title: Second Foundation

text: Channis reveals his suspicions about the Second Foundation being located on the planet Tazenda, and takes the ship there. They first land on Rossem, a barren planet controlled by Tazenda, and meet with its governor, who appears ordinary. Once they return to the ship, Pritcher confronts Channis and believes him to have been too successful with the search. The Mule, who had placed a hyper-relay on their ship in order to trace them through hyper-space, appears, and reveals that Channis is a Second Foundationer. Pritcher's emotional bonds to the Mule are broken in the ensuing exchange between Channis and the Mule, and he is made to fall into deep sleep. With only the two of them left, the Mule reveals that he has brought his ships to Tazenda and has already destroyed the planet, and yet senses that Channis's dismay is only pretense. He forces Channis to reveal that Rossem is actually the Second Foundation, and that Tazenda is only a figurehead.


title: Second Foundation

text: The First Speaker for the Second Foundation appears and reveals to the Mule that his rule is over; neither Tazenda nor Rossem is the Second Foundation, and Channis's knowledge had been falsely implanted to mislead the Mule. Second Foundation agents are headed to Kalgan and the Foundation worlds to undo the Conversions of the Mule, and his fleet is too far away to prevent it. When the Mule experiences a moment of despair, the First Speaker is able to seize control of and change his mind; he will return to Kalgan and live out the rest of his short life as a peaceful despot.


title: Second Foundation

text: Part II takes place 60 years after the first part, 55 years after the Mule's death by natural causes. With the Mule gone his former empire falls apart and the Foundation resumes its independence. Because of their enslavement at the hands of the Mule and their wariness of the Second Foundation (who possess similar abilities to the Mule) the Foundation began studying the mental sciences.


title: Second Foundation

text: A secret cabal is formed within the Foundation to root out the Second Foundation after evidence of the latter's manipulation is found through mental analysis of the former society's key figures. They send one of their own, Homir Munn, to Kalgan to search for clues to the Second Foundation's location. Munn is followed to Kalgan by Arcadia, Dr Darell's daughter.


title: Second Foundation

text: Since the death of the Mule, the Second Foundation has worked to restore the Seldon Plan into its proper course. In the organization's secret location, the First Speaker discusses the state of the galaxy with a student. The Student is concerned that the Foundation's now tangible knowledge of the Second Foundation's existence would have negative effects upon the former which would then further destabilize the Seldon Plan. The First Speaker reassures the Student that a plan has been put in place by their organization in order to address his very concerns.


title: Second Foundation

text: In Kalgan, a man named Stettin has assumed the Mule's former title as First Citizen. He believes that the Mule's actions have made the Seldon Plan irrelevant and declares war upon the Foundation, intending to usurp their role in the formation of the Second Empire. He's unconcerned with the possible intervention of the Second Foundation.


title: Second Foundation

text: Arcadia escapes from Kalgan to Trantor with the help of a Trantorian trader named Preem Palver. With his help, she passes information to her father regarding the location of the Second Foundation.


title: Second Foundation

text: Kalgan eventually loses the war against the Foundation as the specter of the Seldon Plan adversely affects the performance of the Kalganians every bit as much as it bolsters the morale of the Foundationers.


title: Second Foundation

text: The Foundation cabal reconvenes to discuss what they've learned about the Second Foundation. Munn believes that the Second Foundation never existed while Pelleas Anthor believes they're in Kalgan. Dr Darell states that the Second Foundation is in Terminus itself based on information supplied by Arcadia. He also reveals he has created a device capable of emitting mind static, which is harmful to individuals with mental abilities similar to that of the Mule and the Second Foundation. Activating the device in the presence of the cabal reveals Anthor to be a Second Foundationer, and further interrogation leads to the discovery of the rest of his comrades who are subsequently detained indefinitely.


title: Second Foundation

text: Unsatisfied with the ease by which the Second Foundation has been defeated and suspecting Arcadia's information to be planted through mental tampering, Dr Darell runs tests on his daughter to determine if she has been compromised. Both are relieved when the tests' results are negative. Dr Darell basks in the realization that with the Second Foundation gone, the Foundation are the sole inheritors of the Seldon Plan and the Second Empire.


title: Second Foundation

text: It is then revealed that the Second Foundation are not only intact but also the mastermind behind the recent major events. The Foundation's conflict with Kalgan and their subsequent victory was meant to restore the former's self-esteem after the Mule enslaved them. Anthor and his comrades were in fact martyrs meant to mislead the Foundation into believing they have eliminated the Second Foundation, thereby shrouding the Second Foundation in secrecy once more and restoring the Seldon Plan to its proper course. Arcadia was unknowingly working for the Second Foundation, having been mentally adjusted shortly after her birth in order to prevent detection. The Second Foundation is actually located at the planet Trantor, the seat of the previous Galactic Empire.


title: Second Foundation

text: The story closes with the revelation that the First Speaker of the Second Foundation is Preem Palver, who is satisfied that the galaxy is now forever secure.


title: Second Foundation

text: "Part I: Search by the Mule" was originally published in the January 1948 issue of "Astounding Science Fiction" under the title "Now You See It...".


title: Second Foundation

text: "Part II: Search by the Foundation" was originally published in the November and December 1949 and January 1950 issues of "Astounding Science Fiction" under the title "...And Now You Don't".


title: Second Foundation

text: On its initial publication, Galaxy reviewer Groff Conklin described "Second Foundation" as "a thoroughly satisfying and adult play of the scientific imagination".


title: Second Foundation

text: P. Schuyler Miller reported "Second Foundation" to be "good, sound, middle-of-the-road science fiction with a carefully hidden surprise".


title: Second Foundation

text: The Second Foundation was founded by Hari Seldon as a budding colony of psychologists and mentalics, people with telepathic abilities, located "at Star's End", an intentionally obscure term used by Seldon. In "Forward the Foundation", the original Second Foundation is revealed to also include Hari's own granddaughter, Wanda Seldon, and his bodyguard Stettin Palver.


title: Second Foundation

text: The establishment, location and development of this Foundation was a secret, "drowned in silence" to increase its effectiveness and security.


title: Second Foundation

text: Whilst the First Foundation was strong in the physical sciences, the Second Foundation was strong in the mental sciences, including the continued development of psychohistory. Their function is to ensure that the Seldon plan comes to pass, both by refining the plan's contingencies to allow for even the most unlikely events, and to guard against unexpected developments, such as the Mule. Their eventual goal is to become the ruling class of the Second Empire in an effort to introduce mental sciences to humanity (whose benefits are, according to one Second Foundationer, less apparent, but longer lasting than physical sciences), while the First Foundation they manipulate forms the necessary political union.


title: Second Foundation

text: The Second Foundation are governed by a council of the strongest mentalics, called the Speakers. However, the name "Speaker" is a misnomer, because, being telepaths, the use of actual speech is quite unnecessary. The leader of the group is the First Speaker. The only formal power of the First Speaker was to speak first at meetings of the Speaker's Table, but in practice it conferred significantly more power.


title: Second Foundation

text: The structure of the Foundation is akin to both an intelligence network and a university. A complex of buildings on Trantor, the remnants of those saved from The Great Sack and those not demolished to provide metal for export, house a staff of technicians and analysts. Into these buildings flow reports from agents located in many parts of the Galaxy; these reports form the basis of any action that may be taken in furthering the aim of the Seldon Plan.


title: Second Foundation

text: The Second Foundation spreads a net over the galaxy to detect and recruit staff and agents. These are then specially trained over many years. Some become statistical technicians, but the best of the trainees are invited to commence an apprenticeship for Speakerhood.


title: United States Marine Corps Reserve

text: The Marine Forces Reserve (MARFORRES or MFR), also known as the United States Marine Corps Reserve (USMCR) and the U.S. Marine Corps Forces Reserve, is the reserve force of the United States Marine Corps. It is the largest command, by assigned personnel, in the U.S. Marine Corps. Marines in the Reserve go through the same training and work in the same Military Occupational Specialties (MOS) as their active-duty counterparts. The United States Marine Corps Reserve was established when Congress passed the Naval Appropriations Act of 29 August 1916, and is responsible for providing trained units and qualified individuals to be mobilized for active duty in time of war, national emergency, or contingency operations.


title: United States Marine Corps Reserve

text: Marine Forces Reserve is the headquarters command for approximately 40,000 drilling Selected Reserve Marines and 184 Reserve Training Centers located throughout the United States. The mission of Marine Forces Reserve is to augment and reinforce active Marine forces in time of war, national emergency, or contingency operations; to provide personnel and operational tempo relief for the active forces in peacetime; and to provide service to the community (for example, through Toys for Tots).


title: United States Marine Corps Reserve

text: MARFORRES is composed primarily of two groups of Marines and Sailors. The first, known as the Selected Marine Corps Reserve (SMCR), are Marines who typically belong to reserve units and have a minimum obligation to drill one weekend a month and two weeks a year. The second group is known as the Individual Ready Reserve (IRR). The IRR is composed of Marines who have finished their active duty or USMCR obligations, however, their names remain on record to be called up in case of a war or other emergency – the Individual Ready Reserve is administered by the Marine Corps Individual Reserve Support Activity. IRR Marines participate in annual musters to check in with the Corps.


title: United States Marine Corps Reserve

text: While MFR units have US Navy Sailors assigned to perform medical and religious program specialty services, those Sailors are not members of the Marine Corps Reserve. Instead, they are a mix of US Navy Reserve and US Navy Regular Sailors detailed by the Navy to serve alongside Marines.


title: United States Marine Corps Reserve

text: In addition, through the MCIRSA, MFR administers a small number of reserve Marines assigned to either the Active Status List or Inactive Status List of the Standby Reserve, a category reserved for those Marines who remain members of the USMCR but are either retained involuntarily for various reasons, or unable to participate in SMCR activities.


title: United States Marine Corps Reserve

text: Reserve units utilize infrastructure when mobilized through Reserve Support Units (RSU) located at various bases throughout the U.S. (such as Lejeune, Pendleton, Miramar, Quantico, and Twentynine Palms).


title: United States Marine Corps Reserve

text: Enlistment in the Marine Forces Reserve occurs through a process similar to that for enlistment in the regular active Marine Corps. Recruits must take the ASVAB, pass a comprehensive physical exam, and be sworn in. They may enter through a billet in the Delayed Entry Program (DEP). Reserve recruits currently attend recruit training along with active duty recruits, earning the title United States Marine upon successful completion of the training. They then have a mandatory leave of 10 days (up to 24 if they volunteer for and are assigned to recruiter's assistance, although, reservists are not usually given RA) before further training at the School of Infantry (SOI) and their designated Military Occupational Specialty (MOS). Only after completing the training program(s) does a Reserve Marine's enlistment begin to differ from that of an active duty Marine.


title: United States Marine Corps Reserve

text: There is a program called the Select Reserve Incentive Program (SRIP), which provides enlistment bonuses for Reservists enlisting for needed MOSs. Half is payable upon completion of training and the other half is spread out over the term of enlistment.


title: United States Marine Corps Reserve

text: For those who have earned a college degree, the Reserve Officer Commissioning Program (ROCP) provides a path directly into the Marine Corps Reserve leading to a commission as an officer of Marines. Upon selection from a regional Officer Selection Office (OSO), applicants attend Officer Candidates School (OCS) at Quantico, Virginia. Upon successful completion of OCS (the 10-week OCC-R course), candidates are commissioned as a Second Lieutenant and subsequently attend the Basic Officer Course at The Basic School (TBS), Quantico, Virginia. Following graduation of TBS and follow-on MOS training, officers either report to their reserve unit, or have the option to complete a one-year experience tour with an active duty unit.


title: United States Marine Corps Reserve

text: Reservists, like all new service members, contract for eight-year terms. There are three options on how these terms may be served, one of which is designated upon signing.


title: United States Marine Corps Reserve

text: After serving several years in the Reserves and attaining leadership rank it is possible for an enlisted Reservist to receive a commission through the Reserve Enlisted Commissioning Program (RECP). Marines who have previously served on active duty, whether officer or enlisted, can join the Select Marine Corps Reserve directly. Veteran Marines wishing to do this go through a Marine Corps Prior Service Recruiter. The mission of the Prior Service Recruiter is to join members from the Individual Ready Reserve to SMCR units close to their home.


title: United States Marine Corps Reserve

text: Marine reservists are allowed to serve simultaneously in the United States Marine Corps Reserve and in the naval militia of their state of residence; however, when called into federal service, reservists are relieved from service and duty in the naval militia until released from active duty.


title: Tales of Destiny

text: Taking place in a fantasy world, the game follows the story of a young man named Stahn who comes across a sentient sword named Dymlos and his subsequent encounters with other similar sword-wielders. Eventually, he and his friends must unite against evil forces seeking use a relic from an ancient war. The PlayStation version of Tales of Destiny was mostly well-received, selling over a million copies worldwide and going on to become the highest selling Tales game in Japan to this day.


title: Tales of Destiny

text: The game uses an enhanced version of the Linear Motion Battle System that debuted in the first game of the series, "Tales of Phantasia". Battles take place on a 2-D plane where characters and enemies act in real time. Melee and ranged attacks are executed in real time, with spell casting requiring a chanting time that increases directly with the complexity of the spell being cast. When the chanting of a spell is complete, game-time temporarily stops as the spell animation is carried out and damage is assigned, so spells essentially act as interrupts. Special melee and ranged attacks do more damage or have more hits than normal attacks, but require technical points, or TP, to be consumed for use. Also, the battle system rewards the player with extra experience for stringing together multi-hit combos. The end result of this break from traditional turn-based RPG battle systems is a more fast-paced and reaction oriented system that behaves more like a fighting game and less like a typical "Final Fantasy"-esque title.


title: Tales of Destiny

text: Pre-battle options include assigning spells and special attacks to buttons and button-directional combinations, changing the party's battle formation or order, and assigning AI behavioral patterns for your computer-controlled allies. Certain spells can also be taken off the active casting list for computer-controlled allies. At any one time, the AI is controlling the other characters in the party that the player is not directly commanding, taking general strategic orders into consideration when acting. The player controls one character directly at a time, but can switch to other characters and issue special attack or spell orders for any character on command using an in-battle menu system. This menu system enables the player to use items, spells, or special attacks on the fly in battle. Also, the menu system allows the use of general commands given to the entire party during battle, along with instant adjustment of previous strategy or formation orders.


title: Tales of Destiny

text: In the past, a comet crashed into the world, throwing dust clouds into the sky and shrouding the world in cold and darkness. At about the same time, the inhabitants, the Aethers, discovered a new form of energy from the meteorite's core, which they named Lens. Combining this with further research, the people were able to create cities in the sky and live in them. Unfortunately, only a select few were chosen, leaving the rest of the people to remain on the bleak surface of the planet. These people became known as the Erthers.


title: Tales of Destiny

text: Over time, the sky's inhabitants became known as the Aetherians and their Aeropolis cities. They created a horrific weapon called the Belcrant that shot down any who dared oppose them. This caused full-scale war to erupt between the two civilizations, now known as the Aeth'er Wars. However, regardless of their will and persistence, the Aetherians continued to have the power to dominate every engagement through the use of their superweapon.


title: Tales of Destiny

text: In their disgust of their civilization's elitist behavior, a group of Aetherian scientists went to the surface. There, with aid from the people, they were able to create special swords, called Swordians, that were sentient. Unlike other weapons, these swords chose their masters and were able to call upon the elements of nature to do their will. Using these weapons, the people of the surface finally had an edge against the Aetherians.


title: Tales of Destiny

text: Thanks in part to the Swordians and their masters, scores of Aeropolis were sunk to the depths of the ocean. In the end, the Erthers claimed victory over the Aetherians. Thousands of years later, this story has been mostly forgotten. In the meantime, the purposeless Swordians fell into a deep stasis sleep, only to awaken when grave threats rose once again.


title: Tales of Destiny

text: The story of the game begins when country-boy-turned-adventurer Stahn Aileron, who seeks fame and adventure, sneaks aboard the flying ship Draconis as a stowaway. He is found out by the crew and forced to work as a deckhand, but when a large hostile force attacks the ship, the crew is overwhelmed and Stahn breaks free during the ensuing chaos. Looking for a usable weapon to fend off the attackers, he gains access to a storeroom and discovers a "junk" sword. However, the sword starts talking to him, calling itself Dymlos and claiming to be a sentient Swordian from the Aeth'er Wars. Armed with Dymlos, Stahn fights his way to an escape pod, which he uses to escape the rapidly descending ship before it crashes into the ground.


title: Tales of Destiny

text: Dymlos becomes the key to the fame, fortune, and adventure Stahn seeks as the young man meets other Swordians, quickly becoming embroiled in a battle for a relic of the Aeth'er Wars: a huge, extremely powerful Lens called the Eye of Atamoni.


title: Tales of Destiny

text: "Tales of Destiny" was originally developed by members of Telnet Japan and Wolf Team, who had previously worked on "Tales of Phantasia". The game features character designs by anime and manga artist Mutsumi Inomata, as well as animated cutscenes produced by Japanese studio Production I.G. It was exhibited at the September 1997 Tokyo Game Show. An English version was announced for North America originally for the third or fourth quarter of 1998, and would later appear at the 1998 Electronic Entertainment Expo in Atlanta. Its North American producer commented that since the game's two-dimensional graphics were so "ordinary", the translation team focused on creating "an outstanding localization" to compensate. Namco America had originally intended to dub the character voices into English, and searched for "excellent voice talent to fill [the] positions", yet the final version still retains the original Japanese audio.


title: Tales of Destiny

text: In a June 2006 press conference, Namco Bandai Games announced that a remake of "Tales of Destiny" for the PlayStation 2 was in development and due for release some time the following winter in Japan. The remake contains several new features, including three-dimensional environments, re-drawn character sprites, and an expanded version of the original PlayStation releases' Linear Motion Battle System known as the "Aerial Linear Motion Battle System" (AR-LMBS) that emphasizes mid-air combat and elaborate combination attacks. In addition, all key cutscenes are now fully voiced, as well as a new feature called the Active Party Window where characters interact with each other during the adventure. It made an appearance at the 2006 Tokyo Game Show, where it was given a release date set for the following November. However, the discovery of unexpected bugs led to the title being delayed past its original due date of November 22, and was instead released on November 30.


title: Tales of Destiny

text: Namco Bandai Games later announced in a July 2007 press conference that yet another version of "Tales of Destiny" would be released for the PlayStation 2 called the , and would be due for release in early 2008. This version was designed to be compatible with the original PlayStation 2 remake's save data, and features new story events and battle difficulty settings. A new "Leon Mode" allows players to take control of the character Leon and experience story events from his point of view, and Stahn's younger sister Lilith is now a playable character. The game was released in Japan in January 2008 alongside a limited special edition packaged with an artbook and soundtrack.


title: Tales of Destiny

text: The music for "Tales of Destiny" was written by Motoi Sakuraba and Shinji Tamura, who had both previously collaborated on the soundtrack for "Tales of Phantasia". The Japanese version also features the opening theme song by J-pop group Deen. An official soundtrack for the original PlayStation version was released in March 2000 by Movic containing a total of 76 songs across two discs. In May 2007, a soundtrack for the PlayStation 2 remake was made available by King Records, and featured 108 songs on four discs.


title: Tales of Destiny

text: Numerous "Tales of Destiny" radio drama albums featuring the Japanese voice cast have been produced since 1998. A three-volume set called was released between October 1998 and January 1999 by Movic Records, which were followed by another three-volume collection called released between April and June 1999. A third three-volume set called was also produced by Movic and released between June and August 1999. In December 1999, a stand-alone drama album entitled was released.


title: Tales of Destiny

text: "Tales of Destiny" obtained a 31 out of 40 total score from Japanese magazine "Weekly Famitsu" based on individual scores of 8, 7, 8, and 8, earning it the publication's Silver Award. In 2006, "Famitsu" readers would declare it the 79th greatest game of all time in its "All Time Top 100" feature, making it the third highest-ranking "Tales" game on the list. The game sold over 450,000 copies in Japan by the end of 1997, and it received a "Gold Prize" from Sony in May 1998, indicating sales above 500,000 units in Japan. It went on to sell approximately 1,139,000 copies worldwide by December 2007. It was the best-selling individual single-platform "Tales" game, .


title: Tales of Destiny

text: The English version received generally positive reception in North America, earning a 73% average score from aggregate review website GameRankings. IGN gave the game a 7.5 of 10, stating the game was "Highly recommended, as long as you're a fan of the classic Super NES". IGN praised the game for its gameplay, story, and sound, but criticized the graphics for not being much better than what the Super NES was capable of, and the frequency of the battles. RPGFan gave the game an 88% rating overall, calling the battle system "a blast to play" and "well-balanced", but had mixed feelings on the graphics, calling it "...not even as good as some of the SNES" on in the game, but saying it improves farther into the game, stating "Transparencies, lighting, reflections and beautifully drawn textures make each area interesting". RPGamer was less enthusiastic, giving the game a 6 out of 10, calling it "a fairly good game" but not without its flaws. The battle system was praised, but the lack of originality was criticized.


title: Tales of Destiny

text: GameSpot, however, was much more negative in regards to the game, giving it a 4.9 out of 10. Problems cited included "...a stale and exceedingly slow-moving story...boring, moldy characters and dry, musty dialogue..." and poor graphics, stating that it looked and sounded "...far too much like an SNES game, "Tales of Destiny" seems like it was originally intended to be a sequel on the SNES that got delayed well into the PlayStation's life cycle. While the game's overall poor graphics were widely criticized by reviewers, Production I.G's opening anime video did receive praise from numerous critics.


title: Tales of Destiny

text: "Next Generation" reviewed the PlayStation version of the game, rating it three stars out of five, and stated that ""Tales of Destiny" is a simple yet enjoyable romp through what RPGs once were – long adventures featuring lots of character interaction and battles. And with this perspective, expect the game to be entertaining and even challenging at times."


title: Tales of Destiny

text: The PlayStation 2 remake received a slightly higher score of 32 out of 40 from editors of "Weekly Famitsu" based on scores of 8, 8, 8, and 8, granting it a Gold Award. The original version sold approximately 368,000 copies in Japan by the end of 2006, while the "Director's Cut" would sell 142,301 copies by the end of 2008, becoming the 92nd most-bought software title in the region that year.


title: Tales of Destiny

text: The game received a direct sequel, "Tales of Destiny 2", which released in 2002 on the PlayStation 2, and was ported to the PlayStation Portable in 2006. Both versions of the game were only released in Asia. It is not to be confused with "Tales of Eternia" which was released as "Tales of Destiny II" in North America.


title: Metre (music)

text: In music, metre (Commonwealth spelling) or meter (American spelling) refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener.


title: Metre (music)

text: A variety of systems exist throughout the world for organising and playing metrical music, such as the Indian system of "tala" and similar systems in Arabic and African music.


title: Metre (music)

text: Western music inherited the concept of metre from poetry, where it denotes: the number of lines in a verse; the number of syllables in each line; and the arrangement of those syllables as long or short, accented or unaccented. The first coherent system of rhythmic notation in modern Western music was based on rhythmic modes derived from the basic types of metrical unit in the quantitative metre of classical ancient Greek and Latin poetry.


title: Metre (music)

text: Later music for dances such as the pavane and galliard consisted of musical phrases to accompany a fixed sequence of basic steps with a defined tempo and time signature. The English word "measure", originally an exact or just amount of time, came to denote either a poetic rhythm, a bar of music, or else an entire melodic verse or dance involving sequences of notes, words, or movements that may last four, eight or sixteen bars.


title: Metre (music)

text: The term "metre" is not very precisely defined. Stewart MacPherson preferred to speak of "time" and "rhythmic shape", while Imogen Holst preferred "measured rhythm". However, Justin London has written a book about musical metre, which "involves our initial perception as well as subsequent anticipation of a series of beats that we abstract from the rhythm surface of the music as it unfolds in time". This "perception" and "abstraction" of rhythmic bar is the foundation of human instinctive musical participation, as when we divide a series of identical clock-ticks into "tick–tock–tick–tock". "Rhythms of recurrence" arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. In his book "The Rhythms of Tonal Music", Joel Lester notes that, "[o]nce a metric hierarchy has been established, we, as listeners, will maintain that organization as long as minimal evidence is present".


title: Metre (music)

text: ""Meter" may be defined as a regular, recurring pattern of strong and weak beats. This recurring pattern of durations is identified at the beginning of a composition by a meter signature (time signature). ... Although meter is generally indicated by time signatures, it is important to realize that meter is not simply a matter of notation". A definition of musical metre requires the possibility of identifying a repeating pattern of accented pulses – a "pulse-group" – which corresponds to the foot in poetry. Frequently a pulse-group can be identified by taking the accented beat as the first pulse in the group and counting the pulses until the next accent.


title: Metre (music)

text: Frequently metres can be subdivided into a pattern of duples and triples. For example, a metre consists of three units of a pulse group, and a metre consists of two units of a pulse group. In turn, metric bars may comprise 'metric groups' - for example, a musical phrase or melody might consist of two bars x .


title: Metre (music)

text: The level of musical organisation implied by musical metre includes the most elementary levels of musical form. Metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality:


title: Metre (music)

text: Some music, including chant, has freer rhythm, like the rhythm of prose compared to that of verse. Some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be considered ametric. The music term "senza misura" is Italian for "without metre", meaning to play without a beat, using time to bar how long it will take to play the bar.


title: Metre (music)

text: Metric structure includes metre, tempo, and all rhythmic aspects that produce temporal regularity or structure, against which the foreground details or durational patterns of any piece of music are projected. Metric levels may be distinguished: the beat level is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels. A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level.


title: Metre (music)

text: For example, in the time signature , each bar contains two (2) quarter-note (4) beats. In the time signature , each bar contains two dotted-quarter-note beats.


title: Metre (music)

text: Corresponding quadruple metres are , which has four quarter-note beats per measure, and , which has four dotted-quarter-note beats per bar.


title: Metre (music)

text: Triple metre is a metre in which each bar is divided into three beats, or a multiple thereof. For example, in the time signature , each bar contains three (3) quarter-note (4) beats, and with a time signature of , each bar contains three dotted-quarter beats.


title: Metre (music)

text: Metres with more than four beats are called "quintuple metres" (5), "sextuple metres" (6), "septuple metres" (7), etc.


title: Metre (music)

text: In classical music theory it is presumed that only divisions of two or three are perceptually valid, so in metres not divisible by 2 or 3, such as quintuple metre, say , is assumed to either be equivalent to a measure of followed by a measure of , or the opposite: then . Higher metres which "are" divisible by 2 or 3 are considered equivalent to groupings of tuple or triple metre measures, thus, , for example, is rarely used because it is considered equivalent to two measures of . See: hypermetre and additive rhythm and divisive rhythm.


title: Metre (music)

text: Higher metres are used more commonly in analysis, if not performance, of cross-rhythms, as lowest number possible which may be used to count a polyrhythm is the lowest common denominator (LCD) of the two or more metric divisions. For example, much African music is recorded in Western notation as being in , the LCD of 4 and 3.


title: Metre (music)

text: Simple metre (or simple time) is a metre in which each beat of the bar divides naturally into two (as opposed to three) equal parts. The top number in the time signature will be 2, 3, 4, 5, etc.


title: Metre (music)

text: For example, in the time signature , each bar contains three quarter-note beats, and each of those beats divides into two eighth notes, making it a simple metre. More specifically, it is a simple "triple" metre because there are three beats in each measure; simple duple (two beats) or simple quadruple (four) are also common metres.


title: Metre (music)

text: Compound metre (or compound time), is a metre in which each beat of the bar divides naturally into three equal parts. That is, each beat contains a triple pulse. The top number in the time signature will be 6, 9, 12, 15, 18, 24, etc.


title: Metre (music)

text: Compound metres are written with a time signature that shows the number of "divisions" of beats in each bar as opposed to the number of beats. For example, compound duple (two beats, each divided into three) is written as a time signature with a numerator of six, for example, . Contrast this with the time signature , which also assigns six eighth notes to each measure, but by convention connotes a simple triple time: 3 quarter-note beats.


title: Metre (music)

text: Examples of compound metre include (compound duple metre), (compound triple metre), and (compound quadruple metre).


title: Metre (music)

text: Although and are not to be confused, they use bars of the same length, so it is easy to "slip" between them just by shifting the location of the accents. This interpretational switch has been exploited, for example, by Leonard Bernstein, in the song "America":


title: Metre (music)

text: Compound metre divided into three parts could theoretically be transcribed into musically equivalent simple metre using triplets. Likewise, simple metre can be shown in compound through duples. In practice, however, this is rarely done because it disrupts conducting patterns when the tempo changes. When conducting in , conductors typically provide two beats per bar; however, all six beats may be performed when the tempo is very slow.


title: Metre (music)

text: Compound time is associated with "lilting" and dancelike qualities. Folk dances often use compound time. Many Baroque dances are often in compound time: some gigues, the courante, and sometimes the passepied and the siciliana.


title: Metre (music)

text: The concept of metre in music derives in large part from the poetic metre of song and includes not only the basic rhythm of the foot, pulse-group or figure used but also the rhythmic or formal arrangement of such figures into musical phrases (lines, couplets) and of such phrases into melodies, passages or sections (stanzas, verses) to give what calls "the time pattern of any song".


title: Metre (music)

text: Traditional and popular songs may draw heavily upon a limited range of metres, leading to interchangeability of melodies. Early hymnals commonly did not include musical notation but simply texts that could be sung to any tune known by the singers that had a matching metre. For example, The Blind Boys of Alabama rendered the hymn "Amazing Grace" to the setting of The Animals' version of the folk song "The House of the Rising Sun". This is possible because the texts share a popular basic four-line (quatrain) verse-form called "ballad metre" or, in hymnals, "common metre", the four lines having a syllable-count of 8–6–8–6 (Hymns Ancient and Modern Revised), the rhyme-scheme usually following suit: ABAB. There is generally a pause in the melody in a cadence at the end of the shorter lines so that the underlying musical metre is 8–8–8–8 beats, the cadences dividing this musically into two symmetrical "normal" phrases of four bars each.


title: Metre (music)

text: In some regional music, for example Balkan music (like Bulgarian music, and the Macedonian metre), a wealth of irregular or compound metres are used. Other terms for this are "additive metre" and "imperfect time".


title: Metre (music)

text: Metre is often essential to any style of dance music, such as the waltz or tango, that has instantly recognizable patterns of beats built upon a characteristic tempo and bar. The Imperial Society of Teachers of Dancing defines the tango, for example, as to be danced in time at approximately 66 beats per minute. The basic slow step forwards or backwards, lasting for one beat, is called a "slow", so that a full "right–left" step is equal to one bar.


title: Metre (music)

text: But step-figures such as turns, the corte and walk-ins also require "quick" steps of half the duration, each entire figure requiring 3–6 "slow" beats. Such figures may then be "amalgamated" to create a series of movements that may synchronise to an entire musical section or piece. This can be thought of as an equivalent of prosody (see also: prosody (music)).


title: Metre (music)

text: In music of the common practice period (about 1600–1900), there are four different families of time signature in common use:


title: Metre (music)

text: If the beat is divided into two the metre is "simple", if divided into three it is "compound". If each bar is divided into two it is "duple" and if into three it is "triple". Some people also label quadruple, while some consider it as two duples. Any other division is considered additively, as a bar of five beats may be broken into duple+triple (12123) or triple+duple (12312) depending on accent. However, in some music, especially at faster tempos, it may be treated as one unit of five.


title: Metre (music)

text: In 20th-century concert music, it became more common to switch metre—the end of Igor Stravinsky's "The Rite of Spring" (shown below) is an example. This practice is sometimes called "mixed metres".


title: Metre (music)

text: The use of asymmetrical rhythms – sometimes called "aksak" rhythm (the Turkish word for "limping") – also became more common in the 20th century: such metres include quintuple as well as more complex additive metres along the lines of time, where each bar has two 2-beat units and a 3-beat unit with a stress at the beginning of each unit. Similar metres are often used in Bulgarian folk dances and Indian classical music.


title: Metre (music)

text: Hypermetre is large-scale metre (as opposed to smaller-scale metre). Hypermeasures consist of hyperbeats. "Hypermeter is metre, with all its inherent characteristics, at the level where bars act as beats". For example, the four-bar hypermeasures are the prototypical structure for country music, in and against which country songs work. In some styles, two- and four-bar hypermetres are common.


title: Metre (music)

text: The term was coined, together with "hypermeasures", by Edward T. , who regarded it as applying to a relatively small scale, conceiving of a still larger kind of gestural "rhythm" imparting a sense of "an extended upbeat followed by its downbeat" contends that in terms of multiple and simultaneous levels of metrical "entrainment" (evenly spaced temporal events "that we internalize and come to expect", p. 9), there is no in-principle distinction between metre and hypermetre; instead, they are the same phenomenon occurring at different levels.


title: Metre (music)

text: The syncopation may then be added, moving "night" forward one eighth note, and the first phrase is generated.


title: Metre (music)

text: With polymetre, the bar sizes differ, but the beat remains constant. Since the beat is the same, the various metres eventually agree. (Four bars of = seven bars of ). An example is the second moment, titled "Scherzo polimetrico", of Edmund Rubbra's Second String Quartet (1951), in which a constant triplet texture holds together overlapping bars of , , and , and barlines rarely coincide in all four instruments.


title: Metre (music)

text: With polyrhythm, the number of beats varies within a fixed bar length. For example, in a 4:3 polyrhythm, one part plays while the other plays , but the beats are stretched so that three beats of are played in the same time as four beats of . More generally, sometimes rhythms are combined in a way that is neither tactus nor bar preserving—the beat differs and the bar size also differs. See Polytempi.


title: Metre (music)

text: Research into the perception of polymetre shows that listeners often either extract a composite pattern that is fitted to a metric framework, or focus on one rhythmic stream while treating others as "noise". This is consistent with the Gestalt psychology tenet that "the figure–ground dichotomy is fundamental to all perception". In the music, the two metres will meet each other after a specific number of beats. For example, a metre and metre will meet after 12 beats.


title: Metre (music)

text: In "Toads of the Short Forest" (from the album "Weasels Ripped My Flesh"), composer Frank Zappa explains: "At this very moment on stage we have drummer A playing in , drummer B playing in , the bass playing in , the organ playing in , the tambourine playing in , and the alto sax blowing his nose". "Touch And Go", a hit single by The Cars, has polymetric verses, with the drums and bass playing in , while the guitar, synthesizer, and vocals are in (the choruses are entirely in ). Magma uses extensively on (e.g. Mëkanïk Dëstruktïẁ Kömmandöh) and some other combinations. King Crimson's albums of the eighties have several songs that use polymetre of various combinations.


title: Metre (music)

text: Polymetres are a defining characteristic of the music of Meshuggah, whose compositions often feature unconventionally timed rhythm figures cycling over a base.


title: CP System II

text: The or CPS-2 is an arcade system board that Capcom first used in 1993 for "Super Street Fighter II". It was the successor to their previous CP System and Capcom Power System Changer arcade hardware and was succeeded by the CP System III hardware in 1996, of which the CPS-2 would outlive by over four years. The arcade system had new releases for it until the end of 2003, ending with "Hyper Street Fighter II".


title: CP System II

text: The earlier Capcom system board, the original CP System (or CPS-1), while successful, was very vulnerable to bootleggers making unauthorized copies of games. In order to rectify the situation, Capcom took the CP System hardware (with QSound) with minimal changes and employed encryption on the program ROMs to prevent software piracy. Due to the encryption, the system was never bootlegged until unencrypted program data became available.


title: CP System II

text: Capcom announced the development of the CPS2 in 1990. They had planned to complete and release the CPS2 in 18 months. They also originally had plans for the system to be capable of 3D graphics.


title: CP System II

text: The CP System II consists of two separate parts; the "A" board, which connects to the JAMMA harness and contains components common between all CP System II games, and the "B" board, which contains the game itself. The relationship between the "A" and "B" board is very similar to that between a home video game console and cartridge. CP System II "A" and "B" boards are color-coded by region, and each board can only be used with its same-colored mate. The exception to this is that the blue and green boards can be used together.


title: CP System II

text: The "B" boards hold battery-backed memory containing decryption keys needed for the games to run. As time passes, these batteries lose their charge and the games stop functioning, because the CPU cannot execute any code without the decryption keys. This is generally referred to as a "suicide battery". It is possible to bypass the original battery and swap it out with a new one in-circuit, but this must be done before the original falls below 2V or the keys will be lost. Consequently the board would die, even if used legally it would not play after a finite amount of time unless a fee was paid to Capcom to replace it.


title: CP System II

text: Due to the heavy encryption, it was believed for a long time that CP System II emulation was next to impossible. However, in January 2001, the CPS-2 Shock group was able to obtain unencrypted program data by hacking into the hardware, which they distributed as XOR difference tables to produce the unencrypted data from the original ROM images, making emulation possible, as well as restoring cartridges that had been erased because of the suicide system.


title: CP System II

text: In January 2007, the encryption method was fully reverse-engineered by Andreas Naive and Nicola Salmoria. It has been determined that the encryption employs two four-round Feistel ciphers with a 64-bit key. The algorithm was thereafter implemented in this state for all known CPS-2 games in MAME.


title: CP System II

text: In April 2016, Eduardo Cruz, Artemio Urbina and Ian Court announced the successful reverse engineering of Capcom's CP System 2 security programming, enabling the clean "de-suicide" and restoration of any dead games without hardware modifications.


title: Florian Marku

text: Florian Marku is an Albanian professional boxer and former kickboxer and mixed martial artist. He has held the IBF International welterweight title since September 2021, and the WBC Silver interim welterweight title since August 2022.


title: Florian Marku

text: Marku made his professional debut on 1 December 2018, scoring a first-round technical knockout (TKO) victory against Nikola Janicievic at the Beste Event Halle in Ulm, Germany.


title: Florian Marku

text: In November 2020, after compiling a record of 7–0 (5 KOs), he signed a promotional contract with Eddie Hearn's Matchroom Sport. The following month, Marku faced Jamie Stewart at The SSE Arena in London. The bout served as part of the undercard for Anthony Joshua vs. Kubrat Pulev and was televised live on Sky Sports Box Office. In a fight which saw Marku drop his opponent to the canvas with a punch to the body in the second round, the result was controversially announced as a draw, with referee Marcus McDonnell scoring the bout 76–76.


title: Florian Marku

text: Marku returned to The SSE Arena for his next fight, facing Rylan Charlton on 20 February 2021. Marku boxed well and controlled a lot of the fight but suffered a knockdown in the sixth round from a right hand by Charlton, Marku went on to secure an eighth-round TKO after Charlton's corner threw in the towel after their charge was on the receiving end of a sustained attack by Marku.


title: Florian Marku

text: Marku had been scheduled to challenge IBF International welterweight champion Maxim Prodan on 7 August 2021 as part of Matchroom's Fight Camp, but the fight was postponed when Marku suffered an injury. On 25 August, it was announced that the bout would now take place on 25 September at Tottenham Hotspur Stadium on the undercard of Anthony Joshua vs. Oleksandr Usyk which he won via split decision after 10 rounds against Maxim Prodan.


title: Billy Walters (gambler)

text: William T. Walters (born July 15, 1946) is an American entrepreneur, philanthropist, and retired professional gambler widely regarded as among the most successful sports bettors in Las Vegas, having a winning streak which extended for over 30 years.


title: Billy Walters (gambler)

text: In 1987, Walters stopped all gambling other than sports betting and returned to his roots in business. As of 2016, his holding company owned interests in eight car dealerships with one under construction, one golf course on the Las Vegas Strip, a rental-car franchise, and a number of commercial properties. In 2014, his net worth was estimated at more than $100 million.


title: Billy Walters (gambler)

text: Walters grew up poor in the rural town of Munfordville, Kentucky. His father, an auto mechanic, died when Walters was 18 months old. His mother, who was an alcoholic, walked out on her son and two daughters shortly after his father's death. He was raised by his grandmother in a home with no running water or indoor plumbing.


title: Billy Walters (gambler)

text: Walters credits his grandmother, a devout Baptist, with instilling a strong work ethic. She worked two jobs cleaning houses and washing dishes while raising seven children. At the age of seven, Walters secured a $40 bank loan for a power lawnmower to start a grass-cutting business. At age nine, he secured a second loan for $90 to start a paper route. His grandmother arranged both loans for Walters.


title: Billy Walters (gambler)

text: His grandmother died when Walters was 13, forcing him to move to Louisville, Kentucky, to be with his mother. There he worked two jobs, one in the morning at a bakery and the second at a gas station in the evenings. He rented a room in the basement from his mother, who charged him $10 per week. He married and had a child before graduating high school. The marriage was short-lived.


title: Billy Walters (gambler)

text: In 1965, Walters went to work as a salesman at McMackin Auto Sales, a used-car lot in Louisville. Each time he sold a car, he mailed a self-promotion letter to 10 people living on each side of that customer's home. He would peruse the daily newspaper for car ads, inviting the ads' sellers to do trades with him. He went through the phone book and cold-called people. Walters sold an average of 32 cars a month and earned $56,000 a year in 1966, equal to about $400,000 today.


title: Billy Walters (gambler)

text: Walters worked 80 hours a week selling cars and setting dealership records. In 1967, he was hired as sales manager at Steven's Brothers Auto Sales, a competing dealership. He worked at Stevens Brothers until 1972, when he started his own business, Taylor Boulevard Auto Sales, wholesaling cars to other dealers throughout the southeastern United States.


title: Billy Walters (gambler)

text: During that time, Walters also remained involved in sports betting. In 1981, he left the automobile industry to become a full-time sports bettor. He was running his own betting service on the side and, in 1982, pleaded guilty to a misdemeanor charge of possession of gambling records in Kentucky. The charge later was expunged from his record.


title: Billy Walters (gambler)

text: It was then that he decided to move with his wife, Susan, to Las Vegas, where opportunity beckoned and betting on sports was legal.


title: Billy Walters (gambler)

text: Walters started gambling when he was 9 years old, when he bet the money he earned from his paper route on the New York Yankees to beat the Brooklyn Dodgers in the 1955 World Series. The Dodgers won and Walters lost the bet, but it did not deter him from gambling. Walters was a losing gambler as late as 1982. He had lost $50,000 by the time he was 22. Walters once lost his house during a game of pitching pennies. The winner did not take possession; Walters agreed to pay off the debt over the next 18 months.


title: Billy Walters (gambler)

text: Walters's success changed in his mid to late 30s. In June 1986, Walters requested a freeze-out with Caesars Atlantic City for $2 million at the roulette tables. Walters was known to have lost $1 million at least twice at the Las Vegas blackjack tables. Caesars, however, declined his request. Walters then took his proposition to the Atlantic Club Casino Hotel, then known as the Golden Nugget, which was accepted.


title: Billy Walters (gambler)

text: Walters and his gambling partner delivered $2 million to the cage at the Atlantic Club Casino Hotel. The pair noticed a wheel bias and bet on the 7-10-20-27-36. After 38 hours of play they won $3,800,000, beating the prior record of $1,280,000 held by Richard W. Jarecki at the San Remo Casino in Monte Carlo in 1971. Three years later his "Syndicate" had won $400,000 at a casino in Las Vegas and an additional $610,000 from Claridge Casino in Atlantic City. Walters also captured the 1986 Super Bowl of Poker, (also known as Amarillo Slim's Super Bowl of Poker or SBOP) in Lake Tahoe earning $175,000.


title: Billy Walters (gambler)

text: In the 1980s, Walters joined the Computer Group, which used computer analysis to analyze sports outcomes. Over a period of 39 years, Walters had only one losing year, with a 30-year winning streak. Though he has finished in the red for a few months, he was always in the black by the end of the year. Walters bet on basketball, the NFL, and college football. Walters won $3.5 million on Super Bowl XLIV after betting on the New Orleans Saints. Due to his reputation, Walters often placed bets through "runners" so bookmakers would remain unaware of the person behind the bet.


title: Billy Walters (gambler)

text: In January 2007, Walters won a $2.2 million bet on University of Southern California defeating University of Michigan; USC won, 32–18. In 2011, Walters claimed he could make between $50 to $60 million on a good year.


title: Billy Walters (gambler)

text: In April 2017, Walters was found guilty of insider trading after using non-public information from Thomas C. Davis, a board member of Dean Foods. Walters was sentenced to 5 years in prison and fined $10 million. Lawyer Daniel Goldman, then an assistant United States Attorney for the Southern District of New York, was part of the trial team.


title: Billy Walters (gambler)

text: Walters's source, company director Thomas C. Davis, using a prepaid cell phone and sometimes the code words "Dallas Cowboys" for Dean Foods, helped Walters, between 2008 and 2014, realize profits and avoid losses in the stock, the Federal jury found. Walters gained $32 million in profits and avoided $11 million in losses. At the trial, investor Carl C. Icahn was mentioned in relation to Walters's trading but was not charged with wrongdoing. Golfer Phil Mickelson "was also mentioned during the trial as someone who had traded in Dean Foods shares and once owed nearly $2 million in gambling debts to" Walters. Mickelson "made roughly $1 million trading Dean Foods shares; he agreed to forfeit those profits in a related civil case brought by the Securities and Exchange Commission".


title: Billy Walters (gambler)

text: On December 4, 2018, the U.S. 2nd Circuit Court of Appeals upheld the insider trading conviction and 5 year sentence of Walters, even though it chastised an FBI agent for leaking grand jury information about the case. On October 7, 2019, the U.S. Supreme Court refused to hear Walters's appeal.


title: Billy Walters (gambler)

text: Walters was initially imprisoned at Federal Prison Camp, Pensacola, but was released to home confinement in Carlsbad, California, on May 1, 2020, amid the coronavirus pandemic. His sentence was scheduled to be completed on January 10, 2022, and was commuted by Donald Trump on January 20, 2021.


title: Billy Walters (gambler)

text: Walters has three children, and was an avid golfer. He claims to have made over $400,000 on one hole and once as much as $1 million in one round, although he admitted to losing that same amount at blackjack later that night.


title: Billy Walters (gambler)

text: In June 2014, Walters had a private jet worth $20 million and owned seven homes, with a net worth estimated at over $100 million.


title: Billy Walters (gambler)

text: Walters is a noted philanthropist and has donated to Opportunity Village, a Las Vegas nonprofit for people with intellectual disabilities. In September 2020, in response to Opportunity Village canceling their two largest fundraising events because of the COVID-19 pandemic, the Walters family committed to a $1 million matching donation. He and his wife Susan have been staunch Opportunity Village advocates for decades and were honored at the organization’s 11th annual black-tie gala Camelot in 2012.


title: Billy Walters (gambler)

text: The couple were also honored as Las Vegas Philanthropists of the Year in 1997 by the Association of Fundraising Professionals Las Vegas Chapter


title: Billy Walters (gambler)

text: Billy Walters and his wife Susan say they will donate $1 million to the effort to rebrand the Las Vegas airport.


title: Golden Foot

text: The Golden Foot award is an international football award, given to players who stand out for their athletic achievements (both as individuals and team players) and for their personality. The award is only given to active players of at least 28 years of age, and can only be won once.


title: Golden Foot

text: Ten nominees are chosen by a panel of international journalists based on the criteria that they are at least 28 years of age and still playing. Out of this list, the winner is selected by an online poll, where anyone can vote. The winner of the award leaves a permanent mould of his footprints on ""The Champions Promenade"", on the seafront of the Principality of Monaco.


title: Golden Foot

text: Since 2009, there has been a charity auction accompanying the Golden Foot event. The auction is held during the gala evening at the Hôtel de Paris Monte-Carlo, and raises funds for fighting AIDS.


title: Sonic Rush

text: The game was announced under the working title "Sonic DS" at Electronic Entertainment Expo (E3) 2004, and under "Sonic Rush" at E3 2005. The game's 2.5D format was based on Sonic Team's idea to combine elements from 2D and 3D games in the series. Upon release, "Sonic Rush" was well received by critics, with praise stemming from the game's visuals, music and similarity to older games in the series and criticism stemming from its overall quickness. A sequel, "Sonic Rush Adventure", was released in 2007.


title: Sonic Rush

text: "Sonic Rush" is a 2D platform game, similar to earlier games in the series as well as later ones like "Sonic Advance" and "Sonic Mania". The player controls either Sonic the Hedgehog or Blaze the Cat, who differ in terms of special abilities. In the tradition of past "Sonic" games, gameplay consists of moving quickly through levels, collecting rings and defeating enemies. The player collects rings as a form of health; when they are attacked by an enemy, their rings bounce in all directions. If they are hit by an enemy and have no rings, they lose a life. A life is also lost if the character is crushed, drowns, falls into a bottomless pit, or exceeds an act 10-minute limit. Both of the DS's screens are used to display the play area, with the player's character moving between them as necessary. Levels in the game are divided into "zones", each consisting of two acts of normal gameplay then a 3D boss battle. The course of the game differs depending on whether Sonic or Blaze is chosen; the seven zones are the same, but are accessed in different orders. During boss battles, Blaze fights Doctor Eggman and Sonic fights an Eggman doppelgänger called Eggman Nega. As the characters' stories progress, they meet each other several times and unite in the final zone that comes after the seventh. The game features special stages the player can access via certain handles in order to obtain the Chaos Emeralds. These Special Stages resemble those of "Sonic the Hedgehog 2" and use the DS' stylus controls.


title: Sonic Rush

text: New features include a grading system that grades the player based on the time it takes for them to complete the level; they can return to levels later to try for a higher grade. There is a point system based on the one in "Sonic Advance 2" but displaying points in multiple categories. Sonic Rush introduces a "Tension Gauge" on the left side of the screen which is filled by doing tricks and defeating enemies. The energy it generates allows the player to use boosts of speed while moving; defeating enemies, moving through the level more quickly which results in more points and a higher grade, and when playing as Sonic, accessing the special stage. Although the game is primarily two-dimensional, there are three-dimensional elements which create a 2.5D effect. For the first time in the series, Sonic and Blaze's sprites are rendered in 3D.


title: Sonic Rush

text: The game has a two-player mode in which Sonic and Blaze race to the end of a chosen level from the game. There is also a feature in which players who own the game can send a demo of the game to other Nintendo DS users.


title: Sonic Rush

text: Blaze the Cat is somehow pulled from her native dimension into Sonic's world. Her world had seven Sol Emeralds—similar to the Chaos Emeralds—but they were stolen by Doctor Eggman. She then makes it her goal to retrieve them. While searching, she meets Cream the Rabbit and is surprised by her politeness. Meanwhile, Sonic is searching for the Chaos Emeralds, which have been stolen by Doctor Eggman Nega, Eggman's alternate counterpart from Blaze's dimension.


title: Sonic Rush

text: Sonic briefly encounters Blaze during his search, but she departs before he can question her. His friend Tails learns that the two dimensions are merging somehow, and both will collapse if the process is not stopped. Suspicious of Blaze, Sonic and Tails begin searching for her. Upon finding Blaze and Cream, Sonic questions Blaze about her nature, but she refuses to give any information and leaves with Cream. Sonic follows her to Eggman Nega's base, where it is revealed that Eggman and Eggman Nega are working together to collect both the Chaos Emeralds and the Sol Emeralds. Blaze declares that she is the only one who can save their worlds, without anyone's help. Sonic and Blaze fight each other, until Sonic wins the fight and Blaze realizes the error of her ways.


title: Sonic Rush

text: After Eggman kidnaps Cream, Blaze goes after him while Sonic takes on Nega. Sonic collects the last of the seven Chaos Emeralds and catches up with Blaze, who fails to prevent Eggman and Eggman Nega from draining the Sol Emeralds's power for their Egg Salamander mech. As the world begins to destabilize, Sonic and his friends help Blaze realize the meaning of friendship. This restores the Sol Emeralds, and Sonic and Blaze use both sets of Emeralds to transform into Super Sonic and Burning Blaze. The two destroy the Egg Salamander, restoring the dimensions to normal, and Blaze returns to her world, now better understanding her powers. Cream is saddened by Blaze's departure, but Sonic assures her that Blaze promised to return someday.


title: Sonic Rush

text: "Sonic Rush" was developed by Sonic Team and Dimps, and published by Sega. Yuji Naka, Sega's executive managing director, announced the game at Electronic Entertainment Expo (E3) 2004, along with "Project Rub". A demo of the newly titled "Sonic Rush" was featured at E3 2005, and won video game publication IGN's "Biggest Surprise" award. Blaze the Cat, a new character, was revealed at Tokyo Game Show (TGS) 2005. The game's 2.5D format was based on Sonic Team's idea to combine elements from 2D and 3D games in the series. Director Akinori Nishiyama stated in a September 2005 interview with GameSpot that Sonic Team "wanted to keep the elements from 2D, yet still explore some of the new elements from 3D." At TGS 2005, he stated that while working on "Sonic Advance 3", he realized that the series was becoming more complicated, opting for a "fast, dynamic action" approach to the next title in the series.


title: Sonic Rush

text: The music was primarily composed by Hideki Naganuma of "Jet Set Radio" fame. Additional music was composed by the game's sound director Teruhiko Nakagawa, along with Masayoshi Ishi and Hiroyuki Hamada of T's Music. Composing the music was a challenge for Naganuma, who had to work under the limitations of the Nintendo DS' sound chip.


title: Sonic Rush

text: "Sonic Rush" introduced Blaze, who has become a recurring character in the series. Blaze appeared for the second time in "Sonic the Hedgehog" in 2006, and then in "Sonic Rush Adventure", the sequel to "Sonic Rush", and numerous other games.


title: Sonic Rush

text: "Sonic Rush" was released on November 15, 2005, in North America; November 18 in Europe; and November 23 in Japan. It was the ninth best-selling DS game of December 2006. It sold 360,000 copies in Europe from March 2006 to March 2007. The game received a "Platinum" sales award from the Entertainment and Leisure Software Publishers Association (ELSPA), indicating sales of at least 300,000 copies in the United Kingdom.


title: Sonic Rush

text: The game was released to "generally favorable" reviews, according to video game review aggregator Metacritic. Critics praised the game for its usage of elements from older "Sonic" games. GameSpot, IGN, and "Nintendo Power" compared the game to older games in the series, specifically those on the Sega Genesis. GameSpy staff writer Greg Sewart offered a similar opinion, also praising the game for its "gorgeous graphics". The visuals were well received, with some calling it "gorgeous" and "colourful". The game's overall quickness was not as well received. GameSpy's Greg Sewart, although giving a mostly positive review, complained that "it's so fast you almost can't tell what's going on most of the time." 1UP.com and "GamePro" thought similarly. The game's music was well-received, called "bright [and] buoyant" by 1UP.com and compared to that of "Jet Set Radio" by GameSpot. GameSpy called the music "all very fitting and very catchy", noting its use of sampling and unconventional structure.


title: Sonic Rush

text: In 2008, "Sonic Rush" was listed at #17 in IGN's list of the top 25 DS games. In 2009, it was listed as one of the "cheers" on IGN's "Cheers & Tears" list of action games for the DS.


title: Infest (album)

text: Infest is the second studio album and major-label debut by the American rock band Papa Roach. It was released on April 25, 2000, through DreamWorks Records, and became the 20th highest-selling album of 2000 in the United States. The sound of the album is nu metal and rap metal. Many of the album songs contains rapping and hip hop influences. It was certified 3× Platinum in the U.S. on July 18, 2001, and peaked at  5 on the "Billboard" 200 chart. This album earned the band a Grammy nomination for Best New Artist. It is their best-selling album to date. Papa Roach got together and performed the album live in studio to stream worldwide on June 20, 2020. The whole performance was released on YouTube on September 15, 2020.


title: Infest (album)

text: Papa Roach was formed in 1993, as a funk metal and rap rock band. In February 1997, Papa Roach released their first album, "Old Friends from Young Years", though the album failed to get the band a record deal. Papa Roach release new demos in 1998, and a demo in 1999 featuring the songs, "Last Resort", "Broken Home", "She Loves Me Not" (the only song which would not end up in this album, instead being re-recorded for "Lovehatetragedy"), "Infest", and "Dead Cell". Papa Roach toured in 1999; the band had an underground fan base in California. Due to the underground success of the 1999 demo heard by in house producers Tim & Bob, Papa Roach were signed to DreamWorks Records.


title: Infest (album)

text: Papa Roach went to the studio in late of 1999 to record "Infest". Though many songs including "Last Resort", "Broken Home", "Revenge", and "Dead Cell" had already been recorded, the band re-recorded them and made some changes to the lyrics."Broken Home" deals with Jacoby Shaddix's broken relationship with his father. Papa Roach got Adam Goldstein to DJ for some tracks, including "Snakes". The closing track "Thrown Away" contains a softer, reggae-inspired version of the song "Tightrope", which starts at about 4:57. Papa Roach completed recording the album by early 2000.


title: Infest (album)

text: "Infest" was released in the United States and Canada on April 25, 2000, following radio play of "Last Resort". "Infest" debuted at No. 30 at the "Billboard" 200 albums chart. "Last Resort" became a massive hit throughout 2000 and peaked at No. 1 on the "Billboard" Modern Rock Tracks chart. With the massive mainstream success of "Last Resort", "Infest" reached No. 5 at the "Billboard" 200 albums chart and was certified Platinum by the RIAA. The follow-up singles from "Infest", "Broken Home", and "Between Angels and Insects", also charted. Following the success, Papa Roach went on several of tours. In 2000, the band performed at tours including Vans Warped Tour and the Anger Management Tour with Nu Metal act Limp Bizkit and rap and hip hop acts such as Eminem, E-40, Xzibit, and Ludacris. In 2001, the band toured Ozzfest, where they performed main stage, on both the United States and United Kingdom tours. Papa Roach also played in some MTV shows during 2001. "Infest" was certified 3× Platinum by the RIAA and is Papa Roach's best-selling album to date.


title: Infest (album)

text: In 2020, the album was put on the list of the "Kerrang!" magazine "The 21 greatest nu metal albums of all time"


title: Kingdom (season 4)

text: "Kingdom" is an anime adaptation of a manga series of the same title written and illustrated by Yasuhisa Hara. At the end of the third season's final episode, a fourth season was announced, and aired from April 10 to October 2, 2022. The cast returned to reprise their roles. The opening theme is "Rei -ray-" performed by Suiren while the ending theme is "Genyou (Dazzling)" performed by Haku. The second opening theme is "geki" performed by zonji, while the second ending theme is "Believe" performed by Misaki.


title: Toyota Camry (XV10)

text: The Toyota Camry (XV10) is a mid-size car that was produced by Toyota between 1991 and 1996 in Japan and North America, and 1993 and 1997 in Australia. The XV10 series represented the third generation of the Toyota Camry in all markets outside Japan, which followed a different generational lineage. The XV10 Camry range is split into different model codes indicative of the engine. Four-cylinder models use the SXV10/SDV10 codes, with VCV10 designating the six-cylinder versions, and MCV10 the later six-cylinder cars in North America only.


title: Toyota Camry (XV10)

text: In its home market of Japan, the XV10 Camry iteration was known as the Toyota Scepter. This was due to the Camry name being adopted by a smaller version of the same car in Japan, similar in size the previous generation compact-sized Camry sold globally.


title: Toyota Camry (XV10)

text: In Australia, the third generation Camry was sold under three names. Along with the Camry itself, a version badged as the Holden Apollo was also sold as a result of a model sharing arrangement between GM Holden and Toyota at the time. Toyota from 1995 onwards, also began badging the six-cylinder versions of the Camry as the Toyota Vienta in the Australian-market.


title: Toyota Camry (XV10)

text: Exports from Australia to Thailand commenced in August 1993; Middle Eastern models began export from Australia in February 1996.


title: Toyota Camry (XV10)

text: The SXV10's smooth and curvaceous shape, lacking of any hard angles seen on previous Camry models, was not what Toyota product planners originally envisioned for the car. In typical style of Japanese designers and engineers of the time, the concept of the SXV10 originally presented by Japanese executives would be an angular sedan, with a fairly narrow body, which would bear a strong resemblance in design to the V20 it was set to replace. However, it would be up-scaled to a mid-size classification. The concept would look much like the MX83 Cressida, but feature a FWD platform with a transverse mounted engine.


title: Toyota Camry (XV10)

text: However, Dave Illingworth, Lexus' first general manager, had expressed genuine anxiety and concerns that the Lexus ES250 (which was designed to provide a stable mate to the UCF10 Lexus LS) would not be well perceived. Similarly, the ES250 later had difficulty appealing to customers in Lexus showrooms against the LS400, which had set standards that revolutionized the entire industry. Accordingly, executives of Toyota's North American division in Torrance, California, argued that the SXV10 Camry should be completely redesigned and that the engineering be updated and modified to better suit American tastes. Toyota's headquarters at the time in Torrance was in close proximity to Laguna Beach and Orange County, where the LS400 was conceived. American Toyota executives in Los Angeles including Jim Press, Robert McCurry, Chris Hostetter, and Dave Illingworth all argued that American landscapes, even in a metropolis setting like Los Angeles, had wider roads, big lawns and landscapes, and thus cars needed a different appearance to appeal to American tastes. McCurry also argued that Americans typically travel longer distances on highways, and so a smooth quiet ride and a wide spacious cabin were important. The Japanese executives in Toyoda City reluctantly agreed, and within a few weeks, Osamu Shikado would pen the design for the new concept, which, as McCurry had argued, needed to resemble the curved shape of the Lexus LS400, particularly in the roofline and flush, curved windows, which also aided to reduce wind noise.


title: Toyota Camry (XV10)

text: The SXV10 Camry was developed after the ES300, which only featured the 3.0 Liter V6 option. The 4 cylinder option in the Camry was the 5S-FE. Insulation in the firewall, fluid-filled engine sub-mounts and cradling, as well as hydraulic fan technology were shared between the ES300 and Camry. Other developments pioneered for the LS400 such as sandwiching layers of asphalt resin composites and sheets of steel were carried into the SXV10 platform, contributing to a quiet, isolated cabin. Particular areas of challenge in engineering was that the Japanese-variant was several inches narrower, and the entire cradle had to be re-designed and widened. Additionally, CMM requirements were challenging in achieving high levels of accuracy and lack of deviation in the gap between the curved hood and the curved headlamp housings, where the LS400 featured rectangular lamps that were more traditional. Toyota also felt it was important to blend the bumper into the metal fenders with minimal gaps and differentiation in visual cohesion. Engineers also adopted many influences from the LS400 and Lexus ES300 such as alloy lattices and metallurgical eutectic techniques that led to engines with low thermal expansion coefficient, better fuel atomization, rust corrosion, and flusher body panels. The development of reducing NVH levels in the cabin was the result of hundreds of engineers, which was revealed by Chris Goffey during a Top Gear review.


title: Toyota Camry (XV10)

text: Such high levels of over-engineering was a point of disagreement in product development philosophies within Toyota; where many believed that the vehicle should have been developed closely with the new Lexus brand to help establish the new nameplate and develop buyer interest into upgrading to a Lexus model, some felt the Camry had offered too many features such that it was inappropriate in a car competing for the mid-size segment.


title: Toyota Camry (XV10)

text: In development since 1986, Toyota replaced the compact V20 Camry with an all-new V30 series exclusive to Japan in 1990. While marginally larger than the V20, the V30 had to comply with Japanese tax legislation. To meet the "number five" compact car tax bracket, the Camry V30 had to adhere to the width and length limit. Particularly in the United States, this narrower model would not generate enough sales, as proved by its V20 Camry forerunner. Concurrently, the "wide-body" Camry (XV10) was developed from 1988 and the final design frozen in late 1988. Design patents were filed at the Japan Patent Office on 28 February 1989 for the sedan and for the wagon on 18 July 1989 under patent numbers 820638 and 820654. Introduced to North America on 9 September 1991, the XV10 Camry was sold alongside the V30 in Japan, badged as the Toyota Scepter. Toyota chose the name "Scepter" as a reference to the Camry/Crown naming tradition, as a "scepter" is a symbolic ornamental staff held by a ruling monarch, a prominent item of royal regalia.


title: Toyota Camry (XV10)

text: The smaller V30 Camry varied in other areas besides the size. Although the underpinnings, doors and fenders, and overall basic design cues were common between the two cars, the smaller Camry sported harder, more angular front- and rear-end styling treatment, with the wide-body model presenting a more curvaceous silhouette. This was a departure from the V20 generation Camry which, although had many more rounded panels than the V10 series, was nevertheless generally slab-sided in shape.


title: Toyota Camry (XV10)

text: The XV10 is regarded as the first Camry to break into the mid-size car market, the market Toyota billed as "world-sized". At the same time, the once subcompact Corolla was moved to the compact class, and the Camry moved to the mid-size class. This Scepter model marked the transition away from a smaller vehicle into a larger, more luxurious family car. The first US-built XV10 Camry rolled off the Georgetown, Kentucky plant on Tuesday, 3 September 1991 and the last in June 1996.


title: Toyota Camry (XV10)

text: The Japanese market received a new V40 series Camry in 1994, yet the XV10 lived on until 1996, before being replaced by the XV20 Camry. Once the Japan-only V40 Camry ended production in 1998, this marked the cessation of separate Camrys—a global Camry—and a smaller Japanese domestic market version. In Japan after 1998, the smaller Vista V50 took up the former V40 Camry.


title: Toyota Camry (XV10)

text: The XV10, at its most basic level, offered a 2.2-liter "5S-FE" four-cylinder engine, up from 2.0 liters in the V20 and V30 Camrys. This unit produced of power and of torque, although the exact figures varied slightly depending on the market. Power and displacement increases were also received for the V6 engine. The 3.0-liter "3VZ-FE" unit was rated at and . An all-new aluminium "1MZ-FE" V6 debuted in North American models from 1994, with other markets retaining the "3VZ-FE" V6. Power and torque rose to and , respectively.


title: Toyota Camry (XV10)

text: Both the National Highway Traffic Safety Administration (NHTSA) and the Insurance Institute for Highway Safety (IIHS) published crash information for the Camry. The Camry was tested for only frontal (NHTSA) and frontal offset (IIHS) crashes. NHTSA gave the 1994–1996 Camry four stars for the driver and three stars for the passenger. The IIHS scored the same car "acceptable" overall, with three out of six categories listed as "acceptable" and the other three listed as "good".


title: Toyota Camry (XV10)

text: The Used Car Safety Ratings, published in 2008 by the Monash University Accident Research Centre in Australia found that 1993–1997 Scepter-based Camrys and Holden Apollos provide an "average" level of occupant safety protection in the event of an accident.


title: Toyota Camry (XV10)

text: Toyota in Japan originally released the Scepter as a station wagon imported from the United States in September 1992. Japanese manufacture of the sedan occurred soon after, coming to the market in November 1992. From November 1993, Toyota began importing the coupe model from the United States. Scepters were phased out in 1996, starting with the coupe (April), wagon (June), and sedan (December). The large and spacious wagon, when fitted with third row seating that stowed away under the cargo floor, could accommodate seven passengers. All three body variants were available with either the 2.2- and 3.0-liter engines.


title: Toyota Camry (XV10)

text: For the North American market, Camrys were produced in Georgetown, Kentucky by Toyota Motor Manufacturing Kentucky. Introduced in October 1991 as a 1992 model year, automatic transmission became the only option on all but the base and sport model Camrys, whereas previously, a manual transmission was available on the majority of trim levels. In addition to the DX and LE trims, 1992 saw the addition of an XLE luxury trim and the SE sport trim (arriving in March 1992). The SE model differs from the LE and XLE in appearance with the addition of a standard V6 engine, alloy wheels, a rear spoiler, and black side mirrors as well as the sports suspension from the Lexus ES 300. The range-topping XLE was equipped with leather upholstery along with an electric sunroof and power adjustable driver's seat. The station wagon body styles were offered in a new seven-seat guise starting with March 1992 production (mid-1992 launch), compared to five in the regular wagon and sedan. These station wagon body variants were also made in right-hand drive configuration for export to Japan, badged as Scepter. Wagons were also produced in Australia. This generation of Camry was featured on "Car and Driver" magazine's Ten Best list for 1992 and 1993.


title: Toyota Camry (XV10)

text: Differences between the North American Camry and the Scepter were few. While the North American versions received a revised V6 engine ("1MZ-FE") in 1993, the Scepter used the same "3VZ-FE" V6 over the entire model cycle. The Scepter headlamps were a wraparound design (1992–1994 models), using a dual-filament bulb along with integrated fog lights. Unlike the North American Camry, the 1992–1994 model tail lamps did not include red reflectors or side markers. The Scepter also included an updated climate control unit with an LCD display in some models. Other differences include the "Scepter" trunk garnish, fender marker lights, some options, and interior trim.


title: Toyota Camry (XV10)

text: Toyota released a coupé version of the Camry in 1993, for the 1994 model year with styling very similar to the four-door version, stimulating modest sales. This vehicle would be dropped for the next generation and replaced by the Camry Solara. Also in this year, the "3VZ-FE" V6 departed in favour of the new aluminium "1MZ-FE" V6. This new engine coincided with the standard fitment of dual front airbags, whereas the 1991 to 1993 Camrys only has driver's air bag.


title: Toyota Camry (XV10)

text: The Camry was given a facelift in the third quarter of 1994 for the 1995 model year, which design patents were filed for on 8 May 1993 at the Japan Patent Office under patent number 820638-002. Minor exterior changes included a revised front fascia with different front turn signals and reshaped headlamps. Additionally, the rear fascia was updated, now with body-coloured plastic between the tail lamps where the model name "Camry" was printed. This was instead of the red plastic on higher trim levels and black plastic on lower trim levels of the 1992 to 1994 models. The tail lamps themselves were also slightly different. Another change, this time mechanical came in 1996; the 2.2-liter engine was detuned slightly to to meet stricter emissions standards. Additionally, in 1996 the cam angle sensor in the distributor was also replaced with a crank angle sensor to achieve a smoother idle.


title: Toyota Camry (XV10)

text: The range of Camrys in Australia consisted of both four-cylinder (SDV10) and V6 (VDV10) sedans and station wagons. These were built at Toyota's Port Melbourne, Victoria facility from 2 December 1992. The then Prime Minister, Paul Keating attended the official launch and commencement of sales on 15 February 1993. The four-cylinder Camrys consisted of the Executive, CSi and Ultima sedan models teamed with either a four-speed automatic or a five-speed manual transmission. The V6 range was the same but was known as the Camry Vienta. Like the four-cylinder variant, Camry Vientas were available exclusively in automatic guise and could be distinguished by their colour-coded front grille. In October 1993, a new V6 sedan model called the Touring Series was launched, fitted with sports suspension. In April 1994, the range was revised slightly, where the Executive model was renamed CSi and the previous CSi was renamed the CSX.


title: Toyota Camry (XV10)

text: Toyota Australia ceased manufacturing the XV10 at Port Melbourne in December 1994, with inventory stockpiles built up to last into the new year. Toyota switched Camry production to its new Altona, Victoria factory two weeks later in January 1995, with the official launch of the assembly line commissioned by Prime Minister Keating on 31 March. There was little difference between the Port Melbourne and Altona vehicles, except for a new water-borne, environmentally friendly paint process.


title: Toyota Camry (XV10)

text: In July 1995, the facelifted model was launched in Australia, although this differed to the update applied to the North American variants. The update brought a new grille, slight updates to the rear end, new hubcaps, a lighter interior colour scheme with a new range of fabrics, and the discontinuation of the Ultima trim. Equipment wise, a new security system was fitted with remote central locking, engine immobiliser and alarm. The CSi gained four-wheel disc brakes, and optional anti-lock brakes. Seat belt webbing clamps for the front seats were now fitted as was a lap-sash belt in the centre rear. Climate control air conditioning for the CSX, an improved stereo system, and the addition of cup holders also featured.


title: Toyota Camry (XV10)

text: From October 1995, the V6 models were simply known as the Vienta—losing the Camry identity altogether. The availability of manual transmission on the CSi and Touring Series V6 sedan variants coincided with the update, while the V6 Grande superseded the V6 Ultima. Perforated leather upholstery and wood grain trim on the Grande was optional. Towards the end of the model run, special edition Getaway (October 1996) and Intrigue (April 1997) sedan models were launched. Based on the CSi, the Getaway was further equipped with 14-inch alloy wheels, a CD player and air conditioning. Also based on the CSi, the Intrigue added air conditioning, CD player, Jacquard upholstery, extra seat-back map pockets, and 15-inch wheels. Toyota fitted the four-cylinder Intrigue with the same wheel covers as the Vienta CSi, with the Vienta Intrigue upgraded to alloy wheels.


title: Toyota Camry (XV10)

text: In August 1993, exports to Thailand commenced. In February 1996, Toyota Australia began exporting left-hand drive Camrys to the Middle East.


title: Toyota Camry (XV10)

text: As a result of the Australian Government-backed Button car plan, both four- and six-cylinder sedan and station wagon version of the Camry were sold at Holden dealerships as the Holden Apollo from March 1993. These models lasted until 1997, replaced by the Holden Vectra.


title: Toyota Camry (XV10)

text: Launched in October 1991, European versions featured the registration plate mount situated between the two tail light assemblages as opposed to the bumper-mounted cavity used in all other markets.


title: Toyota Camry (XV10)

text: The range consisted of the 2.2 GL and 3.0 GX models in sedan and station wagon form. In the UK, the GX version was available with an automatic transmission only, although both manual and automatic were offered in continental Europe for the 2.2- and 3.0-litre models. All European-market Camrys were produced at the Tsutsumi plant in Japan (except for the wagon, which was imported from the United States, as was the case for the same variant of the Japan-market Scepter).


title: Toyota Camry (XV10)

text: Exports of Camrys from this generation, Toyota Camry (XV20) and Toyota Camry (XV30) were brought into China through the grey market. The XV10 was imported into China in 1991 from the Georgetown, Kentucky factory in the United States.


title: Toyota Camry (XV10)

text: Another variant called the Xinkai HXK6630 was also available as a CKD and assembled in Zhanjiang, Guangdong Province.


title: Toyota Camry (XV10)

text: The Camry was also built in Durban, South Africa. 3.0-litre models were sold as the "Camry 300i" with the highest specification level badged as the "Camry 300SEi". The Camry was also available with a 2.0-litre and a 2.2-litre power plant in both automatic and manual transmission variants.


title: Toyota Camry (XV10)

text: Holden sold a rebadged version of the Camry XV10 in Australia as the Holden Apollo from 1993 to 1997, replacing the previous Apollo manufactured sold from 1989 that was a rebranded Camry V20. This badge engineering scheme was the result of the Australian government's Button car plan, introduced in May 1984 to rationalise and make the Australian automotive industry more competitive on a global scale by means of reducing import tariffs. This model sharing occurred due to the United Australian Automobile Industries (UAAI) joint venture between Toyota Australia and Holden starting in 1987 that resulted in model sharing between both automakers from August 1989.


title: Toyota Camry (XV10)

text: From its launch in 1989, the Apollo was always less successful than the Camry from which it was based. By the end of 1993, the UAAI venture cars—the Holden Apollo and Nova, along with the Toyota Lexcen—realised sales of 21 percent at best when compared to the models retailed by their original manufactures. Apollo production in 1992 (V20 series) totalled 4,490 units (17.5 percent of the Toyota Camry figure, excluding exports); 5,314 Apollos were manufactured in 1993 (18.2 percent), and in 1994 production amounted to 5,519 units (14.7 percent).


title: Toyota Camry (XV10)

text: The JM series Apollo arrived at Holden dealerships in March 1993, based on the enlarged Toyota Camry (SDV10/VDV10). These SDV10/VDV10 Toyotas had been introduced to Australia a month earlier, in February 1993.


title: Toyota Camry (XV10)

text: The larger size of the new car was heavily advertised by Toyota as the "wide-body" Camry. Holden's advertising differed in this sense, with a more subdued tone to help set it apart. Holden was also granted additional design input with the new JM model, on the grounds of further differentiation between it and the Camry clone. Following the establishment of UAAI, Holden instituted a high-security design centre within the company responsible for producing visual distinction between venture models. Its autonomy and secrecy from the remainder of the firm permitted the exchange of information regarding the new Camry from 1989, thus allowing a unique-to-Apollo identity to be crafted. The end result was an Apollo with its own bumper, bonnet, grille and headlamp assemblage up front, coupled to a markedly different rear, with restyled tail lamps and a decklid-mounted, as opposed to bumper-mounted, registration plate cavity.


title: Toyota Camry (XV10)

text: Mechanically, the Apollo's setup was a verbatim copy of the Camry, with steering and suspension calibrations left unchanged. Likewise, the powertrains were also as fitted to the Toyota with a twin-cam, EFI 2.2-liter "5S-FE" straight-four producing and , with an optional quad-cam EFI 3.0-liter "3VZ-FE" V6 making and . This figure is down on the equivalent Camry V6. These V6-engined Apollos featured larger-diameter 15-inch wheels over the 14-inch diameter used on the 2.2. The 2.2-liter models also featured a five-speed manual as standard fitment, although an optional electronically controlled four-speed automatic transmission was offered at an extra cost—standard and the sole choice on V6s.


title: Toyota Camry (XV10)

text: Both four-door sedan and five-door station wagon variants were available as before, although trim levels were limited to SLX and GS. The SLX was aimed at fleet markets, fitted with power steering, a radio cassette player, a remote boot and fuel cap release, and electric side-view mirrors. The sedan-only SLX V6 added four-wheel disc brakes over the 2.2 model's front-disc, rear-drum layout, with anti-lock brakes (ABS) on the V6 available as an option. Wagons without ABS fitted made do with a load-sensing valve mechanism to control rear brake lock-up. The higher GS trim built on the SLX level, adding 60/40 split-fold rear seats, variable intermittent windscreen wipers, a four-speaker stereo, tachometer, central locking and a more luxurious interior upholstery style.


title: Toyota Camry (XV10)

text: At the same time as Toyota's Camry upgrade in April 1994, Apollo specifications were also uprated slightly. SLXs now had a four- and GSs a six-speaker stereo system, up from two and four, respectively. The SLX also received a tachometer and rear mudflaps, while the GS variant gained standard fitment cruise control and power windows. A second update in June 1994 fitted a driver's airbag as standard on all models bar the four-cylinder SLX.


title: Toyota Camry (XV10)

text: The JP series update succeeded the JM from August 1995. A new grille insert with dual "U"-shaped apertures tied in with the existing VS Commodore range. The redesigned Holden logo was also relocated from the JM's grille position to the bonnet, and the rear-end was treated to white tail lamp pin striping. At the same time, the model range was revised, the GS wagon removed, and manual transmission could now only be specified in conjunction with the SLX four-cylinder. The availability of ABS was also extended to these four-cylinder models, with four-wheel disc brakes now fitted across the board. In addition to this, remote central locking came standard to the SLX along with rear head restraints. Further enhancements were also made for the GS's sound system.


title: Toyota Camry (XV10)

text: GM and Toyota dissolved UAAI in March 1996. Apollo production ceased in late 1996 when Toyota and Holden severed their model sharing relations. Enough cars remained in stock until the replacement Holden Vectra arrived in mid-1997, first as a captive import, but locally manufactured after several months.


title: Iron Brigade

text: The Iron Brigade, also known as The Black Hats, Black Hat Brigade, Iron Brigade of the West, and originally King's Wisconsin Brigade was an infantry brigade in the Union Army of the Potomac during the American Civil War. Although it fought entirely in the Eastern Theater, it was composed of regiments from three Western states that are now within the region of the Midwest. Noted for its strong discipline, its unique uniform appearance and its tenacious fighting ability, the Iron Brigade suffered the highest percentage of casualties of any brigade in the war.


title: Iron Brigade

text: The nickname "Iron Brigade," with its connotation of fighting men with iron dispositions, was applied formally or informally to a number of units in the Civil War and in later conflicts. The Iron Brigade of the West was the unit that received the most lasting publicity in its use of the nickname.


title: Iron Brigade

text: The Iron Brigade initially consisted of the 2nd, 6th, and 7th Wisconsin Volunteer Infantry Regiments, the 19th Indiana, Battery B of the 4th U.S. Light Artillery, and was later joined by the 24th Michigan. This particular composition of men, from the three Western states, led it to be sometimes referred to as the "Iron Brigade of the West". They were known throughout the war as the "Black Hats" because of the black 1858 model Hardee hats issued to Army regulars, rather than the blue kepis worn by most other Union Army units.


title: Iron Brigade

text: The all-Western brigade, composed of Wisconsin, Michigan and Indiana troops, earned their famous nickname, while under the command of Brig. Gen. John Gibbon, who led the brigade into its first battle. On August 28, 1862, during the preliminary phases of the Second Battle of Bull Run, it stood up against attacks from a superior force under Maj. Gen Thomas J. "Stonewall" Jackson at Brawner's Farm, during the waning hours of August 28th, 1862. The brigade would lose 800 casualties, the 2nd Wisconsin losing 276 out of 430 who went into the fight, and at least half of their wounded being shot twice. The designation "Iron Brigade" is said to have originated during the brigade's action at Turners Gap, during the Battle of South Mountain, a prelude to the Battle of Antietam in September 1862. Maj. Gen. Joseph Hooker, commanding I Corps, approached Army of the Potomac commander Maj. Gen. George B. McClellan, seeking orders. As the Western men advanced up the National Road, forcing the Confederate line all the way back to the gap, McClellan asked, "What troops are those fighting in the Pike?" Hooker replied, "[Brigadier] General Gibbon's brigade of Western men." McClellan stated, "They must be made of iron." Hooker said that the brigade had performed even more superbly at Second Bull Run; to this, McClellan said that the brigade consisted of the "best troops in the world". Hooker supposedly was elated and rode off without his orders. There are a few stories related to the origin, but the men immediately adopted the name, which was quickly used in print after South Mountain.