The Most Beautiful Moment in Life, Pt. 1 is the third extended play by South Korean boy band BTS. The album was released on April 2015 by Big Hit Entertainment, it is available in two versions and contains nine tracks, with "I Need U" as the lead single and "Dope" as a promoted follow-up single. On April 6, 2015, BTS announced their comeback date for April 29, revealed that all members participated in writing songs for the album. On April 17, an animated comeback trailer was uploaded on Big Hit Entertainment's official YouTube channel, which featured the album's intro track performed by Suga. On April 19, Big Hit Entertainment announced the title of the album, the first set of member concept photos was posted on their official Twitter account. Along with the reveal of the second set of concept photos, it was stated that two different cover design versions of the album would be released and White; the album would include a 120-page photobook and a random photo card. Big Hit Entertainment released the first music video teaser for the album's lead single "I Need U" on April 23.
On April 26, the album's track list was revealed, an album preview was uploaded on Big Hit Entertainment's YouTube channel. Two of the album's tracks, "Boyz with Fun" and "Converse High," had been previewed at the 2015 BTS Live Trilogy Episode I: BTS Begins concert held in Seoul on March 29. On June 14, BTS posted concept photos for the follow-up promotion track "Dope" through their official Facebook page, captioned with the opening line of the song: “Welcome, first time with BTS?" The music video for "I Need U" was released on April 30, 2015. The video was revealed to have been edited to lower the 19+ rating down to a 15+ rating, as it portrays each band members' stories representing troubled youth. On May 10, the uncut, original 19+ version of the music video was released, which includes nearly two minutes of extended scenes and contains darker themes and more graphic imagery than the previous video. Both versions of the "I Need U" music videos were directed by Lumpens. On June 24, Big Hit Entertainment released the music video for "Dope" on YouTube.
It features each of the members dressed up to represent various occupations, such as a police officer or office worker, while dancing fast-paced choreography. The dance was choreographed by Keone Madrid, the music video was produced and directed by GDW. On April 29, 2015, prior to the release of the "I Need U" music video at midnight, BTS broadcast a live comeback special called "I NEED U, BTS ON AIR" through Naver Starcast. On April 30, BTS held their first comeback stage performance on Mnet’s M Countdown. Two tracks from the album, "Boyz with Fun" and "Converse High", were deemed unfit for broadcast by KBS due to lyrics containing swears and brand names, such as Converse and Alexander McQueen; the latter track was deemed unfit for broadcast by MBC. However, the group went on to promote across multiple channels and various programs, including on KBS, MBC, SBS, Arirang TV. BTS wrapped up promotions for "I Need U" with the last performance held on the May 31 broadcast of SBS Inkigayo. On June 13, BTS announced their plans to hold follow-up promotions on music show programs with the track "Dope", subsequently made their comeback on the June 25 broadcast of M Countdown.
Promotions for "Dope" concluded on July 5 with their final performance on Inkigayo. After the release of the album, "I Need U" became the top trending search term on Korean portal sites and ranked number one on various real-time music charts, including Soribada and Daum Music; the song managed to crack the top 10 on Melon and Naver Music's real-time music charts. The music video for "I Need U" reached one million views in 16 hours, while the "Dope" music video garnered one million views in less than 15 hours—the fastest record for any BTS music video at the time. "Dope" gained considerable attention internationally as it became the subject of numerous reaction videos on YouTube, the most noteworthy being from the Fine Brothers channel. "Dope" went on to become the group's first music video to surpass 100 million views on YouTube, making BTS the first K-pop group outside the "big three" Korean entertainment agencies to achieve this feat. On May 5, 2015, "I Need U" won number one on the South Korean music program SBS MTV's The Show, which marked their first music show win since their debut.
The group went on to win an additional award on The Show, one on MBC's Show Champion, one on Mnet's M Countdown, one on KBS's Music Bank, for a total of five awards. In South Korea, the single "I Need U" debuted at number five on both the Gaon Weekly Digital Chart and the Gaon Download Chart with 93,790 digital units sold in its first week; the single went on to accumulate over 850,000 digital downloads. Additionally, the album debuted at number two on the Gaon Weekly Album Chart and rose to number one the following week, it peaked at number two on the Gaon Monthly Album Chart in May. In China, BTS ranked number one for two consecutive weeks on the Gaon Weibo Chart, a weekly rank of the top 10 most popular Korean artists based on data gathered from China’s most popular social media platform, Weibo. In Japan, the album debuted at number 24 on the Oricon Weekly Album Chart and number 45 on the Oricon Monthly Album Chart; the Most Beautiful Moment in Life, Part 1 was the sixth best-selling album in South Korea in 2015 with sales over 200,000 copies.
The Theatrical Syndicate was an organization that controlled most booking in top theatrical attractions in the United States, starting in 1896. The organization, composed of six men, controlled bookings. Early in 1896, six men gathered for lunch at the Holland House in New York City; these men were Charles Frohman, Al Hayman, A. L. Erlanger, Marc Klaw, Samuel F. Nirdlinger, Frederick Zimmerman. All were theatrical managers and/or booking agents with influence throughout the country. Frohman and Hayman owned theatres in New York and the surrounding area and Klaw were booking agents for all the major theatres in the South, Nirdlinger and Zimmerman controlled theatres in the Ohio region. Frohman owned a chain of theatres extending to the West Coast. At lunch, the men discussed the disarray in American theatre; these men had formed the outline of the Theatrical Syndicate. For the Syndicate to succeed, they felt. Within weeks of their lunch meeting, the men had organized all the theatres they owned or represented into a national chain, marking the beginning of the Theatrical Syndicate.
In the late nineteenth and early twentieth centuries, theatre companies in America thrived by touring. To take control of the situation, the Syndicate needed only to possess key theatres between the major touring cities; the Syndicate did not need control of theatres within the city. It needed only to control theatres on the routes approaching the city; the first city overtaken by the Syndicate was Philadelphia because of the influence of Nixon and Zimmerman. At the start, the Syndicate owned 33 first-class theatres. Frohman and Erlanger became the booking agents for the whole organization. Company managers no longer organized their tours by dealing with individual theatre managers. Instead they had to go through the Syndicate; the Syndicate was praised in certain circles. Daniel Frohman, the brother of Charles Frohman, gives an account of the creation of the Syndicate, he writes that after discussing the growing chaos in the business of theatre, "They decided that its only economic hope was in a centralization of booking interests, they acted on this decision."
Those who praised the Syndicate believed. In the time prior to the formation of the Syndicate, routing of road-based companies was described as chaotic. Smaller travelling companies found themselves in debt because of stiff competition. Klaw, who acted as spokesman for the Syndicate, was quoted as saying, "The Theatrical Syndicate has brought order out of chaos, legitimate profit out of ruinous rivalry." Criticism and opposition to the Syndicate came from managers and actors alike. At first, it was the managers that attempted to put a stop to the Syndicate, but they failed as soon as they began. A more serious threat to the Syndicate came in the form of rebellion from actors; the most prominent actors to take a stand were Nat Goodwin, Francis Wilson, Richard Mansfield. Others who took a stand against the Syndicate were James O'Neill. One actress, Minnie Maddern Fiske, became well known for her opposition of the Syndicate, she became famous for her roles in plays by Ibsen and Wilde. The voices of the actors were much louder than any previous opposition.
However, the fight was a short one as Nat Goodwin, the original leader of the rebellion, was "captured" by the Syndicate. The others agreed to the Syndicate's terms soon after; the only real threat to the Syndicate came in the form of the Shubert brothers, Lee, J. J. In the building stages of their empire, Sam Shubert was seen as the "leader." At the age of twenty one, Sam controlled theatres in Utica, Syracuse, New York City, Troy. In the next five years, he acquired all over the country. At this point, his holdings were only surpassed by Syndicate itself. However, Sam died in a railroad accident in 1905. After his death, his brothers formed a brief working agreement with the Syndicate. After three years of solidifying their holdings, the Shuberts were strong enough to go toe to toe with the Syndicate. At first, the Shuberts operated in a similar manner to the Syndicate, they dealt with theatrical managers and were able to book a year's tour for the manager, but any length of time after that became unprofitable.
The Shubert brothers changed tactics. They abandoned the approach of buying theatres. Instead, they focused on collecting actors. During the 1908-09 season, the Syndicate did not have enough actors or plays to fill all their theatres; the Shubert brothers took advantage of this by following the Syndicate to certain cities and performing similar works in the same city, but of a better quality. Early in 1910, several prominent actors and playwrights defected from the Syndicate to the Shuberts; the fight of the Shubert brothers gave smaller independent theatres motivation to take a stand against the Syndicate, by April, the New England area had declared independence from the Syndicate. In May of that year, 1,200 small town theatre owners joined to form the National Theatre Owners Association; this act helped to end the Syndicate's hold on American theatre. Morosco Theatre
Rao Deshalji I was the Rao of Cutch belonging to Jadeja Rajput dynasty, who ruled Princely State of Cutch as a regent from 1718 1752. His son Lakhpatji confined him in 1741 and ruled as a regent until death of Deshalji in 1752. Rao Godji I died in 1718 and his son Deshalji succeeded him without opposition. At this time the revenues of the Raos of Kutch were small. Before the reign of Godji they were chiefly derived from the trifling trade of their seaport Anjar; the lands of Mundra and Kanthi and Anjar Chovisi, added during Godji's reign, brought an important increase of revenue. Still the Raos' income was scanty, their way of living frugal and simple. Among his brotherhood the Rao claimed no greater supremacy than what was due to his title and larger resources. Sheltered by the friendly feeling of his relations and servants, he lived safe and unguarded, without crippling his resources by the pay of mercenaries; the leading Jadejas had all received their possessions, as, up to this time, the ties of relationship had scarcely been broken and duty inclined them to obey their common chief.
Friendly intercourse and mutual support formed a bond of union between the Rao and his nominal feudatories, in striking contrast to the rivalry and discord of years. At this time the Halani Jadejas had not long settled in Abdasa; these estates, including the best lands and the richest towns in the province, were well peopled, peasants as well as traders being always ready to leave their houses and settle in estates granted to specially favoured children of the Rao. Most of the country not held by the Jadejas was in the hands of Vaghela and other Rajput chiefs, who through all changes had kept to their estates, of smaller proprietors and others, who had earned grants of free or service land. All Jadeja chiefs and Girasia proprietors acknowledged the Rao as their head, when wanted were ready to fight for him; as a province of the Mughal Empire, Kutch had, for more than a century and a quarter, been free from attack. Soon after Deshalji's accession in 1718, the Mughal governor, pressed for funds in the decay of his Gujarat revenue, sent a force into Kutch.
This army, under the command of Mozim Beg, advanced to Padar within ten miles of Bhuj. Hearing of their approach, the Rao, calling his Bhayat together, dispatched a force to meet the invaders. At the same time he sent agents, representing the injustice of the demand, reminding the Mughal leader of the terms under which the Kutch tribute had been remitted; these measures were successful, the Mughal leader, seeing that the Rao was ready to support remonstrance by force, withdrew. Foreseeing a repetition of the demand, the Rao set to work to build a fort at Bhuj, in other ways spared neither expense nor trouble in his efforts to meet a future attack. In 1721, before three years were over, Nawab Kesar Khan came into Kutch. Hearing much of the strength of the new fort at Bhuj he avoided it and led his army to, plundered, Naliya, an open town of considerable wealth in Abdasa, but finding that the people of the country round had taken their goods with them and fled to Mandvi and Bhuj he withdrew. The failure of these two attempts, followed by seven years of peace, relieved the Rao into unpreparedness.
The governor, Sarbuland Khan, at the head of an army of 50,000 men, bringing with him Kanyoji, the Morbi chief, as a claimant to Kutch, advanced towards Bhuj. The Rao was ill prepared to meet him, though the Jadejas loyally gathered at Bhuj and their followers were little able to oppose so strong an enemy. To add to the Rao's difficulties his minister failed him, declaring that he knew of no means for raising money or men. Among the women of his palace, Deshalji had one favourite wife, whom his bounty had enriched. Telling her his difficulty she offered her whole wealth, her manager, Seth Devkaran, a Lohana by caste, bowing before the Rao, engaged, if service were given him, to guide the state safely through its present dangers; the Seth was made minister, and, by his power over his rich caste-fellows, gathered such large sums that, by offers of pay and opium, the whole fighting population of the country was drawn to Bhuj. Encamping on the borders of the lake outside the city, they were divided into two armies.
One was sent to strengthen the garrison of the Bhujia fort, the other kept to guard the town whose walls were yet unfinished. The day after the defence was arranged, the Mughal army appeared before the city. An attack was made on the Bhujia fort, two of its bastions were taken. Next day the garrison, in a successful sally, won back the two bastions, drove out the Mughals with the loss of their leader the governor's nephew. Cheered by this success, the Rao, choosing three thousand of the best Jadeja horse, binding round their brows the orange turban of self-sacrifice, dashed into the enemy's camp, caused such loss and confusion that the invaders retired. At Lakhona, where they halted, their supplies were cut off, their camp attacked and plundered by troops of Miyana horse. Seeing how matters went, their guide Kanyoji left the Mughals, gaining his pardon joined the Rao; the governor soon after escaped to Gujarat, great numbers
Martha Maria Pacold is a United States District Judge of the United States District Court for the Northern District of Illinois. Pacold was educated at St. Ignatius College Prep in Chicago, she earned her Bachelor of Arts with highest distinction, from Indiana University, where she was inducted into Phi Beta Kappa, her Juris Doctor with honors, from the University of Chicago Law School, where she was inducted into the Order of the Coif and served as Editor-in-Chief of the University of Chicago Law Review. After graduation from law school, Pacold served as a law clerk to Judge Jay Bybee of the United States Court of Appeals for the Ninth Circuit and to Judge A. Raymond Randolph of the United States Court of Appeals for the District of Columbia Circuit, she clerked for Associate Justice Clarence Thomas of the Supreme Court of the United States during the 2004–2005 term. Earlier in her career, she served as a Special Assistant United States Attorney for the Eastern District of Virginia and as Counsel to the Attorney General at the United States Department of Justice.
She was was an associate and a partner in the Chicago office of Bartlit Beck Herman Palenchar & Scott, LLP. She was a Lecturer in Law at the University of Chicago Law School, she served as Deputy General Counsel of the United States Department of the Treasury. On June 7, 2018, President Trump announced his intent to nominate Pacold to serve as a United States District Judge for the United States District Court for the Northern District of Illinois. On June 11, 2018, her nomination was sent to the Senate. President Trump nominated Pacold to the seat vacated by John W. Darrah, who took senior status on March 1, 2017. On August 22, 2018, a hearing on her nomination was held before the Senate Judiciary Committee. On October 11, 2018, her nomination was reported out of committee by an 18–3 vote. On January 3, 2019, her nomination was returned to the President under Rule XXXI, Paragraph 6 of the United States Senate. On April 8, 2019, President Trump announced the renomination of Pacold to the district court.
On May 21, 2019, her nomination was sent to the Senate. On June 20, 2019, her nomination was reported out of committee by a 18–4 vote. On July 30, 2019, the Senate voted 86 -- 2. On July 31, 2019, her nomination was confirmed by a vote of 87–3, she received her judicial commission on August 19, 2019. She was a member of the Federalist Society from 2000–2008. Martha M. Pacold at the Biographical Directory of Federal Judges, a public domain publication of the Federal Judicial Center
The Wrong Diagonal Bishop or Parallel-Diagonal Bishop is a shogi opening characterized by a bishop trade followed by dropping the bishop in hand on the 45 square if played by Black or the 65 square if played by White. The Wrong Diagonal Bishop opening is one of the oldest shogi openings appearing around the same time as the Black's Static Rook vs White's Traditional Ranging Rook type of openings; the Wrong Diagonal Bishop appears in the recorded handicap games from the Edo period. The name comes from the bishop being only able to move to squares that are not available from the bishop's start position – thus, the wrong diagonal; the main point of dropping the bishop is to fork two opponent pawns. Since the opponent is most to defend the pawn in their camp, the player can get a material advantage of one pawn. Furthermore, adopting such an early attack can put pressure on their opponent and disturb their normal development in other openings. After the bishop drop and pawn capture, the player must contend with whether they will retreat their bishop to the left or right side.
There are two main types of Wrong Diagonal Bishop openings. One variation stems from the Bishop Exchange opening, a Double Static Rook opening where both players advance their rook pawns and develop their left silvers to prevent each other from trading off their rook pawns. Here the Wrong Diagonal Bishop drop occurs after the bishop trade off; the other variation – Primitive Wrong Diagonal Bishop – has a early bishop trade off and subsequent bishop drop. This occurs directly; this set of variations leads to more unusual formations in which either player could play alternately a Static Rook or Ranging Rook position. Unlike the first Bishop Exchange variation, this Primitive variation has Black losing tempo. One of the aims of Primitive Wrong Diagonal Bishop as played by Black is to make it difficult for White to play a standard Ranging Rook strategy as in order to do White's rook must be moved twice losing tempo. Otherwise, a Ranging Rook player must spend several moves developing their generals in order to keep their line of pawns defended while clearing a path on rank 2 for the rook to be swung over to a Ranging Rook file.
Needless to say, this second option leaves White with more limited castle options. After Black's bishop drop, White has several options to defend their central pawn. Three are listed here. Other options are listed in the Double Wrong Diagonal Bishop section below; the Takeichi Wrong Diagonal Bishop is a variation developed by Saburō Takeichi. There are three main variations of Double Wrong Diagonal Bishop; the Double Wrong Diagonal Bishop B*65 variation appears in the Saburō Takeichi vs Manabu Senzaki Meijin ranking tournament on 1990 June 18. After rejecting a bishop trade, Senzaki captured Takeichi's pawn on the seventh file. Takeichi played an Opposing Rook position with his bishop on the central file. It's possible to play a Wrong Bishop Diagonal opening if White trades off the bishops first; this opening was played by Ryō Shimamoto against Hiroshi Kobayashi in 2016. Kobayashi made the bishop trade in order to play a Tempo Loss Bishop Exchange opening. However, Shimamoto foiled Kobayashi's preparation by dropping the bishop to 45 after Kobayashi moved his silver up to 22.
This move sequence was 1. P-76 P-34 2. P-26 Bx88+ 3. Sx88 S-22 4. B*45; this is a variation introduced by professional shogi player Takeshi Ōwaku in 1937. In contrast to the above, White encourages Black to make the bishop trade instead, which results in White not losing tempo; the Wrong Diagonal Bishop variation of the Bishop Exchange opening was most popular during the 1950s and was played by Yasuharu Ōyama and Masao Tsukada. Unlike the Primitive variations discussed in the earlier sections, the Bishop Exchange variation proceeds like all other Bishop Exchange variations until just after White trades off the bishops, it is at this point. Thus, this opening is quite different from the Primitive Wrong Diagonal Bishop in that there is much more piece development preceding the bishop drop; the Wrong Diagonal bishop drop can only be made by Black since Black's pawn on 76 is defended by the silver on the 77 square, needless to say, eliminates the possibility of Double Wrong Diagonal Bishop variations.
Bishop Exchange Fairbairn, John. "The wrong-diagonal bishop". Shogi: 18. Hodges, George, ed.. "Shogi openings". Shogi: 9, 12–13. Hodges, George. "The wrong diagonal 角 part one". Shogi: 6–8. Hodges, George, ed.. Translated by Murphy, David. "The wrong diagonal 角 part four". Shogi: 13–15. Hodges, George, ed.. "The wrong diagonal 角 part five". Shogi: 16–17, 7. Hodges, George, ed.. Translated by Murphy, David. "The wrong diagonal 角 part six". Shogi: 13–14, 16. Hosking, Tony; the art of shogi. The Shogi Foundation. ISBN 978-0-95310-890-9. Kimura, Yoshio. "The wrong diagonal 角 part seven". Shogi: 6–7. Kitao, Madoka. Joseki at a glance. Translated by Kawasaki, Tomohide. Nekomado. ISBN 978-4-9052-2501-0. Naito, Kunio. Translated by Fairbairn, John. "The wrong diagonal 角 part two". Shogi: 7–9. Naito, Kunio. Translated by Murphy, David. "The wrong diagonal 角 part three". Shogi: 15–17. 武市, 三郎. 武市流力戦筋違い角の極意. 毎日コミュニケーションズ. ISBN 4-8399-1093-6. Quest of the Lost Systems: Kakugawari 9: Sujichigai Kaku Shogi Planet: Counter-Wrong