title: Royal Rumble (2021)

text: Following Drew McIntyre's successful WWE Championship defense during the special "Legends Night" episode of "Raw" on January 4, WWE Hall of Famer Goldberg, in his first appearance since WrestleMania 36 in 2020, appeared to confront McIntyre. After Goldberg praised McIntyre's work and abilities, he stated that McIntyre did not have respect, claiming that McIntyre viewed the legends as being "washed up" and that McIntyre felt he was better than any of them when they were in their prime. Goldberg then formally challenged McIntyre for the WWE Championship at the Royal Rumble. McIntyre responded that Goldberg was not the man he used to be and that facing him would be like facing his own dad. Goldberg then taunted and shoved McIntyre, who rose to his feet and stared down Goldberg. The following week, McIntyre refuted Goldberg's claim and said that he actually did have respect but that he was going to reject Goldberg's challenge until Goldberg pushed him, prompting him to accept the challenge and make the match official. McIntyre had accepted Goldberg's challenge via satellite as during that same episode, he announced that he had tested positive for COVID-19; following the standard 14-day quarantine procedure, McIntyre was cleared for the Royal Rumble, appearing live on "Raw" on the January 25 episode to have a final face-to-face meeting with Goldberg before their match.


title: Royal Rumble (2021)

text: At TLC, Sasha Banks retained the SmackDown Women's Championship against Carmella. Over the next couple of weeks, Carmella continuously taunted Banks, yearning for a rematch. On the January 15 episode of "SmackDown", Banks stated that she would give Carmella a rematch only if she faced Carmella's sommelier, Reginald, in a match first. The intergender match occurred the following week, in which Banks defeated Reginald. Banks kept her promise and a title rematch between Banks and Carmella was scheduled for the Royal Rumble.


title: Royal Rumble (2021)

text: During the Royal Rumble Kickoff pre-show, Raw Women's Champion Asuka and Charlotte Flair defended the WWE Women's Tag Team Championship against Nia Jax and Shayna Baszler. During the match, Ric Flair came out with Lacey Evans to distract his daughter—continuing an ongoing storyline from "Raw". As Charlotte applied the Figure Eight Leglock on Baszler, Evans broke it up. The climax saw Evans perform the Women's Right on Charlotte, after which Jax performed a leg drop on her to regain the title, thus Jax and Baszler became record-tying two-time champions, both as a team and individually.


title: Royal Rumble (2021)

text: The actual pay-per-view opened with Drew McIntyre defending the WWE Championship against Goldberg. Before the match could officially begin, McIntyre performed a Glasgow Kiss and Spear on Goldberg, knocking Goldberg out of the ring. Goldberg then retaliated by performing a Spear on McIntyre through the barricade. Goldberg returned to the ring, and after McIntyre also managed to return to the ring, the match officially began. McIntyre performed a Claymore Kick on Goldberg for a nearfall. Goldberg performed two Spears on McIntyre, also for a nearfall. Goldberg then performed a Jackhammer on McIntyre for a nearfall. As Goldberg attempted another Spear, McIntyre avoided Goldberg and performed a second Claymore Kick on Goldberg to retain the title. Following the match, Goldberg rose to his feet and endorsed McIntyre by shaking his hand, declaring that McIntyre passed the test, after which McIntyre and Goldberg embraced.


title: Royal Rumble (2021)

text: Next, Sasha Banks defended the SmackDown Women's Championship against Carmella (accompanied by her sommelier, Reginald). During the match, as Banks threw Carmella out of the ring, Reginald caught Carmella. Banks then performed a head scissors takeover and a Forearm on Reginald. The referee ejected Reginald from ringside. In the end, Banks applied the Bank Statement on Carmella, forcing her to tap, thus retaining the title, to end their feud.


title: Royal Rumble (2021)

text: Following the match, Bad Bunny performed his song "Booker T" with two-time WWE Hall of Famer Booker T himself making an appearance.


title: Royal Rumble (2021)

text: After that, the 30-woman Royal Rumble match was contested. Bayley and the returning Naomi entered the match as the first and second entrants, respectively. Bianca Belair entered third, and due to their ongoing rivalry from "SmackDown", Belair immediately attempted to eliminate Bayley, who avoided being eliminated. Instead of participating in the match, Billie Kay (#4) would join the ringside announcers for commentary. Kay attempted to team up with the next three entrants, Shotzi Blackheart (#5), Shayna Baszler (#6), and Toni Storm (#7), to take on the other participants in the match, however they all brushed her off. Kay eventually teamed up with guest entrant and former WWE wrestler Jillian Hall (#8) and Kay officially entered the match, however she eventually turned on Hall and eliminated her. Shortly thereafter, Kay was also eliminated. Midway through the match, Lacey Evans (#18) entered, accompanied by Ric Flair, while wearing his signature robe in an attempt to taunt Charlotte Flair (#15). Immediately after former WWE wrestler Alicia Fox (#21) entered, 24/7 Champion R-Truth ran to the ring. Several other male 24/7 Title challengers appeared and ran after Truth, who then ran into the ring. As Truth fended them off, Fox pinned Truth to win the 24/7 Championship. Mandy Rose (#22) then eliminated Fox, after which Truth pinned Fox outside the ring to regain the title. As Carmella (#24 – accompanied by Reginald) entered, Nikki Cross (#20) attempted to eliminate Carmella, however Reginald caught Carmella, thus saving her from elimination. As Tamina (#25) made her way to the ring, she attacked Reginald, accidentally dropping Carmella, thus causing her elimination inadvertently. Rhea Ripley (#14) then eliminated Alexa Bliss (#27) before Bliss could transform into her alter-ego Fiend-esque persona (due to her alignment with "The Fiend" Bray Wyatt). The final four were Flair, Ripley, Belair, and Natalya, who earned the #30 spot by defeating Tamina the previous day on "WWE Backstage". After Natalya was quickly eliminated, Belair and Ripley teamed together and eliminated Flair. In the end, after a back-and-forth battle, Belair eliminated Ripley to win the match and earn herself a women's championship match at WrestleMania 37. Belair also became the second wrestler to win the match as the third entrant, after Ric Flair in 1992. Following the match, an emotional Belair celebrated her win.


title: Royal Rumble (2021)

text: In the penultimate match, Roman Reigns (accompanied by Paul Heyman) defended the Universal Championship against Kevin Owens in a Last Man Standing match. At the start of the match, Reigns performed a Superman Punch on Owens only for Owens to rise to his feet. Owens countered a Spear from Reigns into a Pop-up Powerbomb, however Reigns rose to his feet at the 4 count. Midway, the two fought at ringside where Reigns viciously attacked Owens with the steel steps. Reigns then threw Owens through an announce table from the LED boards of the ThunderDome arena. Owens and Reigns fought backstage where Reigns drove a golf cart into Owens. Owens then performed a Senton Bomb on Reigns off a forklift through a table. In the end, Owens handcuffed Reigns to a lighting trellis. Unable to get to his feet and avoid losing, Reigns incapacitated the referee by shoving him into the trellis. Heyman then appeared and successfully freed Reigns from the cuffs. Reigns then applied the guillotine choke on Owens, incapacitating him and preventing Owens from rising to his feet by the count of 10, thus Reigns retained the title.


title: Royal Rumble (2021)

text: In the main event, the 30-man Royal Rumble match was contested. Hall of Famer Edge, returning from a triceps tear, and Raw's Randy Orton started the match as the first and second entrants, respectively. The two fought at ringside before the match officially began. They eventually fought into the ring and the match began. Orton, along with SmackDown's Sami Zayn (#3) and Mustafa Ali (#4), began to triple team Edge, however he fought them off and performed a Spear on Orton, who rolled out of the ring under the bottom rope. Edge followed Orton soon after and the two continued to brawl at ringside.


title: Royal Rumble (2021)

text: In his first appearance since 2010, Carlito made a surprise return at #8, however he was eliminated by Elias (#13). NXT's Damian Priest (#14) then eliminated Elias. It was then shown that medical personnel tended to Orton backstage and Edge returned to the match soon after. Due to Bad Bunny rejecting The Miz's offer in a backstage segment earlier, Miz (#15) proceeded to destroy Bad Bunny's DJ equipment on the stage and then celebrated with his tag team partner, John Morrison (#11). An irate Bad Bunny then came out, distracting Miz and Morrison, who were eliminated by Priest. Bad Bunny then performed a cross body on Miz and Morrison outside the ring. Kane (#18) made a surprise return and after a brief Team Hell No reunion, he chokeslammed Daniel Bryan (#17) but was then eliminated by Priest. Later in the match, Christian (#24) made his surprise return to in-ring action, his first official match since 2014. After entering the ring and reuniting with Edge, the two embraced. Seth Rollins (#29) then made a surprise return from his two-month hiatus, followed by Braun Strowman (#30), who had made an appearance at the end of the previous episode of "SmackDown" following a two-month suspension.


title: Royal Rumble (2021)

text: The final five were Edge, Christian, Rollins, Strowman, and Orton (unbeknownst to the rest at this time as he had not returned from his injury earlier). Rollins convinced Strowman to work together and eliminate Edge and Christian, however Strowman turned on Rollins soon after. As Strowman tried to eliminate Edge, Christian tried to assist Edge to eliminate Strowman. Rollins would eliminate Christian, which helped give leverage to Edge to simultaneously eliminate Strowman. Edge then eliminated Rollins soon after. Immediately following Rollins' elimination, Orton returned to the match and performed an RKO on Edge. Orton then attempted to eliminate Edge, however he countered and eliminated Orton 11 years to the day of his first Rumble match victory, and earning himself a world championship match at WrestleMania 37. Edge became the eighth wrestler to win the Royal Rumble match twice, the third wrestler to win the match as the number one entrant (after Shawn Michaels in 1995 and Chris Benoit in 2004), and the first wrestler to win a Royal Rumble match after being inducted into the WWE Hall of Fame. Additionally, this was only the third time that the first and second entrants lasted the entire match and finished as the final two (last occurring in 1995 and 1999).


title: Royal Rumble (2021)

text: The following night on "Raw", WWE Champion Drew McIntyre opened the show and stated that Goldberg had earned his respect and he had also earned Goldberg's respect. McIntyre was then interrupted by men's Royal Rumble winner Edge. McIntyre complimented Edge, however Edge took issue as he thought that McIntyre would be more aggressive. After Edge teased that he would choose McIntyre as his opponent at WrestleMania 37, McIntyre's friend Sheamus came out, stating that he was not as nice as his friend. McIntyre then asked Edge about his decision and Edge stated he would reveal his choice in due time. After Edge left the ring, Sheamus performed a Brogue Kick on McIntyre, sending a direct message that he was no longer McIntyre's friend and wanted the WWE Championship. The following week, McIntyre was scheduled to defend the WWE Championship in an Elimination Chamber match at Elimination Chamber, also involving Sheamus and four other former WWE Champions, while Edge said he would wait until after that event to make his decision.


title: Royal Rumble (2021)

text: Unsatisfied with Edge's victory in the Royal Rumble and his victory over Edge in "The Greatest Wrestling Match Ever" back at Backlash in 2020, Randy Orton challenged Edge to one final match on "Raw". In the main event, Edge defeated Orton thanks to a distraction from Alexa Bliss (continuing a storyline between Orton, Bliss, and "The Fiend" Bray Wyatt), putting an end to Edge and Orton's rivalry.


title: Royal Rumble (2021)

text: Also on the following night's episode of "Raw", former WWE Women's Tag Team Champions Asuka & Charlotte Flair participated in a triple threat tag team match to earn an opportunity at a rematch for the titles against new champions Nia Jax & Shayna Baszler, which also involved the teams of Naomi & Lana and Dana Brooke & Mandy Rose. Thanks to another distraction by Ric Flair and Lacey Evans, however, the match was won by Naomi & Lana. The following week, Evans defeated Charlotte by disqualification, again thanks to Ric, to earn a Raw Women's Championship match against Asuka at Elimination Chamber. Women's Royal Rumble winner Bianca Belair also appeared that episode and teased that she would choose the Raw Women's Championship if Asuka retained at Elimination Chamber.


title: Royal Rumble (2021)

text: Bad Bunny was a guest on "Miz TV." The Miz and John Morrison apologized for their actions at the Royal Rumble, which Bad Bunny accepted; however, Bad Bunny did not apologize for his own actions. Bad Bunny then stated that one of his dreams was to become a WWE wrestler, which Miz claimed he could help him with as a mentor (referencing when he was a mentor to Daniel Bryan in 2010), however Bad Bunny rejected the offer. Bad Bunny then stated the only reason he was there was because his "friend" wanted to be on Miz TV, prompting Damian Priest to come out, making his Raw debut. Priest then came out and attacked Miz. A match between Priest and Miz ensued where Priest emerged victorious.


title: Royal Rumble (2021)

text: The following Wednesday on "NXT", men's Royal Rumble winner Edge made a special appearance. He talked about how seeing the passion, drive, and focus on wrestling in NXT helped motivate him to make his comeback. He told NXT Champion Finn Bálor and Bálor's opponent Pete Dunne that he would be watching their match, and regardless of who won, it could influence his decision on which world championship he would challenge for at WrestleMania 37, teasing the possibility that Edge may choose the NXT Championship.


title: Royal Rumble (2021)

text: On Friday's "SmackDown", Universal Champion Roman Reigns opened the show, accompanied by Paul Heyman and Jey Uso. He stated that he kept his word in that he would defeat Kevin Owens. He then turned his attention to men's Royal Rumble winner Edge, assuming that Edge would choose to challenge him at WrestleMania 37. Reigns called out Edge, who had not arrived at the arena yet. Reigns then demanded that Edge reveal his decision before the end of the night. Later that night, Edge came out and questioned himself on who he should challenge, either WWE Champion Drew McIntyre, NXT Champion Finn Bálor, or the Universal Champion, who then came out, accompanied by Heyman and Jey. Reigns then demanded that Edge choose him, however, before Edge could answer, Owens attacked Reigns with a Stunner from behind. At Elimination Chamber on February 21, Edge revealed his choice to challenge Reigns for the Universal Championship at WrestleMania.


title: Royal Rumble (2021)

text: Women's Royal Rumble match winner Bianca Belair spoke about her win and her championship choices. She was interrupted by Carmella's sommelier, Reginald, who claimed that Belair could not defeat SmackDown Women's Champion Sasha Banks, as she could not beat Carmella either, who then made her entrance and boasted about how she had defeated Banks in the past and that she could also defeat Belair if she chose to face Banks, who then came out and told Carmella that they were done. Banks then complimented Belair, but stated Belair was not the best as she did not have the SmackDown Women's Championship. Reginald interrupted and stated that Belair would be better off choosing to face Raw Women's Champion Asuka as she would lose to Banks, after which Belair attacked Reginald as Banks and Carmella watched on. After weeks of discussing her three options, Belair decided on the February 26 episode of "SmackDown" that she would challenge Banks for the SmackDown Women's Championship at WrestleMania.


title: Professor

text: Professor (commonly abbreviated as Prof.) is an academic rank at universities and other post-secondary education and research institutions in most countries. Literally, "professor" derives from Latin as a "person who professes". Professors are usually experts in their field and teachers of the highest rank.


title: Professor

text: In most systems of academic ranks, "professor" as an unqualified title refers only to the most senior academic position, sometimes informally known as "full professor". In some countries and institutions, the word "professor" is also used in titles of lower ranks such as associate professor and assistant professor; this is particularly the case in the United States, where the unqualified word is also used colloquially to refer to associate and assistant professors as well. This usage would be considered incorrect among other academic communities. However, the otherwise unqualified title "Professor" designated with a capital letter nearly always refers to a full professor.


title: Professor

text: Professors often conduct original research and commonly teach undergraduate, professional, or postgraduate courses in their fields of expertise. In universities with graduate schools, professors may mentor and supervise graduate students conducting research for a thesis or dissertation. In many universities, full professors take on senior managerial roles such as leading departments, research teams and institutes, and filling roles such as president, principal or vice-chancellor. The role of professor may be more public-facing than that of more junior staff, and professors are expected to be national or international leaders in their field of expertise.


title: Professor

text: The term "professor" was first used in the late 14th century to mean 'one who teaches a branch of knowledge'. The word comes "...from Old French (14c.) and directly from [the] Latin [, for] 'person who professes to be an expert in some art or science; teacher of highest rank; the Latin term came from the "...agent noun from 'lay claim to, declare openly'." As a title that is "prefixed to a name, it dates from 1706". The "[s]hort form prof is recorded from 1838". The term "professor" is also used with a different meaning: "[o]ne professing religion. This canting use of the word comes down from the Elizabethan period, but is obsolete in England."


title: Professor

text: A professor is an accomplished and recognized academic. In most Commonwealth nations, as well as northern Europe, the title "professor" is the highest academic rank at a university. In the United States and Canada, the title of "professor" applies to most post-doctoral academics, so a larger percentage are thus designated. In these areas, professors are scholars with doctorate degrees (typically PhD degrees) or equivalent qualifications who teach in four-year colleges and universities. An emeritus professor is a title given to selected retired professors with whom the university wishes to continue to be associated due to their stature and ongoing research. Emeritus professors do not receive a salary, but they are often given office or lab space, and use of libraries, labs, and so on.


title: Professor

text: The term professor is also used in the titles "assistant professor" and "associate professor", which are not considered professor-level positions in all European countries. In Australia, the title "associate professor" is used in place of the term "reader" as used in the United Kingdom and other Commonwealth countries; ranking above senior lecturer and below full professor.


title: Professor

text: Beyond holding the proper academic title, universities in many countries also give notable artists, athletes and foreign dignitaries the title "honorary professor", even if these persons do not have the academic qualifications typically necessary for professorship and they do not take up professorial duties. However, such "professors" usually do not undertake academic work for the granting institution. In general, the title of professor is strictly used for academic positions rather than for those holding it on honorary basis.


title: Professor

text: Professors are qualified experts in their field who generally perform some or all the following tasks:


title: Professor

text: Other roles of professorial tasks depend on the institution, its legacy, protocols, place (country), and time. For example, professors at research-oriented universities in North America and, generally, at European universities, are promoted primarily on the basis of research achievements and external grant-raising success.


title: Professor

text: Many colleges and universities and other institutions of higher learning throughout the world follow a similar hierarchical ranking structure amongst scholars in academia; the list above provides details.


title: Professor

text: A professor typically earns a base salary and a range of employee benefits. In addition, a professor who undertakes additional roles in their institution (e.g., department chair, dean, head of graduate studies, etc.) earns additional income. Some professors also earn additional income by moonlighting in other jobs, such as consulting, publishing academic or popular press books, giving speeches, or coaching executives. Some fields (e.g., business and computer science) give professors more opportunities for outside work.


title: Professor

text: A report from 2005 by the "Deutscher Hochschulverband DHV", a lobby group for German professors, the salary of professors, the annual salary of a German professor is €46,680 in group "W2" (mid-level) and €56,683 in group "W3" (the highest level), without performance-related bonuses. The anticipated average earnings with performance-related bonuses for a German professor is €71,500. The anticipated average earnings of a professor working in Switzerland vary for example between 158,953 CHF (€102,729) to 232,073 CHF (€149,985) at the University of Zurich and 187,937 CHF (€121,461) to 247,280 CHF (€159,774) at the ETH Zurich; the regulations are different depending on the Cantons of Switzerland.


title: Professor

text: According to The Ministry of Civil Service, the salary of a professor in any public university is 344,497.5 SAR, or US$91,866.


title: Professor

text: The salaries of civil servant professors in Spain are fixed on a nationwide basis, but there are some bonuses related to performance and seniority and a number of bonuses granted by the Autonomous Regional governments. These bonuses include three-year premiums (, according to seniority), five-year premiums (, according to compliance with teaching criteria set by the university) and six-year premiums (, according to compliance with research criteria laid down by the national government). These salary bonuses are relatively small. Nevertheless, the total number of is a prerequisite for being a member of different committees.


title: Professor

text: The importance of these as a prestige factor in the university was enhanced by legislation in 2001 (LOU). Some indicative numbers can be interesting, in spite of the variance in the data. We report net monthly payments (after taxes and social security fees), without bonuses: Ayudante, €1,200; Ayudante Doctor, €1,400; Contratado Doctor; €1,800; Professor Titular, €2,000; Catedrático, €2,400. There are a total of 14 payments per year, including 2 extra payments in July and December (but for less than a normal monthly payment).


title: Professor

text: In 2007 the Dutch social fund for the academic sector SoFoKleS commissioned a comparative study of the wage structure of academic professions in the Netherlands in relation to that of other countries. Among the countries reviewed are the United States, the United Kingdom, Switzerland, Germany, Belgium, France, Sweden and the Netherlands. To improve comparability, adjustments have been made to correct for purchasing power and taxes. Because of differences between institutions in the US and UK these countries have two listings of which one denotes the salary in top-tier institutions (based on the Shanghai-ranking).


title: Professor

text: As late as 2021, in the Italian universities there are about 18 thousand Assistant Professors, 23 thousand Associate Professors, and 14 thousand Full Professors. The role of "professore a contratto" (the equivalent of an "adjunct professor"), a non-tenured position which does not require a PhD nor any habilitation, is paid at the end of the academic year nearly €3000 for the entire academic year, without salary during the academic year. There are about 28 thousand "Professori a contratto" in Italy, . Associate Professors have a gross salary in between 52.937,59 and 96.186,12 euros per year, Full Professors have a gross salary in between 75.431,76 and 131.674 Euros per year, and adjunct professors of around 3,000 euros per year.


title: Professor

text: Professors in the United States commonly occupy any of several positions in academia. In the U.S., the word "professor" informally refers collectively to the academic ranks of assistant professor, associate professor, or professor. This usage differs from the predominant usage of the word professor internationally, where the unqualified word professor only refers to "full professors." The majority of university lecturers and instructors in the United States, , do not occupy these tenure-track ranks, but are part-time adjuncts.


title: Professor

text: The table below shows the final reference wages (per year) expressed in net amounts of Dutch Euros in 2014. (i.e., converted into Dutch purchasing power).


title: Professor

text: In a number of countries, the title "research professor" refers to a professor who is exclusively or mainly engaged in research, and who has few or no teaching obligations. For example, the title is used in this sense in the United Kingdom (where it is known as a research professor at some universities and professorial research fellow at some other institutions) and in northern Europe. A research professor is usually the most senior rank of a research-focused career pathway in those countries and is regarded as equal to the ordinary full professor rank. Most often they are permanent employees, and the position is often held by particularly distinguished scholars; thus the position is often seen as more prestigious than an ordinary full professorship. The title is used in a somewhat similar sense in the United States, with the exception that research professors in the United States are often not permanent employees and often must fund their salary from external sources, which is usually not the case elsewhere.


title: Professor

text: Traditional fictional portrayals of professors, in accordance with a stereotype, are shy, absent-minded individuals often lost in thought. In many cases, fictional professors are socially or physically awkward. Examples include the 1961 film "The Absent-Minded Professor" or Professor Calculus of "The Adventures of Tintin" stories. Professors have also been portrayed as being misguided into an evil pathway, such as Professor Metz, who helped Bond villain Blofeld in the film "Diamonds Are Forever"; or simply evil, like Professor Moriarty, archenemy of British detective Sherlock Holmes. The modern animated series "Futurama" has Professor Hubert Farnsworth, a typical absent-minded but genius-level professor. A related stereotype is the mad scientist.


title: Professor

text: Vladimir Nabokov, author and professor of English at Cornell, frequently used professors as the protagonists in his novels. Professor Henry Higgins is a main character in George Bernard Shaw's play "Pygmalion". In the "Harry Potter" series, set at the wizard school Hogwarts, the teachers are known as professors, many of whom play important roles, notably Professors Dumbledore, McGonagall and Snape. In the board game "Cluedo", Professor Plum has been depicted as an absent-minded academic. Christopher Lloyd played Plum's film counterpart, a psychologist who had an affair with one of his patients.


title: Professor

text: Since the 1980s and 1990s, various stereotypes were re-evaluated, including professors. Writers began to depict professors as just normal human beings and might be quite well-rounded in abilities, excelling both in intelligence and in physical skills. An example of a fictional professor not depicted as shy or absent-minded is Indiana Jones, a professor as well as an archeologist-adventurer, who is skilled at both scholarship and fighting. The popularity of the "Indiana Jones" movie franchise had a significant impact on the previous stereotype, and created a new archetype which is both deeply knowledgeable and physically capable. The character generally referred to simply as the Professor on the television sit com series, "Gilligan's Island", although described alternatively as a high-school science teacher or research scientist, is depicted as a sensible advisor, a clever inventor, and a helpful friend to his fellow castaways. John Houseman's portrayal of law school professor Charles W. Kingsfield, Jr., in "The Paper Chase" (1973) remains the epitome of the strict, authoritarian professor who demands perfection from students. Annalise Keating (played by Viola Davis) from the American Broadcasting Company (ABC) legal drama mystery television series "How to Get Away with Murder" is a law professor at the fictional Middleton University. Early in the series, Annalise is a self-sufficient and confident woman, respected for being a great law professor and a great lawyer, feared and admired by her students, whose image breaks down as the series progresses. Sandra Oh stars as an English professor, Ji-Yoon Kim, recently promoted to the role of department chair in the 2021 Netflix series, "The Chair." The series includes her character's negotiation of liberal arts campus politics, in particular issues of racism, sexism, and social mores.


title: Professor

text: Mysterious, older men with magical powers (and unclear academic standing) are sometimes given the title of "Professor" in literature and theater. Notable examples include Professor Marvel in "The Wizard of Oz" and Professor Drosselmeyer (as he is sometimes known) from the ballet "The Nutcracker". Also, the magician played by Christian Bale in the film, "The Prestige", adopts 'The Professor' as his stage name. A variation of this type of non-academic professor is the "crackpot inventor", as portrayed by Professor Potts in the film version of "Chitty Chitty Bang Bang" or the Jerry Lewis-inspired "Professor Frink" character on "The Simpsons". Other professors of this type are the thoughtful and kind Professor Digory Kirke of C.S. Lewis' "Chronicles of Narnia".


title: Professor

text: The title has been used by comedians, such as "Professor" Irwin Corey and Soupy Sales in his role as "The Big Professor". In the past, pianists in saloons and other rough environments have been called "professor". The puppeteer of a Punch and Judy show is also traditionally known as "Professor". Aside from such examples in the performing arts, one apparently novel example is known where the title of professor has latterly been applied to a college appointee with an explicitly "non-academic role", which seems to be primarily linked to claims of "strategic importance".


title: Akathisia

text: Akathisia is a movement disorder characterized by a subjective feeling of inner restlessness accompanied by mental distress and an inability to sit still. Usually, the legs are most prominently affected. Those affected may fidget, rock back and forth, or pace, while some may just have an uneasy feeling in their body. The most severe cases may result in aggression, violence, and/or suicidal thoughts. Akathisia is also associated with threatening behaviour and physical aggression that is greatest in patients with mild akathisia, and diminishing with increasing severity of akathisia.


title: Akathisia

text: Antipsychotic medication, particularly the first generation antipsychotics, are a leading cause. Other agents commonly responsible for this side-effect may also include selective serotonin reuptake inhibitors, metoclopramide, and reserpine, though any medication listing agitation as a side effect may trigger it. It may also occur upon stopping antipsychotics. The underlying mechanism is believed to involve dopamine. Diagnosis is based on the symptoms. It differs from restless leg syndrome in that akathisia is not associated with sleeping. However, despite a lack of historical association between restless leg syndrome and akathisia, this does not guarantee that the two conditions do not share symptoms in individual cases.


title: Akathisia

text: Treatment may include switching to an antipsychotic with a lower risk of the condition, if the akathisia was caused by an antipsychotic. The antidepressant mirtazapine has demonstrated benefit, as well as diphenhydramine, trazodone, benzatropine, cyproheptadine, and beta blockers, particularly propranolol.


title: Akathisia

text: The term was first used by Czech neuropsychiatrist Ladislav Haškovec, who described the phenomenon in 1901 long before the discovery of antipsychotics, with drug-induced akathisia first being described in 1960. It is from Greek "a-", meaning "not", and "kathízein", meaning "to sit", or in other words an "inability to sit".


title: Akathisia

text: Akathisia is usually grouped as a medication-induced movement disorder but is also seen to be a neuropsychiatric concern as it can be experienced purely subjectively with no apparent movement abnormalities. Akathisia is generally associated with antipsychotics but it was already described in Parkinson's disease, and other neuropsychiatric disorders. It also presents with the use of non-psychiatric medications, including calcium channel blockers, antibiotics, anti-nausea and anti-vertigo drugs.


title: Akathisia

text: Symptoms of akathisia are often described in vague terms such as feeling nervous, uneasy, tense, twitchy, restless, and an inability to relax. Reported symptoms also include insomnia, a sense of discomfort, motor restlessness, marked anxiety, and panic. Symptoms have also been said to resemble symptoms of neuropathic pain that are similar to fibromyalgia and restless legs syndrome. When due to psychiatric drugs, the symptoms are side effects that usually disappear quickly and remarkably when the medication is reduced or stopped. However, "tardive akathisia" which has a late onset, may go on long after the medication is discontinued, for months and sometimes years.


title: Akathisia

text: When misdiagnosis occurs in antipsychotic-induced akathisia, more antipsychotic may be prescribed, potentially worsening the symptoms. If symptoms are not recognised and identified akathisia can increase in severity and lead to suicidal thoughts, aggression and violence.


title: Akathisia

text: Visible signs of akathisia include repetitive movements such as crossing and uncrossing the legs, and constant shifting from one foot to the other. Other noted signs are rocking back and forth, fidgeting and pacing. However, not all observable restless motion is akathisia. For example, mania, agitated depression, and attention deficit hyperactivity disorder may look like akathisia, but the movements feel voluntary and not due to restlessness.


title: Akathisia

text: Jack Henry Abbott, who was diagnosed with akathisia, described the sensation in 1981 as: "You ache with restlessness, so you feel you have to walk, to pace. And then as soon as you start pacing, the opposite occurs to you; you must sit and rest. Back and forth, up and down you go … you cannot get relief …"


title: Akathisia

text: Medication-induced akathisia is termed "acute akathisia" and is frequently associated with the use of antipsychotics. Antipsychotics block dopamine receptors, but the pathophysiology is poorly understood. Additionally, drugs with successful therapeutic effects in the treatment of medication-induced akathisia have provided additional insight into the involvement of other transmitter systems. These include benzodiazepines, β-adrenergic blockers, and serotonin antagonists. Another major cause of the syndrome is the withdrawal observed in drug-dependent individuals. Since dopamine deficiency (or disruptions in dopamine signalling) appears to play an important role in the development of Restless Legs Syndrome (RLS), a form of akathisia focused in the legs, the sudden withdrawal or rapidly decreased dosage of drugs which increase dopamine signalling may create similar deficits of the chemical which mimic dopamine antagonism and thus can precipitate RLS. This is why sudden cessation of opioids, cocaine, serotonergics, and other euphoria-inducing substances commonly produce RLS as a side-effect.


title: Akathisia

text: Akathisia involves increased levels of the neurotransmitter norepinephrine, which is associated with mechanisms that regulate aggression, alertness, and arousal. It has been correlated with Parkinson's disease and related syndromes, and descriptions of akathisia predate the existence of pharmacologic agents.


title: Akathisia

text: Akathisia can be miscoded in side effect reports from antidepressant clinical trials as "agitation, emotional lability, and hyperkinesis (overactivity)"; misdiagnosis of akathisia as simple motor restlessness occurred, but was more properly classed as dyskinesia.


title: Akathisia

text: The presence and severity of akathisia can be measured using the Barnes Akathisia Scale, which assesses both objective and subjective criteria. Precise assessment of akathisia is problematic, as there are various types making it difficult to differentiate from disorders with similar symptoms.


title: Akathisia

text: The primary distinguishing features of akathisia in comparison with other syndromes are primarily subjective characteristics, such as the feeling of inner restlessness and tension. Akathisia can commonly be mistaken for agitation secondary to psychotic symptoms or mood disorder, antipsychotic dysphoria, restless legs syndrome, anxiety, insomnia, drug withdrawal states, tardive dyskinesia, or other neurological and medical conditions.


title: Akathisia

text: Acute akathisia induced by medication, often antipsychotics, is treated by reducing or discontinuing the medication. Low doses of the antidepressant mirtazapine may be of help. Benzodiazepines, such as lorazepam; beta blockers such as propranolol; anticholinergics such as benztropine; and serotonin antagonists such as cyproheptadine may also be of help in treating acute akathisia but are much less effective for treating chronic akathisia. Vitamin B, and iron supplementation if deficient, may be of help.


title: Akathisia

text: Although they are sometimes used to treat akathisia, benzodiazepines and antidepressants can actually cause akathisia.


title: Akathisia

text: As of 2007, published epidemiological data for akathisia was mostly limited to studies before the availability of second-generation antipsychotics. Prevalence rates may be lower for modern treatment as second-generation antipsychotics carry a lower risk of akathisia.


title: Akathisia

text: Approximately one out of four individuals treated with first-generation antipsychotics have akathisia.


title: Akathisia

text: The term was first used by Czech neuropsychiatrist Ladislav Haškovec, who described the phenomenon in a non-medication induced presentation in 1901.


title: Akathisia

text: Reports of medication-induced akathisia from chlorpromazine appeared in 1954. Later in 1960 there were reports of akathisia in response to phenothiazines (a related drug). Akathisia is classified as an extrapyramidal side effect along with other movement disorders that can be caused by antipsychotics.


title: Akathisia

text: In the former Soviet Union, akathisia-inducing drugs were allegedly used as a form of torture. Haloperidol, an antipsychotic medication, was used to induce intense restlessness and Parkinson's-type symptoms in prisoners.


title: Akathisia

text: In 2020 clinical psychologist and professor of psychology Jordan Peterson was diagnosed with akathisia after being treated for insomnia and depression with benzodiazepines that was associated with an autoimmune disorder and was subsequently treated in Russia.


title: Business magnate

text: A business magnate, also known as a tycoon, is a person who has achieved immense wealth through the ownership of multiple lines of enterprise. The term characteristically refers to a powerful entrepreneur or investor who controls, through personal enterprise ownership or a dominant shareholding position, a firm or industry whose goods or services are widely consumed. Such individuals have been known by different terms throughout history, such as industrialists, robber barons, captains of industry, czars, moguls, oligarchs, plutocrats, or taipans.


title: Business magnate

text: The term "magnate" derives from the Latin word "magnates" (plural of "magnas"), meaning "great man" or "great nobleman".


title: Business magnate

text: The term "mogul" is an English corruption of "mughal", Persian or Arabic for "Mongol". It alludes to emperors of the Mughal Empire in Medieval India, who possessed great power and storied riches capable of producing wonders of opulence such as the Taj Mahal.


title: Business magnate

text: The term "tycoon" derives from the Japanese word , which means "great lord", used as a title for the "shōgun". The word entered the English language in 1857 with the return of Commodore Perry to the United States. US President Abraham Lincoln was humorously referred to as "the Tycoon" by his aides John Nicolay and John Hay. The term spread to the business community, where it has been used ever since.


title: Business magnate

text: Modern business magnates are entrepreneurs that amass on their own or wield substantial family fortunes in the process of building or running their own businesses. Some are widely known in connection with these entrepreneurial activities, others through highly-visible secondary pursuits such as philanthropy, political fundraising and campaign financing, and sports team ownership or sponsorship.


title: Business magnate

text: The terms "mogul", "tycoon", and "baron" were often applied to late-19th- and early-20th-century North American business magnates in extractive industries such as mining, logging and petroleum, transportation fields such as shipping and railroads, manufacturing such as automaking and steelmaking, in banking, as well as newspaper publishing. Their dominance was known as the Second Industrial Revolution, the Gilded Age, or the Robber Baron Era.


title: Business magnate

text: Examples of business magnates in the western world include historical figures such as oilman John D. Rockefeller, automobile pioneer Henry Ford, shipping and railroad veterans Aristotle Onassis, Cornelius Vanderbilt, Leland Stanford, Jay Gould, and James J. Hill, steel innovator Andrew Carnegie, newspaper publisher William Randolph Hearst, retail merchant Sam Walton, and banker J. P. Morgan. Contemporary industrial tycoons include e-commerce entrepreneur Jeff Bezos, investor Warren Buffett, computer programmer Bill Gates, technology innovator Steve Jobs, media proprietor Sumner Redstone, steel investor Lakshmi Mittal, telecommunications investor Carlos Slim, Virgin Group founder Sir Richard Branson, entrepreneur Elon Musk, Formula 1 manager Bernie Ecclestone, media entrepreneur Rupert Murdoch, and poultry technologist Frank Perdue.


title: Wind of Change (Scorpions song)

text: "Wind of Change" is a song by West German rock band Scorpions, recorded for their eleventh studio album, "Crazy World" (1990). The power ballad was composed and written by the band's lead singer Klaus Meine and produced by Keith Olsen and the band. The lyrics were composed by Meine following the band's visit to the Soviet Union at the height of perestroika, when the enmity between the communist and capitalist blocs subsided concurrently with the promulgation of large-scale socioeconomic reforms in the Soviet Union.


title: Wind of Change (Scorpions song)

text: "Wind of Change" was released as the album's third single on 21 January 1991 and became a worldwide hit, just after the failed coup that would eventually lead to the end of the Soviet Union. The song topped the charts in Germany and across Europe and peaked at number four in the United States and at number two in the United Kingdom. It later appeared on the band's 1995 live album "Live Bites", their 2000 album with the Berlin Philharmonic Orchestra, "Moment of Glory", and on their 2001 "unplugged" album "Acoustica". The band also recorded a Russian-language version of the song, under the title "" ("Veter Peremen") and a Spanish version called "" "(Winds of Change)".


title: Wind of Change (Scorpions song)

text: With estimated sales of 14 million copies sold worldwide, "Wind of Change" is one of the best-selling singles of all time. It holds the record for the best-selling single by a German artist. The band presented a gold record and $70,000 of royalties from the single to Mikhail Gorbachev in 1991, with Soviet news sources claiming the money would be allocated to children's hospitals.


title: Wind of Change (Scorpions song)

text: Klaus Meine said in an interview that the time 1988/1989 in the Soviet Union was characterized by the mood that the Cold War was coming to an end, the music was the unifying factor between the peoples. The memories of this time are also transported in the music video for the song. Meine was inspired by his participation in the Moscow Music Peace Festival on 13 August 1989, at Lenin Stadium, where the Scorpions performed in front of about 300,000 fans:


title: Wind of Change (Scorpions song)

text: The lyrics celebrate "glasnost" in the Soviet Union, the end of the Cold War, and speak of hope at a time when tense conditions had arisen due to the fall of Communist-run governments among Eastern Bloc nations beginning in 1989. The opening lines refer to the city of Moscow's landmarks:


title: Wind of Change (Scorpions song)

text: The Moskva is the name of the river that runs through Moscow (both the city and the river are named identically in Russian), and Gorky Park is an urban park in Moscow named after the writer Maxim Gorky. The song also contains a reference to the balalaika, which is a Russian stringed instrument somewhat like a guitar. The balalaika is mentioned in the following lines:


title: Wind of Change (Scorpions song)

text: "Wind of Change" opens with a clean guitar introduction played by Matthias Jabs, which is played alongside Klaus Meine's flat whistle. The song's guitar solo is played by Rudolf Schenker.


title: Wind of Change (Scorpions song)

text: The song is the subject of the podcast "Wind of Change", released 11 May 2020, which raises questions regarding the song's origin. Patrick Radden Keefe, the "New Yorker" author and host of the podcast investigates the allegation that the song was written by or connected to the Central Intelligence Agency, citing a rumor originating allegedly from inside the agency. In a Sirius XM interview with Eddie Trunk on 13 May 2020, Meine stated "It's a fascinating idea, and it's an entertaining idea, but it's not true at all".


title: Wind of Change (Scorpions song)

text: The song became associated with the Revolutions of 1989 and the Fall of the Berlin Wall also in 1989 and was performed by the Scorpions at the Brandenburg Gate on 9 November 1999, during the 10th anniversary of the Fall of the Berlin Wall.


title: Wind of Change (Scorpions song)

text: In 2005, viewers of the German television network ZDF chose this song as the song of the century. "Wind of Change" is featured in the films "In Search of a Midnight Kiss" (2007), "Gentlemen Broncos" (2009), "The Interview" (2014), and "Love Island" (2014), and the video game "SingStar Rocks!" (2006). The song can be heard in the opening scene of the action comedy film "The Spy Who Dumped Me" (2018). The song is also featured in television shows "Melrose Place", "Chuck", and "Car Share" and "Nutri Ventures" parody version.


title: Wind of Change (Scorpions song)

text: As of 2022, the Scorpions still perform the song live but with lyrical changes in light of the 2022 Russian invasion of Ukraine. The opening lines are changed to "Now listen to my heart / It says Ukraine, waiting for the wind to change." Meine stated, "It's not the time with this terrible war in Ukraine raging on, it's not the time to romanticize Russia."


title: Kākāpō

text: The kākāpō ( ; ; from the ), also known as owl parrot (Strigops habroptilus), is a species of large, flightless, nocturnal, ground-dwelling parrots of the super-family Strigopoidea, endemic to New Zealand.


title: Kākāpō

text: Up to in length, these flightless birds have finely blotched yellow-green plumage, a distinct facial disc, owl-style forward-facing eyes with surrounding discs of specially-textured feathers, a large grey beak, short legs, large blue feet, and relatively short wings and tail: a combination of traits making it unique among parrots. It is the world's only flightless parrot, the world's heaviest parrot, and also is nocturnal, herbivorous, visibly sexually dimorphic in body size, has a low basal metabolic rate, and does not have male parental care. It is the only parrot to have a polygynous lek breeding system. It is also possibly one of the world's longest-living birds, with a reported lifespan of up to 100 years. The weight is for males and for females.


title: Kākāpō

text: Its anatomy typifies the tendency of bird-evolution on oceanic islands: with few predators and abundant food, there exhibits island syndrome development, (a generally-robust torso physique at the expense of flight abilities, resulting in reduced shoulder- and wing-muscles along with a diminished keel on the sternum). Like many other New Zealand bird species, the kākāpō was historically important to Māori, the indigenous people of New Zealand. It appeared in many of their traditional legends and folklore. It was also heavily hunted and was used as a resource by Māori (both for its meat and for its feathers, which were used to make highly-valued pieces of clothing). Rarely, Kākāpō were kept as pets.


title: Kākāpō

text: The kākāpō is critically-endangered; the total known adult population is living individuals, all of which are named and tagged, confined to four small islands off the coast of New Zealand that have been cleared of predators. The past introduction of predators such as cats, rats, ferrets, and stoats during British colonisation almost wiped out the already-rare kākāpō, having suffered over-hunting from the early Māori. Conservation efforts began in the 1890s, but they were not very successful until the implementation of the Kakapo Recovery Programme a century later in 1995.


title: Kākāpō

text: Most kākāpō are kept on two predator-free small islands, Codfish / Whenua Hou and Anchor, where they are closely monitored, while somewhat larger Little Barrier / Hauturu Island is being trialled as a third home for the species.


title: Kākāpō

text: The kākāpō was originally described by English ornithologist George Robert Gray in June 1845 and named "Strigops habroptilus". Its generic name "Strigops" is derived from the Ancient Greek , genitive "owl", and "face", while its specific epithet "habroptilus" comes from "soft", and "feather".


title: Kākāpō

text: The bird has so many unusual features that it was initially placed in its own tribe, Strigopini. Recent phylogenetic studies have confirmed the unique position of this genus as well as the closeness to the kākā and the kea, both belonging to the New Zealand parrot genus "Nestor". Together, they are now considered a separate superfamily within the parrots, Strigopoidea, the most basal of all living parrots.


title: Kākāpō

text: Within the Strigopoidea, the kākāpō is placed in its own family, Strigopidae. The common ancestor of the kākāpō and the genus "Nestor" became isolated from the remaining parrot species when New Zealand broke off from Gondwana, around 82 million years ago. Around 30 million years ago, the kākāpō diverged from the genus "Nestor".


title: Kākāpō

text: Earlier ornithologists felt that the kākāpō might be related to the ground parrots and night parrot of Australia due to their similar colouration, but this is contradicted by recent studies; rather, the cryptic colour seems to be adaptation to terrestrial habits that evolved twice convergently.


title: Kākāpō

text: The kākāpō is a large, rotund parrot. Adults can measure from in length, and weight can vary from at maturity. Males are larger than females. 28 males were found to average in one study, and 39 males were found to average in another. In the same studies, 28 females were found to average and 18 females were found to average , respectively. Kākāpō are the heaviest living species of parrot and on average weigh about more than the largest flying parrot, the hyacinth macaw.


title: Kākāpō

text: The kākāpō cannot fly, having relatively short wings for its size and lacking the keel on the sternum (breastbone), where the flight muscles of other birds attach. It uses its wings for balance and to break its fall when leaping from trees. Unlike many other land birds, the kākāpō can accumulate large amounts of body fat.


title: Kākāpō

text: The upper parts of the kākāpō have yellowish moss-green feathers barred or mottled with black or dark brownish grey, blending well with native vegetation. Individuals may have strongly varying degrees of mottling and colour tone and intensity – museum specimens show that some birds had completely yellow colouring. The breast and flank are yellowish-green streaked with yellow. The belly, undertail, neck, and face are predominantly yellowish streaked with pale green and weakly mottled with brownish-grey. Because the feathers do not need the strength and stiffness required for flight, they are exceptionally soft, giving rise to the specific epithet "habroptilus". The kākāpō has a conspicuous facial disc of fine feathers resembling the face of an owl; thus, early European settlers called it the "owl parrot". The beak is surrounded by delicate feathers which resemble vibrissae or "whiskers"; it is possible kākāpō use these to sense the ground as they walk with its head lowered, but there is no evidence for this. The mandible is variable in colour, mostly ivory, with the upper part often bluish-grey. The eyes are dark brown. Kākāpō feet are large, scaly, and, as in all parrots, zygodactyl (two toes face forward and two backward). The pronounced claws are particularly useful for climbing. The ends of the tail feathers often become worn from being continually dragged on the ground.


title: Kākāpō

text: Females are easily distinguished from males as they have a narrower and less domed head, narrower and proportionally longer beak, smaller cere and nostrils, more slender and pinkish grey legs and feet, and proportionally longer tail. While their plumage colour is not very different from that of the male, the toning is more subtle, with less yellow and mottling. Nesting females also have a brood patch of bare skin on the belly.


title: Kākāpō

text: The kākāpō's altricial young are first covered with greyish white down, through which their pink skin can be easily seen. They become fully feathered at approximately 70 days old. Juvenile individuals tend to have duller green colouration, more uniform black barring, and less yellow present in their feathers. They are additionally distinguishable because of their shorter tails, wings, and beaks. At this stage, they have a ring of short feathers surrounding their irises that resembles eyelashes.


title: Kākāpō

text: Like many other parrots, kākāpō have a variety of calls. As well as the "booms" (see below for a recording) and "chings" of their mating calls, they will often loudly "skraark".


title: Kākāpō

text: The kākāpō has a well-developed sense of smell, which complements its nocturnal lifestyle. It can distinguish between odours while foraging, a behaviour reported in only one other parrot species. The kākāpō has a large olfactory bulb ratio (longest diameter of the olfactory bulb/longest diameter of the brain) indicating that it does, indeed, have a more developed sense of smell than other parrots. One of the most striking characteristics of the kākāpō is its distinct musty-sweet odour. The smell often alerts predators to the presence of kākāpō.


title: Kākāpō

text: As a nocturnal species, the kākāpō has adapted its senses to living in darkness. Its optic tectum, nucleus rotundus, and entopallium are smaller in relation to its overall brain size than those of diurnal parrots. Its retina shares some qualities with that of other nocturnal birds but also has some qualities typical of diurnal birds, lending to best function around twilight. These modifications allow the kākāpō to have enhanced light sensitivity but with poor visual acuity.


title: Kākāpō

text: The skeleton of the kākāpō differs from other parrots in several features associated with flightlessness. Firstly, it has the smallest relative wing size of any parrot. Its wing feathers are shorter, more rounded, less asymmetrical, and have fewer distal barbules to lock the feathers together. The sternum is small and has a low, vestigial keel and a shortened spina externa. As in other flightless birds and some flighted parrots, the furcula is not fused but consists of a pair of clavicles lying in contact with each coracoid. As in other flightless birds, the angle between the coracoid and sternum is enlarged. The kākāpō has a larger pelvis than other parrots. The proximal bones of the leg and wing are disproportionately long and the distal elements are disproportionately short.


title: Kākāpō

text: The pectoral musculature of the kākāpō is also modified by flightlessness. The pectoralis and supracoracoideus muscles are greatly reduced. The propatagialis tendo longus has no distinct muscle belly. The sternocoracoideus is tendinous. There is an extensive cucularis capitis clavicularis muscle that is associated with the large crop.


title: Kākāpō

text: Because kākāpō passed through a genetic bottleneck, in which their world population was reduced to 49 birds, they are extremely inbred and have low genetic diversity. This manifests in lower disease resistance and fertility problems: 40% of kākāpō eggs are infertile. Beginning in 2015, the Kākāpō 125 project aimed to sequence the genome of all living kākāpō, as well as some museum specimens – the first time an entire species has had its genome sequenced. The project is a collaboration between Duke University and the New Zealand Genomics lab in Dunedin.


title: Kākāpō

text: Before the arrival of humans, the kākāpō was distributed throughout both main islands of New Zealand. Although it may have inhabited Stewart Island / Rakiura before human arrival, it has so far not been found in the extensive fossil collections from there. Kākāpō lived in a variety of habitats, including tussocklands, scrublands and coastal areas. It also inhabited forests dominated by podocarps (rimu, mataī, kahikatea, tōtara), beeches, tawa, and rātā. In Fiordland, areas of avalanche and slip debris with regenerating and heavily fruiting vegetation – such as five finger, wineberry, bush lawyer, tutu, hebes, and coprosmas – became known as "kākāpō gardens".


title: Kākāpō

text: The kākāpō is considered to be a "habitat generalist". Though they are now confined to islands free of predation, they were once able to live in nearly any climate present on the islands of New Zealand. They survived dry, hot summers on the North Island as well as cold winter temperatures in the sub-alpine areas of Fiordland. Kākāpō seem to have preferred broadleaf or mountain beech and Hall's tōtara forest with mild winters and high rainfall, but the species was not exclusively forest-dwelling.


title: Kākāpō

text: The kākāpō is primarily nocturnal; it roosts under cover in trees or on the ground during the day and moves around its territories at night.


title: Kākāpō

text: Though the kākāpō cannot fly, it is an excellent climber, ascending to the crowns of the tallest trees. It can also "parachute" – descending by leaping and spreading its wings. In this way it may travel a few metres at an angle of less than 45 degrees. With only 3.3% of its mass made up of pectoral muscle, it is no surprise that the kākāpō cannot use its wings to lift its heavy body off the ground. Because of its flightlessness, it has very low metabolic demands in comparison to flighted birds. It is able to survive easily on very little or on very low quality food sources. Unlike most other bird species, the kākāpō is entirely herbivorous, feeding on fruits, seeds, leaves, stems, and rhizomes. When foraging, kākāpō tend to leave crescent-shaped wads of fiber in the vegetation behind them, called "browse signs".


title: Kākāpō

text: Having lost the ability to fly, it has developed strong legs. Locomotion is often by way of a rapid "jog-like" gait by which it can move several kilometres. A female has been observed making two return trips each night during nesting from her nest to a food source up to away and the male may walk from its home range to a mating arena up to away during the mating season (October–January).


title: Kākāpō

text: Young birds indulge in play fighting, and one bird will often lock the neck of another under its chin. The kākāpō is curious by nature and has been known to interact with humans. Conservation staff and volunteers have engaged extensively with some kākāpō, which have distinct personalities.


title: Kākāpō

text: The kākāpō was a very successful species in pre-human New Zealand, and was well adapted to avoid the birds of prey which were their only predators. As well as the New Zealand falcon, there were two other birds of prey in pre-human New Zealand: Haast's eagle and Eyles' harrier. All these raptors soared overhead searching for prey in daylight, and to avoid them the kākāpō evolved camouflaged plumage and became nocturnal. When a kākāpō feels threatened, it freezes, so that it is more effectively camouflaged in the vegetation its plumage resembles. Kākāpō were not entirely safe at night, when the laughing owl was active, and it is apparent from owl nest deposits on Canterbury limestone cliffs that kākāpō were among their prey.


title: Kākāpō

text: Kākāpō defensive adaptations were no use, however, against the mammalian predators introduced to New Zealand by humans. Birds hunt very differently from mammals, relying on their powerful vision to find prey, and thus they usually hunt by day. Mammalian predators, in contrast to birds, often hunt by night, and rely on their sense of smell and hearing to find prey; a common way for humans to hunt kākāpō was by releasing trained dogs.


title: Kākāpō

text: The kākāpō is the only extant species of flightless parrot in the world, and the only flightless bird that has a lek breeding system. Males loosely gather in an arena and compete with each other to attract females. Females listen to the males as they display, or "lek".


title: Kākāpō

text: During the courting season, males leave their home ranges for hilltops and ridges where they establish their own mating courts. These leks can be up to from a kākāpō's usual territory and are an average of apart within the lek arena. Males remain in the region of their court throughout the courting season. At the start of the breeding season, males will fight to try to secure the best courts. They confront each other with raised feathers, spread wings, open beaks, raised claws and loud screeching and growling. Fighting may leave birds with injuries or even kill them. Mating occurs only approximately every five years, with the ripening of the rimu fruit. In mating years, males may make "booming" calls for 6–8 hours every night for more than four months.


title: Kākāpō

text: Each court consists of one or more saucer-shaped depressions or "bowls" dug in the ground by the male, up to deep and long enough to fit the half-metre length of the bird. The kākāpō is one of only a handful of birds in the world which actually constructs its leks. Bowls are often created next to rock faces, banks, or tree trunks to help reflect sound: the bowls themselves function as amplifiers to enhance the projection of the males' booming mating calls. Each male's bowls are connected by a network of trails or tracks which may extend along a ridge or in diameter around a hilltop.


title: Kākāpō

text: To attract females, males make loud, low-frequency (below 100Hz) booming calls from their bowls by inflating a thoracic sac. They start with low grunts, which increase in volume as the sac inflates. After a sequence of about 20 loud booms, the male kākāpō emits a high-frequency, metallic "ching" sound. He stands for a short while before again lowering his head, inflating his chest and starting another sequence of booms. The booms can be heard at least away on a still night; wind can carry the sound at least .


title: Kākāpō

text: Females are attracted by the booms of the competing males; they too may need to walk several kilometres from their territories to the arena. Once a female enters the court of one of the males, the male performs a display in which he rocks from side to side and makes clicking noises with his beak. He turns his back to the female, spreads his wings in display and walks backwards towards her. He will then attempt copulation for 40 minutes or more.


title: Kākāpō

text: The female kākāpō lays 1–4 eggs per breeding cycle, with several days between eggs. She nests on the ground under the cover of plants or in cavities such as hollow tree trunks. The female incubates the eggs faithfully, but is forced to leave them every night in search of food. Predators are known to eat the eggs, and the embryos inside can also die of cold in the mother's absence. Kākāpō eggs usually hatch within 30 days, bearing fluffy grey chicks that are quite helpless. After the eggs hatch, the female feeds the chicks for three months, and the chicks remain with the female for some months after fledging.


title: Kākāpō

text: The kākāpō is long-lived, with an average life expectancy of 60 (plus or minus 20) years, and tends to reach adolescence before it starts breeding. Males start booming at about 5 years of age. It was thought that females reached sexual maturity at 9 years of age, but four five-year-old females have now been recorded reproducing. The kākāpō does not breed every year and has one of the lowest rates of reproduction among birds. Breeding occurs only in years when trees mast (fruit heavily), providing a plentiful food supply. Rimu mast occurs only every three to five years, so in rimu-dominant forests, such as those on Whenua Hou, kākāpō breeding occurs as infrequently.


title: Kākāpō

text: Another aspect of the kākāpō's breeding system is that a female can alter the sex ratio of her offspring depending on her condition. A female in good condition produces more male offspring (males have 30%–40% more body weight than females). Females produce offspring biased towards the dispersive sex when competition for resources (such as food) is high and towards the non-dispersive sex when food is plentiful. A female kākāpō will likely be able to produce eggs even when there are few resources, while a male kākāpō will be more capable of perpetuating the species when there are plenty, by mating with several females. This supports the Trivers–Willard hypothesis. The relationship between clutch sex ratio and maternal diet has conservation implications, because a captive population maintained on a high quality diet will produce fewer females and therefore fewer individuals valuable to the recovery of the species.


title: Kākāpō

text: The beak of the kākāpō is adapted for grinding food finely. For this reason, the kākāpō has a very small gizzard compared to other birds of their size. It is entirely herbivorous, eating native plants, seeds, fruits, pollen and even the sapwood of trees. A study in 1984 identified 25 plant species as kākāpō food. It is particularly fond of the fruit of the rimu tree, and will feed on it exclusively during seasons when it is abundant. The kākāpō strips out the nutritious parts of the plant out with its beak, leaving a ball of indigestible fibre. These little clumps of plant fibres are a distinctive sign of the presence of the bird. The kākāpō is believed to employ bacteria in the fore-gut to ferment and help digest plant matter.


title: Kākāpō

text: Kākāpō diet changes according to the season. The plants eaten most frequently during the year include some species of "Lycopodium ramulosum", "Lycopodium fastigium", "Schizaea fistulosa", "Blechnum minus", "Blechnum procerum", "Cyathodes juniperina", "Dracophyllum longifolium", "Olearia colensoi" and "Thelymitra venosa". Individual plants of the same species are often treated differently. Kākāpō leave conspicuous evidence of their feeding activities, over feeding areas that range between and per individual.


title: Kākāpō

text: Fossil records indicate that in pre-Polynesian times, the kākāpō was New Zealand's third most common bird and it was widespread on all three main islands. However, the kākāpō population in New Zealand has declined massively since human settlement of the country, and its conservation status as ranked by the Department of Conservation continues to be "Nationally Critical". Since the 1890s, conservation efforts have been made to prevent extinction. The most successful scheme has been the Kākāpō Recovery Programme; this was implemented in 1995 and continues to this day.


title: Kākāpō

text: Kākāpō are absolutely protected under New Zealand's Wildlife Act 1953. The species is also listed under Appendix I of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) meaning international export/import (including parts and derivatives) is regulated.


title: Kākāpō

text: The first factor in the decline of the kākāpō was the arrival of humans. Māori folklore suggests that the kākāpō was found throughout the country when the Polynesians first arrived in Aotearoa 700 years ago. Subfossil and midden deposits show that the bird was present throughout the North and South Island before and during early Māori times. Māori hunted the kākāpō for food and for their skins and feathers, which were made into cloaks.


title: Kākāpō

text: Due to its inability to fly, strong scent and habit of freezing when threatened, the kākāpō was easy prey for the Māori and their dogs. Its eggs and chicks were also preyed upon by the Polynesian rat or kiore, which the Māori brought to New Zealand as a stowaway. Furthermore, the deliberate clearing of vegetation by Māori reduced the habitable range for kākāpō. Although the kākāpō was extinct in many parts of the islands by the time Europeans arrived, including the Tararua and Aorangi Ranges, it was locally abundant in parts of New Zealand, such as the central North Island and forested parts of the South Island.


title: Kākāpō

text: Although kākāpō numbers were reduced by Māori settlement, they declined much more rapidly after European colonisation. Beginning in the 1840s, Pākehā settlers cleared vast tracts of land for farming and grazing, further reducing kākāpō habitat. They brought more dogs and other mammalian predators, including domestic cats, black rats and stoats.


title: Kākāpō

text: In the 1880s, large numbers of mustelids (stoats, ferrets and weasels) were released in New Zealand to reduce rabbit numbers, but they also preyed heavily on many native species including the kākāpō. Other browsing animals, such as introduced deer, competed with the kākāpō for food, and caused the extinction of some of its preferred plant species. The kākāpō was reportedly still present near the head of the Whanganui River as late as 1894, with one of the last records of a kākāpō in the North Island being a single bird caught in the Kaimanawa Ranges by Te Kepa Puawheawhe in 1895.


title: Kākāpō

text: In 1891, the New Zealand government set aside Resolution Island in Fiordland as a nature reserve. In 1894, the government appointed Richard Henry as caretaker. A keen naturalist, Henry was aware that native birds were declining, and began catching and moving kākāpō and kiwi from the mainland to the predator-free Resolution Island. In six years, he moved more than 200 kākāpō to Resolution Island. By 1900, however, stoats had swum to Resolution Island and colonised it; they wiped out the nascent kākāpō population within 6 years.


title: Kākāpō

text: In 1903, three kākāpō were moved from Resolution Island to the nature reserve of Little Barrier Island (Hauturu-o-Toi) north-east of Auckland, but feral cats were present and the kākāpō were never seen again. In 1912, three kākāpō were moved to another reserve, Kapiti Island, north-west of Wellington. One of them survived until at least 1936, despite the presence of feral cats for part of the intervening period.


title: Kākāpō

text: By the 1920s, the kākāpō was extinct in the North Island and its range and numbers in the South Island were declining.


title: Kākāpō

text: In the 1950s, the New Zealand Wildlife Service was established and began making regular expeditions to search for the kākāpō, mostly in Fiordland and what is now the Kahurangi National Park in the northwest of the South Island. Seven Fiordland expeditions between 1951 and 1956 found only a few recent signs. Finally, in 1958 a kākāpō was caught and released in the Milford Sound / Piopiotahi catchment area in Fiordland. Six more kākāpō were captured in 1961; one was released and the other five were transferred to the aviaries of the Mount Bruce Bird Reserve near Masterton in the North Island. Within months, four of the birds had died and the fifth died after about four years. In the next 12 years, regular expeditions found few signs of the kākāpō, indicating that numbers were continuing to decline. Only one bird was captured in 1967; it died the following year.


title: Kākāpō

text: By the early 1970s, it was uncertain whether the kākāpō was still an extant species. At the end of 1974, scientists located several more male kākāpō and made the first scientific observations of kākāpō booming. These observations led Don Merton to speculate for the first time that the kākāpō had a lek breeding system. From 1974 to 1978 a total of 18 kākāpō were discovered in Fiordland, but all were males. This raised the possibility that the species would become extinct, because there might be no surviving females. One male bird was captured in the Milford area in 1975, christened "Richard Henry", and transferred to Maud Island. All the birds the Wildlife Service discovered from 1951 to 1976 were in U-shaped glaciated valleys flanked by almost-vertical cliffs and surrounded by high mountains. Such extreme terrain had slowed colonisation by browsing mammals, leaving islands of virtually unmodified native vegetation. However, even here, stoats were present and by 1976 the kākāpō was gone from the valley floors and only a few males survived high on the most inaccessible parts of the cliffs.


title: Kākāpō

text: Before 1977, no expedition had been to Stewart Island / Rakiura to search for the bird. In 1977, sightings of kākāpō were reported on the island. An expedition to Rakiura found a track and bowl system on its first day; soon after, it located several dozen kākāpō. The finding in an area of fire-modified scrubland and forest raised hope that the population would include females. The total population was estimated at 100 to 200 birds.


title: Kākāpō

text: Mustelids have never colonised Stewart Island / Rakiura, but feral cats were present. During a survey, it was apparent that cats killed kākāpō at a rate of 56% per year. At this rate, the birds could not survive on the island and therefore an intensive cat control was introduced in 1982, after which no cat-killed kākāpō were found. However, to ensure the survival of the remaining birds, scientists decided later that this population should be transferred to predator-free islands; this operation was carried out between 1982 and 1997.


title: Kākāpō

text: In 1989, a Kākāpō Recovery plan was developed, and a Kākāpō Recovery programme was established in 1995. The New Zealand Department of Conservation replaced the Wildlife Service for this task.


title: Kākāpō

text: The first action of the plan was to relocate all the remaining kākāpō to suitable islands for them to breed. None of the New Zealand islands were ideal to establish kākāpō without rehabilitation by extensive re-vegetation and the eradication of introduced mammalian predators and competitors. Four islands were finally chosen: Maud, Hauturu/Little Barrier, Codfish and Mana. Sixty-five kākāpō (43 males, 22 females) were successfully transferred onto the four islands in five translocations. Some islands had to be rehabilitated several times when feral cats, stoats and weka kept appearing. Little Barrier Island was eventually viewed as unsuitable due to the rugged landscape, the thick forest and the continued presence of rats, and its birds were evacuated in 1998. Along with Mana Island, it was replaced with two new kākāpō sanctuaries: Chalky Island (Te Kakahu) and Anchor Island. The entire kākāpō population of Codfish Island was temporarily relocated in 1999 to Pearl Island in Port Pegasus while rats were being eliminated from Codfish. All kākāpō on Pearl and Chalky Islands were moved to Anchor Island in 2005.


title: Kākāpō

text: A key part of the Recovery Programme is the supplementary feeding of females. Kākāpō breed only once every two to five years, when certain plant species, primarily "Dacrydium cupressinum" (rimu), produce protein-rich fruit and seeds. During breeding years when rimu masts supplementary food is provided to kākāpō to increase the likelihood of individuals successfully breeding. In 1989, six preferred foods (apples, sweet potatoes, almonds, Brazil nuts, sunflower seeds and walnuts) were supplied "ad libitum" each night to 12 feeding stations. Males and females ate the supplied foods, and females nested on Little Barrier Island in the summers of 1989–1991 for the first time since 1982, although nesting success was low.


title: Kākāpō

text: Supplementary feeding affects the sex ratio of kākāpō offspring, and can be used to increase the number of female chicks by deliberately manipulating maternal condition.


title: Kākāpō

text: Today commercial parrot food is supplied to all individuals of breeding age on Whenua Hou and Anchor. The amount eaten and individual weights are carefully monitored to ensure that optimum body condition is maintained.


title: Kākāpō

text: Kākāpō nests are intensively managed by wildlife conservation staff. Before Polynesian rats were removed from Whenua Hou, the rats were a threat to the survival of young kākāpō. Of 21 chicks that hatched between 1981 and 1994, nine were either killed by rats or died and were subsequently eaten by rats.


title: Kākāpō

text: All kākāpō islands are now rat-free, but infrared cameras still allow rangers to remotely monitor the behaviour of females and chicks in nests. Data loggers record when mother kākāpō come and go, allowing rangers to pick a time to check on the health of chicks, and also indicate how hard females are having to work to find food. Because mother kākāpō often struggle to successfully rear multiple chicks, Kākāpō Recovery rangers will move chicks between nests as needed.


title: Kākāpō

text: Eggs are often removed from nests for incubation to reduce the likelihood of accidents, such as lost eggs or crushing. If chicks become ill, are not putting on weight, or there are too many chicks in the nest (and no available nest to move them to) they will be hand-reared by the Kākāpō Recovery team. In the 2019 season, eggs were also removed from nests to encourage females to re-nest. By hand-raising the first group of chicks in captivity and encouraging females to lay more eggs, the Kākāpō Recovery Team hoped that overall chick production would be increased. By the end of February 2020, the bird's summer breeding season, these efforts led to the production of 80 chicks, "a record number."


title: Kākāpō

text: To monitor the kākāpō population continuously, each bird is equipped with a radio transmitter. Every known kākāpō, barring some young chicks, has been given a name by Kākāpō Recovery Programme officials, and detailed data is gathered about every individual. GPS transmitters are also being trialled to provide more detailed data about the movement of individual birds and their habitat use. The signals also provide behavioural data, letting rangers gather information about mating and nesting remotely.


title: Kākāpō

text: The Kākāpō Recovery programme has been successful, with the numbers of kākāpō increasing steadily. Adult survival rate and productivity have both improved significantly since the programme's inception. However, the main goal is to establish at least one viable, self-sustaining, unmanaged population of kākāpō as a functional component of the ecosystem in a protected habitat. To help meet this conservation challenge, Resolution Island () in Fiordland has been prepared for kākāpō re-introduction with ecological restoration including the eradication of stoats. Ultimately, the Kākāpō Recovery vision for the species is to restore the (Māori for "life-force") of the kākāpō by breeding 150 adult females.


title: Kākāpō

text: In late April 2019, the first case of the fungal disease "aspergillosis" in New Zealand kākāpō was discovered. almost 20% of the population, or 36 birds, have been flown by helicopter to veterinary hospitals around New Zealand for CT scan diagnosis and intensive treatment that usually lasted for several months.


title: Kākāpō

text: The kākāpō is associated with a rich tradition of Māori folklore and beliefs. The bird's irregular breeding cycle was understood to be associated with heavy fruiting or "masting" events of particular plant species such as the rimu, which led Māori to credit the bird with the ability to tell the future. Used to substantiate this claim were reported observations of these birds dropping the berries of the hinau and tawa trees (when they were in season) into secluded pools of water to preserve them as a food supply for the summer ahead; in legend this became the origin of the Māori practice of immersing food in water for the same purpose.


title: Kākāpō

text: The meat of kākāpō made good eating and was considered by Māori to be a delicacy and it was hunted for food when it was still widespread. One source states that its flesh "resembles lamb in taste and texture", although European settlers have described the bird as having a "strong and slightly stringent [sic] flavour".


title: Kākāpō

text: In breeding years, the loud booming calls of the males at their mating arenas made it easy for Māori hunting parties to track the kākāpō down, and it was also hunted while feeding or when dust-bathing in dry weather. The bird was caught, generally at night, using snares, pitfall traps, or by groups of domesticated Polynesian dogs which accompanied hunting parties – sometimes they would use fire sticks of various sorts to dazzle a bird in the darkness, stopping it in their tracks and making the capture easier. Cooking was done in a hāngi or in gourds of boiling oil. The flesh of the bird could be preserved in its own fat and stored in containers for later consumption – hunters of the Ngāi Tahu tribe would pack the flesh in baskets made from the inner bark of tōtara tree or in containers constructed from kelp. Bundles of kākāpō tail feathers were attached to the sides of these containers to provide decoration and a way to identify their contents. Also taken by the Māori were the bird's eggs, which are described as whitish "but not pure white", and about the same size as a kererū egg.


title: Kākāpō

text: As well as eating the meat of the kākāpō, Māori would use kākāpō skins with the feathers still attached or individually weave in kākāpō feathers with flax fibre to create cloaks and capes. Each one required up to 11,000 feathers to make. Not only were these garments considered very beautiful, they also kept the wearer very warm. They were highly valued, and the few still in existence today are considered (treasures), so much so that the old Māori adage "You have a kākāpō cape and you still complain of the cold" was used to describe someone who is never satisfied. Kākāpō feathers were also used to decorate the heads of , but were removed before use in combat.


title: Kākāpō

text: Despite this, the kākāpō was also regarded as an affectionate pet by the Māori. This was corroborated by European settlers in New Zealand in the 19th century, among them George Edward Grey, who once wrote in a letter to an associate that his pet kākāpō's behaviour towards him and his friends was "more like that of a dog than a bird".


title: Kākāpō

text: The conservation of the kākāpō has made the species well known. Many books and documentaries detailing the plight of the kākāpō have been produced in recent years, one of the earliest being "Two in the Bush", made by Gerald Durrell for the BBC in 1962.


title: Kākāpō

text: A feature-length documentary, "The Unnatural History of the Kakapo" won two major awards at the Reel Earth Environmental Film Festival. Two of the most significant documentaries, both made by NHNZ, are "Kakapo – Night Parrot" (1982) and "To Save the Kakapo" (1997).


title: Kākāpō

text: The BBC's Natural History Unit also featured the kākāpō, including a sequence with Sir David Attenborough in "The Life of Birds". It was also one of the endangered animals Douglas Adams and Mark Carwardine set out to find for the radio series and book "Last Chance to See". An updated version of the series has been produced for BBC TV, in which Stephen Fry and Carwardine revisit the animals to see how they are getting on almost 20 years later, and in January 2009, they spent time filming the kākāpō on Codfish Island / Whenua Hou. Footage of a kākāpō named Sirocco attempting to mate with Carwardine's head was viewed by millions worldwide, leading to Sirocco becoming "spokes-bird" for New Zealand wildlife conservation in 2010. Sirocco became the inspiration for the party parrot, a popular animated emoji frequently associated with the workflow application Slack.


title: Kākāpō

text: The kākāpō was featured in the episode "Strange Islands" of the documentary series "South Pacific", originally aired on 13 June 2009, in the episode "Worlds Apart" of the series "The Living Planet", and in episode 3 of the BBC's "New Zealand Earth's Mythical Islands".


title: Kākāpō

text: In a 2019 kākāpō awareness campaign, the Kākāpō Recovery Programme New Zealand National Partner, Meridian Energy, ran a "Search for a Saxophonist" to provide suitable mood music for encouraging mating to coincide with the 2019 kākāpō breeding season. The search and footage from the islands where breeding was taking place were featured on the "One News Breakfast" programme.


title: Sunil (actor)

text: Indukuri Sunil Varma (born 28 February 1974), known mononymously as Sunil, is an Indian actor who works in Telugu films. Noted for his comic roles, Sunil has appeared in over 180 films in his career, including around 1IFC0 films in lead role. He has won three state Nandi Awards and two Filmfare Awards South.


title: Sunil (actor)

text: Sunil played a lead role in "Andala Ramudu" (2006) and later went on to star in several films including commercial successes like "Maryada Ramanna" (2010), "Poola Rangadu" (2012), and "Tadakha" (2013).


title: Sunil (actor)

text: Sunil started his career in 1996 when first worked as an extra in the film "Akkada Ammayi Ikkada Abbayi", however, Sunil's scenes did not make it to the final cut of the film. His career began on a slow note with movies like "Second Hand" (which was stopped from production), and "Peruleni Cinema". "Prema Katha" and "Swayamvaram" were his first real opportunities in the industry. "Chiru Navvutho" and "Nuvve Kavali" were the first films that he acted in. "Nuvve Kavali" was the first one to release.


title: Sunil (actor)

text: In 2010, Sunil starred in S. S. Rajamouli-directed "Maryada Ramanna", which was a commercial success. A reviewer from "Sify" noted that: "Sunil would no longer look like a comedy hero. His dances are simply superb."


title: Sunil (actor)

text: Sunil was cast in the lead role in "Poola Rangadu", directed by Veerabhadram Chowdhary. which was released across 450 theatres worldwide. The film received positive reviews. He was the antagonist in the film "Colour Photo" (2020), which brought him critical acclaim.


title: Sunil (actor)

text: The 2021 film "" saw Sunil in an unusual role of a serious gangster Mangalam Seenu, very different from the comedy roles he usually plays.


title: Sunil (actor)

text: Sunil hails from Bhimavaram of Andhra Pradesh, India. Sunil celebrated his 40th birthday for a noble cause donating to a blind school and spending time with them.


title: Sunil (actor)

text: Director Trivikram Srinivas and Sunil were friends since their days in Bhimavaram. They, along with director Gunasekhar, stayed together as roommates in Punjagutta neighbourhood during their struggling days. As of 2016, Trivikram maintains the room by paying rent as a memory.


title: Progressive metal

text: Progressive metal (sometimes shortened to prog metal) is a broad melding heavy metal and progressive rock, combining the loud "aggression" and amplified guitar-driven sound of the former with the more experimental, cerebral or "pseudo-classical" compositions of the latter.


title: Progressive metal

text: One of these experimental examples introduced to modern metal was djent. The music typically showcases the extreme technical proficiency of the performers and usually uses unorthodox harmonies as well as complex rhythms with frequent meter changes and intense syncopation.


title: Progressive metal

text: While the genre emerged towards the late-1980s, it was not until the 1990s that progressive metal achieved widespread success. Queensrÿche, Dream Theater, Tool, Symphony X, Shadow Gallery, King's X, and Fates Warning are a few examples of progressive metal bands who achieved commercial success. Soon after the rise of the genre's popularity, other thrash and death metal bands started to incorporate elements of progressive music in their work.


title: Progressive metal

text: Progressive metal, as a distinct musical style, was primarily advanced by members of the American heavy metal scene of the mid-1980s, particularly Queensrÿche, Fates Warning and then later on, Dream Theater and Symphony X. It has since developed in a non-linear fashion, with countless groups demonstrating innovations in personal ways.


title: Progressive metal

text: The origins of the genre date back to the very beginning of heavy metal/hard rock and progressive rock when some bands began to merge the two different approaches. 1960s pioneers King Crimson maintained their musical innovation while incorporating a harder approach, using dissonance and experimental tones, yet still maintaining a relationship to the power chords of hard rock, with the main example being "21st Century Schizoid Man". Canadian trio Rush are widely recognized as bridging the gap between hard rock, English progressive rock, and pure heavy metal. Initially influenced by Led Zeppelin, they evolved to combine established progressive rock technique with blues-based power chords. Records such as "2112" (1976) showcased technical expertise and complex compositional skill while still utilizing a more direct and heavier approach than the well-established English progressive rock sound.


title: Progressive metal

text: 1984 brought full-length debut albums from American bands Queensrÿche from Washington state, and Fates Warning from Connecticut. Both expanded their music to include more progressive elements ("The Warning," 1984; "The Spectre Within," 1985) – some through sound experimentation and compositional refinement, others through extremely complex structures and atypical riffs – up to the two seminal works in 1986: "Rage for Order" and "Awaken the Guardian". In the following years the two bands, while following different paths – more basic and simple the first, more articulate and complex the latter — explore and expand the technical refinement and sonic finesse of their music, continuing to lay the foundations of the genre with important works such as "" (1988) by Queensrÿche, and "Perfect Symmetry" (1989) by Fates Warning.


title: Progressive metal

text: Progressive metal also found a home in the growing U.S. speed metal movement, influencing popular heavy metal bands like Megadeth, with its acclaimed album "Rust in Peace" (1990), together with Metallica and its famous album "...And Justice for All" (1988). Among the other pioneering thrash metal bands, one of the most important is Canada's Voivod, with their complex and experimental style, full of psychedelic dissonances ("Dimension Hatröss," 1988; "Nothingface," 1989). "Math-metal" pioneers Watchtower, from Texas, took the concept of time-changes to a new level, combining thrash metal, syncopation and prog in their albums "Energetic Disassembly" (1985) and "Control and Resistance" (1989), giving rise to an extremely technical approach based on the rhythmic deconstruction typical in jazz fusion. This same direction in prog metal would be later integrated into death metal by bands such as Atheist ("Unquestionable Presence," 1991), which would become known as technical death metal or progressive death metal. Bands which also explored fusion-inspired prog metal include most notably Death and Cynic.


title: Progressive metal

text: The major US bands that contribute to further delineating and developing the genre are Psychotic Waltz and Dream Theater. The former, with an approach halfway in between Watchtower and Fates Warning, produced "A Social Grace" (1990), melding their signature sound with the psychedelic "Into the Everflow" (1992), while the latter explored the legacy of the bands that preceded them while advancing their personal style with "When Dream and Day Unite" (1989). Both albums focused on keyboards and band members' instrumental skills. As for Dream Theater, their efforts resulted in two fundamental albums, which helped institutionalize classic progressive metal — "Images and Words" (1992) and "Awake" (1994).


title: Progressive metal

text: As for Europe, among the pioneers are Germany's Sieges Even, who, starting out of technical thrash stylistically significant to Watchtower, explored the more technical and angular side of progressive metal with "The Art of Navigating by the Stars" (2005).


title: Progressive metal

text: Among the bands of the late 1990s who brought innovation to the genre are the Dutch Ayreon (a project by Arjen Anthony Lucassen) and Swedes Pain of Salvation. Ayreon focused on theatrical and melodramatic rock operas "Into the Electric Castle" (1998) and "The Human Equation" (2004), performed by many different members of prominent metal bands. Pain of Salvation was always working towards a more or less unusual style, demonstrated by the eclecticism and anti-conformism found on "One Hour by the Concrete Lake" (1998), and "BE" (2004). Forerunners of a more experimental and alternative approach include Thought Industry, as seen in their album "" (1993).


title: Progressive metal

text: Puerto Rican band Puya rose to prominence in the late '90s with their innovative fusion of jazz, salsa, and progressive metal, evident on their 1999 album "Fundamental".


title: Progressive metal

text: Some of the first bands to pioneer the combination of progressive rock and extreme metal influences were Dan Swanö's Edge of Sanity, and Opeth, both bands hailing from Sweden. In particular, Edge of Sanity's "Crimson" (1996), a 40-minute concept album consisting of a single track, brought the band critical acclaim and was heralded as one of the first extreme-metal forays into a progressive rock-esque concept album, featuring death-metal vocals and heavily distorted guitars, with guest vocals and lead guitar from Opeth's Mikael Åkerfeldt. Dan Swanö produced Opeth's first release, "Orchid" (1995), which was unique for its combination of black metal vocals and instrumentation, melodic guitar harmonies, and acoustic passages, but it wasn't until their hallmark record "Blackwater Park" (2001) that they received critical acclaim. Steven Wilson, progressive rock icon and frontman of Porcupine Tree, was given a copy of Opeth's prior record "Still Life" (1999) from a friend, and, after listening, noted that the experimental music he had been after had drifted into extreme metal. Being mutual fans of each other's work, Steven ended up co-producing "Blackwater Park" along with Opeth's frontman Mikael Åkerfeldt, and would go on to co-produce "Deliverance" (2002) and "Damnation" (2003), together a would-be double album. Subsequently, Porcupine Tree's music, originally progressive rock with psychedelic elements, would come to be influenced by bands like Opeth and Meshuggah. In particular, Opeth's "Ghost Reveries" (2005) and "Watershed" (2008), and Porcupine Tree's "In Absentia" (2002) and "Fear of a Blank Planet" (2007) would go on to be highly influential to the later development of the progressive metal genre.


title: Progressive metal

text: Between the Buried and Me, who started as a more straightforward metalcore band, also began to incorporate both progressive metal and death metal into their music on their 2003 album "The Silent Circus", a landmark album in the progressive metalcore genre. They would later add avant-garde elements as well on releases such as "The Great Misdirect" (2009).


title: Progressive metal

text: One of the hallmark musical qualities of progressive metal is eclecticism. In between the riffs, choruses, and solos typical of rock and metal songs, prog metal bands often include sections inspired by jazz, classical and Middle Eastern music, among others. Progressive metal is difficult to define specifically, since most bands labeled under the genre have considerably different musical influences when compared to each other.