what is the revenant based on a true story

Born in Pennsylvania to Scots-Irish parents[citation needed], Glass became an explorer of the watershed of the Upper Missouri River, in present-day Montana, the Dakotas, and the Platte River area of Nebraska.[4] His life story has been adapted into two feature-length films: Man in the Wilderness (1971) and The Revenant (2015). They both portray the survival struggle of Glass, who (in the best historical accounts) crawled and stumbled 200 miles (320Â km) to Fort Kiowa, South Dakota after being abandoned without supplies or weapons by fellow explorers and fur traders during General Ashley's expedition of 1823.

Hugh Glass

Hugh Glass (c. 1783 â€“ 1833)[1][2][3] was an American frontiersman, fur trapper and trader, hunter, and explorer. He is best known for his story of survival and retribution, after being left for dead by companions when he was mauled by a grizzly bear.

Despite the story's popularity, its accuracy has been disputed. It was first recorded in 1825 in The Port Folio, a Philadelphia literary journal, as a literary piece and later picked up by various newspapers. Although originally published anonymously, it was later revealed to be the work of James Hall, brother of The Port Folio's editor. There is no writing from Hugh Glass himself to corroborate the veracity of it. Also, it is likely to have been wildly embellished over the years as a legend.[5][6]

Glass was born in Scranton, Pennsylvania, to Scots-Irish parents who had emigrated from Ulster, part of which is present-day Northern Ireland.[citation needed] Glass' life before the famous bear attack is largely unverifiable, and his frontier story contained numerous embellishments. He was reported to have been captured by pirates under the command of Gulf of Mexico chief Jean Lafitte off the coast of Texas in 1816, and was forced to become a pirate for up to two years.[7] Glass allegedly escaped by swimming to shore near what is present-day Galveston, Texas. He was later rumored to have been captured by the Pawnee tribe, with whom he lived for several years. Glass traveled to St. Louis, Missouri in 1821, accompanying several Pawnee delegates invited to meet with U.S. authorities.[8]

In 1822, many men responded to an advertisement in the Missouri Gazette and Public Advertiser placed by General William Henry Ashley,[9] which called for a corps of 100 men to "ascend the river Missouri" as part of a fur-trading venture. Many of them, who later earned reputations as famous mountain men, also joined the enterprise, including James Beckwourth, John S. Fitzgerald, David Jackson, William Sublette, Jim Bridger, Thomas Fitzpatrick, and Jedediah Smith. These men and others would later be known as "Ashley's Hundred". Glass, however, did not join Ashley's company until the next year, when he ascended the Missouri River with Ashley. In June 1823 they met up with many of the men that had joined in 1822, and were attacked by Arikara warriors. Glass was apparently shot in the leg and the survivors retreated downstream and sent for help.[10]

Glass wrote a letter to the parents of John S. Gardner, killed on June 2, 1823:[11]

My painful duty it is to tell you of the death of your son who befell at the hands of the Indians 2nd June in the early morning. He died a little while after he was shot and asked me to inform you of his sad fate. We brought him to the ship when he soon died.

Mr. Smith a young man of our company made a powerful prayer who moved us all greatly and I am persuaded John died in peace. His body we buried with others near this camp and marked the grave with a log. His things we will send to you.

The savages are greatly treacherous. We traded with them as friends but after a great storm of rain and thunder they came at us before light and many were hurt. I myself was shot in the leg. Master Ashley is bound to stay in these parts till the traitors are rightly punished.

Yr Obt Svt Hugh Glass

Glass and the rest of the Ashley Party eventually returned to Fort Kiowa to regroup for the trip west. Andrew Henry, Ashley's partner had joined the group, and he along with Glass and several others set out overland to the Yellowstone River. Near the forks of the Grand River, near present-day Shadehill Reservoir, Perkins County, South Dakota, while scouting for game for the expedition larder, Glass surprised and disturbed a grizzly bear with two cubs. The bear charged, picked him up, bit and lacerated his flesh, severely wounded him, and forced him to the ground. Glass nevertheless managed to kill the bear with help from his trapping party, but was left badly mauled. The men were convinced Glass would not survive his injuries; nevertheless, they carried Glass on a litter for two days, but doing so greatly slowed the pace of the group's travel.[12]

Henry asked for two volunteers to stay with Glass until he died and then bury him. John S. Fitzgerald (not to be confused with Thomas Fitzpatrick, who had separated from the Henry party with Jedediah Smith to find an overland trail to the Green River country) and a man later identified as "Bridges" stepped forward, and as the rest of the party moved on, began digging his grave.[13][14] Later, claiming that they were interrupted by attacking Arikara, the pair grabbed the rifle, knife, and other equipment belonging to Glass and took flight. Fitzgerald and "Bridges" later caught up with the party and incorrectly reported to Ashley that Glass had died. There is a debate whether Bridges was actually famed mountain man Jim Bridger.[15]

Despite his injuries, Glass regained consciousness, but found himself abandoned, without weapons or equipment. He had festering wounds, a broken leg, and deep cuts on his back that exposed his bare ribs. Glass lay mutilated and alone, more than 200 miles (320 km) from the nearest American settlement, at Fort Kiowa, on the Missouri River. Glass set the bone of his own leg, wrapped himself in the bear hide his companions had placed over him as a shroud, and began crawling back to Fort Kiowa. To prevent gangrene, Glass allowed maggots to eat the dead, infected flesh in his wounds.

Using Thunder Butte as a navigational landmark, Glass crawled overland south toward the Cheyenne River where he fashioned a crude raft and floated downstream to Fort Kiowa. The journey took him six weeks. He survived mostly on wild berries and roots.

After recovering from his wounds, Glass set out again to find Fitzgerald and Bridger. He eventually traveled to Fort Henry on the Yellowstone River but found it deserted. A note indicated that Andrew Henry and company had relocated to a new camp at the mouth of the Bighorn River. Arriving there, Glass found Bridger, but apparently forgave him because of his youth, and then re-enlisted with Ashley's company.[8]

Glass later learned that Fitzgerald had joined the army and was stationed at Fort Atkinson in present-day Nebraska. He traveled there as well, where Fitzgerald returned his stolen rifle. Glass reportedly spared Fitzgerald's life because he would be killed by the army captain for killing a soldier of the United States Army. However, the captain asked Fitzgerald to return the stolen rifle to Glass, and before departing Glass warned Fitzgerald never to leave the army, or he would still kill him.[8] According to Yount's story, Glass also obtained $300 as compensation.[8]

In the period intervening, between finding Bridger and finding Fitzgerald, Glass and four others were dispatched in February 1824 with mail for Fort Atkinson. They traveled up the Powder River, then across to the Platte River. There they constructed skin boats and traveled down the Platte River to the lower end of the Black Hills.[16] Glass and his party discovered a settlement of 38 lodges of Arikara. Their leader, who was known by Glass, declared the tribe to be friendly and invited them in so the men went ashore. While smoking with him in his lodge, Glass noticed their equipment being taken by the residents and realized it was a trap.[16] The men quickly fled but two were killed by the pursuing war party. Glass managed to hide behind some rocks until the Arikara gave up their search, but was separated from the two other survivors. He was relieved to find his knife and flint in his shot pouch and traveled to Fort Kiowa surviving off the land.[16]

Glass returned to the frontier as a trapper and fur trader. He was later employed as a hunter for the U.S. Army garrison at Fort Union, near Williston, North Dakota.[citation needed]

Glass was killed along with two of his fellow trappers in early spring of 1833 on the Yellowstone River in an attack by the Arikara.[17]

A monument to Glass now stands near the site of his mauling on the southern shore of the present-day Shadehill Reservoir in Perkins County, South Dakota, at the forks of the Grand River.

Glass' life has been recounted in numerous books and dramas.


what was the cutoff age for world war 2

The Selective Training and Service Act of 1940, also known as the Burke-Wadsworth Act, Pub.L. 76–783, 54 Stat. 885, enacted September 16, 1940,[1] was the first peacetime conscription in United States history. This Selective Service Act required that men who had reached their 21st birthday but had not yet reached their 36th birthday register with local draft boards. Later, when the U.S. entered World War II, all men from their 18th birthday until the day before their 45th birthday were made subject to military service, and all men from their 18th birthday until the day before their 65th birthday were required to register.[2]

The act required all American men between the ages of 21 and 35 to register for the draft. Draftees were selected by national lottery. If drafted, a man served on active duty for 12 months, and then in a reserve component for 10 years or until he reached the age of 45, whichever came first. Inductees had to remain in the Western Hemisphere or in United States possessions or territories located in other parts of the world. The act provided that not more than 900,000 men were to be in training at any one time.

Section 5 (g) of the Act contained a provision for conscientious objection:[3]

The draft began in October 1940, with the first men entering military service on November 18. By the early summer of 1941, President Franklin D. Roosevelt asked the U.S. Congress to extend the term of duty for the draftees beyond twelve months to a total of thirty months, plus any additional time that he could deem necessary for national security. On August 12, the United States House of Representatives approved the extension by a single vote.[4] As Under Secretary of the Army Karl R. Bendetsen said in an oral history interview, "Mr. Rayburn banged the gavel at a critical moment and declared the Bill had passed."[5] The Senate approved it by a wider margin, and Roosevelt signed the Service Extension Act of 1941 into law on August 18.

Many of the soldiers drafted in October 1940 threatened to desert once the original twelve months of their service was up. Many of these men painted the letters "O H I O" on the walls of their barracks in protest.[6] These letters were an acronym for "Over the hill in October", which meant that the men intended to desert upon the end of their twelve months of duty. Desertions did occur, but they were not widespread. Following the Japanese attack on Pearl Harbor, Hawaii, on December 7, 1941, millions of American men entered the United States military's ranks both by volunteering and by conscription.

After the United States entered World War II, amendments to the Selective Training and Service Act on December 20, 1941, made all men between the ages of 20 and 44 liable for military service, and required all men between the ages of 18 and 64 to register. The terminal point of service was extended to six months after the war. Another amendment signed on November 13, 1942, called the registered 18- and 19-year-olds into military service. From October 1940 until March 1947—when the wartime Selective Training and Service Act expired after extensions by Congress—over 10,000,000 men were inducted.


boston legal was a spinoff of what show

A spin-off of the long-running Kelley series The Practice, Boston Legal follows the exploits of former Practice character Alan Shore at the legal firm of Crane, Poole & Schmidt.

Boston Legal

Boston Legal is an American legal comedy-drama created by David E. Kelley and produced in association with 20th Century Fox Television for ABC. The series aired from October 3, 2004 to December 8, 2008. The series stars James Spader, with William Shatner and Candice Bergen.

Prior to the show's premiere, it had a working title of Fleet Street, an allusion to the real street in Boston where the fictitious Crane, Poole & Schmidt had its offices. The working title was later modified to The Practice: Fleet Street, but this title was dropped in favor of Boston Legal.[1] The real building shown as the law office is located at 500 Boylston Street, 1.4 miles away from Fleet Street.

The American producers of the series also hired British writer Sir John Mortimer, QC, (creator of the UK legal series Rumpole of the Bailey) as a consultant for Boston Legal.[2]

The show's pilot was originally produced with former The Practice stars James Spader and Rhona Mitra, guest stars William Shatner and Lake Bell, and Mark Valley. It featured an expanded storyline with Larry Miller as Edwin Poole and John Michael Higgins as senior partner Jerry Austin. Monica Potter was later cast as junior partner Lori Colson and René Auberjonois as senior partner Paul Lewiston, replacing John Michael Higgins. The pilot premiered on ABC on October 3, 2004.[3]

On November 30, 2004, it was announced that Candice Bergen would join the cast as senior partner Shirley Schmidt,[4] a character the producers had planned to introduce for several months.[5] Lake Bell left the series mid-season, and RenÃ© Auberjonois was promoted to main cast member.[6][7][8] Anthony Heald and Betty White also made regular guest appearances, having both appeared as the same characters on The Practice.

On April 5, 2005, the series was renewed for a second season, although ABC chose not to screen the final five episodes of Season 1 until April 24, 2005 to allow greater exposure of mid-season series Grey's Anatomy to a larger audience.[9] The success of Grey's Anatomy placed Boston Legal on hold until autumn 2005, when it returned for an extended season of 27 episodes.[10][11] Both Rhona Mitra and Monica Potter left the series during the hiatus, while Julie Bowen was cast as Denise Bauer.[12] Ryan Michelle Bathe and Justin Mentell were later cast as junior associates Sara Holt and Garrett Wells.[13] The second episode of Season 3 introduced Craig Bierko as Jeffrey Coho and Constance Zimmer as Claire Simms. In Episode 11, guest star Gary Anthony Williams joined the cast, with Craig Bierko leaving in Episode 15.

On June 4, 2007, TV Guide announced that René Auberjonois, Julie Bowen, Mark Valley, and Constance Zimmer would not return for Season 4.[14] On June 13, 2007, it was announced that actor John Larroquette (former The Practice guest star) would join the cast as a senior partner transferred from the New York offices of Crane, Poole & Schmidt, with actress Tara Summers joining as a young associate. Christian Clemenson (former The Practice guest star), who had guest-starred occasionally as Jerry Espenson (a brilliant but socially inept lawyer) – was promoted to main cast.[15] Production also stated that René Auberjonois, Mark Valley, Julie Bowen, and Constance Zimmer may return in guest roles.[16] On July 2, 2007, it was reported that both René Auberjonois and Mark Valley would return in recurring roles;[17] It was also announced that Taraji P. Henson would join the cast in Season 4, with Saffron Burrows appearing in a recurring role. Burrows later became a full-time cast member.[18]

On May 13, 2008, ABC announced that Boston Legal would return for a fifth (and final) season in the fall.[19][20] Saffron Burrows did not return as a series regular, having joined the cast of My Own Worst Enemy. The final season consisted of 13 episodes to reach the "100" episode mark, which facilitated successful syndication.[21] There was speculation that Boston Legal might receive an additional episode-order if the show had another strong showing in the Emmy Awards and produced solid ratings in its new fall time slot.[22] The season began airing on September 22, 2008.

On June 18 and June 20, 2008, it was reported that Gary Anthony Williams and Taraji P. Henson would not return for Season 5 as Clarence Bell and Whitney Rome, respectively.[23][24] On July 17, 2008, Boston Legal was nominated for a series-high seven Emmy nominations, including for Best Drama Series for the second consecutive year. Spader, Bergen, and Shatner were each nominated for their respective roles.

Boston Legal's two-hour-long series finale aired on Monday, December 8, 2008, at 9:00PM Eastern/8:00PM Central. David E. Kelley stated in an interview with the Pittsburgh Post-Gazette on December 7, 2008 that it was ABC's decision to end Boston Legal, and that he "had to fight to bring it back for a short season of 13 episodes".[25]

The series features a trademark routine whereby characters would occasionally break the fourth wall and make comments implying they are aware that they are characters in a television show. Shatner, being famous for portraying Captain Kirk, also makes occasional Star Trek references.[26]

The series aired on TV Land in the past[when?].

According to Nielsen Media Research, Boston Legal drew the richest viewing audience on television, based on the concentration of high-income viewers in its young adult audience (Adult 18â€“49 index w/$100k+ annual income).[27]

Seasonal rankings (based on average total viewers per episode) of Boston Legal on ABC.

Note: Each U.S. network television season starts in late September and ends in late May, which coincides with the completion of May sweeps. All times mentioned in this section were in the Eastern and Pacific time zones.

Primetime Emmy Awards:

Golden Globe Awards:


is the art institute of pittsburgh an accredited school

The Art Institute of Pittsburgh is accredited by The Middle States Commission on Higher Education (since 2008).[12]

Art Institute of Pittsburgh

Coordinates: 40°26′14″N 79°59′59″W / 40.437198°N 79.999674°W / 40.437198; -79.999674 The Art Institute of Pittsburgh (AIP) is a private, for-profit, higher education institute located in Pittsburgh, Pennsylvania, United States, that emphasizes design education and career preparation for the creative job market. It was founded in 1921.

According to the National Center for Education Statistics, the Art Institute of Pittsburgh has a 32% graduation rate and a 20% student loan default rate. [1]

Founded in 1921, the school began as an independent school of art and illustration, producing a number of accomplished artists (including watercolorist Frank Webb, animation producer and director Rick Schneider-Calabash and the late science fiction illustrator Frank Kelly Freas), but now specializes primarily in design disciplines and Culinary arts. In 1968, Education Management Corporation (EDMC) acquired The Art Institute of Pittsburgh and it became the model for creating additional schools in the Art Institute system.

Since the 2009 public offering of EDMC, and the subsequent majority position by Goldman Sachs, emphasis throughout the EDMC system shifted increasingly toward shareholder profits with cost-cutting measures[2] resulting in larger classes, fewer student services, and a standardized curriculum throughout the system, obviating the need for resident experts and curriculum developers at the individual colleges.[3] In 2013, Payscale.com found that the Institute provided the worst return on tuition and the student's time of all institutes of higher learning surveyed.[4] According to disclosures the college is required to provide to the Department of Education, overall graduation rates fell to 39% in 2012, while graduation rates among Pell grant recipients were still lower at 27%.[5] The graduation rate fell substantially further in 2014 from 39% to 24%.[6] New owners took control of EDMC in 2015, as EDMC entered into a debt-for-equity swap with its current owners giving up the majority of their stock to creditors with whom they broke loan covenants.[7]

On March 27, 2017, The Art Institute of Pittsburgh moved to 1400 Penn Avenue, Pittsburgh, PA 15222. During its growth phase, it relocated six times, expanding each time into larger facilities with a broader curriculum, and in 2008 became one of the largest arts colleges in the United States. However enrollment began to quickly drop beginning in 2010, in part because of federal lawsuits.[8] The historic landmark building at 420 Boulevard of the Allies the school had purchased in 2000 was sold in 2014 to a Chicago developer. The Art Institute operated in the building under a two-year lease expiring in 2016, with an option to extend the lease into 2017.

The Art Institute of Pittsburgh's Online division is a semi-autonomous division of the Art Institutes offering degree programs and non-degree diploma courses in a variety of creative fields, and offers online classes for on-ground Art Institute students.

Practices at the online division have been called into question in recent years as whistleblower suits were brought forth by employees within the company, and joined by the United States Department of Justice.[9] Enrollment in the online division and EDMC's other online programs ballooned from 7900 in 2007 to 42,300 in 2012, due in large part to practices that devoted more per-student expenditures to marketing ($4158) than on education ($3460).[10] Dramatic drops in enrollment since that time however led to massive layoffs in the online division[11]


mount jackson a peak in glacier national park is located in which state

Mount Jackson (10,052 feet (3,064Â m)) is located in the Lewis Range, Glacier National Park in the U.S. state of Montana.[3] Mount Jackson is the fourth tallest mountain in Glacier National Park and it is situated on the Continental Divide. Both the mountain and its namesake Jackson Glacier are easily seen from the Going-to-the-Sun Road. On the southern flanks of Mount Jackson is Harrison Glacier, the largest remaining glacier in the park.[1]
Route Descriptions can be found on Summitpost or in "A Climbers Guide to Glacier National Park.

Mount Jackson (Montana)


who was the original artist that sang stand by me

Benjamin Earl King[1] (born Benjamin Earl Nelson, September 28, 1938 – April 30, 2015), known as Ben E. King, was an American soul and R&B singer and record producer. He was perhaps best known as the singer and co-composer of "Stand by Me"—a US Top 10 hit, both in 1961 and later in 1986 (when it was used as the theme to the film of the same name), a number one hit in the UK in 1987, and no. 25 on the RIAA's list of Songs of the Century—and as one of the principal lead singers of the R&B vocal group the Drifters notably singing the lead vocals of one of their biggest global hit singles (and only U.S. #1 hit) "Save the Last Dance for Me".[2]

Ben E. King

King was born Benjamin Earl Nelson on September 28, 1938, in Henderson, North Carolina,[2] and moved to Harlem, New York, at the age of nine in 1947.[3] King began singing in church choirs, and in high school formed the Four Bâ€™s, a doo-wop group that occasionally performed at the Apollo.[4]

In 1958, King (still using his birth name) joined a doo-wop group called the Five Crowns.[4] Later that year, the Drifters' manager George Treadwell fired the members of the original Drifters, and replaced them with the members of the Five Crowns.[5]

King had a string of R&B hits with the group on Atlantic Records. He co-wrote and sang lead on the first Atlantic hit by the new version of the Drifters, "There Goes My Baby" (1959). He sang lead on a succession of hits by the team of Doc Pomus and Mort Shuman, including "Save the Last Dance for Me", "This Magic Moment", and "I Count the Tears".[2] King recorded only thirteen songs with the Drifters—two backing other lead singers and eleven lead vocal performances—including a non-single called "Temptation" (later redone by Drifters vocalist Johnny Moore). The last of the King-led Drifters singles to be released was "Sometimes I Wonder", which was recorded May 19, 1960, but not issued until June 1962.[6]

Due to contract disputes with Treadwell in which King and his manager, Lover Patterson, demanded greater compensation, King rarely performed with the Drifters on tour or on television. On television, fellow Drifters member Charlie Thomas usually lip-synched the songs that King had recorded with the Drifters.[7]

In May 1960, King left the Drifters,[2] assuming the stage name Ben E. King in preparation for a solo career. Remaining with Atlantic Records on its Atco imprint, King scored his first solo hit with the ballad "Spanish Harlem" (1961).[2]

His next single, "Stand by Me", written with Jerry Leiber and Mike Stoller, ultimately would be voted as one of the Songs of the Century by the Recording Industry Association of America. King cited singers Brook Benton, Roy Hamilton and Sam Cooke as influences for his vocals of the song.[8] "Stand by Me", "There Goes My Baby", "Spanish Harlem", and "Save the Last Dance for Me" were all named in the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll;[9] and each of those records has earned a Grammy Hall of Fame Award.[10] King's other well-known songs include "Don't Play That Song (You Lied)", "Amor", "Seven Letters", "How Can I Forget", "On the Horizon", "Young Boy Blues", "First Taste of Love", "Here Comes the Night", "Ecstasy", and "That's When It Hurts". In the summer of 1963, King had a Top 30 hit with "I (Who Have Nothing)", which reached the Top 10 on New York's radio station, WMCA.[11]

King's records continued to place well on the Billboard Hot 100 chart until 1965. British pop bands began to dominate the pop music scene, but King still continued to make R&B hits, including "What is Soul?" (1966), "Tears, Tears, Tears" (1967), and "Supernatural Thing" (1975).[4]

King returned to the [12][better source needed]Drifters in late 1982 in England, and sang with them until the group's break-up and reorganization in 1986. From 1983 until the band's break-up, the other members of this incarnation of the Drifters were Johnny Moore, Joe Blunt, and Clyde Brown.[citation needed]

A 1986 re-issue of "Stand by Me" followed the song's use as the theme song to the movie Stand By Me and re-entered the Billboard Top Ten after a 25-year absence. This reissue also reached Number 1 in the United Kingdom and Ireland for three weeks in February 1987.[4]

In 1990, King and Bo Diddley, along with Doug Lazy, recorded a revamped hip hop version of the Monotones' 1958 hit song "Book of Love" for the soundtrack of the movie Book of Love. He also recorded a children's album, I Have Songs In My Pocket, written and produced by children's music artist Bobby Susser in 1998, which won the Early Childhood News Directors' Choice Award and Dr. Toy's/the Institute for Childhood Resources Award. King performed "Stand by Me" on the Late Show with David Letterman in 2007. Ahmet Ertegun said, "King is one of the greatest singers in the history of rock and roll and rhythm and blues."[13]

As a Drifter and as a solo artist, King had achieved five number one hits: "There Goes My Baby", "Save the Last Dance for Me", "Stand By Me", "Supernatural Thing", and the 1986 re-issue of "Stand By Me". He also earned 12 Top 10 hits and 26 Top 40 hits from 1959 to 1986. He was inducted into the Rock and Roll Hall of Fame as a Drifter;[14] he was also nominated as a solo artist.[15]

King's "I (Who Have Nothing)" was selected for the Sopranos Peppers and Eggs Soundtrack CD (2001).[16]

King was inducted into the North Carolina Music Hall of Fame in 2009.[17]

On March 27, 2012, the Songwriters Hall of Fame announced that "Stand By Me" would receive its 2012 Towering Song Award and that King would be honored with the 2012 Towering Performance Award for his recording of the song.[18]

King was active in his charitable foundation, the Stand By Me Foundation, which helps to provide education to deserving youths.[8][19] He was a resident of Teaneck, New Jersey, from the late 1960s.[20]

King performed "Stand By Me" during a televised tribute to late comedian George Carlin, as he was one of Carlin's favorite artists.[21]

On November 11, 2010, he performed "Stand By Me" on the Latin Grammys with Prince Royce.[22]

King toured the United Kingdom in 2013 and played concerts in the United States as late as 2014, despite reported health problems.[23]

It was announced on May 1, 2015 that King had died at the Hackensack University Medical Center on April 30, 2015 at the age of 76.[23][24] His agent said he had suffered from "coronary problems" at the time of his death.[3] King was survived by his wife of 51 years, Betty, three children and six grandchildren.[22] On May 17, two weeks after his death, American rock band Imagine Dragons performed "Stand By Me" at the 2015 Billboard Music Awards as a tribute to his memory.

King has been covered by acts from several genres. "So Much Love" was recorded by Dusty Springfield and many others.[25] "I (Who Have Nothing)" was performed by Shirley Bassey in 1963 and also by Tom Jones in 1970, as well as a 1979 recording by Sylvester. "Till I Can't Take It Anymore" was revisited by peer Ray Charles in 1970 and "Spanish Harlem" was sung by Aretha Franklin in 1971. "Stand by Me" was covered by The Righteous Brothers, Otis Redding, John Lennon, Mickey Gilley, Florence + The Machine, Tracy Chapman, and Prince Royce. King also inspired a number of rock bands: Siouxsie and the Banshees recorded "Supernatural Thing" in 1981 and Led Zeppelin did a cover version of "Groovin'", more known under the title of "We're Gonna Groove".[26]

On May 19, 2018 King's "Stand By Me" was performed at the Wedding of Prince Harry and Meghan Markle by Karen Gibson and the Kingdom Choir.


does the british royal family have a yacht

This is a list of royal yachts of the United Kingdom. There have been 84 royal yachts since the restoration of the monarchy in 1660. King Charles II had 25 royal yachts and five were simultaneously in service in 1831. Occasionally merchantmen or warships have been chartered or assigned for special duty as a temporary royal yacht, for example the steamship Ophir in 1901 and the battleship HMS Vanguard in 1947. In 1997 HMY Britannia was decommissioned and not replaced. Since 1998, following a successful national tender process, the Royal Yacht Britannia has been berthed permanently at the Port of Leith in Edinburgh.[citation needed] There are currently no British royal yachts, although MV Hebridean Princess has been used by the Royal Family.[1]

List of royal yachts of the United Kingdom

* Not HMY


what is a monsignor in the roman catholic church

Monsignor (/mɒnˈsiːnjər/) is an honorific form of address for those members of the clergy of the Catholic Church including bishops, honorary prelates and canons. In some cases, these ecclesiastical honorific titles derive from the pope, but in other cases it is simply a customary or honorary style belonging to a prelate or honorary prelate. These are granted to individuals who have rendered valuable service to the Church, or who provide some special function in Church governance, or who are members of bodies such as certain chapters. The title is never bestowed on those classified as religious in Catholicism. Although in some languages the word is used as a form of address for bishops, which is indeed its primary use in those languages, this is not customary in English.[1] Monsignor is the apocopic form of the Italian monsignore, from the French mon seigneur, meaning "my lord". It is abbreviated Mgr,[2][3][4][5] Msgr,[a] or Mons.[b]

Monsignor

"Monsignor" is a form of address, not an appointment: properly speaking, one cannot be "made a monsignor" or be "the monsignor of a parish". The title or form of address is associated with certain papal awards, which Pope Paul VI reduced to three classes: those of Protonotary Apostolic, Honorary Prelate, and Chaplain of His Holiness.

Apart from those working in the Roman Curia and the diplomatic service of the Holy See, it is usually on the proposal of the local bishop that the Pope grants this title to Catholic diocesan clergy. The grant is subject to criteria of the Holy See that include a minimum age.

Soon after his election in March 2013, Pope Francis suspended the granting of the honorific title of Monsignor except to members of the Holy See's diplomatic service.[11][12] In December of the same year he communicated his definitive decision to accept no further requests from bishops for appointments to any class but that of Chaplain of His Holiness, the lowest of the three classes, and that candidates presented must be at least 65 years old. He himself, during his 15 years as archbishop of Buenos Aires, never asked that any of his priests receive the title, and he was understood to associate it with clerical "careerism".[13] Grants already made were not revoked.[13][14][15]

Appointments to all three classes of awards continue to be granted to officials of the Roman Curia and the diplomatic service of the Holy See, and there was no revocation of privileges granted to certain bodies such as chapters of canons whereby all their members or some of them have the rank of Protonotary Apostolic, Honorary Prelate or Chaplain of His Holiness.[16]

Also unaffected is the association of the style with the office of vicar general, an appointment made by the bishop of the diocese, not by the Pope. Without necessarily being a protonotary apostolic, a diocesan priest has that titular rank as long as he remains in office.

Although in some languages, "Monsignore", "Monseigneur", "Monsenyor", "MonseÃ±or", and the like are normal forms of address for all higher prelates of the Catholic Church below the rank of cardinal or patriarch, including bishops and archbishops, in English bishops are not usually addressed as "Monsignor", a title reserved in English for diocesan priests who have received certain specific honorary awards or who hold certain offices.

The written form of address for such a priest is Monsignor (first name) (last name) or The Reverend Monsignor (first name) (last name). The spoken form of address is Monsignor (last name).[17]

Before the simplification of ecclesiastical titles in 1969, those of the lowest class were addressed in English as The Very Reverend Monsignor (in Latin, Reverendissimus Dominus; in Italian, Reverendissimo Monsignore) and those belonging to the higher classes were addressed as The Right Reverend Monsignor (in Latin, Illustrissimus et Reverendissimus Dominus; in Italian, Illustrissimo e Reverendissimo Monsignore).

The 1969 Instruction of the Secretariat of State indicated that the title of "Monsignor" may be used for bishops. This is normal practice in Italian, French, Catalan, and Spanish, but not in English. The same instruction indicated that, in the case of bishops, "Reverendissimus" (usually translated in this case as "Most Reverend", rather than "Very Reverend"), may be added to the word "Monsignor", as also in the case of prelates without episcopal rank who head offices of the Roman Curia, judges of the Rota, the Promotor General of Justice and the Defender of the Bond of the Apostolic Signatura, the Protonotaries Apostolic "de numero", and the four Clerics of the Camera.[18] The (in meaning identical) predicate "His Lordship" or "Your Lordship" is, in English, used as a clerical title only for bishops.

Until 1968 there were at least 14 different grades, including domestic prelates, four kinds of protonotaries apostolic, four kinds of papal chamberlains, and at least five types of papal chaplains.[19]

Pope Paul VI in his motu proprio Pontificalis Domus of 28 March 1968 reduced the grades to three. Since then, protonotaries apostolic have been classified either de numero or supernumerary. Most of the former classes of chamberlains and chaplains were abolished, leaving only a single class of "Chaplains of His Holiness", a specifically priestly-sounding category.[20]

The three ranks established by Pope Paul VI are, in descending order of precedence:

Before 1968 the appointment of a Privy Chamberlain expired at the death of the Pope who granted it. This no longer holds.[20] Those listed in the index of the Annuario Pontificio as Chaplains of His Holiness continue to be listed in the edition that follow the death of the Pope, as after the deaths of Popes Paul VI and John Paul I in 1978 and after that of Pope John Paul II in 2005.

In 2014, Pope Francis abolished the practice of granting priests the title of "monsignor", no longer accepting such requests from bishops. However, existing members of all three ranks established by Pope Paul VI retain their membership. Higher ranks are still attained by virtue of membership of certain chapters of canons or because of being a vicar general, and new appointments continue to be made for officials of the Roman Curia and the diplomatic service of the Holy See.[13][14][15]

Generic coat of arms of a protonotary apostolic: amaranth galero with 12 scarlet tassels

Generic coat of arms of an honorary prelate: amaranth galero with 12 violet tassels

Generic coat of arms of a Chaplain of His Holiness: black galero with 12 violet tassels

The 1969 Instruction of the Secretariat of State also simplified the dress of monsignori.

Under legislation of Pope Pius X, vicars general and vicars capitular (the latter are now called diocesan administrators) are titular (not actual) Protonotaries durante munere, i.e. as long as they hold those offices, and so are entitled to be addressed as Monsignor.[21]

The only privileges of dress that Pope Pius X granted them were a black silk fringed sash (fascia), black piping on the biretta with a black tuft,[22] and a black mantelletta. As a result of this they were in some countries referred to as "black protonotaries".[23][pageÂ needed] However, Pontificalis domus of Paul VI removed this position (titular protonotaries) from the Papal Household, even though the title of "monsignor", which is to be distinguished from a prelatial rank, has not been withdrawn from vicars general, as can be seen, for instance, from the placing of the abbreviated title "Mons." before the name of every member of the secular (diocesan) clergy listed as a vicar general in the Annuario Pontificio. (Honorary titles such as that of "Monsignor" are not considered appropriate for religious.)

Under Paul VI, the Secretariat of State set minimum qualifications of age and priesthood for the appointment of Chaplains of His Holiness (35 years of age and 10 of priesthood), Honorary Prelates (45 of age and 15 of priesthood) and Protonotaries Apostolic Supernumerary (55 of age and 20 of priesthood). However, it waived the minimum age limit for vicars general proposed for appointment as Honorary Prelates, in view of the fact that, as long as they hold the office of vicar general, they also held the still higher rank of Protonotary Apostolic Supernumerary. For the same reason, the Secretariat of State did not consider it appropriate that someone who was already a vicar general be appointed only a Chaplain of His Holiness. All these criteria have been superseded by the 2013 decision of Pope Francis to grant only the title of Chaplain of His Holiness and to require even for this a minimum age of 65 years.[13]


who is petruchio in taming of the shrew

Petruchio (an anglicisation of the Italian name Petruccio; Italian pronunciation: [peˈtruttʃo]) is the male protagonist in Shakespeare's The Taming of the Shrew (c. 1590–1594). Petruchio is a fortune seeker who enters into a marriage with a strong-willed young woman named Kate and then proceeds to "tame" her temperamental spirit. The role has attracted notable performers.

Petruchio

In the play, Petruchio comes to the town of Padua in the hopes of marrying a wealthy woman. Hortensio suggests that he marry Kate Minola, the daughter of one of the wealthiest men in the city, particularly because Hortensio can not court her sister Bianca until Kate is married. Petruchio takes an interest in Kate, owing to the dowry he could potentially receive, and agrees. During his first encounter with Kate, he matches her fierce temper and manages to convince her father that she passionately loves him but only pretends to hate him in public. The two are married, with Petruchio arriving at the wedding late and forcing Kate to leave the ceremony feast early.

Petruchio then starts to try to "tame" his wife in a variety of ways. He frightens Kate by yelling at the servants, and he prevents her from eating by insisting that the dishes are not good enough for her. He then offers Kate dresses and jewellery, only to return them saying that they too weren't good enough. When Bianca and Lucentio are married, Petruchio refuses to let Kate go to the wedding unless she agrees with everything he says, regardless of the validity of his claims. He puts her to the test by telling her that a man is a woman and that the moon is the sun â€“ she agrees with both statements.

At the wedding, Petruchio is taunted by Hortensio and Lucentio for having married a "shrew". Petruchio proposes a contest to see which man has the most obedient wife: The three men are to call for their wives to see which ones respond. Of the three women, only Kate comes, and a triumphant Petruchio is the winner. Petruchio then orders Kate to bring the other wives and give a speech telling them to honour their husbands always.

Petruchio is debatably the most complex character in The Taming of the Shrew. His motives can be interpreted in several different lights, with each interpretation entirely changing the tone of the play. One popular opinion is that Petruchio is, for the most part, a selfish misogynist determined to tame Katherine for his own convenience and pride. He simply wanted to tame her to be able to say he tamed the most shrewish woman. He only wanted to have the relationship to uphold or improve his own reputation in the town. In this interpretation, Petruchio marries Katherine solely for her dowry. The counterargument is that Petruchio develops love for Katherine and tames her because he sees her shrewishness as a condition that she cannot cure on her own. Another interpretation is that Petruchio likes Katherine for her strong, challenging personality and takes on taming her as a fun challenge.[1] Regardless, Petruchio seems to believe, like most men did at the time, that society is most stable if women are submissive to their husbands. There is also some debate about how seriously we should take Petruchio, and hence how we should interpret the meaning of the play. His ridiculous actions, including his unconventional attire at his wedding and his treatment of Katherine once they are married, are sometimes viewed as a reflection of his descent into madness. On the other hand, some see Petruchio as the fool of the play and attribute his actions to intended comic relief.[2] Petruchio's character is very powerful in that the light in which we view him can change the play from a dark story of male chauvinism to an absurdist comedy.

Petruchio marries Katherine to gain wealth. However, he is not content with her shrewish behaviour and he goes through great measures to assert his dominance over her and tame her. He believes that the only way to get through to Katherine is by giving her a taste of her own medicine. Petruchio takes on the role of a shrew to prove to his wife that this kind of behaviour is unpleasant. He makes a scene as he shows up late to his own wedding, and dressed inappropriately for the occasion. He decides that he will be the one to determine when Katherine will eat or sleep, believing that depriving her of her needs makes her more submissive to him. Toward this end, he also toys with her mind. On their journey back to Padua, Petruccio refuses to continue until Katherine agrees with him that the midday sun is the moon. What Petruchio neglects to realise is that he is not only degrading Katherine by doing this, but he is also degrading himself. He transforms into a shrew himself while trying to change Katherine. By resorting to giving Katherine a taste of her own medicine, he socially degrades himself by acting shrewish.[3]


who is the black badger in central intelligence

Phil arrives, revealing that he is alive, and claims he is the real Black Badger. The buyer attempts to retrieve codes from both Stone and Stanton, but the CIA arrives and a shootout begins, while Calvin grabs both codes and runs outside. He encounters Stone and Stanton, who engage in combat. Unable to decide who is the criminal, Calvin randomly shoots Stone, but Phil confesses that he is the Black Badger and that Bob is innocent. Calvin causes a distraction that allows Bob to rip Phil's throat out, killing him. The two deliver the codes to Harris, who then drops them off at their high school reunion, where Calvin reconciles with Maggie. Bob is announced as the Homecoming King, with Calvin revealing to Maggie that he hacked the voting system to ensure Bob's win. Trevor attempts to bully Bob a third time, but Bob knocks him out. As Bob delivers his speech, he relives his most embarrassing high-school moment and takes off all his clothes confidently. He walks off stage to unite with his high school crush Darla McGuckian.

Central Intelligence

Central Intelligence is a 2016 American action comedy film directed by Rawson M. Thurber and written by Thurber, Ike Barinholtz and David Stassen. The film stars Dwayne Johnson and Kevin Hart as two old high school friends who team up to save America after one of them joins the CIA in order to save the world from a terrorist who has an intention to sell satellite codes.

The film premiered in Los Angeles on June 10, 2016, and was theatrically released in the United States on June 17, 2016. Central Intelligence received mixed reviews and grossed $217 million worldwide against its $50 million budget.[3][4]

In 1996, star athlete Calvin Joyner is being honored at his high school. Halfway through Calvin's speech, Trevor Olson and a group of bullies throw a naked Robbie Weirdicht, who was showering, into the hall where the assembly is taking place, embarrassing him. Only Calvin and his girlfriend, Maggie Johnson, are sympathetic towards Wierdicht.

Twenty years later, Calvin is married to Maggie and works as a forensic accountant but is dissatisfied with his career. Maggie suggests they see a therapist to salvage their deteriorating marriage. At work, Calvin receives a friend request on Facebook from a man named Bob Stone, who reveals that he is Wierdicht and requests that they meet. Calvin is shocked to see that Wierdicht has transformed into a muscular, confident CIA agent. Stone asks Calvin to review a few accounting records. Calvin deciphers the records as multimillion-dollar transactions from an auction, with the final payment set to be made the following day. Stone avoids Calvin's questions and spends the night on his couch.

The next morning, a group of CIA agents led by Pamela Harris arrive at Calvin's house in search of Stone, who escapes. Harris tells Joyner that Stone is a dangerous rogue agent who intends to sell satellite codes to the highest bidder. Soon after, Stone abducts Calvin and explains that he is trying to stop a criminal known as the Black Badger from selling the codes but needs Calvin's skills to find the coordinates of the deal's location. After an attack by a bounty hunter, Calvin flees and calls Maggie, telling her to meet him at the marriage counselor's office. Harris intercepts him and tells him that Stone murdered his partner Phil Stanton and is the Black Badger himself. She warns him to refrain from telling Maggie and gives him a device to alert them to Stone's location. Calvin then arrives for marriage counseling, where he finds Stone posing as the counselor.

Bob convinces Calvin to help him, and Calvin sets up a meeting with Trevor, who is able to track the offshore account for the auction, so they can get the deal's location. Trevor helps them and said that he's found God but he lies and laughs in their faces and bullies Bob once again. Harris calls Calvin and threatens to arrest Maggie if he fails to help them detain Stone. Calvin is forced to betray Stone, and the CIA arrests him. As Harris tortures Stone to get him to confess, Calvin decides to help Stone escape. Calvin deduces that the deal is happening in Boston and helps Stone steal a plane. At an underground parking garage, where the deal is assumed to be taking place, Stone enters alone, while Calvin sees Harris entering a short while later. He mistakenly assumes that she is the Black Badger and runs after her, but finds Stone meeting with the buyer and claiming to be the Black Badger. Bob shoots Calvin, grazing his neck, to keep him safe.

Before the ending credits, Maggie is pregnant and Calvin has joined the CIA. As a gift for his first day on the job, Stone gives Calvin back his varsity jacket from high school, which Calvin had given to him after the senior assembly prank.

Melissa McCarthy makes an uncredited appearance, at the 20-year reunion, as Bob's high school love interest Darla McGuckian.

This film was originally greenlit by Universal Pictures in 2010 and New Line Cinema joined in years later. The film was announced in 2015. Thurber was selected to direct and started to write the script together with Ike Barinholtz and David Stassen. That year, Dwayne Johnson was cast alongside Kevin Hart.

Principal photography began on May 6, 2015, and took place in Atlanta and throughout various Massachusetts locations, including Boston,[5][6] Burlington,[7] Lynn, Middleton,[7] and Quincy. Principal photography ended in July 2015. To promote the film, Johnson and Hart had an Instagram war against each other on the set.[8]

The film premiered at the Regency Village Theater on June 10, 2016. Warner Bros. handles distribution in the United States, where the film opened on June 17, 2016, while Universal covers global distribution, as the film was released between June and July 2016.

Central Intelligence was released on Digital HD on September 13, 2016, before being released on DVD, Blu-ray and 4K Ultra HD on September 27, 2016.[9]

Central Intelligence grossed $127.4 million in North America and $89.5 million in other territories for a worldwide total of $217 million, against a budget of $50 million.[3] Deadline Hollywood calculated the net profit of the film to be $52 million, when factoring together all expenses and revenues for the film.[10]

Central Intelligence opened on June 17, 2016, alongside Finding Dory, and was projected to gross around $30 million from 3,508 theaters in its opening weekend.[2] The film grossed $1.8 million from its Thursday previews and $13 million on its first day.[11] The film went on to gross $35.5 million, finishing second at the box office behind Finding Dory ($135.1 million).[12]

On Rotten Tomatoes the film has an approval rating of 70% based on 171 reviews with an average rating of 5.7/10. The site's critical consensus reads, "Kevin Hart and Dwayne Johnson make for well-matched comic foils, helping Central Intelligence overcome a script that coasts on their considerable chemistry."[13] On Metacritic, the film has a score of 52 out of 100 based on 35 critics, indicating "mixed or average reviews".[14] Audiences polled by CinemaScore gave the film an average grade of "Aâ€“" on an A+ to F scale.[15]

Peter Travers of Rolling Stone gave the film two out of four stars, writing "If you're expecting the story threads to cohere, you're in the wrong multiplex. Central Intelligence always takes the lazy way out. You go along for the ride because Hart and Johnson promise something they can't deliver: a movie as funny as they are."[16] Ignatiy Vishnevetsky of The A.V. Club criticized the film as a "shambolic high-concept farce that doubles as a cautionary tale of where studio comedies go wrong," writing: "In spots as indifferent and self-indulgent as any latter-day Adam Sandler production..., [Intelligence] switches back and forth from snail-paced to incoherently over-stuffed on a momentâ€™s notice, with no in-between mode."[17] Keith Phipps of Uproxx gave the film a positive review, saying "It all adds up to the sort of breezy, undemanding comedy that fits nicely into the summer months, and plays beautifully in endless cable repeats."[18]


who won the 24 hrs of le mans

The race was won by the No. 2 Porsche driven by Timo Bernhard, Brendon Hartley and Earl Bamber after taking the lead of the race in the final two hours. It was the second victory at Le Mans for Bamber and Bernhard, and Hartley's first. Toyota's Sébastien Buemi, Kazuki Nakajima, and Anthony Davidson finished in eighth place after starting on pole position, and were the only other competitor in the LMP1 field to finish the event. The LMP2 category was won by Ho-Pin Tung, Thomas Laurent, and Oliver Jarvis in the No. 38 Jackie Chan DC Racing Oreca, who led the race outright for several hours before finishing in second place overall. The second DC Racing entry of David Cheng, Tristan Gommendy, and Alex Brundle were three laps behind for third overall, followed by the No. 35 Signatech Alpine of Nelson Panciatici, Pierre Ragues, and André Negrão.

2017 24 Hours of Le Mans

The 85th 24 Hours of Le Mans (French: 85e 24 Heures du Mans) was an automobile endurance event held on 17â€“18 June 2017 at the Circuit de la Sarthe, Le Mans, France. It was the 85th running of the 24 hour race organised by the Automobile Club de l'Ouest as well as the third round of the 2017 FIA World Endurance Championship.

Aston Martin won the LMGTE Pro category, after the No. 97 car of Darren Turner, Jonathan Adam, and Daniel Serra overtook the stricken No. 63 Corvette of Jordan Taylor, Antonio García, and Jan Magnussen in the final two laps of the race. The No. 67 Ford was also able to pass the Corvette on the final lap to take second place for Harry Tincknell, Andy Priaulx, and Pipo Derani. LMGTE Am was won by the JMW Motorsport Ferrari of Robert Smith, Will Stevens, and Dries Vanthoor. Ferraris also finished in second and third, with Spirit of Race's Duncan Cameron, Aaron Scott, and Marco Cioci in second, and Scuderia Corsa's Townsend Bell, Cooper MacNeil, and Bill Sweedler in third.

Following the 2016 event in which the leading car failed on its final lap and was eventually not classified in the final results, the standards by which a car is classified have been changed. Instead of the mandatory six minutes for the final lap of the race, penalties will be awarded for any lap over six minutes on a gradual scale. Failure to complete the last lap of the race in under fifteen minutes will now lead to a car no longer being classified.[1]

The slow zone system used at Le Mans has also been revised, with nine dedicated slow zone sectors laid out around the circuit. Previously individual marshal posts were used to mark the beginning and end of slow zones. The dedicated zones have been located such that the beginning of the 80 km/h (50 mph) is in a slow section of the circuit; previous slow zones could begin in areas of the track where cars were required to slow down from high speeds and cause accidents.[2]

The LMP2 category was revamped with the introduction of a single specification motor from Gibson, with increased power output compared to 2016 LMP2s.[3] Cockpit and chassis designs also mimic the LMP1 regulations for safety.[4] The four approved chassis manufacturers were Dallara, Ligier, Oreca and Riley.[5]

Automatic entry invitations are earned by teams that won their class in the previous running of the 24 Hours of Le Mans, or won championships in the European Le Mans Series, Asian Le Mans Series, and the Michelin GT3 Le Mans Cup. The second-place finisher in the European Le Mans Series LMGTE championship also earns an automatic invitation. Two participants from the WeatherTech SportsCar Championship are chosen by the series to be automatic entries by the ACO regardless of their performance or category. As invitations are granted to teams, they were allowed to change their cars from the previous year to the next, but not allowed to change their category. The LMGTE class invitations from the European and Asian Le Mans Series are allowed to choose between the Pro and Am categories. European Le Mans Series' LMP3 champion is required to field an entry in LMP2 while the Asian Le Mans Series LMP3 champion may choose between LMP2 or LMGTE Am. The Michelin GT3 Le Mans Cup champions are limited to the LMGTE Am category.[6]

In conjunction with the announcement of entries for the 2017 FIA World Endurance Championship and the 2017 European Le Mans Series, the ACO announced the full 60 car entry list for Le Mans, plus two reserves.[7] Two cars were initially named to the reserve entry list for the event; RLR Msport later withdrew their LMP2 Ligier, while a fourth entry from Proton Competition remained without being promoted to the race.

With the withdrawal of Audi from LMP1, the class was reduced to just six entries for the 24 Hours of Le Mans.

Toyota took to the top of the field in qualifying, locking out the first row on the grid and breaking several lap records in the process. Kamui Kobayashi's 3:14.791 lap time during the second qualifying session was nearly two seconds faster than the qualifying lap record set in 2015 on the current 13.629 km (8.469 mi) version of the Circuit de la Sarthe, and averaged 251.882 km/h (156.512 mph) to beat Hans-Joachim Stuck's 1985 qualifying run.[8] The No. 8 Toyota secured second place during the final session after suffering an engine oil issue earlier in the day in the second session, necessitating an engine change. Porsche settled for third and fourth on the grid, but not before the No. 1 stopped on the circuit due to overheating and was unable to continue the final session. The third Toyota remained in fifth place for all three qualifying sessions, while the ByKolles ENSO CLM was sixth fastest.

The LMP2 category, with all-new, more powerful cars for 2017, were over 11 seconds faster than the class pole time the previous year. Alex Lynn led the category with a 3:25.352 lap, giving G-Drive their third consecutive pole position in the World Endurance Championship. The No. 25 Manor were two-tenths of a second behind, while DC Racing's No. 38 entry was a further half of a second behind. Oreca chassis, as well as the variant Alpine chassis, secured the first nine positions in the LMP2 class, while the Dallara of SMP Racing was the fastest of the other chassis in tenth place.[8] Eurasia Motorsport suffered the only major incident of the qualifying session after Erik Maris spun into a barrier on the exit of the first Mulsanne chicane at the start of the second qualifying session, stopping the session for half an hour.[9]

Aston Martin led the LMGTE Pro category with Darren Turner setting a 3:50.837 lap time, the fastest lap of Le Mans for an LMGTE car. All five manufacturers in LMGTE Pro were within a second of Turner's lap, with the fastest Ferrari in second, Ford fifth, Corvette sixth, and Porsche seventh. Larbre Compétition led LMGTE Am, with Fernando Rees setting a 3:52.843 lap time with the Corvette, four-tenths of a second clear of the No. 98 Aston Martin; the No. 62 Scuderia Corsa Ferrari was third in the class.[10]

Provisional pole positions in each class are denoted in bold. The fastest time set by each entry is denoted with a gray background.

After pre race problems the LMP1 No. 4 ByKolles Racing Team entry retired after completing 7 laps due to a loss of compression in the engine.[16] Toyota established a healthy lead in the early hours of the race and the No. 2 Porsche took a lengthy stop after three and a half hours to fix its front axle, losing touch with the leaders. Four and a half hours in the No. 8 Toyota also had to make repairs in the pits, dropping them from contention for the win.[17]

Ten hours in, the overall race leader No. 7 Toyota, suffered a clutch failure and could not make it back to the pits under hybrid power, forcing its retirement. This was quickly followed by the No. 9 Toyota colliding with an LMP2 car which caused a puncture. The debris left on the wheel rim caused further damage to the No. 9's gearbox and forced it to retire.[18] This left the No. 1 Porsche with a large lead in the overall standings. However, with four hours to go, it too failed and retired from the race.[19] This left the No. 38 LMP2 car as the overall leader, meaning that for the first time in history the race was led by an LMP2 runner.[20] The eventual winner was the No. 2 Porsche (coming back from its early repair stop), passing the No. 38 with less than two hours to go and taking victory with 367 laps; the No. 8 Toyota, in 8th, was the only other LMP1 car to finish the race (also after an early repair stop).[21]

Following the race, the third-place finishing No. 13 Rebellion Oreca was disqualified by race officials after it was found that the team had modified the rear bodywork by cutting a hole to allow them to hit a faulty starter motor. This modification was deemed as an unnecessary modification of a homologated part of the bodywork. The disqualification promoted the second Jackie Chan DC Racing car to third place overall and second in class.[22]

The minimum number of laps for classification (70% of the overall winning car's race distance) was 257 laps. Class winners in bold.[23]


when did feudalism begin and end in england

These political and military customs existed in medieval Europe, having developed around 700 A.D., flourished up to about the first quarter of the 14th century[1] and declined until their legal abolition in England with the Tenures Abolition Act 1660.

Feudalism in England

Feudalism as practiced in the Kingdom of England was a state of human society which was formally structured and stratified on the basis of land tenure and the varieties thereof. Society was thus ordered around relationships derived from the holding of land, which landholdings are termed "fiefdoms, fiefs, or fees".

The word feudal derives from an ancient Gothic source faihu signifying simply "property" which in its most basic sense was "cattle".[2][3] This can be compared to the very ancient classical Latin word pecunia, which means both cattle and money. Many societies in existence today demonstrate the traditional use of cattle as financial currency, for example the Masai of Kenya, who pay dowries in this form.

Because feudalism was in its origin a Teutonic or Gothic system from northern Europe untouched by Roman civilization, it did not exist in ancient Rome, where the nearest equivalent was clientelism. No classical Latin word therefore exists to signify it, and a new Low-Latin word feodum was invented by mediaeval European scribes to use in their Latinised charters and other writings.[4][5]

Under the English feudal system, the person of the king (asserting his allodial right) was the only absolute "owner" of land. All nobles, knights and other tenants, termed vassals, merely "held" land from the king, who was thus at the top of the "feudal pyramid". When feudal land grants were of indefinite or indeterminate duration, such grants were deemed freehold, while fixed term and non-hereditable grants were deemed non-freehold. However, even freehold fiefs were not unconditionally heritable--before inheriting, the heir had to pay a suitable feudal relief.

Below the king in the feudal pyramid was a tenant-in-chief (generally in the form of a baron or knight) who was a vassal of the king, and holding from him in turn was a mesne tenant (generally a knight, sometimes a baron, including tenants-in-chief in their capacity as holders of other fiefs) who held when sub-enfeoffed by the tenant-in-chief. Below the mesne tenant further mesne tenants could hold from each other in series. The obligations and corresponding rights between lord and vassal concerning the fief form the basis of the feudal relationship.

Before a lord could grant land (a fief) to a tenant, he had to make that person a vassal. This was done at a formal and symbolic ceremony called a commendation ceremony composed of the two-part act of homage and oath of fealty. During homage, the lord and vassal entered a contract in which the vassal promised to fight for the lord at his command, whilst the lord agreed to protect the vassal from external forces, a valuable right in a society without police and with only a rudimentary justice system.

The word fealty derives from the Latin fidelitas and denotes the fidelity owed by a vassal to his feudal lord. Fealty also refers to an oath which more explicitly reinforces the commitments of the vassal made during homage. Such an oath follows homage. Once the commendation was complete, the lord and vassal were now in a feudal relationship with agreed-upon mutual obligations to one another. The vassal's principal obligation to the lord was the performance of military service. Using whatever equipment the vassal could obtain by virtue of the revenues from the fief, the vassal was responsible to answer to calls to military service on behalf of the lord.

This security of military help was the primary reason the lord entered into the feudal relationship, but the vassal had another obligation to his lord, namely attendance at his court, whether manorial, baronial or at the king's court itself in the form of parliament.[6] This involved the vassal providing "counsel", so that if the lord faced a major decision he would summon all his vassals and hold a council. On the manorial level this might be a fairly mundane matter of agricultural policy, but also included the handing down by the lord of sentences for criminal offences, including capital punishment in some cases. Concerning the king's feudal court, the prototype of parliament, such deliberation could include the question of declaring war. Depending on the period of time and location, feudal customs and practices varied, see examples of feudalism.

Under the feudal system several different forms of land tenure existed, each effectively a contract with differing rights and duties attached thereto. The main varieties are as follows:

Freehold (indeterminate & hereditable):

Freehold (indeterminate & hereditable):

Non-freehold (fixed-term & non-hereditable):


where did the card game 'bridge' originate

According to the Oxford English Dictionary, the word bridge is the English pronunciation of the game called "biritch". It followed on from whist, which initially was the dominant trick-playing game and enjoyed a loyal following for centuries. The oldest known reference to the rules of the game dates from 1886 and calls it "Biritch, or Russian Whist".[1] The game featured several significant developments from whist: dealer chose the trump suit, or nominated his partner to do so; there was a call of no trumps (biritch); and the dealer's partner's hand became dummy. There were other similarities to bridge: points were scored above and below the line; the score could be doubled and redoubled; scoring a game in one deal required 3 odd tricks in no trumps, 4 in hearts, or 5 in diamonds (although it could not be done at all, undoubled, in clubs or spades); and there were slam bonuses.

History of contract bridge

The history of contract bridge, one of the world's most popular partnership card games, may be dated from the early 16th-century invention of trick-taking games such as whist. Bridge departed from whist with the creation of Biritch (or "Russian Whist") in the 19th century, and evolved through the late 19th and early 20th centuries to form the present game.

Despite the popularity of whist,[2] this game, and variants of it, bridge [3] and bridge-whist,[4] became popular in the United States and the UK in the 1890s.

In 1904 auction bridge, known for a time as royal auction bridge,[5] was developed where the players bid in a competitive auction to decide the contract and declarer. The object became to make at least as many tricks as were contracted for and penalties were introduced for failing to do so.

The modern game of contract bridge was the result of innovations to the scoring of auction bridge made by Harold Stirling Vanderbilt and others. The most significant change was that only the tricks contracted for were counted below the line towards game and slam. That made bidding much more challenging and interesting. Another innovation was the concept of vulnerability, a difference in the sizes of penalties incurred by partnerships that have or have not won one game. That discouraged sacrifice bidding to protect the lead in a rubber. Some other scores were adjusted to produce a more balanced game. Vanderbilt set out his rules in 1925, and within a few years contract bridge had so supplanted other forms of the game that "bridge" became synonymous with "contract bridge."

Led by Ely Culbertson, contract bridge enjoyed a boom in popularity in the US and the UK in the 1930s.

In the US and Australia today, bridge is usually duplicate bridge played at clubs, at tournaments, and online. In the UK, bridge is still widely played in private homes (rubber or Chicago) as well as at clubs (duplicate and rubber) and tournaments (duplicate).


how many points is a pin in wrestling

In amateur wrestling, a pin ends the match regardless of when it occurs. Situations which are almost pins but for whatever reason do not meet the criteria—for example, have only one shoulder down or have the defending wrestler blocked in a neck bridge—are rewarded with exposure points (in collegiate wrestling, known as near fall points or back points) in order to encourage wrestlers to take risks to try to pin their opponents.

Pin (amateur wrestling)

A pin, or fall, is a victory condition in various forms of wrestling that is met by holding an opponent's shoulders or scapulae (shoulder blades) on the wrestling mat for a prescribed period of time. This article deals with the pin as it is defined in amateur wrestling.

In  Greco Roman and freestyle wrestling, the two shoulders of the defensive wrestler must be held long enough for the referee to "observe the total control of the fall" (usually ranging from one half-second to about one or two seconds). Then either the judge or the mat chairman concurs with the referee that a fall is made. (If the referee does not indicate a fall, and the fall is valid, the judge and the mat chairman can concur together and announce the fall.)[1] In the United States, for the Kids' Freestyle and Greco-Roman wrestling division (wrestlers ages 8 to 14) in competitions sponsored by USA Wrestling, it is specified that a fall must be held for two seconds.[2]

In the half-nelson, the attacking wrestler is on top of the opponent on the ground with both wrestlers face down; a half nelson can be used to turn the opponent over. The attacker's arm is pushed below the opponent's shoulder from the outside, and across and behind the opponent's neck. The attacker's arm lifts the opponent's shoulder while the attacker's hand presses his neck down; simultaneously the attacker drives forward perpendicularly to the opponent's body to roll him over onto his back. With the opponent on his back and the attacker perpendicular to him chest-on-chest, the attacker tightens his arm around the opponent's neck, often also controlling the opponent's lower body by hooking the free arm in the opponent's crotch or around the near or far thigh.

In a three-quarter nelson, one arm again goes under the opponent's shoulder and behind his neck to press it down, but in addition the attacker's other arm goes under the opponent's body from the same side, across the body to the other side of the neck, and up the other side of the neck to lock with the first hand behind the neck and press down. Again the attacker drives forward to roll the opponent over; once that is accomplished, the attacker can convert to a half nelson or, if the attacker's leg has hooked behind the opponent's knee, the three-quarter nelson can be maintained to accomplish the pin.

A cradle is a move where the attacker performs the cradle by grabbing the neck of his opponent with one arm, and wrapping the elbow of the other arm behind the knee of the opponent. The wrestler then locks both hands together, forcing the opponent's knee toward his face, and rolls the opponent over onto his back. The hooked leg can be either the near leg (a "near-side cradle") or the far leg (a "far-side cradle").

In this move, the top wrestler, just to his opponent's left, grasps the opponent's left elbow with his left hand, putting his right arm on his waist in front of his right hip. He quickly pull his left arm out while still holding onto it. He pushes him down with his body, using his right knee to push him forward and off-balance. He then grabs his right wrist with the right hand and pulls it outward. His belly is now down on the mat, legs flat. The aggressor is above the opponent with his chest several inches above his back. The aggressor's left knee holds up most of his own body weight. The aggressor's right leg is extended between his legs with the ball of the foot on the floor. The aggressor curls his wrist, then encloses the opponent's left arm inside the aggressor's left elbow joint. With the aggressor's chest is resting on the opponent's left elbow, he uses his body to push his left shoulder into his ear, using both legs for leverage. He slowly moves his feet into a walking position while crouched, walking in a circle and rolling the opponent over onto his back without releasing his arms. The pin is finished by the aggressor  leaning on his knees with his chest toward the floor.

A guillotine is initiated when both wrestlers are face down on the mat, the attacker on top of the opponent. The attacker hooks one leg around the opponent's same-side leg, also hooking the ankle with the foot. The attacker reaches across to grab the arm opposite to the side that the leg ride is on. This arm is pulled back and up to allow the attacker to slip his head under it, at or just above the elbow. (The guillotine is most easily applied if the opponent is reaching back during the leg ride.) The attacker uses his head to lift and turn the arm and opponent. The attacker's leg-hook-side arm is applied under the opponent's arm and behind his head in a similar fashion to a half nelson. The attacker rolls backward to roll the opponent is onto his back, and the attacker locks his hands around the opponent's neck.


what is mary warrens role in the crucible

Mary Warren is a character in the play The Crucible by Arthur Miller. True to the historical record, she is a maid for John Proctor, and becomes involved in the Salem witch hunt as one of the accusers, led by Abigail Williams. Mary Warren has a very weak character, giving in to pressure a number of times. Proctor manages to convince her to reveal that she and the other accusers have been fabricating their stories and "supernatural experiences" that have resulted in the arrest of many innocents. However, Warrenâ€™s confession comes to nothing. Williams accuses Warren of witchcraft, which leads to Warren to renounce her confession and accuse Proctor of forcing her to make it. Proctor is later hanged as he renounces his confession to save his heart and soul. In the 1957 and 1996 film adaptations of Miller's play, she was depicted by Pascale Petit[3] and Karron Graves,[4] respectively.

Mary Warren

Mary Ann Warren was the oldest accuser during the 1692 Salem witch trials, being 18 years old, when the trials began.[1] She was a servant for John and Elizabeth Proctor. Renouncing her claims after being threatened to be hanged, she was later arrested for allegedly practicing witchcraft herself, but did not confess. Her life after the trials is unknown.

In early March 1692, Warren began having fits, claiming that she saw the ghost of Giles Corey. John Proctor told her she was just seeing his shadow, and put her to work at the spinning wheel, threatening to beat her if she pretended to any more fits. For some time, she did not report any more sightings, but she started to have fits again.

Warren was kept hard at work at the Proctor home and was told that if she ran into fire or water during one of her fits, she would not be rescued. When her seizures did stop, she posted a note at the Meeting House one Sabbath eve to request prayers of thanks. That night, Warren stated that John Proctor woke her to torment her about posting the note. On April 3, 1692, Samuel Parris read Mary's note to the church members, who began to question Warren after the Sunday services. Some took her answers to their questions to mean that the girls had lied. Warren told them she felt better now and could tell the difference between reality and visions. The other girls became angry with Mary and began accusing her of being a witch because she had told the high court that all the girls were lying that they saw the devil. She was formally accused of witchcraft on April 18, 1692.[2] Under questioning she continued to have fits, confessing under duress to witchcraft and began to accuse various people, including the Proctors, of witchcraft.[1]


what does the s on supermans suit mean

In modern-day Superman stories published by DC, the symbol is typically explained as being Superman's family crest from his home planet Krypton, known as the insignia of the House of El, with its resemblance to a letter S being merely a coincidence.

Superman logo

The Superman shield, also known as the Superman logo, is the iconic emblem for the fictional DC Comics superhero Superman. As a representation of one of the first superheroes, it served as a template for character design decades after Superman's first appearance. The tradition of wearing a representative symbol on the chest was mimicked by many subsequent superheroes, including Batman, Spider-Man, the Fantastic Four, Green Lantern, the Flash, Wonder Woman, Hawkman, and many others.

In its original inception in Action Comics #1, Superman's symbol was a letter S with red and blue on a yellow police badge symbol that resembled a shield. The symbol was first changed a few issues later in Action Comics #7. The shield varied over the first few years of the comics, and many times was nothing more than an inverted triangle with an S inside of it.[1][2]

The shield first became a diamond in the Fleischer cartoon serial Superman. It was black with a red S outlined with white (or occasionally with yellow). The S has varied in size and shape and the diamond shape containing it has also changed size and shape. Extreme examples of this would be the very large logo on the Dean Cain costume from the television series Lois & Clark: The New Adventures of Superman and the comparatively small version of the shield as depicted in the 2006 film Superman Returns. It has, in most incarnations, retained its original color, while changing shape here and there. The classic logo is the basis for virtually all other interpretations of the logo.[1][2]

In the mid-1990s, when Superman's costume and powers changed briefly, during the "Superman Red/Superman Blue" comic book storylines, the shield changed colors and slightly changed shape, in accordance with the changes in the costume. In 1997's Superman Vol 2 #123 Superman's new powers forced him to find a suit that was capable of containing his new abilities. The effective material found to create Superman's suit, along with being blue and silver, was also courtesy of Lex Luthor. Not only did the colors and powers change, the logo also evolved into a re-imagined "electric" emblem. In the miniseries Kingdom Come, an aged Superman sported an S-like symbol against a black background in a red pentagon.[1][2]

In the 2000s TV series Smallville, the S symbol originally appeared as a diamond with a vertical infinity symbol (to be similar to the S), in an attempt to make it seem more alien. However, beginning with the Season Six opening episode "Zod," Clark is given a crystal bearing the S logo in the style of the Superman Returns logo and is seen several times throughout the series and specifically in the season finale when a beam shaped like the logo hits a Phantom Zone escapee. The logo also appeared in the first episode of the series, when the students captured Clark by giving him a kryptonite necklace (which they didn't know was a weakness) and tied him to a cross-like beam in a cornfield and painted a red 'S' on Clark's chest (standing for Scarecrow, which was what he was meant to be as part of a high school hazing tradition) as a reference.[1]

Initially, the S-shield had one meaning: S for Superman. One of the first alternative meanings was presented in Superman: The Movie, in which it was not an S, but rather the S-shaped Coat of arms of the House of El as it was Brando's idea to have Jor-El wear the "S" as a family crest, folklore spun off from there. After the Superman reboot story The Man of Steel, the symbol's story was that it was designed by Jonathan Kent and was derived from an ancient Native American symbol. The symbol was featured on a medicine blanket given to an ancestor of the Kent family by a Native American tribe after he helped to cure them of a plague and was supposed to represent a snake, an animal held to possess healing powers by the tribe (implying that, by wearing this symbol, Superman was a metaphorical healer). This was also included in the 1997 Superman encyclopedia. In 2004, Mark Waid's Superman: Birthright series says the S-Shield is the Kryptonian symbol for "hope" and Superman believes it may have begun as a coat of arms for the House of El. Later, writer Geoff Johns confirmed it was indeed a coat of arms, as well as a symbol for hope. In the 2013 film Man of Steel, when asked by Lois Lane what the "S" stands for, Superman states that it is not an "S", but rather the Kryptonian symbol for "hope".

In Supergirl (TV series, 2015) Season 1, episode 2 Kara states that the Kryptonian symbol stands for her family's motto, "Stronger together."

Marv Wolfman's novelization of the film Superman Returns depicts the symbol as belonging to one of the three primary houses of Krypton that brought peace to the planet after a civil uprising, a serpent coiled inside a shield, a warning not to return to the ways of violence and deception. The shield has since been taken as a coat of arms, resulting in Jor-El's continued presence in the council despite his "mad" findings. The other two are merely described, including Pol-Us' eye of vigilance and Kol-Ar's open hand of truth and justice.

In almost all versions, Superman's red cape has an all-yellow version of the logo, with a thin black (in the comics) or red (in movies, matching the red color of the cape) line separating the areas. A notable exception is in Superman: The Animated Series, where the logo was absent from Superman's cape. This was due to the difficulty in animating the S on the flowing cape. In the 2006 film Superman Returns, the logo appeared on the belt buckle in reverse colors (yellow diamond and S with red background pieces) instead of on Superman's cape. The logo is also absent from Superman's cape in the 2013 film Man of Steel. In the 2011 reboot of the comic book series, on his cape is a black pentagon and S with red background pieces.

In the 1960s the tiny bottle city of Kandor, the miniaturized capital city of the planet Krypton, resided in Superman's Fortress of Solitude. Originally, certain inhabitants resembling Kal-El formed the Superman Emergency Squad and would, on occasion, leave the bottle, enter the Earth's atmosphere and gain super powers in order to aid Superman. As designed by artist Curt Swan, their uniforms were similar to that of Superman save for the 'S' on their chests which resembled the early version, the 'S' and border in red on a yellow field, but in an elongated triangle.

During the Reign of the Supermen story arc, Each of the four different Supermen was represented by a variant of the symbol, which each wore on their person.

Kryptonian family members of Superman wear the symbol, but sometimes it is worn to honor Superman. After the death of Superman, many DC Comics superheroes wore a black armband with the Superman logo.

In the television series Smallville, an octagonal silver metallic key is used in the Kawatche caves, as well as in a transport device used to travel to the Fortress of Solitude. Along the edges are imprinted Kryptonian characters, one of which is the diamond border of the Superman shield with a figure 8 inside of the diamond instead of the S. The 8-shield is later described as being from an ancient form of the Kryptonian language, while the modern symbol is the familiar S-shield. The familiar S-shield is seen in season 9. It is used as Clark Kent's calling card in his vigilante actions in Metropolis. Clark, known as the Blur, burns the sign using his heat vision in various places throughout the city. In the season 9 episode "Rabid", Clark mentions while talking to Oliver Queen that the mark "gives people hope."[5]


the outermost layer of the kidney is called the

The renal capsule is a tough fibrous layer surrounding the kidney, and covered in a layer of perirenal fat known as the adipose capsule of kidney. The adipose capsule is sometimes included in the structure of the renal capsule. It provides some protection from trauma and damage. The renal capsule is surrounded by the renal fascia. Overlying the renal fascia and between this and the transverse fascia is a region of pararenal fat.[1]

Renal capsule

The renal capsule relates to the other layers in the following order (moving from innermost to outermost):

The adipose capsule of the kidney also known as the perirenal fat, may be regarded as a part of the renal capsule.