestershire Senior League, Lincolnshire League and Nottinghamshire Senior League. There are currently twenty-three clubs in this division.


title: United Counties League

text: The membership of the Reserve Division is made up largely of the reserve teams of clubs in the Premier Division and Division One of the United Counties League. It has run as a single division since season 2013–14, and currently contains eighteen teams.


title: Function overloading

text: In some programming languages, function overloading or method overloading is the ability to create multiple functions of the same name with different implementations. Calls to an overloaded function will run a specific implementation of that function appropriate to the context of the call, allowing one function call to perform different tasks depending on context.


title: Function overloading

text: For example, and are overloaded functions. To call the latter, an object must be passed as a parameter, whereas the former does not require a parameter, and is called with an empty parameter field. A common error would be to assign a default value to the object in the second function, which would result in an "ambiguous call" error, as the compiler wouldn't know which of the two methods to use.


title: Function overloading

text: Another example is a function that executes different actions based on whether it's printing text or photos. The two different functions may be overloaded as If we write the overloaded print functions for all objects our program will "print", we never have to worry about the type of the object, and the correct function call again, the call is always: .


title: Function overloading

text: Languages which support function overloading include, but are not necessarily limited to, the following:


title: Function overloading

text: It is a classification of static polymorphism in which a function call is resolved using some "best match" algorithm, where the particular function to call is resolved by finding the best match of the formal parameter types with the actual parameter types. The details of this algorithm vary from language to language.


title: Function overloading

text: Function overloading is usually associated with statically-typed programming languages that enforce type checking in function calls. An overloaded function is really just a set of different functions that happen to have the same name. The determination of which function to use for a particular call is resolved at compile time.


title: Function overloading

text: Function overloading should not be confused with forms of polymorphism where the choice is made at runtime, e.g. through virtual functions, instead of statically.


title: Function overloading

text: In the above example, the volume of each component is calculated using one of the three functions named "volume", with selection based on the differing number and type of actual parameters.


title: Function overloading

text: Constructors, used to create instances of an object, may also be overloaded in some object-oriented programming languages. Because in many languages the constructor's name is predetermined by the name of the class, it would seem that there can be only one constructor. Whenever multiple constructors are needed, they are to be implemented as overloaded functions. In C++, default constructors take no parameters, instantiating the object members with their appropriate default values, "which is normally zero for numeral fields and empty string for string fields". For example, a default constructor for a restaurant bill object written in C++ might set the tip to 15%:


title: Function overloading

text: The drawback to this is that it takes two steps to change the value of the created Bill object. The following shows creation and changing the values within the main program:


title: Function overloading

text: By overloading the constructor, one could pass the tip and total as parameters at creation. This shows the overloaded constructor with two parameters. This overloaded constructor is placed in the class as well as the original constructor we used before. Which one gets used depends on the number of parameters provided when the new Bill object is created (none, or two):


title: Function overloading

text: Now a function that creates a new Bill object could pass two values into the constructor and set the data members in one step. The following shows creation and setting the values:


title: Function overloading

text: Another reason for constructor overloading can be to enforce mandatory data members. In this case the default constructor is declared private or protected (or preferably deleted since C++11) to make it inaccessible from outside. For the Bill above total might be the only constructor parameter since a Bill has no sensible default for total whereas tip defaults to 0.15.


title: Function overloading

text: Two issues interact with and complicate function overloading: Name masking (due to scope) and implicit type conversion.


title: Function overloading

text: If a function is declared in one scope, and then another function with the same name is declared in an inner scope, there are two natural possible overloading behaviors: the inner declaration masks the outer declaration (regardless of signature), or both the inner declaration and the outer declaration are both included in the overload, with the inner declaration masking the outer declaration only if the signature matches. The first is taken in C++: "in C++, there is no overloading across scopes." As a result, to obtain an overload set with functions declared in different scopes, one needs to explicitly import the functions from the outer scope into the inner scope, with the keyword.


title: Function overloading

text: Implicit type conversion complicates function overloading because if the types of parameters do not exactly match the signature of one of the overloaded functions, but can match after type conversion, resolution depends on which type conversion is chosen.


title: Function overloading

text: These can combine in confusing ways: An inexact match declared in an inner scope can mask an exact match declared in an outer scope, for instance.


title: Function overloading

text: For example, to have a derived class with an overloaded function taking a or an , using the function taking an from the base class, in C++, one would write:


title: Function overloading

text: Failing to include the results in an parameter passed to in the derived class being converted to a double and matching the function in the derived class, rather than in the base class; Including results in an overload in the derived class and thus matching the function in the base class.


title: Function overloading

text: If a method is designed with an excessive number of overloads, it may be difficult for developers to discern which overload is being called simply by reading the code. This is particularly true if some of the overloaded parameters are of types that are inherited types of other possible parameters (for example "object"). An IDE can perform the overload resolution and display (or navigate to) the correct overload.


title: Function overloading

text: Type-based overloading can also hamper code maintenance, where code updates can accidentally change which method overload is chosen by the compiler.


title: Jaguar C-X75

text: The Jaguar C-X75 is a hybrid-electric, 2-seat, concept car produced by British automobile manufacturer Jaguar Cars in partnership with the derivative of the Formula One team, Williams Advanced Engineering which debuted at the 2010 Paris Motor Show. The powertrain of the C-X75 concept is rated at through four YASA electric motors, each of which drives one of the four wheels. The batteries driving these motors are recharged using two diesel-fed micro gas turbines instead of a conventional four-stroke engine. It was described as a design study that would influence future design and technology.


title: Jaguar C-X75

text: In May 2011 Jaguar announced a limited production of the C-X75 from 2013 to 2015, with a compact, forced induction petrol engine combined with electric motors instead of the micro gas turbines in the concept car. A maximum of 250 cars were planned to be built in partnership with Williams Advanced Engineering. The production version was expected to have an all-electric range of . In December 2012, the company announced the cancellation of production due to the ongoing global economic crisis. Five developmental prototypes were produced in the production car specifications in 2013. The car was featured in the 2015 film "Spectre", the twenty-fourth "James Bond" film in which seven cars were supplied to the film makers.


title: Jaguar C-X75

text: In terms of performance, Jaguar envisioned a goal of their future sports car reaching and accelerating from in 2.9 seconds and in 2.3 seconds. It is powered by four electric motors – one for each wheel – which have a total of and a total torque output of . Inherent in the drivetrain is the ability to independently drive each wheel across the full speed range, known as Torque Vectoring. Each motor weighs .


title: Jaguar C-X75

text: The micro gas turbines from Bladon Jets generate enough electricity to extend the range of the car to while producing 28 grams of per kilometre on the EU test cycle. While running solely on battery power, the C-X75 has an all-electric range of . Among other advantages, the micro turbines used in the C-X75 can be run on a range of fuels including diesel, biofuels, compressed natural gas and liquid petroleum gas. The 15 kWh lithium ion battery pack weighs . Jaguar estimated an average carbon emission of 28 g/km on European test cycle, however, the carbon emission is around 150g/km if the turbines are running.


title: Jaguar C-X75

text: Jaguar also focused on the aerodynamics in order to improve performance. For example, the carbon-fibre rear diffuser that guides airflow from under the car creating down-force, and includes an active aerofoil and is lowered automatically as speed increases. Moreover, the C-X75 features an extruded and bonded, aerospace-inspired, aluminium chassis, saving weight and improving sustainability and performance.


title: Jaguar C-X75

text: In May 2011 Jaguar unveiled plans to produce the C-X75; the company had planned to produce a maximum of 250 cars in partnership with Williams Advanced Engineering. The decision was part of a investment plan, announced by Jaguar Land Rover (JLR) in March 2011 at the Geneva Motor Show, to launch 40 ""significant new products"" over the next five years. The model was scheduled to be built from 2013 until 2015, although it had not yet been decided where the production would take place.


title: Jaguar C-X75

text: The C-X75 was to be built without the micro-turbines, instead, the production version would use a downsized, forced induction petrol engine, with one electric motor at each axle. In order to create a lightweight strong structure, the chassis was planned to be made of carbon-fibre, and the engine was to be mid-mounted for optimum weight distribution and to retain the concept's silhouette. The C-X75 production version was expected to deliver emissions of less than 99 g/km, a sub-three second 0–60 mph acceleration time, a top speed in excess of and a reduced all-electric range of as compared to the for the concept car.


title: Jaguar C-X75

text: In December 2012, Jaguar's Global Brand Director announced the cancellation of production due to the ongoing global economic crisis, as the carmaker considered that "" it seems the wrong time to launch an £800,000 to £1 million supercar"." The company expected to take advantage of part of the investment in the C-X75 development by using the C-X75 technology in future Jaguar cars. The Jaguar F-type was heavily influenced from the C-X75 and carried over many design cues and technological features from it. Jaguar announced its decision to continue working on five prototypes to be developed until May 2013. These prototypes featured a 1.6-litre turbocharged and supercharged inline-4 engine coupled with two YASA electric motors placed on each axle of the car. The powertrain had a combined power output of at 9,000 rpm and helped the car achieve speeds up to . Up to three of these prototypes were then sold at auction, while one went to a future Jaguar museum, and one was kept by Jaguar for running demonstrations. One of these prototypes was also featured in the 2015 James Bond film, Spectre.


title: Jaguar C-X75

text: A Jaguar C-X75 (painted in dark orange) appears in the 2015 James Bond film "Spectre" as Mr. Hinx's car (licensed ROMA 860K). It takes part in a car chase around Rome against James Bond, who drives an Aston Martin DB10. Jaguar supplied seven examples to the filmmakers. Although the cars are visually faithful to the original C-X75 concept, they are mechanically unrelated. According to JLR Special Vehicle Operations chief John Edwards, the cars are "constructed around a spaceframe built to World Rally Championship spec" and powered by a dry sump V8 engine. Although this new appearance of the C-X75 led to speculation that production plans for the car were being revived, Edwards was quoted as saying "the film was an opportunity to showcase C-X75, but it doesn’t mean a change in strategy." The car was built in collaboration with Williams Advanced Engineering.


title: Sheena (film)

text: Sheena, also known as Sheena: Queen of the Jungle, is a 1984 superhero film based on a comic-book character that first appeared in the late 1930s, Sheena, Queen of the Jungle.


title: Sheena (film)

text: A hybrid of action-adventure, superhero film and soap opera–style drama, "Sheena" was shot on location in Kenya. It tells the tale of a heroine raised in the fictional African country of Tigora by the fictional Zambouli tribe.


title: Sheena (film)

text: The film starred Tanya Roberts, Ted Wass, and Trevor Thomas. It was directed by John Guillermin and written by Lorenzo Semple Jr., who had previously collaborated on the 1976 remake of "King Kong".


title: Sheena (film)

text: Released by Columbia Pictures on 17 August 1984, "Sheena" bombed in theaters and was nominated for five Golden Raspberry Awards including Worst Picture, Worst Actress (Tanya Roberts), Worst Director, Worst Screenplay, and Worst Musical Score, but it did find some cult success on home video and DVD. Since then, it has been considered a cult film.


title: Sheena (film)

text: While investigating rumors of a mystical "healing earth" whose powers are said to flow forth from the sacred Gudjara Mountain, geologists Philip and Betsy Ames (Michael Shannon and Nancy Paul) are killed in a cave-in, leaving their young daughter, Janet an orphan. Janet is adopted by Shaman, a woman of the native Zambouli tribe (Princess Elizabeth of Toro), and because of a prophecy about the cave-in ("when the sacred mountain cries out"), she is viewed as a child of the gods and renamed Sheena, "Queen of the Jungle".


title: Sheena (film)

text: As Sheena (Tanya Roberts) grows up, she learns much from Shaman about the lore of the jungle and the ways of all its creatures. She is even entrusted with the secret of telepathic communication with the animals. Outsiders rarely disturb their territory, since that part of Tigora is under the special protection of king Jabalani (Clifton Jones).


title: Sheena (film)

text: Trouble is brewing in Tigora, although; the king's ex-football champion younger brother, prince Otwani (Trevor Thomas) is conspiring with his brother's fiancée, Countess Zanda (France Zobda) to have Jabalani assassinated so they can exploit the titanium-rich Zambouli land (this may or may not have something to do with the healing properties of the soil, but this is never explained).


title: Sheena (film)

text: Experiencing a vision foretelling the death of the king, Shaman hastens to Tigora's capital of Azan to try to warn him, but is arrested by corrupt police officers working for Zanda.


title: Sheena (film)

text: Otwani's old friend, reporter Vic Casey (Ted Wass) and his cameraman, Fletch Agronsky (Donovan Scott) are in Tigora to do a story on the former football player. When king Jabalani is killed and Shaman is framed for it, Vic and Fletch realize that they are on to a much bigger story than they had anticipated.


title: Sheena (film)

text: Heading to a remote prison compound to interview Shaman, they bear witness to her rescue by Sheena and her animal friends; "Chango" the elephant, "Marika" the zebra and "Tiki" the chimpanzee. As they escape back into the jungle after destroying the prison, Vic and Fletch follow. However, Shaman soon dies from her injuries.


title: Sheena (film)

text: Otwani obtains the services of colonel Jorgensen (John Forgeham) and his small army of soldier mercenaries, the Black Berets. Their mission is to eradicate the Zambouli people so their territory will be open for strip-mining. Vic join forces with Sheena to stop the evil prince and his army, along the way, Vic and Sheena fall in love.


title: Sheena (film)

text: The climax of the film takes place on the African Serengeti. Zanda attempts to shove Sheena on the Zambuli Falls, but the heroine connects telepathically to a bunch of flamingos that attack the helicopter and throw the countess down the waterfalls to her death. Sheena leads her people against the mercenaries and Otwani. Sheena successfully shoots Otwani in the heart with her arrow and fulfills the prophecy, but she is also positioned to be hit by Otwani's vehicle. Vic saves her life by crashing into Otwani's vehicle; resulting in severe burn wounds. Vic is healed with the earth and wants to stay with Sheena, but realizes that if he tells his story to the outside world, then other corporations will destroy Sheena's home.


title: Sheena (film)

text: Before leaving to return to New York,Vic and Sheena had sex (off-screen). Vic and his cameraman Fletch leave on an airplane back to New York. Before leaving, Sheena records a farewell message on his tape recorder wishing him a safe journey.


title: Sheena (film)

text: Les Ballets Africains performed the tribal dance sequences, which were choreographed by the troupe's director Italo Zambo.


title: Sheena (film)

text: In 1974, a friend of documentary filmmaker Paul Aratow suggested to him that the comic book "Sheena" would make a good film. Aratow thought, "Something went off in my head – I realised that it was a most commercial idea, it had action and a sexy, mythic Earth goddess type who was actually one of the true comic-book heroines." Aratow bought the rights, set up a production company with Alan Rinzler, and succeeded in interesting Universal Pictures with Raquel Welch attached to play the lead.


title: Sheena (film)

text: "At first it looked incredibly easy", Aratow says in the interview. "After only two months I had an office at the studio and Raquel Welch was going to play Sheena." Robert and Laurie Dillon wrote a script that took a tongue-in-cheek approach to the material. Universal invested around $65,000 in the project. The studio then decided not to proceed with the movie.


title: Sheena (film)

text: The producers then took the project to Filmways, where then-head of production Ed Feldman wanted "to create an out-and-out adventure story, with humour, of course, but basically an elaborate adventure." Feldman had a poster designed illustrating his idea and showed it to Mike Medavoy of United Artists, who agreed to finance a new script. Michael Scheff and David Spector did a screenplay. Raquel Welch, who had been Universal's choice for the role, was still a possibility, but Feldman said, "at this point we have no actress in mind. I wouldn't say we wouldn't go to Raquel Welch, but I wouldn't want to rule out a worldwide search, either."


title: Sheena (film)

text: When Mike Medavoy left United Artists, the project went into turnaround. Aratow now owed $65,000 to Universal and $85,000 to United Artists for the money they put in the project.


title: Sheena (film)

text: Aratow took "Sheena" to Avco-Embassy, which did a search for possible stars, then also passed. "I realised they just didn't have any money", said Aratow.


title: Sheena (film)

text: Eventually in 1980, Columbia Pictures' head of production Frank Price agreed to finance the movie "Sheena" with a budget from $7 to 10 million. Bo Derek was mentioned as a possible star, but Aratow says, "all reasonable casting suggestions are welcome".


title: Sheena (film)

text: "Girls today need superheroes", said Aratow. "I have a daughter, who is six, who needs someone to look up to. And I want Sheena to be that superhero. I also want Sheena to be a character that parents will want to send their kids to see, and the type of picture that parents can go see with their children."


title: Sheena (film)

text: "The comic-book concept was hopelessly outdated," said Aratow. "It involved the killing of endangered species and also had racist overtones. We decided to create our own interpretation of Sheena, Queen of the Jungle. She is a modern, contemporary woman . She is much more cognizant of ecology. She is much less violent. "Sheena" is an '80s film, so Sheena is an '80s woman living in the jungle. She is in tune with the natural order."


title: Sheena (film)

text: The first writer at Columbia was Leslie Stevens. "Leslie took the story in a fantasy direction, involving a "Chariots of the Gods" concept," said Aratow. "It was an interesting job, but it didn't meet with studio enthusiasm. Columbia didn't want to deal with Sheena as a magical phenomenon. The execs felt the basic material was already so fantastic, that the best way to play it was naturalistic. But they believed in the property enough to commission yet another script, and start all over again."


title: Sheena (film)

text: Columbia then financed a script from David Newman who had written "Superman" (1978). This script took a year to write. "His screenplay was worth waiting for, though, because it was more realistic and worked out much better," said Aratow.


title: Sheena (film)

text: Newman said he was interested in the concept of the "white goddess... that idea which appears again and again in legend— this 'Miranda' or 'Eve-like' innocent creature who lives in perfect harmony with animals and with the land — a kind of ecological superperson. I wanted to explore how that kind of person would fare in today's Africa, an Africa with places like Uganda and people like Idi Amin."


title: Sheena (film)

text: Tanya Roberts, who would play the role, said David Newman came up with the basis of the story. "I preferred his script, because it was the best in terms of character development," she said. The script was rewritten by Dean Riesner, whom Roberts says, "totally changed David's script. It lost all its charm and romance. It was a mistake; it didn't work at all. Riesner may be good at action, but he isn't good at character development."


title: Sheena (film)

text: When John Guillermin became the director, he felt like it needed "something more", so they hired Guillermin's old friend Lorenzo Semple, Jr., who had worked with the director on "King Kong" (1976).


title: Sheena (film)

text: Guillermin later said, "Unlike the Kong films, Sheena for me had some great possibilities. I saw the character of Sheena as sort of an ethereal person. It would have made the film more of a fairy tale, but, of course, it didn't quite go that route."


title: Sheena (film)

text: Roberts says Semple "went back to David's original script. He switched things around a bit, added excitement, and speeded up the pace to make it more intense, but he never changed any of David's characters."


title: Sheena (film)

text: Among those considered for the lead were reportedly Sandahl Bergman, Cheryl Ladd, Sybil Danning, Susan Mechsner, and Christie Brinkley. Tanya Roberts was then best known for appearing in the last season of "Charlie's Angels" and for playing the lead in "The Beastmaster", as well as posing nude in "Playboy". Roberts said, "As soon as I heard about the project, I said: 'This part must be mine.' I bugged the casting lady at Columbia Pictures for months. Finally, I met the director, John Guillermin, but he wasn't too impressed with me. I begged for another interview. I saw him again, and said: 'If you don't give me a bloody screen test, I'll slash my wrists, and it will be your fault. You'll have my death on your hands.' I don't know if that pushed him over the edge, but he agreed to test me."


title: Sheena (film)

text: Roberts said she tested against "about 15 models. They were very beautiful, but they couldn't act. Their tests were horrendous— they couldn't cry, they couldn't shout, they couldn't do anything...I felt very confident about getting the role. I have been in this business for 14 years, and have paid a lot of dues. I know what I'm capable of. I was the only one who could act, who looked right, who could do the stunts. I tested again in a blonde wig, and I got the part."


title: Sheena (film)

text: The producer said they tested over 2,000 girls adding, "[Farrah] Fawcett and [Cheryl] Ladd were discussed years ago, but they would be ridiculous in the role now. We never gave serious thought to Bergman. Mechsner's casting was entirely her own invention. And Danning was never seriously considered. She is wrong in terms of age and physical appearance. Frankly, I think Tanya is hotter than all of them — in addition to being stunningly beautiful and having the world's greatest body."


title: Sheena (film)

text: Roberts' casting was announced in May 1983. She says she trained for 10 months for the role, but did not read any of the comic books in preparation, as she felt they were too campy. "I wanted her to be a real person in a real situation." she said.


title: Sheena (film)

text: It's one of those pictures that everyone had a bit of a cackle about. Then I had a great meeting with Lorenzo Semple, one of the screenwriters, and I could see that a lot of guys were taking this picture very seriously. I went over to Africa and I met John Guillermin, the director, and he embraced all my ideas about strengthening and broadening the character. I thought if you were going to have a heroine, a fabulous figure like Sheena, she'd have to fall in love with someone who was as great from his own element – it wouldn't work if she fell in love with a schmuck. John agreed. He's a tough cookie and uncompromising in his vision. He either says, 'That's a pile of crap and it won't be in my picture,' or he goes for it. I think John, who also made "King Kong", takes fantastic stories and then grounds them in a reality he finds a lot of time in the geographic locations.


title: Sheena (film)

text: Filming began 21 August 1983. The film was shot over 7 months. Various production problems associated with shooting on location were encountered. Ted Wass (Vic Casey) recalled, in the article "Man on the Spot" (an article about executive producer Yoram Ben-Ami, also found in the "Super Special"), "Making a movie is like going to war. You can be the greatest general in the world, but if you don't have a good army, you're going to lose the battle." The film's multitude of animals were managed by Hubert Wells, who recalled, "We flew over an elephant, a rhino, five lions, four leopards, four chimpanzees, five horses, and 16 birds. It was the largest shipment of animals "back" to Africa and just getting all the necessary permits to bring them in and out of the country was a superhuman task." Wells had few problems with the trained animals, but the crew did have some with wild animals that would come onto the set, in particular wild lions that would try to start fights with the tamed ones. Guards had to be posted on the set at night to keep them away. Despite this, Wells was quoted as saying that he enjoyed working on the picture so much, he hoped for a sequel, which of course never came.


title: Sheena (film)

text: Wass says Tanya Roberts "was always in great shape, but she made her body even more magnificent by working out... She brought an athleticism to the movie few actresses could match; physically, she was always on the money, and even though there was a lot of pressure on her, she came through."


title: Sheena (film)

text: Roberts found filming physically grueling and was injured a number of times. She called Guillermin "the most difficult director I've ever worked with, because he is such a perfectionist. He kills you when he's directing, but he does get a performance. Whatever our differences, I believe John was the absolute right director for Sheena. He has passion and a great vision. He didn't want crap. He wanted a very special film that would still be commercial, and I think he got it. Under his hard exterior, John is really very sensitive. He has great insight into the character. He was very responsive to my ideas. He is a mother to work for, and there


title: Sheena (film)

text: Aratow said after filming that Guillermin was "very difficult to deal with. He is very opinionated, and doesn't want to be told anything by anybody. That may or may not be good for the movie. I shouldn't comment any further at this stage, because what I have to say is not kind. But I really don't need to say anything else. All you have to do is speak to the people who


title: Sheena (film)

text: "It's not a picture that I'm ashamed of in any way," said Guillermin. "I did some work in Sheena that I feel good about. Unfortunately, the film wasn't a success. It was not well-received. There were things that went wrong on the picture. But I don't want to dwell on them."


title: Sheena (film)

text: During shooting, Guillermin's son, Michael, (from his marriage with Maureen Connell), died in a car accident in California. The director flew back from Kenya for the funeral, then returned to Africa to complete the film.


title: Sheena (film)

text: On the television program "At the Movies" with Gene Siskel and Roger Ebert, "Sheena" received two thumbs down. Ebert commented that "This movie is rated PG, not PG-13. It's probably the only PG-rated movie that will play continuously on the Playboy Channel—you see more of Tanya Roberts than you did of last month's playmate." They later listed "Sheena" as one of the "Stinkers of 1984." Film critic and historian Leonard Maltin seemed to agree, rating the film as a bomb and stating: "Tanya definitely swings as W. Morgan Thomas's comic-book jungle-queen, but Mother Nature forgot to endow her with a script. Supposed to be campy, but it doesn't work even on that level; both the cinematography and the music belong in a much better picture."


title: Sheena (film)

text: "The New Yorker" film critic Pauline Kael was among the very few critics who liked the film. Calling it a "lighthearted, slightly loony adventure film, there are some good silly gags, and the animals look relaxed even in their dizziest slapstick scenes. And the picture certainly never starves the eye; the cinematography is by the celebrated Pasqualino De Santis." (DeSantis had previously won an Oscar for his work on Franco Zeffirelli's "Romeo & Juliet".) Kael even had some (qualified) kind words for the star: "Tanya Roberts is too tense and earnest for her blond-goddess, queen-of-the-jungle role. Yet she has the face of a ballerina, with a prodigious slim and muscular form. She also gazes into space with exquisitely-blank, pale-blue eyes. She's pretty funny when she presses her fingers against the center of her forehead, in order to summon legions of waterbucks or swarms of tall birds."


title: Sheena (film)

text: Neil Gaiman reviewed "Sheena, Queen of the Jungle" for "Imagine" magazine, and called it an abomination, and stated that "The dialogue is laughable, the acting appalling, and the special effects outstandingly ordinary."


title: Sheena (film)

text: "Filmink" argued "it's terrific. It looks gorgeous, was beautifully shot on location, has a wonderful score, the script flies along, and Guillermin's direction is excellent. Tanya Roberts’ method-like intensity takes some getting used to but once you tune in, she's great fun and has the body of an athlete; Ted Wass is an engaging hero, handsome and a bit klutzy, but an ideal partner (as in King Kong, Guillermin never loses sight of the central love story)."


title: Sheena (film)

text: A soundtrack album of music composed and conducted by Richard Hartley for the film was released in 1984. It was reissued on CD by Varèse Sarabande in 2004, separating the first track into two parts ("Theme" and "Interlude").


title: Sheena (film)

text: "Sheena" has been released on Region 1 DVD three times by Sony Pictures Home Entertainment. A dual-sided DVD with anamorphic widescreen and "full screen" presentations in 2001, and a single-sided DVD with only the full screen presentation in 2004. Both releases have the same and SKU 0-43396-06535-2 and can be distinguished from each other only by the discs themselves or by the date and "Special Features" list on the back cover. The packaging does not indicate if the full-screen presentation is pan and scan or open matte.


title: Sheena (film)

text: The single-sided full-screen DVD was also included in a 2008 "Triple Feature" release, along with "You Light Up My Life" and "Princess Caraboo". A high-definition digital version of "Sheena" is available through various services.


title: Sheena (film)

text: The film was released as part of the "Sheena: Queen of the Jungle Collection" DVD set by Mill Creek Entertainment on August 15, 2017, that contained that along with both seasons of "Sheena", as well as 5 bonus episodes of the 1950s TV series. Mill Creek also released the film's individual Blu-ray on March 26, 2019.


title: Sheena (film)

text: Around the time the film came out, Marvel Comics published an adaptation of the film as "Marvel Super Special" #34, written by Cary Burkett and illustrated by Gray Morrow. It followed the story of the film very closely, and developed the character of Fletch the cameraman quite a bit more than in the film, in particular revealing his surname to be "Agronsky". The comic also had several pages in the back about the making of the film. One noteworthy difference between the film and the comic concerns the ethnicity of Otwani's troops. In the film, they are all white. In the comic, the only white soldiers are Colonel Jorgenson and the helicopter pilot (identified as Joe), while all of the others are of African descent, including the featured soldiers.


title: Sheena (film)

text: New editions of the comic books were first published by Devil's Due, then the comic book publication was licensed to Moonstone by Galaxy Publishing, Inc. This latest version of the comic book was published in 2012.


title: Convection–diffusion equation

text: The convection–diffusion equation is a combination of the diffusion and convection (advection) equations, and describes physical phenomena where particles, energy, or other physical quantities are transferred inside a physical system due to two processes: diffusion and convection. Depending on context, the same equation can be called the advection–diffusion equation, drift–diffusion equation, or (generic) scalar transport equation.


title: Convection–diffusion equation

text: In a common situation, the diffusion coefficient is constant, there are no sources or sinks, and the velocity field describes an incompressible flow (i.e., it has zero divergence). Then the formula simplifies to:


title: Convection–diffusion equation

text: In this form, the convection–diffusion equation combines both parabolic and hyperbolic partial differential equations.


title: Convection–diffusion equation

text: In non-interacting material, (for example, when temperature is close to absolute zero, dilute gas has almost zero mass diffusivity), hence the transport equation is simply:


title: Convection–diffusion equation

text: Using Fourier transform in both temporal and spatial domain (that is, with integral kernel formula_4), its characteristic equation can be obtained:


title: Convection–diffusion equation

text: where formula_7 is any differentiable scalar function. This is the basis of temperature measurement for "near" Bose–Einstein condensate via time of flight method.


title: Convection–diffusion equation

text: The stationary convection–diffusion equation describes the steady-state behavior of a convective-diffusive system. In a steady state, , so the formula is:


title: Convection–diffusion equation

text: The convection–diffusion equation can be derived in a straightforward way from the continuity equation, which states that the rate of change for a scalar quantity in a differential control volume is given by flow and diffusion into and out of that part of the system along with any generation or consumption inside the control volume:


title: Convection–diffusion equation

text: where is the total flux and is a net volumetric source for . There are two sources of flux in this situation. First, diffusive flux arises due to diffusion. This is typically approximated by Fick's first law:


title: Convection–diffusion equation

text: i.e., the flux of the diffusing material (relative to the bulk motion) in any part of the system is proportional to the local concentration gradient. Second, when there is overall convection or flow, there is an associated flux called advective flux:


title: Convection–diffusion equation

text: In general, , , and may vary with space and time. In cases in which they depend on concentration as well, the equation becomes nonlinear, giving rise to many distinctive mixing phenomena such as Rayleigh–Bénard convection when depends on temperature in the heat transfer formulation and reaction–diffusion pattern formation when depends on concentration in the mass transfer formulation.


title: Convection–diffusion equation

text: In some cases, the average velocity field exists because of a force; for example, the equation might describe the flow of ions dissolved in a liquid, with an electric field pulling the ions in some direction (as in gel electrophoresis). In this situation, it is usually called the drift–diffusion equation or the Smoluchowski equation, after Marian Smoluchowski who described it in 1915 (not to be confused with the Einstein–Smoluchowski relation or Smoluchowski coagulation equation).


title: Convection–diffusion equation

text: where is the force, and characterizes the friction or viscous drag. (The inverse is called mobility.)


title: Convection–diffusion equation

text: When the force is associated with a potential energy (see conservative force), a steady-state solution to the above equation (i.e. ) is:


title: Convection–diffusion equation

text: (assuming and are constant). In other words, there are more particles where the energy is lower. This concentration profile is expected to agree with the Boltzmann distribution (more precisely, the Gibbs measure). From this assumption, the Einstein relation can be proven:


title: Convection–diffusion equation

text: The Smoluchowski convective-diffusion equation is a stochastic (Smoluchowski) diffusion equation with an additional convective flow-field,


title: Convection–diffusion equation

text: In this case, the force describes the conservative interparticle interaction force between two colloidal particles or the intermolecular interaction force between two molecules in the fluid, and it is unrelated to the externally imposed flow velocity . The steady-state version of this equation is the basis to provide a description of the pair distribution function (which can be identified with ) of colloidal suspensions under shear flows.


title: Convection–diffusion equation

text: An approximate solution to the steady-state version of this equation has been found using the method of matched asymptotic expansions. This solution provides a theory for the transport-controlled reaction rate of two molecules in a shear flow, and also provides a way to extend the DLVO theory of colloidal stability to colloidal systems subject to shear flows (e.g. in microfluidics, chemical reactors, environmental flows).


title: Convection–diffusion equation

text: The full solution to the steady-state equation, obtained using the method of matched asymptotic expansions, has been developed by Alessio Zaccone and L. Banetta to compute the pair distribution function of Lennard-Jones interacting particles in shear flow and subsequently extended to compute the pair distribution function of charge-stabilized (Yukawa or Debye–Hückel) colloidal particles in shear flows.


title: Convection–diffusion equation

text: The convection–diffusion equation (with no sources or drains, ) can be viewed as a stochastic differential equation, describing random motion with diffusivity and bias . For example, the equation can describe the Brownian motion of a single particle, where the variable describes the probability distribution for the particle to be in a given position at a given time. The reason the equation can be used that way is because there is no mathematical difference between the probability distribution of a single particle, and the concentration profile of a collection of infinitely many particles (as long as the particles do not interact with each other).


title: Convection–diffusion equation

text: The "Langevin equation" describes advection, diffusion, and other phenomena in an explicitly stochastic way. One of the simplest forms of the Langevin equation is when its "noise term" is Gaussian; in this case, the Langevin equation is exactly equivalent to the convection–diffusion equation. However, the Langevin equation is more general.


title: Convection–diffusion equation

text: The convection–diffusion equation can only rarely be solved with a pen and paper. More often, computers are used to numerically approximate the solution to the equation, typically using the finite element method. For more details and algorithms see: Numerical solution of the convection–diffusion equation.


title: Convection–diffusion equation

text: The convection–diffusion equation is a relatively simple equation describing flows, or alternatively, describing a stochastically-changing system. Therefore, the same or similar equation arises in many contexts unrelated to flows through space.


title: Convection–diffusion equation

text: where is the momentum of the fluid (per unit volume) at each point (equal to the density multiplied by the velocity ), is viscosity, is fluid pressure, and is any other body force such as gravity. In this equation, the term on the left-hand side describes the change in momentum at a given point; the first term on the right describes the diffusion of momentum by viscosity; the second term on the right describes the advective flow of momentum; and the last two terms on the right describes the external and internal forces which can act as sources or sinks of momentum.


title: Convection–diffusion equation

text: In semiconductor physics, this equation is called the drift–diffusion equation. The word "drift" is related to drift current and drift velocity. The equation is normally written:


title: Convection–diffusion equation

text: where is the Boltzmann constant and is absolute temperature. The drift current and diffusion current refer separately to the two terms in the expressions for , namely:


title: Convection–diffusion equation

text: An example of results of solving the drift diffusion equation is shown on the right. When light shines on the center of semiconductor, carriers are generated in the middle and diffuse towards two ends. The drift–diffusion equation is solved in this structure and electron density distribution is displayed in the figure. One can see the gradient of carrier from center towards two ends.


title: Moin Akhter

text: Moin Akhter (also: "معین اختر" Moin Akhtar), (24 December 1950 – 22 April 2011) was a Pakistani television, film and stage artist, humorist, comedian, impersonator, host, writer, singer, director and producer who rose to fame in the era of Radio Pakistan along with his co-actors Anwar Maqsood and Bushra Ansari. He became an icon through his screen persona "Rozi" and is considered to be a one-of-a-kind parodist and the king of Urdu comedy. His career spanned more than 45 years, from childhood in the Radio Pakistan era of modern film making until a year before his death in 2011.


title: Moin Akhter

text: Akhter was born in Karachi, Pakistan. His father, Muhammad Ibrahim Mehboob, who died a few months after Akhtar died, at the age of 92, was born in Muradabad, in the modern-day state of Uttar Pradesh in India, and settled in Karachi as a result of the Partition, "passed his life in his own printing press and as a contractor in the garments business." Akhter was fluent in several languages, including English, Bengali, Sindhi, Punjabi, Memoni, Pashto, Gujarati and Urdu.


title: Moin Akhter

text: Akhter started his acting career as child actor at the age of 13. He played the character of Shylock in Shakespeare’s "The Merchant of Venice" in theatre.


title: Moin Akhter

text: Akhter's sense of humour was highly dynamic and versatile. He made his television debut on 6 September 1966, in a variety show on Pakistan Television (PTV) to celebrate the first Defence Day of Pakistan. He started as a comedian in 1966 by impersonating the Hollywood actor Anthony Quinn and mimicked one of the former USA's president John F Kennedy’s speeches. He has performed several roles in television stage shows, later teamed with Anwar Maqsood and Bushra Ansari.


title: Moin Akhter

text: Akhter rose to the national spotlight and gathered critical acclaim for his performance in the drama "Rozi", in which he played the role of a female TV artist. Rozi was an Urdu adaptation of the Hollywood movie "Tootsie" starring Dustin Hoffman. He called it one of his favourite on-screen characters that he had played. Rozi was written by Imran Saleem and Directed by Saira Kazmi.


title: Moin Akhter

text: In the talk-show "Loose Talk", which began in 2005 on "ARY Digital", he appeared as a different character in each episode with a total of over 400 episodes interviewed by the TV host Anwar Maqsood, who was also the writer of the programme. Akhter also briefly hosted the game show "Kya Aap Banaingay Crorepati?", the Pakistani version of "Who Wants to be a Millionaire?". He hosted shows involving major personalities and performed on stage alongside Indian legends including Dilip Kumar, Lata Mangeshkar and Madhuri Dixit.


title: Moin Akhter

text: He hosted shows with invited dignitaries including King Husain of Jordan, Prime Minister of Gambia Dawoodi Al-Joza, Presidents Zia-ul-Haq, Ghulam Ishaq Khan, General Yahya Khan and Pervez Musharraf (Akhter mimicked the president in his presence), Prime Minister Zulfiqar Ali Bhutto and the legendary Indian film actor Dilip Kumar.


title: Moin Akhter

text: Akhter died on 22 April 2011 at about 4:30 pm in Karachi after suffering a heart attack. He was survived by his wife, three daughters and two sons. Funeral prayers for Akhter were offered in Tauheed Masjid near his residence. Thousands of people attended the funeral prayer which was led by Junaid Jamshed. Many Bollywood actors paid tribute to Akhter including Johnny Lever, Javed Akhtar and Shatrughan Sinha.


title: Moin Akhter

text: The world-famous wax museum Madame Tussauds has expressed a wish to include a waxwork of Moin Akhter in its London museum. If the statue is eventually made, it will be the first of its kind for any Pakistani entertainer.


title: Trellick Tower

text: Trellick Tower is a Grade II* listed tower block on the Cheltenham Estate in North Kensington, London. Opened in 1972, it had been commissioned by the Greater London Council and designed in the Brutalist style by architect Ernő Goldfinger. The tower was planned to replace outdated social accommodation, and designed as a follow up to Goldfinger's earlier Balfron Tower in East London. It was the last major project he worked on, and featured various space-saving designs, along with a separate access tower containing a plant room.


title: Trellick Tower

text: High-rise apartments and Brutalist architecture were falling out of favour by the time the tower was completed, and it became a magnet for crime, vandalism, drug abuse and prostitution. Its fortunes gradually improved in the 1980s after the establishment of a residents' association. Security measures were put in place and a concierge was employed, which led to lower crime levels. By the 1990s, the tower had become a desirable place to live, and although it still contains predominantly social housing, demand for private flats has remained high. A local landmark, it has been Grade II* listed since 1998, and has retained its distinctive concrete facade as a result. A fire broke out in 2017, but the concrete structure meant damage was limited, unlike the nearby Grenfell Tower. Trellick Tower has featured on film and television several times.


title: Trellick Tower

text: Trellick Tower is on the Cheltenham Estate in Golborne Road, Kensal Town, Royal Borough of Kensington and Chelsea (RBKC). It is bounded to the north and east by the Grand Union Canal and to the south by the A40 Westway and the Great Western Main Line leading from London Paddington station.


title: Trellick Tower

text: The nearest stations are Kensal Green (Bakerloo line and London Overground), Ladbroke Grove and Westbourne Park (Circle and Hammersmith & City lines). The tower is served by London Buses route 23.


title: Trellick Tower

text: The tower is tall ( including the communications mast) and is a Grade II* listed building. The design is based on Goldfinger's earlier and slightly smaller Balfron Tower in Poplar, East London. It has a long, thin profile, with a separate lift and service tower linked at every third storey to the access corridors in the main building, which overall has 31 floors. Flats above and below the corridor levels have internal stairs, while the 23rd and 24th floors are taken up by maisonettes split over the two floors. Overall, the building contains 217 dwellings and was originally owned by the GLC with the flats rented as council flats. All the apartments have balconies. The other building, containing shops and amenities, has seven floors.


title: Trellick Tower

text: The service tower has two additional floors higher than the main building, which includes a projecting plant room that holds the main heating system. It is fully linked by stairs in addition to the lifts, and also has a refuse chute mechanism. The majority of the plant and the hot water storage tank is located in the plant room, which reduces the need for pumps and reduces the amount of pipework needed. Shorter pipe runs also reduce heat loss. The oil-fired boilers originally used became obsolete due to the 1973 oil crisis, the year after the tower opened. The flats now have electric heaters and the plant room, although disused, still houses most of the now defunct mechanism.


title: Trellick Tower

text: Goldfinger designed the entire tower block freehand on butcher's paper. He planned various communal areas, and purposefully put slight variations in the structure so that each apartment would look different. He included a number of space-saving designs, such as using sliding doors to access bathrooms, and light switches embedded in the door surrounds. All apartments have large windows facing the balconies, in order to let in as much natural light as possible. As well as residential accommodation, there are a variety of shops, an office, and a youth centre. Throughout, quality materials were used in construction, including better fixtures and finishing the balconies with cedarwood. It was intended to be a good example of social accommodation alongside modern design.


title: Trellick Tower

text: Construction of Trellick Tower began in 1968, in order to replace sub-standard local Victorian housing. The tower was one of several such buildings, and was initially welcomed as a way of resolving the crises of post-Second World War housing. Goldfinger said "the whole object of building high is to free the ground for children and grown-ups to enjoy Mother Earth and not to cover every inch with bricks and mortar".


title: Trellick Tower

text: Goldfinger had been encouraged to construct Trellick Tower by the London County Council (LCC) following the success of Balfron Tower, which had been commissioned in 1963 and opened four years later. He took his inspiration from Balfron, where he had moved into one of the apartments in order to experience what life would be like for the tenants, and invited residents round for regular cocktail parties to tell him their likes and dislikes. This feedback was incorporated into the design of Trellick Tower. Many immigrants from the West Indies and the Caribbean settled in Trellick Tower, as for them it was one of the few affordable places to live in London. The tower opened on 28 June 1972; construction costs ran to £2.4 million. It was the last major project Goldfinger worked on; his reputation suffered as concrete tower blocks became unfashionable, and he died in 1987 before it could be restored.