title: Jay and Silent Bob Reboot

text: Following "Clerks II," news has appeared often of other titles to be released in the View Askewniverse; these would include "Clerks III" and "Mallrats 2." In 2017, Kevin Smith had confirmed that those projects were cancelled for several reasons, but revealed he had written a new film starring Jay and Silent Bob titled "Jay and Silent Bob Reboot". The script was already finished when it was announced and it was said that Miramax would produce it. It was announced on January 25, 2019, that Saban Films had acquired U.S. and Canadian distribution rights to the film, with Universal Pictures Home Entertainment acquiring all international distribution rights. It is the first film in the View Askewniverse not to be produced by Scott Mosier, and the first film in the View Askewniverse since "Mallrats" not to be produced by Harvey and Bob Weinstein.


title: Jay and Silent Bob Reboot

text: Filming was initially set to begin mid-2017, then moved to August 2018, then to November of that same year. After the various delays, filming finally began on February 25, 2019, in New Orleans exactly one year after Smith suffered a massive and near-fatal heart attack.


title: Jay and Silent Bob Reboot

text: During the filming of the movie, Smith released a weekly documentary called "Road to Reboot", showing what is being filmed that week. Production wrapped on March 27, 2019, after 21 days of shooting, which was the same number of days it took Smith to film his first movie, "Clerks", 26 years earlier.


title: Jay and Silent Bob Reboot

text: Comic book writer Stan Lee was initially cast as himself in the film in July 2017, but due to his death on November 12, 2018, was instead given a tribute within the film at Brodie Bruce's comics shop while additionally appearing in the mid-credits through archival footage. The film was also dedicated to his memory. The film's original third act was to revolve around Lee, with an extended performance from him as a main character; however, given principal photography on the film did not commence until three months after Lee's death, the entire third act of the script was rewritten and was based on an unused draft from "Mallrats 2".


title: Jay and Silent Bob Reboot

text: Ben Affleck was initially not involved in the film. When Affleck was asked in an interview if he got the call for "Reboot", he said that "Your guess is as good as mine." After hearing about that interview, Smith reached out to Affleck and wrote in a scene for Affleck's character Holden McNeil from his 1997 film "Chasing Amy".


title: Jay and Silent Bob Reboot

text: The film was released on October 15, 2019, as part of two night Fathom Events showings. The first showing on October 15 gave away a limited edition poster of the film, and the second on October 17 was a double feature with "Jay and Silent Bob Strike Back."


title: Jay and Silent Bob Reboot

text: Following the Fathom showings, Smith embarked on a North American roadshow tour with a presentation of the film, followed by a Q&A session. The roadshow began on October 19 in Asbury Park, New Jersey and continued until February 26, 2020, in New Orleans, Louisiana. The tour expanded internationally near the beginning of 2020.


title: Jay and Silent Bob Reboot

text: The film became available on Blu-ray, DVD, and streaming on January 21, 2020. The United States home media releases were distributed by Lionsgate Home Entertainment.


title: Jay and Silent Bob Reboot

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 64% based on reviews, with an average of 6.30/10. The website's critical consensus reads: "Fan-focused to a fault, "Jay & Silent Bob Reboot" tries to mock the same audience nostalgia it's mining -- and pulls it off often enough to satisfy the faithful." On Metacritic, the film has a weighted average score of 46 out of 100, based on 7 critics, indicating "mixed or average reviews".


title: Jay and Silent Bob Reboot

text: JoBlo.com's Paul Shirey gave the film an 8/10 and stated, "As comedy is so exceptionally subjective and this film so clearly tied to a somewhat niche appeal, I can only grade it as a fully biased fan of Smith, even if some of his flicks never worked for me, while others touched my cinematic nerve. As a fully Kevin Smith/Jay and Silent Bob comedy with a hefty amount of laughs and heart, this View Askew flick rates among his better works and cemented my resolve to happily revisit these wacky Jersey boys in another decade or so with pleasure."


title: Jay and Silent Bob Reboot

text: Writing for "The A.V. Club", Ignatiy Vishnevetsky called this installment "crude and lazy", giving it a D+ for crass humor and summing up the plot as "a succession of crudely drawn-out puns, painfully winking self-references, and underwhelming, listlessly directed cameos".


title: Sign of the cross

text: Making the sign of the cross (), or blessing oneself or crossing oneself, is a ritual blessing made by members of some branches of Christianity. This blessing is made by the tracing of an upright cross or + across the body with the right hand, often accompanied by spoken or mental recitation of the Trinitarian formula: "In the name of the Father, and of the Son, and of the Holy Spirit. Amen."


title: Sign of the cross

text: The use of the sign of the cross traces back to early Christianity, with the second century "Apostolic Tradition" directing that it be used during the minor exorcism of baptism, during ablutions before praying at fixed prayer times, and in times of temptation.


title: Sign of the cross

text: The movement is the tracing of the shape of a cross in the air or on one's own body, echoing the traditional shape of the cross of the Christian crucifixion narrative. Where this is done with fingers joined, there are two principal forms: one—three fingers, right to left—is exclusively used by the Eastern Orthodox Church, Church of the East and the Eastern Catholic Churches in the Byzantine, Assyrian and Chaldean traditions; the other—left to right to middle, other than three fingers—sometimes used in the Latin Church of the Catholic Church, Lutheranism, Anglicanism and in Oriental Orthodoxy. The sign of the cross is used in some denominations of Methodism and within some branches of Presbyterianism such as the Church of Scotland and in the PCUSA and some other Reformed Churches. The ritual is rare within other branches of Protestantism.


title: Sign of the cross

text: Many individuals use the expression "cross my heart and hope to die" as an oath, making the sign of the cross, in order to show "truthfulness and sincerity", sworn before God, in both personal and legal situations.


title: Sign of the cross

text: The sign of the cross was originally made in some parts of the Christian world with the right-hand thumb across the forehead only. In other parts of the early Christian world it was done with the whole hand or with two fingers. Around the year 200 in Carthage (modern Tunisia, Africa), Tertullian wrote: "We Christians wear out our foreheads with the sign of the cross." Vestiges of this early variant of the practice remain: in the Roman Rite of the Mass in the Catholic Church, the celebrant makes this gesture on the Gospel book, on his lips, and on his heart at the proclamation of the Gospel; on Ash Wednesday a cross is traced in ashes on the forehead; chrism is applied, among places on the body, on the forehead for the Holy Mystery of Chrismation in the Eastern Orthodox Church.


title: Sign of the cross

text: Historically, Western Catholics (the Latin Church) have made the motion from left to right, while Eastern Catholics have made the motion from right to left. The Eastern Orthodox custom is also to make the motion from right to left.


title: Sign of the cross

text: In the Eastern Orthodox and Byzantine Catholic churches, the tips of the first three fingers (the thumb, index, and middle ones) are brought together, and the last two (the "ring" and little fingers) are pressed against the palm. The first three fingers express one's faith in the Trinity, while the remaining two fingers represent the two natures of Jesus, divine and human.


title: Sign of the cross

text: The sign of the cross is made by touching the hand sequentially to the forehead, lower chest or stomach, and both shoulders, accompanied by the Trinitarian formula: at the forehead "In the name of the Father" (or "In nomine Patris" in Latin); at the stomach or heart "and of the Son" ("et Filii"); across the shoulders "and of the Holy Spirit/Ghost" ("et Spiritus Sancti"); and finally: "Amen".


title: Sign of the cross

text: There are several interpretations, according to Church Fathers: the forehead symbolizes Heaven; the solar plexus (or top of stomach), the earth; the shoulders, the place and sign of power. It also recalls both the Trinity and the Incarnation. Pope Innocent III (1198–1216) explained: "The sign of the cross is made with three fingers, because the signing is done together with the invocation of the Trinity. ... This is how it is done: from above to below, and from the right to the left, because Christ descended from the heavens to the earth..."


title: Sign of the cross

text: There are some variations: for example a person may first place the right hand in holy water. After moving the hand from one shoulder to the other, it may be returned to the top of the stomach. It may also be accompanied by the recitation of a prayer (e.g., the Jesus Prayer, or simply "Lord have mercy"). In some Catholic regions, like Spain, Italy and Latin America, it is customary to form a cross with the index finger and thumb and then to kiss one's thumb at the conclusion of the gesture,


title: Sign of the cross

text: Many have been crucified throughout the world, but by none of these are the devils scared; but when they see even the Sign of the Cross of Christ, who was crucified for us, they shudder. For those men died for their own sins, but Christ for the sins of others; for He did no sin, neither was guile found in His mouth. It is not Peter who says this, for then we might suspect that he was partial to his Teacher; but it is Esaias who says it, who was not indeed present with Him in the flesh, but in the Spirit foresaw His coming in the flesh.


title: Sign of the cross

text: For others only hear, but we both see and handle. Let none be weary; take your armour against the adversaries in the cause of the Cross itself; set up the faith of the Cross as a trophy against the gainsayers. For when you are going to dispute with unbelievers concerning the Cross of Christ, first make with your hand the sign of Christ's Cross, and the gainsayer will be silenced. Be not ashamed to confess the Cross; for Angels glory in it, saying, We know whom you seek, Jesus the Crucified. Matthew 28:5 Might you not say, O Angel, I know whom you seek, my Master? But, I, he says with boldness, I know the Crucified. For the Cross is a Crown, not a dishonour.


title: Sign of the cross

text: Let us not then be ashamed to confess the Crucified. Be the Cross our seal made with boldness by our fingers on our brow, and on everything; over the bread we eat, and the cups we drink; in our comings in, and goings out; before our sleep, when we lie down and when we rise up; when we are in the way, and when we are still. Great is that preservative; it is without price, for the sake of the poor; without toil, for the sick; since also its grace is from God. It is the Sign of the faithful, and the dread of devils: for He triumphed over them in it, having made a show of them openly Colossians 2:15; for when they see the Cross they are reminded of the Crucified; they are afraid of Him, who bruised the heads of the dragon. Despise not the Seal, because of the freeness of the gift; out for this the rather honour your Benefactor.


title: Sign of the cross

text: Moreover we worship even the image of the precious and life-giving Cross, although made of another tree, not honouring the tree (God forbid) but the image as a symbol of Christ. For He said to His disciples, admonishing them, Then shall appear the sign of the Son of Man in Heaven Matthew 24:30, meaning the Cross. And so also the angel of the resurrection said to the woman, You seek Jesus of Nazareth which was crucified. Mark 16:6 And the Apostle said, We preach Christ crucified. 1 Corinthians 1:23 For there are many Christs and many Jesuses, but one crucified. He does not say speared but crucified. It behooves us, then, to worship the sign of Christ. For wherever the sign may be, there also will He be. But it does not behoove us to worship the material of which the image of the Cross is composed, even though it be gold or precious stones, after it is destroyed, if that should happen. Everything, therefore, that is dedicated to God we worship, conferring the adoration on Him.


title: Sign of the cross

text: Herbert Thurston indicates that at one time both Eastern and Western Christians moved the hand from the right shoulder to the left. German theologian Valentin Thalhofer thought writings quoted in support of this point, such as that of Innocent III, refer to the small cross made upon the forehead or external objects, in which the hand moves naturally from right to left, and not the big cross made from shoulder to shoulder. Andreas Andreopoulos, author of "The Sign of the Cross", gives a more detailed description of the development and the symbolism of the placement of the fingers and the direction of the movement.


title: Sign of the cross

text: Within the Roman Catholic church, the sign of the cross is a sacramental, which the Church defines as "sacred signs which bear a resemblance to the sacraments"; that "signify effects, particularly of a spiritual nature, which are obtained through the intercession of the Church"; and that "always include a prayer, often accompanied by a specific sign, such as the laying on of hands, the sign of the cross, or the sprinkling of holy water (which recalls Baptism)." Section 1670 of the Catechism of the Catholic Church (CCC) states, "Sacramentals do not confer the grace of the Holy Spirit in the way that the sacraments do, but by the Church's prayer, they prepare us to receive grace and dispose us to cooperate with it. For well-disposed members of the faithful, the liturgy of the sacraments and sacramentals sanctifies almost every event of their lives with the divine grace which flows from the Paschal mystery of the Passion, Death, and Resurrection of Christ." Section 1671 of the CCC states: "Among sacramentals blessings (of persons, meals, objects, and places) come first. Every blessing praises God and prays for his gifts. In Christ, Christians are blessed by God the Father 'with every spiritual blessing.' This is why the Church imparts blessings by invoking the name of Jesus, usually while making the holy sign of the cross of Christ." Section 2157 of the CCC states: "The Christian begins his day, his prayers, and his activities with the Sign of the Cross: 'in the name of the Father and of the Son and of the Holy Spirit. Amen.' The baptized person dedicates the day to the glory of God and calls on the Savior's grace which lets him act in the Spirit as a child of the Father. The sign of the cross strengthens us in temptations and difficulties."


title: Sign of the cross

text: The Catholic Church's Ordinary Form of the Roman Rite, the priest and the faithful make the Sign of the Cross at the conclusion of the Entrance Chant and the priest or deacon "makes the Sign of the Cross on the book and on his forehead, lips, and breast" when announcing the Gospel text (to which the people acclaim: "Glory to you, O Lord").


title: Sign of the cross

text: The sign of the cross is expected at two points of the Mass: the laity sign themselves during the introductory greeting of the service and at the final blessing; optionally, other times during the Mass when the laity often cross themselves are during a blessing with holy water, when concluding the penitential rite, in imitation of the priest before the Gospel reading (small signs on forehead, lips, and heart), and perhaps at other times out of private devotion.


title: Sign of the cross

text: In the Eastern Orthodox churches, use of the sign of the cross in worship is far more frequent than in the Western churches. While there are points in liturgy at which almost all worshipers cross themselves, Orthodox faithful have significant freedom to make the sign at other times as well, and many make the sign frequently throughout Divine Liturgy or other church services. During the epiclesis (invocation of Holy Spirit as part of the consecration of the Eucharist), the priest makes the sign of the cross over the bread. The early theologian Basil of Caesarea noted the use of the sign of the cross in the rite marking the admission of catechumens.


title: Sign of the cross

text: In the Tsardom of Russia, until the reforms of Patriarch Nikon in the 17th century, it was customary to make the sign of the cross with two fingers. The enforcement of the three-finger sign (as opposed to the two-finger sign of the "Old Rite"), as well as other Nikonite reforms (which alternated certain previous Russian practices to conform with Greek customs), were among the reasons for the schism with the Old Believers whose congregations continue to use the two-finger sign of the cross (other points of dispute included iconography and iconoclasm, as well as changes in liturgical practices). The Old Believers considered the two-fingered symbol to symbolize the dual nature of Christ as divine and human (the other three fingers in the palm representing the Trinity).


title: Sign of the cross

text: Among Lutherans the practice was widely retained. For example, Luther's Small Catechism states that it is expected before the morning and evening prayers. Lutheranism never abandoned the practice of making the sign of the cross in principle and it was commonly retained in worship at least until the early 19th century. During the 19th and early 20th centuries it was largely in disuse until the liturgical renewal movement of the 1950s and 1960s. One exception is "The Lutheran Hymnal" (1941) of the Lutheran Church–Missouri Synod (LCMS), which states that "The sign of the cross may be made at the Trinitarian Invocation and at the words of the Nicene Creed 'and the life of the world to come. Since then, the sign of the cross has become fairly commonplace among Lutherans at worship. The sign of the cross is now customary in the Divine Service. Rubrics in contemporary Lutheran worship manuals, including "Evangelical Lutheran Worship" of the Evangelical Lutheran Church in America and "Lutheran Service Book" used by LCMS and Lutheran Church–Canada, provide for making the sign of the cross at certain points in the liturgy.


title: Sign of the cross

text: The sign of the cross can be found in the Methodist liturgy of the United Methodist Church. John Wesley, the principal leader of the early Methodists, in a 1784 revision of "The Book of Common Prayer" for Methodist use called "The Sunday Service of the Methodists in North America", instructed the presiding minister to make the sign of the cross on the forehead of children just after they have been baptized. (This book was later adopted by Methodists in the United States for their liturgy.) Wesley did not include the sign of the cross in other rites.


title: Sign of the cross

text: By the early 20th century, the use of the sign of the cross had been dropped from American Methodist worship. However, its uses was subsequently restored, and the current United Methodist Church allows the pastor to "trace on the forehead of each newly baptized person the sign of the cross." This usage during baptism is reflected in the current (1992) "Book of Worship of the United Methodist Church", and is widely practiced (sometimes with oil). Making of the sign is also common among United Methodists on Ash Wednesday, when it is applied by the elder to the foreheads of the laity as a mark of penitence. In some United Methodist congregations, the worship leader makes the sign of the cross toward congregants (for example, when blessing the congregation at the end of the sermon or service), and individual congregants make the sign on themselves when receiving Holy Communion. The sign is also sometimes made by pastors, with oil, upon the foreheads of those seeking healing. In addition to its use in baptism, some Methodist clergy make the sign at the Communion table and during the Confession of Sin and Pardon at the invocation of Jesus' name.


title: Sign of the cross

text: Whether or not a Methodist uses the sign for private prayer is a personal choice, although the church encourages it as a devotional practice, stating: "Many United Methodists have found this restoration powerful and meaningful. The ancient and enduring power of the sign of the cross is available for us to use as United Methodists more abundantly now than ever in our history. And more and more United Methodists are expanding its use beyond those suggested in our official ritual."


title: Sign of the cross

text: In some Reformed churches, such as the Presbyterian Church (USA), the sign of the cross is used on the foreheads during baptism and the Reaffirmation of the Baptismal Covenant.


title: Sign of the cross

text: The English Reformation reduced the use of the sign of the cross compared to its use in Catholic rites. The 1549 "Book of Common Prayer" reduced the use of the sign of the cross by clergy during liturgy to five occasions, although with an added note ("As touching, kneeling, crossing, holding up of hands, and other gestures; they may be used or left as every man's devotion serveth, without blame") gave more leeway to the faithful to make the sign. The 1552 "Book of Common Prayer" (revived in 1559) reduced the five set uses to a single usage, during baptism. The form of the sign was touching the head, chest, then both shoulders.


title: Sign of the cross

text: The use of the mandatory sign of the cross during baptism was one of several points of contention between the established Church of England and Puritans, whom objected to this sole mandatory sign of the cross, and its connections to the church's Catholic past. Nonconformists refused to use the sign. In addition to its Catholic associations, the sign of the cross was significant in English folk traditions, with the sign believed to have a protective function against evil. Puritans viewed the sign of the cross as superstitious and idolatrous. Use of the sign of the cross during baptism was defended by King James I at the Hampton Court Conference and by the 1604 Code of Canons, and its continued use was one of many factors in the departure of Puritans from the Church of England.


title: Sign of the cross

text: The 1789 Prayer Book of the Protestant Episcopal Church in the United States of America made the sign of the cross during baptism optional, apparently in concession to varying views within the church on the sign's use. The 1892 revision of the Prayer Book, however, made the sign mandatory. The Anglo-Catholic movement saw a resurgence in the use of the sign of the cross within Anglicanism, including by laity and in church architecture and decoration; historically, "high church" Anglicans were more apt to make the sign of the cross than "low church" Anglicans. Objections to the use of the sign of the church within Anglicanism were largely dropped in the 20th century. In some Anglican traditions, the sign of the cross is made by priests when consecrating the bread and wine of the Eucharist and when giving the priestly blessing at the end of a church service, and is made by congregants when receiving Communion. More recently, some Anglican bishops have adopted the Roman Catholic practice of placing a sign of the cross (+) before their signatures.


title: Sign of the cross

text: It is common practice in the Armenian Apostolic Church to make the sign of the cross when entering or passing a church, during the start of service and at many times during Divine Liturgy. The motion is performed by joining the first three fingers, to symbolize the Holy Trinity, and putting the two other fingers in the palm, then touching one's forehead, below the chest, left side, then right side and finishing with open hand on the chest again with bowing head.


title: Sign of the cross

text: The Assyrian Church of the East uniquely holds the sign of the cross as a sacrament in its own right. Another sacrament unique to the church is the Holy Leaven.


title: Jerry Goldsmith

text: Jerrald King Goldsmith (February 10, 1929July 21, 2004) was an American composer and conductor known for his work in film and television scoring. He composed scores for five films in the "Star Trek" franchise and three in the "Rambo" franchise, as well as for "Logan's Run", "Planet of the Apes", "Tora! Tora! Tora!", "Patton", "Chinatown", "Alien", "Poltergeist", "Gremlins", "Hoosiers", "Total Recall", "Air Force One", "L.A. Confidential", "Mulan", and "The Mummy". He also composed the fanfares accompanying the production logos used by multiple major film studios, and music for the Disney attraction Soarin'.


title: Jerry Goldsmith

text: He collaborated with directors including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Ridley Scott, Steven Spielberg, Paul Verhoeven, and Franklin J. Schaffner. His work for Donner and Scott also involved a rejected score for "Timeline" and a controversially edited score for "Alien", where music by Howard Hanson replaced Goldsmith's end titles and Goldsmith's own work on "" was used without his approval in several scenes.


title: Jerry Goldsmith

text: Goldsmith was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, and eighteen Academy Awards (winning in 1976 for "The Omen").


title: Jerry Goldsmith

text: Goldsmith was born February 10, 1929 in Los Angeles, California. His family was Romanian Jewish. His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer. He started playing piano at age six, but only "got serious" by the time he was eleven. At age thirteen, he studied piano privately with concert pianist and educator Jakob Gimpel (whom Goldsmith would later employ to perform piano solos in his score to "The Mephisto Waltz") and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.


title: Jerry Goldsmith

text: At age sixteen, Goldsmith saw the 1945 film "Spellbound" and was inspired by Miklós Rózsa's unconventional score to pursue a career in music. Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College. There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.


title: Jerry Goldsmith

text: In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin. There he began writing scores for such radio shows as "CBS Radio Workshop", "Frontier Gentleman", and "Romance". In an interview with Andy Velez from BarnesandNoble.com, Goldsmith stated: "It was about 1950. CBS had a workshop, and once a week the employees, whatever their talents, whether they were ushers or typists, would produce a radio show. But you had to be an employee. They needed someone to do music, and I knew someone there who said I'd be great for this. I'd just gotten married and needed a job, so they faked a typing test for me. Then I could do these shows. About six months later, the music department heard what I did, liked it, and gave me a job." He later progressed into scoring such live CBS television shows as "Climax!" and "Playhouse 90". He also scored multiple episodes of the television series "The Twilight Zone". He remained at CBS until 1960, after which he moved on to Revue Studios and then to MGM Studios for producer Norman Felton, whom he had worked for during live television and would later compose music for such television shows as "Dr. Kildare" and "The Man from U.N.C.L.E.".


title: Jerry Goldsmith

text: His feature film debut occurred when he composed the music for the western "Black Patch" (1957). He continued with scores to such films as the western "Face of a Fugitive" (also 1957)and the science fiction film "City of Fear" (1959).


title: Jerry Goldsmith

text: Goldsmith began the decade composing for such television shows as "Dr. Kildare", "Gunsmoke", and "Thriller" as well as the drama film "The Spiral Road" (1960). However, he only began receiving widespread name recognition after his intimate score to the western "Lonely Are the Brave" (1962). His involvement in the picture was the result of a recommendation by composer Alfred Newman who had been impressed with Goldsmith's score on the television show "Thriller" and took it upon himself to recommend Goldsmith to the head of Universal's music department, despite having never met him. That same year, Goldsmith composed the mostly atonal and dissonant score to the biopic "" (1962) that focused on a five-year period of the life of psychoanalyst Sigmund Freud. Goldsmith's score led to him gaining his first Academy Award nomination for Best Original Score, though he lost to fellow first-time nominee Maurice Jarre for his music to "Lawrence of Arabia" (also 1962). Goldsmith composed a score to "The Stripper" (1963), his first collaboration with director Franklin J. Schaffner for whom Goldsmith would later score the films "Planet of the Apes" (1968), "Patton" (1970), "Papillon" (1973), "Islands in the Stream" (1977), and "The Boys from Brazil" (1978).


title: Jerry Goldsmith

text: Following his success with "Lonely Are the Brave" and "Freud", Goldsmith composed the theme music for "The Man from U.N.C.L.E." (1964), and scores to such films as the western "Rio Conchos", the political thriller "Seven Days in May" (both also 1964), the romantic drama "A Patch of Blue" (1965), the war film "In Harm's Way" (also 1965), the World War I air combat film "The Blue Max" (1966), the period naval war drama "The Sand Pebbles" (also 1966), the thriller "Warning Shot" (1967), the western "Hour of the Gun" (also 1967), and the mystery "The Detective" (1968). He almost did not accept the assignment for "The Blue Max" when he watched the final cut with the producers who had temp-tracked it with Richard Strauss's "Also Sprach Zarathustra". He said: "I admit it worked fairly well but my first reaction was to get up and walk away from the job, but I couldn't. Once you've heard music like that with the picture, it makes your own scoring more difficult to arrive at, it clouds your thinking." Goldsmith's scores to "A Patch of Blue" and "The Sand Pebbles" garnered him his second and third Academy Award nominations, respectively, and were both one of the 250 nominees for the American Film Institute's top twenty-five American film scores. His scores for "Seven Days in May" and "The Sand Pebbles" also garnered Goldsmith his first two respective Golden Globe Award nominations for Best Original Score in 1965 and 1967. During this time, he also composed for many lighter, comedic films such as the family comedy "The Trouble with Angels" (1966), the James Bond parodies "Our Man Flint" (1966) and its sequel "In Like Flint" (1967), and the comedy "The Flim-Flam Man" (1967).


title: Jerry Goldsmith

text: Goldsmith gained attention for the score of the post-apocalyptic science fiction film "Planet of the Apes" (1968), which was one of the first to be written entirely in an Avant garde style. When scoring "Planet of the Apes", Goldsmith used such innovative techniques as looping drums into an echoplex, using the orchestra to imitate the grunting sounds of apes, having horns blown without mouthpieces, and instructing the woodwind players to finger their keys without using any air. He also used stainless steel mixing bowls, among other objects, to create unique percussive sounds. The score resulted in another Goldsmith nomination for the Best Original Score Oscar and ranks in 18 on the American Film Institute's top twenty-five American film scores. Though he did not return to compose for its sequel "Beneath the Planet of the Apes" (1970), Goldsmith scored the third installment in the "Planet of the Apes" franchise, "Escape from the Planet of the Apes" (1971).


title: Jerry Goldsmith

text: Goldsmith concluded the decade with scores to such films as the western "Bandolero!" (1968), the spy thriller "The Chairman", the science fiction film "The Illustrated Man", and the western "100 Rifles" (all 1969). He composed the theme for the comedy-drama television series "Room 222" which debuted in 1969.


title: Jerry Goldsmith

text: Throughout the score for the World War II biopic "Patton" (1970), Goldsmith used an echoplex to loop recorded sounds of "call to war" triplets played on the trumpet that musically represented General George S. Patton's belief in reincarnation. The main theme also consisted of a symphonic march accompanied by a pipe organ to represent the protagonist's militaristic and deeply religious nature. The film's music subsequently earned Goldsmith an Oscar nomination for Best Original Score and was one of the American Film Institute's 250 nominees for the top twenty-five American film scores. Goldsmith's critical success continued with his emotional score to the prison escape film "Papillon" (1973), which also earned him an Academy Award nomination. In 1973, Goldsmith also wrote the theme for the TV series "Barnaby Jones".


title: Jerry Goldsmith

text: Goldsmith was faced with the daunting task of replacing a score by composer Phillip Lambro to the neo-film noir "Chinatown" (1974). With only ten days to compose and record an entirely new score, Goldsmith quickly produced a score that mixed an eastern music sound with elements of jazz in an ensemble that only featured a trumpet, four pianos, four harps, two percussionists, and a string section. Goldsmith received an Academy Award nomination for his efforts though he lost to Nino Rota and Carmine Coppola for "The Godfather Part II". The score to "Chinatown" ranks 9 on the AFI's list of top 25 American film scores. It was also nominated for a Golden Globe Award for Best Original Score.


title: Jerry Goldsmith

text: Goldsmith earned further critical praise with his score to the period adventure film "The Wind and the Lion" (1975), which relied upon a diverse ensemble including many Moroccan instruments and a large percussion section. The score garnered Goldsmith an Oscar nomination for Best Original Score, though he lost to John Williams for his score to "Jaws". "The Wind and the Lion" was also one of the AFI's 250 nominees for the top twenty-five American film scores.


title: Jerry Goldsmith

text: Goldsmith composed a dark choral score to the horror film "The Omen" (1976), which was the first film score to feature the use of a choir in an avant-garde style. The score was successful among critics and garnered Goldsmith his only Academy Award for Best Original Score and a nomination for Best Original Song for "Ave Satani". His wife, Carol Heather Goldsmith, also wrote lyrics and performed a vocal track titled "The Piper Dreams" released solely on the soundtrack album. Goldsmith would go on to compose for two more entries in the franchise; "" (1978) and "" (1981).


title: Jerry Goldsmith

text: He continued to have critical success with scores to such films as the dystopian science fiction "Logan's Run" (1976), the period drama "Islands in the Stream" (1977, a score which remained one of his personal favorites), the science fiction suspense "Coma", the science fiction thriller "Capricorn One" (both 1978), the disaster film "The Swarm" (also 1978), the period comedy "The Great Train Robbery" (1979), and his Academy Award-nominated score to the science fiction thriller "The Boys from Brazil" (1978), in which he utilized lively waltzes to juxtapose the film's concept of cloning Adolf Hitler.


title: Jerry Goldsmith

text: Goldsmith composed a score to the science fiction film "Alien" (1979). His score featured an orchestra augmented by an Indian conch horn, didgeridoo, steel drum, and serpent (a 16th-century instrument), while creating further "alien" sounds by delaying string pizzicati through an echoplex. Many of the instruments were used in such atypical ways they were virtually unidentifiable. His score was, however, heavily edited during post-production and Goldsmith was required to rewrite music for several scenes. The final score resulted in several pieces being moved, replaced, or cut entirely. Director Ridley Scott and editor Terry Rawlings also, without Goldsmith's consent, purchased the rights to the "Main Title" from "" (1962) which they used during the acid blood sequence. Despite the heavy edits and rewrites, Goldsmith's score for the film earned him a Golden Globe Award nomination for Best Original Score and was one of the AFI's 250 nominees for the top twenty-five American film scores.


title: Jerry Goldsmith

text: Goldsmith concluded the decade composing the score for "" (1979). Having been Gene Roddenberry's initial choice to compose the original "Star Trek" pilot "" yet being unable to do so due to scheduling conflicts, Goldsmith was the first pick of both Paramount Pictures and director Robert Wise to compose a score for "The Motion Picture". Faced with composing a new "Star Trek" theme for the film, Goldsmith initially struggled for inspiration, and proceeded to compose as much of the score as possible before the need to develop the main title theme. His initial score for the scene in which the newly-refit Starship "Enterprise" is revealed to the audience was not well received by the filmmakers, director Robert Wise feeling that it lacked a strong thematic hook and evoked sailing ships. Though somewhat irked by its rejection, Goldsmith consented to re-work his initial idea and finally arrived at the "Star Trek" theme which was ultimately used. The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument long, created by musician Craig Huxley. The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V'Ger's cues. An enormous pipe organ first plays the V'Ger theme on the "Enterprise"s approach, a literal indication of the machine's power. His score for "The Motion Picture" earned him Academy Award and Golden Globe Award nominations, and was one of the AFI's 250 nominees for the top twenty-five American film scores. Goldsmith would later compose the scores for "" (1989) (which included a revised arrangement of the theme from "The Motion Picture"), "" (1996), "" (1998), and "" (2002), as well as the theme to the television series "" in 1995. In addition, his theme for "The Motion Picture", as arranged by Dennis McCarthy, was reused as the theme for "" in 1987.


title: Jerry Goldsmith

text: Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the ongoing wake of "Star Wars" (1977), composing for such films as "The Omen" sequels "" (1978) and "" (1981), space western "Outland" (1981), animated fantasy "The Secret of NIMH" (1982), and , which he composed in four different styles to accompany the film's four stories.


title: Jerry Goldsmith

text: Goldsmith was hired to compose the music to the Tobe Hooper-directed horror film "Poltergeist" (1982). He wrote several themes for the film including a gentle lullaby for the protagonist Carol Anne and her family's suburban life, a semi-religious theme for scenes concerning the souls trapped between the two worlds, and bombastic atonal bursts during scenes of horror. The film's score garnered him an Oscar nomination, though he lost again to John Williams for Spielberg's "E.T. the Extra-Terrestrial".


title: Jerry Goldsmith

text: He did, however, still manage to compose for such non-fantasy productions as the period television miniseries "Masada" (1981) winning an Emmy Award, the war film "Inchon" (1982), the action adventure "First Blood" (also 1982), and his Oscar- and Golden Globe Award-nominated score to political drama "Under Fire" (1983) in which he used the ethnic sounds of a South American pan flute, synthetic elements, and the prominently featured solo work of jazz guitarist Pat Metheny.


title: Jerry Goldsmith

text: Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the horror sequel "Psycho II" (1983), the comedy horror film "Gremlins" (1984, winning a Saturn Award for Best Music), the fantasy superhero adaptation "Supergirl" (1984), Ridley Scott fantasy "Legend" (1985, initially heard only in European prints and then years later in a 2002 director's cut), action sequel "" (1985), family fantasy "" (also 1985), and horror movie sequel "Poltergeist II" (1986), a more synthetic score than the original and the first of two sequels. He garnered another Oscar nomination for his innovative, critically acclaimed score to sports drama "Hoosiers" (1986), though he lost to Herbie Hancock for "Round Midnight". The score incorporates synthesizers, orchestra, and the recorded sounds of basketball hits on a gymnasium floor.


title: Jerry Goldsmith

text: During the same period, Goldsmith scored the Michael Crichton film "Runaway" (1984), the composer's first all-electronic score. In an interview with "Keyboard" magazine in 1984, Goldsmith said that in order to simulate the ambiance of a real orchestra, several speakers were set up in an actual orchestra hall similar to how they would be arranged if they were live players. The playback was re-recorded to capture the feel of the hall.


title: Jerry Goldsmith

text: Goldsmith finished out the decade with noteworthy scores to such films as the science-fiction fantasy family film "Explorers" (1985), medieval adventure "Lionheart", science fiction comedy "Innerspace" (both 1987), action film "Rambo III" (1988), the science fiction horror "Leviathan", and "" (both 1989), his second "Star Trek" film score. Goldsmith's score to "Leviathan" incorporated the use of recorded whale sounds during the main titles. His comedy score to "The 'Burbs" (1989) made use of pipe organ, recorded dog barking sound effects, and for parodying the trumpet "call to war" triplets on an echoplex from his previous score to "Patton" (1970).


title: Jerry Goldsmith

text: Receiving critical acclaim for his music for the romantic drama "The Russia House" (1990), Goldsmith's score featured a unique mixture of Russian music and jazz to complement the nationalities and characteristics of the two main characters. He also composed critically acclaimed music for the science fiction action film "Total Recall" (also 1990), which Goldsmith later regarded as one of his best scores. Other scores of the era include "" (also 1990, a film in which Goldsmith also made a brief cameo appearance), the psychological thriller "Sleeping with the Enemy" (1991), the family comedy "Mom and Dad Save the World", the fantasy romance "Forever Young" (both 1992), the thriller "The Vanishing", and the family comedy "Dennis the Menace" (both 1993). Goldsmith also composed a critically acclaimed score for the medical drama "Medicine Man" (1992). In concert, Goldsmith would later recount a story of how actor Sean Connery copied Goldsmith's signature ponytail hairstyle for his character Robert Campbell in the film.


title: Jerry Goldsmith

text: Goldsmith composed and conducted a score to the erotic thriller "Basic Instinct" (1992). The soundtrack, an unsettling hybrid of orchestral and electronic elements, garnered him another Oscar nomination as well as a Golden Globe Award nomination and was later regarded by the composer as one of his most challenging works. He wrote an acclaimed score for the classic sports film "Rudy" (1993), which has since been used in the trailers for numerous films including "Angels in the Outfield" (1994), "Good Will Hunting" (1997), "" (2002), and "Seabiscuit" (2003). It was also heard on the TV spot of "The Little Vampire" (2000) and an Arnold Schwarzenegger fitness advert.


title: Jerry Goldsmith

text: Goldsmith composed acclaimed scores for such films as the superhero adaptation "The Shadow", the thriller "The River Wild", the romantic comedy "I.Q." (all 1994), the science fiction drama "Powder", the action film "Congo", the fantasy adventure "First Knight" (all 1995), the action film "Executive Decision", and his third "Star Trek" film installment "" (both 1996) which he composed with his son Joel Goldsmith. Goldsmith also composed the theme for the UPN series "" (which debuted in 1995) for which he won a Primetime Emmy Award for Outstanding Main Title Theme Music. In 2020, "Newsweek" magazine said that the "Voyager" theme was the best of all "Star Trek" television series' theme songs.


title: Jerry Goldsmith

text: Goldsmith composed the critically successful score to the horror action film "The Ghost and the Darkness" (1996) which featured a traditional Irish folk melody interwoven with African rhythms. He was hired to replace a score by Randy Newman for "Air Force One" (1997). Goldsmith, with the assistance of composer Joel McNeely, completed the brassy, heroic score in only twelve days. Goldsmith also composed a percussive, jazzy score for the critically acclaimed crime drama "L.A. Confidential" (also 1997). His score garnered him Oscar and Golden Globe Award nominations, and was also one of the AFI's 250 nominees for the top twenty-five American film scores.


title: Jerry Goldsmith

text: Goldsmith composed a new theme for the Universal Pictures opening logo, first heard in "" (1997). The studio continues to use this theme, with a new arrangement of it scored by Brian Tyler to accompany the studio's current opening logo, introduced with "The Lorax" (2012) to coincide with the celebration of the studio's 100th anniversary. Goldsmith also continued with scores for such films as the 1997 survival drama "The Edge" (also 1997), his fourth "Star Trek" film installment, "" (1998), the science fiction horror "Deep Rising", the action thriller "U.S. Marshals" and the science fiction film "Small Soldiers" (all also 1998). He also composed a score of combined Eastern, orchestral, and synthetic elements for the Disney-animated film "Mulan" (also 1998), which subsequently earned him his final Oscar and Golden Globe Award nominations along with songwriter Matthew Wilder and lyricist David Zippel.


title: Jerry Goldsmith

text: Goldsmith concluded the decade with critically successful scores to such popular films as action adventure horror "The Mummy", the horror film "The Haunting", and the action adventure "The 13th Warrior" (1999). In 1999, he also composed "Fanfare for Oscar" for the Academy of Motion Picture Arts and Sciences.


title: Jerry Goldsmith

text: During the early years of the 2000s, Goldsmith composed scores to the science fiction thriller "Hollow Man" (2000), the mystery film "Along Came a Spider", the drama "The Last Castle" (both 2001), the action/political thriller "The Sum of All Fears", and his last "Star Trek" film "" (both 2002). Goldsmith had composed the scores to five of the first ten "Star Trek" movies up to that point. Goldsmith also composed an original score to the simulator attraction "Soarin' Over California" which debuted 8 February 2001 at the Disneyland Resort, and the same attraction "Soarin" which opened 5 May 2005 in Epcot at the Walt Disney World Resort. It was later said that when Goldsmith first rode the ride, he left in tears and said, "I'd do anything to be part of this project. I'd even score the film for free."


title: Jerry Goldsmith

text: Goldsmith's final cinematic score, composed during declining health, was the critically acclaimed music for the live action/animated film "" (2003), directed by long-time Goldsmith collaborator Joe Dante. His last work was with another long-time collaborator, Richard Donner (for whom Goldsmith had scored "The Omen" in 1976), on the science fiction film "Timeline" (also 2003). However, due to a complicated post-production process, Goldsmith's score had to be replaced. Goldsmith's score was used for the preliminary cuts. But the score didn't fit the later cuts of the film and had to be re-scored. Goldsmith's unavailability led to composer Brian Tyler taking over. Goldsmith's unused score was later released on CD, 7 September 2004 through Varèse Sarabande, less than two months after his death in July. The album quickly became out of print.


title: Jerry Goldsmith

text: Goldsmith composed the fanfares accompanying the production logos for multiple major film studios. He composed the 1976 fanfare for Paramount Pictures, which was used mainly for their home video label, as well as the 1988 Carolco Pictures fanfare and the Cinergi Pictures fanfare, with Bruce Broughton conducting the fanfare.


title: Jerry Goldsmith

text: With the release of "", his 1997 opening fanfare for Universal Pictures debuted. His work on the fanfare would later be re-composed by John Williams for the 20th anniversary of "E.T. the Extra-Terrestrial", a film in which Williams composed the film's score, with a customized fanfare, merging the Universal fanfare and the film's main theme, and the full Universal fanfare, only used in "The Scorpion King", and re-arranged by Brian Tyler for the studio's 100th anniversary.


title: Jerry Goldsmith

text: Goldsmith was married twice. He was first married to Sharon Hennagin in 1950; they divorced in 1970. He married Carol Heather in 1972, and the couple remained together until his death in 2004. His oldest son Joel Goldsmith (1957–2012) was also a composer and collaborated with his father on the score for "", composing approximately twenty-two minutes of the score. Goldsmith also conducted Joel's theme for "The Untouchables" and composed the theme for the pilot "Hollister", scored by Joel. Goldsmith's daughter, Carrie Goldsmith, went to high school with "Titanic" film score composer James Horner, who also composed music for "Star Trek"s second and third films: "" and "". Carrie Goldsmith was working on a biography of her father, though the book has been suspended indefinitely for unspecified reasons. Ellen Smith, who sang the title song for "Wild Rovers", shortened her surname but was actually his daughter, Ellen Goldsmith.


title: Jerry Goldsmith

text: Goldsmith died at his Beverly Hills home on July 21, 2004, from colon cancer at the age of 75. He was survived by his wife Carol and his children Aaron, Joel (who also died of cancer on April 29, 2012), Carrie, Ellen Edson, and Jennifer Goldsmith. He was interred at Hillside Memorial Park Cemetery.


title: Jerry Goldsmith

text: Goldsmith was greatly influenced by movements of early 20th-century classical music, notably modernism, Americana, impressionism, dodecaphonism, and early film scores. He has cited Igor Stravinsky, Aaron Copland, Miklós Rózsa, Bernard Herrmann, Béla Bartók, and Alban Berg, among others, as some of the main influences to his style of composition.


title: Jerry Goldsmith

text: His style has been noted for its unique instrumentation, utilizing a vast array of ethnic instruments, recorded sounds, synthetic textures, and the traditional orchestra, often concurrently. When asked about his inclination for embracing new techniques and constantly shifting his musical palette throughout his career, Goldsmith said, "It seems like it's me, and that's that! Certain composers are doing the same thing over and over again, which I feel is sort of uninteresting. I don't find that you grow very much in that way. I like to keep changing, trying to do new things. Basically, I'm saying the same thing with a little different twist on it. Once you get caught up in the creative process, something inside takes over, and your subconscious just does it for you."


title: Jerry Goldsmith

text: One reason for the consistency of Goldsmith's aural resonance and signature sound is his long time professional association with orchestrator Arthur Morton. Their first collaboration was on the film, "Take Her, She's Mine" (1963). Goldsmith was commissioned to score the features, "Von Ryan's Express" and "Morituri" (both 1965). He recruited Morton to serve as his orchestrator. Their bond for a unique and expressive sound was born, and their friendship flourished. Goldsmith went on to compose the scores for "Our Man Flint", "The Trouble with Angels" (with Frank De Vol), "The Blue Max", "The Sand Pebbles", and "Stagecoach" (all 1966). Morton was there providing his orchestration services, assisting Goldsmith in attaining his visionary sounds. Their partnership endured for over 30 years and included the notable scores for "Planet of the Apes" (1968), "Patton" (1970), "Tora! Tora! Tora!" (1970), "Papillon" (1973), "Chinatown" (1974), "The Omen" (1976), "MacArthur" (1977), "Capricorn One" (1978), "Alien" (1979), "Star Trek: The Motion Picture" (1979), "Poltergeist" (1982), "First Blood" (1982), "Under Fire" (1983), "The Russia House" (1990). The final score that Arthur Morton orchestrated for Goldsmith was "L.A. Confidential" (1997).


title: Jerry Goldsmith

text: Jerry Goldsmith has been considered one of film music history's most innovative and influential composers. While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini said of Goldsmith, "he has instilled two things in his colleagues in this town. One thing he does, he keeps us honest. And the second one is he scares the hell out of us." In his review of the 1999 re-issue of the "" soundtrack, Bruce Eder highly praised Goldsmith's ability, stating, "one of the new tracks, 'Spock's Arrival', may be the closest that Goldsmith has ever come to writing serious music in a pure Romantic idiom; this could have been the work of Rimsky-Korsakov or Stravinsky — it's that good." In a 2001 interview, film composer Marco Beltrami ("", "The Hurt Locker") stated, "Without Jerry, film music would probably be in a different place than it is now. I think he more than any other composer bridged the gap between the old Hollywood scoring style and the modern film composer."


title: Jerry Goldsmith

text: In 2006, upon composing "The Omen" (a remake of the Goldsmith-scored 1976 film), Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of "Ave Satani" titled "Omen 76/06". Likewise, when composer Brian Tyler was commissioned in 2012 to update the Universal Studios logo for the Universal centennial, he retained the melody originally composed by Goldsmith in 1997, opting to "bring it into the 21st century."


title: Jerry Goldsmith

text: Over the course of his career, Goldsmith received 18 total Academy Award nominations, making him one of the most nominated composers in the history of the Awards. Despite this, Goldsmith won only one Oscar, his score for "The Omen" (1976). This makes Goldsmith the most nominated composer to have won an Oscar only on one occasion. In 1991, Goldsmith received an Honorary Doctorate of Music from Berklee College of Music.


title: Jerry Goldsmith

text: On May 9, 2017, Goldsmith posthumously received a star on the Hollywood Walk of Fame for his achievements in the music industry, located at 6752 Hollywood Boulevard.


title: Jerry Goldsmith

text: The American Film Institute respectively ranked Goldsmith's scores for "Chinatown" (1974) and "Planet of the Apes" (1968) 9 and 18 on their list of the 25 greatest film scores. He is one of only five composers to have more than one score featured in the list, including Elmer Bernstein, Bernard Herrmann, Max Steiner, and John Williams. His scores for the following films were also nominated for inclusion:


title: Cross of Saint Peter

text: The Cross of Saint Peter or Petrine Cross is an inverted Latin cross traditionally used as a Christian symbol, but in recent times also used as an anti-Christian and Satanic symbol. In Christianity, it is associated with the martyrdom of Peter the Apostle. The symbol originates from the Catholic tradition that when sentenced to death, Peter requested that his cross be upside down, as he felt unworthy of being crucified in the same manner as Jesus. The Petrine Cross is also associated with the papacy, reflecting the Catholic belief that the pope is the successor of Peter as bishop of Rome.


title: Cross of Saint Peter

text: The origin of the symbol comes from the belief that Peter the Apostle was crucified upside down, as told by Origen of Alexandria. The tradition first appears in the "Martyrdom of Peter", a fragmented text found in, but possibly predating, the apocryphal "Acts of Peter", which was written no later than 200 A.D. It is believed that Peter requested this form of crucifixion as he felt he was unworthy to be crucified in the same manner as Jesus.


title: Cross of Saint Peter

text: According to Roman Catholicism, the pope is Peter's successor as bishop of Rome. Therefore, the Papacy is often represented by symbols that are also used to represent Peter, one example being the "Petrine Cross".


title: Cross of Saint Peter

text: Today, the cross of Saint Peter is also known as an occult symbol. It is suggested that the first person to use the symbol in this manner is , a 19th century cult leader known for his claim to be the reincarnation of the Prophet Elijah as well as his demonic rituals and perverted acts for which he was condemned by the Pope, tried and imprisoned.


title: Cross of Saint Peter

text: Vintras wore robes bearing the inverted cross. The famous French occultist Éliphas Lévi wrote that this was a sign of Vintras's satanic inclinations.


title: Cross of Saint Peter

text: Over time, the Petrine cross came to be known more commonly as an occult symbol. Starting with the 1960s, several TV productions and movie franchises featured the Cross of Saint Peter as a symbol representing the Antichrist and Satan making it one of the most popular satanic symbols today.


title: Cross of Saint Peter

text: The inverted cross is a recurring motif in metal music, particularly in black metal in congruity with its anti-Christian themes. One well-known example is Glen Benton of the band Deicide who branded an inverted cross onto his forehead.


title: Cross of Saint Peter

text: Former Black Sabbath drummer Bill Ward suggested that the use of an inverted cross on the inner gatefold sleeve of their debut album by their label Vertigo may have been a promotional ploy or a misunderstanding of the nature of the group.


title: Cross of Saint Peter

text: The Swedish metal band Ghost makes use of the inverted cross in place of the final "t" in the band's wordmark, as well as on singer Papa Emeritus I's chasuble. Also, Ghost uses an inverted cross bisecting the letter G as their logo, the Grucifix.


title: Cross of Saint Peter

text: Many horror films use inverted crosses as part of their imagery and marketing, especially if the film involves demonic themes. Examples include "The Conjuring" and "Paranormal Activity". At the end of "Rosemary's Baby", an upside down cross hangs over the bassinet containing Satan's son.


title: Cross of Saint Peter

text: In the "Chemin de la Croix" by French composer Marcel Dupré, at the part where Simon of Cyrene helps Jesus carry the cross, an inverted cross motif appears at bar 7 and then twice more before it is replaced with a pastoral theme.


title: Vivendi

text: Vivendi SE is a French mass media holding company headquartered in Paris. Widely known as the owner of Gameloft, Groupe Canal+, Havas, Editis, Prisma Media, Vivendi Village and Dailymotion, the company has activities in television, film, video game, book publishing, print press, communication, tickets and video hosting services.


title: Vivendi

text: Bolloré is the largest shareholder at approximately 30% of the company. Vivendi's chairman Yannick Bolloré is also CEO of Havas, which was spun-off from Vivendi in 2000 but has since become a subsidiary.


title: Vivendi

text: On 14 December 1853, a water company named Compagnie Générale des Eaux (CGE) was created by an imperial decree of Napoleon III. In 1854, CGE obtained a concession in order to supply water to the public in Lyon, serving in that capacity for over a hundred years. In 1861, it obtained a 50-year concession with the City of Paris. CGE also supplied water to Nantes, Venice (from 1880), Constantinople (from 1882) and Porto (from 1883). For more than a century, Compagnie Générale des Eaux remained largely focused on the water sector.


title: Vivendi

text: Following the appointment of Guy Dejouany as CEO in 1976, CGE extended its activities into other sectors with a series of takeovers. Beginning in 1980, CGE began diversifying its operations from water into waste management, energy, transport services, and construction and property. It acquired the "Compagnie Générale d'Entreprises Automobiles" (CGEA), specialized in industrial vehicles, which was later divided into two branches: Connex (later Veolia Transport) in 1999 and Onyx Environnement (later Veolia Environmental Services) in 1989. CGE then acquired the "Compagnie Générale de Chauffe", and later the Montenay group, with these companies later becoming the Energy Services division of CGE, and later renamed "Dalkia" in 1998.


title: Vivendi

text: In 1983, CGE helped to found Canal+, the first pay-TV channel in France, and in the 1990s, they began expanding into telecommunications and mass media, especially after Jean-Marie Messier succeeded Guy Dejouany on 27 June 1996, acquiring companies such as the Babelsberg Studio. In 1996, CGE created Neuf Cegetel to take advantage of the 1998 deregulation of the French telecommunications market, accelerating the move into the media sector which would culminate in the 2000 demerger into Vivendi Universal and Vivendi Environnement (Veolia).


title: Vivendi

text: In 1997, Compagnie Générale des Eaux changed its name to "Vivendi", and sold off its property and construction divisions the following year to what would become Vinci SA. Vivendi went on to acquire stakes in or merge with Maroc Telecom, Havas, Cendant Software, Grupo Anaya, and NetHold, a large Continental European pay-TV operator. Beginning in 1998, Vivendi launched digital channels in Italy, Spain, Poland, Scandinavia, Belgium, and the Netherlands.


title: Vivendi

text: In June 1999, Vivendi merged with Pathé, the exchange ratio for the merger fixed at three Vivendi shares for every two Pathé shares. "The Wall Street Journal" estimated the value of the deal at US$2.59 billion. Following the completion of the merger, Vivendi retained Pathé's interests in British Sky Broadcasting Group PLC and CanalSatellite, a French broadcasting corporation, then sold all remaining assets to Jérôme Seydoux's family-owned holding company, "Fornier SA", who changed its name to Pathé.


title: Vivendi

text: Vivendi Universal SA was created on 8 January 2001 with the merger of the Vivendi media empire with Canal+ television networks and the acquisition of media assets of Canadian company Seagram Company Ltd, owner of Universal Studios.


title: Vivendi

text: Vivendi Universal acquired MP3.com and the leading American publisher Houghton Mifflin in year 2001. To raise the funds, Vivendi Universal sold its trade and medical publishing businesses to a group led by Cinven.


title: Vivendi

text: Vivendi Environnement was formed in 1999 by Vivendi to consolidate its environmental divisions, which were CGEA Transport, Onyx Environnement (now Veolia Environmental Services), Dalkia and CGE water division. As a result, CGEA Transport was renamed Connex (later Veolia Transport), and CGE's water division was renamed Vivendi Water (now Veolia Water). In July 2000, Vivendi Environnement was divested through IPOs in Paris and later New York in October 2001. Initially, Vivendi Universal retained a 70% stake in Vivendi Environnement in 2000, but by December 2002, it was reduced to 20.4%. In 2003, Vivendi Environnement was renamed to Veolia Environnement.


title: Vivendi

text: Vivendi Universal disclosed a corporate loss of €23.3 billion in its 2002 annual report. It responded with financial reshuffling, trying to shore up media holdings while selling off shares in its spin-off companies. Amid intense media scrutiny, its chairman and CEO, Jean-Marie Messier (who had overseen the most dramatic phase of the company's diversification), was subsequently replaced by Jean-René Fourtou. Messier was found guilty of embezzlement in 2011, but not before he was paid over US$20 million as part of his severance package. The company reduced its stake in Vivendi Environnement to 40% and sold its stake in Vinci SA. The company then began reorganizing to stave off bankruptcy, announcing a strategy to sell non-strategic assets. Its largest single shareholder was the family of Edgar Bronfman Jr., who was head of Seagram at the time of the merger. Vivendi sold its stake in Vizzavi to Vodafone, with the exception of Vizzavi France. It also sold 20.4% of Vivendi Environnement's capital to a group of investors, and its stake in North American satellite operator EchoStar Communications Corporation. It also sold its European book publishing to Lagardère. It also sold Houghton Mifflin to Thomas H Lee, Blackstone and Bain consortium for US$1.66 billion. Also, in 2002, Vivendi Universal sold the Belgian and Dutch activities of its subsidiary Scoot Europe to Kapitol, the parent company of online directory Infobel.


title: Vivendi

text: In 2003, Vivendi Universal sold Canal+ Technologies to Thomson SA; Tele+ to News Corporation and Telecom Italia. It also sold its 26.3% interest in Xfera. Also in 2003, it sold its consumer magazines to Socpresse and its free newspapers to France Antilles. On 1 December, Vivendi Universal closed a deal to sell MP3.com to CNET. Despite predictions that it would be unable to raise the cash needed, Vivendi Universal bought out one of the two minority shareholders in Cegetel, taking its holding to 60 percent, with Vodafone holding the remaining 40 percent. Management viewed the mobile communications firm as a core asset once the bulk of media assets had been sold off.


title: Vivendi

text: In 2004, 80% of the Vivendi Universal subsidiary was sold to GE, to form NBC Universal, with Vivendi retaining a 20 percent stake. At the same time, it sold a 50% stake in Canal+ and StudioCanal to the new company. Vivendi also sold its interests in Kencell (re-branded Celtel, Kenya), Monaco Telecom and Sportfive (which it held through Canal+ Group), and sold Newsworld International to the business partnership of Joel Hyatt and former Vice-President of the United States Al Gore. Vivendi also sold Babelsberg Studio.


title: Vivendi

text: On 16 December 2005, it was announced that Canal Plus would merge with TPS, France's second largest Pay-TV provider. Vivendi owned 85% of the combined entity.


title: Vivendi

text: On 17 January 2006, Vivendi Universal announced it would end its American Depositary Receipt program and its listing on the New York Stock Exchange by the end of the second quarter of 2006, due to lowered trading volume on its shares and high costs.


title: Vivendi

text: On 20 April 2006, Vivendi in its current form came into existence, following the sale of an 80% stake in the Vivendi Universal unit to General Electric to form NBC Universal (merging GE's NBC unit and Vivendi's Vivendi Universal unit) and the gradual recovery of the company from its disastrous over-expansion in the late 1990s and the early 2000s. The company announced that shareholders had approved the name change to "Vivendi".


title: Vivendi

text: In August 2006, Vivendi signed a deal with Spiralfrog to distribute Vivendi's songs online in the United States and Canada.


title: Vivendi

text: On 2 December 2007, Vivendi announced that it would be merging its game publishing unit with Activision in a $18.8 billion deal. This will allow the merged company, Activision Blizzard, to rival Electronic Arts, the world's biggest video games publisher. The merger closed on 9 July 2008, for $9.8 billion. Vivendi held a 52% majority stake in the new business.


title: Vivendi

text: On 8 September 2009, Vivendi announced negotiations to buy the Brazilian phone operator Global Village Telecom (GVT). Vivendi took control of GVT at a cost of 56 reais per share, on 13 November, trumping Telefónica's bid. Geneva-based Crédit des Alpes was the investment bank to the transaction, originating the acquisition proposal and advising GVT's majority shareholders.


title: Vivendi

text: On 3 December 2009, GE announced it would purchase Vivendi's stake in NBC Universal, which would become a joint venture between GE and Comcast. Vivendi sold its stake in NBC Universal on 25 January 2011.


title: Vivendi

text: On 4 April 2011, Vodafone sold its 44% stake in French mobile service provider SFR to Vivendi for about $11 billion and giving Vivendi full control of its largest unit.


title: Vivendi

text: In 2012, Vivendi announced having entered a strategic review of its assets and decided to refocus its activities on media and content activities while maximizing its telecoms assets.


title: Vivendi

text: On 25 July 2013, Activision Blizzard announced the buyout of 429 million shares from Vivendi for $5.83 billion, dropping the shareholder from a 63% stake to 11.8% by the end of the deal in September, ending Vivendi's majority ownership of Activision Blizzard.


title: Vivendi

text: In November 2013, Vivendi also sold its 53% stake in Maroc Telecom to Dubai-based Etisalat for around $4.2 billion.


title: Vivendi

text: Vivendi also confirmed in November 2013 its intention to launch a demerger plan which would result in Vivendi becoming an international media group consisting primarily of Canal+, Universal Music Group and GVT, while SFR would be listed separately on the stock market. As a result of the foregoing, Vivendi group results for the first semester 2014 are in a strong growth, witnessing the success of its repositioning strategy. Net income was up 84,8% to €1.9 billion. In August 2014 Vivendi sells GVT to Telefônica Vivo, a subsidiary of Telefónica in Brazil.


title: Vivendi

text: The moves have allowed Vivendi to rapidly pay down debt and increase cash returns to shareholders while leaving it with ammunition to do acquisitions of its own. Indeed, once the SFR deal closes, Vivendi will have a cash pile of around €5 billion, leaving it with some room to maneuver even after it pays down debt and returns nearly €5 billion in dividends and share buybacks to shareholders.


title: Vivendi

text: Vivendi's priority is now content. The French group is expected to expand its assets in the content industries in the coming year.


title: Vivendi

text: In 2014, Vivendi decided to sell mobile companies SFR (France) to Patrick Drahi's company, Altice, and GVT (Brazil) to the Brazilian company Telefônica Vivo.


title: Vivendi

text: On 28 May 2014, Vivendi sold half of its remaining shares (nearly 41.5 million shares) in Activision Blizzard for $850 million, reducing its stake to 6%.


title: Vivendi

text: In April 2015, it was announced that a shareholder in the company Bolloré raised its stake from 10.2 percent to 12.01 percent for a total fee of €568 million.


title: Vivendi

text: In 2015, Vivendi bought 80% share in Dailymotion. According to the Wall Street Journal, the "French media group offered around $273 million for streaming service". Vivendi was in talks with Orange, to Buy 80% stake in Dailymotion. Also, Vivendi announced extra payouts in compromise with P. Schoenfeld Asset Management shareholder.


title: Vivendi

text: It was revealed in October 2015 that Vivendi would increase its stake in Telecom Italia to around 19% of the ordinary share capital as part of its aims to increase its influence in the group. As of May 2017, Vivendi owns 24.6% of the company with Vivendi's CEO Arnaud de Puyfontaine becoming Executive Chairman of Telecom Italia.


title: Vivendi

text: In October 2015, Vivendi bought minority stakes in the French video game studios Gameloft and Ubisoft. On 17 December 2015, Vivendi acquired a 64.4% majority stake in Belgian online radio aggregator Radionomy (including its media player platform Winamp and internet radio streaming software Shoutcast). Its shareholders, including its employees and U.S.-based investment firm Union Square Ventures, however, retained their stakes in the company.


title: Vivendi

text: In June 2016, after having triggered a mandatory tender offer in February 2016 by reaching 30% ownership, and then becoming its largest shareholder, Vivendi completed a hostile takeover of Gameloft with the acquisition of its founders' stake. At the same time, Vivendi also further increased its stake in Ubisoft, which had led to concern from the company's management that Vivendi was also planning a hostile takeover of Ubisoft, however as of 2018 Vivendi is no longer in the position to do so.


title: Vivendi

text: Vivendi (once the owner of Blizzard, later Activision Blizzard), searching for a new games publisher property has started investing in both Ubisoft and Gameloft. The brothers in charge of Ubisoft and Gameloft, Yves Guillemot and Michel Guillemot respectively, view the investments as a hostile takeover attempt, and are raising capital from within the family and from Canadian investors to maintain control of the companies. As of 8 June 2016, Vivendi has acquired a controlling stake in Gameloft. In news from 11 September 2016 Yves Guillemot is set to buy an additional 3.5% of Ubisoft shares to raise his stake to 12.5% to attempt to block a takeover from Vivendi. Yves has been attempting to lobby other shareholders to prevent them selling their shares to Vivendi. As of 20 March 2018, Vivendi has sold all its shares in Ubisoft and Tencent has bought in in their place.


title: Vivendi

text: In an auction on 6 June, Vivendi won a bid to acquire Flavorus from SFX Entertainment for $4 million. Also that month, it acquired Paddington and Company Limited-owner of Paddington Bear and other properties, and The Copyrights Group.


title: Vivendi

text: Vivendi declared that it owned 12.3% of Mediaset in December 2016. In September 2020, Vivendi owns 28.8% of Mediaset. In January 2019, Vivendi completed its €900 million acquisition of Editis, one of France's major book publishers.


title: Vivendi

text: In 2019, Vivendi acquired Nigeria's film studio ROK Studios which included it's linear channels and VOD service, IROKO+.


title: Vivendi

text: At the end of the first quarter of 2020, Vivendi completed a partial sale of Universal Music Group (UMG) to a consortium led by Tencent, a Chinese media conglomerate. The amount of stake of the world's largest record label group that has been sold to the consortium is 10% and the valuation of which was $3.3 billion. The Tencent-led consortium retained an option to purchase another 10% at the same valuation until January 2021, which they opted to exercise in December 2020. Pershing Square Holdings later acquired 10% of UMG prior to its IPO on the Euronext Amsterdam stock exchange. The company went public on September 21, 2021, at a valuation of €46 billion.


title: Vivendi

text: In April 2020, Vivendi bought a 10.6% stake in Lagardère Group, another French media group. The investment was made at the time when Lagardère, the assets of which include the world's third-largest book publisher Hachette, is faced with attacks from a group of fierce and well-funded activist investors, and a year after Vivendi completed its takeover of Editis, the smaller domestic book publisher. By August, Vivendi has doubled its stake in Lagardère to 23.5%, becoming the largest shareholder of the rival group.


title: Vivendi

text: In December 2020, Vivendi announced a deal to buy the French media conglomerate Prisma Media from Bertelsmann. In January 2021, Vivendi bought a 9,9% stake in the Spanish media conglomerate Prisa.


title: Vivendi

text: In September 2021, Vivendi distributed 60% of its UMG shares to shareholders and retaining 10% shares in an IPO at Euronext Amsterdam.


title: Vivendi

text: In September 2021, Amber Capital has informed Vivendi of its intention to sell all its shares in Lagardère (17.93 of the share capital) and has invited Vivendi to make an acquisition offer. Vivendi has acquired Amber Capital's shares for 24.1 euros per share. The transaction will be completed by December 15, 2022, after gaining the approvals required by the current regulations in light of the takeover that could result from the mandatory public offer following this acquisition. In December 2021, Vivendi announced its plan to accelerate the purchase of Amber's stake in Lagardere. , Vivendi owns 57.3% of Lagardère following the latter's IPO. Vivendi has offered to divest the book publisher Editis, as Lagardère already owns Hachette.


title: Vivendi

text: In July 2022, Vivendi announced its plan to spin off Editis, anticipating the European competition regulators not to allow Editis and Lagardere Publishing to merge.


title: Vivendi

text: Vivendi is a company primarily focused on digital entertainment. It owns the French TV channel and movie producer Canal+ Group, book publisher Editis, communication company Havas Group, video games company Gameloft, and video hosting service Dailymotion.


title: Vivendi

text: Vivendi's president Vincent Bolloré, appointed in June 2014, aims at developing synergies between the company's subsidiaries now refocused on media: Canal+ Group, Vivendi Village, Dailymotion and Gameloft.


title: Vivendi

text: Groupe Canal+ is the leading pay television group in France. It is also an international movie and television series producer and distributor with StudioCanal. In November 2013, Vivendi became the exclusive owner of France's biggest pay-TV company.


title: Vivendi

text: Havas Group is one of the largest global advertising and communications groups in the world. Since October 2017, Vivendi owns 94.75% of Havas's Share Capital.


title: Vivendi

text: In July 2016, Vivendi completed its takeover of Gameloft, the world's largest mobile-games publisher in terms of downloads. Gameloft reported that their games had amassed over 1 billion downloads in 2016.


title: Vivendi

text: Vivendi owns the French publisher Editis, which it acquired in January 2019 for €900 million. Editis is one of France's largest publishers.


title: Vivendi

text: Vivendi Ticketing comprises the ticketing businesses See Tickets in the UK, the US, and in France. Both businesses specialize in the retail and distribution of tickets for live entertainment, sport and cultural events, in addition to providing operating platforms for venues to run their own ticketing services. Vivendi Ticketing processes annually over 40 million tickets. The business also operates as an internal service provider to other Vivendi businesses.


title: Vivendi

text: MyBestPro provides experts counseling in different fields (Wengo, RDVmedicaux, Juritravail, Bordas, Devispresto).


title: Vivendi

text: In 2015, Vivendi announced that it will open venues in central and west Africa. These venues will be named CanalOlympia, they will serve as concert halls, theaters and screening rooms.


title: Vivendi

text: In 2021, Vivendi purchased Prisma Media from Gruner + Jahr for an estimated 100 to 150 million euros.


title: Common nightingale

text: The common nightingale, rufous nightingale or simply nightingale (Luscinia megarhynchos), is a small passerine bird best known for its powerful and beautiful song. It was formerly classed as a member of the thrush family Turdidae, but is now more generally considered to be an Old World flycatcher, Muscicapidae. It belongs to a group of more terrestrial species, often called chats.


title: Common nightingale

text: "Nightingale" is derived from "night" and the Old English "galan", "to sing". The genus name "Luscinia" is Latin for "nightingale" and "megarhynchos" is from Ancient Greek "megas", "great" and "rhunkhos" "bill".


title: Common nightingale

text: The common nightingale is slightly larger than the European robin, at length. It is plain brown above except for the reddish tail. It is buff to white below. The sexes are similar. The eastern subspecies ("L. m. golzi") and the Caucasian subspecies ("L. m. africana") have paler upper parts and a stronger face-pattern, including a pale supercilium. The song of the nightingale has been described as one of the most beautiful sounds in nature, inspiring songs, fairy tales, opera, books, and a great deal of poetry.


title: Common nightingale

text: It is a migratory insectivorous species breeding in forest and scrub in Europe and the Palearctic, and wintering in Sub-Saharan Africa. It is not found naturally in the Americas. The distribution is more southerly than the very closely related thrush nightingale "Luscinia luscinia". It nests on or near the ground in dense vegetation. Research in Germany found that favoured breeding habitat of nightingales was defined by a number of geographical factors.


title: Common nightingale

text: In the U.K., the bird is at the northern limit of its range which has contracted in recent years, placing it on the red list for conservation. Despite local efforts to safeguard its favoured coppice and scrub habitat, numbers fell by 53 percent between 1995 and 2008. A survey conducted by the British Trust for Ornithology in 2012 and 2013 recorded some 3,300 territories, with most of these clustered in a few counties in the southeast of England, notably Kent, Essex, Suffolk, and East and West Sussex.


title: Common nightingale

text: By contrast, the European breeding population is estimated at between 3.2 and 7 million pairs, giving it green conservation status (least concern).


title: Common nightingale

text: Common nightingales are so named because they frequently sing at night as well as during the day. The name has been used for more than 1,000 years, being highly recognisable even in its Old English form "nihtegale", which means "night songstress". Early writers assumed the female sang when it is in fact the male. The song is loud, with an impressive range of whistles, trills and gurgles. Its song is particularly noticeable at night because few other birds are singing. This is why its name includes "night" in several languages. Only unpaired males sing regularly at night, and nocturnal song probably serves to attract a mate. Singing at dawn, during the hour before sunrise, is assumed to be important in defending the bird's territory. Nightingales sing even more loudly in urban or near-urban environments, in order to overcome the background noise. The most characteristic feature of the song is a loud whistling crescendo, absent from the song of thrush nightingale. It has a frog-like alarm call.


title: Common nightingale

text: The common nightingale is an important symbol for poets from a variety of ages, and has taken on a number of symbolic connotations. Homer evokes the nightingale in the "Odyssey", suggesting the myth of Philomela and Procne (one of whom, depending on the myth's version, is turned into a nightingale). This myth is the focus of Sophocles' tragedy, "Tereus", of which only fragments remain. Ovid, too, in his "Metamorphoses", includes the most popular version of this myth, imitated and altered by later poets, including Chrétien de Troyes, Geoffrey Chaucer, John Gower, and George Gascoigne. T.S. Eliot's "The Waste Land" also evokes the common nightingale's song (and the myth of Philomela and Procne). Because of the violence associated with the myth, the nightingale's song was long interpreted as a lament.


title: Common nightingale

text: The common nightingale has also been used as a symbol of poets or their poetry. Poets chose the nightingale as a symbol because of its creative and seemingly spontaneous song. Aristophanes's "The Birds" and Callimachus both evoke the bird's song as a form of poetry. Virgil compares the mourning of Orpheus to the “lament of the nightingale”.


title: Common nightingale

text: During the Romantic era the bird's symbolism changed once more: poets viewed the nightingale not only as a poet in his own right, but as “master of a superior art that could inspire the human poet”. For some romantic poets, the nightingale even began to take on qualities of the muse. The nightingale has a long history with symbolic associations ranging from "creativity, the muse, nature's purity, and, in Western spiritual tradition, virtue and goodness." Coleridge and Wordsworth saw the nightingale more as an instance of natural poetic creation: the nightingale became a voice of nature. John Keats' "Ode to a Nightingale" pictures the nightingale as an idealized poet who has achieved the poetry that Keats longs to write. Invoking a similar conception of the nightingale, Shelley wrote in his “A Defense of Poetry":


title: Common nightingale

text: The nightingale is the national bird of Ukraine. One legend tells how nightingales once only lived in India, when one nightingale visited Ukraine. Hearing sad songs from the people, the nightingale sang its song to cheer them up. The people responded with happy songs, and since then, nightingales have visited Ukraine every spring to hear Ukrainian songs. National poet Taras Shevchenko observed that "even the memory of the nightingale's song makes man happy."


title: Common nightingale

text: The nightingale is the official national bird of Iran. In medieval Persian literature, the nightingale's enjoyable song has made it a symbol of the lover who is eloquent, passionate, and doomed to love in vain. In Persian poetry, the object of the nightingale's affections is the rose which embodies both the perfection of earthly beauty and the arrogance of that perfection.


title: Common nightingale

text: The nightingale is used symbolically in the Baha'i Faith to represent the founder Baha'u'llah. Baha'is utilise this metaphor to convey how Baha'u'llah's writings are of beautiful quality, much like how the nightingale's singing is revered for its beautiful quality in Persian music and literature.


title: Common nightingale

text: Nightingales are mentioned in much of Baha'u'llah's works, including the Tablet of Ahmad, The Seven Valleys, The Hidden Words, and the untranslated Tablet of the Nightingale and the Owl.


title: Yua Mikami

text: Apart from performing in adult films, Mikami also remained active as a singer and idol. She is a member of the idol groups Ebisu Muscats since 2015 and Honey Popcorn since 2018. She also appears in the video games "Yakuza 6" and "Yakuza Kiwami 2".


title: Yua Mikami

text: Mikami was born as Momona Kitō on August 16, 1993 in Nagoya. At the age of 13, Mikami auditioned for Morning Musume's 8th generation in 2006, but was eliminated during the first round. In March 2009, she debuted as a second generation member of the idol group SKE48 on Team E. Her career in SKE48 saw numerous setbacks, including a demotion to "kenkyuusei" (trainee) status in December 2010, as well as an underage drinking/dating scandal that broke out in July 2013. On March 16, 2014, she announced her graduation from the group and her last performance with the group was on April 9, 2014. During her tenure, she appeared in eight B-side singles with SKE, as well as an appearance on the sister group AKB48's B-side single "Ano Hi no Fūrin".


title: Yua Mikami

text: On June 1, 2015, she debuted in the adult entertainment industry under the name Yua Mikami with her first video, "Princess Peach", produced by Muteki, a label that specialized on the adult film debuts for former gravure idols and minor celebrities. While Mikami originally planned it as a one-film career, "Princess Peach" turned out to be a huge success, becoming one of Muteki's highest selling film and one of the highest selling AV's of 2015. The unexpected positive reaction of her debut motivated Mikami to remain in the industry as an active performer. On November 12, 2015, she launched her official website. Her Twitter, and Instagram accounts were also created on the same day. In an interview, Mikami stated: "I entered the world of AV without consulting with anyone. It is my life, so I have to choose for myself."


title: Yua Mikami

text: Her second AV, "Pleasure" was released on January 1, 2016. Mikami's first titles were under the Muteki label (becoming one of a few AV actresses who done more than one title under the studio), before transferring to S1 No. 1 Style in November 2016. On May 13, 2016, Mikami won her first major award at the 2016 DMM Adult Awards at the "Best New Actress" category presented to her by fellow AV actress Moe Amatsuka. On April 13, 2016, she joined the Ebisu Muscats as a second-generation member. She was the poster girl for the 2016 AV Open along with and Rika Hoshimi. She was the event campaign girl for the "National Fan Thanksgiving Festival 2016" along with Hibiki Ōtsuki.


title: Yua Mikami

text: Mikami's popularity continued to grow, as she became one of S1's "flagship" actresses, with her films regularly appearing on the best selling charts. In 2018, when Fanza did a research on the Top 10 highest selling AV actresses of the year, Mikami came out at No. 8 at digital downloads and No. 5 at physical DVD/Blu-Ray sales. Mikami won her second major award, at the "Best Actress" category in the 2017 DMM Adult Awards. She also presented the "Best New Actress" award to former gravure idol and debuting AV actress Shoko Takahashi. With both of them debuting at Muteki and being Nagoya-based, Mikami and Takahashi formed a close friendship and started to appear in the variety show "SHOW YOUR ROCKETS". For Muteki's tenth anniversary, the pair appeared in their first joint AV-title, "These Two Have No Equal" released on December 1, 2018. The four-hour-long film was also accompanied by a two-hour-long VR-based adult release. It also became the second best-selling Japanese adult film of 2018.


title: Yua Mikami

text: Mikami also appeared in S1's 15th-anniversary special, along with the studio's other exclusive performers: Tsukasa Aoi, Ayami Shunka, Moe Amatsuka, Arina Hashimoto, Usa Miharu, and Nene Yoshitaka. Mikami currently continues her AV career at S1 and appeared in over 200 titles so far. In 2019 and 2020, according to Fanza, she became the second highest selling AV actress of the year next to Yui Hatano and popular industry newcomer Ichika Matsumoto. In 2021, she reached the number one position, solidifying Mikami's status, as Japan's most popular adult performer.


title: Yua Mikami

text: Despite mainly being an adult performer, Mikami stayed close to her musical roots. On November 22, 2016, she released a solo single, "Ribbon". In 2018, she debuted as a member of the South Korean-based idol group Honey Popcorn with AV idols Moko Sakura and Miko Matsuda. The group was funded by Mikami herself as a passion project. However the group's debut proved to be controversial due to the member's line of work which went against the "pure" image associated with Korean idols. The group was forced to cancel their debut concert due to the outrage and a petition with over 50,000 signatures was passed to the Blue House, demanding the group's ban. Due to the intense backlash Matsuda left Honey Popcorn in December 2018, but Mikami managed to revive the group with three new members, and they released their second EP, "De-aeseohsta" in July 2019.


title: Yua Mikami

text: In 2017, she was crowned the Best Actress at the DMM Adult Awards, which marked her last appearance at a major industry-related event.


title: Yua Mikami

text: In the same year, Mikami also started her own clothing brand, "YOUR'S" (later rebranded as "miyour's"), a career choice largely inspired by her close friend and AV idol Kirara Asuka. On June 27, 2020, Mikami guest starred in Malaysian singer-songwriter Namewee's new music video titled "I Shot You" (). The video gained 1.4 million views in just over a day.


title: Yua Mikami

text: In June 2022 on the seventh anniversary of her debut, Mikami announced her separation from her representative office One's Double and the establishment of her own "Miss Co., Ltd." in January of the same year, allowing management independecy for Mikami. Her AV activities will continue in a business alliance with One's Double with the possibility of collaborating with other studios.


title: Yua Mikami

text: In July 2013, while she was a member of SKE48, "Shūkan Bunshun" published pictures of her kissing Yuya Tegoshi, while being allegedly drunk, and staying overnight at his house in May 2013. It caused an uproar, as Mikami was pictured with alcohol and had been under the legal drinking age at that time.


title: Divergence

text: In vector calculus, divergence is a vector operator that operates on a vector field, producing a scalar field giving the quantity of the vector field's source at each point. More technically, the divergence represents the volume density of the outward flux of a vector field from an infinitesimal volume around a given point.


title: Divergence

text: As an example, consider air as it is heated or cooled. The velocity of the air at each point defines a vector field. While air is heated in a region, it expands in all directions, and thus the velocity field points outward from that region. The divergence of the velocity field in that region would thus have a positive value. While the air is cooled and thus contracting, the divergence of the velocity has a negative value.


title: Divergence

text: In physical terms, the divergence of a vector field is the extent to which the vector field flux behaves like a source at a given point. It is a local measure of its "outgoingness" – the extent to which there are more of the field vectors exiting from an infinitesimal region of space than entering it. A point at which the flux is outgoing has positive divergence, and is often called a "source" of the field. A point at which the flux is directed inward has negative divergence, and is often called a "sink" of the field. The greater the flux of field through a small surface enclosing a given point, the greater the value of divergence at that point. A point at which there is zero flux through an enclosing surface has zero divergence.


title: Divergence

text: The divergence of a vector field is often illustrated using the simple example of the velocity field of a fluid, a liquid or gas. A moving gas has a velocity, a speed and direction at each point, which can be represented by a vector, so the velocity of the gas forms a vector field. If a gas is heated, it will expand. This will cause a net motion of gas particles outward in all directions. Any closed surface in the gas will enclose gas which is expanding, so there will be an outward flux of gas through the surface. So the velocity field will have positive divergence everywhere. Similarly, if the gas is cooled, it will contract. There will be more room for gas particles in any volume, so the external pressure of the fluid will cause a net flow of gas volume inward through any closed surface. Therefore the velocity field has negative divergence everywhere. In contrast, in a gas at a constant temperature and pressure, the net flux of gas out of any closed surface is zero. The gas may be moving, but the volume rate of gas flowing into any closed surface must equal the volume rate flowing out, so the "net" flux is zero. Thus the gas velocity has zero divergence everywhere. A field which has zero divergence everywhere is called solenoidal.


title: Divergence

text: If the gas is heated only at one point or small region, or a small tube is introduced which supplies a source of additional gas at one point, the gas there will expand, pushing fluid particles around it outward in all directions. This will cause an outward velocity field throughout the gas, centered on the heated point. Any closed surface enclosing the heated point will have a flux of gas particles passing out of it, so there is positive divergence at that point. However any closed surface "not" enclosing the point will have a constant density of gas inside, so just as many fluid particles are entering as leaving the volume, thus the net flux out of the volume is zero. Therefore the divergence at any other point is zero.


title: Divergence

text: [[Image:Definition of divergence.svg|thumb|The divergence at a point is the limit of the ratio of the flux formula_1 through the surface "(red arrows)" to the volume formula_2 for any sequence of closed regions enclosing that approaches zero volume: formula_3, where is the [[metric tensor]]. The [[determinant]] appears because it provides the appropriate invariant definition of the volume, given a set of vectors. Since the determinant is a scalar quantity which doesn't depend on the indices, these can be suppressed, writing formula_4. The absolute value is taken in order to handle the general case where the determinant might be negative, such as in pseudo-Riemannian spaces. The reason for the square-root is a bit subtle: it effectively avoids double-counting as one goes from curved to Cartesian coordinates, and back. The volume (the determinant) can also be understood as the [[Jacobian matrix and determinant|Jacobian]] of the transformation from Cartesian to curvilinear coordinates, which for gives


title: Divergence

text: Some conventions expect all local basis elements to be normalized to unit length, as was done in the previous sections. If we write formula_5 for the normalized basis, and formula_6 for the components of with respect to it, we have that


title: Divergence

text: using one of the properties of the metric tensor. By dotting both sides of the last equality with the contravariant element formula_8, we can conclude that formula_9. After substituting, the formula becomes:


title: Divergence

text: The following properties can all be derived from the ordinary differentiation rules of [[calculus]]. Most importantly, the divergence is a [[linear operator]], i.e.,


title: Divergence

text: There is a [[product rule]] of the following type: if is a scalar-valued function and is a vector field, then


title: Divergence

text: Another product rule for the [[cross product]] of two vector fields and in three dimensions involves the [[Curl (mathematics)|curl]] and reads as follows:


title: Divergence

text: The divergence of the [[Curl (mathematics)|curl]] of any vector field (in three dimensions) is equal to zero: