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Times New Roman

Times New Roman is a serif typeface designed for use in body text. It was commissioned by the British newspaper The Times in 1931 and conceived by Stanley Morison, the artistic adviser to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, a lettering artist in the Times' advertising department. Although no longer used by The Times, Times New Roman is still common in book and general printing, it has become one of the most popular and influential typefaces in history and a standard typeface on desktop computers. Times New Roman's creation took place through the influence of Stanley Morison of Monotype. Morison was an artistic director at Monotype, historian of printing and informal adviser to The Times. Asked to advise on a redesign, he recommended that they change their text typeface from a spindly and somewhat dated nineteenth-century face to a more robust, solid design, returning to traditions of printing from the eighteenth century and before.

This matched a common trend in printing tastes of the period. The new face was drawn by Victor Lardent, an artist from the advertising department of The Times, with Morison consulting, before refinement by the Monotype drawing office. Morison proposed an older Monotype typeface named Plantin as a basis for the design, Times New Roman matches Plantin's dimensions; the main change was. As a typeface designed for newspaper printing, Times New Roman has a high x-height, short descenders to allow tight linespacing and a condensed appearance; the new design made its debut in The Times on 3 October 1932. After one year, the design was released for commercial sale. Although Morison may not have drawn the design, his influence on its concept was sufficient that he felt that he could take credit for it as "my one effort at designing a font". In Times New Roman's name, Roman is a reference to the regular or roman style, the first part of the Times New Roman family to be designed. Roman type has roots in Italian printing of the late 15th and early 16th centuries, but Times New Roman's design has no connection to Rome or to the Romans.

The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused it to switch typeface five times from 1972 to 2007. However, all the new fonts have been variants of the original New Roman typeface. Once released for commercial sale, Times New Roman became successful, becoming Monotype's best-selling typeface of all time in metal type. Times New Roman has a robust colour on the page and influences of European early modern and Baroque printing; the design is condensed, with short ascenders and descenders and a high x-height, all effects that save space and increase clarity. The roman style of Plantin was loosely based on a metal type created in the late sixteenth century by the French artisan Robert Granjon and preserved in the collection of the Plantin-Moretus Museum of Antwerp; this style is sometimes categorised as part of the "old-style" of serif fonts. Indeed, the working title of Times New Roman was "Times Old Style".

However, Times New Roman modifies the Granjon influence further than Plantin due to features such as its'a' and'e', with large counters and apertures, its ball terminal detailing and an increased level of contrast between thick and thin strokes, so it has been compared to fonts from the late eighteenth century, the so-called'transitional' genre, in particular the Baskerville typeface of the 1750s. Historian and sometime Monotype executive Allan Haley commented that compared to Plantin "serifs had been sharpened...contrast was increased and character curves were refined," while Lawson described Times's higher-contrast crispness as having "a sparkle never achieved." Other changes from Plantin include a straight-sided'M' and'W' with three upper terminals not Plantin's four, both choices that move away from the old-style model. Morison described the companion italic as being influenced by the typefaces created by the Didot family in the late 18th and early 19th centuries: a "rationalistic italic that owed nothing to the tradition of the sixteenth or seventeenth centuries.

It has, more in common with the eighteenth century." Morison had several years earlier attracted attention for promoting the radical idea that italics in book printing were too disruptive to the flow of text, should be phased out. He came to concede that the idea was impractical, wryly commented to historian Harry Carter that Times' italic "owes more to Didot than dogma." Morison wrote in a personal letter of Times New Roman's mixed heritage that it "has the merit of not looking as if it had been designed by somebody in particular." Rather than creating a companion boldface with letterforms similar to the roman style, Times New Roman's bold has a different character, with a more condensed and more upright effect caused by making the horizontal parts of curves the thinnest lines of each letter, making the top serifs of letters like'd' purely horizontal. This effect is not found in sixteenth-century typefaces; some commentators have found too condensed, such as Walter Tracy. The Times's previous font was a Modern design.

Ampani

Ampani is a town in Kalahandi district, Odisha and this G. P. comes under Kokasara tehsil. It is 15 km away from Block Kokasara, it is located at 19°35′0″N 82°38′0″E at an elevation of 313 m from mean sea level. Ampani is a small village located in Kokasara Block of Kalahandi district, Orissa with total 608 families residing; the Ampani village has population of 2693 of which 1394 are males while 1299 are females as per Population Census 2011. In Ampani village population of children with age 0-6 is 274 which makes up 10.17% of total population of village. Average Sex Ratio of Ampani village is 932, lower than Orissa state average of 979. Child Sex Ratio for the Ampani as per census is 702, lower than Orissa average of 941. Ampani village has lower literacy rate compared to Orissa. In 2011, literacy rate of Ampani village was 70.11% compared to 72.87% of Orissa. In Ampani Male literacy stands at 82.16% while female literacy rate was 57.59%. As per constitution of India and Panchyati Raaj Act, Ampani village is administrated by Sarpanch, elected representative of village.

Caste FactorIn Ampani village, most of the village population is from Schedule Tribe. Schedule Tribe constitutes 59.93% while Schedule Caste were 12.70% of total population in Ampani village. Work ProfileIn Ampani village out of total population, 1287 were engaged in work activities. 49.81% of workers describe their work as Main Work while 50.19% were involved in Marginal activity providing livelihood for less than 6 months. Of 1287 workers engaged in Main Work, 421 were cultivators while 22 were Agricultural labourer National Highway 26 passes through Ampani. Nearest airport is Swami Vivekananda Airport at Raipur and nearest railway station is at Junagarh, it is 76 km from Bhawanipatna. Ampani is border village of Nabarangpur district. District Headquarter: Kalahandi State Capital: Bhubaneswar Nearest Railway Station: Kesinga, Junagarh & Bhawanipatna Nearest Airport: Bhubaneswar & Utkela How to Reach: Nearest Railway Station to Kalahandi is at Kesinga at distance of 45 km away from the heart of Kalahandi city.

This railhead is well connected to other major railway stations in the state. Taxi services are available from railway station to Kalahandi at a fare of about Rs. 500. Nearest Airport to Kalahandi is at Bhubaneswar, about 418 km away. Bhuvaneswar is well air connected with all major airports in India. Taxi services are available from airport to Kalahandi and it cost around Rs. 4000. Kalahandi is connected by regular bus services from many important cities in the state including Koraput and Berhampur. State owned road Transport Corporation and private bus service providers operate buses between Kalahandi and other cities. State buses charge about Rs. 120 from Bhubaneswar to Kalahandi. Dussehra of its presiding deity Sri Budharaja is been a huge celebration in the town is known as Ampani Dushara in Kalahandi District. Budharaja Dasara or Ampani Dasara is the traditional festival of the #Ampani of #Koksara block; the festival is celebrated with joyful and delightful in every year in which a large number of people are come to see this festival from differen places.

Special attraction #Lathijatra Dasra &, cultural program #Natak & #Ghumura competition This festival is included "Lathi Jatra" sacrifice of animals and "Lakh Bindha". In the night "Cultural Programme","Ghumura","Act Play" and "Record Dance" are celebrated. 77 K. Ms from Bhawanipatna the picturesque Ampani hills present a panoramic view of nature. A rolling valley called “Haladigundi” in this hill range exhibits some peculiar features due to the reflected rays on the sun. In the morning and evening the objects of vision appear yellow; the whole area abounds in spotted deer and Black Panthers who can be seen at the Behera reservoir. 5 km away are the prehistoric cave paintings at Gudahandi. Karak is a perennial waterfall located 3KM from Ampani, it is a beautiful place for travellers and picnic lovers. The Waterfall is sorounded by the thick forest. Satellite map of Ampani Odishashampad Uttap Kishor Banua

Go to Church

"Go to Church" is the second official single from Ice Cube's album Laugh Now, Cry Later. The song features Lil Jon; the song is produced by Lil Jon and a music video was released for the song. In the edited version, instead of "mothafucka," Ice Cube says "mothamotha"; the music video features Lil Jon playing an electronic organ and Ice Cube and Snoop Dogg riding on lowrider bikes. It was directed by Marcus Raboy; some of the lyrics in the chorus, for example, "mothafucka," were blanked completely. Don "Magic" Juan, The Clipse, Bubba Sparxxx, WC, Ying Yang Twins, DJ Crazy Toones, Billie Joe Armstrong and Katt Williams made cameo appearances; the music video first premiered on Making the Video one week after the release of the CD. Guitar Tabs Lyrics of this song at MetroLyrics