title: Pyramid of the Moon

text: Burial three is associated with structure five, and dates to approximately 300 A.D. In this chamber, there are a total of four people, who are all male. The first individual was thought to be about 20–24 years old, the second 18–20, the third 40–44, the fourth 13–15, all of whom were probably foreign to Teotihuacan. There are signs that the individuals had been tied and bound within the pit, suggesting again that they were possible captives. Associated with burial three there were other fibers found that may indicate that there was once a mat. Mats have been discovered to signify political authority in many Mesoamerican societies during the time. Adding to this, there were figures of greenstone, beads, shells, and blades. There were also ear flares and beads that suggested that at least three of the individuals were of high status. There were also a total of 18 decapitated heads of wolves, pumas, a jaguar, and a hawk.


title: Pyramid of the Moon

text: Burial four was made in conjunction with structure six and dates to around 350 – 400 A.D. The pit contained seventeen human heads that, from what could be identified, were middle aged males. Adding to this, burial four contained no offerings or material remains, other than the fibers from the material that was used to gag the victims. White has suggested that the placement of the skulls may have something to do with where they were originally from. Due to the violent nature in which the victims where sacrificed, as well as the lack of burial offerings, it has been suggested that the individuals were of relatively low status.


title: Pyramid of the Moon

text: Burial five occurred at a similar time to burial four datings to around 350 – 400A.D and was also linked to the construction of building six. In it were three skeletons who were displayed in a position common in painted representations of Maya elites. This is interesting because it is an uncommon mode of burial at Teotihuacan. Adding to this, their hands were not bound but instead laying out in front of them resting on their legs. The first person was probably 50–75 years of age, the second 40–50, and the third 40–45. Adding to this, two individuals were wearing rectangular pectorals, which is often linked to high-ranking Mayas. Their burial suggests that these individuals were of extremely high status. The corpses were also accompanied by animals that may have represented their animal spirit, two pumas and a golden eagle.


title: Pyramid of the Moon

text: Lastly, burial six occurred within a similar time frame to burial three which coincided with the building of structure five around 300 A.D. There was a total of twelve skeletons found within this chamber and they all had their hands bound, once again suggesting that they were sacrificial victims. Two skeletons stood out as possibly being higher up in status, while the other ten were decapitated and seemed to be thrown about at random. Adding to this there were fragments of about 43 animals.


title: Pyramid of the Moon

text: Given the contents of these burials, Archaeologists, Leonardo Lopez Lujan and Saburo Sugiyama have theorized that they are possible cosmograms, representations of the heavens which were carefully laid out by priests according to predetermined patterns. Archaeologists also have concluded that human sacrifice to sanctify buildings was common throughout Mesoamerican time and geography[8]. In Teotihuacan, the preferred victims were sub-adult and adult males who were not from Teotihuacan, which differs from other structures at Teotihuacan. This could suggest that many of the sacrificial victims found at the Pyramid of the Moon were war captives. The animals used in the burials were all carefully selected, they included felines, canids, birds of prey, and rattlesnakes, all of which are carnivorous and can be associated with warfare[8]. Adding to this Siguyama has suggested heavily that sacrifice and large-scale construction correlate directly to the growth of state and military power.


title: Pyramid of the Moon

text: The pyramid was also used for rituals other than sacrifices. Mesoamerican cities used plazas as the core of social life; in the case of the Pyramid of the Moon, the public plaza was also used for astronomical observation and calendar-related activities. The complex contained small pyramidal structures, rooms, porticoes, patios, corridors, and low platforms. Moon plaza served as a supra-regional ceremonial, political and socioeconomic center.


title: Pyramid of the Moon

text: Archeologists have examined the different layers of the pyramid and found a great number of these contained artifacts and remains which can be examined, and even presented to the public. Some of the artifacts found by archaeologists were made of greenstone, obsidian, and ceramic, all of which were carefully crafted in Teotihuacan. These artifacts included figurines and serpent knives.


title: Hemlata (singer)

text: Hemlata (born 16 August 1954) is an Indian classically trained playback singer in Bollywood. She is best known for her songs in the late 1970s, especially Ankhiyon Ke Jharokhon Se song.


title: Hemlata (singer)

text: She was nominated for Filmfare Best Female Playback Award five times in the period of 1977–81 and won once for Chitchor in 1977 for her classical rendition of "Tu Jo Mere Sur Mein" which was duet with K.J. Yesudas, composed by Ravindra Jain.


title: Hemlata (singer)

text: Hemlata was born in Hyderabad as "Lata Bhatt" into an Marwari Brahmin family and spent her childhood in Calcutta.


title: Hemlata (singer)

text: In association with Ravindra Jain, she had worked on many other songs. Among them is ""Ankhiyon Ke Jharokhon Se"". According to the Binaca Geet Mala (a radio show that used to compile records of album sales), it became the number one song in the year 1978. Hemlata was also nominated for Filmfare award for the best female playback singer for this song. It has received millions of views on YouTube. Hemlata sang on Jain's cassette album "Sahaj Dhara" (1991) dedicated to Shri Mataji Nirmala Devi, and sang songs from this album in two concerts in Brussels, Belgium in July 1992.


title: Hemlata (singer)

text: She has lent her voice for Ramanand Sagar's epics T.V. Serial Ramayan (She also appeared herself in one episode to perform traditional Meera Bhajan Payoji Maine Ram Ratan Dhan Payoji), as well as Uttar Ramayan (Luv Kush) and Shri Krishna throughout the series.


title: Hemlata (singer)

text: She was the only one Bollywood singer, who has been selected by the world community of Sikhs and the government of Punjab as well as the Holy Akal Takht to perform Gurmat Sangeet live composed in original Ragas for the celebration of 300 years of Sikh Khalsa Panth at Shri Anandpur Sahib Akal Takht on 13 April 1999. "Kini Tera Ant Na Paya" was the only one album of Sikh Sangeet which was especially in her voice and inaugurated by the honourable Chief Minister of Punjab Shri Prakash Singh Badal and attended and blessed by honourable Prime Minister of India Shri Atal Bihari Vajpayee.


title: Hemlata (singer)

text: In November 2010, she was in news for filing FIR against the mother in law of Sonali Bendre for cheating Hemlata in a case of selling a bungalow in Lokhandwala, for Rs.25 million.


title: M7 Aerospace

text: M7 Aerospace LP is an aerospace company with its headquarters on the property of San Antonio International Airport in Uptown San Antonio, Texas, United States.


title: M7 Aerospace

text: M7 is the successor organization to Fairchild Dornier Aviation, having bought much of that firm's assets out of bankruptcy. M7 occupies the manufacturing and support facility formerly operated by Fairchild-Dornier.


title: M7 Aerospace

text: On December 15, 2010, M7 was purchased by the United States subsidiary of the Israeli defense contractor Elbit Systems. The price of M7's acquisition was $85 million in cash.


title: M7 Aerospace

text: In 2019, M7 received a $22 million contract from Support Systems Associates, Inc. (SSAI) to provide avionics upgrades to the US Air National Guard's RC-26B aircraft, with SSAI having received a contract to upgrade the same systems for $31 million from the United States Department of Defense the previous year. M7 is the original equipment manufacturer for the RC-26Bs. Two years prior, M7 received a $176 million contract from DynCorp to provide maintenance work related to the US Army's fleet of C-26s and C-35s.


title: Paris Masters

text: The Paris Masters is an annual tennis tournament for male professional players held in Paris, France. It is played indoors at the AccorHotels Arena, in the neighborhood of Bercy.


title: Paris Masters

text: The event is part of the ATP Tour Masters 1000 on the Association of Tennis Professionals (ATP) Tour.


title: Paris Masters

text: The tournament evolved from the French Covered Court Championships. In the open era it was held at the Stade Pierre de Coubertin until 1982. In 1989 it was upgraded to become one of the Grand Prix Tour (Grand Prix Super Series). The event is usually the final tournament on the tour before the season-ending ATP Finals. Because of its sponsorship, the event was officially known from 2003 to 2016 as BNP Paribas Masters, and from 2017 as the Rolex Paris Masters. Prior to the Tennis Masters Series replacing the ATP Super 9 in 2000, the event was known as the Paris Open. It is also often referred to as the Paris Indoor event in reference to both the facts that the other tennis event held in Paris, the French Open is held outdoors, and that since 2009, it is the only Masters 1000 tournament which is played indoors. From 1970 until 1986 there had usually been three indoor events amongst the top nine tournaments (then called the Grand Prix Championship Series), with there being four indoor events plus the year-end Championships from 1978 to 1980. From 1987 until 2008 there were two indoor tournaments at the Masters level.


title: Paris Masters

text: The surface used to be one of the fastest courts in the world which rewarded bold attacking tennis, but since 2011 it has followed the general slow-down of most courts on the tour. Paris Masters was played on carpet courts between 1990 and 1999 and 2001 until 2007.


title: Paris Masters

text: Ilie Năstase, Andre Agassi, Roger Federer and Novak Djokovic are the only players ever to have won both Parisian tournaments (Bercy and the French Open). Djokovic won Bercy in 2009, 2013–15, 2019, 2021 and the French Open in 2016, 2021, Federer won the French Open in 2009 and Bercy in 2011 and Andre Agassi won Bercy in 1994 and both in 1999 as did Ilie Năstase in 1973. In 2015, Marcelo Melo and Ivan Dodig won the doubles events at both tournaments. To date, Novak Djokovic is the only player who has successfully defended his title in Paris (2013–15).


title: Julia gens

text: The gens Julia ("gēns Iūlia", ) was one of the most prominent patrician families in ancient Rome. Members of the gens attained the highest dignities of the state in the earliest times of the Republic. The first of the family to obtain the consulship was Gaius Julius Iulus in 489 BC. The gens is perhaps best known, however, for Gaius Julius Caesar, the dictator and grand uncle of the emperor Augustus, through whom the name was passed to the so-called Julio-Claudian dynasty of the first century AD. The Julius became very common in imperial times, as the descendants of persons enrolled as citizens under the early emperors began to make their mark in history.


title: Julia gens

text: The Julii were of Alban origin, mentioned as one of the leading Alban houses, which Tullus Hostilius removed to Rome upon the destruction of Alba Longa. The Julii also existed at an early period at Bovillae, evidenced by a very ancient inscription on an altar in the theatre of that town, which speaks of their offering sacrifices according to the "lege Albana", or Alban rites. Their connection with Bovillae is also implied by the , or chapel, which the emperor Tiberius dedicated to the "gens Julia" in the town, and in which he placed the statue of Augustus. Some of the Julii may have settled at Bovillae after the fall of Alba Longa.


title: Julia gens

text: As it became the fashion in the later times of the Republic to claim a divine origin for the most distinguished of the Roman gentes, it was contended that Iulus, the mythical ancestor of the race, was the same as Ascanius, the son of Aeneas, and founder of Alba Longa. Aeneas was, in turn, the son of Venus and Anchises. In order to prove the identity of Ascanius and Iulus, recourse was had to etymology, some specimens of which the reader curious in such matters will find in Servius. Other traditions held that Iulus was the son of Aeneas by his Trojan wife, Creusa, while Ascanius was the son of Aeneas and Lavinia, daughter of Latinus.


title: Julia gens

text: The dictator Caesar frequently alluded to the divine origin of his race, as, for instance, in the funeral oration which he pronounced when quaestor over his aunt Julia, and in giving "Venus Genetrix" as the word to his soldiers at the battles of Pharsalus and Munda; and subsequent writers and poets were ready enough to fall in with a belief which flattered the pride and exalted the origin of the imperial family.


title: Julia gens

text: Though it would seem that the Julii first came to Rome in the reign of Tullus Hostilius, the name occurs in Roman legend as early as the time of Romulus. It was Proculus Julius who was said to have informed the sorrowing Roman people, after the strange departure of Romulus from the world, that their king had descended from heaven and appeared to him, bidding him tell the people to honor him in future as a god, under the name of Quirinus. Some modern critics have inferred from this, that a few of the Julii might have settled in Rome in the reign of the first king; but considering the entirely fabulous nature of the tale, and the circumstance that the celebrity of the Julia gens in later times would easily lead to its connection with the earliest times of Roman story, no historical argument can be drawn from the mere name occurring in this legend.


title: Julia gens

text: In the later Empire, the distinction between praenomen, nomen, and cognomen was gradually lost, and "Julius" was treated much like a personal name, which it ultimately became. The Latin form is common in many languages, but other familiar forms exist, including "Giulio" (Italian), "Julio" (Spanish), "Jules" (French), "Júlio" (Portuguese), "Iuliu" (Romanian) and "Юлий" ("Yuliy", Bulgarian and Russian).


title: Julia gens

text: The Julii of the Republic used the praenomina "Lucius, Gaius, and Sextus". There are also instances of "Vopiscus" and "Spurius" in the early generations of the family. The earliest of the Julii appearing in legend bore the praenomen "Proculus", and it is possible that this name was used by some of the early Julii, although no later examples are known. In the later Republic and imperial times, "Vopiscus" and "Proculus" were generally used as personal cognomina.


title: Julia gens

text: The gens was always said to have descended from and been named after a mythical personage named "Iulus" or "Iullus", even before he was asserted to be the son of Aeneas; and it is entirely possible that "Iulus" was an ancient praenomen, which had fallen out of use by the early Republic, and was preserved as a cognomen by the eldest branch of the Julii. The name was later revived as a praenomen by Marcus Antonius, the triumvir, who had a son named "Iulus". Classical Latin did not distinguish between the letters "I" and "J", which were both written with "I", and for this reason the name is sometimes written "Julus", just as "Julius" is also written "Iulius".


title: Julia gens

text: The many Julii of imperial times, who were not descended from the gens Julia, did not limit themselves to the praenomina of that family. The imperial family set the example by freely mingling the praenomina of the Julii with those of the gens Claudia, using titles and cognomina as praenomina, and regularly changing their praenomina to reflect the political winds of the empire.


title: Julia gens

text: The family-names of the Julii in the time of the Republic are "Caesar", "Iulus", "Mento", and "Libo", of which the first three are undoubtedly patrician; but the only families which were particularly celebrated were those of "Iulus" and "Caesar", the former at the beginning and the latter in the last century of the Republic. On coins the only names found are "Caesar" and "Bursio", the latter of which does not occur in ancient writers.


title: Julia gens

text: Due to the activity of Julius Caesar in Gaul over many years, a number of natives of the Gallic provinces adopted "Julius" as their gentilicum, and have no other connection to the Republican Julii. Examples of their descendants include Julius Florus, and Gaius Julius Civilis. Other Julii are descended from the numerous freedmen, and it may have been assumed by some out of vanity and ostentation.


title: Julia gens

text: "Iullus", also written as "Iulus" and "Jullus", was the surname of the eldest branch of the Julii to appear in Roman history. The gens claimed descent from Iulus, who was in some manner connected with Aeneas, although the traditions differed with respect to the details.


title: Julia gens

text: In some accounts, Iulus was the son of Aeneas and Creüsa, who came to Latium from the ruins of Troy, together with his father and others seeking a land in which to settle. In others, Ascanius was the son of Creüsa, while Iulus was the son of Lavinia, daughter of Latinus, the king of Latium with whom Aeneas made peace after landing in Italy. In still different accounts, Iulus was the son not of Aeneas, but of Ascanius.


title: Julia gens

text: Perhaps an indigenous origin of the name is suggested by the "De Origo Gentis Romanae" of Aurelius Victor, in which Iulus and Ascanius are identical. Described as the son of Jupiter, he was originally known as "Jobus", and then "Julus". This calls to mind the use of "Jove" for Jupiter, and the "Dictionary of Greek and Roman Biography and Mythology" suggests that "Iulus" might be a diminutive of "Dius", which is also the root of "Jupiter". Furthermore, Livy reports that after his death Aeneas was worshiped as "Jupiter Indiges", "the local Jove". This suggests the early fusion of the Aeneas story with a local cult hero, said to have been the son of Jupiter.


title: Julia gens

text: Irrespective of the historicity of the Iulus of Roman myth, there is little reason to doubt that "Iullus" was an ancient personal name, perhaps even a praenomen, and that "Julius" is a patronymic surname built upon it. "Iullus" seems to be the original and better attested spelling, although the trisyllabic form "Iulus" became common after Vergil introduced it in his "Aeneid".


title: Julia gens

text: During the century and a half between the last records of the Julii Iuli and the first appearance of the Julii Caesares, we encounter a Lucius Julius Libo, consul in BC 267. His surname Chase translates as "sprinkler", deriving it from "libare", and suggests that it might originally have signified the libation pourer at religious ceremonies. It is not certain whether the name was personal, or whether the consul inherited it from his father and grandfather, of whom all we know is that they were named Lucius. Some scholars have supposed that Libo was descended from the Julii Iuli, and that Lucius, the father of Sextus Julius Caesar, was his son; but the evidence is very slight.


title: Julia gens

text: It is uncertain which member of the Julia gens first obtained the surname of "Caesar", but the first who occurs in history is Sextus Julius Caesar, praetor in BC 208. The origin of the name is equally uncertain. Spartianus, in his life of Aelius Verus, mentions four different opinions respecting its origin:


title: Julia gens

text: Of these opinions, the third, which is also given by Festus, seems to come nearest the truth. "Caesar" and "caesaries" are both probably connected with the Sanskrit "kêsa", "hair", and it is quite in accordance with the Roman custom for a surname to be given to an individual from some peculiarity in his personal appearance. The second opinion, which seems to have been the most popular one with the ancient writers, arose without doubt from a false etymology. With respect to the first, which was the one adopted, says Spartianus, by the most learned men, it is impossible to disprove it absolutely, as we know next to nothing of the ancient Moorish language; but it has no inherent probability in it; and the statement of Servius is undoubtedly false, that the grandfather of the dictator obtained the surname on account of killing an elephant with his own hand in Africa, as there were several of the Julii with this name before his time.


title: Julia gens

text: An inquiry into the etymology of this name is of some interest, as no other name has ever obtained such celebrity — ""clarum et duraturum cum aeternitate mundi nomen."" It was assumed by Augustus as the adopted son of the dictator, and was by Augustus handed down to his adopted son Tiberius. It continued to be used by Caligula, Claudius, and Nero, as members either by adoption or female descent of Caesar's family; but though the family became extinct with Nero, succeeding emperors still retained it as part of their titles, and it was the practice to prefix it to their own name, as for instance, "Imperator Caesar Domitianus Augustus". When Hadrian adopted Aelius Verus, he allowed the latter to take the title of "Caesar"; and from this time, though the title of "Augustus" continued to be confined to the reigning prince, that of "Caesar" was also granted to the second person in the state and the heir presumptive to the throne.


title: Samoa Time Zone

text: The Samoa Time Zone or Samoa Standard Time (SST) observes standard time by subtracting eleven hours from Coordinated Universal Time (). The clock time in this zone is based on the mean solar time of the 165th meridian west of the Greenwich Observatory.


title: Samoa Time Zone

text: The zone includes the U.S. territory of American Samoa, as well as the Midway Islands and the uninhabited islands of Jarvis, Palmyra, and Kingman Reef. It also includes the country of Niue.


title: Samoa Time Zone

text: The zone is one hour behind Hawaii-Aleutian Time Zone and one hour ahead of the , and 23 hours behind Wake Island Time Zone.


title: Samoa Time Zone

text: The nation of Samoa also observed the same time as the Samoa Time Zone until it moved across the International Date Line at the end of 29 December 2011; it is now 24 hours (25 hours in southern hemisphere summer) ahead of American Samoa.


title: Zhu Zhu

text: Zhu Zhu (; born 19 July 1984) is a Chinese actress and singer. She rose to fame as a VJ on MTV China.


title: Zhu Zhu

text: Zhu was born in a military family in Beijing on July 19, 1984, with her ancestral home in Linhai, Zhejiang, the daughter of Zhu Hanbin (), a Chinese businessman. Her grandfather Zhu Xuzhi (1912–2000) was a major general of the People's Liberation Army.


title: Zhu Zhu

text: Zhu started to learn the piano at the age of 3. When she was a junior school student, she performed "Beauty and the Beast", an English stage.


title: Zhu Zhu

text: Zhu graduated from Beijing Technology and Business University, where she majored in electronics and information engineering.


title: Zhu Zhu

text: On March 18, 2021 Zhu married Wang Yunjia, a lecturer at Tsinghua University's Fine Art Department. They announced the birth of their first child, a daughter named Pearl, on September 2, 2021.


title: Zhu Zhu

text: In 2005, Zhu joined "MTV China" and hosted music programs on China's domestic MTV network. Zhu was discovered by talent scouts after winning a local singing contest in Beijing, then placing third at the national level.


title: Zhu Zhu

text: In 2010, Zhu made her film debut in "What Women Want", a Chinese romantic comedy film starring Andy Lau and Gong Li.


title: Zhu Zhu

text: In 2012, Zhu played the character Chi Chi in an American martial arts film "The Man with the Iron Fists", alongside RZA, Russell Crowe, Cung Le, Lucy Liu, Byron Mann, Rick Yune, Dave Bautista, and Jamie Chung. The film grossed million on its first day.


title: Zhu Zhu

text: In 2012, Zhu participated in five films, such as "Shanghai Calling", "Secret Sharer", and "Cloud Atlas".


title: Zhu Zhu

text: In 2014, Zhu starred in a supporting role in the romantic comedy film "The Old Cinderella", produced by Lu Chuan.


title: Zhu Zhu

text: In 2014, Zhu played the female lead in the film "Last Flight", opposite Ed Westwick and featuring Leon Lee and Cary Alexander.


title: Zhu Zhu

text: In 2014, Zhu began starring in the American TV series "Marco Polo" which premiered on Netflix in December 2014.


title: Zhu Zhu

text: In 2016, Zhu signed on for a Bollywood historical war drama film Tubelight, opposite Salman Khan. The film is directed by Kabir Khan and was released on Eid 2017. It was the first time that she was in Bollywood. She reached Mumbai on 3 August 2016 to learn Hindi as soon as possible.


title: Hat Yai

text: Hat Yai (, , also Haad Yai or Had Yai) is a city in southern Thailand near the Malaysian border. It is south of Bangkok, and has a population of 156,802 (2019) in the city itself and an urban population of about 400,000 (2021) in the entire district of Amphoe Hat Yai. Hat Yai is the largest city of Songkhla province and is part of the Greater Hat Yai-Songkhla Metropolitan Area (a conurbation with a population of about 800,000), forming the largest metropolitan area in the south, and the third largest metropolitan area of the country. The city is often mistaken for being the provincial capital. In fact, Songkhla is the capital and the center of administration and culture while Hat Yai is the business center.


title: Hat Yai

text: Originally named Khok Samet Chun (โคกเสม็ดชุน, "shore eugenia knoll"), Hat Yai was a small village until the southern railway was built there, making it one of the major rail hubs of the line. The junction which connected the town of Songkhla with the main route was formerly in the U Tapao area, but was later moved to Khok Samet Chun in 1922 when the U Tapao area turned out to be flood-prone. At that time, Khok Samet Chun had only four residents, but thanks to the investments of Khun Niphat Chinnakorn (謝枢泗, Jia Gi Si, 1886–1972, Hakka Chinese), the railway contractor for the railway line from Nakhon Si Thammarat to Pattani, it quickly grew into a small town.


title: Hat Yai

text: In 1928, Hat Yai was made a community ("chumchon"), which was upgraded to a sanitary district ("sukhaphiban") on December 11, 1935. It covered an area of , and was administered by the first mayor, Udom Bunlong. In 1938, the municipal administration building was completed. On March 16, 1949, Hat Yai was granted town status ("thesaban mueang"). On May 10, 1961, the area covered by the municipality was increased to . As a result of the town's continuing growth, on August 13, 1968, a larger, new municipal administration building was opened. On April 24, 1977, the total area of the municipality was enlarged for the second time to . Finally, in 1995, the town was upgraded to city status ("thesaban nakhon"). There are a total of 102 communities ("chumchon"), divided into 4 zones.


title: Hat Yai

text: The name "Hat Yai" is a short version of "mahat yai", meaning big mahat () tree, a relative of jackfruits in genus "Artocarpus".


title: Hat Yai

text: As the major economic center of lower southern Thailand, Hat Yai has increasingly become a target of terrorism in the separatist campaign conducted by the Patani United Liberation Organisation and similar radical groups.


title: Hat Yai

text: On April 3, 2005, bomb attacks were carried out at a Carrefour Hypermarket and Hat Yai International Airport, killing two and injuring dozens.


title: Hat Yai

text: On September 16, 2006, a series of bomb attacks killed four and injured more than 70. Although no group has claimed responsibility, local separatists are presumed to be responsible.


title: Hat Yai

text: On March 31, 2012, a car bomb exploded in the Lee Gardens Plaza Hotel, killing at least 5 and injuring hundreds. Both Thai nationals and Malaysian tourists were among the victims. The Royal Thai Army believes that members of the Barisan Revolusi Nasional (BRN)


title: Hat Yai

text: On May 6, 2014, two bombs exploded in front of a convenience store and a police station, injuring 9 people.


title: Hat Yai

text: Hat Yai Junction has become the transportation hub of southern Thailand since the railway was constructed. One of the largest railway stations in the south, Hat Yai Railway Station is an international railway station which handles 28 passenger trains per day, including 26 trains served by State Railway of Thailand and 2 trains served by KTMB of Malaysia. Hat Yai is also the hub for local train services in southern Thailand.


title: Hat Yai

text: Parallel to the railway line is the Asian highway 2. Asian highway 18 originates in Hat Yai and runs south along the east coast of the Malay peninsula.


title: Hat Yai

text: Hat Yai Bus Terminal is a major transport hub in southern Thailand. It offers bus services that link Hat Yai with nearly every town and city in the southern region as well as other destinations, including Bangkok and Nakhon Ratchasima. Hat Yai also has a minibus terminal which hosts the largest minibus service in southern Thailand. There are also several private minibus services which focus on tourist destinations, including Phuket, Ko Samui, Ko Pha Ngan, Pak Bara Peer in Satun (a gateway to the islands in the southern Andaman Sea), Langkawi, Penang, Kuala Lumpur, and Singapore. The minibus service has gained popularity in recent years as minibuses are considered a faster way to travel.


title: Hat Yai

text: Hat Yai International Airport (upgraded to an international airport December 1972) is 9 km from downtown, serving destinations throughout Thailand and connecting the city to Kuala Lumpur and Singapore. It is also an important airport for Muslims on pilgrimage to Mecca. The airport is listed as Thailand's fifth busiest airport, serving 4,256,107 passengers in 2018.


title: Hat Yai

text: There are two main hospitals in Hat Yai. Hatyai Hospital is operated by the Ministry of Public Health, while Songklanagarind Hospital is a university hospital operated by the Faculty of Medicine, Prince of Songkla University.


title: Hat Yai

text: Demographically, Hat Yai is notable for a higher proportion of Thai Malays and Thai Chinese citizens than other cities of comparable size in other regions of Thailand. The main languages spoken in Hat Yai are Southern Thai dialect and varieties of Songkhla Malay. The population of Hat Yai was 156,802 as of 2019, ranked fourth in the country after Bangkok, Nonthaburi, and Pak Kret.


title: Hat Yai

text: Prince of Songkla University is the oldest and largest university in southern Thailand. The main campus is near Hat Yai downtown; the campus area covers Hat Yai city and Kho Hong town. This public university is always ranked one of the top national universities. The first and the only private university in southern Thailand, Hatyai University, is also located in the urban area of Hat Yai. In addition, Ramkhamhaeng University's campus is near the international airport.


title: Hat Yai

text: Hat Yai is also home to several famous high schools, including the country's top ten, Hatyaiwittayalai School (public). Another well-known public school is Hatyaiwittayalaisomboonkulkanya School, the former branch of Hatyaiwittayalai. In addition, there are several popular private schools in greater Hat Yai, including Saengthong Vitthaya School, Thidanukhro School, and PSU Wittayanusorn School.


title: Hat Yai

text: Hat Yai has a tropical monsoon climate (Am), which is hot and humid, like other parts of Southern Thailand. Hat Yai has only two seasons; wet and dry. The wet season, which is influenced by monsoon and rain storms, is from April to December, while the sunny dry season is only from January to March. Additionally, there have been occasional floods in Hat Yai, due to the heavy rain; it can rain for twenty-two days in November with more than of precipitation.


title: Hat Yai

text: Hat Yai has a reputation for being a shopping destination for both Thais and foreigners. There are numbers of department stores, shopping malls and markets throughout the city. Suntisook Market on Nipat U-tid 1, 2 & 3 roads are among the best-known. Their main products are imported processed food, cosmetics, fabrics, gadgets and electrical appliances. The city's major wet market is located near the railway station. And another one is Kim Yong market on Supasarn Rungsan road.


title: Hat Yai

text: Kim Yong market (also Gim Yong) is a famous market located in the center of Hat Yai, Songkhla. It was established by Xi Gim Yong (徐金榮), a Chinese man who was an influential businessman, in 1928. The market is divided into 2 parts. The first part is a 2-floor building previously called the “Chaloemthai” cinema. The second part is an outdoor market, alongside the road.


title: Hat Yai

text: The goods in this market are varied and each part of the market is different. On the first floor of the building, there are fresh foods, such as vegetables, meats, certain seafood, groceries, clothes, snacks, and dry foodstuffs. It is well known that Kim Yong Market has many kinds of dry foodstuffs from China and snacks like chocolates and chips from Malaysia. On the second floor, there are electric appliances which are made in Thailand and China. All of these imported goods are inexpensive because they are tax-free. Outside of the building, many shops and stalls can be found along small streets. Most of the shops sell batiks from Indonesia and Muslim clothes while the majority of stalls sell foods and fruits. Moreover, chestnut is another popular product, which visitors prefer to buy. You can notice chestnut stalls easily by the man who roasts the chestnut and by the smell.


title: Hat Yai

text: Because of the variety of goods in this market, it is able to attract a large number of people, not only local people but also foreigners and travelers. By noticing a lot of shopping bags in their hands and the excitement on their faces, it is not a surprise that this market is considered as the main artery which nourishes the city's economy.


title: Hat Yai

text: The city has two large weekend markets, namely Asian Trade and Greenway, which are both located on Kanchanavanit Road. They mainly sell second-hand products, including clothes, shoes, decor and souvenirs. In addition, there are several large shopping centers in the city, including Diana, Odean, Robinson, Central, Siam Nakharin, Big C, Big C Extra, Tesco Lotus and Makro. By the end of 2013, Central Festival, one of the largest shopping centers in Southern Thailand.


title: Hat Yai

text: An important Buddhist temple is Hat Yai Nai Temple or Wat Hat Yai Nai. It is home to the third largest reclining statue on the planet. People travel from all over Thailand just to pay respect to this statue.


title: Hat Yai

text: Held on the first night of October, Chak Phra is a Buddhist festival specific to the south of Thailand. It is celebrated with Buddha boat processions or sports events like a run up Khao Tang Kuan hill. In September or October at the Chinese Lunar festival, the Thai and Chinese present their offerings to the moon, "queen of the heavens", in gratitude for past and future fortunes.


title: Hat Yai

text: Hat Yai is also well known for its spectacular celebrations of the Chinese New Year festival. Although Thai elements have been incorporated (for example, Thai pop stars have been invited to perform), the celebration remains distinctively Chinese. “Despite being several generations removed from Hat Yai's original Chinese pioneers, the New Year celebration provides strong evidence that the community is still influenced by and strongly identifies with its Chinese roots.


title: Chair of Saint Peter

text: The Chair of Saint Peter (), also known as the Throne of Saint Peter, is a relic conserved in St. Peter's Basilica in Vatican City, the sovereign enclave of the Pope inside Rome, Italy. The relic is a wooden throne that tradition claims belonged to the Apostle Saint Peter, the leader of the Early Christians in Rome and first Pope, and which he used as Bishop of Rome. The relic is enclosed in a sculpted gilt bronze casing designed by Gian Lorenzo Bernini and constructed between 1647 and 1653. In 2012, Pope Benedict XVI described the chair as "a symbol of the special mission of Peter and his Successors to tend Christ’s flock, keeping it united in faith and in charity."


title: Chair of Saint Peter

text: The wooden throne was a gift from Emperor of the Romans Charles the Bald to Pope John VIII in 875. It has been studied many times over the years, most recently between 1968 and 1974, when it was last removed from the Bernini altar. That study concluded that it was not a double, but a single chair, with a covering, and that no part of the chair dated earlier than the sixth century.


title: Chair of Saint Peter

text: The relic itself is described as an oaken chair damaged by cuts and worms. The Chair has metal rings attached to each side, allowing use as a "sedia gestatoria". The back and front of the chair are trimmed with carved ivory. This description comes from 1867, when the relic was photographed and displayed for veneration.


title: Chair of Saint Peter

text: The reliquary, like many of the medieval period, takes the form of the relic it protects, i.e. the form of a chair. Symbolically, the chair Bernini designed had no earthly counterpart in actual contemporary furnishings. It is formed entirely of scrolling members, enclosing a coved panel where the upholstery pattern is rendered as a low relief of Christ instructing Peter to tend to His sheep. Large angelic figures flank an openwork panel beneath a highly realistic bronze seat cushion, vividly empty: the relic is encased within.


title: Chair of Saint Peter

text: The cathedra is lofted on splayed scrolling bars that appear to be effortlessly supported by four over-lifesize bronze Doctors of the Church: Western doctors Saint Ambrose and Saint Augustine of Hippo on the outsides, wearing miters, and Eastern doctors Saint John Chrysostom and Saint Athanasius on the insides, both bare-headed. The cathedra appears to hover over the altar in the basilica's apse, lit by a central tinted window through which light streams, illuminating the gilded glory of sunrays and sculpted clouds that surrounds the window. Like Bernini's "Ecstasy of Saint Theresa", this is a definitive fusion of the Baroque arts, unifying sculpture and richly polychrome architecture and manipulating effects of light.


title: Chair of Saint Peter

text: Above, on the golden background of the frieze, is the Latin inscription: " (O Shepherd of the Church, you feed all Christ's lambs and sheep). On the right is the same writing in Greek, "ΣΥ ΒΟΣΚΕΙΣ ΤΑ ΑΡΝΙΑ, ΣΥ ΠΟΙΜΑΙΝΕΙΣ ΤΑ ΠΡΟΒΑΤΙΑ ΧΡΙΣΤΟΥ". Behind the altar is placed Bernini's monument enclosing the wooden chair, both of which are seen as symbolic of the authority of the Bishop of Rome as Vicar of Christ and successor of Saint Peter.


title: Chair of Saint Peter

text: Early martyrologies indicate that two liturgical feasts were celebrated in Rome, centuries before the time of Charles the Bald, in honour of earlier chairs associated with Saint Peter, one of which was kept in the baptismal chapel of Old St. Peter's Basilica, the other at the catacomb of Priscilla. The dates of these celebrations were January 18 and February 22. No surviving chair has been identified with either of these chairs. The feasts thus became associated with an abstract understanding of the "Chair of Peter", which by synecdoche signifies the episcopal office of the Pope as Bishop of Rome, an office considered to have been first held by Saint Peter, and thus extended to the diocese, the See of Rome.


title: Chair of Saint Peter

text: According to historian Anton de Waal, although both feasts were originally associated with Saint Peter's stay in Rome, the ninth-century form of the "Martyrologium Hieronymianum" associated the January 18 feast with his stay in Rome, and the February 22 feast with his stay at Antioch. The two feasts were included in the Tridentine Calendar with the rank of Double, which Pope Clement VIII raised in 1604 to the newly invented rank of Greater Double.


title: Chair of Saint Peter

text: In 1960 Pope John XXIII deleted the January 18 feast from the General Roman Calendar, along with seven other feast days that were duplicate feasts of a single saint or mystery. The February 22 celebration became a Second-Class Feast. This calendar was incorporated in the 1962 Roman Missal of Pope John XXIII, whose continued use Pope Benedict XVI authorized under the conditions indicated in his "motu proprio" "Summorum Pontificum". Traditionalist Catholics who use older calendars continue to celebrate both feast days: "Saint Peter's Chair at Rome" on January 18 and the "Chair of Saint Peter at Antioch" on February 22.


title: Chair of Saint Peter

text: In the new classification of holy days introduced in 1969, the February 22 celebration has the rank of Feast.


title: Samantha Juste

text: Samantha Juste (born Sandra Slater; 31 May 1944 – 5 February 2014) was a British model and television presenter who appeared in the mid-1960s as the "disc girl" on the BBC television programme "Top of the Pops". In 1968, she married Micky Dolenz of the Monkees. Their daughter is actress Ami Dolenz.


title: Samantha Juste

text: Sandra Slater was born in Manchester, England, to a dressmaker named Phyllis, and studied textile and dress design at Rochdale College of Art. The tall, long-legged blonde soon became a teenage model and took the name Samantha Juste.


title: Samantha Juste

text: "Top of the Pops" was a weekly half-hour programme of current popular music, initially conceived and produced by Johnnie Stewart. It was first broadcast from Dickenson Road Studios, a converted church in Rusholme, Manchester, on 1 January 1964. Samantha Juste was assistant to Cecil Korer, the programme's assistant producer.


title: Samantha Juste

text: After the first few episodes, Juste replaced Denise Sampey. For three-and-a-half years, she sat alongside the host – initially disc jockeys Jimmy Savile, David Jacobs, Alan Freeman and Pete Murray – to place records on a turntable and apply the stylus as the artist was about to perform. Simon Dee, who first introduced the show in 1966, recalled that "I got my introduction right [and] didn't get too distracted by the luscious Samantha Juste, my lovely co-host".


title: Samantha Juste

text: Some viewers found Juste's ritual incongruous, since the artists were ostensibly there to perform. However, they were miming, something of which the BBC made little secret. On one occasion, a record by The Swinging Blue Jeans was played at the wrong speed.


title: Samantha Juste

text: Juste appeared briefly in the 1965 Swinging London film "The Knack ...and How to Get It", directed by Richard Lester, and also released a single the following year. She was one of two British women signed to Strike Records – whose first single and only "hit", Neil Christian's "That's Nice", was issued in February 1966 – and its subsidiary Go. (The other was Jacki Bond, a secretary with Strike, who like Juste, had little musical experience.)


title: Samantha Juste

text: Juste performed "No One Needs My Love Today", written by Phil Phillips, on "Top of the Pops" on 24 November 1966. The record was produced by Miki Dallon. The backing music was provided by an orchestra conducted by Ken Woodman, who had worked with Chris Andrews and Sandie Shaw, and is best known for "Town Talk", which became the theme tune of "The Jimmy Young Show" when BBC Radio 1 launched in 1967. "No One Needs My Love Today" was not a hit, but it was featured as a climber by the offshore "pirate" station Radio London in the week beginning 20 November 1966. One critic commented that "any vocal shortcomings on this single are outweighed by her charming delivery". Both "No One Needs My Love Today" and its B-side, Pierre Tubbs' "If Trees Could Talk", were available on compilation discs and to download forty years later.


title: Samantha Juste

text: During "Top of the Pops", Juste met artists who contributed to the British rock boom of the mid-1960s. In January 1967, the American group The Monkees, formed for an eponymous television series, reached the top of the British charts with "I'm a Believer", written by Neil Diamond. The drummer Micky Dolenz (b. 1945) recalled (in the third person) that he spotted Juste as he passed a studio cafeteria:She is tall, blond[e], beautiful, and wearing an emerald green outfit that ends up in a short skirt (very short) which tops off her unbelievably gorgeous legs ... She holds his glance briefly then looks quickly away with that haughty sophistication that only the British can do so well.


title: Samantha Juste

text: Juste and Dolenz began a relationship, prompting such headlines as "Samantha traps Monkee" and "Pops girl goes ape". Dolenz appears not to have realised that Juste was a celebrity and the publicity took him by surprise. "Monkeemania" was such that some of the Monkees' female fans resented Juste – "she even showed up one day with ink stains on the emerald green dress" – and Dolenz claimed the couple spent a week in her London flat. For much of 1967, Juste and Dolenz spent time together in England and the US. Ric Klein, Dolenz's friend and best man at his wedding, described a holiday with him in England, during which Juste acted as "permanent guide", travelling with them to Stratford-upon-Avon in a rented Triumph car. Then, a few days later, savouring "Swinging" London:Micky and I went to the Carlton Towers to see Samantha Juste in a fashion show and she looked outasite. After the show, we took off for Carnaby Street again and we went crazy buying clothes ... Micky really dug all the clothes at Biba's and Susan Lockes and practically bought out the stores. He also bought a dress for Samantha. It was the same dress that Sam wore in the fashion show and it looked fantastic on her.


title: Samantha Juste

text: Juste wrote articles for the teenage magazine "16" about her time with the Monkees. She gave up "Top of the Pops" and moved with Dolenz to California, where they lived in Laurel Canyon in the Hollywood Hills. In June 1967, they attended the Monterey Pop Festival.


title: Samantha Juste

text: Peter Tork [of the Monkees] and Micky turned up at the pop fest in Monterey, Peter acting as one of the emcees [masters of ceremony], Micky wandering around the grounds dressed as an Indian with a lovely British [woman], Samantha Juste, at his side.


title: Samantha Juste

text: Juste and Dolenz were married in July 1968. Dolenz's stepfather, Dr. Robert Scott, officiated. The couple's daughter, Ami Bluebell Dolenz, became an actress. Dolenz and Juste hosted parties attended by musicians and celebrities; Ringo Starr of the Beatles once dubbed Juste "Earth Mother" for her having made him a chip butty and eggs when he arrived after a "rip-roaring all-nighter". Their friend, the songwriter Harry Nilsson, invited Dolenz and Juste to travel with him to Ireland to lend credibility (in Dolenz's words, "Samantha maybe ... but me?") when he met the parents of a woman he thought he might marry. Juste's father, Leslie Slater, helped Dolenz construct a studio used for "jam" sessions by John Lennon, Brian Wilson and Alice Cooper.


title: Samantha Juste

text: The Monkees disbanded in 1971, and Dolenz's self-indulgence took its toll on his marriage. Juste and Dolenz divorced in 1975, Juste retaining custody of their daughter, although they were reconciled as friends by the early 1990s. In 2002, Juste was photographed with Dolenz at Ami's wedding in Beverly Hills to actor and martial artist Jerry Trimble.


title: Samantha Juste

text: While in California, Juste began her own fashion business, which she moved to Acapulco, Mexico, in 1976. She taught design in Ireland, then returned to the United States, where she and her daughter, Ami, began an online jewellery business, Bluebell Boutique.


title: Samantha Juste

text: Juste suffered a stroke in her sleep on 2 February 2014 and died on 5 February 2014 in Los Angeles, California.


title: Empire Falls (miniseries)

text: Empire Falls is a two-part American television miniseries that aired on HBO in the spring of 2005. It is based on the 2001 novel by Richard Russo. The miniseries was nominated for and won multiple awards, including various Primetime Emmy Awards and Golden Globe Awards. It is directed by Fred Schepisi.


title: Empire Falls (miniseries)

text: Set in the small, decaying, nearly bankrupt town of Empire Falls, Maine, this is the story of Miles Roby, the unassuming manager of the Empire Grill, who has spent his entire life in the town.


title: Empire Falls (miniseries)

text: He has an ex-wife, Janine, who has become a cocky, selfish bachelorette after losing weight and exercising rigorously. This is partly due to encouragement from Walt Comeau, an antagonistic fitness center owner who visits the Empire Grill every day and has moved into Roby's old house by this point.


title: Empire Falls (miniseries)

text: Roby also has a loving teenage daughter, nicknamed "Tick", who is dealing with Zack Minty, her cruel ex-boyfriend, plus an emotional conflict over her mother's engagement to Walt, whom Tick despises. In addition, she has a complicated friendship with John Voss, an emotionally disturbed boy at school whose hard-luck story is known all too well around town. The obnoxious jock Zack and his friends constantly bully John.


title: Empire Falls (miniseries)

text: Other important people in Miles' life include Max, his grubby ne'er-do-well father, a rascal who can't resist a handout when it comes his way; David, Miles' reformed marijuana smoking brother, who is a talented Empire Grill cook; Bea, Miles' good-hearted ex-mother-in-law, who owns a bar; the town's wealthiest woman, a condescending matron who owns the Empire Grill; that woman's daughter, who has loved Miles for many years; an attractive waitress; a retiring police chief; and a dimwitted police officer, Jimmy Minty, who is Zack's father and has known Miles since childhood.


title: Empire Falls (miniseries)

text: Miles is plagued by flashbacks of his family when he was a child, including a mysterious affair between his mother and a suitor, the details of which might answer some questions Miles has had his entire life.


title: Break key

text: The Break key (or the symbol ⎉) of a computer keyboard refers to breaking a telegraph circuit and originated with 19th century practice. In modern usage, the key has no well-defined purpose, but while this is the case, it can be used by software for miscellaneous tasks, such as to switch between multiple login sessions, to terminate a program, or to interrupt a modem connection.


title: Break key

text: Because the break function is usually combined with the pause function on one key since the introduction of the IBM Model M 101-key keyboard in 1985, the Break key is also called the Pause key. It can be used to pause some computer games.


title: Break key

text: A standard telegraph circuit connects all the keys, sounders and batteries in a single series loop. Thus the sounders actuate only when both keys are down (closed, also known as "marking" — after the ink marks made on paper tape by early printing telegraphs). So the receiving operator has to hold their key down or close a built-in shorting switch in order to let the other operator send. As a consequence, the receiving operator could interrupt the sending operator by opening their key, breaking the circuit and forcing it into a "spacing" condition. Both sounders stop responding to the sender's keying, alerting the sender. (A physical break in the telegraph line would have the same effect.)


title: Break key

text: The teleprinter operated in a very similar fashion except that the sending station kept the loop closed (logic 1, or "marking") even during short pauses between characters. Holding down a special "break" key opened the loop, forcing it into a continuous logic 0, or "spacing", condition. When this occurred, the teleprinter mechanisms continually actuated without printing anything, as the all-0s character is the non-printing "NUL" in both Baudot and ASCII. The resulting noise got the sending operator's attention.


title: Break key

text: This practice carried over to teleprinter use on time-sharing computers. A continuous spacing (logical 0) condition violates the rule that every valid character has to end with one or more logic 1 (marking) "stop" bits. The computer (specifically the UART) recognized this as a special "break" condition and generated an interrupt that typically stopped a running program or forced the operating system to prompt for a login. Although asynchronous serial telegraphy is now rare, the key once used with terminal emulators can still be used by software for similar purposes.


title: Break key

text: On the Sinclair ZX80 and ZX81 computers, the Break is accessed by pressing . On the Sinclair ZX Spectrum it is accessed by . The Spectrum+ and later computers have a dedicated key. It does not trigger an interrupt but will halt any running BASIC program, or terminate the loading or saving of data to cassette tape. An interrupted BASIC program can usually be resumed with the codice_1 command. The Sinclair QL computer, without a key, maps the function to .


title: Break key

text: On a BBC Micro computer, the key generates a hardware reset which would normally cause a warm restart of the computer. A cold restart is triggered by pressing . If a filing system is installed, will cause the computer to search for and load or run a file called codice_2 on the filing system's default device (e.g. floppy disk 0, network user BOOT). The latter two behaviours were inherited by the successor to Acorn MOS, RISC OS. These behaviours could be changed or exchanged in software, and were often used in rudimentary anti-piracy techniques.


title: Break key

text: Because of the BBC Micro's near universal usage in British schools, later versions of the machine incorporated a physical lock on the Break key to stop children from intentionally resetting the computer.


title: Break key

text: On many modern PCs, interrupts screen output by BIOS until another key is pressed. This is effective during boot in text mode and in a DOS box in Windows safe mode with 50 lines. On early keyboards without a key (before the introduction of 101/102-key keyboards) the Pause function was assigned to , and the Break function to ; these key-combinations still work with most programs, even on modern PCs with modern keyboards. Pressing the dedicated key on 101/102-key keyboards sends the same scancodes as pressing , then , then releasing them in the reverse order would do; additionally, an E1 prefix is sent, which enables 101/102-key-aware software to discern the two situations, while older software usually just ignores the prefix. The key is different from all other keys in that it sends no scancodes at all on release in PS/2 modes 1 or 2, so it is impossible to determine whether this key is being held down with older devices. In PS/2 mode 3 or USB HID mode, there is a release scancode, so it is possible to determine whether this key is being held down on modern computers.


title: Break key

text: On modern keyboards, the key is usually labeled "Pause" with "Break" below, sometimes separated by a line: , or "Pause" on the top of the keycap and "Break" on the front, or only "Pause" without "Break" at all. In most Windows environments, the key combination brings up the system properties.


title: Break key

text: While both and combination are commonly implemented as a way of breaking the execution of a console application, they are also used for similar effect in integrated development environments. Although these two are often considered interchangeable, compilers and execution environments usually assign different signals to these. Additionally, in some kernels (e.g. miscellaneous DOS variants) is detected only at the time OS tries reading from a keyboard buffer and only if it's the only key sequence in the buffer, while is often translated instantly (e.g. by INT 1Bh under DOS). Because of this, is usually a more effective choice under these operating systems; sensitivity for these two combinations can be enhanced by the codice_3 CONFIG.SYS statement.


title: Pillar (car)

text: The pillars on a car with permanent roof body style (such as four-door sedans) are the vertical or nearly vertical supports of its window area or greenhouse—designated respectively as the "A, B, C" and (in larger cars such as 4-door station wagons and sport utility vehicles) "D-pillar," moving from front to rear, in profile view.


title: Pillar (car)

text: Car pillars are components that support the structure of an enclosed automobile body. This is similar to that of a house with pillars supporting the roof over the floor. Car pillars are designed to stand in near vertical or inclined positions to support the roof.


title: Pillar (car)

text: The consistent alphabetical designation of a car's pillars provides a common reference for design discussion and critical communication. This is used by insurance companies to identify damaged components and rescue teams employ pillar nomenclature to facilitate communication when cutting wrecked vehicles, as when using the jaws of life.


title: Pillar (car)

text: The A-pillars on each side of the windshield come up to be joined together by the header rail across the top of the windshield.


title: Pillar (car)

text: Body pillars are critical in providing strength to an automobile body. As the most costly body components to develop or re-tool, a vehicle's roof and door design are a major factor in meeting safety and crash standards. Before safety standards, pillars were typically thin. The design of body pillars has changed with regulations that provide roof crush protection. Standards in the United States were introduced in phases starting in 2009 that require enclosed passenger cars to be able to support from 1.5-times to 3.0-times the vehicle's unloaded weight on its roof while maintaining headroom (survival space) for occupants.


title: Pillar (car)

text: This has meant designing thicker roof pillars that not only provide sufficient strength, but also to incorporate padding and airbags. However, thicker A-pillars block the field of vision and create blind spots). Some designs employ slimmer, chamfered A-pillars on each side of the windshield to help improve driver vision and through the use of stronger alloy steel. The objective of this construction is to meet safety standards and offer crash protection.


title: Pillar (car)

text: One of the important design elements of modern cars is the A-pillar because its location and angle impact the shape of the front of the car and the overall shape of modern vehicles or what designers call "volume." For example, more forward positioned A-pillars provide for increased interior room and make for less angle and visual difference between the hood and windshield. This arrangement makes the side view of a car look aerodynamic. The A-pillars that are positioned further back on a vehicle are most often found on rear-wheel drive and SUV models. This arrangement provides a greater hood to windshield angle as well as achieving a bigger field of view for the driver, but at the disadvantage of encroaching on interior space.


title: Pillar (car)

text: In the case of the B (or center) pillar on four-door sedans, the pillar is typically a closed steel structure welded at the bottom to the car's rocker panel and floorpan, as well as on the top to the roof rail or panel. This pillar provides structural support for the vehicle's roof panel and is designed for latching the front door and mounting the hinges for the rear doors. As "perhaps the most complex of all the structures on the vehicle", the center or B-pillar may be a multi-layered assembly of various lengths and strengths.


title: Pillar (car)

text: Closed vehicles without a B-pillar are widely called hardtops and have been available in two- or four-door body styles, in sedan, coupe, and station wagon versions. Designs without a center or "B" pillar for roof support behind the front doors and rear side windows offer increased occupant visibility, while in turn requiring underbody strengthening to maintain structural rigidity. The need for stronger roof structures meant replacing the pillar-less designs with a rigid B-pillar such as the two-door AMC Matador line. To continue capitalizing on the popularity of the design, General Motors broadened their definition of "hardtop" during the early 1970s to include models with a B-pillar although: "up to then, everybody thought a hardtop was a car without a center pillar." The "Colonnade" mid-sized General Motors models were so named because of their pillared structure designed to new rollover protection standards, but marketers continued to advertise them like the true hardtop predecessors. By the 1980s the full-size Chrysler was the last design without a B-pillar and with opening front and rear side windows.


title: Pillar (car)

text: The C-pillar is the rearmost on two- and four-door sedans and hatchback cars and has served as an opportunity for automobile designers "to introduce a little 'design flair' to what would otherwise be a fairly nondescript side view." Most conventional C-pillars are rearward sloping, but reverse-angled have been used to differentiate their designs. Because many modern cars are similar in side view, the designs of the C-pillar have "become an area for stylistic whimsy."


title: Pillar (car)

text: Designs of the D-pillar typically found on station wagons and SUVs have also undergone a transition from function to more of a styling element. As crossover vehicles look similar, "the D-pillar is the only opportunity for any distinction."


title: Pillar (car)

text: Pillars are implied, whether they exist or not; where a design's greenhouse features a break between windows or doors without vertical support at that position, the non-existent pillar is "skipped" when naming the other pillars. Thus a two-door hardtop or a three box designed coupé could have its rearmost pillar called the C-pillar even in the absence of a B-pillar. Conversely, additional doors, such as on limousines, will create additional B-pillars; the B-pillars are then numbered, B1, B2, and so forth.


title: Pillar (car)

text: In addition to the pillar nomenclature derived from viewing an automobile in profile, some older cars have a two-part windshield or a split rear window, with the two halves separated by a pillar. Posts for quarter windows (a smaller window typically between the front window and the windshield) are not considered a named pillar.


title: David Chaum

text: David Lee Chaum (born 1955) is an American computer scientist, cryptographer, and inventor. He is known as a pioneer in cryptography and privacy-preserving technologies, and widely recognized as the inventor of digital cash. His 1982 dissertation "Computer Systems Established, Maintained, and Trusted by Mutually Suspicious Groups" is the first known proposal for a blockchain protocol. Complete with the code to implement the protocol, Chaum's dissertation proposed all but one element of the blockchain later detailed in the Bitcoin whitepaper. He has been referred to as "the father of online anonymity", and "the godfather of cryptocurrency".


title: David Chaum

text: He is also known for developing ecash, an electronic cash application that aims to preserve a user's anonymity, and inventing many cryptographic protocols like the blind signature, mix networks and the Dining cryptographers protocol. In 1995 his company DigiCash created the first digital currency with eCash. His 1981 paper, "Untraceable Electronic Mail, Return Addresses, and Digital Pseudonyms", laid the groundwork for the field of anonymous communications research.


title: David Chaum

text: Chaum is Jewish and was born to a Jewish family in Los Angeles. He gained a doctorate in computer science from the University of California, Berkeley in 1982. Also that year, he founded the International Association for Cryptologic Research (IACR), which currently organizes academic conferences in cryptography research. Subsequently, he taught at the New York University Graduate School of Business Administration and at the University of California, Santa Barbara (UCSB). He also formed a cryptography research group at CWI, the Dutch National Research Institute for Mathematics and Computer Science in Amsterdam. He founded DigiCash, an electronic cash company, in 1990.


title: David Chaum

text: Chaum received the Information Technology European Award for 1995. In 2004, he was named an IACR Fellow. In 2010, he received during the RSA Conference the RSA Award for Excellence in Mathematics. In 2019, he was awarded the honorary title of Dijkstra Fellow by CWI. He received an honorary doctorate from the University of Lugano in 2021.


title: David Chaum

text: Recently credited by Alan Sherman's "On the Origins and Variations of Blockchain Technologies", Chaum's 1982 Berkeley dissertation proposed every element of the blockchain found in Bitcoin except proof of work. The proposed vault system lays out a plan for achieving consensus state between nodes, chaining the history of consensus in blocks, and immutably time-stamping the chained data. The paper also lays out the specific code to implement such a protocol.


title: David Chaum

text: Chaum is credited as the inventor of secure digital cash for his 1983 paper, which also introduced the cryptographic primitive of a blind signature. These ideas have been described as the technical roots of the vision of the Cypherpunk movement that began in the late 1980s. Chaum's proposal allowed users to obtain digital currency from a bank and spend it in a manner that is untraceable by the bank or any other party. In 1988, he extended this idea (with Amos Fiat and Moni Naor) to allow offline transactions that enable detection of double-spending.


title: David Chaum

text: In 1990, he founded DigiCash, an electronic cash company, in Amsterdam to commercialize the ideas in his research. The first electronic payment was sent in 1994. In 1998, DigiCash filed for bankruptcy, and in 1999 Chaum sold off DigiCash and ended his involvement with the company.


title: David Chaum

text: In the same 1982 paper that proposed digital cash, Chaum introduced blind signatures. This form of digital signature blinds the content of a message before it is signed, so that the signer cannot determine the content. The resulting blind signature can be publicly verified against the original, unblinded message in the manner of a regular digital signature.


title: David Chaum

text: In 1989, he (with Hans van Antwerpen) introduced undeniable signatures. This form of digital signature uses a verification process that is interactive, so that the signatory can limit who can verify the signature. Since signers may refuse to participate in the verification process, signatures are considered valid unless a signer specifically uses a disavowal protocol to prove that a given signature was not authentic.


title: David Chaum

text: In 1991, he (with Eugene van Heyst) introduced group signatures, which allow a member of a group to anonymously sign a message on behalf of the entire group. However an appointed group manager holds the power to revoke the anonymity of any signer in the case of disputes.


title: David Chaum

text: In 1981, Chaum proposed the idea of an anonymous communication network in a paper. His proposal, called mix networks, allows a group of senders to submit an encryption of a message and its recipient to a server. Once the server has a batch of messages, it will reorder and obfuscate the messages so that only this server knows which message came from which sender. The batch is then forwarded to another server who does the same process. Eventually, the messages reach the final server where they are fully decrypted and delivered to the recipient. A mechanism to allow return messages is also proposed. Mix networks are the basis of some remailers and are the conceptual ancestor to modern anonymous web browsing tools like Tor (based on onion routing). Chaum has advocated that every router be made, effectively, a Tor node.


title: David Chaum

text: In 1988, Chaum introduced a different type of anonymous communication system called a DC-Net, which is a solution to his proposed Dining Cryptographers Problem. DC-Nets is the basis of the software tool Dissent.


title: David Chaum

text: In 2017, Chaum published a description of a new variety of mix network. A real-world implementation of this network, called cMix, later became the data transmission layer for the instant messaging platform xx messenger.


title: David Chaum

text: Chaum has made numerous contributions to secure voting systems, including the first proposal of a system that is end-to-end verifiable. This proposal, made in 1981, was given as an application of mix networks. In this system, the individual ballots of voters were kept private which anyone could verify that the tally was counted correctly. This, and other early cryptographic voting systems, assumed that voters could reliably compute values with their personal computers. In 1991, Chaum introduced SureVote which allowed voters to cast a ballot from an untrustworthy voting system, proposing a process now called "code voting" and used in remote voting systems like Remotegrity and DEMOS.


title: David Chaum

text: In 1994, Chaum introduced the first in-person voting system in which voters cast ballots electronically at a polling station and cryptographically verify that the DRE did not modify their vote (or even learn what it was). In the following years, Chaum proposed (often with others) a series a cryptographically verifiable voting systems that use conventional paper ballots: Prêt à Voter, Punchscan, and Scantegrity. The city of Takoma Park, Maryland used Scantegrity for its November, 2009 election. This was the first time a public sector election was run using any cryptographically verifiable voting system.


title: David Chaum

text: In 2011, Chaum proposed Random Sample Elections. This electoral system allows a verifiably random selection of voters, who can maintain their anonymity, to cast votes on behalf the entire electorate.


title: David Chaum

text: In 1979, Chaum proposed a mechanism for splitting a key into partial keys, a predecessor to secret sharing.


title: David Chaum

text: In 1985, Chaum proposed the original anonymous credential system, which is sometimes also referred to as a pseudonym system. This stems from the fact that the credentials of such a system are obtained from and shown to organizations using different pseudonyms which cannot be linked.


title: David Chaum

text: In 1988, Chaum with Gilles Brassard and Claude Crépeau published a paper that introduced zero-knowledge arguments, as well as a security model using information-theoretic private-channels, and also first formalized the concept of a commitment scheme.


title: David Chaum

text: 1991, with Torben Pedersen, he demonstrated a well-cited zero-knowledge proof of a DDH tuple. This proof is particularly useful as it can prove proper reencryption of an ElGamal ciphertext.


title: David Chaum

text: Chaum contributed to an important commitment scheme which is often attributed to Pedersen. In fact, Pedersen, in his 1991 paper, cites a rump session talk on an unpublished paper by Jurjen Bos and Chaum for the scheme. It appeared even earlier in a paper by Chaum, Damgard, and Jeroen van de Graaf.


title: The Golden Age of Grotesque

text: The Golden Age of Grotesque is the fifth studio album by American rock band Marilyn Manson. It was released on May 7, 2003, by Nothing and Interscope Records, and was their first album to feature former KMFDM member Tim Sköld, who joined after longtime bassist Twiggy Ramirez amicably left the group over creative differences. It was also their final studio album to feature keyboardist Madonna Wayne Gacy and guitarist John 5, who would both acrimoniously quit before the release of the band's next studio album.


title: The Golden Age of Grotesque

text: The record was produced by Marilyn Manson and Sköld, with co-production from Ben Grosse. Musically, it is less metallic than the band's earlier work, instead being more electronic and beat-driven. This was done to avoid creating music similar to nu metal, a then-predominant genre of hard rock which the vocalist considered cliché. Manson collaborated with artist Gottfried Helnwein to create several projects associated with the album, including "Doppelherz", a 25-minute surrealist short film which was released on limited edition units of the record as a bonus DVD. "The Golden Age of Grotesque" was also the title of the Manson's first art exhibition.


title: The Golden Age of Grotesque

text: The album's lyrical content is relatively straightforward, and was inspired by the swing, burlesque, cabaret and vaudeville movements of Germany's Weimar Republic-era, specifically 1920s Berlin. In an extended metaphor, Manson compares his own work to the "Entartete Kunst" banned by the Nazi regime as he attempts to examine the mindset of lunatics and children during times of crisis. Several songs incorporate elements commonly found in playground chants and nursery rhymes. "Mobscene" (stylized as "mOBSCENE") and "This Is the New Shit" were released as singles, and a controversial music video was released for "Saint" (stylized as "(s)AINT").


title: The Golden Age of Grotesque

text: The record received mixed reviews from mainstream music critics: some praised its concept and production, while others criticized its lyrics and described the album as uneven. Despite this, it was a commercial success, selling over 400,000 copies in Europe on its first week to debut at number one on "Billboard"s European Top 100 Albums. It also topped various national record charts, including Austria, Canada, Germany, Italy, Switzerland and the US "Billboard" 200. It was certified gold in many of these territories. "Mobscene" was nominated in the Best Metal Performance category at the 46th Annual Grammy Awards in 2004. The album was supported by the Grotesk Burlesk Tour.


title: The Golden Age of Grotesque

text: After the band completed work on what became their triptych of albums (2000's "Holy Wood (In the Shadow of the Valley of Death)", 1998's "Mechanical Animals" and 1996's "Antichrist Superstar"), the band was free to begin a fresh project. In late 2001, the eponymous vocalist worked with composer Marco Beltrami and former KMFDM multi-instrumentalist Tim Sköld to create an original score for the 2002 film "Resident Evil". This was the second project on which Manson collaborated with Sköld, after the band's cover of "Tainted Love", which became an international hit when released as a single from the "Not Another Teen Movie" OST in 2001. The was released in March 2002, and included a remix of "The Fight Song" created by Slipknot drummer Joey Jordison. The to "Queen of the Damned" was also released that month, which featured Manson performing lead vocals on the Jonathan Davis-composed track "Redeemer". On May 29, Sköld became an official band member when Twiggy Ramirez amicably left the group, citing creative differences.


title: The Golden Age of Grotesque

text: The album was produced by Manson, Sköld, and Ben Grosse. It was recorded at Ocean Way Recording and the band's own Doppelherz Blood Treatment Facility in Los Angeles, as well as Grosse's The Mix Room in Burbank, California. Most of the songwriting effort was shared between Tim Sköld, John 5 and Manson, with the latter describing it as the most focused record in the band's discography. During the album's early stages of development, Manson indicated that both Jordison and Canadian musician Peaches had contributed to material, although neither artist appears on the album. Several songs on the record feature backing vocals by Andrew Baines of Tennessee, a 16-year-old fan who had been diagnosed with a terminal illness. This collaboration had been facilitated by the Make-A-Wish Foundation, with Manson saying that he "wanted to make Andrew a permanent part of history, sealed up in distortion and megabytes of plastic."


title: The Golden Age of Grotesque

text: "Para-Noir" contains a distinctive guitar solo from John 5, who performed it in one take using an unfamiliar, out-of-tune guitar whilst blindfolded. "Ka-Boom Ka-Boom" was the final song composed for the record, and was written in response to criticism made by the head of the A&R division of Interscope Records, who said that the album "had no kaboom". In a 2008 interview with a now-defunct fansite, Manson claimed to have performed the majority of the keyboards and synthesizer on the album, and not the band's longtime keyboardist Madonna Wayne Gacy. According to Manson, Gacy displayed little interest in contributing creatively, and eventually detached himself from the rest of the group to such a degree that he refused to attend studio sessions when informed that recording was to begin in June 2002. As a result, Manson received musical composition credits for eleven of the fifteen tracks on the record, in addition to his usual lyrical credits.


title: The Golden Age of Grotesque

text: Musically, the album is more electronic and beat-driven than preceding releases, with reviewers commenting that its sound is at times reminiscent of KMFDM. This has been attributed to Sköld, who was a member of that band immediately prior to his arrival in Marilyn Manson. It is also not as metallic as their earlier work, with Manson explaining to MTV that he wanted to create music which was dissimilar to the nu metal being played on radio at the time. He also noted the influence of early industrial rock acts such as Ministry, Big Black and Nitzer Ebb on the material. Early twentieth-century German composer Kurt Weill was also claimed as an influence, along with the lucid dreams Manson was having during the album's production, elaborating that he would "wake up and say, 'I want to write a song that sounds like a stampeding elephant' or 'I want to write a song that sounds like a burning piano'."


title: The Golden Age of Grotesque

text: The vocalist would later describe the period surrounding "The Golden Age of Grotesque" as being one of his most creative. He was inspired by then-girlfriend, burlesque performance artist Dita Von Teese, into exploring the decadent swing, burlesque, cabaret and vaudeville movements of Germany's Weimar Republic-era, specifically 1920s Berlin. He explained to "Kerrang!" that the album's content was inspired by "the lengths that people [in pre-Nazi Germany] went to in order to live their lives to the fullest and to make their entertainment as imaginative and extreme as possible." He also found inspiration in the flamboyance of Dandyism, along with the cultural and artistic movements of Surrealism and Dadaism, the life of the Marquis de Sade, and the theater of the grotesque.


title: The Golden Age of Grotesque

text: Eschewing the lyrical depth and volume of symbolism found on "Holy Wood (In the Shadow of the Valley of Death)" (2000), the album is relatively straightforward: its lyrical content primarily deals with relationships, and, in an extended metaphor, Manson compares his own often-criticized work to the "Entartete Kunst" banned by the Nazi regime. The record utilizes the narrative mode of stream of consciousness as Manson attempts to examine the response of the human psyche during times of crisis, particularly focusing on the mindset of lunatics and children. These were of particular interest to the vocalist, as "they don't follow the rules [of society]." Several songs incorporate elements commonly found in playground chants and nursery rhymes, which Manson would "pervert into something ugly and lurid."


title: The Golden Age of Grotesque

text: Manson began his long-term collaboration with Austrian-Irish artist Gottfried Helnwein in May 2002, collaborating on several projects associated with the album. In addition to the album artwork, the pair created large-scale multi-media installation art pieces that would go on to be exhibited in various galleries throughout Europe and the United States. These were also displayed at the album's launch party at The Key Club in Los Angeles. They also worked together on the music video to lead single "Mobscene" (stylized as "mOBSCENE"), as well as images which accompanied Manson's essay for The Rock and Roll Hall of Fame and Museum. Helnwein later expressed disappointment that the latter was not selected as the album cover. Many of the images found in the album artwork were inspired by illustrations found in Mel Gordon's 2000 book "Voluptuous Panic: The Erotic World of Weimar Berlin". Concerned that Gordon might take issue with use of the book's material, Manson called Gordon, who said he could not imagine a greater compliment than a popular music album based on an academic book. "The Golden Age of Grotesque" was also the title of Manson's first art exhibition, which took place in September 2002 at the Los Angeles Contemporary Exhibitions Center.


title: The Golden Age of Grotesque

text: On February 18, 2003, Manson revealed the album's release date and track listing via the band's official website. The album was preceded by the release of its lead single, "Mobscene", which was serviced to mainstream and alternative rock radio formats on April 21. Its music video was directed by Manson and Thomas Kloss. The single was backed by a remix of the song created by The Prodigy vocalist Keith Flint. The song became one of the band's biggest worldwide hits, peaking in the top 20 of numerous national record charts, and at number one in Portugal. It peaked at number 18 on "Billboard"s Mainstream Rock Chart, making it their best-performing single on that chart since "The Dope Show" reached number 12 in 1998. The song was nominated in the Best Metal Performance category at the 46th Annual Grammy Awards in 2004, losing out to Metallica's "St. Anger".


title: The Golden Age of Grotesque

text: A series of unique launch parties titled "Grotesque Burlesque" took place in advance of the album's US release on May 13. The first of these occurred in Berlin on April 4, followed by several more shows throughout Europe. The final event took place at The Key Club in Los Angeles on May 12. These shows featured large-scale artwork by Helnwein and Manson, a burlesque performance by Von Teese, and an acoustic set from Manson backed by two female pianists. Limited edition copies of the album included a DVD entitled "Doppelherz" ("Double Heart"), a 25-minute surrealist short film directed by Manson which featured art direction by Helnwein. The film's audio consists of a repeating loop of album opener "Thaeter", accompanied by a stream-of-consciousness spoken-word recitation from Manson.


title: The Golden Age of Grotesque

text: On May 16, the band performed both "Mobscene" and "This Is the New Shit" on "Jimmy Kimmel Live!". The latter was released as the album's second single, and its music video was shot in Belgium on June 17 and featured over 100 fans. A controversial music video was independently produced for the song "Saint" (stylized as "(s)AINT"). Directed by Asia Argento and containing scenes of violence, nudity, masturbation, drug-use and self-mutilation, Interscope considered it "too graphic" and refused to be associated with the project, although it was later included on international editions of the "" bonus DVD. "NME" referred to the video as "one of the most explicit music videos ever made", and both "Time" and "SF Weekly" included it on their respective lists of the 'Most Controversial Music Videos'.


title: The Golden Age of Grotesque

text: The album was supported by the Grotesk Burlesk Tour, with Peaches performing as opening act on select dates. It began with a series of headlining shows in Europe, followed by the band's stint as one of the headlining acts at the 2003 Ozzfest. Much of the elaborate attire and clothing worn by the band on tour was tailored by French fashion designer Jean-Paul Gaultier. The stage was designed to resemble that of classic vaudeville and burlesque stage shows of the 1930s. Two female dancers would be present on stage for most of the show, and would be dressed in either vintage burlesque costumes or military uniforms and garters. They would also perform some live instrumentation, such as floor toms during "Doll-Dagga Buzz-Buzz Ziggety-Zag", and piano during "The Golden Age of Grotesque". They performed the latter whilst dressed to resemble conjoined twins. Manson would change his appearance numerous times throughout each show: he would wear elongated arms which he would swing in a marching manner as he walked along the stage, and would don blackface while wearing an Allgemeine SS-style peaked police cap or Mickey Mouse ears. The stage also utilized a series of elaborate platforms and pulpits, from atop of which he would quote random lines from "Doppelherz" between songs. The tour was set to end with five concerts featuring Marilyn Manson opening for Jane's Addiction. However, these shows were cancelled by the latter band, with Perry Farrell citing exhaustion as the reason.


title: The Golden Age of Grotesque

text: On June 30, 2003, the mutilated body of fourteen-year old schoolgirl Jodi Jones was discovered in woodland near her home in Easthouses, Scotland. The injuries sustained by Jones closely resembled those of actress Elizabeth Short, who was murdered in 1947 and was popularly referred to by media as the Black Dahlia. Jones' boyfriend, then-fifteen year old Luke Mitchell, was arrested on suspicion of her murder ten months later. During a search of his home, detectives confiscated a copy of "The Golden Age of Grotesque" containing the short film "Doppelherz". It was purchased two days after Jones' death. A ten-minute excerpt from the film, as well as several paintings by Manson depicting the Black Dahlia's mutilated body, were presented as evidence during the trial.


title: The Golden Age of Grotesque

text: Although Mitchell's defense attorney argued that Jones' injuries were inconsistent with those found in Manson's paintings, Lord Nimmo Smith said during sentencing that he did "not feel able to ignore the fact that there was a degree of resemblance between the injuries inflicted on Jodi and those shown in the Marilyn Manson paintings of Elizabeth Short that we saw. I think that you carried an image of the paintings in your memory when you killed Jodi." Mitchell was found guilty of murder and sentenced to serve a minimum of twenty years in prison. Manson later dismissed claims that his work inspired the murder, arguing instead that "the education that parents give their children and the influences they receive" plays a more direct role in violent behavior, and criticised media who attempted to "[put] the blame elsewhere."


title: The Golden Age of Grotesque

text: "The Golden Age of Grotesque" is the final studio album to feature longtime keyboardist Madonna Wayne Gacy and guitarist John 5, who would both acrimoniously quit the group over the following years. John 5's relationship with Manson had soured over the course of the Grotesk Burlesk Tour. According to John, Manson spoke to him only once during the entire tour: "It was on my birthday and he turned to me and said, 'Happy birthday, faggot'—then walked away." Manson also displayed hostility towards the guitarist on stage. During a performance of "The Beautiful People" at the 2003 Rock am Ring festival, Manson kicked and then shoved John, who appeared to respond in anger by throwing his guitar to the ground and raising his fists to Manson, before resuming the song. John 5 later revealed that the "fight" was staged, and a regular occurrence in the band's stage performance, but that night John 5 had "snapped" because his sister had recently died. Gacy, who was also the band's last remaining original member – excluding Manson – quit shortly before the recording of the band's next studio album, "Eat Me, Drink Me" (2007). He would later file a $20 million lawsuit against Marilyn Manson for unpaid "partnership proceeds", accusing the vocalist of spending money earned by the band on "sick and disturbing purchases of Nazi memorabilia and taxidermy, including the skeleton of a young Chinese girl."


title: The Golden Age of Grotesque

text: The album was released to mixed reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, it received an average score 60, based on 12 reviews, which indicates "generally mixed or average reviews". Although appearing on several publication's year-end lists for 2003, other critics considered this to be the band's weakest album, arguing that it lacked thoughtful lyrics when compared to its predecessors. It won "Metal Edge"s 2004 Readers' Choice Award for "Album of the Year".


title: The Golden Age of Grotesque

text: Several publications praised the album's concept, and for being more humorous than the band's preceding albums. Stephen Thomas Erlewine of AllMusic said: "In an era when heavy rockers have no idea what happened in the '80s, much less the '30s, it's hard not to warm to this, even if his music isn't your own personal bag." Barry McCallum of Independent Online called the album "reckless and uninhibited—but it's not all that hard to imagine Manson letting go; he's had fun here." Chronicles of Chaos also praised its concept, and went on to say that it might be one of the best albums in the band's discography. "Alternative Press" and "Q" each complimented the album's production, while "Billboard" highlighted the album's lyrical content and Manson's "diatribes on religion, sex and prejudice." Entertainment.ie called it an entertaining pop album, and summarized that "the pop world would be a much more boring place without [Marilyn Manson]—and that's what really counts."


title: The Golden Age of Grotesque

text: "PopMatters" argued that while the album has several excellent songs, it is hindered by "inane" lyrics. BBC Music also criticized its lyrics, while Chris Long of BBC Manchester argued that while Manson was capable of producing "the finest metal around", "The Golden Age of Grotesque" demonstrated him "losing his touch". Barry Walters of "Rolling Stone" called the album uneven: praising its first half but criticizing the latter portion. A writer for "Now Toronto" claimed that Manson was lapsing into self-parody, and complained the album was not heavy enough. Although E! Online praised the band for being inventive, they said the album would not win over any new fans. This sentiment was echoed by "Entertainment Weekly", who called it "inventive and powerful enough to merit intermittent attention, but ultimately crushed by the weight of its hoary pretensions."


title: The Golden Age of Grotesque

text: Industry forecasters predicted that "The Golden Age of Grotesque" was on course to become the band's second number one album on the "Billboard" 200, following 1998's "Mechanical Animals", with estimated first-week sales of around 150,000 copies. The album debuted at number one with first week sales of over 118,000 copies, at the time the lowest opening week total for a number one-debuting studio album since Nielsen SoundScan began tracking sales data in 1991. This figure was just 1,000 copies more than the first week sales of "Holy Wood", which debuted at number thirteen in November 2000. Sales of the album dipped to 45,000 copies on its second week, resulting in a positional drop on the "Billboard" 200 to number 21. This broke the record previously held by Nine Inch Nails' 1999 album "The Fragile" for the largest drop from number one in the chart's history. "The Golden Age of Grotesque" held this record until Incubus' "Light Grenades" dropped to number 37 in December 2006. As of November 2008, the album has sold 526,000 copies in the US, making it the lowest-selling number one-debuting studio album of 2003. This was the second year the band achieved this, after "Mechanical Animals" became the lowest-selling number one-debuting studio album of 1998. It also entered the Canadian Albums Chart at number one, selling 11,500 copies on its first week.


title: The Golden Age of Grotesque

text: The record was more successful internationally than the band's previous albums, particularly in Europe, where it sold over 400,000 copies during its first week to debut at number one on "Billboard"s European Top 100 Albums. It topped various national record charts, namely Austria, Germany, Italy and Switzerland, as well as the album chart of the Wallonia region of Belgium, and the UK Rock & Metal Albums Chart. It also peaked within the top five in France, Norway, Portugal, Spain, Sweden, and the United Kingdom. It attained gold certifications in several of these territories, including Austria (denoting 15,000 units), Switzerland (20,000 units), and France, Germany and the UK (100,000 copies each). In Australasia, the album peaked at number five in both Australia and Japan, and was certified gold in both countries for sales in excess of 35,000 and 100,000 copies, respectively. It also peaked at number 16 in New Zealand.


title: Child Catcher

text: The Child Catcher is a fictional character in the 1968 film "Chitty Chitty Bang Bang" and in the later stage musical adaptation. The Child Catcher is employed by Baron Bomburst and Baroness Bomburst to snatch and imprison children on the streets of Vulgaria.


title: Child Catcher

text: In the film, the Child Catcher was played by ballet dancer Sir Robert Helpmann. Whilst filming one of the scenes where the Child Catcher drives his horse and carriage out of the village, the carriage tipped over as it turned a corner with Helpmann on board. Dick Van Dyke recalls Helpmann, with great presence of mind, swinging out of the carriage and skipping across the crashing vehicle to safety. Van Dyke later commented that he had never seen anything as graceful in his life. Helpmann was 60 years old at the time. Helpmann's child co-stars recalled that behind the scenes, the actor loved children and was extremely kind to them, often making them laugh between takes, which made it difficult for them to pretend to be afraid of him. Also, Helpmann often shielded the children from the temper of director Ken Hughes, even telling him at one point to stop swearing in front of them.


title: Child Catcher

text: The Child Catcher does not appear in Fleming's original book. Reputedly, Roald Dahl (co-author of the film's screenplay) created the character. Dahl's screenplay was heavily rewritten by Ken Hughes, the director, who said he had created the character. However, the character's black hat, long black coat, pointed nose and rôle as, effectively, a Nazi substitute have been seen as antisemitic.


title: Child Catcher

text: In the theatrical version in London's West End, he has been played by Richard O'Brien, Wayne Sleep (another ballet dancer), and Stephen Gately amongst others and on Broadway, he was played by Kevin Cahoon. In the Australian theatrical version, he was played by Tyler Coppin who wrote and performs a solo show about Robert Helpmann called LyreBird (Tales of Helpmann).


title: Child Catcher

text: In 2008, "Entertainment Weekly" called Helpmann's depiction of the Child Catcher one of the "50 Most Vile Movie Villains."


title: Wally Wingert

text: Wallace Eugene Wingert (born May 6, 1961) is an American voice actor. His roles include Almighty Tallest Red in "Invader Zim", Renji Abarai in "Bleach", Kotetsu T. Kaburagi / Wild Tiger in "Tiger & Bunny", The Riddler in the "" series, the mascot of H.H. Gregg and Jon Arbuckle in "The Garfield Show".


title: Wally Wingert

text: He began his career in radio as a disc jockey in 1977, at the age of 16 years old. He eventually moved to Los Angeles, California in 1987, continuing his radio career.


title: Wally Wingert

text: In 1989, Wingert parodied the Escape Club song "Wild, Wild West" on the Dr. Demento radio show as "Adam West", in response to the casting of Michael Keaton as the titular character for "Batman". He continued to work with the radio business with Westwood One, but later left the station and would take a full-time position as an air personality with KTWV. After five years, he eventually left the radio station and would purse a career in acting and voice acting.


title: Wally Wingert

text: Wingert was the announcer for the second incarnation of "The Tonight Show with Jay Leno" (and its spin-off "The Jay Leno Show") as well as the voice of Jon Arbuckle from "The Garfield Show". He is also known for his roles as Almighty Tallest Red from "Invader Zim" (opposite Kevin McDonald), Ant-Man / Giant-Man from "", the Riddler from the "" series, Renji Abarai from "Bleach" and Kotetsu T. Kaburagi / Wild Tiger from "Tiger & Bunny".


title: Wally Wingert

text: He narrated "" on the Discovery Health Channel, "How to Build Everything" on the Science Channel, "Amazing Medical Stories" and "That's Gotta Hurt" on TLC, some episodes of "E! True Hollywood Story" on E! and "Outdoor Outtakes" on the Outdoor Life Network.


title: Wally Wingert

text: Wingert currently resides in Palm Springs, California. In his spare time, he enjoys collecting animation art, autographs, drawings, movie and television costumes, collectible toys and rock and roll merchandise.


title: Quantum Leap (2022 TV series)

text: Quantum Leap is an American science fiction television series aired on NBC. It is a revival of the series of the same name created by Donald P. Bellisario, taking place thirty years after the events of the original 1989 series. The original sequel series was developed by Steven Lilien and Bryan Wynbrandt. It is executive produced by Steven Lilien and Bryan Wynbrandt, with Martin Gero serving as showrunner. The series stars Raymond Lee as new lead character Dr. Ben Song, Caitlin Bassett, Mason Alexander Park, Nanrisa Lee, and Ernie Hudson. The series premiered on September 19, 2022. On December 12, 2022, the series was renewed for a second season.