title: Algarve International Circuit

text: For 2022, it was planned that the circuit would not host F1 and WEC races, but it would continue to host MotoGP, World SBK, and ELMS races. Besides them, it would host DTM, TCR Europe and Lamborghini Super Trofeo World Finals for the first time in 2022. In September 2022, it was announced that the circuit returned to the 2023 WEC calendar.


title: Algarve International Circuit

text: The circuit is the site of a statue in tribute to Craig Jones, representing Jones on his motorbike after passing the finishing line. This statue will be the main part of a monument, already partially built, which also includes the architectural arrangement of the main access roundabout to the racetrack, created by Paula Hespanha and Portuguese architect Manuel Pedro Ferreira Chaves.


title: Algarve International Circuit

text: This monument is a landscape sculpture, representing the main straight of a racing circuit, which extends up to the car park of the main grandstand. It has been confirmed that one of the corners of the circuit was named after former World Supersport rider Craig Jones who was killed in a motorcycle crash at Brands Hatch in 2008.


title: Julius Avery

text: After growing up in Pemberton, Western Australia, Avery attended The Victorian College of the Arts in Melbourne. He has written and directed several award winning short films including Cannes jury prize winning short film "Jerrycan" in 2008. Avery wrote and produced "Yardbird" in 2012, an award winning short film nominated for several major awards including the Palme d’Or at Cannes. Both were produced through Avery’s production company Bridle Path Films.


title: Julius Avery

text: In 2014, Avery wrote and directed his first feature, Australian crime thriller film "Son of a Gun" starring Brenton Thwaites, Ewan McGregor, Alicia Vikander, and Jacek Koman. The film was nominated for Best Film at The London Film Festival, BFI awards. "Son of a Gun" was produced in association with Avery’s company Bridle Path Films.


title: Julius Avery

text: Avery directed the war horror film "Overlord" (2018) for Bad Robot Productions and Paramount Pictures. "Overlord" stars Jovan Adepo, Wyatt Russell, Pilou Asbæk, Iain De Caestecker, John Magaro and Mathilde Ollivier. The film was produced by J. J. Abrams and Lindsey Weber and written by Billy Ray and Mark L. Smith.


title: Julius Avery

text: Along with being announced as the director of "The Heavy", a Paramount and Bad Robot production, Avery had been recruited by 20th Century Fox to write and direct a remake of Flash Gordon alongside Matthew Vaughn who was to be producing. However, following Disney's acquisition of 21st Century Fox's assets, the film was cancelled. He instead directed MGM's "Samaritan", a dark superhero film starring Sylvester Stallone, released in 2022.


title: JMSN

text: Christian Berishaj, better known by his stage name JMSN (pronounced Jameson), is an American singer, songwriter, record producer, multi-instrumentalist, music engineer and mixer. His debut album, "Priscilla", was released in 2012; he wrote and produced the album by himself and directed the music videos accompanying its release.


title: JMSN

text: Christian Berishaj was born in Dallas, Texas, to Albanian immigrant parents and raised in Eastpointe, Michigan. He began playing guitar in fourth grade and started working on Pro Tools at the age of twelve. He has been in a relationship with Alexa Demie since 2017.


title: JMSN

text: Berishaj learned how to play other instruments and began holding neighborhood garage performances with his band, Snowhite, formed with three other members. He attended South Lake High School in St. Clair Shores. Eventually, he began mailing demos and performance videos to record labels, with his mother cold calling A&R representatives. By eighteen, Christian had written and recorded a whole album, "Love Arcade", on which he plays all the instruments. He secured a recording contract with Atlantic Records, after turning down an offer from Sony Records, with his band in 2005. His demos had impressed David Wimmer and Leslie Dweck of Atlantic, who were taken by Christian's drive and ambition. "Love Arcade" was released in 2006 with the band credited as Love Arcade, the other members served as the touring band only, not performing on the record. He was known as Snowhite while in the group. After three years together, the band broke up.


title: JMSN

text: Christian left Detroit for Los Angeles. He began working on his solo debut with "The Summer Obsession". His song, "1, 2, 3, Turn Around" was featured in the 2009 film, "Fired Up". He used the money earned from the licensing to fund a music video for the song "When She Turns 18", which resulted in him signing to Universal Motown Records as Christian TV in January 2010. On July 29, 2010 Christian TV made his network television debut, performing "When She Turns 18" live on "So You Think You Can Dance". In October, Christian released his first mixtape entitled "Who the F*ck Is Christian TV" for free. During this time he also went on tour supporting Pete Wentz and his new band Black Cards in the UK. Christian began working on his debut album, "Diary of an 80's Baby" with production by Kevin Rudolf, No I.D., and Christian himself. He also co-wrote a song for Japanese pop singer, Hitomi's album "Spirit". Universal Motown was later shut down and he did not appear on the rosters of the resulting Universal Republic Records or Motown Records.


title: JMSN

text: After leaving his label, Christian started his own White Room Records and adopted the moniker, JMSN. He released his debut album, "Priscilla" on January 11, 2012. Christian wrote and produced the R&B album, straying from his pop-rock/electropop roots. In the album, he pursues darker emotional themes over melancholic melodies and beats that "The Guardian" described as "spaced out" and compared to The Weeknd. Self-directed videos for "Alone", "Hotel" and "Something" were released to accompany the album's release, while a video for "Girl I Used to Know" was released under his previous stage name. In April, R&B singer Usher told music magazine "NME" that JMSN was his "favorite new act".


title: JMSN

text: In August 2012, Christian produced "Nibiru" for West Coast rapper Ab-Soul. Subsequently, in October of the same year, Christian announced that he and the rapper would be releasing a collaborative project together. The lead single for Ab-Soul and JMSN's collaborative album, "Unit 6", titled "You're Gone", features vocals from both artists, as well as production from Christian. Recently, Unit 6 was revealed to be shelved due to business disagreements which may or may not make the light of day.


title: JMSN

text: After the success of "Priscilla", Christian (as JMSN) released his album "Pllaje", on November 5, 2013. This garnered him more acclaim in the community, and he gained recognition in the music industry. Christian began collaborating with other artists, like J. Cole and The Game, while releasing "Pllaje"'s visuals through his YouTube channel for: "Love Myself", "The One" and "Thing U Miss". In 2013, his North American tour took him to over 20 cities where he both opened and headlined the shows.


title: JMSN

text: On December 9, 2014 Christian released his second album "The Blue Album". In 2015, he toured to promote the album.


title: JMSN

text: On March 1, 2016, Christian released a soulful and jazzy single, "Cruel Intentions". The release of this song was followed by the singles: "Most of All", "Hypnotized," and a Snoh Aalegra remix of "Cruel Intentions". The first three songs were included on JMSN's third album, "It Is." which was released on May 6, 2016.


title: JMSN

text: In August 2016, Christian revealed that he is the elusive artist Pearl, shortly after dropping Pearl's new album, "Closer". In a handwritten letter posted to his social media, he wrote, "I started Pearl to have another creative outlet besides JMSN. White Room Records is about freedom. Be what you want to be."


title: JMSN

text: Berishaj has cited Whitney Houston, Prince, Phil Collins, Fiona Apple, Radiohead, Hatiras, and Boys Noize as influences on his music.


title: Pan-Green Coalition

text: The pan-Green coalition, pan-Green force or pan-Green groups is a nationalist political coalition in Taiwan (Republic of China), consisting of the Democratic Progressive Party (DPP), Taiwan Statebuilding Party (TSP), Taiwan Solidarity Union (TSU), Social Democratic Party (SDP), Green Party Taiwan, and Taiwan Constitution Association (TCA). The platform of the New Power Party is also very closely aligned with all the other Pan-Green parties.


title: Pan-Green Coalition

text: The name comes from the colours of the Democratic Progressive Party, which originally adopted green in part because of its association with the anti-nuclear movement. In contrast to the Pan-Blue Coalition, the Pan-Green Coalition favors Taiwanization and Taiwan independence over Chinese unification, although members in both coalitions have moderated their policies to reach voters in the center.


title: Pan-Green Coalition

text: This strategy is helped by the fact that much of the motivation that voters have for voting for one party or the other are for reasons that have nothing to do with relations with China. This is particularly true among swing voters. For much of the 1990s, the parties which later formed the Pan-Green Coalition greatly benefited because they were less corrupt than the ruling Kuomintang (KMT). However, due to the controversies and the alleged corruption cases involving the former DPP nominated President Chen Shui-bian, the public perception of the Coalition is seemed to have been altered somewhat.


title: Pan-Green Coalition

text: The Pan-Green Coalition formed in the aftermath of the 2000 presidential election, after which Lee Teng-hui was expelled from the Kuomintang and created his own party, the Taiwan Solidarity Union, which maintains a pro-independence platform.


title: Pan-Green Coalition

text: The internal dynamics of the Pan-Green Coalition are different from those of the Pan-Blue coalition. Unlike the Pan-Blue coalition, which consists of relatively equal-sized parties with very similar ideologies, the pan-green coalition contains the DPP, which is much larger and more moderate than the TSU. So rather than coordinating electoral strategies, as in the case of the parties within the Pan-Blue coalition, the presence of the TSU keeps the DPP from moving too far away from its Taiwan independence roots. In local elections, competition tends to be fierce between Pan-Green candidates from different parties, and as a rule, joint candidates are not proposed.


title: Pan-Green Coalition

text: The Green Party Taiwan is not to be considered as part of the Pan-Green Coalition; however, the Green Party has similar views with the Democratic Progressive Party, especially on environmental and social issues, and the Green Party are also allied with Social Democratic Party.


title: Dziga Vertov

text: Dziga Vertov (, born David Abelevich Kaufman, , and also known as Denis Kaufman; – 12 February 1954) was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist. His filming practices and theories influenced the cinéma vérité style of documentary movie-making and the Dziga Vertov Group, a radical film-making cooperative which was active from 1968 to 1972. He was a member of the Kinoks collective, with Elizaveta Svilova and Mikhail Kaufman.


title: Dziga Vertov

text: In the 2012 "Sight & Sound" poll, critics voted Vertov's "Man with a Movie Camera" (1929) the eighth-greatest film ever made.


title: Dziga Vertov

text: Vertov's younger brothers Boris Kaufman and Mikhail Kaufman were also noted filmmakers, as was his wife, Yelizaveta Svilova.


title: Dziga Vertov

text: Vertov was born David Abelevich Kaufman into a Jewish family in Białystok, Poland, then a part of the Russian Empire. He Russified his Jewish name and patronymic, David Abelevich, to Denis Arkadievich at some point after 1918. Vertov studied music at Białystok Conservatory until his family fled from the invading German Army to Moscow in 1915. The Kaufmans soon settled in Petrograd, where Vertov began writing poetry, science fiction, and satire. In 1916–1917 Vertov was studying medicine at the Psychoneurological Institute in Saint Petersburg and experimenting with "sound collages" in his free time. He eventually adopted the name "Dziga Vertov", which translates loosely from Ukrainian as 'spinning top'.


title: Dziga Vertov

text: Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye".


title: Dziga Vertov

text: Most of Vertov's early work was unpublished, and few manuscripts survived after the Second World War, though some material surfaced in later films and documentaries created by Vertov and his brothers, Boris Kaufman and Mikhail Kaufman.


title: Dziga Vertov

text: Vertov is known for quotes on perception, and its ineffability, in relation to the nature of qualia (sensory experiences).


title: Dziga Vertov

text: After the Bolshevik Revolution of 1917, at the age of 22, Vertov began editing for "Kino-Nedelya" (, the Moscow Cinema Committee's weekly film series, and the first newsreel series in Russia), which first came out in June 1918. While working for "Kino-Nedelya" he met his future wife, the film director and editor, Elizaveta Svilova, who at the time was working as an editor at Goskino. She began collaborating with Vertov, beginning as his editor but becoming assistant and co-director in subsequent films, such as "Man with a Movie Camera" (1929), and "Three Songs About Lenin" (1934).


title: Dziga Vertov

text: Vertov worked on the "Kino-Nedelya" series for three years, helping establish and run a film-car on Mikhail Kalinin's agit-train during the ongoing Russian Civil War between Communists and counterrevolutionaries. Some of the cars on the agit-trains were equipped with actors for live performances or printing presses; Vertov's had equipment to shoot, develop, edit, and project film. The trains went to battlefronts on agitation-propaganda missions intended primarily to bolster the morale of the troops; they were also intended to stir up revolutionary fervor of the masses.


title: Dziga Vertov

text: In 1919, Vertov compiled newsreel footage for his documentary "Anniversary of the Revolution;" he also supervised the filming of his project "The Battle for Tsaritsyn" (1919). in 1921 he compiled "History of the Civil War." The so-called "Council of Three," a group issuing manifestoes in LEF, a radical Russian newsmagazine, was established in 1922; the group's "three" were Vertov, his (future) wife and editor Elizaveta Svilova, and his brother and cinematographer Mikhail Kaufman. Vertov's interest in machinery led to a curiosity about the mechanical basis of cinema.


title: Dziga Vertov

text: His statement "We: Variant of a Manifesto" was published in the first issue of Kino-Fot, published by Aleksei Gan in 1922. It commenced with a distinction between "kinoks" and other approaches to the emergent cinematic industry:


title: Dziga Vertov

text: In 1922, the year that "Nanook of the North" was released, Vertov started the "Kino-Pravda" series. The series took its title from the official government newspaper "Pravda". "Kino-Pravda" (literally translated, "film truth") continued Vertov's agit-prop bent. "The Kino-Pravda group began its work in a basement in the centre of Moscow", Vertov explained. He called it damp and dark. There was an earthen floor and holes one stumbled into at every turn. Vertov said, "This dampness prevented our reels of lovingly edited film from sticking together properly, rusted our scissors and our splicers.


title: Dziga Vertov

text: Vertov's driving vision, expounded in his frequent essays, was to capture "film truth"—that is, fragments of actuality which, when organized together, have a deeper truth that cannot be seen with the naked eye. In the "Kino-Pravda" series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first. Usually, the episodes of "Kino-Pravda" did not include reenactments or stagings. (One exception is the segment about the trial of the Social Revolutionaries: the scenes of the selling of the newspapers on the streets and the people reading the papers in the trolley were both staged for the camera.) The cinematography is simple, functional, unelaborate—perhaps a result of Vertov's disinterest in both "beauty" and the "grandeur of fiction". Twenty-three issues of the series were produced over a period of three years; each issue lasted about twenty minutes and usually covered three topics. The stories were typically descriptive, not narrative, and included vignettes and exposés, showing for instance the renovation of a trolley system, the organization of farmers into communes, and the trial of Social Revolutionaries; one story shows starvation in the nascent Communist state. Propagandistic tendencies are also present, but with more subtlety, in the episode featuring the construction of an airport: one shot shows the Tsar's tanks helping prepare a foundation, with an intertitle reading "Tanks on the labor front".


title: Dziga Vertov

text: Vertov clearly intended an active relationship with his audience in the series—in the final segment he includes contact information—but by the 14th episode the series had become so experimental that some critics dismissed Vertov's efforts as "insane". Vertov responded to their criticisms with the assertion that the critics were hacks nipping "revolutionary effort" in the bud, and concluded an essay with a promise to "explode art's tower of Babel". In Vertov's view, "art's tower of Babel" was the subservience of cinematic technique to narrative—what film theorist Noël Burch terms the institutional mode of representation—which would come to dominate the classical Hollywood cinema.


title: Dziga Vertov

text: By this point in his career, Vertov was clearly and emphatically dissatisfied with narrative tradition, and expresses his hostility towards dramatic fiction of any kind both openly and repeatedly; he regarded drama as another "opiate of the masses". Vertov freely admitted one criticism leveled at his efforts on the "Kino-Pravda" series—that the series, while influential, had a limited release.


title: Dziga Vertov

text: By the end of the "Kino-Pravda" series, Vertov made liberal use of stop motion, freeze frames, and other cinematic "artificialities", giving rise to criticisms not just of his trenchant dogmatism, but also of his cinematic technique. Vertov explains himself in "On 'Kinopravda' ": in editing "chance film clippings" together for the Kino-Nedelia series, he "began to doubt the necessity of a literary connection between individual visual elements spliced together... This work served as the point of departure for 'Kinopravda' ". Towards the end of the same essay, Vertov mentions an upcoming project which seems likely to be "Man with a Movie Camera" (1929), calling it an "experimental film" made without a scenario; just three paragraphs above, Vertov mentions a scene from "Kino Pravda" which should be quite familiar to viewers of "Man with the Movie Camera": the peasant works, and so does the urban woman, and so too, the woman film editor selecting the negative... "


title: Dziga Vertov

text: With Lenin's admission of limited private enterprise through the New Economic Policy (NEP) of 1921, Russia began receiving fiction films from afar, an occurrence that Vertov regarded with undeniable suspicion, calling drama a "corrupting influence" on the proletarian sensibility ("On 'Kinopravda' ", 1924). By this time Vertov had been using his newsreel series as a pedestal to vilify dramatic fiction for several years; he continued his criticisms even after the warm reception of Sergei Eisenstein's "Battleship Potemkin" (1925). "Potemkin" was a heavily fictionalized film telling the story of a mutiny on a battleship which came about as a result of the sailors' mistreatment; the film was an obvious but skillful propaganda piece glorifying the proletariat. Vertov lost his job at Sovkino in January 1927, possibly as a result of criticizing a film which effectively preaches the line of the Communist Party. He was fired for making "A Sixth Part of the World: Advertising and the Soviet Universe" for the State Trade Organization into a propaganda film, selling the Soviet as an advanced society under the NEP, instead of showing how they fit into the world economy.


title: Dziga Vertov

text: The Ukraine State Studio hired Vertov to create "Man with a Movie Camera". Vertov says in his essay "The Man with a Movie Camera" that he was fighting "for a decisive cleaning up of film-language, for its complete separation from the language of theater and literature". By the later segments of "Kino-Pravda", Vertov was experimenting heavily, looking to abandon what he considered film clichés (and receiving criticism for it); his experimentation was even more pronounced and dramatic by the time of "Man with a Movie Camera", which was filmed in Ukraine. Some have criticized the obvious stagings in this film as being at odds with Vertov's credos of "life as it is" and "life caught unawares": the scene of the woman getting out of bed and getting dressed is obviously staged, as is the reversed shot of the chess pieces being pushed off a chess board and the tracking shot that films Mikhail Kaufman riding in a car filming a third car.


title: Dziga Vertov

text: However, Vertov's two credos, often used interchangeably, are in fact distinct, as Yuri Tsivian comments in the commentary track on the DVD for "Man with the Movie Camera:" for Vertov, "life as it is" means to record life as it would be without the camera present. "Life caught unawares" means to record life when surprised, and perhaps provoked, by the presence of a camera. This explanation contradicts the common assumption that for Vertov "life caught unawares" meant "life caught unaware of the camera". All of these shots might conform to Vertov's credo "caught unawares". His slow motion, fast motion, and other camera techniques were a way to dissect the image, Mikhail Kaufman stated in an interview. It was to be the honest truth of perception. For example, in "Man with a Movie Camera", two trains are shown almost melting into each other. Although we are taught to see trains as not riding that close, Vertov tried to portray the actual sight of two passing trains. Mikhail spoke about Eisenstein's films as being different from his and his brother's in that Eisenstein "came from the theatre, in the theatre one directs dramas, one strings beads". "We all felt...that through documentary film we could develop a new kind of art. Not only documentary art, or the art of chronicle, but rather an art based on images, the creation of an image-oriented journalism", Mikhail explained. More than even film truth, "Man with a Movie Camera" was supposed to be a way to make those in the Soviet Union more efficient in their actions. He slowed down his movements, such as the decision whether to jump or not. You can see the decision in his face, a psychological dissection for the audience. He wanted a peace between the actions of man and the actions of a machine, for them to be, in a sense, one.


title: Dziga Vertov

text: "Cine-Eye" is a montage method developed by Dziga Vertov and first formulated in his work "WE: Variant of a Manifesto" in 1919.


title: Dziga Vertov

text: Dziga Vertov believed his concept of "Kino-Glaz", or "Cine Eye" in English, would help contemporary "man" evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines: "In the face of the machine we are ashamed of man’s inability to control himself, but what are we to do if we find the unerring ways of electricity more exciting than the disorderly haste of active people [...]" As he put it in a 1923 credo, "I am the Cine-Eye. I am the mechanical eye. I the machine show you the world as only I can see it. I emancipate myself henceforth and forever from human immobility. "I am in constant motion..." My path leads towards the creation of a fresh perception of the world. I can thus decipher a world that you do not know."


title: Dziga Vertov

text: Like other Russian filmmakers, he attempted to connect his ideas and techniques to the advancement of the aims of the Soviet Union. Whereas Sergei Eisenstein viewed his montage of attractions as a creative tool through which the film-viewing masses could be subjected to "emotional and psychological influence" and therefore able to perceive "the ideological aspect" of the films they were watching, Vertov believed the Cine-Eye would influence the actual evolution of man, "from a bumbling citizen through the poetry of the machine to the perfect electric man".


title: Dziga Vertov

text: Vertov surrounded himself with others who were also firm believers in his ideas. These were the Kinoks, other Russian filmmakers who would assist him in his hopes of making "cine-eye" a success.


title: Dziga Vertov

text: Vertov believed film was too "romantic" and "theatricalised" due to the influence of literature, theater, and music, and that these psychological film-dramas "prevent man from being as precise as a stopwatch and hamper his desire for kinship with the machine". He desired to move away from "the pre-Revolutionary 'fictional' models" of filmmaking to one based on the rhythm of machines, seeking to "bring creative joy to all mechanical labour" and to "bring men closer to machines".


title: Dziga Vertov

text: Vertov's successful career continued into the 1930s. "Enthusiasm: Symphony of the Donbass" (1931), an examination into Soviet miners, has been called a 'sound film', with sound recorded on location, and these mechanical sounds woven together, producing a symphony-like effect.


title: Dziga Vertov

text: Three years later, "Three Songs About Lenin" (1934) looked at the revolution through the eyes of the Russian peasantry. For his film, Vertov had been hired by Mezhrabpomfilm. The film, finished in January 1934 for Lenin's obit, was only publicly released in the Soviet Union in November of that year. From July 1934 it was shown at private screenings to various high-ranking Soviet officials and also to prominent foreigners including H. G. Wells, William Bullitt, and others, and it was screened at the Venice Film Festival in August 1934. A new version of the film was released in 1938, including a longer sequence to reflect Stalin's achievements at the end of the film and leaving out footage of "enemies" of that time. Today there exists a 1970 reconstruction by Yelizaveta Svilova. With the rise and official sanction of socialist realism in 1934, Vertov was forced to cut his personal artistic output significantly, eventually becoming little more than an editor for Soviet newsreels. "Lullaby", perhaps the last film in which Vertov was able to maintain his artistic vision, was released in 1937.


title: Dziga Vertov

text: Vertov's brother Boris Kaufman was a cinematographer who worked with Jean Vigo on "L'Atalante" (1934) and much later for directors such as Elia Kazan in the United States who won an Oscar for his work on "On the Waterfront". His other brother, Mikhail Kaufman, worked with Vertov on his films until he became a documentarian in his own right. Mikhail Kaufman's directorial debut was the film "In Spring" (1929).


title: Dziga Vertov

text: Vertov's legacy still lives on today. His ideas are echoed in cinéma vérité, the movement of the 1960s named after Vertov's "Kino-Pravda". The 1960s and 1970s saw an international revival of interest in Vertov.


title: Dziga Vertov

text: The independent, exploratory style of Vertov influenced and inspired many filmmakers and directors like the Situationist Guy Debord and independent companies such as Vertov Industries in Hawaii. The Dziga Vertov Group borrowed his name. In 1960, Jean Rouch used Vertov's filming theory when making "Chronicle of a Summer". His partner Edgar Morin coined the term "cinéma vérité" when describing the style, using direct translation of Vertov's "KinoPravda".


title: Dziga Vertov

text: The Free Cinema movement in the United Kingdom during the 1950s, the Direct Cinema in North America in the late 1950s and early 1960s, and the "Candid Eye" series in Canada in the 1950s all essentially owed a debt to Vertov.


title: Dziga Vertov

text: This revival of Vertov's legacy included rehabilitation of his reputation in the Soviet Union, with retrospectives of his films, biographical works, and writings. In 1962, the first Soviet monograph on Vertov was published, followed by another collection, "Dziga Vertov: Articles, Diaries, Projects". In 1984, to recall the 30th anniversary of Vertov's death, three New York cultural organizations put on the first American retrospective of Vertov's work.


title: Dziga Vertov

text: New Media theorist Lev Manovich suggested Vertov as one of the early pioneers of database cinema genre in his essay "Database as a symbolic form".


title: Dziga Vertov

text: Some early Vertov's films were lost for many years. Only 12 minutes of his 1918 "Anniversary of the Revolution" were known; in 2018 Russian film historian Nikolai Izvolov found lost film in the Russian State Documentary Film & Photo Archive and restored it. In 2022 he reconstructed another lost film, 1921 "The History of the Civil War" using archive materials.


title: Arthur Marx

text: Arthur Julius Marx (July 21, 1921April 14, 2011) was an American writer, the son of entertainer Groucho Marx and his first wife, Ruth Johnson.


title: Arthur Marx

text: Marx spent his early years accompanying his father around vaudeville circuits in the United States and abroad. When he was 10, the family moved to Southern California, where the Marx Brothers continued their film careers.


title: Arthur Marx

text: Marx was a nationally ranked tennis player before he was 18. While he was attending the University of Southern California, he won the National Freshman Intercollegiate Tennis title at Montclair, New Jersey.


title: Arthur Marx

text: At the Tri-State Tennis Tournament, the event that evolved into today's Cincinnati Masters, Marx reached the singles final in 1941 before falling to Bobby Riggs. To reach the final, Marx knocked off future International Tennis Hall of Fame member John Doeg in the round of 16, Frank Froehling Jr. in the quarterfinals, and Gardner Larned in the semifinals. Riggs had blown through his competition to reach the final, and Marx gave him his toughest test of the tournament, stretching the future Hall of Famer to five sets before falling, 11–9, 6–2, 4–6, 6–8, 6–1.


title: Arthur Marx

text: Marx spent four years in the United States Coast Guard during World War II serving in the South Pacific. He was assigned to the Coast Guard crewed Army Marine Ship Repair Ship "Duluth" which embarked an Army Marine Ship Repair Company for the repair work. Marx, a Yeoman, was aboard when the ship departed San Francisco on August 21, 1944, for Finschhafen, arriving September 24, and then arriving at Hollandia in New Guinea in early October to await departure for the invasion of the Philippines. After a very slow convoy the ship arrived October 23, three days after the landing at Leyte. Marx was hospitalized at Tacloban for malaria and when discharged was assigned to form and be master of ceremonies of an amateur show providing entertainment for those in rear areas passed by U.S.O. shows. Marx wrote about this experience in his book "Son of Groucho".


title: Arthur Marx

text: After the war he worked as an advertising copywriter, a radio gag man for Milton Berle, and a writer of Hollywood movies (including four for Bob Hope), Broadway plays and TV scripts for such hit shows as "My Three Sons", "All in the Family", and "Alice". He and his collaborator, Robert Fisher, were head writers for "Alice" and wrote 40 episodes of that show. They also wrote for the short-lived situation comedy "The Good Guys", and they wrote nine episodes of "The Paul Lynde Show" and four episodes of the short-lived "Life with Lucy". Marx was also co-creator of the TV series "Mickey" starring Mickey Rooney.


title: Arthur Marx

text: Marx wrote both fiction (often humorous) and non-fiction (often show-business related) pieces for magazines throughout his career. Along with Fisher, he co-authored the play "The Impossible Years", which ran for three seasons on Broadway and starred Alan King, and "Minnie's Boys", a musical about the Marx Brothers' vaudeville years that starred Shelley Winters. They also wrote "My Daughter's Rated X", which won the Straw Hat award for best new comedy on the summer stock circuit, and "", which was nominated for a New York Outer Critics Circle award for best play and London's Laurence Olivier Award for Comedy Production of the Year. Other plays included "The Chic Life" and "Hello, My Name Is..." Marx was planning a revival of "Minnie's Boys" to be co-authored by Michael R. Crider shortly before Marx's death in 2011.


title: Arthur Marx

text: Marx also wrote over a dozen books, including "The Ordeal of Willie Brown" (1951) a humorous fictionalization of his tennis years, and "Not as a Crocodile" (1958) a collection of family oriented humor essays. His books also included "Goldwyn: A Biography of the Man Behind the Myth" (1976), "Red Skelton: An Unauthorized Biography" (1979), "The Nine Lives of Mickey Rooney" (1986), "The Secret Life of Bob Hope: An Unauthorized Biography" (1993) and the tennis-themed murder mystery "Set to Kill" (both 1993). His next novel, "Tulip" (2004) was a thriller-mystery and it was followed in 2008 by "Lust for Death", a roman à clef about a Bob Hope-like character named Jack Faith. His 1974 book on Dean Martin and Jerry Lewis entitled "Everybody Loves Somebody Sometime (Especially Himself)" was adapted into the 2002 made-for-television movie "Martin and Lewis".


title: Arthur Marx

text: Marx also wrote several books featuring different takes on his relationship with his father, including "Life with Groucho" (1954), "Son of Groucho" (1973), a reworking and update of the 1954 volume renamed "My Life With Groucho: A Son's Eye View" (1992), and "Arthur Marx’s Groucho: A Photographic Journey" (2001). Marx wrote the foreword to Michael R. Crider's 2007 tome, "The Guy's Guide to Dating, Getting Hitched and the First Year of Marriage", a humorous look at relationships.


title: Arthur Marx

text: In his 1993 book "The Secret Life of Bob Hope", Marx stated, among other things, that Bing Crosby and Bob Hope were womanizers who would trade girlfriends. Marx wrote in "Son of Groucho" that while he himself was married to his first wife Irene, he had an affair with her sister-in-law Lois Kahn (then married to Irene's brother Donald), whom he later married after divorcing Irene.


title: Roy

text: In Anglo-Norman England, the name derived from the Norman "roy", meaning "king", while its Old French cognate, "rey" or "roy" (modern "roi"), likewise gave rise to Roy as a variant in the Francophone world. In India, Roy is a variant of the surname "Rai", likewise meaning "king".


title: Roy

text: It also arose independently in Scotland, an anglicisation from the Scottish Gaelic nickname "ruadh", meaning "red".


title: Lake Washington

text: Lake Washington is a large freshwater lake adjacent to the city of Seattle. It is the largest lake in King County and the second largest natural lake in the state of Washington, after Lake Chelan. It borders the cities of Seattle on the west, Bellevue and Kirkland on the east, Renton on the south and Kenmore on the north, and encloses Mercer Island. The lake is fed by the Sammamish River at its north end and the Cedar River at its south.


title: Lake Washington

text: Lake Washington received its present name in 1854 after Thomas Mercer suggested it be named after George Washington, as the new Washington Territory had been named the year before. Earlier names for the lake include the Duwamish name "Xacuabš" (Lushootseed: literally ""xacu"" "great-amount-of-water + "abš" people"), which referred to peoples who stayed along the coastline of Lake Washington, as well as Lake Geneva by Isaac N. Ebey; Lake Duwamish in railroad surveys under Governor Isaac Stevens; At-sar-kal in a map sketched by engineer Abiel W. Tinkham; and the Chinook Jargon name, "Hyas Chuck," or "It-Kow-Chug" 'big lake'.


title: Lake Washington

text: The lake provides sport fishing opportunities. Some species found in this lake are Coastal Cutthroat Trout, Rainbow Trout, Largemouth Bass, Smallmouth Bass, Yellow Perch, and Black Crappie.


title: Lake Washington

text: A ribbon lake, Lake Washington is long, narrow and finger-like. Ribbon lakes are excavated by glaciers. As the Puget lobe of the Cordilleran Ice Sheet flowed south near the end of the Late Pleistocene, it met bands of harder and softer rock. Erosion of the softer rock was faster and a linear depression was created in the flow direction. When the glacier melted, the lake filled with the meltwater, which was retained by moraine deposits. A dam can also be created by the bands of harder rock either side of the softer rock. There is usually a river at both ends of a ribbon lake, one being the inlet, and the other, the outlet—though in the case of present-day Lake Washington, inlet rivers are located at both ends, with a man-made outlet in the middle. Two seaplane bases, Kenmore Air Harbor and Will Rogers – Wiley Post Memorial Seaplane Base, have air travel passenger terminals.


title: Lake Washington

text: The main inflowing rivers are the Sammamish and Cedar Rivers, with the Cedar supplying most of the water. Seasonal changes in the flow of the Sammamish are moderated by a weir at the Lake Sammamish inlet.


title: Lake Washington

text: Historically, construction of the Lake Washington Ship Canal drastically changed the inflow and outflow of the lake. Before construction of the canal in 1916, Lake Washington's outlet was the Black River, which joined the Duwamish River and emptied into Elliott Bay. When the canal was opened the level of the lake dropped nearly nine feet (2.7 m). The canal became the lake's sole outlet, causing the Black River to dry up and disappear. Before construction, the Sammamish River was the primary source of water for Lake Washington. The lowering of the lake slightly increased the flow of the Sammamish. As part of the ship canal project, the Cedar River was diverted into Lake Washington, to become the primary source of water for Lake Washington.


title: Lake Washington

text: The Montlake Cut, part of the Lake Washington Ship Canal, connects the lake to Lake Union and ultimately Puget Sound.


title: Lake Washington

text: Concrete floating bridges are employed to span the lake because Lake Washington's depth and muddy bottom prevented the emplacement of the pilings or towers necessary for the construction of a causeway or suspension bridge. The bridges consist of hollow concrete pontoons that float atop the lake, anchored with cables to each other and to weights on the lake bottom. The roadway is constructed atop these concrete pontoons. Three floating bridges cross Lake Washington: the Evergreen Point Floating Bridge (officially the SR 520 Albert D. Rosellini Evergreen Point Floating Bridge) carries State Route 520 from Seattle's Montlake neighborhood to Medina while the Lacey V. Murrow Memorial Bridge and the Third Lake Washington Bridge (officially the Homer M. Hadley Memorial Bridge) carry Interstate 90 from Seattle's Mount Baker neighborhood to Mercer Island. The East Channel Bridge carries Interstate 90 from Mercer Island to Bellevue. The Evergreen Point, Lacey V. Murrow, and Third Lake Washington bridges are the longest, second longest, and fifth longest floating bridges in the world, respectively.


title: Lake Washington

text: Many questioned the wisdom of concrete floating bridge technology after the sinking of a portion of the Lacey V. Murrow bridge on November 25, 1990. However, a Washington State Department of Transportation (WSDOT) investigation revealed that the incident resulted from the improper handling of hydrodemolition water being used during bridge renovations, rather than in any basic flaw in the bridge's concept or design. Concrete floating bridges continue to remain a viable means for the conveyance of vehicle traffic over Lake Washington.


title: Lake Washington

text: In 1950, approximately one year after the tolls were removed from the Murrow bridge, the inland ferry system on the lake came to an end, having operated since the 1880s.


title: Lake Washington

text: The cities and towns bordering the lake, going clockwise from the west, are Seattle, Lake Forest Park, Kenmore, Kirkland, Yarrow Point, Hunts Point, Medina, Bellevue, Beaux Arts Village, and Renton. The city of Mercer Island occupies the island of the same name, in the southern half of the lake.


title: Lake Washington

text: Around 1900, Seattle began discharging sewage into Lake Washington. During the 1940s and 1950s, eleven sewage treatment plants were sending state-of-the-art treated water into the lake at a rate of 20 million gallons per day. At the same time, phosphate-based detergents came into wide use. The lake responded to the massive input of nutrients by developing unpleasant blooms of noxious blue-green algae (cyanobacteria). The water lost its clarity, the desirable fish populations declined, and masses of dead algae accumulated on the shores of the lake. After significant pollution, the October 5, 1963 issue of the "Post Intelligencer" referred to the lake as "Lake Stinko". Citizen concern led to the creation of a system that diverted the treatment-plant effluents into nearby Puget Sound, where tidal flushing would mix them with open-ocean water. The diversion was complete by 1968, and the lake responded quickly. The algal blooms diminished, the water regained its clarity, and by 1975, recovery was complete. Careful studies by a group of limnologists from the University of Washington showed that phosphate was the culprit. Since then, Lake Washington has undergone major improvements, drastically improving the ecology and water quality, making the water twice as clear as it was in 1950.


title: Transylvania 6-5000 (1985 film)

text: Transylvania 6-5000 is a 1985 American/Yugoslav horror comedy film about two tabloid reporters who travel to modern-day Transylvania to uncover the truth behind Frankenstein sightings. Along the way, they encounter other horror film staples — a mummy, a werewolf, a vampire — each with a twist.


title: Transylvania 6-5000 (1985 film)

text: Written and directed by Rudy De Luca, the film stars Jeff Goldblum, Ed Begley Jr., Joseph Bologna, and Geena Davis. Notable other cast include Michael Richards, Carol Kane, Teresa Ganzel, John Byner, and Jeffrey Jones.


title: Transylvania 6-5000 (1985 film)

text: Jack Harrison (Jeff Goldblum) and Gil Turner (Ed Begley Jr.) are writers for "The Sensation", a supermarket-grade tabloid run by Turner's father, Mac Turner (Norman Fell). Jack is a more serious journalist, using "The Sensation" as a stepping stone to a better career and aspires to work for "Time" magazine, while Gil is a gangling yes-man, ever ready to win his father's approval.


title: Transylvania 6-5000 (1985 film)

text: When Mac receives a homemade videotape of two panicked men running from a creature they believe to be Frankenstein's monster, along with a waist-down shot of the suspected monster, he dispatches his son and Jack to Transylvania to follow the lead. Jack tries unsuccessfully to beg off, but is told by Mac that if they both again come back with nothing, they are both fired. They have to bring a story that will bring a banner headline "Frankenstein Lives!"


title: Transylvania 6-5000 (1985 film)

text: Planes, trains and buses later, Jack and Gil arrive at their destination. Once off the bus, Jack immediately spots Elizabeth Ellison, a pretty female tourist (Teresa Ganzel) from New York City, whom he propositions. Gil immediately sets out on their assignment, just as quickly drawing hysterical ridicule when he tries to question a hotel desk clerk about the whereabouts of Frankenstein, who shares Gil's inquiries with the staff and patrons, including the mayor Lepescu (Jeffrey Jones).


title: Transylvania 6-5000 (1985 film)

text: Jack rescues Gil and pulls him out of the hotel to avoid further embarrassment. Both then take off for their hotel. Seeing them leave, a gypsy woman named Madame Morovia (Inge Appelt) orders her male companion to bring them to her.


title: Transylvania 6-5000 (1985 film)

text: Jack and Gil arrive at their hotel, which resembles a 17th-century castle, complete with a gated entrance, but adorned with an "Opening Soon!" banner and signs denoting the acceptance of credit cards. They are met at the gate by Fejos (Michael Richards), a butler with an odd sense of humor. They meet for brunch with Lepescu, where they also meet Radu (John Byner), his hunched-over manservant who addresses everyone as "master" and his wife Lupi (Carol Kane).


title: Transylvania 6-5000 (1985 film)

text: Both Gil and Jack learn that something is amiss about Transylvania, despite being laughed off by the locals, including Inspector Percek (Božidar Smiljanić), head of the local police. After meeting Morovia, who tells them they must continue their pursuit, they encounter a series of real-life horror creatures, including a Wolfman Larry (Donald Gibb), a nymphomaniac vampire Odette (Geena Davis), and a swamp monster Twisto that grabs Gil by the crotch as he tries to escape a frightening face-to-face confrontation with the object of their mission himself.


title: Transylvania 6-5000 (1985 film)

text: They eventually learn of a Sicilian doctor, Victorio Malavaqua (Joseph Bologna), who lost his license to practice medicine. Finding out that Malavaqua has been giving care in a sanitorium, Gil tries to go there to make an appointment but is rebuffed by the guard. Gil eventually sneaks in and finds Percek and Malavaqua talking about the latter's "experiments", including one involving a patient, Kurt Hunyadi, that fits the description of the Frankenstein monster, which Malavaqua claimed had died. An exhumation of the body later proves otherwise.


title: Transylvania 6-5000 (1985 film)

text: Gil learns that Radu is in cahoots with Malavaqua, serving as his lab assistant. Malavaqua also displays a tendency towards madness when within the confines of his laboratory, but returns to normal when he leaves it. It is later revealed, as Gil and Jack go on a search for Elizabeth's missing daughter Laura, that not only has Malavaqua faked Hunyadi's death, but is also his creator, along with that of Odette, Larry, and Twisto. It is also revealed that Malavaqua has engaged in this type of bizarre work to clear his family's name.


title: Transylvania 6-5000 (1985 film)

text: The story ties together after Jack is attacked by the Wolfman. In an attempt to rescue Jack, Gil pulls him off Jack, only to be carted off by the Wolfman. The police arrive, but refuse to listen to Jack's story and order him put in the local police lockup. Elizabeth rescues him and learns that the entire police force is at the wine festival instead of searching for her missing daughter. Jack heads off to Malavaqua's lab and Elizabeth goes to the festival. As she is being hauled away by police after confronting Percek, the town is horrified as the monster returns in the flesh, carrying Laura in his arms. Perceived to be dead, it is later learned she was just sleeping.


title: Transylvania 6-5000 (1985 film)

text: Jack and Gil arrive, having confronted Malavaqua, and explain Malavaqua's actions to the townspeople, that Malavaqua was legitimately trying to create normal lives for those seen as outcasts or freaks by the townspeople, who now welcome them with open arms.


title: Transylvania 6-5000 (1985 film)

text: Finding out that the story is even bigger than what they bargained for, Gil takes enough pictures and both gather enough material to last weeks for the tabloid. They more than make up for their failures and Mac gets his banner headline.


title: Transylvania 6-5000 (1985 film)

text: The film was first announced in 1980 under Krofft International, but no progress occurred. Rudy De Luca, Arnie Fishman, and Paul Lichtman unsuccessfully tried to sell the film to New World Pictures for five years. The studio only expressed interest after producers Mace Neufeld and Thomas H. Brodek entered the project. New World Pictures secured financing for the film from the Dow Chemical Company, a company rarely associated with filmmaking. Yugoslav law at the time prevented the company from repatriating funds that it had accumulated in the Yugoslav dinar. To free these frozen funds, Dow decided to use them to invest in a film production inside the country.


title: Transylvania 6-5000 (1985 film)

text: According to the DVD commentary from director Rudy De Luca, most of the film was shot on location in Yugoslavia, using local actors. Filming locations included Zagreb, Samobor, and Mokrice Castle. De Luca also mentioned in the commentary that it was the tallest cast he had ever worked with, with Goldblum, Begley, Jones, Davis, Gibb, and Richards all standing over six feet tall.


title: Transylvania 6-5000 (1985 film)

text: The film was released theatrically in the United States by New World Pictures on November 8, 1985. It grossed $2,507,542 for the weekend, finishing in fifth place. Overall, it grossed $7,196,872 at the United States and Canada box office against a $3 million budget, making it a modest box office success.


title: Transylvania 6-5000 (1985 film)

text: It received mainly negative reviews from critics. The film scores an 18% with 11 ratings at Rotten Tomatoes. "Entertainment Tonight" critic Leonard Maltin gave a notable one-word review of the film. His review began with him swaying along with the Glenn Miller recording; at the point in the song where the words "Pennsylvania 6-5000" are uttered, Maltin spoke the title of the film, followed by the word "stinks." In a later interview with "Film Threat" magazine, Maltin stated he felt his review was complete and also categorized it as one of the reviews he was most proud of and most remembered for.


title: Transylvania 6-5000 (1985 film)

text: The film was released on DVD in the United States by Anchor Bay Entertainment in 2004. It was released on BluRay by Kino Lorber under their Studio Classics banner in 2019.


Pakistan International Airlines Flight 268 was an Airbus A300, registration which crashed while approaching Kathmandu's Tribhuvan International Airport on 28 September 1992. All 167 people on board were killed. Flight 268 is the worst crash of Pakistan International Airlines, and the worst ever to occur in Nepal.


title: Pakistan International Airlines Flight 268

text: The aircraft involved was a 16-year-old Airbus A300B4-203 registered as AP-BCP (serial number 025) The aircraft was built in 1976 and flew its maiden flight on 23 March the same year. On 2 May 1977, the aircraft was delivered to Bavaria Germanair, and was registered as D-AMAZ. About a week later, it was leased to EgyptAir. The aircraft was re-registered as SU-AZY and subsequently sold to Hapag-Lloyd Flug after its merger with Bavaria Germanair. The aircraft was then re-registered as D-AHLZ and leased to the following airlines:


text: On 21 April 1986, the aircraft was delivered to Pakistan International Airlines, and was re-registered as AP-BCP. The aircraft had a total of 39,045 flying hours and 19,172 landings at the time of the crash.


text: The captain was 49-year-old Iftikhar Janjua, who had 13,192 flight hours, including 6,260 hours on the Airbus A300. The first officer was 38-year-old Hassan Akhtar, who had 5,849 flight hours, with 1,469 of them on the Airbus A300.


text: There were two flight engineers on board: one operating and the other observing. The operating flight engineer was an unnamed 40-year-old male who had 5,289 flight hours, with 2,516 of them on the Airbus A300. The observing flight engineer, 42-year-old Muhammad Ashraf, had 8,220 flight hours, including 4,503 hours on the Airbus A300.


text: Flight 268 departed Karachi at 11:13 AM Pakistan Standard Time for Kathmandu. Upon contacting Nepalese air traffic control, the aircraft was cleared for an approach from the south called the "Sierra approach". An aircraft cleared to use this approach was at the time directed to pass over a reporting point called "Romeo" located 41 miles south of the Kathmandu VOR (or at "41 DME") at an altitude of 15,000 feet. The aircraft was to then descend in seven steps to 5,800 feet, passing over a reporting point known as "Sierra" located at 10 DME at an altitude of 9,500 feet, before landing at Kathmandu. This approach allowed aircraft to pass over the Mahabharat Range directly south of Kathmandu (the crest of which is located just north of the Sierra reporting point) at a safe altitude.


text: Shortly after reporting at 10 DME, at 2.30 pm the aircraft crashed at approximately into the side of the 8,250 ft (2,524 m) mountain at Bhattedanda, disintegrating on impact, instantly killing all aboard; the tail fin separated and fell into the forest at the base of the mountainside.


text: This accident occurred 59 days after Thai Airways International Flight 311 crashed north of Kathmandu.


text: After the crash, the Nepali Military assisted with investigators to find the aircraft's black box. The investigation was handled by Andrew Robinson from the Air Accident Investigation Branch (AAIB). The black box was initially sent to Paris for decoding.


text: At the time of impact, eye witnesses near the accident site confirmed that there was little to no wind, rain, and no thunderstorms in the area. Investigators found no technical problems documented for the A300 and, after considering it as a cause, subsequently ruled out terrorism.


text: Although no pertinent flight deck conversation was recovered from Flight 268's cockpit voice recorder by investigators with the Transportation Safety Board of Canada (TSB), which assisted with the investigation, data recovered from the flight data recorder by the TSB showed that the aircraft initiated each step of its descent one step too early. At 16 DME the aircraft was a full 1,000 feet below its cleared altitude; at 10 DME (the Sierra reporting point) it was 1,300 feet below its cleared altitude. The aircraft approached the Mahabharat Range at an insufficient altitude and crashed into the south slope. Although the pilots of Flight 268 reported their aircraft's altitude accurately to air traffic control, controllers did nothing to warn them of their inappropriate altitude until seconds before the accident.


text: Investigators determined that the accident had been caused mainly by pilot error. Visibility was poor due to overcast and the ground proximity warning system would not have been triggered in time because of the steep terrain. The approach plates for Kathmandu issued to PIA pilots were also determined to be unclear, and Nepalese air traffic controllers were judged timid and reluctant to intervene in what they saw as piloting matters such as terrain separation. The report recommended that ICAO review navigational charts and encourage their standardisation, and that the approach to Kathmandu Airport be changed to be less complex.


text: PIA paid for and maintains the Lele PIA Memorial Park at Lele, at the foot of a mountain about 10km north of the crash site.


text: The Wilkins Memorial Trust, a UK charitable organisation that provides aid to Nepal, was established in memory of a family killed in the crash.


text: The accident is featured in the first episode of Season 20 of "Mayday," also known as "Air Crash Investigation." The episode is titled "Kathmandu Descent".


title: Vanessa Lynne Bryant

text: Vanessa Lynne Bryant (born January 27, 1954) is a Senior United States district judge of the United States District Court for the District of Connecticut.


title: Vanessa Lynne Bryant

text: Bryant was born in Queens, New York, and graduated from Howard University with her Bachelor of Arts degree in 1975 and later from University of Connecticut School of Law with a Juris Doctor in 1978.


title: Vanessa Lynne Bryant

text: From 1975 to 1976 she practiced law for the municipal government of Stamford, Connecticut. Bryant was in private practice at Day, Berry and Howard (presently Day Pitney) in Hartford, Connecticut, from 1978 to 1981. During the period from 1981 to 1989 she was a counsel to Aetna Life & Casualty Company and to Shawmut Bank from 1989 to 1990. She was Vice President and General Counsel to the Connecticut Housing Finance Authority from 1990 to 1992, and in 1991 joined the Connecticut Board of Pardons, which she stayed on until 1998. She was counsel to, and later a partner of, the New York-based law firm of Hawkins, Delafield and Wood from 1992 to 1998 and the chapter 13 bankruptcy trustee for the United States Bankruptcy Court for the District of Connecticut, Bridgeport division from 1996 until she was appointed a Connecticut Superior Court Judge on September 1, 1998.


title: Vanessa Lynne Bryant

text: In her capacity as a Superior Court Judge she served as Presiding Judge of the Civil Division of the New Britain Judicial District from 2002 to 2003, Administrative Judge for the Judicial District of Litchfield from 2003 to 2005 and Presiding Judge for the Civil Division of the Judicial District of Hartford from 2006 until her appointment to the United States District Court for the District of Connecticut. She was also presiding judge of the New Britain Judicial District from 2002 to 2004, and then the Hartford Judicial District from 2006 until her appointment as a federal judge in 2007. During her tenure as a State Court Judge, Judge Bryant received four judicial review complaints.


title: Vanessa Lynne Bryant

text: Bryant was first nominated to the U.S. District Court for the District of Connecticut on January 25, 2006 by President George W. Bush, though the Senate did not vote on her nomination. Bryant was the 38th person appointed a District Judge in Connecticut and the first African-American woman appointed a federal judge in New England. This nomination came despite majority opinions from the American Bar Association and the Connecticut Bar Association's federal judiciary committees, both of which found her "not qualified."


title: Vanessa Lynne Bryant

text: On January 9, 2007, President Bush once again nominated Bryant to the United States District Court for the District of Connecticut, a seat vacated by judge Dominic J. Squatrito. Following her re-nomination, the ABA committee issued a revised opinion, rating her as "qualified". Bryant was confirmed by the Senate on March 28, 2007, on a Senate vote and received her commission on April 2, 2007. She assumed senior status on February 1, 2021.


title: Vanessa Lynne Bryant

text: Bryant oversaw a lawsuit filed by attorney Konstantine Kyros on behalf of over 60 former professional wrestlers against WWE which alleged that the company did not protect its employees from head trauma. She dismissed the lawsuit in September 2018.


title: Tibidabo

text: Tibidabo () is a hill overlooking Barcelona, Catalonia, Spain. At , it is the tallest hill in the Serra de Collserola. Rising sharply to the north-west, it has views over the city and the surrounding coastline.


title: Tibidabo

text: The summit of the hill is occupied by the Sagrat Cor church and adjacent Tibidabo Amusement Park. The Torre de Collserola telecommunications tower is a short walk away. All three are prominently visible from most of the city of Barcelona. Designed by Enric Sagnier, the church was started in 1902 and took 60 years to complete. It is topped by a sculpture of the Sacred Heart of Jesus by Josep Miret Llopart.


title: Tibidabo

text: Tibidabo can be reached by road or via the Tibidabo Funicular, which was the first of its kind in Spain, and by the Tramvia Blau. Funicular operations recommenced in June 2021 after modernisation, however the tramway remains out of service. Replacement bus TC2 connects Tibidabo with Avinguda de Tibidabo Metro station. The Transports Metropolitans de Barcelona minibus service 111 connects it to Vallvidrera village and the upper station of the Vallvidrera funicular.


title: Tibidabo

text: This phrase, meaning "I will give to you", was said to Jesus by the devil as they looked down from an "exceedingly high mountain" upon "all the kingdoms of the world, and the glory of them". The name of Barcelona's hill thus refers to the popular tradition that it was in fact the "exceedingly high mountain" itself. The phrase "Tibi dabo" forms part of the inscription in the central dome of St. Peter's Basilica in Vatican City, although in that case it was drawn from Jesus' words to St. Peter in Matthew 16:19.


title: Credit risk

text: A credit risk is risk of default on a debt that may arise from a borrower failing to make required payments. In the first resort, the risk is that of the lender and includes lost principal and interest, disruption to cash flows, and increased collection costs. The loss may be complete or partial. In an efficient market, higher levels of credit risk will be associated with higher borrowing costs. Because of this, measures of borrowing costs such as yield spreads can be used to infer credit risk levels based on assessments by market participants.


title: Credit risk

text: To reduce the lender's credit risk, the lender may perform a credit check on the prospective borrower, may require the borrower to take out appropriate insurance, such as mortgage insurance, or seek security over some assets of the borrower or a guarantee from a third party. The lender can also take out insurance against the risk or on-sell the debt to another company. In general, the higher the risk, the higher will be the interest rate that the debtor will be asked to pay on the debt.


title: Credit risk

text: Significant resources and sophisticated programs are used to analyze and manage risk. Some companies run a credit risk department whose job is to assess the financial health of their customers, and extend credit (or not) accordingly. They may use in-house programs to advise on avoiding, reducing and transferring risk. They also use the third party provided intelligence. Companies like Standard & Poor's, Moody's, Fitch Ratings, DBRS, Dun and Bradstreet, Bureau van Dijk and Rapid Ratings International provide such information for a fee.


title: Credit risk

text: For large companies with liquidly traded corporate bonds or Credit Default Swaps, bond yield spreads and credit default swap spreads indicate market participants assessments of credit risk and may be used as a reference point to price loans or trigger collateral calls.


title: Credit risk

text: Most lenders employ their models (credit scorecards) to rank potential and existing customers according to risk, and then apply appropriate strategies. With products such as unsecured personal loans or mortgages, lenders charge a higher price for higher-risk customers and vice versa. With revolving products such as credit cards and overdrafts, the risk is controlled through the setting of credit limits. Some products also require collateral, usually an asset that is pledged to secure the repayment of the loan.


title: Credit risk

text: Credit scoring models also form part of the framework used by banks or lending institutions to grant credit to clients. For corporate and commercial borrowers, these models generally have qualitative and quantitative sections outlining various aspects of the risk including, but not limited to, operating experience, management expertise, asset quality, and leverage and liquidity ratios, respectively. Once this information has been fully reviewed by credit officers and credit committees, the lender provides the funds subject to the terms and conditions presented within the contract (as outlined above).


title: Credit risk

text: Sovereign credit risk is the risk of a government being unwilling or unable to meet its loan obligations, or reneging on loans it guarantees. Many countries have faced sovereign risk in the late-2000s global recession. The existence of such risk means that creditors should take a two-stage decision process when deciding to lend to a firm based in a foreign country. Firstly one should consider the sovereign risk quality of the country and then consider the firm's credit quality.


title: Credit risk

text: The probability of rescheduling is an increasing function of debt service ratio, import ratio, the variance of export revenue and domestic money supply growth. The likelihood of rescheduling is a decreasing function of investment ratio due to future economic productivity gains. Debt rescheduling likelihood can increase if the investment ratio rises as the foreign country could become less dependent on its external creditors and so be less concerned about receiving credit from these countries/investors.


title: Credit risk

text: A counterparty risk, also known as a default risk or counterparty credit risk (CCR), is a risk that a counterparty will not pay as obligated on a bond, derivative, insurance policy, or other contract.


title: Credit risk

text: Financial institutions or other transaction counterparties may hedge or take out credit insurance or, particularly in the context of derivatives, require the posting of collateral.


title: Credit risk

text: Offsetting counterparty risk is not always possible, e.g. because of temporary liquidity issues or longer-term systemic reasons.


title: Credit risk

text: accounting for this correlation between portfolio risk factors and counterparty default in risk management methodology is not trivial.


title: Credit risk

text: The capital requirement here is calculated using SA-CCR, the Standardized approach for counterparty credit risk.


title: Credit risk

text: This framework replaced both non-internal model approaches - Current Exposure Method (CEM) and Standardised Method (SM).


title: Credit risk

text: It is a "risk-sensitive methodology", i.e. conscious of asset class and hedging, that differentiates between margined and non-margined trades and recognizes netting benefits; issues insufficiently addressed under the preceding frameworks.


title: Trey Murphy III

text: Kenneth "Trey" Murphy III (born June 18, 2000) is an American professional basketball player for the New Orleans Pelicans of the National Basketball Association (NBA). He played college basketball for the Rice Owls and the Virginia Cavaliers.


title: Trey Murphy III

text: Murphy was born in Durham, North Carolina to his mother, Albeda, and father, Kenneth Murphy Jr.. He played high school basketball at Cary Academy in Cary, North Carolina, where, as a senior, he averaged 24.7 points and 7.4 rebounds per game while shooting 49.4% from the floor. He also shot 43.6% from beyond the three-point line and 85.8% from the free-throw stripe. On October 4, 2017, Murphy committed to playing college basketball for Rice.


title: Trey Murphy III

text: As a freshman, Murphy played in all 32 of Rice's games. He came off the bench 31 times and got to start one game, the first being against Charlotte in March 2019. He averaged 8.4 points and 2.6 rebounds. He ranked fourth in Conference USA (C-USA) in three-point field goal percentage (42.1%) and 14th in 3-pointers made per game (2.0).Set the school freshman record for three-point field goal percentage (42.1%). On January 26, 2019, Murphy scored a career-high of 24 points and five 3-pointers while going a career-best 6-of-6 from the free-throw line against UAB. As a sophomore, Murphy played in 29 of 32 games for Rice. He started in 23 of those games while coming off the bench in six. He led the Owls in scoring with 13.7 points and recorded 25 double-figure scoring games with two double-doubles. He also led the team with six 20-point games.


title: Trey Murphy III

text: On March 30, 2020, Murphy entered the transfer portal, and on April 14, 2020, he transferred to Virginia. Cary, North Carolina native, friend, and future teammate, Justin McKoy helped recruit him to Virginia. Due to COVID-19 affecting college basketball, Murphy did not have to sit out a year and was granted three years of immediate eligibility instead of two.


title: Trey Murphy III

text: Coming off the bench, Murphy scored 21 points while shooting 7-of-9 from the field in the Cavaliers' season opener in Bubbleville. He made his first start against William & Mary in late December 2020 and started the remainder of the season. At this time, NBA scouts saw him as a top 45 draft prospect. As a junior, he averaged 11.3 points and 3.4 rebounds per game. After posting a highly efficient 50–40–90 season under Tony Bennett at Virginia, Murphy declared for the 2021 NBA draft while maintaining his college eligibility. On June 21, 2021, Murphy announced that he signed with an agent, forgoing his remaining eligibility with Virginia and ending his collegiate career.


title: Trey Murphy III

text: Murphy was selected with the 17th pick in the 2021 NBA draft by the Memphis Grizzlies, but was traded to the New Orleans Pelicans. On August 10, 2021, Murphy signed a contract with the Pelicans. In January 2022 he and Naji Marshall were assigned to the Pelicans' G League affiliate, the Birmingham Squadron.


title: Trey Murphy III

text: His father, Kenneth, played at East Carolina from 1986 to 1988. Murphy goes by "Trey" because his father goes by "Kenny" and his grandfather goes by "Ken".


title: Ralph McQuarrie

text: Ralph Angus McQuarrie (; June 13, 1929 – March 3, 2012) was an American conceptual designer and illustrator. His career included work on the original "Star Wars" trilogy, the original "Battlestar Galactica" television series, the film "E.T. the Extra-Terrestrial", and the film "Cocoon", for which he won an Academy Award.


title: Ralph McQuarrie

text: Ralph McQuarrie was born on June 13, 1929 in Gary, Indiana and was raised on a farm near Billings, Montana. He served in the United States Army during the Korean War, surviving a shot to the head. After returning from the war, McQuarrie moved to California in the 1960s, studying at the Art Center School, then in downtown Los Angeles.


title: Ralph McQuarrie

text: McQuarrie initially worked for a dentistry firm, illustrating teeth and equipment, before working as an Artist and Preliminary Design Illustrator for the Boeing Company, where he drew diagrams for a manual on constructing the 747 Jumbo Jet, as well as designing film posters and animating CBS News' coverage of the Apollo space program at the three-man company Reel Three.


title: Ralph McQuarrie

text: While there, McQuarrie was asked by Hal Barwood to produce some illustrations for a film project he and Matthew Robbins were starting.


title: Ralph McQuarrie

text: The young filmmaker George Lucas was impressed by McQuarrie's work and met with him to discuss his plans for a space-fantasy film, "The Star Wars". Lucas sought visual reference material to support his pitch to film studios and purchased pieces of science fiction artwork by John Berkey. In 1975, Lucas commissioned McQuarrie to illustrate several scenes from the script of the film. McQuarrie may have been inspired by some of Berkey's works, in particular a painting of a rocket-plane diving down through space towards a gigantic mechanical planet (the image had been used as cover art for the 1972 reprint of the short story anthology "Star Science Fiction Stories No.4").


title: Ralph McQuarrie

text: McQuarrie's concept paintings were instrumental in helping Lucas to win approval from 20th Century Fox; armed with vivid illustrations of his planned movie, Lucas was able to convince Fox executives to take a gamble and fund his "Star Wars" project. Despite their scepticism, it became a huge success upon release in 1977. Among McQuarrie's "Star Wars" portfolio were concept paintings depicting scenes on the planet Tatooine, inside the Mos Eisley cantina, inside the Death Star and on the moon of Yavin. During filming, Lucas ensured that many shots reproduced McQuarrie's paintings exactly, such was his esteem for McQuarrie's work. McQuarrie has said of his work on "Star Wars", "I thought I had the best job that an artist ever had on a film, and I had never worked on a feature film before. ... I still get fan mail — people wondering if I worked on "Episode I" or just wanting to have my autograph."


title: Ralph McQuarrie

text: McQuarrie designed many of the film's characters, including Darth Vader, Chewbacca, R2-D2 and C-3PO and drew many concepts for the film's sets. His production painting of R2-D2 and C-3PO wandering in the desert on the planet Tatooine was the first to be completed. His early concept for C-3PO was visibly inspired by the Art Deco "Maschinenmensch" robot from Fritz Lang's 1927 film "Metropolis". The painting had a particular impact on actor Anthony Daniels, who was about to turn down the part of C-3PO; ""He had painted a face and a figure that had a very wistful, rather yearning, rather bereft quality, which I found very appealing,"" stated Daniels, and the appeal of McQuarrie's image convinced him to accept the role.


title: Ralph McQuarrie

text: At Lucas' suggestion, McQuarrie designed a breathing apparatus for Darth Vader to wear. In an interview with "Star Wars Insider" Magazine, McQuarrie stated that Lucas' artistic direction was to portray a malevolent figure in a cape with Samurai armour. ""For Darth Vader, George [Lucas] just said he would like to have a very tall, dark fluttering figure that had a spooky feeling like it came in on the wind."" McQuarrie noted that the script indicated that Vader would travel between spaceships and needed to survive in the vacuum of space, and he proposed that Vader should wear some sort of space suit. Lucas agreed, and McQuarrie combined a full-face breathing mask with a Samurai helmet, thus creating one of the most iconic designs of space fantasy cinema. A 1975 production painting of Darth Vader engaged in a lightsaber duel with Deak Starkiller (a character prototype for Luke Skywalker) depicts Vader wearing black armour, a flowing cape and an elongated, skull-like mask and helmet. Its similarity to the final design of Vader's costume demonstrates that McQuarrie's earliest conception of Vader was so successful that very little needed to be changed for production. Working from McQuarrie's artwork, the costume designer John Mollo devised a costume that could be worn by an actor on-screen using a combination of clerical robes, a motorcycle suit, a German military helmet and a gas mask. The prop sculptor Brian Muir created the helmet and armour used in the film from McQuarrie's designs.


title: Ralph McQuarrie

text: While McQuarrie was working on visualisation work for Lucas, he was also commissioned by an executive of Ballantine Books, Judy-Lynn del Rey, to produce the cover art of the forthcoming novelization of "Star Wars". The first edition of "" went to press in 1976 featuring McQuarrie's version of Darth Vader's helmet on the cover. Like the film, the book was a runaway success, and McQuarrie began a long relationship with the publisher, producing the artwork for 22 further titles for Del Rey Books between 1978 and 1987.


title: Ralph McQuarrie

text: Around the time that McQuarrie was completing his work on "Star Wars", he was brought on board the design team for a planned cinematic production based on Gene Roddenberry's science fiction television series, "". Titled "", the film was to feature a redesigned USS "Enterprise" starship, and McQuarrie was recruited to provide the visualizations. His triangular ship design has been likened to the appearance of the Star Destroyers featured in "Star Wars". "Star Trek: Planet of the Titans" did not make it past the pre-production phase and the project was cancelled in 1977. The design was later used in 2017's "" as the basis of the titular ship.


title: Ralph McQuarrie

text: When Lucas began work on his sequel to "Star Wars", "The Empire Strikes Back" (1980), McQuarrie was once again brought in to supply previsualization artwork. His sketches and production paintings established the appearance of some of the saga's most enduring elements, such as the gigantic AT-AT Walkers in the battle on the ice planet Hoth and the wizened elf creature Yoda. McQuarrie's design for Cloud City, a floating city in the clouds, actually originated from his early sketches for "Star Wars" from 1975, when he was illustrating a concept for the planet Alderaan, as described in Lucas' 1975 draft script, "Adventures of the Starkiller as taken from the Journal of the Whills, Saga I: The Star Wars". McQuarrie made an uncredited cameo appearance in "The Empire Strikes Back", when he appeared in the film's opening sequence in the Rebel base on Hoth as a character named General Pharl McQuarrie. In 2007, McQuarrie became part of the "Star Wars" action figure range when an action figure in his likeness as "General McQuarrie" was produced for the "Star Wars" 30th anniversary in 2007. Action figures were also produced based on McQuarrie's concept art, including conceptual versions of the Imperial Stormtrooper, Chewbacca, R2-D2 and C-3PO, Darth Vader, Han Solo, Boba Fett, Obi-Wan Kenobi, Yoda and other characters.


title: Ralph McQuarrie

text: By the time McQuarrie was engaged on Lucas' third "Star Wars" picture, "Return of the Jedi" (1983), he had begun to experience creative fatigue. "It became less fun as time went on. I had done the best part already and I was just rehashing everything. I kept meeting myself in my thinking. It became more and more difficult to keep my enthusiasm up," McQuarrie has said. Despite his earlier success, fewer of his design ideas were included in the final cut of the film.


title: Ralph McQuarrie

text: McQuarrie designed the alien ships in Steven Spielberg's films "Close Encounters of the Third Kind" (1977) and "E.T. the Extra-Terrestrial" (1982), while his work as the conceptual artist on the 1985 film "Cocoon" earned him the Academy Award for Visual Effects. He also worked on the 1978 TV series "Battlestar Galactica", and the films "Raiders of the Lost Ark", "" and "*batteries not included".


title: Ralph McQuarrie

text: Rick McCallum offered McQuarrie a role as designer for the "Star Wars" prequel trilogy, but he declined, noting he had "run out of steam" and Industrial Light & Magic animator Doug Chiang was appointed instead. McQuarrie retired and his "Star Wars" concept paintings were subsequently displayed in art exhibitions, including the 1999 "Star Wars: The Magic of Myth". Several of McQuarrie's unused designs from the original trilogy were utilized for the "" and "Star Wars Rebels" animated TV series, including the planet Orto Plutonia, which was based on McQuarrie's original design of Hoth, and the characters Zeb Orrelios and Chopper, based on his original designs for Chewbacca and R2-D2, respectively.


title: Ralph McQuarrie

text: McQuarrie married Joan Benjamin in 1983 and stayed married until his death at age 82 on March 3, 2012, in his Berkeley, CA home. McQuarrie died from complications of Parkinson's disease.


title: Ralph McQuarrie

text: Christian Blauvelt of "Entertainment Weekly" praised McQuarrie's works as "pioneering of the 'used future' aesthetic" which unlike other science-fiction, "imagined a lived-in galaxy that was gritty, dirty, and in advance states of decay." He described McQuarrie's style as "strongly geometric subjects rendered in muted colors against a flat, purposefully compressed backdrop. A McQuarrie "Star Wars" design looks like what would have resulted if Salvador Dalí had sketched concepts for Universal’s 1936 "Flash Gordon" serial by way of Sergio Leone’s Old West."


title: Ralph McQuarrie

text: Neil Kendricks of "The San Diego Union-Tribune" emphasised McQuarrie's importance to the "Star Wars" franchise, saying that the artist "holds a unique position when it comes to defining much of the look of the "Star Wars" universe."


title: Ralph McQuarrie

text: After McQuarrie's death, George Lucas said: "His genial contribution, in the form of unequalled production paintings, propelled and inspired all of the cast and crew of the original "Star Wars" trilogy. When words could not convey my ideas, I could always point to one of Ralph's fabulous illustrations and say, 'do it like this'."


title: Ralph McQuarrie

text: The current Lucasfilm creative team is employing parts of McQuarrie's original unused concept art from the seventies and eighties in the development of new "Star Wars"-related media.


title: Ralph McQuarrie

text: McQuarrie's previsualization artwork, production sketches and paintings, and matte paintings feature prominently in the first three volumes of "The Art of Star Wars" book series.


title: Single-phase electric power

text: In electrical engineering, single-phase electric power (abbreviated 1φ) is the distribution of alternating current electric power using a system in which all the voltages of the supply vary in unison. Single-phase distribution is used when loads are mostly lighting and heating, with few large electric motors. A single-phase supply connected to an alternating current electric motor does not produce a rotating magnetic field; single-phase motors need additional circuits for starting (capacitor start motor), and such motors are uncommon above 10 kW in rating.


title: Single-phase electric power

text: Because the voltage of a single phase system reaches a peak value twice in each cycle, the instantaneous power is not constant.


title: Single-phase electric power

text: Standard frequencies of single-phase power systems are either 50 or 60 Hz. Special single-phase traction power networks may operate at 16.67 Hz or other frequencies to power electric railways.


title: Single-phase electric power

text: Single phase power transmission took many years to develop. The earliest developments were based on the early alternator inventions of 19th century Parisian scientist Hippolyte Pixii, which were later expanded upon by Lord Kelvin and others in the 1880s. The first full AC power system, based on single phase alternating current, was created by William Stanley with financial support from Westinghouse in 1886. In 1897, experiments began for single phase power transmission.


title: Single-phase electric power

text: In North America, individual residences and small commercial buildings with services up to about 100 kVA (417 amperes at 240 volts) will usually have three-wire single-phase distribution, especially in rural areas where motor loads are small and uncommon. In rural areas where no three-phase supply is available, farmers or households who wish to use three-phase motors may install a phase converter. Larger consumers such as large buildings, shopping centers, factories, office blocks, and multiple-unit apartment blocks will have three-phase service. In densely populated areas of cities, network power distribution is used with many customers and many supply transformers connected to provide hundreds or thousands of kVA, a load concentrated over a few hundred square meters.


title: Single-phase electric power

text: High-power systems, say hundreds of kVA or larger, are nearly always three-phase. The largest supply normally available as single-phase varies according to the standards of the electrical utility. In the United Kingdom a single-phase household supply may be rated 100 A or even 125 A, meaning that there is little need for three-phase in a domestic or small commercial environment. Much of the rest of Europe has traditionally had much smaller limits on the size of single phase supplies resulting in even houses being supplied with three-phase (in urban areas with three-phase supply networks).


title: Single-phase electric power

text: If heating equipment designed for a 240-volt system is connected to two phases of a 208-volt supply, it will only produce 75% of its rated heating effect. Single-phase motors may have taps to allow their use on either 208-volt or 240-volt supply.


title: Single-phase electric power

text: A single-phase load may be powered directly from a three-phase distribution transformer in two ways: by connection between one phase and neutral or by connection between two phases. These two give different voltages from a given supply. For example, on a 120/208 three-phase system, which is common in North America, the phase-to-neutral voltage is 120 volts and the phase-to-phase voltage is 208 volts. This allows single-phase lighting to be connected phase-to-neutral.


title: Single-phase electric power

text: Single-phase power may be used for electric railways; the largest single-phase generator in the world, at Neckarwestheim Nuclear Power Plant, supplied a railway system on a dedicated traction power network.


title: Single-phase electric power

text: Typically a third conductor, called "ground" (or "safety ground") (U.S.) or "protective earth" (UK, Europe, IEC), is used as a protection against electric shock, and ordinarily carries significant current only when there is a circuit fault. Several different earthing systems are in use. In some extreme rural areas single-wire earth return distribution is used.


title: Single-phase electric power

text: Single-phase is sometimes divided in half at the distribution transformer on the secondary winding to create split-phase electric power for household appliances and lighting.


title: I See Stars

text: I See Stars are an American electronicore band from Warren, Michigan formed in 2006. The band currently consists of lead vocalist Devin Oliver, guitarist Brent Allen, keyboardist and co-vocalist Andrew Oliver, and bass guitarist Jeff Valentine.


title: I See Stars

text: Their first album, "3-D" (2009), peaked at No. 176 on the "Billboard" 200. Their second album, "The End of the World Party", was released on February 22, 2011. The band's third studio album, "Digital Renegade", was released on March 13, 2012, which demonstrated a stylistic change, featuring a more aggressive musical style than their prior albums. The band also appeared on the song, "Beauty and the Beast", by Dubstep producer BARE. The band's fourth studio album, "New Demons", was released October 22, 2013, which featured elements of EDM while achieving an even further aggressive style than "Digital Renegade". On March 25, 2015, the band released their first remix album, titled "Phases". The band's line-up remained unchanged, (excluding the brief departure of vocalist Zach Johnson in 2009, who returned the following year) from their formation in 2006, up until mid-2015, when the group announced the departure of rhythm guitarist Jimmy Gregerson and Johnson. Lead vocalist Devin Oliver now pursues both clean vocals and unclean vocals. Their fifth studio album and the first album featuring the new line-up, "Treehouse", was released on June 17, 2016. Drummer Luke Holland played the drum track for this album, while Andrew Oliver started his place on the keyboard. Their latest release is the Treehouse Acoustic EP, which was released on April 6, 2018.


title: I See Stars

text: The band has released all six of their studio albums, and other releases, through their record label Sumerian Records.


title: I See Stars

text: Brothers Devin and Andrew Oliver played music together since they were young children and lived in the same neighborhood as guitarist Brent Allen, Devin stated: "me, Brent, the drummer's my brother, and the bass player, Jeff, we all lived on the block from each other since we were kids, [in] elementary school." The group officially started in 2006 under the name I See Stars—which also according to Devin there isn't any meaning behind the name other than the fact that they "needed a title" and someone brought it to the table.


title: I See Stars

text: The group released its debut EP "Green Light Go!" in 2007 and several demos, including a self-titled EP, before signing with Sumerian Records in 2008.


title: I See Stars

text: I See Stars recorded their debut album, "3-D", in 2008 at Chango Gridlock Studios in Orlando, Florida with producer Cameron Mizell. The album featured Zach Johnson as the screamer and keyboardist. Johnson left the band soon after the album's release on April 14, 2009, due to personal problems he felt interfered with him too much while on tour. The band then gained Chris Moore, formerly of We Came as Romans and a merchandise salesman for the group, to join as the new screamer and keyboardist.


title: I See Stars

text: In August 2008, I See Stars embarked on the second annual "Artery Foundation Across the Nation" tour, headlined by Emarosa with supporters Our Last Night, In Fear and Faith, Burden of a Day and Broadway. In late 2009, I See Stars finished touring with Attack Attack!, Breathe Carolina, Asking Alexandria and Bury Tomorrow for the third annual "Artery Foundation Across the Nation" tour.


title: I See Stars

text: On June 14, 2010, the band's keyboardist/screamer Chris Moore announced his departure from the band, citing "artistic differences". After being asked to re-join, former I See Stars member Zach Johnson returned to the band and joined them on Warped Tour 2010.


title: I See Stars

text: The group entered the studio in March 2010 to begin writing and recording their sophomore studio album called "The End of the World Party" with Sumerian Records and "3-D" producer Cameron Mizell.


title: I See Stars

text: Almost immediately after finishing the album, the band played Vans Warped Tour from June 24 to July 18, 2010.


title: I See Stars

text: The band released a preview of their second album's title track, "The End of the World Party", on November 4, 2010 to Sumerian Records' YouTube page. They played the song at various live shows in 2010 before the album's release. The full version of the title track was released to iTunes on December 7, 2010.


title: I See Stars

text: The band revealed the album's track listing on January 2, 2011. Before the album's release, the band played another song entitled "Glow" at various live concerts. On February 1, 2011, "Alternative Press" started streaming a new song from the album entitled "Wonderland". The full album was released on February 22, 2011.


title: I See Stars

text: The band has played in the Soundwave 2011 tour in Australia. They supported We the Kings alongside Versa in the United Kingdom. They also participated in the 2011 American AP Tour along with Conditions, Versa, Destroy Rebuild Until God Shows and Black Veil Brides.


title: I See Stars

text: On May 31, 2011, the band made their national television debut, while performing the songs "Glow" and "What This Means to Me" on Jimmy Kimmel Live!


title: I See Stars

text: I See Stars toured on the Monster Outbreak Tour with headliner Of Mice & Men and supporting bands Iwrestledabearonce, For the Fallen Dreams, Abandon All Ships and That's Outrageous! from October 26 to November 29. The band toured on the Scream It Like You Mean It tour with Breathe Carolina and Chiodos as headliners. The tour also featured the rapper Mod Sun, The Color Morale and the new metalcore band from Rise Records, The Air I Breathe. On recent interviews the band stated that they began recording a new album in September 2011, as soon as the Scream It Like You Mean It Tour finished. After a few recording sessions they began another tour in November. The album was produced by Joey Sturgis.


title: I See Stars

text: I See Stars headlined the Leave It 2 The Suits Tour with support from Stick to Your Guns, Memphis May Fire, Our Last Night, and Make Me Famous. In a commercial video for the tour, it was announced that their third album would be released on March 13, 2012, with the album title confirmed to be "Digital Renegade". At midnight on January 8, 2012, an unmastered version of the song "Filth Friends Unite" from the then-upcoming album was released via the band's Facebook page. A finalized version of the song was released as the first official single from the album on January 17. I See Stars second single, "NZT48", was released on YouTube on February 23 as a lyric video. The song was released on iTunes February 28, also with the album put on pre-order. The full album was released on March 14, 2012.


title: I See Stars

text: On August 30, 2012, all members of the band were arrested in Saline County, Kansas, for possessing and intending to use "hallucinogenic drugs", though it was not specified which drugs. The members themselves released their mug shots and lead vocalist Devin Oliver commented on the experience being arrested on his Twitter profile, stating that he "just had the worst 13 hours of my life".


title: I See Stars

text: After the band's release from jail, a new single titled "The Hardest Mistakes", was released on October 9, 2012 featuring Cassadee Pope. It is a remix of the song "Electric Forest". They also played on Falling in Reverse's "The Thug in Me Is You" tour for a few dates, but they were kicked off the tour early due to their feud with Falling in Reverse vocalist Ronnie Radke. They have stated that they are going to be touring again soon, regardless of the feud between the Falling in Reverse and I See Stars camps. I See Stars then hit the road with Asking Alexandria on the Monster Outbreak tour along with As I Lay Dying, Memphis May Fire and Attila, replacing Suicide Silence when they dropped off following lead singer Mitch Lucker's death.


title: I See Stars

text: In early to mid 2013, the band finished their fourth studio album, "New Demons", which was released on October 22. It's been confirmed that Joey Sturgis is the producer for the studio album. Klayton of Celldweller programmed four tracks on the album. The band later announced that they have recorded a "heavier" song featuring vocalist Frank Palmeri of Emmure and a cameo appearance by Mattie Montgomery of For Today. That song, "Can We Start Again", was released on YouTube on May 12, 2013. The song's origins "started off as a b-side off our previous album and evolved into much more than that. With help from Sumerian Records and our friends Frankie Palmeri & Mattie Montgomery, it became about a scene that is much like the hallways we walked down as teenagers. We used the iconic lyrics from a song by Bane that changed the scene before bands like us were even around and still holds a place in a lot of hearts. We're all here to connect through music and to be a part of a movement that embraces open minds and open hearts. Unfortunately, some people choose to thrive off negativity, disunion and narcissism. This song goes out to all our peers and friends who live on the road doing it every single year, but more importantly to all the fans who make this all possible. This is not a song off the forthcoming album. It's the closing chapter to [digital_renegade] and the opening track to our digital mixtape release titled "Renegades Forever"."


title: I See Stars

text: On June 17, 2013, "Alternative Press" published an exclusive premiere on their website of the first single from "New Demons" entitled "Violent Bounce (People Like ¥øµ)". The release date of "New Demons" has been reset from September 17 to October 22, after previously being selected for an August 13 release date. Via the I See Stars Twitter account, the band had tweeted on September 16 "I know a lot of you think the album is coming out tomorrow. Unfortunately had to push things back. We're so sorry to those expecting it :(".


title: I See Stars

text: On Warped Tour 2013, the band started to play a new, unheard song on stage. The song was revealed to be 'Ten Thousand Feet' and will feature on the upcoming album 'New Demons'. Alongside this, a 20-second preview of the song 'Murder Mitten' was added on the end of Sumerian Records' 'Started From The Bottom, Now We Here Tour' uploaded on the record labels YouTube channel. On September 24 at Midnight, the band released the second single titled "Murder Mitten". The single was released alongside a lyric video on YouTube. On October 8, I See Stars released the title track 'New Demons' as a free song to those who pre-ordered the album. The album then leaked on October 10.


title: I See Stars

text: On August 27, 2013, the band announced their North American headlining tour Started From The Bottom Now We Here with The Word Alive, Crown the Empire, and guests Dayshell, Get Scared, and Palisades, beginning in Albuquerque, NM at The Historic Sunshine Theater on October 29 and ending in St. Louis, MO on November 24.


title: I See Stars

text: On December 13, 2013, the band announced that they will be direct supporting Attila's "The New King's Tour" with supporting acts Capture, Ice Nine Kills and Myka Relocate beginning on January 31, 2014.


title: I See Stars

text: They got into a brief feud with Ronnie Radke over some allegations of being unprofessional which lead to some back and forth tweets. Ronnie recorded a diss song called “I Wash Cars” which was meant to be as an inside joke, but leaked. They have squashed the beef.<ref>


title: Philippine Health Insurance Corporation

text: The Philippine Health Insurance Corporation (PhilHealth) was created in 1995 to implement universal health coverage in the Philippines. It is a tax-exempt, government-owned and controlled corporation (GOCC) of the Philippines, and is attached to the Department of Health. Its stated goal is to "ensure a sustainable national health insurance program for all", according to the company. In 2010, it claimed to have achieved "universal" coverage at 86% of the population, although the 2008 National Demographic Health Survey showed that only 38 percent of respondents were aware of at least one household member being enrolled in PhilHealth. Nevertheless, this social insurance program provides a means for the healthy to pay for the care of the sick and for those who can afford medical care to subsidize those who cannot. Both local and national governments allocate funds to subsidize the indigent.


title: Philippine Health Insurance Corporation

text: The Philippine Medical Care Program began in 1971 following the Philippine Medical Care Act of 1969. It mandated creation of the Philippine Medical Care Commission (PMCC). In 1990, bills were passed that led to significant improvement of public health care insurance. House Bill 14225 and Senate Bill 01738 became Republic Act 7875, known as "The National Health Insurance Act of 1995". Approved by President Fidel Ramos on February 14, 1995, this become the basis of the Philippine Health Insurance Corporation. On its 16th anniversary, the song "PhilHealth: Tapat na Serbisyo, Tapat na Benepisyo, Lahat Panalo" was introduced .