title: The Rat (1925 film)

abstract: The Rat is a 1925 British silent film drama, directed by Graham Cutts and starring Ivor Novello, Mae Marsh and Isabel Jeans. The film is based on the 1924 play of the same title written by Novello and Constance Collier, set in the Parisian criminal underworld. The film's louche settings and melodramatic storyline proved popular with audiences, and its success spawned two sequels, The Triumph of the Rat (1926) and The Return of the Rat (1929).

text:
# The Rat (1925 film)

***The Rat*** is a 1925 British silent film drama, directed by Graham Cutts and starring Ivor Novello, Mae Marsh and Isabel Jeans. The film is based on the 1924 play of the same title written by Novello and Constance Collier, set in the Parisian criminal underworld. The film's louche settings and melodramatic storyline proved popular with audiences, and its success spawned two sequels, *The Triumph of the Rat* (1926) and *The Return of the Rat* (1929).

## Plot

Zélie de Chaumet (Jeans) is a bored, sensation-seeking demimondaine, living with her older lover and keeper Herman Stetz (Robert Scholz) in a lavish apartment in a wealthy area of Paris. By contrast career criminal Pierre Boucheron (Novello), known as The Rat, lives with his casual girlfriend Odile (Marsh) in a run-down room in a squalid part of the city.

One evening Zélie has an arrangement to attend a performance at the Folies Bergère with friends. Fearing that this will be a dreary evening out, she asks Herman to arrange an after-theatre party for them at the White Coffin Club, a notorious low-life hangout, to end the evening on an exciting note. Pierre also attends the Folies Bergère that evening on the lookout for easy pickings, and steals Zélie's cigarette case. Meanwhile, Odile has noticed that Pierre has gone out without his knife, and goes to the White Coffin with it. Herman notices her and is struck by her beauty and naïvety. He is in the process of trying to force his attentions on her when Pierre arrives and violently throws him out of the club, warning him never to return.

Zélie and her friends arrive at the White Coffin. Watching Pierre win a knife fight and performing a wild Apache dance with one of the club's showgirls, she is intrigued and strikes up a conversation with him. Pierre recognises her from the Folies Bergère and returns her cigarette case. After she leaves, Pierre receives a note with her address, inviting him to visit. Unknown to Zélie, Herman has had her movements watched and when she arrives home he confronts her about her earlier conduct with Pierre. When she does not deny her fascination with Him, Herman says that he is going out and expects to find her gone by the time he returns.

Pierre arrives at the apartment and although Zélie is delighted to see him, she professes no knowledge of the note which has brought him there. They realise that the note must have been sent by Herman as a ruse to get Pierre out of the way while he pursues Odile. Pierre rushes home, to find Odile in a desperate struggle with Herman to prevent him from forcing himself on her. The enraged Pierre stabs him to death. The screams and struggles are heard by a passing policeman, who summons assistance. Odile persuades Pierre to make his escape through a window, and when the police arrive she claims to have killed Herman herself in self-defence. Pierre returns to the room intending to say he has just returned from visiting Zélie, but when he learns that Odile has confessed to the murder he confesses the truth. However the police do not believe him, thinking he is trying to protect her. Odile asks for some time alone with Pierre, and points out to him that she has a chance of being acquitted by claiming self-defence, whereas he would certainly be sentenced to death for the crime. Reluctantly he agrees, and Odile is taken to prison.

Pierre is refused permission to visit Odile in prison, and becomes increasingly distressed and tormented, taking to wandering the streets in a near-hysterical state. Odile requests a visit from Zélie, which is granted. She begs Zélie to testify that Pierre was with her at the time of the murder. Zélie reluctantly agrees. As Odile's trial is about to begin Pierre spots Zélie and, assuming she has come to gloat, launches a verbal attack on her. He is forcibly removed and returned home by the police. He is beside himself with anguish when Odile returns, having been acquitted of the murder on the self-defence plea. The couple acknowledge how much they mean to each other.

## Cast

* Ivor Novello as Pierre Boucheron
* Mae Marsh as Odile Etrange
* Isabel Jeans as Zélie de Chaumet
* Robert Scholz as Herman Stetz
* James Lindsay as Detective Caillard
* Marie Ault as Mère Colline
* Julie Suedo as Mou Mou
* Hugh Brook as Paul
* Esme Fitzgibbons as Madeleine Sornay
* Iris Grey as Rose

## InfoBox

| The Rat | |
| --- | --- |
| Ivor Novello screenshot | |
| Directed by | Graham Cutts |
| Written by | Graham Cutts (screenplay)
Ivor Novello (play)
Constance Collier (play) |
| Produced by | Michael Balcon |
| Starring | Ivor Novello
Mae Marsh
Isabel Jeans |
| Cinematography | Hal Young |
| Production
company | Gainsborough Pictures |
| Distributed by | Woolf & Freedman Film Service |
| Release date | * 1925 (1925) |
| Running time | 74 minutes |
| Country | United Kingdom |


abstract: "The Spandrels of San Marco and the Panglossian Paradigm: A Critique of the Adaptationist Programme", also known as the "Spandrels paper", is a paper by evolutionary biologists Stephen Jay Gould and Richard Lewontin, originally published in the Proceedings of the Royal Society B: Biological Sciences in 1979. The paper criticizes the adaptationist school of thought that was prevalent in evolutionary biology at the time using two metaphors: that of the spandrels in St Mark's Basilica, a cathedral in Venice, Italy, and that of the fictional character "Pangloss" in Voltaire's novella Candide. The paper was the first to use the architectural term "spandrel" in a biological context; the term "spandrel" has since gained currency in biology to refer to byproducts of adaptation.

text:
# The Spandrels of San Marco and the Panglossian Paradigm

**"The Spandrels of San Marco and the Panglossian Paradigm: A Critique of the Adaptationist Programme"**, also known as the **"Spandrels paper"**, is a paper by evolutionary biologists Stephen Jay Gould and Richard Lewontin, originally published in the *Proceedings of the Royal Society B: Biological Sciences* in 1979. The paper criticizes the adaptationist school of thought that was prevalent in evolutionary biology at the time using two metaphors: that of the spandrels in St Mark's Basilica, a cathedral in Venice, Italy, and that of the fictional character "Pangloss" in Voltaire's novella *Candide*. The paper was the first to use the architectural term "spandrel" in a biological context; the term "spandrel" has since gained currency in biology to refer to byproducts of adaptation.

## Background

"Spandrels" was originally written in 1978, and that year Gould delivered it as a talk to the Royal Society. Gould had visited St. Mark's Cathedral shortly before he wrote the paper. The published paper lists both Gould and Lewontin as authors. However, in a 2015 interview, Lewontin said that Gould wrote the majority of the paper, and that he had made only "a lesser contribution" to it.

## Style

Gould referred to the paper as an "opinion piece" because, unlike most scientific papers, it was not based on a literature review or empirical data. It was written in a provocative and literary style that was unusual even compared to that of most other opinion pieces. David C. Queller described the paper as "an opinion piece, a polemic, a manifesto, and a rhetorical masterpiece".

## Arguments

In the "Spandrels" paper, Gould and Lewontin argue that the mosaic design on the spandrels in St. Mark's Basilica is "so elaborate, harmonious, and purposeful that we are tempted to view it as the starting point of any analysis, as the cause in some sense of the surrounding architecture." They then claim that this would be inappropriate, because the spandrels themselves were an architectural constraint that "provide a space in which the mosaicists worked". The paper makes an analogy between these spandrels and the evolutionary constraints of living organisms, and the need to distinguish between the current use of a trait and the reason it evolved. It also compares the adaptationist perspective to that of Dr. Pangloss, a character in Voltaire's *Candide*, who believed that the world he lived in was the best world possible. This view is embodied in the statement by Pangloss that "Everything is made for the best purpose. Our noses were made to carry spectacles, so we have spectacles. Legs were clearly intended for breeches, and we wear them." The "Spandrels" paper also criticizes adaptationists for not developing sufficiently rigorous methods to test their hypotheses.

## Impact

"Spandrels" has proven highly influential and controversial since it was first published. Gerald Borgia of the University of Maryland described the paper as "among the best known and most factious papers in evolutionary biology in the past 50 years." Similarly, David Sloan Wilson referred to it as "\[o\]ne of the most influential works in the field of evolutionary biology". It is sometimes credited with beginning the debate about the validity of adaptationism in modern evolutionary biology. However, this claim is disputed by other scholars. The paper also inspired a book, *Understanding Scientific Prose*, which was published in 1993. The book consists of fourteen reviews of the original 1979 paper by experts from various fields, followed by a chapter-length reply by Gould. According to Massimo Pigliucci and Jonathan Kaplan, "After the ‘Spandrels paper’, evolutionists were more careful about producing just-so stories based on selection, and paid more attention to a panoply of other processes." In 2009, Rasmus Nielsen wrote that the paper "fundamentally changed the discourse of evolutionary biology".

## Reactions

Ernst Mayr argued that the criticisms made by Gould and Lewontin in "Spandrels" were valid, but that the problems they identified were the result of mistakes in the execution of the adaptationist program, such as excessively atomistic and deterministic perspectives, rather than flaws of the adaptationist program itself. John Maynard Smith believed by and large "their paper had a healthy effect.… Their critique forced us to clean up our act and to provide evidence for our stories. But adaptationism remains the core of biological thinking." In reviewing *Understanding Scientific Prose*, Tim Radford wrote that the "Spandrels" paper was "...unusual because a nonscientist can understand exactly what is being said, and read it all the way through without nodding off, while at the same time veteran and world-leading evolutionary theorists can read it and apparently have apoplexy." Sandra Mitchell argues that the paper's arguments regarding adaptationism can be interpreted in three different ways: that adaptationist hypotheses need to be rigorously tested before they are accepted, that pluralistic explanations of biological phenomena should be widely accepted alongside adaptationist ones, or that non-adaptationist explanations are objectively preferable to adaptationist ones.

Gould and Lewontin defined "spandrel" in biology as a constraint on an organism's evolution. However, Alasdair Houston subsequently suggested that another architectural term, "pendentive", might be a more accurate description of such constraints. In his book *Darwin's Dangerous Idea*, Daniel Dennett also criticized Gould and Lewontin's "spandrels" metaphor for the same reason, adding, "the spandrels of San Marco aren't spandrels even in Gould's extended sense. They are adaptations chosen from a set of equipossible alternatives for largely aesthetic reasons..." This criticism was itself criticized by Robert Mark, who argued that "Gould and Lewontin's misapplication of the term spandrel for pendentive perhaps implies a wider latitude of design choice than they intended for their analogy. But Dennett's critique of the architectural basis of the analogy goes even further astray because he slights the technical rationale of the architectural elements in question." Some defenders of the adaptationist perspective developed "explanatory adaptationism" as a response to some of the arguments made in the paper. Explanatory adaptationism argues that adaptation, though uncommon, is still uniquely important in the evolutionary process.

Steven Pinker criticized Gould and Lewontin for reusing an argument by George C. Williams in favor of the importance of nonadaptive features without attributing it to him. Gould responded that Pinker's accusation was "serious, and false", writing, "I love Williams’s book and cite it frequently—but not in our spandrels paper because neither he, nor I, nor anyone else in our century invented the idea. The concept has always been part of evolutionary theory." Gerald Borgia criticized the paper, arguing that "...its unforgiving tone and use of hyperbole is designed to incite emotion rather than encourage reasoned debate." According to Tim Lewens, "...one of the most significant lessons that the Spandrels paper teaches is about the importance for evolutionary biology of an empirically grounded account of what is, and what is not, a trait."


title: The Rover (Interpol song)

abstract: "The Rover" is a song by American rock band Interpol. It is the first track and the lead single from the band's sixth studio album, Marauder (2018) and was digitally released on June 7, 2018. Self-produced and written by the band, the song debuted and peaked at No. 35 on the Mexico Ingles Airplay.

text:
# The Rover (Interpol song)

"**The Rover**" is a song by American rock band Interpol. It is the first track and the lead single from the band's sixth studio album, *Marauder* (2018) and was digitally released on June 7, 2018. Self-produced and written by the band, the song debuted and peaked at No. 35 on the *Mexico Ingles Airplay*.

## Music video

The official music video for "The Rover" was released on July 11, 2018. The music video was directed by Gerardo Naranjo with assistance from Ebon Moss-Bachrach, Paul Banks, Daniel Kessler, Sam Fogarino, Samantha Menchaca, Fermin Diaz, Diego Gamaliel, and Romina Soriano.

Erin Vanderhoof of *Vanity Fair* described the music video as a "political love letter to Mexico City". Vanderhoof specifically referenced Interpol frontman, Paul Banks, deciding to film the music video in Mexico City and living his teenage years there. In describing the video and sights, Banks told  *Vanity Fair* "I think someone that I went to school with did college radio there. When we took off, he said, ‘They’re from here, in a sense, they’re one of ours'. If they like you, they put their heart into you, their enthusiasm. It’s a special market in that sense."

Throughout the music video, Moss-Bachrach plays a "mysterious figure" that follows the band around Mexico City. Emma Kay writing for PromoNews described Moss-Bacharch's performance as "Part drama, part-documentary, part-fever dream" and that the video "channels the grand tradition of cinema verité, with \[Moss-Bachrach\] as a charismatic wild man who undergoes an ecstatic psychedelic conversion on the streets of Mexico City."

## Charts

| Chart (2018) | Peak
position |
| --- | --- |
| Mexico Ingles Airplay (*Billboard*) | 35 |
|

## InfoBox

| "The Rover" | |
| --- | --- |
|  | |
| Single by Interpol | |
| from the album  *Marauder* | |
| Released | June 7, 2018 |
| Recorded | 2017 |
| Genre |  |
| Length | 3:38 |
| Label | Matador |
| Songwriter(s) |  |
| Producer(s) | Interpol |
| Interpol singles chronology | |
| "Everything Is Wrong"
(2015) "**The Rover**"
(2018) "Number 10"
(2018) | |
|  | |
| Music video | |
| "The Rover" on YouTube | |
|  | |


title: The Princeton Companion to Mathematics

abstract: The Princeton Companion to Mathematics is a book providing an extensive overview of mathematics that was published in 2008 by Princeton University Press. Edited by Timothy Gowers with associate editors June Barrow-Green and Imre Leader, it has been noted for the high caliber of its contributors. The book was the 2011 winner of the Euler Book Prize of the Mathematical Association of America, given annually to "an outstanding book about mathematics".

text:
# The Princeton Companion to Mathematics

***The Princeton Companion to Mathematics*** is a book providing an extensive overview of mathematics that was published in 2008 by Princeton University Press. Edited by Timothy Gowers with associate editors June Barrow-Green and Imre Leader, it has been noted for the high caliber of its contributors. The book was the 2011 winner of the Euler Book Prize of the Mathematical Association of America, given annually to "an outstanding book about mathematics".

## Topics and organization

The book concentrates primarily on modern pure mathematics rather than applied mathematics, although it does also cover both applications of mathematics and the mathematics that relates to those applications; it provides a broad overview of the significant ideas and developments in research mathematics. It is organized into eight parts:

* An introduction to mathematics, outlining the major areas of study, key definitions, and the goals and purposes of mathematical research.
* An overview of the history of mathematics, in seven chapters including the development of important concepts such as number, geometry, mathematical proof, and the axiomatic approach to the foundations of mathematics. A chronology of significant events in mathematical history is also provided later in the book.
* Three core sections, totalling approximately 600 pages. The first of these sections provides an alphabetized set of articles on 99 specific mathematical concepts such as the axiom of choice, expander graphs, and Hilbert space. The second core section includes long surveys of 26 branches of research mathematics such as algebraic geometry and combinatorial group theory. The third describes 38 important mathematical problems and theorems such as the four color theorem, the Birch and Swinnerton-Dyer conjecture, and the Halting problem.
* A collection of biographies of nearly 100 famous deceased mathematicians, arranged chronologically, also including a history of Nicolas Bourbaki's pseudonymous collaboration.
* Essays describing the influences and applications of mathematics in the sciences, technology, business, medicine, and the fine arts.
* A section of perspectives on the future of mathematics, problem solving techniques, the ubiquity of mathematics, and advice to young mathematicians.

Despite its length, the range of topics included is selective rather than comprehensive: some important established topics such as diophantine approximation are omitted, transcendental number theory, differential geometry, and cohomology get short shrift, and the most recent frontiers of research are also generally not included.

## Target audience

The book's authors have attempted to keep their work accessible by forgoing abstraction and technical nomenclature as much as possible and by making heavy use of concrete examples and illustrations. Compared to the concise and factual coverage of mathematics in sources such as Wikipedia and MathWorld, the articles in the *Princeton Companion* are intended to be more reflective and discursive, and to convey the beauty and depth of modern mathematics. Quoting a passage from Bertrand Russell that "Pure Mathematics is the class of all propositions of the form *p* implies *q*", the editor of the *Companion* states that it "is about everything that Russell’s definition leaves out."

The core sections of the *Companion* are aimed primarily at readers who are already familiar with mathematics at the undergraduate level. Much of the rest of the book, such as its collection of biographies, would be accessible to a mathematically inclined high school student, and there is enough depth of coverage in the book to interest even professional research mathematicians. Reviewer Jonathan Borwein summarizes the audience for this book broadly:

> Every research mathematician, every university student of mathematics, and every serious amateur of mathematical science should own at least one copy of *the Companion*.

## Contributors

The contributors to *The Princeton Companion to Mathematics* consist of 133 of the world's best mathematicians. Timothy Gowers, its editor, is the recipient of the Fields Medal, considered to be the top honor in mathematics. Other contributors include Fields medalists Michael Atiyah, Alain Connes, Charles Fefferman, and Terence Tao, and well-known mathematicians Noga Alon, George Andrews, Béla Bollobás, John P. Burgess, Kevin Buzzard, Clifford Cocks, Ingrid Daubechies, Persi Diaconis, Jordan Ellenberg, Oded Goldreich, Andrew Granville, Jeremy Gray, Frank Kelly, Sergiu Klainerman, Jon Kleinberg, János Kollár, Peter Lax, Dusa McDuff, Barry Mazur, Carl Pomerance, Eleanor Robson, Peter Sarnak, Madhu Sudan, Clifford Taubes, and Avi Wigderson. Among the historians who contributed to it are Charles C. Gillispie, Ivor Grattan-Guinness, Jeremy Gray, Niccolò Guicciardini, Ulf Hashagen, Eberhard Knobloch, Karen Hunger Parshall, Eleanor Robson, and Erhard Scholz.

## Awards

Gowers and the *Princeton Companion* were the 2011 winners of the Euler Book Prize of the Mathematical Association of America, given annually to "an outstanding book about mathematics".

The *Princeton Companion* was also listed as an outstanding title by *Choice Magazine*, a publication of the American Library Association, in 2009.

* *The Princeton Companion to Applied Mathematics*, published 2015 and edited by Nicholas Higham

## InfoBox

The Princeton Companion to Mathematics
|  | |
| --- | --- |
| Editors |  |
| Language | English |
| Subject | Mathematics |
| Publisher | Princeton University Press |
| Publication date | 2008 |
| Publication place | United States |
| Pages | 1034 |
| Awards |  |
| ISBN | 978-0-691-11880-2 |
| Dewey Decimal | 510 |
| LC Class | QA11.2.P745 2008 |
| Website | press.princeton.edu/books/hardcover/9780691118802/the-princeton-companion-to-mathematics |


title: The Quint

abstract: The Quint is an English and Hindi language Indian general news and opinion website founded by Raghav Bahl and Ritu Kapur after their exit from Network18. The publication's journalists have won three Ramnath Goenka Excellence in Journalism Awards and two Red Ink Awards.

text:
# The Quint

***The Quint*** is an English and Hindi language Indian general news and opinion website founded by Raghav Bahl and Ritu Kapur after their exit from Network18. The publication's journalists have won three Ramnath Goenka Excellence in Journalism Awards and two Red Ink Awards.

## History

In May 2014, Raghav Bahl and Ritu Kapur, the promoters of Network18 ended their shareholding of the media conglomerate with the takeover by Reliance Industries. Following the controversial exit, they founded the digital media company, Quintillion Media. The company was the first major investor in the tech startup Quintype founded by Amit Rathore. Quintillion Media launched *The Quint* publication in January 2015 on Facebook and as a website by March 2015. Quintype took over the digital technology operations of the publication. By December 2016, *The Quint* website had crossed the mark of 10 million unique visitors.

In February 2017, *The Quint* launched two online content verticals *Quint Neon*, a lifestyle news section and QuintLabs, a multimedia exposition platform. In the same year, it also launched the fact checking initiative *WebQoof* and partnered with BBC News for the production of a video series to combat disinformation. In September 2018, Google India entered into a partnership with *The Quint*, to host the "Bol: Love Your Bhasha" event featuring panel discussions on media readership and business strategy with the objective of laying emphasis on the potential of Indian languages. The event was attended by Anant Goenka, the executive director of the Indian Express Group, Arvind Pani, the co-founder and CEO of Reverie Language Technologies and the Minister of Road Transport and Highways, Nitin Gadkari, among others.

The offices of *The Quint* and Raghav Bahl's residence were raided by the Income Tax Department of India in October 2018 in connection to an alleged case of tax evasion, the raid was termed as a survey by the Income Tax officers. Raghav Bahl released a statement which termed the raid as an attack on journalistic freedom while appealing to the autonomous Editors Guild of India to back *The Quint* such that a precedent is set against repetition of a similar exercise on any journalistic entity. The Editors Guild of India raised concerns that while the department was within its rights to carry out inquiries, the conduct of such exercises should not be akin to intimidation tactics.

In January 2019, *The Quint* introduced subscriptions for advertisement free delivery of its content and in July, it also introduced a premium membership initiative for access to webinars for members. Raghav Bahl completed his investment in the news publisher over the course of the years, amounting to $21.5 million from the capital gained following the sale of Network18.

In May 2020, *The Quint* was acquired by Gaurav Mercantiles through which it was listed on the Bombay Stock Exchange. The acquisition involved all assets of Quintillion Media excluding BloombergQuint. The transaction of Quintillion Media's assets to Gaurav Mercantiles was made on a related party basis due to the Bahl and Kapur's stake in both the companies and increased the borrowing base of Gaurav Mercantiles in accordance with the Companies Act 2013. Gaurav Mercantiles was earlier a ship breaking and trading firm which had not made any revenue since March 2018; ergo it entered into a debt-for-equity swap agreement in which Bahl and Kapur collectively acquired 66.42% of the company's stakes while Haldiram Snacks Pvt Ltd and the investment bank Elara Capital acquired 17-18% and 10% stake respectively. Mohan Lal Jain, the former chairman of Gaurav Mecantiles retained 4.99% stake in the company. In September 2020, Gaurav Mecantiles was renamed to Quint Digital Media Limited.

## Content

In terms of editorial content, *The Quint* is focused on educational and explanatory journalism. The primary mode of presentation is through newsletters, multimedia, documentary series, live video broadcasts, graphic journalism and podcasts. The site has published a range of influential stories on topics concerning sexual harassment, freedom of speech and Hindu nationalism. According to Reporters Without Borders, the site differs from other traditional news outlets in its interpretations of news with dedicated sections such as Documentaries and Explainers. The portal operates *QuintLab* which is described as an "innovation wing" of the publication and features an interface of various multimedia storytelling formats. The co-founder and CEO of *The Quint*, Ritu Kapur states that the publication's experimentation is concerted more towards the form and style of presentation that can be developed in a digital environment rather than the professional craft of journalism itself.

In order to combat disinformation, the publication also operates *WebQoof*, a fact-checking initiative certified by the International Fact-Checking Network. The fact-checking unit runs as a public service and encourages user submissions of claims for verification. Through audience participation, it gains access to hundreds of unverified claims and uses resource intensive techniques of employing journalists to fact-check claims and debunk hoaxes. *The Quint* is in particular involved in combating disinformation on the messenger app WhatsApp which has been noted to have become a difficult-to-penetrate viral distribution network afflicted by disinformation in India. According to Ritu Kapur, the co-founder of the publication, the *WebQoof* initiative has a reassuringly high consumption which goes against the presumptions of a post-truth world. The publication had also entered into a partnership with BBC News for the co-production of an educational video series "Swacch Digital India" to highlight the importance of fact-checking to its viewers.

The portal has also been noted for its advocacy journalism on gender related issues. In 2018, the "Talking Stalking" project on *QuintLab* was awarded gold in the "Best Innovation to Engage Youth Audiences" category by the World Association of Newspapers and News Publishers. The project was the first gender themed editorial initiative launched by the publication. Later, with funding from Facebook Inc, it launched "Me, The Change" editorial campaign focusing on stories of notable women alongside live events to encourage young women to become first time voters and elicit changes in legislation. As a result of the campaign, the Delhi Legislative Assembly passed a resolution in support of drafting a bill for making stalking, a non-bailable offence; the publication had previously held a feature event at Oxford Bookstore, New Delhi to raise support for the Stalking Bill. In 2019, the "Me, The Change" campaign received the Digipub World Award for "Best Brand Partnership".

The news publication operates through three digital platforms; the English language edition *The Quint*, the Hindi language edition *The Quint Hindi* and the healthcare news microsite called *FIT*. According to Raghav Bahl, co-founder of *The Quint*, the site's distinctive feature is its broad spectrum of coverage which "includes policy, politics, sports, business, food, entertainment and everything else" extending beyond the "narrow focus" of other news outlets. It has also been described by Reporters Without Borders as the first mobile based news service; the content of *The Quint* is primarily emphasized towards distribution through social media and mobile devices. Since December 2015, the publication has also been in a collaboration with Facebook, Inc. on its Instant Articles project and has presence on the social media platforms of Facebook, Twitter, Instagram and YouTube.

## Reception

A story published in the *Columbia Journalism Review* in late 2016 identified *The Quint* as one of several independent and recently founded internet-based media platforms – a group that also included *Newslaundry*, *Scroll.in*, *The News Minute*, *The Wire* and ScoopWhoop – that were attempting to challenge the dominance of India's traditional print and television news companies and their online offshoots. *The Quint* has also been certified by the Poynter Institute's International Fact-Checking Network for its reporting in *WebQoof*, its in-house fact-checking division. The publication has received recognition through a number of prestigious awards for its public interest journalism.

In a report of the Reuters Institute for the Study of Journalism, *The Quint* was compared with the Filipino news publication Rappler and the South African online newspaper *Daily Maverick*, and described as digital-born commercial news publishers engaged in producing critical independent journalism in destabilising democracies. According to the report, *The Quint* has faced extreme external pressure in the form of politically motivated attacks on media freedom, orchestrated digital disinformation campaigns and significant online harassment against its journalists; it was noted that online harassment was particularly severe against women journalists, often including threats of violence ranging from sexual assault to rape and murder.

In February 2017, *The Quint* published a sting video focused on how the Army's *jawans* were being deployed as *sahayaks* and performed a variety of menial tasks for officers; the profiled *naik* committed suicide a week afterwards in fear of an impending court-martial. The Army subsequently booked the *Quint* reporter for abetting his suicide, and violating the Official Secrets Act of India by trespassing into a prohibited area. Media critics have since dubbed the sting-operation as "overzealous journalism" with a host of ethical issues. In 2019, Bombay High Court quashed all charges against *The Quint* noting the Army to be vindictive.

Kulbhushan Jadhav is an Indian national who was arrested in Pakistan on charges of terrorism and spying for the Research and Analysis Wing (RAW) – India's external intelligence agency. After the arrest, on 5 January 2018, *The Quint* published a story by the journalist Chandan Nandy which claimed that Jadhav was being used to collect intelligence for India and that two former chiefs of the Research and Analysis Wing had allegedly stated that they were against the recruitment of Jadhav as a spy. *The Hindu'*s *Frontline* magazine also published a story with a similar claim. The stories were picked up by Pakistani media agencies as apparent confirmation of Jadhav's affiliation. It drew criticism in India; the media watchdog *Newslaundry* raised questions on how *The Quint* could have been privy to such information. The publication retracted the story on 7 January stating that the factual accuracy of the article required rechecking. The story was later quoted by Pakistan in a related International Court of Justice case.

On 27 March 2020, during the COVID-19 pandemic in India, *The Quint* published an article which reported that India was in stage-3 transmission (community transmission). The government's Press Information Bureau denied the occurrence of community transmission and labeled the story as "misleading". *The Times of India* published a "fact-check" affirming the PIB statement and clarifying that the person being quoted did not have medical qualifications but had a PhD in Quality management. However, medical professionals also questioned the basis of the government's continued denial with some asserting that community transmission had already begun in March. The report published by *The Quint* had quoted Girdhar Gyani, the head of the NGO, Association of Healthcare Providers. Later the publication updated the article without any retractions to include information about Girdhar Gyani having been appointed as the convener of a COVID-19 hospital task force. As of 12 June, the Ministry of Health continued to deny any occurrence of community transfer in contradiction to opinions of independent medical experts.

### Awards

* *The Quint* won three gold and one bronze at WAN–IFRA South Asian Digital Media Awards 2016. The publication's website won gold and bronze in the categories of "Best Reader Engagement" and "Best News Mobile Service" respectively.
* *The Quint* won one gold, two silver and one bronze at WAN–IFRA South Asian Digital Media Awards 2018. It won silver in the category of "Best Branded Content Project" for its feature on Madhya Pradesh Tourism.
* Two of *The Quint*'s journalists won the Red Ink Awards in 2019.
* *The Quint* won one silver and two bronze at WAN–IFRA South Asian Digital Media Awards 2019. The publication's website won bronze in the "Best News Website or Mobile Service" for a second time.
* Four of *The Quint*'s journalists won the Ramnath Goenka Excellence in Journalism Awards in three categories for 2019.

## Readership

*The Quint* website received a monthly unique readership of approximately 16 million as of March 2019. According to Google Analytics, nearly 69% of the readership was estimated to be between the ages of 18 and 34. In addition, the website had a subscriber base of over 175,000 readers on WhatsApp. The combined monthly exposure of unique users through all internet assets of *The Quint* was estimated to be 100 million. Per February 2019 data of CrowdTangle, the publication was the largest digital only news publisher on Facebook.

Per ComScore data, the monthly unique readership of website was 24.8 million as of August 2019.

## InfoBox

*The Quint*
|  | |
| --- | --- |
| Type of site | News |
| Available in | English & Hindi |
| Owner | Quint Digital Limited (formerly known as Quint Digital Media Limited) |
| CEO | Ritu Kapur |
| Key people | Raghav Bahl; Ritu Kapur |
| Employees | 155 (as of March 2023) |
| URL | www.thequint.com www.quintdigitalmedia.com |
| Launched | 2015 |


title: The Sagebrush Troubadour

abstract: The Sagebrush Troubadour is a 1935 American Western film directed by Joseph Kane and starring Gene Autry, Barbara Pepper, and Smiley Burnette. Written by Oliver Drake and Joseph F. Poland, the film is about two Texas Rangers traveling undercover as western troubadours in search of the killer of an old, half-blind man.

text:
# The Sagebrush Troubadour

***The Sagebrush Troubadour*** is a 1935 American Western film directed by Joseph Kane and starring Gene Autry, Barbara Pepper, and Smiley Burnette. Written by Oliver Drake and Joseph F. Poland, the film is about two Texas Rangers traveling undercover as western troubadours in search of the killer of an old, half-blind man.

## Plot

Texas Rangers Gene Autry (Gene Autry) and Frog Millhouse (Smiley Burnette) are traveling undercover as western troubadours in search of the killer of old, half-blind Frank Martin. Their only clues are a guitar string (the murder weapon) and Martin's horse Swayback that hold the key to finding the dead man's lost goldmine.

Following Frank Martin's funeral, Martin's granddaughter, Joan (Barbara Pepper), meets her uncle, John Martin, and Lon Dillon, who flirts with her. Lawyer Henry Nolan reads Martin's will, revealing that the deceased left John $5,000 and the remainder of the estate to Joan. John tells Joan that he suspects Gene of her grandfather's murder and persuades her to hold a masquerade dance to lure Gene into town.

Meanwhile, Gene learns that Martin was nearly blind and relied on his horse Swayback to guide him. By following Swayback, whom Lon, John, and Henry have all tried to buy, Gene discovers that Martin had indeed located a gold mine. Gene and Frog escape a trap set for them at the dance and save Joan when she is nearly strangled by another guitar string. Then Gene discovers that John's guitar is missing a string.

John and Pablo, who have uncovered Swayback's hiding place, find the mine and are followed by Henry, Lon, and Hank Polk. As they argue among themselves, Gene surprises them and reveals that he is a Texas Ranger assigned to the Martin murder case. By claiming that Frog is a fingerprint expert, Gene tricks Henry into admitting his guilt. Henry is then arrested by the sheriff, who is waiting in the mine according to Gene's instructions. Finally, Joan learns that Gene has recorded the deed to the mine in her name.

## Cast

## Production

### Filming locations

### Soundtrack

* "Way Out West in Texas" (Gene Autry) by Gene Autry and Smiley Burnette
* "On the Prairie" (Smiley Burnette) by Gene Autry
* "End of the Trail" (Gene Autry) by Gene Autry and Smiley Burnette
* "Hurdy Gurdy Man" (Smiley Burnette) by Tommy Gene Fairey
* "My Prayer for Tonight" (Smiley Burnette) by the party guests
* "Lookin' for the Lost Chord" (Smiley Burnette) by Smiley Burnette
* "I'd Love a Home in the Mountains" (Gene Autry, Smiley Burnette) by Gene Autry and Smiley Burnette
* "When the Moon Shines (on the Mississippi Valley)" (Gene Autry, Smiley Burnette) (instrumental)
* "Someday in Wyoming" (instrumental)

Citations Bibliography

## InfoBox

| The Sagebrush Troubadour | |
| --- | --- |
| Lobby card | |
| Directed by | Joseph Kane |
| Screenplay by |  |
| Story by | Oliver Drake |
| Produced by | Nat Levine (uncredited) |
| Starring |  |
| Cinematography |  |
| Edited by | Lester Orlebeck |
| Production<br>company | Republic Pictures |
| Distributed by | Republic Pictures |
| Release date | * December 2, 1935 (1935-12-02) (U.S.) |
| Running time | 58 minutes |
| Country | United States |
| Language | English |


title: The Saginaw News

abstract: The Saginaw News is a newspaper publication based in Saginaw, Michigan, owned by MLive Media Group, originally known as Booth Newspapers, or Booth Michigan, a division of Advance Publications. Published on Thursdays, Fridays and Sundays, the paper has approximately 30,000 readers each day. It celebrated its 150th year in 2009. The Saginaw News is the sister publication of the neighboring Bay City Times and Flint Journal, all owned by Booth Newspapers. The paper was originally published seven days a week until June 1, 2009, when the News and its sister papers, The Bay City Times and The Flint Journal, reduced publishing to three times a week—Thursday, Friday and Sunday, while increasing their web presence. In addition, The Saginaw News began to be published at the Booth-owned Valley Publishing Co. printing plant in Monitor Township, near Bay City. On March 30, 2010, The Saginaw News and The Bay City Times launched a joint Tuesday print edition, Great Lakes Bay Edition, which is available at selected locations in Saginaw, Bay and Midland Counties.

text:
# The Saginaw News

***The Saginaw News*** is a newspaper publication based in Saginaw, Michigan, owned by **MLive Media Group**, originally known as **Booth Newspapers**, or **Booth Michigan**, a division of Advance Publications. Published on Thursdays, Fridays and Sundays (along with a joint Tuesday edition with *The Bay City Times*), the paper has approximately 30,000 readers each day. It celebrated its 150th year in 2009.

*The Saginaw News* is the sister publication of the neighboring *Bay City Times* and *Flint Journal*, all owned by Booth Newspapers.

The paper was originally published seven days a week until June 1, 2009, when the *News* and its sister papers, *The Bay City Times* and *The Flint Journal*, reduced publishing to three times a week—Thursday, Friday and Sunday, while increasing their web presence. In addition, *The Saginaw News* began to be published at the Booth-owned Valley Publishing Co. printing plant in Monitor Township, near Bay City.

On March 30, 2010, *The Saginaw News* and *The Bay City Times* launched a joint Tuesday print edition, ***Great Lakes Bay Edition***, which is available at selected locations in Saginaw, Bay and Midland Counties.

## Staff

*The Saginaw News* is headed up by President Dan Gaydou; its editorial staff is led by Executive Editor Paul Keep, who also is executive editor of MLive.com's sister newspapers across Michigan. Local coverage for The Saginaw News is directed by Editor Jodi McFarland; managing producer Eric English. Reporters and their coverage beats are Mark Tower, City Hall; Brad Devereaux, police; Bob Johnson; police and schools; Andy Hoag, courts; Heather Jordan, business; Jessica Shepherd, entertainment; Hugh Bernreuter and Cory Butzin, sports; Jeff Schrier, photographer.

## InfoBox

The Saginaw News
|  | |
| --- | --- |
| Type | Four times weekly (Tuesday, Thursday, Friday, Sunday) |
| Format | Broadsheet |
| Owner(s) | Advance Magazine Publishers, Inc. D.B.A. Booth Newspapers, Inc. |
| Publisher | Tim Gruber |
| Editor | Bob Johnson |
| Language | English |
| Headquarters | Saginaw, Michigan, United States |
| Circulation | 4,354 Daily
9,525 Sunday
(as of 2022) |
| Sister newspapers | *The Bay City Times*, *Flint Journal* |
| Website | mlive.com/saginaw |


title: The Saguache Crescent

abstract: The Saguache Crescent is a weekly newspaper published in Saguache, Colorado, notable for continuing to use a Linotype to produce each issue long after most newspapers have adopted electronic production methods.

text:
# The Saguache Crescent

***The Saguache Crescent*** (pronounced /səˈwɑː/ ) is a weekly newspaper published in Saguache, Colorado, notable for continuing to use a Linotype to produce each issue long after most newspapers have adopted electronic production methods.

## Founding

The initial newspaper was started by Otto Mears, who arrived in Saguache in 1867. The site had been long known to Native Americans and Spanish shepherds, but the discovery of gold and silver in the nearby mountains—the Sangre de Cristo Range to the east and the San Juan Mountains to the west—brought a flood of new settlers to the area. Mears recognized the need for a reliable source of food and other essentials, and he constructed a threshing machine and a grist mill for threshing and grinding wheat to make flour for Saguache and the surrounding mining camps. Soon Saguache became a booming supply town, and in 1874 Mears published its first newspaper, *The Saguache Chronicle*, to attract new pioneers to the area. Following several name changes, the paper took its present name, *The Saguache Crescent*.

## Present day

Publisher Dean Coombs is the paper's entire staff. *The Saguache Crescent* was purchased by the Coombs family in 1917, and it has been in the family for three generations. It still uses a 1921 linotype machine to set the print, and a 1921 printing press. It features a decorative masthead, no photos, sells for 35 cents a copy, and publishes "all the good news fit to print"; Coombs refuses to print bad news. He says that his mother set that policy and it is non-negotiable.

The only task that Coombs does not handle himself is that of reporter; Saguache residents bring the news to him: "If you bring it, and it's not just absolute insanity, and you want to sign your name to it, then I'll generally print it" he says. Coombs must function as repairman as well; as old machines come up for sale he buys them to keep on hand for spare parts.

Saguache is the Saguache County seat and the *Crescent* is the official newspaper of record for Saguache County. With only about 550 residents, the paper does not generate much income from commercial advertising; Coombs says that income from the county's paid legal notices is all that keeps the paper afloat.

In 2013, newspaper historian Michael S. Sweeney, a professor in the E. W. Scripps School of Journalism, said he knew of no other newspaper still using linotype. *CBS News Sunday Morning* visited the *Crescent* in 2014. Coombs said the *Crescent* was the only newspaper in the U.S., and perhaps even the world, still using Linotype. However, a weekly newspaper based in Vervins, France, Le Démocrate de l'Aisne, continues to use a Linotype as part of its production.

The most recent edition of *The Saguache Crescent* was printed in March 2023. Coombs says that he is not training anyone to take over the paper, so his retirement will be the end of an era.

1. True to Type: Running America's Last Linotype Newspaper on YouTube
2. "Saguache". Saguache County Tourism Council. Retrieved 1 March 2014.
3. Dalenberg, Alex (August 13, 2013). "Crusty Publisher Shuns Technology, Prints Newspaper Using 19th Century Linotype Machine". *Upstart Business Journal*. Archived from the original on August 17, 2013. Retrieved March 1, 2014.
4. Hendel, John (May 20, 2011). "Celebrating Linotype, 125 Years Since Its Debut". *The Atlantic*. Retrieved March 1, 2014.
5. Wolf, Jeffrey; Clark, Kyle (December 22, 2007). "The Newspaper That Time Forgot". 9News. Retrieved March 1, 2014.
6. Deam, Jenny (August 10, 2013). "Today's News in Centuries-old Style". *Los Angeles Times*. Archived from the original on August 12, 2013. Retrieved March 1, 2014.
7. "A Colorado Newspaper That's also a Time Machine". CBS News. February 23, 2014. Retrieved March 1, 2014.
8. "Le Démocrate de l'Aisne".
9. "The Saguache Crescent 2023 Archives". *Small Town Papers Archive*. Retrieved 2024-02-14.

## InfoBox

The Saguache Crescent
|  | |
| --- | --- |
| The paper's office on 4th Street in Saguache | |
| Type | Weekly newspaper |
| Format | Broadsheet |
| Publisher | Dean Coombs |
| Founded | 1881 (1881) |
| City | Saguache, Colorado |
| Country | United States |
| Circulation | 550 (as of January 6, 2016) |
| ISSN | 2834-2313 (print)<br>2834-2321 (web) |
|  | |


title: The Still Life (album)

abstract: The Still Life is the third album by Alessi's Ark. The album was produced by Andy LeMaster in his studio in Athens, Georgia over a three-week period and Nic Nell in his London studio. It features 12 songs written by Laurent-Marke, including re-recordings of two songs from the Rough Trade bonus CD that came with her debut album Notes from the Treehouse, and a cover of The National's Afraid of Everyone. It was released on 15 April 2013 in the UK and on 30 April 2013 in the US. Plug in Music praised the album, calling it "a rich 13-song collection, imbued with a reflective sparkle by young singer/songwriter Alessi Laurent-Marke".

text:
# The Still Life (album)

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 68/100 |
| Review scores | |
| Source | Rating |
| AllMusic |  |
| This Is Fake DIY | 7/10 |
| MusicOMH |  |
| Consequence of Sound |  |

***The Still Life*** is the third album by Alessi's Ark. The album was produced by Andy LeMaster in his studio in Athens, Georgia over a three-week period and Nic Nell in his London studio. It features 12 songs written by Laurent-Marke, including re-recordings of two songs (Money and Pinewoods) from the Rough Trade bonus CD that came with her debut album Notes from the Treehouse, and a cover of The National's Afraid of Everyone. It was released on 15 April 2013 in the UK and on 30 April 2013 in the US.

Plug in Music praised the album, calling it "a rich 13-song collection, imbued with a reflective sparkle by young singer/songwriter Alessi Laurent-Marke".

## Track listing

All tracks are written by Alessi Laurent-Marke, except Afraid of Everyone by Matt Berninger and Aaron Dessner

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Tin Smithing" | 1:45 |
| 2. | "Veins are Blue" | 2:21 |
| 3. | "The Rain" | 3:17 |
| 4. | "The Good Song" | 1:27 |
| 5. | "Big Dipper" | 3:12 |
| 6. | "Afraid of Everyone" | 3:20 |
| 7. | "Those Waves" | 3:01 |
| 8. | "Whatever Makes You Happy" | 2:09 |
| 9. | "Sans Balance" | 2:55 |
| 10. | "Mountain" | 1:17 |
| 11. | "Hands in the Sink" | 2:18 |
| 12. | "Money" | 1:37 |
| 13. | "Pinewoods" | 3:11 |

iTunes bonus track (US only)
| No. | Title | Length |
| --- | --- | --- |
| 14. | "Big Dipper (acoustic)" | 3:12 |

## InfoBox

| The Still Life | |
| --- | --- |
|  | |
| Studio album by Alessi's Ark | |
| Released | 15 April 2013 |
| Genre | Folk, pop |
| Length | 31:50 |
| Label | Bella Union |
| Producer | Alessi Laurent-Marke, Andy LeMaster, Nic Nell |
| Alessi's Ark chronology | |
| *Time Travel*
(2011) ***The Still Life***
(2013) *Love Is the Currency*
(2017) | |


title: The Remix (Lady Gaga album)

abstract: The Remix is a remix album by American singer Lady Gaga. Released in Japan on March 3, 2010, it contains remixes of the songs from her first studio album, The Fame (2008), and its reissue, The Fame Monster (2009). A revised version of the track list was prepared for release in additional markets, beginning with Mexico on May 4, 2010. Remixers on the album include Pet Shop Boys, Passion Pit and The Sound of Arrows. The album received mixed reviews from contemporary critics. It reached the top of charts in Greece and the Dance/Electronic Albums chart of Billboard magazine in the United States. The Remix charted within the top ten in Belgium, Canada, Ireland, Japan, Mexico, the United Kingdom and the Billboard 200 chart of United States. It was certified platinum in Japan and Brazil and received gold certifications in Belgium and Russia. Worldwide the album has sold over 500,000 copies and it is among the best-selling remix albums of all time.

text:
# The Remix (Lady Gaga album)

***The Remix*** is a remix album by American singer Lady Gaga. Released in Japan on March 3, 2010, it contains remixes of the songs from her first studio album, *The Fame* (2008), and its reissue, *The Fame Monster* (2009). A revised version of the track list was prepared for release in additional markets, beginning with Mexico on May 4, 2010. Remixers on the album include Pet Shop Boys, Passion Pit and The Sound of Arrows.

The album received mixed reviews from contemporary critics. It reached the top of charts in Greece and the Dance/Electronic Albums chart of *Billboard* magazine in the United States. *The Remix* charted within the top ten in Belgium (Flanders and Wallonia region), Canada, Ireland, Japan, Mexico, the United Kingdom and the *Billboard* 200 chart of United States. It was certified platinum in Japan and Brazil and received gold certifications in Belgium and Russia. Worldwide the album has sold over 500,000 copies and it is among the best-selling remix albums of all time.

## Background

On April 15, 2010, *The Guardian* reported that a number of artists, including Pet Shop Boys, Passion Pit and Marilyn Manson, would contribute to a remix album by Lady Gaga, titled *The Remix*. The remixes included in the package had been previously released alongside Gaga's single releases in the past years. The album was originally released in Japan on March 3, 2010, containing sixteen of the remixes. The revised version, consisting of seventeen remixes, was released on May 4, 2010, the first market being Mexico. Manson features on the Chew Fu remix of "LoveGame", while Passion Pit remixed "Telephone" and Pet Shop Boys remixed "Eh, Eh (Nothing Else I Can Say)". Other artists who remixed Gaga's songs included Alphabeat, Frankmusik, Stuart Price, Monarchy and Robots to Mars. The album was released in the United Kingdom on May 10, 2010 and featured a different artwork for that region. The US release of the album was announced by Interscope Records in July 2010 and it was released on August 3, 2010.

## Composition

Chuck Campbell from the *California Chronicle* felt that the main "trick" adopted by the producers behind *The Remix*, was to preserve the integrity of Gaga's nuances in her songs, at the same time bringing something new to her music. The second song in the track list, the "LLG vs GLG Radio Mix" of "Poker Face", features a computerized chanting of the "mum-mum-mum-mah" hook of the song. Stuart Price remixed "Paparazzi" into an electronic version, changing the original mid-tempo composition of the song. New vocals were added on top of the song, giving it a jungle-like vibe, according to Nicki Escuerdo from *Phoenix New Times*. She also felt that the remix of "LoveGame" featuring Manson, changed the original composition by "giving the originally innocent and fun song an almost demonic quality".

According to Campbell, The Monarchy Stylites remix of "Dance in the Dark" "pump\[ed\] extra oomph" into the song, with addition of drum beats. Richard Vission's remix of "Just Dance" introduced an elastic rhythm in the song, while Frankmusik changed the soft composition of "Eh, Eh (Nothing Else I Can Say)" to a more upbeat one, also manipulating Gaga's vocals in the process. Campbell also added that the Passion Pit remix of "Telephone" felt like a "theatrical set up for a song that feels like it's going somewhere, but never does"; the remix consists of synths, with a thumping beat accompanying the song. Sound of Arrows remixed "Alejandro", changing the dark nature of its music into a bright, summery jam while "Bad Romance" was remixed by Starsmith, making it a complete dance track.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 54/100 |
| Review scores | |
| Source | Rating |
| AllMusic |  |
| *Billboard* |  |
| Bloomberg Television |  |
| *Daily Express* |  |
| Digital Spy |  |
| *Entertainment Weekly* | (B–) |
| *PopMatters* |  |
| *Rolling Stone* |  |

Upon its release, the album was met with mixed reviews. At Metacritic it holds an aggregate score of 54 out of 100 points, indicating generally mixed or average reviews. Simon Cage from the *Daily Express* gave the album three out of five stars and felt that although she "has a winning way with ostentatious hats", Gaga's true talent lies in selling the same album over and over again. "It’s great but... enough already!" Music critic J. D. Considine, while reviewing the album for *The Globe and Mail*, complimented the piano and voice version of "Poker Face" adding that the latter was "the smartest track on her newest remix album". He felt that the song "brings out her inner Elton John. And yes, this move, too, is probably just another bit of calculated image management, but that doesn’t make it any less brilliant." Robert Copsey from Digital Spy noted that the release of *The Remix* was a more natural progression than music labels trying to "cash-in" by releasing something not associated with the artist. He complimented the remixers featured in the album, calling them "as vital to keeping the singer's music fresh as her Haus Of GaGa designers are to her image."

Stephen Thomas Erlewine from AllMusic gave the album three out of five stars, but felt that the track list could have been shortened. Erlewine complimented some of the remixes, including those by Pet Shop Boys and Space Cowboy, adding that *The Remix* "is not an essential addition to Gaga’s canon goes without saying... but there’s glitz and glamour to enjoy here." Mark Beech, reviewing the album for Bloomberg Television, noticed that the already familiar tracks from Gaga "are given a new sheen by the Pet Shop Boys and sometime Madonna producer Stuart Price." Nicki Escudero from *Phoenix New Times* gave a positive review saying that the songs featured in *The Remix* can be a great addition during workouts, as well as staple dance floor music. She listed the Chew Fu remix of "LoveGame" as a highlight from the album. Monica Herrera from *Billboard* complimented the album saying "Gaga has employed a collection of more-than-capable producers to make her dance-ready smashes from *The Fame* and *The Fame Monster* even more danceworthy." Giving it three out of five stars, Caryn Ganz from *Rolling Stone* noted an uneven sequencing among the tracks in *The Remix*. She felt that the Passion Pit remix of "Telephone" was the best remix on the album.

## Commercial performance

Following the album's release in Japan, it debuted at number nine on the *Oricon* Albums Chart. On the issue dated May 17, 2010, the album moved to a new peak of number seven and has since been certified platinum by the Recording Industry Association of Japan (RIAJ) for shipments of 250,000 copies. In Australia, *The Remix* entered the ARIA Albums Chart at its peak position of number 12 on May 16, 2010, remaining on the chart for a total of five weeks. In the United Kingdom, the album debuted at number three on the official UK Albums Chart dated May 22, 2010, and has sold 166,440 copies according to the Official Charts Company, being certified gold by the British Phonographic Industry (BPI). Across Europe, the album debuted at seven on the European Top 100 Albums chart of *Billboard*. *The Remix* also reached the top of the charts in Greece, while attaining top-ten positions in Belgium (Flanders and Wallonia), Czech Republic, Ireland, the Netherlands and New Zealand.

In the United States, *The Remix* charted at number six on the *Billboard* 200 dated August 21, 2010, with 39,000 copies sold. It became Gaga's third top ten album on the *Billboard* 200. The record also debuted at number one on *Billboard*'s Dance/Electronic Albums making this Gaga's third number one entry on the chart. The same week, her other releases, *The Fame* and *The Fame Monster* were at positions two and three, respectively. *Billboard* chart manager Keith Caulfield noted that Gaga became the first act to occupy the chart's top three positions, in its nine-year history. She additionally charted on the *Billboard* 200, with *The Fame* at number 12 and *The Fame Monster* at number 27, marking the first time an artist placed three concurrent titles in the top 30 since January 23, 1993, when Garth Brooks placed four sets in the top 30: *The Chase* at number two, *Beyond the Season* at number 23, *Ropin' the Wind* at number 26 and *No Fences* at number 29. According to Nielsen SoundScan, *The Remix* has sold 315,000 copies in US as of February 2018. In Canada, the album debuted at number five on the Canadian Albums Chart issue dated May 22, 2010, and remained on the chart for a total of ten weeks. *The Remix* has sold more than 500,000 copies worldwide, and it is among the best-selling remix albums of all time.

## Track listings

*The Remix* – Non-US and non-Japan track list
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Just Dance" (Richard Vission Remix) | 6:13 |
| 2. | "Poker Face" (LLG vs. GLG Radio Mix) | 4:03 |
| 3. | "LoveGame" (Chew Fu Ghettohouse Fix) (featuring Marilyn Manson) | 5:21 |
| 4. | "Eh, Eh (Nothing Else I Can Say)" (Frankmusik "Cut Snare Edit" Remix) | 3:49 |
| 5. | "Paparazzi" (Stuart Price Remix) | 3:21 |
| 6. | "Boys Boys Boys" (Manhattan Clique Remix) | 6:37 |
| 7. | "The Fame" (Glam as You Remix) | 3:57 |
| 8. | "Bad Romance" (Starsmith Remix) | 4:57 |
| 9. | "Telephone" (featuring Beyoncé) (Passion Pit Remix) | 5:14 |
| 10. | "Alejandro" (Sound of Arrows Remix) | 3:59 |
| 11. | "Dance in the Dark" (Monarchy 'Stylites' Remix) | 6:10 |
| 12. | "Just Dance" (Deewaan Remix) (featuring Ashking, Wedis, Lush and Young Thoro) | 4:16 |
| 13. | "LoveGame" (Robots to Mars Remix) | 3:12 |
| 14. | "Eh, Eh (Nothing Else I Can Say)" (Pet Shop Boys Remix) | 2:49 |
| 15. | "Poker Face" (Live from the Cherrytree House) | 3:39 |
| 16. | "Bad Romance" (Grum Remix) | 4:53 |
| 17. | "Telephone" (featuring Beyoncé) (Alphabeat Remix) | 4:48 |

*The Remix* – US track list
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Just Dance" (Richard Vission Remix) | 6:13 |
| 2. | "Poker Face" (LLG vs. GLG Radio Mix) | 4:03 |
| 3. | "LoveGame" (Chew Fu Ghettohouse Fix) (featuring Marilyn Manson) | 5:21 |
| 4. | "Eh, Eh (Nothing Else I Can Say)" (Frankmusik “Cut Snare Edit”Remix) | 3:49 |
| 5. | "Paparazzi" (Stuart Price Remix) | 3:21 |
| 6. | "The Fame" (Glam as You Remix) | 3:57 |
| 7. | "Bad Romance" (Starsmith Remix) | 4:57 |
| 8. | "Telephone" (featuring Beyoncé) (Passion Pit Remix) | 5:14 |
| 9. | "Alejandro" (Sound of Arrows Remix) | 3:59 |
| 10. | "Dance in the Dark" (Monarchy 'Stylites' Remix) | 6:10 |

*The Remix* – Japan track list
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Just Dance" (Space Cowboy Remix) | 5:02 |
| 2. | "Just Dance" (RedOne Remix) | 4:18 |
| 3. | "Poker Face" (Space Cowboy Remix) | 4:54 |
| 4. | "Poker Face" (LLG vs. GLG Radio Mix) | 4:03 |
| 5. | "Eh, Eh (Nothing Else I Can Say)" (Electric Piano and Human Beat Box Version – *The Cherrytree Sessions* Version) | 3:03 |
| 6. | "Eh, Eh (Nothing Else I Can Say)" (Pet Shop Boys Remix) | 2:49 |
| 7. | "LoveGame" (Space Cowboy Remix) | 3:21 |
| 8. | "LoveGame" (Chew Fu Ghettohouse Fix) (featuring Marilyn Manson) | 5:21 |
| 9. | "Paparazzi" (Yuksek Remix) | 4:54 |
| 10. | "Paparazzi" (Stuart Price Remix) | 3:21 |
| 11. | "Bad Romance" (Skrillex Remix) | 4:24 |
| 12. | "Bad Romance" (Starsmith Remix) | 4:57 |
| 13. | "Bad Romance" (Kaskade Remix) | 4:22 |
| 14. | "Telephone" (featuring Beyoncé) (Alphabeat Remix) | 4:48 |
| 15. | "Telephone" (featuring Beyoncé) (Passion Pit Remix) | 5:14 |
| 16. | "Telephone" (featuring Beyoncé) (Crookers Vocal Remix) | 4:51 |

## Personnel

Credits adapted from the liner notes of UK pressings of *The Remix*. Track numbers correspond to international (non-US and Japan) pressings.

* Max Abadian – photography
* Alphabeat – remix and additional production (track 17)
* Ashking – featured artist (track 12)
* Beyoncé – featured artist (tracks 9 and 17)
* Troy Carter – management
* Chew Fu – production, all instruments, and programming (track 3)
* Deewaan – additional production, recording, and programming (track 12)
* Rohan Dwyer – engineering (track 12)
* Frankmusik – remix and additional production (track 4)
* Grum – remix and additional production (track 16)
* Guéna LG – remix and additional production (tracks 2 and 7)
* Vincent Herbert – executive producer; artists and repertoire
* Martin Kierszenbaum – remix production (track 13); artists and repertoire
* Lady Gaga – primary artist
* Paul Lewis – engineering (track 12)
* Lush – featured artist (track 12)
* Manhattan Clique – remix and additional production (track 6)
* Marilyn Manson – featured artist, additional vocals (track 3)
* Monarchy – remix and additional production (track 11)
* Passion Pit – remix and additional production (track 9)
* Pet Shop Boys – remix and additional production (track 14)
* Stuart Price – remix and additional production (track 5)
* Sound of Arrows – remix and additional production (track 10)
* Starsmith – remix and additional production (track 8)
* Tony Ugval – engineering (tracks 13 and 15); mixing (track 15)
* Richard Vission – remix and additional production (track 1)
* Wedis – featured artist (track 12)
* Young Thoro – featured artist (track 12)

## Charts

## Certifications and sales

Certifications and sales for *The Remix*
| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Belgium (BEA) | Gold | 15,000* |
| Brazil (Pro-Música Brasil) | Platinum | 40,000* |
| Japan (RIAJ) | Platinum | 250,000^ |
| Russia (NFPF) | Gold | 5,000* |
| United Kingdom (BPI) | Gold | 166,440 |
| United States |  | 315,000 |
| * Sales figures based on certification alone.
^ Shipments figures based on certification alone.
 | | |

## Release history

Release dates and formats for *The Remix*
| Region | Date | Format | Label |
| --- | --- | --- | --- |
| Japan | March 3, 2010 | CD, digital download | Universal Music |
| | | | Philippines |
| Australia | | | April 30, 2010 |
| | | | Poland |
| Canada | | | May 4, 2010 |
| | Colombia | CD | Universal Music, Interscope |
| | Italy | CD, digital download | Universal Music |
| | | Mexico |
| | United Kingdom | Interscope |
| | Brazil | May 5, 2010 | Universal Music |
| | | Germany | May 7, 2010 |
| United States | August 3, 2010 | CD, vinyl, digital download | Streamline, KonLive, Cherrytree, Interscope |
|

## InfoBox

| The Remix | |
| --- | --- |
|  | |
| Remix album by Lady Gaga | |
| Released | March 3, 2010 (2010-03-03) |
| Recorded | 2007–09 |
| Genre |  |
| Length | 77:15 |
| Label |  |
| Producer | Various |
| Lady Gaga chronology | |
| *The Fame Monster*
(2009) ***The Remix***
(2010) *Born This Way*
(2011) | |
|  | |
| Alternative cover | |
|  | |
| United States, United Kingdom and Asia album cover. | |
|  | |
|  | |


title: The Remix: Hip Hop X Fashion

abstract: The Remix: Hip Hop X Fashion, is a 2019 American documentary film directed by Farah X and Lisa Cortés. The film premiered at the 2019 Tribeca Film Festival. It also screened at the University of Wisconsin–Milwaukee, New Orleans Film Festival and Woodstock Film Festival. It was released by Netflix on 22 July 2020.

text:
# The Remix: Hip Hop X Fashion

***The Remix: Hip Hop X Fashion***, is a 2019 American documentary film directed by Farah X and Lisa Cortés. The film premiered at the 2019 Tribeca Film Festival. It also screened at the University of Wisconsin–Milwaukee, New Orleans Film Festival and Woodstock Film Festival. It was released by Netflix on 22 July 2020.

## Premise

The film spotlights fashion architect, stylist and MCM Global Creative Partner, Misa Hylton, one of the first notable stylists to mix streetwear with fashion. The film showcases Hylton's most recognized fashion looks with her muses including Lil’ Kim, Mary J. Blige and Missy Elliott.

April Walker, iconic streetwear designer, entrepreneur and founder of the Brooklyn born label, Walker Wear, is also chronicled for her contributions in changing the game. Walker, the first woman to dominate urban menswear—secured early endorsements by Hip Hop's elite—Tupac, The Notorious B.I.G. and others.

The documentary showcases the global cultural impact of Hip Hop and its influences on shaping the fashion industry of today. It celebrates the female designers and stylists who were working behind the scenes—and how their iconic styles and trends changed fashion in music—forever.

## Accolades

| Year | Award | Category | Recipient | Result | Ref. |
| --- | --- | --- | --- | --- | --- |
| 2019 | Black Reel Awards | Outstanding Independent Documentary | Farah X
Lisa Cortés | Nominated |  |
| | Sidewalk Film Festival | Best Black Lens Film | | Won |  |
| | Milwaukee Film Festival | Best Documentary Feature | | Won |  |
| | Napa Valley Film Festival | Best Documentary Feature | | Won |  |
| | Urbanworld Film Festival | Best Documentary Feature | | Won |  |

## InfoBox

| The Remix: Hip Hop X Fashion | |
| --- | --- |
| Film poster | |
| Directed by |  |
| Written by | Lisa Cortés
Farah X
Emil Wilbekin
Andrew Mer |
| Produced by | Lisa Cortés
Hillary Cutter
Andrew Mer |
| Cinematography | Alice Brooks
nausheen dadabhoy
Jendra Jarnagin |
| Edited by | Farah X
Sarah Laties
R.A. Fedde |
| Music by | Wendell Hanes |
| Release date | * May 2, 2019 (2019-05-02) |
| Running time | 67 minutes |
| Country | United States |
| Language | English |


title: The Secret of Moonacre

abstract: The Secret of Moonacre is a 2008 fantasy film loosely based on the 1946 novel The Little White Horse by Elizabeth Goudge. The film was directed by Gábor Csupó and starred Dakota Blue Richards in the leading role and with Ioan Gruffudd, Tim Curry, Natascha McElhone and Juliet Stevenson in supporting roles. The film premiered at the 2008 Toronto International Film Festival and was released in the United Kingdom on 6 February 2009 by Warner Bros. Pictures.

text:
# The Secret of Moonacre

***The Secret of Moonacre*** is a 2008 fantasy film loosely based on the 1946 novel *The Little White Horse* by Elizabeth Goudge. The film was directed by Gábor Csupó and starred Dakota Blue Richards in the leading role and with Ioan Gruffudd, Tim Curry, Natascha McElhone and Juliet Stevenson in supporting roles. The film premiered at the 2008 Toronto International Film Festival and was released in the United Kingdom on 6 February 2009 by Warner Bros. Pictures.

## Plot

Maria Merryweather inherits a book after her father's death: *The Ancient Chronicles of Moonacre Valley*. She reads of the first Moon Princess receiving magical pearls from the moon. At her wedding with a Merryweather, her father, a de Noir, presented the couple with a black lion, while the groom gifted his bride a unicorn. When the princess revealed the pearls, the two families were possessed by greed.

Forced to leave her London home, Maria and her governess, Miss Heliotrope, go to stay at Moonacre Manor with her estranged uncle Sir Benjamin Merryweather. Sir Benjamin warns of bandits and instructs Maria to stay away from the forest and the de Noirs, the rival family. After riding with her uncle, Maria hears a distressed cry and sneaks into the forest, where she is surrounded by bandits, including a boy named Robin de Noir. Before they can kidnap her, Sir Benjamin's intimidating black dog, Wrolf, frightens them away.

When Maria finally continues reading the book, she discovers that the two families fought over the pearls and the Moon Princess cursed Moonacre Valley to be plunged into eternal darkness at the rising of the 5000th moon, unless a "pure heart" is heard. The Manor's chef Marmaduke tells Maria she is the new Moon Princess, as she can see the unicorn, and only such a one can undo the curse. Maria figures out that the very next full moon will be the 5000th. Frightened, she runs away and finds a cave inhabited by a woman named Loveday. Loveday reveals she herself was a Moon Princess, but failed to unite the families and break the curse. Maria realises that the de Noirs stole the casket containing the pearls and the Merryweathers took the key to it.

Finding the key in the book's bookmark, Maria sneaks into the fortress, but is spotted by Robin's father Coeur de Noir. She gives him the key but he reveals that the casket is empty, accusing the Merryweathers of stealing them. Maria escapes and is led home by Wrolf. At the manor, she meets Loveday, who gives her more information: Loveday and Sir Benjamin were once engaged until Loveday revealed she was a de Noir; Sir Benjamin, furious, broke off the engagement and Loveday ran away. Maria then notices a painting of the first Moon Princess, who shows her where she hid the pearls in the forest. Maria sends forged letters to Sir Benjamin and Loveday convincing them to meet, then persuades Robin to help her. Meanwhile, Loveday and Sir Benjamin meet and discover Maria's deception. Together with Miss Heliotrope, Marmaduke, and the "halfwit" servant Digweed, they set out to search for her.

Back in the forest Maria and Robin find the pearls in hollow tree and escape through a secret tunnel. Coeur's men pursue them and kill Wrolf in the process. Coeur reaches the cliff where the valley was cursed just before the moon is about to rise. Sir Benjamin then arrives with Digweed and Marmaduke, followed moments later by Maria and Robin. Loveday, revealed to be Coeur's daughter, also arrives. Maria pleads to her uncle and Coeur to put aside their pride and so break the curse, but fails. She then realizes she must do it herself, and jumps into the sea with the pearls. A huge wave surges towards the cliff and Maria appears on the back of the white unicorn. A revived Wrolf appears, having resumed his true form: the black lion. Sir Benjamin and Loveday reconcile, and Miss Heliotrope finally arrives. The Merryweathers and de Noirs are united, the curse is lifted, Moonacre Valley restored, and Maria and Robin are in love.

## Cast

In order of appearance:

## Production

Csesznek Castle – The "de Noir Fortress"Schossberger Castle – "Moonacre Manor"

### Pre-production

In pre-production it was decided the film needed a different title from the book. An internet poll was run, giving fans of the book a chance to vote for their preferred title: *The Moon Princess* or *The Secret of Moonacre*. *The Secret of Moonacre* won.

### Filming

Filming began in September 2007. While a few scenes were filmed in London, England, most of the film was shot in Hungary. Locations included Dobogókő, Alcsútdoboz, Csesznek, and Budapest. The Csesznek Castle was one of main outdoor locations, while the director Gábor Csupó chose Schossberger Castle to "embody" the Moonacre mansion.

### Music

The film's score was composed by Christian Henson and features the Sacconi Quartet. The soundtrack album was released digitally on 17 February and on CD on 17 March 2009. The soundtrack includes the song "Stars", co-written by Henson and Caroline Lost, and performed by singer Skye Edwards. Lost sang on her own version of the song, "Stars (Lullaby Version)", released as a single in February 2009.

## Release

*The Secret of Moonacre* premiered on 6 September 2008 at the 2008 Toronto International Film Festival, and featured at the New York International Children's Film Festival in February and March 2009. The film was released in cinemas in the United Kingdom on 6 February 2009.

### Box office

It recouped less than its budget of $27 million, grossing $1,437,637 in the United Kingdom and a worldwide total of $7,070,330.

### Critical response

*The Secret of Moonacre* has a 23% approval rating on Rotten Tomatoes, based on 22 reviews with an average rating of 4.13/10. The website's critical consensus reads, "Despite impressive production values, this is staid, plodding and unimpressive fantasy-fare, with poor performances struggling with an underdeveloped script."

*The Secret of Moonacre* was met with a mixed reception from critics. Some criticized the film's script and acting. Philip French of *The Observer* called it "A film about magic that remains obdurately unmagical." Rating the film one out of five stars, *The Independent'*s Anthony Quinn wrote that it had a "sluggish narrative" and accused it of "trying to hitch a lift on the Potter gravy train." Simon Reynolds of *Digital Spy* wrote that the film was "let down by a script with tin-eared dialogue" and "laboured direction", but found the cast's "hilarious acting misjudgements" enjoyable nonetheless. Kevin Maher of *The National* referred to the film as "bargain-basement fantasy", complaining that its plot was too predictable.

Other critics were more positive. Rating the film four out of five stars, Fleur Cogle of *The Timaru Herald* praised *The Secret of Moonacre* as a "fun family movie" with "fast-paced storytelling and beautiful effects" and noted that it "has a subtle message about nature and our relationship with the natural world". Helen O'Hara of *Empire* rated the film three stars out of five, and wrote that it gave the "somewhat sedate book"'s story "a dose of action and adventure, giving it appeal for the *Harry Potter* generation". Also giving the film three stars, Siân Scott of *The Telegraph* found that it had "plenty to charm". *Newshub'*s Kim Choe praised the film's "lush colours and elaborate costumes" and wrote that "the larger-than-life characters should be lovable and adventurous enough to keep a young audience entertained". Francesca Rudkin of *The New Zealand Herald* wrote that "The story may be set in Victorian England, but its interpretation of the period is wonderfully wacky, with the sets a mix of minimalistic, medieval and dream-like. The production design is both a blessing and a curse; it does add much-needed elements of magic and whimsy to the story, it's just that no one seems quite sure how to act within this strange environment."

Dakota Blue Richards' performance in the lead role was well received by critics.

## InfoBox

| The Secret of Moonacre | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Gábor Csupó |
| Screenplay by | Graham Alborough
Lucy Shuttleworth |
| Based on | *The Little White Horse*
by Elizabeth Goudge |
| Produced by | David Brown
Michael Cowan
Brian Donovan
Meredith Garlick
Monica Penders
Jason Piette |
| Starring | Ioan Gruffudd
Tim Curry
Natascha McElhone
Juliet Stevenson
Dakota Blue Richards |
| Cinematography | David Eggby |
| Edited by | Julian Rodd |
| Music by | Christian Henson |
| Production
companies | * Velvet Octopus * UK Film Council * Forgan-Smith Entertainment * Spice Factory * LWH Films * Eurofilm Stúdió * Davis Films * Grand Allure Entertainment * Aramid Entertainment |
| Distributed by |  |
| Release dates | * 6 September 2008 (2008-09-06) (TIFF) * 6 February 2009 (2009-02-06) (United Kingdom) * 13 May 2009 (2009-05-13) (France) * 19 November 2009 (2009-11-19) (Hungary) |
| Running time | 103 minutes |
| Countries |  |
| Language | English |
| Budget | $27 million |
| Box office | $7 million |


title: Weeting Heath

abstract: Weeting Heath is a 141.8-hectare (350-acre) biological Site of Special Scientific Interest west of Thetford in Norfolk, which is managed by the Norfolk Wildlife Trust. It is a Nature Conservation Review site, Grade I, and a National Nature Reserve. It is also part of the Breckland Special Area of Conservation and Special Protection Area. This grass and lichen heath is grazed by rabbits. It has a high density of breeding birds, including stone-curlews. One arable field is reserved for uncommon Breckland plants. The site is open at limited times.

text:
# Weeting Heath

**Weeting Heath** is a 141.8-hectare (350-acre) biological Site of Special Scientific Interest west of Thetford in Norfolk, which is managed by the Norfolk Wildlife Trust. It is a Nature Conservation Review site, Grade I, and a National Nature Reserve. It is also part of the Breckland Special Area of Conservation and Special Protection Area.

This grass and lichen heath is grazed by rabbits. It has a high density of breeding birds, including stone-curlews. One arable field is reserved for uncommon Breckland plants.

The site is open at limited times.

52°27′54″N 0°35′10″E / 52.465°N 0.586°E / 52.465; 0.586

## InfoBox

Weeting Heath
| Site of Special Scientific Interest | |
| --- | --- |
|  | |
| Location | Norfolk |
| Grid reference | TL 758 884 |
| Interest | Biological |
| Area | 141.8 hectares (350 acres) |
| Notification | 1987 |
| Location map | *Magic Map* |


title: Shuraba

abstract: "Shuraba", also known by its English title "The Rat's-Nest" is the third single by the Japanese rock band Tokyo Jihen, led by musician Ringo Sheena, released on November 2, 2005. It was the band's first release with their new members Ukigumo and Ichiyo Izawa, who replaced Mikio Hirama and Masayuki Hiizumi. The song was used as the theme song for the historical drama Ōoku: Hana no Ran.

text:
# Shuraba

"**Shuraba**" (修羅場, "Scene of Carnage"), also known by its English title "**The Rat's-Nest**" is the third single by the Japanese rock band Tokyo Jihen, led by musician Ringo Sheena, released on November 2, 2005. It was the band's first release with their new members Ukigumo and Ichiyo Izawa, who replaced Mikio Hirama and Masayuki Hiizumi. The song was used as the theme song for the historical drama *Ōoku: Hana no Ran*.

## Background and development

Tokyo Jihen was first formed in 2003, after Ringo Sheena decided on members for her backing band for her *Sugoroku Ecstasy* tour. The band was officially announced as Sheena's main musical unit on May 31, 2004, and first performed at a series of summer music festivals in July and September. The group released two singles in September and October 2004, "Gunjō Biyori" and "Sōnan", both of which were certified gold by the RIAJ. This was followed by their debut album *Kyōiku* in November 2004, and a Japan-wide tour entitled *Dynamite*, a 14 date tour stopping in Matsuyama, Ehime, Hiroshima, Kanazawa, Ishikawa, Kyoto, Sapporo, Sendai, Osaka, Fukuoka, Nagoya and Tokyo.

After the *Dynamite* tour, two of the original members of the band made decisions to leave. Hiizumi left to focus on his activities with jazz ensemble Pe'z, while Hirama left to focus on his activities as a solo musician. Sheena sought new members to replace Hiizumi and Hirama. She had known pianist Ichiyo Izawa since attending a solo concert of his in early 2004, though the pair had not talked together often since meeting. She wanted Izawa to join the band for both his piano and songwriting abilities. Sheena contacted Izawa on February 17, 2005, a day after the final date of the *Dynamite* tour, however Izawa finally agreed in late April. Sheena met Ukigumo through her brother Junpei Shiina, and the pair first collaborated in 2002 as a part of Yokoshima, a band formed to cover the Toto song "Georgy Porgy". Ukigumo collaborated with Sheena during the sessions for her album *Kalk Samen Kuri no Hana* (2003) and Tokyo Jihen's debut album *Kyōiku* (2004), in which he played the guitars for Sheena's original demos. Sheena liked Ukigumo's guitar playing so much that she left it in for the studio versions of "Meisai" and "Ishiki", and collaborated on the bonus track "Ichijiku no Hana", which was written by him. Ukigumo did not want to join the band at first, however the band found that Ukigumo was the best fitting of all the potential guitarists. He agreed two to three days before *Adult*'s recording sessions began in July 2005. Hiizumi and Hirama's leaving was officially announced on July 1, 2005. Two months later, the "Shuraba" single was announced, and on September 16, 2005, the two new band members, Ichiyo Izawa and Ukigumo were announced officially.

## Writing and production

The single is composed of two original songs written by Sheena, plus a cover of American singer Ned Doheny's song "Get It Up for Love" from his 1976 album *Hard Candy*. The single was mostly arranged by Izawa, created from scratch after listening to Sheena's demos of the songs. Working with Izawa and Ukigumo was the first time in Sheena's career where she clashed on opinions for what was best musically for the songs. Izawa felt that "Shuraba" needed a classical guitar, however Sheena did not want instruments with a lot of reverberation, preferred Ukigumo's original guitar accompaniment from the demo. They compromised by Sheena purchasing a classical guitar especially for the single, and asked Ukigumo to perform with it.

"Shuraba" was the last song recorded during the sessions for *Adult*. Sheena had wanted to use the single since creating the demo. She wrote the lyrics after watching previous seasons of *Ōoku*, and was inspired by its depiction of women. For the B-side "Koi wa Maboroshi (Get It Up for Love)", Sheena asked Ukigumo to perform the guitar in the style of Southern All Stars' 1983 song "Sonna Hiroshi ni Damasare". The remaining B-side, "Rakujtsu", dealt with more personal themes than "Shuraba". It was meant to be the final song on *Adult*, however Sheena felt that Izawa's composition "Tegami" suited it much better, after getting used to his style. The original demo was guitar-backed, however the band felt that Izawa's piano accompaniment suited the song better.

A different version of the song appears on the album, entitled "Shuraba (Adult Ver.)", featuring a different arrangement.

## Promotion and release

As the theme song of *Ōoku: Hana no Ran*, "Shuraba" was played during the drama's credits, as well as during promotional commercials for the drama. Tokyo Jihen performed the song at *Music Station* twice. First on November 4, 2005, and the second time on December 23, 2005 for their Christmas special broadcast. The band also performed the song on *Count Down TV* on November 12, and made extensive appearances on radio shows between October 26 and November 14.

The song was performed during the band's *Domestic! Virgin Line* (2006), *Domestic! Just Can't Help It.* (2006), *Spa & Treatment* (2007), *Ultra C* (2010) and *Bon Voyage* (2012) tours. It was also performed at the *Dai Ikkai Ringohan Taikai* events in December 2005, however not released on the DVD. The B-sides were both performed during the 2005 Ringo-han events, with "Rakujitsu" being the only Tokyo Jihen performance featured on the DVD. Both songs were performed during *Domestic! Virgin Line*, with "Rakujitsu" also performed at *Domestic! Just Can't Help It.*.

## Music video

A music video was first unveiled on October 12, 2005, and was directed by Shuichi Banba. The video features the band performing the song in an entirely white set, with all the band members wearing exclusively white clothing. During the video, red droplets begin to stain the white set. The final scene features a high-heeled shoe filling up with red. The video was nominated for the Best Group Video award at the 2006 MTV Video Music Awards Japan, however lost to reggae group Def Tech's "Konomama".

In March 2006, a video was released for the song's B-side "Koi wa Maboroshi (Get It Up for Love)", much like how videos were created for past singles' B-sides. This was an edited version of the song entitled "Koi wa Maboroshi for Musician".

## Critical reception

The *Listenmusic* reviewer Yoshiki Aoyuki called the song a masterpiece, praising the "varied rhythm changing into a fat hip-hop beat" caused by the mix of processed and live drums, Kameda's bass guitar work and the "stylish keyboards and classical guitar". He felt the new members acted like a "chemical reaction" on the band's music. CDJournal reviewers called it "a funky pop song that fully realises \[Sheena's\] unwavering nature as a melody maker". They felt the version that appeared on *Adult* was more refined than the "hard" rock flavour of the single version. They praised the "solid rhythm and eccentric guitar".

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Shuraba" | Ringo Sheena | 4:10 |
| 2. | "Koi wa Maboroshi (Get It Up for Love)" (恋は幻, "Love Is a Phantom") | Ned Doheny | 3:25 |
| 3. | "Rakujitsu" (落日, "Dusk") | R. Sheena | 4:46 |
| Total length: | | | 12:21 |

## Personnel

Personnel details were sourced from "Shuraba"'s liner notes booklet.

**Visuals and imagery**

**Tokyo Jihen**

**Technical, production and other performers**

## Chart rankings

| Charts (2005) | Peak
position |
| --- | --- |
| Japan *Oricon* weekly singles | 5 |
| Japan *Oricon* monthly singles | 5 |

### Sales and certifications

| Chart | Amount |
| --- | --- |
| *Oricon* physical sales | 110,000 |
| *RIAJ* physical shipping certification | Gold (100,000+) |
| *RIAJ* cellphone download certification | Gold (100,000+) |
| *RIAJ* PC download certification | Gold (100,000+) |

## Release history

| Region | Date | Format | Distributing Label | Catalogue codes |
| --- | --- | --- | --- | --- |
| Japan | October 12, 2005 | Ringtone | Toshiba EMI | TOCT-4936 |
| | November 2, 2005 | CD, digital download, rental CD | | |
| Taiwan | November 4, 2005 | CD | Gold Typhoon | 34811125 |
| South Korea | November 10, 2005 | CD, digital download | EMI | 2319236 |

## InfoBox

| "Shuraba" | |
| --- | --- |
|  | |
| Single by Tokyo Jihen | |
| from the album  *Adult* | |
| B-side | * "Koi wa Maboroshi (Get It Up for Love)" * "Rakujitsu" |
| Released | November 2, 2005 (2005-11-02) |
| Recorded | 2005 |
| Genre | Alternative rock, pop-rock |
| Length | 4:10 |
| Label | Toshiba EMI |
| Songwriter(s) | Ringo Sheena |
| Tokyo Jihen singles chronology | |
| "Sōnan"
(2004) "**Shuraba**"
(2005) "OSCA"
(2007) | |


title: Tom Putt

abstract: 'Tom Putt' is a traditional variety of dual purpose apple, often used as a cider apple, originating in Devon. It was also known as Ploughman, Coalbrook, Marrowbone, Thomas Jeffreys and by many other local names.

text:
# Tom Putt

'**Tom Putt'** is a traditional variety of dual purpose apple, often used as a cider apple, originating in Devon. It was also known as Ploughman, Coalbrook, Marrowbone, Thomas Jeffreys and by many other local names.

## Origin

The apple is associated with Combe House in Gittisham. According to correspondence sent to *Devon and Cornwall Notes and Queries*, the apple Tom Putt was supposed to have been named for an 18th-century landowner, Thomas Putt of Combe, who died in 1787 and was nicknamed "Black Tom". Putt, a barrister, is reputed to have perfected the variety and is also said to have won prizes for his fruit trees at agricultural fairs in Honiton. However older growers in Somerset, according to Harold Taylor in *The Apples of England*, told a story that the Putt commemorated by the apple was a rector, Rev. Thomas Putt of Trent, a nephew of Thomas Putt of Combe. It is possible that "Black Tom" Putt first developed the variety and subsequently gave a tree to his nephew.

## Characteristics

Tom Putt was grown widely across Devon and Somerset for many years, in gardens as well as orchards, leading to it being nicknamed the "Cottage Apple". Although due to this wide propagation it is now somewhat variable in form it is usually a red-streaked apple of medium size. It is an early-bearing triploid variety, classed as a "sharp" type under the usual classification of cider apples.

Although primarily a cider apple, Tom Putt can also be used as a cooking or eating apple. Taylor, who stated that it "looks attractive on the table as dessert, and has a characteristic sharp flavour of its own" noted that it was used for all three purposes in Somerset.

## InfoBox

| 'Tom Putt' | |
| --- | --- |
|  | |
| Species | *Malus domestica* |
| Origin | England, late 1700s. |


title: Ornithotarsus

abstract: Ornithotarsus is a genus of hadrosaurid ornithopod dinosaurs that lived in North America during the Late Cretaceous Period in what is now the Merchantville Formation about 84 million to 78 million years ago.

text:
# Ornithotarsus

***Ornithotarsus*** (lit.'bird ankle') is a genus of hadrosaurid ornithopod dinosaurs that lived in North America during the Late Cretaceous Period in what is now the Merchantville Formation about 84 million to 78 million years ago.

## Taxonomy

*Ornithotarsus immanis* was described in 1869 on the basis of YPM 3221, a fragmentary hindlimb comprising a distal tibia and fibula as well as ankle bones unearthed from the Merchantville Formation of Raritan Bay of New Jersey. Although subsequently treated as a synonym of *Hadrosaurus*, Prieto-Marquez et al. (2006) found *Ornithotarsus* to share no diagnostic traits with the *H. foulkii* holotype and declared it a *nomen dubium* undetermined beyond Hadrosauridae, and Brownstein (2021) agreed with this assessment.

## InfoBox

| *Ornithotarsus*
Temporal range: Late Cretaceous,
~ | |
| --- | --- |
|  | |
| Holotype of *Ornithotarsus immanis* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| *Clade*: | Dinosauria |
| *Clade*: | Ornithischia |
| *Clade*: | Neornithischia |
| *Clade*: | Ornithopoda |
| Family: | Hadrosauridae |
| Genus: | *Ornithotarsus*
Cope, 1869 |
| Species: | ***O. immanis*** |
| Binomial name | |
| ***Ornithotarsus immanis***
Cope, 1869 | |
|


title: Ulmus pumila 'Aurescens'

abstract: The Ulmus pumila cultivar 'Aurescens' was introduced by Georg Dieck at the National Arboretum, Zöschen, Germany, circa 1885. Dieck grew the tree from seed collected in the Ili valley, Turkestan by the lawyer and amateur naturalist Vladislav E. Niedzwiecki while in exile there. Dieck originally named the tree U. pinnato-ramosa f. aurescens.

text:
# Ulmus pumila 'Aurescens'

The ***Ulmus pumila*** cultivar '**Aurescens'** was introduced by Georg Dieck at the National Arboretum, Zöschen, Germany, circa 1885. Dieck grew the tree from seed collected in the Ili valley, Turkestan (then a region of Russia, now part of Kazakhstan) by the lawyer and amateur naturalist Vladislav E. Niedzwiecki while in exile there. Dieck originally named the tree ***U. pinnato-ramosa*** **f.** ***aurescens***.

## Description

'Aurescens' is distinguished by its golden leaves on emergent shoots in spring; the foliage reverts to dark green by summer.

## Pests and diseases

This cultivar has not been scientifically tested for Dutch elm disease resistance, however several old specimens have survived unscathed by the disease in the UK. (see **Notable trees**).

## Cultivation

The tree is rare in Europe and unknown in North America and Australasia. In trials in England, it quickly perished where grown on winter-waterlogged ground.

## Notable trees

Two mature specimens are known in the UK: one at Bute Park Arboretum, Cardiff, planted c. 1980, height 15 m × 65 cm d.b.h. in 2004; another grows in a private garden at Seaford, East Sussex (see Accessions).

## Accessions

Europe

## Nurseries

### Europe

## InfoBox

| *Ulmus pumila* 'Aurescens' | |
| --- | --- |
| 'Aurescens' spring foliage | |
| Species | *Ulmus pumila* |
| Cultivar | 'Aurescens' |
| Origin | Germany |


title: Vilde Bjerke

abstract: Vilde Bjerke is a Norwegian actress and writer.

text:
# Vilde Bjerke

**Vilde Bjerke** (born 1960) is a Norwegian actress and writer.

## Background

Bjerke is the daughter of actress Henny Moan and poet André Bjerke, the stepdaughter of Ole Paus \- who started living with Moan in 1973 - and the sister of their child Sole Moan Paus. She is the former paternal sister-in-law of Olav Bjørshol, the father of Ari Behn.

## Career

Bjerke made her debut as a lyricist at the age of 13 in 1973 with the song "Blomsten" on Ole Paus' album *Blues for Pyttsan Jespersen's relatives*. Paus also wrote the song "Og en for Vilde" for her, released on the disc *Ole Bull Show* (also from 1973).

Bjerke attended Toneheim Folk High School and the Eastern Norway Conservatory of Music, where she trained as a viola player. In addition, she has taken intermediate courses in French, theatre studies and literature at the University of Oslo.

Bjerke has had several minor acting roles, including in Bentein Baardson's production of *Peer Gynt* on NRK, as well as in Magnus Nilsson's *Solmomentet* on Swedish SVT in 1989.

As an artist, Bjerke is best known for her album *Alene* (2004). Since 1978, she has worked actively to promote her father's writing.

Bjerke organises performances, has released CDs with verses from André Bjerke's children, and wrote the book *Du visste om et land - Om min far André Bjerke* in 2002. She currently resides in Lillehammer.