title: Geography of France

text: In prehistoric times, France was home to large predatory animals such as wolves and brown bears, as well as herbivores such as elk. The larger fauna have disappeared outside the Pyrenees Mountains where bears live as a protected species. Smaller animals include martens, wild pigs, foxes, weasels, bats, rodents, rabbits, and assorted birds.


title: Geography of France

text: By the 15th century, France had largely been denuded of its forests and was forced to rely on Scandinavia and their North American colonies for lumber. Significant remaining forested areas are in the Gascony region and north in the Alsace-Ardennes area. The Ardennes Forest was the scene of extensive fighting in both world wars.


title: Geography of France

text: The north central part of this region is dominated by the Paris Basin, which consists of a layered sequence of sedimentary rocks. Fertile soils over much of the area make good agricultural land. The Normandy coast to the northwest is characterized by high, chalk cliffs, while the Brittany coast (the peninsula to the west) is highly indented where deep valleys were drowned by the sea, and the Biscay coast to the southwest is marked by flat, sandy beaches.


title: Geography of France

text: A recent global remote sensing analysis suggested that there were 1,433 km² of tidal flats in France, making it the 23rd ranked country in terms of tidal flat area.


title: Geography of France

text: France has several levels of internal divisions. The first-level administrative division of Integral France is regions. Besides this the French Republic has sovereignty over several other territories, with various administrative levels.


title: Geography of France

text: This is a list of the extreme points of France; the points that are farther north, south, east or west than any other location.


title: Stephen Fleming

text: Stephen Paul Fleming (born 1 April 1973) is a New Zealand cricket coach and former captain of the New Zealand national cricket team, who is the current head coach of Indian Premier League team Chennai Super Kings. He is considered one of the greatest batsmen for the New Zealand national cricket team.


title: Stephen Fleming

text: Known for his astute tactical abilities, he is New Zealand's second-most capped er with 111 appearances. He is also the team's longest-serving and most successful captain, having led the side to 28 victories and having won Test series against India, England, West Indies, Sri Lanka, Bangladesh and Zimbabwe.


title: Stephen Fleming

text: He is the winning captain of the 2000 ICC KnockOut Trophy, which is New Zealand's only ICC trophy till date in the ODI format. Fleming captained New Zealand in the historic first Twenty20 International of the world, which was played against Australia in 2005.


title: Stephen Fleming

text: He retired from international cricket on 26 March 2008. Fleming played in the 2008 Indian Premier League for the Chennai Super Kings after being signed for US$350,000 and became the team's coach from 2009. In February 2015 he was signed as coach of the Melbourne Stars of the Big Bash League. On 19 January 2018 he resumed his duties as head coach of the Chennai Super Kings in 2018 Indian Premier League season again, after the team was barred from playing in the tournament for two seasons. He coached the Rising Pune Supergiant during this time.He is appointed as the head coach of Joburg super kings in 2022 for the SA20 league.He is one of the best coaches in the IPL so far.


title: Stephen Fleming

text: Fleming is the son of Pauline Fleming and Gary Kirk. Pauline raised him as a single mother, and he did not meet his father until he was 16, although Kirk had always maintained a keen interest in his son's progress. Both Kirk and Fleming played senior rugby and captained Cashmere High's first XV.


title: Stephen Fleming

text: On 9 May 2007, Fleming married his long-term partner Kelly Payne in a ceremony held in Wellington. The couple had a daughter, born in 2006, and a son, in 2008. He had to return to New Zealand just before the semifinals of the IPL tournament for the birth of his second child.


title: Stephen Fleming

text: Fleming was appointed an Officer of the New Zealand Order of Merit, for services to cricket, in the 2011 Queen's Birthday Honours.


title: Stephen Fleming

text: Fleming has played county cricket in England for Middlesex, Yorkshire and Nottinghamshire. He captained Nottinghamshire to County Championship victory in 2005, their first Championship title in 18 years.


title: Stephen Fleming

text: There was speculation in 2007 that he might join the controversial Indian Twenty20 league, the Indian Cricket League. However it turned out to be unfounded and he later joined the 'official' Indian Twenty20 league, the Indian Premier League, and played for the Chennai Super Kings in the league's initial incarnation.


title: Stephen Fleming

text: A left-handed batsman, Fleming made his Test debut in March 1994 against India winning the Man of the Match award on debut after scoring 92. In 1995 he survived controversy when he was caught and admitted to smoking marijuana with teammates Matthew Hart and Dion Nash while on tour at their hotel. In England's tour of New Zealand in 1996–97 he scored his maiden Test century in the First Test at Auckland. In the Third Test of the tour he took over the captaincy from Lee Germon becoming New Zealand's youngest captain at 23 years and 321 days.


title: Stephen Fleming

text: He was particularly noted for his captaincy, having been praised from the likes of Shane Warne as the "best captain in world cricket" and most recently, Graeme Swann who said that Fleming is one of the two true leaders that he's ever seen, alongside Andrew Strauss.


title: Stephen Fleming

text: Fleming became New Zealand's most successful captain in September 2000 with a victory over Zimbabwe. This was the 12th win under his captaincy overtaking Geoff Howarth. Fleming was regarded by some as an underperformer with the bat, with one of the worst 50 to 100 conversion ratios in world cricket. However, since the 2003 tour of Sri Lanka, Fleming started to gain form, with 274 not out against Sri Lanka – when he declared rather than staying to reach 300 which would have been a record in New Zealand cricket history.


title: Stephen Fleming

text: Arguably Fleming's best ODI innings was his unbeaten 134 to help New Zealand beat hosts South Africa in the 2003 Cricket World Cup. Chasing a rain adjusted target of 229 off 39 overs, Fleming hit 134 off just 132 deliveries as New Zealand cruised to a 9-wicket victory over a team they had struggled against in the past.


title: Stephen Fleming

text: In the second Test between New Zealand and South Africa at Newlands, Cape Town in April 2006, Fleming scored his 3rd Test double-century and became the first New Zealander to achieve this feat. Fleming scored 262 as he and Wellington teammate James Franklin put 256 runs for the 8th wicket, the highest partnership to date in Tests between New Zealand and South Africa. It is also a New Zealand record for the 8th wicket against any country.


title: Stephen Fleming

text: On 25 October 2006, Fleming captained his country for the 194th time in an ODI – a world record, overtaking Arjuna Ranatunga. He played well throughout the 2007 World Cup scoring 353 runs at an average of 39.22 and was New Zealand's second highest run scorer in the tournament. He failed in the semi-final against Sri Lanka scoring just 1 off 4 balls as New Zealand went on to lose the match and crashed out of the tournament. On 24 April 2007, Fleming resigned as the ODI captain of the Blackcaps. The announcement was made in a post-match press conference held after the Semi-Final defeat to Sri Lanka in the 2007 Cricket World Cup. After Fleming's last match as captain, Mahela Jayawardene added a tribute. "Stephen's been a great leader for New Zealand for some time, and you could learn a lot from him". Over a decade of leading the side he finished with 218 games, 98 wins, 106 losses.


title: Stephen Fleming

text: As of April 2007, Fleming had captained New Zealand in 80 Test matches—a New Zealand record and the second highest number worldwide


title: Stephen Fleming

text: . As a fielder Fleming took over 170 catches, giving him the 3rd highest Test aggregate for a non-wicketkeeper.


title: Stephen Fleming

text: In September 2007, Fleming was replaced by Daniel Vettori as the New Zealand Test captain. He also left English county Nottinghamshire after three years as captain. In February 2008 Fleming ended speculation and confirmed his retirement from the New Zealand team at the end of England's 2008 tour of New Zealand to spend more time with his family, and to play for the Indian Premier League.


title: Stephen Fleming

text: He played well in his final series, scoring 297 in six innings. In the first innings of the second test against England, he scored his 7000th run in his 110th match. In his final test at, Napier, he scored half-centuries in both innings to ensure that he finished with a Test match average of over 40 (40.06).


title: Stephen Fleming

text: Fleming was an elegant left handed batsman and played shots such as the flick off the pads, straight drive, cover drive and cut shots. He was also a clever captain and his field placings for many batsmen like Damien Martyn at point and aggressive captaincy made the opposition struggle for their runs. He was also a prolific slip catcher and fielded well in close-in positions.


title: Stephen Fleming

text: Fleming, a left-handed batsman, has made 17 centuries in international cricket nine in Test matches and eight in One Day Internationals and sits ninety-sixth in the list of century-makers in international cricket.


title: Stephen Fleming

text: Fleming played for Chennai Super Kings in the 2008 Indian Premier League. He was appointed as the team's head coach in 2009 and retired as a player. The side won the IPL in 2010 as well as the Champions League Twenty20 and went on to win the IPL again the following season. He coached Chennai for six seasons before the side was suspended from the IPL for two years. In 2016 he became the coach of Rising Pune Supergiants.


title: Stephen Fleming

text: In 2018 Fleming returned as coach of Chennai after the team's suspension ended. The team won the IPL during 2018 and repeated the success in 2021.


title: Stephen Fleming

text: Fleming has since been involved in setting up CricHQ with the company's CEO Simon Baker and former New Zealand cricket captain Brendon McCullum. Fleming is one of 160 investors and a director in the company. In June 2015 the company raised US$10m from Singapore private equity firm Tembusu Partners to expand globally.


title: Giaa Manek

text: Giaa Manek is an Indian television actress. Before venturing into the television industry, she played a minor role in the 2010 Hindi comedy film "Na Ghar Ke Na Ghaat Ke". Popular television shows to her credit are Star Plus's "Saath Nibhaana Saathiya", SAB TV's "Jeannie Aur Juju" and Star Bharat's "Tera Mera Saath Rahe". In 2012, she had participated in the dance reality show "Jhalak Dikhhla Jaa 5". In 2014, she was also a part of Box Cricket League Season 1.


title: Giaa Manek

text: Manek started her career in 2010, when she joined the cast of "Saath Nibhaana Saathiya" as Gopi. In 2012, she participated in a reality show "Jhalak Dikhhla Jaa 5" and post the show was cast on "Jeannie Aur Juju" as Jeannie. In 2019, she was temporarily cast on Zee TV's "Mahmohini" as Gopika. From 2021 to 2022, she is playing the role of Gopika Modi in the show "Tera Mera Saath Rahe", the reboot series of "Saath Nibhaana Saathiya".


title: Raat (film)

text: Raat in Hindi or Raatri () in Telugu is a 1992 Indian supernatural horror film written and directed by Ram Gopal Varma. The film is shot simultaneously in Hindi and Telugu languages, and stars Revathi. The music was composed by Mani Sharma. "Raat" was noted as an effort to bring horror films into mainstream Hindi cinema.


title: Raat (film)

text: This was the final film released in Hindi, which was shot using 70mm negative. The film was critically acclaimed.


title: Raat (film)

text: A family of four moves into a house that is allegedly haunted. Manisha Sharma (Revathi) aka "Mini" is a girl studying in her college. Her father is Mr. Sharma (Akash Khurana), while her mother is Shalini Sharma (Rohini Hattangadi). Deepak (Kushant) is Mini's classmate and boyfriend. Mini's nephew Bunty (Master Atit) finds a cat in the house basement. The cat has an eerie look on its face with its spot-staring eyes. One day the cat ventures behind the father's car rear wheel and is killed accidentally while the car is reversed. The cat is buried in the backyard without the knowledge of Bunty. Their neighbor, Nirmalamma, is also the grandmother to Rashmi, Mini's classmate. Nirmalamma spooks them with a fearful response after hearing Mini is their new neighbor.


title: Raat (film)

text: Bunty finds another cat which bears an uncanny resemblance to the dead cat. The family gets its first shock. Another day, Mini and Deepak decide to enjoy a ride to the city limits. While returning home, Deepak's bike rear tire goes flat. Deepak rides with a passerby to get a spare tire from a village nearby and asks Mini to wait for him. On returning, Deepak finds Mini sitting beside a tree near a pond, clutching her face and apparently weeping. Approaching her, Deepak stares at her fierce, reddening eyes (resembling the dead cat eyes), and slips into the pond. All of a sudden, Mini turns normal and calls to Deepak to come out of the pond.


title: Raat (film)

text: The next day, Mini attends her classmate Rashmi's friend's marriage accompanying her. Rashmi is brutally killed on that day, her neck broken and head turned all the way back. The police officer investigating the case notices that during interrogation, Mini twists her doll's head exactly the way Rashmi's neck was twisted. The officer then meets with an accident while riding out and dies. These events lead Mini's parents to seek professional help. Shalini approaches their neighbor, the old lady, while Mr. Sharma takes the help of a psychiatrist (Ananth Nag) regarding as nonsense the occult thoughts that his wife believes is the reason for their daughter's horror-stricken behavior. The neighbor old lady advises Shalini to seek the services of Sharji (Om Puri), who lives in Falaknuma. Sharji first visits his "guru" (Vijayachander) who has taken samadhi in the remote Falaknuma and gets fire-power ashes as a weapon. Sharji then locates the ghost (Sunanda) in Mini's house basement under the floor and finds it to be that of the woman who was the previous owner's mistress and who was murdered brutally. Later, while the killer is abed with his new paramour, the ghost of his former mistress kills him, as her hands and arms emerge from the bed and twist his neck, much like Rashmi's was done.


title: Raat (film)

text: Following horrific events involving the ghost trying to kill Deepak, Sharji finally neutralizes her with the help of holy chants and the ashes. The ghost finally leaves Mini's body with a thundering flash.


title: Raat (film)

text: On the one hand, scientific methods involving MRI and other medical procedures are conducted on Mini. This Mr. Sharma believes is the only way Mini could be "cured". However, Sharji has his own explanation of darkness beyond the light, that doesn't vanish, but is only diminished to an extent.


title: Raat (film)

text: RGV has spun the web of horror played with confusion, dilemma, and the plight of the affected persons to the greatest extent possible, as required of a horror movie.


title: Raat (film)

text: Upon release, N. Krishnaswamy of "The Indian Express" gave the film a positive review, calling it "technically superb" and writing that it "should be a reasonably tasty item in the horror film buff's menu card". In 2013, Amrah Ashraf of "Hindustan Times" called it the scariest film he had seen, saying Varma's "Bhoot" was a "subtler, sweeter remake of "Raat"". Suchitra Patnaik of Film Companion credits this film for changing the Indian horror film scene, stating: "It had actors pulling off stellar performances and a serene yet dramatic background score, making this 1992 movie a blockbuster hit."


title: Ahobilam

text: Ahobilam is a town and holy site in the Allagadda mandal of Nandyal district in the Indian state of Andhra Pradesh. It is surrounded by picturesque hills of the Eastern Ghats with several mountain hills and gorges. It is the centre of worship of Narasimha, the lion-headed avatar of Vishnu, to whom the nine Hindu temples and other shrines all dedicated. The main village and a temple complex are at Lower Ahobilam. Upper Ahobilam, about 8 kilometres to the east, has more temples in a steep gorge.


title: Ahobilam

text: The main Narashima Swamy temples at each site were built or expanded by the emperors of Vijayanagara in the 15th and 16th centuries, then sacked by the Mughals in 1578, then restored and expanded at various times, up to the present day. As they stand, they are a mixture of work from all these periods.


title: Justin Timberlake videography

text: American entertainer Justin Timberlake has released four video albums and has been featured in thirty-seven music videos, seventeen films, fifteen television shows, and six commercials. He achieved early fame when he appeared in the Disney Channel television series "The All-New Mickey Mouse Club", alongside singers Britney Spears and Christina Aguilera and actor Ryan Gosling. Timberlake rose to fame in the late 1990s as the lead singer of the boy band NSYNC. In 2002, he launched his solo career and released his solo debut single "Like I Love You", the music video for which was directed by Bucky Chrome. Francis Lawrence directed the video for "Cry Me a River". The video features Timberlake's character as he spies on a former lover, who according to the director portrays his former romantic interest Spears. At the 2003 MTV Video Music Awards, the video won the accolades for Best Male Video and Best Pop Video.


title: Justin Timberlake videography

text: In 2005, Timberlake starred in the thriller "Edison" alongside Morgan Freeman and Kevin Spacey. The film received negative reviews from film critics and was a box office bomb. He then portrayed Frankie Ballenbacher in the crime drama "Alpha Dog" (2006); it received mixed responses from critics and attained box office success. The same year, Timberlake released his second studio album "FutureSex/LoveSounds"—four music videos for singles from the album were shot. Samuel Bayer directed the music video for "What Goes Around... Comes Around" (2007) in which American actress Scarlett Johansson plays Timberlake's love interest. From 2007 until 2009, he appeared in the music videos for his collaborations with other artists including 50 Cent ("Ayo Technology"), Madonna ("4 Minutes") and T.I. ("Dead and Gone").


title: Justin Timberlake videography

text: Timberlake starred in the 2010 drama "The Social Network", in which he portrayed Sean Parker, the first president of Facebook. The film received acclaim from critics and was a box office success. In 2011, he starred in the comedies "Bad Teacher" and "Friends with Benefits" alongside Cameron Diaz and Mila Kunis respectively. Both films were financial successes. The music videos for his songs "Mirrors" and "Suit & Tie" were released in 2013. They earned him a MTV Video Music Award for Video of the Year and a Grammy Award for Best Music Video, respectively. Timberlake has also hosted "Saturday Night Live" five times, being both host and musical guest three times. In film, he released "Justin Timberlake + The Tennessee Kids" and voiced Branch in "Trolls" (2016) as well as its sequel "Trolls World Tour" (2020).


title: Raam (2005 film)

text: Raam is a 2005 Indian Tamil-language mystery drama film written, produced and directed by Ameer. The film stars Jiiva, Gajala and Saranya Ponvannan in lead roles with Kunal Shah, Rahman, Ganja Karuppu and Murali playing supporting roles. The film's score and soundtrack are composed by Yuvan Shankar Raja. The film was released on 4 March 2005 and slowly became a sleeper hit. It was screened at the 2006 Cyprus International Film Festival, where it won two awards for Best Actor and Best Musical Score for Jiiva and Yuvan Shankar Raja, respectively. The film was critically acclaimed with praise for the performances of Jiiva and Saranya, screenplay, music and cinematography. The film was remade in Hindi as "Bolo Raam" (2009) and in Kannada as "Huchcha 2" (2018).


title: Raam (2005 film)

text: The story revolves around a mother-son relationship set in Kodaikanal. The movie commences with Rama Krishna and his mother Saradha, a school teacher, lying in a pool of blood. The police find that Raam is still alive and arrests him on charges of murdering his mother. Police Inspector Umar works on the case. The story is narrated in a flashback. Raam is a mentally affected teenager (later diagnosed as autistic) living dependent on his mother. His over compulsive adoration for her lands her in various problems. Raam is provoked easily and tolerates little wrongdoing around him. Next door lives Karthikayeni, the daughter of a Sub-Inspector Malaichamy. She falls for Raam, but upon telling him how she feels, gets a blunt response from him. One day, Saradha is found brutally murdered. Umar grills each and every person connected to her and Raam. Every possible motive Raam might have for murdering his mother is explored. Raam's neighbors, Malaichamy, and his children are summoned by Umar for interrogation. The police eventually find out that it was Karthika's brother Satish who committed the murder, fearing Saradha would tell his parents about his drug addiction. When Umar confronts Satish and forces him to surrender, Satish fatally wounds him and escapes, injuring his father in the process. On finding her brother's hideout, Karthika tries to plead with him to surrender, but he refuses to do so and ties her up. Raam, seeking vengeance, finds the hideout. A brutal fight occurs between the two, and Raam kills Satish. The film ends as the police find the hideout while Raam is meditating on a dilapidated roof.


title: Raam (2005 film)

text: In order to portray his character Ram, Jiiva had to remain blank and did a lot of Reiki and also met a person who had autism and observed his mannerisms.


title: Raam (2005 film)

text: The music was scored by Yuvan Shankar Raja, joining with the director Ameer Sultan. The soundtrack, released on 12 January 2005, features 7 tracks, including one instrumental. Yuvan Shankar Raja fetched critical acclaim for his work, especially for the film score, resulting in a win at the 2006 Cyprus International Film Festival for Best Musical score in a Feature Film, being the only Indian composer to receive the award till date. All Lyrics were penned by Snehan.


title: Raam (2005 film)

text: "The Hindu" wrote "Crafted with care and treated with finesse, "Raam" is a luminous feather in the maker's cap."


title: Flipper (1996 film)

text: Flipper is a 1996 American adventure film, and a remake of the 1963 film of the same name (which in turn began a TV series that ran from 1964 to 1967). Written and directed by Alan Shapiro, the film stars Elijah Wood as Sandy Ricks, a boy who has to spend the summer with his Uncle Porter (Paul Hogan), who lives on the Florida Gold Coast. Although he expects to have a boring summer, he encounters a dolphin whom he names Flipper and with whom he forms a friendship.


title: Flipper (1996 film)

text: The film is unrelated to the 1995–2000 TV series of the same name that was itself also a remake of the 1963 film and 1964 TV series. Instead of Metro-Goldwyn-Mayer, a production company for the "Flipper" franchise, this film is distributed by Universal Pictures.


title: Flipper (1996 film)

text: Sandy Ricks is sent off for the summer to stay with his Uncle Porter in the seaside town of Coral Key. Initially, Sandy is unenthusiastic and disappointed that he is not going to a Red Hot Chili Peppers concert. His mood remains unchanged even after meeting Cathy, a local shopkeeper with whom his uncle carries on a flirtatious relationship, and Kim, a girl his own age.


title: Flipper (1996 film)

text: While out on Porter's fishing trawler, they meet Porter's enemy, Dirk Moran. Nearby, a pod of Bottlenose dolphins is frolicking near Dirks boat. As a big game fisherman, Dirk Moran makes it plain that he hates just about every other fish-eating animal on earth and shoots at the pod ending with a dolphin being fatally shot. Sandy meets a dolphin that escaped Dirk's shooting, and eventually names it Flipper.


title: Flipper (1996 film)

text: The next morning, Porter and Sandy are paid a visit by the sheriff Buck Cowan, who explains that they could not keep the dolphin unless he is in captivity. That night, Sandy and Kim set out on a dinghy to look for Flipper. They fail to locate the dolphin, but see the dumping of barrels off of Dirk Moran's boat. The next morning, as Kim arrives looking for Sandy, Pete, Porter's pet brown pelican, comes running as if asking her to follow him. Pete leads Kim to Flipper who is beached on the shore and sick. They manage to cure Flipper anyhow.


title: Flipper (1996 film)

text: Cathy determines that Flipper has been poisoned by toxic waste, which is also shown to have been ruining the local fishing. The group uses Flipper's ability of echolocation and a special camera attached to his head to help them locate the barrels of toxic waste. Flipper also manages to locate the rest of his pod, and reunites with them, in the process, dropping the camera. Porter rushes back to alert the sheriff about the barrels. Sandy, however becomes concerned that something has happened to Flipper, without informing anyone except Kathy's young son, Marvin, who sets off in the dinghy to find him.


title: Flipper (1996 film)

text: Sandy barely survives an encounter with Dirk Moran's boat, which dismantles the dinghy. He sees an approaching dorsal fin and thinks it is Flipper, but it is actually Scar, a large great hammerhead shark that has been lurking in the island's waters and is said to have taken out a tourist boat. Sandy swims for his life towards Dirk's boat. As Scar is about to attack Sandy, Flipper appears and starts nose-butting him in the gills. There is a harrowing moment when Scar proves stronger than Flipper, but Flipper's dolphin pod comes to his aid in the nick of time and drive Scar away. Dirk Moran is then arrested by the sheriff for illegally dumping toxic waste and attempting to kill Sandy since he knew that he saw them that night.


title: Flipper (1996 film)

text: The next morning, when Sandy's mother and younger sister arrive to pick him up, there is a commotion. It is Flipper, who has come to see Sandy off.


title: Flipper (1996 film)

text: The film was shot in the Bahamas. Animatronic dolphins, designed by Walt Conti and his team, had to be used extensively, such as in scenes where Flipper interacts with the human characters, or is shown swimming along. Conti stated that using real dolphins does not work as well as many might think. Nevertheless, a trio of real dolphins did interact with star Elijah Wood during production, with Wood saying that he enjoyed the opportunity to swim with them.


title: Flipper (1996 film)

text: The film debuted at No. 2 behind "Twister" with $4.5 million. "Flipper" ultimately grossed $20 million domestically, on a $25 million budget.


title: Flipper (1996 film)

text: Joe Leydon of "Variety" criticized the plot but appreciated the performances of Hogan, Wood, Wesson, Hayes and Field, as well as the animatronic work on the film. Dwayne E. Leslie of Boxoffice noted the scene where a hammerhead shark attacks a seabird, which brings to mind similar footage from National Geographic, may be shocking for very young children.


title: Flipper (1996 film)

text: On Metacritic it has a score of 43% based on reviews from 19 critics, indicating "mixed or average reviews".


title: Flipper (1996 film)

text: The film's tagline, "This summer it's finally safe to go back in the water." references the tagline of the 1978 feature film "Jaws 2", "Just when you thought it was safe to go back in the water..."


title: Flipper (1996 film)

text: The film was released on DVD in 2003 by Universal Studios Home Entertainment, available in both 16x9 anamorphic widescreen and 4x3 fullscreen editions. In 2007, a widescreen-only print of "Flipper" was released in a four film package alongside "The Little Rascals", "Casper", and "Leave It to Beaver". Dubbed "Family Favorites 4 Movie Collection: Franchise Collection", all four films are based on popular TV shows. "Flipper" was later released on Blu-ray on February 8, 2011.


title: Clothing in the ancient world

text: The preservation of fabric fibers and leathers allows for insights into the attire of ancient societies. The clothing used in the ancient world reflects the technologies that these peoples mastered. In many cultures, clothing indicated the social status of various members of society.


title: Clothing in the ancient world

text: The development of attire and fashion is an exclusively human characteristic and is a feature of most human societies. Clothing made of materials such as animal skins and vegetation was initially used by early humans to protect their bodies from the elements. The usage of clothing and textiles across the ages reflects the varying development of civilizations and technologies. Sources available for the study of clothing and textiles include material remains discovered via archaeology; representation of textiles and their manufacture in art; and documents concerning the manufacture, acquisition, use, and trade of fabrics, tools, and finished garments.


title: Clothing in the ancient world

text: Although aware of other materials, the ancient Egyptians most commonly used linen, a product made from the abundant flax plant. Due to a belief that animal based fabrics were impure, wool was rarely used and was forbidden in places like temples and sanctuaries. Other animal based products such as pelts were reserved for priests and eventually were adopted by only the highest class of ancient Egyptian citizenry. Linen is light, strong and flexible which made it ideal for life in the warm climate, where abrasion and heat would wear and tear at clothing. Thus, most ancient Egyptians used linen as their primary textile.


title: Clothing in the ancient world

text: The material quality of garments differed between the classes, where those of the upper class used finer linens, depicted in statues and paintings by their translucency. They also used more complex drapery, designs and patterns that included dyed threads and feathers. These materials were expensive and the wearer showed greater status by wearing them. On the other hand, cheaper and thicker linen was used within the lower class, where shorter garments were worn by the working class for better mobility in the fields.


title: Clothing in the ancient world

text: Men in ancient Egypt often wore the loincloth (or "schenti") common in all classes; although men of a higher class wore longer "schenti", often pairing them with a draped cape or tunic. It was considered acceptable for men and women alike to bare their chests, in both upper and lower classes. A complete lack of clothing, however, was often associated with youth or poverty; it was common for children of all social classes to be unclothed up to the age of six, and for slaves to remain unclad for the majority of their lives. Certain clothing common to both genders included the tunic and the robe. Around 1425 to 1405 BC, a light tunic or short-sleeved shirt was popular, as well as a pleated skirt.


title: Clothing in the ancient world

text: Clothing for adult women remained unchanged over several millennia, save for small details. Draped clothes with very large rolls gave the impression of wearing several items. It was in fact a "hawk", often of very fine muslin. The dress was rather narrow and even constricting, made of white or unbleached fabric for the lower classes. Garments worn by higher classes featured sleeves starting under the chest and were held up by suspenders tied onto the shoulders. These suspenders sometimes covered the breasts, other times passing between them, and were painted and colored for various reasons such as to imitate the plumage on the wings of Isis.


title: Clothing in the ancient world

text: The characteristic of the female garment in ancient Egypt Old Kingdom was a short skirt for the lower classes, or a "kalasiris", a longer skirt reaching from the ankles to just below, or just above the breasts. By the Middle Kingdom, long kilts were a fashion. They were like skirts, reaching from waist to ankles, sometimes even hanging from the armpits. The New Kingdom was the more luxurious period; people wore more clothing, sometimes in layers, with an inner and an outer garment. This outer layer was made of particularly fine, diaphanous pleated linen, and would appear almost transparent.


title: Clothing in the ancient world

text: Clothing of the royal family was different, and was well documented; for instance the crowns of the Pharaohs as mentioned below, feather headdresses, and the "khat" or head cloth were all worn by nobility.


title: Clothing in the ancient world

text: Shoes were the same for both sexes; sandals braided with leather, or, particularly for the bureaucratic and priestly classes, papyrus.


title: Clothing in the ancient world

text: Embalming made it possible to develop cosmetic products and perfumery very early. Perfumes in Egypt were scented oils which were very expensive. In antiquity, people made great use of them. The Egyptians used make-up much more than anyone else at the time. Kohl, used as eyeliner, was eventually obtained as a substitute for galena or lead oxide which had been used for centuries. Eye paint was the most common form and was used to shield the eyes from the sun.The reason for them to wear eye makeup is to protect the eyes from the sun's rays and ward off infection. The dramatic makeup also imitated the facial markings of the sun god Horus, who was often depicted as a falcon. Eye shadow was made of crushed malachite and lipstick of ochre. Substances used in some of the cosmetics were toxic, and had adverse health effects with prolonged use. Beauty products were generally mixed with animal fats in order to make them more compact, more easily handled and to preserve them. Nails and hands were also painted with henna. Only the lower class had tattoos. It was also fashionable at parties for men and women to wear a perfumed cone on top of their heads. The cone was usually made of ox tallow and myrrh and as time passed, it melted and released a pleasant perfume. When the cone melted it was replaced with a new one "(see the adjacent image with the musician and dancers)". The use of cosmetics differed slightly between social classes, where more make-up was worn by higher class individuals as wealthier individuals could afford more make-up. Although there was no prominent difference between the cosmetics styles of the upper and lower class, noble women were known to pale their skin using creams and powders. This was due to pale skin being a sign of nobility as lighter skin meant less exposure to the sun whereas dark skin was associated with the lower class who tanned while taking part in menial labor such as working in the fields. This led to paler skin represented the non-working noble class, as noble woman would not work in the sun.


title: Clothing in the ancient world

text: Although heads were shaven as both as a sign of nobility and due to the hot climate, hairstyle was a huge part of ancient Egyptian fashion through the use of wigs. Wigs were used by both sexes of the upper and lower class; the quality of wigs depended on the amount of disposable income available, which created a visual rift between classes. Good quality wigs were made of human hair and were ornamented with jewels and woven with gold. In the court, the more elegant examples had small goblets at the top filled with perfume; Pharaohs even wore wig beards for certain special occasions. There is evidence of cheaper wigs made from wool and palm fibres, which were further substituted the woven gold used in its more expensive counterpart with beads and linen. The ancient Egyptians talent with substitution enabled wigs and headdresses to be worn by all social classes; for example. the "nemes" headdress, made from stiff linen and draped over the shoulders was reserved for the elite class to protect the wearer from the sun. On the other hand, headdresses such as the "pschent" were exclusive for the "Pharaoh". "Pharaohs" also wore various crowns to identify different divinities, such as the horned crown of the goddess Hathor. In both social classes children were represented with one lock of hair remaining on the right side of their head ("see the adjacent image"). The most common headgear was the "kaften", a striped fabric square worn by men.


title: Clothing in the ancient world

text: Ornaments could be worn by all and was even woven into hair, resulting in wigs containing ornamental decorations. A peculiar ornament which the Egyptians created was "gorgerin", an assembly of metal discs which rested on the chest skin or a short-sleeved shirt, and tied at the back. Some of the lower-class people of this time also created many different types of piercings and body decorations; some of which even included genital piercings, commonly found on female prostitutes of the time.


title: Clothing in the ancient world

text: It was common for ancient Egyptians to be covered in jewellery because they believed it made them more attractive to the Gods. The upper class Egyptians were fascinated with gold jewelry. They believe that gold is the color of the sun, and it symbolises the sun's permanence and immortality, because this metal does not corrode or oxidize with time. Accessories were often embellished with inlaid precious and semi-precious stones such as emeralds, pearls, and lapis lazuli, to create intricate patterns inspired from nature. Common motifs included white lotuses, palm leaves, and even animals that represented the gods. Although the jewellery used by the lower class had similar motifs and designs, they were made with cheaper substitute materials. Copper was used in place of gold, and glazed glass or faience – a mix of ground quartz and colorant – to imitate precious stones. The most popular stones used were lapis lazuli, carnelian, and turquoise. Jewels were heavy and rather bulky, which would indicate an Asian influence. The lower classes wore small and simple glassware; bracelets also were heavy. They wore a large disk as a necklace of strength, sometimes described as an aegis. Gold was plentiful in Nubia and imported for jewelry and other decorative arts.


title: Clothing in the ancient world

text: As elsewhere, Cretan clothes in the ancient times were well documented in their artwork where many items worn by priestesses and priests seem to reflect the clothing of most. Wool and flax were used. Spinning and weaving were domestic activities, using a similar technique to the Egyptians of the time. Fabrics were often embroidered and dyed.


title: Clothing in the ancient world

text: Minoan clothing is exceptionally gendered, male clothing is in general sparse and uniform, whereas female clothing has much variety and intricacy; indicating well defined social constructs around gender.


title: Clothing in the ancient world

text: In Minoan culture the loincloth was worn by both sexes. They are often illustrated in statuettes with a large dagger fixed at the belt. In contrast to Minoan males, females would wear less jewelry, though elaborate hairstyles were equally common.


title: Clothing in the ancient world

text: Cretan women's clothing included the first sewn garments known to history. Dresses were long and low-necked, with the bodice being open almost all the way to the waist, leaving the breasts exposed. Dresses were often accompanied by the "Minoan corset", an early form of corset created as a close fitting blouse, designed to narrow the waist. The belt, also kept tight, and used to narrow the waist before the corset, a long or short coat, or a hat were used to supplement the female outfit. Ancient brooches, widespread in the Mediterranean, were used throughout the period.


title: Clothing in the ancient world

text: The fabric of women's clothes in elite portraits shows that colourful dyes were common as was intricate embroidery.


title: Clothing in the ancient world

text: Our knowledge of the dress of male minoans is exceptionally limited as most depictions focus on women. Where we see men they are depicted they wearing a phallic sheath or codpiece. These would sometimes be embroidered or with a simple patterned border. Males are also frequently seen wearing a tight fitting belt, perhaps to accentuate the waist.


title: Clothing in the ancient world

text: Men appear to have grown their hair long, and styled it in a variety of ways, including elaborate braids and knots.


title: Clothing in the ancient world

text: The earliest and most basic garment was the "ezor" ( ) or "ḥagor" ( ), an apron around the hips or loins, that in primitive times was made from the skins of animals. It was a simple piece of cloth worn in various modifications, but always worn next to the skin. Garments were held together by a belt or girdle, also called an "ezor" or "ḥagor".


title: Clothing in the ancient world

text: The "kuttoneth" appears in Assyrian art as a tight-fitting undergarment, sometimes reaching only to the knee, sometimes to the ankle.


title: Clothing in the ancient world

text: The "kuttoneth" corresponds to the undergarment of the modern Middle Eastern agricultural laborers: a rough cotton tunic with loose sleeves and open at the breast.


title: Clothing in the ancient world

text: The Torah commands that Israelites wear tassels or fringes ("ẓiẓit", or "gedilim", ) attached to the corners of garments (see , ). Women would wear head coverings.


title: Clothing in the ancient world

text: Phylacteries or "tefillin" (Hebrew: תְפִלִּין) are in use by New Testament times (see ). Tefillin are boxes containing biblical verses that are attached to the forehead and arm by leather straps.


title: Clothing in the ancient world

text: Depictions show some Hebrews and Syrians bareheaded or wearing merely a band to hold the hair together. Hebrew peasants undoubtedly also wore head coverings similar to the modern keffiyeh, a large square piece of woolen cloth folded diagonally in half into a triangle. The fold is worn across the forehead, with the keffiyeh loosely draped around the back and shoulders, often held in place by a cord circlet. Men and women of the upper classes wore a kind of turban, cloth wound about the head. The shape varied greatly.


title: Clothing in the ancient world

text: Sandals ("na'alayim") of leather were worn to protect the feet from burning sand and dampness. Sandals might also be of wood, with leather straps (, ). Sandals were not worn in the house nor in the sanctuary (see , ).


title: Clothing in the ancient world

text: A woman's garments mostly corresponded to those of men: they wore "simla" and "kuttoneth". Women's garments evidently differed too from that of men (see ). Women's garments were probably longer (compare , , , ), had sleeves (), presumably were brighter colors and more ornamented, and may also have been of finer material.


title: Clothing in the ancient world

text: Women used to wear veils in public, which distinguished them from women in pagan ancient societies. Even as the custom of veiling dwindled among other ancient societies Israelite females retained it for religious identification. Shawls, dictated by Jewish piety, and other forms of head coverings were also worn by ancient Israelite women in towns such as Jerusalem.


title: Clothing in the ancient world

text: Ancient Greece is famous for its philosophy, art, literature, and politics. As a result, classical period Greek style in dress often has been revived when later societies wished to evoke some revered aspect of ancient Greek civilization, such as democratic government. A Greek style in dress became fashionable in France shortly after the French Revolution (1789–1799), because the style was thought to express the democratic ideals for which that revolution was fought, no matter how incorrect the understanding of the historical reality was.


title: Clothing in the ancient world

text: Clothing reformers later in the 19th century AD admired ancient Greek dress because they thought it represented timeless beauty, the opposite of complicated and rapidly changing fashions of their time, as well as the more practical reasoning that Grecian-style dresses required far less cloth than those of the Rococo period.


title: Clothing in the ancient world

text: Clothing in ancient Greece primarily consisted of the chiton, peplos, himation, and chlamys. While no clothes have survived from this period, descriptions exist from contemporary accounts and artistic depiction. Clothes were mainly homemade, and often served many purposes (such as bedding). Despite popular imagination and media depictions of all-white clothing, elaborate design and bright colors were favored.


title: Clothing in the ancient world

text: Ancient Greek clothing consisted of lengths of linen or wool fabric, which generally was rectangular.


title: Clothing in the ancient world

text: Clothes were secured with ornamental clasps or pins (, "perónē"; cf. fibula), and a belt, sash, or girdle (zone) might secure the waist.


title: Clothing in the ancient world

text: The inner tunic was a peplos or chiton. The peplos was a worn by women. It was usually a heavier woollen garment, more distinctively Greek, with its shoulder clasps. The upper part of the peplos was folded down to the waist to form an apoptygma. The chiton was a simple tunic garment of lighter linen, worn by both genders and all ages. Men's chitons hung to the knees, whereas women's chitons fell to their ankles. Often the chiton is shown as pleated. Either garment could be pulled up under the belt to blouse the fabric: kolpos.


title: Clothing in the ancient world

text: A strophion was an undergarment sometimes worn by women around the mid-portion of the body, and a shawl (epiblema) could be draped over the tunic.


title: Clothing in the ancient world

text: Women dressed similarly in most areas of ancient Greece although in some regions, they also wore a loose veil as well at public events and market.


title: Clothing in the ancient world

text: The chlamys was made from a seamless rectangle of woolen material worn by men as a cloak; it was about the size of a blanket, usually bordered. The chlamys was typical Greek military attire from the 5th to 3rd century BC. As worn by soldiers, it could be wrapped around the arm and used as a light shield in combat.


title: Clothing in the ancient world

text: The basic outer garment during winter was the himation, a larger cloak worn over the peplos or chlamys. The himation has been most influential perhaps on later fashion.


title: Clothing in the ancient world

text: During Classical times in Greece, male nudity received a religious sanction following profound changes in the culture. After that time, male athletes participated in ritualized athletic competitions such as the classical version of the ancient Olympic Games, in the nude as women became barred from the competition except as the owners of racing chariots. Their ancient events were discontinued, one of which (a footrace for women) had been the sole original competition. Myths relate that after this prohibition, a woman was discovered to have won the competition while wearing the clothing of a man—instituting the policy of nudity among the competitors that prevented such embarrassment again.


title: Clothing in the ancient world

text: The clothing of ancient Italy, like that of ancient Greece, is well known from art, literature & archaeology. Although aspects of Roman clothing have had an enormous appeal to the Western imagination, the dress and customs of the Etruscan civilization that inhabited Italy before the Romans are less well imitated ("see the adjacent image"), but the resemblance in their clothing may be noted. The Etruscan culture is dated from 1200 BC through the first two phases of the Roman periods. At its maximum extent during the foundation period of Rome and the Roman kingdom, it flourished in three confederacies of cities: of Etruria, of the Po valley with the eastern Alps, and of Latium and Campania. Rome was sited in Etruscan territory. There is considerable evidence that early Rome was dominated by Etruscans until the Romans sacked Veii in 396 BC.


title: Clothing in the ancient world

text: In ancient Rome, boys after the age of sixteen had their clothes burned as a sign of growing up. Roman girls also wore white until they were married to say they were pure and virginal.


title: Clothing in the ancient world

text: Probably the most significant item in the ancient Roman wardrobe was the toga, a one-piece woolen garment that draped loosely around the shoulders and down the body. Togas could be wrapped in different ways, and they became larger and more voluminous over the centuries. Some innovations were purely fashionable. Because it was not easy to wear a toga without tripping over it or trailing drapery, some variations in wrapping served a practical function. Other styles were required, for instance, for covering the head during ceremonies.


title: Clothing in the ancient world

text: Historians believe that originally the toga was worn by all Romans during the combined centuries of the Roman monarchy and its successor, the Roman Republic. At this time it is thought that the toga was worn without undergarments. Free citizens were required to wear togas. because only slaves and children wore tunics. By the 2nd century BC, however, it was worn over a tunic, and the tunic became the basic item of dress for both men and women. Women wore an outer garment known as a stola, which was a long pleated dress similar to the Greek chitons.


title: Clothing in the ancient world

text: Although togas are now thought of as the only clothing worn in ancient Italy, in fact, many other styles of clothing were worn and also are familiar in images seen in artwork from the period. Garments could be quite specialized, for instance, for warfare, specific occupations, or for sports. In ancient Rome women athletes wore leather briefs and brassiere for maximum coverage but the ability to compete.


title: Clothing in the ancient world

text: Girls and boys under the age of puberty sometimes wore a special kind of toga with a reddish-purple band on the lower edge, called the toga praetexta. This toga also was worn by magistrates and high priests as an indication of their status. The "toga candida", an especially whitened toga, was worn by political candidates. Prostitutes wore the "toga muliebris", rather than the tunics worn by most women. The "toga pulla" was dark-colored and worn for mourning, while the "toga purpurea", of purple-dyed wool, was worn in times of triumph and by the Roman emperor.


title: Clothing in the ancient world

text: After the transition of the Roman Republic into the Roman Empire in c. 44 BC, only men who were citizens of Rome wore the toga. Women, slaves, foreigners, and others who were not citizens of Rome wore tunics and were forbidden from wearing the toga. By the same token, Roman citizens were required to wear the toga when conducting official business. Over time, the toga evolved from a national to a ceremonial costume. Different types of togas indicated age, profession, and social rank. Roman writer Seneca criticized men who wore their togas too loosely or carelessly. He also criticized men who wore what were considered feminine or outrageous styles, including togas that were slightly transparent.


title: Clothing in the ancient world

text: The late toga of adult citizens, the toga virilis, was made of plain white wool and worn after the age of fourteen. A woman convicted of adultery might be forced to wear a toga as a badge of shame and curiously, as a symbol of the loss of her female identity.


title: Clothing in the ancient world

text: The ancient Romans were aware that their clothing differed from that of other peoples. In particular, they noted the long trousers worn by people they considered barbarians from the north, including the Germanic Franks and Goths. The figures depicted on ancient Roman armored breastplates often include barbarian warriors in shirts and trousers.


title: Clothing in the ancient world

text: Roman clothing took on symbolic meaning for later generations. Roman armour, particularly the muscle cuirass, has symbolized amazing power. In Europe during the Renaissance (15th and 16th centuries AD), painters and sculptors sometimes depicted rulers wearing pseudo-Roman military attire, including the cuirass, military cloak, and sandals.


title: Clothing in the ancient world

text: Later, during the French Revolution, an effort was made to dress officials in uniforms based on the Roman toga, to symbolize the importance of citizenship to a republic. Adopted by the rank and file revolutionaries, the 18th-century AD liberty cap, a brimless, limp cap fitting snugly around the head, was based on a bonnet worn by freed slaves in ancient Rome, the Phrygian cap.


title: Clothing in the ancient world

text: The modern Western bride also has inherited elements from ancient Roman wedding attire, such as the bridal veil and the wedding ring.


title: Clothing in the ancient world

text: Evidence of ancient Indian clothing can be found in figurines, rock cut sculptures, cave paintings, and human art forms found in temples and monuments. These sculptures show human figures wearing clothes wrapped around the body, such as sari, turbans and dhoti. Upper classes of the society wore fine muslin and imported silk fabrics while the common classes wore locally made fabrics such as cotton, flax, wool, linen, and leather.


title: Clothing in the ancient world

text: India was the one of the first places where cotton was cultivated and used as early as 2500 BC during the Harappan Era (3300–1300 BC). Recent analysis of Harappan silk fibers in beads have shown that silk was made by the process of reeling, an art known only to China until the early centuries AD. The only evidence found for clothing is from iconography and some unearthed Harappan figurines which are usually unclothed. These little depictions show that usually men wore a long cloth wrapped over their waist and fastened it at the back (just like a close clinging dhoti). Turbans were worn, and a long robe over the left shoulder was worn by those of high social rank. The normal attire of the women at that time was a skirt up to knee length leaving the waist bare, and cotton head dresses. Jewellery was very popular, and men wore their hair in various styles with trimmed beards.


title: Clothing in the ancient world

text: Vedic period (c. 1750 – 500 BC) garments for both sexes included a single cloth wrapped around the whole body and draped over the shoulder. A lower garment called paridhana was pleated in front and tied with a belt (mekhala), and worn with a shawl-like upper garment called uttariya. Orthodox males and females usually wore the uttariya by throwing it over the left shoulder only, in the style called "upavita". The lower garment was called 'nivi' or 'nivi bandha', while the upper body was mostly left bare. In cold weather a garment called pravara was worn. Sometimes the poor people wore the lower garment as a loincloth, while the rich wore foot-length pravara to show their prestige. Vedic women mainly wore the sari, which is derived from शाटी, the Sanskrit for 'strip of cloth' . Towards the later Vedic period, the choli and dupatta, a smaller version of sari, were introduced. The dupatta was worn with ghaghara (an ankle-length skirt). Vedic men wore lungi (a garment like a sarong and dhoti, a single cloth wrapped around the waist and legs which is still traditionally worn by men in villages. Wool, linen, silk and cotton were the main fibers used for making clothes, with woven stripes and checks. Gold jewellery remained very popular.


title: Clothing in the ancient world

text: Evidence of clothing worn during the Maurya Empire (322–185 BC) comes from statues of yakshini, the female epitome of fertility. The most common attire of the people at that time was a lower garment called antariya, generally made of cotton, linen or muslin and decorated with gems, and fastened in a looped knot at the centre of the waist. A cloth was covered in lehenga style around the hips to form a tubular skirt. Another embellished long piece of cloth, hanging at the front and wrapped around the waist, was called patka. Mauryan Empire ladies often wore an embroidered fabric waistband with drum headed knots at the ends. As an upper garment, people's main garb was uttariya, a long scarf worn in several ways.


title: Clothing in the ancient world

text: Ancient Sumer, between the periods of 3500-1000 BCE, was one of the first ancient civilizations to have distinct qualities that made it a civilization. Located in the Mesopotamian valley, Ancient Sumer was in the perfect location for trading and developing a flourishing society. Evidence from statues and wall paintings as well as written works help depict what society was like in that era. Society was very patriarchal and stratified by class. Wool was one of the biggest products of Ancient Sumer. Sumerian women would weave and spin the wool into textiles while the Sumerian men would dye the textiles to be different colored.


title: Clothing in the ancient world

text: Both men and women alike wore skirts or tunics called Kaunakes. Kaunakes were made out this fleece-like textile on the exterior and the interior was made out of sheepskin. The length of the kaunake determined hierarchal rank in society. The shorter the length of the skirt, the lower an individual was in society ie slaves, soldiers, and servants. The longer the length of the skirt, the higher an individual was in society ie royalty and priests.


title: Clothing in the ancient world

text: Around 2370 BCE, there was a switch from the traditional non-woven dress to woven dress. This included the addition of shawls and longer fabrics that would wrap around the shoulders and waist, almost mimicking a toga from Ancient Greece. This type of dress by the Ancient Sumerians inspired many other civilizations such as Ancient Greece, Egypt, Assyria, and Rome. For the upper class, these woven fabrics were dyed brilliant colors and decorated to show the status of an individual. Linen was a woven fabric that typically was only made for those with higher class.


title: Clothing in the ancient world

text: Women typically wore either the kaunakes or woven dresses that left their right shoulder and right arm uncovered. These fabrics were usually embroidered with some type of design to stand out. Their hair was usually left in either braids or in updos. A lot of the time, they would braid beads into their hair for special events. The princesses and high women in society typically chose to decorate themselves in the most lavish fabrics that were an array of colors. Makeup was also worn, displaying the necessity and want for color in Sumer. Women would typically wear sandals on their feet or would go barefoot if they were lower class.


title: Clothing in the ancient world

text: In Early Sumer, men took on the fashion of cavemen almost and would wear strings with loincloths attached. Later on, men typically wore no shirts and a kaunake. In the winter, they would wear a woven wool or flax shawl or cape. Typically kings, priests, and high officials would wear kaunakes down to the floor and these skirts would be embedded with ornaments and tassels and fringes. Men would usually wear their hair down and grow out long beards (meant to signify wisdom) that were curled artificially and treated with oils to maintain the curl. Men with higher status, especially priests, would shave their head and beards. Men would also wear sandals on their feet or go barefoot if they were lower class.


title: Clothing in the ancient world

text: If there is one thing Sumerians loved, is their jewelry. Jewelry was typically made out of gold, silver, and bronze and was frequently embedded with carnelian, a reddish-orange gemstone. Ancient Sumerians made everything from headdresses, bracelets, necklaces, pendants, and so much more. Jewelry was typically worn during religious celebrations. Jewelers were especially talented in created bronze artwork, especially using flowers and beadwork to accomplish this mastery.


title: Jett (TV series)

text: Jett is an American action crime drama television series created by Sebastian Gutierrez. It stars Carla Gugino and premiered on June 14, 2019, on Cinemax. The drama ended with only 1 season and 9 episodes.


title: Jett (TV series)

text: "Jett" begins when "fresh out of prison, world-class thief Daisy "Jett" Kowalski is forced back into doing what she does best by dangerous and eccentric criminals determined to exploit her skills for their own ends."


title: Jett (TV series)

text: On April 18, 2018, it was announced that Cinemax had given the production a straight-to-series order. The series was created by Sebastian Gutierrez who is also set to executive produce, write, and direct for the series. Other executive producers are set to include Mark Stern, Stuart Ford, and Dana Brunetti. Additionally, it was reported that Stacey Levin will serve as a co-executive producer and Kathy Landsberg as a line producer. Production companies involved with the series are expected to include Global Road Entertainment. On May 17, 2019, it was announced that the series will premiere on June 14, 2019.


title: Jett (TV series)

text: On January 16, 2020, it was announced that Cinemax had ceased development of all original programming, and that the show was being shopped around to other networks for a potential second season. While there was no subsequent explicit announcement about "Jett", by early 2021, Gugino and Gutierrez had started work on a different crime thriller for AGC Studios titled "Leopard Skin" which includes both White and Jansen in the cast.


title: Jett (TV series)

text: Alongside the series order announcement, it was confirmed that Carla Gugino would star in the series as the titular character Jett. On June 19, 2018, it was announced that Giancarlo Esposito, Elena Anaya, Michael Aronov, Gaite Jansen, Christopher Backus, Gil Bellows, and Violet McGraw had been cast as series regulars and that Jodie Turner-Smith, Gentry White, Lucy Walters, and Mustafa Shakir were set for recurring roles. On August 29, 2018, it was reported that Chivonne Michelle had joined the cast in a recurring capacity.


title: Jett (TV series)

text: Principal photography for the series began on June 11, 2018 and was scheduled to end November 16, 2018 in Toronto and Hamilton, Ontario, Canada.


title: Jett (TV series)

text: On review aggregator Rotten Tomatoes, the series has an approval rating of 94% with an average rating of 7.5/10, based on 17 reviews. The website's critical consensus states, “Carla Gugino shines in "JETT", a stylish – if overtly violent – noir that benefits from its willingness to crank its genre set-pieces up to eleven.” On Metacritic, it has a weighted average score of 65 out of 100, based on 4 critics, indicating “generally favorable reviews”.


title: Eritrean Defence Forces

text: The Eritrean Defence Forces (EDF) () are the combined military forces of Eritrea composed of three branches: Eritrean Army, Eritrean Air Force and Eritrean Navy. The Army is by far the largest, followed by the Air Force and Navy. The Commander-in-Chief of the EDF is the President of Eritrea. Their military role stems from Eritrea's strategic geographical location, located on the Red Sea with a foothold on the Bab-el-Mandeb strait.


title: Eritrean Defence Forces

text: Military history in Eritrea stretches back for thousands of years; from ancient times to present day, the society of the Eritreans have dealt with both war and peace. During the kingdom of Medri Bahri, the military fought numerous battles against the invading forces of the Abyssinians to the south and the Ottoman Turks at the Red Sea.


title: Eritrean Defence Forces

text: During the 16th century the port of Massawa was used by the Ottomans to protect sea lanes from disruption, while more recently it was used by the Italians during their colonial occupation. The kingdom of Medri Bahri was dissolved and the Colony of Eritrea was founded by the Italians in 1890, shortly after the opening of the Suez Canal. When Italian troops occupied Ethiopia in 1936, Eritrean native soldiers (known as Askaris) supported the invading force. However, this was reversed by British and Ethiopian troops in 1941. The Eritrean infantry battalions and cavalry squadrons of the "Regio Corpo Truppe Coloniali" (Royal Colonial Corps) saw extensive service in the various Italian colonial territories between 1888 and 1942.


title: Eritrean Defence Forces

text: During the war for Eritrea's independence rebel movements (the ELF and the EPLF) used volunteers. In the final years of the struggle for independence, the EPLF ranks grew to 110,000 volunteers (some 3% of the total population).


title: Eritrean Defence Forces

text: During the first two decades of independence, the EDF formally had the power to detain and arrest civilians, and used this power to help police detain and arrest civilians, which systematically happened for arbitrary reasons. Together with police, EPLF members and government officials, the EDF carried out widespread torture of Eritreans.


title: Eritrean Defence Forces

text: Military-run prisons included the underground "Track B" (or "Tract B") in the west of Asmara, holding 2000 detainees; "Adi Abeto" near Asmara; "Wi'a", 32 km south of Massawa, for holding military prisoners (escaped conscripts and draft evaders) and members of unauthorised religions; "Mitire", in north-eastern Eritrea for religious prisoners; "Haddis Ma'askar", mostly underground, near the "Sawa" military base; "Ala Bazit" in a desert next to the Ala mountains; and "Mai Dima" near Berakit Mountain for Kunama detainees.


title: Eritrean Defence Forces

text: In the Tigray War, the EDF was attributed the main responsibility for the extrajudicial killing of hundreds of civilians in the Aksum massacre, that mainly took place on 28–29 November 2020 in Aksum, according to investigations by Amnesty International and Human Rights Watch. , just after the publication of the Amnesty International report, "Al Jazeera English" had not received responses from Eritrean officials, but commented that the Eritrean Minister of Information had stated in January 2021 that "the rabid defamation campaign against Eritrea [was] on the rise again".


title: Eritrean Defence Forces

text: On 12 November 2021, the U.S. Department of the Treasury's Office of Foreign Assets Control added the EDF to its to its Specially Designated Nationals (SDN) list for being "a government entity that has engaged in, or whose members have engaged in, activities that have contributed to the crisis in northern Ethiopia or have obstructed a ceasefire or peace process to resolve such crisis".


title: Eritrean Defence Forces

text: The EDF was led from 1991 by Ogbe Abraha, until 2000, when he was dismissed for his participation in the G-15 group of ministers who called for political change in Eritrea. A prison guard stated that Ogbe died in prison in 2002 from asthma. , the Chief of Staff is Filipos Woldeyohannes.


title: Eritrean Defence Forces

text: The Eritrean Defence Forces are considerably small when compared to the largest in Africa such as those of Egypt, Algeria, and Morocco. The size of Eritrea's population is small, particularly when compared to its neighbors. During peacetime the military of Eritrea numbers approximately 45,000 with a reserve force of approximately 250,000.


title: Eritrean Defence Forces

text: Every able bodied man and woman is required to serve ostensibly for 18 months. In this time they receive six months of military training and the balance is spent working on national reconstruction projects. This program allegedly aims to compensate for Eritrea's lack of capital and to reduce dependence on foreign aid, while welding together an ethnically diverse society, half Christian and half Muslim, representing nine ethnic groups. This is outlined in both the Constitution of Eritrea and Proclamation 82 issued by the National Assembly on 1995-10-23. However, the period of enlistment may be extended during times of national crisis and the typical period of national service is considerably longer than the minimum. Since the 1990s, conscription has been effectively open-ended; this draft policy has been likened to "slavery" and has earned international condemnation.


title: Eritrean Defence Forces

text: Military training is given at the Sawa Defence Training Centre and Kiloma Military Training Centre. Students, both male and female, are required to attend the Sawa Training Centre to complete the final year of their secondary education, which is integrated with their military service. If a student does not attend this period of training, he or she will not be allowed to attend university - many routes to employment also require proof of military training. However, they may be able to attend a vocational training centre, or to find work in the private sector. At the end of the 1½-year national service, a conscript can elect to stay on and become a career military officer. Conscripts who elect otherwise may, in theory, return to their civilian life but will continue to be reservists. In practice, graduates of military service are often chosen for further national service according to their vocation - for example, teachers may be compulsorily seconded for several years to schools in an unfamiliar region of the country. According to the Government of Eritrea, "The sole objective of the National Service program is thus to cultivate capable, hardworking, and alert individuals."


title: Eritrean Defence Forces

text: Eritrean conscripts are used in non-military capacities as well. Soldiers are often used as supplemental manpower in the country's agricultural fields picking crops, though much of the harvested food is used to feed the military rather than the general population.


title: Eritrean Defence Forces

text: In 2012 the government created People's Militia (known natively as the "Hizbawi Serawit"), to provide additional military training to civilians and assist in development work. Many elderly citizens have been forced to join. Its organizational structure is set up by profession and/or geographic. It serves as a form of national service. In 2013, it was led by Brigadier General Teklai Manjus.


title: Allison T56

text: The Allison T56 is an American single-shaft, modular design military turboprop with a 14-stage axial flow compressor driven by a four-stage turbine. It was originally developed by the Allison Engine Company for the Lockheed C-130 Hercules transport entering production in 1954. It has been a Rolls-Royce product since 1995 when Allison was acquired by Rolls-Royce. The commercial version is designated 501-D. Over 18,000 engines have been produced since 1954, logging over 200 million flying hours.


title: Allison T56

text: The T56 turboprop, evolved from Allison's previous T38 series, was first flown in the nose of a B-17 test-bed aircraft in 1954. One of the first flight-cleared YT-56 engines was installed in a C-130 nacelle on Lockheed's Super Constellation test aircraft in early 1954. Originally fitted to the Lockheed C-130 Hercules military transport aircraft, the T56 was also installed on the Lockheed P-3 Orion maritime patrol aircraft (MPA), Grumman E-2 Hawkeye airborne early warning (AEW) aircraft, and Grumman C-2 Greyhound carrier onboard delivery (COD) aircraft, as well as civilian airliners such as the Lockheed Electra and the Convair 580.


title: Allison T56

text: The T56-A-1 delivered to Lockheed in May, 1953, produced only , compared to the required for the YC-130A. Evolution of the T56 has been achieved through increases in pressure ratio and turbine temperature. The T56-A-14 installed on the P-3 Orion has a rating with a pressure ratio of 9.25:1 while the T56-A-427 fitted to the E-2 Hawkeye has a rating and a 12:1 pressure ratio. In addition, the T56 produces approximately residual thrust from its exhaust.


title: Allison T56

text: Over the years, there have been a number of engine development versions, which are grouped by series numbers. The Series I collection of derivatives came out in 1954, producing a sea-level static power rating of at a ambient temperature. Successive engine follow-ups included the Series II, which was introduced in 1958 and had an increased power rating of , and the Series III, which came out in 1964 and had another power increase to . The Series II and III derivatives were developed under military component improvement programs (CIP). By 1965, Allison was proposing the development of Series IV derivatives, but in 1968, the United States Congress restricted CIP work to reliability and maintainability improvements instead of performance improvements. The Series IV derivatives were finally developed in the 1980s after being approved for a U.S. Air Force engine model derivative program (EMDP) in the 1979 fiscal year budget. Series IV engines include the Air Force EMDP T56-A-100 demonstrator, model T56-A-101 for the Air Force's C-130 aircraft, T56-A-427 for NAVAIR's E-2C and C-2A aircraft, 501-D39 for the Lockheed L-100 aircraft, and the 501-K34 marine turboshaft for NAVSEA. The T56-A-427 was capable of , but it was torque-limited to .


title: Allison T56

text: The Lockheed Martin C-130J Super Hercules which first flew in 1996, has the T56 replaced by the Rolls-Royce AE 2100, which uses dual FADECs (Full Authority Digital Engine Control) to control the engines and propellers. It drives six-bladed scimitar propellers from Dowty Rotol.


title: Allison T56

text: The T56 Series 3.5, an engine enhancement program to reduce fuel consumption and decrease temperatures, was approved in 2013 for the National Oceanic and Atmospheric Administration (NOAA) WP-3D "Hurricane Hunter" aircraft. After eight years of development and marketing efforts by Rolls-Royce, the T56 Series 3.5 was also approved in 2015 for engine retrofits on the U.S. Air Force's legacy C-130 aircraft that were currently in service with T56 Series 3 engines. Propeller upgrades to eight-bladed NP2000 propellers from UTC Aerospace Systems have been applied to the E-2 Hawkeye, C-2 Greyhound, and older-model C-130 Hercules aircraft, and will be adopted on the P-3 Orion.


title: Allison T56

text: Production of the T56 engine is expected to continue to at least 2026, with the U.S. Naval Air Systems Command (NAVAIR) order in 2019 of 24 additional E-2D Advanced Hawkeyes (AHEs) powered by the T56-A-427A engine variant.


title: Allison T56

text: The T56/Model 501 engine has been used in a number of experimental efforts, and as something other than a turboprop powerplant. In early 1960, two Allison YT56-A-6 experimental turbine engines without propellers were added next to existing propulsion engines on flight tests of a Lockheed NC-130B 58-0712 aircraft. The YT56-A-6 produced pressurized air for blowing over control surfaces to demonstrate boundary layer control (BLC), which helped to enable short takeoff and landing (STOL) performance. In 1963, Lockheed and Allison designed another STOL demonstrator, this time for a U.S. Army requirement. Lockheed internal designation GL298-7 involved a C-130E Hercules that was re-engined with 501-M7B turboprops. The 501-M7B produced more power than the normally installed, T56-A-7 engines by about 20% (though the 501-M7B was limited to to avoid additional structural changes), because the introduction of air cooling in the turbine's first-stage blade and the first and second-stage vanes allowed for an increase in the turbine inlet temperature.


title: Allison T56

text: In 1963, an aeroderivative line of industrial gas turbines based on the T56 was introduced in under the 501-K name. The 501-K is offered as a single-shaft version for constant speed applications and as a two-shaft version for variable-speed, high-torque applications. Series II standard turbines included the natural gas-fueled 501-K5 and the liquid-fueled 501-K14. The air-cooled Series III turbines included the natural gas-fueled 501-K13 and the liquid-fueled 501-K15. A marinized turboshaft version of the 501-K is used to generate electrical power onboard all the U.S. Navy's cruisers () and almost all of its destroyers ().


title: Allison T56

text: During the late 1960s, the U.S. Navy funded the development of the T56-A-18 engine, which introduced a new gearbox compared with the early gearbox on the T56-A-7. The 50-hour preliminary flight rating test (PFRT) was completed for the T56-A-18 in 1968. In the early 1970s, Boeing Vertol selected Allison (at that time known as the Detroit Diesel Allison Division (DDAD) of General Motors) to power a dynamic-system test rig (DSTR) supporting the development of its XCH-62 heavy-lift helicopter (HLH) program for the U.S. Army, using the Allison 501-M62B turboshaft engine. The 501-M62B had a 13-stage compressor based on the 501-M24 demonstrator engine, which was a fixed single-shaft engine with an increased overall pressure ratio and a variable-geometry compressor, and it had an annular combustor based on the T56-A-18 and other development programs. The turbine was derived from the fixed single-shaft T56, which had a four-stage section in which the first two stages provided enough power to drive the compressor, and the other two stages offered enough power to drive the propeller shaft. For the double-shaft 501-M62B engine, it was split into a two-stage turbine driving the compressor, where the turbine stages had air-cooled blades and vanes, and a two-stage free power turbine driving the propeller through a gearbox. The 501-M62B also incorporated improvements proven by Allison's GMA 300 demonstrator program, which allowed for an airflow of . After DSTR testing was successful, the 501-M62B engine was further developed into the XT701-AD-700 engine for use on the HLH. The XT701 passed the tests required to enter ground and flight testing on the HLH, but funding of the HLH program was canceled in August 1975, when the triple-turbine, tandem-rotor helicopter prototype had reached 95% completion.


title: Allison T56

text: Following the HLH program cancellation, Allison decided in early 1976 to apply the XT701 engine technology into a new industrial gas turbine product, the 570-K. The industrial engine, which entered production in the late 1970s, was derated to and adapted for marine, gas compressor, and electrical power generation variants. The only major changes made for the 570-K were the elimination of compressor bleed air and replacing the XT701's titanium compressor case with a steel case. The 570-K was then adapted to the 501-M78B demonstration engine, which Lockheed flew on a Grumman Gulfstream II as part of the NASA Propfan Test Assessment Program in the late 1980s. The 501-M78B had the same 13-stage compressor, combustor, 2-stage gas producer turbine, and 2-stage free power turbine used on the XT701 and 570-K, but it was connected through a 6.797 reduction ratio gearbox to a Hamilton Standard single-rotation propfan, containing propfan blades that were swept back 45 degrees at the tips.


title: Allison T56

text: The T56 has been developed extensively throughout its production run, the many variants are described by the manufacturer as belonging to four main series groups.


title: Allison T56

text: Initial civil variants (Series I) were designed and produced by the Allison Engine Company as the 501-D and powered the Lockheed C-130 Hercules. Later variants (Series II, III, 3,5 and IV) gave increased performance through design refinements.


title: Allison T56

text: Further derivatives of the 501-D/T56 were produced as turboshafts for helicopters including a variant designated T701 that was developed for the canceled Boeing Vertol XCH-62 project.


title: Torsten Frings

text: Torsten Klaus Frings (born 22 November 1976) is a German former footballer and manager, who last managed SV Meppen.


title: Torsten Frings

text: A former midfielder, throughout his career he played for several German clubs, namely Alemannia Aachen, Werder Bremen, Borussia Dortmund, and Bayern Munich, before ending his career with Canadian MLS side Toronto FC. At international level, he played 79 matches for the Germany national team since his debut in 2001, and represented his nation at two European Championships and two FIFA World Cups.


title: Torsten Frings

text: His professional career began at third division Alemannia Aachen before a move to Werder Bremen in 1996–97, helping the Weserstadion outfit to a German Cup final defeat of Bayern Munich in 1999 and tallying more than 160 Bundesliga appearances and 15 goals over five and a half seasons. He also helped them win the 1998 UEFA Intertoto Cup, scoring the decisive goal in the final against FK Vojvodina.


title: Torsten Frings

text: In 2002, a number of Europe's leading clubs were on Frings's trail prior to the World Cup but he opted for a four-year deal with Borussia Dortmund for a reported fee of €10 million, penning the contract two games into the competition. A regular in his first term at the Westfalenstadion, Frings also played 12 times in the UEFA Champions League, scoring home and away against Lokomotiv Moscow.


title: Torsten Frings

text: Frings's 2003–04 season only began on 30 January when he played against Schalke 04, his first game since damaging his knee against VfL Bochum in July. He took over from Tomáš Rosický in the playmaking role and scored four times in 16 games before signing a three-year contract with Dortmund's rivals, Bayern Munich.


title: Torsten Frings

text: Despite winning the domestic double with Bayern and making 29 Bundesliga and ten Champions League appearances, Frings never really enjoyed his football in Munich, and was played out of position by coach Felix Magath.


title: Torsten Frings

text: In June 2005, he rejoined Bremen for an undisclosed fee on a three-year deal, helping them past FC Basel into the Champions League group stage.


title: Torsten Frings

text: On 29 June 2011, it was announced that Frings had reached an agreement to join Major League Soccer team Toronto FC as a designated player. During the press conference in which Frings was presented to the Toronto media, the club also announced the signing of Danny Koevermans. Frings made his debut for Toronto on 20 July 2011 in a 1–0 home defeat to FC Dallas. On 29 July 2011, Frings made his CONCACAF Champions League debut against Real Estelí in which he was given the honour of wearing the captain's armband for Toronto. Frings became the permanent captain of the club following Maicon Santos's transfer to Dallas.


title: Torsten Frings

text: On 27 June 2012, Frings scored his first MLS goal in a 3–0 away victory over Montreal Impact, blasting a free kick in the 52nd minute from 22 yards out.


title: Torsten Frings

text: Frings missed the latter portion of the 2012 season after sustaining a hip injury which required arthroscopic surgery. Frings’ subsequent recovery progressed slower than expected, ultimately leading to his decision to retire from football in February 2013.


title: Torsten Frings

text: Club president, Kevin Payne indicated that the team wanted to maintain a relationship with Frings "not just for next season, but for seasons to come." Frings himself said he wanted to return to the game as a coach.


title: Torsten Frings

text: Frings represented Germany at the 2002 FIFA World Cup in Japan and South Korea, where the German team reached the final, only to be defeated 2–0 by Brazil. During the tournament, he was part of a controversial call when he prevented a goal with his hand on the goal line in the quarter-final match against the United States; the referee deemed the handball involuntary, however. Frings also took part at UEFA Euro 2004 and at the 2005 FIFA Confederations Cup on home soil, winning a bronze medal in the latter tournament.


title: Torsten Frings

text: Frings was later also called up to Germany's squad for the 2006 FIFA World Cup on home soil. On 9 June 2006, Frings scored Germany's fourth goal in a 4–2 win against Costa Rica in the opening match of the World Cup, with a powerful drive from more than 30 yards.


title: Torsten Frings

text: Following Germany's penalty shootout victory over Argentina on 30 June 2006, Frings was fined and suspended by FIFA for two games (one of which is subject to a six-month probationary period) for his role in the brawl that broke out between the Argentine and German teams after the match. After reviewing video footage of the brawl, FIFA's Disciplinary Committee determined that Frings had punched Argentine forward Julio Cruz and levelled punishment accordingly, even though Cruz himself had denied that Frings punched him; the second game of the suspension was made probationary due to the Committee's determination that Frings had been provoked into fighting. This suspension decision, announced by FIFA only the day before Germany's semi-final versus Italy on 4 July 2006, rendered Frings unavailable for the important match – which Germany subsequently lost; Germany finished the tournament in third place after defeating Portugal in the bronze medal match.


title: Torsten Frings

text: The controversy of the decision was also sparked by the fact that Frings' role in the brawl had been widely accentuated in the Italian media after FIFA had already announced it closed its investigations against German players. Frings answered to the accusations in an interview: "This is all politics. The Argentinians attack us, I defend myself and the Italians get worked up. With this suspension, FIFA just wanted to show that Germany doesn't get special treatment as the World Cup hosts."


title: Torsten Frings

text: Frings was also called up to Germany's Euro 2008 squad, which reached the final of the tournament only to be defeated by Spain, but was later not included in the team for the 2010 World Cup by German coach Joachim Löw. He played his last international match on 11 February 2009 in a 0–1 home defeat against Norway. In total, he earned 79 caps for Germany.


title: Torsten Frings

text: Frings was an all-action, well-rounded and versatile midfielder. He was capable of playing anywhere across the midfield, although he was most comfortable in the centre, running deep from his own team's box to the opposition's box, due to his work-rate, vision, solid first touch and passing with either foot, despite his lack of notable pace. He was usually deployed as defensive midfielder, however, where he excelled due to his tough tackling playing style. A large, tenacious and physically strong player, and a vocal presence on the pitch, he also excelled in the air and was capable of playing as a defender, as a centre-back or sweeper, due to his organisational abilities, knowledge of the game, and fighting spirit on the pitch. In addition to his defensive attributes, Frings was also known for his leadership on the pitch, as well as his explosive, powerful shot from distance.


title: Torsten Frings

text: After ending his playing career, Frings became a youth coach at Werder Bremen. Werder Bremen Ex-CEO Klaus Allofs stated that ""he can learn the coaching profession for us from the bottom up."" On 25 October 2014, after Werder Bremen fired head coach Robin Dutt, Bremen youth coach Viktor Skrypnyk was appointed as the head coach with Florian Kohfeldt, Christian Vander, and Frings all amongst Skripnik's coaching staff. He received a coaching license from the German FA after a 10-month coaching course in March 2015.


title: Torsten Frings

text: On 27 December 2016, Frings was appointed as the head coach of Darmstadt 98. Frings took over a team in last place and five points below the relegation playoff spot. His first match was a 0–0 draw against Borussia Mönchengladbach. Darmstadt 98 finished the 2016–17 season on the last place and was relegated to the 2. Bundesliga. On 9 December 2017, Frings was relieved of his duties as Darmstadt's head coach. His final match was a 1–0 loss to Erzgebirge Aue on 8 December 2017. He finished with a record of nine wins, eight draws, and 19 losses.


title: Torsten Frings

text: Frings is married to Petra and they have two children, Lisa-Katharina and Lena Alina. His hobbies include spending time with his family and riding his motorcycle.


title: Torsten Frings

text: Gustavo Fring, a fictional character from the television series "Breaking Bad" and its spinoff "Better Call Saul", was named after Frings.


title: Nick Galifianakis (cartoonist)

text: Nick Galifianakis () is an American cartoonist and artist. Since 1997, he has drawn the cartoons for the nationally syndicated advice column "Carolyn Hax," formerly, "Tell Me About It" – authored by his ex-wife, writer, and columnist for "The Washington Post", Carolyn Hax.


title: Nick Galifianakis (cartoonist)

text: Galifianakis illustrated the book "Tell Me About It: Lying, Sulking, Getting Fat ... and 56 Other Things NOT to Do While Looking for Love", authored by Hax in 2001. He has illustrated a number of books by writer and novelist Andrew Postman – and was nominated by the National Cartoonists Society for the 2006 Reuben Award for Outstanding Cartoonist of the Year in the Newspaper Illustration category. In 2010, Nick's first book of his cartoons was published: "If You Loved Me, You'd Think This Was Cute: Uncomfortably True Cartoons About You". In 2012 Galifianakis won the Reuben Award for Advertising Illustration. In 2014 he co-authored "The Art of Richard Thompson" with David Apatoff and Bill Watterson In May, 2017 – while also serving as the host of the 71st annual National Cartoonists Society Reuben Awards – Nick was awarded a Reuben in the category of Newspaper Panel Cartoon for his work on "Nick & Zuzu."


title: Nick Galifianakis (cartoonist)

text: Born in Durham, North Carolina, Galifianakis grew up in Falls Church, Virginia, and attended the University of North Carolina at Chapel Hill and American University in Washington, D.C.


title: Nick Galifianakis (cartoonist)

text: His career as a cartoonist followed earlier work as a cartoonist and illustrator for "USA Today" and "U.S. News & World Report", and as a freelance cartoonist and illustrator with published illustrations in a variety of nationally distributed periodicals.


title: Nick Galifianakis (cartoonist)

text: Galifianakis is a first cousin of comedian Zach Galifianakis and nephew of former U. S. Representative Nick Galifianakis. He and Hax married in 1994. Divorced in 2002, they continue to collaborate on the column. He has remarried and has a daughter, Katerina with Zach Galifianakis as her godfather.


title: Nick Galifianakis (cartoonist)

text: Galifianakis's earlier work prominently featured his pit bull, Zuzu, who died in August 2010. Zuzu was named after a character in the film "It's A Wonderful Life", the daughter of George Bailey – who gave him flower petals to carry in his pocket.


title: Nick Galifianakis (cartoonist)

text: In early 2011, Galifianakis said in an NPR interview, "the reason the Zuzu cartoons are funny, or any cartoons that anthropomorphize an animal like that, that place it in a human dynamic, is that relationships with animals are generally good."


title: Nick Galifianakis (cartoonist)

text: In an August 2010 "The Washington Post" tribute to Zuzu, Galifianakis wrote: "she died a week short of 13, rendering me more human than I had ever cared to be."


The United States District Court for the Central District of California (in case citations, C.D. Cal.; commonly referred to as the CDCA or CACD) is a Federal trial court that serves over 19 million people in Southern and Central California, making it the most populous federal judicial district. The district was created on September 18, 1966.


title: United States District Court for the Central District of California

text: Cases from the Central District are appealed to the United States Court of Appeals for the Ninth Circuit (except for patent claims and claims against the United States government under the Tucker Act, which are appealed to the Federal Circuit). Along with the Central District of Illinois, the court is the only district court referred to by the name "Central" – all other courts with similar geographical names instead use the term "Middle."


text: California was admitted to the union on September 9, 1850, and was divided into two federal trial court districts - Northern and Southern - by Act of Congress on September 28, 1850, 9 Stat. 521. The boundary was at the 37th parallel. The two districts were merged as the United States District Court for the District of California on July 27, 1866 by 14 Stat. 300. On August 5, 1886, Congress re-created the Southern District by 24 Stat. 308, while the northern half was renamed Northern District. The Eastern and Central Districts of California were created on March 18, 1966 from portions of the Northern and Southern Districts by 80 Stat. 75.


text: The U.S. District Court for the Central District of California is divided into three divisions, with jurisdiction over seven counties: Riverside, San Bernardino, Orange, Los Angeles, San Luis Obispo, Santa Barbara, and Ventura.


text: The Southern Division covers Orange County from the Ronald Reagan Federal Building and Courthouse in Santa Ana.


text: The Western Division covers Los Angeles, San Luis Obispo, Santa Barbara, and Ventura Counties. Cases are heard in two courthouses in downtown Los Angeles. All but two district judges are located in the new First Street Courthouse, whereas magistrate judges and two district judges maintain chambers in the Edward R. Roybal Courthouse.


text: The United States attorney for the Central District of California represents the United States Government in civil and criminal cases before the court. , the United States attorney is E. Martin Estrada.


title: Syntactic sugar

text: In computer science, syntactic sugar is syntax within a programming language that is designed to make things easier to read or to express. It makes the language "sweeter" for human use: things can be expressed more clearly, more concisely, or in an alternative style that some may prefer. Syntactic sugar is usually a shorthand for a common operation that could also be expressed in an alternate, more verbose, form: The programmer has a choice of whether to use the shorter form or the longer form, but will usually use the shorter form since it is shorter and easier to type and read.


title: Syntactic sugar

text: For example, many programming languages provide special syntax for referencing and updating array elements. Abstractly, an array reference is a procedure of two arguments: an array and a subscript vector, which could be expressed as codice_1. Instead, many languages provide syntax such as codice_2. Similarly an array element update is a procedure consisting of three arguments, for example codice_3, but many languages also provide syntax such as codice_4.


title: Syntactic sugar

text: A construct in a language is syntactic sugar if it can be removed from the language without any effect on what the language can do: functionality and expressive power will remain the same.


title: Syntactic sugar

text: Language processors, including compilers and static analyzers, often expand sugared constructs into their more verbose equivalents before processing, a process sometimes called "desugaring".


title: Syntactic sugar

text: The term "syntactic sugar" was coined by Peter J. Landin in 1964 to describe the surface syntax of a simple ALGOL-like programming language which was defined semantically in terms of the applicative expressions of lambda calculus, centered on lexically replacing λ with "where".


title: Syntactic sugar

text: Later programming languages, such as CLU, ML and Scheme, extended the term to refer to syntax within a language which could be defined in terms of a language core of essential constructs; the convenient, higher-level features could be "desugared" and decomposed into that subset. This is, in fact, the usual mathematical practice of building up from primitives.


title: Syntactic sugar

text: Building on Landin's distinction between essential language constructs and syntactic sugar, in 1991, Matthias Felleisen proposed a codification of "expressive power" to align with "widely held beliefs" in the literature. He defined "more expressive" to mean that without the language constructs in question, a program would have to be completely reorganized.


title: Syntactic sugar

text: Some programmers feel that these syntax usability features are either unimportant or outright frivolous. Notably, special syntactic forms make a language less uniform and its specification more complex, and may cause problems as programs become large and complex. This view is particularly widespread in the Lisp community, as Lisp has very simple and regular syntax, and the surface syntax can easily be modified.


title: Syntactic sugar

text: For example, Alan Perlis once quipped in "Epigrams on Programming", in a reference to bracket-delimited languages, that "Syntactic sugar causes cancer of the semi-colons".


title: Syntactic sugar

text: The metaphor has been extended by coining the term "syntactic salt", which indicates a feature designed to make it harder to write bad code. Specifically, syntactic salt is a hoop that programmers must jump through just to prove that they know what is going on, rather than to express a program action. For example, in Java and Pascal assigning a float value to a variable declared as an int without additional syntax explicitly stating that intention will result in a compile error, while C and C++ will automatically truncate any floats assigned to an int. However this is not syntax, but semantics.


title: Syntactic sugar

text: In C#, when hiding an inherited class member, a compiler warning is issued unless the codice_43 keyword is used to specify that the hiding is intentional. To avoid potential bugs owing to the similarity of the switch statement syntax with that of C or C++, C# requires a codice_44 for each non-empty codice_45 label of a codice_46 (unless codice_47, codice_48, or codice_49 is used) even though it does not allow implicit "fall-through". (Using codice_47 and specifying the subsequent label produces a C/C++-like "fall-through".)