title: To Every You I've Loved Before (film)

abstract: To Every You I've Loved Before, often shortened to Bokuai, is a 2022 Japanese animated film based on the novel of the same name by Yomoji Otono. Produced by Bakken Record and distributed by Toei Company, the film is directed by Jun Matsumoto from a script written by Riko Sakaguchi and stars Hio Miyazawa, Ai Hashimoto, Aju Makita, Mutsumi Tamura, Kenji Hamada, Mie Sonozaki, Tomomichi Nishimura, Fumi Hirano, Miki Mizuno, Kimiko Yo, and Tokuma Nishioka. The film follows high-school student Koyomi Takasaki meeting Kazune Takigawa, who reveals to him that he is her boyfriend in the 85th parallel world. Its companion film, To Me, the One Who Loved You, depicts an alternate version of Koyomi, named in that world as Koyomi Hidaka, and Shiori Satō who both fall in love with each other, but their parents' remarriage has led them to elope to another parallel world where they are not stepsiblings. The anime film adaptation of one of Otono's novels was announced in September 2021. Matsumoto and Sakaguchi joined the staff of the film in May 2022. Miyazawa and Hashimoto were revealed as the main cast in June 2022. Additional staff and cast were announced in August 2022. To Every You I've Loved Before had an early screening in Tokyo on September 14, 2022, and was released in Japan on October 7. The film grossed over US$1 million worldwide.

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# To Every You I've Loved Before (film)

***To Every You I've Loved Before*** (Japanese: 僕が愛したすべての君へ, Hepburn: *Boku ga Aishita Subete no Kimi e*), often shortened to ***Bokuai*** (Japanese: 僕愛), is a 2022 Japanese animated film based on the novel of the same name by Yomoji Otono. Produced by Bakken Record and distributed by Toei Company, the film is directed by Jun Matsumoto from a script written by Riko Sakaguchi and stars Hio Miyazawa, Ai Hashimoto, Aju Makita, Mutsumi Tamura, Kenji Hamada, Mie Sonozaki, Tomomichi Nishimura, Fumi Hirano, Miki Mizuno, Kimiko Yo, and Tokuma Nishioka.

The film follows high-school student Koyomi Takasaki meeting Kazune Takigawa, who reveals to him that he is her boyfriend in the 85th parallel world. Its companion film, *To Me, the One Who Loved You*, depicts an alternate version of Koyomi, named in that world as Koyomi Hidaka, and Shiori Satō who both fall in love with each other, but their parents' remarriage has led them to elope to another parallel world where they are not stepsiblings.

The anime film adaptation of one of Otono's novels was announced in September 2021. Matsumoto and Sakaguchi joined the staff of the film in May 2022. Miyazawa and Hashimoto were revealed as the main cast in June 2022. Additional staff and cast were announced in August 2022.

*To Every You I've Loved Before* had an early screening in Tokyo on September 14, 2022, and was released in Japan on October 7. The film grossed over US$1 million worldwide.

## Plot

Old Koyomi Takasaki notices a note from his IP device informing him about a meet-up at 10 AM today, August 17, but he cannot recall it. After being encouraged by his wife Kazune to show up at the meeting place, Koyomi arrives at the Showa-dori intersection and meets the ghost form of Shiori Satō's Imaginality, her consciousness, who is waiting for him. After she disappeared, Koyomi deduces that a shift to a parallel world, called Parallel Shift, has taken place, but his IP device shows an error message upon checking it to determine how far he is from the original world.

In a parallel world, seven-year-old Koyomi chooses to live with his mother Mayumi Takasaki after his parents got divorced. Following the death of his grandfather, Koyomi walks his dog Yuno outside when he suddenly experiences a Parallel Shift. He encounters young Shiori who then runs away and finds himself at Imaginary Science Research Institute where his father works. Arriving at his mother's house, Koyomi realizes that he is in a different world where he has chosen to live with his father, his grandfather is alive, and Yuno has passed away. After staying for a night, Koyomi returns to his original world.

Now a high school student, Koyomi is approached by his classmate Kazune Takigawa, who introduces herself as his girlfriend in the 85th parallel world. Kazune reveals that she has not felt a Parallel Shift taking place despite her IP device reading her world is 85 shifts away. They decide to continue their everyday lives on their own. Sometime later, Koyomi greets Kazune with her first name but gets ignored instead, resulting in him believing that the Kazune of the 85th parallel world has returned home. Koyomi invites the original Kazune to a karaoke to learn about her experience when she was in the 85th parallel world, but Kazune reveals that she has pranked him about being his girlfriend and her shifting to the other world as payback for making her speak at their school's opening ceremony instead of him. Since then, Koyomi and Kazune become friends, with her rejecting him during his confessions. After graduating and enrolling at the same university, Kazune asks Koyomi to be his girlfriend. Afterward, the two join the Institute and help in improving the reliability of IP devices.

Koyomi and Kazune get married and have a son named Ryō. An attacker causes havoc at the exhibition that the Takasaki family is visiting, but Koyomi manages to save Kazune and Ryō from the attack. Going back to work, Koyomi learns that an Optional Shift, a forced Parallel Shift to a specified parallel world, targeting Kazune has taken place. It is revealed that his Kazune has shifted to another world and the current one is from the 13th parallel world where her son has died from the attack. That Kazune returns to her world after coming to terms with her son's death, but Koyomi's Kazune is no longer "numerically" the original one due to identity diffusion. Despite all that, their love continues until their old age.

Old Kazune Takigawa from the parallel world where she and Koyomi, named there as Koyomi Hidaka, are not married initiates an Optional Shift to the old Kazune of this world to write a letter asking her to send her husband to the intersection to fulfill Hidaka's wish of meeting with Shiori again at the same place. Takigawa reveals that Hidaka has just gone through Time Shift and his Imaginality resides in her husband's consciousness. Back at the intersection, old Koyomi encounters old Shiori, both are not recognizing each other, and he hears that she is living a happy life. Koyomi returns home and shows Kazune his gratitude for making his life happy.

## Voice cast

## Production

An anime film adaptation of one of the two science fiction romance novels by Yomoji Otono, *Boku ga Aishita Subete no Kimi e*, was confirmed in September 2021. In May 2022, Jun Matsumoto was revealed to be directing the film at Bakken Record, with Riko Sakaguchi writing the script and Shimano conceiving the character designs. In June 2022, Hio Miyazawa, in his voice acting debut, and Ai Hashimoto were revealed as the main characters Koyomi Takasaki and Kazune Takigawa, respectively; Miyazawa was also set to voice Koyomi Hidaka alongside Aju Makita as Shiori Satō in the film's companion piece *To Me, the One Who Loved You*. Mutsumi Tamura, Kenji Hamada, Mie Sonozaki, Tomomichi Nishimura, Fumi Hirano, Miki Mizuno, Kimiko Yo, and Tokuma Nishioka were announced as part of the cast in August 2022. That month, other staff working on the film were also announced, including Kenzō Ishiguro for planning and production, Yukari Tachibana and Tomoyuki Saito as the producers, Keiichi Kondō, Rika Sasaki, and Kano Komiyama as the character designers, Kenji Fujisaki, Yumiko Ōmae, and Kenji Shibata as the animation directors, Yukari Yasuda as the art director, Yohei Konishi as the cinematographer, and Masaki Sakamoto as the film editor. In September 2022, Japanese musician Keina Suda was confirmed to be making a guest appearance in the film.

## Music

In August 2022, Takashi Ohmama was revealed to be composing *To Every You I've Loved Before*. Additionally, Suda was announced to be performing the theme song *"Kumo wo Kō"* (雲を恋う, lit.'Love the Clouds') for the film, which he also written and composed. The title was based on the old idiom *"Rōchō Kumo wo Kō"* (籠鳥雲を恋う), meaning "a bird in a basket pining for the clouds in the sky", with Suda explaining that it reflected how Koyomi "yearns for freedom from a state of captivity". Suda was confirmed in September 2022 to be performing the insert song *"Rakka Ryūsui"* (落花流水, lit.'Mutual Love') for the film, which was also based on the idiom of the same name. The two songs and the film's original soundtrack were released digitally in Japan on October 7, 2022.

*To Every You I've Loved Before / To Me, the One Who Loved You: Original Soundtrack* track listing
| No. | Title | Length |
| --- | --- | --- |
| 1. | "A Space for Two" (ふたりの空間) | 0:51 |
| 2. | "*Bokuai* Opening Theme" (「僕愛」オープニングテーマ) | 0:31 |
| 3. | "The Way ~Beginning~" (道 〜はじまり〜) | 2:37 |
| 4. | "Encounter" (出会い) | 1:29 |
| 5. | "Kinds of Kindness" (優しさの種類) | 3:21 |
| 6. | "The Way ~Awareness~" (道 〜気づき〜) | 2:01 |
| 7. | "Consideration" (考察) | 2:03 |
| 8. | "The Entrance to First Love" (初恋の入り口) | 2:55 |
| 9. | "In the Middle of Love" (恋の途中) | 1:10 |
| 10. | "A New Beginning" (新たな始まり) | 2:19 |
| 11. | "Change ~School Life~" (変化 〜学校生活〜) | 2:08 |
| 12. | "Change ~Afterwards~" (変化〜その後〜) | 0:50 |
| 13. | "A World Bound Together" (結ばれる世界) | 1:15 |
| 14. | "Outbreak" (勃発) | 1:15 |
| 15. | "Chasing" (追走) | 3:05 |
| 16. | "Ideal and Reality ~What Is the World of 0?~" (理想と現実 〜０の世界とは〜) | 4:48 |
| 17. | "Road ~Each Love~" (道 〜それぞれの愛〜) | 4:08 |
| 18. | "Road ~Letter from Kazune~" (道 〜和音からの手紙〜) | 1:58 |
| 19. | "Road ~Meeting~" (道 〜待ち合わせ〜) | 0:49 |
| 20. | "Shiori's Theme" (栞のテーマ) | 2:34 |

## Marketing

The project visual and promotional video for *To Every You I've Loved Before* and *To Me, the One Who Loved You* were released in May 2022. The teaser poster and trailer for *To Every You I've Loved Before* were released in June 2022. In August 2022, the main trailer for the film was released, as well as its main poster a few days later. That month, the film was included in the benefits of premium users of au Smart Pass, where they could watch a work at theaters for 1,100. In October 2022, Japanese jewelry store Ahkah announced a collaboration with the film to produce the aquamarine engagement ring that was seen in the film, which would be sold as *la vérité* ("the truth" in French) aquamarine ring.

## Release

### Theatrical

300 individuals had been invited for the early screening of *To Every You I've Loved Before* at Marunouchi Toei theater in Tokyo on September 14, 2022. The film was released in Japan on October 7, 2022, concurrently with *To Me, the One Who Loved You*. Otono commented that the filmgoers could choose which of the two films would they watch first, stating that "the order in which they are seen will greatly affect the way you feel about them." The two films were screened consecutively, with *To Every You I've Loved Before* as the first film in chronological order as a result of online voting, at Marunouchi Toei theater on October 15, 2022. The barrier-free screening of *To Every You I've Loved Before*, which included an audio description for the blind and visually impaired filmgoers and closed captioning with Japanese subtitles for the deaf and hard of hearing filmgoers, began on October 21, 2022. Crunchyroll held the North American premiere of the film at Sakura-Con in Seattle, Washington on April 7, 2023.

### Home media

*To Every You I've Loved Before* was released digitally on March 11, 2023, and on Blu-ray and DVD in Japan on March 24. Crunchyroll began streaming the film in North America, Central America, South America, Europe, Africa, Oceania, the Commonwealth of Independent States, and India on April 20, 2023.

## Reception

### Box office

*To Every You I've Loved Before* grossed 200 million (US$1.5 million) in Japan and US$53,146 in Vietnam, for a worldwide total of US$1.58 million. In its opening weekend, the film debuted tenth at the box office ranking in Japan.

### Critical response

The Japanese review and survey firm Filmarks placed *To Every You I've Loved Before* sixth in their first-day satisfaction ranking, with an average rating of 3.54/5, based on 278 reviews.

MrAJCosplay at Anime News Network hoped the film had delved more on the idea of depicting different social standings of alternate versions of oneself than to keep it to "a few specific and predictable scenarios", but Koyomi's love story was "strong enough to carry me throughout most of the film... until the final third of it." They found that the film's explanation of parallel universes was "relatively simple and easy to digest", but they noted that it began its need to "catch us up to speed with everything that is going on in its sister film for the sake of tying the dramatic climaxes together", which they felt was "not graceful". Alicia Haddick at Crunchyroll felt the film was "the second part of a story" and a need to watch its companion film to fill up the "awkward and unfinished" story beats. She noted the "rough" animation and felt the conclusion would "makes sense with an understanding of both films, while also taking away from the more interesting story it could have told without the gimmick of two films."

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29. シークレット試写会ご招待！ \[Invitation to Secret Preview!\] (in Japanese). Movie Walker. Archived from the original on June 1, 2023. Retrieved June 1, 2023.
30. 映画『僕が愛したすべての君へ』公式 \[@bokuai\_movie\] (October 5, 2022). さらに・・・❗ あなたの投票で10/15（土）開催の #僕愛 #君愛 舞台挨拶付連続上映の 順番が決まります❗❗皆さまの投票を お待ちしております💙 https://bokuaikimiai.jp/pr/ #宮沢氷魚 #須田景凪 #乙野四方字 #僕が愛したすべての君へ \[Furthermore...❗ Your vote will determine the order of #Bokuai #Kimiai during its consecutive screenings with stage greeting to be held on 10/15 (Saturday)❗❗ We look forward to your votes💙 https://bokuaikimiai.jp/pr/ #HioMiyazawa #KeinaSuda #YomojiOtono #ToEveryYouI'veLovedBefore\] (Tweet) (in Japanese). Archived from the original on May 23, 2023. Retrieved May 23, 2023  via Twitter.
31. 映画『僕が愛したすべての君へ』公式 \[@bokuai\_movie\] (October 12, 2022). ┼ #僕愛 #君愛 舞台挨拶付連続上映上映順番が決定❗┼ 10/15（土）舞台挨拶の回は・・・ ✨『僕愛』→『君愛』に決定✨ #宮沢氷魚さん #須田景凪さん #乙野四方字 先生とネタバレありのトークをぜひお楽しみください💙 舞台挨拶のチケットはこちら👇 https://w.pia.jp/t/bokuaikimiai/ \[┼ #Bokuai #Kimiai The order of consecutive screenings with stage greeting will be decided❗┼ 10/15 (Saturday) for the stage greeting session...✨ *Bokuai**Kimiai* was decided✨ Please enjoy the spoiler-filled talk with #HioMiyazawa-san #KeinaSuda-san #YomojiOtono-sensei💙 Click here for tickets to the stage greeting👇 https://w.pia.jp/t/bokuaikimiai/\] (Tweet) (in Japanese). Archived from the original on May 23, 2023. Retrieved May 23, 2023  via Twitter.
32. 映画『僕が愛したすべての君へ』公式 \[@bokuai\_movie\] (October 5, 2022). .／🐕 #僕愛 #君愛 舞台挨拶付連続上映＼ 開催決定✨ 📆日程：10/15(土) 📍場所：丸ノ内TOEI① 💙10:30の回（2作連続上映終了後）💙登壇者(予定)：#宮沢氷魚さん #須田景凪さん #乙野四方字さん ほか 詳細は10/7（金）18時チケットぴあにてお知らせします🌟 \[.／🐕 #Bokuai #Kimiai consecutive screenings with stage greeting＼ To be held✨ 📆Date: 10/15 (Saturday) 📍Location: Marunouchi Toei ① 💙10:30 PM (after the end of two consecutive screenings) 💙Speakers (tentative): #HioMiyazawa-san #KeinaSuda-san #YomojiOtono-san and others Details will be announced at Ticket Pia on Friday, 10/7 at 6 PM🌟\] (Tweet) (in Japanese). Archived from the original on May 23, 2023. Retrieved May 23, 2023  via Twitter.
33. 映画『僕が愛したすべての君へ』公式 \[@bokuai\_movie\] (September 29, 2022). .／🐕 #僕愛 #君愛 ＼ 💙バリアフリー上映のご案内💗 両作を音声ガイドおよび日本語字幕にてお楽しみいただけます✨ 💙10/21（金）～ 💙視覚障害者用音声ガイド 💙聴覚障害者用日本語字幕 詳細はこちらから🔎 https://toei-screeninginfo.azurewebsites.net/theaterlist/02871 \[.／🐕 #Bokuai #Kimiai ＼ 💙Information on barrier-free screenings💗 Both films will be available with audio description and Japanese subtitles✨ 💙10/21 (Friday) 💙Audio description for the visually impaired 💙Japanese subtitles for the hearing impaired For more information, click here🔎 https://toei-screeninginfo.azurewebsites.net/theaterlist/02871\] (Tweet) (in Japanese). Archived from the original on May 23, 2023. Retrieved May 23, 2023  via Twitter.
34. Mateo, Alex (March 28, 2023). "Sakura-Con Screens N. American Premieres for *To Every You I've Loved Before*, *To Me, the One Who Loved You*, *Sasaki and Miyano: Graduation*, More Anime". *Anime News Network*. Archived from the original on May 23, 2023. Retrieved May 23, 2023.
35. Kubota, Kazuma (March 11, 2023). 観客の“選択”で主人公の人生が変化！『僕愛』『君愛』がもたらす、新たな映画体験とは？ \[The life of the protagonist is changed by the "choices" of the audience! What is the new cinematic experience that *Bokuai* and *Kimiai* will bring?\]. *Movie Walker Press* (in Japanese). p. 1. Archived from the original on May 23, 2023. Retrieved May 23, 2023.
36. Mateo, Alex (March 24, 2023). "Crunchyroll to Stream *Sasaki and Miyano: Graduation*, *To Every You I've Loved Before*, *To Me, the One Who Loved You* Connected Anime Films". *Anime News Network*. Archived from the original on May 23, 2023. Retrieved May 23, 2023.
37. Pineda, Rafael Antonio (October 11, 2022). "*One Piece Film Red* Stays at #1 for 10th Weekend". *Anime News Network*. Archived from the original on May 23, 2023. Retrieved May 23, 2023.
38. Komatsu, Mikikazu (October 12, 2022). "Japan Box Office: *Delicious Party Pretty Cure* Film Ranks 6th in Its 3rd Weekend". *Crunchyroll*. Archived from the original on May 23, 2023. Retrieved May 23, 2023.
39. MrAJCosplay (April 18, 2023). "*To Every You I've Loved Before* / *To Me, The One Who Loved You* Duology - Review". *Anime News Network*. Archived from the original on May 26, 2023. Retrieved May 26, 2023.
40. Harding, Daryl; Haddick, Alicia (October 23, 2022). "REVIEW: Parallel Worlds Slip Away in *To Me, The One Who Loved You* and *To Every You I've Loved Before* Anime Films". *Crunchyroll*. Archived from the original on May 26, 2023. Retrieved May 27, 2023.

## InfoBox

| To Every You I've Loved Before | |
| --- | --- |
| Theatrical release poster | |
|  | |
| **Kanji** | 僕が愛したすべての君へ |
|  | |
| Revised Hepburn | *Boku ga Aishita Subete no Kimi e* |
|  | |
|  | |
| Directed by | Jun Matsumoto |
| Screenplay by | Riko Sakaguchi |
| Based on | *To Every You I've Loved Before*<br>by Yomoji Otono |
| Produced by | * Yukari Tachibana * Tomoyuki Saito |
| Starring |  |
| Cinematography | Yohei Konishi |
| Edited by | Masaki Sakamoto |
| Music by | Takashi Ohmama |
| Production<br>company | Bakken Record |
| Distributed by | Toei Company |
| Release dates | * September 14, 2022 (2022-09-14) (Tokyo) * October 7, 2022 (2022-10-07) (Japan) |
| Running time | 102 minutes |
| Country | Japan |
| Language | Japanese |
| Box office | US$1.58 million |


title: To Escape the Stars

abstract: To Escape the Stars is a 1978 science fiction novel by US editor and writer Robert Hoskins.

text:
# To Escape the Stars

***To Escape the Stars*** is a 1978 science fiction novel by US editor and writer Robert Hoskins.

## Synopsis

The book is the third of three in the *Stars* sequence, which is loosely based upon an earlier novel, *The Problem Makers*. It is set 100,000 years into the future, 10,000 years after the previous novel, where gate travel between worlds is common, even for transporting raw materials.

The novel has two distinct parts, the first describing the bad behavior of the protagonist, the second describing the renewed search for the advanced aliens from Alnia. The book's hero and protagonist is James Oregas, a selfish coloniser of planets.

## Reception

Mary Weinkauf, reviewing from *Science Fiction and Fantasy Book Review*, described it as picaresque and criticised its theme, interest, and originality.

B. C. Hacker writing in Library Journal described it as a good story.

## InfoBox

To Escape the Stars
| First edition | |
| --- | --- |
| Author | Robert Hoskins |
| Cover artist | Dean Ellis |
| Language | English |
| Series | Stars |
| Genre | Science fiction novel |
| Publisher | Ballantine Books |
| Publication date | 1978 |
| Publication place | United States |
| Media type | Print (Paperback and electronic) |
| Pages | 186 pp |
| ISBN | 0-345-25856-8 |
| Preceded by | *To Control the Stars* |


title: Toilet rim block

abstract: A toilet rim block is a substance in the shape of a block that is used in flush toilets, which slowly dissolves in water. The blocks usually come in a small holder that is attached over the rim of a toilet and hangs down into the bowl, so as the toilet gets flushed, the water passes through the holder coming into contact with the block. With "liquid rims", however, liquid is held in a small bottle above—and connected to—the holder that slowly releases into the bottom of the holder, and so coming into contact with the water when the toilet is flushed. However, the blocks also come loose, for placement directly in-cistern, although these tend to be slightly different in composition, so as to dissolve slower, due to the constant contact with water. These may also contain a colorant which shows up in the pan or bowl water.

text:
# Toilet rim block

A toilet rim block is a substance in the shape of a block that is used in flush toilets, which slowly dissolves in water. The blocks usually come in a small holder that is attached over the rim of a toilet and hangs down into the bowl, so as the toilet gets flushed, the water passes through the holder coming into contact with the block. With "liquid rims", however, liquid is held in a small bottle above—and connected to—the holder that slowly releases into the bottom of the holder (which is beneath the toilet rim), and so coming into contact with the water when the toilet is flushed.

However, the blocks also come *loose*, for placement directly *in-cistern* (and therefore usable with squat toilets that lack the same sort of rim), although these tend to be slightly different in composition, so as to dissolve slower, due to the constant contact with water. These may also contain a colorant (typically blue or green) which shows up in the pan or bowl water.

## Composition and action

Toilet rim blocks are marketed as disinfectants and deodorizers, while allegedly also helping to prevent the buildup of limescale in the toilet bowl.

The composition of toilet blocks can vary, but they may contain (among other components): borax (an ingredient of many detergents), hydroxyethylcellulose (a gelling agent), troclosene sodium (a disinfectant), sodium dodecylbenzenesulfonate (a surfactant), sodium percarbonate (a form of oxygen bleach), sodium carbonate ("washing soda"), and various perfumes like, e.g., limonene, butylphenyl methylpropional, and linalool.

As in the closely related urinal deodorizer blocks, some of the ingredients have irritating effects when applied to skin, eyes, or when swallowed. Their ecotoxicity is rated to be harmful to aquatic organisms and these chemicals may have long-term adverse effects for an aquatic environment.


title: Toilet seat

abstract: A toilet seat is a hinged unit consisting of a round or oval open seat, and usually a lid, which is bolted onto the bowl of a toilet used in a sitting position. The seat can be either for a flush toilet or a dry toilet. A toilet seat consists of the seat itself, which may be contoured for the user to sit on, and the lid, which covers the toilet when it is not in use – the lid may be absent in some cases, particularly in public restrooms.

text:
# Toilet seat

A **toilet seat** is a hinged unit consisting of a round or oval open seat, and usually a lid, which is bolted onto the bowl of a toilet used in a sitting position (as opposed to a squat toilet). The seat can be either for a flush toilet or a dry toilet. A toilet seat consists of the seat itself, which may be contoured for the user to sit on, and the lid, which covers the toilet when it is not in use – the lid may be absent in some cases, particularly in public restrooms.

## Usage

Toilet seats often have a lid. This lid is frequently left open. The combined toilet seat and lid may be kept in a closed position when a toilet is not in use, making it so—at a minimum—the lid must be raised prior to use. It can be closed to prevent small items from falling in, reduce odors, or provide a chair in the toilet room for aesthetic purposes. Some studies show that closing the lid prevents the spread of aerosols on flushing ("toilet plume"), which might be a source of disease transmission.

Depending on the sex of the user and type of use (urination or defecation) the seat itself may be left either up or down. The issue of whether the seat and lid should be placed in the closed position after use is a perennial topic of discussion and light humor (usually across gender lines), with it often being argued that leaving the toilet seat *up* is more efficient for men, while putting it *down* is more considerate for women. The "right answer" seems to depend on factors ranging from the location of the toilet (public or private), the population of the users (e.g. a sorority house vs frat house) and/or personal or family values, opinions, preferences, agreements or toiletry habits.

Toilet seats often rest not directly on the porcelain or metal body of the toilet itself but upon the hinges and upon tabs/spacers affixed at a few spots. Similarly, lids do not rest directly in uniform contact with the seat but are elevated while above it by the hinges and tabs/spacers affixed at a few spots. This is a possible area where effluent aerosols can be spread when shut.

## Variations

Toilet seats are manufactured in a range of different styles and colors, and they may be furnished matching the style of the toilet itself. They are usually built to fit the shape of the toilet bowl: two examples of this being the elongated bowl and the regular bowl. Some toilet seats are fitted with slow-closing hinges to reduce noise by preventing them from slamming against the bowl.

Some seats are made of various types of wooden materials, like oak or walnut, and others are made soft for added comfort. Seats with printed multi-colored designs, such as floral or newsprint, have been fashionable at times. Other designs are made of transparent plastic, encapsulating small decorative items such as seashells or coins. The price of toilet seats varies quite considerably.

Decorative textile covers for the toilet seat lid have gone in and out of fashion. Advocates claim that they allow the toilet to be used as a more comfortable seat and provide another way of decorating a bathroom. At the same time, critics view them as a sanitation problem which creates unnecessary work.

Some metal toilets, such as those in many jails and prisons, have built-in toilet seats that cannot be removed, so that an inmate cannot fashion it into a weapon, shield or escape tool.

### Open front toilet seats

The International Association of Plumbing and Mechanical Officials' Uniform Plumbing Code, section 409.2.2, requires that "all water closet seats, except those within dwelling units or for private use, shall be of the open front type". There is an exception for toilets with an automatic toilet-seat cover dispenser. The code is followed by most public authorities, so many public toilets feature open front toilet seats (also called "split seats").

The purpose for this seat design is to prevent genitals contacting the seat. It also omits an area of the seat that could be contaminated with urine and avoids contact for easier wiping.

### Modern design, electronic integration, and function

#### Slow-close

A slow-close seat uses special hinges to prevent the seat from slamming down. Special hinges provide resistance, allowing the seat to lower slowly.

#### Warming

High-tech toilet seats may include many features, including a heated seat, a bidet, and a blow drier. High-tech seats are most common in Japan, where a seat with integrated bidets is colloquially called a Washlet, after a leading brand. Electrically heated toilet seats have been popular in Japan since the 1970s. Since Japanese bathrooms are often unheated, the toilet seat sometimes doubles as a space heater. Integrated bidets date from around 1980, and have since become very popular in Japan, and are becoming more common in most other developed countries.

Water-heated seats were in use in royal homes in Britain in the twentieth century. The first electrically-heated toilet seat was manufactured by Cyril Reginald Clayton at St Leonard's on Sea in Sussex. A UK patent was applied for on 5 January 1959, filing on 4 January 1960 and granted in August 1963 (UK patent no. 934209). The first model, the 'Deluxete', was made of fiberglass with a heating element in the lid triggered by a mercury switch that warmed the seat when the lid was down. Subsequent improvements were made and another UK patent applied for, this time for a deodorizing model with integral fan on 20 May 1970. It was granted on 17 May 1972 (UK patent no. 1260402). At first marketed as the 'Deodar', this model was later sold as the 'Readywarm'. Among the early users of the 'Deluxete' was racing driver Stirling Moss. With the permission of Reginald Clayton, the electrically-heated seat was further developed by the Japanese firm Matsushita. In 1993, Matt DiRoberto of Worcester, Massachusetts invented the padded toilet seat, an early 1990s fad.

### Seatless toilet

A seatless toilet has no toilet seat. It may be much cleaner and easier to clean than toilet seats, while the structurally sound and hard rim of a porcelain toilet bowl still allows sitting. Users not aware of the possibility to sit on this type of toilet may hover over.

## Disposable covers

A disposable piece of paper, shaped like the toilet seat itself and known as a disposable toilet seat cover or toilet sheet, can be placed on the seat. Its purpose is to make the toilet user feel more reassured that they are protected from germs. The first known patented model of the toilet seat cover dispenser dates back to 1942 and was invented by J.C. Thomasa.

While toilet seat covers give public toilet users a sense of cleanliness, studies have shown they are not needed as there are few germs on a toilet seat, and infections such as salmonella are spread via the hands, not the buttocks.

## Society and culture

### Humor

The toilet seat functions as a comic standby for sight gags relating to toilet humor. The most common is someone staggering out of a toilet room after an explosion with a toilet seat around his neck. In the television show *Dead Like Me*, George Lass, the main character, is killed when a zero-G toilet seat from space station Mir re-enters the atmosphere.

### US Navy's "$600 Toilet Seat"

The P-3C Orion antisubmarine aircraft went into service in 1962. Twenty-five years later, in 1987, it was determined that the toilet shroud, the cover that fits over the toilet, needed replacement. Since the airplane was out of production this would require new tooling to produce. These on-board toilets required a uniquely shaped, molded fiberglass shroud that had to satisfy specifications for vibration resistance, weight, and durability. The molds had to be specially made, as it had been decades since their original production. The price reflected the design work and the cost of the equipment to manufacture them. Lockheed Corporation charged $34,560 for 54 toilet covers, or $640 each.

President Ronald Reagan held a televised news conference in 1987, where he held up one of these shrouds and stated: "We didn't buy any $600 toilet seat. We bought a $600 molded plastic cover for the entire toilet system." A Pentagon spokesman, Glenn Flood stated, "The original price we were charged was $640, not just for a toilet seat, but for the large molded plastic assembly covering the entire seat, tank and full toilet assembly. The seat itself cost $9 and some cents.… The supplier charged too much, and we had the amount corrected." The president of Lockheed at the time, Lawrence Kitchen, adjusted the price to $100 each and returned $29,165. "This action is intended to put to rest an artificial issue," Kitchen stated.

## Further reading


title: Function-spacer-lipid Kode construct

abstract: Function-Spacer-Lipid (FSL) Kode constructs are amphiphatic, water dispersible biosurface engineering constructs that can be used to engineer the surface of cells, viruses and organisms, or to modify solutions and non-biological surfaces with bioactives. FSL Kode constructs spontaneously and stably incorporate into cell membranes. FSL Kode constructs with all these aforementioned features are also known as Kode Constructs. The process of modifying surfaces with FSL Kode constructs is known as "koding" and the resultant "koded" cells, viruses and liposomes are respectively known as kodecytes, and kodevirions.

text:
# Function-spacer-lipid Kode construct

**Function-Spacer-Lipid (FSL) Kode constructs** (Kode Technology) are amphiphatic, water dispersible biosurface engineering constructs that can be used to engineer the surface of cells, viruses and organisms, or to modify solutions and non-biological surfaces with bioactives. FSL Kode constructs spontaneously and stably incorporate into cell membranes. FSL Kode constructs with all these aforementioned features are also known as Kode Constructs. The process of modifying surfaces with FSL Kode constructs is known as "koding" and the resultant "koded" cells, viruses and liposomes are respectively known as kodecytes, and kodevirions.

## Technology description

All living surfaces are decorated with a diverse range of complex molecules, which are key modulators of chemical communications and other functions such as protection, adhesion, infectivity, apoptosis, etc. Functional-Spacer-Lipid (FSL) Kode constructs can be synthesized to mimic the bioactive components present on biological surfaces, and then re-present them in novel ways. The architecture of an FSL Kode construct, as implicit in the name, consists of three components - a functional head group, a spacer, and a lipid tail. This structure is analogous to a Lego minifigure in that, they have three structural components, with each component having a separate purpose. In the examples shown in all the figures, a Lego 'minifig' has been used for the analogy. However, it should be appreciated that this is merely a representation and the true structural similarity is significantly varied between Lego minifigures and FSL Kode constructs *(fig 1)*. The functional group of an FSL is equivalent to a Lego minifigure head, with both being at the extremity and carrying the character functional components. The spacer of the FSL is equivalent to the body of the Lego minifigure and the arms on the minifigure are representative of substitutions which may be engineered into the chemical makeup of the spacer. The lipid of the FSL anchors it to lipid membranes and gives the FSL construct its amphiphatic nature which can cause it to self-assemble. Because the lipid tail can act directly as an anchor it is analogous to the legs of a Lego minifigure.

## Flexible design

The functional group, the spacer and the lipid tail components of the FSL Kode construct can each be individually designed resulting in FSL Kode constructs with specific biological functions. The functional head group is usually the bioactive component of the construct and the various spacers and lipids influence and effect its presentation, orientation and location on a surface. Critical to the definition of an FSL Kode construct is the requirement to be dispersible in water, and spontaneously and stably incorporate into cell membranes. Other lipid bioconjugates that include components similar to FSLs but do not have these features are not termed as Function-Spacer-Lipid Kode constructs.

### Functional groups

Source:

A large range of functional groups have already been made into FSL Kode constructs. These include:

*Note 1: Multimeric – the presentation of the F residue can be as multimers with controlled spacing and be variable.*

*Note 2: Mass – the mass that can be anchored by an FSL Kode constructs can range from 200 to \>1x106 Da*

### Spacers

Source:

The spacer is an integral part of the FSL Kode construct and gives it several important characteristics including water dispersibility.

* **Length** – the spacer can be varied in length, for example 1.9 nm (Ad), 7.2 nm (CMG2), 11.5 nm (CMG4), allowing for enhanced presentation of Functional groups at the biosurface.
* **Optimizes 'F' presentation** – The presentation of the bioactive (functional group) on a spacer reduces steric hindrance and increases the bioactive surfaces exposed and available for interactions
* **Rigidity** – the spacer can be modified to be either flexible or rigid depending upon desired characteristics
* **Substitutions** (represented by the leaves on the stalk) – the spacer can be modified both in charge, and polarity.
* **Branches** – usually the spacer is linear, but it can also be branched including specific spacing of the branches to optimize presentation and interaction of the F group.
* **Inert** – important to the design of FSL Kode constructs is the biologically inert nature of the spacer. Importantly this feature means the S-L components of the constructs are unreactive with undiluted serum. Consequently, the constructs are compatible *in vivo* use, and can improve diagnostic assay sensitivity by allowing for the use of undiluted serum.

### Lipids

Source:

The lipid tail is essential for enabling lipid membrane insertion and retention but also for giving the construct amphiphilic characteristics that enable hydrophilic surface coating (due to formation of bilipid layers). Different membrane lipids that can be used to create FSLs have different membrane physiochemical characteristics and thus can affect biological function of the FSL. Lipids in FSL Kode constructs include:

* **Diacyl/diakyl** e.g. DOPE
* **Sterols** e.g. cholesterol
* **Ceramides**

## Optimising functional group (F) presentation

*Fig. 3* Diagram comparing the presentation of antigens in immunoassays between a typical direct attachment and in a function-spacer-lipid (by analogy to a flower).

Upper image shows the antigen (flower head) presented in a variety of formats directly on a solid surface. The construct attaches randomly to the solid surface.

Lower image shows the same antigen (flower head) presented in optimal orientation as an FSL construct with a spacer (stalk) holding it away from the solid surface. The lipid tail (roots) causes the construct to attach to the solid surface.*Fig. 4* Combinations of different spacers, lipids and other modifications can be used to optimise the functionality of the function group on the FSL construct.

In all diagrams, the same functional group is represented by the sunflower head. The first four examples show monomeric presentation of F, with the first example representing the short 1.9nm (Ad) spacer (the flower stalk). The second and fourth with the longer stalks (spacers) representing the CMG2 7.2nm spacer and CMG4 11.5nm spacers respectively. The second and third constructs have the same spacers, but the lipid tail of the third construct is cholesterol, rather than DOPE.

The last three examples all based on CMG2 spacers (stalks), with a DOPE lipid tail (roots) are multimeric presentations of F. The first of these is a simple duplication of the F group, while the following has an additional spacer between the F groups. The final construct is a cluster presentation.

One of the important functions of an FSL construct is that it can optimise the presentation of antigens, both on cell surfaces and solid-phase membranes. This optimisation is achieved primarily by the spacer, and secondarily by the lipid tail. In a typical immunoassay, the antigen is deposited directly onto the microplate surface and binds to the surface either in a random fashion, or in a preferred orientation depending on the residues present on the surface of this antigen. Usually this deposition process is uncontrolled. In contrast, the FSL Kode construct bound to a microplate presents the antigen away from the surface in an orientation with a high level of exposure to the environment. Furthermore, typical immunoassays use recombinant peptides rather than discrete peptide antigens. As the recombinant peptide is many times bigger than the epitope of interest, a lot of undesired and unwanted peptide sequences are also represented on the microplate. These additional sequences may include unwanted microbial related sequences (as determined by a BLAST analysis) that can cause issues of low level cross-reactivity. Often the mechanism by which an immunoassay is able to overcome this low level activity is to dilute the serum so that the low level microbial reactive antibodies are not seen, and only high-level specific antibodies result in an interpretable result. In contrast, FSL Kode constructs usually use specifically selected peptide fragments (up to 40 amino acids), thereby overcoming cross-reactivity with microbial sequences, and allowing for the use of undiluted serum (which increases sensitivity).

The F component can be further enhanced by presentation of it in multimeric formats and with specific spacing. The four types of multimeric format include linear repeating units, linear repeating units with spacing, clusters, and branching *(Fig. 4)*.

## Mechanisms of interaction

*Fig. 5a* Schematic cross-sectional slice of FSL micelles. FSL construct by nature of its composition in possessing both hydrophobic and hydrophilic regions is amphiphilic (or amphiphathic). This characteristic determines the way in which the construct will interact with surfaces. When present in a solution they may form simple micelles or adopt more complex bilayer structures*Fig. 5b* Hydrophobic surface FSL coating. The hydrophobic lipid tail of an FSL construct will interact and anchor FSL constructs directly onto hydrophobic surfaces.*Fig. 5c* Hydrophilic surface FSL coating. The hydrophobic lipid tail of an FSL construct will not interact directly with hydrophilic surfaces. Instead, due to the amphiphilic nature of the FSL, the construct will spontaneously form into a bilayer. The surface of the bilayer will be hydrophilic, allowing it to interact and anchor the FSLs to the hydrophilic surface.

### Amphiphilic FSL Kode construct

The FSL Kode construct by nature of its composition in possessing both hydrophobic and hydrophilic regions are amphiphilic (or amphipathic). This characteristic determines the way in which the construct will interact with surfaces. When present in a solution they may form simple micelles or adopt more complex bilayer structures with two simplistic examples shown in *Fig. 5a*. More complex structures are expected. The actual nature of FSL micelles has not been determined. However, based on normal structural function of micelles, it is expected that it will be determined in part by the combination of functional group, spacer and lipid together with temperature, concentration, size and hydrophobicity/hydrophilicity for each FSL Kode construct type.

Surface coatings will occur via two theoretical mechanisms, the first being direct hydrophobic interaction of the lipid tail with a hydrophobic surface resulting in a monolayer of FSL at the surface *(Fig. 5b)*. Hydrophobic binding of the FSL will be via its hydrophobic lipid tail interacting directly with the hydrophobic (lipophilic) surface. The second surface coating will be through the formation of bilayers as the lipid tail is unable to react with the hydrophilic surface. In this case the lipids will induce the formation of a bilayer, the surface of which will be hydrophilic. This hydrophilic membrane will then interact directly with the hydrophilic surface and will probably encapsulate fibres. This hydrophilic bilayer binding is the expected mechanism by which FSLs are able to bind to fibrous membranes such as paper and glass fibres *(Fig. 5c)* and *(Fig. 9)*.

### Lipid membrane modification

*Fig. 6a* A plasma membrane modified with FSL constructs (by analogy to sunflower), creating a kodecyte membrane.*Fig. 6b* FSL constructs (by analogy to sunflower) inserted via their lipid tail (roots) into a liposome. The spacer of the FSL (stalk) hold the functional group of the FSL (flower head) away from the surface.

After labeling of the surface with the selected F bioactives, the constructs will be present and oriented at the membrane surface. It is expected that the FSL will be highly mobile within the membrane and the choice of lipid tail will effect is relative partitioning within the membrane. The construct unless it has flip-flop behavior is expected to remain surface presented. However, the modification is not permanent in living cells and constructs will be lost (consumed) at a rate proportional to the activity at the membrane and division rate of the cell (with dead cells remaining highly labeled). Additionally, when present *in vivo* with serum lipids FSLs will elute from the membrane into the plasma at a rate of about 1% per hour. In fixed cells or inactive cells (e.g. red cells) stored in serum free media the constructs are retained normally.

Liposomes are easy koded by simply adding FSL Kode constructs into the preparation. Contacting koded liposomes with microplates or other surfaces can cause the labeling of the microplate surface.

### Non-biologic surface interaction

Non-biologic surface coatings will occur via two mechanisms, the first being direct hydrophobic interaction of the lipid tail with a hydrophobic surface resulting in a monolayer of FSL at the surface. The second surface coating will be through the formation of bilayers, which probably either encapsulate fibres or being via the hydrophilic F group. This is the expected mechanism by which FSLs bind to fibrous membranes such as paper and glass fibres. A recent study has found that when FSL Kode constructs are optimised, could in a few seconds glycosylate almost any non-biological surface including metals, glass, plastics, rubbers, and other polymers.

## Technology features

The technological features of FSL Kode constructs and the koding process can be summarized as follows:

* **Rapid and simple** – simple contact for 10–120 minutes and constructs spontaneously and stably incorporate – no washing required.
* **Replicable** – same variables (time, temperature, concentration) equals the same result.
* **Toxicity** – FSL constructs are biocompatible, disperse into biological solutions without solvents, detergents. They label non-covalently and are non-genetic. Normal vitality and functionality is maintained in modified cells/virions/organisms. Toxicity/vitality experiments in small laboratory animals, zebrafish, cell cultures, spermatozoa and embryos find no toxic effects within physiological ranges.
* **Amphiphilic** – the amphiphilic nature of the FSL Kode construct makes them water dispersible (clear solution of micelles), yet once interacted with a membrane they insert/coat and become water resistant
* **Variable design** – a single F can be presented in more than 100 ways by varying the spacer and lipid.
* **High biovisibility** – as the spacer holds the F moiety away for the membrane it is able to achieve increased sensitivity, specificity and reactivity can be optimized by use of multiple and variable biomarker presentations on the same surface.
* **Additive** – FSL modification is compatible with other technologies allowing users to add additional features to cells/viruses/organisms/surfaces already modified by more traditional methods. Multiple FSL constructs may be added to a surface simultaneously by simply creating a mix of FSL Kode constructs. Constructs insert into living or fixed cell (glutaraldehyde) membranes.

* **Simple FSL peptide synthesis** – there is a reactive-functional-group FSL Kode construct with maleimide as its functional group which can be used for preparation of FSLs from cysteine-containing peptides, proteins or any other thiols of biological interest. The effective synthetic approach is based on the well-known Michael nucleophilic addition to maleimides *(Fig. 7)*.
* **Synthetic "Gylcolipids"** – one family of the FSL constructs are synthetic glycolipids with well-defined hydrophobic tails and carbohydrate head groups

### Koded membranes surfaces and solutions

FSL constructs have a wide range of uses and they have been used to modify the following:

## Methodology for FSL use (koding)

FSL constructs, when in solution (saline) and in contact, will spontaneously incorporate into cell and virus membranes. The methodology involves simply preparing a solution of FSL constructs in the range of 1–1000 μg/mL. The actual concentration will depend on the construct and the quantity of construct required in the membrane. One part of FSL solution is added to one part of cells (up to 100% suspension) and they are incubated at a set temperature within the range of 4–37 °C (39–99 °F) depending on temperature compatibility of the cells being modified. The higher the temperature, the faster the rate of FSL insertion into the membrane. For red blood cells, at 37 °C incubation for 2 hours achieves \>95% insertion with at least 50% insertion being achieved within 20 minutes. In general, FSL insertion time of 4 hours at room temperature or 20 hours at 4 °C gives results similar to 1 hour at 37 °C for carbohydrate based FSLs inserting into red blood cells. The resultant kodecytes or kodevirions do not required to be washed, however this option should be considered if an excess of FSL construct is used in the koding process.

## Applications

FSL Kode constructs have been used for research and development, diagnostic products, and are currently being investigated as potential therapeutic agents.

### Kodecytes

FSL have been used to create human red cell kodecytes that have been used to detect and identify blood group allo-antibodies as ABO sub-group mimics, ABO quality control systems, serologic teaching kits and a syphilis diagnostic. Kodecytes have also demonstrated that FSL-FLRO4 is a suitable reagent for labelling packed red blood cells (PRBC) at any point during routine storage and look to facilitate the development of immunoassays and transfusion models focused on addressing the mechanisms involved in tansfusion-related immunomodulation (TRIM). Murine kodecytes have been experimentally used to determine *in vivo* cell survival, and create model transfusion reactions. Zebrafish kodecytes have been used to determine real time *in vivo* cell migration. Kodecytes have been used to create influenza diagnostics. Kodecytes which have been modified with FSL-GB3 were unable to be infected with the HIV virus.

### Kodevirions

Kodevirions are FSL modified viruses. Several FSL Kode constructs have been used to label viruses to assist in their flow-cytometric visualisation and to track them real time distribution in animal models. They have also been used to modify the surface of viruses with the intention of targeting them to be used to attach tumors (oncolytic).

### Kodesomes

Kodesomes are liposomes that have been decorated with FSL Kode constructs. These have been used to deposit FSL constructs onto microplates to create diagnostic assays. They also have the potential for therapeutic use.

### Koded solutions

These are solutions containing FSL Kode constructs where the construct will exist as a clear micellular dispersion. FSL-GB3 as a solution/gel has been used to inhibit HIV infection and to neutralise Shiga toxin. FSL blood group A as a solution has been used to neutralise circulating antibodies in a mouse model and allow incompatible blood group A (murine kodecytes) transfusion. This model experiment was used to demonstrate the potential of FSLs to neutralise circulating antibody and allow for incompatible blood transfusion or organ transplantation.

### Koded surfaces

All FSL Kode constructs disperse in water and are therefore compatible with inkjet printers. FSL constructs can be printed with a standard desktop inkjet printer directly onto paper to create immunoassays. An empty ink cartridge is filled with an FSL construct and words, barcodes, or graphics are printed. A Perspex template is adhered to the surface to create reaction wells. The method is then a standard EIA procedure, but blocking of serum is not required and undiluted serum can be used. A typical procedure is as follows: add serum, incubate, wash by immersion, add secondary EIA conjugate, incubate, wash, add NBT/BCIP precipitating substrate and stop the reaction when developed by washing *(Fig. 9)*. The result is stable for years.


title: Melanostomias pauciradius

abstract: Melanostomias pauciradius, the three-ray dragonfish, is a species of barbeled dragonfish native to the Western Pacific. It has 18 to 20 anal soft rays, and 15 to 16 dorsal soft rays.

text:
# Melanostomias pauciradius

***Melanostomias pauciradius***, the **three-ray dragonfish**, is a species of barbeled dragonfish native to the Western Pacific. It has 18 to 20 anal soft rays, and 15 to 16 dorsal soft rays.

## InfoBox

| *Melanostomias pauciradius* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Stomiiformes |
| Family: | Stomiidae |
| Genus: | *Melanostomias* |
| Species: | ***M. pauciradius*** |
| Binomial name | |
| ***Melanostomias pauciradius***<br>Matsubara, 1938 | |
|


title: Meliton (Ivan Bunin)

abstract: Meliton is a novella by Nobel Prize-winning Russian author Ivan Bunin. Dated as "1900-1930" in The Complete Bunin, it was first published in the 1901 No.7 (July) issue of Saint Petersburg magazine Zhurnal Dlya Vsekh, originally under the title "Skete" (Скит). While working upon the Primal Love compilation, Bunin changed the story's title into "Meliton". In its final version the novella appeared in the July 6, 1930, No.3392 issue of the Paris-based Poslednye Novosti newspaper.

text:
# Meliton (Ivan Bunin)

***Meliton*** is a novella by Nobel Prize-winning Russian author Ivan Bunin. Dated as "1900-1930" in *The Complete Bunin* (Petropolis, Berlin, 1935; Moscow, 1965), it was first published in the 1901 No.7 (July) issue of Saint Petersburg magazine *Zhurnal Dlya Vsekh* (Journal For Everyone), originally under the title "Skete" (Скит). While working upon the *Primal Love* (Начальная любовь) compilation, Bunin changed the story's title into "Meliton" (after its main character's first name). In its final version the novella appeared in the July 6, 1930, No.3392 issue of the Paris-based *Poslednye Novosti* newspaper.

## History

"Skete" was the first piece of prose Ivan Bunin published in the *Journal for Everyone* magazine, where his poetry was appearing regularly since 1898.

Upon receiving the text, the magazine's editor Viktor Mirolyubov wrote in a letter dated May 29, 1901: "Thank you very much, dear Ivan Alekseevich, for "Skete". I liked it a lot... Whenever you put just one living person into this artistic frame of nature pictures, the nature itself gets so much livelier." Bunin replied: "I am glad you liked "Skete". As for the pictures of nature which, as far as I can see, you seem to feel I am too much devoted to, this is not exactly the case, for I never depict 'naked' nature, in a protocol way, as it were. What I am concerned with is beauty, no matter what this beauty is attributed to; or, alternatively, what I try to do is transport the reader part of my soul with these \[pictures of\] nature..."

### Missing parts

The final part of the story suffered from censorship. In early July 1901 Bunin enquired in a letter to Mirolyubov: "I haven't found the final three lines in \[the publication of\] "Skete". Besides, the word *выпукло* (bulgingly) is missing (when it comes to the rooster bit). Mirolyubov replied: "The last three lines from "Skete" have been dropped by the censors for some reason (Nikolay Elagin was responsible). As for the word 'bulgingly', I pity for it more than you even, if you only knew how I fought it for." In all the next versions Bunin reinstated the missing word, but not the three lines that had been crossed out by censor. What exactly they were remained unknown for not a single manuscript or a proof-reader's copy of the story survived.

All through his later years Bunin, rather than reinstating the censure-dropped bits, was busy stripping his prose of details he deemed superfluous. Modern researchers (Oleg Mikhailov among them) point to the fact that in emigration, while preparing his earlier works for new publications, he was cutting off fragments dealing with political and social context of the times those stories were written in, aiming apparently at erasing the 'period' aspect of them and going for more universal, time-unrelated appeal. Meliton provides a telling example of this. In 1930 Bunin extracted from the story half a page of the original text, relating to the young protagonist's telling how he went abroad trying to evade this horrible thing, the Russian autumn: "Only occasionally did Russia came back to my mind and in those moments it seemed such a remote, out of the way place, that I was imagining Gostomysl, drevlyane, tatarschina... How dark and wet autumn is there!" The young man goes on to paint the bleak picture of autumnal landscapes of stripped-bare rural Russia, exclaiming: "And what an immense patience is needed there to just live this infinite autumn through!.." The next paragraph, dealing with the protagonist's return to Russia (the country now suffering of hunger) to witness the early winter approaching, was cut too, the story resuming with: "The last time I visited Meliton was at one point of the last winter."

## InfoBox

| "*Meliton*" | |
| --- | --- |
| Short story by Ivan Bunin | |
| Original title | *Мелитон* |
| Country | Russia |
| Language | Russian |
| Publication | |
| Publication date | 1901 |


title: Meliton, Metropolitan of Chalcedon

abstract: Meliton, was a prelate of the Eastern Orthodox Church who served as the Metropolitan of Chalcedon from 1966 until his death in 1989. Born in Istanbul and educated at the Halki Theological Seminary, he was appointed Secretary of the Holy Synod by Patriarch Benjamin I in 1937 and in 1948 Protosynkellos to Patriarchs Maximus V and Athenagoras I. As Metropolitan of Imbros and Tenedos (1953) and subsequently of Chalcedon (1966), Meliton was the right-hand man of Athenagoras I, the Ecumenical Patriarch of Constantinople. He was strongly favoured to succeed Athenagoras in 1972, but the Turkish Government, in an effort to keep the Patriarchate under its control, had Meliton's name removed from the list of acceptable candidates. He was known for his role in ecumenical relations and for Pope Paul VI's gesture of kneeling to kiss his feet during a visit to the Vatican on 7 December 1975. Meliton was no friend of the Regime of the Colonels and after his sermon "I condemn hypocrisy" at the Metropolitan Cathedral of Athens on 8 March 1970, ostensibly encouraging preparation for Lent but widely understood and intended as an attack on the regime, enjoyed considerable following in Greece. In 1984 Meliton suffered a severe stroke from which he never fully recovered. He died five years later in Istanbul. His body rests at St. Ignatius Greek Orthodox Cemetery, Kadıköy.

text:
# Meliton, Metropolitan of Chalcedon

**Meliton** (born **Sotirios Hatzis**) (1913 – 27 December 1989), was a prelate of the Eastern Orthodox Church who served as the Metropolitan of Chalcedon from 1966 until his death in 1989. Born in Istanbul and educated at the Halki Theological Seminary, he was appointed Secretary of the Holy Synod by Patriarch Benjamin I in 1937 and in 1948 Protosynkellos to Patriarchs Maximus V and Athenagoras I.

As Metropolitan of Imbros and Tenedos (1953) and subsequently of Chalcedon (1966), Meliton was the right-hand man of Athenagoras I, the Ecumenical Patriarch of Constantinople. He was strongly favoured to succeed Athenagoras in 1972, but the Turkish Government, in an effort to keep the Patriarchate under its control, had Meliton's name removed from the list of acceptable candidates.

He was known for his role in ecumenical relations and for Pope Paul VI's gesture of kneeling to kiss his feet during a visit to the Vatican on 7 December 1975. Meliton was no friend of the Regime of the Colonels and after his sermon "I condemn hypocrisy" at the Metropolitan Cathedral of Athens on 8 March 1970, ostensibly encouraging preparation for Lent but widely understood and intended as an attack on the regime, enjoyed considerable following in Greece.

In 1984 Meliton suffered a severe stroke from which he never fully recovered. He died five years later in Istanbul. His body rests at St. Ignatius Greek Orthodox Cemetery, Kadıköy.

## Further reading

* Papas, Athanasios (2006). *Rome & Constantinople: Pope Paul VI & Metropolitan Meliton of Chalcedon*. Orthodox Research Institute. ISBN 1933275111
* Congar, Yves (1984). "L'oecumenisme de Paul VI". *Publications de l' Ecole Française de Rome*, pp. 807-820 (in French)

## InfoBox

| Meliton | |
| --- | --- |
| Metropolitan of Chalcedon | |
|  | |
| Native name | Μελίτων |
| Metropolis | Chalcedon |
| In office | 1966 – 1989 |
| Orders | |
| Consecration | 30 November 1950 |
| Personal details | |
| Born | Sotirios Hatzis
1913 (1913)
Istanbul, Turkey |
| Died | (1989-12-27)27 December 1989
Istanbul, Turkey |
| Denomination | Eastern Orthodox Church |


title: Tlachichila

abstract:
Tlachichila is a small town located in the municipality of Nochistlán de Mejía in the Mexican state of Zacatecas.
Mexican Federal Highway 131 runs through it.

text:
# Tlachichila

**Tlachichila** is a small town located in the municipality of Nochistlán de Mejía in the Mexican state of Zacatecas. Mexican Federal Highway 131 runs through it.

## InfoBox

| Tlachichila | |
| --- | --- |
| Town | |
| Saint Augustinus church in Tlachichila | |
| Nickname: Tlachis | |
| TlachichilaLocation of Tlachichila within Mexico | |
| Coordinates: 21°33′30″N 102°47′00″W / 21.55833°N 102.78333°W / 21.55833; -102.78333 | |
| Country | Mexico |
| State | Zacatecas |
| Municipality | Nochistlán de Mejía |
| largest city | Nochistlan |
| Elevation | 2,220 m (7,280 ft) |
| Population | |
| Total | 1,554 |
| Time zone | UTC−06:00 (central time) |
| Summer (DST) | UTC−05:00 (central time) |
| postal/zip code | 99918 |
| Area code | 346-787 |
| ISO 3166 code | MEX |
| Website | www.tlachichila.com |


title: Melhania annua

abstract: Melhania annua is a plant in the family Malvaceae, native to East Africa.

text:
# Melhania annua

***Melhania annua*** is a plant in the family Malvaceae, native to East Africa.

## Description

*Melhania annua* grows as an annual herb, up to 30 centimetres (12 in) tall. The pubescent leaves are ovate to obovate and measure up to 6.2 cm (2 in) long. Inflorescences are solitary or two or three-flowered, on a stalk measuring up to 3 cm (1 in) long. The flowers have yellow petals.

## Distribution and habitat

*Melhania annua* is native to Somalia and Kenya. Only 12 specimen sites are known. Its habitat is coastal sand dunes.

## InfoBox

| *Melhania annua* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Malvales |
| Family: | Malvaceae |
| Genus: | *Melhania* |
| Species: | ***M. annua*** |
| Binomial name | |
| ***Melhania annua***<br>Thulin | |
|


title: Melathulukkankulam

abstract: Melathulukkankulam is a village in the Virudhunagar district under Kariapatti taluk, in Tamil Nadu, India. It is exactly 3 kilometres (1.9 mi) from the Virudhunagar-Kalkurichi main road. It has its own post office and the PINCODE is 626109. The nearest town is Virudhunagar, 11 kilometres (6.8 mi) away. Agriculture is the main source of income for the residents the village. The village has its own government middle school and for secondary education government and government-aided high schools are located in Mallankinaru, around 5 kilometres (3.1 mi). The village is under the control of Mallankinaru police station.

text:
# Melathulukkankulam

**Melathulukkankulam** is a village in the Virudhunagar district under Kariapatti taluk, in Tamil Nadu, India. It is exactly 3 kilometres (1.9 mi) from the Virudhunagar-Kalkurichi main road. It has its own post office and the PINCODE is 626109. The nearest town is Virudhunagar, 11 kilometres (6.8 mi) away. Agriculture is the main source of income for the residents the village. The village has its own government middle school and for secondary education government and government-aided high schools are located in Mallankinaru, around 5 kilometres (3.1 mi). The village is under the control of Mallankinaru police station.


title: Tola, Nicaragua

abstract: Tola is a municipality in the Rivas department of Nicaragua. Tola means "Land of Tula", or "Land of the Toltecs" and its etymology derives from Nahuatl Tōllān, the altepetl of the Classic and Post Classic Toltec Empire of central Mexico. Tola is a direct reference to the Toltec ancestry of the Nahuas in Nicaragua. The indigenous inhabitants of Tola are the Nahuas. As of 2023, the estimated population of Tola is 23,927.

text:
# Tola, Nicaragua

**Tola** is a municipality in the Rivas department of Nicaragua. Tola means "Land of Tula", or "Land of the Toltecs" and its etymology derives from Nahuatl Tōllān, the altepetl of the Classic and Post Classic Toltec Empire of central Mexico. Tola is a direct reference to the Toltec ancestry of the Nahuas in Nicaragua. The indigenous inhabitants of Tola are the Nahuas.

As of 2023, the estimated population of Tola is 23,927.

11°26′N 85°56′W / 11.433°N 85.933°W / 11.433; -85.933

## InfoBox

| Tola | |
| --- | --- |
| Municipality | |
| TolaLocation in Nicaragua | |
| Coordinates: 11°26′N 85°56′W / 11.433°N 85.933°W / 11.433; -85.933 | |
| Country | Nicaragua |
| Department | Rivas |
| Area | |
| Municipality | 184 sq mi (477 km2) |
| Population (2005) | |
| Municipality | 22,012 |
| Density | 120/sq mi (46/km2) |
| Urban | 5,815 |


title: Ugento

abstract: Ugento is a town and comune in the province of Lecce, Apulia, southern Italy. It has a small harbour on the Gulf of Taranto of the Ionian Sea.

text:
# Ugento

**Ugento** (Salentino: *Ušèntu*) is a town and *comune* in the province of Lecce, Apulia, southern Italy. It has a small harbour on the Gulf of Taranto of the Ionian Sea.

## History

The city is the ancient ***Uxentum***, and claims to have been founded by Uxens, who is mentioned in the Eighth Book of the *Aeneid*. In ancient times it was an important city. In 1537 it was sacked by the Turks. Under Byzantine domination it had Greek bishops.

## Economy

Economy is mostly based on agriculture (wine and olives), fishing, shepherding, food processing and tourism.

## InfoBox

| Ugento Griko:*Ozan* | |
| --- | --- |
| *Comune* | |
| Comune di Ugento | |
| Ugento cathedral | |
|  | |
| Location of Ugento | |
| UgentoLocation of Ugento in ItalyUgentoUgento (Apulia) | |
| Coordinates: 39°55′38″N 18°09′41″E / 39.92722°N 18.16139°E / 39.92722; 18.16139 | |
| Country | Italy |
| Region | Apulia |
| Province | Lecce (LE) |
| *Frazioni* | Gemini, Torre San Giovanni, part of Lido Marini, Torre Mozza |
| Government | |
| Mayor | Massimo Lecci |
| Area | |
| Total | 100.4 km2 (38.8 sq mi) |
| Elevation | 108 m (354 ft) |
| Population (31 March 2012) | |
| Total | 12,327 |
| Density | 120/km2 (320/sq mi) |
| Demonym | Ugentini |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 73059 |
| Dialing code | 0833 |
| Patron saint | St Vincent the Martyr |
| Saint day | 22 January |
| Website | Official website |


title: First Date (musical)

abstract: First Date is a musical with a book by Austin Winsberg and music and lyrics by Alan Zachary and Michael Weiner. Based around the concept of a blind date, the musical made its world premiere during 2012 at Seattle's ACT Theatre in a 5th Avenue Theatre co-production and made its Broadway debut August 8, 2013, at the Longacre Theatre.

text:
# First Date (musical)

***First Date*** is a musical with a book by Austin Winsberg and music and lyrics by Alan Zachary and Michael Weiner. Based around the concept of a blind date, the musical made its world premiere during 2012 at Seattle's ACT Theatre in a 5th Avenue Theatre co-production and made its Broadway debut August 8, 2013, at the Longacre Theatre.

## Production history

### Seattle (2012)

The original production of the musical ran at Seattle's ACT Theatre, from March 10 until May 20, 2012.

### Broadway (2013)

*First Date* began previews on July 9, 2013, at the Longacre Theatre, New York City, and its official opening night was August 8, 2013. The show evolved from a book by Austin Winsberg, with music and lyrics by Alan Zachary and Michael Weiner, inspired largely by personal experiences. It is directed by Bill Berry, with musical staging by Josh Rhodes, orchestrations by August Eriksmoen, scenic design by David Gallo, lighting design by Mike Baldassari and sound design by Kai Harada. In May 2013, Zachary Levi and Krysta Rodriguez were announced as the show's leads playing roles of Aaron and Casey. The role of Aaron was played by Eric Ankrim for the July 16–21 preview dates due to a Comic-Con commitment for Levi. Ankrim previously played the part in Seattle.

The Broadway production closed after a run of five months, on January 5, 2014, after 34 previews and 174 regular performances. It played to an average 71.54% capacity. Levi gave a speech on closing night.

### Tokyo (2014)

*First Date* debuted as the first non-English company in Japan in November 2014.

### Buenos Aires (2016)

The show, titled *Cita a Ciegas*, opened in Buenos Aires on May 10, 2016, in the Teatro Maipo on the Avenida Corrientes. The original run of 8 performances was extended to 6 months, with 43 performances in all.

*Cita a Ciegas* received ten nominations for three different awards in 2016.

* Hugo Awards
    + Best Musical
    + Best Leading Actor (Mariano Zito)
    + Best Director (Sebastián Prada)
    + Best Supporting Actor (Nacho de Santis) – winner
    + Best Musical Arrangements (Tomás Mayer Wolf)
    + Best Translation and/or Adaptation (Marcelo Kotliar) – winner
    + Best Newcomer (Lucía Mundstock)
* Florencio Sánchez Awards
    + Best Leading Actor in a Musical (Mariano Zito)
    + Best Leading Actress in a Musical (Lucía Mundstock)
* Trinidad Guevara Awards
    + Best Newcomer (Lucía Mundstock)

After a six-month break, the company returned with a second season of the show, which opened on May 4, 2017, still in the Maipo Kabaret.

Directed by Sebastián Prada (general director) and Victoria Loescher (vocal director), with the performances of Mariano Zito (Aaron), Lucía Mundstock (Casey), Mica Pierani Méndez (Woman #1), Lucas Gentili (Man #1), Laura Montini (Woman #2), Mariano Condoluci (Man #2) and Nacho de Santis (Man #3). Translation and adaptation of the script by Marcelo Kotliar, Lucía Mundstock and Sebastián Prada; musical arrangements by Tomás Mayer Wolf and Mariano Cantarini; musical directors: Mariano Cantarini, Lucas Crawley and Nicolás Roldán.

### Melbourne (2016)

Pursued by Bear mounted the Australian Production at Chapel off Chapel, Melbourne. The production ran from 1–11 September 2016. The cast included Jordon Mahar and Rebecca Hetherington as Aaron and Casey. Daniel Cosgrove, Nicole Melloy, Danielle O'Malley, Adam Porter and Stephen Valeri made up the Ensemble. The creative team included Mark Taylor, Stephanie Lewendon-Lowe and Joel Anderson as the Director, Musical Director and Choreographer respectively. The band was made up of Stephanie Lewendon-Lowe on piano, Timothy Forrester on reeds (piccolo, flute, clarinet, alto saxophone), Caleb Garfinkel on guitar, Anthony Chircop on bass (electric and double bass) and Campbell Philips on drum kit.

### London (2019)

It was announced in December 2018 that First Date would be included in a Musical theatre festival at The Other Palace in London.

### Moscow (2019)

The Russian premiere of the musical took place on September 24, 2019, in the MDM theatre in Moscow. As of 2024, the show is still on.

## Plot

The show begins with five New Yorkers sharing their dating disasters ("The One"). The scene shifts to an unnamed restaurant in modern-day New York City. Aaron, a quirky man, enters the restaurant and begins to talk with the waiter. Based on how nervous he is, the waiter guesses that this is a first date. After the waiter seats Aaron, an artsy woman named Casey enters the restaurant. She spies Aaron putting in eye drops as he waits for her, making her dread the date even more; she then orders strong drinks in hopes that the date will be quick and painless. Casey and Aaron exchange some small talk and it is revealed that the date was set up by Casey's sister, Lauren, whose husband Kevin is a co-worker of Aaron's. Through the small talk, they both develop first impressions of each other ("First Impressions").

Casey's friend Reggie calls her during the date, offering for Casey to use his call as a way out of the date ("Bailout #1"), but Casey thinks enough of Aaron to ignore the call. Aaron and Casey begin to bond over friends from summer camp and high school after discovering their hometowns are near each other. Aaron casually makes a joke about Jewish geography, to which Casey responds she's not Jewish. This leads Aaron to a dream sequence where he imagines his dead Grandma Ida, who scolds Aaron for not dating a nice Jewish girl instead. Casey's extremely Christian father then shows up in Aaron's dream sequence, and tells Aaron that he is not happy with the idea of Aaron becoming his son in law. Next, Aaron imagines the son he could potentially have with Casey confronting him about which religion to choose and how he wishes he wasn't born ("The Girl For You").

Aaron nervously asks her questions about religion hoping that she does have some Jewish in her before discovering she is an atheist. Relieved, he makes a joke about Casey's views on spirituality (she believes in the power of meditation), but it backfires when he accidentally insults her. This results in a long awkward pause ("The Awkward Pause"). Casey is then visited in her mind by her sister Lauren, who urges Casey not to screw this date up, because "Casey's biological clock is ticking," especially if she continues her current dating pattern of going the distance with bad boys on the first date and ruining any potential with nice guys like Aaron. Meanwhile, Aaron is visited by his best friend Gabe, who convinces him that the date is going well. However, Aaron then imagines his ex-girlfriend Allison, who tells him that she still sexually fantasizes about him ("Allison's Theme #1"). Gabe tells Aaron that he's romanticizing the memory of Allison, because he's only remembering the good things about her and not the bad things. He also tells Aaron to avoid bringing up Allison again, because it could ruin any future he might have with Casey.

Aaron decides to fix the date by making more jokes, which leads to talk of jobs. Aaron describes his job at Wall Street, and expresses that all he likes about the job is that it pays well. Casey works at an art gallery which makes her somewhat happy because she can study her craft, photography. Aaron mentions how good her exhibit looked which leads Casey to conclude that he googled her before the date. She immediately does the same thing to him, and the two of them bond over embarrassing stuff on the internet (I.E. Aaron played Dolly in his high school production of Hello Dolly) ("The World Wide Web is Forever" or "Total Loser").Casey is hungry so she asks Aaron to leave the bar and eat dinner with her. Casey initially wants to order a burger, but Lauren tells her it will give the impression that years from now she will be overweight, so she orders a salad instead. Aaron, on the other hand, wants a salad, but Gabe tells him that "salads are for wussies," so he orders a burger.

Having overheard Casey talking to herself about wanting a burger, Aaron asks her why she ordered the salad, convinced that she wants to give the impression of being careful about her body. She ignores him, but he says that he doesn't care what a girl looks like as long as she's happy. Casey is taken aback by this, having never dated anyone who would have said something like that. She imagines her two ex-boyfriends berating her and telling her why she should love them, stating "reasons" such as "I failed my GED" or " I only cheated on you twice" ("That's Why You Love Me"). This makes Casey miss dating "bad boys," leading her to ask Aaron if he's a bad boy, to which he replies with a no. Casey hastily calls off any potential relationship, saying they can be "just friends". Aaron offers to try to be a bad boy for her, but admits it probably wouldn't work.

Casey's phone rings again, with another call from Reggie, who is beginning to feel ignored ("Bailout #2"). When Aaron leaves the table to go to the bathroom, Lauren visits Casey once more, where Casey admits that she builds up walls to keep herself from getting hurt, despite her desire for a real, healthy relationship. She explains that she only dates "bad boys," or jerks, because she doesn't get her hopes up and is less disappointed when things don't work out. It is then revealed that her upbringing greatly influenced how she views relationships, having grown up with a mentally unstable mother and a father who left them and started a new family. Lauren, on the other hand, met her future husband in college at 24, and is happily married, confusing Casey's view of relationships even more ("Safer").

When Aaron returns to the table, he and Casey decide to officially call off the date. The waiter who seated them notices that they are the only ones not having a good time, so he performs a musical number that he wrote himself as the other two couples slow dance together. He pulls up Casey to dance, and pushes her to dance with Aaron ("I'd Order Love"). Their food finally arrives and Aaron, with what little hope he has left that things will end well, begs her to have just this one meal with him. Casey agrees, but decides she wants to set Aaron up with one of her friends to make up for their bad date. She asks him what kind of girl is his type, which gets him thinking about Allison again ("Allison's Theme #2"). She asks him if he wants a bad girl or somebody to take home to his mom, and Aaron says that he could probably bring any girl home to his mother. Casey begins to tease him, thinking this means his mom hates all of girls Aaron dates, but Aaron admits that his mother died when he was in tenth grade. He imagines her telling him everything she wished she had said to him, based on a letter she left him ("The Things I Never Said").

Casey is truly touched by Aaron's story and honesty, and subsequently ignores her phone when it rings again. Reggie is now convinced that Aaron killed her or kidnapped her because she hasn't picked up her phone, so he declares that he's coming to rescue her ("Bailout #3"). Casey realizes that she's beginning to like Aaron, and she asks him if they can switch their food so that they can both have what they want. She then remembers that she promised to set Aaron up with a friend, so she begins listing friends who would be a good match for Aaron. Casey ultimately decides it's her new friend Allison, which scares Aaron, thinking Casey is talking about his ex-girlfriend Allison. Much to Aaron's relief, it's not the same Allison, but Casey asks him why he reacted to dramatically to the name Allison. Aaron tells Casey about his relationship with Allison, and how she ended up leaving him at the altar. Casey decides to make Aaron try an exercise where he imagines Allison is standing right in front of him, and he has to break up with her. It doesn't start well, with Aaron only talking about how much he loves Allison, but with Casey's encouraging, he gets angry at Allison and lists everything he hated about her and how horribly she treated him ("In Love With You"). Casey and Aaron share an ecstatic embrace after Aaron's cathartic exchange with an imaginary Allison.

After Casey and Aaron finish their dinner, the waiter brings them the check. The whole restaurant freezes, wondering who is going to pay for dinner ("The Check!"). Casey wants them to split it but Aaron pays it, insisting that he genuinely wants to buy her dinner. Casey realizes that she likes Aaron so much that she doesn't want to ever have to say goodbye to him, so she ignores him as he leaves. Lauren appears again, angry at her for screwing things up again, but Casey ignores her. The restaurant closes, so Casey walks out; she then realizes what a big mistake she's made. After she has left, Reggie runs into the restaurant, only to discover that Casey is not dead and left alone. Exhausted, he decides to have a drink with the waiter, and the two of them form their own first impressions of each other ("First Impressions (reprise)"). The scene then shifts to the next block, where Casey stops Aaron from entering the subway to go home. She asks him to walk her home, which he does. Along the way, Casey decides that she feels a true connection and sees potential with Aaron, and Aaron feels like he would be willing to risk his heart again if it was for Casey. Throughout the walk, all of the voices that have been talking to them all night voice their opinions but Casey and Aaron ignore them. When they reach Casey's apartment, they say goodnight to each other and go their separate ways. However, Casey stands in front of her apartment building, not wanting to actually walk inside and leave Aaron, and Aaron can't seem to walk further down the street to leave. Casey and Aaron sing the last verse on opposite sides of the stage, and as Casey and Aaron finish the song, they run from opposite sides of the stage and kiss ("Something That Will Last").

## Musical numbers

*The show is performed without an intermission.*

* "The One" – Company
* "First Impressions" – Aaron, Casey
* "Bailout Song #1" – Reggie
* "The Girl For You" – Company
* "The Awkward Pause" – Company
* "Allison's Theme #1" – Allison
* "The World Wide Web Is Forever" – Company†
* "Total Loser" – Company††
* "That's Why You Love Me" – Edgy Ex-Boyfriends
* "Bailout Song #2" – Reggie
* "Safer" – Casey
* "I'd Order Love" – Waiter
* "Allison's Theme #2" – Aaron, Allison, Gabe
* "The Things I Never Said" – Aaron, Aaron's Mother
* "Bailout Song #3" – Reggie
* "In Love With You" – Aaron
* "The Check!" – Company
* "First Impressions (reprise)" – Reggie, Waiter††
* "Something That Will Last" – Casey, Aaron, Company

† Denotes a song that was cut before the official Broadway opening night.
†† Denotes a song that was not on the original Broadway cast recording.

## Principal roles and cast members

| Character | Seattle (2012) | Broadway (2013) |
| --- | --- | --- |
| Aaron | Eric Ankrim | Zachary Levi |
| Casey | Kelly Karbacz | Krysta Rodriguez |
| Woman #1
(Grandma Ida/Lauren/Aaron's Mother) | Billie Wildrick | Sara Chase |
| Man #1
(Gabe/Edgy British Guy) | Brandon O'Neill | Bryce Ryness |
| Woman #2
(Allison) | Vicki Noon | Kate Loprest |
| Man #2
(Reggie/Edgy Rocker Guy/Aaron's Future Son) | Benjamin Harris | Kristoffer Cusick |
| Man #3
(Waiter/Therapist/Casey's Father) | Richard Gray, Greg McCormick Allen | Blake Hammond |

## InfoBox

| *First Date* | |
| --- | --- |
| Original Broadway Logo | |
| Music | Alan Zachary
Michael Weiner |
| Lyrics | Alan Zachary
Michael Weiner |
| Book | Austin Winsberg |
| Productions |  |


title: Mysore Paper Mills

abstract: Mysore Paper Mill Limited or the MPM is situated at Bhadravathi in the Shimoga district of Karnataka state, India. It was established in the year 1936 by Nalvadi Krishnaraja Wodeyar, the then Maharaja of Mysore state. In 1977, the company became a government company. The company obtained ISO certification in the year 2004.

text:
# Mysore Paper Mills

**Mysore Paper Mill Limited** or the MPM is situated at Bhadravathi in the Shimoga district of Karnataka state, India. It was established in the year 1936 by Nalvadi Krishnaraja Wodeyar, the then Maharaja of Mysore state. In 1977, the company became a government company. The company obtained ISO certification in the year 2004.

## Closure

MPM closed functioning in 2016. Government wants to privatise the company while workers want the government to revive it. Some workers opted for voluntary retirement scheme. Company has issued tenders for disposal of materials

## InfoBox

Mysore Paper Mill Limited
| Company type | Government |
| --- | --- |
| Traded as | BSE: 502405 |
| Industry | Paper mill and Co-generation |
| Headquarters | Bhadravathi, Karnataka, India |
| Key people | Araga Jnanendra (Chairman) |
| Operating income | 54.90 crore (US$6.6 million) (2011–12) |
| Net income | 84.78 crore (US$10 million) (2011–12) |
| Owner | Government of India |
| Website | www.mpm.co.in |


title: Intiguttu (1984 film)

abstract: Intiguttu or Inti Guttu is a Tollywood film that was released on 14 September 1984 and was directed by K. Bapayya. This film had Chiranjeevi, Nalini, Suhasini, and Kaikala Satyanarayana in important roles. The movie is a remake of the 1964 Tamil movie Panakkara Kudumbam.

text:
# Intiguttu (1984 film)

**Intiguttu** or **Inti Guttu** is a Tollywood film that was released on 14 September 1984 and was directed by K. Bapayya. This film had Chiranjeevi, Nalini, Suhasini, and Kaikala Satyanarayana in important roles. The movie is a remake of the 1964 Tamil movie *Panakkara Kudumbam*.

## Cast

## Soundtrack

* Chedugudu
* Lepave Lepave
* Letha Letha Cheekati
* Navvithe Navvandi
* Randi Podamu
* Veriety Veriety

## InfoBox

| Intiguttu | |
| --- | --- |
| Theatrical release poster | |
| Directed by | K.Bapayya |
| Written by | Paruchuri Brothers |
| Based on | *Panakkara Kudumbam* (1964) |
| Produced by | D.V.S.Raju |
| Starring | Chiranjeevi
Nalini
Suhasini
Satyanarayana
Allu Ramalingaiah
Chandra Mohan |
| Cinematography | Venkat |
| Edited by | Kotagiri Venkateswarao |
| Music by | Chakravarthy |
| Release date | * 14 September 1984 (1984-09-14) |
| Country | India |
| Language | Telugu |


title: European Court of Human Rights building

abstract: The building of the European Court of Human Rights is located in the European Quarter of Strasbourg, France. It was designed by the Richard Rogers Partnership and Claude Buche and was completed in 1994. The building is located on the eastern corner of the water intersection, where the Ill river is crossed by the Canal de la Marne au Rhin. The court was formerly located in a building located just across the canal, which was built in 1965 and designed by Bertrand Monnet, J. Apriell and Papillard.

text:
# European Court of Human Rights building

The **building of the European Court of Human Rights** is located in the European Quarter of Strasbourg, France. It was designed by the Richard Rogers Partnership and Claude Buche and was completed in 1994.

The building is located on the eastern corner of the water intersection, where the Ill river is crossed by the *Canal de la Marne au Rhin*. The court was formerly located in a building located just across the canal, which was built in 1965 and designed by Bertrand Monnet, J. Apriell and Papillard.

## Design

The building was designed in 1989 by the Richard Rogers Partnership Ltd (London) and Claude Bucher (Strasbourg). They intended to create a "symbolic landmark but not a monument". They also, due to the nature of the court, wanted to make it more welcoming and open rather than fortress-like. The original design was stretched as, during design, the demand for office space grew by 50% due to the fall of the Eastern Bloc. The building relies on natural light and ventilation, except the light entrance hall which is air conditioned in an energy saving manner. The two main organs of the court, the court and commission, occupy two large circular chambers each side and offices are located in a "tail" stretching behind the building.

The team of architects behind the Rogers Partnership working on the building were: Laurie Abbott, Peter Angrave, Eike Becker, Elliot Boyd, Mike Davies, Karin Egge, Pascale Gibon, Marco Goldschmied, Lennart Grut, Ivan Harbour, Amarjit Kalsi, Sze-King Kan, Carmel Lewin, Avtar Lotay, John Lowe, Louise Palomba, Kim Quaz, Richard Rogers, Pascale Rousseau, Yuli Toh, Sarah Tweedie, Andrew Tyley, Yoshiyuki Uchiyama and John Young.

## Construction

Building work began in December 1991 and continued until December 1994. It was built by 50 firms with 125 subcontractors and cost 544 million French Francs, which came from the member states of the Council of Europe which owns the building, however the site it was built on was provided by the City of Strasbourg. Queen Elizabeth II planted a tree on the building site in May 1992.

## Rooms

The building has 28,000 square metres of floor space. The Court Room covers 860 square metres and has 260 seats, with an extra 49 for judges and 33 for applicants (the deliberation room has 47 places with an additional 52 seats). The Commission Room covered 520 square metres and has 41 seats with 30 places for applicants. Other meeting rooms (in total there are 11) cover 4500 square metres and have an average of 47 places around table, plus 52 at the rear. The 420 offices cover 16,500 square metres and in total the building has capacity for 600 people. There is also a Projection room with 204 seats and a 180-seat cafeteria.

48°35′49″N 7°46′29″E / 48.59694°N 7.77472°E / 48.59694; 7.77472

## InfoBox

| European Court of Human Rights building | |
| --- | --- |
|  | |
|  | |
| General information | |
| Type | Civic |
| Location | Strasbourg, France |
| Current tenants | European Court of Human Rights |
| Construction started | December 1991 |
| Completed | December 1994 (1994-12) |
| Cost | 544 million francs |
| Client | Council of Europe |
| Owner | Council of Europe |
| Technical details | |
| Floor area | 28,000 sq m |
| Design and construction | |
| Architect(s) | Richard Rogers |
| Architecture firm | Richard Rogers Partnership and Atelier d'Architecture Claude Bucher |
| Structural engineer | Arup / Omnium Technique Européen |
| Services engineer | Ove Arup & Partners / Omnium Technique Européen |
| Other designers | Acoustic Consultant: Sound Research Laboratories, Landscape Architect: David Jarvis Associates / Dan Kiley, Lighting Consultant: Lighting Design Partnership |
| Quantity surveyor | Thorne Wheatley Associates |
| Main contractor | Campenon Bernard SGE |