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295_10	On their way to Drylliad, they meet Amarinda. Jaron rejoins Roden in a battle at Drylliad, reinforced by Bymarian cavalry. A Bymarian soldier informs them that Fink refused to believe Jaron was dead, and tried to prove it by going to the Avenian camp to search for Jaron after he had succeeded in his mission of requesting Bymar's aid. Although the battle at Drylliad is eventually won, Jaron realizes that most of the soldiers were not Avenian, meaning this battle is just a distraction as the bulk of Avenian soldiers await a different mission. Jaron goes out to meet the enemy at a dry lake. Jaron contrives a plot to lure soldier into the lake before bursting the lake's dam and drowning them, and tricking those that remain into surrendering. But even as the enemy surrenders, the bulk of Avenia's armies arrive, vastly outnumbering the Carthyans. Jaron and his troops are trapped in the battle against Avenia and Mendenwal and are forced to retreat to the woods. During this time, Fink is able
295_11	to rejoin Jaron.
295_12	Jaron surrenders to the Avenians to get a medical help for his soldiers. The Avenians take Jaron to Farthenwood; there, he meets Roden, who was captured, and Imogen, who did not die when she got shot. The next day, King Vargan of Avenia tells Jaron that since Tobias offered to trade his life for Jaron's, and they have two gallows built, Jaron can choose which two of the three of them will be hanged; Jaron says that he and Roden will go to the gallows.
295_13	At the gallows, Connor, who appears to have sided with the Avenians, subtly gives Jaron a knife, allowing Jaron to cut his and Roden's ropes. The Avenian pirates and the remaining Carthya soldiers fight with the soldiers of Gelyn, Mendenwal, and Avenia. While trying to escape, Jaron is cornered by Vargan and about to be killed, but Conner intervenes and is killed instead. Vargan is then betrayed his own commander, who has come to respect Jaron and wishes to surrender to end the bloodshed. Jaron makes peace with Mendenwal, Avenia, and Gelyn. Harlowe is revealed to be Roden's birth father, and the two are reunited. In the end, Jaron weds Imogen and Tobias weds Princess Amarinda. Inspiration
295_14	Nielsen had considered writing a book where someone was forced to impersonate royalty – the underlying premise for The False Prince – for some time. However, she had not yet conceived of a main character strong enough to carry the plot. At the time, Nielsen was working at a program for troubled youth and was struck by one boy who people doubted would succeed, but ended up being one of the first to achieve program milestones. He was the inspiration for Sage and helped pull the book together for Nielsen. Reception
295_15	Critical reception for the first book in the series was mostly positive. The False Prince was named one of the New York Times' Notable Children's Books of 2012. Praise for the first entry in the trilogy centered upon the book's appeal to a wide age group, as well as for the book's plotting and characters. Publishers Weekly gave it a starred review, calling it "highly enjoyable." However, the reviewer from The New York Times, describing the novel as a "grim story that takes an occasional, though only very occasional, mordant turn", concluded that it "makes the effort of reading worth the getting to the end" but that the "absence of a fully furnished world keeps this particular page turner from lingering very long after the book is closed".
295_16	Popular reception for the first book was also positive. The paperback reprint of The False Prince placed it on The New York Times Best Seller list in May 2013. It also won the 2015 Intermediate Sequoyah Book Award, which is voted upon by students in Oklahoma. Nielsen has been grateful for the response to the series from reluctant readers and their families.
295_17	Reception for the second entry was more mixed, with Publishers Weekly calling it a "solid sequel" but commenting that the book's villains were "perhaps too easily manipulated by the young king". Common Sense Media also gave a mixed review, criticizing Jaron's arrogance and saying that "the reasoning behind his reckless schemes is often unclear, so he seems to constantly put himself into needless danger". The Buffalo News, in a brief review, was more positive, stating that "Nielsen offers memorable characters, a complex world ... and a vivid political backdrop" and that the book raises good questions about war and personal sacrifice. Reception for the third book was also mixed. Praise for the book came from how it provided a satisfying ending to the series and was "gripping," while the book was criticized for how the plot seemed unrealistic and the action was over-summarized.
295_18	In late 2012, Nielsen announced that film rights for the series had been purchased by Paramount Pictures with the intent to create a film series. Bryan Cogman was hired to adapt the first book in the series into a movie screenplay and Deborah Forte was announced as the film's producer. In March 2017, Nielsen announced that Paramount would not be renewing the contract for the series. References External links First chapter of The False Prince from The Hollywood Reporter 2010s fantasy novels Children's fantasy novels Fantasy novel trilogies Series of children's books
296_0	A cap badge, also known as head badge or hat badge, is a badge worn on uniform headgear and distinguishes the wearer's nationality and/or organisation. The wearing of cap badges is a convention commonly found among military and police forces, as well as uniformed civilian groups such as the Boy Scouts, civil defence organisations, ambulance services (e.g. the St. John Ambulance Brigade), customs services, fire services etc. Cap badges are a modern form of heraldry and their design generally incorporates highly symbolic devices. Some badges that contain images of Lions or other cats are sometimes informally referred to as Cat Badges. Instances in Countries Militaries British armed forces The British Armed Forces utilise a variety of metal and cloth cap badges on their headdress, generally on caps and berets. They are also worn on Sikh turbans.
296_1	British Army In the British Army (as well as Commonwealth armies) each regiment and corps has its own cap badge. The cap badge of the Queen's Royal Lancers is called a motto by those within the regiment, that of the Royal Horse Artillery is known as a cypher and that of the Coldstream Guards, Scots Guards and Irish Guards is known as a Capstar. That of the Grenadier Guards is known as The Grenade Fired Proper. The concept of regimental badges appears to have originated with the British Army. The Encyclopædia Britannicas 1911 Edition notes that although branch badges for infantry, cavalry and so on were common to other armies of the time, only the British Army wore distinctive regimental devices. Cap badge variations
296_2	Plastic cap badges were introduced during the Second World War, when metals became strategic materials. Nowadays many cap badges in the British Army are made of a material called "stay-brite" (anodised aluminium, anodising is an electro-plating process resulting in lightweight shiny badge), this is used because it is cheap, flexible and does not require as much maintenance as brass badges. Regimental cap badges are usually cast as one single piece but in a number of cases they may be cast in different pieces. For instance, the badge of the now amalgamated, The Highlanders (Seaforth, Gordons and Camerons) was cast in two separate pieces: the Queen's Crown and the thistle forming one piece, and the stag's head and scroll with regimental motto forming a second piece (see the first picture above).
296_3	The Royal Corps Of Signals also have a two part badge. The top being a brass crown and the bottom consisting of a silver flying body of Mercury (the winged messenger of the gods – 'Jimmy') above a brass world and the motto Certa Cito (Swift and Sure). A regiment or battalion may maintain variations of the same cap badge for different ranks. These variations are usually in the badges' material, size and stylization. Variations in cap badges are normally made for: Officers: usually three-dimensional in design with more expensive materials such as silver, enamel and gilt. Most officers' beret badges are embroidered rather than metal or "stay-brite". Senior Non-Commissioned Officers such as sergeants, Colour Sergeants and Warrant Officers: a more elaborate design compared with those worn by other ranks but usually not as elaborate as those worn by officers.
296_4	There are exceptions such as the Welsh Guards, where all ranks wear a cloth cap badge. Officers wearing a more elaborate version to that of soldiers, made using gold thread and has a more three-dimensional design. The only exception to this is recruits in training who have to wear the brass (or more often "stay-brite") leek, often referred to as the "NAAFI fork", until they have passed out of training and reached their battalion will they receive their cloth leek. All ranks of the Special Air Service wear an embroidered capbadge and all ranks of The Rifles and Royal Regiment of Fusiliers wear the same metal badge. Some regiments maintain a blackened or subdued version of their cap badges as shiny brass cap badges may attract the enemy's attention on the battlefield. However, since the practice of British soldiers operating in theatre with regimental headdress (i.e. peaked cap, beret) has all but died out, the wearing of these has become much less common in recent years.
296_5	Wearing conventions The cap badge is positioned differently depending on the form of headdress: Home Service Helmet or Wolseley Helmet: above the centre between the wearer's eyebrows. Service dress cap: above the centre point between the wearer's eyebrows Beret: above the left eye Side cap: Between the left eye and the left ear Scottish tam o'shanter: Between the left eye and the left ear Scottish glengarry: Between the left eye and the left ear Feather Bonnet: Slightly off the left ear towards the left eye Fusilier cap or Busby: Slightly off the left ear towards the left eye Jungle hat (as worn by the Brigade of Gurkhas in Number 2 dress): Centre front or between left eye and left ear.
296_6	Soldiers of the Gloucestershire Regiment and subsequently the Royal Gloucestershire, Berkshire and Wiltshire Regiment wore a cap badge on both the front and the rear of their headdress, a tradition maintained by soldiers in The Rifles when in service dress. The back badge is unique in the British Army and was awarded to the 28th Regiment of Foot for their actions at the Battle of Alexandria in 1801. Additional items that reflect a regiment's historical accomplishments, such as backing cloth and hackles, may be worn behind the cap badge. In Scottish regiments, for instance, it is a tradition for soldiers to wear their cap badges on a small square piece of their regimental tartans. Officer Cadets may wear a small white backing behind their badges. Members of arms such as the Adjutant General's Corps and Royal Electrical and Mechanical Engineers serving on attachment to other units often wear that regiment's beret or headdress but with their own Corps cap badge.
296_7	For a period leading up to Remembrance Day artificial poppies are worn by many people in the United Kingdom and Canada to commemorate those killed in war. On forage caps the paper petals are fitted under the left hand chin strap button. Royal Air Force Cap badges in the Royal Air Force differ in design between those of commissioned officers and other ranks. In addition to caps and berets, they are also worn on forage caps. Canadian Armed Forces
296_8	The Canadian Armed Forces utilize a variety of metal and cloth cap badges on their headdress, and many follow British traditions for additions such as cloth behind, blackened metal badges for rifle regiments, etc. Distinct cap badges identify service members' personnel branch or, in the case of infantry and armoured soldiers, regimental affiliation. Some units further differentiate NCMs from officers by cap badge material (for example: Artillery officers wear gold-wire embroidered cloth instead of brass, Lord Strathcona's Horse officers wear silver rather than brass). United States
296_9	U.S. Army In the United States Army, a Distinctive Unit Insignia (DUI) is worn on the flash of a beret. For service caps, a gilt eagle device is worn. This is the Great Seal of the United States. In the late nineteenth century, this device on a blue circle was listed as the equivalent of the roundel that appeared on headgear of many European armies. For officers, a large eagle device is worn. For enlisted men, a small version of the officer's insignia centered on a disk is worn on the front. Warrant Officers wear a gold eagle device centered on the cap. For garrison caps, generally the rank insignia is worn, but recent regulations call for the wear of the DUI. U.S. Air Force For U.S. Air Force service caps, a large, silver eagle device is worn on the service caps. For enlisted men, a smaller version of the officer's insignia is worn, but enclosed in a ring. The use of the same device is because the U.S. Air Force was once part of the U.S. Army.
296_10	Navies Cap badges used by navies (and merchant mariners) around the world tend to follow the pattern in use by the Royal Navy: an anchor, or occasionally a cockade, surrounded by golden leaf-shaped embroidery, and often topped by a crown or another symbol. They may be worn on peaked caps or berets. For petty officers the leaves may be absent or replaced by a ring of golden cable. United Kingdom Royal Navy Cap badges in the Royal Navy differ between ranks but have some common features: junior rates (Able Seaman to Leading Seaman) do not wear cap badges, wearing the peakless sailor's cap in number one dress. When wearing a beret, junior ratings will wear a fouled anchor within a gold ring as a beret badge.
296_11	Petty Officers wear a silver fouled anchor within a gold circle, with St Edward's Crown above the ring as their cap badge. That of Chief Petty Officers is the same, but with a small laurel wreath around the gold ring. That of warrant officers (both Class I and Class II) has a larger wreath around the anchor, but omits the ring. The laurel wreath around that of commissioned officers is larger still. Royal Marines In the Royal Marines, cap badges are worn on peaked caps and berets. Those of commissioned officers below the rank of colonel are split in two, the crown and lion atop, but separated from, the globe and laurels. They are brass and silver. Those of other ranks are of the same design but not split in two. They are plain brass. Blackened or subdued examples of both variants, those of officers and other ranks, are worn on berets, with combat uniform.
296_12	The lion and crown denote a royal regiment, conferred by King George III in 1802. The globe was chosen by King George IV to reflect their successes around the world. The laurels honour their gallantry at the Capture of Belle Île in 1761. In the Royal Marines Band Service, the Portsmouth band and CTCRM band have different cap badges from the rest of the Corps. The SBS also has its own cap badge. United States Navy and Coast Guard
296_13	The main exceptions to the Royal Navy Pattern are the United States Navy and the United States Coast Guard, which once followed this pattern, but changed after the Civil War to their current designs. The Navy has crossed anchors behind the eagle and shield for commissioned officers, while the Coast Guard uses a single large anchor held in the eagle's claws on its commissioned officers' caps. Chief Petty Officers and above in both the Navy and the Coast Guard have a larger version of their collar insignia as their cap badge for the combination cover and a miniature version worn on the garrison cap; Petty Officer First Class and below in both services wear a full size rank insignia on the garrison cap. Junior enlisted Costguardsmen wear a combination cap badge featuring a gold disc in front of two silver crossed anchors, while junior enlisted sailors do not wear the combination cap. Midshipmen at the US Naval Academy and NROTC wear a single, upright fouled anchor on combination and
296_14	garrison caps, while cadets at the US Coast Guard Academy wear a single fouled anchor surmounted by a five-pointed star, with one point facing down.
296_15	Marine Corps United States Marines wear the Eagle, Globe, and Anchor as their cap device: gilt and silver for officers and gold for enlisted on blue dress uniforms, and subdued for all ranks on service and utility uniforms. Marine option Midshipmen at the Naval Academy wear the same cap device as other Midshipmen, while NROTC midshipmen wear the enlisted dress Eagle, Globe, and Anchor device on all of their uniforms. Police The Royal Canadian Mounted Police, as well as provincial and municipal police forces, utilize forage caps and metal cap badges. United Kingdom Where the majority of British police forces have silver-coloured cap badges, those of the City of London Police are brass. Different badge designs are also worn on the headgear of police community support officers. Civilian organisations Cap badges are worn by a variety of other organisations:
296_16	In the United Kingdom, cadets of the Community Cadet Forces, Combined Cadet Force and Volunteer Cadet Corps generally wear cap badges of the armed forces they are affiliated to. Cadets of the Air Training Corps wear a badge with a unique design. See also Cockade Irish Defence Forces cap badge References External links British & Commonwealth Military Badge Forum Badges of The Royal Canadian Regiment RGBW insigna (Site is authorized by the colonel of the RGBW) Military insignia British military uniforms Badges Australian military insignia Australian military uniforms British military insignia
297_0	For Colored Girls is a 2010 American drama film adapted from Ntozake Shange's 1975 original choreopoem for colored girls who have considered suicide / when the rainbow is enuf. Written, directed and produced by Tyler Perry, the film features an ensemble cast which includes Janet Jackson, Whoopi Goldberg, Phylicia Rashad, Thandiwe Newton, Loretta Devine, Anika Noni Rose, Tessa Thompson, Kimberly Elise, Kerry Washington, and Macy Gray. The film depicts the interconnected lives of ten women, exploring their lives and struggles as women of color. It is the first film to be produced by 34th Street Films, an imprint of Tyler Perry Studios, and distributed by Lionsgate Films. It is also the first R-rated film directed by Perry. With a budget of $21 million, For Colored Girls was released on November 5, 2010, grossing $20.1 million in its opening weekend.
297_1	The film's lead cast consists of ten black women, seven of whom are based on the play's seven characters, only known by color (e.g. "lady in red", "lady in brown", and "lady in yellow"). Like its source material, each character deals with a different personal conflict, such as love, abandonment, rape, infidelity, and abortion. Plot Each woman is represented by a color: Jo Bradmore represents red, Tangie Adrose represents orange, Yasmine represents yellow, Juanita Sims represents green, Kelly Watkins represents blue, Nyla Adrose represents purple, and Crystal Wallace represents brown. Additionally, the characters of Alice Adrose, who represents white, and Gilda, who represents black, were made specifically for the film.
297_2	The film opens with the nine main characters reciting a poem of their inner thoughts ("Dark Phrases"). Kelly arrives at Tangie's brownstone to see Crystal about the safety of her children. At that time, Juanita arrives to leave her lover, Frank, a potted plant and telling him that she is breaking off their affair ("No Assistance"). Kelly attempts to speak with Crystal's children on how they ended up in the hospital, but is unsuccessful when Crystal's alcoholic boyfriend, Beau Willie, kicks her out. Crystal's nosy neighbor and apartment manager, Gilda, informs Kelly of Crystal's situation ("A Night with Beau Willie Brown") and reveals she was the one who called her. Meanwhile, Alice, Tangie's mother, shows up to beseech Tangie for money, but gets rebuffed instead.
297_3	Alice goes out to raise money, and encounters Yasmine, who gives her some. Yasmine is boasting to the girls in her dance class about Bill, a man she met. One of Yasmine's dance students, Nyla, is talking with the girls about her graduation night and losing her virginity ("Graduation Nite"), and later begins to vomit. Juanita is waiting in Jo's office at a magazine company. Crystal shows up for work, having been running late and informs Jo that her 9 o'clock appointment has arrived, despite it already being 10 o'clock. Juanita is then allowed in to interest Jo in giving some money to a non-profit organization that specializes in women's health care, but is rudely rebuffed.
297_4	Kelly is with Donald, her partner, at the gynecologist, who informs Kelly that she cannot have children due to scarring in her fallopian tubes caused by an untreated STD. Juanita is at the hospital giving advice on safe sex to women when Frank comes along to ask for forgiveness, but Juanita refuses to give in to his advances. Crystal implores Beau Willie to stop drinking, while he only cares about marrying her to increase his welfare benefits. At a restaurant, Jo leaves a voice message on her husband's, Carl, phone, imploring him to call her.
297_5	At that same restaurant, Yasmine and Bill have a date night together, recalling a story about her love for Latin dances ("Now I Love Somebody More Than"). Alice comes home to her apartment and it is revealed that Nyla is Alice's daughter and Tangie's sister. Alice gives Nyla the feeble amount of money she made, under the belief that it is for Nyla's college application fees. Meanwhile, Yasmine is walking home from her date with Bill, explaining that she loved dance more than anything until she met Bill ("Now I Love Somebody More Than" cont.). Nyla shows up at Tangie’s apartment to ask for money, explaining that she needs it for college, but Tangie is not fooled. She then deduces that Nyla is pregnant, but Nyla denies this. Tangie relishes in the fact that Nyla is not so perfect after all and that Alice will hate her the way she hates Tangie. She then tells her about the time she got pregnant and reveals where to find a back-alley abortionist.
297_6	Jo waits impatiently for Carl to return home and it is then revealed that Carl was the man Donald had arrested earlier. The couple then get into an argument about Carl investing into a failed company with Jo's money, which Carl did because he felt emasculated as a man, who is not providing and forfeiting his right to do anything in favor of submitting to Jo's will. Donald returns to his and Kelly's apartment where Kelly then reveals how she got her STD. She explains that before she was married, she and two of her friends had been seeing the same man and all contracted a disease from him ("Pyramid"). The next day, Carl reveals that he got tickets to the opera, which he hates, as an apology for last night's argument to Jo. During this conversation, he is clearly looking at other men desiringly. Tangie goes to pay the three hundred dollars for Nyla's college fees but Yasmine reveals that the dance class is free.
297_7	Tangie realizes that Nyla went to see the abortionist, Rose (Macy Gray), who is terrifying, and probably drunk. Nyla loses consciousness during the abortion as Rose tells her of a story about her life in Harlem ("I Used to Live in the World"). Yasmine excitedly invites Bill into her home for dinner where he savagely rapes her. Jo and her husband are at the opera, watching a performance of La Donna in Viola (an Italian, operatic version of "Pyramid"). During the performance, Jo watches as her husband cruises another man. The next day, Crystal left papers for Jo’s meeting at home. Crystal offers to take the train home, but Jo tells her that'll waste time and offers to drive her there. Seeing the male driver in the car, Beau Willie believes Crystal is having an affair and the abuse begins. Gilda tries to calm their fears by telling them a story about how she met her first husband ("Toussaint").
297_8	Beau Willie asks Crystal to marry him once again. After she refuses, Beau Willie becomes violent and dangles the children over the fifth-story window, giving Crystal an ultimatum. Gilda runs out into the street and screams for help as Jo, Juanita and several on-lookers witness Beau Willie drop the children to their deaths ("A Night with Beau Willie Brown" cont.). Donald interrogates Yasmine at the hospital on her rape, where he informs her that it'll be difficult to press charges as she tells him that women can be raped anywhere by anyone ("Latent Rapists"). At the same hospital, Alice comes in search of Nyla, who is being interrogated by Renee and Kelly, and gives them and Alice a vivid detail of her abortion ("Abortion Cycle #1"). After being informed of the situation and recognizing Crystal, Kelly becomes visibly upset.
297_9	Alice confronts Tangie in her apartment and after a physical altercation, they reveal to each other that Tangie was raped by her grandfather, Alice's father, causing Alice to take her to the abortionist where Alice supervised her, whereas Nyla was unsupervised. Alice reveals that her father took her virginity and was given to a white man at fifteen to have children. All these events explained why Tangie is the way she is ("One" cont.). After kicking Alice out of her apartment, Gilda comes into her house to put ice on the bruise on Tangie's face. She explains that Tangie and mother make a lot of sense before telling her a detailed account of Tangie's exploits ("One" cont.). Tangie believes that Gilda has been snooping again through the wall, but Gilda reveals that she was once like Tangie.
297_10	Carl comes home to find Jo distraught and reveals what happened with Crystal, stating that she never once knew she was abused and wondering what kind of person she was. Jo and Carl embrace as she sobs into his shoulder. Alice and Nyla return to their apartment where Alice tells her to pray for forgiveness. As Nyla prays, Alice attempts to exorcise her with ashes and hot oil, hurting Nyla. Nyla runs away to Yasmine's apartment, hoping to find some comfort. However, Yasmine is too traumatized from her rape to answer the door.
297_11	Kelly is waiting outside the brownstone as Crystal comes out with a pail and a brush to wash away the blood of her children. Crystal comments that she does not feel awake and thinks that this is what death must feel like. Nyla passes by and Kelly takes her into Crystal's apartment to wash her up. Hearing Tangie bring in yet another suitor to her apartment, Nyla confronts her. Tangie kicks her suitor out after he asks her to invite Nyla for a threesome. Tangie and Nyla hash out their problems, before Tangie reveals that her life is complicated and she is still learning from her mistakes ("No More Love Poems #4").
297_12	Yasmine is practicing an interpretive dance ("Sechita") as Kelly discovers that Crystal has swallowed an entire bottle of pills. Crystal is taken to the hospital as Yasmine is visited by Donald, who has informed her that Bill has been murdered after attempting to rape another woman. She goes into the morgue to look at his body one last time, before slapping him and then leaving. That night, Kelly is unable to sleep, feeling guilty for not taking Crystal's children away sooner. Juanita comes home with a birthday cake for Frank, only to find that he is not home and his clothes are gone. Juanita vents her frustration to her women's health class ("Somebody Almost Walked Off Wid Alla My Stuff") as Crystal is released from the hospital and goes into therapy. Jo gives Juanita a check for her non-profit organization, Beau Willie is sent to jail, and Nyla returns to dance class with Yasmine.
297_13	Tangie invites Crystal to Nyla’s going away party. Crystal initially declines. Tangie begrudgingly invites Gilda, both finally having an unspoken, mutual respect for each other. Juanita breaks things off with Frank for good ("No More Love Poems #1"). Crystal is still wondering how Beau Willie could do such a thing, but Gilda tells her that she also needs to take responsibility for not leaving Beau Willie sooner. Jo confronts Carl on his homosexuality, which he angrily denies at first but Jo tells him that she was not oblivious to the way Carl looks at other men. After venting his frustrations over Jo's controlling nature, he then admits that he has been sleeping with other men and tells her that he is sorry. Jo, however, tells him that she is not accepting his apology, having heard him apologize many times before ("Sorry"). Jo then reveals that she is HIV-positive from Carl's exploits and tells Carl to leave when she gets back home.
297_14	At Nyla's going away party, all the women gather to celebrate. Jo and Juanita have a conversation on the rooftop about HIV, while the other women come out to join them, including Crystal, as the women talk about the value of their love ("My Love Is Too") and share their experiences with men's apologies ("Sorry" cont.). Crystal tells everyone that she was missing something in her life and the women reveal the hurt and pain they've gone through in their lives, before coming together to embrace Crystal and each other ("A Laying on of Hands") and move forward with their lives.
297_15	Cast Janet Jackson as Joanna "Jo" Bradmore ("Lady in Red") Thandiwe Newton as Tangie Adrose ("Lady in Orange") (as Thandie Newton) Whoopi Goldberg as Alice Adrose ("Lady in White") Phylicia Rashad as Gilda ("Lady in Black") Anika Noni Rose as Yasmine ("Lady in Yellow") Loretta Devine as Juanita Sims ("Lady in Green") Kimberly Elise as Crystal Wallace ("Lady in Brown") Kerry Washington as Kelly Watkins ("Lady in Blue") Tessa Thompson as Nyla Adrose ("Lady in Purple") Macy Gray as Rose Michael Ealy as Beau Willie Brown Omari Hardwick as Carl Bradmore Hill Harper as Donald Watkins Khalil Kain as Bill Richard Lawson as Frank
297_16	Production On September 3, 2009, Lionsgate announced it had acquired the distribution rights to Tyler Perry's 34th Street Films adaptation of the play, with principal photography originally scheduled to take place in Atlanta, Georgia in November and December 2009, with a planned 2010 release. The film was written, directed, and produced by Perry. The cast includes Loretta Devine, Kimberly Elise, Whoopi Goldberg, Janet Jackson, Phylicia Rashad, Anika Noni Rose, Kerry Washington, Thandiwe Newton, and Tessa Thompson. Mariah Carey had also been cast, but pulled out in May 2010, citing medical reasons (later revealed to be her pregnancy); Thandiwe Newton was cast to replace her. Macy Gray was also cast.
297_17	Originally using the play's full title, the film's title was shortened to For Colored Girls in September 2010. In an October 2010 press conference with the cast, Perry credited his full body of work for being able to make the film, stating, "It took everything—Madea, House of Payne and all of that—for me to be able to do For Colored Girls. Had none of that happened I wouldn't have been able to say, 'Listen, this is what I want to do next,' so I’m very proud of it all." When asked if she held reservations about Perry's adaptation of her work, Shange responded: "I had a lot of qualms. I worried about his characterizations of women as plastic." In reference to the film post-production, she stated, "I think he did a very fine job, although I'm not sure I would call it a finished film." Soundtrack
297_18	For Colored Girls: Music From and Inspired by the Original Motion Picture Soundtrack was released on November 2, 2010. It features music from the cast, as well as Leona Lewis, and Nina Simone. Release The film was originally planned for a 2010 release, but was later delayed until January 14, 2011. However, the studio chose to move the release date forward to November 5, 2010; Tyler Perry commented it was "a serious film that really lends itself to the Fall period." Grossing $20.1 million in its opening weekend, For Colored Girls debuted at the box office at #3, behind Megamind ($47.7 million) and Due Date ($33.5 million).
297_19	Critical reception On Metacritic the film received an weighted average score of 50 out of 100, based on 33 reviews, which indicates "mixed or average reviews". On Rotten Tomatoes 32% of 109 critics gave the film a positive review, with an average rating of 5.20/10. The site's consensus is that "Tyler Perry has assembled a fine cast for this adaptation of the 1975 play, and his heart is obviously in the right place, but his fondness for melodrama cheapens a meaningful story". Audiences polled by CinemaScore gave it a grade "A" on a scale from A+ to F.
297_20	Early reviews from a private screening by Variety and The Hollywood Reporter were negative. Peter DeBruge of Variety stated that "[i]n adapting Ntozake Shange's Tony-nominated play—a cycle of poetic monologues about abuse, abortion and other issues facing modern black women, rather than a traditional narrative—the do-it-all auteur demonstrates an ambition beyond any of his previous work. And yet the result falls squarely in familiar territory, better acted and better lit, perhaps, but more inauthentically melodramatic than ever." Despite an overall negative view of the film's plot and direction, DeBruge gives praise to the acting of its principal cast. Kirk Honeycutt of The Hollywood Reporter highlighted the difficulty in translating Shange's poetic play to film. He commented: "No, it never was going to be easy, but someone needed to put creative sweat into this one, to reach for cinematic solutions to the theatrical challenge. All Perry does is force conventional plots and
297_21	characters—utter cliches without lives or souls—into the fabric of Shange's literary work. The hackneyed melodramas get him from one poem to the next but run roughshod over the collective sense of who these women are." Honeycutt acknowledged the talents of the film's actresses, highlighting performances by Phylicia Rashad, Anika Noni Rose, and Kimberly Elise.
297_22	Critic Marshall Fine gave a negative review in The Huffington Post. He asserts Perry's screenplay is inadequate for its source material, stating that each character "gets the opportunity to suddenly burst into Shange's poetic arias. But the connective tissue that links the various stories ... amounts to a college course in black social pathology—or perhaps just human pathology." Acknowledging the acting talent of the ensemble cast, he states: "Don't get me wrong. The women of this film all shine, hitting strong emotional notes that ring true even when Perry's adaptation feels false ... So let's just say that For Colored Girls is a barely competent film (which is a big step up for Perry), illuminated by luminous performances."
297_23	Lisa Schwarzbaum of Entertainment Weekly comments: "The female cast is great, with especially fierce performances from Loretta Devine, Kimberly Elise, Phylicia Rashad, and Anika Noni Rose. But stuck in a flailing production that might just as well invite Perry's signature drag creation Madea to the block party, the actors' earnest work isn't enuf." Claudia Puig of USA Today called the film a "strained soap opera" which "has wrung the beauty and truth out of the original in almost every way possible." Mary Pols of Time magazine states that despite the caliber of the cast, "Elise's performance is the only restrained one in the film and her Crystal is For Colored Girls' most compelling character." She concludes that "For Colored Girls feels like the cinematic equivalent to putting a garish reproduction of the Sistine Chapel on the ceiling of your McMansion and calling it art."
297_24	In contrast, a review by Shadow and Act was favorable, calling For Colored Girls "the best thing Perry has done to date." Perry is complimented on his cinematography, and use of "subtlety and nuance", although his screenwriting is still considered to be the weakest aspect of the film. Like previous reviews, praise is given to the acting quality of the cast, especially regarding performances given by Thandiwe Newton, Janet Jackson, and Kimberly Elise. The Huffington Post journalist Jenee Darden gave a mixed review. She comments that Perry's modern plot conflicts with the narrative of Shange's poetry which was written during the 1970s, explaining: "The film is set in the present and black people don't use the word 'colored' anymore. Watching a character type on a laptop then hearing someone describe themselves as 'colored' a few scenes later doesn't feel realistic."
297_25	She commends the acting of the cast, stating "Kimberly Elise stirs you as always. Loretta Devine is funny and vivid. Thandie Newton delivers as a troubled, selfish sex addict. She and Whoopi were matched perfectly as a mother and daughter with serious tensions. Singer Macy Gray's eerie portrayal of a back-alley abortionist will make you rethink ever having unsafe sex." Roger Ebert comments that "Shange's award-winning play is justly respected, but I'm not sure it’s filmmable, and I’m pretty sure it wasn't a wise choice for Perry ... That’s not to say 'For Colored Girls' doesn't have its virtues. Seeing these actresses together is a poignant reminder of their gifts, and of the absence of interesting roles for actresses in general and African-American ones in particular."
297_26	Betsy Sharkey of the Los Angeles Times gave a positive review, stating that "[w]ith a surgical precision, the writer-director cut [Shange's poetry] apart and reassembled it, using various pieces to create characters and storylines, keeping much of the poetry, writing the connective tissue himself so that it finds a new life, a somewhat different life on screen," and said it is his most "mature" film to-date. Commenting on the acting of the ensemble cast, she states: "Newton's Tangie swings too wildly; Goldberg's Alice, clad in white and rage, never finds traction; and Rashad, as the apartment manager Gilda, the central link between many of the characters, never quite connects, so it often feels as if she's walked onto the wrong stage" but adds that "[w]hatever stumbles there may be, they are offset by moments when 'For Colored Girls' soars," ultimately describing the film as "unforgettable."
297_27	Mick LaSalle of the San Francisco Chronicle called For Colored Girls "a serious achievement." He compliments Perry's work, stating "this new film shows a mastery of tone, a capacity to elicit strong performances and also to bring out different colors within those performances so that, when it all comes together, it's not the same note sounding over and over. This is smart, lovely work." Manohla Dargis of The New York Times called the film "a thunderous storm of a movie." Dargis states that "working with fine performers like Ms. Elise, Anika Noni Rose, Phylicia Rashad and Kerry Washington, he sings the song the way he likes it—with force, feeling and tremendous sincerity."
297_28	Matt Zoller Seitz of Salon.com calls For Colored Girls Perry's "most problematic work. It's also his most ambitious." He adds that "Perry never solves the stage-to-screen translation problem. But the path he has chosen is as intriguing as it is irksome, and it works better than you might expect." In terms of acting, he praises Jackson's performance, stating: "[s]he outdoes herself here ... It's not just Jackson's short haircut and traumatized eyes that might remind viewers of Jane Wyman or Joan Crawford; Perry gets at the mix of masculine hyper-competitiveness and feminine vulnerability that has always defined Jackson, and links it to the wily, lonely coldness often captured in Wyman and Crawford performances, a directorial gambit of tremendous perceptiveness." In addition, he says Perry "is just as sharp directing Jackson's costars—especially Elise, Rashad and Devine."
297_29	Accolades For Colored Girls has received accolades primarily from African American film and critic associations, in multiple categories including acting, writing, directing and overall production. Kimberly Elise has received the most acting nomination among the cast, followed by Anika Noni Rose and Phylicia Rashad. See also List of black films of the 2010s References External links 2010 films 2010 romantic drama films American films American romantic drama films English-language films Films directed by Tyler Perry Films scored by Aaron Zigman Films with screenplays by Tyler Perry African-American films African-American gender relations in popular culture African-American LGBT-related films American LGBT-related films American films based on plays Films shot in Atlanta Films shot in New York City Films set in Atlanta Films about rape Films about abortion Films about dysfunctional families 2010s feminist films 2010 LGBT-related films American feminist films
298_0	The Mastaba of Seshemnefer IV is a mastaba tomb in Cemetery GIS of the Giza Necropolis in Egypt. It dates from the early Sixth Dynasty (c. 2340 BC), and was built for the official Seshemnefer IV (LG 53). Five reliefs from the mastaba of Seshemnefer IV are on display in the Egyptian collection of the Roemer- und Pelizaeus-Museum Hildesheim.
298_1	Discovery Already in the period between 1842 and 1845, the first excavation of the tomb was carried out by members of the Prussian Expedition under the leadership of Karl Richard Lepsius. At this time the reliefs were in a far better state of preservation. While Lepsius took pieces of the decoration of the north and east walls with him to the Egyptian Museum of Berlin (Inv.# 1128 and 1129), the blocks of the west wall remained in situ until the excavations of Hermann Junker. The tomb was completely uncovered during Junker's excavations, which took place in 1928/9. Five relief fragments were sent to the Egyptian collection of the Roemer- und Pelizaeus-Museum Hildesheim.
298_2	Tomb owner Seshemnefer IV (Sšm-nfr) was Head of the Royal Harem, which means he was the manager of the area of the palace where the women and children of the royal family lived. Additionally, a list of his ranks and honorific titles survives which indicates that he was an important man at court, who was trusted by his king. The surviving reliefs from the mastaba give an insight into daily life in his time, including agriculture, cattle breeding, bird hunting, grain storage, but also clothing, offering rituals and, to some degree, colloquial language. Reliefs at Hildesheim Playing Goats (Inv. No. 3192) The damaged relief fragment can no longer be assigned to a specific wall of the mastaba. In the upper register, it shows a he-goat and a jumping kid; in the lower register, a he-goat jumping over another goat. Behind it is another jumping kid.
298_3	Bird hunt scene (Inv. No. 3193) This fragment cannot be clearly attributed to a specific wall of the mastaba either. It shows the netting and the division of the captured birds between two people. Two men are shown in a bird hunting scene. The left is identified as the "leader of the bird hunt". The inscription in front of the second man, which only survives in fragments, says "causing the net to be tightened." The man gives a sign that the net hanging to his right should be tighted to capture birds which have flown into it. The two birds on the right are caught in the net. In the upper portion of the image, three men empty a net. The man on the right takes the birds out and hands them to the man standing in front of him, who gives them to a third man who is standing on a cage - only his hands are now preserved. In the cage are several other birds which have already been captured. Great harvest scene (Inv. No. 3191)
298_4	Scenes of various kinds of agriculture, like this broken relief with two and a half preserved registers of a harvest scene, are a regular part of the decoration of large tombs. The three preserved fragments were removed from the right part of the west wall. The left part of the wall is lost, but contained a depiction of the owner of the tomb, whose legs and kilt were still preserved when the tomb was first excavated. This allows the scene to be contextualised as a whole: Seshemnefer IV stood at left, facing right; in front of him, flax and cereals are being harvested. The harvesting of the cereals with hand sickles is preserved in the surviving fragments, including an overseer standing at right. Below, the transport of the cereal to the granary is shown. The grain is kept in large sacks which are carried by donkeys. Finally, at right, two workers stack the grain in the granary, as an caption explains. The donkey driver hold the sacks in place with his hands. In the upper register, the
298_5	agricultural scenes are not preserved. On the other wall of the same room, further work was depicted: the threshing of the grain with the help of the donkeys and the winnowing. All these images guaranteed the tomb owner a supply of the necessities of live after his death. They would protect him from hunger and thirst for all eternity. The relief is made of limestone and is 84.5 cm high, 100.5 cm wide and 10.5 cm deep.
298_6	Slaughter of a steer (Inv. No. 3194) This relief block belonged to the highest of the three bands of imagery of the right soffit of passage between two rooms. It depicts the binding and slaughter of a steer. A man holds the steer by the horns while a second man pulls the forelegs out from under it with a rope and simultaneously kicks the back leg with his foot in order to make the animal fall. The inscription says that it is a young offering to the tomb owner. Offering in front of the statue of Seshemnefer IV (Inv. No. 3190)
298_7	In the foreground of this scene of an offering of incense and meat, is the statue of the tomb owner, Seshemnefer IV, shown as a stout man standing up straight. That it is a statue is indicated by the depiction of the shoulders and arms in profile - otherwise, in Egyptian depictions of people, the shoulders were shown in a frontal view and the head in profile. It is labeled as a "statue of the Sole friend, Seshemnefer" (twt-r-ankh smr-watj sSm-nfr). The statue stands facing three servants (funerary priests) who are shown at a smaller scale. In the upper part of the relief, the steward Mer-r-ri (jmj-rA pr mrrj) acts as a funerary priest, lifting the lid of the incense vessel, so that the scent of the incense can reach the nose of the statue. Behind him stands a second servant. Because of severe damage to the relief surface, the papyrus which he holds in his hand to recite from is no longer visible. Underneath, another servant carries a cow's leg and probably formed part of another
298_8	slaughtering scene. All the individuals shown wear a short kilt tied in place under the navel. With the help of his statue, which was magically brought to life by offerings and rituals, Seshemnefer IV would be made to live again. The statue served as a substitute body for eternity. The relief fragment is made of limestone, is 70.3 cm high, 78.3 cm wide and 10 cm deep.
298_9	Bibliography Hermann Junker. Gîza 11. Der Friedhof südlich der Cheopspyramide. Ostteil (= Akademie der Wissenschaften in Wien Philosophisch-historische Klasse Denkschriften. 74, Abhandlung 2). Rohrer, Wien 1953, pp. 92–96, 100–119, 126–131, 137–241 (Digitised). Bertha Porter, Rosalind L. B. Moss. Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings. Vol. 3: Memphis. Part 1: Abû Rawâsh to Abûsîr, revised and augmented by Jaromír Málek. 2nd edition, Clarendon Press, Oxford 1974, S. 223–226 (Digitised). Hans Kayser. Die Ägyptischen Altertümer im Roemer-Pelizaeus Museum in Hildesheim. Roemer-Pelizaeus-Museum, Hildesheim 1973. Arne Eggebrecht, Bettina Schmitz, Matthias Seidel. Das Alte Reich. Ägypten im Zeitalter der Pyramiden. von Zabern, Mainz 1986, . Katja Lembke, Martin von Falck, Bettina Schmitz. Das Alte Ägypten in Hildesheim. Vol. 1: Das Alte Reich. Ägypten von den Anfängen zur Hochkultur. von Zabern, Mainz 2009, .
298_10	External links Die Mastaba des Seschemnefer IV. on the Giza-Projekt The Mastaba of Seshemnefer IV. on the Giza Archive Klaus Finneiser. Auf Feld und Weide. Grabrelief des Seschem-nefer IV aus dem Alten Reich (Berlin, Ägyptisches Museum Inv. Nr. 1129) Mastabas Giza Plateau Buildings and structures of the Sixth Dynasty of Egypt
299_0	Aman ul-Mulk (1 January 1821 – 30 August 1892) was the Mehtar of Chitral, Ghizer, Yasen and Ishkoman and Suzerain of Kafiristan. He ruled the State of Chitral from 1857 to 1892. His rule saw Chitral reach its territorial peak, extending from Ishkamun in Gilgit Agency to Asmar in Afghanistan. His death lead to the Siege of Chitral an instance of high drama, which goes down in the annals of British India as an epic of enormous courage and determination. Early years
299_1	Accession and attributes Muhtarram Shah Kator the III was succeeded by Aman ul-Mulk. In order to succeed Aman ul-Mulk had killed his elder brother in 1856. Thus in 1857, Aman climbed to the throne of Chitral, by steps slippery with the blood he had shed. He is referred to in local chronicles as the Great Mehtar, who ruled over the valleys with true oriental despotism between 1857 and 1892. Sir George John Younghusband denoted him as a “strong and astitute” ruler. Lord Curzon acclaimed him as "The very man for such a state and such times”.
299_2	Territorial expansion Aman ul-Mulk ruled over Upper and Lower Chitral extending from the borders of Punjab on one side to the borders of Kafiristan and Dir on the other. The northern boundary of his dominion was the watershed of the Hindu Kush. In those early years, up to 1871, Chitral still paid tribute to Badakhshan in slaves, but it would be absurd to infer from this fact that Chitral ever acknowledged the suzerainty of Jehandar Shah or of the Afghan faction that dispossessed him. 1878 agreement and effects In 1878 Aman ul-Mulk being anxious of aggression by the Amir of Afghanistan placed Chitral under the nominal suzerainty of the Maharaja of Kashmir. This brought him into direct touch with the Government of India, with whom from that time until his death he did all he could to maintain friendly relations. In 1885 a mission under Sir William Lockhart visited Chitral and was very cordially received, and so too was Colonel Durand, who went there in 1888.
299_3	By the agreement of 1878 Aman ul-Mulk the Mehtar or King of Chitral got an annual subsidy of Rs 12,000 from the ruler of Kashmir. The Mehtar was to present the latter annually three horses, five hawks and five Tezi dogs. Further a treaty was signed between the Amir of Afghanistan and Mortimer Durand that the former would not interfere in Bajaur, Dir, Swat and Chitral. But the disagreements increased after settlement. More than anything else, it was Aman ul-Mulk, sense of his own interests which led him to rely upon Kashmir and the British. Aman ul-Mulk, now secure and strengthened, swiftly eliminated his old rivals south of the Hindu Kush and was able as a result to expand his dominion from Ishkamun in the Gilgit Agency to Asmar in Afghanistan. The two valleys of Chitral, along the perceived border with Afghanistan were unified under Aman ul-Mulk in 1880, with encouragement from Colonel Biddulph. External pressures
299_4	For the first time after the withdrawal of the Gilgit Agency in 1881 the Amir of Afghanistan Abd-ar-Rahman, in a letter, claimed suzerainty over Chitral in 1882, he claimed Chitral in unqualified terms and asked its rule Aman ul-Mulk to acknowledge his suzerainty and declared that the British had no right of interference with the affairs of his Chiefship. The Governor General of India, Lord Ripon could not leave the letter unchallenged. After telegraphic references to London for permission to threaten Abd-ar-Rahman with ‘force of arms if needful’. Ripon warned him, tactfully, whereupon Abd-ar-Rahman promised to desist from interfering in the affairs of Chitral in the future.
299_5	However, on 14 June 1877, officials of the Amir came to Chitral to arrange for the betrothal of one of the Mehtars daughters to the Amirs eldest son, Sardar Habibullah Khan. And to hussel the Mehtar into concluding the matrimonial alliance. The Amir imposed political and economic pressures. Aman however did not crumble to this pressure and continued to be reluctant to enter into the said marriage alliance without the sanction of the British Government. With the few incidence of turbulence apart Chitral remained relatively undisturbed during this period noting which Churchill wrote, "Meanwhile Aman ul-Mulk ruled in Chitral showing great respect for the wishes of the British Government and in the enjoyment of his subsidy and comparative peace".
299_6	Further events In October 1889, Colonel Durand arrived in Chitral, the Mehtars reception of his guest was most cordial. During the course of the visit Aman readily agreed to the following depending on receipt of increased subsidy: His assistance in opening up the Peshawar-Chitral road. Improving the main path in his country to tracks passable by laden muels. Fortification of certain selected positions to be afterword's pointed out to him. In 1886, and again in 1888, he sent two of his sons, Afzal ul-Mulk and Nizam ul-Mulk, down to India. They came back much impressed with what they had seen and did all they could to strengthen the alliance of their father with the Great Sircar. Death Expiry Aman ul-Mulk died very suddenly and all the circumstances of his death indicate that he succumbed in the ordinary course of nature to a sudden attack of illness but it is so unusual in Chitral for a Mehtar to come to a peaceful end, that most of the Chitralies believe that he was poisoned.
299_7	Gravity By the time of Aman ul-Mulk's death in 1892, Chitrals primary importance was that it contained the series of valleys stretching from Wakhan to British held India. Fear of this area as an invasion route went back to 1874, amid the claim that Russia could be in British territory within thirteen days with an army if held Chitral. During the Viceroyalty of Lord Lytton, it was deemed expedient, in view of Russian military activity in Central Asia, to obtain more effective control over the passes of the Hindu Kush. And it was the same menace, real or fanciful, which prompted the Marquess of Lansdowne to re-establish the Gilgit Agency in 1889.
299_8	Until 1892 Mehtar Aman ul-Mulk had provided a sturdy bulwark to British interests, his death had jeopardised that security. The British preferred to conciliate Nizam ul-Mulk, as he was connected with Umra Khan of Jandul and with the influential Mullah Shahu Baba of Bajaur through his maternal uncle Kokhan Beg. He also had connections in Badakshan, Hunza and Dir. Build-up to the siege of Chitral However, with Aman ul-Mulks death, all hell broke loose in Chitral, a three way struggle for succession broke out between two of his sons, Nizam ul-Mulk and Afzal ul-Mulk and their uncle Sher Afzal. Having the fortune of being on the spot Afzal took control and proclaimed himself Mehtar. The first thing that Afzal did was to invite as many brothers as were within reach to a banquet where he murdered them.
299_9	Nizam ul-Mulk was away in Yasin, of which he was the governor, when the Mehtarship was seized by his brother Afzal ul-Mulk. Anxious to consolidate his power Afzal asked the British that an officer might be sent to reside permanently in Chitral. Before, however, any arrangements could be made he was killed, after a short reign of a few months, by his uncle Sher Afzal. Nizam ul-Mulk at once hurried to Chitral and succeeded in ousting Sher Afzal.
299_10	Nizam, like his brother, asked that a political officer might reside in Chitral territory, and Captain Youngshusband was accordingly sent to Mastuj. Later probably not feeling himself very secure Nizam urged for the headquarters of the residence political officer who happened at that time to be Lieutenant Gurdon, to be shifted from Mastuj to Chitral but while the question was still under determination the Mehtar was murdered by his brother Amir ul-Mulk. Amir demanded recondition from Lieutenant Gurdon who was acting as assistant political agent in Chitral. When Amir ul-Mulk came to him he very properly said that he had no power to grant recognition until instructed to do so by the Government of India but that in all probability he would be recognised.
299_11	Aftermath Amir ul-Mulk had shown himself quite unfit to rule. He had made himself hateful to the Chitralies and had been guilty of treachery to the English. Sir George Robertson therefore declared that subject to the approval of the Government of India, Shuja ul-Mulk his younger brother was recognised as Mehtar. The critical nature of the situation leading up to the siege of Chitral is brought out very clearly in the speech made by Lord Elgin, the Viceroy of India, on 29 March 1895, to the Supreme Legislative Council.
299_12	Description Though admirably suited to govern a savage people, he was exceedingly cruel, treacherous and vindictive. Sir Lepel Griffin has called him – ''a translucent old savage''. At his accession he killed all his near relations except his brother Sher Afzul, who fled. Historian John Keay has put him down as "the cunning genius". whereas orientalist, Gottlieb Wilhelm Leitner has referred to him as, "A terrible man, who to extraordinary courage joined the arts of the diplomatist". Murder of Hayward Aman ul-Mulk is believed to be the instigator of the murder of British explorer George W. Hayward through the agency of Mir Wali of Yasin. References Military history of British India North-West Frontier Province Mehtars of Chitral Princely rulers of Pakistan Nawabs of Pakistan
300_0	GitHub, Inc. is a provider of Internet hosting for software development and version control using Git. It offers the distributed version control and source code management (SCM) functionality of Git, plus its own features. It provides access control and several collaboration features such as bug tracking, feature requests, task management, continuous integration and wikis for every project. Headquartered in California, it has been a subsidiary of Microsoft since 2018. It is commonly used to host open-source projects. As of November 2021, GitHub reports having over 73 million developers and more than 200 million repositories (including at least 28 million public repositories). It is the largest source code host . History
300_1	GitHub.com Development of the GitHub.com platform began on October 19, 2007. The site was launched in April 2008 by Tom Preston-Werner, Chris Wanstrath, P. J. Hyett and Scott Chacon after it had been made available for a few months prior as a beta release. GitHub has an annual keynote called GitHub Universe. Organizational structure GitHub, Inc. was originally a flat organization with no middle managers; in other words, "everyone is a manager" (self-management). Employees could choose to work on projects that interested them (open allocation), but salaries were set by the chief executive. In 2014, GitHub, Inc. introduced a layer of middle management amid harassment claims made against senior management. Tom Preston-Werner resigned as CEO amid the scandal.
300_2	Finance GitHub.com was a bootstrapped start-up business, which in its first years provided enough revenue to be funded solely by its three founders and start taking on employees. In July 2012, four years after the company was founded, Andreessen Horowitz invested $100 million in venture capital. In July 2015 GitHub raised another $250 million of venture capital in a series B round. Investors were Sequoia Capital, Andreessen Horowitz, Thrive Capital and other venture capital funds. As of 2018, GitHub was estimated to be generating $200–300 million in Annual Recurring Revenue. The GitHub service was developed by Chris Wanstrath, P. J. Hyett, Tom Preston-Werner and Scott Chacon using Ruby on Rails, and started in February 2008. The company, GitHub, Inc., has existed since 2007 and is located in San Francisco.
300_3	On February 24, 2009, GitHub announced that within the first year of being online, GitHub had accumulated over 46,000 public repositories, 17,000 of which were formed in the previous month. At that time, about 6,200 repositories had been forked at least once and 4,600 had been merged. That same year, the site was used by over 100,000 users, according to GitHub, and had grown to host 90,000 unique public repositories, 12,000 having been forked at least once, for a total of 135,000 repositories. In 2010, GitHub was hosting 1 million repositories. A year later, this number doubled. ReadWriteWeb reported that GitHub had surpassed SourceForge and Google Code in total number of commits for the period of January to May 2011. On January 16, 2013, GitHub passed the 3 million users mark and was then hosting more than 5 million repositories. By the end of the year, the number of repositories was twice as great, reaching 10 million repositories.
300_4	In 2012, GitHub raised $100 million in funding from Andreessen Horowitz with $750 million valuation. On July 29, 2015, GitHub stated it had raised $250 million in funding in a round led by Sequoia Capital. Other investors of that round included Andreessen Horowitz, Thrive Capital, and IVP (Institutional Venture Partners). The round valued the company at approximately $2 billion. In 2015, GitHub opened an office in Japan, its first outside of the U.S. In 2016, GitHub was ranked No. 14 on the Forbes Cloud 100 list. It has not been featured on the 2018, 2019 and 2020 lists. On February 28, 2018, GitHub fell victim to the third largest distributed denial-of-service (DDoS) attack in history, with incoming traffic reaching a peak of about 1.35 terabits per second. On June 19, 2018, GitHub expanded its GitHub Education by offering free education bundles to all schools. Acquisition by Microsoft
300_5	From 2012, Microsoft became a significant user of GitHub, using it to host open-source projects and development tools such as .NET Core, Chakra Core, MSBuild, PowerShell, PowerToys, Visual Studio Code, Windows Calculator, Windows Terminal and the bulk of its product documentation (now to be found on Microsoft Docs). On June 4, 2018, Microsoft announced its intent to acquire GitHub for US$7.5 billion. The deal closed on October 26, 2018. GitHub continued to operate independently as a community, platform and business. Under Microsoft, the service was led by Xamarin's Nat Friedman, reporting to Scott Guthrie, executive vice president of Microsoft Cloud and AI. GitHub's CEO, Chris Wanstrath, was retained as a "technical fellow," also reporting to Guthrie.
300_6	There have been concerns from developers Kyle Simpson, JavaScript trainer and author, and Rafael Laguna, CEO at Open-Xchange over Microsoft's purchase, citing uneasiness over Microsoft's handling of previous acquisitions, such as Nokia's mobile business or Skype. This acquisition was in line with Microsoft's business strategy under CEO Satya Nadella, which has seen a larger focus on the cloud computing services, alongside development of and contributions to open-source software. Harvard Business Review argued that Microsoft was intending to acquire GitHub to get access to its user base, so it can be used as a loss leader to encourage use of its other development products and services.
300_7	Concerns over the sale bolstered interest in competitors: Bitbucket (owned by Atlassian), GitLab (a commercial open source product that also runs a hosted service version) and SourceForge (owned by BIZX, LLC) reported that they had seen spikes in new users intending to migrate projects from GitHub to their respective services. In September 2019, GitHub acquired Semmle, a code analysis tool. In February 2020, GitHub launched in India under the name GitHub India Private Limited. In March 2020, GitHub announced that they were acquiring npm, a JavaScript packaging vendor, for an undisclosed sum of money. The deal was closed on 15 April 2020. In early July 2020, the GitHub Archive Program was established, to archive its open source code in perpetuity.
300_8	Mascot GitHub's mascot is an anthropomorphized "octocat" with five octopus-like arms. The character was created by graphic designer Simon Oxley as clip art to sell on iStock, a website that enables designers to market royalty-free digital images. GitHub became interested in Oxley's work after Twitter selected a bird that he designed for their own logo. The illustration GitHub chose was a character that Oxley had named Octopuss. Since GitHub wanted Octopuss for their logo (a use that the iStock license disallows), they negotiated with Oxley to buy exclusive rights to the image. GitHub renamed Octopuss to Octocat, and trademarked the character along with the new name. Later, GitHub hired illustrator Cameron McEfee to adapt Octocat for different purposes on the website and promotional materials; McEfee and various GitHub users have since created hundreds of variations of the character, which are available on The Octodex. Services
300_9	Projects on GitHub.com can be accessed and managed using the standard Git command-line interface; all standard Git commands work with it. GitHub.com also allows users to browse public repositories on the site. Multiple desktop clients and Git plugins are also available. The site provides social networking-like functions such as feeds, followers, wikis (using wiki software called Gollum) and a social network graph to display how developers work on their versions ("forks") of a repository and what fork (and branch within that fork) is newest.
300_10	Anyone can browse and download public repositories but only registered users can contribute content to repositories. With a registered user account, users are able to have discussions, manage repositories, submit contributions to others' repositories, and review changes to code. GitHub.com began offering limited private repositories at no cost in January 2019 (limited to three contributors per project). Previously, only public repositories were free. On April 14, 2020, GitHub made "all of the core GitHub features" free for everyone, including "private repositories with unlimited collaborators." The fundamental software that underpins GitHub is Git itself, written by Linus Torvalds, creator of Linux. The additional software that provides the GitHub user interface was written using Ruby on Rails and Erlang by GitHub, Inc. developers Wanstrath, Hyett, and Preston-Werner. Scope
300_11	The main purpose of GitHub.com is to facilitate the version control and issue tracking aspects of software development. Labels, milestones, responsibility assignment, and a search engine are available for issue tracking. For version control, Git (and by extension GitHub.com) allows pull requests to propose changes to the source code. Users with the ability to review the proposed changes can see a diff of the requested changes and approve them. In Git terminology, this action is called "committing" and one instance of it is a "commit." A history of all commits is kept and can be viewed at a later time.
300_12	In addition, GitHub supports the following formats and features: Documentation, including automatically rendered README files in a variety of Markdown-like file formats (see ) Wikis GitHub Actions, which allows building continuous integration and continuous deployment pipelines for testing, releasing and deploying software without the use of third-party websites/platforms Graphs: pulse, contributors, commits, code frequency, punch card, network, members Integrations Directory Email notifications Discussions Option to subscribe someone to notifications by @ mentioning them. Emojis Nested task-lists within files Visualization of geospatial data 3D render files that can be previewed using a new integrated STL file viewer that displays the files on a "3D canvas." The viewer is powered by WebGL and Three.js. Photoshop's native PSD format can be previewed and compared to previous versions of the same file. PDF document viewer
300_13	Security Alerts of known Common Vulnerabilities and Exposures in different packages GitHub's Terms of Service do not require public software projects hosted on GitHub to meet the Open Source Definition. The terms of service state, "By setting your repositories to be viewed publicly, you agree to allow others to view and fork your repositories."
300_14	GitHub Enterprise GitHub Enterprise is a self-managed version of GitHub.com with similar functionality. It can be run on an organization's own hardware or on a cloud provider, and it has been available since November 2011. In November 2020, source code for GitHub Enterprise Server was leaked online in apparent protest against DMCA takedown of youtube-dl. According to GitHub, the source code came from GitHub accidentally sharing the code with Enterprise customers themselves, not from an attack on GitHub servers. GitHub Pages GitHub Pages is a static web hosting service offered by GitHub since 2008 to GitHub users for hosting user blogs, project documentation, or even whole books created as a page.
300_15	All GitHub Pages content is stored in a Git repository, either as files served to visitors verbatim or in Markdown format. GitHub is seamlessly integrated with Jekyll static web site and blog generator and GitHub continuous integration pipelines. Each time the content source is updated, Jekyll regenerates the website and automatically serves it via GitHub Pages infrastructure. As with the rest of GitHub, it includes both free and paid tiers of service, instead of being supported by web advertising. Web sites generated through this service are hosted either as subdomains of the github.io domain, or as custom domains bought through a third-party domain name registrar. When custom domain is set on a GitHub Pages repo a Let's Encrypt certificate for it is generated automatically. Once the certificate has been generated Enforce HTTPS can be set for the repository's website to transparently redirect all HTTP requests to HTTPS.
300_16	Gist GitHub also operates a pastebin-style site called Gist, which is for code snippets, as opposed to GitHub proper, which is for larger projects. Tom Preston-Werner débuted the feature at a Ruby conference in 2008. Gist builds on the traditional simple concept of a pastebin by adding version control for code snippets, easy forking, and TLS encryption for private pastes. Because each "gist" is its own Git repository, multiple code snippets can be contained in a single page and they can be pushed and pulled using Git. Unregistered users were able to upload Gists until February 18, 2018, when uploading gists became available only to logged-in users, reportedly to mitigate spamming.
300_17	Gists' URLs use hexadecimal IDs, and edits to gists are recorded in a revision history, which can show the text difference of thirty revisions per page with an option between a "split" and "unified" view. Like repositories, Gists can be forked, "starred", i.e. publicly bookmarked, and commented on. The count of revisions, stars, and forks is indicated on the gist page. Education program GitHub launched a new program called the GitHub Student Developer Pack to give students free access to popular development tools and services. GitHub partnered with Bitnami, Crowdflower, DigitalOcean, DNSimple, HackHands, Namecheap, Orchestrate, Screenhero, SendGrid, Stripe, Travis CI and Unreal Engine to launch the program.
300_18	In 2016 GitHub announced the launch of the GitHub Campus Experts program to train and encourage students to grow technology communities at their universities. The Campus Experts program is open to university students of 18 years and older across the world. GitHub Campus Experts are one of the primary ways that GitHub funds student-oriented events and communities, Campus Experts are given access to training, funding, and additional resources to run events and grow their communities. To become a Campus Expert applicants must complete an online training course consisting of multiple modules designed to grow community leadership skills.
300_19	GitHub Marketplace service GitHub also provides some software as a service ("SaaS") integrations for adding extra features to projects. Those services include: Waffle.io: Project management for software teams. Automatically see pull requests, automated builds, reviews, and deployments across all of your repositories in GitHub. Rollbar: Integrate with GitHub to provide real time debugging tools and full-stack exception reporting. It is compatible with all popular code languages, such as JavaScript, Python, .NET, Ruby, PHP, Node.js, Android, iOS, Go, Java, and C#. Codebeat: For automated code analysis specialized in web and mobile developers. The supported languages for this software are: Elixir, Go, Java, Swift, JavaScript, Python, Ruby, Kotlin, Objective-C, and TypeScript.

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