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What song did Motorhead take into the charts in 1980 and again in 1993?	Motörhead \| New Music And Songs \| See All Metal The history of motörhead. 1975 Fired from Hawkwind after a drugs bust going into Canada, Lemmy Kilmister returned to London. Determined to start his own band to avoid being fired again, he decided it would be called 'Bastard,' but management overuled and 'Motorhead,' a song Lemmy had written as a B-side for Hawkwind, was born. With drummer, Lucas Fox and Pink Fairies guitarist, Larry Wallis, and Lemmy on bass and vocals, Motorhead began gigging and recorded their first album, which their record company refused to release at the time, (it later emerged in 1980 as 'On Parole'). 1976 Lucas didn't have the required 'attack' for the drumming required, so a Leeds punk, named Phil Taylor, whom Lemmy had come to know, was invited to a rehearsal. Lemmy and Larry were impressed, and erased Lucas' drumming on the album and replaced it with Phil's.Larry needed a rhythm guitarist to 'bolster the sound' whilst he was taking solos. Phil had met Eddie Clarke on a day-job, so Eddie went to a rehearsal with Lemmy and Phil to find they worked well together as a trio. Larry was late getting there, but when he did so, after playing one song, and considering Motorhead's bad press to date at the time, realised the Pink Fairies would be his best option; and left the band.With no record label and Tony Secunda, their manager now, trying to find them a record deal, Lemmy, Phil and Eddie just kept gigging and refining their sound. In the December, they recorded 'White Line Fever' and 'Leaving Here' as a proposed single for Stiff Records. 1977 Stiff released the two songs across two albums instead of giving Motorhead a break with the single. Disheartened, they decided to quit, but asked Chiswick Records boss, Ted Carroll, to record their final gig. Ted couldn't afford to, but instead gave them 2 days in the studio to record a single, but well-rehearsed as they were, they recorded their complete live set in the time, so Carroll agreed for extra time to make the sessions into a single and album release. The band toured as guests to Hawkwind, then, to co-incide with the Chiswick release of the 'Motorhead' / 'City Kids' single and the 'Motorhead' album, toured again with The Count Bishops, but 4 gigs in, Phil Taylor broke his wrist so their dates were cancelled. With the album to promote, the band continued gigging as soon as Phil's bones had repaired themselves. 1978 Secunda recorded the band Live in the February, and from the tapes the 'What's Words Worth?' album was released 5 years later. But Secunda had fallen out with and lost the band the opportunity of a second album with Chiswick, so again, they had no record company behind them. They also dumped Secunda, so had no management, either, so Motorhead, as such, were in limbo. Lemmy asked Hawkwind manager, Doug Smith, if he would manage them? Reluctant beforehand, he agreed, and won them a 'one single deal' with Bronze Records. 'Louie, Louie' / 'Tear Ya Down' was released, Chiswick re-issued the 'Motorhead' album, and Motorhead headlined a full UK tour. Pleased with 'Louie's' chart placing, Bronze gave the band studio time to record another album. 1979 The resulting 'Overkill' album and single was everything the fans needed and more, and Motorhead took it out on another UK tour with female rockers, Girlschool, as support. Bronze ask for another album, and other than their appearance at The Reading Festival, Motorhead deliver the 'Bomber' album and single in the Autumn, and another UK tour follows, with the breath-taking 'Bomber' lighting rig hanging over the band and going through its manoeuvres during the song of the same name. 1980 Motorhead start the New Year with tours through Europe, with 3 albums behind them now, there was no stopping them. A massive Live attraction, tracks are recorded and 4 released as 'The Golden Years EP' and the lead track, 'Leaving Here' rockets it into the Charts. To celebrate the Silver Disc status for the 'Bomber' album, the band headline The Over The Top Heavy Metal Brain Damage Party at Bingley Hall, in Staffordshire in the Summer; then go into the studio again to record the 'Ace Of Spades' album, then take it on tour throughout the UK in the Autumn. 1981 Motorhead tour Europe with Girlschool, then play and record 3 gigs in Leeds and Newcastle for a Live album. Whilst on tour in America with Ozzy Osbourne's Blizzard of Oz, Motorhead are told their live album, titled 'No Sleep 'til Hammersmith,' has gone straight to #1 position! They release 'Motorhead' as a live single, then return to the UK to headline The Heavy Metal Holocaust at Port Vale Football Stadium. Motorhead end the year touring Europe and Scandinavia, strengthening their hard-core fan base with the sizzling live album, which until that point had been every fan's wildest dream! 1982 Following a Live album would never be easy, and 'Iron Fist' suffered due to lack of rehearsals, time, but mostly the lack of an independant producer. However, the album and single charted fairly well, and after a Spring UK tour, the band recorded a single with Wendy O Williams and The Plasmatics, started an American tour, then guitarist, Eddie Clarke, left the band. Thin Lizzy axeman, Brian Robertson stepped in to complete the tour. The band made debut UK performances at Wrexham and Hackney stadiums in the Summer, and completed European tour to end off the year. 1983 The 'new' line-up record another album, and 'Another Perfect Day' is taken on tour in May in the UK. The album, and the 'I Got Mine' and 'Shine' singles Chart fairly well. A massive American tour followed, then Europe in the Autumn, but fans were disappointed at Robertson's refusal to play the 'Motorhead Classics' live, and after the November date in Berlin, he is fired. 1984 Lemmy and Phil advertise for a new guitarist, and end up with two! Phil Campbell and Wurzel complete the new 4-man Motorhead line-up. They record 'Ace Of Spades' for the prestigeous 'The Young Ones' UK comedy show, then Phil Taylor quits to join Robertson in forming a new band. Phil Campbell suggests ex-Saxon drummer, Peter Gill, who rehearses and is found to be more than suitable. Bronze Records see the disruptions as suicidal for the band, and start getting a 'Best Of' compilation together. Lemmy intervenes and insists the new line-up record some new tracks for the release. They do so, and 'Killed By Death' is released as a single, and becomes yet another mighty anthem for the band and their fans. The new line-up debut at Hammersmith Odeon, the compilation, titled 'No Remorse' makes the Charts, but the band are not happy with the way Bronze Records are treating them, and look to get out of their deal. Court action follows, Bronze use an injunction to stop Motorhead from recording, so the band tour Australia and just about everywhere else rather than sit back and wait. 1985 Motorhead win the battle with Bronze and manager Doug Smith starts his own record label, GWR. The band have their 10th Anniversary Birthday Party at Hammersmith Odeon in June, and the 'Motorhead' encore sees everyone who has ever played in the band, other than Larry Wallis, who believed filming had been completed the day before, onstage for the song. Motorhead tour Europe and spend the Autumn touring America with Wendy O Williams. 1986 Motorhead record the 'Orgasmatron' album, tour Europe, Scandinavia, and make a large number of radio appearances following the release of the album. In the Autumn they tour the UK, then the States for 2 months with Megadeath, and Germany to end the year. The 'Orgasmatron' track quickly becomes a live classic with Lemmy reciting the ominous words picked out by a lone, green spotlight. 1987 Motorhead tour Europe with Onslaught, then America with Savage Grace, record their second album for GWR with 'Rock 'n' Roll,' then tour the UK with Sword to promote it. Lemmy stars in the 'Eat The Rich' movie, and Motorhead provide the majority of the soundtrack. European and Scandinavian dates follow with King Diamond, and the 'Stuff The Turkey - Eat The Rich' Xmas show sells out at Brixton Academy. 1988 A 2 month tour of America with Alice Cooper kicks off the year, then Europe with Girlschool and Destruction. Motorhead record a new Live album in Finland, released and titled 'No Sleep At All,' they tour America with Overkill and Slayer, then play Xmas shows in the UK and Germany. 1989 A full UK tour for the 'No Sleep At All' album follows in February, then 5 dates in Brazil and the 'Bastards Over Europe' tour. Another German tour follows, along with a month at The Music Farm in Sussex writing new songs. 'The Silent Night' tour of the UK sees out the year. 1990 Relationships with Doug Smith and GWR Records result in another Court Case. Motorhead play short UK and European tours before Lemmy and Phil Taylor migrate to America. Once the Court action is over, Motorhead use The Music Farm songs and new Manager, Phil Carson. to gain a record deal with Sony / Epic. After more European dates, the band record the '1916' album in Los Angeles. 1991 The '1916' album is Nominated for a Grammy. Motorhead play a bigger UK tour with The Almighty, then European dates with The Cycle Sluts From Hell. Japanese and Australian dates preceed The Operation Rock 'n' Roll Tour' with Alice Cooper and Judas Priest. The year ends with dates as 'The Christmas Metal Meeting' with Sepultura. 1992 Motorhead record the 'March Or Die' album and tour America with Ozzy Osbourne and Ugly Kid Joe. Dates with Guns 'n' Roses and Metallica, and more in Argentina and Brazil with Alice In Chains follow. Scandinavian and European gigs, then 'The Bomber's & Eagle's Tour' with Saxon back up the album, which has received mixed reactions. 1993 Along with other band's on the label, Motorhead are dumped after the 'March Or Die' album. They relocate in LA to start recording new songs whilst looking for another label. More dates in Argentina and a full European tour follow, then more recording. 'The Christmas Metal Meeting 1993' tour closes another year. 1994 Motorhead play a huge American tour with Black Sabbath from February through to May. Dates in Argentina and Japan follow, then a European tour, Summer Festival dates and the release of the 'Bastards' album to wide praise and acclaim, and then 'Christmas Metal Meeting' dates in Germany keep the band busy. 1995 The 'Sacrifice' album is recorded and released, with SPV / Steamhammer as Motorhead's new record company. Guitarist, Wurzel, elects to leave the band and they continue as a three-piece. They play the 'Motorious '95' European tour with Grip Inc; and 3 UK dates. Another American tour with Black Sabbath, then an extensive European tour with Skew Siskin preceeds 4 more UK dates in November. South American shows, including Chile and Argentina follow, then in December, Metallica play The Whisky in LA as 'The Lemmy's' to celebrate Lemmy's 50th Birthday. 1996 Motorhead play an extensive American tour with Speedball and Belladonna. In March, rehearsals for another album begin, but are interrupted by the band's Summer Festival appearances across Europe. The 'Overnight Sensation' album is released, and extensive American and European tours follow with Dio. 1997 The 'Overnight Sensation' album is released, he title poking sarcastic fun at the band's longevity. They play The Astoria in London in January, then tour relentlessly through Europe and Scandinavia and end off with 4 dates in Japan. The ill-fated Motorhead / WASP tour rampages through America before Summer Festival appearances in Germany and Hungary. More UK dates follow to promote the album in October, and 5 dates in Russia end the year. 1998 Motorhead tour Europe for the 'Snakebite Love' album, with the Hamburg Docks show being recorded for a future live album. In July they're on The OzzFest through America and in August begin their Summer Festival dates. In October, they tour the UK and follow with an extensive dates through Europe. 1999 The Hamburg show is released in its entirety as the double-live album 'Everything Louder Than Everyone Else' and the band play a US tour through until June. The Summer Festivals follow through Europe, including one in Slovenia. The band begin recording another studio album in Germany, then in October, tour America with Nashville Pussy. In November, Motorhead tour Scandinavia with 'The Monster's of the Millennium' tour, then end the year with 2 shows at London's Astoria. 2000 After completing their album recording in LA, the band shoot their 'God Save The Queen' video in London to accompany the single release. 7 dates in South America follow, then 'We Are Motorhead' is released in May, followed by another 2 month tour through America. A dozen Summer Festival dates through Europe, including 2 in the UK, 4 in Japan and Motorhead's 25th Anniversary Show at Brixton Academy, follow. The band then move on to tour Europe and Scandinavia, with 4 dates in Russia, then one each in Poland and Hungary. 2001 Motorhead play 'The Game,' Triple H's introduction theme, Live at Wrestlemania at The Astrodome; the performance is televised worldwide. They tour the UK in May, then play another 12 Summer Festivals followed by an American tour with Mudhoney. Motorhead receive Gold Discs for 'The Game' and appear on The Drew Carey Show. 2002 Motorhead tour America with Morbid Angel. The 'Hammered' album is released followed by 17 Summer Festival dates and more shows to strengthen their South American fan base. Both UK and European tours follow with Anthrax. 2003 American tours with The Dwarves and Anthrax, then 7 Summer Festival dates prior to an American tour with Dio and Iron Maiden. The 'Hammered' album tour of the UK with The Wildhearts follows, then through Europe with Skew Siskin. 2004 A prestigeous show at London's Royal Opera House in February is a one-off whilst the band are in the studios recording what will become the 'Inferno' album. Motorhead play a handful of South American dates, but some 20 Summer Festivals in the midst of which the 'Inferno' album is released. The UK tour follows with Sepultura and carries on through Europe. 2005 Motorhead win a Grammy for 'Best Metal Performance' for their cover of Metallica's 'Whiplash' track. They tour America with Corrosion of Conformity and North America with Priestess. No less than 20 Festival dates span the Summer, including Motorhead's 30th Anniversary Show on June 16th at Hammersmith Apollo in London. A Scandinavian tour with Mondo Generator and UK dates with Girlschool follow, plus 6 in Australia with Motley Crue. 2006 Four dates with Meldrum in America at The House of Blues venues kick's off the year as a new album is being recorded. Released in August amongst Festival dates, 'Kiss Of Death' is critically acclaimed as the band play Hyde Park in London as special guests to The Foo Fighters. Motorhead tour the UK with Crucified Barbara, then Europe with Meldrum. 2007 'Kiss Of Death' tours in South America and Europe follow, along with the Summer Festival dates. The 30th Anniversary London Show is released as a double album titled 'Better Dead Than Motorhead.' 2 dates in Japan and an Australian tour with Rose Tattoo follow, then more dates in Europe end the year. 2008 Recording a new album before Motorhead's now legendary Summer Festival dates across Europe, including Download in the UK. They play the 'Metal Masters' tour through America as their new album, titled 'Motorizer,' leaves the acclaimed 'Inferno' and 'Kiss Of Death' albums in the dust, then rips up the Charts Worldwide as Motorhead headline an American tour before Autumn dates in the UK and Europe. 2009 Continuing to bring 'Motorizer' to the world with more sold-out global touring, including a headlining performance at the Wacken Festival, core-filming also began on the Lemmy documentary project (dir: Greg Olliver and Wes Orshoski), which saw the last frames captured in Moscow during Dec 2009. Also, Motorhead enjoyed a 10-page feature story in Rolling Stone magazine during October, marking the first-time they had been afforded such space in the internationally iconic magazine. 2010 With Spring and Summer seeing road-work in all the usual places, Motorhead sat down to make their latest album 'The World Is Yours' once again with Cameron Webb at the production/mixing and engineering helm in LA. Phil Campbell embarked upon a difficult personal journey when his father fell gravely ill, and he returned to Wales, UK where he recorded the guitar for the album. The resultant album showcases some of the band's best work in years, with richer, thicker guitar tones augmenting the classic Motorsound supremely well. The album will be released during December in Europe via their own Motorhead records label with UDR Records the partners. It will also enjoy a unique type of release in Europe during December, when Classic Rock magazine will publish a special magazine about the band with 'The World Is Yours' cover-mounted ahead of it's full-release, thus heralding a new era in providing the fans with access to new Motormaterial. Currently on another European tour, Motorhead will then return to the US for a full calendar of live activities and much more in 2011.	Ace of spades
In Greek mythology which son of Telamon fought Hector in single combat?	No Life Til Metal - CD Gallery - Motorhead The Best Heavy Metal Band On the Face of the Earth...Motorhead...the band that put the screw in screwdrivers, the band that put the wart in What Kind of Band Do You Call This; the band that put the tack in aural attack; the band the brought tears to the eyes and hair to the chest every time you mouthed it's name. -Creem Magazine, 1983 Ian Fraser "Lemmy" Kilmister (24 December 1945) passed away on December 28, 2015 just two days after being diagnosed with an aggressive cancer. Motï¿½rhead (Roadracer) 1977 Motï¿½rhead (Dead Line) 1977 1. "Motorhead" (3:10) 4. "Iron Horse/Born to Lose" (5:19) 5. "White Line Fever" (2:37) 6. "Keep Us on the Road" (5:55) 7. "Watcher" (4:27) 8. "Train Kept A-Rollin'" (3:16) BONUS TRACKS 10. "Beer Drinkers & Hell Raisers" (3:25) 11. "On Parole" (5:57) 13. "I'm Your Witch Doctor" (2:57) 14. "Leaving Here" [live] (2:59) In the mid-1970's Ian "Lemmy" Kilmister was arrested and given his walking papers from his old psychedelic band Hawkwind . Lemmy wasn't about to let this stop him, so he formed a new trio called Motorhead with Larry Wallis and Lucas Fox, named for a song he originally wrote and performed with Hawkwind. In 1975 this trio recorded their debut album for United Artists, who immediately buried the tapes and didn't released the album apparently because they didn't like what they heard. (These recordings were later released under the title "On Parole". See review below.) Eventually, "Fast" Eddie Clarke replaced Larry Wallis on guitar, and Phil "Philthy Animal" Taylor replaced former drummer Lucas Fox. Together these three became the classic Motorhead line-up that would record this first, officially released debut as well as many other classic albums. The debut album was produced by John "Speedy' Keene and was recorded at Escape Studios, then owned by Jeff Beck . Joe Petagno created the now-legendary Snaggletooth cover art creature. These facts alone make this album an important part of heavy metal history. Motorhead's debut is slightly different from what many consider to be the band's classic catalog. Motorhead had not yet found their speed metal roots and had an odd mixture of hard driving 1970's rock & roll and punk. The sound was very stripped down and raw, although for me this is part of the charm of this album. This was attributed to the fact that this CD was recorded and mixed in only two days. The opening song and the track the band took their name after was originally recorded by Hawkwind some years earlier, but this new version is the quintessential version. Unlike the original Hawkwind version, there are no traces of the psychadelic rock. Rather this one is stripped down to a raw rocker with a punk delivery. The entire CD follows in a similar manner with a stripped down rock sound and punk delivery. Standout tracks are "White Line Fever" with it's classic British metal sound, "Vibrator", another straight-up hard rocker and their classic cover of "The Train Kept A-Rollin'". "Train Kept A-Rollin" is a Johnny Burnette song that was also covered by the Yardbirds, Aerosmith and Molly Hatchet , among others. This album has been reissued so many times it's impossible to keep count. The original release of this album was in silver and black. Later editions were black and white. There have been any number of CD issues. For years I had the Roadracer reissue which included the "Beer Drinker and Hell Raisers" EP as bonus tracks. The cover to this issue featured a pink Motorhead logo and a black and white snaggletooth. The packaging was a bit weak, but the sound quality was better than most of the other CD reissues. Of course the inclusion of the bonus tracks made it essential. In 2005 Dead Line remastered and rereleased "Motorhead" with the "Beer Drinkers" EP included, as well as a live version of "Leaving Here". The sound quality is improved over the Roadracer release and features far better packaging. This time around the CD is released in a digi-pack format with simulated leather cover and a silver, foil stamped cover. A 12-page black and white insert is also included with photos and extensive biographical notes. Of course, "Beer Drinkers & Hell Raisers" is a ZZ Top tune. A note from Philthy Phil Taylor about NoLifeTilMetal.com and the first Motorhead album: Dear Person or whom it may concern, I was just reading through your Motorhead discography pages at your excellent website, "ultmetal". It's very, very good. I now know where to go if my memory fails and I need to know what I was doing and who I was doing it with or to in years past!!! The other reason I am writing you this email is to point out an error regarding the information you have on the FIRST MOTORHEAD album. In it you state that our first album was produced by Ted Caroll of Chiswick Records. It was in fact produced by JOHN "SPEEDY" KEENE, and was recorded at Escape Studios (then) owned by Jeff Beck in Kent. Good old Speedy died a few years ago, but he was a great guy and certainly influenced myself in more ways than one I can tell you! My hat goes off to him! So, that's it really, except to say once more that you're doing a great job with all those facts, you just need to put this one right is all. Cheers, Philthy Of course I fixed the producer credit error in my review. Thanks for pointing it out Philthy. Victor Griffin covers "Iron Horse" on his "Late for an Early Grave" CD. Motï¿½rhead - Live, Loud, Lewd (Big Ear Music) 1. "Watcher" (4:09) 12. "Overkill" (4:53) Whats Words Worth LP I believe this is the infamous "What's Words Worth?" show, with a different title and some bonus tracks thrown on the end. This disc has been bootleged by and licensed to several companies and released under many different names including "City Kids", "What's Word's Worth?", "Motörhead Live" and "Iron Fist and the Hordes from Hades," to name a few. This is a 1978 show in which Motörhead, for contractual reasons, needed to perform under a different name. The band billed themselves as Iron Fist & the Hordes from Hades. The show was recorded with the Rolling Stones mobile truck and was eventually released through Big Beat Records in 1983. The vinyl version finishes with Lemmy saying, "Thank you very much. We'll see you soon. Read plenty of words worth." For some reason this is left off the CD version. It also sounds as if the CD version has had extra crowd noise added, or perhaps the crowd noise has just been enhanced somehow through mixing or mastering. Not really sure. I actually prefer the vinyl version to this CD version. I own both. Motï¿½rhead - Live Blitzkreig on Birmingham '77 (Receiver) 1. "Motorhead" (3:21) 3. "Keep Us on the Road" (5:53) 4. "The Watcher" (5:13) 5. "Iron Horse/Born to Lose" (5:08) 6. "Leaving Here" (2:59) 8. "I'm Your Witchdoctor" (3:03) 9. "Train Kept on Rollin'" (3:45) 10. "City Kids" (4:32) 11. "White Line Fever" (2:40) This is one of the very first shows with the classic Motörhead line-up of Lemmy Kilmister, Fast Eddie Clarke, and Philthy Animal Taylor. Unfortunately, the recording is rather raw, even for Motörhead standards. Still a nice collector's disc. Found this European import used for $5.99. Motï¿½rhead - Overkill (Roadracer) 1979 1."Overkill" (5:10) 11. "Too Late, Too Late" (3:23) 12. "Tear Ya Down" (original version) (2:39) 13. "Louie, Louie" (2:45) L to R: Lemmy, Fast Eddie Clark, Philthy Phil Taylor From Metallica to Overkill to the Ramones , this is the disc that inspired a generation of rockers, metalheads, thrashers and punks. There are so many classics on this one that it might as well be a greatest hits album on it's own. Of course the title track alone could peel the paint of walls. However, many of these tracks remained concert favorites for decades. "Stay Clean", "Capricorn", "No Class", "Damage Case", "Tear Ya Down" and "Metropolis" are all some of my favorite Motorhead tracks. Who can deny the raw power that this album represents. "Overkill" was also genre crossing. When punk was the flavor of the day in the late 70's, Motorhead appealed to the punks. However, no one would label Motorhead as a punk band. An entire movement of thrashers including Metallica , Testament , Exodus , Slayer , Anthrax and others list "Overkill" as one of their early influences as well. However, Motorhead are not a thrash band. No, this is raw, raunchy, rock 'n' roll; Killmister style! Indeed, "Overkill" stands at the top of Motorhead's catalog. Found this European import version in a budget bin still shrink wrapped for $2.50. Ha! Gotta love a bargain! I originally owned a green vinyl version of this album. Looking out for another copy of this. Besides being the inspiration behind their name, Overkill also recorded a charged up version of "Overkill" (released on their "Coverkill" CD.) Metallica and Grave Digger , among others, have also recorded covers of this song. Motï¿½rhead - Bomber (Castle) 1979 1."Dead Men Tell No Tales" (3:04) 2."Lawman" (3:57) 11. "Over the Top" (3:21) 12. "Leaving Here" [live] (3:02) 13. "Stone Dead Forever" [live] (5:21) 14. "Dead Men Tell No Tales" [live](2:55) 15. "Too Late Too Late" [live](3:22) "Bomber" follows in the pattern set by "Overkill," heavy, raw rock and roll. I held out forever to find a used copy of this but finally broke down and bought it new when I found this re-issue for $9.99. The live bonus tracks are from "The Golden Years" EP and "Over the Top" is an excellent b-side track from the "Bomber" single. One other thing that is different about this album is that Fast Eddie sings lead vocals on "Step Down." Motörhead - The Golden Years-Live EP (Bronze) 1980 1. "Leaving Here"[live] (3:03) 2. "Stone Dead Forever"[live] (5:20) 3. "Dead Men Tell No Tales"[live] (2:54) 4. "Too Late, Too Late"[live] (3:22) Recorded live at the Lochem Pop Festival on May 25, 1980. This 7" vinyl EP was later included as bonus tracks on the 1996, remastered version of "Bomber". Motï¿½rhead - On Parole (EMI) 1979 1. "Motorhead" (2:49) 10. "On Parole (Alternative Take)" (3:47) 11. "City Kids (Alternative Take)" (2:48) 12. "Motorhead (Alternative Take)" (3:01) 13. "Leaving Here (Alternative Take)" (3:03) "On Parole" was recorded in 1975 with Larry Wallis on guitar and Lucas Fox on drums for United Artists. However, Philthy Phil Taylor ended up going back in and re-recording all the drum tracks except for "Lost Johnny". Unfortunately the tapes were rejected and were not released until several years later after the bands popularity began to soar in Europe, and without the consent of Lemmy from what I have read. In 1977 Lemmy, along with new drummer Philthy Phil Taylor and guitarist Fast Eddie Clarke, basically re-recorded this album and released it under the title "Motorhead." It wasn't until after that time that United Artist released the original recordings and titled them "On Parole." In anycase, this disc has been re-released several different times with many different covers. This particular version is wrapped in a very cool white packaging, including a white cover and white jewel case. Looking through the hole in the cd holder the words "Born to Lose, Live to Win" are printed in black around a black spade. This is probably the nicest version of this disc I have ever seen. It also contains four bonus tracks/alternative takes Motï¿½rhead - Ace of Spades (Castle) 1980 1. "Ace of Spades" (2:47) 2. "Love Me Like a Reptile" (3:24) 3. "Shoot You in the Back" (2:40) 4. "Live to Win" (3:37) 5. "Fast and Loose" (3:22) 6. "(We Are) The Road Crew" (3:12) 7. "Fire, Fire" (2:42) 14. "Please Don't Touch" (2:48) 15. "Emergency" (2:58) Ian "Lemmy" Kilmister Is there a more classic Motorhead album than this one? Overkill perhaps, but coming in at a close second is "Ace of Spades." I know there is no other Motorhead song that is more well known than "Ace of Spades." Even the most casual of heavy metal fans knows this song. Of course this one also includes such classics as "Love Me Like A Reptile", "Fast and Loose", "We Are the Roadcrew", "Jailbait" and "The Chase is Better Than the Catch" This re-issue includes the b-side to the "Ace of Spades" single and the "St. Valentine's Day Massacre" EP with Girlschool . "Please Don't Touch" was originally by Johnny Kidd and he Pirates. Have never seen this one used so I just went ahead and bought it new. Back in 1988 when my wife and I were talking about selecting a wedding song for our first dance, I chose "Love Me Like a Reptile" (jokingly, sort of). She didn't agree. We ended up with "Together As One" by Stryper . Hmmm, probably a bit more appropriate. At War recorded a smokin' cover of "The Hammer" on their "Ordered to Kill" CD. Abattoir recorded "Ace of Spades" on their "Vicious Attack" album. Diamond Rexx recorded a cover of "Ace of Spade" on their "The Evil" CD. Motörhead/Girlschool - St. Valentine's Day Massacre (Bronze) 1981 SIDE A 2. Bomber (3:38) 3. Emergency (3:00) "St. Valentine's Day Massacre" is a 10" single that was credited to motör headgirl school, or often referred to has HeadGirl. The 3-song EP was recorded by members of Motörhead and Girlschool , who happened to be labelmates on Bronze Records during the early years of the New Wave of British Heavy Metal movement. The EP included the two bands duetting on a cover of Johnny Kidd & The Pirates' "Please Don't Touch". The band's cover has a fun, heavy, punk vibe to it. The two bands also covered each other, with Girlschool playing Motörhead's "Bomber" and Motörhead performing Girlschool's "Emergency". The single was also released as a 7" 45 RPM vinyl. The single reached #5 in the UK Singles Charts. All three songs have appeared on later albums by both bands, with both "Please Don't Touch" and "Emergency" being released on Motorhead's 1984 release "No Remorse". Motï¿½rhead - Stone Dead Forever (Receiver) 1. "Nightmare" (4:12) 2. "Treat Me Nice" (3:54) 3. "Stone Dead Forever" (4:35) 4. "Sharpshooter" (3:18) 5. "You Ain't Gonna Live Forever" (3:11) 6. "The Hammer" (3:12) 8. "Love Me Like a Reptile" (3:32) 9. "Fun on the Farm" [instrumental] (3:00) 10. "Tear Ya Down" (2:41) 11. "Fire Fire" (2:41) 13. "Jailbait" (3:33) 14. "Step Down" (3:27) Saw this disc sitting on the shelf at Circuit City and I debated for about 20 minutes whether it was worth the measly $7.99. The only reason I hesitated was because I thought it was just another compilation album, but the thing that struck me was that I did not recognize some of the songs. Well, I lucked out because this is an excellent collection of studio outtakes & demos with very good sound quality, except for "Tear Ya Down" which has the vocals a bit buried. "Treat Me Nice", "You Ain't Gonna Live Forever", and the very cool instrumental, "Fun on the Farm" are all previously unreleased. Imported from the jolly 'ol England. Motï¿½rhead - No Sleep Til Hammersmith (Castle) 1981 1. "Ace of Spades" (2:57) 2. "Stay Clean" (2:52) 12. "Over the Top" (3:04) 13. "Capricorn" (Alternate Version) (4:53) 14. "Train Kept-a-Rollin'" (2:45) This is one of the all time classic live albums. At this point Motorhead still featured the classic line-up of Fast Eddie Clark, Philthy Animal Taylor and Lemmy Kilmister; and they were hot in Europe. Most of their albums were still only available as imports in the US. "No Sleep" was the first record that was readily available. I was in high school when it was released and remember reading in Cream or Circus that Motï¿½rhead were voted worst band of the year. I had to hear this band! Motorhead were so obnoxious that I became an instant Motï¿½rhead fan. "No Sleep" was a big part of my high school years as I blasted it from any stereo I could. We laughed at the intro to "Road Crew" every time-G.R. is hilarious! This is a great disc to be introduced to Motorhead by. It worked for me. If I could only own one Motorhead disc, this would be the one. The Castle reissue has superior sound to the crappy vinyl and some of the bad import versions. The Castle version also features some smoking bonus tracks, tons of new photos, and all the original liner notes. (Wish it would also have included a live version of "Love Me Like a Reptile.") None of the songs on "No Sleep Til Hammersmith" were actually recorded at the Hammersmith, they were at West Runton, Leeds and Newcastle. Motï¿½rhead - Motorhead/Over the Top (Bronze Records) 1981 A. "Motorhead" [live] B. "Over the Top" [live] Import Picture Disc 45 RPM vinyl, picture disc, single for the "No Sleep til Hammersmith" album. Manufactured by Bronze Records in 1981. The opposite side has a color live photo of the band. Motï¿½rhead - Iron Fist (Dojo) 1982 1. "Iron Fist" (2:53) 2. "Heart of Stone" (3:02) 3. "I'm the Doctor" (2:39) 4. "Go to Hell" (3:07) 5. "Loser" (3:51) 6. "Sex and Outrage" (2:08) 7. "America" (3:36) 8. "Shut it Down" (2:38) 9. "Speedfreak" (3:20) 10. "(Don't Let 'Em) Grind Ya Down" (3:06) 11. "(Don't Need) Religion" (2:40) 12. "Bang to Rights" (2:39) BONUS TRACKS 13. "Remember Me, I'm Gone" (2:17) 14. "(Don't Let 'Em) Grind Ya Down"-alternate version (3:09) 15. "Lemmy Goes to the Pub"-alternate version of "Heart of Stone" (3:01) 16. "Same Old Song, I'm Gone"-alternate version of "Remember Me, I'm Gone" (2:20) 17. "Young and Crazy"-instrumental version of "Sex and Outrage" (2:11) The last disc with Fast Eddie Clarke is generally not regarded as their best. However, I find "Iron Fist" to be another solid slab of slammin' heavy metal and hard rock. The title cut is an excellent song with a sound as hard as nails. (This song was covered by Ultimatum on their "Lex Metalis" CD) As well, "Iron Fist" features such classics as "Speedfreak" and the longtime concert favorite "(Don't Need) Religion". The Castle reissue includes five bonus tracks. Four of the five are alternate versions of other songs with different names. (I feel gypped!) I found two copies of this in a cut out bin for $2.99 each. Bought 'em both and traded off the second copy. Quite a deal, but I think they were mismarked. (Guess I didn't get gypped after all.) "Remember Me, I'm Gone" is the b-side to the "Iron Fist" single. Motï¿½rhead - Another Perfect Day (Castle) 1983 1. "Back at the Funny Farm" (4:12) 2. "Shine" (3:10) 11. "Turn You Round Again" (3:56) 12. "(I'm Your) Hoochie Coochie Man" [live] (6:30) 13. "(Don't Need) Religion"[live] (2:52) Going to McDonald's to grab some McNuggets. Ok, everybody knew that Thin Lizzy 's egomaniac guitar-slinger Brian Robertson was the wrong man for the job, but while it lasted, in my opinion, he forced the Motor-guys to put out one heck of a heavy metal platter. "Another Perfect Day" is by far one of my favorite Motorhead discs. The album is riveting and heavy, yet slightly more melodic than anything that Motorhead had recorded at this point. Songs like "Shine" and "Dancing On Your Grave" are just phenomenal. I also think that "Another Perfect Day" sports on of the best Motorhead covers up to this point. My CD copy is from Germany and contains three cool bonus songs. Paid $16.99 for it when it was first re-released on CD, but it was worth it. I also own an original vinyl copy. Motï¿½rhead - The King Biscuit Flower Hour Presents Motorhead (KBFH Records) 1997 1. "Back at the Funny Farm" (3:56) 2. "Tales of Glory" (3:19) 3. "Marching off to War" (4:14) 4. "Iron Horse/Born to Lose" (3:53) 5. "Another Perfect Day" (6:07) 6. "Shine" (3:45) 7. "I Got Mine" (5:43) 8. "Interview with Lemmy" (21:13) Brian Robertson & Lemmy Recorded Live at the L'Amour East, Queens, NY on August 10th, 1983. The cool thing about this bootleg quality disc is that it is one of the few live albums to feature Brian Robertson and material from the underrated "Another Perfect Day." Nice detailed liner notes about Motorhead and the King Biscuit Flower Hour as well. The interview at the end of the disc is almost as long as the show itself. It's sort of a short disc, but worth the $2.50 shipping I paid through BMG. Hey, it's Motorhead LIVE! Motï¿½rhead - No Remorse (Castle) 1984 DISC ONE 16."No Class" -featuring Wendy O' Williams (2:32) 17."Stand by Your Man" -featuring Wendy O' Williams (3:06) When this came out in 1984 my girlfriend, who is now my wife, bought me the cool double record set that came in a leather cover as a gift. It was a very cool package and the music contained was just as cool. Lemmy always gives the fans something for their money, not just a cheap compilation with all album tracks. No, we get a few newies and rarities as well. The new tracks were phenomenal and told the world that despite Eddie and Robbo leaving, Motorhead were ready to pummel our ears once again. "Killed by Death" is a killer song, one of the best Motorhead songs ever. The original cd re-issue is missing two tracks from that double album version, including the Kingsman cover "Louie, Louie" and "Leaving Here" live. Of course, I had to trade in my single disc version and upgrade to the double disc version that restores those two tracks as well as includes several rare tracks inlcluding two with Wendy O. Williams. Lemmy (note the cool At War t-shirt) Leather 12" vinyl version of "No Remorse". Motörhead - Anthology (Raw Power) 1985 1. "I Got Mine" (5:24) 2. "Jailbait" (3:32) 3. "Over The Top" (3:15) 4. "Step Down" (3:42) 6. "Ace Of Spades" (2:47) 7. "Hoochie Coochie Man" (6:29) 8. "Go To Hell" (3:08) 9. "Heart Of Stone" (3:05) 10. "Louie Louie" (2:46) 11. "Stone Dead Forever" (4:51) 12. "Back At The Funny Farm" (4:13) 13. "The Chase Is Better Than The Catch" (4:15) 14. "Turn You Round Again" (3:56) An odd compilation of Motörhead classics that summed up an era of the band. Some obscure choices on this one, rather than the usual hits like "Overkill" and "Bomber." Of course Motörhead's biggest hit, "Ace of Spades" was included. Packaging includes some photos of the Lemmy, Fast Eddie Clark, Philthy Phil Taylor era of the band and has a red jewel case. (thanks James) Motï¿½rhead - Orgasmatron (Castle) 1986 1. "Deaf Forever" (4:25) 10. "On the Road" [live] (5:00) 11. "Steal Your Face" [live] (4:16) 12. "Claw" (alternate version) (3:32) Pete Gill (ex- Saxon ) After the break-up of the classic lineup of Lemmy/Fast Eddie/Philthy "Animal" Taylor, (and a short stint with Brian Robertson) Lemmy put together a new Motorhead, a quartet. The new line-up included ex- Saxon drummer Pete Gill and two guitarists-- Wurzel and Phil Campbell, who as of the year 2000, is still with Motorhead. Many people dismissed the band at this point, but I loved this disc. "Deaf Forever" is one of the best Motorhead songs ever and is just a monster of a song, "Mean Machine" and "Nothing Up My Sleeve" are classic Motorhead speed metaltunes. "Orgasmatron" has been hailed as the greatest Motorhead song ever. While I would agree that it is a cool song, it is not necessarily their best ever. I kind of get tired of hearing bands complain about religion. Anyhow, "Built for Speed" is the same tune as "On the Road." Took me many years, and reading someone else's web page, before I ever snapped to that. In any case, this is a great Motorhead album. How could it not be with a guitarist named Wurzel and a bassist named Lemmy? Paid $12.99 for this 1999 reissue I actually saw Motorhead on this tour at the Penny Arcade in Rochester, NY with Raven as the opening act. They gave out buttons announcing that "Philthy Animal Taylor is back." Nice surprise to see Phil behind the kit. They put on a great show in that hot little club. Sepultura recorded a killer cover of "Orgasmatron". Motorhead - Deaf Forever (GWR) 1986 SIDE ONE 10. "Cradle to the Grave" (4:05) 11. "Just 'Cos You Got the Power" (7:30) Motorhead 1987: Wurzel, Lemmy, Philthy Phil, Phil Campbell Philthy Phil returned to the band during the "Orgasmatron" tour and stayed with the band for the recording of "Rock and Roll." "Rock and Roll" doesn't come close to the intensity and creativity of "Orgasmatron." but it is still not a bad disc, and certainly not as bad as everyone has said. The intro to "The Wolf" is spoken by Monty Python's Michael Palin. "Eat the Rich," "Stone Deaf in the U.S.A." and "Dogs" are all decent Motorbangers. I dunno, not much to say about this one. It was the last disc I needed to complete the Motorhead studio collection. Now I can focus on the MANY live discs that Motorhead have out. I bid on it about 20 times on eBay when the bidding started at around $5, but stupid eBay bidders always pushed the price up above $10. Stupid bidders, you can buy the darn thing new for that much. Motï¿½rhead - The Birthday Party (Enigma) 1985 1. "Iron First" (3:14) 15. "Motorhead" (3:19) Michael Burston aka Wurzel "The Birthday Party" was recorded in 1985 but was not released until 1990 due to legal battles with record companies. "The Birthday Party" is a GREAT live testimony to the intensity, speed and sheer volume of Motorhead, as well as a celebration of 10 years of Motor-music. Recorded live at the Hammersmith Odean, on June 26th, 1985 this is the only official live release that features Pete Gill (ex- Saxon ) on drums as he left the band shortly before the tour for Orgasmatron when Philthy Phil joined back up with Lemmy, Wurzel, and Phil Campbell. The CD starts off with the crowd singing Happy Birthday before the band launches into 15 songs of Motorhead fury. At one point Lemmy announces, "We may not be the best band around, but we certainly are the fastest." Guest musicians come out and share the stage including Wendy O Williams, who shares lead vocals on "No Class." Also making a guest appearance is ALL the former members of Motorhead, including Fast Eddie Clarke, and very special guest Phil Lynott ( Thin Lizzy ) on bass during "Motorhead." A good friend of mine at work brought this disc in, knowing that I was a big Motorhead fan. Of course after hearing it I was on a quest to find my own copy, which was to no avail since just about anything on Enigma is hard to find these days. This being so, my friend was going to burn me a cdr copy of the disc. Well, to my surprise, instead of burning me the CDr, he gave me the original. Well, how cool is that? (Thanks Nick) Motï¿½rhead - No Sleep At All (Castle) 1990 1. "Dr. Rock" (3:20) 12. "Metropolis" (3:03) Autographed promo LP. No Sleep at All is Motorhead's second "official" live album, although few bands have as many live discs as Motï¿½rhead. In any case, Lemmy and Co. were unhappy with the final cut of this disc and because of it, they engaged in yet another legal battle with their record company, thus the reason for the crappy distribution of their next few discs. "No Sleep at All" features alot of newer material from "Rock and Roll" an album many people were disappointed with. One noticeable problem with the mix as well, as the bass guitar is mixed way back. Despite this, I think this is a great live album with tons of raw energy. The band is...well, they're Motï¿½rhead. No one expects sheer technical bliss here, we just want raw rock and roll and that is what Motï¿½rhead deliver. Motï¿½rhead - 1916 (WTG) 1991 1."The One to Sing the Blues" (3:07) 2."I'm So Bad (Baby I Don't Care)" (3:13) 3."No Voices in the Sky" (4:12) 4."Going to Brazil" (2:28) 11."1916" (3:45) Lemmy Lemmy's 1916 is as inspired as any past Motorhead disc and, in my opinion, better than some of the past discs. Despite the constant change in guitarists, Motorhead's sound continues in the same speedy, punk/metal sledgehammer approach. As usual the song themes range from amusing and comical ("Angel City"," Ramones") to reflective and somber ("1916"). I gotta say, Motorhead are generally a band that rocks me, but the song "1916" really moved me. Paying careful attention to the lyrics, the words are very strong, and unlike most sappy radio ballads, really extracted a thoughtful and melancholy emotion from m Doro recorded a cover of "Love Me Forever" with Lemmy. Motï¿½rhead - Meltdown (Roadrunner) 1992 1. "Turn You Round Again" (3:58) 2. "Under The Knife I" (3:48) 3. "Under The Knife II" (4:34) 4. "Stand By Your Man" (3:06) 5. "Emergency" (3:07) 6. "Lemmy Goes To The Pub" (3:02) 7. "Tales Of Glory" [live] (3:45) 8. "Heart Of Stone" [live] (3:15) 9. "Hoochie Coochie Man" [live] (6:27) 10. "(Don't Need) Religion" [live] (2:46) 11. "Go To Hell" [live] (3:32) 12. "One Track Mind" [live] (5:48) 13. "Shoot You In The Back" [live] (2:53) Pretty cool compilation that features one-half rare studio tracks and one-half live tracks, most of which feature the "Another Perfect Day" line-up of Motorhead. I was a bit worried when I bought this disc that the live tracks would be the same exact same recordings as featured on "The King Biscuit Flower Hour" CD. However, none of these tracks appear on that CD. I particularly love the track Lemmy sings with Wendy O. Williams, "Stand By Your Man." It's humorous, if not freakin' hilarious. Motï¿½rhead - March or Die (Epic) 1992 1. "Stand" (3:31) 2. "Cat Scratch Fever" (3:51) 3. "Bad Religion" (5:01) 4. "Jack the Ripper" (4:37) 5. "I Ain't No Nice Guy" (4:15) 6. "Hellraiser" (4:33) 8. "Too Good to be True" (3:35) 9. "You Better Run" (4:50) 10. "Name in Vain" (3:05) 11. "March or Die" (5:42) "March or Die" seems to be the album that most Motorhead die-hards dismiss as their attempt at being commercial. There does seem to be some more 'commercial' moments here and there. Bringing in guest artists like Slash of Guns N' Roses and having Lemmy sing an acoustic duet with Ozzy doesn't help to dismiss this idea either. I suppose this was Motorhead's attempt at mainstream success. Despite these things, there is still plenty of heavy Mothorheadbangers contained herein. "Stand" is a fast & fun opener. You Better Run" is worth the price of the disc alone. This is a classic, boogie-woogie based song complete with Kilmister trading off bass licks with Wurzel and Phil "Zï¿½ï¿½m" Campbell. The Ted Nugent cover rocks hard. "Hellraiser" is a classic as well; just listen to that Rickenbacker roar. The title track has a similar vibe to the title track from "Orgasmatron". This song offers a scathing view of politicians who create wars and abuse the environment. "Bad Religion" is a song that takes on corrupt TV evangelists and is another prime slab of Motorhead. So despite the slightly cleaner production and Epic Record's attempts to make Motorhead become a bigger commodity, "March or Die" is still Motorhead! Motï¿½rhead - Bad Religion (Epic) 1992 1. "Bad Religion" (5:01) Not much to say about this one. This is an advance single that was sent out to American radio stations to prime channels for the "March or Die" cd. Found it at a cd show for $1. Motï¿½rhead - Bastards (ZYX) 1993 1."On Your Feet or On Your Knees" (2:33) 2."Burner" (2:52) 4."I Am the Sword" (4:28) 5."Born to Raise Hell" (4:57) 6."Don't Let Daddy Kiss Me" (4:05) 7."Bad Woman" (3:16) 9."Lost in the Ozone" (3:26) 10."I'm Your Man" (3:28) 11."We Bring the Shake" (3:46) 12."Devils" (5:56) This disc was a pain in the butt to obtain. Who the heck are ZYX Records? I had to have a friend in Germany pick it up for me. They obviously have terrible distribution. In any case, this album shreds all over the overtly commercial "March or Die." It's heavy, greasy, and grinds steel grooves. Motorhead never sounded so good, save for the ballad (?!?!) "Don't Let Daddy Kiss Me," which is a song about incest! "Liar" is very much like "Orgasmatron." Motörhead - All the Aces: The Best of Motörhead/The Muggers Tapes (Castle) 1993 1. " Ace of Spades" (2:47) 2. "Killed by Death" (4:37) 3. " Motörhead" [live] (4:46) 13. "Over the Top" (3:20) 14. "Overkill" (5:12) 15. " Ace of Spades" [CCN remix] (3:23) 16. " Ace of Spades" [live/video] (2:59) 17. "Motörhead" [live/video] (2:44) 18. "White Lightning" [live] (5:34) 19. "Space Chaser" [live] (4:43) 20. "Somethin' Else" [live] (5:48) 21. "Would If You Could" [live] (5:07) 22. "(Just A) Nightmare" [live] (6:54) 23. "Cinnamon Girl" [live] (5:17) 24. "Summertime Blues" [live] (5:24) 25. "Killer, Killer" [live] (5:42) There are probably more 'best of' Motï¿½rhead discs out than there are actual Motï¿½rhead studio releases. I suppose a hardcore collector might want them all, but I can't even imagine the most die hard fan wanting all these 'best of' discs. After the awesome "No Remorse" disc, is there really any other that would match up? The answer is a resounding NO! This disc is not exception. I mean, who needs an industrial dance mix of "Ace of Spades"? I can think of a number of songs that could have been included rather than this horrible injustice of metal. I am sure there are barrels of unreleased material they could have chosen from as well. So this disc is far from exhaustive, despite the fact that there is some outstanding material included. However, I found this disc sitting on the used racks for $6, and it was unopened and without any cutouts. I figured I would pick it up for disc two, which features tracks that have not been previously released. The Muggers Tapes is a live recording of a side project called the Muggers featuring Eddie Clarke, Phil Taylor, John "Speedy" Keen, and Billy Wrath. (Of course, without Lemmy, it's not Motï¿½rhead.) This disc features the Muggers cranking out some heavy bar rock that is entertaining, but nothing spectacular. For the collectible value I suppose it's worth the money spent, but overall this is just a way of the record company to bilk money out of fans. The multimedia extras and the two live videos are a nice inclusion, however. Buy cheap or pass. Motorhead - Live at Brixton (Roadrunner) 1994 1. "Doctor Rock" (3:11) Lemmy & Dave Murray of Iron Maiden The release facts about "Brixton" are a bit confusing. It is a recording of the band's Christmas Show at Brixton Academy on December 23, 1987. When and why it was released is a bit confusing to me. According to the book inside the officially released box set "Stone Deaf Forever!", "Live at Brixton" was released in 1994. Other sources say it was released in 1990 as an alternate to "No Sleep At All" as the band wasn't happy with the mix on that CD. The story as I read it is that "No Sleep At All" was Motorhead's second "official" live album, but the band was unhappy with the final cut and its release sparked yet another legal battle with their record company. Bad record deals have plagued Motorhead since the beginning. Anyhow, this set was originally chosen by the band for release as "No Sleep At All" but at the last minute the record company chose not to use it for unknown reasons. "Live at Brixton" features virtually the same songs as "No Sleep at All", but with a noticable difference in production. This show was Philthy's comeback show in the UK and was on the heels of a successful European tour, so the band was ready and primed. Unfortunately, for reasons unknown, the enchore "Overkill" was left off the disc. Argh! Anyhow, "Just 'cos You Got the Power," on this disc is spectacular and clocks in at over eight minutes. Motï¿½rhead - Best of Vol. 2 (Roadrunner) 1994 1. "Deaf Forever" (4:26) 3. "One to Sing the Blues" (3:07) 4. "Hellraiser" (4:33) 6. "I'm So Bad (Baby I Don't Care)" (3:13) 7. "I'll Be Your Sister" (2:51) 8. "Traitor" (3:18) 10. "Too Late, Too Late" (3:21) 11. "Steal Your Face" (4:21) 12. "Bad Religion" (5:01) 13. "No Voices in the Sky" (4:12) 14. "Just 'Cos You Got the Power" (7:30) 15. "Cradle to the Grave" (4:10) Essential for the two unreleased tracks, "Just 'Cos You Got the Power" and "Cradle to the Grave," both excellent Motor-bangers. Otherwise, this is an ok "Best of" collection. Found this one for $4.92 used. Motï¿½rhead - Sacrifice (CMC International) 1995 1."Sacrifice" (3:16) 11."Out of the Sun" (3:43) Motorhead 1995: Lemmy, Wurzel, MickeyDee, Phil Campbell Some people said that Motorhead had sold out to commercialism. Whatever! OK, maybe "March or Die" was a bit of a sellout. This album, however, smokes! "Sacrifice" sounds as if it could have been the follow-up to "Iron Fist." No doubt, this is Motorhead at their best, in all it's wart infested ugliness. "Don't Waste Your Time" pays homage to some of Lemmy's influences-Little Richard and Chuck Berry. "Sex & Death" is a fast little punk ditty. "Sacrifice" is one of the best Motorhead tunes since "Ace of Spades" Sellout? Never! Found this one for $2.50 in the used bins and it's in perfect condition. Quite the find, eh? Wurzel is still playing with the band on this CD, but decided to leave shortly after recording. While his guitar work is still featured on this disc, on the US pressings Wurzel was removed from the credits and the photos. I am interested in getting a European copy of this. The picture above is from the European booklet. Motï¿½rhead - Overnight Sensation (CMC International) 1996 1."Civil War" (3:01) 10."Shake the World" (3:29) 11."Listen to Your Heart" (3:45) Hilariously titled considering it's Motorhead--the band everyone loves to hate. Ah, who cares, this is one heck of a disc, one of the best later day Motor-offerings. "Crazy Like a Fox" even offers a bit of harmonica. "Hey, why does that guy have coo-coo puffs on his face? 'Cause co-co puffs are cool!" Picked this good'n up through BMG Music Club. Motorhead - Don't Believe A Word (CMC International) 1996 1. "I Don't Believe A Word" [single version] (4:38) 2. "I Don't Believe A Word" [album version] (6:31) Promotional single sent out to radio stations to promote the "Overnight Sensation" CD. Nothing more than a collector's disc for Motorhead fanatics. Motörhead ‎– Fast, Loose & Live (Emporio) 1996 1. Ace of Spades (3:05) 2. White Line Fever (2:28) 3. Motörhead (3:00) 6. Love Me Like a Reptile (4:16) 7. Iron Horse / Born to Lose (4:33) 8. I'm Your Witchdoctor (3:07) 9. Godzilla Akimbo [instrumental] (2:19) 10. Hump on Your Back (3:41) 11. Bastard (3:02) 13. Shoot You in the Back (3:10) 14. Waltz of the Vampire (3:40) 15. Instro [instrumental] (2:47) 16. Fast and Loose (3:06) This is an oddball compilation of live tracks and demo tracks. The sound on this bootleg is all over the place, with the volume and quality changing from song to song. There was no thought put into the order of the songs, and there was obviously no mastering done to make the album have any sort of flow. For the most part this will never be a CD that fans will spend a lot of time listening to. Rather, it is a CD for die-hard fans and collectors of all things Motörhead, like myself. Motï¿½rhead - Snake Bite Love (CMC International) 1998 1."Love for Sale" (4:52) 8."Don't Lie to Me" (3:59) 9."Joy of Labour" (4:52) 10."Desperate for You" (3:27) 11."Better off Dead" (3:42) Well, if there is one thing that you can't say about Motorhead, it's that they are not consistent. "Snake Bite Love" continues in the greasy biker metal vein that Motorhead is so good at. Motorhead like AC/DC , have a sound that works for them, so why should they change it? I would actually venture out to say that the last three Motorhead cds could stand up to "Overkill" and "Ace of Spades." GASP Have I committed blasphemy? Motï¿½rhead - the Singles Collection: the Bronze Years 1978-84 (Cleopatra) 1998 1. "Louie, Louie" (2:48) 5. "Leaving Here" [live] (2:54) 6. "Ace of Spades" (2:48) 7. "The Train Kept a Rollin'" [live] (2:45) 8. "Please Don't Touch" (w/ Girlschool) (2:50) 9. "Motorhead" [live] (4:47) 10. "Don't Do That" (The Young & Moody Band) (3:22) 11. "Iron Fist" (2:56) 12. "Stand By Your Man" (w/ Wendy O'Williams) (3:06) 13. "I Got Mine" (5:24) 14. "Shine" (3:12) 15. "Killed by Death" (5:59) This is a really cool package that features a gold disc, a 12-page booklet, and a slipcase with the artwork to all the singles released on the Bronze label. Nothing really new on it but a nice collectors disc nonetheless. Motï¿½rhead - Everything Louder than Everything Else (CMC International) 1999 DISC ONE 10."Ace of Spades" (4:49) 11."Overkill" (7:34) If there is one thing this live disc proves, other than the fact that Motorhead are at home on the stage, it's that the new songs sound just as good as the old classics. This would be a great disc to give someone to introduce them to Motorhead as it contains the best of the best played live. I can't believe that Lemmy is over 50; you'd never know it by this performance. Motï¿½rhead - We Are Motorhead (CMC International) 2000 1. ï¿½ "See Me Burning" (2:59) 2. ï¿½ "Slow Dance" (4:29) 3. ï¿½ "Stay out of Jail" (3:02) 4. ï¿½ "God Save the Queen" (3:19) 5. ï¿½ "Out to Lunch" (3:26) 6. ï¿½ "Wake the Dead" (5:14) 7. ï¿½ "One More Fucking Time" (6:46) 8. ï¿½ "Stagefright/Crash & Burn" (3:02) 9. ï¿½ "(Wearing Your) Heart on Your Sleeve" (3:42) 10. "We Are Motorhead" (2:21) Lemmy and Motorhead survive another millennium bringing us new bombastic rock 'n roll in the year 2000. And what better name for the album than, "We are Motorhead, Born to Kick Your Ass!" If that description alone isn't enough for you, you probably aren't a Motorhead fan to begin with. Simply put, "We Are Motorhead" rocks! There are several blazing heavy metal tracks including "See Me Burning", "Wake the Dead" and the groovy "Slow Dance". There is a smokin' bass solo in the middle of "Out to Lunch", a track reminscent of "Orgasmtron. There is even a ballad that I would basically describe as "Life According to Lemmy" titled "One More Fucking Time". Oh and in case anyone is wonder, yes, "God Save the Queen" is the Sex Pistol's anthem! HA! Lemmy old? Nah! Morothead kicks arse! Motï¿½rhead - Hammered (SPV/Steamhavver) 2002 DISC ONE 3. "The Game" (3:31) 4. "Boneshaker - 25 & Alive" [video] (16:00) It's hard to believe that 'ol Lemmy is still kicking out such heavy jams as this. Most bands that are this 'mature' and are still together are using outside songwriters, are incorporating more modern electronic elements, or are just putting out duds. Motorhead, however, are one of the few bands whose new cds I rush to get as soon as they are available. Several killer songs on this disc, including the opening tracks "Walk a Crooked Mile" and "Down the Line." However, I honestly did not lose interest in this disc from beginning to end. I picked up this German 2-cd, digi-pack edition. The bonus disc contains the studio tracks "The Game", which was apparently written for the WWF. It also contains two live tracks and a 16 minute video, that I have yet to see. The U.S. edition on Metal-Is contains the two bonus tracks: "The Game" and a live version of "Overnight Sensation." I'll have to keep my eyes open for a cheap used copy of that for the one bonus track. Motörhead - Hellraiser - Best of the Epic Years (Sony Music) 2003 1. "The One To Sing The Blues" (3:09) 2. "Shut You Down" (2:41) 3. "I Ain't No Nice Guy" (4:15) 4. "Hellraiser" (4:32) 8. "You Better Run" (4:51) 9. "Cat Scratch Fever" (3:53) 10. "March Or Die" (5:41) 11. "Angel City" (3:58) 13. "Make My Day" (4:25) 14. "Going To Brasil" (2:30) 15. "Dead Man's Hand" (3:31) 16. "Ramones" (1:27) There are so many Motï¿½rhead compilations. Many of them are not worth owning due to the fact that they are all just rehashes of compilations that had already been released. This one is unique in that it sums up the "big label" years of Motï¿½rhead. What makes it essential, however, is the inclusion of two non-album tracks "Eagle Rock" and "Going To Brasil". These two tracks had only ever been released on some rare promotional singles, as far as I am aware of. "Eagle Rock" was released on a promotional single for 1916 that also included the track "No Voices in the Sky". "March or Die" is perhaps my least favorite Motorhead CD, but it had a few gems, like the title track and the Ted Nugent cover "Cat Scratch Fever", so it was nice to have those inclusions here. "I Ain't No Nice Guy" is a ballad duet with Ozzy that I still find bizzare and uncharacteristic of the band. Overall, however, a good compilation that I am happy to have included in my collection. (Thanks Olaf!) Motï¿½rhead - Stone Deaf Forever! (Castle Music /Sanctuary) 2003 Giant autographed Philip Campbell pick (Click image to see actual size.) The green pick above I caught at the show and also belongs to Philip Campbell. One thing for sure, Motorhead are Motorhead and they don't really ever depart from that dependable sound. Love 'em or hate 'em, this album won't disappoint fans, and will probably delight most. Motrhead is one of the few bands that does very little to alter their sound from album to album, like AC/DC , and there's both comfort and tedium inherent in that. Personally it is that quality that draws me to purchase their CDs without even taking the time to listen to them first. I have yet to be disappointed. "Inferno" mixes Motorhead's unique blend of metal, punk, and rock'n'roll. This album even sports a bit of blues. As a matter of fact, album closer "Whorehouse Blues" is a straight up blues track; acoustic guitar, harmonica and all. "Inferno" starts off strong with "Terminal Show", a fast metal romp that will tear the paint off our walls and is followed up by the equally strong "Killers" and "In The Name Of Tragedy". There are a few songs that aren't quit as strong as these, but overall "inferno" is another solid effort from Motorhead. It's Motorhead, do you really need any other reason? Motörhead - Stage Fright (SPV) 2005 DISC ONE DVD Rom "Overkill" (newly recorded version) This is one of the most entertaining concert DVDs ever. While I have only watched the actual concert once, I've enjoyed watching the commentary and the "We Are the Road Crew" section multiple times. This section of the DVD includes interviews with Lemmy, Phil Campbell and Mikkey Dee, as well as the road crew, who talk about life on tour and share some personal insights into the musicians. If any fan really wants to get to know Motörhead as people and as musicians, these commentaries are a great watch. The band and crew, just being themselves are pretty funny and amusing to watch. The concert itself has a good mix of material from all the different eras of Motörhead. They were touring for the "Inferno" album so there are few songs from thing that album, including the humorous acoustic ditty, "Whorehouse Blues". Drummer Mikkey Dee comes out to the front of the stage to play acoustic guitar with Mickey Dee. The sound is good, although the bass is quite prominent in the mix, especially early on in the concert. Overall "Stage Fright" offers over four hours of playing time and comes in DTS 96/24, Dolby digital 5.1 and AC3 stereo sound and is region free. Motorhead - BBC Live & In-Session (Sanctuary) 2005 DISC ONE 9. "Deaf Forever" (4:19) 10. "Orgasmatron" [spoken word] (1:30) Does anyone have as many compilations and live discs as Motorhead? I doubt it. Well, I really like these BBC discs to begin with, but add to this the fact that I am a Motorhead-fanatic, this disc only become that more essential. Lots of raw and heavy live versions of early Motorhead classics here. A total of three versions of "I'll Be Your Sister", two versins of "White Line Fever" and not even one version of "Ace of Spades" or "Overkill". Sort of hard to believe isn't it? Actually, I sort of enjoyed hearing some of the more obscure songs from Lemmy and Co. "BBC Live & In-Session" is a CD for the Motorhead completist like myself and probably not a disc for the casual fan. Motörhead - Kiss of Death (Sanctuary Records) 2006 1. "Sucker" (2:59) 2. "One Night Stand" (3:05) 3. "Devil I Know" (3:01) 4. "Trigger" (3:53) 5. "Under the Gun" (4:45) 6. "God Was Never on Your Side" (4:21) 7. "Living in the Past" (3:45) 8. "Christine" (3:42) 9. "Sword of Glory" (3:57) 10. "Be My Baby" (3:40) 11. "Kingdom of the Worm" (4:08) 12. "Going Down" (03:35) 13. "R.A.M.O.N.E.S." (1:22) If you aren't already a Motorhead fan, chances are you won't be one. Motï¿½rhead are nothing, if not consistant. Lemmy and Co. know what they do and they do it well. "Kiss of Death" is yet another lesson in Motï¿½rhead's unique brank of noisy rock and roll. However, unlike their excellent last album "Inferno" this one wasn't as immediately likeable. It took me several listens before I started becoming familiar with the material and really began digging the tunes. "Sucker" starts things off with a metallic bang! This will be a concert staple for a while. "One Night Stand" is a wall of noise boogie that would make Angus Young proud. "Devil I Know" is a full throttle rocker, and "Trigger" takes the intensity up another lever. "God Was Never On You Side" is a ballad of sorts. Ths song has that classic low verse/loud chorus/low verse style that modern day Motorhead seems to incorporate with each album. "Living in the Past" brings on the metal onslaught once again with razorblade riffs and Mikkey Dee's incredible drumwork. "Kingdom of the Worm" has an almost thrash metal sound to it, especially in the opening. None of this is atypical for Motorhead. "Kiss of Death" is what Motorhead is all about; high voltage, wall-of-noise, rock and roll. That album finishes off with a re-recorded version of the Motorhead classic "R.A.M.O.N.E.S." which I can only assume is here as yet another tribute to America's original punk band. lyricially Lemmy is as sinister as ever. In the lyrics for the first track entitled "Sucker" Lemmy growls that "nobody cares if you're in or you're out, weï¿½re gonna give you a smack in the mouth." How much doesn't that sum up the Kilmister attitude? "God Was Never on Your Side" has Lemmy questioning God. "If God is wise, why is he still, when these false prophets call him friends, why is he silent, why is he blind, will he see nothing in the end." Motorhead is one of England's greatest exports (even if Lemmy is now a resident of the US). "Kiss of Death" if full throttle, Rickenbastard bass driven, heavy, rock and roll. Motörhead - Overkill / Tie Your Mother Down (Cleopatra) 2007 SIDE A 10. Ace Of Spades" (5:23) 11. "Overkill" (9:42) Motorhead's 30th anniversary show recorded live at the infamous Hammersmith Odeon on June 16, 2005. There really is not need for a review here. It's Motorhead live in all it's raw, fast, deafening glory. The set list covers as much of the band's history as possible in a single concert, even including such forgotten gems such as "Dancing On Your Grave" and "Love Me Like A Reptile". Actually, I wouldn't have minded a few more newer songs from albums like "Hammered" which I think are as good as, if not better than the classic 70's material. There are a few tunes from their last studio album "Inferno" including the acoustic "Whorehouse Blues" which features both Phil Campbell and Mikkey Dee on acoustic guitars. The production is great; it captures that live energy that Motorhead delivers but sounds fantastic at the same time. I seriously doubt there are any overdubs to be found here. Motorhead are not about perfect recordings, they are about bombastic rock and roll, and that is what they deliver. Motörhead - Motörizer (Steamhammer/SPV) 2008 10. "Time Is Right" (3:14) 11. "The Thousand Names Of God" (4:33) Motörhead live in Albuquerque, 8-27-08. Crappy photo taken with my cell phone from about 20 rows back. Lemmy and Motorhead are a heavy metal icon. Whether anyone appreciates their music over the years or not, one thing will still hold true. Motorhead have become a larger than life figure in heavy metal circles. Lemmy at 62 is still rocking as hard as any band in their 20's. His dirty, Rickenbacker (Rickenbastard) bass sound acts as a wall of sound, giving Motorhead their unique sound. Guitarist Phil Campbell has been with the band since '84, and his catchy riffs and bluesy guitar solos add character to the signature Motorhead sound. "Motorizer" is Motorhead's 24th album, which is a remarkable feat in and of itself. Fellow british metal icon like Judas Priest and Iron Maiden, who have seen more commercial success, cannot claim to have released such a large arsenal of albums. My first thoughts when I popped "Motorizer" into my CD player were, "it sounds like Motorhead to me." Indeed! While Motorhead have progressed over the years, they have a sound that is distinctly theirs. "Motorizer" doesn't sound all that different than equally great albums such as "Inferno" or "Hammered". From heavy anthems such as "Rock Out and "Back on the Chain" to bluesy rockers such as "One Short Life" to full throttle rockers like album opener "Runaround Man", Motorhead are still cranking out the high-voltage rock and roll. They may not be re-inventing themselves, but they certainly don't sound stale either. The thing about groups like Motorhead is you know exactly what you're going to get. They'll deliver songs that are loud, fast, abrasive and pack a punch. "Motorizer" is no different! It's just another in a line of albums that kick some serious butt! Motörhead - The World Is Yours (Motörhead Music) 2011 DISC ONE (CD) 1. Born To Lose (4:01) 2. I Know How To Die (3:20) 3. Get Back In Line (3:36) 4. Devils In My Head (4:21) 5. Rock 'n' Roll Music (4:25) 6. Waiting For The Snake (3:42) 7. Brotherhood Of Man (5:16) 8. Outlaw (3:31) 9. I Know What You Need (2:58) 10. Bye Bye Bitch Bye Bye (4:04) DISC TWO (DVD "Live At Wacken 2006") 1. Doctor Rock 2. Love Me Like a Reptile 3. Killers 4. In the Name of Tragedy 5. Dancing On Your Grave 6. Fast and Loose "The World is Yours" was released in December 2010 in Europe with a special all Motorhead issue of Classic Rock Magazine. The album was then released in January 2011 in the U.S. through Motörhead's own label, Motörhead Music (distributed by EMI). As such, "The World Is Yours" didn't make my Best of 2010 list, though it will most likely make my 2011 list. "The World is Yours" is pure and simple, Motörhead. Heavy rock and roll with a bit of punk attitude, which has always been Motörhead's formula for success. No, there is nothing new here. Motörhead are Motörhead. They know what they do and they do it well. Much like AC/DC , they continue to build on a successful formula. "Born to Lose" starts the album off in classic Motörhead-banging fashion. The songs title, as well as most of the song titles, sound like something that Lemmy and Co. had already recorded. (Remember back in '75 "Iron Horse/Born to Lose"?) However, these are not re-recorded songs. "Born to Lose" breaks out of a big drum fill and continues as a pummeling, upbeat, double-bass driven song. Despite being new songs, there is something familiar about this album. A song like "Brotherhood Of Man" is musically and lyrically similar to the classic "Orgasmatron". However, the song features a smokin' bass and guitar solo. "I Know What You Need" reprises “Nothing Up My Sleeve.” "Devils In My Hand" plays a bit of tribute to Lemmy's fallen friend Phil Lynott as the song recalls "Are You Ready" slightly. Yes, they’ve used some of these riffs and titled before, but so what? You either love them or you hate them. Those who love them raise their fists and bang along while the haters cover their ears and run for the hills. Motörhead are not trying to reinvent the wheel. They are what they are. Motörhead play kick ass rock n roll and are still unmatched by anyone. Motörhead - Aftershock (UDC) 2013	i don't know
According to the poem what kind of bird did the Ancient Mariner kill?	Why does the mariner kill the albatross in the poem 'The Rime of the Ancient Mariner'? - Quora Quora In the poem 'The Rime of the Ancient Mariner', the mariner kills the albatross without any rime or reason. Hence, he spent the rest of his life telling people about his sins (the wedding guest, part 1 of the poem). That is why the poem is titled 'The Rime of the Ancient Mariner'. :) He kills the Albratoss without any reason. He just thinks he can kill the Albratoss and thus shoots him because animals and birds don't really matter according to him. So he shoots him just for his pleasure and nothing more. 313 Views · View Upvotes · Answer requested by 1 person Yashi Sharma , I have written a few poems. Written Jul 27, 2015 I think Mariner shot the albatross because he thought Albatross is bringing bad luck to the .As mariner believed that the fog and mist was brought upon them because of the bird All his crew was fickle minded so they were convinced that Mariner is right.The second perspective to the poem can be that mariner didn't had any respect for nature as the bird symbolize nature.	Albatross
What was the name of Claude Greengrass' dog in Heartbeat?	The Rime of the Ancient Mariner: – Vim, Ph.D. – Medium BlockedUnblock FollowFollowing Early Modernist, Associate Prof, college hoops fan, crazy cat lady. Tweeting out of conviction or exhaustion or both. Views my own. My head hurts. Mar 10, 2015 The Rime of the Ancient Mariner: Subtext/Context/Text/Tweets As I did previously , I’m posting the lecture I gave for the Honors Program. This time, I gave a talk accompanied with a short film I made with the help of some of the brilliant scholars I am pleased to call my friends. I’m not a Romanticist by training, so much of the material here is new for me. Before it became my responsibility to present a lecture on Samuel Taylor Coleridge’s Rime of the Ancient Mariner for this course, I hadn’t read the poem for many years. In fact, when it came up amongst our group as a possibility, I could say exactly when I had read it last: it was in 1997, when I took a course on Romantic Literature as part of finishing up my Master’s Degree. In the 18 years that have transpired since my first reading of it, I’ve become a specialist in 16th and 17th century English literature and history, and so, though I occasionally read and teach works from the 18th and 19th centuries, including the years Coleridge lived and wrote “The Rime,” I am not a scholar of Romantic literature. And because I am not, I know that you, much like me, probably need a brief review of some important vocabulary that a Romanticist would take for granted. Scholars in my field use the term “Romantic” to described a period of time in England, usually the last 30 or 40 years of the broad half-century between 1775–1830. The term Romance does have some roots in the literature from the middle ages — traditions in the Romance languages spoken in the courts of France, Spain, and Italy—and so it has a vague and distant relationship to the genre you know from last semester as Chivalric Romance. But the term as it applies to English literature the period is also something very different from chivalric romance and owes its existence more to German critics and philosophers than Italian writers like Boccaccio. The term developed in intellectual circles in Germany as a way of distinguishing new art and culture from neoclassical tastes of the 18th century. Whereas the earlier decades’ works and ideals were associated with the rational order, balance, and regularity of Classical art, the emerging styles in the 1780s and 90s were invested in the particular, the irregular, and the wild. I could spend quite a bit of time trying to define Romanticism as an artistic and intellectual movement and an equally long time describing its practitioners’ relationship to nature and the sublime qualities of the natural world. Instead, I’ve put some information on a handout, and you can consult it at your leisure this afternoon. For now, you simply need to know a couple things: first, that the period we associate with Romanticism in English literature specifically was one in which some of the century’s best novelists emerged. Second, that Coleridge is one of several Romantic poets—including (but not limited to) William Wordsworth, William Blake, Robert Southey, and the younger poet George Gordon, Lord Byron—that we celebrate as literary and political revolutionaries. It’s hard to see The Rime of the Ancient Mariner as being revolutionary in any way, however. I suspect that you, like me in my first encounters with it, found the poem to be a bit too fun and too fanciful to take very seriously; its relationship to political contexts seem remote, and, like Alice’s Adventures in Wonderland and Through the Looking Glass, its ease and accessibility, its fantastic setting, and the facile associations one can make between it and drug use, make it an easy target for parody or appropriation by groups we usually don’t associate with high literary culture. For every esteemed adaptation of it—like the beautiful engravings by the French artist Gustav Dore, or the 2013 Fiona Shaw production at the Brooklyn Academy of Music — we find multiple examples of pulpy fan-fiction, from hokey tattoos to heavy metal tees. And to be perfectly honest with you, before I read Coleridge’s poem in graduate school, my first meeting with the Ancient mariner was this Iron Maiden song that some kids in my neighborhood claimed to like back in the mid-80s. Iron Maiden Cover art by Derek Riggs I won’t make you suffer through all 14 minutes of the live performance, but I think the lead singer’s introduction to it exemplifies the sort of reactions that the poem produces in readers, both good and bad — that is, the feelings it provokes are at once wildly generative and sort of embarrassingly reductive, as we see here in the first two minutes: So, among other things, that video is an argument for why it’s so important to learn about literature and history from professional scholars. Queen Victoria apparently was prescribed cannabis—there’s a bone fide scholarly book on the subject —but she did not sit on the throne of Great Britain and Ireland during Coleridge’s lifetime — his monarch was William IV. Furthermore, Coleridge was not known for marijuana use. The drug he is well known to have taken habitually, the liquid form of opium, laudanum, was not for recreation nor to enhance the trippiness of his art. From about 1800 to 1818, he suffered from chronic rheumatic pain, and because the opiate’s effects were not fully understood, it brought on additional suffering in the form of psychological disturbances and addiction. It is true that he did once write to a friend inquiring after hemp , not for himself, but for his friend Tom Wedgewood, the son of the famous potter, in the hopes that it could afford some “alleviation of his most hopeless malady — which is a dreadful inirritability of the intestinal Canal.” Tom didn’t need a high so much as health and happiness: both, Coleridge wrote, were “blasted by —a thickening of the Gut!—O God! Such a Tree, in full blossom, & a Grub, a grub at the root!” Incidentally, this image of a tree in full bloom being eaten away by a worm is very nearly the same image we get in William Blake’s poem, “The Sick Rose.” And in Coleridge’s use of the metaphor and his impassioned plea, we can see perfect examples of the poetic sensibility of Coleridge and other Romantic poets. But, in some fashion, the Iron Maiden interpretation of the mariner poem is also exemplary of the Romantic spirit, and in getting the poem and English history a little bit wrong, it nonetheless gets the act of inspiration right: in fact, the band’s desire to re-create the poem — and go off their usual 3 minute script into 13 minutes of experimental thrashing—is in keeping with Coleridge’s own sense of the “two cardinal points of poetry: the power of exciting the sympathy of the reader…and the power of giving the interest of novelty by the modifying colors of imagination.” Indeed, he believed “the reader should be carried forward, not merely by mechanical impulse of curiosity, or by a restless desire to arrive at the final solution; but by the pleasurable activity of mind excited by the attractiveness of the journey itself.” I take both of these to mean that he aimed to write poems that pushed the boundaries of time and space, present and history, and reader and writer; the poet’s job was to produce works that not only engendered readers’ identification with an imaginative scenario, but also inspired the “spontaneous overflow of feeling” (in Wordsworth’s famous formulation), and therein the desire to create. Whatever its quality, the heavy metal Mariner forces us to reckon with the instability of the literary text as well as notions of aesthetic taste, authenticity, and literary form — and in this way, it is very much in keeping with what scholars know of the poem and the experimentation of the Romantic poets broadly. In my time today, I’ll talk about the Ancient Mariner in ways that I hope will give you a better sense of the poem’s complexities without dictating the lines of inquiry that you can pursue in your discussion sections later. Rather than present a single argument about it, I’ll discuss the poem’s subtexts, contexts, and text-texts that I’ve learned about from other scholars since I returned to study the poem in late January. After about 40 minutes of a formal lecture with three parts of diminishing length, I’ll answer the Mad-Hatter-style question of how an English professor is like an 80s heavy metal band by showing you the imaginative exercise that the poem excited in my mind, and then encourage you to engage in similar experiments in poesis, or the act of poetic creation yourself. I. Subtexts/Contexts You would never know it from the Rime’s apparent apolitical setting that Coleridge was deeply influenced by the complex and disparate events we know as the French Revolution. To be conveniently and overly general, these events ushered in the swift decline of absolute monarchies and theocracies all over Europe and beyond. The storming of the Bastille — a prison and symbol of tyranny — in 1789 and the execution of King Louis XVI in 1793 were both shocking and radicalizing for those who watched from the British Isles and other parts of the continent. The movement’s rallying cry celebrated the liberty, equality, and brotherhood of all men — and, as this graffiti in Paris suggests, sisterhood as well) . For poets in England, the events of the 1790s in France were a source of inspiration and a potential model for the leveling of hierarchical structures in English governance and society. But because France seemed to betray its professed ideal of liberty by invading republican Switzerland; because the government put in place after the toppling of the monarchy ultimately revealed the movement’s original leaders to be corrupt; and, later, because its hero was ultimately a conquering, imperialist general named Napolean, the French revolution also was a source of disappointment and fear. By 1799, Bonaparte established his place as the French Emperor and England’s enemy. Anyone who saw the revolution in the early 1790s as paving the way for more egalitarian forms of state governance could see by the late 1790s that the road to a republic or democracy was still a difficult terrain. As I said before, it’s hard to see immediately how the French Revolution bears on a The Rime of the Ancient Mariner, of course, but it was nonetheless is a significant subtext for all of his poetic output. Coleridge wrote the poem around 1798, when he was very much a radical and had expressed both a deep respect for the revolutionaries in France and a disillusionment with its leaders for bringing military force into Switzerland. France: An Ode, the fifth stanza Take his poem from the same year, “France: An Ode,” which begins with a description of the joy and love of liberty the speaker felt at the fall of the Bastille, but then shifts to detail his “abhorrence” at the attack on the Swiss republic. In its fifth and final stanza, the speaker castigates the French revolutionaries for throwing off chains only to take on new ones. He says they are “slaves by their own compulsion” for betraying their egalitarian principles. As he moves to conclude the poem, he then goes on to address true Liberty directly, describing it with wings in the phrase “subtle pinions” (or feathers) and calling this flying freedom “the guide of homeless winds, and playmate of the waves!” Its last few lines are emblematic of the kinds of moves that are typical of Coleridge and Romantic poets broadly: reflections on abstractions are filtered through specific and intense interactions with nature, causing the speaker to feel something intellectually and bodily all at once. I’m sharing this poem with you in part because in likening Liberty to a winged bird, the poem recalls the Ancient Mariner’s Albatross, cutting through the fog to greet the sailors with a “good south wind” behind him. More importantly, I share it because it more clearly conveys Coleridge’s radical politics, and invites us to look more carefully into how they may be lurking in the Mariner’s imagery and psychic landscape. Significantly, this same stanza had initially likened the speaker’s disappointment in France to his disappointment in the British government for its complicity in the Slave Trade. The reason you don’t see here is that editor of the periodical opted to remove it prior to its publication, claiming that it disrupted the unity of the poem’s subject matter, though Coleridge had intended for them to be described in a single breath. We might be suspicious that the editor’s real motive was censorship, but Coleridge’s views on the slave trade were already well known by 1798. In 1792, a good five or six years before he wrote “the Rime” and “France: An Ode,” he wrote a poem on slavery in which he called on the allegorical figure of Nemesis to inflict “burning punishment” on those who trafficked in human flesh. Three years later at Bristol (a city at the center of the trade), he attacked slavery in his “Lecture on the Slave Trade” (pdf) as both a specific wrong to its African victims and as a “perversion” in which “a Person [is made] into a thing” (Keane) . He invited his countrymen to imagine themselves in the irons of those who were enslaved: “Would you choose to be sold? to have the hot iron hiss upon your breasts, after having been crammed into the hold of a Ship with so many fellow-victims, that the heat and stench arising from your diseased bodies, should rot the very planks?” He also denounced his countrymen for their complacency and complicity in the trade in profiting from it: “The merchant finds no argument against it in his ledger,” he noted bitterly; “the citizen at the crowded feast is not nauseated by the stench and filth of the slave-vessel — the fine lady’s nerves are not shattered by the shrieks! She sips a beverage sweetened with human blood, even while she is weeping over the refined sorrows of Verter or of Clementin a.” Here, he alluded to the damage Englishmen and women could inflict from afar by eating and drinking sugar and rum and other goods produced on plantations; in bringing up examples of a middle- brow literary culture, he denounced those who could be moved to tears by the plot of a novel or play but not by the real suffering that they caused in others. What “France: an Ode” indicates is that Coleridge saw the failed ideals of liberty and equality in the Revolution as parallel to the British government’s participation in the slave trade; and if his attempt to bring up the latter in a poem about the former was thwarted by his editor, English readers in 1798 had many other examples of poems where they could see his sentiments about slavery echoed by other poets. Around thatsame year, for instance, William Blake wrote “ The little Black Boy ” in his Songs of Innocence (and also would produce a striking engraving); the poet laureate of England, Robert Southey, published an entire volume called Poems Concerning the Slave Trade (1797/8?). Coleridge and Southey were dear friends who had formed an egalitarian society together in or around 1794. It is hardly surprising that two poets who espoused the same abolitionist convictions might also share poetic techniques and rhyme scheme. Even if you’ve never read Southey, you’ll find multiple things in the collection’s opening poem that will sound familiar. In “ The Sailor who served in the Slave Trade ,” the speaker hears a man crying and approaches him to ask why he suffers so; the speaker then tells his tale, confessing fear of a certain wicked person as well as guilt for the wicked thing he himself has done. Southey’s poem thus offers an inversion of the framing device we see in “the Rime” with the Mariner’s seizure of the Wedding guest; but as in Rime, the reader of the poem joins the interlocutor as a witness to a sailor’s confession. You can also see immediately a number of resonances in the style and verse form of the two poems: as I noted already, they share a rhyme scheme. Both Coleridge and Southey make great use of the device of anaphora, as we see in purple type, starting multiple lines or clauses with the same word or phrase; we also see their common use of words like those in red that are associated with directional movement, up and down, right and left, as well as prepositional phrases in orange that emphasize specific movements from specific directions. As you’ll be able to see in this and a future slides, both poems contain references to the immediate moment through “now” as well as exclamatory outbursts, usually containing contrite religious fervor or horror. More specifically, there are also lines that are key in each narrative that are very nearly the same in both poems. In Coleridge, we’re told repeatedly that there’s “Water Water Everywhere,” in multiple places in Southey’s poem we’re told that the evil Captain “follows follows everywhere.” Southey’s Sailor exclaims, “Oh I have done a wicked thing!” and then reiterates it in another line, “O I have done a cursed deed”; both admissions are akin to Coleridge’s Mariner who claims “And I had done a hellish thing.” You know already what the Mariner’s “Hellish thing” is—the shooting of the albatross—so let’s look briefly into the “cursed deed” and “wicked thing” that Southey’s sailor does: I sail’d on board a Guinea-man, And to the slave-coast went; Would that the sea had swallowed me When I was innocent! And we took in our cargo there, Three hundred negroe slaves, And we sail’d homeward merrily Over the ocean waves. But some were sulky of the slaves And would not touch their meat, So therefore we were forced by threats And blows to make them eat. One woman sulkier / than the rest Would still refuse her food,— O Jesus God! I hear her cries— I see her in her blood! The Captain made me tie her up And flog while he stood by, And then he curs’d me if I staid My hand to hear her cry. She groan’d, she shriek’d—I could not spare For the Captain he stood by— Dear God! that I might rest one night From that poor woman’s cry! She twisted from the blows—her blood Her mangled flesh I see— And still the Captain would not spare— Oh he was worse than me! She could not be more glad than I When she was taken down, A blessed minute — ’twas the last That I have ever known! They flung her overboard;—poor wretch She rested from her pain,— But when—O Christ! O blessed God! Shall I have rest again! Southey’s tale pitches the anguished sailor as every bit a victim of the slave trade as the woman he beats and whose body is mangled and eventually thrown overboard (PROBLEMATIC!). But if it sounds a bit overwrought, it’s worth noting that there were many non-fiction tales of on-board struggles that are equally horrific; in one case, an account from 1783, one Captain Collingwood described the woes of the ship called the Zong, which carried 133 Jamaicans who were malnourished and ill; because traders could collect insurance money for lost cargo but not diseased men, the crew decided it was more profitable to throw overboard all 133, many of whom were shackled together. Collingwood’s account was later depicted in a painting by JMW Turner . It was also described in detail in “The History of the …Abolition of the Slave Trade,” a work by Thomas Clarkson that Coleridge reviewed for the journal The Edinburgh Review. Coleridge knew of both the story of the Zong and also the “cursed deed” and “wicked thing” commited by Southey’s Sailor. So to what extent, can the “hellish thing” done by the Mariner be understood as a coded depiction of the mariner’s participation in the slave trade? As early as 1961, a scholar named Malcolm Ware drew these connections explicitly, arguing that the “spectre-bark”—that is, the ghost ship bearing Death and Life-in-Death—was obviously a slave ship; its arrival in the poem, he claimed, was to demonstrate the consequences of violating the natural bonds of man to man. In 1964, the critic William Empson argued similarly that the poem’s main theme is European expansion and that the Mariner’s crime and consequent guilt represent Coleridge’s attempt to reckon with Britain’s cruel exploitation of other civilizations. According to Empson, in killing the albatross, the mariner “violated rites of hospitality with the bird but also therein violated the very harmony of the universe, the profound relation unifying humanity and, in turn, humanity with the natural world“ (Keane). The mariner’s companions on the ship and the wedding guest are also punished for this crime, because those who participated in the capture, transport, and owning of black men and women—and those who thoughtlessly consume the goods of slavery—are all his witness and accomplices. To the analyses by Empson and Ware, more recent work by Patrick J. Keane adds that “accomplices,” the word that Coleridge’s marginalia uses to describe the other sailors, is also a key word in many of Coleridge’s public statements about slavery and the complicity of elites in England. Keane and others (such as J. R. Ebbotson) read the poem as a “a symbolic rehearsal of the crux of colonial expansion, [and] the enslavement of native peoples” (Keane) noting the way the mariner’s ship’s “warped planks” and “Rotting deck” resonates with Coleridge’s claims in his public lecture that “[the] diseased bodies [of slaves would] rot the very planks.” Still other scholars, Ve-Yin Tee and Debbie Lee demonstrate that Coleridge’s depictions of the post-trip Mariner, Life-in-Death, and the dying shipmates invoke the symptoms of Yellow fever, a disease that spread in conjunction with rum and sugar plantations, which killed many sailors and radically altered the skin color and bodies of those who survived: “From 1793–1796, the combined deaths in the Army and Navy were estimated at 35,000 annually” (Tee). Tee also draws attention to the descriptions of Yellow Fever in ten different medical texts printed in 1798, and, like Lee, shows the resonance of its symptoms with the Mariner’s skinny brown hand, the “ghastly crew,” their “withered” tongues and black lips. As multiple scholars make clear, then, the slave trade is ever present in the poem even in its apparent absence; it is an “unspoken motif” or “effaced level of meaning” in the Mariner’s “hellish thing.” Moreover, in killing the albatross, the mariner becomes a slave to his own narrative, free only in brief moments after he confesses it but never truly at liberty. Those to whom he speaks are also held captive by his glittering eye; even when he unhands us, we can not choose but hear and be sadder and wiser about the crimes committed at sea. Thus far, I have described the slave trade and questions of equality and liberty sparked by the French revolution as being inextricably linked in Coleridge’s mind and works; accordingly, I’ve suggested that both are subtexts for the “Rime” that inflect its imagery and meaning—even if they are not identified explicitly. But there are also literary and historical contexts that the poem engages more overtly, and knowing about them can deepen our sense of Coleridge’s poem and its fantastic world. The setting on the ship and the story of a journey that takes unexpected turns links the Rime to Nordic sagas and epics like the Odyssey, of course, and more particularly, to travel narratives like Crusoe as well as what we might distinguish as “non-fictional” accounts of shipwrecks and voyages to strange lands. Shipwreck accounts from the 1790s; title page from a 1798 Travel Narrative Though I compared the Albatross to the slave woman that is killed and tossed overboard in Robert Southey’s poem, “The Sailor who served in the Slave Trade,” there were a number of texts from the same period that described the flora and fauna of the Isles and of far away lands, and still others focused on birds or described encounters with them at sea. Geographically speaking, the Albatross lived in regions that few English people would have visited outside of commercial or military enterprise; so their primary knowledge of these birds would be from visiting museums and curiosity cabinets of the rich, such as this one, where they could see in Don Saltero’s coffeehouse, an albatross or swan from the Cape of Good Hope, and more certainly an albatross’s head, along with items such as a piece of Queen Catherine’s skin and an Indian Prince’s crown. Readers could get a fuller but still limited picture of the bird from published works of Natural history. Most histories of this sort published in the 1780s and 90s repeat the same bits of information on the bird, suggesting that even those who declared themselves experts were often drawing from a single earlier account written by somebody else. Often these accounts emphasize its ability to soar for great distances, and its predation of flying fish. Albatrosses were known for their “rapaciousness,” their hunger, and “tyrannical” nature. With apologies to our birder Dr. Eliot, I won’t say more here about them, because Coleridge doesn’t seem particularly concerned with the Albatross beyond what it contributes to the narrative of action and consequence. Perhaps more certainly than natural histories like these, Coleridge was influenced by a text that his collaborator William Wordsworth claimed to have recommended detailing the travels of a Captain Shevlocke and his trip to the south pole. His second Captain Simon Hatley shoots an albatross he takes as a bad omen in the hopes the weather bad will break. It eventually does, but not in a way that allows the crew to make that connection. Shelvock’s Voyages contained an account where Mr. Hatley shoots the albatross. Although the event ultimately transpires without incident, Wordsworth claimed that he advised Coleridge to write a poem that summoned “tutelary spirits of the regions to avenge the crime.” This seems like an idea Coleridge would have liked, as he was well known for loving animals, in one famous instance, had refused to set mousetraps in his home. But if Wordsworth brought the account to Coleridge’s attention, it was not the only one that Coleridge had in mind as he composed the Rime. He claimed to have read several books before the age of 6, including Robinson Crusoe as well as another story in the same vein : The Hermit, or the Unparallel’d suffering and surprising Adevntures of Mr. Philip Quarll, an Englishman: Who was lately discovered by Mr. Dorrington , a British Merchant, upon an uninhabited island in the South Sea where he…continues to reside and will not come away. From the title page alone we recognize one element from “the Rime of the Ancient Mariner”: a hermit who talks to visitors who arrive in ships. There’s also a second key element in this work, written nearly 20 years prior to the voyage narrative Wordsworth claimed to have introduced. At one point, the hermit Philip Quarll notices that the fish in a lake are being depleted rapidly, and that something big is snatching up the small ones. After staking out and learning that it’s the albatross, he “studies means to kill the destroyer.” Here’s how the author of The Hermit describes the event: The Hermit shoots the albatross, but is a little bit sorry afterwards. Unlike the source of inspiration Wordsworth cited, The Hermit shows us the shooter’s brief remorse, and in this way, provided a tale that is much more in line with the poem and the mariner’s moral about how to love the things that God creates. But Quarrel’s regret is not nearly so intense as the mariner’s recrimination, for it is qualified by the Crusoe-vian reminder that killing an animal is justifiable if it helps a human being survive. Indeed, the bird here is in keeping with the Albatross described in natural history books; unlike the Christ-like bird who learns to eat biscuit-worms from the sailors, it’s very much competing with Quarll as the apex predator in the pond. His act of killing the bird, then, isn’t a hellish thing, since the Hermit has both a pre-meditated strategy and a pragmatic rationale for taking out an adversary. Now that we’ve seen the subtext and context for the Rime by way of Southey’s poem and The Hermit and the account of Shelvock’s voyage, some of the more puzzling aspects of Coleridge’s poem become more pronounced. In contrast to The Hermit, the mariner has no apparent motive for shooting the bird, and unlike Mr. Hatley, he suffers terrible consequences for his impulsive act. What are we to make of the Mariner’s crime? The obvious place to look for an explanation of the mariner’s motives is the marginal annotations, the presence of which tacitly instruct us to move back and forth between the main text of the poem and the glosses. In some cases, we find them explaining what the main text does not; for instance, they suggest that the bird was a good omen, though of course there is no way for the mariner to know this before he shoots it, and if he did know, then the act of shooting is all the more mystifying. In that crucial moment, in fact, the gloss provides no answer, for we have nothing there but a marginal echo of the act itself. And so the shooting persists as one of the poem’s most wonderful aspects, then, that the narrator who claims to “have the strange power of speech” is forced to tell us his story but ostensibly can not or will not tell us why he committed what he later deems a hellish thing. This simultaneous compulsion to speak and inability to explain, I think, is why we are gripped by it not unlike the wedding guest: we can not choose but hear, and what we hear excites our imagination but does not fulfill our desire to know and understand the act. II. The Text Now the marginalia moves us into the last subject of this lecture, which shifts from subtext and contexts to consider what we can learn about the text of the poem itself. The marginal glosses are key for understanding it, but not in the way you might think. Now, your edition of the text is cheap and, I’ll admit, not a good edition. In addition to lacking line numbers, which are essential really for talking about poems, it also doesn’t tell you some major details about the version in your hands. Like the fact that those marginal glosses you see were not at all part of the poem when it first appeared in print in 1798. Coleridge added them in nearly 20 years after he originally wrote the Rime. Jack Stillinger has determined there were at least 18 distinct versions of the Rime, counting three editions published in Coleridge’s lifetime along with the handwritten corrections or changes in his hand in 15 copies that are now owned by rare book and university libraries. The three versions that circulated most widely and while Coleridge lived date from 1798, 1800 and the 1817. The first two appeared in the collections of poems that Wordsworth compiled with Coleridge and others called Lyrical Ballads. In its opening pages, Wordsworth declared, Wordsworth also gave the “Rime of the Ancynt Marinere” pride of place in the volume, and in the prefatory remarks, noted that it “was professedly written in imitation of the style as well as the spirit of the elder poets.” In an effort to foreclose on the possibility that these experiments would fail to make an impression (or worse, fail to make money), he added the following: “Readers of superior judgment may disapprove of the style in which many of these pieces are executed; it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind he will have to make.” As you can see, this formulation basically takes any critique readers might have of their poetic experiments and insists that the flaw lies in the readers’ lack of familiarity with the literary traditions that the Lyrical Ballads drew upon and also reinvent. So how did it go? And specifically how did our Ancient Mariner fare? Here are some anonymous reviews of the poem in the 1798 edition: The first: “The author’s first piece, The rime of the Ancient Mariner in imitation of the Style as well as the spirit of the elder poets, is the strangest story of a cock and a bull that we ever saw on paper: Yet, though it seems a rhapsody of unintelligible wildness and incoherence, there are in it poetical touches of an exquisite kind.” A second anonymous reviewer pushed back at Wordsworth’s attempt to blame the misinformed reader, claiming “We are tolerably conversant with the early English poets and can discover no resemblance whatsoever, except in antiquated spelling and a few obsolete words.” The second anonymous reviewer was Coleridge’s friend Robert Southey. Wordsworth was troubled by the response and noted, “From what I can gather it seems that the Ancient Mariner has upon the whole been an injury to the volume, I mean that the old words and the strangeness of it have deterred readers from going on. If the volume should come to a second edition I would put in its place some little things which would be more likely to suit the common taste” ( quotations reproduced from McGann ) Coleridge revised the poem, taking out a number of the archaic words and changing the argument preceding the poem to reflect a more obvious moral. Rather than exclude the poem from the second edition that was published two years later, Wordsworth kept it in, but he gave in to market-pressure, and shuffled it to the back of the volume. Coleridge continued to revise the poem all the way up to 1817, when he prepared a new version for publication in a volume of his works alone. This version newly contained a Latin inscription preceding the poem, the quotation by 17th century philosopher Thomas Burnet (which you have in your textbook). He replaced the more pious argument from the second edition with the original edition’s argument (and that’s the one you have in your textbook), and added the marginalia you see in your textbook as well. For many critics, the marginal annotations are jarring and dissatisfying; they are reductive and simplistic descriptions that are sometimes imprecise and even incorrect in summarizing parts of the poem. For Empson, they were evidence that the opiates and Coleridge’s declining health had ruined his mind. For him and other critics, they are signs that the poet’s growing political conservatism and piety had fully taken over his poetic sensibility, much to its detriment. I’m inclined to agree that the glosses are reductive and at times annoying; but I’m also intrigued by an argument offered by Jerome McGann , that they represent another layer of framing within the poem. McGann imagines the Rime as a fictional medieval poem sung by a minstrel whose song is about a Mariner from an even earlier time, who tells the wedding guest, the hermit, and the pilot boy about events that happened even further back in time. In McGann’s view, the poem’s glosses are intended to bring a layer of historical book-ish to the poem, using a convention that was associated with 15th century handwriting and 16th century print. McGann further argued that the marginal glosses were attended to go along with the added Latin Inscription by the 17th century philosopher, Thomas Burnet, also added in the 1817 version. The glosses are not the poet’s voice enforcing meaning onto us, but rather, intended to invoke Burnet’s, and in this way, an imagined 17th century reader becomes yet another auditor in the text as well as a later editor and creator. In this assessment of the marginal glosses, the marginalia is both a part of the text and a marker of its reception and defiant instability. We need not accept those glosses version of what happened as the truth, and instead could see it as another aspect of Coleridge’s experimentation. By bringing high and low, old and new, and audience and storyteller into close and evocative contact, the 1817 edition of the text gives us a marginal commenter from a later time, whose annotations highlight the poem’s multiple narrative registers. Burnet the annotator simultaneously occupies the roles of both captive listener and editor, rehearsing the tale in another space and adding a new dimension to the elder poets whose voices are co-opted to tell it. III. The Tweets of the Ancient Mariner With McGann’s reading of Coleridge’s last revisions in 1817, I want to close the formal part of this lecture with a revision of the poem I created when I returned to it, like our poet, 18 years after I first encountered it. I, too, was inspired by the experiments of Wordsworth and Coleridge to consider how “the language of every day conversation might be used for poetic pleasure,” though rather than make a song like Iron Maiden, my chosen medium for this experimentation was the social media platform, Twitter. Sure, it’s a corporate product, (but so was Lyrical Ballads. And some really great writers have saw fit to use it. In 2012, The New Yorker’s twitter feed tweeted a new 8500 word short story by Pulitzer Prize winning novelist Jennifer Egan, 140 characters at a time. This summer, the author of Cloud Atlas did the same for his short story, which he told over more than three hundred tweets . And of course, there are thousands of poets on Twitter, and more than 20,000 people follow these elder-poet accounts. Some of these accounts are run by real people, like the person who manages this Chaucer account, whereas others, like “ Tweets of Grass, ” are done by robots who tweet out bits and pieces with algorithmic regularity. There’s also the “ This is “Just to Say ” Bot, which replaces key words in the William Carlos Williams famous poem, and makes these interesting new versions. As you can see, Twitter really is the place to see every day conversation alongside poetic pleasure, linking old and new, high and low, and history and present. Before I show you my version of the poem, I want to take this opportunity to plug the English Department’s Twitter poetry contest, the details of which you can find on the back of your handout. “The face of online harrassment” @shoe0nhead, noting that the bulk of harrassing tweets come from anonymous, often newly-created “egg” accounts. But by the same token, it’s worth adding that it’s not just a literary utopia on Twtter; it’s also a media site that provides a platform and display case for some of the worst online harassment. That harassment has an imperfect but important solution in the Block Button, some of the inspiration for my own experiment. With that, I will give you my Coleridge & Iron Maiden Salute, “The Tweets of the Ancient Mariner.” Hashtag: #LOL.	i don't know
Jean Dominique Larrey developed which type of vehicle?	Baron Dominique-Jean Larrey Baron Dominique-Jean Larrey British Medical Services Baron Dominque-Jean Larrey was a French military surgeon during the Napoleonic times. A man of great will and compassion. His devotion to his men led to great improvements and change in patient care. He created the first purpose built ambulances and invented the triage system. He is regarded by many to be the founder of modern surgery. Baron Dominique-Jean Larrey EARLY LIFE The son of a shoemaker, Larrey was born on the 8th of July 1766 in the French village of Beauden, in the Pyrenean Mountains. He left home to at the age of thirteen to study medicine in the city of Toulouse. Six years later, Larrey went to Paris to continue his studies, and later, enlisted as a ship's surgeon in the French Navy. On the brink of the French Revolution, Larrey, who cared about human rights joined forces with the people, which revolted against King Louis XVI and the aristocracy. Larrey was with the mob of people who stormed the Paris prison, known as the Bastille. An event that sparked the beginning of the French Revolution. From this violence, Larrey developed many of his ideas. When treating the wounded from the storming of the Bastille. He noticed that patients who waited long periods for amputations after being wounded had a higher rate of mortality. During this time, it was a common practice for surgeons to wait a while before the amputation. This theory was that if you waited to operate, the patient would have plenty of time to recover from the shock of the wounds and be able to reconcile to the inevitable loss of the affected limb. Larrey realized that many people died during the wait and it was a painful recovery for those who survived. THE FRENCH REVOLUTION In 1792, when France was at war with most of the major European powers, Larrey enlisted as a regimental surgeon-major with the French Army. During combat, Larrey was forced to remain at least three miles behind the front line in order to receive the wounded from battle. Soldiers were carried either by comrades, or left to find their own way back to the hospitals. Since most of the medical resources and treatment was reserved for officers, ordinary soldiers would have to wait for days for treatment or receive none at all. Those soldiers who survived the day’s fighting were often too exhausted to search for signs of life in the corpse strewn battlefields, or respond to the calls of help from their hurt comrades. The wounded would often law in agony before medical teams could reach them. Then they had to go to the hospitals in big, cumbersome wagons called Fourgons. These slow moving vehicles could take up to three days to reach the battlefields. Even more horrible was that fourgons lacked any type of shocks, so the ride back was often full of agony for the pure victim. Larrey, even though regulations made him stay behind the front lines, he would often go to the battle and in the midst of it, go help the wounded. Even operating in the middle of the chaos, right where the fallen comrade lay. Even though he was brave, he knew that not all the wounded could be evacuated to proper surgical stations in the rear. In an effort to solve the problem, he came up with the idea of using a light transport vehicle to reduce response time and increase survival. Larrey decided that what he needed was a horse drawn carriage that would be light, swift, and very robust so that it could rapidly and efficiently attend and evacuate causalities from the battlefield. This wagon would also need sufficient padding and suspension for a comfortable ride for the wounded man. This wagon latter became known as the “Flying Ambulance”. Larry and his fellow medics knew of the danger involved. They would often have to go into the battle to rescue the wounded. This was before the Red Cross symbol or the Geneva Conventions and on several occasions, his colleagues were killed. On many occasions as a military surgeon, he would be forced to defend himself and his patients. Armed only with a light sword and pistol he fought bravely. These acts of courage resulted in much respect for him from the wounded, the soldiers, and even the Enemy. He was sort of a celebrity status to his patients. During these early battles, Larrey adopted a new system in treating the wounded. This system was to become the Triage system still used by the EMS today. This system worked based on the severity of injury, not rank. It also emphasized that the critically injured should operated first and as soon as possible. Larrey correctly theorized that operations should be done within an hour of receiving the patient. This is because when the patient is still in shock, the muscles are relaxed, there is lower blood pressure, and the area around the wound is numb. If you were to operate within this hour, the amputation would be shorter, easier, cleaner, safer, and less painful; plus, it would led to speedy recovery. When the wounded was destined to die, to save valuable resources, they would be given alcohol to comfort them to they passed away; whilst resources were spent on those with a chance of living. Larrey was a humane and skilled surgeon who knew if the patient had a good chance of living or not. In February 1794, Larrey returned to Paris and married his 21 year old sweetheart, Charlotte Elisabeth Laville. They both had two children. Larrey was a devoted father and husband to them and wrote constantly. Soon after he was ordered to serve under Napoleon Bonaparte who commanded the French army in Italy. In May 1798 Larrey left Italy and continued with the French Army to Egypt, returning to Paris in January 1802 where he continued teaching at the Val de Grace. In May 1804, after taking control of France, Napoleon crowned himself Emperor. He then instituted the Legion d’Honneur (Legion of Honour) medal, France’s highest military award. Larrey was then made an Inspector-General of the Army Medical Services and Chief Surgeon to the crack Imperial Guard, Napoleon’s elite troops. THE GRAND ARMY OF EMPEROR NAPOLEON In order to conquer Europe, Napoleon organized his forces into what was referred to as the Grand Army. Larrey and his ambulance divisions accompanied the army as the primary medical support. Larrey was an incredible surgeon, being able to cut off an arm in 17 seconds and a leg in one minute. It was said that during the Battle of Borodino in Russia, he performed over 200 operations in 24 hours! In October 1809, Larrey was again honored for his contributions and was made Baron of the Imperial French Court. Later in 1812, Larrey went along with the Grand Army on its long and disastrous invasion of Russia where the French eventually captured Moscow. As the retreating Grand Army crossed two narrow bridges over the partly frozen Beresina River, one of the bridges collapsed under the weight, creating much panic in those soldiers on the other side who were under attack from the Russians. As the remaining bridge became jammed with soldiers, cannons, horses, and carriages. Among those still waiting to cross was Larrey, who had already made to the other side but went back to get more wounded. Suddenly a voice cried out: “It’s Monsieur Larry. He must be saved!” The panic was arrested and the Russians ignored as the soldiers realized that their hero was in danger. “Save him who has saved us” was the catch-cry as Larrey was bodily carried hand over hand above the hands of the French soldiers to the safety of the far bank of the river. After the Grand Army returned, Napoleon soon abdicated and went into exile on Elba in 1814. Larrey returned to Paris in 1815 to work at the Imperial Guards Hospital. WATERLOO Napoleon stayed on Elba for less than a year before he returned to France in March 1815, and retook political control. This was not to go unknown to the Allies. An combined British and Dutch army under the command of Arthur Wellesley, the Duke of Wellington, and a Prussian army under the command of Field Marshall Prince Gebhard von Blucher stood to the north. Napoleon marshaled his army, including the Imperial Guard together with Larrey, and marched to meet up with the British and Prussian armies at the Battle of Waterloo in Belgium on June 17, 1805. The French army was defeated and 52,000 soldiers from both sides were killed. Larrey was known to almost all to be a hero and innocent man. During the battle, Wellington ordered his men not to fire on Larrey or the ambulances, and even saluted Larrey. Nevertheless, Larrey was injured and captured by the Prussians. Doomed to death by firing squad, an officer about to blindfold him immediately recognized Larrey. For this officer was a surgeon himself and had attended one of Larrey’s lectures years ago. So the officer untied Larrey and nursed him back to health. He was taken before Prince Blucher who also knew of Larrey and had him set free. The reason for this was that almost two years previous, Blucher’s son was wounded and captured by the French. Larrey was the one that operated on him and saved his life. For this, Prince Blucher was in eternal debt to Baron Larrey. When he returned to France, he was lucky not to be arrested by the new government who was arresting many of Napoleon’s supporters. Despite Larry’s devotion to his men, many of the medals awarded to him were revoked. Though he retained his role as chief surgeon at the Guard’s Hospital, where he continued to devote his efforts to the care of wounded veterans. In 1830, another revolution swept through Paris against the King. The mob soon turned up the Guard’s hospital to kill all the veterans and still their weapons. Incensed at this threat to his patients, Larrey stormed to the front gate and faced the impending rioters alone. He shouted scornfully at them “What do you want?” “My wounded?” “How dare you threaten them!” “Now clear off!” There was a moment of stunned silence as the rebels recognized the irate man before them to be one of their most respected and admired heroes of the Napoleonic wars in which many of them had served alongside Baron Larrey. In no time at all, there was great cheering in the crowds. Larrey agreed to provide the rioters with weapons as long as they did no harm to the wounded. Then the crowd dispersed from the gates. Larrey was later appointed by the King Louis as medical director of a large veteran’s hospital called Hotel des Invalides, where he devoted the remainder of his life to the long term care of wounded veterans. During his own time, he was one of the most popular surgeons and wrote many memoirs and important medical texts during his very comfortable and wealthy later life. When Napoleon was exiled on St. Helena, Napoleon was reputed to have said recognizing his personal physician and loyal friend, “Larrey was the most honest man and the best friend to the soldier that I ever knew.” In his testament, the Emperor rewarded his courageous surgeon “To the French Army’s Surgeon General, Baron Larrey, I leave a sum of 100,000 francs. He is the worthiest man I ever met.” Larrey died on July 25, 1842 and the ripe old age of 74. Larrey was later buried in a Paris cemetery with thousands of mourners at his funeral. Larrey’s last wish was to be buried in the gardens of the Invalides, but they couldn’t bury him there since he was only a surgeon, not a soldier. He was later reburied at the Garden of Invalides with full military honors. Baron Dominique-Jean Larrey has affected our society in many ways. He was world-renown during his time and still is in major surgical circles. His inventions and devotion has made the world we live in a safer and more enjoyable place. -- Abe Schreier MARCH 2005 I must recognize the article in JEPHC about Baron Larrey by Phil Nestor for much of this Information and the basic format. Term Project	Ambulance
What is added to soap to make it clear?	Larrey, Dominique-Jean - used, first, body Medical Discoveries » General Information and Biographies » Larrey, Dominique-Jean Larrey, Dominique-Jean Dominique-Jean Larrey (1766-1842) was instrumental in improving conditions for wounded soldiers during wartime. He perfected better amputation techniques and invented the ambulance as a way to reduce casualties by swiftly removing wounded men from the battlefield. Larrey was born in France. After learning the medical practices of the time, he went to work for Napoléon Bonaparte (French emperor from 1804-1814) during the emperor's various campaigns from 1792 through 1814. It was during these campaigns that Larrey developed numerous improvements in the handling of wounded soldiers. Larrey set up the first field hospitals by placing medical tents close to battle instead of miles away in centralized areas. In 1792 he started a horse-drawn carriage ambulance service to and from fighting areas. By 1794 Larrey had added stretchers to his ambulance design. In the Egyptian campaign of 1799, he used camels to power his ambulances. With fellow surgeon Pierre Percy (1754-1825), Larrey formed a unit of "ambulance soldiers," including stretcher-bearers and trained doctors. Larrey's ambulances and medical units both impressed Napoleon's troops and boosted their morale. In addition to creating the ambulance prototype, or model, Larrey became an expert in field amputations, at one point performing 200 amputations in 24 hours. As he worked with the open wounds of battle, Larrey also discovered that a wound would heal better, with less chance of infection, if it were cleaned and allowed to remain open for several days before being sutured (stitched up). User Contributions: Comment about this article, ask questions, or add new information about this topic: Name:	i don't know
Who scored both West Ham's goals in the 1975 FA Cup Final victory against Fulham?	West Ham United 1975 FA Cup Final No4 shirt \| West Ham United Retro Jersey \| Score Draw THE LEADING OFFICIAL RETRO FOOTBALL SHIRT STORE UK ORDERS OVER £50 \| FREE STANDARD DELIVERY Home Premier League West Ham United Fc West Ham United 1975 FA Cup Final No4 shirt West Ham United 1975 FA Cup Final No4 shirt West Ham United FC 100% COTTON West Ham United 1975 FA Cup Final No4 shirt West Ham United Captain and No4 Billy Bonds (pic) raises the FA Cup at Wembley after West Ham’s 2-0 victory against Bobby Moore’s Fulham in the 1975 FA Cup Final. Alan Taylor, signed by Manager John Lyall, from Rochdale for £40,000, scored both goals in the final at Wembley, and also scored both goals in the semi-final replay win against Ipswich Town at Stamford Bridge and both goals in the sixth round win against Arsenal at Highbury.	Alan Taylor
What is the fossilised resin of coniferous trees called?	West Ham have the players, the fan base and a new stadium... they can be England's best team for the next 10 years \| Daily Mail Online West Ham have the players, the fan base and a new stadium... they can be England's best team for the next 10 years West Ham are in the perfect position to challenge for top honours again The Hammers can take their best assets with them to the Olympic Stadium They can attract players such as Alex Song and Enner Valencia Under Sam Allardyce they are now an established Premier League club comments I’m going to make a bold prediction. West Ham will be the top team of the next decade. In England, and across Europe. The opportunity is there, the only question is this: will the current owners pass the club on to the right people? Everything else is in place for West Ham United to be gigantic. Their fan base is huge, the new stadium is world class, and they are now an established Premier League club. West Ham are now attracting players such as Barcelona's Alex Song, who is starring on loan Ecuador's Enner Valencia joined Sam Allardyce's side after impressing at the World Cup Manager Allardyce was fuming about decisions that went against his side in the loss to Arsenal I was at Upton Park on Sunday to see the Hammers lose to Arsenal. It’s a special place for sure, but it’s special because of the club that lives there, and the fans who go there. West Ham’s key moments in modern football history were not made in the East End though, and that’s why they can take everything that is good about the club to the Olympic Stadium. The 1964 FA Cup final victory over Preston when Geoff Hurst scored a goal that bounced down on the line after hitting the crossbar – he made a curious habit of doing that at Wembley. The 1965 Cup Winners Cup final victory over TSV 1860 Munich, when the German’s Yugoslavian keeper Petar Radenkovic (who actually wore an authentic flat cap for the 90 minutes) flattened Hammers favourite Brian Dear when he was clean through on goal but remarkably stayed on the pitch. Alan Sealey scored both goals in a few minutes either side of the keeper’s bulldozer impression. West Ham's James Tomkins challenges Per Mertesacker in the air during their loss to Arsenal Fans pack the stands at the Boleyn Ground, a special place because of the club that plays there A young Hammers fan reaches out for bubbles as they are released before the Arsenal match Injury had kept striker Alan Taylor out of Rochdale’s early involvement in the FA Cup in 1974-75, so when West Ham signed him, he was eligible to play. Good job too – he scored both in the quarter-final win at Highbury against Arsenal, both in the semi-final win over Ipswich Town at Stamford Bridge, and both to win the final in 1975 against Bobby Moore’s Fulham. And in 1980 – Trevor Brooking’s header won the Cup final - at Wembley. Upton Park is in the hearts of West Ham fans of course, but the move is not an insult to their love of the club. After reading the recent excellent biography of Moore and discovering the story of the great man once being turfed out of Upton Park by stewards in the 1980s for not having a ticket, the place will have lost some of its special feel for some neutrals and Hammers fans, I’m sure. (From left) Johnny Bryne, Bobby Moore and Peter Braybrook take a victory lap at Wembley after beating Preston North End 3-2 in the 1964 FA Cup final Alan Sealey (left) scored both goals in their 1965 Cup Winners Cup final win over 1860 Munich at Wembley Alan Taylor scored the two goals against Fulham that won the Hammers the FA Cup in 1975 Sir Trevor Brooking (centre) celebrates scoring the winner against Arsenal in the 1980 FA Cup Final At first I wasn’t supportive of the move – as a neutral the Boleyn Ground is one of my favourite places to watch football. But so long as any money made from the sale of the old ground can be reinvested into the football club and its future, West Ham United will flourish. And on Sunday I witnessed a set of fans ready to get behind their team, their club, even a manager they may not fully be in love with, to try to make sure they can achieve as much success as possible. The Hammers have taken themselves into a new era – instead of signing Rochdale’s top striker, they are now in the market for World Cup star Enner Valencia and Barcelona’s Alex Song, while still bringing their own players through the academy and into the first team. An aerial view of West Ham's Upton Park home which they will vacate for the Olympic Stadium in 2016-17 A computer-generated image of what fans can expect when West Ham move to the Olympic Stadium Shining bright in Hammers colours, an aerial view of the stadium at Queen Elizabeth Olympic Park James Tomkins may not be a stopper like Pepe, but he’s one of the most cultured ball playing central defenders in the Premier League. Sam Allardyce has taken the football at West Ham back to where it should be. The signing policy looks impressive on recent evidence. Top players wear the shirt. And a spectacular new stadium is on the horizon. West Ham United are heading in the right direction. If the management of the club and the team continues in that direction, there is no reason why the Hammers can’t return to the top table they occupied briefly in the 1960s. West Ham United could be the team of the 2020s.	i don't know
What is the state capital of Texas?	The Capitals of Texas \| Texas Almanac The Capitals of Texas Timeline of Texas History Many different locations have served as capitals of the area that is now Texas, including a number that served only briefly. The National Capitals of Texas Capitals of the six nations that have ruled Texas have been: Spain: Valladolid (before 1551) and Madrid; France: Paris; Mexico: Mexico City, D.F.; Republic of Texas: San Felipe de Austin, Washington-on-the-Brazos, Harrisburg, Galveston Island, Velasco, Columbia, Houston and Austin; United States: Washington, D.C.; Confederate States of America: Montgomery, Ala., and Richmond, Va. A replica of the 1836 capitol in West Columbia. The Administrative Headquarters The administrative headquarters for Texas shifted many times from the arrival of the Spanish in the 16th century to the end of the Civil War. Spanish Provincial Capitals In 1686, Monclova, Coahuila, Mex., became the first provincial capital for the area that became Texas. While Texas was associated with Spain and the Republic of Mexico, its government was administered largely from Coahuila, which alternately had Monclova and Saltillo as its provincial capital. In 1721-22 Marqués de Aguayo, governor of Coahuila including Texas, led an expedition north of the Rio Grande and established the presidio of Los Adaes a short distance east of the Sabine River on the site of present-day Robeline, La. Los Adaes became the capital of Texas and remained so for half a century. The seat of government was moved to San Antonio in 1772, where it remained until 1824. For two short periods during this time, the administrators of Coahuila y Texas conducted business from La Casa Piedra (today commonly called the Old Stone Fort) in Nacogdoches: Manuel Antonio Cordero y Bustamante in 1806 and Manuel María de Salcedo for three months in 1810. Mexican Provincial Headquarters After Mexico became independent of Spain in 1821, Texas was again united with Coahuila, of which Saltillo was then the capital. The first state congress convened there Aug. 15, 1824. The capital of Coahuila-Texas was moved to Monclova, March 9, 1833. A heated controversy between Saltillo and Monclova ensued. When the issue was placed before President Santa Anna, he favored Monclova. The capital of the first Anglo-American colony in Texas was San Felipe de Austin. The conventions of 1832 and 1833, as well as the Consultation of 1835 met at San Felipe, which continued to be the official headquarters until March 1, 1836. Capitals of the Republic of Texas The provisional government of the Republic of Texas met at Washington-on-the-Brazos March 1, 1836. This convention, in which all powers of sovereignty were claimed and exercised, adopted the Declaration of Independence on March 2. They also wrote a constitution and inaugurated executive officers. Because of the movement of Santa Anna's troops, President Burnet selected Harrisburg on Buffalo Bayou as the temporary capital. As Mexican troops moved eastward after their victory at the Alamo, President Burnet and part of his cabinet boarded the steamboat Cayuga at Harrisburg on April 15, 1836, making it the de facto capital of the Republic until the Texas officials went ashore at Galveston on April 26. The capital then moved to Velasco until October. In October 1836, Columbia (today's West Columbia) became the first capital of an elected government of the Republic of Texas. President Houston, on Dec. 15, 1836, ordered the seat of government removed to Houston. The government began operating from Houston on April 19, 1837. In 1839, the Capital Commission selected the "site of the town of Waterloo, on the north bank of the Colorado" as the permanent capital. This was confirmed by the Texas Congress Jan. 19, 1839, and the place was renamed Austin in honor of Stephen F. Austin. President Mirabeau B. Lamar and his cabinet moved there October 17, 1839. When Mexican troops threatened San Antonio in March 1842, President Sam Houston ordered the government moved to Houston. Officials moved to Washington-on-the-Brazos, in September, and Houston sent men to Austin to fetch the archives. Austin citizens feared that if the papers were moved, Austin would lose its status as capital permanently. In an action known as the Archive War, the citizens stopped Houston's men and returned the archives to Austin. Austin became the capital again in 1844. The first permanent Capitol in Austin burning in 1881. Capitols of Texas No trace is left of most of the early buildings in which the seat of government was housed. The Spanish Governors' palace still stands, however, at San Antonio. A replica of the one-story frame building that served as the Capitol at Columbia has been built at West Columbia. A frame structure where the Rice Hotel stands today was the Capitol at Houston. When Austin was selected as the capital, several log buildings were used until the first permanent structure was erected. This burned Nov. 9, 1881, and a temporary Capitol located off the Capitol grounds at the head of Congress Avenue served until completion of the present structure, which was opened May 16, 1888. — based on an article written by Mike Kingston, then editor, for the Texas Almanac 1986–1987.	Austin, Texas
In which Scottish county is Glamis Castle?	Texas State Facts - 50States.com Texas Facts and Trivia Texas is popularly known as The Lone Star State. The Alamo is located in San Antonio. It is where Texas defenders fell to Mexican General Santa Anna and the phrase Remember the Alamo originated. The Alamo is considered the cradle of Texas liberty and the state's most popular historic site. The lightning whelk is the official state shell. Texas is the only state to have the flags of 6 different nations fly over it. They are: Spain, France, Mexico, Republic of Texas, Confederate States, and the United States. Although six flags have flown over Texas, there have been eight changes of government: Spanish 1519-1685, French 1685-1690, Spanish 1690-1821, Mexican 1821-1836, Republic of Texas 1836-1845, United States 1845-1861, Confederate States 1861-1865, United States 1865-present The King Ranch in Texas is bigger than the state of Rhode Island. During the period of July 24-26, 1979, the Tropical Storm Claudette brought 45 inches of rain to an area near Alvin, Texas, contributing to more than $600 million in damages. Claudette produced the United States 24 hour rainfall record of 43 inches. More wool comes from the state of Texas than any other state in the United States. Edwards Plateau in west central Texas is the top sheep growing area in the country. Texas is the only state to enter the United States by treaty instead of territorial annexation. The state was an independent nation from 1836 to 1845. Texas boasts the nation's largest herd of whitetail deer. A coastal live oak located near Fulton is the oldest tree in the state. The tree has an estimated age of more than 1,500 years. Sam Houston, arguably the most famous Texan, was actually born in Virginia. Houston served as governor of Tennessee before coming to Texas. Caddo Lake is the only natural lake in the state. The first offensive action of the Texas Revolution occurred in Goliad on October 9, 1835 when local colonists captured the fort and town. On December 20, 1835 the first Declaration of Texas Independence was signed in Goliad and the first flag of Texas Independence was hoisted. The Hertzberg Circus Museum in San Antonio contains one of the largest assortments of circusana in the world. The capital city of Austin is located on the Colorado River in south-central Texas. The capitol building is made from Texas pink granite. It served as the capital of the Republic of Texas in 1840-1842. Austin is considered the live music capital of the world. Texas is home to Dell and Compaq computers and central Texas is often referred to as the Silicon Valley of the south. Professional sports teams include the Dallas Cowboys, Dallas Mavericks, Dallas Stars, Houston Astros, Houston Comets, Houston Rockets, San Antonio Spurs, and Texas Rangers. Dr Pepper was invented in Waco in 1885. The Dublin Dr Pepper, 85 miles west of Waco, still uses pure imperial cane sugar in its product. There is no period after the Dr in Dr Pepper. The first suspension bridge in the United States was the Waco Bridge. Built in 1870 and still in use today as a pedestrian crossing of the Brazos River. In 1836 five sites served as temporary capitals of Texas: Washington-on-the-Brazos: Harrisburg: Galveston: Velasco: and Columbia. Sam Houston moved the capital to Houston in 1837. In 1839 the capital was moved to the new town of Austin. The capitol in Austin opened May 16, 1888. The dome of the building stands seven feet higher than that of the nation's Capitol in Washington, D.C. Texas comes from the Hasinai Indian word tejas meaning friends or allies. The armadillo is the official state mammal. Texas has the first domed stadium in the country. The structure was built in Houston and opened in April 1965. The Houston Comets are the only team in the country to win four back-to-back WNBA championships. 1997-2000 Cynthia Cooper remains the only player to win the WNBA Championship MVP. The worst natural disaster in United States history was caused by a hurricane that hit Galveston in 1900. Over 8000 deaths were recorded. The first word spoken from the moon on July 20, 1969 was Houston. Texas' largest county is Brewster with 6,208 square miles. Texas possesses three of the top ten most populous cities in the United States. These towns are Houston, Dallas, and San Antonio. El Paso is closer to Needles, California than it is to Dallas. Texas includes 267,339 square miles, or 7.4% of the nation's total area. The state's cattle population is estimated to be near 16 million. More land is farmed in Texas than in any other state. More species of bats live in Texas than in any other part of the United States. Laredo is the world's largest inland port. Port Lavaca has the world's longest fishing pier. Originally part of the causeway connecting the two sides of Lavaca Bay, the center span of was destroyed by Hurricane Carla in 1961. The Tyler Municipal Rose Garden is the world's largest rose garden. It contains 38,000 rose bushes representing 500 varieties of roses set in a 22-acre garden. Amarillo has the world's largest helium well. The world's first rodeo was held in Pecos on July 4, 1883. The Flagship Hotel on Seawall Boulevard in Galveston is the only hotel in North America built entirely over the water. The Heisman trophy is named for John William Heisman the first full-time coach and athletic director at Rice University in Houston. Brazoria County has more species of birds than any other comparable area in North America. The Aransas Wildlife Refuge is the winter home of North America's only remaining flock of whooping cranes. Jalapeno pepper jelly originated in Lake Jackson and was first marketed in 1978. Thanks to: San Antonio Convention & Visitors Bureau, Rebecca Edinger, Brien Segers, Hill DeWolfe, Cari Murtagh, Eric Gomez, Valorie75, Mary Chastain, pkimbrel	i don't know
What is used to tell the future in belomancy?	Divination and Fortune Telling - Moonslipper.com Divination and Fortune Telling One thing that fascinates everyone – whether they admit to it or not – is Divination and Fortune Telling. “My interest is in the future because I am going to spend the rest of my life there – Charles Kettering” Who wouldn’t like to know what good things the future might bring, what pitfalls to avoid, what the right decision is? Divination, including psychic readings, is the practice of predicting, either with or without the use of special items or tools, the future. Methods which use specific tools would be the well known and popular tarot, runes, pendulums, I Ching , crystal ball gazing and so forth. Predicting the future goes back in time as far as man has been here on Earth. It has been used for important decisions, for love, for fun, for health – you name it, people have tried all kinds of methods to find an answer! Why not have a look through our comprehensive list of prediction methods and see if any of them appeal to you. Tools for Divination If you’re just getting started in the practice of divination, you may need a few basic items. To learn dowsing with pendulums, check out these items . If you want to try scrying or crystal ball gazing, you can find a variety of choices here . For reading tarot cards, you can find nice sets and books here . Methods of Divination and Fortune Telling Abocomancy is prediction by interpreting dust or the ashes of the recently deceased to be able to tell future events. Acutomancy uses sharp objects or needles which are dropped usually in groups of seven and their pattern is interpreted. Aeromancy is prediction by observing atmospheric phenomena. Alectromancy foretells from the eating patterns of chickens and roosters. Aleuromancy is prediction using fortune cookies which have answers to questions that have been rolled into dough and then baked. A fortune teller’s sign for a Tarot reading Alomancy is fortune telling using salt. Amniomancy uses a caul. Anthroposcopy is done by observing facial features. Apantomancy is making predictions through a chance meeting with a animal such as a black cat or a wren. Arachnomancy is prediction from the appearance and behaviour of spiders. Arithmancy is forseeing by numbers (also known as Numerology). Astragalomancy casting of small bones of sheep. Astrology uses the planets and stars. Augury is fortune telling from the behaviour of birds. Austromancy is foretelling by the pattern and strength of winds. Axinomancy is prediction by a balanced axe or stone on a white hot axe head. Did you know you can download Tarot and Divination apps for your phone or Kindle? Belomancy uses arrows to predict. Bibliomancy foretells via random passages in books. Bletonism is prediction by currents of water. Botanomancy is prediction by plants and herbs. Capnomancy is foreseeing by smoke. Cartomancy is fortune telling by using playing cards. Tarot cards would be one example. Catoptromancy uses a mirror. Causimomancy is prediction from observing objects that have been placed in a fire. Cephalomancy is prediction from the head or skull of a donkey or goat. Ceromancy foretells by using molten wax dropped into water. Cheiromancy is predicting by looking at a person’s hands. Cledonomancy is foreseeing by random remarks or events. Cleidomancy is prediction using a dangling key. Coscinomancy uses sieve and shears. Crystallomancy is fortune telling by a crystal. Dactyliomancy is divination by using a ring. Daphnomancy is fortune telling by the burning of laurel leaves. The louder the sound made by the burning leaves, the better the fortune. Dowsing is divining the future by using a pendulum, rods or a forked stick. Entomancy is making predictions from the behaviour and appearance of insects. Gastromancy is fortune telling from marks on the stomach or from the noises it makes. Geloscopy is divining based on a person’s laughter. Genethlialogy is divination by the stars placement at the time of a person’s birth. Geomancy is divination by observing marks in the earth, sand or dust. Gyromancy is divination by twirl around until dizzy and falling. Halomancy uses salt. Haruspicy is prediction by examining the entrails of animals. Hepatoscopy is foreseeing by examining the liver of an animal. Hieromancy is prediction by looking at sacrificed things. Horoscopy uses of a horoscope. Hydromancy is foretelling by observing water. Ichthyomancy is fortune telling by fish and their activity. Lampadomancy observes the flame of a candle. Leconomancy is prediction by watching the shape that oil poured on water makes. Lithomancy is foreseeing by stones. Margaritomancy is prediction by pearls. Metagnomy future events seen when in an hypnotic trance. Metoposcopyis foretelling the character of a person by the lines in their forehead. Moleosophy the future is told by looking at moles on the body. Molybdomancy drops molten tin or lead into cold water and observes the shapes it makes. Myomancy is fortune telling by watching the movements of mice. Necromancy foresight by communication with the dead. Numerology is prediction by numbers and names. Oculamncy is fortune telling by studying a person’s eye. Oenomancy considers the appearance of wine poured in libation. Omphalomancy is prediction by reading the shape and size of a belly button. Oneiromancy tells the future or past by dreams. Onomancy is fortune telling by the letters of a name. Onychomancy examines the fingernails to tell the future. Ophiomancy is prediction by observing the behaviour of snakes. Ornithomancy is foretelling by the flight of birds. Palmistry reads the lines and aspects of the hand. Pegomancy is prediction by watching the patterns, noises and shapes that fountains make with water. Pessomancy is fortune telling by pebbles. Phrenology predictions mad by the bumps on the head. Phyllorhodomancy uses the patterns and colours of rose petals. Physiognomy prediction by the shape, size, colour etc… of the face. Podomancy is fortune telling using the marks, colour and shape of feet. Psychometry is divination by handling an object. Pyromancy is fortune telling by looking into a fire. Rhabdomancy is divination by a wand or divining rod. Runes is divination using an ancient alphabet used by the Anglo-Saxon, Scandinavian and Germanic people by means of stones, gemstones or wood. Scapulomancy is foresight by the patterns on the burnt shoulder blades of animals. Scatoscopy is prediction by the examination of excrement. Sciomancy observes shadows or ghosts to tell the future. Scrying is prediction by looking into a crystal ball. Sideromancy watches the movement of straws placed on a red hot iron. Spodomancy foresight by looking at ashes. Stichomancy is prediction by random passages in books, also known as Bibliomancy. Tasseography tells the future from reading the tea leaves left in the bottom of a tea cup. Tephromancy uses ashes from sacrifices. Theomancy foresight by using oracles. Uromancy observes the colour and appearance of urine. Xylomancy uses sticks to predict the future. Zoomancy is divination by observing the behaviour and appearance of animals.	Arrow
For which film did John Mills receive an Oscar?	Belomancy, divination by arrows - Belomancy, divination using feathered arrows - Occultopedia, the Occult and Unexplained Encyclopedia Occultopedia The Occult and Unexplained Encyclopedia The Oracle of Delphi Answering an Inquirer's Question. . . � Buy this art print at AllPosters.com . Alternatively Belomantia, Bolomancy and Sortes Sagittariae. Derived from the Greek belos ('an arrow, a dart') and manteia (' divination '), it is the art and practice of divining the past, the present and the future by using feathered arrows. Sir Thomas Browne describes Belomancy in Pseudodoxia Epidemica (1646): The Warrior Nasu no Yoichi, Seated on a Horse, Shooting an Arrow, Japanese Wood-Cut Print � Buy this art print at AllPosters "As for the Divination or decision from the staff, it is an Auguriall relique... Of this kinde of Rhabdomancy was that practised by Nabuchadonosor in the Chaldean miscellany, delivered by Ezekiel. A like way of Belomancy or Divination by Arrowes hath been in request with Scythians, Alanes, Germans, with the Africans and Turks of Algiers." In The Occult Sciences (1855), Belomancy is also referred to: The Oracle of Delphi in Her Sacred Trance. . . � Buy this art print at AllPosters.com . "Belomancy, the method of divination by arrows, dates as far back as the age of the Chaldeans. It existed among the Greeks, and still later among the Arabians. The manner in which the latter practised it is described on another page (Divination), and they continue its use though forbidden by the Koran. Another method deserves mention. This was to throw a certain number of arrows into the air, and the direction in which the arrow inclined as it fell pointed out the course to be taken by the inquirer. Divination by arrows is the same in principle as Rhabdomancy. The methods of using the lots have been very numerous, such as Rhabdomancy, Clidomancy, and the Sortes Sagittari�, otherwise Belomancy, and the common casting of dice." Egyptian Street Fortune Teller Has Two Women Engrossed in His Soothsaying . . . � Buy this art print at AllPosters.com In Chamber's Encyclopedia (1868), Belomancy is as well defined: "Belomancy... a mode of divination by arrows, practised among the Arabs and other nations of the east. A number of arrows being shot off with sentences written on labels attached to them, an indication of futurity is sought from inscription on the first arrow found. This is only one of many ways of divining by arrows." The Bible also mentions this type of divination in Ezekiel 21:21 : Artemis/Diana with Her Bow and Arrow . . . � Buy this art print at AllPosters.com . "For the king of Babylon will stop at the fork in the road, at the junction of the two roads, to seek an omen: He will cast lots with arrows, he will consult his idols, he will examine the liver." This "mingling of arrows" mentioned by Ezekiel was practiced by the King of Babylon. On this subject, Archbishop William Newcome observed: "Seven divining arrows were kept in the temple of Mecca, but generally, in divination, the idolatrous Arabs made use of three only. On one was written 'My Lord hath commanded me'; on another 'My Lord hath forbidden me'; the third was blank. If the first was drawn, they looked upon it as a approbation of the enterprise in question; if the second, they made a contrary conclusion; but if the third happened to be drawn, they mixed them, and drew over again, till a decisive answer was given by one of the others." Saint Jerome 's observation on the same passage is not very different: Siddhartha Gautama the Buddha, He Shows That He is a Whizz with Bow and Arrow . . . � Buy this art print at AllPosters.com . "They wrote on several arrows the names of the cities they intended to assault, and then, putting them all together promiscuously in a quiver, they drew them out thence as lots are drawn; and that city whose name was written on the arrow first drawn, was the city they first made war upon." Gaius Cornelius Tacitus (AD 56 � AD 117) claimed to have observed German barbarians in the act of Belomancy. There are several known methods that were used to perform this type of divination. In the most common and simple form of Belomancy, the diviner attached labels to the arrows, and the advice or oracle tied to the one which travels farthest was taken as valid. Alternatively, the advice attached to the first arrow to be found was to be obeyed. In another method, three divining arrows were marked with occult symbols, then cast into a quiver and mixed together. One of the arrows was then drawn and the omens interpreted. On yet another method that deserves mention, a certain number of arrows were thrown into the air, and the direction in which they inclined as they fell, pointed out the course to be taken by the inquirer. Herodotus describes a similar practice whereby Scythian soothsayers spread bundles of rods on the ground and interpreted them. Roman soldiers were particularly fond of Belomancy. Their method was shooting their arrows up in the air, and observing in which direction the shafts leaned when they came down and stuck into the ground. Belomancy, like most divinatory systems, is quite ancient, and has been practiced since time immemorial by the Babylonians , Scythians , Greeks , Romans and Arabians , among others. Sources: (1) Morwyn, The Complete Book Of Psychic Arts , Llewellyn Publications; (2) Walker, Charles, The Encyclopedia of the Occult , Random House Value; (3) Dunwich, Gerina, A Wiccan's Guide to Prophecy and Divination , Carol Publishing Group; (4) Chamber's Encyclopedia ; (5) Browne, Sir Thomas, Pseudodoxia Epidemica ; (6) Smedley, Edward; Taylor, William Cooke; Thompson, Henry; Rich, Elihu; The Occult Sciences , Adamant Media Corporation Publishers; (7) Encyclop�dia Metropolitana; Or, System of Universal Knowledge , General Books LLC. Courses on New Age and Alternative Beliefs: -- Click HERE for the best prices on top-selling software titles . -- Click HERE for the best prices on top-selling DVD titles . Suggested Art prints and Posters: -- Click HERE for more related art prints and posters . -- Click HERE for more Divination related books . -- Click HERE for more Dowsing related books . -- Click HERE for the best prices on top-selling book titles . 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In which country did Bing Crosby die?	Bing Crosby - Biography - IMDb Bing Crosby Biography Showing all 121 items Jump to: Overview (5) \| Mini Bio (1) \| Spouse (2) \| Trade Mark (5) \| Trivia (88) \| Personal Quotes (20) Overview (5) 5' 7" (1.7 m) Mini Bio (1) Bing Crosby was born Harry Lillis Crosby, Jr. in Tacoma, Washington, the fourth of seven children of Catherine Helen "Kate" (Harrigan) and Harry Lowe Crosby, a brewery bookkeeper. He was of English and Irish descent. Crosby studied law at Gonzaga University in Spokane but was more interested in playing the drums and singing with a local band. Bing and the band's piano player, Al Rinker , left Spokane for Los Angeles in 1925. In the early 1930s Bing's brother Everett sent a record of Bing singing "I Surrender, Dear" to the president of CBS. His live performances from New York were carried over the national radio network for 20 consecutive weeks in 1932. His radio success led Paramount Pictures to include him in The Big Broadcast (1932), a film featuring radio favorites. His songs about not needing a bundle of money to make life happy was the right message for the decade of the Great Depression. His relaxed, low-key style carried over into the series of "Road" comedies he made with pal Bob Hope . He won the best actor Oscar for playing an easygoing priest in Going My Way (1944). He showed that he was indeed an actor as well as a performer when he played an alcoholic actor down on his luck opposite Grace Kelly in The Country Girl (1954). Playing golf was what he liked to do best. He died at age 74 playing golf at a course outside Madrid, Spain, after completing a tour of England that had included a sold-out engagement at the London Palladium. - IMDb Mini Biography By: Dale O'Connor < [email protected]> Spouse (2) ( 29 September 1930 - 1 November 1952) (her death) (4 children) Trade Mark (5) Often played what he referred to as "happy go-lucky fellas" in his movies Signature Song: "White Christmas" Often worked with Bob Hope "Crooned" most of the songs he sang. Baritone voice Trivia (88) His eldest son Gary Crosby was vocal in criticizing Bing's violent ways as a father. He wrote a sensationalist tell-all biography titled "Going My Own Way" in 1983 which was touted as a "Daddy Dearest" about Bing. Though Lindsay Crosby and Dennis Crosby fluctuated between agreeing and disagreeing with Gary's criticisms of their father, Phillip Crosby defended Bing after the book was published. Two of the sons suffered bouts of depression, much as their mother Dixie Lee had, throughout their lives and committed suicide(Lindsay and Dennis, in 1989 and 1991, respectively). Gary died of lung cancer in 1995. Phillip died of a heart attack in 2004, having defended his father to the end. Bing's children from his second marriage, including daughter and actress Mary Crosby , praised him as a kind and loving father in later life. Older brother of bandleader Bob Crosby . His large ears were pinned back during his early films, until partway through She Loves Me Not (1934). From the 1940s to the 1960s he owned 15% of the Pittsburgh Pirates baseball team. His cameo in Angels in the Outfield (1951) was as part-owner of the team. Three things about Bing were frequent sources of jokes in Hollywood: his inability to sire a daughter, prior to the birth of Mary Crosby ; his investment in racehorses that rarely won; and his rather bad, almost colorblind, taste in casual clothes. These jokes often made their way into radio and TV shows, movies and, most often, into the comedy routines of Bob Hope . Interred at Holy Cross Cemetery, Culver City, California, USA, in the Grotto section, L119, #1. Left a clause in his will stating that his sons could not collect their inheritance money until they were 65. They had already been amply taken care of by a trust fund set up by their mother, Dixie Lee , which is truth was totally funded by Bing. All four sons continued to collect monies from that fund until their deaths. Was nicknamed "Bing" after a character named "Bingo" in a comic strip titled "Bingville Bugle." Was the first choice of "Columbo" creators Richard Levinson and William Link to portray the famed detective. Opened the Del Mar racetrack in Del Mar, California in 1937 and collected tickets at the turnstile on opening day. Before the start of every day of racing his song "Where the Turf Meets the Surf" is played. This song was written for Del Mar and never sold commercially. Inducted into the Radio Hall of Fame in 1998. He was the 20th century's first multi-media entertainer: a star on radio, in movies and in chart-topping recordings. He had 38 No. 1 singles, which surpassed even Elvis Presley and The Beatles . When he married his first wife actress/singer Dixie Lee in 1930, her fame at the time was greater than his. One headline actually read: "Well Known Fox Movie Star Marries Bing Croveny." Dixie eventually retired to raise four sons. One of his early inspirations was Louis Armstrong , who returned the admiration. Louis once described Bing's mellow voice as "like gold being poured out of a cup." Sang on radio at least once a week from 1931 to 1962. As a young adult he enjoyed carousing and drinking and actually received another nickname: "Binge" Crosby. He once spent two months in jail (weekends only) for DUI after a minor car accident, and surprised and shocked interviewers by advocating that pot be decriminalized. The balding actor hated having to wear a toupee during filming and specifically looked for scripts that had outdoor scenes where he could wear a hat or bed scenes in which he could wear a nightcap. "White Christmas" became the bestselling single for more than 50 years until overtaken in 1997 by "Candle in the Wind", Elton John 's tribute to the late Princess Diana . Star of NBC Radio's "Kraft Music Hall" (1935-1946). Star of ABC Radio's "Philco Radio Time" (1946-1949). Star of CBS Radio's "The Bing Crosby Show" (1954-1956). In March of 1950, he had his appendix removed. Star of CBS Radio's "The Bing Crosby Chesterfield Show" (1949-1952). When Chesterfield left, General Electric took over as sponsor for 1953 and 1954. Refused the role of Columbo due to the fact that he felt that it would interfere with his golf game. He and his second wife and younger children did TV commercials for Minute Maid orange juice, because he owned considerable stock in the company. On October 13, 1977, the day before Crosby's death, independent producer Lew Grade announced that he was reuniting Crosby, Bob Hope and Dorothy Lamour onscreen for the film "Road to the Fountain of Youth," ending several years of speculation at to whether the trio would reunite professionally or not. Biography in: "Who's Who in Comedy" by Ronald L. Smith, pg. 122-124. New York: Facts on File, 1992. ISBN 0816023387 Phil Crosby, Jr., Bing's grandson, formed a jazz quartet in the Los Angeles area and is bringing a semi-resurgence of interest in Bing and his music. Through the electronics lab he funded, he was heavily involved in the initial development of both audio and video tape recording in the late '40s and early '50s, primarily for use on his own TV and radio projects. One of the very first commercial uses of audio tape in the USA, in fact, was the recording and editing of his radio program on the ABC network around 1946-1948. His early videotape format, however, was quickly obscured by Ampex's industry-standard Quadruplex format. Pictured on a 29 cent U.S. commemorative postage stamp in the "Legends of American Music" series, issued September 1st 1994. Became seriously ill around Christmas 1973, with chest pains and respiratory problems. Both Bing and wife Kathryn Grant thought he had lung cancer. In January 1974 he felt so ill he consented to be hospitalized, and a large tumor was found in his left lung. The tumor and three-fifths of the lung were removed, and over the next months he slowly recovered. Since the tumor was benign, it was believed his illness was caused by a fungal infection from a recent safari in Africa. At the time of his death in 1977, he was the biggest selling recording artist of all time. He is only one of six performers to be nominated for an Oscar twice for playing the same role in two separate films. He was nominated as Father O'Malley in Going My Way (1944) and The Bells of St. Mary's (1945). The other five are Peter O'Toole as Henry II in Becket (1964) and The Lion in Winter (1968), Al Pacino as Michael Corleone in The Godfather (1972) and The Godfather: Part II (1974), Paul Newman as Fast Eddie Felson in The Hustler (1961) and The Color of Money (1986), Cate Blanchett as Elizabeth I in Elizabeth (1998) and Elizabeth: The Golden Age (2007), and Sylvester Stallone as Rocky Balboa in Rocky (1976) and Creed (2015). His father was of English descent, with many family lines tracing back to New England of the 1600s. His mother's family, which was from New Brunswick, Canada, was of Irish descent. Until the late 1970s he had been listed in the Guinness Book Of World Records as having sold more recordings than any other entertainer. Is one of only five actors/actresses to have a #1 single and an Oscar for best actor/actress. The others are Barbra Streisand , Frank Sinatra , Cher and Jamie Foxx . He received 23 gold records and was awarded platinum discs for his two biggest selling singles, "White Christmas" in 1960 and "Silent Night" in 1970. According to the Guinness Book of Records, his "White Christmas" has sold over 100 million copies around the world, with at least 50 million sales as singles. According to ticket sales Crosby is, at 1,077,900,000 tickets sold, the third most popular actor of all time after Clark Gable and John Wayne . He is also, according to Quigley Publishing Company's International Motion Picture Almanac, tied for second on the "All Time Number One Stars List" with three other actors - Clint Eastwood , Tom Hanks and Burt Reynolds . Crosby was the #1 box office attraction for five years, beaten only by Tom Cruise who was #1 for seven years. In 1960 he received a platinum record as First Citizen of the Record Industry for having sold 200 million discs, a number that doubled by 1980. Between 1915 and 1980 he was the only motion-picture star to rank as the #1 box-office attraction five times (1944-1948). Between 1934 and 1954 he scored in the top ten 15 times. On the day of his death he played a full 18 holes of golf, where he scored a respectable 85 and won the match. Walking off the 18th green of the La Moraleja Golf Club, in a suburb of Madrid, Spain, he suffered a massive heart attack. His last words were reported as, "That was a great game of golf, fellas." However, according to the Summer 2001 issue of Club Crosby's BINGANG magazine, he then said, "Let's go have a Coca-Cola." According to his biographer Gary Giddens, Crosby's last words were, "Let's go get a Coke.". He appeared on approximately 4,000 radio broadcasts, nearly 3,400 of them his own programs, and single-handedly changed radio from a live-performance to a canned or recorded medium by presenting, in 1946, the first transcribed network show on ABC, thereby making that also-ran network a major force. In a great many of his films, he played lighthearted comedy and musical roles as a singer or songwriter. His usual casual approach belied the fact that Crosby was a fine dramatic actor, as witnessed by his portrayals in Little Boy Lost (1953), The Country Girl (1954), Man on Fire (1957), and his last major film Stagecoach (1966). He also starred in the television movie Dr. Cook's Garden (1971) and won much critical acclaim for his performance. His last TV appearance was in Bing Crosby's Merrie Olde Christmas (1977) which was taped in London and broadcast, after his death, in the USA on 30 November 1977, and in the United Kingdom on 24 December 1977. This show has also been made available on commercial video. It is memorable for Crosby and David Bowie singing a duet. He sang on 4,000 radio shows from 1931 to 1962 and was the top-rated radio star for eighteen of those years. A longtime supporter of the Republican Party, Crosby campaigned for Wendell Willkie in the 1940 Presidential election, because he strongly believed President Franklin D. Roosevelt should only serve two terms of office. When Roosevelt was easily re-elected, Crosby vowed never to become publicly involved in partisan politics again. Mary Carlisle , who worked with him in films, noticed he was self-conscious about his height, and he wore lifts. Crosby once told Alan Ladd how pleased he was that Ladd was shorter than him at 5'5". Bing maintained he was 5'9", but an office secretary named Nancy Briggs recalled a visit to his home when he wore slippers and she realized he was her height - 5'7". He is estimated to have sold between 600 million and 900 million records worldwide. Most of these sales were singles. In 1962 Crosby was the first recipient of the Grammy Lifetime Achievement Award. Was the first person to sing "White Christmas". Inducted into the World Golf Hall of Fame in 1978. Delayed his marriage to Kathryn Grant until 1957 due to his long affair with Grace Kelly . Four songs Crosby sang in movies - "Sweet Leilani" (1937), "White Christmas" (1942), "Swinging on a Star" (1944), and "In the Cool, Cool, Cool of the Evening" (1951) - won Oscars. The Met Theater in downtown Spokane, Washington, where he was raised and performed (with the Musicaladers) as a young man in 1925, was renamed the Bing Crosby Theater on December 8, 2006. The Met was built in 1915. Bing was also a giving donor to the city's Gonzaga University. He is the most electronically recorded voice in history. In 1948 a poll declared Crosby the most admired man in the world, ahead of President Harry S. Truman , General Dwight D. Eisenhower , Jackie Robinson and Pope Pius XII . His estate was valued at $150 million, making him one of the wealthiest entertainers in Hollywood, along with his friends Bob Hope and Fred MacMurray . Is portrayed by Alex Fallis in Dash and Lilly (1999). In the autumn of 1974, having recovered from major lung surgery, Crosby performed a series of concerts at the London Palladium. This was the first time he had sung before a live audience since World War II. He repeated this engagement in 1975, 1976 and 1977. He also began recording new albums at a faster rate than he had since the early 1950s. At the time of his death he was considering buying an eighteen hole golf course in Kent, England. In 1969, it was reported that he was worth an estimated $75 million. Stagecoach (1966) was his last major film. Though it did not get good reviews, his performance as the drunken doctor was praised. Crosby felt the movies had changed a lot since his heyday, although he let it be known that he was still open to offers. Nearly filed for divorce from his first wife in 1948 because he wanted to marry Joan Caulfield . Inducted into the Hit Parade Hall of Fame in 2007. In March 1977, after videotaping a concert for CBS to commemorate his 50th anniversary in show business, Crosby backed off the stage into an orchestra pit, rupturing a disc in his back that required a month of hospitalization. Has a street named after him in Iowa City, Iowa. After Judy Garland was fired from MGM about 1950, he was one of the first to offer her work on his radio show to help her out of her financial woes. The two had marvelous chemistry as a comedy duo, and many of these audio recordings still survive today. He was awarded 3 Stars on the Hollywood Walk of Fame for Motion Pictures at 1611 Vine Street, for Radio at 6769 Hollywood Boulevard, and for Recording at 6751 Hollywood Boulevard in Hollywood, California. His favorite performer was Al Jolson . Caricatured in the Warner Bros. cartoons "I've Got to Sing a Torch Song", "Hollywood Steps Out", and "What's Up, Doc?" (all as himself), and in "Curtain Razor", "Swooner Crooner" and "The Woods Are Full of Cuckoos" and "Bingo Crosbyana" (all as a bird). Due to the unflattering depiction of him in the last one, he sued Warner Bros. Crosby named his first son, Gary Crosby , after friend and fellow Paramount contractee, Gary Cooper . As early as 1932, Crosby made the list of Top Ten box office stars, which included Mae West , Will Rogers , Wallace Beery , etc. In 1968, Crosby considered doing another "Road" picture, "The Road to Christmas", with Bob Hope and Hayley Mills . According to "Films in Review's" 1968 career article on the star, Paul Whiteman wanted Crosby to sing "Song of the Dawn" in King of Jazz (1930), but just before filming was to take place, the singer crashed his car on Hollywood Boulevard near the Roosevelt Hotel while driving a "starlet" home, and although no one was hurt, he was sentenced to 60 days for DWI. In his absence, Whiteman had John Boles sing the solo.	Spain
A polyorchid man has at least three what?	The Sad Ballad of Bing and His Boys The Sad Ballad of Bing and His Boys Pinterest One thing I know: I’m going to keep yip-ping at these little scoundrels until they’re 21, and I’m going to demand they have a goal in life, a purpose. The most tragic spectacle I can think of is that of a young man slipping aimlessly through school, then life, secure in the belief that affluence means happiness. I’m not going to let up on them. —Bing Crosby, Call Me Lucky, 1953 I dropped my pants, pulled down my undershorts and bent over. Then he went at it with the belt dotted with metal studs he kept reserved for the occasion. Quite dispassionately, without the least display of emotion or loss of self-control, he whacked away until he drew the first drop of blood, and then he stopped. It normally took between twelve and fifteen strokes. I counted them off one by one and hoped I would bleed early. To keep my mind off the hurt, I would conjure up different schemes to get back at him, ways to murder him. —Gary Crosby, Going My Own Way, 1983 When the word arrived from Spain, that day in October 1977, Gary Crosby was playing tennis at a Los Angeles club. “One of the ladies came to the back gate,” he recalls. “I could see she was crying. She said, ‘I’m sorry to be the one to tell you, but your father just passed away.’ ” Pausing for only that moment, Gary Crosby then continued his game. “I thought, ‘Am I supposed to act like I loved him all my life?’ ” At the funeral, Gary looked down at the body and said, “Well, now you’re in a place where you can understand it all.” When Bing Crosby, 73, died of a heart attack on a Madrid golf course, he was not only a renowned performer but one of the nation’s most beloved father figures. During a career that spanned five decades, he was acclaimed by LIFE magazine as “incontestably the No. 1 Big Family Man of Hollywood.” The National Father’s Day Committee honored him as “Hollywood’s Most Typical Father.” To an admiring public, the portrayal of a wise, warm, Irish Catholic patriarch was Bing Crosby’s longest-running, most convincing role. That his four sons became notorious for drinking and squabbling scarcely tainted Bing’s image; instead, he became the object of public sympathy, the good father afflicted with unruly and sometimes ungrateful children. That benign view has now been challenged by Gary Crosby, 49, eldest of the singer’s four sons by first wife Dixie Lee Crosby. According to Gary, life with father was a hell of a life. In his just published memoir Going My Own Way (Doubleday, $15.95), Crosby recounts a Hollywood Gothic horror story that only Christina Crawford could envy. He describes a household populated by an icy, dictatorial father, an alcoholic, lonely mother and a quartet of boisterous, tormented boys. Says Gary, “It was a house of terror all the time.” Gary’s look back in anger has provoked a high-powered fraternal feud. Says younger brother Phillip, 48, “Gary is a whining, bitching crybaby, walking around with a two-by-four on his shoulder and just daring people to nudge it off.” Counters Gary, whose fists often clench at the mere mention of Phillip, “As far as I’m concerned, Phillip’s dead. He isn’t worth the powder to blow him to hell.” Phillip’s twin, Dennis, professes little interest in the family history. He calls the book “Gary’s business.” While Dennis doesn’t deny Gary’s version, he explains, “Gary has a lot of anger.” Baby brother Lindsay, 45, sides with Gary. “I’m glad he did it,” says Lindsay. “I hope it clears up a lot of the old lies and rumors.” Lindsay’s endorsement is surprising: By most accounts, he was Bing’s favorite of the four. Gary’s public declarations have aroused other relatives and friends. In defense of his brother Bing, bandleader Bob Crosby, 69, insists, “I never remember anyone being physically touched in any way.” Adds Bing’s best friend, bandleader Phil Harris, “I was around the boys practically all the time, and I didn’t see Bing beating them. I don’t think a man can sing like he did and have as many people love him as he did and be too bad.” This week Bing’s second wife, Kathryn, who is five months younger than her stepson Gary, has published her memoir. My Life With Bing is a rosy reminiscence of the entertainer with whom she had three children: Harry Lillis III, 24, a graduate business student at Fordham University; Mary Frances, 23, an actress most famous for shooting J.R. Ewing on Dallas; and Nathaniel, 21, a champion golfer and student at the University of Miami. Kathryn is Bing’s most loyal fan. “You can’t lie to a camera,” she observed last year. “What comes out on film is what is within the actor.” Despite differing recollections about their father, the Crosby boys generally disagree with Kathryn. The public Bing was cool, easygoing and debonair; the private Bing was someone quite different. Says Lindsay pointedly, “Nobody knows better than us.” The boys’ mother, Dixie Lee (real name: Wilma Wyatt), was a promising 19-year-old actress-singer when she married Bing in 1930. Their first-born arrived three years later and was named after Bing’s buddy Gary Cooper; then Dixie quickly gave birth to twins, and eight years into her marriage, Lindsay. In the early days, recalls Lindsay, “We were very tight.” Gary characterizes the foursome as “red-blooded Irish kids who loved to hassle and play football and raise hell just as much as anybody.” But in the 20-room Crosby mansion in Los Angeles, harsh discipline was the order of the day. Bing and Dixie set rules that governed every waking hour, and violations of the rules resulted in humiliating punishments. When Phillip hid his bacon and eggs under a rug instead of eating everything on his breakfast plate, Dixie found the food and forced him to eat it, “dirt, hairs and all,” writes Gary. Messiness was not tolerated. If one of the boys did not put away his underwear, he had to tie it on a string and wear it around his neck until bedtime. Bing referred to that as “the Crosby lavalier.” The most serious transgressions brought severe whippings, and as the most rebellious of the brothers, Gary was the one most frequently beaten. “He got the first licking, and we got the second,” says Dennis. Gary began to expect punishment almost daily. “My father would come home at 6 o’clock, and by 6:05 he’d heard the news of what I’d done. Then I’d get bent over and my pants taken down and beat till I bled. He was never an enraged, insane man. He was very methodical.” In fact, the famous even-tempered Bing was infamous in his own household. “He never blew the old cool. It was like dealing with a frigging mop,” says Gary. Adds Dennis, “He could get cold real quick.” The slightest show of affection galvanized young Lindsay. “Dad would say, ‘Goodnight, I love you,’ and that to me was heaven.” Bing, who considered himself a regular guy, wanted his sons to distrust the glamorous life. In Call Me Lucky, he complained, “Raising the sons of a movie star presents special problems.” Writes Gary in Going My Own Way, “The idea was to be ordinary.” But, the son realized at an early age, “There were a few problems with being just an ordinary kid. For one thing, Dad didn’t seem to be just an ordinary father.” In fact, Bing consciously distanced himself from his children. Once he wrote, “When I want to be especially flattering to one of my offspring, I say, ‘Nice going,’ and let it go at that.” He credited his child-rearing methods to an Italian proverb: “Never kiss a baby unless he’s asleep.” That reserve took its toll on Dixie too. Says Gary, “My mother was the kind of person who needed to hear, ‘Sweetheart, darling, I love you,’ and he just couldn’t do it.” According to Phillip, Dixie was “painfully shy” and often felt uncomfortable among her husband’s set. She regularly declined Bing’s invitations to accompany him to parties or movie locations. Observes Lindsay, “I think she got lonely because Dad was working all the time.” Instead, Dixie found a reliable companion in the bottle. “She was a wreck,” says Gary. “I’d see her passed out in her room, in bed or on the floor of her dressing room. It scared the hell out of me.” Bing and the boys’ nurse tried to hide Dixie’s condition from the kids. Gary recalls: “They’d say, ‘She’s taking a nap today.’ And I’d say, ‘All day?’ ” When Dixie was not drinking, she was to her sons what Bing was not: “warm and loving,” as all the boys remember her. In 1952 her death from cancer at age 40 resulted in a rare moment of togetherness for the family. If Dixie at times was compassionate, Bing could be cruel. He gave his sons belittling nicknames. Dennis was “Ugly” and “Stupid.” Lindsay was “The Head” (Bing considered the boy’s head too big for his body). Because Phillip was frequently combing his hair, he was dubbed “Dude” and “Handsome.” Gary did not get off so easily. “I had a big broad ass on me as a kid that used to annoy the hell out of my father.” So his nicknames, which Bing did not hesitate to use in public, were “Satchel Ass” and “Bucket Butt.” Gary’s weight problem, in fact, brought him special attention. Once a week Bing weighed the boy. If the numbers displeased him, Gary was ordered into the office for a whipping. The battles between father and sons continued even after Gary, Phillip and Dennis were sent to a strict, Jesuit-run boarding school south of San Francisco. For Gary, the turning point came at age 17. Home for the Christmas holidays, he overheard his father’s pals discussing Bing’s sexual infidelity. That conversation shattered Gary’s image of his father. “I started looking him dead in the eye for a change. Maybe I wasn’t so bad. Maybe he wasn’t so goddamn good either.” The beatings ended a few months later. Gary was now a 210-pound high school linebacker just shy of his 18th birthday. By this time Bing had replaced the belt with a cane. “He’d hold it with both hands like he was playing baseball,” reports Gary. “He just stepped into me 13 times.” On this occasion, however, Gary confronted his father. “I took the cane away and broke it over my knees. I cussed him and told him if he ever touched me again, I’d kill him.” The explosion produced no discernible reaction from Bing. “I was a physical, emotional, mental wreck, and he was fine.” The punishment stopped, but, says Gary, “He still won.” Even in adulthood, the sons could not escape Bing’s influence. Gary started a solo singing career with the help of Bing’s agent. Following Dad into show business, the sons found their acts unfavorably compared to his. Bing’s attitude toward his sons continued to color their self-perceptions. Gary considered himself “a dumb stupid ass who wasn’t going to amount to anything.” Lindsay, when he married, found it difficult to express affection for his own family. “I think we’ve all got that problem,” he says. Today the sons still rely heavily on Bing and Dixie for their livelihoods. Says Phil Harris, “I love them all dearly, but I don’t know a one of them who works.” Each gets a substantial four-figure monthly check from a trust fund Dixie established; Bing’s money was placed in a blind trust, which none of the sons can touch until age 65. It is a nice irony, says Phillip. “My father thought, ‘How much trouble will they be able to get into then?’ ” Although they all live in California, the brothers seldom visit. In fact, they have not seen each other much since their nightclub act, the Crosby Boys, broke up in 1959 after a dressing room brawl erupted among the four in Montreal. What they have shared over the years is a talent for trouble. Among them, the brothers have accumulated 11 wives, at least five drunken-driving arrests, two affiliations with Alcoholics Anonymous and a paternity suit. Compared to his tempestuous past, Gary has a stable home life these days. He and his second wife, actress Andrea Claudio, 31, have a rented house in the San Fernando Valley. While awaiting job offers—a recent stint on Simon & Simon was his first assignment in almost two years—Gary attends five Alcoholics Anonymous meetings a week. Although he has not had liquor since he completed a treatment program (paid for by Bing) in 1961, Gary says, “I quit drinking but I’ve never stopped being an alcoholic.” Gary’s solo singing career ended with a drunken opening-night appearance in a Chicago club in 1961. (His first line to the audience: “I don’t want to waste my time with you.”) Says his first wife, Barbara Cosentino, a former Las Vegas dancer who separated from him in 1979 after 19 years of marriage, “When I got to Chicago to pick him up, he was dead drunk in his hotel room, and a lady was in his bed.” Although he occasionally appeared on such TV series as Chase and Emergency! in the 1970s, Gary’s reputation as a troublemaker crumbled his career. Says Barbara, “He was obsessed with the fact that he couldn’t get a job and convinced that everybody hated him.” Only in recent years has his anger ebbed. A 1980 triple-bypass heart operation changed his outlook, as has AA. Nowadays, he says, “There aren’t that many lows like those tremendous depths that I used to tumble into.” Writing Going My Own Way may have exorcised some demons too. “It was something Gary had to do,” says Lindsay. Phillip, however, guards the family honor. Says he, “Gary has been an embarrassment to the family since he was in grade school.” Replies Gary, “Phillip milks his position as Dad’s son for everything he can get.” Keeper of the flame is indeed Phillip’s full-time occupation. He lives alone in a three-bedroom Los Angeles home that is a mockery of the Holmby Hills mansion in which he was raised. Boxes of junk and piles of old magazines litter the rooms. A bathroom emits the smell of urine. In the den, two televisions play simultaneously. Empty milk cartons are stacked against the kitchen wall. In one corner, soft-drink and beer cans form a pyramid. The object of Phillip’s game is to throw yet another can on the pyramid without disturbing the pile. Phillip too has a history of drinking. But his approach is different from Gary’s. “A man’s got to believe in something,” jokes Phillip, “and I believe I’ll have another drink.” In 1980 he was arrested on three occasions for drunken driving. Says he, smiling, “I don’t drink anymore—but I don’t drink any less.” An 18-month stint with AA has proved ineffective. Phillip does not consider himself an alcoholic. “An alcoholic is someone who can’t control his drinking. I can, but I don’t want to.” Like his older brother, Phillip was first married to a Las Vegas lady—a showgirl named Sandra Jo Drummond. Second and third wives (Mary Joyce Gabbard and Georgi Edwards) were also Vegas showgirls. Says Phillip of Georgi, his favorite, “She was the only one who didn’t have a cookie in the oven when I married her.” The impending arrival of Phillip Jr. (one of his four children) prompted his marriage to fourth wife Peggy Dorris, a part-time actress. They divorced in 1975. Phillip describes himself as a “saloon singer,” and speaks wistfully of returning to “where I started, in the big rooms in Vegas.” His last gig was at a 1982 Elks Club party in Burbank, Calif., where he was backed by a high school band. “From there,” he says, “the only place I can go is up.” Phillip vehemently disputes most of the revelations in Gary’s book. “We never got an extra whack or a cuff we didn’t deserve,” he insists. Nor does he believe that Dixie was an alcoholic. “If she was, she did a hell of a job disguising it.” From his perspective, his parents had “a very good marriage.” Phillip contends that he “understood Dad probably better than anybody in the whole family.” He does not deny that Bing believed in corporal punishment. “When I was in high school, Dad caught me smoking in the barn at our ranch in Elko, Nev. There just happened to be a plank laying there, and he said, ‘Assume the position.’ ” But he harbors no resentment toward Bing. “If Dad had picked up a goddamn monkey wrench and said, ‘Assume the position,’ I would have done it.” He savors the pleasant memories of his father, who was “very affable and easy to get along with.” In his wallet he carries a letter from Bing signed “Love, Dad.” Says Phillip, “I’d almost rather have that than a gold record or an Academy Award.” Twin brother Dennis has fashioned a far different life for himself. He has been married for 17 years to his second wife, Arleen, 38, whom he met when she was a secretary at Bing Crosby Inc., his father’s business firm. The couple live with their daughters, Kelly Lee, 16, and Erin Colleen, 12, in Pebble Beach, Calif., the site of the annual Crosby National Pro-Am Golf Tournament. Both daughters are accomplished equestriennes, and Dennis, who does not work, describes his life as “calm and horsey.” Dennis too has a showgirl in his past. Unsurprisingly, his marriage to first wife Pat Sheehan was rocky from the start. Just days after the ceremony, a Los Angeles divorcee nailed Dennis with a paternity suit, which he subsequently lost. His last arrest for drunken driving was seven years ago, and Dennis says now, “I only drink beer.” Gary says all the boys have had battles with the bottle, but it’s a subject they never discuss. Says he, “My brothers are afraid I’m going to give them a little religion in the form of Alcoholics Anonymous.” Dennis professes little interest in rattling family skeletons. He is “a very easygoing person,” according to wife Arleen, who has provided her husband with strong support over the years. Of all the Crosby boys’ outlooks on the past, his is the most ambivalent. “I was happy to be who I was,” he says, “even if I had the hell kicked out of me.” If any brother can make a claim to Bing’s untainted affection, it is Lindsay. As Bing’s favorite, he spent the most time with his father. While the other sons went to boarding school, Lindsay lived at home. When the Crosby Boys act broke up, Lindsay went to work reading scripts for Bing. “I still miss him,” says Lindsay, whose eyes frequently dampen when he discusses his father. “I probably didn’t realize how much I’d miss him when he died.” In middle age, Lindsay looks more like a cowboy than a movie star’s son. He drives a black Trans Am with the speakers blaring, a can of beer by his side. He keeps a stable of about a dozen quarter horses, which he hopes to breed. Of his three wives (dancer Barbara Frederickson, secretary Janet Schwartz and former Miss Alaska Susan Marlin) and four sons, Lindsay says, “I don’t have any regrets but the hurt I’ve caused.” Separated for five years from Susan, he shares a two-bedroom Los Angeles condo with his dogs, Olivia and Bear. Smiling, Lindsay says, “Olivia doesn’t mind when I cheat on her.” Lindsay maintains the most tempered view of Bing. He does not dwell on the emotional toll of being a Crosby kid, but remembers “all the good things I did with my dad and forget the times that were rough.” Of his father’s discipline, he observes, “He was right on the button with all the important things.” He dismisses Bing’s distance as immaterial. “I never expected affection from my father so it didn’t bother me.” Of the war between Bing and Gary, he says simply, “They were both wrong and they were both right.” Gary concedes that Bing’s parental style was perhaps only a more extreme version of the conventional thinking of the day. Bing “was like a lot of fathers of that time. He was not out to be vicious, to beat children for his kicks.” Bob Crosby acknowledges that his brother Bing was “a disciplinarian” but adds, “My mother and father were like that. We were brought up that way.” Apparently Bing was not as harsh and demanding with the children from his second marriage. In the acknowledgments of Going My Own Way, Gary addresses Kathryn and her three children: “I think you’ll find the Bing Crosby here a rather different man from the one you knew.” Kathryn has insisted that Bing “was the best father he could be to all his children,” but she admits that he was embarrassed to express affection. “That’s your good Jesuit boys’ school upbringing,” she says. Gary and Kathryn are on good terms, and he in fact stayed with Kathryn, a registered nurse, during part of his recovery from heart surgery. He calls her “a great wife to my father and a great mother to their children.” In the last year of his father’s life, Gary affected a tentative reconciliation with Bing. Gary and his then wife, Barbara, occasionally spent weekends with Kathryn and Bing at the Crosby estate outside San Francisco. Recalls Gary, “One day he said, ‘Take a walk with me around the grounds.’ We didn’t talk about anything special, but somehow I felt the war was over. For all those years, I was the only one fighting. Goddamn it, he wasn’t. When I look back, he wasn’t.” Observes Gary in a reflective moment, “In music, Bing was the greatest thing there ever was. As far as raising kids, he didn’t have a clue. I was going to say that if I could have had it either way, I’d rather have had it the way I did. But that isn’t true.” Try as he might, being Bing’s son may be a role Gary cannot shake. Show Full Article	i don't know
In what Olympic sport did Brian Phelps partake?	Olympic great Michael Phelps to swim again Olympic great Michael Phelps to swim again BETH HARRIS (AP Sports Writer) Tweet Share Don't expect the same Michael Phelps in his return to swimming after a nearly two-year retirement. Even if Phelps' comeback is a success, it will be different this time around. No more swimming seven or eight events at the Olympics or world championships. No more grueling individual medleys. This time, it's about taking on fewer and shorter races than the 22-time Olympic medalist did in his prime. At 28, Phelps is far from being too old to dive into the pool. In recent years, swimmers have successfully competed into their 30s and in the case of Dara Torres, who was 41 at her last Olympics in 2008, won medals. Phelps will compete for the first time since the 2012 London Games at a meet in Mesa, Ariz., on April 24-26. Bob Bowman, the swimmer's longtime coach, told The Associated Press on Monday that Phelps is entered in three events - the 50- and 100-meter freestyles and the 100 butterfly. ''I think he's just going to test the waters a little bit and see how it goes,'' Bowman said. ''I wouldn't say it's a full-fledged comeback.'' Phelps' camp is downplaying his return, which had been rumored ever since the most decorated Olympian in history returned to training last fall and re-entered the U.S. drug-testing program. His six-month waiting period to be eligible for competition ended in March. ''Since 2004, there's been an extraordinary amount of pressure for him to perform a certain way,'' Torres told the AP. ''That's a great move that they're downplaying it a little bit. For him, it's probably just a training meet. He's probably just trying to get his feel back for races.'' In Mesa, Phelps will swim 100 free and 100 fly preliminaries on the first day. Then, if he qualifies, he'll decide which race to swim for the evening finals, Bowman said. He'll swim the 50 free on the second day and might swim the 50 fly ''just for fun,'' the coach added. ''I bet you're going to see a little spark in him that you didn't see in 2012,'' Torres said. ''He's going to have a lot of fun with it.'' No one is confirming Phelps has his eye on a fifth Olympics in 2016. But to resume the grind of training and drug testing, surely the Rio Games are on his radar. Bowman said Phelps is ''pretty far'' from being back in top form. He's been training Monday through Friday with Bowman's team at the North Baltimore Aquatic Club in his hometown. ''He's gotten back into good shape since September,'' the coach said. ''He can give a good effort and certainly not be embarrassed. He's in enough shape to swim competitively.'' Phelps is the winningest and most decorated athlete in Olympic history. He captured 18 gold medals and 22 medals overall at the last three Summer Games. He broke Mark Spitz's record for a single Olympics by winning eight gold medals at Beijing in 2008. If he comes back and doesn't dominate, Bowman said it wouldn't tarnish Phelps' reputation. ''His legacy is sealed,'' the coach said. Olympian Katie Ledecky agreed that Phelps has nothing to lose by diving back in. ''It's just for his own personal kind of thing,'' she said. ''He's already done so much. Whether he adds a couple more gold medals or not, what he's done has been so incredible, whatever he does next should be accepted by all.'' Phelps had vowed that he wouldn't swim into his 30s. Since retiring less than two years ago, he has stayed busy with a chain of swim schools, a foundation focused on water safety and appearances on behalf of his sponsors. He devoted lots of time to golf and participated in a reality show with famed coach Hank Haney. ''I think he's just really enjoying it,'' Bowman said. ''He enjoys the training and being physically fit. He just kind of wants to see where he's at. It's more really for fun. It's been nice for me to see him swim just for the joy of it really.'' Phelps has already entered the remaining Grand Prix meets in Charlotte, N.C., in May and Santa Clara, Calif., in June, although Bowman said no decision has been made on whether he will compete. Depending on his early results, Phelps could compete in the U.S. National Championships in August in Irvine, Calif., where the team for the 2015 world championships will be selected. ''I wouldn't say it's 100 percent on the radar,'' Bowman said. ''After Mesa, we're going to sit down and talk about it.'' Reblog	Diving
Where would you find the Amundsen Scott Station?	Michael Phelps returns to U.S. anti-doping program comment Michael Phelps has rejoined the U.S. drug testing program, the strongest signal yet that he's planning a comeback for the Rio Olympics. Phelps told The Associated Press on Thursday that "nothing is set in stone" though clearly he has enjoyed getting back into shape -- he's down about 15 pounds -- and working out with his former team at the North Baltimore Aquatic Club. Michael Phelps is the winningest and most decorated athlete in Olympic history, having captured 18 gold medals and 22 medals overall at the last three Summer Games. Clive Brunskill/Getty Images "If I decide to keep going and swim again, then I'll compete," Phelps told the AP in an exclusive telephone interview from Minneapolis, where he is attending an Arena Grand Prix meet this weekend. "If I don't," he added, letting out a big laugh, "I guess I'll re-retire. Just don't compare me to Brett Favre." The U.S. Anti-Doping Agency said Phelps was among the athletes who underwent doping tests in the third quarter, the period ending Sept. 30. He was tested twice. His former coach and close friend, Bob Bowman, said Phelps actually re-entered the program near the end of the second quarter, but he wasn't tested and therefore wasn't listed that time in USADA's quarterly report. He would be eligible to compete again in March, according to Bowman. Each week, Phelps said, he's working out a couple of days in the pool, a couple of days in the weight room, and one or two days on his core training. "I just think he's in a place where he's feeling good about swimming," Bowman said. "If he chooses to compete, he's got some time. I like having the ability to do it. To be perfectly honest, he's not anywhere near being able to compete in a meet or anything like that. We're just getting started on improving his fitness. We'll see where that goes." By subjecting himself to drug testing, Phelps has given himself plenty of time to go through an entire season before the next major meet, the 2015 world championships in Russia, an important steppingstone to the Rio Games the following summer. FINA, the world governing body for swimming, requires an athlete to be tested for at least nine months before taking part in sanctioned events. "This may not go anywhere," Bowman said. "We don't have an event picked out or anything like that. There's no grand scheme. It just sort of makes sense that he can make some choices if he wants to." Further stoking speculation about a comeback, Phelps turned up at the meet in Minneapolis and even did some laps in the diving well. "I just splashed around a little bit," he said. "The guys are swimming laps around me. But at least I'm exercising and trying to get back into some respectable shape." That sort of talk is sure to validate the notion that a Phelps comeback is more a matter of when, not if. His return would surely be welcomed by the entire sport and even those who only follow swimming during the Olympics. "I don't think we look at it as bad news," said Chuck Wielgus, the executive director of USA Swimming. "I want Michael to do whatever he thinks is best for Michael." Phelps is the winningest and most decorated athlete in Olympic history. He captured 18 gold medals and 22 medals overall at the last three Summer Games, shattering the previous marks. He is best known for breaking Mark Spitz's record for a single Olympics by winning eight gold medals in Beijing in 2008. Phelps retired at age 27 after winning six more medals at last summer's London Olympics, adamant that he had no intention of competing again. He had long said his goal was to retire from swimming before he turned 30. "Sure, I could come back in another four years. But why?" he said last December, after beating out LeBron James as the AP's male athlete of the year. "I've done everything I wanted to do. There's no point in coming back." Now, however, it might be another story. "If I do really start getting excited and wanting to do it, I can make that choice," Phelps said Thursday. "If not, at least it's something we can say we were prepared for. "There are a lot of things that really excite me ... that get me motivated. But I swam for 20 years. That's something that's going to be very, very hard to top."	i don't know
What is the title of Johnny Cash's autobiography?	Johnny Cash \| Biography & History \| AllMusic google+ Artist Biography by Stephen Thomas Erlewine Johnny Cash was one of the most imposing and influential figures in post-World War II country music. With his deep, resonant baritone and spare percussive guitar, he had a basic, distinctive sound. Cash didn't sound like Nashville, nor did he sound like honky tonk or rock & roll. He created his own subgenre, falling halfway between the blunt emotional honesty of folk, the rebelliousness of rock & roll, and the world-weariness of country. Cash 's career coincided with the birth of rock & roll, and his rebellious attitude and simple, direct musical attack shared a lot of similarities with rock. However, there was a deep sense of history -- as he would later illustrate with his series of historical albums -- that kept him forever tied with country. And he was one of country music's biggest stars of the '50s and '60s, scoring well over 100 hit singles. Cash , whose birth name was J.R. Cash, was born and raised in Arkansas, moving to Dyess when he was three. By the time he was 12 years old, he had begun writing his own songs. He was inspired by the country songs he had heard on the radio. While he was in high school, he sang on the Arkansas radio station KLCN. Cash graduated from high school in 1950, moving to Detroit to work in an auto factory for a brief while. With the outbreak of the Korean War, he enlisted in the Air Force. While he was in the Air Force, Cash bought his first guitar and taught himself to play. He began writing songs in earnest, including "Folsom Prison Blues." Cash left the Air Force in 1954, married a Texas woman named Vivian Leberto, and moved to Memphis, where he took a radio announcing course at a broadcasting school on the GI Bill. During the evenings, he played country music in a trio that also consisted of guitarist Luther Perkins and bassist Marshall Grant . The trio occasionally played for free on a local radio station, KWEM, and tried to secure gigs and an audition at Sun Records. Cash finally landed an audition with Sun Records and its founder, Sam Phillips , in 1955. Initially, Cash presented himself as a gospel singer, but Phillips turned him down. Phillips asked him to come back with something more commercial. Cash returned with "Hey Porter," which immediately caught Phillips ' ear. Soon, Cash released "Cry Cry Cry"/"Hey Porter" as his debut single for Sun. On the single, Phillips billed Cash as "Johnny," which upset the singer because he felt it sounded too young; the record producer also dubbed Perkins and Grant as the Tennessee Two . "Cry Cry Cry" became a success upon its release in 1955, entering the country charts at number 14 and leading to a spot on The Louisiana Hayride, where he stayed for nearly a year. A second single, "Folsom Prison Blues," reached the country Top Five in early 1956 and its follow-up, "I Walk the Line," was number one for six weeks and crossed over into the pop Top 20. Cash had an equally successful year in 1957, scoring several country hits including the Top 15 "Give My Love to Rose." Cash also made his Grand Ole Opry debut that year, appearing all in black where the other performers were decked out in flamboyant, rhinestone-studded outfits. Eventually, he earned the nickname of "The Man in Black." Cash became the first Sun artist to release a long-playing album in November of 1957, when Johnny Cash with His Hot and Blue Guitar hit the stores. Cash 's success continued to roll throughout 1958, as he earned his biggest hit, "Ballad of a Teenage Queen" (number one for ten weeks), as well another number one single, "Guess Things Happen That Way." For most of 1958, Cash attempted to record a gospel album, but Sun refused to allow him to record one. Sun also was unwilling to increase Cash 's record royalties. Both of these were deciding factors in the vocalist's decision to sign with Columbia Records in 1958. By the end of the year, he had released his first single for the label, "All Over Again," which became another Top Five success. Sun continued to release singles and albums of unissued Cash material into the '60s. "Don't Take Your Guns to Town," Cash 's second single for Columbia, was one of his biggest hits, reaching the top of the country charts and crossing over into the pop charts in the beginning of 1959. Throughout that year, Columbia and Sun singles vied for the top of the charts. Generally, the Columbia releases -- "Frankie's Man Johnny," "I Got Stripes," and "Five Feet High and Rising" -- fared better than the Sun singles, but "Luther Played the Boogie" did climb into the Top Ten. That same year, Cash had the chance to make his gospel record -- Hymns by Johnny Cash -- which kicked off a series of thematic albums that ran into the '70s. The Tennessee Two became the Tennessee Three in 1960 with the addition of drummer W.S. Holland . Though he was continuing to have hits, the relentless pace of his career was beginning to take a toll on Cash . In 1959, he had begun taking amphetamines to help him get through his schedule of nearly 300 shows a year. By 1961, his drug intake had increased dramatically and his work was affected, which was reflected by a declining number of hit singles and albums. By 1963, he had moved to New York, leaving his family behind. He was running into trouble with the law, most notably for starting a forest fire out West. June Carter -- who was the wife of one of Cash 's drinking buddies, Carl Smith -- would provide Cash with his return to the top of the charts with "Ring of Fire," which she co-wrote with Merle Kilgore . "Ring of Fire" spent seven weeks on the top of the charts and was a Top 20 pop hit. Cash continued his success in 1964 as "Understand Your Man" became a number one hit. However, Cash 's comeback was short-lived as he sank further into addiction, and his hit singles arrived sporadically. Cash was arrested in El Paso for attempting to smuggle amphetamines into the country through his guitar case in 1965. That same year, the Grand Ole Opry refused to have him perform and he wrecked the establishment's footlights. In 1966, his wife Vivian filed for divorce. After the divorce, Cash moved to Nashville. At first, he was as destructive as he ever had been, but he became close friends with June Carter , who had divorced Carl Smith . With Carter 's help, he was able to shake his addictions; she also converted Cash to fundamentalist Christianity. His career began to bounce back as "Jackson" and "Rosanna's Going Wild" became Top Ten hits. Early in 1968, Cash proposed marriage to Carter during a concert; the pair were married that spring. Also in 1968, Cash recorded and released his most popular album, Johnny Cash at Folsom Prison . Recorded during a prison concert, the album spawned the number one country hit "Folsom Prison Blues," which also crossed over into the pop charts. By the end of the year, the record had gone gold. The following year, he released a sequel, Johnny Cash at San Quentin , which had his only Top Ten pop single, "A Boy Named Sue," which peaked at number three; it also hit number one on the country charts. Cash guested on Bob Dylan 's 1969 country-rock album Nashville Skyline . Dylan returned the favor by appearing on the first episode of The Johnny Cash Show, the singer's television program for ABC. The Johnny Cash Show ran for two years, between 1969 and 1971. Cash was reaching a second peak of popularity in 1970. In addition to his television show, he performed for President Richard Nixon at the White House, acted with Kirk Douglas in The Gunfight, sang with John Williams and the Boston Pops Orchestra , and he was the subject of a documentary film. His record sales were equally healthy as "Sunday Morning Coming Down" and "Flesh and Blood" were number one hits. Throughout 1971, Cash continued to have hits, including the Top Three "Man in Black." Both Cash and Carter became more socially active in the early '70s, campaigning for the civil rights of Native Americans and prisoners, as well as frequently working with Billy Graham . In the mid-'70s, Cash 's presence on the country charts began to decline, but he continued to have a series of minor hits and the occasional chart-topper like 1976's "One Piece at a Time," or Top Ten hits like the Waylon Jennings duet "There Ain't No Good Chain Gang" and "(Ghost) Riders in the Sky." Man in Black, Cash 's autobiography, was published in 1975. In 1980, he became the youngest inductee to the Country Music Hall of Fame. However, the '80s were a rough time for Cash as his record sales continued to decline and he ran into trouble with Columbia. Cash , Carl Perkins , and Jerry Lee Lewis teamed up to record The Survivors in 1982, which was a mild success. The Highwaymen -- a band featuring Cash , Waylon Jennings , Willie Nelson , and Kris Kristofferson -- released their first album in 1985, which was also moderately successful. The following year, Cash and Columbia Records ended their relationship and he signed with Mercury Nashville. The new label didn't prove to be a success, as the company and the singer fought over stylistic direction. Furthermore, country radio had begun to favor more contemporary artists, and Cash soon found himself shut out of the charts. Nevertheless, he continued to be a popular concert performer. The Highwaymen recorded a second album in 1992, and it was more commercially successful than any of Cash 's Mercury records. Around that time, his contract with Mercury ended. In 1993, he signed a contract with American Records. His first album for the label, American Recordings , was produced by the label's founder, Rick Rubin , and was a stark, acoustic collection of songs. American Recordings , while not a blockbuster success, revived his career critically and brought him in touch with a younger, rock-oriented audience. In 1995, the Highwaymen released their third album, The Road Goes on Forever . The following year, Cash released his second album for American Records, Unchained , which featured support from Tom Petty & the Heartbreakers . His VH1 Storytellers outing was released in 1998, and in the spring of 2000, Cash compiled Love, God, Murder , a three-disc retrospective focusing on the major songwriting themes dominant throughout his career. The new studio album American III: Solitary Man appeared later that year. Health problems plagued Cash throughout the '90s and into the 2000s, but he continued to record with Rubin ; their fourth collaboration, American IV: The Man Comes Around , was released in late 2002. The following year, the Mark Romanek -directed video for his cover of Nine Inch Nails ' "Hurt" garnered considerable acclaim and media attention, culminating in an unexpected nomination for video of the year at the MTV Video Music Awards. Not long after the video sparked numerous stories, his beloved wife June Carter Cash died on May 15, 2003, of complications following heart surgery. Four months later, Johnny died of complications from diabetes in Nashville, TN. He was 71. Five months later, the compilation Legend of Johnny Cash became a Top Ten hit. In 2006 Lost Highway released the next-to-last installment of Cash 's legendary "American" recordings, American V: A Hundred Highways , from the late singer's last sessions with collaborator Rick Rubin . The final installment from those sessions appeared as American VI: Ain't No Grave , in early 2010, and is reported to be the last of the American Recordings releases. Sony Legacy started a vigorous "bootleg" series of rare, unreleased, or hard to find Cash tracks in 2011 with the two-disc Bootleg, Vol. 1: Personal File and continued into 2012 with three further two-disc sets of rare material. In 2014, Out Among the Stars -- a collection of unreleased material recorded in the early '80s, produced by Billy Sherrill and finished under the direction of John Carter Cash in 2013 -- appeared in the spring.	Man in Black
If you were suffering from encephalitis, which of your organs would be inflamed?	Johnny Cash - Academy of Achievement Johnny Cash Listen to this achiever on What It Takes What It Takes is an audio podcast on iTunes produced by the American Academy of Achievement featuring intimate, revealing conversations with influential leaders in the diverse fields of endeavor: music, science and exploration, sports, film, technology, literature, the military and social justice. A person knows when it just seems to feel right to them. Listen to your heart. Music's Man in Black Date of Death September 12, 2003 Johnny Cash was born in the small town of Kingsland, in the hill country of southern Arkansas. Life had always been difficult there, but when the Great Depression destroyed the fragile agricultural economy of the region, Johnny’s parents, Ray and Carrie Cash, could barely earn enough to feed their seven children. The childhood home, dating to the mid-1930s, of singer Johnny Cash in Dyess, Arkansas. Money and memorabilia from Johnny Cash’s family and friends have helped historians restore a significant part of the Historic Dyess Colony, a government collective built to pull Depression-era families out of poverty. Cash’s boyhood home, along with the colony’s headquarters, reflect life in a northeast Arkansas community built on once-sunken land. (AP) In 1935, the New Deal administration of President Franklin D. Roosevelt encouraged marginal farmers from the hill country to resettle in the more fertile soil of northeastern Arkansas. The Cash family took the government up on this offer and made the move. Working together, they cleared 20 acres of land to grow cotton. Johnny worked side by side with his parents on the farm. In the evenings when the day’s chores were done, the Cash family gathered on their front porch. Johnny’s mother, Carrie, played guitar, and the whole family sang hymns and traditional tunes. Johnny loved his mother’s playing and singing, and he was entranced by the country and gospel singers he heard on an uncle’s battery-powered radio. By 12 he was writing poems, songs and stories. 1957: Country singer/songwriter Johnny Cash in Memphis, Tennessee. (Photo by Michael Ochs/Getty Images) He took his first non-farm job at 14, carrying water for work gangs, but he had set his heart on a music career. He entered talent contests and sang anytime and anywhere people would listen. When Johnny Cash graduated from high school in 1950, there was no question of his going to college. The Korean War was raging, and he enlisted in the United States Air Force. He was serving with the Air Force in Germany when he bought his very first guitar. With a few of his buddies, he started a band called the Barbarians to play in small night clubs and honky tonks around the air base. When his hitch in the service was over, Johnny Cash moved to Memphis, where he sold appliances door-to-door while trying to break into the music business. Sun Records founder Sam Phillips with country singer/songwriter Johnny Cash, as he gives him a framed record of the song “I Walk The Line” to commemorate a milestone in album sales. The song appeared on Cash’s first album, With His Hot and Blue Guitar, which was released on May 1, 1956 in Memphis, Tennessee. (Colin Escott/Getty) In 1954, he was signed to the Sun Records label owned by Sam Phillips, who had also discovered rock ‘n rollers Elvis Presley and Jerry Lee Lewis. Philips was impressed with the song “Hey Porter” Cash had written when he was returning home from the Air Force. When Phillips wanted a ballad for the b-side of “Hey Porter,” Cash wrote “Cry, Cry, Cry” overnight. The single sold over 100,000 copies in the southern states alone. Johnny Cash and his sidemen, the Tennessee Two, began touring with Elvis Presley and the other Sun Records artists. They performed on the Louisiana Hayride radio program, and Johnny Cash made his first television appearances on local programs in the South. Music icons Jerry Lee Lewis, Carl Perkins, Elvis Presley and Johnny Cash, Sun Records’ “Million Dollar Quartet,” in an impromptu jam session, 1956. The photograph was the inspiration for a hit Broadway musical. (Michael Ochs) With his second recording, “Folsom Prison Blues,” Johnny Cash scored a national hit. In 1956, “I Walk the Line” was a top country hit for 44 weeks and sold over a million copies. Johnny began to appear at the Grand Ole Opry in Nashville, the Mecca of country music. His popularity increased so rapidly that, by 1957, country music publications were rating him the top artist in the field. And by 1958, Johnny Cash had published 50 songs, and pop artists far from the country music mainstream were recording Johnny Cash tunes. He had sold over six million records for Sun when he moved to the New York-based Columbia Records label. Johnny himself moved to California and brought his parents along. By the end of the 1950s, the LP, or long-playing record, was emerging as the dominant form for recorded music. The 1959 album Fabulous Johnny Cash sold half a million copies, as did Hymns and Songs of Our Soil, and the single “Don’t Take Your Guns to Town.” Concert tours took Johnny to Europe, Asia and Australia. He began to appear as an actor in television westerns. Even as his concert fees escalated, he took time from his schedule to perform free of charge at prisons throughout the nation. 1958: Johnny Cash recording with Columbia Records producer Don Law at Bradley Studio, which was bought by Columbia Records in 1962. (Photo by Elmer Williams/Country Music Hall of Fame and Museum/Getty Images) The 1960 single “Ride This Train” won a gold record, as did the 1963 album Ring of Fire and the 1968 LP Johnny Cash at Folsom Prison. In 1964, Cash, who was one-quarter Cherokee Indian, recorded the album Bitter Tears on Native American themes. That same year, he appeared at the Newport Folk Festival, breaking down a perceived barrier between the genres of country and folk music. At Newport, he made the acquaintance of Bob Dylan. Dylan featured Cash on his own Nashville Skyline album, and Cash recorded several of Dylan’s songs. Johnny Cash and June Carter Cash at the White House, where they played for President Richard Nixon, 1970. (AP) As the 1960s wore on, incessant touring took its toll on the singer. To keep up with his hectic schedule, he had become dependent on tranquilizers and the amphetamine Dexedrine. He gave up his home in California and relocated to Hendersonville, Tennessee, near Nashville. When his health recovered and he had freed himself from his chemical dependency, Johnny Cash married June Carter of the legendary Carter Family, whose radio broadcasts had inspired Johnny when he was growing up in Arkansas. With June at his side, he made a triumphant comeback, selling out Carnegie Hall and breaking the Beatles’ attendance record at London’s Palladium. In 1969, public television broadcast the documentary film Cash!, and the networks became interested in a more regular TV presence. The Johnny Cash Show premiered on ABC television in the summer of 1967 and became part of ABC’s regular schedule the following January. This prime time television variety show ran until 1970 and presented guest artists as varied as Ray Charles, Neil Young, Glenn Campbell, Stevie Wonder, Louis Armstrong, Bob Dylan, Eric Clapton and The Who. November 1970: Carl Perkins, Eric Clapton, Johnny Cash, and Derek & The Dominos on The Johnny Cash Show. Renewed sales of his records made Johnny Cash a millionaire. He used his earnings to support mental health associations, a home for autistic children, refuges for battered women, the American Cancer Society, YWCA, Youth For Christ, Campus Life, and humane societies around the country. At the same time, he played benefits for Native American causes and endowed a burn research center in memory of his former guitarist Luther Perkins, who had died in a fire. In addition to performing for prison inmates, Johnny Cash campaigned for prison reform, corresponded with inmates and helped many return to society. His 1975 autobiography Man in Black sold 1.3 million copies. He surprised fans and critics alike in 1986 by writing Man in White, a bestselling novel based on the life of St. Paul. 1968: Country singer Johnny Cash outside Folsom Prison in California, the day he recorded his live album Johnny Cash at Folsom Prison. The album reached No. 1 on the country charts and was certified three times as Platinum. In 1987, Johnny Cash received three multi-platinum records for previous sales of over two million copies each of Folsom Prison, San Quentin, and his collection of Greatest Hits. In 1994, his recording career revived with the release of American Recordings, the first of four Grammy Award-winning collections of extremely diverse material, ranging from folk songs to his own compositions and songs by contemporary artists such as U2 and Nine Inch Nails. Over the course of his career, he received 11 Grammy Awards. He was inducted into the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters’ Hall of Fame. He received the Kennedy Center Honors, the National Medal of the Arts, and the Grammy Lifetime Achievement Award. 1969: Country music legend Johnny Cash with his guitar by the wheels of a steam train. (Michael Rougier/Getty) His wife of 35 years, June Carter Cash, died from complications following heart surgery in May 2003. Johnny Cash followed her in death four months later, succumbing to respiratory failure after a long struggle with diabetes. Even in death, Johnny Cash remains a powerful force in American culture. Only two years after his passing, a motion picture based on his life, Walk the Line, enjoyed worldwide critical and popular success. The film generated a revival of interest in his life and work, assuring that another generation would find inspiration in the timeless sound of the Man in Black. American VI: Ain’t No Grave, released February 26, 2010 on what would have been Cash’s 78th birthday, is the last of the American Recordings series Cash was working on with producer Rick Rubin months before his death. Inducted in 1988 Date of Death September 12, 2003 For over 40 years, Johnny Cash wrote and sang about the lives of hard-scrabble farmers, homeless drifters, broken-down cowhands, broken-hearted lovers and men behind bars. He gave a voice to the lonesome and the lost, the dispossessed and the disillusioned. He came by this sympathy naturally, growing up on his family’s cotton farm in rural Arkansas in the depths of the Depression. America first discovered Johnny Cash in the mid-1950s, and since then people around the world have heard in his voice an unmistakable honesty about the hard facts of life, love and faith. Johnny Cash placed at least two hit singles a year on the country music charts for 33 years running, and over 53 million copies of his record albums have been sold since 1959. Songs like “Folsom Prison Blues” and “I Walk the Line” have become part of the national inheritance. In his eighth decade, he won over a new generation of admirers with his interpretations of songs ranging from traditional ballads to the dark and moody songs of contemporary rock bands. Johnny Cash and his songs have become an institution in our national life. Thanks to his recordings, the Man in Black with the cavernous baritone voice will remain as much a part of the American scene as the Mississippi River or the Rocky Mountains. Watch full interview When did you first have a vision of what you wanted to do? Keys to success — Passion Johnny Cash: I think the first time I knew what I wanted to do with my life was when I was about four years old. I was listening to an old Victrola, playing a railroad song. The song was called “Hobo Bill’s Last Ride.” And I thought that was the most wonderful, amazing thing that I’d ever seen. That you could take this piece of wax, and music would come out of that box. From that day on, I wanted to sing on the radio. That was the big thing when I was growing up, singing on the radio. The extent of my dream was to sing on the radio station in Memphis. Even when I got out of the Air Force in 1954, I came right back to Memphis and started knocking on doors at the radio station. Keys to success — Perseverance I grew up in the ’40s and I heard all these great speeches, like Winston Churchill. His most famous, or infamous commencement exercise speech was one that consisted of seven words. He stood before this graduating class and said: “Never, never, never, never, never give up.” And then somebody else said: “Every day in every way I’m getting better and better.” I didn’t especially believe that about myself, but I said it every day and I made myself believe it and it worked. I persevered. I never gave up my dream to “sing on the radio.” And that dream came true in 1955. Sun Records Studio in Memphis, Tennessee, where Johnny Cash made his first recordings in 1955. Sun Records owner Sam Phillips discovered some of America’s most influential rock, country and blues artists, including Elvis Presley, Jerry Lee Lewis, Carl Perkins and Howlin’ Wolf. (© Morris Abernathy/Corbis) Tell us how that dream came true. Who gave you your first big break? Keys to success — Perseverance Johnny Cash: Sam Phillips, at Sun Records. There was a label called Sun Records in Memphis that was pretty hot, with Elvis Presley, and two or three locally well-known country acts, and some black, blues and gospel singers. When I got out of the Air Force, I went and knocked on that door and was turned away. I called back for an interview three or four times, was turned away. So one morning I found out what time the man went to work. I went down with my guitar and sat on his steps until he got there. And when he got there I introduced myself, and he said, “You’re the one that’s been calling.” I said, “Yeah.” You know, I had to take the chance, he was either going to let me come in, or he was going to run me off, turn me down again. Evidently, he woke up on the right side of the bed that morning. He said, “Come on in, let’s listen.” So he did. He said, “Come back tomorrow and bring some musicians.” So I went down to the garage where I worked, where my brother Roy worked, and was introduced to two musicians down there. Brought them back to the studio and the next day was our first session. We recorded, and released the songs that we recorded the second day. It was very simple back then. You didn’t worry about arrangements. It was one-track recording. Music icons Jerry Lee Lewis, Carl Perkins, Elvis Presley and Johnny Cash, Sun Records’ “Million Dollar Quartet,” in an impromptu jam session, 1956. (© Michael Ochs Archives/Corbis) When you were young, was there a particular book that you read that was important to you? Johnny Cash: I read a book when I was about 12 years old about an Indian named Lone Bull. Lone Bull had tried to go out and kill a buffalo. He slipped out of the village, against his father’s wishes and went out. He was going to be a hero and kill a buffalo and bring it back to the village, so his family and the other people could have meat. And the elders of the village knew about the buffalo herd. They knew it was there, and they were making plans to cut into the herd and cut off some buffalo and kill them and have meat for the whole winter and into the next spring. Lone Bull wanted to be a hero. He went out with his bow and arrow and killed a calf, and ran the herd off into the next state. He drug this calf home, his family was fed, but they were ostracized from the village. They had to leave the village. Lone Bull became a wanderer, until he found a village that would take him in. In that next village where he was taken in, he organized the buffalo hunt that winter, and they had more meat than this village had ever had before. So, I learn from my mistakes. It’s a very painful way to learn, but without pain, the old saying is, there’s no gain. I found that to be true in my life. You miss a lot of opportunities by making mistakes, but that’s part of it: is knowing that you’re not shut out forever, and that there’s a goal there that you still can reach. Lone Bull’s philosophy was, “I’m kicked out of this village, but I will grow up and I’ll come into another one and I will do what I set out to do. That was feed the people.” So I’m feeding my people right now. Johnny Cash, at the age of ten, in 1942. A lot of people let failure get them down. You’re saying that you’ve got to move on. Johnny Cash: You build on failure. You use it as a stepping stone. Close the door on the past. You don’t try to forget the mistakes, but you don’t dwell on it. You don’t let it have any of your energy, or any of your time, or any of your space. If you analyze it as you’re moving forward, you’ll never fall in the same trap twice, which I can’t say that I haven’t been guilty of doing. But my advice is, if they’re going to break your legs once when you go in that place, stay out of there. Was there a particular person that was very important to you as a kid? Johnny Cash: In my little world, in northeast Arkansas on a cotton farm, it was my brother Jack. He was my inspiration. He was two years older than I and he was killed at the age of 14. I always wanted to be like him. He was a strong person, he was a Bible student, he was in perfect shape, physically. I always wanted to be like him. And when he died, my best friend was still my mother, and she always encouraged me to sing. As a matter of fact, we were very poor, and she took in washing from the school teachers, washed their clothes to make money to give me singing lessons, voice lessons. After about three lessons the voice teacher said, “Don’t take voice lessons. Do it your way.” I was glad for my mother that I didn’t have to take them. Johnny Cash and his brother Jack, who died at age 14. (Courtesy of Johnny Cash) How about your father? Johnny Cash: My father was a man of love. He always loved me to death. He worked hard in the fields, but my father never hit me. Never. I don’t ever remember a really cross, unkind word from my father. He was a good, strong man who provided for his family. That was his sole purpose in life when I was growing up. Johnny Cash and his mother, Carrie, at her home in Oakview, California, 1968. (AP Images/Gene Beley) It sounds like your parents were supportive of your path. Johnny Cash: They were. Especially my mother. She was the most musically inclined in the family. She played a little guitar and piano, and loved to sing. From the time I started trying to sing when I was a kid, she always encouraged me to do it. I told her when I was about 12 that I was going to sing on the radio. She encouraged that dream. Musically, my inspirations were whoever was popular on the radio: Jimmy Rodgers, the Carter Family — which is my wife’s family — black blues, black gospel and white gospel groups, like the Blackwood Brothers, and the Chuckwagon Gang. Or cowboy singers like Gene Autry, and Bob Wills. I liked the image of the man with the white hat correcting all the wrongs out there. Your voice does not sound like anybody else’s voice. You must have had a lot of confidence that you had a voice. Johnny Cash: I did. Keys to success — Vision It goes back to that music teacher when I was 12 years old. After the third lesson, I was singing some popular country song of the day. I forget the name. I think it was a Hank Williams, no, it was too early for Hank Williams, I guess. Whatever the song was, I didn’t sing it like the artist had sung it on the radio. And she said, “You’re a song stylist.” She said, “Always do it your way.” And from the age of 12, I didn’t forget that. But that was the way I had to do it, because it was the way it was with me. I had to do it my way. I couldn’t read those notes, singing those great songs, like a lot of those singers could, but I could do it my way — the way it felt good to me. And that’s what music is all about, emotion. Could you talk about a couple of moments that were highlights for you? Johnny Cash and June Carter, partners in art and life. (AP Images/Dan Poush) Johnny Cash: When I married June Carter, March 1, 1968. My son was born March 3, 1970. My induction into the Country Music Hall of Fame, which is the ultimate for a country singer, in 1980. Then, of all things, the Rock ‘n Roll Hall of Fame in 1989. They recognized my Rockabilly roots, I suppose. But the big one for me, the one that meant the most to me, was the Songwriters’ Hall of Fame. To recognize a talent that comes from God through a person. That means more to me. It’s on a little stand just as you come in my door. It’s the first thing you see when you come in my house. I’m extremely proud of that. What are the most important qualities for success in music? Johnny Cash: To love who you are and what you do, and to have faith in your ability to do it. You’ve got to know your limitations. I don’t know what your limitations are. I found out what mine were when I was twelve. I found out that there weren’t too many limitations, if I did it my way. I’m not talking about ego, and arrogance, and grandiose feelings. I’m talking about self-esteem and confidence. That’s vital: self-esteem and confidence. What do you think Sam Phillips saw in you that made him take a chance on you? Johnny Cash: I think Sam Phillips saw the originality and my difference. As a matter of fact, he said so. I think that’s what it was all about with Sam Phillips and me. That’s why he said, “Bring some musicians tomorrow and let’s record,” after he heard me the first day. He heard something that was different. Not necessarily something that was good or exceptional, or even good, but different. He had had a lot of success recording people that sounded different. That’s a talent in itself. Johnny Cash: If it works. It’s like a novelist writing far out things. If it makes a point and makes sense, then people like to read that. But if it’s off in left field and goes over the edge, you lose it. The same with musical talent, I think. If you can hold your listener, hold their attention, and you’re sure you know what you’re doing, and know that you’re communicating — you know, performance is communicating. You’ve got to communicate. You’ve got a song you’re singing from your gut, you want that audience to feel it in their gut. And you’ve got to make them think that you’re one of them sitting out there with them, too. They’ve got to be able to relate to what you’re doing. How do you do that? Johnny Cash: I don’t know how you do that. I just know when I’m doing it, and I know if I’m not doing it. After 38 years experience, I pretty well know if it’s going to work or not, usually. As a song writer, do you feel confident enough about, yes, that works, or is there a lot of insecurity about that? Johnny Cash: There’s no insecurity about my song writing. I start a lot more songs than I finish, because I realize when I get into them, they’re no good. I don’t throw them away, I just put them away, store them, get them out of sight. When I get an idea for a song it would gel in my mind for weeks or months, and then one day just like that, I’ll write it. Songwriting is a very strange thing as far as I’m concerned. It’s not something that I can say, “Next Tuesday morning, I’m gonna sit down and write songs.” I can’t do that. No way. If I say, I’m going to the country and take a walk in the woods next Tuesday, then the probability is, next Tuesday night I might write a song Creative people have to be fed from the divine source. I do. I have to get fed. I have to get filled up in order to pour out. Really have to. What feeds you? Johnny Cash: God and inspiring people, like around here at the Academy of Achievement. These people inspire me. What are you most proud of? Johnny Cash: I’m most proud that, after all I’ve been through, God has let me be alive and well today, and still with June Carter. Married country singers Johnny Cash (1932 – 2003) and June Carter Cash (1929 – 2003) perform a duet on stage. (Photo by Archive Photos/Getty Images) Did you ever imagine that you were going to have this tremendous success? Johnny Cash: No. I had no idea, even when my first record was released. For two or three days I heard it played over a Shreveport, Louisiana radio station, and I thought, “That’s too far away. That doesn’t matter. It’s too far away from Memphis.” It was a couple of months before I realized that the whole world was out there. Did you have trouble dealing with success when it came? Johnny Cash: Yeah. I had a lot of trouble dealing with success. I think it was harder for me to handle than failure would have been. I had a hard time dealing with it. I had lived a simple life and life on the road as an entertainer is anything but simple. It’s very complicated, very trying, very taxing, very tiring. I had my ups and downs, as is well documented. What advice would you give a young person to avoid some of those pitfalls. Johnny Cash: I heard a speaker talking about drugs, alcohol, artificial stimulation, and the instant gratification syndrome. He said, youth itself is enough to ask for, with all its fire and energy, enthusiasm, exuberance, eagerness and hunger. Youth shouldn’t be clouded by any chemical or anything. Somebody my age can easily know that too, but youth is too wonderful a thing to mess with while you’ve got it. Was there a teacher that particularly inspired you? Was school important to you? Johnny Cash: Yeah, I graduated from high school in 1950, in a little town in Arkansas. Actually, it was the biggest, what they call, cooperative school in the state. I graduated from high school in 1950, in a little town in Arkansas. Actually, it was the biggest, what they call, cooperative school in the state. For a small country town, there were 1,100 students in this school. And I graduated as the vice president of my class. I wasn’t all that high scholastically, because I was writing a lot of poems, and stories, and songs at the time, and I should have been studying more. But school was really important for me. And I was so disappointed in my self that I didn’t make really good grades in math. In all the other subjects I did very well. But school was really important to me. My parents — my mother and father — I think they had an eighth grade education, which was adequate for what they did with their lives then. But they wanted me — and they drilled in me — I had to graduate from high school. College was another hope that was almost unattainable for a cotton farm boy. There was no money for college, and the Korean War was breaking out, so I joined the Air Force. Would you tell a kid today that school is important? Johnny Cash: I’ve probably had the equivalent of college in the roads I’ve traveled since then, but it would have been great to go from high school right into college to study music and literature. What are your goals now? Johnny Cash: I don’t set my goals too high now, at this time in my life. My goals are just to live each day and to keep doing what we’re doing. June and I work hard and we travel more than we really want to, but we’re doing exactly what we really want to do with our lives right now. It may not be the case a year from now, or five years from now, but right now we’re doing what we want to do with our lives. We do a little acting. We did a TV western that both of us were in. We’ve done seven movies of the week for television, and we still do that once in a while. We do TV specials. We have an appearance coming up in Washington for the Fourth of July celebration. Things like that, and like the Academy of Achievement, are high points of the year for us. Can you talk about what your marriage has meant to you? Johnny Cash: The big thing about the music in my life, we shared it. We have a sharing marriage, and we share the road, we share the bedroom, we share the backstage, onstage, we share the music, the feeling, and the emotion, and the joy of it, you know. And the pain and the sadness of it. We share the love of our children. It would be terribly lonely not to have someone to share those things with me. And she’s not only a lady who I share my life with, but she may have been the person responsible for my still being alive. She and God. Because she came along at a time in my life that I was on self-destruct, and she saw what I was doing to myself and she helped bring me back up out of it. And we’ve fought and worked hard to keep our feet on the ground since then. But like I say, today is a good day. If you could talk to someone you never met but had admired, who would that be and what would you talk about? Johnny Cash: I would like to have been on the mountain when Jesus was preaching. I would like to have been listening. It’s great to still have his words. I would like to have talked to John Wilkes Booth, and asked him “Why?” to satisfy my own curiosity. I’d like to talk to Pontius Pilate. I’d like to talk to the Apostle Paul. I’d like to talk to King John, at the time of the Magna Carta, and see what the reaction of the common people was. The Bible is very important to you. Johnny Cash: I wrote a book called Man In Black, and I dedicated it to E.J. Carter. That’s my wife’s father, who taught me to love the Word. He was a theologian and he got me into Bible history, and the Bible commentaries. I discovered the joy of discovering spiritual truths, and it is a great joy. The Bible is the source of the greatest joy. What impact has that had on you? Johnny Cash: It’s a great moral stabilizer in a world that’s run amok. It’s an anchor for my own conscience, my own mind and my own life. It keeps my feet on the ground. It gives the answer to every problem you’re facing, if you look for it. It answers the question: Why? Johnny Cash: God loves us. That’s why he created us and gave us free will. Kind of like a farmer watching his chickens to see what they’re going to do. It desires that we all come back to him. That’s the way I think, that’s my God. I’ve heard you recite “The Cowboy’s Prayer.” Could you tell us what that means to you? Johnny Cash: It was written by a guy named Badger Clark, in the ’30s. I don’t remember it all by heart. But you can get the spirit of it: “Lord, I’ve never lived where churches grow. I’ve loved creation better as it stood. The day you finished it so long ago, You looked upon your work and called it good. Others seemed to find you in the light That sifted down through tinted windowpanes And yet I feel your presence here tonight In this dim, quiet starlight on the plains.” That’s part of “The Cowboy’s Prayer.” That speaks of nature and God’s presence. Johnny Cash: Yes. Someone told me another definition of God is “Great Outdoors.” What characteristics are most important for success? Johnny Cash: I could go by a lot of catch phrases like, “Know your own self,” “To thine own self be true.” Self-esteem and perseverance and confidence are all important, but the first thing is to know what you want to do. Set that goal out there and never lose sight of it, and work toward it. And know that there are going to be byways and sidetracks, but keep persevering and keep on, and do what you know that you want to do. How do you know what you want to do? Johnny Cash: A person knows when it just seems to feel right to them, something they want to do. Feeling has still got a lot to do with it. Instinct is a very important thing to you. Johnny Cash: Instinct is vital, yes. Listen to your heart. Thank you so much for speaking with us today.	i don't know
Which former jump jockey won the prestigious 'Crime Writer's Association' award the Cartier Diamond Dagger, in 1989?	Jockey and war hero was Dead Cert to write thrillers \| Irish Examiner Jockey and war hero was Dead Cert to write thrillers Wednesday, October 17, 2012 By Declan Burke Dick Francis mined his RAF and riding careers to author 44 crime novels. The first was published 50 years ago, says Declan Burke DICK FRANCIS wrote 44 thrillers set in the world of horseracing. His first, Dead Cert, was published 50 years ago this month. In his career, Francis sold 60m copies. But few of the former jockey’s heroes came close to matching his own exploits, both on and off the track. Born in Pembrokeshire in Wales in 1920, Richard Stanley Francis grew up the son of a jockey, in Berkshire, England. Francis left school without qualifications at the age of 15, determined to become a jockey. He became a trainer in 1938, and volunteered for the cavalry when war broke out in 1939. Francis spent the war in the RAF, mostly billeted in Africa, flying Spitfires and Hurricanes and, later, bombing missions. By comparison, his post-war career as a jockey must have seemed tame. Francis wasn’t just another jockey, however. He rode 350 winners and became champion jockey in 1954, serving as the Queen Mother’s jockey from 1953 to 1957. Famously, or infamously, he was riding Devon Loch in the 1956 Grand National when the horse, five lengths clear and only 40 yards from the finish line, suddenly collapsed. That loss, Francis said in later years, was his life’s greatest regret. He had much to console him. After retiring as a jockey, Francis published a well-received autobiography, The Sport of Queens, in 1957. Offered the job as racing correspondent for the Sunday Express, he held the position for 16 years. In retrospect, given his insider’s knowledge of racing, as a jockey and a journalist, and his heroic service during the war, it seemed inevitable that Francis would write fiction. Like Dead Cert, most of Francis’s books were set against the shady backdrop of the racing world, many with jockey Alan York as their hero. Not all of Francis’s protagonists were jockeys. Francis was fascinated by a variety of professions, and his heroes were private investigators, pilots, artists, antique dealers and government agents, and a wine merchant. Francis published a book per year for the following 38 years (all but two were novels: A Jockey’s Life (1986) was a biography of Lester Piggott, while Field of 13 (1998) was his only collection of short stories). He quickly built up a loyal following, and his popularity was matched by critical plaudits. Odds Against (1965), Flying Finish (1966) and Blood Sport (1967) were all shortlisted for the prestigious Edgar award, the US crime-writing equivalent of the Oscar. Forfeit (1968) finally won Francis the Edgar. He would win the prize twice more, for Whip Hand (1979) and Come to Grief (1992). Whip Hand also won the Crime Writers’ Association Gold Dagger, the most prestigious crime-writing prize in the UK. In 1989, the CWA awarded Francis the Cartier Diamond Dagger, its lifetime achievement award, while the Mystery Writers of America bestowed on him its highest award, that of grand master, in 1996. Francis’s honours weren’t confined to crime writing. He was awarded the OBE in 1983, and the CBE in 2000. In 1999, he was elected a Fellow of the Royal Society of Literature. The last four Dick Francis novels were co-authored with his son, Felix. The first of these, Dead Heat, appeared in 2006. The idea that the whip could simply be handed down from father to son seemed rather presumptuous, but Francis was honest about having always collaborated on his novels. Francis met his wife, Mary, in 1945, and they married two years later, despite their families’ disapproval. A publisher’s reader and later a pilot, Mary was Francis’s chief researcher for the books, although he said she brought much more to the process than research. “I am Richard,” he said late in life, “Mary was Mary, and Dick Francis was the two of us together.” A biography of Francis, published in 1999, Graham Lord’s A Racing Life, alleges that Mary Francis was the ‘ghost writer’ of the Dick Francis novels, but that the publishing world — and readers in particular — demanded that the taut, muscular thrillers bear a male name. Lord said he believed Francis was frustrated by debate about authorship, and wished that his wife received the credit she was due. Dick and Mary Francis moved from England to Florida in the 1980s, and relocated to the Cayman Islands in the early 1990s, where Mary died in 2000. Dick’s later years were plagued by ill-health. He had a heart by-pass in 2006, and his right leg was amputated in 2007. Dick Francis died on Grand Cayman on Feb 14, 2010. He had published 46 books, and been translated into 35 languages. His name and his legacy live on through his son, who last year published the first ‘Dick Francis Novel’, Gamble, under the name of Felix Francis. The essential Dick Francis Dead Cert (1962) Was Francis drawing on his Devon Loch experience when he wrote about a horse suffering a suspicious fall? The hero, Alan York, knows sabotage when he sees it and sets out to investigate in this auspicious debut. Forfeit (1968) Racing correspondent James Tyrone sniffs out a story and sets in train an explosive series of events, in the novel that finally won Francis the Edgar award in the US, after four straight years of being nominated. Whip Hand (1979) Former jockey Sid Halley investigates an owners’ syndicate that appears to specialise in violent kidnapping. Whip Hand won Francis the Edgar, and the UK’s Gold Dagger Award. Come to Grief (1995) Sid Halley returns for the third time, in a tale of personal betrayal and brutal violence. Come to Grief was the third novel to win Francis the prestigious Edgar. Dead Heat (2006) No jockey hero this time, but chef Max Moreton, whose position as a celebrity cook to the racing circuit is jeopardised — along with his life — by an outbreak of food poisoning. Was it sabotage? The first Dick/ Felix Francis collaboration. FELIX FRANCIS: Taking the Reins Dick Francis was always happy to acknowledge in private the part his wife Mary played in collaborating on his novels (see main feature), but it was his son Felix who became Dick Francis’s official collaborator with Dead Heat in 2006. Originally a physics teacher, Felix left education behind in order to first become his father’s business manager, and then his co-author. They worked together for 40 years before finally taking the decision to write together. They published four novels in total: Dead Heat, Silks (2008), Even Money (2009) and Crossfire (2010). The pair were working on Crossfire when Dick died on Feb 14, 2010. Felix Francis has continued to publish novels in the wake of his father’s death. Gamble appeared in Sept 2011, described on the cover as ‘A Dick Francis Novel’ written by Felix Francis. Bloodline, which is similarly described, is published by Felix Francis this month.	Dick Francis
In 'The Guns of Navarone' who played the demolitions expert?	Dick Francis --- Under Orders --- 10 CDs Unabridged --- Read By Tony Britton - 🔥Demonoid🔥 Details for Dick Francis --- Under Orders --- 10 CDs Unabridged --- Read Created by Audio Books : Thriller : MP3/Variable : English Dick Francis - Under Orders Read By Tony Britton Unabridged. Running Time 10 hours 4 mins 10 CDs converted to 10 MP3 files at 80 kbit/s ABR (Which works out about 72 kbit/s) If you would like to try another Dick Francis Audio Book I have uploaded, just double click the title below. Twice Shy About The Book "Sadly, death at the races is not uncommon. However, three in one afternoon was sufficiently unusual to raise more than an eyebrow." It's the third death that really troubles former champion jump-jockey Sid Halley. He knows the perils of racing all too well - but in his day, jockeys didn't usually reach the finishing line with three .38 rounds in the chest. But this is precisely how he finds Huw Walker - the new winner of the Triumph Hurdle and Halley's friend. Now former friend. Walker was riding one of Lord Enstone's horses in the Hurdle and it was the inimitable owner who invited Halley in the first place. His brief: to make discrete enquiries into alleged race fixing.Are results being rigged? Are bookies taking a cut? And if so, are trainers and jockeys playing a dangerous game with stakes far higher than they realise ...Halley's quest for answers draws him ever deeper into the darker side of the race game, in a life-or-death power-play that will push him to his very limits - both professionally and personally. About The Author Dick Francis was born in Lawrenny, South Wales in 1920. He served in the Royal Air Force for six years during World War II, piloting fighter and bomber aircraft including the Spitfire and Lancaster between 1943 and 1946. Following the war, Francis, the son of a jockey, became a celebrity in the world of British National Hunt racing. He won more than 350 races. In 1956, when his horse suddenly collapsed a few yards from victory, Francis decided to begin a second career as a writer. He accepted an invitation to write six features for the London Sunday Express. He stayed on as the newspaper's racing correspondent for 16 years. Sports writing soon led to fiction writing, which in turn led to a string of bestselling novels. His first, Dead Cert, was published in 1962. His 36th novel, 10 Lb. Penalty, was published in 1997. Francis was made an Officer of the most noble Order of the British Empire in 1984, and was awarded the British Crime Writers Association silver dagger in 1965, gold dagger in 1980 and Cartier diamond dagger for his life's work in 1990. The recipient of three Edgar Allen Poe Awards for Best Novel from the Mystery Writers of America, most recently for 1995's Come to Grief, Francis is the only person to have been awarded the prestigious award more than once. The Mystery Writers of America named Francis Grand Master for his life's work in 1996, and he was awarded an Honorary Doctorate of Humane Letters from Tufts University in 1991. About The Reader Anthony Edward Lowry Britton (born June 9, 1924 in Birmingham), is a veteran English film and television actor known as Tony Britton. He is the father of presenter Fern Britton and actor Jasper Britton. He attended Edgbaston Collegiate School, Birmingham and Thornbury Grammar School, Gloucestershire. During World War II he served in the Army and he also worked for an estate agents and in an aircraft factory. He joined an amateur dramatic Group in Weston-super-Mare and then turned professional, appearing at The Old Vic and with the Royal Shakespeare Company on stage. He has appeared in numerous British films from the 1950s onwards, including such classics as Sunday Bloody Sunday (1971) and The Day of the Jackal (1973). From 1983 to 1990, he starred with Nigel Havers and Dinah Sheridan in the popular BBC sitcom, Don't Wait Up. His other sitcoms appearances include ...And Mother Makes Five and Robin's Nest. All the above information including the pictures I have inserted into the ID3 tags on the MP3 files so you should be able to read them and see the picture if you are planning to put them on and iPod. Remember, we have uploaded these books just for you because we wish to share them. It is only right therefore, you share them with others, and the only way you can do this, is to keep SEEDING. In other words, don't stop after you have finished the download. Check and make sure your torrent program is set to continue uploading even after the downloading has been completed. A ratio of 2.0 means you are giving back twice what you have received and 5.0 would be outstanding. We do our bit and you do your bit, sounds fair, doesn't it. If you are new to this and don't understand, type a message at the bottom and if I can't help, I know someone who can. Show Demonoid some love with	i don't know
In which continent would you find 'The Great Rift Valley'?	East Africa's Great Rift Valley: A Complex Rift System Home » Plate Tectonics » The East Africa Rift System East Africa's Great Rift Valley: A Complex Rift System by James Wood and Alex Guth - Michigan Technological University Lake Bogoria and geyser - Image © Alex Guth. Figure 1: Colored Digital Elevation Model showing tectonic plate boundaries, outlines of the elevation highs demonstrating the thermal bulges and large lakes of East Africa. Click to Enlarge . The basemap is a Space Shuttle radar topography image by NASA. Part I. The East African Rift System The East African Rift System (EARS) is one the geologic wonders of the world, a place where the earth's tectonic forces are presently trying to create new plates by splitting apart old ones. In simple terms, a rift can be thought of as a fracture in the earth's surface that widens over time, or more technically, as an elongate basin bounded by opposed steeply dipping normal faults. Geologists are still debating exactly how rifting comes about, but the process is so well displayed in East Africa (Ethiopia-Kenya-Uganda-Tanzania) that geologists have attached a name to the new plate-to-be; the Nubian Plate makes up most of Africa, while the smaller plate that is pulling away has been named the Somalian Plate (Figure 1). These two plates are moving away form each other and also away from the Arabian plate to the north. The point where these three plates meet in the Afar region of Ethiopia forms what is called a triple-junction. However, all the rifting in East Africa is not confined to the Horn of Africa; there is a lot of rifting activity further south as well, extending into Kenya and Tanzania and Great Lakes region of Africa. The purpose of this paper is to discuss the general geology of these rifts are and highlight the geologic processes involved in their formation. Figure 2: Rift segment names for the East African Rift System. Smaller segments are sometimes given their own names, and the names given to the main rift segments change depending on the source. Click to Enlarge . The basemap is a Space Shuttle radar topography image by NASA. What is the East Africa Rift System? The oldest and best defined rift occurs in the Afar region of Ethiopia and this rift is usually referred to as the Ethiopian Rift. Further to the South a series of rifts occur which include a Western branch, the "Lake Albert Rift" or "Albertine Rift" which contains the East African Great Lakes, and an Eastern branch that roughly bisects Kenya north-to-south on a line slightly west of Nairobi (Figure 2). These two branches together have been termed the East African Rift (EAR), while parts of the Eastern branch have been variously termed the Kenya Rift or the Gregory Rift (after the geologist who first mapped it in the early 1900's). The two EAR branches are often grouped with the Ethiopian Rift to form the East Africa Rift System (EARS). The complete rift system therefore extends 1000's of kilometers in Africa alone and several 1000 more if we include the Red Sea and Gulf of Aden as extensions. In addition there are several well-defined but definitely smaller structures, called grabens, that have rift-like character and are clearly associated geologically with the major rifts. Some of these have been given names reflecting this such as the Nyanza Rift in Western Kenya near Lake Victoria. Thus, what people might assume to be a single rift somewhere in East Africa is really a series of distinct rift basins which are all related and produce the distinctive geology and topography of East Africa. Figure 3: "Textbook" horst and graben formation (left) compared with actual rift terrain (upper right) and topography (lower right). Notice how the width taken up by the trapezoidal areas undergoing normal faulting and horst and graben formation increases from top to bottom in the left panel. Rifts are considered extensional features (continental plates are pulling apart) and so often display this type of structure. Click to Enlarge . How did these Rifts form? The exact mechanism of rift formation is an on-going debate among geologists and geophysicists. One popular model for the EARS assumes that elevated heat flow from the mantle (strictly the asthenosphere) is causing a pair of thermal "bulges" in central Kenya and the Afar region of north-central Ethiopia. These bulges can be easily seen as elevated highlands on any topographic map of the area (Figure 1). As these bulges form, they stretch and fracture the outer brittle crust into a series of normal faults forming the classic horst and graben structure of rift valleys (Figure 3). Most current geological thinking holds that bulges are initiated by mantle plumes under the continent heating the overlying crust and causing it to expand and fracture. Ideally the dominant fractures created occur in a pattern consisting of three fractures or fracture zones radiating from a point with an angular separation of 120 degrees. The point from which the three branches radiate is called a "triple junction" and is well illustrated in the Afar region of Ethiopia (Figure 4), where two branches are occupied by the Red Sea and Gulf of Aden, and the third rift branch runs to the south through Ethiopia. The stretching process associated with rift formation is often preceded by huge volcanic eruptions which flow over large areas and are usually preserved/exposed on the flanks of the rift. These eruptions are considered by some geologists to be "flood basalts" - the lava is erupted along fractures (rather than at individual volcanoes) and runs over the land in sheets like water during a flood. Such eruptions can cover massive areas of land and develop enormous thicknesses (the Deccan Traps of India and the Siberian Traps are examples). If the stretching of the crust continues, it forms a "stretched zone" of thinned crust consisting of a mix of basaltic and continental rocks which eventually drops below sea level, as has happened in the Red Sea and Gulf of Aden. Further stretching leads to the formation of oceanic crust and the birth of a new ocean basin. Figure 4: Triple Junction in the Afar region of Ethiopia. Image shows areas of stretched and oceanic crust as well as areas of exposed flood basalts that preceded rifting. Areas unshaded or covered by flood basalts represent normal continental crust. As the crust is pulled apart you end up with thinned crust with a complex mixture of continental and volcanic rock. Eventually the crust thins to the point where oceanic-type basalts are erupted which is the signal that new ocean crust is being formed. This can be seen in the Gulf of Aden as well as a small sliver within the Red Sea. The original extent of the flood basalts would have been greater, but large areas have been buried within the rift valley by other volcanic eruptions and sediments. Click to Enlarge . Part II. The East African Rift If the rifting process described occurs in a continental setting, then we have a situation similar to what is now occurring in Kenya where the East African/Gregory Rift is forming. In this case it is referred to as "continental rifting" (for obvious reasons) and provides a glimpse into what may have been the early development of the Ethiopian Rift. As mentioned in Part I, the rifting of East Africa is complicated by the fact that two branches have developed, one to the west which hosts the African Great Lakes (where the rift filled with water) and another nearly parallel rift about 600 kilometers to the east which nearly bisects Kenya north-to-south before entering Tanzania where it seems to die out (Figure 2). Lake Victoria sits between these two branches. It is thought that these rifts are generally following old sutures between ancient continental masses that collided billions of years ago to form the African craton and that the split around the Lake Victoria region occurred due to the presence of a small core of ancient metamorphic rock, the Tanzania craton, that was too hard for the rift to tear through. Because the rift could not go straight through this area, it instead diverged around it leading to the two branches that can be seen today. As is the case in Ethiopia, a hot spot seems to be situated under central Kenya, as evidenced by the elevated topographic dome there (Figure 1). This is almost exactly analogous to the rift Ethiopia, and in fact, some geologists have suggested that the Kenya dome is the same hotspot or plume that gave rise to the initial Ethiopian rifting. Whatever the cause, it is clear that we have two rifts that are separated enough to justify giving them different names, but near enough to suggest that they are genetically related. Baringo scarps: This image shows several fault scarps that are progressively farther away. Essentially we are looking at the edges of several horst blocks from within a graben that contains Lake Baringo. Image © Alex Guth. Click to Enlarge . Other Points of Interest: What else can we say about the Ethiopian and Kenya Rifts? Quite a lot actually; even though the Eastern and Western branches were developed by the same processes they have very different characters. The Eastern Branch is characterized by greater volcanic activity while the Western Branch is characterized by much deeper basins that contain large lakes and lots of sediment (including Lakes Tanganyika, the 2nd deepest lake in the world, and Malawi). Recently, basalt eruptions and active crevice formation have been observed in the Ethiopian Rift which permits us to directly observe the initial formation of ocean basins on land. This is one of the reasons why the East African Rift System is so interesting to scientists. Most rifts in other parts of the world have progressed to the point that they are now either under water or have been filled in with sediments and are thus hard to study directly. The East African Rift System however, is an excellent field laboratory to study a modern, actively developing rift system. This region is also important for understanding the roots of human evolution. Many hominid fossil finds occur within the rift, and it is currently thought that the rift's evolution may have played an integral role in shaping our development. The structure and evolution of the rift may have made East Africa more sensitive to climate changes which lead to many alternations between wet and arid periods. This environmental pressure could have been the drive needed for our ancestors to become bipedal and more brainy as they attempted to adapt to these shifting climates (see Geotimes 2008 articles: Rocking the Cradle of Humanity by Beth Christensen and Mark Maslin, and Tectonic Hypotheses of Human Evolution by M. Royhan Gani and Nahid DS Gani). Igneous dike in Njorowa Gorge: This was taken at the Njorowa Gorge in Hell's Gate National Park. The gorge was carved by water, and is quite spectacular in many regards, but here we have an igneous dike cutting through the wall of the canyon, with Dr. Wood and one of our guides for scale. Image © Alex Guth. Click to Enlarge . Conclusions: The East African Rift System is a complicated system of rift segments which provide a modern analog to help us understand how continents break apart. It is also a great example of how many natural systems can be intertwined - this unique geological setting may have altered the local climate which may have in turn caused our ancestors to develop the skills necessary to walk upright, develop culture and ponder how such a rift came to be. Just like the Grand Canyon, the East African Rift System should be high on any geologist's list of geologic marvels to visit. About the authors: James Wood has a PhD from Johns Hopkins University and is currently Professor of Geology at the Michigan Technological University in Houghton, Michigan where he teaches Earth History, Geochemistry, Remote Mapping and conducts a field course every spring in East Africa. His main research interests are energy deposits, mainly gas and oil, and doing field work in rift valleys. More information on the East Africa field course can be found at www.geo-kenya.com . Alex Guth is currently a PhD candidate at Michigan Tech and is looking at the effects of climate on desert varnish on the exposed flows and alluvium in the East African Rift Valley. She assists Dr. Wood with the geology field camp. She recently produced a geologic map of the southern half of the Kenya Rift which may be found at www.geo-kenya.com . Her website can be viewed at: www.geo.mtu.edu/~alguth/ . More Plate Tectonics	Africa
What is the surname of the family in the book Little Women by Louisa May Alcott?	PLATE TECTONICS: Lecture 2 PLATE TECTONICS: Lecture 3 THE WILSON CYCLE: RIFTING AND THE DEVELOPMENT OF OCEAN BASINS As the concept of sea floor spreading gained acceptance in the late 60's, the consequences for geology gradually began to dawn. One of the first to recognise how plate tectonics could be applied to the geological record was J. Tuzo Wilson. If continents rift apart to form ocean basins, other oceans must close. This may be repeated throughout Earth history. Example: the IAPETUS ocean between England & Scotland in the Lower Palaeozoic, closed in the Caledonian; later opening of the Atlantic, almost in the same place. The cycle is known as the Wilson Cycle: (1) Rifting of continents by mantle diapirism (2) Continental drift, seafloor spreading & formation of ocean basins (3) Progressive closure of ocean basins by subduction of ocean lithosphere (4) Continental collision and final closure of ocean basin The two diagrams below (Figs 1 & 2) illustrate some simple (if old) concepts of continental rifting (e.g. the Gondwana continent) at the start of the Wilson Cycle. Uprising plume causes doming of crust with magma chamber developing underneath. As extension continues, an ocean basin forms, and thick sedimentary sequences develop at continental margins as rivers dump sediments in deep water. However in reality may be a bit more complex . . . CONTINENTAL RIFTING: rrr and RRR triple junctions Four main stages can be recognised in the tectonic development of a typical rifted passive margin: (1) The RIFT VALLEY stage involves early graben formation prior to continental splitting. This stage may be associated with domal uplift caused by uprise of hot upper mantle material - but this uplift is not ubiquitous and may be connected with underlying mantle hotspots. Example: African Rift Valley. (2) The YOUTHFUL stage, lasting about 50 my after the onsett of seafloor spreading, while the thermal effects are still dominant. This stage is characterised by rapid regional subsidence of the outer shelf and slope, but some graben formation may persist. Example: Red Sea. (3) The MATURE stage during which more subdued regional subsidence may continue. Example: most of the present Atlantic continental margins. (4) The FRACTURE stage when subduction starts and terminates the history of the continental margin. Fig. 3. The continent of Africa is thought to have been split by a series of rift valleys in various states of development. Those in East Africa are still in thick crust. Those in West Africa are associated with thick oil-bearing sediments. In the Red Sea area the rifting has gone so far as to form a narrow ocean. In the south-east Madagascar has been completely separated from Africa by rifting. There are many examples of Stage 1. East African Rift Valley is the classic example. But also the Midland Valley of Scotland, the Rhine Graben, the Oslo Graben. These rifts have never got beyond stage 1. Commonly the volcanism associated with these rifts is highly alkaline and undersaturated in silica. What initiates rifting? There has been considerable discussion on this over the years. Some have ascribed rifting to up-doming of the crust over a hot-spot; certainly parts of the E African rift system are very elevated, compared with other sectors, suggesting that the doming reflects an underlying hot low-density mantle plume. In other cases, geophysical models suggest the asthenospheric mantle is rising to high levels beneath the rift. However it is also apparent that rifting can take place without extensive uplift; in such cases it may be the convective processes in the underlying asthenosphere which are causing the extension. To rift a continent apart it needs the rifts associated with various possible thermal domes to link together. Morgan (1981, 1983) has suggested that as continents drift slowly over hotspots the hotspots weaken the plate - like a blowtorch impinging on the base - and these weakened zones become the sites of continental rifting. Burke & Whiteman (1973), following the doming hypothesis, suggested that in these domal regions, three rifts would develop, forming an 'rrr' triple junction. Although it is possible that all three rifts might develop into an ocean ('RRR'), it is more likely that two of these rifts would develop into an ocean ('RRr'), leaving the third rift as a 'failed arm'. They demonstrated / speculated that on many continents it was possible to recognise these RRr junctions. The 'failed arm' rift would eventually subside as the thermal anomaly decayed and become the site of a major depositional basin, or a major river channel and delta. The Benue Trough in Nigeria is regarded as an example of such a failed arm following the opening of the S. Atlantic. When oceans eventually close it is possible to recognise these failed arms as depositional basins oriented perpendicular to the collision mountain belt (most basins tend to be aligned parallel to mountain belts). These are termed 'aulacogens'. Fig. 4. A. Doming by a mantle plume associated with volcanicity. B. Rifting (rrr junction) is initiated. C. Further development results in two of the rifts developing into an ocean, the third is a failed arm (aulacogen). D. Less likely is that all three arms develop into oceans. E. A common situation is that the failed arm develops into a major river system feeding the continental margin. F. Expansion of oceans on a finite earth is not possible: there must be plate subduction, somewhere, sometime. G. Closure of oceans results in island arc development above the subduction zone. H. Continued closure results in collision with major fold and thrust belts. But often the failed arm (aulocogen) is still preserved. Development of Continental Rifts Early ideas on the development of rifts are conceptualised in the diagram shown in Fig. 5. This is based on the African rift system, where there is significant rift magmatism. There is notable extension, shown by the widening of the diagram block by at least 50 km. At the same time there is uplift or ascent of the more ductile mantle, especially the asthenosphere. The crust, and particularly the upper crust, is assumed to act in a brittle fashion. Fig. 5a. Progressive formation of a rift valley through extension of the lithosphere and continental crust (by about 50 km). Note that uprise and decompression of the underlying asthenosphere results in magma formation. The crust responds by brittle fracture. Early rift sediments are downfaulted into the developing rift (graben). Erosion takes place on the sides of the rift valley. The first stage assumes that graben-like faults begin to form in the brittle crust. The second stage shows simultaneous necking of the lithosphere with uprise of an asthenosphere diapir. The decompression associated with the latter causes melting of the mantle to give alkaline basaltic magmas. Pre-existing sediments are downfaulted into the graben. The third stage is accompanied by significant extension and by more uprise of the asthenosphere. The latter causes doming of the crust (which is evident along the E. African rift system, but is variably devloped. New sediments are deposited within the graben as a result of erosion of the uplifting sides of the graben. So there are both pre-rift and syn-rift sediments within the developing rift valley, but sediments on the flanks are progressively erodied away. Note the complex normal-faulting within the rift valley itself. The fourth stage (Fig. 5b ï¿½ below) shows the actually rifting-apart of the continent, so the asthenosphere rises towards the surface, causing decompression and extensice melting. New basaltic oceanic crust is formed. Finally, sea-floor spreading takes over as the ocean basin widens. The rift sedimentary sequence is buried beneath younger marine sediments. Note: on this diagram the sediments at the continental margin are shown as not very thick. This is because the model is based on the East African Rift System, which does not have a great deal of subsidence associated with rifting. However, other rifted continental margin sequences are very different, with thick sedimentary sequences. Continental Shelf Sediments The real situation at passive continental margins is shown in Fig. 6 (below). This is typical of a number of crustal cross-sections across the continental shelf of the eastern Atlantic seaboard of North America, projected down to 30 km -- based largely on gravity and magnetic evidence, plus some seismic profiles -- and some extrapolation from land geology based on deep drill holes. The critical point is the huge thicknesses of Mesozoic and Tertiary sediments, here shown as almost 15 km, but in other cross-sections this can be even thicker. Note that at the bottom of this pile are volcanics and volcanogenic sediments, and evaporites, which most likely are shallow water. Also, massive carbonate reef structures, which must also be shallow water, but also must indicate progressive subsidence .. .. slow enough that shallow water sedimentation can keep pace with it. In many sections of the continental shelf off this eastern seaboard of the USA there is a major coast-parallel magnetic structure, possibly a major intrusion. But its age is unknown. Fig. 6. Profile of deep structure of continental shelf off Atlantic coast of eastern North America -- ?typical of passive continental margins. (Based on gravity, magnetics and seismic data) Critical points regarding this profile are (a) the large thickness of post-rift sediments of Mesozoic-Tertiary age, up to 15 km, and (b) that most of these sediments are shallow-water type. Note: volcanics and evaporites and reef (or carbonate banks) Continental Rift: elongate tectonic depression with which the entire lithosphere has been modified in extension Rift System: Tectonically interconnected series of rifts Modern Rift: A rift that is teconically or magmatically active Paleorift: A dead or dormant rift Failed Arm: Branch of a triple junction not developed into an ocean basin Aulacogen: Paleorift in ancient platform that has been reactivated by compressional deformation Active Rifting: Rifting in response to thermal upwelling of the asthenosphere Passive Rifting: Rifting in response to remote stress field Rifts and Mineralisation Rifting structures are often good sites for mineralisation. This arises for three reasons: (1) They can be the sites of thick clastic sedimentation. These sediments hold vast amounts of inter-granular salt water (brines). The brines may be in contact with reducing sediments, such as carbonaceous shales, also a ready supply of sulphur/sulphate. As the sediments compact, these brines are expelled and can move laterally for large distances until they move up the rift faults. Having been buried deep the brines get hot, and can be very corrosive. So en route they can dissolve considerable amounts of metals. However, when they rise up the rift faults and cool, these metals will be precipitated out. This can be enhanced because oxidising meteoric water (groundwater) may also penetrate down these faults, so metals wil be precipitated out when the two meet. (2) Rift structures are also thermally anomalous hot zones. This is because they are frequently underlain by igneous intrusions -- granite (or perhaps in some cases gabbro) plutons. This magmatic heat drives the hydrothermal systems. Importantly, these hydrothermal systems can last for many millions of years, so the hot fluids in these hydrothermal systems can leach away at the rocks within the rift system and precipitate the leached metals nearer the surface. Because the rift structures remain topographically low structures for many tens of millions of years, these metals concentrations can be preserved, without being eroded, for long periods. (3) The rift zones may be the sites of diverse rocks, particularly basaltic lavas, which can release their metals on hydrothermal alteration. However, because the rift faults can extend very deep (well into the upper mantle in some cases), there may also be a component of deep fluids and metals in the hydrothermal system. References The references below will lead you to some of the discussion on rifting and the Wilson Cycle: BAKER, B.H., MOHR, P. & WILLIAMS, L.A.J. 1972. Geology of the eastern rift system of Africa. Geological Society of America Special Paper 136, 1-67. BOSWORTH, W. 1985. Geometry of propagating continental rifts. Nature 316, 625-627. BOSWORTH, W. 1987. Off-axis volcanism in the Gregory rift, East Africa: implications for models of continental rifting. Geology 15, 397-400. BOTT, M.H.P 1995. Mechanisms ofrifting: Geodynamic modeling of continental rift systems. In: K.H. Olsen (ed.) Continental rifts: evolution, structure, tectonics. Developments in Geotectonics, 25, 27-43. Elsevier, Amsterdam BRAILE, L.W., KELLER, G.R., WENDLANDT, R.F., MORGAN, P. & KHAN, M.A. 1995. The East African Rift system. In: K.H. Olsen (ed.) Continental rifts: evolution, structure, tectonics. Developments in Geotectonics, 25, Elsevier, Amsterdam BURKE, K. & DEWEY, J.F. 1973. Plume generated triple junctions: key indicators in applying plate tectonics to old rock. Journal of Geology 81, 406-433. BURKE, K. & WHITEMAN, A.J. 1973. Uplift, rifting and break-up of Africa. In TARLING, D.H. & RUNCORN, S.K. (eds) Implications of continental drift to the earth sciences. Academic Press, London. 735-755. DEWEY, J.F. & BURKE, K. 1974. Hotspots and continental break-up: implications for collisional orogeny. Geology 2, 57-60. DUNCAN, C.C. & TURCOTTE, D.L. 1994. On the breakup and coalescence of continents. Geology 22, 103-106. GURNIS, M. 1988. Large-scale mantle convection and the aggregation and dispersal of continents. Nature 332, 695-699. MORGAN, W.J. 1981. Hotspot tracks and the opening of the Atlantic and Indian Oceans. In Emiliani, C. (ed) The Sea. Volume 7, 443-487. Wiley, New York. MORGAN, W.J. 1983. Hotspot tracks and the early rifting of the Atlantic. Tectonophysics 94, 123-139. MURPHY, J.B. & NANCE, R.D. 1992. Mountain belts and the supercontinent cycle. Scientific American 266, 84-91. OLSEN, K.H. & MORGAN, P. 1995. Introduction: Progress in understanding continental rifts. In: K.H. Olsen (ed.) Continental rifts: evolution, structure, tectonics. Developments in Geotectonics, 25, 3-26. Elsevier, Amsterdam SPOHN, T. & SCHUBERT, G. 1982. Convective thinning of the lithosphere: a mechanism for the initiation of continental rifting. Journal of Geophysical Research 87, 4669-4681. WHITE, R.S. & McKENZIE, D.P. 1989. Magmatism at rift zones: the generation of volcanic continental margins and flood basalts. Journal of Geophysical Research 94, 7685-7730. WILSON, J.T. 1966. Did the Atlantic close and then re-open? Nature 211, 676-681.	i don't know
What was the first thing that Scrooge purchased after his change of heart?	A CHRISTMAS CAROL - Stave Two "A quarter to it," said Scrooge. "Ding dong!" "The hour itself," said Scrooge, triumphantly, "and nothing else!" He spoke before the hour bell sounded, which it now did with a deep, dull, hollow, melancholy One. Light flashed up in the room upon the instant, and the curtains of his bed were drawn. The curtains of his bed were drawn aside, I tell you, by a hand. Not the curtains at his feet, nor the curtains at his back, but those to which his face was addressed. The curtains of his bed were drawn aside; and Scrooge, starting up into a half-recumbent attitude, found himself face to face with the unearthly visitor who drew them: as close to it as I am now to you, and I am standing in the spirit at your elbow. It was a strange figure -- like a child: yet not so like a child as like an old man, viewed through some supernatural medium, which gave him the appearance of having receded from the view, and being diminished to a child's proportions. Its hair, which hung about its neck and down its back, was white as if with age; and yet the face had not a wrinkle in it, and the tenderest bloom was on the skin. The arms were very long and muscular; the hands the same, as if its hold were of uncommon strength. Its legs and feet, most delicately formed, were, like those upper members, bare. It wore a tunic of the purest white, and round its waist was bound a lustrous belt, the sheen of which was beautiful. It held a branch of fresh green holly in its hand; and, in singular contradiction of that wintry emblem, had its dress trimmed with summer flowers. But the strangest thing about it was, that from the crown of its head there sprung a bright clear jet of light, by which all this was visible; and which was doubtless the occasion of its using, in its duller moments, a great extinguisher for a cap, which it now held under its arm. Even this, though, when Scrooge looked at it with increasing steadiness, was not its strangest quality. For as its belt sparkled and glittered now in one part and now in another, and what was light one instant, at another time was dark, so the figure itself fluctuated in its distinctness: being now a thing with one arm, now with one leg, now with twenty legs, now a pair of legs without a head, now a head without a body: of which dissolving parts, no outline would be visible in the dense gloom wherein they melted away. And in the very wonder of this, it would be itself again; distinct and clear as ever. "Are you the Spirit, sir, whose coming was foretold to me?" asked Scrooge. "I am." The voice was soft and gentle. Singularly low, as if instead of being so close beside him, it were at a distance. "Who, and what are you?" Scrooge demanded. "I am the Ghost of Christmas Past." "Long Past?" inquired Scrooge: observant of its dwarfish stature. "No. Your past." Perhaps, Scrooge could not have told anybody why, if anybody could have asked him; but he had a special desire to see the Spirit in his cap; and begged him to be covered. "What!" exclaimed the Ghost, "Would you so soon put out, with worldly hands, the light I give? Is it not enough that you are one of those whose passions made this cap, and force me through whole trains of years to wear it low upon my brow!" Scrooge reverently disclaimed all intention to offend or any knowledge of having willfully bonneted the Spirit at any period of his life. He then made bold to inquire what business brought him there. "Your welfare," said the Ghost. Scrooge expressed himself much obliged, but could not help thinking that a night of unbroken rest would have been more conducive to that end. The Spirit must have heard him thinking, for it said immediately: "Your reclamation, then. Take heed." It put out its strong hand as it spoke, and clasped him gently by the arm. "Rise. And walk with me." It would have been in vain for Scrooge to plead that the weather and the hour were not adapted to pedestrian purposes; that bed was warm, and the thermometer a long way below freezing; that he was clad but lightly in his slippers, dressing-gown, and nightcap; and that he had a cold upon him at that time. The grasp, though gentle as a woman's hand, was not to be resisted. He rose: but finding that the Spirit made towards the window, clasped his robe in supplication. "I am mortal," Scrooge remonstrated, "and liable to fall." "Bear but a touch of my hand there," said the Spirit, laying it upon his heart, "and you shall be upheld in more than this." As the words were spoken, they passed through the wall, and stood upon an open country road, with fields on either hand. The city had entirely vanished. Not a vestige of it was to be seen. The darkness and the mist had vanished with it, for it was a clear, cold, winter day, with snow upon the ground. "Good Heaven!" said Scrooge, clasping his hands together, as he looked about him. "I was bred in this place. I was a boy here." The Spirit gazed upon him mildly. Its gentle touch, though it had been light and instantaneous, appeared still present to the old man's sense of feeling. He was conscious of a thousand odours floating in the air, each one connected with a thousand thoughts, and hopes, and joys, and cares long, long, forgotten. "Your lip is trembling," said the Ghost. "And what is that upon your cheek?" Scrooge muttered, with an unusual catching in his voice, that it was a pimple; and begged the Ghost to lead him where he would. "You recollect the way?" inquired the Spirit. "Remember it!" cried Scrooge with fervour -- "I could walk it blindfold." "Strange to have forgotten it for so many years," observed the Ghost. "Let us go on." They walked along the road, Scrooge recognising every gate, and post, and tree; until a little market-town appeared in the distance, with its bridge, its church, and winding river. Some shaggy ponies now were seen trotting towards them with boys upon their backs, who called to other boys in country gigs and carts, driven by farmers. All these boys were in great spirits, and shouted to each other, until the broad fields were so full of merry music, that the crisp air laughed to hear it. "These are but shadows of the things that have been," said the Ghost. "They have no consciousness of us." The jocund travellers came on; and as they came, Scrooge knew and named them every one. Why was he rejoiced beyond all bounds to see them. Why did his cold eye glisten, and his heart leap up as they went past? Why was he filled with gladness when he heard them give each other Merry Christmas, as they parted at cross-roads and-bye ways, for their several homes? What was merry Christmas to Scrooge? Out upon merry Christmas! What good had it ever done to him? "The school is not quite deserted," said the Ghost. "A solitary child, neglected by his friends, is left there still." Scrooge said he knew it. And he sobbed. They left the high-road, by a well-remembered lane, and soon approached a mansion of dull red brick, with a little weathercock-surmounted cupola, on the roof, and a bell hanging in it. It was a large house, but one of broken fortunes; for the spacious offices were little used, their walls were damp and mossy, their windows broken, and their gates decayed. Fowls clucked and strutted in the stables; and the coach-houses and sheds were over-run with grass. Nor was it more retentive of its ancient state, within; for entering the dreary hall, and glancing through the open doors of many rooms, they found them poorly furnished, cold, and vast. There was an earthy savour in the air, a chilly bareness in the place, which associated itself somehow with too much getting up by candle-light, and not too much to eat. They went, the Ghost and Scrooge, across the hall, to a door at the back of the house. It opened before them, and disclosed a long, bare, melancholy room, made barer still by lines of plain deal forms and desks. At one of these a lonely boy was reading near a feeble fire; and Scrooge sat down upon a form, and wept to see his poor forgotten self as he used to be. Not a latent echo in the house, not a squeak and scuffle from the mice behind the paneling, not a drip from the half-thawed water-spout in the dull yard behind, not a sigh among the leafless boughs of one despondent poplar, not the idle swinging of an empty store-house door, no, not a clicking in the fire, but fell upon the heart of Scrooge with a softening influence, and gave a freer passage to his tears. The Spirit touched him on the arm, and pointed to his younger self, intent upon his reading. Suddenly a man, in foreign garments: wonderfully real and distinct to look at: stood outside the window, with an ax stuck in his belt, and leading by the bridle an ass laden with wood. "Why, it's Ali Baba!" Scrooge exclaimed in ecstasy. "It's dear old honest Ali Baba. Yes, yes, I know. One Christmas time, when yonder solitary child was left here all alone, he did come, for the first time, just like that. Poor boy. And Valentine," said Scrooge, "and his wild brother, Orson; there they go. And what's his name, who was put down in his drawers, asleep, at the Gate of Damascus; don't you see him? And the Sultan's Groom turned upside down by the Genii; there he is upon his head. Serve him right. I'm glad of it. What business had he to be married to the Princess." To hear Scrooge expending all the earnestness of his nature on such subjects, in a most extraordinary voice between laughing and crying; and to see his heightened and excited face; would have been a surprise to his business friends in the city, indeed. "There's the Parrot." cried Scrooge. "Green body and yellow tail, with a thing like a lettuce growing out of the top of his head; there he is! Poor Robin Crusoe, he called him, when he came home again after sailing round the island. "Poor Robin Crusoe, where have you been, Robin Crusoe?" The man thought he was dreaming, but he wasn't. It was the Parrot, you know. There goes Friday, running for his life to the little creek! Halloa! Hoop! Hallo!" Then, with a rapidity of transition very foreign to his usual character, he said, in pity for his former self, "Poor boy!" and cried again. "I wish," Scrooge muttered, putting his hand in his pocket, and looking about him, after drying his eyes with his cuff: "but it's too late now." "What is the matter?" asked the Spirit. "Nothing," said Scrooge. "Nothing. There was a boy singing a Christmas Carol at my door last night. I should like to have given him something: that's all." The Ghost smiled thoughtfully, and waved its hand: saying as it did so, "Let us see another Christmas!" Scrooge's former self grew larger at the words, and the room became a little darker and more dirty. The panels shrunk, the windows cracked; fragments of plaster fell out of the ceiling, and the naked laths were shown instead; but how all this was brought about, Scrooge knew no more than you do. He only knew that it was quite correct; that everything had happened so; that there he was, alone again, when all the other boys had gone home for the jolly holidays. He was not reading now, but walking up and down despairingly. Scrooge looked at the Ghost, and with a mournful shaking of his head, glanced anxiously towards the door. It opened; and a little girl, much younger than the boy, came darting in, and putting her arms about his neck, and often kissing him, addressed him as her "Dear, dear brother." "I have come to bring you home, dear brother!" said the child, clapping her tiny hands, and bending down to laugh. "To bring you home, home, home!" "Home, little Fan?" returned the boy. "Yes!" said the child, brimful of glee. "Home, for good and all. Home, for ever and ever. Father is so much kinder than he used to be, that home's like Heaven! He spoke so gently to me one dear night when I was going to bed, that I was not afraid to ask him once more if you might come home; and he said Yes, you should; and sent me in a coach to bring you. And you're to be a man!" said the child, opening her eyes, "and are never to come back here; but first, we're to be together all the Christmas long, and have the merriest time in all the world." "You are quite a woman, little Fan!"exclaimed the boy. She clapped her hands and laughed, and tried to touch his head; but being too little, laughed again, and stood on tiptoe to embrace him. Then she began to drag him, in her childish eagerness, towards the door; and he, nothing loth to go, accompanied her. A terrible voice in the hall cried. "Bring down Master Scrooge's box, there!" And in the hall appeared the schoolmaster himself, who glared on Master Scrooge with a ferocious condescension, and threw him into a dreadful state of mind by shaking hands with him. He then conveyed him and his sister into the veriest old well of a shivering best-parlour that ever was seen, where the maps upon the wall, and the celestial and terrestrial globes in the windows, were waxy with cold. Here he produced a decanter of curiously light wine, and a block of curiously heavy cake, and administered installments of those dainties to the young people: at the same time, sending out a meagre servant to offer a glass of "something" to the postboy, who answered that he thanked the gentleman, but if it was the same tap as he had tasted before, he had rather not. Master Scrooge's trunk being by this time tied on to the top of the chaise, the children bade the schoolmaster good-bye right willingly; and getting into it, drove gaily down the garden-sweep: the quick wheels dashing the hoar-frost and snow from off the dark leaves of the evergreens like spray. "Always a delicate creature, whom a breath might have withered," said the Ghost. "But she had a large heart!" "So she had," cried Scrooge. "You're right. I'll not gainsay it, Spirit. God forbid!" "She died a woman," said the Ghost, "and had, as I think, children." "One child," Scrooge returned. "True," said the Ghost. "Your nephew!" Scrooge seemed uneasy in his mind; and answered briefly, "Yes." Although they had but that moment left the school behind them, they were now in the busy thoroughfares of a city, where shadowy passengers passed and repassed; where shadowy carts and coaches battle for the way, and all the strife and tumult of a real city were. It was made plain enough, by the dressing of the shops, that here too it was Christmas time again; but it was evening, and the streets were lighted up. The Ghost stopped at a certain warehouse door, and asked Scrooge if he knew it. "Know it!" said Scrooge. "Was I apprenticed here?" They went in. At sight of an old gentleman in a Welsh wig, sitting behind such a high desk, that if he had been two inches taller he must have knocked his head against the ceiling, Scrooge cried in great excitement: "Why, it's old Fezziwig! Bless his heart; it's Fezziwig alive again!" Old Fezziwig laid down his pen, and looked up at the clock, which pointed to the hour of seven. He rubbed his hands; adjusted his capacious waistcoat; laughed all over himself, from his shows to his organ of benevolence; and called out in a comfortable, oily, rich, fat, jovial voice: "Yo ho, there! Ebenezer! Dick!" Scrooge's former self, now grown a young man, came briskly in, accompanied by his fellow-prentice. "Dick Wilkins, to be sure," said Scrooge to the Ghost. "Bless me, yes. There he is. He was very much attached to me, was Dick. Poor Dick. Dear, dear." "Yo ho, my boys!" said Fezziwig. "No more work to-night. Christmas Eve, Dick. Christmas, Ebenezer. Let's have the shutters up," cried old Fezziwig, with a sharp clap of his hands, "before a man can say Jack Robinson." You wouldn't believe how those two fellows went at it. They charged into the street with the shutters -- one, two, three -- had them up in their places -- four, five, six -- barred them and pinned then -- seven, eight, nine -- and came back before you could have got to twelve, panting like race-horses. "Hilli-ho!" cried old Fezziwig, skipping down from the high desk, with wonderful agility. "Clear away, my lads, and let's have lots of room here. Hilli-ho, Dick! Chirrup, Ebenezer." Clear away! There was nothing they wouldn't have cleared away, or couldn't have cleared away, with old Fezziwig looking on. It was done in a minute. Every movable was packed off, as if it were dismissed from public life for evermore; the floor was swept and watered, the lamps were trimmed, fuel was heaped upon the fire; and the warehouse was as snug, and warm, and dry, and bright a ball-room, as you would desire to see upon a winter's night. In came a fiddler with a music-book, and went up to the lofty desk, and made an orchestra of it, and tuned like fifty stomach-aches. In came Mrs Fezziwig, one vast substantial smile. In came the three Miss Fezziwigs, beaming and lovable. In came the six young followers whose hearts they broke. In came all the young men and women employed in the business. In came the housemaid, with her cousin, the baker. In came the cook, with her brother's particular friend, the milkman. In came the boy from over the way, who was suspected of not having board enough from his master; trying to hide himself behind the girl from next door but one, who was proved to have had her ears pulled by her mistress. In they all came, one after another; some shyly, some boldly, some gracefully, some awkwardly, some pushing, some pulling; in they all came, anyhow and everyhow. Away they all went, twenty couple at once; hands half round and back again the other way; down the middle and up again; round and round in various stages of affectionate grouping; old top couple always turning up in the wrong place; new top couple starting off again, as soon as they got there; all top couples at last, and not a bottom one to help them. When this result was brought about, old Fezziwig, clapping his hands to stop the dance, cried out, "Well done!" and the fiddler plunged his hot face into a pot of porter, especially provided for that purpose. But scorning rest, upon his reappearance, he instantly began again, though there were no dancers yet, as if the other fiddler had been carried home, exhausted, on a shutter, and he were a bran-new man resolved to beat him out of sight, or perish. There were more dances, and there were forfeits, and more dances, and there was cake, and there was negus, and there was a great piece of Cold Roast, and there was a great piece of Cold Boiled, and there were mince-pies, and plenty of beer. But the great effect of the evening came after the Roast and Boiled, when the fiddler (an artful dog, mind! The sort of man who knew his business better than you or I could have told it him!) struck up "Sir Roger de Coverley." Then old Fezziwig stood out to dance with Mrs Fezziwig. Top couple too; with a good stiff piece of work cut out for them; three or four and twenty pair of partners; people who were not to be trifled with; people who would dance, and had no notion of walking. But if they had been twice as many -- ah, four times -- old Fezziwig would have been a match for them, and so would Mrs Fezziwig. As to her, she was worthy to be his partner in every sense of the term. If that's not high praise, tell me higher, and I'll use it. A positive light appeared to issue from Fezziwig's calves. They shone in every part of the dance like moons. You couldn't have predicted, at any given time, what would have become of them next. And when old Fezziwig and Mrs Fezziwig had gone all through the dance; advance and retire, both hands to your partner, bow and curtsey, corkscrew, thread-the-needle, and back again to your place; Fezziwig cut -- cut so deftly, that he appeared to wink with his legs, and came upon his feet again without a stagger. When the clock struck eleven, this domestic ball broke up. Mr and Mrs Fezziwig took their stations, one on either side of the door, and shaking hands with every person individually as he or she went out, wished him or her a Merry Christmas. When everybody had retired but the two prentices, they did the same to them; and thus the cheerful voices died away, and the lads were left to their beds; which were under a counter in the back-shop. During the whole of this time, Scrooge had acted like a man out of his wits. His heart and soul were in the scene, and with his former self. He corroborated everything, remembered everything, enjoyed everything, and underwent the strangest agitation. It was not until now, when the bright faces of his former self and Dick were turned from them, that he remembered the Ghost, and became conscious that it was looking full upon him, while the light upon its head burnt very clear. "A small matter," said the Ghost, "to make these silly folks so full of gratitude." "Small!" echoed Scrooge. The Spirit signed to him to listen to the two apprentices, who were pouring out their hearts in praise of Fezziwig: and when he had done so, said, "Why! Is it not! He has spent but a few pounds of your mortal money: three or four perhaps. Is that so much that he deserves this praise?" "It isn't that," said Scrooge, heated by the remark, and speaking unconsciously like his former, not his latter, self. "It isn't that, Spirit. He has the power to render us happy or unhappy; to make our service light or burdensome; a pleasure or a toil. Say that his power lies in words and looks; in things so slight and insignificant that it is impossible to add and count them up: what then? The happiness he gives, is quite as great as if it cost a fortune." He felt the Spirit's glance, and stopped. "What is the matter?" asked the Ghost. "Nothing in particular," said Scrooge. "Something, I think?" the Ghost insisted. "No," said Scrooge, "No. I should like to be able to say a word or two to my clerk just now! That's all." His former self turned down the lamps as he gave utterance to the wish; and Scrooge and the Ghost again stood side by side in the open air. "My time grows short," observed the Spirit. "Quick!" This was not addressed to Scrooge, or to any one whom he could see, but it produced an immediate effect. For again Scrooge saw himself. He was older now; a man in the prime of life. His face had not the harsh and rigid lines of later years; but it had begun to wear the signs of care and avarice. There was an eager, greedy, restless motion in the eye, which showed the passion that had taken root, and where the shadow of the growing tree would fall. He was not alone, but sat by the side of a fair young girl in a mourning-dress: in whose eyes there were tears, which sparkled in the light that shone out of the Ghost of Christmas Past. "It matters little," she said, softly. "To you, very little. Another idol has displaced me; and if it can cheer and comfort you in time to come, as I would have tried to do, I have no just cause to grieve." "What Idol has displaced you?" he rejoined. "A golden one." "This is the even-handed dealing of the world!" he said. "There is nothing on which it is so hard as poverty; and there is nothing it professes to condemn with such severity as the pursuit of wealth!" "You fear the world too much," she answered, gently. "All your other hopes have merged into the hope of being beyond the chance of its sordid reproach. I have seen your nobler aspirations fall off one by one, until the master-passion, Gain, engrosses you. Have I not?" "What then?" he retorted. "Even if I have grown so much wiser, what then? I am not changed towards you." She shook her head. "Am I?" "Our contract is an old one. It was made when we were both poor and content to be so, until, in good season, we could improve our worldly fortune by our patient industry. You are changed. When it was made, you were another man." "I was a boy," he said impatiently. "Your own feeling tells you that you were not what you are," she returned. "I am. That which promised happiness when we were one in heart, is fraught with misery now that we are two. How often and how keenly I have thought of this, I will not say. It is enough that I have thought of it, and can release you." "Have I ever sought release?" "In words? No. Never." "In what, then?" "In a changed nature; in an altered spirit; in another atmosphere of life; another Hope as its great end. In everything that made my love of any worth or value in your sight. If this had never been between us," said the girl, looking mildly, but with steadiness, upon him; "tell me, would you seek me out and try to win me now? Ah, no!" He seemed to yield to the justice of this supposition, in spite of himself. But he said with a struggle," You think not?" "I would gladly think otherwise if I could," she answered, "Heaven knows. When I have learned a Truth like this, I know how strong and irresistible it must be. But if you were free to-day, to-morrow, yesterday, can even I believe that you would choose a dowerless girl -- you who, in your very confidence with her, weigh everything by Gain: or, choosing her, if for a moment you were false enough to your one guiding principle to do so, do I not know that your repentance and regret would surely follow? I do; and I release you. With a full heart, for the love of him you once were." He was about to speak; but with her head turned from him, she resumed. "You may -- the memory of what is past half makes me hope you will -- have pain in this. A very, very brief time, and you will dismiss the recollection of it, gladly, as an unprofitable dream, from which it happened well that you awoke. May you be happy in the life you have chosen." She left him, and they parted. "Spirit!" said Scrooge, "show me no more! Conduct me home. Why do you delight to torture me?" "One shadow more!" exclaimed the Ghost. "No more!" cried Scrooge! "No more, I don't wish to see it! Show me no more!" But the relentless Ghost pinioned him in both his arms, and forced him to observe what happened next. They were in another scene and place; a room, not very large or handsome, but full of comfort. Near to the winter fire sat a beautiful young girl, so like that last that Scrooge believed it was the same, until he saw her, now a comely matron, sitting opposite her daughter. The noise in this room was perfectly tumultuous, for there were more children there, than Scrooge in his agitated state of mind could count; and, unlike the celebrated herd in the poem, they were not forty children conducting themselves like one, but every child was conducting itself like forty. The consequences were uproarious beyond belief; but no one seemed to care; on the contrary, the mother and daughter laughed heartily, and enjoyed it very much; and the latter, soon beginning to mingle in the sports, got pillaged by the young brigands most ruthlessly. What would I not have given to one of them. Though I never could have been so rude, no, no! I wouldn't for the wealth of all the world have crushed that braided hair, and torn it down; and for the precious little shoe, I wouldn't have plucked it off, God bless my soul! to save my life. As to measuring her waist in sport, as they did, bold young brood, I couldn't have done it; I should have expected my arm to have grown round it for a punishment, and never come straight again. And yet I should have dearly liked, I own, to have touched her lips; to have questioned her, that she might have opened them; to have looked upon the lashes of her downcast eyes, and never raised a blush; to have let loose waves of hair, an inch of which would be a keepsake beyond price: in short, I should have liked, I do confess, to have had the lightest licence of a child, and yet to have been man enough to know its value. But now a knocking at the door was heard, and such a rush immediately ensued that she with laughing face and plundered dress was borne towards it the centre of a flushed and boisterous group, just in time to greet the father, who came home attended by a man laden with Christmas toys and presents. Then the shouting and the struggling, and the onslaught that was made on the defenceless porter. The scaling him with chairs for ladders to dive into his pockets, despoil him of brown-paper parcels, hold on tight by his cravat, hug him round his neck, pommel his back, and kick his legs in irrepressible affection. The shouts of wonder and delight with which the development of every package was received. The terrible announcement that the baby had been taken in the act of putting a doll's frying-pan into his mouth, and was more than suspected of having swallowed a fictitious turkey, glued on a wooden platter. The immense relief of finding this a false alarm. The joy, and gratitude, and ecstasy. They are all indescribable alike. It is enough that by degrees the children and their emotions got out of the parlour, and by one stair at a time, up to the top of the house; where they went to bed, and so subsided. And now Scrooge looked on more attentively than ever, when the master of the house, having his daughter leaning fondly on him, sat down with her and her mother at his own fireside; and when he thought that such another creature, quite as graceful and as full of promise, might have called him father, and been a spring-time in the haggard winter of his life, his sight grew very dim indeed. "Belle," said the husband, turning to his wife with a smile, "I saw an old friend of yours this afternoon." "Who was it?" "Guess!" "How can I? Tut, don't I know," she added in the same breath, laughing as he laughed. "Mr. Scrooge." "Mr. Scrooge it was. I passed his office window; and as it was not shut up, and he had a candle inside, I could scarcely help seeing him. His partner lies upon the point of death, I hear; and there he sat alone. Quite alone in the world, I do believe." "Spirit!" said Scrooge in a broken voice, "remove me from this place." "I told you these were shadows of the things that have been," said the Ghost. "That they are what they are, do not blame me!" "Remove me!" Scrooge exclaimed, "I cannot bear it!" He turned upon the Ghost, and seeing that it looked upon him with a face, in which in some strange way there were fragments of all the faces it had shown him, wrestled with it. "Leave me! Take me back. Haunt me no longer!" In the struggle, if that can be called a struggle in which the Ghost with no visible resistance on its own part was undisturbed by any effort of its adversary, Scrooge observed that its light was burning high and bright; and dimly connecting that with its influence over him, he seized the extinguisher-cap, and by a sudden action pressed it down upon its head. The Spirit dropped beneath it, so that the extinguisher covered its whole form; but though Scrooge pressed it down with all his force, he could not hide the light, which streamed from under it, in an unbroken flood upon the ground. He was conscious of being exhausted, and overcome by an irresistible drowsiness; and, further, of being in his own bedroom. He gave the cap a parting squeeze, in which his hand relaxed; and had barely time to reel to bed, before he sank into a heavy sleep.	Turkey
Which playwright wrote A Streetcar Named Desire and Night of the Iguana?	A CHRISTMAS CAROL - Stave Five "Do you know the Poulterer's, in the next street but one, at the corner?" Scrooge inquired. "I should hope I did," replied the lad. "An intelligent boy!" said Scrooge. "A remarkable boy! Do you know whether they"ve sold the prize Turkey that was hanging up there -- Not the little prize Turkey: the big one?" "What, the one as big as me?" returned the boy. "What a delightful boy!" said Scrooge. "It's a pleasure to talk to him. Yes, my buck." "It's hanging there now," replied the boy. "Is it?" said Scrooge. "Go and buy it." "Walk-er!" exclaimed the boy. "No, no," said Scrooge, "I am in earnest. Go and buy it, and tell them to bring it here, that I may give them the direction where to take it. Come back with the man, and I'll give you a shilling. Come back with him in less than five minutes and I'll give you half-a-crown." The boy was off like a shot. He must have had a steady hand at a trigger who could have got a shot off half so fast. "I'll send it to Bon Cratchit's!" whispered Scrooge, rubbing his hands, and splitting with a laugh. "He shan't know who sends it. It's twice the size of Tiny Tim. Joe Miller never made such a joke as sending it to Bob's will be!" The hand in which he wrote the address was not a steady one, but write it he did, somehow, and went down-stairs to open the street door, ready for the coming of the poulterer's man. As he stood there, waiting his arrival, the knocker caught his eye. "I shall love it, as long as I live!" cried Scrooge, patting it with his hand. "I scarcely ever looked at it before. What an honest expression it has in its face. It's a wonderful knocker. -- Here's the Turkey. Hallo! Whoop! How are you? Merry Christmas!" It was a Turkey! He never could have stood upon his legs, that bird. He would have snapped them short off in a minute, like sticks of sealing-wax. "Why, it's impossible to carry that to Camden Town," said Scrooge. "You must have a cab." The chuckle with which he said this, and the chuckle with which he paid for the Turkey, and the chuckle with which he paid for the cab, and the chuckle with which he recompensed the boy, were only to be exceeded by the chuckle with which he sat down breathless in his chair again, and chuckled till he cried. Shaving was not an easy task, for his hand continued to shake very much; and shaving requires attention, even when you don't dance while you are at it. But if he had cut the end of his nose off, he would have put a piece of sticking-plaister over it, and been quite satisfied. He dressed himself all in his best, and at last got out into the streets. The people were by this time pouring forth, as he had seen them with the Ghost of Christmas Present; and walking with his hands behind him, Scrooge regarded every one with a delighted smile. He looked so irresistibly pleasant, in a word, that three or four good-humoured fellows said, "Good morning, sir. A merry Christmas to you." And Scrooge said often afterwards, that of all the blithe sounds he had ever heard, those were the blithest in his ears. He had not gone far, when coming on towards him he beheld the portly gentleman, who had walked into his counting-house the day before, and said, "Scrooge and Marley's, I believe." It sent a pang across his heart to think how this old gentleman would look upon him when they met; but he knew what path lay straight before him, and he took it. "My dear sir," said Scrooge, quickening his pace, and taking the old gentleman by both his hands. "How do you do. I hope you succeeded yesterday. It was very kind of you. A merry Christmas to you, sir!" "Mr Scrooge?" "Yes," said Scrooge. "That is my name, and I fear it may not be pleasant to you. Allow me to ask your pardon. And will you have the goodness" -- here Scrooge whispered in his ear. "Lord bless me!" cried the gentleman, as if his breath were taken away. "My dear Mr Scrooge, are you serious?" "If you please," said Scrooge. "Not a farthing less. A great many back-payments are included in it, I assure you. Will you do me that favour?" "My dear sir," said the other, shaking hands with him. "I don't know what to say to such munificence." "Don't say anything please," retorted Scrooge. "Come and see me. Will you come and see me?" "I will!" cried the old gentleman. And it was clear he meant to do it. "Thank you," said Scrooge. "I am much obliged to you. I thank you fifty times. Bless you!" He went to church, and walked about the streets, and watched the people hurrying to and fro, and patted children on the head, and questioned beggars, and looked down into the kitchens of houses, and up to the windows, and found that everything could yield him pleasure. He had never dreamed that any walk -- that anything -- could give him so much happiness. In the afternoon he turned his steps towards his nephew's house. He passed the door a dozen times, before he had the courage to go up and knock. But he made a dash, and did it: "Is your master at home, my dear?" said Scrooge to the girl. Nice girl. Very. "Yes, sir." "Where is he, my love?" said Scrooge. "He's in the dining-room, sir, along with mistress. I'll show you up-stairs, if you please." "Thank you. He knows me," said Scrooge, with his hand already on the dining-room lock. "I'll go in here, my dear." He turned it gently, and sidled his face in, round the door. They were looking at the table (which was spread out in great array); for these young housekeepers are always nervous on such points, and like to see that everything is right. "Fred!" said Scrooge. Dear heart alive, how his niece by marriage started. Scrooge had forgotten, for the moment, about her sitting in the corner with the footstool, or he wouldn't have done it, on any account. "Why bless my soul!" cried Fred," who's that?" "It's I. Your uncle Scrooge. I have come to dinner. Will you let me in, Fred?" Let him in! It is a mercy he didn't shake his arm off. He was at home in five minutes. Nothing could be heartier. His niece looked just the same. So did Topper when he came. So did the plump sister when she came. So did every one when they came. Wonderful party, wonderful games, wonderful unanimity, won-der-ful happiness! But he was early at the office next morning. Oh he was early there. If he could only be there first, and catch Bob Cratchit coming late! That was the thing he had set his heart upon. And he did it; yes, he did. The clock struck nine. No Bob. A quarter past. No Bob. He was full eighteen minutes and a half behind his time. Scrooge sat with his door wide open, that he might see him come into the Tank. His hat was off, before he opened the door; his comforter too. He was on his stool in a jiffy; driving away with his pen, as if he were trying to overtake nine o'clock. "Hallo," growled Scrooge, in his accustomed voice, as near as he could feign it. "What do you mean by coming here at this time of day?" "I'm very sorry, sir," said Bob. "I am behind my time." "You are?" repeated Scrooge. "Yes. I think you are. Step this way, if you please." "It's only once a year, sir," pleaded Bob, appearing from the Tank. "It shall not be repeated. I was making rather merry yesterday, sir." "Now, I'll tell you what, my friend," said Scrooge, "I am not going to stand this sort of thing any longer. And therefore," he continued, leaping from his stool, and giving Bob such a dig in the waistcoat that he staggered back into the Tank again; "and therefore I am about to raise your salary." Bob trembled, and got a little nearer to the ruler. He had a momentary idea of knocking Scrooge down with it, holding him, and calling to the people in the court for help and a strait-waistcoat. "A merry Christmas, Bob," said Scrooge, with an earnestness that could not be mistaken, as he clapped him on the back. "A merrier Christmas, Bob, my good fellow, than I have given you for many a year. I'll raise your salary, and endeavour to assist your struggling family, and we will discuss your affairs this very afternoon, over a Christmas bowl of smoking bishop , Bob. Make up the fires, and buy another coal-scuttle before you dot another i, Bob Cratchit!" Scrooge was better than his word. He did it all, and infinitely more; and to Tiny Tim, who did not die, he was a second father. He became as good a friend, as good a master, and as good a man, as the good old city knew, or any other good old city, town, or borough, in the good old world. Some people laughed to see the alteration in him, but he let them laugh, and little heeded them; for he was wise enough to know that nothing ever happened on this globe, for good, at which some people did not have their fill of laughter in the outset; and knowing that such as these would be blind anyway, he thought it quite as well that they should wrinkle up their eyes in grins, as have the malady in less attractive forms. His own heart laughed: and that was quite enough for him. He had no further intercourse with Spirits, but lived upon the Total Abstinence Principle, ever afterwards; and it was always said of him, that he knew how to keep Christmas well, if any man alive possessed the knowledge. May that be truly said of us, and all of us! And so, as Tiny Tim observed, God Bless Us, Every One! LINK to	i don't know
Trachoma is an infection of which part of the body?	Trachoma: Read Treatment and Symptom Information Medical Author: Frank J. Weinstock, MD, FACS Frank J. Weinstock, MD, FACS Dr. Weinstock is a board-certified ophthalmologist. He practices general ophthalmology in Canton, Ohio, with a special interest in contact lenses. He holds faculty positions of Professor of Ophthalmology at the Northeastern Ohio Colleges of Medicine and Affiliate Clinical Professor in the Charles E. Schmidt College of Biomedical Science at Florida Atlantic University. Medical Editor: Andrew A. Dahl, MD, FACS Andrew A. Dahl, MD, FACS Andrew A. Dahl, MD, is a board-certified ophthalmologist. Dr. Dahl's educational background includes a BA with Honors and Distinction from Wesleyan University, Middletown, CT, and an MD from Cornell University, where he was selected for Alpha Omega Alpha, the national medical honor society. He had an internal medical internship at the New York Hospital/Cornell Medical Center. Share Your Story Trachoma is a contagious bacterial infection which affects the conjunctival covering of the eye, the cornea , and the eyelids. It is often associated with poverty and lack of proper hygiene. Trachoma is caused by the Chlamydia trachomatis bacteria and is essentially totally preventable and curable. It is the leading infectious cause of blindness in the world. Approximately 80 million people in the world have active trachoma. The majority of these are children. The disease is found predominantly in poor tropical or semi-tropical countries. How does trachoma manifest itself? Trachoma affects the eyelids and conjunctiva (outside covering) of the eye, usually with very little discomfort until later in the disease. When infected, the conjunctival covering of the eye becomes red and irritated (inflamed). Repeated infections by the trachoma bacteria are common and, unless treated, can result in scarring of the conjunctival surface of the lids. The lids become scarred and the lid margins may turn in, causing eye irritation and pain followed by scarring of the cornea by the inward-turned lashes (trichiasis), which scrape the cornea. Corneal scarring results in decreased or total loss of vision. In order to see properly, it is necessary for the cornea (front window of the eye) to remain clear. What is the cause of trachoma? Although trachoma is caused by a small parasitic bacteria, poor sanitation, unclean water supply, and reduced personal and community hygiene allow the bacteria to infect and reinfect eyes of individuals living in endemic areas. Prevention of vision loss requires adequate, prompt treatment, in addition to education and teaching proper hygiene to the parents and children. Trachoma is an ancient disease and was once prevalent throughout the world except in colder climates. It has been eliminated in more advanced countries but is still endemic in about 55 third-world nations, primarily in Africa and the Middle East. Approximately 10 million people have significant visual loss from the corneal scarring caused by trachoma. Trachoma is spread by direct or indirect contact with eye, nose, or throat secretions of an individual with trachoma, or indirectly via flies or other insects carrying those secretions on their legs or bodies. Common denominators are poor hygiene , unsanitary water supplies, and shared towels. It is most common in small children (3-5 years of age) who spread it to their siblings, mothers, and playmates. Within endemic areas, the incidence of the infection is highly variable from village to village and concentrates in families or other pockets. Throughout the entire world, Chlamydia trachomatis also causes sexually transmitted disease and conjunctivitis of the newborn , transmitted from the mother during the birth process. Medically Reviewed by a Doctor on 6/11/2015	Eye
Which female singer had a top ten hit in 1968 with Son of A Preacher Man?	C. trachomatis- Infectious Disease and Antimicrobial Agents Microbiology Chlamydia trachomatis is one of several species within the genus Chlamydia that cause human disease, but it is the only one that only infects humans. The others are discussed elsewhere in this volume. C. pneumoniae is an important human pathogen, while C. psittaci, the cause of psittacosis is common in avian species, but infects humans only as a zoonosis. Person to person transmission is rare. Chlamydiae are obligate intracellular bacteria that cannot be cultured on artificial media. Susceptible cell culture systems are needed to grow them in the laboratory. C hlamydiae are distinguishable from all other organisms by a unique developmental cycle which involves transition between 2 major morphologic forms ( 19 ). The infectious particle, called the elementary body (EB), attaches to susceptible host cells and is ingested by a process akin to receptor mediated endocytosis. It enters the cell within an endosome and remains there throughout the cycle. Chlamydiae inhibit phagolysosomal fusion. Approximately 6 -8 hours after entering the cell the elementary body changes to the reticulate body (RB, sometimes called an initial body). This represents the metabolically active and reproductive form of the organism. Reticulate bodies are not infectious. They divide by binary fission up to approximately 48 hours into the cycle. At some time between 24-48 hours, some of the reticular bodies reorganize again into elementary bodies and thus become infectious. Ultimately, the cell will burst and the elementary bodies exit the host cell to infect new cells. The full cycle will take approximately 48 hours for the more virulent lymphogranuloma venereum biovar; and 72-96 hours for the trachoma biovar. C. trachomatis strains can be divided into two biovars. The trachoma biovar is a pathogen of columnar and squamocolumnar cells and thus causes disease at mucous membranes, where such cells are found. These sites include conjunctivae, urethra, the endocervical canal, fallopian tubes, gastrointestinal and respiratory tracts. The less common lymphogranuloma venereum (LGV) biovar is more virulent. It is more invasive and can cause disease in many tissues. Lymphogranuloma venereum strains will infect epithelial cells, as the primary lesion for this infection is often in the skin, and it will grow within macrophages. The organism will subsequently invade draining lymph nodes and cause the formation of bubos. The 2 biovars are readily differentiated in the laboratory as lymphogranuloma venereum strains are capable of cell to cell transmission in cell culture and are capable of lethal infection following intracranial inoculation in mice while the trachoma biovar is not lethal for mice by this route and does not grow well in cell culture systems. It requires mechanical assistance (centrifugation) for efficient infection. There are laboratory developed nucleic acid amplification tests (NAATs) that can identify the specific biovars. The commercially available nucleic acid amplification tests used for diagnosing C. trachomatis infection will not differentiate the biovars. There are 15 serovars/genovars (with many subtypes) but only the biovar differentiation is clinically relevant. The A, B, Ba and C serovars are associated with trachoma, D-K serovars with genital infection, and L1, L2 and L3 are the major lymphogranuloma venereum serovars. There are several aspects of C. trachomatis microbiology that are relevant to treatment. The organism is an obligate intracellular parasite and is metabolically active only after it enters the host cell. The infectious elementary body is metabolically inert, and thus not affected by antibiotics. Therefore, only antibiotics that penetrate cells will be effective against C. trachomatis. Because the developmental cycle is so long (typically 2 -4 days), long courses of therapy are required. In addition, although C. trachomatis is a bacterium, it does not contain a peptidoglycan layer (structural rigidity appears to depend on disulfide binding among at least three outer membrane proteins). A lack of peptidoglycan predicts that ß-lactam antibiotics will not be effective in treating chlamydial infections. Experience has shown that most of these drugs are not efficient in treating C. trachomatis infections, although high doses and long courses of therapy may be active (amoxicillin is the exception, and has been used for treating chlamydial infections during pregnancy) ( 1 , 7 ). C. trachomatis does contain penicillin binding sites and in vitro the action of penicillin is to induce large irregularly shaped reticulate particles, as the antibiotics appear to interfere with the division process ( 3 , 40 ). Epidemiology There appear to be two major modes of transmission of C. trachomatis. In industrialized Western society, virtually all C. trachomatis infections are sexually transmitted. C. trachomatis is now considered to be the most common sexually transmitted bacterial pathogen, and it is the most common infection reported to the CDC ( 5 ). In the United States, it is estimated that more than 3 million new infections occur each year. If untreated, the infections can persist for years, but will ultimately clear. The highest prevalence of chlamydial infections is usually found in sexually active teenagers. Young age is usually the strongest risk factor for these infections. At least 60% to 70% infants exposed to C. trachomatis by passage through the infected birth canal will acquire the infection. It has become obvious that the prevalence of C. trachomatis among men who have sex with men (MSM) has been underestimated. The reason is that standard procedures in STD clinics have been based on testing males for urethral infections. Expanding screening to include routine rectal and oropharyngeal testing will more than double the number of men who have sex with men found to have chlamydial infection ( 16 , 27 ). A paradigm shift is called for, and CDC has recommended such screening ( 38 ). A proviso is that nucleic acid amplification tests (NAATs) must be used due to the insensitivity of culture and other diagnostic methods ( 21 ). Lymphogranuloma venereum has been considered as a disease of tropical climes, typified by genital ulcers and inguinal buboes in men. That lymphogranuloma venereum proctitis occurs in men who have sex with men has been known for many decades. In the early 2000s what seemed to be an epidemic of lymphogranuloma venereum proctitis was identified in the Netherlands. Classical bubonic disease was rarely seen. The disease was identified because molecular methods to identify the lymphogranuloma venereum biovar were used, as these men were being seen in the context of STD clinic studies where C. trachomatis was common. The disease was soon identified throughout Western Europe, and genotyping methods identified what seemed to be a new variant, called L2b ( 32 ). The large outbreak among men who have sex with men appears to be clonal. But L2b was only new in the context of when it was identified. Testing of a library of C. trachomatis isolates obtained in the early 1980s from men who have sex with men in San Francisco found that L2b was common in men who have sex with men then ( 33 ). It seems that L2b has been in circulation within the gay community for at least several decades. In trachoma endemic areas, C. trachomatis is usually spread from child to child. In many developing countries, trachoma is endemic and in some areas it is hyper- or holoendemic. In the past there were hundreds of millions at risk for trachoma and millions have been blinded. The disease has disappeared from many countries as a function of improved sanitation and the environmental changes associated with industrialization. It is still a problem in some developing countries, with an estimated 60 million at risk, and remains the world's leading infectious cause of blindness. In holoendemic areas, children acquire the infection early. In some communities, all are infected by 2 years of age. Blindness occurs much later in adulthood. Clinical Manifestations Asymptomatic infections are common in both men and women. This is one of the reasons that control efforts have stressed screening of high risk individuals. In men, C. trachomatis causes 35% to 50% of nongonococcal urethritis ( 38 ). There is usually a mucopurulent discharge and dysuria. Ascending infections occur and C. trachomatis is the leading cause of epididymitis in sexually active young men. In women, the most commonly affected site is the cervix, where the organism can cause a mucopurulent endocervicitis. Ascending genital infection is even more common in women. C. trachomatis is found in the endometrium or fallopian tubes of approximately 25% of cases of acute salpingitis, or pelvic inflammatory disease (PID) in the United States. Asymptomatic endometritis/salpingitis is common and is important from a public health viewpoint as many of the women with long term complications of pelvic inflammatory disease, such as ectopic pregnancy, have no history of pelvic inflammatory disease ( 4 , 37 ). Rectal and oropharyngeal infections occur in both men and women. They are a particular problem in men who have sex with men. Testing for them has not been routine, but the infections are common. Chlamydial rectal infections in men who have sex with men occur with a frequency similar to gonococcal infections, often being found in 8%-12% of high risk men being seen in clinics ( 27 ). These infections are usually asymptomatic, but proctitis is seen in some men who have sex with men. Oropharyngeal chlamydial infection is less common than gonococcal infection in high risk men who have sex with men, typically being found in 1%-2% of these men as compared to 8%-12% for the gonococcus. These extragenital infections in women have been less well studied, and the clinical manifestations are not well defined. But even when the prevalence of infections is high, most have been described as asymptomatic. Lymphogranuloma venereum proctitis has a broader clinical spectrum. Here too, asymptomatic infection is common. But severe proctocolitis can occur, as the biovar is more invasive. Some of these infections may be seen in medical clinics rather than STD clinics because some men may have constipation, fevers, chills and weight loss. About one in three infants born through a Chlamydia -infected birth canal develops inclusion conjunctivitis of the newborn. It is a mucopurulent conjunctivitis with an incubation period of 5 to 21 days. Approximately one in six exposed infants develops a characteristic pneumonia syndrome when between 2 and 12 weeks old. The infants often have a prodrome of rhinitis and many have conjunctivitis. Affected infants are usually afebrile, are markedly tachypenic and occasionally apneic, and have a staccato cough. Trachoma is a chronic follicular keratoconjunctivitis. Repeated, or persistent infections can cause conjunctival scarring. Over time, these scars can contract, resulting in lid distortion which in turn results in eyelashes abrading the cornea (entropion and trichiasis). This mechanical damage, often complicated by corneal bacterial infection, is what causes blindness. Laboratory Diagnosis Many chlamydial infections are managed on a syndromic basis. For example, urethritis in men is often managed by ruling out gonorrhea (by Gram stain of urethral discharge or swab) and then treating for chlamydia if the smear is negative. Where specific diagnosis is required (it is always advisable) the tests of choice are the commercially available nucleic acid amplification tests. These tests are far more sensitive than earlier diagnostic methods and are highly specific for C. trachomatis. Because they can be used with noninvasively collected specimens (such as first catch urines or vaginal swabs) they are particularly well suited for screening of asymptomatic individuals. Culture (which is not widely available, and is relatively insensitive) is only recommended when detecting the infection will have legal ramifications, such as in child abuse. Serology is not useful for routine diagnosis of chlamydial infection. Detection of IgM antibodies to the organism is useful in diagnosing chlamydia pneumonia in infants. Experience in Sweden with the use of nucleic acid amplification tests to diagnose C. trachomatis infection has led to changes in the way nucleic acid amplification tests are designed. Many manufacturers used DNA sequences within the C. trachomatis cryptic plasmid as targets for their nucleic acid amplification tests. This was popular because the plasmid is virtually ubiquitous among wild strains, and is present at 4-8 copies per elementary body thus providing a sensitivity advantage. What happened in Sweden is that a mutant with a 377bp deletion in the plasmid appeared ( 23 ). The deleted region included the target sequence used in some nucleic acid amplification tests. Thus this Swedish variant (Sv) escaped detection by some of the nucleic acid amplification tests used for diagnosis and screening. It was discovered when some parallel testing was done with nucleic acid amplification tests that had different targets. Fortunately the Swedish variant that escaped detection due to failure of the diagnostic tests did not appear to have any biological advantage ( 22 ). It became quite common in Sweden, and was seen in other Scandinavian countries, but did not get established elsewhere. Needless to say, manufacturers quickly redesigned their assays to detect Swedish variant , and the current generation of nucleic acid amplification tests for chlamydial DNA is including two targets to protect against possible future target changes. A fringe benefit, not currently being exploited, is that when nucleic acid amplification tests have two targets a positive result could (software allowing) have internal confirmation of that positive result. Pathogenesis There is evidence that chlamydial diseases result in part from hypersensitivity or are diseases of immunopathology. A common pathologic end point of chlamydial infection is scarring of mucous membranes. This is what ultimately leads to the blindness in trachoma and to infertility and ectopic pregnancy after acute salpingitis. Current theory suggests that it is hypersensitivity to their heat shock protein (HSP60) that is responsible for much of chlamydial pathology. Repeat, and long lasting infections are likely to lead to worse outcomes. S USCEPTIBILITY IN VITRO AND IN VIVO Single Drug There is no generally accepted way of determining antimicrobial susceptibility patterns for C. trachomatis. The general approach is to use relatively low infectious inoculum in susceptible cells and to titrate the quantity of antibiotic that will reduce inclusion counts by 50, 90, or 100% in that initial growth cycle. This is the method used to determine inhibitory levels. Cidal levels are determined by doing a subculture from the antibiotic treated cells into antibiotic-free cells to determine the lowest concentration of antibiotic that prevents subsequent recovery of the organism. The most active antibiotics against C. trachomatis are in the rifampin group. However, these drugs are not used clinically, because resistance develops rapidly in vitro ( 24 ). In general, the MIC of antibiotics in cell culture systems predicts the clinical responses seen in humans. Thus tetracyclines are highly active in vitro and are highly useful clinically. Macrolides show lesser activity in vitro, yet are considered clinically active. Quinolones have borderline levels of activity and some are considered to be clinically active while others are not useful in treating human infections. Table 1 lists typical antimicrobial susceptibility levels for a variety of common antibiotics for C. trachomatis. Antimicrobial Resistance Some laboratory workers have generated some evidence of antibiotic resistance in clinic settings ( 14 , 31 ). This "heterotypic resistance" was identified using high titer inoculum in vitro tests for susceptibility and is likely to be more a function of the assay than a reflection of relevant resistance. It is identified by the finding of chlamydial inclusions in the presence of the antibiotic. Further passage of these does not result in establishing resistant strains, but rather sees a loss of infectivity. Most, if not all, chlamydial isolates will show heterotypic resistance if a high enough inoculum is used in the assays. Quinolone resistance may be developed in the laboratory and is due to specific mutations in genes encoding for the DNA gyrase A enzyme ( 8 ). The importance of this observation is mitigated by the fact that these drugs are not drugs of choice Treatment failures do occur, but even where there are treatment failures the isolated strains tend to be susceptible and infections tend to respond to second courses of therapy. Thus, at the moment, antimicrobial resistance obviously remains a possibility but is not of major concern. For example, earlier reports of relative resistance to erythromycin in vitro have not been clinically relevant ( 20 ). Efforts to eliminate blinding trachoma as a public health problem include community wide treatment with azithromycin. C. trachomatis isolates obtained after communities were subjected to multiple rounds of oral azithromicin remained fully susceptible to azithromycin ( 35 ). Thus the big question is why do treatment failures occur? It is reasonable to speculate that the answer comes from the organism's developmental cycle. It is known that antibiotics can induce aberrant reticular bodies. These are giant forms that are stopped from completing the transition to elementary bodies. Removal of the antibiotic allows completion. The host response to infection can do the same thing because the effects of gamma interferon are similar. Thus it is likely that during an infection there may be some infected cells where the infection is not actively in the developmental sequence, and thus not susceptible to the actions of antibiotics. This will be temporary, hence the success of retreatment. Drug of Choice For many years, tetracyclines have been considered the drugs of choice for treating C. trachomatis infections. Doxycycline has been preferred because of the presumption of improved compliance. Courses of therapy have ranged from 7-21 days, depending on the disease being treated. This changed when a single 1 gm dose of oral azithromycin was shown to be as effective as week-long courses of doxycycline, in treatment of uncomplicated chlamydial genital tract infection ( 18 ). Recommended protocols are listed in Table 2 . This drug has also been used in treating chlamydial infections in pregnant women ( 13 , 15 ). In addition a single 1 gm dose of oral azithromycin has also been shown to be as effective as long (30 days - 6 week) courses of topical tetracycline ointment in the treatment of hyperendemic trachoma ( 2 ). It is possible that ultimately azithromycin will be considered the drug of choice in treating all chlamydial infections. Currently where this is not the case it is because of absence of relevant treatment trials. Week-long courses of doxycycline and a single 1 gm dose of azithromycin have been found to be 96-98% effective in curing chlamydial infection as determined by isolation in cell culture. Ofloxacin (but not all other quinolones) is effective in treating chlamydial infections. In general, erythromycin is considered the back-up drug for those who cannot take tetracycline. This of course applies to settings where azithromycin may not be used because of cost concerns. For example, in treating chlamydial infections in infected infants (dosages are shown in Table 2 ) it is considered the first line treatment. Azithromycin has now been shown to be highly effective in treating chlamydial infection in pregnancy ( 13 , 15 ). It is not a drug which will likely be explicitly approved for use in pregnancy, but with lack of reported complications it has become accepted as the drug of choice in this setting, replacing erythromycin. Amoxicillin is considered the alternative drug for pregnant women who are erythromycin intolerant. A substantial proportion of pregnant women will suffer GI upset to the extent that it will cause them to cease their courses of erythromycin. In this setting, amoxicillin is the appropriate alternative regimen and has been shown to be highly effective. The regimens listed below, and in Table 2 , are modified from the CDC STD treatment guidelines ( 38 ). Lymphogranuloma Venereum The lymphogranuloma venereum biovar of C. trachomatis is highly invasive and can cause many different clinical manifestations although the classical presentation in males is of inguinal bubos with or without systemic manifestations of infection ( 26 ). More typical today is rectal infection in men, and this is often asymptomatic. There is a paucity of controlled treatment trials for this disease. In general, long courses of therapy (at least 21 days) are called for. Treatment failures are not uncommon and the usual approach is to retreat using an alternate regimen. The recommended regimen is doxycycline at 100 mg b.i.d. for 21 days. T he alternate regimen is erythromycin , 500 mg b.i.d. for 21 days. Genital Tract Infection The trachoma biovar has a more limited spectrum of susceptible cells; causes diseases at mucous membranes; and is an important cause of urethritis and epididymitis in men. In women, it causes lower genital tract infection and more importantly it will infect fallopian tubes, where the resultant damage may cause such sequelae as tubal factor infertility and ectopic pregnancy ( 36 ). C. trachomatis is considered the most common sexually transmitted bacterial infection. It is estimated that in the United States, more than 3 million infections occur each year ( 5 ). T he recommended regimens are azithromycin , a single 1 gm oral dose: or doxycycline 100 mg b.i.d. for 7 days. A lternate regimens include erythromycin , 500 mg, q.i.d. for 7 days; or erythromycin ethylsuccinate, 800 mg, q.i.d. for 7 days; ofloxacin 300 mg, b.i.d. for 7 days; or levofloxacin 500 mg for 7 days. It should be emphasized that all cases of pelvic inflammatory disease should be treated with a regimen of multiple antibiotics that includes a drug active against C. trachomatis. Pregnant Women Treatment of chlamydial infection in pregnancy is recommended to prevent post-partum complications and perinatal infections ( 28 ). The treatment of choice is a single 1 gm oral dose of azithromycin ( 13 , 15 ). An alternate is erythromycin , 500 mg, q.i.d. for 7 days. Because a 2 gm per day dose of erythromycin may not be well tolerated by pregnant women, an alternate regimen involves a smaller daily dose of 250 mg q.i.d. with extension of treatment to 14 days. Similarly, erythromycin and ethylsuccinate can be used at 800 mg, orally, q.i.d. for 7 days; or 400 mg, orally, q.i.d. for 14 days. Where relatively large numbers of patients have been tested following amoxicillin regimens, tests of cure have shown that failure rates are equivalent to, or less than, those seen with erythromycin ( 1 , 7 ). This drug is not considered a drug of choice for treatment of chlamydial infection in pregnancy only because of the theoretical concerns that most researchers have that ß-lactam drugs can often suppress, but not eradicate, chlamydial infection. That caveat has not translated into actual demonstration of persistent or inapparent infections, even though many of the tests of cure were performed late enough that such infections should have been detected. Chlamydial Infections in Infants Infants exposed during the birth process by passing through the infected birth canal may develop conjunctivitis and/or pneumonia ( 25 ). Conjunctivitis is typically seen in the first 3 weeks of life, while pneumonia generally occurs in the first 3-4 months after birth. T he drug of choice for the treatment of these infections is azithromycin , 20 mg/kg/day orally, 1 dose daily for 3 days. The alternate is erythromycin, 12.5 mg/kg, 4 times daily, for 10 -14 days. ENDPOINTS FOR MONITORING THERAPY It is generally considered that tests of cure are not required for evaluating treatments for chlamydial infection. With adequate compliance, cure rates in the upper 90 percentile range are expected. Using single doses of oral azithromycin may remove the compliance concern. Where there may be an indication that tests of cure are important, there are certain caveats that must be considered. With some antibiotic regimens it is possible to suppress chlamydiae and render early tests of cure inaccurate. Thus, it is inappropriate to perform a test of cure one week after treatment has been completed. It is more prudent to wait at least three weeks after treatment to assess potential failures. This, of course, introduces a problem of potential re-infection. That potential is most marked in sexually transmitted infections where re-exposure to untreated partners or infected others within the same group may result in a positive test as a result of reinfection rather than treatment failure. The appropriate microbiologic test for use to assess treatment efficacy may also present a problem. However, the exquisite sensitivity of nucleic acid amplification tests, particularly given the revelation that urine can be an appropriate specimen for diagnosing chlamydial infection in both men and women, suggests that urine specimens tested by nucleic acid amplification tests may be an appropriate way to perform tests of cure. The caveat here is that chlamydia DNA has been detected for at least 3 weeks after treatment has begun (in the absence of recoverable viable organism by culture), thus it is necessary to wait at least that long before performing tests of cure ( 39 ). A well designed follow-up study to assess test of cure by using two different nucleic acid amplification tests (one detecting chlamydial DNA, the other, RNA) demonstrated how difficult it is to establish appropriate endpoints. They collected 18 specimens over 8 weeks post treatment, and found differing results by the nucleic acid amplification tests and so much variation and intermittent positivity as to put doubt on any routine post 3 week test of cure ( 9 ). This is not surprising given the options possible during an 8 week post treatment period: eradication of infection; slow shedding of infected cells; straightforward treatment failure; suppression followed by exacerbation; introduction of chlamydial nucleic acid in ejaculate; and reinfection. Clinical response may be a useful endpoint, but may also be misleading. For example, it is well known that somewhere between 10 -15% of men with nongonococcal urethritis will not respond to tetracycline, erythromycin or azithromycin therapy. These men do not have persistent chlamydial infection, or recurrent chlamydial infection. Typically, if they had chlamydial infection at the beginning of therapy, that infection is cured but they have other causes (i. e., non nongonococcal-non-chlamydial urethritis) of inflammation. Mycoplasma genitalium has emerged as a leading cause of nongonococcal, non-chlamydial urethritis. PREVENTION OR INFECTION CONTROL MEASURES A prevention program for reduction of genital chlamydial infection and its complications has been presented by CDC. It is largely based on screening of sexually active asymptomatic populations that represent the reservoir of infection. Routine screening in family planning clinics has been shown to reduce prevalence of infection and incidence of subsequent acute salpingitis. Annual screening of sexually active women < 25 years of age is the centerpiece of the program. Women above that age, with risk factors (such as new, or multiple partners) should also be screened. Annual screening is also recommended for MSM who engage in risky behaviors. Individuals who have been diagnosed with C. trachomatis infection are at high risk of reinfection, and screening at 3 month intervals is recommended. Efforts to reduce risky behaviors and promotion of condom use may also prevent infection. Routine screening of pregnant women, and treatment of those who are infected will prevent perinatal infection ( 28 ). In trachoma endemic areas community wide treatment with azithromycin has been shown to dramatically reduce chlamydial infection rates ( 29 ). Success of the chlamydia control programs has been mixed. Coverage has been varied, with routine screening of young women reaching about 50%-60% of eligible women. Assessment of programs has been challenging. Acute salpingitis, ectopic pregnancy and perinatal infections seem to have been reduced. But in many populations chlamydial prevalence has been increasing slightly. A hypothesis has been presented that the increase is due to "arrested immunity" where treatment shortens the duration of an infection that would otherwise naturally result in a relative immunity to infection ( 4 ). Thus more of the at risk population is susceptible. It is difficult to measure this. Part of the increased prevalence is certainly due to use of more sensitive nucleic acid amplification tests, and part is likely due to reaching more high risk populations. It has been suggested that screening of males should be introduced. There is a major effort to eliminate blinding trachoma as a public health problem. This is based on application of a multipronged approach, the SAFE strategy (Surgery, Antibiotics, Facial cleanliness, Environmental improvement). Surgery is performed to correct lid deformities that might otherwise cause blindness in the near future. The antibiotic component is community wide treatment with azithromycin to reduce chlamydial infection in the community. Pfizer has been donating the antibiotic for the program, and more than 444 million doses have been distributed. The facial cleanliness and environmental improvement focus on improving personal hygiene and providing latrines to limit transmission of infection spread from residual or newly introduced infection. Some countries have declared success, but there are large challenges remaining ( 12 ). CONTROVERSIES One controversy relates to the belief by some that chlamydia persists in non-replicating forms in infected patients and that these forms are not affected by antibiotics. Thus, persistent chlamydial infections exists as a state and total cure is not possible. Suffice it to say that the author does not subscribe to these beliefs. Non-replicating forms do exist, but are more likely to cause a temporary treatment failure than to cause a lifelong infection. Another controversy revolves around questions of reduced treatment efficacy ( 17 ). Particular concern has been placed on the success, or lack of success, of azithromycin in treating C. trachomatis urethritis or perhaps of greater concern, rectal infection ( 10 , 11 , 30 , 34 ). We urgently need appropriately designed randomized clinical trials to provide the answers. 12 . http://trachoma.org 13 . Jacobson GF, Autry AM, Kirby RS, Liverman EM, Motley RU. A randomized controlled trial comparing amoxicillin and azithromycin for the treatment of Chlamydia trachomatis in pregnancy. Am J Obstet Gynecol 2001;184:1352-4; discussion 1354-6. [PubMed] 14 . Jones RB, Van der Pol B, Martin DH, Shepard MK. Partial characterization of Chlamydia trachomatis isolates resistant to multiple antibiotics. J Infect Dis 1990;162:1309-15. [PubMed] 15 . Kacmar J, Cheh E, Montagno A, Peipert JF. A randomized trial of azithromycin versus amoxicillin for the treatment of Chlamydia trachomatis in pregnancy. Infect Dis Obstet Gynecol. 2001;9:197-202. [PubMed] 16 . Kent CK, Chaw JK, Wong W, Liska S, Gibson S, Hubbard G, Klausner JD. Prevalence of rectal, urethral, and pharyngeal chlamydia and gonorrhea detected in 2 clinical settings among men who have sex with men: San Francisco, California, 2003. Clin Infect Dis. 2005;41:67-74. [PubMed] 17 . Manhart LE, Gillespie CW, Lowens MS, et al. Standard treatment regimens for nongonococcal urethritis have similar but declining cure rates: a randomized controlled trial. Clin Infect Dis. 2013;56:934-942. 18 . Martin DH, Mroczkowski TF, Dalu ZA, McCarty J, Jones RB, Hopkins SJ, Johnson RB. A controlled trial of a single dose of azithromycin for the treatment of chlamydial urethritis and cervicitis. The Azithromycin for Chlamydial Infections Study Group. N Engl J Med 1992;327:921-5. [PubMed] 19 . Moulder JW. Interaction of chlamydiae and host cells in vitro. Microbiol Rev 1991;55:143-90. [PubMed] 20 . Mourad A, Sweet RL, Sugg N, Schachter J. Relative resistance to erythromycin in Chlamydia trachomatis. Antimicrob Agents Chemother 1980;18:696-8. [PubMed] 21 . Papp JR, Schachter J, Gaydos CA, Van Der Pol B. Recommendations for the Laboratory-Based Detection of Chlamydia trachomatis and Neisseria gonorrhoeae - 2014. MMWR. Recommendations and reports : Morbidity and mortality weekly report. 22 . Persson K, Hammas B, Janson H, Bjartling C, Dillner J, Dillner L. Decline of the new Swedish variant of Chlamydia trachomatis after introduction of appropriate testing. Sex Transm Infect. 2012;88:451-5. [PubMed] 23 . Ripa T, Nilsson PA. A Chlamydia trachomatis strain with a 377-bp deletion in the cryptic plasmid causing false-negative nucleic acid amplification tests.Sex Transm Dis. 2007;34:255-6. [PubMed] 24 . Schachter J. Rifampin in chlamydial infections. Rev Infect Dis 1983;5 Suppl 3:S562-4. [PubMed] 25 . Schachter J, Grossman M, Sweet RL, Holt J, Jordan C, Bishop E. Prospective study of perinatal transmission of Chlamydia trachomatis. JAMA. 1986;255:3374-7. [PubMed] 26 . Schachter J, Osoba AO. Lymphogranuloma venereum. Br Med Bull 1983;39:151-4. [PubMed] 27 . Schachter J, Philip SS. Testing men who have sex with men for urethral infection with Chlamydia trachomatis and Neisseria gonorrhoeae is only half the job, and we need the right tools.Sex Transm Dis. 2011;38:925-7 [PubMed] 28 . Schachter J, Sweet RL, Grossman M, Landers D, Robbie M, Bishop E. Experience with the routine use of erythromycin for chlamydial infections in pregnancy. N Engl J Med 1986;314:276-9. [PubMed] 2 9. Schachter J, West S, Mabey D, Dawson C, Bobo L, Bailey R, Vitale S, Quinn TC, Sheta A, Sallam S, Mkocha H, Mabey D, Faal H. Azithromycin in control of trachoma. Lancet 1999;354:630-35. [PubMed] 3 0. Schwebke JR, Rompalo A, Taylor S, Seña AC, Martin DH, Lopez LM, Lensing S, Lee JY. Re-evaluating the treatment of nongonococcal urethritis: emphasizing emerging pathogens--a randomized clinical trial. Clin Infect Dis. 2011;52:163-170. [PubMed] 3 1 . Somani J, Bhullar VB, Workowski KA, Farshy CE, Black CM. Multiple drug-resistant Chlamydia trachomatis associated with clinical treatment failure. J Infect Dis 2000;181:1421-7. [PubMed] 3 2 . Spaargaren J, Fennema HS, Morré SA, de Vries HJ, Coutinho RA. New lymphogranuloma venereum Chlamydia trachomatis variant, Amsterdam. Emerg Infect Dis. 2005;11:1090-2. [PubMed] 3 3 . Spaargaren J, Schachter J, Moncada J, de Vries HJ, Fennema HS, Peña AS, Coutinho RA, Morré SA. Slow epidemic of lymphogranuloma venereum L2b strain. Emerg Infect Dis. 2005;11:1787-8. [PubMed] 3 4. Steedman NM, McMillan A. Treatment of asymptomatic rectal Chlamydia trachomatis: is single-dose azithromycin effective? Int J STD AIDS. 2009;20:16-18. [PubMed] 3 5 . West SK, Moncada J, Munoz B, Mkocha H, Storey P, Hardick J, Gaydos CA, Quinn TC, Schachter J. Is there evidence for resistance of ocular Chlamydia trachomatis to azithromycin after mass treatment for trachoma control? J Infect Dis. 2014;210:65-71. [PubMed] 3 6 . Westrom L, Joesoef R, Reynolds G, Hagdu A, Thompson SE. Pelvic inflammatory disease and fertility. A cohort study of 1,844 women with laparoscopically verified disease and 657 control women with normal laparoscopic results. Sex Transm Dis 1992;19:185-92. [PubMed] 3 7 . Wiesenfeld HC, Hillier SL, Krohn MA, Amortegui AJ, Heine RP, Landers DV, Sweet RL. Lower genital tract infection and endometritis: insight into subclinical pelvic inflammatory disease. Obstet Gynecol. 2002;100:456-63. [PubMed] 3 8 . Workowski KA, Berman S. Sexually transmitted diseases treatment guidelines, 2010. MMWR. Recommendations and reports: Morbidity and mortality weekly report. Recommendations and reports / Centers for Disease Control. 2010;59(RR-12):1-110. [PubMed] 3 9 . Workowski KA, Lampe MF, Wong KG, Watts MB, Stamm WE. Long-term eradication of Chlamydia trachomatis genital infection after antimicrobial therapy. Evidence against persistent infection. JAMA 1993;270:2071-5. [PubMed] 40. Wyrick PB. Chlamydia trachomatis persistence in vitro: an overview. J Infect Dis. 2010;201 Suppl 2:S88-95. [PubMed]	i don't know
"Which British motor cycle manufacturer's motto was ""Made like a gun, goes like a bullet""?"	The Royal Enfield Bullet – the world’s longest running production motorcycle The Royal Enfield Bullet – the world’s longest running production motorcycle View gallery - 21 images January 13, 2009 The Royal Enfield Bullet has the longest production run of any motorcycle in history, having remained continuously in production since 1948, and with roots back to the1932 Bullet which was one of the fastest bikes on the road at the time – the Bullet has just been completely redesigned, and as the Bullet Classic , has all the hallmark design cues of its 75 year heritage, plus electronic fuel injection, a “unit construction” (one-piece), all-alloy engine/gearbox and a range of dress-up kits to turn it into a café racer or classic scrambler. It also makes more power than any previous Bullet, though with its modest 20.3 kW (27.3 bhp) output, it’s still regarded as a learner motorcycle in most countries. Most importantly, it’s cheap as chips, and returns better than 80 mpg. The Royal Enfield and Bullet names derive from the company's links with the Royal Small Arms Factory in Enfield. Royal Enfield was the brand of the Enfield Cycle Company, which produced motorcycles, bicycles, lawnmowers, stationary engines, and rifle parts for the Royal Small Arms Factory in Enfield Lock. This legacy of weapons manufacture is reflected in the logo, a cannon, and the company motto "Made like a gun, goes like a bullet". It also enabled the use of the brand name Royal Enfield from 1890 onwards. Just how the Royal Enfield name didn’t perish the same way as every other British motorcycle in history has done (sans Triumph), is an interesting story. In 1949, two young Indian businessmen started importing the Bullet motorcycles into the southern port city Madras, India under the name of the Madras Motor Company. In 1955, a factory was established and the bikes were sent in kit form from mother England for assembly, before full production of complete motorcycles started. The English company became defunct in 1970, and the Indian company subsequently bought the name and rights, ensuring that Royal Enfield remained in continuous production. Not surprisingly, the Royal Enfield name remains deeply loved by enthusiasts around the world, with a number of active distributors around the world nurturing the deep roots of the name and offering cheap and reliable transport that now meets emission standards. See these links for pricing and the array of dress-up-kits on offer in in the England , USA and Australia , and check out the image gallery for some of the faux models one can have, from scrambler through cafe racer. There's a fabulous resource for all things Royal Enfield here , and if you're an enthusiast and near the UK in June, be sure to check out the Royal Enfield Factory Open Day on June 21/22, 2009.	Royal Enfield
Who was Cassius Clay's / Muhammad Ali's manager?	Moped Army Moped Army by Mark Daniels Might military mopeds seem a little unlikely for the modern British army? Perhaps you don’t notice them very often, but then, maybe you’re not supposed to—because they’d be camouflaged! No, these machines may not be quite the real McCoy, but they’re certainly out there on the roads, fighting the battle for urban survival as daily commuter transport. One might call this a little spin-off from the ex-military vehicle enthusiast movement, where you see occasional ex-army motor cycles or trucks in civilian use, and there’s a lot to be said for liberally sloshing a coat of budget olive drab over everything, rather than the trouble and cost of fancy paint and shiny chrome restoration. It’s certainly cheap, gives the bike an identity, and seems a reasonable option for any aging and tatty rat bike. During WWII there were well known examples of small capacity bikes being employed by the military, probably most famously the paratrooper’s Excelsior Welbike with 98 cc Villiers Junior de Luxe autocycle engine, Royal Enfield 125 cc ‘Flying Flea’, and James 125 cc ML (Military Lightweight), so maybe in later years it might not be so unlikely to find … a Honda C50? Dating from 1986, the most characteristic aspect of this C50 is that it’s finished in camouflage paint, and seemingly made up as a munitions transport. There’s a single pad seat, which hinges up the same as the old dual seats, to access the petrol filler beneath. A rear carrier straddles the frame behind the seat, carrying a large 18 " ×11 " ×10 " ammunition box as a rear carrier, marked ‘700 rounds 7.62mm Ball L2A2’, and two smaller 10 " ×7 " ×4 " ammo boxes on each side marked ‘200 cartridges 7.62mm M13 for MG M60-M73’ and ‘200 rounds 7.62mm MXD-LNK’. It’s a while since we’ve ridden any Honda ‘crunchy’ models, and that was always much older 1960s and ’70s machines. This one is well into the 1980s, and some things have changed … like where’s the ignition switch? It’s no longer on the side panel, not on the steering head, right-hand leg shield? Nope! Ah, there, tucked into the left-hand leg shield now. The fuel tap is still on the carburettor, hiding in its little cave in the right-hand leg shield … but which way does that switch go for on? Trying to read the tiny lettering one the side of the tap, through the dirt, in the gloom … have to put the glasses on … no, maybe a torch … no … give up. In the end we just turn it so the lever points down, and if it happens to stop, then we’ll just switch it to another direction. Choke? Well, we recall there used to be a little lever on the carburetter, but that’s not there anymore … now it’s a pull knob on the steering head. After a few fruitless kicks, we try it without choke and the engine fires right up. At least the heel and toe rocking-lever gear change is still the same, so back for first … nothing … back for first … no, there’s definitely no gear there, so we sit in the kerb, clicking through the gear change and opening the throttle to see what’s what. OK, so Honda has changed the gearbox to a three-straight-down selection with neutral at the top now. Finally we get under way. Pulling from the kerb is the same old lurching take-off that the semi-automatic crunchies used to do, that bouncy leading-link front suspension certainly hasn’t changed. Up the road, click up the gears to top, and ease ourselves onto the main road. We’re not expecting much from this C50 since it wears a 30 mph restricted plate, and the owner reports that it doesn’t perform to his expectations in comparison to the older pre-restricted models. It has, however, received some minor upgrades; one more tooth on the front sprocket, and a changed exhaust. Apparently the original (rotted) exhaust system was model marked ‘30 mph ’, but this pattern replacement didn’t seem to mention any similar restriction. Now, when Honda say something is limited to 30, then that’s exactly what you’d expect it to do, right on the button—but there’s the exhaust change and raised ratio to take into account. The owner has also told us he knows the speedometer reads slightly slow. Best on the flat in an upright position indicated 34 mph , and no amount of encouragement could get the needle to make the 35 line, our pace rider however clocked this at 36. On flat in a crouch indicated 36 mph , while the pacer clocked 38. At screaming revs in typical Honda style (do they never top out?), the downhill run ran the needle off the end marker of the 40 mph clock … was that 41–42ish? Our pacer confirmed his speedometer just tipped 44 mph , and we went on to charge the following hill climb at no less than 34 by the time it crested the rise. In conclusion, we thought the little Honda gave a good account of itself, and can’t imagine why the bike’s 21-stone owner might not be so satisfied with the little C50’s performance? There weren’t any flat spots under acceleration so carburetion seemed good, though there was a bit of a dead zone at low revs in top gear, probably not unexpectedly for a 50 cc four-stroke with raised gearing, but once it pulled past 25, then was generally OK. Maybe our memory of old C50s and C70s was a little smoother than this newer restricted model reality, but there was a low level vibration tingle through the footrests, and this motor did feel a little harsh at speed—rather like a furious sewing machine. Swapping with our pace rider on the way back, riding beside the C50 sounded more pleasant than actually being on it. The phuttering exhaust note could be more easily discerned from the rear quarter, and the motor sounded quite relaxed around 25–30. Generally the bike rode well and stopped well, apart from the usual rearing-up effects from the notorious leading-link front suspension, but that’s generally accepted as part of the classic heritage and character of these machines. Overall, this ‘restricted’ C50 performed considerably better than expected for a limited 50, and just goes to show the old Honda ‘crunch’ is just as bullet-proof as ever! Our second ‘moped army’ bike is a Suzuki A100 ‘Scrapheap Special’ basically built out of odd salvage parts. The story goes that it came from the local tip around 1992 and was reconstructed on pretty much a zero budget from any scavenged bits that could be cobbled to fit. Since the motor was rather loose and rattley, and the clutch seemingly at end adjustment, there wasn’t much expectation that it would last very long, but mercilessly thrashed, abused, left out in all weathers, and 10 years later it’s still rattling along much the same! Just goes to show what a tough little bike it must be! What original paintwork remained wasn’t worth any concern, and a slosh of olive drab soon achieved an even colour. Apart from the pozi-force oiling system, the A100 is a pretty basic type old-time commuter motor cycle with very little in the way of gizmos, gadgets, or fancy bells and whistles. There’s a simple four-speed gearbox, one-down/three-up with a difficult-to-find neutral unless the engine is stopped. There’s a green neutral light to tell when you’ve got it, but that’s no easy task while the engine is running. It just keeps teasingly blinking at you as you click through and back again. The console box on the headset houses a key-switch, an 80 mph speedometer but no rev counter, and a couple of indicator lights. The various indicators are all similarly shaped, but their odd lenses suggest varying origins. Who cares? They’re orange and they flash! A basic lever fuel tap turns on at centre left of the tank, off–on–reserve, then choke operates under the left handle cluster and generally only requires a tweak for cold starting in the morning, after which you can flick the lever off within some 15 seconds. A couple of kicks rouse the motor easily enough, which sounds like a tired old campaigner, while the exhaust tone is quietly subdued by the welded-on silencer from a later model GP100. Clutch is light, gear selection easy-click, and we’re told the bike is well used to military-style treatment so there’s no need to nurse it! Anyone used to riding plodding old Villiers autocycles and the like is probably not going to readily adjust to the sort of revs these later Japanese two-strokes can run. Old timers tend to open them up, hold the gears till they think it’s revving quite enough, then change up. Wrong apparently! You rev it till you think you should change up, then hold it wide open in gear and wait for the power band to kick in! The real motor performance is all at the top end of the revs, and anything less is apparently just ‘labouring the motor’! Sounds like Ernest Thrasher’s riding guide to us, but we give it a try. The engine feels loose & worn, and sounds rather rattley, but goes on to run smoothly when it gets up to revs—how many revs? It just feels endless compared to the autocycles of this capacity we usually run, but can’t really put any figure on it without a rev counter. ‘Where might the urban army redline be’, we enquire? ‘Beyond anything you might ever rev it to’ seems to be the reply. Wish we’d never asked! There’s not much in terms of torque at low speed, but the engine starts to pick up about mid-range, then hold onto the gear and the front goes light as the revs just go on and on. We feel as if the natural change-up point is about 40 in third, but are told you can run it on to 52! Top gear seems to be comfortably cruising up to 50 mph , but at this pace you’re still outside the top-end power band, and have to work the motor above this to get into take-off speed. The power band can fairly readily take the bike up to just over 60 if you dip down to reduce drag. Anything beyond this is going to pretty much come down to catching the most favourable conditions (strong tailwind or downhill), which can reportedly take it across the 65 marker. The way the bike performs, it seems likely that the front sprocket has been changed to raise the drive ratio. The rear shocks (probably not the correct ones, and likely scavenged off something else) feel over-sprung and practically undamped, while the knobbly rear tyre helped neither general handling nor cornering at speed. There weren’t really many positive comments to make about the general handling, and we managed to find a particularly interesting weave when pulling out of a lorry slipstream at 50 mph on the dual-carriageway… The front brake was generally ineffectual, feeling heavy on the lever, but failing to deliver much in the way of any real stopping ability. The rear footbrake was OK, but hauling the bike down from speed on the knobbly rear tyre & suspension combination could make the descent a little ‘lively’. The engine performs somewhat better than the handling and brakes, and can certainly get you into more trouble than you want if you try pushing it hard through green lane sections. The Suzuki A100 probably represents much the same basic commuter two-stroke single brought on 40 years into the 1970s. It’s another on-going step of the developing 100 cc motor cycle, a story that continues from the pre-war French BMA vélomoteurs, early English Cyc-Auto and Villiers Junior autocycles, through to the post-war 2F powered single-speed autocycles, and 1F, 4F & 6F two-speed motor cycles. The ‘big four’ Japanese manufacturers have all subsequently continued this 100 cc capacity with quite a range of popular models in the size that should be familiar to many: Honda CB100 (four-stroke) and H100 (two-stroke); Kawasaki GA5, G7T and KH100; Suzuki A100 series A from 1969 to 1980, GP100, TS100; Yamaha HL1, YB100, RS100, DT100, RXS100, etc. Suzuki’s A100 first washed up on UK shores way back in June 1969, evolving through several guises till finally being discontinued in April 1980. Next—Our Euro fest moped theme for the next edition continues with a getaway to the warm and lazy delights of a summer Sunspot holiday in Portugal. Hold on? Doesn’t this seem an unlikely destination to find any moped manufacturers? Apparently not! This article appeared in the January 2015 Iceni CAM Magazine. [Text & photographs © 2015 M Daniels.] Making Moped Army Get ready to fight for your country—the ‘Moped Army’ has arrived, and this is war! ‘Moped Doctor’ Chris Day picked up the C50 at a War & Peace Military Vehicle Event, reasonably priced as a private sale since the bike was neither taxed or tested, and there were some starting issues, which was subsequently traced to a fried HT coil. After sorting out with T&T , Chris decided the little 50 didn’t have enough go for his trim 21-stone physique, and banged it straight up for sale on IceniCAM Market, so we thought we’d just do a quick incidental road test before it sold. As it happened, we barely had the bike for a couple of days, and only just about managed to get it back a matter of hours before the first punter’s appointment. The C50 was sold on immediately, and just two weeks later, despite being firmly padlocked and chained, was stolen away in the dead of night … never to be seen again. While drafting up the road test notes, ‘Moped Army’ seemed quite an appropriate title that some might relate to, since there’s a USA-based Moped Army website and, after all, we are in pretty much the same game. The C50’s departure then seemed to motivate Chris to fix up his old Suzuki A100 again, which had been lying in scattered pieces for a couple of years. The A100 was originally rescued from the local council tip around 1992, and reincarnated on zero budget by MAIM: Make, Adapt, Improvise & Mend. Being a bit of a military enthusiast, the Suz was sloshed over with green drab, used for several years as commuter transport through several more MAIM reincarnations, till becoming so completely decrepit that it was no longer capable of MoT . This last rebuild required most extensive MAIMing, a fresh spray of green drab, then old faithful was revived and looking tidy again to resume a further term of urban service. Military drab or camouflage can be a really cheap way to finish any old ’ped, and give it some instant identity—all it takes is making that big decision to slosh it on! After that, any MAIMs just blend right in, and you never need concern about pretty paint or shiny chrome ever again. The C50 was photo-shot by an agricultural concrete drainage pipe at the top of Bucklesham field in November 2011, and became our last road test of that year in the UK , as we then went on to test a series of bikes in New Zealand. The A100 was photoshot at the old wartime SSMR-BUC026 pillbox/dugout, which was part of the Bucklesham Starfish Bombing Decoy along Levington Lane. With the March sun in 2012 proving surprisingly warm for the photoshoot in survival gear, Chris was soon getting quite hot and bothered. For any weapons enthusiasts, our prop gun was a genuine (deactivated) AK47 assault rifle. Rather like the bikes, the text was cobbled together as bits and pieces from time-to-time, and pretty much completed over a period of some six months…. but actually getting the feature to publication proved rather more difficult. Moped Army had been hiding in the undergrowth since the last bike was shot in March 2012. It nearly made an appearance in October 2012, but was beaten to the front line by Folders . Again, our urban survivalist feature was in the running for the July 2013 edition, only to be pipped to the winning post by Iron Horse , ironically another nemesis in the shortlist back in March 2012. Bunkered again, until finally being programmed to invade our first edition of 2015. The nature of the article content was obviously only ever destined for the oddball third feature slot. Production costs for Moped Army were merely a token couple of pounds for local diesel fuel, and sponsorship credited to Melvyn Pettitt of EACC Suffolk Section . Following a couple more years of hard use, the A100 motor began to develop grumbling main bearings, and further failed to benefit from festering out in the weather over the winter season of 2013/14. By the time it was dragged out for assessment again next spring, the motor was already ‘game over’. Now back into another mothball phase of its ongoing life cycle, the A100 will hopefully be re-incarnated again sometime, and maybe return to fight another day.	i don't know
What would an American call a bowler hat?	Derby & Bowler Hats - Where to Buy Derby & Bowler Hats at Village Hat Shop Derby & Bowler Hats Shop for Derby & Bowler Hats Sort By More Details English Wool Felt Bowler Hat Introducing the English Bowler hat by Jaxon. This is a great looking bowler with all the classic trimmings and doesn't break the bank. Made in the classic bowler/derby hat tradition - the English Bowler hat has a stiff finish and features a round crown, curled brim, grosgrain ribbon hat band and edge trim as well as a smooth satin lining. Available in three great colors to easily coordinate with any gentleman's wardrobe - the English Bowler by Jaxon has the look you want at a price you can't resist! Approx.4 1/2" Round Crown2" Curled Brim Made of:100% Wool Felt Approx. 1" Grosgrain Ribbon HatbandFaux Leather SweatbandRemovable Side FeatherJaxon Side PinSatin Lined Sizes: S, M, L, XL and XXL More Details Wool Felt Homburg Hat Please Note: Sizes run large, see below or call us at 1-888-847-4287 for help with sizing. S = 7 1/8 (57cm)M = 7 3/8 (59 cm) L = 7 5/8 (61 cm) XL = 7 7/8 (63 cm) The Jaxon Wool Homburg Hat is a classic! Once more popular than the fedora throughout Europe and America, this classic style was considered as formal as top hat and derby styles. Later nicknamed the "Godfather" by popular American culture, the classic Homburg still holds a place in today's fashion. Featuring the classic stiff finish, center dent crown and curled brim, the Jaxon Wool Homburg Hat gives you the complete look at an unbeatable price! Approx.4 1/4" Center Dent Crown3" Curled Brim Made of:100% Wool Felt - Stiff Finish Grosgrain Ribbon HatbandGrosgrain Ribbon Bound EdgeRemovable Jaxon Side PinCotton SweatbandSatin Lined Sizes: S, M, L and XL Made in the USA100% Wool Felt Price: $75.00 More Details Made in the USA - Classics Godfather Hat by Jaxon and James Made in the USA Dating back to the early 19th Century, the Homburg (as it was known) was commonly worn by well-dressed, affluent gentlemen – it was the everyday hat of bankers and politicians. Originally named after the city in Germany, Al Pacino is credited with changing the name to ‘Godfather’ after he famously wore it during the movie of the same name. This started a new life for the Godfather hat in Hollywood as the hat of choice for gangsters and Mafioso alike. Today, you don’t have to be a banker or a gangster, wearing a Jaxon Godfather Homburg Hat is still a sign of an influential person. Approx.4 1/4" Center Cent Crown3" Curled Brim Made of:100% Wool Felt(Stiff Finish) Made in the USAGrosgrain Ribbon HatbandGrosgrain Ribbon Bound EdgeLeather SweatbandRemovable Side FeatherCustom Satin Lining Sizes: S, M, L and XL For Bulk/Wholesale purchase of this hat, CLICK HERE. More Details English Wool Felt Derby Hat Please Note: Sizes run large. See below or call 1-888-847-4287 for help with sizing.Small = 7 (56cm) Medium = 7 1/4 (58cm) Large = 7 1/2 (60cm) X-Large = 7 3/4 (62cm) XX-Large = 8 (64cm) The Jaxon English Derby Hat is one cool derby! Made in the classic tradition with a stiff wool felt finish and curled brim, this derby features grosgrain ribbon trim, satin lining and a faux leather sweatband. Yet another classic style from Jaxon Hats to add to any gentleman's hat collection! Approx.4 1/2" Round Crown2" Curled Brim Made of:100% Wool Felt Grosgrain Ribbon HatbandGrosgrain Ribbon Bound BrimFaux Leather Sweatband Removable Side FeatherSatin Lining For Bulk Purchase of this hat, CLICK HERE. More Details 140 - 1890s Bowler Hat - Made to Order These pieces are currently Made to Order and will take 2-4 weeks to make before shipping Made in the USA The bowler hat, or the "Derby", was designed by the hatters James and George Lock of Mr. Lock of St. James's Street in the central London district of St. James. James Lock & Co. was founded in 1676 and the bowler hat was introduced in 1849. The Locks would send their design to hatmakers Thomas and William Bowler, who produced a prototype of the hat and renamed it “The Bowler." Originally, the hat’s material was manufactured to be hard and durable in order to protect one’s head against low tree branches while riding horseback. 100% Wool 4 3/4" high crown. 1 7/8" Hand-Shaped bound edge brim. Printed leather sweat, custom 140th lining. More Details Derby Heritage Hat Made in the USA Are you missing that one hat from your collection? I bet it is the Bailey of Hollywood Heritage Derby. This gorgeous piece is made in the USA and crafted to perfection. The colors are great and they are made with just enough stiffness to keep the shape but flexible as well so it won't squeeze your temples and give you a headache. Approx. 4 1/2" Round Crown.Approx. 2" Rolled Brim with binding. Made of:100% Wool Lined.Side Feather.Sweatband. Fits to the lower end of group sizing: Small = 6 3/4 Medium = 7 Large = 7 1/4 X-Large = 7 1/2 XX-Large =7 3/4 More Details Kids' Wool Felt Derby Hat The Kids' Wool Felt Derby Hat is made of 100% wool felt and available in children's sizes. Ideal for formal events, dress up or play time - the Kids' Derby (aka Bowler) Hat can do it all! Featuring the classic trimmings including grosgrain ribbon hat band with side bow and side feather, there is nothing "novelty-ish" about this perfect little gentleman's hat! Approx. 4" Round Crown2" Upturned Brim Made of:100% Wool Felt - Stiff Finish Grosgrain Ribbon Hat Band (1" Wide)Faux Leather SweatbandCapas Logo Crown TipUnlined Sizes: Child's S, M, L and XLS = 6 = 18 3/4"M = 6 1/4 = 19 1/2"L = 6 1/2 = 20 1/4"XL = 7 =21 7/8" More Details Wool Bombin Bowler Hat The Kangol Wool Bombin which originates from the slang word for bowler is a new shape for Kangol. This vintage style is designed with a rounded crown, stingy curled brim, and Kangol’s classic blocked wool construction. Included with this hat is a pair of attractive Kangol hat pins. The first pin has three feathers layered on top of each other to create a colorful but tasteful decoration. The second pin is an enamel pin featuring the iconic Kangol logo to show off your hat's authenticity. Both pins are located next to the hang tag in a protective plastic sleeve. Approx. 1 3/4" stingy curled brimApprox. 3 3/4" round crown Made of: 60% wool40% acrylic Embroidered Kangol side logoElasticized nylon sweatbandUnlined Made in the USA100% Fur Felt Price: $195.00 More Details Fur Felt Derby Hat Made in the USA Stetson Royal Deluxe When it comes to quality, value, innovation and beauty, Stetson has played an integral part of the American West. Fine craftsmanship goes into every Stetson hat - especially the Derby! Stetson buyers search the globe for fine fur hats. Once carefully cleaned and weighed, the fur is put through more than 200 rigorous operations, many by hand. The fur is then sanded and treated several times with special hatters grease. Using heat, pressure and extreme care, the hat is formed, shaped and trimmed. The Fur Felt Derby is a classic hat. Featuring a round crown and a curled grosgrain ribbon bound brim, this derby will not disappoint. Whether you're showing off your own style or imitating a classic, like Charlie Chaplin, the Stetson Fur Felt Derby Hat is authentic through and through. Approx.4 1/4" Round Crown2 3/8 Curled Brim Made of:100% Fur Felt Grosgrain Ribbon Hat BandGrosgrain Ribbon Bound EdgeSide FeatherLeather SweatbandStetson Side PinCustom Satin Lining More Details Fur Felt Bowler Hat Made in England The material is extremely stiff and will not stretch in any way. We recommend ordering at least a size bigger than you normally would. Christys' bowlers are handmade furfelt hats. The crown measures 4 1/2" high and has a 2" wide brim. A grosgrain ribbon hat band measures 1" wide. The hat features a satin lining, leather sweatband and 11 ligned wide grosgrain trim. It comes with its own Christys' of London hatbox for easy storage. Available in Black only. The first hat of the industrial age, the bowler was designed in 1850 by the Bowler family of Southwark specifically for a customer of England's pre-eminent hatmaker, Lock's of St. James's. William Coke needed a practical, simple, rigid, durable hat to protect his gamekeeper's head; a hat that would stand up to the most demanding of conditions, including riding in pursuit of poachers. Coke tested the hat's prototype by standing on its crown in Lock's showroom. Twice. It passed the test. (Caution: Those were different times - don't try this at home.) The bowler was quickly adopted as sporting attire by the gentry and, soon after, became the headgear of choice across the entire social spectrum. It was particularly popular in the late 19th century with the crowd at the Derby horse race at Epsom Downs. Americans took to calling the hat the "derby". The hat of bankers, workers and clowns, the bowler is one of the most popular and successful hats ever produced, and the finest bowlers are still manufactured in England.	Epsom Derby
What was the name of the horse ridden by Dick Francis that fell while leading in the 56 Grand National?	Bowler Hats - Shop for Bowler Hats on Polyvore 834 Best Offer Ever , Up to 75% OFF Brand: No Description: Weight:110g Gender: Female Type:Fedora Hat Material:Straw Braid Style:Beach Hat,Roll up Feature: Bowknot Ribbon Color:Beige,Cream,Coffee Style:1(Bow Ribbon),2(Black Ribbon) Occassion:Beach,Travel,shopping in Summer Size: One Size Head Circumference:About 56-58cm(Unadjustable) Hat Brim Width:About 13cm Hat Depth:About 12.5cm (1cm=0.39Inches) Package included: 1* cap Notice: 1.Please allow 1-3cm error due to manual measurement. Please make sure you do not mind before you bid. 2.The colors may have different as the difference display, please understand More info $745 nordstrom.com 5 A wide grosgrain band circles a couture derby hat crafted in France from rich waterproof fur felt. A tonal logo medallion provides a signature finish. Brand: MAISON MICHEL. Style Name:Maison Michel Kendall Genuine Rabbit Fur Felt Hat. Style Number: 5098054. Available in stores. More info $800 1stdibs.com 104 Philip Treacy Wool Derby Hat With Metallic Mesh Accents And Oversize Floral Adornment. Includes Box.Circumference 23”, Brim 6” More info $120 shoebuy.com 6 The sharp Kangol Aged Bowler Hat puts a modernized spin on your casual look. Crafted from LiteFelt? wool, this hat retains its shape and repels water, while a bound grosgrain edge and band features the Needles logo in metal for a stylish edge. Made in USA Grosgrain band with a Kangol Needles metal logo 100% LiteFelt? wool. More info $51 lordandtaylor.com 7 Dressed up derby style with a satin floral accent. Brim, 3.25". Polyester. Spot clean. Imported. - Giovannio Embellished Derby Hat More info 36 Free shipping on USA orders This stylish bowler style hat is made from soft 100% wool. The short brim is turned up all the way around and the top of the crown is completely rounded at the top.. A plaid printed bow nicely accents the side of the hat and is finished with decorative black mesh.. 100% Wool. One Size Fits Most. . Product Code: APH00028 SKU: H03263 Hat has a 22 inch circumference. Hat brim measures 1.75 inches wide. Hat crown is 4.5 inches high. More info $39 overland.com 183 Take on the world with carefree confidence in this classic bowler hat, made from soft, waterproof wool felt. Keeping you out of the sun or rain with timeless style, this dapper hat is lightweight and crushable, so it'll bounce back from tight travel bags in no time. A grosgrain hatband with logo pin adds a polished finishing touch. With padded sweatband. Waterproof. 100% wool. Imported. S (6 3/4–6 7/8), M (7–7 1/8), L (7 1/8–7 3/8), XL (7 1/2–7 5/8), XXL (7 3/4–7 7/8) More info 10 AW16 Sale: Now Up To 60% Off. Terms & Conditions Apply. Black wool felt bowler hat from Comme Des Garçons Comme Des Garçons. Color: Black. Gender: Female. Material: Wool Felt. More info $16 boohoo.com 6 Stay snug in scarves and hats this season. Whether you're fighting the freeze in a faux fur stole, or curbing the cold in a quirky fedora hat, scarves and hats are the outfit-perfecting accessories we all need. Stripe trim scarves and beanies bring sporty attitude to your accessories, while a wrap around snood is the classic winter warmer. Get your hands in on the action with leather-look gloves or pick toasty mitts for a more cutesy style when it's cold. Toffee More info $150 1stdibs.com 20 The Graphic Black And White Design Of This Henry Pollak Hat Epitomizes The Mod Style Of The 1960's Era. The Shape And Style Is Reminiscent Of A Classic Derby Hat With A Black Mohair Body And White Leather Trim At The Brim. The Large White Leather And Velvet Button At The Top Adds A Whimsical Touch To The Girlish Design. Excellent Vintage Condition.Inside Brim Circumference 21.5"Crown Height (Not Including Button) 6"Brim Height 2.75" More info 1 Sale: Up to 70% Off Felted wool bowler hat in black. Raw edge at curved brim. Tonal stitching.Part of the Comme des Garçons Comme des Garçons x Scha collaboration. More info $16 belk.com 1 Totes Isotoner Molded Chenille Bowler Hat. The classic bowler design is upgraded with a modern touch in this hat. The rolled edges and comfortable style make it perfect for your everyday look. More info $16 belk.com Like Totes Isotoner Molded Chenille Bowler Hat. The classic bowler design is upgraded with a modern touch in this hat. The rolled edges and comfortable style make it perfect for your everyday look. More info San Diego Hat Company DRS1002 Straw Kettle Brim Dress/Derby Hat with Feathered Floral Detail (Black) Dress Hats $60 $84 zappos.com 6 Find a feminine appeal with classic style in this lovely hat from San Diego Hat Company! Straw dress derby hat with flat crown. Grosgrain hatband with feather and straw arrangement. Wide kettle brim. Interior hatband offers all-day comfort. 100% Sinamay straw. Spot clean only. Imported. Measurements: Circumference: 22 in Brim: 3 in More info $55 shoebuy.com 10 Tropic yarn is Kangol's traditional polyester blended, warm weather yarn that has been a staple in the collection since the late 1950's. The Bombin is a new shape inspired by the bowler hat (bombin is the slang word for bowler) in this iconic seamless knitted fabrication. More info $16 belk.com 1 Totes Isotoner Molded Chenille Bowler Hat. The classic bowler design is upgraded with a modern touch in this hat. The rolled edges and comfortable style make it perfect for your everyday look. More info 94 Best Offer Ever , Up to 75% OFF Brand: No Description: Weight: 70g Style: Casual Gender: Unisex Occasion: Casual Pattern Type: Solid Item Type: Sun Cap Material: Cotton Blend Color: Beige, Dark Gray, Black Season:Spring,Winter,Autumn Size: One Size Circumference: 54-59cm/21.3"-23.2" Brim: Approx.5cm/1.96" Height: Approx. 10cm/3.9" Package included: 1* cap Notice: 1.Please allow 1-3cm error due to manual measurement. Please make sure you do not mind before you bid. 2.The colors may have different as the difference display, please understand. More info $61 $88 zappos.com 8 Find a feminine appeal with classic style in this lovely hat from San Diego Hat Company! Straw dress derby hat with flat crown. Woven hatband with oversized bow detailing. Wide brim. Interior hatband offers all-day comfort. 100% straw. Spot clean only. Imported. Measurements: Circumference: 23 1 4 in Brim: 5 1 2 in More info 11 Best Offer Ever , Up to 75% OFF Brand: No Description: Weight:105g Gender: Unisex Style:Breathable Material:Straw+Linen+Cotton Season:Spring,Summer,Autumn Type:Fedora Hat,Derby Hat,Jazz Hat,Panama Occassion:Beach,Travel,shopping in Summer Color:Rose Red,Yellow,Blue,Pink,Orange,Green,Black Size: One Size Head Circumference:About 56-59cm(Unadjustable) Hat Brim Width:About 7cm Hat Depth:About 12cm (1cm=0.39Inches) Package included: 1cap Notice: 1.Please allow 1-3cm error due to manual measurement. Please make sure you do not mind before you bid. 2.The colors may have different as the difference display, please understand. More info $24 notonthehighstreet.com 3 It drains, it covers your head! It's the Bowler Hat Colander! Just thing for debonair cook-about-town or next dress-up-like-John-Steed party. Colander More info $199 tradesy.com 7 Custom one of a kind Derby Hat, includes free Oaks Hat! Only worn once, great condition, comes with box. More info $30 $65 6pm.com 7 Play up your look with the absolutely chic finesse of this hat from Scala! Two-tone derby hat with round crown. Ruffled design. Wide brim offers stylish protection from the sun. Interior hatband offers all-day comfort. 50% sinamay, 20% polyester, 30% polypropylene. Spot clean only. Imported. Measurements: Circumference: 21 3 4 in Brim: 6 in More info $53 $59 zappos.com 2 For tall drinks of water, the Goorin Brothers Stretch bowler. Wool felt bowler hat. Gorsgrain hat band with logo badge. Interior sweatband for all day wear. 100% wool. Unlined. Imported. Measurements: Circumference: 24 in Brim: 1 1 2 in Product measurements were taken using size XL (7 5/8). Please note that measurements may vary by size. More info 14 Best Offer Ever , Up to 75% OFF Brand: No Description: Weight:120g Gender: Female Season:Spring,Summer,Autumn Material:Straw+Linen+Cotton Type:Fedora Hat,Derby Hat,Jazz Hat Occassion:Beach,Travel,shopping in Summer Color:Navy Blue,Black,Milk White,Beige, Coffee,Royal Blue,White Size: One Size Head Circumference:About 54-58cm(Unadjustable) Hat Brim Width:About 7cm Hat Diameter:33cm Hat Depth:About 12cm (1cm=0.39Inches) Package included: 1cap Notice: 1.Please allow 1-3cm error due to manual measurement. Please make sure you do not mind before you bid. 2.The colors may have different as the difference display, please understand. More info $26 yesstyle.com 1 Brand from South Korea: GOROKE. Color: Black, Charcoal Gray, Gray, Materials: Wool, Polyester, Nylon, Size: One Size: Head Circumference 52cm (Adjustable), Care: Wipe Clean More info $36 $65 6pm.com 4 Play up your look with the absolutely chic finesse of this hat from Scala! Two-tone derby hat with round crown. Ruffled design. Wide brim offers stylish protection from the sun. Interior hatband offers all-day comfort. 50% sinamay, 20% polyester, 30% polypropylene. Spot clean only. Imported. Measurements: Circumference: 21 3 4 in Brim: 6 in More info $30 $65 6pm.com 3 Play up your look with the absolutely chic finesse of this hat from Scala! Two-tone derby hat with round crown. Ruffled design. Wide brim offers stylish protection from the sun. Interior hatband offers all-day comfort. 50% sinamay, 20% polyester, 30% polypropylene. Spot clean only. Imported. Measurements: Circumference: 21 3 4 in Brim: 6 in More info 4 Best Offer Ever , Up to 75% OFF Brand: No Description: Weight:60g Gender: Female Material:Wheat Straw Style:Fedora Hat,Trilby Hat Color:As Shown in the Picture Season:Spring,Summer,Autumn Occassion:Beach,Travel,shopping in Summer Size: One Size Head Circumference:About 52-57cm(Unadjustable) Hat Brim Width:About 4cm Hat Depth:About 10cm (1cm=0.39Inches) Package included: 1* cap Notice: 1.Please allow 1-3cm error due to manual measurement. Please make sure you do not mind before you bid. 2.The colors may have different as the difference display, please understand. More info $13 yesstyle.com 1 Brand from China: FROME. Color: Light Gray, Materials: Wool Blend, Size: One Size: Head Circumferenece: 56-58cm, Care: N/A More info 3 Best Offer Ever , Up to 75% OFF Brand: No Description: Weight:150g Material: Straw Gender: Unisex Style:Breathable Color:White, Coffee, Khaki, Beige, Milk White Type:Fedora Hat,Derby Hat,Jazz Hat,Panama Occassion:Beach,Travel,shopping in Summer Size: One Size Hat Circumference: About 58 cm Hat Brim Width: About 7cm Hat Height: About 10cm (1 cm=0.39 inches) Package included: 1*cap Notice: 1.Please allow 1-3cm error due to manual measurement. Please make sure you do not mind before you bid. 2.The colors may have different as the difference display, please understand. More info $50 $98 6pm.com 6 Showcase striking style when you step out in the BCBGMAXAZRIA Diamonte Bowler hat! Round top bowler hat. Short brimmed. Rhinestone embellishments across the crown. Interior sweatband for all-day wear. 100% wool. Spot clean only. Imported. Measurements: Circumference: 22 in Brim: 2 1 2 in More info $6.23 $8.90 yesstyle.com 5 Brand from China: FROME. Color: Adult - Wine Red, Materials: Upper: Cotton, Polyester, Size: Adult: Suggested Head Circumference: 55-58cm Kids: Suggested Head Circumference: 52-54cm, Care: Dry Clean, Hand Wash More info $8.90 yesstyle.com 2 Brand from China: FROME. Color: Dark Khaki, Materials: Cotton, Linen, Size: For Head Circumference: 56-58cm, Care: N/A More info $8.90 yesstyle.com 2 Brand from China: FROME. Color: Milky White, Materials: Cotton, Linen, Size: For Head Circumference: 56-58cm, Care: N/A More info $8.90 yesstyle.com 9 Brand from China: Hats 'n' Tales. Color: Coffee, Materials: N/A, Size: One Size: Circumference: 55-58cm, Height: 9cm, Brim: 3cm, Care: N/A	i don't know
Who wrote the musical Call Me Madam?	Call Me Madam :: Rodgers & Hammerstein :: Show Details Like this page on facebook. Call Me Madam Music and Lyrics by Irving Berlin \| Book by Howard Lindsay and Russel Crouse Once President Harry S. Truman appointed Washington hostess Perle Mesta as Ambassador to Luxembourg, the foundation was laid for a musical comedy that would kid politics-foreign and domestic alike. Ambassador Sally Adams, with slim credentials, is sent off to administer in the tiny duchy of Lichtenburg. It's not long before her down-to-earth, typically undiplomatic manner has surprised and charmed the local gentry, especially the handsome Prime Minister. A second romance is blossoming between her young Ivy League aid and Lichtenburg's enchanting young Princess. The course of love is threatened by the stuffy opposition, who eventually succeed in wrangling Sally's recall, but not before all has resolved happily for both pairs of lovers. About CALL ME MADAM By Robert Kimball October 12, 1950. War was raging in Korea. The US Army had advanced north of the 38th parallel. Harry S. Truman was flying to Wake Island in the Pacific for the first-ever meeting with General Douglas MacArthur. Back home, rainfall was dampening New York’s Columbus Day parade. Americans were listening to "Goodnight, Irene" and Bing and Gary Crosby's interpretation of a 1914 song by Irving Berlin, "Play a Simple Melody." And Berlin's new musical, CALL ME MADAM, was opening at New York's Imperial Theater with an advance of over one million dollars, by far the largest in Broadway history. CALL ME MADAM was the summer-of-1949 brainchild of writers Howard Lindsay and Russel Crouse, whose Pulitzer Prize-winning play about a presidential election, STATE OF THE UNION, was a triumph of the 1945-46 theatrical season. It was President Truman’s appointment of noted party-giver Perle Mesta as Ambassador of Luxembourg that gave them the idea for MADAM. Ethel Merman was a natural choice for the starring role, having been the leading lady of Lindsay & Crouse’s first Broadway collaboration, ANYTHING GOES (1934), and Berlin’s most recent hit ANNIE GET YOUR GUN (1946). Leland Hayward, who presented STATE OF THE UNION, MR. ROBERTS and SOUTH PACIFIC, was the producer. George Abbott directed. Jerome Robbins staged the musical numbers. While CALL ME MADAM was not really in big trouble during its mid-September 1950 New Haven break-in, it needed work and received what Variety’s Hobe Morrison, an ardent cheerleader, described as "a heroic job of tryout doctoring." One important change occurred when the 26-year-old juvenile lead, Russell Nype, scored a sensational success singing "It's a Lovely Day Today." Merman, noting the cheers for Nype, whose crew cut made him look as if he’d just stepped off a college campus, said to Berlin, "I want a duet with the kid!" She got it—the show-stopping double song "You’re Just in Love" was fashioned in a hotel room in less than two days. A month later Brooks Atkinson wrote in The New York Times, "When Miss Merman and Mr. Nype sing "You’re Just in Love," which is Mr. Berlin’s top achievement for the evening, CALL ME MADAM throws a little stardust around the theatre and sets the audience roaring." Both Merman and Nype went on to win Tony Awards for their performances. Another change occurred a few days later in Boston when Robbins told Berlin that the second act needed "something to dance about." Berlin took Robbins at his word and promptly gave him a song with that very title. Years later Berlin told me, "One of the many reasons I love Jerome Robbins is that he always seems to know what to fix and how to fix it, but just as important he knows what to leave alone." RCA was MADAM's sole investor, putting up the entire $225,000 plus $30,000 needed for union bonds in order to secure all radio, television and cast album rights. The top ticket price, $7.20, was the highest on Broadway at that time CALL ME MADAM received generally splendid reviews and notched up 644 performances. A national tour followed featuring Elaine Stritch and Kent Smith. Two London productions were mounted, one with an American, Billie Worth, and another with England’s own Dora Bryan. 20th Century Fox released the film version starring Ethel Merman, George Sanders, Donald O’Connor and Vera-Ellen in 1953. In 1995, Tyne Daly lead a glorious concert revival at New York City Center's ENCORES! series, leading to a cast recording from DRG Records, and sparkling numerous revivals, including a Papermill Playhouse (Millburn, N.J) production in 1996 starring Leslie Uggams. Tony Awards Dear Ed: Following is the story behind I Like Ike. In 1948 when the talk of Eisenhower for President started, I wrote a chorus of a song called I Like Ike as a campaign number. The first version was a straight campaign song. I thought then that the traditional fear of a military man in the White House would be a big issue, so one of the couplets in that original version was -- 'With so many treasures in our back yard/It's good to have a soldier standing guard' Talk about Eisenhower for President died down and I forgot about the song. When CALL ME MADAM came along I saw a spot in Lindsay and Crouse's script where we could use the Ike number as a comedy song. I then rewrote it and switched I to They. The rest of the story you know. Ike came to the opening night and he seemed to enjoy it. I never dreamed it would be embarrassing to him. In any event, the number started going better with each performance and I realized after a while that it was based on the warm feeling we all had for General Eisenhower. After the convention, I had to change the lyrics and kept on changing them from then on to fit every change in the political situation. If you do this Sunday night, I suggest having Pat Harrington, Ralph Chambers and Jay Velie do the version that they did the opening night at the Imperial Theater. Good Luck and many thanks. Playbill VIP : MAKE YOUR OWN PLAYBILL! Playbill VIP allows you to create your very own Playbill Program. We have provided Playbill with all of the credits, song listings, musical numbers and more so that most of the work is already done for you. Just add your productions details, photos of the cast and share it with all of your friends. Learn more: www.playbillvip.com STANDARD	Irving Berlin
What was the first British ship lost in the Falklands War?	Broadway Musical Home - Call Me Madam Broadway Musical Home Who starred in the original cast? Where can I buy the music? What’s the buzz on Broadway? Find out at Broadway Musical Home Call Me Madam by Irving Berlin , Howard Lindsay and Russel Crouse Playing at a Theatre Near You A political-satire, star-vehicle for Ethel Merman by Irving Berlin . Story: Sally Adams becomes Ambassador of Lichtenburg and charms Cosmo Constanstine with her undiplomatic manner. Meanwhile, her press attache, Keneth Gibson, falls in love with Princess Maria. 644 Original Cast Ethel Merman, Paul Lukas, Russell Nype, Galina Talva, Pat Harrington, Alan Hewitt, Tommy Rall and Nathaniel Frey Director Arthur Sheekman Starring Ethel Merman, Donald O'Connor, Vera-Ellen, George Sanders, Billy De Wolfe, Helmut Dantine, Walter Slezak, Steven Geray, Ludwig Stössel, Lilia Skala, Charles Dingle, Emory Parnell, Percy Helton Click on a song name to listen/purchase it on CDs Best Actress in a Musical - Ethel Merman Best Featured Actor in a Musical - Russell Nype 1952 Theatre World Award Nominations Russell Nype If You Like Call Me Madam, You Might Also Like... Broadway Musical Home Broadway tickets, merchandise, music, videos, and all the news, reviews, and information you want about Broadway musicals, people, theatres, awards, and production rights at your home for all things Broadway.	i don't know
What famous London building did John Nash rebuild in 1825?	John Nash: Biography of Regency Architect see: Architecture Glossary . John Nash's Architecture One of the greatest architects of metropolitan London during the Regency era (c.1810-30), John Nash was a highly original and prolific designer, best known for the neoclassical architecture he used in the Marylebone region of London, notably Regent's Park (1812-27), an impressive complex of rigorously classical buildings. Part of the Picturesque movement, he combined irregular views with Neoclassical structures, making use of the widest variety of styles and urbanistic ideas. In addition, he was among the initiators of the revival of Gothic and Renaissance architecture , Exoticism, and similar styles, that became typical of 19th century architecture in England. His most famous examples of classicism included city terraces in London (Royal Mews 1825; Cumberland Terrace 1828; Carlton Terrace 1827-32), major urban structures (Theatre Royal Haymarket 1820), country houses and castellated villas (East Cowes Castle 1798-1802; Ravensworth Castle 1808), and picturesque cottages (Blaise Hamlet 1810-11). He also designed the neoclassical All Souls Church in Langham Place (182224), and the gothic-style St. Mary's Church Haggerston (182527). His most unorthodox building was the Royal Pavilion in Brighton (1815-22) - a fantastic version of Indian design, with elements of Chinese, Moorish and Gothic architecture . The layout of the West End of London, including Trafalgar Square, St James's Park, and the Royal Mews off the Mall, owes a great deal to his innovative designs and planning. He also worked on Buckingham Palace, although here he was less unsuccessful and after the King's death he lost his royal commissions. See also Victorian Art (1840-1900). Biography Born in Lambeth, the son of a millwright, Nash trained with the architect Sir Robert Taylor (1714-88) and began as a surveyor and builder, before opening his own architectural practice at the age of 25. Alas, despite receiving a substantial family inheritance of £1000 in 1778, Nash's decision to invest in property proved unwise and he was declared bankrupt five years later. After this, he left London and settled near his mother in Carmarthen, Wales. It was in Wales that he completed his first important projects of late-18th century architecture , the prisons at Carmarthen (1789-92), Cardigan (1791-96) and Hereford (179296). He also renovated St David's Cathedral (1789-91) by adding two large flying buttresses, and designed Castle House Aberystwyth (1795) in Picturesque style. In addition, he designed a dozen small country houses or "villas", located throughout South Wales, such as Llanerchaeron (c.1795). While working in the principality, Nash formed a profitable 8-year partnership with landscape gardener Humphrey Repton (1752-1818). Then in 1797 he returned to London. His first major project after settling in London was out of town. In 1798 he designed his own summer residence, East Cowes Castle, on the Isle of Wight. It was the first of a number of picturesque Gothic castles that he would build across England. (Later he also built his own town house at No.14 Regent street: 1819-23). Other Nash "castles" - all executed in the asymmetrical and picturesque style of architecture - included: Luscombe Castle, Devon (180004); Ravensworth Castle, North Durham (begun 1807); Caerhays Castle, Cornwall (180810); Shanbally Castle, County Tipperary (1818-19). To these, Nash added groups of buildings, such as Blaise Hamlet (18101811), considered by some critics to be the last word in the Picturesque idiom. Another type of design he produced was the Italianate Renaissance-style villa, as exemplified by Cronkhill (1802), Sandridge Park (1805) and Southborough Place, Surrey (1808). Architect to the Prince Regent: Regency Architecture Politically, Nash was a supporter of the Whig party and a friend of Charles James Fox (1749-1806). Through this and other contacts, Nash came to the attention of the English Prince Regent, later King George IV (1762-1830). As a result, in 1806, Nash was given the position of architect to the Surveyor General of Woods, Forests, Parks, and Chases, and, from 1810, worked almost exclusively for the King. In this position he became an important exponent of the Regency Style of architecture - a style inspired by Greek art of classical antiquity. The first major royal commission was the development of Marylebone (today's Regent Street, Regent's Park and St James's Park). With the assistance of other architects including James Pennethorne (1801-71) and Decimus Burton (1800-81), Nash designed Carlton House Terrace (18271832), Park Crescent (1812-21), and Park Square (182324), as well as villa developments like Park Village East and Park Village West (182334). In addition, Nash was responsible for the planning and completion of Regent's Canal (1812-20). Other royal commissions included the design of two of London's theatres: the King's Opera House (now, Her Majesty's Theatre) (18161818), and the severely neoclassical Theatre Royal Haymarket (1821), with its hexastyle Corinthian columns. After this came the redesign of Buckingham House, creating Buckingham Palace (18251830), followed by the Royal Mews (182224) and Marble Arch (1828). Nash's career and influenced declined abruptly with the death of George IV. Both the King's extravagance and Nash's own success had attracted considerable resentment. The huge cost of his work on Buckingham Palace, in particular, caused enormous controversy, and effectively denied him the knighthood traditionally awarded to royal architects. In response, Nash retired to his home on the Isle of Wight. Royal Pavilion, Brighton (1815-22) This was Nash's most unusual and exotic architectural design. Starting out as the Prince's Marine Pavilion, it became the Royal Pavilion, on completion. It was originally built by Henry Holland (1745-1806). Nash transformed it from an earlier Palladian-style house into a flamboyant example of eclectic, whimsical Picturesque architecture, to host the summer entertainments of the Prince Regent. Modelled on Mughal architecture, which lent it it a distinctly exotic appearance, its exterior - complete with minarets and bulbous onion domes - resembles the geometrically disciplined Taj Mahal at Agra, Northern India (1630-53). Its more unorthodox features included: a gothic-parapeted, circular staircase in the castellated turret provides access to the upper dome, which was modified to accomodate three bedrooms, each with a fireplace and windows; and a marquee-style roof of the pagoda dome above the Banqueting Room and Music Room. For the interior, cast-iron was disguised as bamboo and gas-lighting was installed to display the brilliant chinoiserie to its greatest effect. Other Buildings Designed by John Nash - Southborough House, Surbiton (begun 1808) - The Rotunda, Woolwich (1814, 1820) - St. James's Park (181427) - Suffolk Place, Haymarket (1820)	Buckingham Palace
Which Jane Austen novel tells the story of the Bertram family?	John Nash (Architect) - Pics, Videos, Dating, & News John Nash John Nash was a British architect responsible for much of the layout of Regency London. related links The Rally: Pivotal Position â Offensive Line Or Secondary? The Independent Florida Alligator Google News - Aug 30, 2011 'Think <mark>John Nash</mark> from âA Beautiful Mind,â only with football diagrams instead of equations. But it's precisely because Muschamp's brain is so big and the defense is so talented that the offensive line is key. If Florida can put up points at a decent' George Iv: The Rehabilitation Of Old Naughty The Guardian Google News - Aug 28, 2011 'The period's defining architect is <mark>John Nash</mark>, with his crazily clashing source material. He built stage sets for the Prince Regent's no-rules lifestyle: as well as the Royal Pavilion, he carried out endless and unaffordable remodellings of Carlton' Wozniacki Back In New Haven Final The Hour Google News - Aug 27, 2011 'NEW HAVEN -- Caroline Wozniacki, the Princess of Yale, overcame a tight groin and forced back each and every challenge that came from the other side of the net, earning a straight set victory and a fourth straight trip to' Fundamental Steps To Save Our Economy Tbo.Com Google News - Aug 26, 2011 'By <mark>John Nash</mark>, Of Cabbages and Kings Seems as though most everyone (ie, those who are literate, at least) is more concerned about the sad state of our economy than about anything else, including drought, wars, famine,' Learn about the memorable moments in the evolution of John Nash. CHILDHOOD 1752 Birth Nash was born during 1752 in Lambeth, south London, the son of a Welsh millwright also called John (1714â1772). TEENAGE 1766 14 Years Old From 1766 or 67, John Nash trained with the architect Sir Robert Taylor; the apprenticeship was completed in 1775 or 1776. TWENTIES 1775 - 1777 2 More Events 1775 23 Years Old On 28 April 1775, at the now demolished church of St Mary Newington, Nash married his first wife Jane Elizabeth Kerr, daughter of a surgeon. … Read More Initially he seems to have pursued a career as a surveyor, builder and carpenter. This gave him an income of around Â£300 a year. The couple set up home at Royal Row Lambeth. Read Less 1777 25 Years Old He established his own architectural practice in 1777 as well as being in partnership with a timber merchant, Richard Heaviside. … Read More The couple had two children, both were baptised at St Mary-at-Lambeth, John on 9 June 1776 and Hugh on 28 April 1778. Read Less 1778 26 Years Old In June 1778 "By the ill conduct of his wife found it necessary to send her into Wales in order to work a reformation on her", the cause of this appears to have been the claim that Jane Nash "Had imposed two spurious children on him as his and her own, notwithstanding she had then never had any child" and she had contracted several debts unknown to her husband, including one for milliners' bills of Â£300. … Read More The claim that Jane had faked her pregnancies and then passed babies she had acquired off as her own was brought before the Consistory court of the Bishop of London. His wife was sent to Aberavon to lodge with Nash's cousin Ann Morgan, but she developed a relationship with a local man Charles Charles. Read Less 1779 27 Years Old In an attempt at reconciliation Jane returned to London in June 1779, but she continued to act extravagantly so he sent her to another cousin, Thomas Edwards of Neath. … Read More She gave birth just after Christmas, and acknowledged Charles Charles as the father. Read Less 1781 29 Years Old In 1781 Nash instigated action against Jane for separation on grounds of adultery. The case was tried at Hereford in 1782, Charles who was found guilty was unable to pay the damages of Â£76 and subsequently died in prison. The divorce was finally read 26 January 1787. … Read More His career was initially unsuccessful and short-lived. After inheriting Â£1000 in 1778 from his uncle Thomas, he invested the money in building his first known independent works, 15â17 Bloomsbury Square and 66â71 Great Russell Street in Bloomsbury. Read Less THIRTIES 1783 - 1784 2 More Events 1783 31 Years Old But the property failed to let and he was declared bankrupt on 30 September 1783. … Read More His debts were Â£5000, including Â£2000 he had been lent by Robert Adam and his brothers.<br /><br /> A blue plaque commemorating Nash was placed on 66 Great Russell Street by English Heritage in 2013. Read Less 1784 32 Years Old Nash left London in 1784 to live in Carmarthen, where his mother had retired to, her family being from the area. 1785 33 Years Old In 1785 he and a local man Samuel Simon Saxon re-roofed the town's church for 600 Guineas. … Read More Nash and Saxon seem to have worked as building contractors and suppliers of building materials. Nash's London buildings had been standard Georgian terrace houses, and it was in Wales that he matured as an architect. Read Less Show Less His first major work in the area was the first of three prisons he would design, Carmarthen 1789â92, this prison was planned by the penal reformer John Howard and Nash developed this into the finished building. … Read More He went on to design the prisons at Cardigan (1791â96) and Hereford (1792â96). It was at Hereford that Nash met Richard Payne Knight, whose theories on the picturesque as applies to architecture and landscape would influence Nash. The commission for Hereford Gaol came after the death of William Blackburn, who was to have designed the building, Nash's design was accepted after James Wyatt approved of the design. Read Less By 1789 St David's Cathedral was suffering from structural problems, the west front was leaning forward by one foot, Nash was called in to survey the structure and develop a plan to save the building, his solution completed in 1791 was to demolish the upper part of the facade and rebuild it with two large but inelegant flying buttresses. 1790 38 Years Old In 1790 Nash met Uvedale Price, whose theories of the Picturesque would have a major future influence on Nash's town planning. … Read More In the short term Price would commission Nash to design Castle House Aberystwyth (1795). Its plan took the form of a rightangled triangle, with an octagonal tower at each corner, sited on the very edge of the sea. This marked a new and more imaginative approach to design in Nash's work. One of Nash's most important developments were a series of medium-sized country houses that he designed in Wales, these developed the villa designs of his teacher Sir Robert Taylor. Most of these villas consist of a roughly square plan with a small entrance hall with a staircase offset in the middle to one side, around which are placed the main rooms, there is then a less prominent Servants' quarters in a wing attached to one side of the villa. The buildings are usually only two floors in height, the elevations of the main block are usually symmetrical. One of the finest of these villas is Llanerchaeron, at least a dozen villas were designed throughout south Wales. Others, in Pembrokeshire, include Ffynone, built for the Colby family at Boncath near Manordeifi, and Foley House, built for the lawyer Richard Foley (brother of Admiral Sir Thomas Foley) at Goat Street in Haverfordwest. Read Less FORTIES 1792 - 1795 2 More Events 1792 40 Years Old He met Humphry Repton at Stoke Edith in 1792 and formed a successful partnership with the landscape garden designer. … Read More One of their early commissions was at Corsham Court in 1795â96. The pair would collaborate to carefully place the Nash-designed building in grounds designed by Repton. The partnership ended in 1800 under recriminations, Repton accusing Nash of exploiting their partnership to his own advantage. Read Less 1795 43 Years Old As Nash developed his architectural practice it became necessary to employ draughtsmen, the first in the early 1790s was Augustus Charles Pugin, then a bit later in 1795 John Adey Repton son of Humphry. 1796 44 Years Old In 1796, Nash spent most of his time working in London, this was a prelude to his return to the capital in 1797. 1797 45 Years Old In June 1797, he moved into 28 Dover Street, a building of his own design. … Read More He built a larger house next door at 29, into which he moved the following year. Read Less Show Less Nash married 25-year-old Mary Ann Bradley on 17 December 1798 at St George's, Hanover Square. In 1798, he purchased a plot of land of at East Cowes on which he erected 1798â1802 East Cowes Castle as his residence. … Read More It was the first of a series of picturesque Gothic castles that he would design.<br /><br /> Nash's final home in London was No.14 Regent Street that he designed and built 1819â23, No. 16 was built at the same time the home of Nash's cousin John Edwards, a lawyer who handled all of Nash's legal affairs. Located in Lower Regent Street, near Waterloo Place, both houses formed a single design around an open courtyard. Nash's drawing office was on the ground floor, on the first floor was the finest room in the house, the 70-foot-long picture and sculpture gallery; it linked the drawing room at the front of the building with the dining room at the rear. The house was sold in 1834 and the gallery interior moved to East Cowes Castle.<br /><br /> The finest of the dozen country houses that Nash designed as picturesque castles include the relatively small Luscombe Castle Devon (1800â04), Ravensworth Castle (Tyne and Wear) begun 1807 only finally completed in 1846, was one of the largest houses by Nash, Caerhays Castle in Cornwall (1808â10), Shanbally Castle, County Tipperary (1818â1819) was the last of these castles to be built. These buildings all represented Nash's continuing development of an asymmetrical and picturesque architectural style, that had begun during his years in Wales, at both Castle House Aberystwyth and his alterations to Hafod Uchtryd. This process would be extended by Nash in planning groups of buildings, the first example being Blaise Hamlet (1810â1811); there a group of nine asymmetrical cottages was laid out around a village green. Read Less FIFTIES 1806 54 Years Old Nash was a dedicated Whig and was a friend of Charles James Fox through whom Nash probably came to the attention of the Prince Regent (later King George IV). In 1806 Nash was appointed architect to the Surveyor General of Woods, Forests, Parks, and Chases. 1810 58 Years Old From 1810 Nash would take very few private commissions and for the rest of his career he would largely work for the Prince. … Read More His first major commissions in (1809â1826) from the Prince were Regent Street and the development of an area then known as Marylebone Park. With the Regent's backing, Nash created a master plan for the area, put into effect from 1818 onwards, which stretched from St James's northwards and included Regent Street, Regent's Park (1809â1832) and its neighbouring streets, terraces and crescents of elegant town houses and villas. Nash did not design all the buildings himself; in some instances, these were left in the hands of other architects such as James Pennethorne and the young Decimus Burton. Nash went on to re-landscape St. James's Park (1814â1827), reshaping the formal canal into the present lake, and giving the park its present form. A characteristic of Nash's plan for Regent Street was that it followed an irregular path linking Portland Place to the north with Carlton House, London (replaced by Nash's Carlton House Terrace (1827â1833)) to the south. At the northern end of Portland Place Nash designed Park Crescent, London (1812) & (1819â1821), this opens into Nash's Park Square, London (1823â24), this only has terraces on the east and west, the north opens into Regent's Park. Read Less LATE ADULTHOOD 1812 60 Years Old Nash was also a director of the Regent's Canal Company set up in 1812 to provide a canal link from west London to the River Thames in the east. … Read More Nash's masterplan provided for the canal to run around the northern edge of Regent's Park; as with other projects, he left its execution to one of his assistants, in this case James Morgan. The first phase of the Regent's Canal was completed in 1816 and finally completed in 1820. Read Less 1813 61 Years Old Together with Robert Smirke and Sir John Soane, he became an official architect to the Office of Works in 1813, (the appointment ended in 1832) at a salary of Â£500 per annum, following the death in September of that year of James Wyatt, this marked the high point in his professional life. 1818 66 Years Old As part of Nash's new position he was invited to advise the Parliamentary Commissioners on the building of new churches from 1818 onwards. … Read More Nash produced ten church designs, each estimated to cost around Â£10,000 with seating for 2000 people, the style of the buildings were both classical and gothic. In the end Nash only built two churches for the Commission, the classical All Souls Church, Langham Place (1822â24) terminating the northern end of Regent Street, and the gothic St. Mary's Haggerston (1825â27), bombed during The Blitz in 1941.<br /><br /> Nash was involved in the design of two of London's theatres, both in Haymarket. The King's Opera House (now rebuilt as Her Majesty's Theatre) (1816â1818) where he and George Repton remodelled the theatre, with arcades and shops around three sides of the building, the fourth being the still surviving Royal Opera Arcade. The other theatre was the Theatre Royal Haymarket (1821), with its fine hexastyle Corinthian order portico, which still survives, facing down Charles II Street to St. James's Square, Nash's interior nolonger survives (the interior now dates from 1904). Read Less 1820 68 Years Old In 1820 a scandal broke, when a cartoon was published showing a half dressed King George IV embracing Nash's wife with a speech bubble coming from the King's mouth containing the words "I have great pleasure in visiting this part of my dominions". … Read More Whether this was based on just a rumour put about by people who resented Nash's success or if there is substance behind is not known.<br /><br /> Further London commissions for Nash followed, including the remodelling of Buckingham House to create Buckingham Palace (1825â1830), and for the Royal Mews (1822â24) and Marble Arch (1828) The arch was originally designed as a triumphal arch to stand at the entrance to Buckingham Palace. It was moved when the east wing of the palace designed by Edward Blore was built, at the request of Queen Victoria whose growing family required additional domestic space. Marble Arch became the entrance to Hyde Park and The Great Exhibition.<br /><br /> Many of Nash's buildings were built by property developer James Burton, who also lent him financial assistance when he encountered financial problems during his projects on Regent Street. In return, Nash promoted the career of Burton's son, Decimus Burton, who assisted him with several of his designs. Nash was appointed architectural 'overseer' for Decimus's Regent's Park projects: Cornwall Terrace, York Terrace, Chester Terrace and the villas of the Inner Circle, including The Holme. However, to the chagrin of Nash, Decimus largely disregarded his advice and developed the Terraces according his own style, to the extent that Nash sought the demolition and complete rebuilding of Chester Terrace, but in vain. Decimus also emerged as the dominant force in the design of Carlton House Terrace. Read Less 1829 77 Years Old … Nash's career effectively ended with the death of George IV in 1830. The King's notorious extravagance had generated much resentment and Nash was now without a protector. The Treasury started to look closely at the cost of Buckingham Palace. Read Less Nash's original estimate of the building's cost had been Â£252,690, but this had risen to Â£496,169 in 1829 the actual cost was Â£613,269 and the building was still unfinished. … Read More This controversy ensured that Nash would not receive any more official commissions nor would he be awarded the Knighthood that other contemporary architects such as Jeffry Wyattville, John Soane and Robert Smirke received. Nash retired to the Isle of Wight to his home, East Cowes Castle. Read Less	i don't know
Coca Cola announced in Oct 2010 the closure of which famous British bottled water company?	Media clip Details Summary Peter Green report about Malvern water including scenes at the bottling plant at Colwall on the Herefordshire/Worcestershire border. Description Vox pops with people in Malvern about their water bills. Peter Green interviews John Winsor about the history of the Malvern spring and the claim that the water doesn't contain any minerals. Green next talks to Mr Gladwin, the Chief Chemist of Schweppes who bottle and sell the water, about the purification process and we see shots of laboratory work. We then see the water being bottled at the Schweppes factory at Colwall (cut to the song Lily the Pink). Finally Green samples bottled water inside the British Camp pub in Malvern. Credits	Malvern
Which popular song begins with, The loveliness of Paris seems somehow sadly gay?	Media clip Details Summary Peter Green report about Malvern water including scenes at the bottling plant at Colwall on the Herefordshire/Worcestershire border. Description Vox pops with people in Malvern about their water bills. Peter Green interviews John Winsor about the history of the Malvern spring and the claim that the water doesn't contain any minerals. Green next talks to Mr Gladwin, the Chief Chemist of Schweppes who bottle and sell the water, about the purification process and we see shots of laboratory work. We then see the water being bottled at the Schweppes factory at Colwall (cut to the song Lily the Pink). Finally Green samples bottled water inside the British Camp pub in Malvern. Credits	i don't know
Which American motor manufacturer used to make the Fury?	AMC - The Spirit Still Lives (history of American Motors) Willys and Kaiser Jeep Engines of Brazil Through its 34-year existence, AMC created some of the most memorable, inspirational, and exciting cars the world has ever seen. You can read through from the start, or scroll down to any particular year you might be interested in. American Motors was formed in 1954 from the merger of Hudson Motors and Nash-Kelvinator . The deal was the largest corporate merger up to that point - worth $197,793,366 - but was just one phase of a planned megamerger of Hudson, Nash, Studebaker, and Packard. The combined company would cover all segments of the market, and their size and ability to share engineering would amortize costs nicely; at least, that was the plan of Kelvinator’s George Mason, whose company owned Nash. The name “American Motors” originated with Mason, who started working on the plan just after World War II (thanks, Dan Minick.) The standard Hudson cars were an excellent design in the mid-to-upper range, but the lack of money for annual restylings had hurt sales. Racing successes sold Hudson Hornets , but not the bigger cars that were Hudson’s main business. Hudson was, therefore, receptive to the plan to merge with Nash, which had strengths in the low-to-middle range. The first casualties of the merger were the Jet, Hudson's slow-selling entry into the compact market, and the little Nash-Healey sports car, which had left its mark on European sports car racing but had not been a major seller. A year later, the Nash Rambler and Metropolitan were badged as Hudsons and sold under both marques. Hudsons kept their in-line six cylinder L-head (flat head) engines; standard models had single carburetors, while optional “Twin-H Power” package had higher compression heads with dual carburetors. Moving up, the Nash Ambassador and Hudson Hornet models boasted the Packard 320 V-8, producing 208 hp, with Packard "Ultramatic" automatic transmissions. [ Why AMC used Packard V8 engines ] 1955: new Wasp and Hornet AMC proudly introduced a new line of Hudson Wasps and Hornets in 1955, “new from stem to stern” (in reality, moved to the newer Nash platforms); but they did not reverse the companies’ fortunes. In Canada, one could buy the Nash Rambler, Hudson Rambler, Nash Canadian Statesman, and Hudson Wasp sedans, assembled in Canada, at the Nash plant on East Danforth Avenue in Toronto (Nash bought the plant from Ford of Canada in 1946 and started production in 1950). Hudson dropped its contract with CHATCO Steel Products, which made Hudsons on an assembly line in Tilbury, Ontario. Meanwhile, in a move that would have ramifications for AMC years later, Kaiser Motors made its final Manhattan models and converted its car factories to Jeep production. 1956: the Rambler returns Rambler Canada: The Little Company that Could, 114 pages, is available from James Mays, Box 47547, 1550 Maisonneuve West, Montreal, QC CANADA H3G 2V7. Send US $25 or CDN $37.50 via cheque or money order made out to James Mays. The controversial Pinin-Farina styled Nash “bathtub” body was updated with open front wheelwells; but the big news was the new Rambler, a car of the future with a name from Nash’s past — indeed, from Jeffery, the company that was later renamed Nash. The new Rambler, selling as both Hudson and Nash, had a flashy body with plenty of chrome, a wraparound windshield, reverse-slant C-pillar, and two-tone paint. The Rambler carried either Hudson or Nash badging, depending on the brand selling it, branding similar to that of the Dodge/Plymouth Neon . A brand new AMC-designed 250 cid V-8 replaced the Packard V-8s [t he story behind the engine change ] in the 114-inch wheelbase Ambassador Special and Hudson Hornet Special; the 121"-wheelbase Ambassador V8 and Hornet V8 continued with Packard V8s for 1956, but moving up to the bigger 220 horse 352 V8. Rambler four door sedans and wagons, along with the Hudson Wasp and Nash Canadian Statesman, were assembled in Canada and imported to the U.S.; American Motors Sales (Canada) Limited was formed, taking over Nash Motors of Canada Limited and Hudson Motors of Canada Limited. Frank Swygert added: Packards contained engines of the same size but rated at higher power. Due to a parts sharing dispute between Packard and AMC, AMC brought out its own 250 cid, four-barrel-fed, 190 hp V-8 in April, used only in the 1956 Ambassador and Hornet Special models. The Specials were built on the 114"-wheelbase Statesman and Wasp bodies with Ambassador and Hornet trim, with the 250 V-8; the lighter Specials performed as well as the larger Packard V-8 cars. 1957: Nash and Hudson become Rambler; Rebel 1957 was the last year for both the Nash and Hudson marques, which were dropped in favor of Rambler, simplifying sales and marketing. The Rebel was launched as the first American factory hot-rod. It came in silver, with silver and black upholstery, a new 255 hp 4 bbl 327 cid V-8, four speed or auto, and dual exhaust. It ran the quarter in 17.0 seconds; Mike Sealey pointed out that it was advertised as the fastest four door car in America from 0-60 mph. Only 1,500 silver Rebels were built; in addition to the silver paint, these Rebels had anodized gold trim. Bill Watson noted that the Rambler Six and Rambler Rebel V8 were assembled in Canada until July 1957, when the Toronto plant closed; all Ramblers were then imported until December 1960, when a new plant in Brampton opened. Frank Swygert noted that the 327 was a larger version of the 250 and 287; they used the same block, crank, and rods as the 250 (the crank and rods were forged and expensive to change). The 250 was used in the Rambler V-8. Bob Goyette added: “The 250 was a 3.5 inch bore, the 287 was 3.75 inches, and the 327 was 4.0 inches.” 1958: Rebel, Ambassador, and Classic The big news for 1958, at least according to AMC at 1957 car shows, was the new Bendix Electrojector electronic fuel injection system , a design which was quite similar to modern systems. When confronted with Chevrolet’s mechanical fuel injection option, set at $484, an AMC spokesman said theirs would cost less; but high costs and poor reliability led AMC to drop plans to use the system, and it ended up at Chrysler, which replaced nearly every unit with conventional carburetors. The design of the system was excellent; but electronic components of the day were not up to underhood duty. Bosch would end up buying the rights to the system and successfully launching it, many years later. All lines were now badged Ramblers, with the historic Hudson and Nash names in the dustbin. The original 100-inch wheelbase Nash Rambler was brought back with modern styling and 195.6 cid six, and named the Rambler American (100" wheelbase). The Rebel V8 (108"), Rambler 6 (108"), and Ambassador (117") were restyled as well with quad headlights, toothy chrome grilles, and pointy tailfins. Frank Swygert wrote: The Rambler V-8 was renamed Rebel and received its own series number (20). It was produced through 1960. The only V-8 Ramblers from 1961-mid 1963 were Ambassadors. The 1958 American was a reintroduction of the 1955 Nash Rambler, the only time an old model has been successfully reintroduced. It had a reintroduced L-head 195.6 of 90 hp; the engine, too, had been dropped with the 55 Nash Rambler, being converted to overhead valaves for 1956. The L-head shared the same lower block, crank, rods, and timing components (except grind of cam) as the 195.6 overhead valve engine. There was no bolt-on conversion because the right side of the block was changed. The 125 hp OHV was optional in the American. James K. Sims wrote: We owned a 1958 Rambler Ambassador Country Club. I understand that there were only about 1200 made. It was a four-door hardtop with all power accessories, spare tire on the continental kit, and a pushbutton automatic transmission. It had 900-15 tires and would spin them on command. I pumped it up to almost 120 mph (it had no problem jumping up there). It continually had power window failures, but otherwise, I remember it being a dependable vehicle. 1959 brought cosmetic changes only (the Metropolitan continued without any styling changes). 1960: Next Generation Rambler The next generation of Rambler arrived, featuring cleaner styling and increased interior room. The Rebel was deleted after 1960, but was still available for one final year with the V8. American and Classic were available only with the 195.6 cid six, with single-barrel carb or optional two-barrel Power Pak. Ambassador was powered by the 327 cid V-8. Metropolitan importing stopped, but their stock lasted through the 1962 model year, making the late-model Mets very collectible today. (Gerald Henry disagreed: "[the] last Metropolitan for the North American market was E-95981 and it was built on April 19, 1961.") AMC’s Brampton plant opened in December 1960. It would be used until 1994, when it was sold to Wal-Mart and used as a warehouse. 1961 Bill Watson wrote: This was the first year for the Rambler Classic name (in both 6 and V8). Though mechanically unchanged, the curvy American was completely restyled to become the "breadbox" American, with linear shape and attractive grille. Ambassador receives a memorable, "European" looking front end. 1962 The Rambler Classic came as a six only, as the Ambassador was shrunk to the 108" wheelbase, and shared the Classic's front end clip. The slanted petite tailfins on Classic and Ambassador were eliminated for a rounded back end, much like MoPars of the same period. 1963 The entire Rambler line was named Motor Trend Car of the Year for their unitized construction, (a Nash tradition), modern engines, and value. Classic and Ambassador were completely redesigned with chic, clean styling and the unforgettable "Pac Man" grille. The V-8 was available again in the Classic, and a new 287 cid version was introduced. A 287 V-8 was introduced for the Classic line due to dealer demands for a V-8 option late in the 63 model year. It was used only in the Classic, with the 327 still reserved for use in the Ambassador only. Over at Kaiser-Jeep, the influential Wagoneer was launched. In 1974, AMC would build the lower-cost Cherokee version of it; and when the Cherokee finally got its own body, Jeep sales would double. 1964 The Rambler American got its first redesign, with neat, trim lines, tunneled headlights, and a plain horizontal bar grille. The Ambassador and Classic were sold in two-door hardtop form, the first AMC full-sized two-door hardtops since the 1957 Nash Ambassador Country Club and Hudson Hornet Hollywood. A special edition of the Classic two-door hardtop, in Solar Yellow with a black roof, was the first AMC to be powered by the "Typhoon" 232 cid six. This block spawned the "Great 258" 4.2l and the Jeep "Power-Tech Six" 4.0l, which was used through 2006. The 4.0 liter engine was still highly competitive when it was retired. 1965 1965 Classic 770 Ambassador was lengthened and given a V-shaped front end with stacked headlights. Classic was restyled as well. Midway through the model year, a new midsize sport fastback was introduced on the Classic chassis. Named Marlin, it was, in reality if not by intent, a luxury alternative to the Mustang and Barracuda fastbacks. The Rebel, a two-door coupe derivative of the Classic, was introduced, with the four-barrel 327 V-8 four speed and dual exhaust as optional equipment. The new 199 and 232 sixes were three to four inches longer than the old 195.6. There wasn't enough room between the grille and radiator in a 232 equipped 1965 American to add a condenser, so air conditioning was not available with the larger engine. “AMC-Rambler Man” wrote: “AMC was apprehensive of Chrysler's designs to produce a fastback turbine-powered intermediate sized car, named Charger. AMC's 1965 Rambler Marlin, featuring many styling cues of the Chrysler Norseman, also challenged Chevy’s Malibu and El Camino, though the pickup truck image was not AMC's intention. Hence, Rambler Classic/Marlin vs Chevrolet Chevelle/Malibu. Most of the styling cues of the Rambler Classic/Marlin and the Chevrolet Chevelle/Malibu are similar, except the Marlin got tapered sailpanels to have a fastback profile. Surely AMC wanted to beat Chrysler to make the first intermediate sized fastback. The 1965 Classic/Marlin featured an optional "Twin Stick" 3+2 overdrive manual transmisson for a functional five speed. (The four speed/no overdrive was an option by popular demand for 1966.) A stick-mounted button provided the overdrive kickdown, giving the driver complete manual control. AMC only had dual exhaust on one torque tube car, the 1957 Rambler Rebel; the 1966 Rebel featured a different roofline than the Classic, two door hardtop only.” 1966 The Rambler American was restyled, now wearing the face that is most widely recognized. Minor cosmetic changes were given to the rest of the lineup. This was the last year that Ramblers utilized the "torque tube" drive system; conventional driveshafts would be employed from '67 on. Marlin was no longer a Rambler, registered instead as just "Marlin." Frank Swygert added that a Rambler American redesign for 1966 added around three inches in front of the radiator support so air conditioning could be used with the bigger six; with the redesign, the 195.6 was dropped. 1967 The Classic was discontinued and replaced by a new AMC Rebel. Rebel, Marlin and the new, larger Ambassador wore sleek "Coke bottle" styling that was the fad at the time. A newly designed V-8 engine was also introduced in 200-hp, 290 cid and 280-hp, 343 cid versions. A sporty Rogue version of the American was added, available with the 232 six or 290 V8 engines. The American Motors script was now the marque that the new Marlin and Ambassador wore. American and Rebel were the only Ramblers left. Ambassador and Rebel could be ordered in upscale DPL and sporty SST trim levels. The Classic name was retired with the 1966 models. All series 10 (mid size) models were called Rebel through 1970, after which that name was retired in favor of Matador beginning in 1971. (Frank Swygert) 1968: Javelin, AMX Arrived at last! The beautifully styled, legendary Javelin sports car rumbled onto showroom floors. It was originally available with the 232, 290, or 343. It entered SCCA Trans-Am competition and finished every race it entered, a record that none of the other factory teams were able to achieve. Craig Breedlove, legendary racer, piloted the 2-seat Javelin derivative AMX to 100 land speed records before it was even introduced for sale. When the AMX finally was available, it shook the sports car world to its knees. The AMX was available with leather seats, 140 mph speedo, A/C or "tic-tac" gauge package, hi-po "go pak," 4 bbl 290 or the new 315 hp 390 V-8. This was the last year any convertibles were available from American Motors. American was the only model that still wore the Rambler nameplate. All AMCs except American adopted their trademark flush-mounted paddle door handles. 1969 Ambassador grew again, now with a 122-inch wheelbase. It had graceful, swoopy lines and a distinctive "guppy mouth" grille. Most models were now available with any engine including 232, 290, 343, and 390. Javelin SST and AMX now came in optional eye-catching Big Bad colors: BBOrange, BBGreen, and BBBlue. Hurst was now coordinating with AMC, helping to create the dragstrip terror SS/AMX and the ram-air 390-powered Hurst SC/Rambler. The American "Scrambler" or "Super Car/Rambler" wore two different red/white/blue paint schemes, had r/w/b headrests, a Sun tach strapped to the steering column, and the T10 4-speed with Hurst linkage, and rear torque links from the AMX. The hood and mailbox-type air scoop were painted "AIR , 390," with an arrow into the air duct. The only option was an AM radio. Only 1512 were built, most employed to massacre the competition on the strip. Two were equipped with 4WD and ran in the Baja 500. One took first place in its class. By 1970, Mark Donohue and the Sunoco Racing Team had dumped their Camaros to race Javelins. AMXs, Javelins and Americans had the dealer "Group 19" heavy-duty performance option. The V-8’s heads were refined to make it good for 340 hp and 430ft/lb torque. This was the last year that there would be any new Ramblers in North America; the name did not reappear in 1970, though it was used in Australia and South Africa until AMC pulled out of those markets in the 1970s. George Barris had an ongoing deal with AMC to produce a bolt-on customizing kit, sold by AMC dealers, for the AMX. Using his AMC contacts he got a new 1969 AMX and used it to create the AMX-400, which included a 4.5 inch lower top, revised pillars, an extended nose and tail, hidden headlights, and numerous other changes. The full width tail light lit up green during acceleration, amber when coasting, and, of course, red when braking. Each side of the car got a race-style gas cap - and each was fake; the real gas cap was, as with the standard AMX, under the license plate. The interior and engine were stock. The car toured the country and was filmed in TV’s Banacek in 1972; it is now privately owned. 1970: Gremlins and Jeeps On April 1, the first American subcompact since the Nash Metropolitan, the AMC Gremlin , was introduced. It had the 199 as the base engine, with the 232 six optional. The Gremlin’s six-cylinder power was unusual for subcompacts, and resulted in proportions similar to the British “shooting brakes,” with a long hood and short-looking cabin. AMX and Javelin received a mild styling update, and added an optional "Power Blister" ram air hood that boosted the 390s horsepower to 345. A special "Mark Donohue Edition" Javelin had all the performance options plus a spoiler designed by Donohue himself. Ambassador and Rebel received updated styling with new quarter panels and taillights. A special Rebel called "The Machine" was introduced. It had a fiberglass hood scoop with the tach built into the back, 390, dual exhaust, auto or stick, slotted wheels, and plush interior. Though there were various colors available, most Machines were white with reflective r/w/b stripes. The 343 V-8 was increased to 360ci, and the 290 became the 304. The compact Hornet made its debut in 2 or 4-door sedan models. Now in solid financial shape, AMC bought Jeep from Kaiser, which had never been able to achieve the sales needed for profits and regular product investments. Jeeps were already using AMC engines when AMC inherited the Gladiator pickup, Wagoneer, Jeepster Commando, and CJ-5. During 1970, AMC worked on the Jeep line’s future, resulting in almost immediate changes — generally improvements; the purchase proved to be extremely fortunate for Jeep, which picked up a slow-selling but unique and high reputable truck/SUV line just as that segment was to soar. AMC officially adopted the "A-mark" logo and discontinued the "AM" script. AMX/3 was a hot concept project utilizing a hand-made Italian fiberglass body and mid-mounted 390. Seven were built. A very-rare Hurst version of the Jeepster Commando was made in white with red and blue T stripes and hood scoop, again with built-in tach. 1971: Matador, new Javelin Javelin was re-engineered and was longer, on a longer wheelbase, and wider; numerous cosmetic changes were made, and the AMX was dropped, with the name switching to the top trim line of the Javelin. For more details see Chrysler - AMC 1971 , which has diagrams, details, and specifications. Javelin 36.3 ft 36.3 ft With a new grille, Rebel became Matador, and the Machine package continued, without the scoop. The beefed-up 390 from 1970 was bored to 401ci, and was rated at 330 hp. The 2-door Hornet had an optional SC/360 package with hood scoop, special upholstery and wheels, and a stripe that ran along the fender and door tops and around the rear window. The 2-seat AMX departed; the Javelin was redesigned with hump fenders, increased size, and an optional cowl induction hood, along with a “cockpit” feel and many upholstery options. SST trim continued, and AMX was the top-of-the-line, complete with a unique dash appliqué and styled grille. Hornet had up to 360ci optional, and sporty "X" and "Rallye" packages that could be combined to make it one competitive compact. Also new was the Hornet "Sportabout" wagon with 57cu. ft. of cargo room. Javelin was the champion of SCCA Trans-Am racing, while Wally Booth’s Gremlin X tore up the drag strips. The Jeep line, not yet all-important to AMC, was pared from slow-selling 38 models to 22, cutting costs and allowing more investment in new models. Mike Sealey wrote: 1971 was the last year for the Borg-Warner “Shift-Command” automatic, which was replaced by Chrysler’s Torqueflite (“Torque-Command”) automatic. Some late production 1971 rental cars got the Torqueflite a little bit ahead of the general market; police departments and other fleet buyers might have gotten a similar jump. 1972: Gladiator Gremlin was also available in 1971 with the X package — but now had the potent 304 V-8 as an option, putting more meaning behind the trim. Jeep Gladiator pickups became the J-thousand series. CJ-5 now had the 304 optional as well. The trusted but obsolete Willys four and six cylinder engines were phased out, and the 115 hp 4.2l AMC 258ci six was phased in along with AMC V8s topped off by the 195-hp, 360 cid powerplant. All lines disposed of the old Borg Warner auto (which dated back to the 1950s) and took on the B-W T10 4-speed with the Chrysler 727 "Torque Command" 3-speed auto or, for six cylinder engines, the 904 TorqueFlite (some 304s may have received 998 transmissions). Javelin again killed the competition in Trans-Am. So much for Firebird and Mustang! Mike Sealey wrote: AMC police packages start turning up with many police departments, the largest buyer initially being the Los Angeles County Sheriff's Office, followed by LAPD the following year. Usually the police used Matador 4 door sedans with 401 engines. I have also seen Matador wagons with the police package. Detectives with the Modesto, CA police department used unmarked Ambassador sedans with the police package, while uniformed officers continued using black-and-white 440 Dodge Polaras. [This may explain why so many period TV shows featured Matadors - they were filmed near Los Angeles, and the props people used what they saw.] The Chrysler-built Torque-Command replaced the Borg-Warner Flash-o-Matic that was based on the Borg-Warner built Ford-o-Matic/Merc-o-Matic of 1951. Studebaker also used the Ford-o-Matic derivative from 1957 to 1966, and called it Flightomatic. The Studebaker automatic of 1950-1956 was shipped overseas to Great Britain, where it was used in Jaguars, Austins, etc. American Motors introduced a Sportabout sedan/wagon with an interior designed by Dr. Aldo Gucci, of Italy, and a Javelin sport coupe with a Parisian flavor by Pierre Cardin. 1973 The Hornet Hatchback was named the "Styling Coupe of '73" by Car & Driver. Hornet and Gremlin now had an optional Levi's interior package, with copper buttons, jean door pockets, and red tabs. Sportabout wagons got an optional plush red and green Adolfo Gucci interior, and Javelins got an optional Pierre Cardin interior package featuring silky black seats with white, purple and red stripes flowing across them, up the door panels and around the headliner. Levi’s sent out a press release that noted, “Gremlin sets another mark as the first U.S. subcompact to offer fashion interiors for the small-car market,” adding that in addition to the denim look, copper rivets were used as buttons in seat backs and cushions, and snap off cargo pouches were included. A Javelin option was the "Trans-Am Victory" package to celebrate their back-to-back SCCA championships, after only five years of racing. Javelin also received new pod taillights, Hornet got a friendlier veed front end, and the Renegade package became very popular on CJs. Largely as a result of the small cars’ lucky timing, AMC leaped up to 4.2% market share, well above the 3.3% of the prior year. On the Jeep side, the Gladiator model was dropped and trucks were called simply Trucks, with Thriftside and Townside versions (single and double wall beds). The new Quadra-Trac system was launched, providing a modern full time four-wheel drive setup that let each wheel travel at a different speed, eliminating the “tire scrub” endemic to older 4x4 systems. New appearance packages were introduced to increase the Jeep line’s appeal to nontraditional buyers — something Kaiser had tried to do since the end of the Korean War — and the instrument panel was color-coded, given international symbols, and supplemented by an ammeter and clock. 1974 It would be the last year for the Javelin, which still offered a 401. The 2-door Matador was replaced by the flamboyant Matador Coupe. It had an extremely long hood, deeply tunneled headlamps, bulbous curves, and four round taillights. It was a sight indeed. Car & Driver wrote that “It is, unquestionably, this year’s style leader.... You can consider that newly acquired self-assured look a tangible warning to Detroit and the world that AMC is no longer bound by the threat of financial oblivion.” Ordered with the 401 X package, the Matador could beat any new sport sedan. The styling, under Dick Teague’s leadership, was intended to help Donohue, Bobby Allison and the other AMC racers get more aerodynamic advantage on the track, which it did. It was the only all-new American midsize car, and had an optional interior styled by Oleg Cassinni. The Matador Coupe kept its styling unique from the four door and wagon versions, and used an automatic sold by Chrysler — the TorqueFlite — with a Ford carburetor and GM Saginaw steering. (Car & Driver wrote that the car had higher than usual wind noise and ride harshness, but with superior braking.) Acceleration with the 401 was brisk, with a 16.3 second quarter mile time recorded by Car & Driver (a tad slower than Monte Carlo S but quicker by far than Cutlass); braking was far superior (184 feet from 70 mph) to Monte Carlo S, Cutlass, and Gran Torino Sport. Gas mileage was commensurately low, at 9-12 mpg (C&D figures). (0-60 was recorded at a swift 8.3 seconds and 0-100 at 23.9). At $3,000 — $4,523 as tested — the car was cheaper than its GM and Ford equivalents. Matador and Ambassador 4-door and wagon got a controversial front end restyling that some called the "coffin nose" or "Jimmy Durante Snout." These were best known as late 1970s police cruisers, and were used in the "Police Academy" movies. The police 401 had heavy duty components and was brutally powerful. It was the Ambassador's last year. The most significant introduction for 1974 by far was the Jeep Cherokee , the first Jeep to have been engineered by AMC — most likely with work starting in 1970, soon after the purchase — though in essence it was a Wagoneer with the back doors carved out. The Cherokee, which replaced the Commando, would resonate with the public — helped by a much-reduced product lineup with just nine models, far more practical for marketing than the 38 left by Kaiser. 1974 Jeep line sales were more than double what they had been in 1970. B. Rabbit added: “The Bricklin sports car (1974-1976) used many AMC parts, mainly undercarriage, and [the 1974s had] the AMC 360 with four barrel. Due to availability problems, the 360 was replaced in later cars. The 360 cars are more desired by Brickophiles, because their performance is far superior.” Alan Morton noted that the 1975-1976 models of the Canadian car are sometimes preferred because “they fixed a few of the design flaws and had better build quality.” Bill Cawthon noted that the first Bricklin concept used a slant six . 1975: Pacer The car that best defined the “AMC Philosophy of Difference” made its debut: the Pacer rode a 100-inch wheelbase but measured 80" across. It was designed by placing four people in seats and designing the car around them to best accommodate their comfort and safety. The body was refined in a wind tunnel to give it superior aerodynamics. The passenger door was 4" longer than the driver's to let back seat passengers in more easily. The dash was beautiful and ergonomically designed. “JavelinAMX” wrote, The design process was attributed to Richard Teague during the development of the AMC Pacer. The Pacer's final shape and size was determined only after the interior accommodations were known ... they first sat four real people (of real size) in automobile seats then scribed the outline of the interior space and measured the results. Then Teague applied his new-style sedan concepts to that. Those concepts were organic and roundish with line flow instead of boxed-out shapes. They did seek a lower drag coefficient and they improved on those of other brands' products. Later on, designs of other sedans and coupes from other companies bettered what the Pacer accomplished. Though originally designed to use the Wankel Rotary engine, General Motors did not supply the engines, and AMC had to substitute the 232, with the 258 optional. Sales almost doubled expectations the first year, even though the car was not designed for the engines it received. The rest of the lineup got cosmetic changes, and the 401 V-8 was no longer available in passenger cars (it remained for select Jeeps). CJs and pickups got the Levi's package as an option, and the pickups were now called J-10 and J-20 - these were trim packages, not wheelbases. Midway through the year, the popular Cherokee Chief option package was introduced, collecting popular Cherokee options together. See our 1975-76 Jeep section . Jeep finally passed 100,000 sales — nearly three times the sales of 1970, its first year at AMC. Modernizing, cosmetic surgery, repowering, and slashing the product line to make choices easier all worked together to make Jeep attractive to the general public in a way it had never been before — with QuadraTrac doing its part to make 4x4s more practical in daily life. 1976 The elongated CJ-6 was dropped from the domestic market, replaced by the CJ7 - which was longer than the CJ-5 but shorter than the CJ-6. The CJ-7 would bring the CJ series to a larger market, practically doubling its sales, thanks to the use of a General Motors automatic transmission coupled to the Quadra-Trak four wheel drive system. Before the CJ-7, CJ owners had to know how to drive a stick. See our 1975-76 Jeep section . The "Honcho" package was available on pickups, and gave them more sport appeal. AMC's heavy division, AM General was busy filling orders for transit buses, M915 military trucks, and postal jeeps. The Matador Coupe got a luxurious "Barcelona" package with velour seats. AMC introduced the 1976 AMC Pacer fleet version; it was 77 inches wide, wider than the Vega, Maverick, Datsun B210, or Chevelle. AMC boasted of its value to fleets, from an oversized passenger door to make entry and exit from the back seat easier; the low beltline for visibility; the 30 cubic feet of cargo space (with the rear seat folded down); and the extra stability and interior space that came from the width. Gas mileage was estimated at 20 city, 31 highway, with the optional straight-six and manual transmission with overdrive. Fleet buyers got a 12 year, 12,000 month warranty covering all items other than tires, whether the parts were defective or wore out from normal use. By comparison, Chrysler Corporation fleet buyers had to change maintenance items like filters and wiper blades, but got unlimited mileage (except for police, taxi, and limousine service). Chris wrote: "In 1979, the Spirit was not available with power windows, and the 5 speed was not used until 1982. Also, the kammback body style was available from the onset of the Spirit line." Rick Shahovskoy wrote: “I had a 1976 Pacer 4-speed with the 258-6. I loved it except when it came to changing #1 spark plug behind the A/C compressor. Aerodynamically, it was fantastic. I had a large GM car just about blown off the road as I came up I-91 one evening as it followed me. I felt absolutely nothing except the nearly wild whipping of the radio antenna. “As for the statement about the motor choices, however, wasn't the first pick from Curtiss-Wright who held the patents but they couldn't get the manufacturing going? And then GM fiddled and diddled with the V6 - which was an obvious choice and would have been a perfect fit- but that fell through resulting in the unbreakable AMC units finally going in?” 1977 Cherokee, J-10, and CJs had the "Golden Eagle" trim package. Wagoneer got the luxurious "Limited" package, which made it the leather-clad Cadillac (or Imperial) of SUVs. Pacer sales were slumping, but were boosted somewhat by a new wagon model that increased cargo room and reduced the "raindrop in overalls" look. Road & Track took one for a test drive and was unimpressed with the cornering and feel; 0-60 came in 13.7 seconds with the 2.0 liter engine and four-speed manual, with a quarter mile run taking 19.8 seconds (71.5 mph). Stopping distance from 60 mph was a respectable 176 feet; lateral acceleration was just .653 g. They recorded gas mileage of 17.5 mpg. The Pacer Wagon cost $3,800 base, and was $5,788 as tested; curb weight was a surprisingly high 3,435 pounds. With sales low in 1976, Gremlin were given a new, classy looking slanted front end, and for the first time had a 4-cylinder option from Volkswagen — the same 2-liter engine as the Pacer and Porsche 924, built in the United States by AMC, with Volkswagen buying engines from AMC. The redesigned front end cut nearly four inches from the overall length of the car, while a redesigned rear increased the glass area by 23%, with a lower liftover height. The V8 was no longer available, and the smallest six-cylinder was the 232, with an optional 258. With a price cut to $2,995, Gremlin was the cheapest American-made car in the U.S. While Porsche shared the engine with AMC, the Porsche version was somewhat different, with a forged crank (cast on AMC), and electronic fuel injection boosting power to 95 hp and 109 lb-ft; AMC’s carbureted version only got 80 hp and 105 lb-ft, with a two-barrel carb and 4-branch aluminum intake manifold. At launch, there was no electronic ignition. The EPA rated the Gremlin at 23 city and 34 highway, and normal drivers could expect to get far lower mileage. Road & Track took the 2-liter four-speed manual Gremlin from 0-60 in a leisurely 15.7 seconds, with a 20.6 second quarter mile time (ending at a mere 67.5 mph); the engine was crippled by the car’s 3,095 pound weight (as tested; nominal curb weight was 2,745 lb). The Hornet Hatchback was dolled up as the new AMX, with 258 or 304, stainless "targa" roof band, wheel flares, and color-keyed rear window louvres. All Jeeps got power disc brakes. 1978: Concord With major refinements to suspension, trim, body and interior, the Hornet was transformed into the Concord. Though well-appointed in base trim, the Concord could be ordered with all the goodies, including an optional "Silver Anniversary Package" to commemorate 25 years of AMC. The 2-door sedan was brought back and led the assortment of Concord body styles. AMX hatchback became a Concord also, and had new stripes. To boost Gremlin sales, the rear was restyled with a larger window, and a fancied up GT package was offered with rally wheels, graphics, and fender flares. Though given a new "Barcelona II" package, Matador coupe, sedan, and wagon were gone before the end of the model year. The 232 engine was dropped from production. Pacer got a taller grille, 304 V-8 option, and luxurious "Limited" package. The 401-powered Jeep Wagoneer did not return for 1978. Jeep had an excellent year in 1978, with a whopping 168,000 sales. 1979: Spirit With a new grille, quad square headlights and a clever restyling of the back end, the Gremlin became the new Spirit liftback. It could be ordered as a $3999 economy car. Spirit also had a "Limited" package that included power windows and locks and leather buckets, and an AMX package with fender flares, graphics, front and rear spoilers, turbocast wheels, suspension package, full gauges, 5-speed, sport wheel, and a 258 or 304. With the V-8, it was a class Mustang GT killer. Along with a wraparound taillight treatment, Concord and Eagle would receive the new front end as well by 1980. The GM "Iron Duke" 2.5 replaced the Volkswagen 2.0 four and was used in economy model CJs as well as Spirit and Concord. The Spirit no longer was available with the V8. The luxury Wagoneer Limited debuted, bringing a new thread to Jeep; and plans were moving ahead at the military division for a new, larger all-purpose military vehicle. The AMC engineers worked in the Jeep tradition to create a vehicle that could not be stopped. The name of it was as yet undetermined. 1980: AMC Eagle, Renault Fuego and LeCar Pacer was dropped part way through the model year. To aid the unhealthy financial situation, Renault purchased 25% of AMC and began selling their 18i sedan, Fuego sports car, and LeCar mini at AMC dealers. Renault struck a similar deal with VAM autos of Mexico, which used many AMC products in creating its own. The V-8 option was deleted from all vehicles, leaving the 2.5 four and 4.2 six as the only engine choices. Jeep CJ was given the Pontiac 2.5 liter four cylinder, making it the first American-made 4x4 to beat 20 mpg in EPA testing. AMC Eagle dawns Though Subaru claims to have the "first sport utility wagon," the AMC Eagle pre-dated it by 17 years. It employed the revolutionary New Process Gear NP119 transfer case that transferred power to the wheels with the most traction via a 42-disc viscous coupling transfer case; it had full time four wheel drive, dubbed Quadra-Trac (a name first used in 1973 for a different system). See our AMC Eagle page 1981: Kammback, Hummer, Sundancer The Gremlin bodystyle was resurrected with larger quarter windows and renamed to the AMC Spirit Liftback. The two Spirit body styles were adapted to Eagle 4WD, and became the Eagle SX/4 hatchback and Eagle "Kammback." AMX was no longer available. A new Jeep, the CJ-8 Scrambler became the only convertible pickup on the market. The Hummer concept was in the testing stages. Griffith made a limited number of Eagle and Concord "Sundancer" convertibles, with fixed targa band, removable T-tops, and droppable canvas rear top. 1982: Renault enters, AM General leaves Eagles could now be switched from four wheel drive to rear wheel drive with "Select Drive." The GM 2.5 was replaced midway through the year by the new, more powerful AMC 2.5 (150 cid) four which had been under development for some time. The Eagle 2-door sedan and Kammback left production. Renault was allowed to purchase 49% of AMC stock, and French executives began to infiltrate the AMC board. As Frank Swygert wrote, Renault’s cash was needed because Jeep sales plummeted with the 1980s oil crisis. Unfortunately, because Renault was partly owned by the French government, and a foreign company was not allowed to have a major role in defense contractors (at that time), AMC had to sell AM General to complete the deal; LTV bought the defense division, causing problems when, years later, AM General licensed the "Hummer" name and cues, including the “Jeep grille,” to General Motors. One largely forgotten part of AMC history was the use of a computer for the electronic feedback carburetor which could provide mechanics with diagnostic information. 1983: Renault Alliance Motor Trend again awarded an AMC product the Car of the Year award, though this time it was for the Renault Alliance, a well-equipped car that got 37 mpg in city driving; it was designed using mostly AMC funds. This would be the last year for the heavy Concord, Spirit, and Eagle SX/4 compact cars. 1984: SportWagons Perhaps the most popular sport utilities of all time, the SportWagon Cherokee and Wagoneer replaced their larger predecessors. Though lighter and shorter (bumper to bumper), the new Jeep XJ had more passenger room than the old ones, which dated back to 1963. AMC fours and a carbureted GM 2.8 V-6 were the engine choices; they were hooked up to Selec-Trac or Command-Trac 4WD systems. The old Jeep Cherokee added a rear-wheel-drive model, though it was in its last year. The old Wagoneer also remained, now called the Grand Wagoneer, with standard luxury items such as power windows and locks, leather, A/C, auto, V-8, tilt leather wheel, shag carpet, and woodgrain. The only true AMC car left was the Eagle, in four-door sedan and wagon bodystyles; it was joined by a little sister to the Alliance, the Renault Encore, late in the year. The Encore was basically the same as the Alliance, with the trunk replaced by an odd, French-looking hatch window. In 1985, a Renault turbo-diesel was available for Cherokee and Wagoneer. A pioneering deal was made with China to build the new Cherokee at a plant in Beijing, a partnership that would last for decades, but would eventually be terminated by Daimler in favor of building Mercedes cars in Beijing. 1986: Comanche picks up, Wrangler replaces CJ-7 The Jeep Comanche pickup debuted. Comanche was a classy compact truck, and could be ordered in any trim for any buyer; light and fast, the unit-body pickup had a high capacity for its class, but could outrun many cars. Jeep Motorsports campaigned Jeep Comanches in both offroad (SCORE) and paved road (SCCA) competition. Mike Leslie, Larry Maddox, Curt LeDuc and others campaigned the SCORE teams, and the Archer Brothers (Tommy and Bobby) campaigned the SCCA mini truck cars. Lee Hurley built all the engines for the factory Jeep teams, both the 4 cylinder and inline 6. The Jeep Comanche set a speed record at Bonneville of just over 144 mph. Stagnant production lines in the Kenosha plant were put to use building the Diplomat, Fifth Avenue, and Gran Fury under contract for Chrysler. 1987: Alliance GTA and Hatchback; Medallions; Chrysler buys AMC The big news was the Jeep Wrangler, which replaced the CJ series. It wore controversial square headlights, and shared almost none of the components of the CJ-7 that it replaced. It was far more stable (with a tighter suspension that made the ride stiff and almost punishing), and had a more car-like interior. It was powered by the AMC 2.5 four cylinder and 4.2l engines. The 2.5 would survive into the 21st century, and the 4.2, in 4.0 liter form, survived all the way to 2006. The Encore was rebadged as Alliance Hatchback, and a new hi-po version of the Alliance was offered, called GTA. It was very peppy and available in 2-door sedan and convertible bodystyles. The 258 was refined and equipped with fuel injection to become the Jeep "Power-Tech Six." It produced 173 hp and 220ft/lb torque. It replaced the slow [and arguably unreliable] GM 2.8 V-6 in Cherokee , Comanche and Wagoneer. Comanche Eliminator models with the new six could run 0-60 mph in a respectable 9.5 seconds. A new 5-speed manual and 4-speed auto accompanied the new SUV efficiency leader. A new Renault, which was heavily based on the 18i and derivative Sportwagon, came across the border midyear. The first Medallions, full of options, sold well. About that time, Lee Iacoca was making an under-the-table deal with Renault to purchase their stake in AMC. At the beginning of August, the deal was finalized, and 2% more was purchased on the open market to give Chrysler controlling interest in AMC. The payments totaled $1.1 billion in all. Frank Swygert wrote: “The High-Output (H.O.) 4.0 engine appeared in 1991 with a revised control system and head design. The intake ports on the head were raised 1/8" to give a straighter shot into the cylinders. Along with computer program revisions, this added 13 hp to the engine, thus creating the 190 hp H.O. version that was used through 2002. The same basic engine design (with the exception of the head) was used since 1963. Many people have updated older 232 and 258 versions by bolting on the 1987 and later head and fuel injection system, as well as adding the 258 crank and rods to the larger bore 4.0L to create a 4.5L (standard 4.0 bore) high torque engine. Parts interchangeability is extremely good. In general, parts from a newer engine will bolt onto any of the older engines, with some exceptions.” For more details, see our 1987-1989 Jeep page . 1988: Premier, end of AMC Renault Premier was introduced in late '87. It too, fit a hungry market niche of larger, well-appointed FWD cars. They, and '88 Medallions (made in France), were rebadged " Eagle ." AMC Eagle was trimmed to the wagon bodystyle only. Less than 2500 were built. Jeep J-series pickup production was halted; and the Kenosha, Wisconsin assembly plant, which had been manufacturing cars since the first Rambler in 1897, was torn down. The spirit of AMC lives on, though, as many AMC employees were absorbed by Chrysler. Former-AMC engineers, stylists, and other personnel are helping to create the incredible MoPar machines of today. Indeed, some would say that the AMC engineers and managers rescued Chrysler from an egocentric, bureaucratic culture. Note: Nick McIntosh wrote that there is a rumor that the 1988 Eagle was packed with previously optional equipment to use up inventories. He provided evidence to the contrary. Evan Boberg wrote: "At the time of the merger in 1987...Engineering departments were reorganized into an AMC fashion. Internally, it was said to be patterned after Honda. After the first few years, it looked as if AMC had taken over Chrysler...the merger with AMC brought Chrysler back to life...many of the AMC brain trust had been former Chrysler employees..." He also noted, in his book Common Sense Not Required , that the Jeep design for the Grand Cherokee dominated over a Dakota-based SUV that would later become the Durango; and that the Intrepid resembled the Eagle Premier more than any current Chrysler. Another former engineer said that the Neon design team was made up mainly of former AMC people, and replaced a Chrysler team and its K-based design. Again, this includes many former Chrysler employees! AMC cars ended up being sold as Eagles for around ten years. For more, see our 1987-1989 Jeep page . AMC squad cars (from Curtis Redgap) AMC did make a short foray into the police car market. One of the biggest customers was the Los Angeles Police Department, several Southern California agencies, and the Los Angeles Sheriff. The first purchase for LAPD came in 1972. Most car companies were in the stranglehold of the EPA and V-8 power was down. AMC used a 401 cubic inch V-8 that blew MoPar and everything else out of the water for that size sedan. It reached 60 mph in 7 seconds flat! Top speed, while not a blazing requirement for the LAPD, was about 125 miles an hour — reached in 43 seconds. This was faster than the 1970 Plymouth Satellites that were so well liked by the officers. It easily beat the 1971 Satellite models that were down on power, and heavier than the 1970 models. AMC equipped the cars right, with all the goodies that Chrysler had. Since AMC had made arrangements in the late 1960s to purchase Chrysler Torqueflite for their automatic transmission, it was virtually assured of little trouble in that area. The Matador was purchased by the LAPD again in 1973 and 1974. They were the biggest users. A change in the body style for 1974 added weight, affecting cornering and acceleration, and the reliability was not as good as the previous two years. No Matadors were purchased after this. AMC UK information (from David Hayward, UK): As a matter of interest, AMCs were sold in the UK by Rambler Motors, then American Motors, though until the Javelins and AM Gremlins [which were also converted to RHD here] were badged as Ramblers'. However, the Rambler name was dropped in the UK before AMI ceased assembly of their 1976 Matadors, which must lay claim to the last use of the Rambler name worldwide? Matadors were still being sold here in 1977, though North American-sourced. AMCs were imported from the USA, Canada, and also from their Belgian assembly plant in LHD form. Renault ran the Belgian plant, which exported throughout Continental Europe and of course in the end they owned AMC outright, before selling-up to Chryslers as before. All these companies were thus intertwined in the UK, just as in Australia. AMC / Rambler Australia information (from Graeme Roberts) Ramblers were assembled in New Zealand until the 1970s by Campbell Motor Industries in Thames (later Toyota New Zealand) in a versatile little CKD operation that regularly built Toyota, Datsun, Renault and Peugeot as well as Hino, Isuzu, Simca, and other models from time to time. We had Classics, Rebel 6s and V8s and the Matador up till about 1975. I suspect the kits came from or via Canada as there was a preferential duty rate for Commonwealth makers (GM's oddly-specced RHD Laurentian/Parisienne and Impala also came from Canada until 1968). The right-hand-drive Ramblers didn't get updated interiors as often as the left-hand-drive US versions (as was the case with the GM cars) but exteriors changed with the US updates. Afterwards 1999: Daimler-Benz, AG purchases Chrysler at a bargain price. 2000: Plymouth follows AMC, Hudson, and Nash into the dustbin of great automotive names. 2003: The 2.5 liter four finally leaves. 2004: Last year for the last AMC engine - the 4.0 liter six - still used as the Grand Cherokee's base engine and the Wrangler's optional powerplant. 2007: Daimler sells the remains of Chrysler, terribly downsized, to Cerberus, a private equity firm. 2009: Chrysler declares bankruptcy; its assets are purchased by a new company funded by the U.S. and Canadian governments, and the thread of AMC continues, now under the control of Fiat. AMC vs Chrysler	Plymouth
Which fictional character lived at 32 Windsor Gardens, London?	INTERAMERICAN MOTOR CORPORATION - GMB Engine Water Pump - Part Number: 120 1070 - New Auto Part \| www.newautopart.net GMB Engine Water Pump Belts And Hoses And Cooling Subcategory: Water Pump Fan Blade And Clutch Part Type: Water Pump The INTERAMERICAN MOTOR CORPORATION Water Pump contains no remanufactured components, and is designed to operate in either city or highway driving. Year(s) V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL 1979-1978 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 4BBL,V8-360ci 5.9L 4BBL 1981-1978 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 4BBL 1981,1979-1978 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL,V8-318ci 5.2L 4BBL 1980-1978 V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL 1979-1978 L6-225ci 3.7L 2BBL,V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL 1979-1978 V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL 1978-1977 V8-400ci 6.6L 4BBL,V8-440ci 7.2L 4BBL 1977 V8-400ci 6.6L 4BBL,V8-440ci 7.2L 4BBL 1981-1979 V8-318ci 5.2L 2BBL,V8-318ci 5.2L 4BBL 1981-1980 V8-318ci 5.2L 2BBL,V8-318ci 5.2L 4BBL 1981 V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL 1979 V8-383ci 6.3L,V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL 1971 V8-360ci 5.9L,V8-383ci 6.3L,V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL,V8-440ci 7.2L 1980-1976 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1980-1977 L6-225ci 3.7L 2BBL,V8-360ci 5.9L 4BBL 1980-1978 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1980-1979 L6-225ci 3.7L,L6-225ci 3.7L 1BBL,V8-318ci 5.2L,V8-318ci 5.2L 2BBL 1974 B100 Van,B200 Van,B300 Van,Challenger,D100 Pickup,D200 Pickup,D300 Pickup,Dart,W200 Pickup,W300 Pickup V8-360ci 5.9L 2BBL B100 Van,B200 Van,B300 Van,D100 Pickup,D200 Pickup,D300 Pickup,Monaco,Polara,W200 Pickup,W300 Pickup V8-360ci 5.9L B100 Van,B200 Van,B300 Van,D100 Pickup,D200 Pickup,D300 Pickup,Monaco,W200 Pickup,W300 Pickup V8-360ci 5.9L B100 Van,B200 Van,B300 Van,D100 Pickup,D200 Pickup,D300 Pickup,Polara,W200 Pickup,W300 Pickup V8-360ci 5.9L 2BBL L6-225ci 3.7L,L6-225ci 3.7L 1BBL,V8-318ci 5.2L,V8-318ci 5.2L 2BBL 1974 B100 Van,B200 Van,Ramcharger,W100 Pickup,W200 Pickup V8-440ci 7.2L B200 Van,B300 Van,D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup V8-400ci 6.6L 2BBL B200 Van,B300 Van,D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup V8-400ci 6.6L 2BBL B200 Van,D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup V8-400ci 6.6L V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL 1988-1984,1981 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL,V8-360ci 5.9L 4BBL 1991 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL 1974-1972 V8-400ci 6.6L 2BBL,V8-400ci 6.6L 4BBL 1974,1971-1970 V8-360ci 5.9L 4BBL,V8-400ci 6.6L 2BBL,V8-400ci 6.6L 4BBL 1972-1970 L6-225ci 3.7L 1BBL,V8-440ci 7.2L,V8-440ci 7.2L 4BBL 1971-1970 L6-198ci 3.2L 1BBL,V8-440ci 7.2L,V8-440ci 7.2L 4BBL 1971-1970 V8-383ci 6.3L 4BBL,V8-426ci 7.0L,V8-440ci 7.2L 3x2BBL 1971-1970 Challenger,Charger,Coronet,D100 Pickup,D200 Pickup,D300 Pickup,Dart,W100 Pickup,W200 Pickup,W300 Pickup V8-318ci 5.2L Challenger,Charger,Coronet,D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup V8-383ci 6.3L Challenger,Charger,Coronet,D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup V8-383ci 6.3L 2BBL Challenger,Coronet,D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup L6-225ci 3.7L Challenger,D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup V8-318ci 5.2L 2BBL V8-360ci 5.9L 4BBL,V8-400ci 6.6L 4BBL 1976,1974-1970 Charger,Coronet,D100 Pickup,D200 Pickup,D300 Pickup,Dart,W100 Pickup,W200 Pickup,W300 Pickup L6-225ci 3.7L L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL,V8-440ci 7.2L 4BBL 1976-1975,1971 V8-360ci 5.9L 4BBL,V8-400ci 6.6L 4BBL 1974-1972,1970 Coronet,D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup V8-318ci 5.2L L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1976-1975 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1987-1986,1979-1975 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1979 D100 Pickup,D200 Pickup,D300 Pickup,Polara,W200 Pickup,W300 Pickup V8-360ci 5.9L 4BBL D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup L6-225ci 3.7L 1BBL D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup L6-225ci 3.7L 2BBL,V8-318ci 5.2L 2BBL 1970 D100 Pickup,D200 Pickup,D300 Pickup,W100 Pickup,W200 Pickup,W300 Pickup L6-225ci 3.7L 1BBL D100 Pickup,D200 Pickup,W100 Pickup,W200 Pickup V8-440ci 7.2L 4BBL L6-225ci 3.7L 1BBL,V8-360ci 5.9L 4BBL 1983-1982,1979-1977 L6-225ci 3.7L 2BBL,V8-360ci 5.9L 2BBL 1978-1977 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1982 L6-359ci 5.9L MFI,V8-360ci 5.9L TBI 1992-1989 V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL 1980 L4-153ci 2.5L TBI,V8-318ci 5.2L TBI 1991 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1976-1974 V8-318ci 5.2L 2BBL,V8-318ci 5.2L 4BBL 1983-1978 V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL 1983,1981 V8-318ci 5.2L 2BBL,V8-318ci 5.2L 4BBL 1978 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1982-1980 L6-225ci 3.7L 2BBL,V8-360ci 5.9L 4BBL 1978-1971 V8-318ci 5.2L 2BBL,V8-360ci 5.9L 4BBL,V8-440ci 7.2L 4BBL 1978-1975,1971 V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL,V8-440ci 7.2L 4BBL 1978-1975 L6-225ci 3.7L 1BBL,L6-225ci 3.7L 2BBL 1978-1977 V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL,V8-440ci 7.2L 1971 V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL 1971 L6-225ci 3.7L 1BBL,V8-318ci 5.2L,V8-318ci 5.2L 2BBL,V8-360ci 5.9L,V8-360ci 5.9L 2BBL,V8-440ci 7.2L,V8-440ci 7.2L 4BBL 1973-1972 V8-340ci 5.6L 4BBL,V8-400ci 6.6L,V8-400ci 6.6L 2BBL,V8-400ci 6.6L 4BBL 1971 V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL,V8-400ci 6.6L 4BBL,V8-440ci 7.2L 4BBL 1977-1975 V8-360ci 5.9L 4BBL,V8-400ci 6.6L 4BBL 1977,1975 V8-360ci 5.9L 2BBL,V8-440ci 7.2L 4BBL 1981-1979 V8-318ci 5.2L 2BBL,V8-318ci 5.2L 4BBL 1981-1980 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1987-1986,1976-1975 V6-239ci 3.9L TBI,V8-318ci 5.2L TBI,V8-360ci 5.9L TBI 1988-1984,1981-1979 V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL 1979 Plymouth Barracuda L6-198ci 3.2L,L6-198ci 3.2L 1BBL,L6-225ci 3.7L,L6-225ci 3.7L 1BBL,V8-318ci 5.2L,V8-318ci 5.2L 2BBL,V8-340ci 5.6L 3x2BBL,V8-340ci 5.6L 4BBL,V8-383ci 6.3L,V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL,V8-426ci 7.0L 2x4BBL,V8-440ci 7.2L 3x2BBL,V8-440ci 7.2L 4BBL 1971 L6-198ci 3.2L,L6-198ci 3.2L 1BBL,V8-426ci 7.0L 2x4BBL,V8-440ci 7.2L 4BBL 1974-1970 V8-340ci 5.6L 3x2BBL,V8-383ci 6.3L,V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL,V8-426ci 7.0L 2x4BBL,V8-440ci 7.2L 4BBL 1974 V8-383ci 6.3L,V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL 1973-1972 V8-340ci 5.6L 3x2BBL,V8-383ci 6.3L,V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL,V8-426ci 7.0L,V8-426ci 7.0L 2x4BBL,V8-440ci 7.2L,V8-440ci 7.2L 4BBL 1971 V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL 1971 V8-383ci 6.3L,V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL 1974 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1976-1975,1971 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1974-1971 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL 1978-1972 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL 1978-1975 V8-360ci 5.9L,V8-360ci 5.9L 4BBL,V8-440ci 7.2L 4BBL 1974-1971 V8-400ci 6.6L,V8-400ci 6.6L 2BBL,V8-400ci 6.6L 4BBL 1973-1971 V8-400ci 6.6L 2BBL,V8-400ci 6.6L 4BBL 1974-1971 V8-318ci 5.2L 2BBL,V8-440ci 7.2L 4BBL 1974-1971 V8-383ci 6.3L,V8-383ci 6.3L 2BBL,V8-383ci 6.3L 4BBL 1974-1971 V8-360ci 5.9L 2BBL,V8-360ci 5.9L 4BBL 1977-1975 V8-400ci 6.6L 2BBL,V8-400ci 6.6L 4BBL,V8-440ci 7.2L 4BBL 1976-1975 V8-360ci 5.9L 2BBL,V8-440ci 7.2L 4BBL 1980-1975 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1983 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1981 V8-318ci 5.2L,V8-318ci 5.2L 2BBL,V8-360ci 5.9L 2BBL,V8-440ci 7.2L 4BBL 1980-1975 V8-400ci 6.6L 2BBL,V8-440ci 7.2L 4BBL 1980-1979 V8-318ci 5.2L 2BBL,V8-318ci 5.2L 4BBL 1981 V8-318ci 5.2L 2BBL,V8-440ci 7.2L,V8-440ci 7.2L 4BBL 1973-1972 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1974 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1981-1974 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1980-1977 L6-225ci 3.7L 2BBL,V8-360ci 5.9L 4BBL 1980-1978 L6-225ci 3.7L 1BBL,V8-318ci 5.2L 2BBL 1980-1979 L6-225ci 3.7L 2BBL Warranty Policy New products purchasd from our store are covered by a manufacturers warranty. 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What is the longest running show staged at London's Royal Drury Lane theatre?	Theatre Royal Drury Lane London history Theatre Royal Drury Lane History and Timeline The first theatre on the site, Theatre Royal, Brydges Street opened 1663-01-01 The Theatre Royal Drury Lane is the oldest theatre in England that is still in use. The first venue on the site was known as the Theatre Royal, Brydges Street. The auditorium could seat over 2,188 audience members and was known for its popular entertainment. The venue was forced to close in 1666 during the plague, when public buildings were outlawed. It closed again after the Great Fire of London and was damaged in 1672. Sir Christopher Wren designs the new Theatre Royal Drury Lane 1674-01-01 The new building was opened in 1674 as the Theatre Royal, Drury Lane. It was designed by Sir Christopher Wren, and featured a spectacular auditorium with over 2000 seats. The venue continued to hold popular performances, but closed numerous times throughout the 1700s. The theatre reopens with its present structure 1812-01-01 In 1794 the theatre was rebuilt after being damaged by the Gordon Riots. The third theatre opened in 1794, but burnt to the ground in 1809. In 1812 the theatre was reopened in its present structure and continued to be refurbished throughout the 1800s. The Bohemian Girl opens 1843-11-27 The Bohemian Girl is an opera composed by Michael William Balfe with a libretto by Alfred Bunn, loosely based on a Cervantes tale, La Gitanilla. It was first performed at the Theatre Royal Dryrt Lane in 1843, running for over 100 performances, before transferring to New York, Dublin and Madrid. It features the popular aria "I Dreamt I Dwelt in Marble Halls". Cinderella opens 1919-12-26 A brand new production of the classic fairy tale played at the Theatre Royal Drury Lane, written by Glover, Dix & Collins. The show starred Marie Blanche, Harry Claff, Arthur Conquest, Will Evans and Lily Long, and featured an original score including 'Love in Lilac Time', 'I Found You', and 'Love Sends a Little Gift of Roses'. Show Boat has its London Premiere 1928-05-03 The original London production of Jerome Kern's 'Showboat' opened in May 1928 at the Theatre Royal Drury Lane. The show featured Cedric Hardwicke as Captain Andy, Edith Day as Magnolia, Paul Robeson as Joe, and Alberta Hunter as Queenie. The production was staged by Oscar Hammerstein II with choreography by Sammy Lee. Featuring a string of hits including 'Bill', 'Can't Help Lovin' Dat Man' and 'Ol' Man River', the show continues to be revived all over the world. The Kern and Hammerstein musical 'Three Sisters' opens 1934-04-09 Jerome Kern and Oscar Hammerstein's final collaboration 'Three Sisters' held the record for the shortest run in Drury Lane Theatre history, closing after just two months. Set at the beginning of World War I, the family drama starred Victoria Hopper, Stanley Holloway, Adele Dixon, Esmond Knight, and Charlotte Greenwood. The score featured 'I Won't Dance', 'Lonely Feet' and 'Now I Have Springtime', and was not produced on Broadway. Oklahoma! opens, marking the start of the Rodgers and Hammerstein era 1947-04-29 The age of the new Broadway musical began with Rodgers and Hammerstein's 'Oklahoma' which ran at the Theatre Royal Drury Lane from 29th April 1947 - 27th May 1950. The theatre became the home of each of their shows, transferring in from Broadway over the next 9 years. 'Carousel' followed next, running from 7th June 1950 to 13th October 1951, with 'South Pacific' playing from 1st November 1951 to 26th September 1953. Their final hit at the theatre during this period was 'The King and I', which played from 8th October 1953 - 14th January 1956. This was described by many as 'the golden age' of Broadway musicals, and the Theatre Royal was lucky enough to have back to back hits throughout the post-war period. My Fair Lady has its London Premiere 1958-04-30 Based on Bernard Shaw's play 'Pygmalion', 'My Fair Lady' features a score by Alan J Lerner and Fredrick Loewe. The show set the record for the longest running show at the Theatre Royal Drury Lane, where it ran for five and a half years, 2,281 performances. Following a successful stint on Broadway, the West End production featured Rex Harrison as Henry Higgins, alongside Julie Andrews as Eliza Doolittle and Stanley Holloway as Alfred Doolittle. The original London production of 'Camelot' opens 1964-09-19 Lerner and Loewe's musical 'Camelot' opened in the West End following a successful Broadway premiere and US National tour. Based on the Arthurian legends, the musical told the story of King Arthur and his Knights of the Round Table. The London production featured Laurence Harvey as Arthur, alongside Elizabeth Larner as Guenevere and Barry Kent as Lancelot. The production ran for 518 performances, before it was made into a film in 1967 starring Richard Harris. Hello, Dolly! has its London Premiere 1965-12-02 The West End premiere of 'Hello Dolly! opened at the Theatre Royal Drury Lane in 1965, running for 794 performances. The production starred Mary Martin in the title role of Dolly, alongside Loring Smith as Horace, Johnny Beecher as Barnaby, Garrett Lewis as Cornelius, and Mark Alden as Ambrose Kemper. Gower Champion directed and choreographed the show, which was produced once again by David Merrick. The original London production of 'Mame' opens 1969-02-20 After opening on Broadway in 1966, 'Mame' the musical transferred to the West End starring Ginger Rogers in the title role. The production was once again directed by Gene Saks, with choreography by Onna White. The production ran for 14 months and was enjoyed by Queen Elizabeth II in a special royal performance. Gone With The Wind opens 1972-05-03 The first musical adaptation of Margaret Mitchell's novel featured a score by Harold Rome and Japanese book by Kazuo Kikuta. The production was directed by Joe Layton, and first presented in Tokyo, before opening at the Theatre Royal Drury Lane in 1972. Despite some changes, the show was still 4 hours long and received criticism for expecting the audience to have a good knowledge of the characters prior to seeing the show. The original London production of 'A Chorus Line' opens 1976-07-22 Michael Bennett's iconic musical 'A Chorus Line' featured an impressive score by Marvin Hamlisch. After opening initially off-Broadway in 1975, the West End production opened at the Theatre Royal Drury Lane in 1976. It won the Olivier Award for Best Musical in the inaugural Olivier Award ceremony. The production starred Jane Summerhays and Geraldine Gardner and played for two and a half years. Sweeney Todd: The Demon Barber of Fleet Street opens 1980-07-02 Stephen Sondheim's musical was written as a 'love letter to London'. After premiering on Broadway in 1979, the first London production opened at the Theatre Royal in 1980, but only ran for 157 performances. The production starred Denis Quilley in the title role, with Sheila Hancock as Mrs Lovett. The production was directed by Hal Prince with choreography by Larry Fuller. The show went on to win the Olivier Award for Best New Musical in 1980, despite mixed reviews. 42nd Street opens 1984-08-08 The original West End production of '42nd Street' opened in August 1984 after a record breaking Broadway production produced by David Merrick. It won the 1984 Olivier Award for Best Musical and has been enjoyed by audiences around the UK. The London production starred a young Catherine Zeta Jones, who stepped into the role of Peggy Sawyer and happened to be seen by one of the chief producers who helped launch her career. Miss Saigon opens 1990-08-09 Boublil and Schonberg's epic musical love story 'Miss Saigon' broke records at the Theatre Royal Drury Lane as it become the longest running show at the venue. Running for over 10 years and 4,264 performances the show was seen by thousands of theatre goers and has since been transported around the world. Nicholas Hytner directed the original production, which featured stage designs by John Napier. Based on the opera Madame Butterfly, the musical relocates the action to the Vietnam War. Jonathan Pryce played the original Engineer, alongside newcomer Lea Salonga who played Kim. The production is to be revived at the Prince Edward Theatre in May 2014. The Witches of Eastwick opens 2001-06-07 The world premiere of this exciting musical opened to mixed reviews at the Theatre Royal Drury Lane. Based on the John Updike novel and the film of the same name, this musical by Dana P Rowe and John Dempsy was led by Maria Friedman, Joanna Riding and Lucie Arnaz as the three witches. The production later downsized to the Prince of Wales Theatre where it closed in October 2001. The National Theatre's 'My Fair Lady' transfers 2002-09-07 Cameron Mackintosh co-produced a revival of 'My Fair Lady' which original opened at the Lyttleton Theatre in March 2001, directed by Trevor Nunn with choreography by Matthew Bourne. The production transferred to the Theatre Royal in the West End where it continued to be a commercial success. The revival starred Jonathan Pryce as Henry Higgins, alongside Dennis Waterman as Alfred Doolittle. Eastenders star Martine McCutcheon played the central role of Eliza Doolittle, winning the Olivier Award despite missing over half of her performances due to sickness. The production won the Olivier for Outstanding Musical Production. The National Theatre's 'Anything Goes' transfers 2003-07-10 The National Theatre's production of Cole Porter's 'Anything Goes' original opened at the Olivier Theatre in December 2002. The production was such as success it transferred to the West End, in a similar vein to 'My Fair Lady'. Trevor Nunn directed the revival, which starred Sally Ann Triplett as Reno Sweeny and John Barrowman as Billy Crocker. The Producers opens 2004-09-11 The West End production of Broadway sensation 'The Producers' enjoyed a successful run at the Theatre Royal, playing for 920 performances. The original production saw Nathan Lane reprise his role as Max Bialystock at the last minute as Richard Dreyfuss was 'let go' by producers four days before opening. Lee Evans starred as Leo alongside Leigh Zimmerman as Ulla. The show was an excellent box office success, and continued to have strong ticket sales with replacement stars such as Brad Oscar, Cory English and Reece Shearsmith. Lord of the Rings the Musical opens 2008-07-06 The highly ambitious musical re-telling of the epic 'Lord of the Rings' trilogy ran for 492 performances at the Theatre Royal Drury Lane. After a run in Toronto, the 3 hour production featured over 50 actors and cost over £12million - the most expensive musical produced in the UK. Making full use of the size and scale of the theatre, Rob Howell provided set and costume designs that were universally praised by critics. The show had a mixed response, and many saw it as overly ambitious. Cameron Mackintosh's revival of 'Oliver!' opens 2009-01-14 The new production of Lionel Bart's British musical was heavily based on the 1994 Palladium version, but featured direction by Rupert Goold. Rowan Atkinson starred as Fagin, alongside the winner of the BBC's TV talent search Jodie Prenger as Nancy. The production was an instant sell out throughout Atkinson's run, and continued to play to packed houses throughout the replacement casts which included Russ Abbot, Omid Djalili, and Kerry Ellis in the lead roles. Shrek the Musical opens 2012-02-06 Jeanine Tesori's musical based on the 2001 DreamWorks film had its European premiere at the Theatre Royal Drury Lane. The production was based on the 2008 Broadway, but was revamped with new sets and alterations to the book and score. The original London production starred Nigel Lindsay as the green ogre, with Nigel Harman as Lord Farquaad. It was nominated for four Olivier Awards, and went on to run for 715 performances, with a UK tour planned in 2014. Charlie and the Chocolate Factory Opens 2013-05-17 This musical adaptation of the beloved Roald Dahl classic opened in October 2013. The production is directed by Sam Mendes and features choreography by Peter Darling. The show was adapted for the stage by David Greig and the story of a young boy who wins a golden ticket that will take him inside the world’s most famous chocolate factory is brought up to date. 42nd Street Opens 2017-04-04 Tony Award winning musical 42nd Street returns to the West End, directed by Mark Bramble who co-authored the book for the original Broadway production. This classic American dream fable follows the life of Peggy Sawyer, who tries her luck in Broadway as an actress and blossoms into a star of the stage.	Miss Saigon
Which English artist painted The Blue Boy and The Hay Wagon?	History - Theatre Royal \| Really Useful Theatres HISTORY Gallery HISTORY For three and a half centuries the Theatre Royal, Drury Lane, has provided entertainment for the masses and has been visited by every monarch since the Restoration. The theatre has not one, but two, Royal boxes and it was here that the public first heard both the National Anthem and Rule Britannia. The Theatre celebrated its 350th years of operation on 7 May 2013 and the current building had its 200th birthday in October 2012. The first theatre was erected in 1663 by Thomas Killigrew, who had received a patent to do so from King Charles II. We still operate under this Royal Charter today and a copy is proudly displayed although the original is now in the safe-keeping of the V&A Theatre and Performance Collections. This building, about the current size of the present stage, was visited by Samuel Pepys and was where Charles II first encountered Nell Gwynne, who made her debut on the stage in 1665. It was short-lived, being destroyed by fire in 1672. Killigrew built a second theatre, opening in 1674 and remaining in operation for 117 years. This building witnessed the triumphs of Thomas Betterton who played Hamlet when he was over 70, Charles Macklin who murdered a fellow actor in the Green Room and lived to be over 100, Peg Woffington, Mrs Jordan, Sarah Siddons and Charles Kemble. David Garrick became the manager in 1747 and introduced many reforms which have shaped modern theatre. He ruled the roost for 29 years and was succeeded in 1776 by Richard Brinsley Sheridan, whose best known play, The School for Scandal, received its first performance here in 1777. Sheridan oversaw the demolition of the ageing building and its replacement by a larger theatre to seat 3,600 people, designed by Henry Holland, in 1794. It opened in March with a performance of sacred music by Handel because theatrical performances were banned during Lent. This building boasted the world’s first safety curtain but still burned down only 15 years later, bringing Sheridan’s management, and personal fortune, to the ground along with it. The fourth and present building opened in 1812. It was designed by Benjamin Wyatt and the front of house areas today are much as they were at the first performance. In early 2013 the front of house areas were all refurbished with a major decoration project restoring the areas as closely as possible to the original 1812 scheme. The building was financed by a ‘Committee of Renters’ recruited by the brewer Samuel Whitbread, and Lord Byron was chairman of the board. It was here that Edmund Kean became a star overnight with his performance of Shylock, where the great clown Joseph Grimaldi gave his farewell benefit performance and where Dan Leno and Herbert Campbell triumphed in a series of spectacular pantomimes. Drury Lane became famous throughout the rest of the 19th and early 20th centuries for producing spectacles under the guidance of its adventurous managers, most notably F B Chatterton, Augustus Harris, Arthur Collins and Alfred Butt. Scenes staged included chariot races in Ben Hur, the Derby and an earthquake in The Hope, the Battle of Rorke’s Drift in Youth, a train crash in The Whip, sinking ships, air balloons, underwater fights, the Chelsea Flower Show, Madame Tussaud’s Chamber of Horrors, the flooding of Paris and Alpine avalanches. Shrek The Musical was the latest all-singing, all-dancing spectacular to grace the stage of ‘The Lane’, which since the 1920s has become London’s major home for the lavish musical. Rose Marie introduced the American singer and actress Edith Day (1924-27) who went on to head the casts of The Desert Song (1927-28), in which Anna Neagle also made her stage debut, and Show Boat (1928) with Cedric Hardwicke and Paul Robeson. The New Moon (1929) starred Evelyn Laye who received ‘torrents of applause’ and included a blazing pirate ship as one of its scenic attractions. Noël Coward had a major success with Cavalcade (1931). Produced by C.B. Cochrane, the cast of 400 included a young John Mills and set-pieces included a troopship setting sail, the relief of Mafeking and Queen Victoria’s funeral. Coward’s post-war musical Pacific 1860 (1946) starred Mary Martin but did not tap into the public psyche so well and closed after four months. Drury Lane also hosted most of Ivor Novello’s major successes. Glamorous Night (1935), Careless Rapture (1936), Crest of the Wave (1937) and The Dancing Years (1939) all had audiences flocking to the theatre. Novello starred in all of the productions and in true Drury Lane fashion introduced as many major scenic effects as possible, including sinking ships, a fair on Hampstead Heath, a train crash and an earthquake. During the Second World War the theatre was the home base for ENSA and received a direct hit from a gas bomb which, fortunately, did not explode but did destroy the rear of the auditorium. The Lane was taken over for almost a decade by Richard Rodgers and Oscar Hammerstein II with a succession of ground-breaking hits. Oklahoma! (1947-50) originally starred Howard Keel, Carousel (1950-51), Mary Martin in South Pacific (1951-53) andThe King and I (1953-56) with Valerie Hobson and Herbert Lom were all big hits. A revival of The Boys from Syracuse (1963) with Bob Monkhouse and Ronnie Corbett did not fare so well. My Fair Lady (1958-63) opened with the original Broadway cast of Julie Andrews, Rex Harrison and Stanley Holloway, and Cecil Beaton’s costume designs, so familiar from the film version. Cameron Mackintosh’s revival of the show transferred here from the National Theatre in 2001 starring Jonathan Pryce. Camelot (1964-65) was an enormous spectacle and Mary Martin returned to the theatre in Hello, Dolly! (1965-67). Dora Bryan took over the leading role in 1966 to great acclaim. Ginger Rogers flew in for another Jerry Herman extravaganza in Mame (1969) and Harold Fielding produced the surprise hit The Great Waltz (1970-72) and a musical version of Gone with the Wind (1972). Michael Crawford became a star overnight in Billy (1974-76), with Roy Castle succeeding him, and Michael Bennett’s A Chorus Line (1976-79) opened with its American company before equally talented British chorines became the ‘singular sensation’. The original production of Sondheim’s Sweeney Todd (1980) starred Denis Quilley and Sheila Hancock, The Best Little Whorehouse in Texas (1981) was deemed a little too risqué and The Pirates of Penzance (1982), in a newly scored production by Joseph Papp, was a genuine crowd pleaser. 42nd Street (1984-89) made tap dancing fashionable again and was enormously popular. Cameron Mackintosh’s production of Miss Saigon (1989-99) holds the record as the theatre’s longest-running show, with a total of 4,263 performances. The helicopter landed at almost every one of them! Into the 21st century the theatre hosted The Witches of Eastwick (2000), The League of Gentlemen (2001), The Stars of the Bolshoi (2001) and Trevor Nunn’s award-winning NT production of Anything Goes (2003). The Producers (2004) kept the building alive with laughter for over two years while The Lord of the Rings (2007) continued the theatre’s tradition of presenting the best and newest trends in musical theatre and using cutting-edge technology to create a stage spectacle reminiscent of the late Victorian and Edwardian productions so popular with the masses. Next French and Saunders chose The Lane as the venue for their farewell live performances prior to the opening of Cameron Mackintosh’s revival of Oliver! (2009) starring Rowan Atkinson and Jodie Prenger (cast as Nancy in the BBC’s I’d Do Anything). Before Shrek The Musical (2011), the Theatre Royal, Drury Lane, hosted the Society of London Theatre’s Laurence Olivier Awards in a spectacular stage production which included guest appearances from Barry Manilow, Angela Lansbury and Stephen Sondheim. A brand new musical production of Roald Dahl’s Charlie and the Chocolate Factory began to fit up in March 2013, beginning previews in May and opening in June. Recent concerts have seen Petula Clark, ABC, M People and K T Tunstall on the Drury Lane stage and in February 2014 John Travolta flew in from America for an on stage interview. In 2015 the theatre hosted the British Academy Television Awards, concerts by Lulu and Opeth, an all-star 85th birthday tribute for Stephen Sondheim and Michael McIntyre’s Big Christmas Show broadcast by the BBC on Christmas Day. Since December 2005 the Theatre Royal, Drury Lane, has been owned 100% by The Really Useful Group Limited. Mark Fox with thanks to George Hoare 2016 Space does not allow for detailed inclusion of all productions at this theatre. A complete chronological history of the Theatre Royal, Drury Lane, from its inception in 1660, is available in a lavishly illustrated souvenir brochure on sale in the theatre foyer. During productions there are regular daily tours of the Theatre Royal Drury Lane. Our History	i don't know
For what team did Michael Schumacher drive in his first grand prix?	Michael Schumacher - 1994, 1995, 2000-2004 Michael Schumacher Share Since the Formula One World Drivers' Championship began in 1950 the title has been won by 32 different drivers, 15 of whom won more than one championship. Of the multiple champions the most prolific was Juan Manuel Fangio, whose record of five titles stood for five decades until it was eclipsed by the most successful driver in the sport's history. Seven times a champion, Michael Schumacher also holds nearly every scoring record in the book by a considerable margin. Though his ethics were sometimes questioned, as was his decision to make a comeback after retiring, his sheer dominance when in his prime is beyond doubt... Next Previous Enlarge 1 / 7 Spa, August 1991: Michael Schumacher made his Formula One debut with Jordan at the Belgian Grand Prix. He qualified a sensational seventh, but then went out on lap one with clutch failure. © Sutton © No reproduction without permission. Adelaide, November 1991: After one race with Jordan Michael Schumacher switched to Benetton. He scored points with them on his first appearance. At the Australian Grand Prix he retired after colliding with his team mate. © Schlegelmilch © No reproduction without permission. Montreal, June 1994: After winning the opening four rounds of the season, Michael Schumacher then took his fifth victory in six races at the Canadian Grand Prix at the wheel of the Benetton B194. © Sutton © No reproduction without permission. Adelaide, November 1994: Michael Schumacher before he controversially collided with championship rival Damon Hill at the season ending Australian Grand Prix. Both drivers retired, handing Schumacher his first world title. © Sutton © No reproduction without permission. Monza, September 1995: Michael Schumacher is restrained by a marshal as he remonstrates with Damon Hill after the Englishman took them both out of the Italian Grand Prix. Hill subsequently received a suspended one-race ban. © Sutton © No reproduction without permission. Adelaide, November 1995: Michael Schumacher crashed out of the Australian Grand Prix on lap 26. It was of little consequence as he had wrapped up his second world championship two races earlier. © Sutton © No reproduction without permission. Monte Carlo, May 1996: Michael Schumacher moved to Ferrari as reigning champion. After starting on pole he would retire from the Monaco Grand Prix. However, his first victory for the team came at the next round in Spain. © Sutton © No reproduction without permission. Info Close The most extraordinary driver's origins were most ordinary. He was born on 3 January, 1969, near Cologne, Germany, six years before his brother Ralf, who would also become a Formula One driver of note. Their father, a bricklayer, ran the local kart track, at Kerpen, where Mrs Schumacher operated the canteen. As a four-year old Michael enjoyed playing on a pedal kart, though when his father fitted it with a small motorcycle engine the future superstar promptly crashed into a lamppost. But Michael quickly mastered his machine and won his first kart championship at six, following which his far from affluent parents arranged sponsorship from wealthy enthusiasts that enabled Michael to make rapid progress. By 1987 he was German and European kart champion and had left school to work as an apprentice car mechanic, a job that was soon replaced by full-time employment as a race driver. In 1990 he won the German F3 championship and was hired by Mercedes to drive sportscars. The next year he made a stunning Formula One debut, qualifying an astonishing seventh in a Jordan for the Belgian Grand Prix at Spa, whereupon he was immediately snapped up by Benetton, with whom in 1992 he won his first F1 race, again at Spa, among the most demanding circuits of them all. Over the next four seasons with Benetton he won a further 18 races and two world championships. His first, in 1994, was somewhat tainted in that Benetton was suspected of technical irregularities and in their championship showdown race in Adelaide Schumacher collided (deliberately, some thought) with the car of his closest challenger, the Williams of Damon Hill. But Germany's first world champion was unquestionably worthy of the 1995 driving title, following which he moved to Ferrari, then a team in disarray and without a champion since Jody Scheckter in 1979. The Schumacher-Ferrari combination began promisingly with three wins in 1996 and five more in 1997, though that season ended in humiliation when in the final race, at Jerez in Spain, Schumacher tried unsuccessfully to ram the Williams of his title rival Jacques Villeneuve off the road. As punishment for his misdemeanour Schumacher's points and his second place in the championship were stricken from the record books he would thereafter begin to rewrite. After finishing second overall in 1998, Schumacher's 1999 season was interrupted by a broken leg (the only injury in his career) incurred in a crash at the British Grand Prix. From then on there was no stopping 'Schumi' - who in 2000 became Ferrari's first champion in 21 years, then went on to win the driving title for the next four years in succession. In 2002 he won 11 times and finished on the podium in all 17 races. In 2003 he broke Fangio's record by winning his sixth driving title. In 2004 he won 13 of the 18 races to win his seventh championship by a by a massive margin. Like all the great drivers Schumacher had exceptional ambition, confidence, intelligence, motivation, dedication and determination. What set him apart and helped account for his unprecedented length of time at the top was a pure passion for racing and an endless quest for improvement. Blessed with a supreme natural talent honed to the highest degree, he had a racing brain to match and spare mental capacity that enabled him to make split-second decisions, adapt to changing circumstances and plan ahead while driving on the limit, which with his superb state of fitness (he trained harder than any driver) he could do consistently for lengthy periods of time. The smoothly swift and mechanically-aware driver operated with a keen sensitivity for the limits of his car and himself (he seldom made mistakes) and his feedback to the engineers (led by technical director Ross Brawn who worked with him throughout his career) was invariably astute. Info Close No Ferrari driver worked harder for the team, nor were any of them more appreciated than the German who led the Italian team to six successive Constructors' Championships. He led by example, frequently visiting the factory at Maranello, talking to the personnel, thanking them, encouraging them, never criticising and inspiring everyone with his optimism, high energy level and huge work ethic. The team was devoted to the driver who often said he loved the Ferrari 'family.' Life with his own family - wife Corinna and their children Gina-Maria and Mick - was deliberately kept as normal as possible (they seldom came to the races) by the essentially shy and private man who became one of the most famous sportsmen in the world. Rich beyond his wildest dreams (he reportedly earned as much as $100 million a year), he generously supported charities, especially those for underprivileged children, and to help victims of the 2004 Asian tsunami disaster he made a personal donation of $10 million. After finishing second in the 2006 championship, the aging superstar was still at the peak of his powers, having won seven races to bring his total to 91 (40 more than his nearest rival, Alain Prost.) No champion had been so superior for so long, but Schumi had grown tired of the effort required to continue to excel and decided to hang up his helmet. Yet his retirement proved to be only temporary. In 2010, after a three-year hiatus as a consultant to Ferrari, 41-year-old Michael Schumacher succumbed to the lure of driving for the new Mercedes team headed by Ross Brawn. Critics questioned the multiple champion's decision to risk his reputation in the sport that was once his personal playground. He gave his best but made it to the podium only once during his three-year comeback. In his final season of 2012 his opponents included five other world champions - all of them at least a decade younger. "I enjoyed most of it," Michael Schumacher said of the second part of his career. "It wasn't as successful as before but I still learned a lot for life. I found that losing can be both more difficult and more instructive than winning. Now is a good time to go." In the cruelest of ironies, after surviving so many seasons in his dangerous profession, Michael Schumacher’s first year in permanent retirement ended with him suffering a very serious head injury incurred when he fell while on a family skiing holiday. Following the accident that left him in a coma for several months his family brought him home where he faced a lengthy period of rehabilitation. If the power of public opinion could help his recovery it came in the form of a tremendous outpouring of messages of hope, support and encouragement for the sport’s most successful driver. Text - Gerald Donaldson	Jordan
What does the Latin phrase caveat emptor mean?	Michael Schumacher F1 driver biography \| F1 Fanatic Michael Schumacher won more world championship and races than any other driver in a career which spanned 19 seasons. At times his unparalleled success raised questions over how it had been achieved. He first retired from the sport in 2006 while driving for Ferrari. He returned four years later with Mercedes, only to retire again at the end of 2012. Jordan His debut drive for Jordan at Spa in 1991 rocked the F1 establishment. Here was a little-known driver from the Mercedes sports car team qualifying seventh on the grid at one of the most respected circuits on the calendar. We quickly learned that Schumacher’s driving genius and controversy were never far apart. Flavio Briatore pounced to prise Schumacher out of his Jordan deal and got him into a Benetton for the next race. Benetton 1992-3 The following year Schumacher successfully interrupted the dominant Williams team’s stranglehold on success with an opportunistic win at the track where he made his debut. An off-track excursion gave him the opportunity to observe the state of his team mate’s tyres as the damp track dried. Schumacher made a plucky call to switch to slick tyres earlier than his rivals, and his driving skill took care of the rest. That was the first of what would eventually be a record-smashing 91 wins. A further win followed in 1993, again snatched from the Williams juggernaut, this time thwarting Alain Prost at Portugal. 1994 But in 1994 the way became clear for Schumacher to lay waste to the F1 history books. Most of the recent champions had retired or were retiring. Three races into the season Ayrton Senna was killed at Imola. By the end of the year Schumacher had won nine of the 16 races. But his Benetton team were repeatedly accused of cheating. The FIA found evidence of an illegal traction control system on the car. After Schumacher’s team mate Jos Verstappen suffered an horrendous fire during the German Grand Prix an investigation discovered a filter had been removed from the fuel rig. Years later, Verstappen insisted Schumacher’s car had not been legal. Schumacher was disqualified from the British Grand Prix after overtaking Damon Hill on the formation lap, and was banned from a further two races for failing to heed the black flag to begin with. And at Spa he was stripped of a win for a technical infringement. This left him with a scant one-point lead heading into the season finale at Adelaide. Under intense pressure from Hill, Schumacher went off and damaged his car. Seeing his promised title slip into away he swung into the side of Hill’s car as the Williams driver moved to pass him, taking both out and securing the title for himself. 1995 His second title in 1995 was achieved with less controversy and more displays of driving greatness. The season got off to a slow start but once Schumacher got into his stride the wins came thick and fast, Hill was simply out-classed – the pair clashed twice on-track at Silverstone and Monza. In wet conditions at Spa and the Nurburgring Schumacher produced virtuouso drivers, leading many to conclude that in Schumacher a new F1 great had been found. Ferrari 1996 Having conquered F1 with Benetton, Schumacher resolved to do it all over again with Ferrari . It took five years to bring the drivers’ title home to the Scuderia, with a few near-misses on the way. It was clear from the outset that little would be achieved with the F310. But when the teams assembled at a near-flooded Catalunya circuit for the seventh round of the season, Schumacher battled through the field and disappeared off to a dominant victory. He added two more by the end of the year, at Belgium and Italy. 1997 With Benetton ally Ross Brawn rejoining him for 1997 Schumacher was ready for another crack at the title. He persistently took points off rival Jacques Villeneuve despite his Williams often enjoying a considerable performance advantage. When rain fell at Monaco and Spa Schumacher was untouchable. The season took a controversial twist at the penultimate race in Suzuka, where Villeneuve collected a hefty penalty for going too quickly through a yellow flag zone. Schumacher’s team mate Eddie Irvine – who’d grown used to the idea that he was expected to support rather than rival his team mate – was deployed to help Schumacher win the race, and go into the season finale with a one-point lead. At Jerez events took a familiar turn. Villeneuve reeled Schumacher in and pounced – only to find the Ferrari swerving unavoidably into his path. This time the contact proved terminal only for Schumacher – Villeneuve was able to limp to the flag and claim the championship. Schumacher was vilified but the sport’s governing body stayed its hand. It handed down a token punishment of exclusion from the 1997 championship (not that second place mattered much to Schumacher) and required him to participate in a road safety initiative. 1998 In 1998 Schumacher faced a stronger opponent in the form of his old F3 rival Mika Hakkinen . Equipped with a fearsomely fast McLaren , Hakkinen began the year with a pair of wins. Schumacher hit back and the two pushed each other hard all season. The championship went down to the wire at Suzuka where Schumacher started from pole position – only to face demotion to the back of the grid after his car overheated on the line and wouldn’t start. Schumacher battled his way through the field but a puncture finally ended his hopes and confirmed Hakkinen as the champion. 1999 Schumacher’s 1999 championship bud ended when his right-rear brake failed on the Hangar straight at Silverstone on the first lap of the race. His car hurtled off the track at Stowe, plunging head-on into the barrier. He suffered a broken leg. The year had begun well with victories in San Marino and Monaco. At the British Grand Prix McLaren and Hakkinen hit back, and given how Hakkinen’s title bid went off the rails in Schumacher’s absence it’s possible he might have won the championship had he not been injured. Schumacher returned to the cockpit at Sepang for the penultimate race, now expected to support Irvine’s bid for the championship. This he did in a crushing display of superiority, first disappearing off into the distance, then holding rivlas up while letting Irvine through to win. But at the season finale in Japan Schumacher had no reply for Hakkinen, who wrapped up his second title. 2000 Ferrari’s wait for their next drivers’ champion finally ended in 2000. Now partnered by Rubens Barrichello , Schumacher won the first three races of the year leaving Hakkinen with a lot of catching-up to do. At the middle part of the season it looked as though Schumacher was going to be denied again. First-lap crashes in Austria and Germany handed golden opportunities to McLaren. And at Spa Hakkinen triumphed in gripping battle with his Ferrari nemesis. Schumacher’s attempts to fend off Hakkinen’s attacks by pushing him onto the grass at 200mph drew fierce criticism from many – not least his rival. But that race marked a turning point in the season. Schumacher came back stronger and won the final four races, putting the title beyond Hakkinen’s grasp. He wouldn’t let go of the trophy for five years. 2001-2 The first half of the 2000s in Formula 1 was the story of total dominance by Ferrari and Schumacher – whether in terms of driving brilliance, technical innovation, reliability – or politics. Schumacher redefined the terms of domination in Formula 1. He won nine races in 2001, then 11 in 2002. No cars were able to rival the Ferraris – and it was clear from events at Austria in 2001 and 2002 – where Barrichello was twice ordered to pull over and let Schumacher past – that Ferrari were not interested in pairing him with any kind of serious rival. By 2002 the pairing of Schumacher with a fast, reliable Ferrari with its powerful engine and near-bespoke Bridgestone tyres combined to produce one of the most dominant seasons the sport has ever seen. The F2002 never let Schumacher down once, he finished every race on the podium, and set a new record by winning the world championship with six races to spare. 2003 The 2003 season proved much more closely matched as Schumacher came under pressure from the likes of Kimi Raikkonen and Juan Pablo Montoya. But late in the season a controversial change in the rules forced Michelin – rival to Ferrari’s tyre supplier Bridgestone – to change the construction of their tyres. After that decision Ferrari won the next eight races in a row, and Schumacher collected title number six. 2004 In 2004 Schumacher pushed Ferrari’s devastation of the F1 competition to new heights. He won 12 of the first 13 races, and might have won the one that got away in Monaco but for a collision with Montoya. Once his seventh championship title was wrapped up Schumacher had an oddly uneven end to the season. He suffered a serious crash in testing at Monza, was all at sea at the new Shanghai circuit, and had a grid penalty in Brazil after crashing in practice and damaging his engine. This proved a foretate of a difficult 2005. 2005 What finally brought the Schumacher domination of F1 to an end was not the arrival of a new opponent but a change in the technical rules. In 2005 tyre changes during the race were banned, forcing both tyre companies to build harder compounds. Michelin mastered the technology while Bridgestone struggled. Schumacher won just once all year, the farcical United States Grand Prix where only the six Bridgestone-shod runners competed – those being the Ferraris plus the throroughly uncompetitive Jordans and Minardis. 2006 The tyre rules were changed back for 2006 and Ferrari were back on form. But Schumacher faced a tough rival in the shape of new world champion Fernando Alonso . This was as closely-matched a championship battle as has ever been fought. While Alonso managed four wins on the trot Schumacher hit back with a hat-trick of victories in the middle of the season. It brought out the best and worst in Schumacher once again. His final victory in the rain Shanghai was up there with his very best – but parking his car during qualifying at Monaco to try to have the session stopped while he was on pole position was a crass stunt that fooled no-one – even the stewards couldn’t let that one go unpunished, sending Schumacher to the back of the grid. At a crucial point Ferrari’s usually exceptional reliabilit failed them. Schumacher’s engine blew while he was leading from Alonso at Japan. He narrowly lost the championship but signed off with a majestic drive against the odds to finish fourth at Interlagos after a puncture. It seemed a fitting conclusion to a great career – but it turned out this was not the end. Mercedes In 2009 it briefly looked as though Schumacher was going to make a surprise comeback after Felipe Massa was injured at the Hungaroring. But Schumacher had damaged his neck in a motor cycle racing accident earlier in the year, and after testing an F1 car discovered he could not return to the cockpit after all. Having whetted his appetite for a comeback, Schumacher later confirmed he would be racing in F1 again – but not for Ferrari. Instead he joined the new Mercedes team in 2010. 2010 Three years away from the cockpit seemed to have dulled Schumacher’s edge on his return. Throughout the season he was comfortably handled by team mate Nico Rosberg . At times his driving looked distinctly desperate, particularly at the Hungaroring, where he was censured for almost pushing Rubens Barrichello into the pit wall as the pair battled for position. Schumacher stuck with it and the situation seemed to be improving towards the end of the season, achieving fourth place in the rain at Korea. 2011 Schumacher’s second season with Mercedes was a mixed bag – glimpses of his old form, albeit compromised by consistently poor qualifying and a string of race collisions, mostly involving Vitaly Petrov . When Schumacher had the car at the front of the field he was at his best, scrapping with the Red Bulls and McLarens in Canada, and resisting Lewis Hamilton for lap after lap at Monza. He ended the year behind Rosberg again, but much closer than he had been in 2010. 2012 The third year of Schumacher’s comeback got off to a promising start as the W03 proved immediately competitive. But he retired while running in a strong position in the first race and an error by his team in the pits ended his race in China, while Rosberg headed to victory. Unreliability cost Schumacher on several other occasions, mostly in the early part of the season when the car was at its best. But he also made mistakes, such as when he drove into the rear of Bruno Senna’s car during the Spanish Grand Prix. His grid penalty for the collision cost him what would have been pole position in Monaco. However in Valencia it finally came right and Schumacher finally returned to the podium, finishing third. That would be his final visit. Unsure whether he wished to continue in F1, Mercedes moved to sign Lewis Hamilton for 2013 leaving Schumacher to make a widely-anticipated return to retirement. He signed off with a final points finish in Brazil, symbolically pulling over for Sebastian Vettel as his countryman and successor headed to his third world championship. At the end of his first year from retirement in Formula One, Schumacher fell while skiing in France and suffered serious head injuries. Following a lengthy stay in hospital he was returned home, but over two years since the accident there has been little information about his condition from the Schumacher family. Career stats	i don't know
Who was the lead singer on the Sugarcubes 1992 song called Hit?	THE SUGARCUBES (BJORK) LEASH CALLED LOVE (BEST HD QUALITY) - YouTube THE SUGARCUBES (BJORK) LEASH CALLED LOVE (BEST HD QUALITY) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on May 2, 2014 "Leash Called Love" was released in 1992 on the Sugar Cubes album Stick Around For Joy. Björk Guðmundsdóttir was the lead singer for the band from 1986 to 1992. I love her amazing, crazy vocals in this song. I hope you enjoy this tribute. Thank You For Watching. Category	Björk
What is the name of the Daily Planet's editor in the Superman series of comics and films?	Björk — Listen for free on Spotify Björk Play on Spotify Björk first came to prominence as one of the lead vocalists of the avant pop Icelandic sextet the Sugarcubes , but when she launched a solo career after the group's 1992 demise, she quickly eclipsed her old band's popularity. Instead of following in the Sugarcubes ' arty guitar rock pretensions, Björk immersed herself in dance and club culture, working with many of the biggest names in the genre, including Nellee Hooper, Underworld , and Tricky . Debut, her first solo effort (except for an Icelandic-only smash released when she was just 11 years old), not only established her new artistic direction, but it became an international hit, making her one of the most unlikely stars of the '90s. Though the title of Debut implied that it was Björk's first-ever solo project, she had actually been a professional vocalist since she was a child. When she was in elementary school in Reykjavik, she studied classical piano and, eventually, her teachers submitted a tape of her singing Tina Charles ' "I Love to Love" to Iceland's Radio One. After "I Love to Love" was aired, a record label called Falkkin offered Björk a record contract. At the age of 11, her eponymous first album was released; the record contained covers of several pop songs, including the Beatles ' "Fool on the Hill," and boasted artwork from her mother and guitar work from her stepfather. Björk became a hit within Iceland and was not released in any other country. Björk's musical tastes were changed by the punk revolution of the late '70s; in 1979, she formed a post-punk group called Exodus and, in the following year, she sang in Jam 80. In 1981, Björk and Exodus bassist Jakob Magnusson formed Tappi Tikarrass, which released an EP, Bitid Fast I Vitid, on Spor later that year; it was followed by the full-length Miranda in 1983. Following Tappi Tikarrass, she formed the goth-tinged post-punk group KUKL with Einar Orn Benediktsson. KUKL released two albums, The Eye (1984) and Holidays in Europe (1986), on Crass Records before the band metamorphosed into the Sugarcubes in the summer of 1986. The Sugarcubes became one of the rare Icelandic bands to break out of their native country when their debut album, Life's Too Good, became a British and American hit in 1988. For the next four years, the group maintained a successful cult following in the U.K. and the U.S. while they were stars within Iceland. During 1990, Björk recorded a set of jazz standards and originals with an Icelandic bebop group called Trio Gudmundar Ingolfssonar. The album, Gling-Gló, was released only in Iceland. By 1992, tensions between Björk and Einar had grown substantially, which resulted in the band splitting apart. Following the breakup of the group, Björk moved to London, where she began pursuing a dance-oriented solo career. The previous year, she had sung on 808 State 's "Ooops," which sparked her interest in club and house music. Björk struck up a working relationship with Nellee Hooper, a producer who had formerly worked with Soul II Soul and Massive Attack . The first result of their partnership was "Human Behaviour," which was released in June of 1993. "Human Behaviour" became a Top 40 hit in the U.K., setting the stage for the surprising number three debut of the full-length album, Debut. Throughout 1993, Björk had hit U.K. singles -- including "Venus as a Boy," "Big Time Sensuality," and the non-LP "Play Dead," a collaboration with David Arnold taken from the film Young Americans -- as well as modern rock radio hits in the U.S., and in both countries she earned rave reviews. At the end of the year, NME magazine named Debut the album of the year, while she won International Female Solo Artist and Newcomer at the BRIT Awards; Debut went gold in the U.S. and platinum in the U.K. During 1994, Björk was relatively quiet as she recorded her second album with Nellee Hooper, Tricky , 808 State 's Graham Massey, and Howie B of Mo' Wax Records ; she also released a remix EP, co-wrote Madonna 's "Bedtime Stories," and performed on MTV Unplugged that same year. "Army of Me," the first single from Björk's forthcoming album, was released as a teaser single in the spring of 1995; it debuted at number ten in the U.K. and became a moderate alternative rock hit in the U.S. Post, her second album, was released in June of 1995 to positive reviews; it peaked at number two in the U.K. and number 32 in the U.S. Post matched its predecessor in terms of sales and praise, going gold in the U.S. and helping her earn her second BRIT Award for Best International Female Artist. Post yielded the British hit singles "Isobel" (number 23), "It's Oh So Quiet" (number four), and "Hyperballad" (number eight), yet her singles failed to make much headway on American radio or MTV. Late in 1996, Björk released Telegram, an album comprising radical remixes of the entire Post album, in the U.K.; Telegram was released in America in January 1997. Homogenic, her most experimental studio effort to date, followed later that same year and spawned many remix releases in the next few years to follow. In the spring of 2000, she was named Best Actress by jurors at the Cannes Film Festival for her work in Lars Von Trier's Palme d'Or-winning Dancer in the Dark. Selmasongs, her score for the film, reunited Björk with her Homogenic collaborator Mark Bell and arrived in the fall of 2000, just in time for Dancer in the Dark's U.S. release. The full-length follow-up, Vespertine, was released one year later. She released a Greatest Hits collection and the Family Tree box set late in 2002. After performing a few dates in 2003, Björk geared up for a busy 2004, which included the release of her all-vocals and vocal samples-based album Medúlla and a performance of one of its songs, "Oceania," at the 2004 Summer Olympics in Athens, Greece. The soundtrack to Drawing Restraint 9, a film by multimedia artist Matthew Barney, arrived in 2005 and also featured contributions from Will Oldham . Released in 2007, Volta returned to the more playful, percussive side of Björk's music and included collaborations with Timbaland , Toumani Diabaté , Antony Hegarty, and an all-female Icelandic choir. Her tour supporting the album was a lavish affair, as chronicled in the 2009 set Voltaic, which was released in sets ranging from a CD/DVD to limited multi-disc and vinyl editions. While she was touring the world in support of Volta, Björk began work on her most ambitious project to date: Biophilia, an interactive exploration of humanity's relationships to sound and the universe that would also educate listeners/viewers about music theory and science. Initially envisioned as a musical house, then an IMAX film directed by Michel Gondry, Biophilia -- which took shape with the help of engineers, scientists, and video game designers -- was eventually released as a suite of apps for the iPad and iPhone. The album, which was also released on CD, arrived in October 2011. Bastards, a collection of Biophilia remixes, was released in Europe in late 2012 and in the U.S. in early 2013. Around that time, Björk launched a Kickstarter campaign to fund translating the Biophilia app for Android and Windows 8 platforms. Though the campaign was canceled after ten days, the app was translated to Android in July 2013. That month, she also appeared in When Björk Met Attenborough, a BBC Channel 4 documentary with Sir David Attenborough and scientist Oliver Sacks that related Biophilia to humanity's relationship with music. In 2014, Björk contributed vocals to Death Grips ' album Niggas on the Moon. She also continued the Biophilia project with a live concert film, Biophilia Live. Filmed at London's Alexandra Palace and featuring spectacular visuals, it was released theatrically and in DVD and Blu-Ray sets that also included the live audio on CD. Late that year, it was announced that producers Arca and the Haxan Cloak collaborated on her upcoming album. Vulnicura, which traced the aftermath of Björk's relationship with Matthew Barney and harked back to the sounds of Vespertine and Homogenic, arrived in January 2015 after it was leaked ahead of its scheduled March release date. An acoustic version of the album, Vulnicura Strings, arrived at the end of 2015 and featured the viola organista, a keyboard-driven string instrument designed by Leonardo da Vinci. That year, Vulnicura Live, which featured Björk's favorite performances of the album's songs as well as some chosen from her other albums, was given a limited release; wider distribution followed in 2016. ~ Stephen Thomas Erlewine, Rovi Read More Show less	i don't know
What creature is the symbol of the American Democratic Party?	The Democratic Donkey and the Republican Elephant The Democratic Donkey and the Republican Elephant Ever wondered what the story was behind these two famous party animals? The now-famous Democratic donkey was first associated with Democrat Andrew Jackson's 1828 presidential campaign. His opponents called him a jackass (a donkey), and Jackson decided to use the image of the strong-willed animal on his campaign posters. Later, cartoonist Thomas Nast used the Democratic donkey in newspaper cartoons and made the symbol famous. Nast invented another famous symbol—the Republican elephant. In a cartoon that appeared in Harper's Weekly in 1874, Nast drew a donkey clothed in lion's skin, scaring away all the animals at the zoo. One of those animals, the elephant, was labeled “The Republican Vote.” That's all it took for the elephant to become associated with the Republican Party. Democrats today say the donkey is smart and brave, while Republicans say the elephant is strong and dignified.	Donkey
What is the second largest rodent in the world, the capybara is first?	The Democratic Party Symbol # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z NEW RANDOM The Democratic Party Symbol This page is about the meaning, origin and characteristic of the symbol, emblem, seal, sign, logo or flag: The Democratic Party Symbol. The most common mascot symbol for the party has been jackass or the donkey. Andrew Jackson 's enemies twisted his name to " jackass " as a term of ridicule regarding a stupid and stubborn animal . However the Democrats liked the common -man implications and picked it up too, so the image persisted and evolved . Its most lasting impression came from the cartoons of Thomas Nast 1870 in Harper 's Weekly . Cartoonists followed Nast and used the donkey to represent the Democrats , and the elephant to represent the Republicans . Graphical characteristics:	i don't know
Which Shangri La's single had the sound of seagulls in the background?	The Shangri-Las at Spectropop The Shangri-Las "The Shangri-Las were another of the great 60's girl groups. They gained recognition not only for the content of their songs but also for their visual appearance. Twenty-two year old producer George "Shadow" Morton -- so named for his habit of disappearing for several days at a time -- recruited two sets of sisters out of Andrew Jackson High School in Queens, New York to be the Shangri-Las. Mary Weiss and her sister Betty joined with twins Marge and Mary Ann Ganser to form the group. While the girls were still high school students the charismatic Morton conceived the idea of having them record Remember [Walkin' In The Sand]. He made a demo tape and took it to Kama Sutra Productions and Artie Ripp. Brill Building songwriters Jeff Barry and Ellie Greenwich were added to help with the actual production of the song [Greenwich had attended the same high school as Morton], the sound of seagulls screaching in the background was added, and it was leased to Red Bird Records. The song entered the charts in September, 1964 and peaked at the number 5 position. The Shangri-Las were on their way..." >>>presented by Tom Simon Shangri-Las "Late entrants in the early 60s school of 'girl groups', the Shangri-Las comprised two pairs of sisters, Mary-Ann (b. c .1948) and Margie Ganser (b. c .1947, d. August 1996) and Betty (b. c .1948) and Mary Weiss (b. c .1947). During 1963 they were discovered by George 'Shadow' Morton and recorded two singles under the name Bon Bons before signing to the newly formed Red Bird label. Relaunched as the Shangri-Las, they secured a worldwide hit with 'Remember (Walkin' In The Sand)', a delightful arrangement complete with the sound of crashing waves and crying seagulls. It was the sound-effect of a reving motorbike engine which opened their distinctive follow-up, 'Leader Of The Pack', which was even more successful and a prime candidate for the 'death disc' genre with its narrative of teenage love cut short because of a motorcycle accident..." >>>presented by Yahoo Music The Shangri-Las Bio "Along with the Shirelles and the Ronettes, the Shangri-Las were the greatest girl group; if judged solely on the basis of attitude, they were the greatest of them all. They combined an innocent adolescent charm with more than a hint of darkness, singing about dead bikers, teenage runaways, and doomed love affairs as well as ebullient high-school crushes. These could be delivered with either infectious, hand-clapping harmonies or melodramatic, almost operatic recitatives that were contrived but utterly effective. Tying it all together in the studio was Shadow Morton, a mad genius of a producer that may have been second in eccentric imagination only to Phil Spector in the mid-'60s..." >>>presented by All Music Guide Shangri-Las "The Shangri-Las were the most broadly appealing of all the '60s girl groups. What they sang about had a lot to do with it. The "hip" look combined with a measure of innocence also helped convince the kids of the sincerity of the Shangri-Las message. The group consisted of four sisters Mary (lead) and Liz (Betty) Weiss, and identical twins Marge and Mary Ann Ganser. All were 15 and 16 when they began singing at Andrew Jackson High School In the Cambria Heights section of Queens, New York Influenced by Little Anthony and the Imperials and the Four Seasons, they began playing school shows, talent shows and teen hops. The girls came to the attention of Artie Ripp, who arranged the groups first record deals with Smash, where they recorded "Simon Says" and and with Spokane for Wishing Well..." >>>presented by History of Rock The Shangri-Las Photo Gallery The Shangri-Las photo gallery features photographs of the group, both posed shots and live in concert photos. Shangri-Las enthusiasts are sure to like these photos of Mary and the others as presented through the links here at Spectropop. >>>presented by Girl Groups Fan Club Shangri-Las '"Is she really going out with him?" "Well, there she is, letï¿½fs ask her!" Ask her they did, and rock has never been the same since. The Shangri-las, sisters Mary and Betty Weiss, and twins Mary Ann and Marge Ganser, were high school friends in Queens, New York. The girls loved the new music that was emerging in the early 60s, and in the typical fashion, they put together a group and started performing around the New York area at dances and parties. The Shangra-las as they were called first found themselves on vinyl in late 1963 with "Simon Says," on Smash records. Some people believe a group called the Bon Bons ("Come On Baby") who recorded in early 1964, were actually the Shangri-las in disguise, but this has never been confirmed..." >>>presented by Girl Group Chronicles The Shangri-Las - Best Of The Shangri-Las Listen to Real Audio and LiquidAudio samples of all the great songs by the Shangri-Las here: 1 Remember (Walkin' In The Sand); 2 Leader Of The Pack; 3 What Is Love?; 4 Give Him A Great Big Kiss; 5 Maybe; 6 Out In The Streets; 7 Give Us Your Blessings; 8 Heaven Only Knows; 9 Never Again; 10 What's A Girl Supposed To Do?; 11 Dum Dum Ditty, The; 12 Right Now And Not Later; 13 Train From Kansas City, The; 14 I Can Never Go Home Anymore; 15 Long Live Our Love; 16 Sophisticated Boom Boom; 17 He Cried; 18 Dressed In Black; 19 Past, Present And Future; 20 Paradise; 21 Love You More Than Yesterday; 22 Sweet Sounds Of Summer, The; 23 I'll Never Learn; 24 Take The Time; 25 Footsteps On The Roof >>>presented by Yahoo Music Listen to the Red Bird Story Listen to Real Audio and LiquidAudio samples of all the great songs by the Shangri-Las here: The definitive 4 disc box set collection of recordings from the Red Bird and Blue Cat labels. Released by Charly Records in 1991. 1 Bossa Nova Baby - Tippie And The Clovers; 2 My Heart Said (The Bossa Nova) - Tippie And The Clovers; 3 Big Bad World - Cathy Saint; 4 Mr. Heartbreak - Cathy Saint; 5 Everybody Come Clap Your Hands - Moody And The Deltas; 6 He Ain't No Angel - Leola And The Lovejoys; 7 I Won't Be Me Anymore - Vic Donna; 8 Go Now - Bessie Banks; 9 It Sounds Like My Baby - Bessie Banks; 10 Boy From New York City, The - Ad Libs; 11 Searchin' - Alvin Robinson; 12 Something You Got - Alvin Robinson; 13 Chapel Of Love - Dixie Cups; 14 I Want To Love Him So Bad - Jelly Beans; 15 I Know He Loves Me - Chi Chi McCauley; 16 Top Down Time - Rock Always; 17 Keep It Up - Soul Brothers; 18 I Got A Dream - Soul Brothers; 19 People Say - Dixie Cups; 20 How Can I Get Over You - Alvin Robinson; 21 I'm Gonna Put Some Hurt On You - Alvin Robinson; 22 Remember (Walking In The Sand) - Shangri-Las; 23 Goodnight Baby - Butterflies; 24 Down Home Girl - Alvin Robinson; 25 Let The Good Times Roll - Alvin Robinson; 1 Bottom Of My Soul - Alvin Robinson; 2 Fever - Alvin Robinson; 3 Kind Of Boy You Can't Forget - Jelly Beans; 4 Baby Be Mine - Jelly Beans; 5 Ask Anybody - Ad Libs; 6 He Ain't No Angel - Ad Libs; 7 Welcome To My Heart - The Bouquets; 8 Having A Party - Ronnie Mitchell; 9 Bad As They Come - Sam Hawkins; 10 Hold On Baby - Sam Hawkins; 11 Dum Dum Ditty, The - The Goodies; 12 Sophisticated Boom Boom - The Goodies; 13 Standing By - Dee Dee Warwick; 14 Don't Think My Baby's Coming Back - Dee Dee Warwick; 15 Leader Of The Pack - Shangri-Las; 16 What Is Love - Shangri-Las; 17 Take Me For A Little While - Evie Sands; 18 Run Home To Your Mama - Evie Sands; 19 I Know It's Alright - Evie Sands; 20 Amy - Barry Mann; 21 Gee, Baby Gee - The Butterflies; 22 I Wonder - The Butterflies; 23 Little Bell - Dixie Cups; 24 Another Boy Like Mine - Dixie Cups; 25 Give Him A Great Big Kiss - Shangri-Las; 1 Twist And Shout - Shangri-Las; 2 Maybe - Shangri Las; 3 Shout - Shangri-las; 4 I Can't Let Go - Evie Sands; 5 New York Is A Lonely Town - Tradewinds; 6 I'm Just A Down Home Girl - Ad Libs; 7 Iko, Iko - Dixie Cups; 8 Gee, Baby Gee - Dixie Cups; 9 I Hurt On The Other Side - Sidney Barnes; 10 I'm Gonna Get You Yet - Dixie Cups; 11 Out In The Streets - Shangri-Las; 12 Our Love Can Still Be Saved - Jeff Barry; 13 I'll Still Love You - Jeff Barry; 14 Give Us Your Blessings - Shangri-Las; 15 Heaven Only Knows - Shangri-Las; 16 Gee The Moon Is Shining Bright - Dixie Cups; 17 You Don't Know - Ellie Greenwich; 18 Baby - Ellie Greenwich; 19 Right Now And Not Later - Shangri-Las; 20 Train From Kansas City, The - Shangri-Las; 21 If There's Anything Else You Want (Let Me Know) - Roddie Joy; 22 Fugitive From Love - Linda Jones; 23 You Hit Me Like T. N. T. - Linda Jones; 24 I'm So Glad - Sidney Barnes; 25 I Hear You Say (I Love You Baby) - Andy Kim; 1 Hey Little Girl - Jimmie Cross; 2 I Can Never Go Home Anymore - Shangri-Las; 3 Sophisticated Boom Boom - Shangri-Las; 4 Long Live Our Love - Shangri-Las; 5 He Cried - Shangri-Las; 6 Dressed In Black - Shangri-Las; 7 It Will Only Make Me Love You More - Ral Donner; 8 He Will Break Your Heart - Kane & Abel; 9 Past Present And Future - Shangri-Las; 10 Paradise - Shangri-Las; 11 Love You More Than Yesterday - Shangri-Las; 12 Mary Weiss Speaks; 13 Let The Music - Didi Noel; 14 It Was A Lie - Booby Moore & The Fourmosts; 15 Dressed In Black - Shadow Morton; 16 Chapel Of Love - Jelly Beans; 17 Here She Comes - Jelly Beans; 18 Ain't Love A Funny Thing - Jelly Beans; 19 Whisper Sweet Things - Jelly Beans; 20 Goodnight Baby - Jelly Beans; 21 Do Wah Diddy - Jelly Beans; >>>presented by Yahoo Music Various Artists - The Best Of Red Bird/Blue Cat Records Listen to Real Audio and LiquidAudio samples of all the great songs by the Shangri-Las here: A fabulous collection of recordings from the Red Bird and Blue Cat labels, including remixes of many of the Dixie Cups' well known recordings. Tracks: Chapel Of Love (The Dixie Cups); I Wanna Love Him So Bad (The Jelly Beans); People Say (The Dixie Cups); Remember (Walkin' In The Sand) (The Shangri-Las); Good Night Baby (The Butterflys); Baby Be Mine (The Jelly Beans); Leader Of The Pack (The Shangri-Las); You Should Have Seen The Way He Looked At Me (The Dixie Cups); Give Him A Great Big Kiss (The Shangri-Las); The Boy From New York City (The Ad Libs); Little Bell (The Dixie Cups); New York's A Lonely Town (The Trade Winds); Iko Iko (The Dixie Cups); He Ain't No Angel (The Ad Libs); I Can Never Go Home Anymore (The Shangri-Las) >>>presented by Yahoo Music	Remember (Walking in the Sand)
Who played Sadie King in Emmerdale?	The Shangri-Las · 2017 Tour Dates and Concert Tickets \| Thrillcall Track Artist for New Show Alerts The Shangri-Las were an American pop girl group of the 1960s. Between 1964 and 1966 they charted with often heartbreaking teen melodramas, and remain perhaps best known for their hits "Leader of the Pack" and "Remember (Walkin' in the Sand)". Early car... The Shangri-Las were an American pop girl group of the 1960s. Between 1964 and 1966 they charted with often heartbreaking teen melodramas, and remain perhaps best known for their hits "Leader of the Pack" and "Remember (Walkin' in the Sand)". Early career The group was formed at Andrew Jackson High School in Cambria Heights, New York, a neighborhood in Queens, New York City, in 1963. It consisted of two sets of sisters: Mary Weiss (lead singer) (born 28 December 1948) and Elizabeth "Betty" Weiss (born 1946), and identical twins Marguerite "Marge" Ganser (4 February 1948–28 July 1996) and Mary Ann Ganser (4 February 1948–14 March 1970). They began playing school shows, talent shows, and teen hops, coming to the attention of Artie Ripp, who arranged the group's first record deal with Kama Sutra. Their first recording in December 1963 was "Simon Says", later issued on the Smash label, on which Betty Weiss sang lead. They also recorded "Wishing Well" / "Hate To Say I Told You So", which became their first release in early 1964 when leased to the small Spokane label. Initially, the girls performed without a name. But when they signed their first deal, they began calling themselves the Shangri-Las, after a Queens, New York restaurant. Some discographies list The Beatle-ettes and The Bon Bons, who both issued singles in 1964, as early versions of The Shangri-Las. However, they are different groups. Mary Weiss was the main lead singer; Betty, however, took lead on "Maybe" (the LP version), "Shout", "Twist and Shout", and a number of B-sides and album tracks. Mary Ann Ganser took lead on most of "I'm Blue", which is a cover of the Ikettes biggest hit at the time, and was included on their 1965 album Shangri-Las 65!. Success at Red Bird Records In April 1964, when the girls were still minors, their parents signed with Red Bird Records; Mary was 15, Betty was 17, and the Ganser twins 16. Having been hired by record producer George "Shadow" Morton, they had their first success with the summer hit, "Remember (Walking in the Sand)" (U.S. #5, UK #14). Billy Joel, a then-unknown working as a session musician, played on the demo of "Remember (Walkin' In The Sand)". The demo was nearly seven minutes long, too long for Top 40 radio. Morton had hired the group to perform on the demo, but Red Bird released a re-recorded version. Morton faded the new version out around 2:16. The recordings for Morton featured lavish production with heavy orchestration and sound effects, and their next and biggest hit, "Leader of the Pack" (U.S. #1, UK #11), climaxes with roaring motorcycles and breaking glass. UK re-issues peaked at #3 in 1972 and #7 in 1976. The song epitomized the "death disc"; other examples include Ray Peterson's "Tell Laura I Love Her", Jan and Dean's "Dead Man's Curve", J Frank Wilson and the Cavaliers's "Last Kiss," Mark Dinning's "Teen Angel,", Dickey Lee's "Laurie (Strange Things Happen"), Twinkle's "Terry" and Jody Reynolds' "Endless Sleep". After the sudden success of "Remember (Walking In The Sand)", all the girls were called upon to make personal appearances which required them to leave high school. Mary, however, stayed on for classes at a high school for young professionals in Manhattan. By the end of 1964 the group was an established act. They performed with the Beatles, a Fall 1964 tour with the Rolling Stones, R&B artists such as The Drifters and James Brown (who, according to Mary Weiss, was surprised to discover the girls were white), and Cashbox magazine listed them as best new R&B group. The group was also a fixture on the Murray The K shows at the Brooklyn Fox from 1964-66. They also promoted Revlon cosmetics. In March 1965 they toured the UK with Wayne Fontana and the Mindbenders, Herman's Hermits, Del Shannon, and others. The Shangri-Las appeared as a quartet to promote "Remember" starting with their stint on the 1964 Labor Day Murray The K show in September. Shortly before the Shangri-Las went to the UK for the aforementioned promotional tour in Oct. 1964, Betty Weiss dropped out temporarily, leaving the group as a trio. She still is featured on the recording for "Leader Of The Pack" which was recorded prior to the release of "Remember". The remaining trio went on to tour the US and also appeared on many TV shows including Hullabaloo, Shindig!, Hollywood A-Go-Go, and Lloyd Thaxton. Many TV clips and photos of the group taken at this time (just Mary Weiss and the twins) circulated at the group's peak in popularity and beyond, which led many to recall the group being only a trio. Betty then rejoined the group in mid-1965 (her first return appearance with the Shangri-las was listed as a June 1965 Hollywood A-Go-Go Show episode hosted by Cousin Brucie in NYC), and the group appeared as a quartet once again until the start of 1966 when they permanently became a trio again (MaryAnn and Margie left at different times replacing each other until the demise of the group). The group alternated between touring with their own band and local bands. Among the latter were the Sonics, as well as the Iguanas, featuring a young Iggy Pop. They also appeared as headliners on package tours such as Dick Clark's Caravan Of Stars and as stated previously, tours with R & B acts like the Orlons and Joe Tex. Later in their career, the Shangri-Las did lots of college dates with bands like The Young Rascals, The Animals, and Vanilla Fudge. Public image The Shangri-Las' 'tough girls' persona set them apart from other girl groups. Having grown up in a rough neighborhood of Queens, New York, they were less demure than their contemporaries. Rumors about supposed escapades have since become legend, for example the story that Mary Weiss attracted the attention of the FBI for transporting a firearm across state lines. In her defense, she said someone tried to break into her hotel room one night and for protection she bought a pistol. Whatever truth these stories may have, they were believed by fans in the 1960s, and they helped cement the group's bad-girl reputation. According to Weiss, that persona helped fend off advances from musicians on tours. The Shangri-Las continued to chart with fairly successful U.S. hit records, specializing in adolescent themes such as alienation, loneliness, abandonment and death. Singles included "Give Him a Great Big Kiss", "Out in the Streets", "Give Us Your Blessings", the top ten hit "I Can Never Go Home Anymore", "Long Live Our Love" (a rare example of a song dedicated to the men at the time fighting overseas in Vietnam), "He Cried" and the spoken-word "Past, Present and Future", featuring music from Beethoven's "Moonlight Sonata". Noteworthy B-sides included "Heaven Only Knows", "The Train from Kansas City", "Dressed in Black" and "Paradise" (written by Harry Nilsson). Among titles in critics' favorites lists is "I Can Never Go Home Anymore", the story of a girl who leaves home for a boy; her pride keeps her from returning to her mother who "grew so lonely in the end/the angels picked her for their friend". Lines from "Give Him a Great Big Kiss" include "When I say I'm in love, you best believe I'm in love, L-U-V", and "Well I hear he's bad." "Hmm, he's good-bad, but he's not evil." "Past, Present and Future" has been said to be about rape, something Weiss disagrees with. She has said it is about "teenage angst," heartbreak and "being hurt and angsty and not wanting anyone near you." Disintegration and retirement The group appeared on several TV shows and continued to tour the US, but in 1966 two of three releases on Red Bird failed to crack the U.S. top 50, although the group remained popular in England and Japan. Mary Ann Ganser left, but returned early in 1967 when Marge — the most outspoken member, sometimes considered the leader — left. Red Bird Records had folded. The group recorded more tracks with Shadow Morton producing (some of which remain unreleased) and signed with Mercury Records. However, Morton had begun working with Janis Ian and Vanilla Fudge, and Mercury had little enthusiasm for the group. During their Mercury stint the Shangri-Las had no further hits, and in 1968 they disbanded, amid litigation. All the Shangri-Las withdrew from the spotlight. Morton said "The Shangri-Las vacated, they vanished". Reportedly, they were angry that they had received few royalties despite the millions of records they had sold. Mary Weiss moved to New York's Greenwich Village, then to San Francisco. Returning to Manhattan a few years later, and prevented from recording because of lawsuits, she worked as a secretary while taking college classes. She then went into the architectural industry, working in the accounting department of a New York architectural firm. She moved up to be the chief purchasing agent and later ran the commercial furniture dealership. In the late eighties she managed a furniture store and was an interior designer. By 2001 she was a furniture consultant to New York businesses. She married in 1974 but the marriage ended in 1988; she married again several years later, and her second husband now manages her music career. Betty Weiss also married, and had a daughter (who was raised with the help of her brother George Weiss, who died in 1998), the only member of the group to have a child. She held several jobs, and now lives and works on Long Island. Mary Ann Ganser began having health problems in 1968. She died in Queens NY, on March 14, 1970, aged 22. The cause of her death has been variously reported as encephalitis, a seizure disorder, or barbiturates. Marge Ganser reportedly returned to school during the late '60's. By the early '70's, she married (becoming Marguerite Ganser Dorste), worked for NYNEX in Valley Stream, New York, and died of breast cancer on July 28, 1996 at 48. The group declined offers to perform throughout the 1970s, although they did a few live performances. But following the successful re-issue of "Leader of the Pack" in the UK in 1976, which renewed interest in the group, Mary and Betty Weiss and Marge Ganser reunited. Contacting Seymour Stein of Sire Records, they spent summer 1977 in New York with producer Andy Paley. Paley said the sessions went well, but they weren't satisfied with all the material and declined to release the record. The tapes are now owned by the Warner Music Group. They did, however, give a live performance at CBGBs; Paley put together a band, including Lenny Kaye, and after two hours rehearsing the Shangri-Las returned to the stage for the first time in a decade. Although the Sire sessions came to naught, the group toyed with signing with another label but were put off by the insistence of record executives that they be a disco vocal group, the musical trend of the day. Mary said she envisioned the Shangri-Las like punk singer Patti Smith. The Shangri-Las split up. Since the 1980s a trio has called itself the Shangri Las, although unconnected with the original group. The copy-cat act was put together by Dick Fox, who claimed to have bought the rights to the name, and resulted in legal action from both sides, largely due to a video tape of the new Shangri-Las claiming in public to be the original group. The original group performed for the last time at a reunion show hosted by Cousin Brucie (Bruce Morrow) in East Rutherford, New Jersey on June 3, 1989. In March 2007 Norton Records released a solo album by Mary Weiss (backed by garage rockers, The Reigning Sound) called Dangerous Game. She performed in the United States, Spain and France. Influence The streetwise image of The Shangri-Las—initially a promotional device for "Leader of the Pack" — contrasted with other "girl groups" of the 1960s, and they were cited as an influence by 1970s punk rock-era acts such as the New York Dolls and Blondie, who twice covered "Out in the Streets", and Aerosmith, who covered "Remember (Walking in the Sand)". The Go-Go's, since their early punk rock days in Los Angeles clubs, have been performing live "Remember (Walking in the Sand)". The line from "Give Him a Great Big Kiss"—"When I say I'm in love, you best believe I'm in love, L-U-V"—was used by the New York Dolls on their 1973 recording "Looking for a Kiss". It is also used by the English pop trio SOHO in the beginning of their song "Nuthin On My Mind" from their album, Goddess. The New York Dolls' guitarist Johnny Thunders included a cover of "...Great Big Kiss" on his first solo album So Alone. Ian Svenonius also used the line at the beginning of "Today I Met the Girl I'm Going to Marry" by his band Nation of Ulysses on the album 13-Point Program to Destroy America. More recently, Ryan Adams (and the Cardinals) paid homage to that line in their song "Beautiful Sorta" off the album Cold Roses, but they changed it to "When I say L-U-V, you better believe me L-U-V. Give me a beer!" In 2005, Julian Cope parodied the famous line in "Dying to Meet You" from his album Citizen Cain'd. He's heard to say "When I say I'm dead you best believe I'm dead, D-E-A-D" during the outro. In an outtake of "Careless" from their album Sorry Ma, Forgot to Take Out the Trash, The Replacements opened with the line "When I say I'm in debt, you best believe I'm in debt, D-E-T!" In 1972, "Leader of the Pack" was performed by Bette Midler on her debut album The Divine Miss M. The opening from "Leader of the Pack"—"Is she really going out with him?"—was recycled both as the opening lines of 1976's "New Rose" by the Damned, the first British punk rock single, and of "Kill" by the parody punk group Alberto Y Lost Trios Paranoias, as well as the title of the 1979 hit song by Joe Jackson. Aerosmith released a more rock version featuring uncredited backing vocals by Mary Weiss of the Shangri-Las as a single in 1980 and can found on both their Greatest Hits album and on their Night in the Ruts album. This charted on the Hot 100 at 67.d Scottish alternative rock band The Jesus and Mary Chain cited The Shangri-Las as an early influence. In 1985, the band's guitarist William Reid stated: "We all love The Shangri-Las, and one day we're going to make Shangri-Las records." Twisted Sister covered, "Leader of the Pack" on their 1985 album, Come Out and Play, that went Gold. The Shangri-Las' "Past, Present and Future" was covered in 2004 by ex-ABBA singer Agnetha Fältskog on her album, My Colouring Book. The Johnny Thunders / Patti Palladin album Copy Cats (1988) features a strong version of "He Cried". Australian artist Rowland S. Howard recorded "He Cried" as "She Cried". Although most covers and remakes of The Shangri-Las material focus on the hit singles, some express the group's influence on them by recording songs from The Shangri-Las which were never released as singles by the group. Among these, the Los Angeles rock group Redd Kross covered "Heaven Only Knows," an album cut from The Shangri-Las second album Shangri-Las '65, and Superchunk, Belle and Sebastian, The Shop Assistants and Neko Case recorded versions of "The Train from Kansas City", which was a b-side, and an album cut from The Shangri-Las debut album, Leader of the Pack. British singer Amy Winehouse cited The Shangri-Las as an influence and occasionally integrated the hook lyrics from "Remember (Walkin' in the Sand)" into the bridge of her song "Back to Black" during live performances. Faris Badwan of The Horrors has listed The Shangri-Las as an influence in The Horrors' sound and lyrics, and had added a reworked version of "He Cried" to "She Cried" into The Horrors' song, "Who Can Say," using the lines, "And when I told her I didn't love her anymore, she cried/and when I told her, her kisses were not like before, she cried/and when I told her another girl had caught my eye, she cried/and I kissed her, with a kiss that could only mean goodbye," in spoken-word with a drum beat similar to that The Shangri-Las used. The song is also originally, "She Cried" by Jay and the Americans, another (if slight) influence over The Horrors. Atlanta, Georgia band Black Lips called their 2007 album Good Bad Not Evil, after the line in "Give Him a Great Big Kiss". Sonic Youth referenced the "very, very close" lyric of "Give Him a Great Big Kiss" on the Kim Gordon/Kim Deal duet "Little Trouble Girl" in 1995. Early punk band The Slits also reference the song in "Love Und Romance" on the 1979 album Cut. The Bat for Lashes song "What's a Girl to Do?" has been widely acknowledged as a Shangri Las pastiche. Kathleen Hanna of the electropunk group Le Tigre has mentioned that the "one girl calling another" motif and the opening sound of seagulls on the track "What's Yr Take on Cassavetes?" were inspired by The Shangri-Las. The Shangri-Las were imitated by groups like The Nu-Luvs, who had a hit with "So Soft, So Warm", which was originally recorded by The Shangri-Las as "Dressed In Black" and used as the b-side to Jay and the Americans' original, "He Cried". Others included the Pussycats and the Whyte Boots, who scored big with their single "Nightmare", originally intended for The Shangri-las, and written, produced and performed by Lori Burton and Pam Sawyer. The Goodees had a hit in early 1969 with "Condition Red", a "Leader of the Pack" inspired tale about a girl who wants to be with her long haired, bearded boyfriend despite her parents' objections. The Detergents had hits with "Leader of the Laundromat" and "I Can Never Eat Home Any More", both of which parodied The Shangri-Las. Giddle Partridge and Boyd Rice recently covered "Past, Present, and Future". Alex Chilton often played it in concert. Brooklyn band Vivian Girls cite The Shangri-Las as one of their influences. Finnish rock band HIM is using "Dressed in Black" as an intro song for their current tour promoting their latest album Screamworks: Love in Theory and Practice. Marianne Faithfull released a cover of "Past, Present and Future" on her 2011 album Horses and High Heels.	i don't know
What is the main street of Edinburgh called?	Best of Edinburgh Shopping Best of Edinburgh Shopping Introduction Shoppers on Princes Street Edinburgh has an wide selection of shopping available to cater for every taste. This ranges from upmarket designer stores such as Harvey Nichols, Jenners and House of Fraser, through the usual range of high street department stores such as John Lewis, Marks & Spencer, Next, Gap and Debenhams, down to smaller boutiques, craft and specialist outlets selling pretty much anything you may need. Harvey Nichols Map There are also out of town shopping centres such as Ocean Terminal , the Gyle Shopping Centre and Fort Kinnaird (the first two offering undercover shopping). Generally speaking, city centre shops in Edinburgh cater for a fairly wide clientele. This ranges from residents of the city itself and the surrounding hinterland, those who work here, the many students who study in town (it has three Universities - Edinburgh, Heriot Watt and Napier) and, of course, our welcome tourists. Hot Dogs at Harvey Nichols Enjoy a morning or afternoon browsing around the main shopping areas, and when you find yourself in need of a break, stop for a coffee or meal in one of the excellent cafes or restaurants. Whatever you're looking for you're sure to find it in Edinburgh. Princes Street Princes Street Princes Street has one of Europe's most impressive settings, enjoying as it does a visually stunning and uninterrupted panorama across Princes Street Gardens to the majestic Castle and Old Town. Constructed principally during the latter half of the 18th century as part of the New Town development, Princes Street was originally proposed to be called St Giles Street, after the patron saint of the city. This suggestion is said to have been rejected by King George III and the street named instead with reference to two of his sons, ie the Princes. Before the Edinburgh City Bypass was completed, most traffic crossing the city had to travel along Princes Street, making for considerable noise, congestion and pollution. Nowadays however only buses and taxis are allowed to travel it its full length. It is along Princes Street that the main department stores such as Jenners, House of Fraser, Marks & Spencer, Primark and Debenhams are to be found, together with a wide range of other shops, hotels, coffee shops and fast food restaurants. Next to Waverley Railway Station is the small Waverley Mall and slightly further along (just around the corner from the statue of Wellington on his horse) you will find work has started on the new Edinburgh St James development which is due to be completed in 2020. The excellent John Lewis department store is located here and will be open throughout the redevelopment work. Jenners Map Jenners, one of the oldest family run businesses in the city until it was recently acquired by House of Fraser, is well worth a visit. This upmarket but somewhat labyrinthine store is full of charm and sophistication. It also has a wonderfully attractive main hall which is beautifully decorated each year with a full size Christmas tree. We can particularly recommend the excellent food and baking in its cafeteria. Debenhams, known for its good seasonal sales, is also worth a look. House of Fraser Map Overall, Princes Street provides an excellent shopping experience which we recommend is best enjoyed at a leisurely pace. Take your time to enjoy its magnificent surroundings and the many alterrnative attractions along its length, including the Scott Monument, the Royal Scottish Academy, the National Galleries of Scotland and, not forgetting, Princes Street Gardens with its unusual floral clock. John Lewis Department Store Map George Street Named after George III, George Street was designed to be the foremost street of Edinburgh's New Town, linking Charlotte Square in the east to St Andrews Square in the west. Work commenced in1767. From its early beginnings as a residential area, George Street gradually developed during the 19th and 20th centuries into a centre for banking and insurance. This is reflected in the architectural splendour of many of the buildings dotted along its route, which give George Street an upmarket air of respectability. In recent years many of these companies have relocated to out of town greenfield sites, releasing their former premises for new incoming businesses. In the main, these have tended to be chic clothes shops, stylish bars and smart restaurants as well as other retail businesses catering for the top end of the market. Without doubt, George Street is one of Edinburgh's best "posh shop" areas. Just make sure you take your credit card with you! Jaeger, George Street, Edinburgh Further information on George Street can be found by clicking here . Ocean Terminal Map Ocean Terminal in Leith is one of Edinburgh's most modern centres, combining quality shopping, eating and cinema. Located on the shorefront at Leith Docks, Ocean Terminal is now the home to the former Royal Yacht, Britannia, which has been made into an excellent visitor attraction. Ocean Terminal, Leith One of the eating areas at Ocean Terminal The Former Royal Yacht Britannia	Princes Street
In criminal slang, what is a dip?	Edinburgh City Centre Hotels - Find hotels in Edinburgh's City Centre, Scotland! Express by Holiday Inn Edinburgh City Centre Express by Holiday Inn Edinburgh City Centre is only a 5 minute walk to Princes Street & a 10 minute walk to the Royal Mile . Located near the St James Shopping Centre & Edinburgh Playhouse Theatre. The hotels offers free luggage storage for early arrivals or late departing... more . The Scotsman Hotel Called the Scotsman Hotel because it once housed the Victorian Offices of the Scotsman Newspaper. The Hotel was restored and converted in 2001. Original period features blend with contemporary art and furniture in the oak-panelled lobby. The Scotsman Hotel is on... more . Edinburgh City Centre Hotel Map Need help with planning your meeting? About Edinburgh The picturesque city of Edinburgh, capital of Scotland, was founded more than one thousand years ago. From its origins as a hill fort through its Renaissance cultural flourishing and its importance in Scotland's break from the Roman Catholic Church to its modern status as one of the most dynamic cultural cities in Europe, Edinburgh has enjoyed a rich and complex history. Evidence of habitation in the area reaches back to the Bronze Age. The city is in part named for the hill fort that was erected prior to the 7th century. "Burh" means fort in Old English. The earliest records of a town date to the 11th century, and by the 12th century the city was growing rapidly. In the early 1500s, the wide-ranging interests of King James IV, which included poetry and dentistry, led to a capital with a thriving cultural and intellectual life. The later part of the century, however, was bloody, marked by a civil war over succession that lasted five years. In the 1600s, the city suffered again during the Third English Civil War. In 1707, Scotland and England were joined, and the Scottish Parliament dissolved. Despite the controversy of the unification, it heralded a new age for Edinburgh, which became the center of the Scottish Enlightenment, another burgeoning time for both science and the arts. During the Victorian era, Edinburgh remained less industrialized than many UK cities, but its reputation, as a center for the arts, has continued to flourish well into the present century. Politically, calls for independence from the United Kingdom have resulted in the return of a Scottish Parliament in 1999. The city is set against Scotland's central lowlands in the southeastern part of the country. To its north lies the Firth of Forth, an estuary that leads into the North Sea, and to its southwest range the Pentland Hills. Its climate tends to be mild, which is in part due to its nearness to the sea. Edinburgh has a population of nearly half a million. Geographically, it is divided into a central Old Town and New Town as well as a largely residential area to the south. Its port, Leith, was merged with the city nearly 100 years ago. In 1995, Edinburgh's Old and New Towns were together named as a World Heritage Site.	i don't know
What is the name of the main pub in The Archers?	BBC Radio 4 - The Archers - About the Archers Read more about sharing. About the Archers Archers fan Stephen Fry gives his instant introduction for new listeners. Learn about the people and places, the laughs and the scandals, so that you can get the most from The Archers. If you're a complete beginner to The Archers, this instant introduction is for you. First of all, what exactly is The Archers? Well, it's a radio soap opera set in the fictional English village of Ambridge. It aims to provide essential drama from the heart of the country. So what does that mean you'll be hearing? Ambridge is a twenty-first century village, with all the pressures of modern rural life. You'll become involved in the characters' personal and business struggles, their love affairs and all sorts of village activities from saving the local shop to the annual fete. There are plenty of lighter moments too. These characters then... Several of the main families are farmers. At the heart of the programme are David and Ruth Archer at Brookfield Farm. David once had cause to regret employing a handsome cowman, but they're pretty stable nowadays. Their cousins Pat and Tony Archer farm organically at Bridge Farm. That's a dairy farm as well, but they also keep pigs and grow vegetables. They sell their own yogurt, ice cream and cheese. At the opposite end of the farming scale are well-off Brian and Jennifer Aldridge at Home Farm, which is the biggest in the village. That little boy who lives there is Brian's son from a torrid affair. When his mistress died, amazing Jennifer agreed to take Ruairi in. The Archer family is related to the Aldridges, and to several other Ambridge families, including the Hebden Lloyds - she runs a riding school and he's a vet. If that all sounds a bit posh, there are lots of less well-off characters too. Most of them live and work in and around Ambridge - on the farms, in the local pub The Bull, at the village shop, at Grey Gables hotel or St Stephen's church. Those sons of the soil the Grundys are particularly good value, both for the scrapes they get in and the fact that Emma Grundy isn't Ed's wife, as you might think, but the ex-wife of Ed's brother Will. You can look up all the current characters in the Who's Who section of the Archers website. By now, I expect you're keen to know how you can hear the programme, and it's very easy to start, because the episodes are only thirteen minutes long. They're broadcast on BBC Radio Four every day, Sunday to Friday at seven p.m. And they're repeated the next day at two p.m. - except on Saturdays. Or if you want to catch a whole week's worth in one go, there's an omnibus edition, on Sunday morning at ten a.m. BBC Radio Four is on ninety-two to ninety-five FM, one nine eight long wave, and on digital radio and television. You can also listen online, or get the programme sent to your computer in a podcast. There's lots more information on the Archers website, just go to bbc.co.uk/archers Happy listening!	The Bull
On what date is Saint George's day?	Discover Archers' country \| Countryfile.com Go Outdoors Discover Archers' country With The Archers celebrating 60 years on our airwaves this year, Tor McIntosh sets out to discover the real county on which fictional Borsetshire is based: Worcestershire 16th September 2010 Holiday Ideas Every listener to BBC Radio 4’s long-running drama The Archers has his or her own image of Borsetshire. I certainly do. It’s a rural haven created in my mind that I escape to the moment I hear the opening “dum-di-dum-di-dum-di-di…” of the soap opera’s instantly recognisable theme tune. Of course, the county of Borsetshire, the village of Ambridge, the market town of Borchester and the cathedral city of Felpersham only exist in the imagined world of The Archers. But, as the home county to the programme’s creator, the late Godfrey Baseley, Worcestershire certainly stakes the strongest claim to being Archers’ country. With fictional Brookfield Farm modelled on Godfrey’s sister-in-law’s Summerhill Farm in Hanbury, many believe that this small village near the town of Droitwich Spa in mid-Worcestershire is the likeliest real-life candidate for Ambridge, the epicentre of goings-on in the radio drama. But fuelled by the success of The Archers over the past 60 years, other villages in the area also vie for the status of being the real Ambridge. One of these is the village of Inkberrow, eight miles south of Hanbury, where Godfrey’s regular watering hole The Old Bull – a black and white half-timbered pub overlooking Inkberrow’s village green – is remarkably similar in name to the only pub in Ambridge, The Bull. And it wasn’t just the name of his local that inspired Godfrey; the bar at The Old Bull was also a rich source of stories. Rosemary Kennedy, a postmistress who lived in the village for 45 years, once said: “At one time, as soon as something happened in Inkberrow you could bet that it would turn up in The Archers a few weeks later.” Lower Loxley Hall? Archers-related landmarks are thick on the ground as you explore this richly agricultural area of central Worcestershire. The National Trust-owned Hanbury Hall on the outskirts of Hanbury village is thought to be a prototype for Lower Loxley Hall, the stately home of Nigel and Elizabeth Pargetter. It may not offer visitors falconry courses, a treetop walk or Nigel’s homemade wine as in the radio show, but the William and Mary-style house is worth a visit for the stunning 18th-century formal gardens and the enormous wall paintings by James Thornhill (1676-1734) that decorate the main stairwell inside the house. Peeking through the trees behind Hanbury Hall is the hilltop church of St Mary the Virgin, reputed to be St Stephen’s Church in Ambridge. Over the years, this beautiful red sandstone building has been used for live broadcasts of several Archers weddings and as the backdrop for cast publicity photos. Recordings of the church bells have often featured in episodes too, making the bell-ringers just as famous as the church itself. John Ford, a sprightly local farmer “a year shy of 80”, remembers ringing the bells for the first Archers wedding between Grace Fairbrother and Phil Archer in 1955. “It was meant to have been kept a secret, but the location was printed in a national paper,” he recalls. “Some of the cast had to walk to the church because all the roads were blocked with cars.” Of course, there’s more to Worcestershire than its association with The Archers. From its commanding hilltop setting, Hanbury church overlooks an expansive floodplain where the rivers Avon and Severn meander across a patchwork of verdant fields in the southernmost corner of the county. Just visible to the right is the distinctive humped outline of the Malvern Hills and, directly south, Bredon Hill rises majestically 300m (991ft), both forming striking landmarks in the largely gentle, farmed landscape. Geologically part of the Cotswolds Hills, Bredon Hill today stands isolated after years of erosion have severed its ties to its famous neighbours that now melt into the horizon on its eastern and southern flanks. The Iron Age hill fort of Kemerton Camp crowns Bredon’s summit, and nearby you’ll discover a pair of standing stones known as the King and Queen Stones. Local legend has it that passing between the stones cures individuals of illness. Bredon Hill was immortalised by Worcestershire-born poet AE Housman in his celebrated works A Shropshire Lad, in which he penned the famous lines: In summertime on Bredon/My love and I would lie. Immediately north of Bredon Hill stands the market town of Pershore – could this be the fictional market town of Borchester? This picturesque settlement on the banks of the River Avon, complete with medieval abbey and elegant Georgian architecture, is an ideal place for an afternoon amble after a walk to the summit of Bredon Hill. Particularly delightful is the old-world charm of Bridge Street and Broad Street, both lined with listed buildings displaying elaborate doorways and cast-iron balconies. The plums of Pershore Lying on the western fringes of the Vale of Evesham – a flat and fertile expanse of land sheltered beneath the Cotswold Hills and watered by the River Avon – the land surrounding Pershore provides perfect conditions for intensive fruit growing. It was in the early 19th century that wild plums were discovered growing in Tiddesley Wood near Pershore, leading to the widespread production of the plum variety Pershore Yellow Egg. This was quickly followed in 1890 by the Pershore Purple and more recently the Pershore Emblem; all of these local varieties are still available today. To celebrate the town’s historic association with this sweet juicy fruit, a Plum Festival ( www.pershoreplumfestival.org.uk ) is held each year in August. But before the Vale of Evesham became the fruit basket of England, its fertile land was the setting for more violent activities: on a hill north of the market town of Evesham on the 4 August 1265, Simon de Monfort was slain and butchered by the royal forces of Prince Edward (later King Edward I) in one of England’s bloodiest battles, the Battle of Evesham. Mini mountain range Cross the imposing M5 motorway that cuts down the middle of Worcestershire to explore the mini mountain range of the Malvern Hills, stomping ground of the county’s famous son Sir Edward Elgar. It was this dramatic eight-mile-long ridge that inspired the composer to write some of his greatest works, including the first movement of the Pomp and Circumstance Marches, which later became the flag-waving anthem Land of Hope and Glory. Equally enthralled by these hills is Trevor Harrison, the actor who has played lovable rogue Eddie Grundy in The Archers for three decades and who lives nearby. “What I love about the Malverns are the two different views you get from the top – the flat, expansive Severn Valley on the east side and the rugged, hilly landscape of Wales and the Brecon Beacons to the west,” he says. North of the Malverns lies Leigh Brook Valley, where the Knapp and Papermill nature reserve is hidden away from all but the most intrepid visitors. It’s a gem of a place to visit and home to plentiful flora and fauna. Warden Fergus Henderson lives on site and has unrivalled knowledge of the species-rich habitats – orchard, meadow, woodland and river – that make up the 67-acre reserve. A guided tour is highly recommended. Travel east from here and you reach the city of Worcester, nestled between the M5 and the banks of the River Severn. At the heart of the city is the magnificent 11th-century cathedral, where Henry VIII’s elder brother Prince Arthur is buried (if he’d lived, we would have had a King Arthur and, possibly, no Reformation in England), along with King John, signatory of the Magna Carta in 1215. Of course the city’s most famous export is Lea and Perrins Worcestershire Sauce, which is still made in the city to its original secret recipe. Follow the Severn Valley north of Worcester and the area becomes much more industrialised as you edge towards the Black Country, with the towns of Redditch and Kidderminster displaying remnants of their industrial past: needle making and carpet production respectively. However, tucked in the far western corner, and a haven for nature lovers and walkers alike, is an ancient, wild wood that is largely unknown beyond Worcestershire’s borders. Centuries ago, this woodland stretched all the way along the Severn Valley from Worcester up to Bridgnorth in Shropshire, but today all that survives is the 6,000 acres that make up the Wyre Forest. Yet, as Richard Boles, a ranger for the Forestry Commission remarks: “Natural England regards the Wyre Forest as being the third largest ancient woodland in England, after the New Forest and the Forest of Dean.” Along with an abundance of birds, mammals, plants and fungi, the forest is also home to England’s largest colony of pearl-bordered fritillary butterflies. In early June, they are just one of many butterfly species you’re likely to glimpse delicately floating along the woodland rides. Archers atmosphere Sixty years ago, Godfrey Baseley set out to create a “farming Dick Barton”, a rural version of the popular BBC radio programme about a special agent. The idea was to educate farmers on how to increase food production after the rationing years of the Second World War, but what The Archers has morphed into is a gripping entertainment series that authentically reflects rural life in the UK. For those Archers fans reading this article: even if Worcestershire didn’t fit your idea of Borsetshire before now, take a trip to explore this Midland county and I’m sure you’ll find the atmosphere of the radio show in the real county’s agricultural landscape and rural communities – rich with history, wildlife and culture. As for non-Archers listeners, exploring Worcestershire and its Archers-inspired landmarks might encourage you to tune in and listen to “an everyday story of country folk,” every night on Radio 4 at 7pm.	i don't know
Who won Pop Idol in 2002?	Will Young Winner Pop Idol 2002- ITV - YouTube Will Young Winner Pop Idol 2002- ITV Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 14, 2009 The first Pop Idol programme Final, produced two deserved contenders. It was between Gareth Gates and Will Young. The final telephone vote was a world record for British TV at the time, with the number of calls over 8.5 millions. This is an edited version of the show. Introduced by Ant and Dec. The Copyright in this video segment belongs to Talkback THAMES. © Talkback THAMES 2002 now part of Fremantle Media Australia. Category	Will Young
The opening credits of which TV show showed Neil Kinnock falling over on his backside on Brighton Beach?	Pop Idol, Stars from Pop Idol Pop Idol Runner up 2002 Album: What my heart wants to say Singles: Sunshine Anyone Of Us Unchained Melody Gareth Gates lost out on the Pop Idol crown to Will Young by the slimmest of margins. But it was still apparent that this lad had a massive talent and mass appeal. Will Young & Gareth Gates first released their duet a Long & Winding Road, before going their separate ways. Gareth followed up this smash with another number one by covering the Righteous Brother's Unchained Melody. Gareth was also chosen to sing on the Comic Relief charity single for 2002 and he has just released his first single, Sunshine, from his eagerly anticipated second album.	i don't know
Who wrote the Tarzan books?	The Tarzan Novels THE TARZAN NOVELS Edgar Rice Burroughs (ERB) wrote over one hundred novels and short stories between 1911 and 1940. Despite his profuse output and undisputed popular appeal he was ostrasiced by the literary community because he chose to operate within the realm of pulp fiction. He wrote to entertain and, unapologetically, to earn a living. His greatest creation, Tarzan, the savage ape-man, appeared in twenty-four Tarzan novels, two "juvenile" Tarzan stories, and one unfinished Tarzan manuscript. ERB's writing style was frequently criticised for the over reliance on pure coincidence to drive the plot, the tiresome reoccurrence of some themes, the stereotypical and caricaturish nature of some of his figures, and the lack of polish and control of language (Atamian & Boerst). He was, however, without a doubt, the most widely read American author of the first half of the twentieth century. His works appeared in over thirty languages and conservative estimates credit him with selling over thirty million books (generous estimates say sixty million). All of Ed's stories, especially the Tarzans, address the theme of the survival of the fittest. ERB was a product of his times and like so many of his contemporaries he believed in a heirarchy of race and class and was very proud of his nearly pure Anglo-Saxon lineage (Taliafero & Porges). He gave to the world a noble hero who had mastery over a brutal and primal world. Tarzan was an absolutist with unflinching standards who knew right from wrong and was willing to sacrifice himself for the cause he had devoted himself to (Atamian). In this respect Burroughs writing spoke to ordinary people living in an ordinary world in the very same way that the hero myths have always touched the hearts of men and women. Tarzan inspired them to be more than they are. And the fact that the tales were delivered in the exhilarating, pulse-quickening language of a master story teller kept readers coming back for more, year after year. It should be stressed for the uninitiated, however, that the savage, violent and richly imaginative world of the Tarzan novels is a far cry from the formulaic, mellower approach of the family-focused Tarzan films . The list below contains the twenty-four Tarzan stories written by ERB and the book produced from the unfinished manuscript after his death. It does not contain the two juvenile novels, The Tarzan Twins , which was published in 1927, and Tarzan and the Tarzan Twins with Jad-Bal-Ja, the Golden Lion , published in 1936. These works are of a different nature to those listed here. The dates used are the date that the work was first published as a book, not the date of its first appearance in a magazine. These pages attempt to give some idea of the circumstances in which ERB wrote each of the Tarzan stories. The vivid plot descriptions are taken word-for-word from the back cover blurbs of the Ballantine paperbacks. I definitely couldn't have improved on these gems. 1914	Edgar Rice Burroughs
Which popular pub name comes from the title of John Manners?	Disney's Tarzan - Production Production The artists who made the creation a reality and the movie a memory. Disney's Tarzan Adventure: Two Worlds Merge By Joe Tracy Walt Disney Pictures Tarzan is the biggest Box Office success Disney's animation team has seen since The Lion King. What is it about this movie that is captivating children and adults? The majority of success can be placed with the entire animation team and the great job they did at bringing the story of Tarzan to lifeï¿½ at merging two worlds. From the daring decision to cut back on characters singing to the implementation of a new "deep canvas" technique, all the artists joined forces with one common focus ï¿½ the creation of a legendï¿½ The Creation of a Legend Disney's Tarzan story is based on a book by Edgar Rice Burroughs called "Tarzan of the Apes" that was published in 1914. It quickly became a blockbuster best-seller. The story became so popular that between the time it was written and Disney's film was brought to life, there had already been 47 Tarzan movies. So what could Disney do that the other 47 films couldn't? Perhaps the grandson of Edgar Rice Burroughs says it best: "When I saw the Disney film it was such a thrill to finally see my grandfather's characters portrayed as he truly wrote and described them in his books," says Danton Burroghs. "Having Tarzan interact with his ape mother is an amazingly touching scene and I was absolutely flabbergasted to see it visualized on the screen. The animators also captured my grandfather's ability to have Tarzan flying through the jungle's upper terraces. He [the grandfather] described these wonderful scenes where Tarzan would just leap and fly, grabbing branches wildly like in a tornado and Glen Keane [supervising animator of the Tarzan character] has captured that movement in his scenes." To appreciate the wonder of the entire creation, one must first step back and go to the beginning to discover how nurturing the creation with the Disney touch contributed to the artistry of the film. Nurturing the Creation with the Disney Touch The director of Tarzan , Kevin Lima, was first approached to direct the movie in 1995 while he was still hard at work on A Goofy Movie. Before accepting the job, Lima read "Tarzan of the Apes" for the first time. As he read Burroughs' book, Lima came up with an visualization that he felt captured Tarzan's search for his own identity. It was the image of two hands held up against one another. Lima immediately knew that this Tarzan movie was the job for him. Many artist were brought together in 1995 to help realize the vision of bringing the Tarzan creation to life. Among them was screenwriter Tab Murphy, who wrote Gorillas in the Mist and The Hunchback of Notre Dame. Murphy was responsible for writing the first several treatments of Tarzan. Then Bob Tzudiker and Noni White (The Lion King and The Hunchback of Notre Dame ) were brought on board to bring a family and emotional focus to the film as well as giving each of the characters definition. Comedy writer Dave Reynolds then was brought on board to add humorous dialogue to the film. That job took Reynolds over a year to accomplish! The whole team, however, faced one major dilemma from the beginning. Which part of the Tarzan story should they focus on? "When we first began looking at the book, we asked ourselves 'what do we want to say that's different from what other Tarzan movies have said,'" recalls Lima. "One of the things that we thought we could do, which is very relevant today, is explore the idea of family. What constitutes a family? Is it those that you look like or those that you love? We also decided that we wanted the animals to talk. Audiences go to movies to get a glimpse of another world, so why show them a world they already know? They can turn on the Discovery Channel and watch gorillas in a natural habitat. We wanted to give them something different and something that only animation could deliver." Tarzan producer Bonnie Arnold emphasizes the importance the team placed on the relationships in the film. "We decided early on that the relationship between Tarzan and Kala was going to be of primary importance. The close bond they share is the heart of our story. Showing what happened in his childhood that would affect his whole life was a significant piece of the story puzzle." That significant piece of the story puzzle became one of the greatest Disney animated openings ever, topped only by The Lion King . But even a strong opening didn't help what seemed to be a rushed ending. There was even respectable disagreement among the artists as to how Tarzan should end. "The big question mark from the start was the ending," says Murphy [the original screenwriter of Tarzan]. "In the book, the third act essentially takes place outside the jungle. I was in favor of Tarzan leaving and having him go to England. That's how I wrote the first draft of the script. From the very beginning Kevin [Lima] and Chris [Chris Buck, who also directed Tarzan], believed that the story lost some of its magic if we left the jungle. I think it was a process we had to go through to find out that the story would be better served by keeping it in the jungle. The great thing about working for Disney is that if you believe in an idea, in the early stages, you have time to explore and try things that may ultimately fail." In order for an animation to succeed, it must have a good story to go along with quality animation. While the Disney Feature Animation team had the Edgar Rice Burroughs story of Tarzan, they still had to personalize itï¿½ give it that Disney touch. "A good story is always going to have great characters first and then something that touches or moves you," says Brian Pimental, Tarzan's head of story development. "This film also had to have comedy and action and all these elements had to somehow come together. The strongest parts for me are the emotional core. It's a part of Tarzan you've probably never seen before. In addition to interacting with his gorilla family, our Tarzan is different because he's very introspective. He knows what's going on and is aware of the world around him. He's not completely in control of everything. He's just trying to find a place where he feels comfortable with himself." Like all good stories, though, this one needed a dilemma. For this telling of Tarzan that dilemma came from deep within. "One of the things we did in all of our brainstorming sessions with the writers was to try and come up with themes in everyday life that contemporary audiences could relate to," says Arnold (producer). "And the theme we kept coming back to was 'what defines a family?' Tarzan is really an adopted child. He's adopted by this ape family and grows up thinking that he's one of them. When he meets Jane and the other humans for the first time, his dilemma is what family does he really belong with. Is it the family that raised and nurtured him or the family that he was born into?" Of course, the creation of Tarzan didn't just happen overnight. It started with a crew, a book, and a destiny ï¿½ to bring the creation to lifeï¿½ Bringing the Creation to Life: Animating Tarzan One of the most important animation roles to film in Disney's Tarzan was that of the supervising animator for the Tarzan character. For that, Disney veteran Glen Keane was brought on board. Known as one of the top animators in the industry, Keane was given the task to make sure that Tarzan became a living breathing character with sincerity, depth, humor, and fluid movement. "My first step in finding inspiration for the character was to go to the original source," says Keane. "The Tarzan described in Burroughs' book was incredible and nothing like the one I've seen in the Hollywood films. This Tarzan moves like an animal. He's a genius of adaptation. He takes a movement from a leopard or a gibbon. He can imitate the movement of a serpent. Burroughs describes him as being able to spring 20 feet at a stretch. No human could do that, but an animated Tarzan certainly could." Keane came up with the idea of having Tarzan "surf" the trees, much like a surfer or skateboarder. "The more I thought about it, the more it just seemed to work with the moss-covered trees," he says. The directors loved the idea. Tarzan would build his own "freeway" system among the trees. Even so, there was another hurdle to overcome to help with the drawings. Exactly what was going on in Tarzan's head? The answer was discovered when Keane and his son took a trip to Africa in the fall of 1996. "Before I went to Uganda to observe the mountain gorillas, I couldn't understand how Tarzan would have to struggle with the idea of leaving the jungle to be with Jane," says Keane. "Given a choice between these gorillas and this beautiful girl, the choice didn't seem too difficult. But watching a family of gorillas in their natural habitat gave me a whole new perspective. I was struck with the love these animals have for each other. They live in this beautiful paradise and there was something wonderful about being under the protection of this big silverback gorilla. Life was simple and fun. I didn't want to leave there myself." Keane did return to pass on that inspiration to a group of 13 top character animators at the Disney Paris Studio. They're job ï¿½ bring Tarzan to life with all the right emotions, drive, and dilemmas to make him a strong character. Beyond Tarzan While Tarzan was the central character in the film, it took a group of Disney's top supervising animators and hundreds of character animators to bring the entire environment of characters to life. Brought on for the supervising task of Jane was Ken Duncan who was the supervising animator for Meg, the female lead in Disney's Hercules. "For me, Jane was really an innocent character with a lot of energy and a tendency to say what's on her mind," says Duncan. "In the beginning she has all these fantasies about what Africa is going to be like and when she gets there, she discovers that there's mud and dirt and some rude baboons. It's a bit different than she imagined." Another challenging job was the supervising of all the lead animal characters. To do it, Russ Edmonds, the lead animator of the horse Philippe in Beauty and the Beast was brought on board. For Tarzan, his job was to breathe life into Kala, Tarzan's ape mother. "We didn't want Kala to look like a person in a gorilla suit," says Edmonds. "We wanted her to look and move like a real gorilla. She walks on her knuckles and she doesn't swing from trees, because gorillas are too heavy to do thatï¿½ My challenge was to keep her alive and make each scene seem fresh and different. This was the most subtle animation I've ever done, but it was possible to get a lot of expressions in her face. If you watch her face, you can see all the expressions in her large brow." From Tarzan to Kala and Jane to Terk, each supervising animator and teams of character animators faced the challenge of making their creations realistic, alive, and believable. Of course, part of the belief of what a person is watching comes from the background scenes and interaction of characters with those scenes. For this, Disney had a trick up its sleeve. A new process that Disney dubbed "Deep Canvas." The Birth of Disney's Deep Canvas Technique Traditionally, animation has existed in a two-dimensional world. Characters created on paper are photographed one frame at a time against flat hand-painted backgrounds. Walt Disney and his technical team tried to add dimension to the process as early as the 1930s with the multiplane camera. The next real innovation came in the mid-1980s with new technological innovations and the introduction of computers. By 1991, Disney was able to create dimensional moving backgrounds like the swirling ballroom in Beauty and the Beast . Other notable Disney milestones include the wildebeest stampede in The Lion King, the sweeping camera movements and crowd scenes in The Hunchback of Notre Dame, and the powerful attack by an army of Huns in last years' Mulan. With Tarzan, artistry and technology blend as never before with the introduction of a new breakthrough technique called "Deep Canvas." The filmmakers' desire to integrate Tarzan into his jungle environment led to this exciting development and opened up a world of possibilities. Deep Canvas required a closer collaboration with a variety of different departments (layout, scene planning, background) and, most importantly, put the technology into the hands of the artists themselves. So how was the theory behind Deep Canvas born? As one of Disney's veteran layout supervisors, Dan St. Pierre had long been frustrated by the limitations of his medium. He felt that there must be some way to add greater depth to animated films and integrate the characters into the backgrounds. While finishing up his assignment in Paris on The Hunchback of Notre Dame, St. Pierre had an opportunity to express his views to Peter Schneider, then-president of Disney Feature Animation. Schneider was intrigued by St. Pierre's comments and agreed to let him take his theories to the next step. This required a significant commitment to research and development as well as major expenditures for new computer equipment. St. Pierre tenaciously pursued his ideas for "Deep Canvas" in his new role as art director on Tarzan and enlisted the support of CG (computer graphics) supervisor Eric Daniels to help make it a reality. Daniels and his team of digital production software experts -- Tasso Lappas and George Katanics -- were willing experimenters and set about making St. Pierre's vision a reality. "The world of Tarzan takes place in what we call the 'ultimate jungle,'" says St. Pierre. "We took the best parts of jungles from around the world, including the ones that we visited in Africa, and pumped up the scale to create a larger-than-life place for Tarzan to live in. It has elements of fantasy but it's based on real plants and trees. We had to play with the size of plants to try and decorate the landscape and keep it elegant and organic. The result is heightened naturalism." What the Deep Canvas technique allowed the artists to do was take the "camera" and move it like you would with a live action film. The camera could follow characters while adding depth and strong movement to the film. "One of the most unique things about Deep Canvas is that it enables these wonderfully trained traditional background painters to create entire environments instead of just flat square pieces of art," says St. Pierre. "The software we created allows them to paint with a stylus and a digitizing tablet on a three-dimensional model. It feels very much like they're doing a normal painting only they're reaching back to paint a distant mountain top or reaching forward to paint a foreground object. Their brushstrokes fly back in space and sort of stick onto the object that they were painting on." Even though the Deep Canvas technique changed many aspects of traditional animation, it was still embraced by those artists. "The idea of actually being able to paint a background that can be animated and seen from all different sides in a three-dimensional form is like a dream," says Doug Ball, head of backgrounds for the film. "People who have practically no experience with computers have dived into the program and within weeks were painting as prolifically as they were with traditional painting tools." Even with the Deep Canvas technique, many traditional animation elements were still applied to Tarzan. This included things like: - Shadows wrapping around characters and moving across their faces to suggest the canopy of plants and trees above. - The generous use of dappled light also added a sense of realism. - Overlays of plants covering feet to make it feel like the characters were wading through the jungles. This stitched them credibly into the scene. From three spots across the world (California, Florida, and Paris), teams of animators, designers, artists, and filmmakers brought a vision to life. They merged the worlds of Tarzan and animation into one to create a lively and fun adventure for the whole family. In the end, it is Tarzan's world that we come to appreciate as one man with two worlds faces his ultimate destiny.	i don't know
Where was Patsy Gallant travelling to and from in her seventies hit song?	Disco diva Patsy Gallant in Lies My Father Told Me \| Daily Xtra Disco diva Patsy Gallant in Lies My Father Told Me Main menu Disco diva Patsy Gallant in Lies My Father Told Me Stars opposite Theodore Bikel in Montreal production Published on Sun, May 15, 2011 8:00 pm. Matthew Hays Patsy Gallant as Edna in the Segal Centre musical adaptation of Lies My Father Told Me. Andrée Lanthier Patsy Gallant says she got her latest role the way any struggling actor does. “I auditioned,” she explains. One might think that a singer and performer as well known and experienced as Gallant might get offered a role, but she is quick to point out that such a career path means constant work and vigilance. “That’s the business. But you know what? When I went into the audition and read for the part in Lies My Father Told Me, I could see how strong the show is, and I really wanted that part.” Gallant landed the role of Edna, the local prostitute who evades the police while charming the men of Montreal’s Jewish district in the 1920s (the neighbourhood now known as Mile End). The musical, held over until May 29 at Montreal’s Segal Centre, is the latest incarnation of a short story by Ted Allan. It was a CBC radio play (starring William Shatner), a Yiddish-language musical, and most famously a Golden Globe-winning, Oscar-nominated movie in 1975. Allan’s story nostalgically depicts the life of poor immigrant Jews in Montreal, through the eyes of a young boy. Gallant says playing a prostitute came easily. “I just played myself! No, I’m kidding. I really liked the part, and I think the play is worthy of Broadway. The funny thing about my part is I spend a lot of time with the children in the play, but they don’t really know what I’m up to. They just think I’m a bit eccentric.” While preparing, she declined to watch the ’75 film, which was a groundbreaking hit for Canadian cinema at the time of its release: “I wanted to do my own thing. I’ll watch it now, though.” Gallant is an institution in Quebec. The New Brunswick native settled in Quebec with her family as a young child. She sang along with her siblings in the group called the Gallant Sisters. She went solo in 1967 and eventually hosted her own variety TV program, The Patsy Gallant Show. But it’s her disco cred that gay fans will always remember, in particular the mega hit “From New York to LA,” which has become a dancefloor classic, followed by “Sugar Daddy.” “I was on the British program Top of the Pops twice performing that song,” Gallant recalls. “You know, I don’t really look back at that time. I live in the present. I didn’t really have time to think about it back then. You only realize the impact many years later.” And Gallant says the times weren’t always so good. “The toughest part about this business is making sure you’re working, making money for rent and to eat. In the ’80s, I went through a very harsh time. I got divorced, lost my TV show, was sued by my manager. The recording business was going through a black hole when cassettes came in. I had a young son I had to provide for.” That’s when Gallant tried her hand at live theatre and found herself in demand as a stage actress, performing in such hits as Nunsense and Starmania. “It was as simple as my saying to myself, ‘Why don’t I try that?’ Being in show business means you’re constantly having to reinvent yourself.” And Gallant says that even when things looked dire, her gay fans never left her side, something she’ll never forget. “I feel so lucky to have them! I have performed several times at Divers/Cité in Montreal. I guess it’s because gay men love divas. And women who dress up. And on my show I used to wear dresses with a slit up to my waist, so there you are. I love those fans right back. “My son has noticed how many gay fans I have. He turned to me and asked me once, ‘Mom, do you have any women fans?’” OA_show('Leaderboard - incontent article/blog'); Patsy Gallant appears in Lies My Father Told Me at Montreal’s Segal Centre until May 29. segalcentre.org or 514-739-7944 YOU LIKED THIS STORY? LIKE US ON FACEBOOK.	from new york to la
How is the former Miss Katherine Worsley better known?	Canadian Bands of the 70s --------------------------------------------------------------------- Gary and Dave The duo of Gary Weeks and Dave Beckett. Their 1973 single "Could You Ever Love Me Again" topped the chart in Canada, was also a smash hit in Australia and just crept into the US Hot 100 (becoming their only charting single there). They had further hits in Canada such as "I May Never See You Again" and a beautiful cover of Carole King's "It Might as Well Rain Until September". In 1979, they quit the music business to become pilots for Air Canada Could You Ever Love Me Again (1973) btw, I've no idea why that video is set to images of the Clintons LOL http://www.passthecat.racknine.net/Canimages/GaryDave.jpg --------------------------------------------------------------------- Domenic Troiano Troiano was best known as a member of The Guess Who and The James Gang. His ONLY Top 40 hit in Canada as a solo artist was the Disco themed "We All Need Love" in 1979. He was also a producer, and composer, scoring the music for the 80s TV series "Night Heat". He sadly passed away in 2005. 'We All Need Love' achieved international popularity in the 90s when it was covered by the dance artist Double You We All Need Love (1979) http://www.discomuseum.com/DomenicTroiano.jpg --------------------------------------------------------------------- Ian Thomas He is the brother of SCTV Comedian Dave Thomas, and first gained fame in the 70s with his one and only US Top 40 hit called "Painted Ladies" in 1973. He would have continued success in Canada. As a songwriter, he achieved further American success in the 80s when Santana took his song "Hold On" into the US Top 40. America also had a hit in 1982 with his song "Right Before Your Eyes" and Manfred Mann had a comeback in 1984 with a version of his 1981 song "The Runner". Australian singer Daryl Braithwaite also had hits in Australia during 1988 with recordings of two Thomas songs: 'As the Days Go By' and 'All I Do' Painted Ladies (1973) Right Before Your Eyes (1977) clip is from the 80s Coming Home (1978) Levity (1988) his last Canadian Top 40 hit as a solo artist http://webzoom.freewebs.com/doctorairbrush/Ian%20Thomas.jpg --------------------------------------------------------------------- Pagliaro Quebec born Michel Pagliaro had hits in both French and English. His best known single "Loving You Ain't Easy" was his biggest hit in Canada, and also reached the UK Top 40, making him a one hit wonder there. Further hits in Canada followed, the next biggest of which was "What the Hell I Got" in 1975. His last ever Top 40 on the mainstream chart in Canada was a cover of "Dock of the Bay" in 1977 Loving You Ain't Easy (1971) Rainshowers (1972) Some Sing, Some Dance (1973) J'entends Frapper (1973) What the Hell I Got (1975) http://www.rockdiscography.com/list/coversjr/pagliaro/pagliaro_spiderwoman25x25.jpg --------------------------------------------------------------------- The Raes Cheryl and Robbie Rae, husband and wife disco duo who had several hits during the late 70s. Their lone US Hot 100 charting single, 'A Little Lovin' (Keeps the Doctor Away)' only reached US #61, but peaked at #5 on the US dance chart Que Sera Sera (1977) A Little Lovin' (Keeps the Doctor Away) (1978) Don't Turn Around (1979) (I Only Wanna) Get Up and Dance (1979) http://img401.imageshack.us/img401/8243/raesva3.png Subject: Re: Canadian Bands of the 70s Written By: ChEcKeReD DeMoN on 07/17/08 at 2:21 pm Im not sure if the Replacements where 70's ('79???), but Canadian rock 'n roll starts and ends with one of the most under-appreciated guitarists in the history of the world, Frank Marino and Mahogany Rush and his contemporary, Pat Travers. Their musicianship is incredible !!! Subject: Re: Canadian Bands of the 70s Written By: AmericanGirl on 07/17/08 at 4:51 pm Lots of Canadian artists to love in the 70's! :D Just a few: and some U.S. one hit wonders to mention: - Ian Thomas Subject: Re: Canadian Bands of the 70s Written By: VegettoVa90 on 07/17/08 at 6:24 pm One word RUSH Canada has given us some good music over the past few decades, you just have to look past fake garbage like Nickelback, Simple Plan, and Avril Subject: Re: Canadian Bands of the 70s Written By: cinnabon on 07/17/08 at 6:53 pm Two other great Canadian bands are April Wine and Triumph, who scored their first big hits in 1979 with Roller and Hold on to Your Dreams, respectively and went on to bigger success in the early 80s. 8) Subject: Re: Canadian Bands of the 70s Written By: whistledog on 07/17/08 at 8:52 pm - The Band (partly Canadian, partly 70's) and some U.S. one hit wonders to mention: - Stampeders Mostly Canadian. Like Steppenwolf, they were not recognized by CANCON as Canadian artists because they officially formed (under the name they became popular as) in America. Levon Helm was the only member of The Band who wasn't Canadian The Stampeders had another Top 40 in the US with 'Hit the Road Jack' (featuring Wolfman Jack) in 1975 and a minor US chart entry in 1971 with 'Devil You'. In Canada, they had 18 hits (14 which saw the Top 40) between 1968-1976. Lead singer Rich Dodson also hit the Top 40 in Canada with the solo hit 'Julia Get Up' in 1972. In 1979, he went solo full time, and racked up 16 Top 40 hits on the Canadian Adult Contemporary chart between 1979-1991 :) Two other great Canadian bands are April Wine and Triumph, who scored their first big hits in 1979 with Roller and Hold on to Your Dreams, respectively and went on to bigger success in the early 80s. 8) April Wine had 2 US charting singles in the 70s, both which reached the Top 40: "You Could Have Been A Lady" in 1972 and "Roller" in 1979. Alot of people wonder what became of April Wine in that gap between '72 and '79, and I have the answer: They were Canada's best kept secret LOL. From 1971-1979, they had 21 Canadian hits (15 which saw the Top 40) and in their career, they've had a total of 32 Canadian hits (21 of them Top 40) between 1971-1985; 1993 (they broke up in 1985 originally, but reformed in the 90s) Lead singer Myles Goodwyn had a popular solo hit in 1988 with a cover of the 1971 Lee Michaels classic "Do You Know What I Mean" which he sang as a duet with Canadian heavy metal queen Lee Aaron :) Subject: Re: Canadian Bands of the 70s Written By: Paul on 07/18/08 at 3:02 pm Pagliaro Quebec born Michel Pagliaro had hits in both French and English. His best known single "Loving You Ain't Easy" was his biggest hit in Canada, and also reached the UK Top 40, making him a one hit wonder there. Which is a shame, as he should have had more hits than this... 'Loving You Ain't Easy' is highly reminiscent of something George Harrison would have come up with at the time... Subject: Re: Canadian Bands of the 70s Written By: CeramicsFanatic on 07/18/08 at 3:18 pm Gordon Lightfoot (whose music I grew up with) will always be my favorite Canadian singer! :) Subject: Re: Canadian Bands of the 70s Written By: cinnabon on 07/18/08 at 6:20 pm Bachman Turner Overdrive was another great 70s band out of Canada (Randy Bachman of course was formerly with the Guess Who) If solo singers count here, in addition to Gordon Lightfoot, you also had Anne Murray. Subject: Re: Canadian Bands of the 70s Written By: saver on 07/18/08 at 7:35 pm I miss 'THE BELLS'....were they married? Related? Was SHE as hot as she sounded? Whatever became of them as I hear Melanie still records and I liked her early work. Subject: Re: Canadian Bands of the 70s Written By: whistledog on 07/18/08 at 8:05 pm Which is a shame, as he should have had more hits than this... 'Loving You Ain't Easy' is highly reminiscent of something George Harrison would have come up with at the time... The fact that Pagliaro was able to chart atleast one single overseas is a feat that eluded many Canadian artists of the time, and even still today. Patsy Gallant was also a one hitter in the UK (with 'From New York to LA' in 1976), and just like Pagliaro, she sang in both French and English I miss 'THE BELLS'....were they married? Related? Was SHE as hot as she sounded? Whatever became of them as I hear Melanie still records and I liked her early work. Their keyboardist Frank Mills went solo shortly after they became famous in the early 70s. Officially, The Bells don't record together anymore. Lead singer Cliff Edwards currently owns a restaurant in Gananoque, Ontario. Last year, The Bells re-grouped for a one concert performance right here in my hometown to help raise money for a local library Subject: Re: Canadian Bands of the 70s Written By: saver on 07/18/08 at 8:18 pm Their keyboardist Frank Mills went solo shortly after they became famous in the early 70s. Officially, The Bells don't record together anymore. Lead singer Cliff Edwards currently owns a restaurant in Gananoque, Ontario. Last year, The Bells re-grouped for a one concert performance right here in my hometown to help raise money for a local library But then again..WHO was the female? Then of course America got a taste of the Defranco Family in the 70's...Tony(the Canadian Donny Osmond), has appeared since at events...must like it here or has a business that keeps him busy with more music?? Subject: Re: Canadian Bands of the 70s Written By: whistledog on 07/18/08 at 10:13 pm Their keyboardist Frank Mills went solo shortly after they became famous in the early 70s. Officially, The Bells don't record together anymore. Lead singer Cliff Edwards currently owns a restaurant in Gananoque, Ontario. Last year, The Bells re-grouped for a one concert performance right here in my hometown to help raise money for a local library But then again..WHO was the female? Her name is Jackie Ralph http://www.ripleyfair.ca/images/jackie.jpg Then of course America got a taste of the Defranco Family in the 70's...Tony(the Canadian Donny Osmond), has appeared since at events...must like it here or has a business that keeps him busy with more music?? Apparently Tony DeFranco is a real estate agent in Los Angeles The DeFranco's were sort of Canada's version of The Osmonds Subject: Re: Canadian Bands of the 70s Written By: Badfinger-fan on 07/19/08 at 11:56 am Daniel Band was around in the early 80's but they started in 1979 and were probably the best (in my opinion) contemporary Christian band in the Hard Rock/Metal genre which wasn't too prevalent at the time. their sound has been compared to several bands including April Wine, and somewhat like AC/DC. here's the Wikipedia on them http://en.wikipedia.org/wiki/Daniel_Band decent videos of the band are rare, but here's a video that is a good representation of their sound http://www.youtube.com/watch?v=v3db8RpeiVs&feature=related Subject: Re: Canadian Bands of the 70s Written By: whistledog on 07/19/08 at 7:34 pm Daniel Band was around in the early 80's but they started in 1979 and were probably the best (in my opinion) contemporary Christian band in the Hard Rock/Metal genre which wasn't too prevalent at the time. their sound has been compared to several bands including April Wine, and somewhat like AC/DC. here's the Wikipedia on them http://en.wikipedia.org/wiki/Daniel_Band decent videos of the band are rare, but here's a video that is a good representation of their sound http://www.youtube.com/watch?v=v3db8RpeiVs&feature=related Wow! Can't say as I've heard of them before. I'll have to check 'em out :) Subject: Re: Canadian Bands of the 70s Written By: cooper street relic on 07/20/08 at 10:37 pm Max Webster Ken Tobias Lighthouse ;D ;D ;D ;D ;D Man am i ever old if i can remember all these ---------------- Now playing: LightHouse - One Fine Morning via FoxyTunes Subject: Re: Canadian Bands of the 70s Written By: whistledog on 07/20/08 at 10:49 pm ^ Yes, you are ;D ♦ One of the members of Moxy was Mike Reno, who went on to form and front the band Loverboy ♦ Max Webster lead singer Kim Mitchell would go on to a major successful solo career during the 80s ♦ Ken Tobias wrote the song 'Stay Awhile' which became a smash hit for The Bells ♦ Zon had 3 albums from 1978-1980, the last of which produced their only chart single in Canada with 'For You' (in 1981) Subject: Re: Canadian Bands of the 70s Written By: cooper street relic on 07/21/08 at 10:44 pm Thanks for filling all that in for me,,it was late and i was tired ;D Subject: Re: Canadian Bands of the 70s Written By: terry on 07/28/08 at 10:58 am I miss 'THE BELLS'....were they married? Related? Was SHE as hot as she sounded? Whatever became of them as I hear Melanie still records and I liked her early work. Melanie still records and I believe had an European tour last year. As to the Bells, yeah, Jackie Ralphs was one hot lady. No idea where she was, but one hell of a memory, Subject: Re: Canadian Bands of the 70s Written By: terry on 07/28/08 at 11:01 am Greatest Canadian song: Make Me Do Anything You Want by a Foot In Coldwater Bands I love all of those artists. ;) Subject: Re: Canadian Bands of the 70s Written By: Shacks Train on 08/03/08 at 2:57 am Ken Tobias (ha ha) Buddy & I had a car repair garage years ago & we repaired his old mercedes! Don't hear much about him anymore! Subject: Re: Canadian Bands of the 70s Written By: whistledog on 08/03/08 at 3:38 pm Ken Tobias (ha ha) Buddy & I had a car repair garage years ago & we repaired his old mercedes! Don't hear much about him anymore! He still records, but the only way he'd ever re-appear on the Canadian charts was if he put out a gangsta hip-hop album produced by P. Diddy or something like that :D In the 70s, he did have a handful of hits in Canada. I don't believe me made waves in the charts anywhere else in the world, but I could be wrong Subject: Re: Canadian Bands of the 70s Written By: midnite on 09/11/08 at 8:31 pm Terry Jacks. Singer of "Seasons In The Sun." Wasn't he Canadian (and perhaps still is)? Subject: Re: Canadian Bands of the 70s Written By: whistledog on 09/11/08 at 10:13 pm Terry Jacks. Singer of "Seasons In The Sun." Wasn't he Canadian (and perhaps still is)? He is Canadian yes. He used to be a member of The Poppy Family, a group he formed in the 60s with his then wife Susan Jacks. Following the groups demise, both Terry and Susan had great solo careers in Canada. Sadly, Terry became a one hit wonder almost everywhere outside of Canada. Susan did not become a big name outside of Canada Subject: Re: Canadian Bands of the 70s Written By: Shacks Train on 09/12/08 at 12:11 am heres a blog for Canadian Music http://ocanadarm.blogspot.com/ Subject: Re: Canadian Bands of the 70s Written By: seeburg220 on 09/28/08 at 9:58 pm ^ Yes, you are ;D ♦ One of the members of Moxy was Mike Reno, who went on to form and front the band Loverboy Hmmm. I've got the self-titled Moxy CD and it doesn't list him...Did he come later? BTW, "Sail On Sail Away" is one of my all-time, favorite songs. Subject: Re: Canadian Bands of the 70s Written By: whistledog on 09/29/08 at 12:04 am Hmmm. I've got the self-titled Moxy CD and it doesn't list him...Did he come later? BTW, "Sail On Sail Away" is one of my all-time, favorite songs. He joined the band in 1977, making his debut as their lead singer on their 1978 album 'Under the Lights'. Ironically the album failed to chart and produced no hit singles Subject: Re: Canadian Bands of the 70s Written By: Cautious Lip on 01/12/09 at 7:53 pm Rough Trade is a Canadian band from the 70's. In the early 80's they had some success in the United States with songs such as "Birds Of A Feather" and "All Touch". Subject: Re: Canadian Bands of the 70s Written By: Frank on 02/10/09 at 10:37 pm I'd have to say my favorite Canadian band of the 70's is April Wine. Having grown up in Montreal, I probably heard more of their songs (since they lived there) than if I was elsewhere, and that probably has an influence as to why it's my fave 70's CDN band The Bells were good too. BTO, Gordon Lightfoot has some good stuff. Subject: Re: Canadian Bands of the 70s Written By: Taylor on 05/22/09 at 9:54 am RUSH but don't forget the WHO. april wines up there too\\ artists like jackson hawke ian thomas and gary and dave are good but theres better. Subject: Re: Canadian Bands of the 70s Written By: whistledog on 05/22/09 at 1:41 pm ^ The Who are from UK Subject: Re: Canadian Bands of the 70s Written By: Frank on 05/22/09 at 5:32 pm ^ The Who are from UK Wondering if they meant "The Guess who". Hope so. I never really got into RUSH, just something about Geddy Lee's voice that twangled in my spine. Subject: Re: Canadian Bands of the 70s Written By: whistledog on 05/22/09 at 7:18 pm Wondering if they meant "The Guess who". Hope so. I am betting he did. It would be hard to mix up Roger Daltrey with Burton Cummings lol I never really got into RUSH, just something about Geddy Lee's voice that twangled in my spine. WICKED! It's nice to meet another fellow Canadian who doesn't really care for Rush. Subject: Re: Canadian Bands of the 70s Written By: Frank on 05/22/09 at 8:37 pm I am betting he did. It would be hard to mix up Roger Daltrey with Burton Cummings lol WICKED! It's nice to meet another fellow Canadian who doesn't really care for Rush. There is a couple of songs of theirs I like (Subdivions, Spirit of Radio) but his voice...not to my musical taste Subject: Re: Canadian Bands of the 70s Written By: greg clarke on 10/11/10 at 2:14 pm how about crowbar?( oh what a feeling, the beaver and the eagle, million dollar weekend) and king biscuit boy(uncle pen ,corrina)-great canadian rock and roll!! Subject: Re: Canadian Bands of the 70s Written By: MaxwellSmart on 10/19/10 at 1:31 am how about crowbar?( oh what a feeling, the beaver and the eagle, million dollar weekend) and king biscuit boy(uncle pen ,corrina)-great canadian rock and roll!! There was also an American Crowbar. Heavy Metal. Scary dudes from New Orleans. http://en.wikipedia.org/wiki/Crowbar_%28US_band%29 Subject: Re: Canadian Bands of the 70s Written By: Frank on 10/19/10 at 11:25 pm Michel Pagliaro was a good artist and had lots of hits in the 70s. Ken Tobias too. Crowbar, Valdy, Lighthouse, Trooper, they were all good too. Subject: Re: Canadian Bands of the 70s Written By: whistledog on 10/20/10 at 12:04 am Michel Pagliaro was a good artist and had lots of hits in the 70s. Ken Tobias too. Crowbar, Valdy, Lighthouse, Trooper, they were all good too. Ken Tobias wrote 'Stay Awhile' for The Bells. He had alot of great songs. 'Every Bit of Love' is the one that comes to mind Subject: Re: Canadian Bands of the 70s Written By: MaxwellSmart on 10/20/10 at 1:17 am Bryan Adams was in a pop group called "Sweeney Todd" in the late seventies. They must have been from Vancouver. Anyway, I heard about them via Casey Kasem's AT40 when Adams broke big with the "Cuts Like a Knife" album (1983). ??? Subject: Re: Canadian Bands of the 70s Written By: Frank on 10/20/10 at 9:32 am Bryan Adams was in a pop group called "Sweeney Todd" in the late seventies. They must have been from Vancouver. Anyway, I heard about them via Casey Kasem's AT40 when Adams broke big with the "Cuts Like a Knife" album (1983). ??? Sweeny Todd had a hit 'Roxy Roller" sung by Nick Gilder, in 1976. He sang "Hot child in the city" in late 1978. Subject: Re: Canadian Bands of the 70s Written By: whistledog on 10/20/10 at 3:58 pm When Gilder left Sweeney Todd, Adams came in, and a re-record of 'Roxy Roller' became his first chart single in the US (though it only peaked at #99). His only album with the band was 'If Wishes Were Horses' in 1977. Subject: Re: Canadian Bands of the 70s Written By: Frank on 10/20/10 at 4:32 pm When Gilder left Sweeney Todd, Adams came in, and a re-record of 'Roxy Roller' became his first chart single in the US (though it only peaked at #99). His only album with the band was 'If Wishes Were Horses' in 1977. I never heard Bryan's version, I think. Subject: Re: Canadian Bands of the 70s Written By: whistledog on 10/20/10 at 4:40 pm I never heard Bryan's version, I think. Sounds identical to Gilder's version. Subject: Re: Canadian Bands of the 70s Written By: loki 13 on 11/07/10 at 1:31 pm Since I was just viewing it I thought I might as well share. Frank Marino & Mahogany Rush. Subject: Re: Canadian Bands of the 70s Written By: Frank on 11/19/10 at 10:27 am I liked a few songs from this band, Toulouse. Especially this one from about 1977 http://www.youtube.com/watch?v=O87O_zrrFdA&feature=related Subject: Re: Canadian Bands of the 70s Written By: MaxwellSmart on 11/19/10 at 5:11 pm Does Paul Anka count? and many more for your discovery of great guitar rock!!! Subject: Re: Canadian Bands of the 70s Written By: basscatfrank on 04/21/12 at 5:36 pm There were many Canadian artists I liked but in particular I liked these: Doug and the Slugs - Although their first hit "Too Bad" didn't chart until 1980, they were around in the 70's April Wine - "Just Between You and Me" was my favorite Lighthouse - "One Fine Morning" Subject: Re: Canadian Bands of the 70s Written By: Foo Bar on 04/24/12 at 10:06 pm Doug and the Slugs - Although their first hit "Too Bad" didn't chart until 1980, they were around in the 70's HzocrN1zUE8 - Doug and the Slugs, Too Bad. They were active until the late 80s. I remember playing JetFighter: The Adventure (1988, Velocity) and getting good framerates on a 12-MHz 80286... http://www.mobygames.com/images/shots/l/369884-jetfighter-the-adventure-dos-screenshot-buzzing-the-tower.png ...to the tune of their last semi-hit, 1988's Tomcat Prowl. (Yes, we do have a retrogaming thread, but the music belongs here :) Subject: Re: Canadian Bands of the 70s Written By: basscatfrank on 04/25/12 at 12:33 pm I'm going to cheat a little on the years here. There was a one hit wonder from Canada called Motherlode. They hit #18 on the American charts with "When I Die" in '69. It sounds like a Philly or Motown soul group but was really three white guys from north of the border. It was a really nice song. Subject: Re: Canadian Bands of the 70s Written By: whistledog on 04/25/12 at 6:33 pm HzocrN1zUE8 - Doug and the Slugs, Too Bad. They were active until the late 80s. I remember playing JetFighter: The Adventure (1988, Velocity) and getting good framerates on a 12-MHz 80286... http://www.mobygames.com/images/shots/l/369884-jetfighter-the-adventure-dos-screenshot-buzzing-the-tower.png ...to the tune of their last semi-hit, 1988's Tomcat Prowl. (Yes, we do have a retrogaming thread, but the music belongs here :) 'Tomcat Prowl' was their last Top 40 hit in Canada. It appears on their 'Tomcat Prowl' album in 1988, but it's main appearance was on the soundtrack to the 1988 film 'Iron Eagle II' Subject: Re: Canadian Bands of the 70s Written By: whistledog on 04/25/12 at 6:51 pm I'm going to cheat a little on the years here. There was a one hit wonder from Canada called Motherlode. They hit #18 on the American charts with "When I Die" in '69. It sounds like a Philly or Motown soul group but was really three white guys from north of the border. It was a really nice song. 'When I Die' is a great song. It reached #1 in Canada in August of 1969. In an interesting note, in 1969, Canadian Content had not been established yet, so it was rare that a Canadian song did so well in the charts up against the American and British acts that were dominant at the time, but when 'When I Die' hit #1, the #2 song in Canada was 'Laughing' by The Guess Who and the #3 song was 'Baby, I Love You' by Andy Kim. A trio of Canadian greats! Motherlode had 2 other hits in Canada ... 1969 - Memories of a Broken Promise 1970 - Dear Old Daddy Bill When Motherlode called it quits in 1970, 3 of the band members launched a new project called Dr. Music, and featuring 60s teen idol Terry Black, their debut single 'Sun Goes By' in 1972 became a smash top 40 hit on the radio. One of my favourites ... http://www.youtube.com/watch?v=cgRlsmLnFpY And speaking of (the late great) Terry Black, here in his native Canada, he was a popular teen idol, but in the US, he was a two hit wonder: first in 1964 with 'Unless You Care' and again in 1972 in a duet with his wife Laurel Ward (who was also part of Dr. Music) and the song Goin' Down (the Road to LA) http://www.youtube.com/watch?v=BCMRp_A03RU Subject: Re: Canadian Bands of the 70s Written By: whistledog on 04/25/12 at 7:34 pm Here's a quartet of artists from Canada that were one hit wonders in the US, however none of them reached the US Top 40 Bill Amesbury - Virginia (Touch Me Like You Do) http://www.youtube.com/watch?v=vypNF8kqwgI Subject: Re: Canadian Bands of the 70s Written By: Lisa on 06/20/12 at 12:10 am Lots of very interesting posts here....but I haven't seen a lot of mention of my favourite Canadian 70's band...CHILLIWACK. I had the pleasure of personally meeting them last week at a private function. These gents still bring it! The show was fantastic! The 'newer' Chilliwack has been together since the mid-90's and the mastermind behind it all is still there...Bill Henderson. Joining him are is brother Ed, bassist Doug Edwards and drummer Jerry Adolphe. Fantastic guys! Favourite songs: Fly at night, I believe, Raino, Lonesome Mary, Crazy Talk. Just sayin...let's not forget this Canadian legend. Right up there with Chilliwack is April Wine, BTO, The Guess Who and Trooper... Cheers all ;D Subject: Re: Canadian Bands of the 70s Written By: Foo Bar on 06/20/12 at 9:37 pm Right up there with Chilliwack is April Wine, BTO, The Guess Who and Trooper... All those bands have been gone so long. Time to take care of business and rock myself to sleep. (At the risk of raising a little hell, it occurs to me that the latter two terms were euphemisms for the same thing :) And if you think we enjoy our CanCon on this board, you ain't seen nothin' yet. Subject: Re: Canadian Bands of the 70s Written By: MaxwellSmart on 06/22/12 at 8:27 pm WEDNESDAY (aka. WENZDAY) 1971 - "Hang On Girl" / "Velvet Colours" - Ampex AC-1304 1973 - "Last Kiss" / "Without You" - Ampex AC-1325 1974 - "Teen Angel" / "Taking Me Home" - Ampex AC-1355 1974 - "Roses Are Red" / "Ride" - Ampex AC-1362 1974 - "Fly Away" / "Good Time Girl" - Ampex AC-1365 1975 - "She's A Woman" / "Good Time Girl" - Ampex AC-1370 1975 - "Here Today Gone Tomorrow" / "What's On My Mind" - Skyline SKY 001X 1975 - "Loving You Baby" / "Don't Let Me Wait Too Long" - Skyline SKY 003X 1976 - "Doing the Best That I Can" / "Could You Refuse Her" - Skyline SKY 006X as Wenzday: 1976 - "Ruby Baby" / "Melody Moon" - Skyline SKY 011X 1977 - "Fancy Pants" / "Through Your Head" - Skyline SKY 012X 1977 - "Ride Me" / "Nearly Made It" - Skyline SKY 014X 1977 - "Now You're A Lady" / "Dream Queen" - Skyline SKY 016X 1981 - "Elenore" / "Sheila" Albums 1974 - Last Kiss - Ampex AC-10152 Side 1: "Last Kiss" - "Teen Angel" - "Roses Are Red" - "Tell Laura I Love Her" - "Gloria" Side 2: "What's On My Mind" - "Ride" - "Taking Me Home" - "Don't Let Me Wait Too Long" - "Good Time Girl" 1976 - Loving You Baby - Skyline SKY 10160 Side 1: "Thinking Of You" - "Doin' The Best That I Can" - "Loving You Baby" - "Fly Away" - "Send A Little Love" Side 2: "Could You Refuse Her" - "Don't Let It Get You Down" - "Here Today Gone Tomorrow" - "Melody Moon" - "I'm Coming Home" - "The Show Will Never End" 1977 - Nearly Made It (as Wenzday) - Skyline SKY 10164-V Side 1: "Ride Me" - "Now You're A Lady" - "Fancy Pants" - "Through Your Head" - "Ruby Baby" Side 2: "Dream Queen" - "I Was Built For Comfort" - "Honey" - "I Nearly Made It" 2003 - "The Singles" - Moondog Records EMC 0403 "Hang On Girl" - "Last Kiss" - Teen Angel" - "Roses Are Red" - "Fly Away" - "She's A Woman" - "Here Today Gone Tomorrow" - "Loving You Baby" - "Doin' The Best That I Can" - "Ruby Baby" - "Fancy Pants" - " Ride Me" - "Now Your A Lady" - "Sheila" - "Eleanor" 2003 - "Limited Edition" Moondog Records EMC 0402 "Last Kiss" - "Here Today Gone Tomorrow" - "Doin' The Best That I Can" - "Fly Away" - "Loving You Baby" - "Ride Me" - "Now Your A Lady" - "Dream Queen" - "I'm Comin' Home" - "Sheila" - "Eleanor" Subject: Re: Canadian Bands of the 70s Written By: Claybricks on 06/22/12 at 9:58 pm http://www.youtube.com/watch?v=ygzZKvcVqQA Lick 'N' Stick - Mary Ann {1975} Dan Subject: Re: Canadian Bands of the 70s Written By: warped on 06/23/12 at 7:25 am http://www.youtube.com/watch?v=FOC5kiO2U-0&feature=my_liked_videos&list=LLofToPLnHNt0UbJAaS_xc3w Bob McBride - Treasure Song Subject: Re: Canadian Bands of the 70s Written By: Henk on 06/23/12 at 9:14 am Here's a quartet of artists from Canada that were one hit wonders in the US, however none of them reached the US Top 40 Bill Amesbury - Virginia (Touch Me Like You Do) http://www.youtube.com/watch?v=vypNF8kqwgI Ah! It might not have hit US Top 40, but it did hit Dutch Top 40 (peaked at #27). ;) Subject: Re: Canadian Bands of the 70s Written By: warped on 06/23/12 at 10:37 am Ah! It might not have hit US Top 40, but it did hit Dutch Top 40 (peaked at #27). ;) Believe it or not, he is now "Barbara"	i don't know
What was the currency of Greece before the Euro?	What was the currency in Greece before the euro? \| Reference.com What was the currency in Greece before the euro? A: Quick Answer According to the Encyclopædia Britannica, the currency of modern Greece was the drachma before the euro replaced it in 2002. The drachma was introduced in 1832, replacing the short-lived currency called the phoenix, which was introduced after the 1828 independence of Greece from the Ottoman Empire. Full Answer Drachma also refers to the silver coin used in ancient Greece. The drachma was one of the earliest coins. The Encyclopædia Britannica states that it was used as early as the mid-6th century B.C. The Athenian drachma became the Hellenistic world's chief currency after the conquests of Alexander the Great. The ancient drachma was the prototype for the Islamic dirham.	Greek drachma
Which American aircraft company made the Guardian anti submarine aircraft?	5 steps for Greece to return to the drachma - Jul. 7, 2015 5 steps for Greece to return to the drachma by Alanna Petroff @AlannaPetroff July 7, 2015: 12:08 PM ET Greece's pension problem The Greek economy has nearly run out of cash and experts say the country could soon be forced to print its own currency. Many predict the country will have to re-introduce drachmas, which would see it go back to the old currency it used before switching to the euro. Here's a step-by-step guide to how this might work: 1. Start printing IOUs If the government and banks run out of euros, it's possible the government may begin printing IOUs to pay state employees and pensioners. Wolfango Piccoli, managing director at Teneo Intelligence, predicts that Greece may have to issue around 500 million euros worth of IOUs next week to pay public sector salaries, if Greece is unable to secure more financing from European creditors. These IOUs could be used as an alternate form of cash, though they wouldn't be as easy to use. 2. Introduce new digital drachmas The government and banks could work together to convert all bank deposits from euros into drachmas, either overnight or over a set period of time. Practically speaking, this would mean a person with 100 euros in their bank account on Tuesday could find that they instead have 100 drachmas in their account on Wednesday. There wouldn't be any physical drachmas available yet, but the money would exist digitally. The government would set an initial exchange rate, but then individuals and businesses would have to decide the value of the new currency. An immediate, sharp devaluation of the drachma would likely ensue. "The real value of the so-called new currency will be determined by whether people will be willing to accept it," said Ludek Niedermayer, who previously worked as the head of the risk management department at the Czech central bank when the country introduced its new currency in the early 1990s. "Definitely, people will prefer to use euros because the new currency, whatever it is, will not be credible," he said. Jacob Kirkegaard, a senior fellow at the Peterson Institute for International Economics, told CNNMoney that there isn't any historical precedent for this hypothetical Greek currency switch because other countries dissolved their old currency in favor of a new one. But in this case, the euro will stay in circulation. Many experts worry that Greece may soon have to start printing new drachma coins and banknotes. 3. Make the drachma credible To give drachmas credibility and encourage people to use them, Kirkegaard said Greece could demand that all future taxes be paid in the currency. On top of that, the government could guarantee the safety of all drachma-denominated bank deposits, but not euro accounts. But the best way for the government to encourage drachma use would be to commit to responsible economic policies and balanced budgets. Kirkegaard maintains that Greece's government is not inspiring confidence. 4. Print drachma banknotes and coins If the Greek government resolves to push ahead with its drachma currency, it would eventually have to print banknotes and coins. The process of designing and printing new banknotes would take at least a year, according to Bernd Kuemmerle, who is head of the banknote business division at German-based Giesecke & Devrient, a leading global banknote producer. Printing new banknotes requires months of work that involves analyzing how many new banknotes a country will need and designing the new currency. Anti-fraud elements will have to be incorporated into the notes and the physical printing requires many steps, said Kuemmerle. And it's not cheap. Kuemmerle said printing 1,000 banknotes costs between €25 to €100 ($27 to $110). So if Greece wants to print 50 new banknotes per person -- which is the average for a normal economy -- the new notes would cost between €13.8 million to €55 million ($15 million to $60 million). Coin production can become even more expensive that note printing. 5. Distribute drachmas Once the money has been minted, the Greek central bank would have to distribute the fresh banknotes and coins across the country. Kuemmerle said this is a relatively quick process, but it would have to be done in conjunction with a nationwide educational campaign so the population is kept informed about the currency changes. Many countries that switched currencies often give a timeline for when they will phase out the old cash. But in this case, Greece will have trouble convincing the population to stop using euros. Euro vs. drachma: What would you prefer? CNNMoney (London) First published July 7, 2015: 10:33 AM ET	i don't know
Who hosted the first edition of Top of the Pops?	BBC - Top of the Pops - Through The Ages Contact Us Top Of The Pops shimmied onto our TV screens on New Year's Day 1964, armed with hordes of a scary new faction called 'young people' and presented by cigar-chomping tracksuit-model Jimmy Savile (although he was relatively normal back then). If that wasn't enough to scare the bejesus out of parents across the nation, the show was shot live, and in its first edition featured such greats as the Beatles, the Rolling Stones, Dusty Springfield and the Hollies. And here's a shocker for the uninitiated, although the early shows were live, the acts actually MIMED to their songs! Lost for words? So were they! Sadly, the first ever show is lost to history forever, but hey, that miming thing really took off, eh? The Beatles - 'I Feel Fine' Performed 3rd Decmber 1964	Jimmy Savile
What was Bruce Springsteen's first number one album in the UK titled?	BBC - Top of the Pops - Through The Ages Contact Us Top Of The Pops shimmied onto our TV screens on New Year's Day 1964, armed with hordes of a scary new faction called 'young people' and presented by cigar-chomping tracksuit-model Jimmy Savile (although he was relatively normal back then). If that wasn't enough to scare the bejesus out of parents across the nation, the show was shot live, and in its first edition featured such greats as the Beatles, the Rolling Stones, Dusty Springfield and the Hollies. And here's a shocker for the uninitiated, although the early shows were live, the acts actually MIMED to their songs! Lost for words? So were they! Sadly, the first ever show is lost to history forever, but hey, that miming thing really took off, eh? The Beatles - 'I Feel Fine' Performed 3rd Decmber 1964	i don't know
What is a baby hippopotamus called?	What are baby hippos called? \| Reference.com What are baby hippos called? A: Quick Answer A baby hippopotamus is called a calf. Calves typically weigh about 100 pounds when they are born. A female hippo only gives birth every two years. The mother and her calf find a group of hippos, known as a school, for safety from predators. Full Answer Hippos can live in the wild for about 40 years. They are immense herbivorous mammals. They range in length from about 10 to 14 feet, including the head and body but not the tail, which can be approximately 20 inches long. These mammals weigh between 5,000 and 8,000 pounds. Hippos remain in water for several hours during the day to stay cool; they are active at night, eating up to 80 pounds of grass every night.	Calf
Mart Poom who played in goal for Portsmouth, Derby County, Sunderland and Watford won 120 caps for which country?	Hippo Facts Hippo Facts By Alina Bradford, Live Science Contributor \| October 30, 2014 11:48pm ET MORE Hippopotamuses are large, round, water-loving animals that are native to Africa. Though they're sometimes thought of as cute and cuddly, hippos can actually be quite dangerous; they kill about 3,000 per year, according to the National Wildlife Federation . Size Hippos are very rotund animals and are the third largest living land mammals, after elephants and white rhinos, according to Animal Planet . They grow to 10.8 to 16.5 feet (3.3 to 5 meters) long and up to 5.2 feet (1.6 m) tall from hooves to shoulders. The tail adds another 13.75 to 19.75 inches (35 to 50 centimeters) to its length. The average female weighs around 3,000 lbs. (1,400 kilograms) while males weigh 3,500 to 9,920 lbs. (1,600 to 4,500 kg) according to the San Diego Zoo . Underwater, the Nile hippos would glide with their limbs folded beneath their bodies, occasionally pushing off the bottom of the tank with one leg, only making contact with their digits. Credit: Courtesy of Matthew Bennett Habitat Hippos live in sub-Saharan Africa. They can only survive in areas with abundant water, though, so they live in areas with rivers and lakes. Hippos are amphibious animals and spend up to 16 hours per day in the water, according to National Geographic . The water keeps them cool in the African heat. They spend all day in the water and then hunt for food at night. They are very social and hang out in groups called schools, bloats, pods or sieges. Schools of hippos usually consist of 10 to 30 members of both females and males. Some documented groups of hippos have had as many as 200 members. No matter the size, usually the school is led by a dominant male. Hippos are very aggressive creatures and are very dangerous. They have large teeth and tusks that they use for fighting off others that they see as threats, including humans. Sometimes, their young are the victims of their temper. During a fight between two adults, a young hippo can be hurt or crushed. Though hippos move quite quickly through the water, they can't swim. According to the San Diego Zoo, hippos move through the water by pushing themselves off other objects. Hungry, hungry hippos A hippo eats about 80 lbs. (35 kg) of grass each night, according to National Geographic. They travel up to 6 miles (10 kilometers) in a night to get their fill. They also eat fruit that they find during their nightly scavenging. Baby pygmy hippo Eve lets out a yawn while out for a stroll with her mom Ellen at the Edinburgh Zoo. Credit: Jon-Paul Orsi Baby hippos Females have a gestation period of eight months and have only one baby at a time, according to the San Diego Zoo. At birth, the baby, called a calf, is a whopping 50 to 110 lbs. (23 to 50 kg). For 18 months, the baby nurses while its mother is on land, or it swims underwater to suckle. When it dives, the calf closes its nose and ears to block out water. All hippos have this ability. They also have membranes that cover and protect their eyes while they are underwater. At 5 to 7 years old, the hippo calf is fully mature, according to the San Diego Zoo. The median life expectancy of a hippo is 36 years. Classification/taxonomy The taxonomy of hippos, according to the Integrated Taxonomic Information System (ITIS), is: Kingdom: Animalia Species: Hippopotamus amphibius (common hippopotamus) Subspecies: Hippopotamus amphibius amphibius, Hippopotamus amphibius capensis, Hippopotamus amphibius kiboko Conservation status According to the IUCN, the common hippo population isn't endangered, but it is vulnerable , because their numbers have declined by 7 to 20 percent over the past 10 years, and likely will continue to decline. The IUCN estimates that there are between 125,000 and 148,000 common hippos remaining in the wild. The primary threats to hippos are poaching (for their ivory tusks and their meat), and loss of habitat, as more water is diverted for agriculture, according to the IUCN. Other facts The word "hippopotamus" comes from the Greek word for "water horse" or "river horse." However, hippos and horses are not closely related. The closest living relatives to hippos are pigs, whales and dolphins, according to the San Diego Zoo. A hippo must stay moist, because if its skin dries out, it will crack. Its skin also secretes a red fluid that is thought to be an antibiotic, sunscreen and skin moisturizer. People once thought that the red secretions were blood and that hippos sweat blood. Hippos can stay underwater for up to 5 minutes without coming up for air, according to National Geographic. When they sleep in the water, their bodies automatically bob up to the top of the water so that they can take a breath, and then they sink back to the bottom. Hippos' eyes and nostrils are on top of their head. This allows them to breath and look around while the rest of their body is submerged. Hippos are fast for their size. They can run up to 14 mph (23 km/h), according to the San Diego Zoo. Hippos are very loud animals. Their snorts, grumbles and wheezes have been measured at 115 decibels, according to the San Diego Zoo — about the same volume as being 15 feet (4.6 m) from the speakers at a rock concert. Hippos also use subsonic vocalizations to communicate. Hippos can store food in their stomachs and go three weeks without eating. The common hippo's cousin, the pygmy hippo (Hexaprotodon liberiensis or Choeropsis liberiensis) is smaller and less aquatic. They are also rarer, and endangered. They are found only in forests in West Africa, mainly Liberia. Little is known of their habits in the wild, according to the San Diego Zoo. They were not discovered by Western scientists until 1840. Additional resources	i don't know
Which British car manufacturer made the Rebel?	Car History 4U - History of British Motor Car / Automobile Manufacturers History of British Motor Car / Automobile Manufacturers 8.7 Great Britain (UK) 8.7.1. Aston Martin The company was founded in 1913 by Lionel Martin and Robert Bamford and the first car to bear the name was ready by 1915. After encountering financial difficulties during 1924/5 the company was sold in 1926 and renamed “Aston Martin Motors”. Seven years later, in 1933, the company changed ownership again. Up to the start of World War 2, in 1939, about 700 Aston Martin cars had been produced. In 1947 the company was purchased by David Brown Limited, who also acquired the Lagonda car company the same year. The DB range of cars started in 1948 with the 2-Litre Sports DB1. This was followed by the 2,580 cc DB2 (1950-53) and the racing model DB3 in 1957. The 240 hp (179 kW) 3,670 cc DB4 was first produced in 1958; a car with a top speed of 140 mph (224 kph). By 1963, when production of the DB4 ceased, 1,110 had been made (from 1962 70 were convertibles). 100 short wheelbase DB4 GT/Zagoto models were also built. The lightweight DB4 GT version was introduced in 1959. 75 of these cars, which had a top speed of 153 mph (240 kph), were built. Is 75 correct? In 1961 the company launched the DB4 Vantage model. The 266 hp (198 kW) car was fitted with three SU carburettors. 136 saloons and 32 convertibles were built. Between 1961 and 1963 19 DB4 GT Zagato models were produced, the bodies of which were built by Zagato in Italy. The 3,995 cc DB 5 model was produced from 1963 to 1965. The 282 hp (210 kW) version, which was fitted with three SU carburettors, had a top speed of 141 mph (226 kph). In 1964 the company produced the high performance, 314 hp (234 kW), DB5 Vantage coupe model. 65 were built. A total of 1,024 DB5 models were produced; 901 two-door coupes and 123 convertibles. A figure of 1,063 has also been quoted. Which is correct? 19 of the convertibles were left-hand drive. 12 special estate car versions were also built. A DB5 car was used in the 1964 James Bond film Goldfinger (Ian Fleming’s book featured a DB Mark III). 1,567 DB6 models were produced from 1965 to 1970. The 325 hp (242 kW) 3,996 cc car had a top speed of 150 mph (240 kph). It accelerated from 0-60 mph (96 kph) in 8.4 seconds. A Mark 2 version was launched in 1969. Having been sold in 1972 to a British consortium, the company was bought in 1975 by two American businessmen, who produced the V8 Vantage in 1977 and the the convertible Volante in 1978. Between the early 1980s and 1987 the company changed ownership three more times until the Ford Motor Company initially purchased 75% of the company (gaining full control in 1993). Between 1968 and 1988 approx. 5,000 Aston Martin cars were made. In 1993 the company announced the DB7. In 2002, when production reached 6,000, the DB7 became the top selling DB model. The DB9 coupe was introduced in 2003, followed by a convertible version the following year. In March 2007 the Ford Motor Company sold Aston Martin to a British consortium led by David Richards. 8.7.2. Austin The Austin Motor Company was founded in 1905 by Herbert Austin, becoming a private limited company in 1908. In 1906 the company produced a large 5 litre family sized model, the first of about 8 different models that were produced in this first decade. In its first year the company produced 23 cars. By 1917 the company’s factory at Longbridge was the largest of its type in Great Britain. The first model introduced after the end of World War 1 was the Austin 20 in 1919. In 1922 a scaled down version, the Austin 12, was produced. Another model introduced in 1922 was the Austin 7, which remained in production until 1939 by which time over 375,000 had been made. It was also being built in Germany, U.S.A and France. In the early 1930s it was the most popular car in the world. The car had a 747 cc engine and a top speed of 42 mph (67 kph). The first cars produced after World War 2 were based on pre-war designs. These were the Austin 8, 10, 12 & 16 models. The 1,200 cc Austin A40 was the company’s first post war designed car and was produced between 1947 and 1951. By 1952 Austin had produced some 28 different models since it started production in 1906 and two million cars. In 1952 the company merged with Morris Motors to form the British Motor Corporation (which was taken over in 1968 and renamed the British Leyland Motor Company). Whilst part of British Leyland the Austin-Healey 100 (1953-56), Sprite (1958-70) and 3000 (1959-67) sports cars were manufactured. In 1959 the Austin Mini was introduced and 5,387,862 were produced by the year 2000. These cars had an 848 or 1,275 cc 4-cylinder transverse engine and a top speed of 72 or 96 mph (115/154 kph), dependent on which engine was fitted. Between 1952 and 1989, when the last car to carry the Austin name was built, about 14 new models were introduced, including the Austin A30, A40, A60 Cambridge, 1100/1300, 1800, Maxi, Allegro and Metro. 8.7.3. Bentley The Bentley Motor Company was founded in 1918 by two brothers; Walter and H Bentley. Most of the early models were very successful racing cars, one of the most famous being the 3.0 litre Bentley, which had a top speed of 80 mph (128 kph). It won the 24-hour Le Mans race in 1924, with other models winning from 1927 to 1930. Between 1921 and 1927 the company produced 1,633 of these 3 litre cars. The Company was seriously affected by the 1929 stock market crash, having just launched its ultra-luxury 8-litre model and only 100 were made. After producing just over 3,000 cars the company was bought by Rolls-Royce in 1931. The first model produced after the end of World War 2 bearing the Bentley name was the 4.3 litre Mark Vl (1946-52), with a convertible version introduced in 1951. In 1952 the R Type was introduced and 2,320 of these 4,566 cc cars were made. The 4,887 cc Continental version was produced for the European market; the first Bentley car to carry the Continental name, and 207 were made by 1955. The S2 Type was produced between 1959 and 1962, followed by the S3 (1962-65), the T1 (1965-77), and the T2 (1977-81). 2007 Models include the Brooklands, Arnage, Azure and Continental. 8.7.4. Jaguar In 1932 the Swallow Sidecar Company produced its first car; the two-door SS 1. In the mid 1930s the company produced the Jaguar SS100, the first car to carry the Jaguar name. Just over 300 of these 2.5 and 3.5 litre cars were made. Immediately after World War 2 the company changed its name to Jaguar Cars Limited due to the link between the initials “SS” and Nazi Germany. The first cars bearing solely the Jaguar name were the pre-war designed 1.5/2.5/3.5 litre models that were produced from 1945 to 1948. The Mark V, produced in 1948, was the first post war designed model. Shortly afterwards the company launched the XK120. This was followed by the XK140 in 1954 and the XK150 in 1957. About 72,500 E-Type Jaguars were produced between 1961 and 1973. The car had a top speed of 150 mph (240 kph) and could accelerate from 0-60 mph in 7.1 seconds. In 1968 the top selling XJ6 entered service and by 1979 over 155,000 had been made. After various mergers during the 1960s and then nationalisation, the company became a separate company again in 1984. Five years later it was acquired by the Ford Motor Company. Other models produced between 1950 and 1980 include the S Type, 240, 420, Mk 1, Mk 2 (over 90,000 produced), Mk V11/Vlll/lX and the XJ12. Models produced since 1980 include the XJS 5.3, XK8 and XJ8. The 2007 range includes the XK, XJ, and XF range, the S Types and the X Types. 8.7.5. Rolls-Royce Rolls-Royce Limited was formed in 1906 by Charles Rolls and Henry Royce. In 1904 an agreement had been reached that C S Rolls & Co would sell only cars manufactured by Royce Limited and that the cars would bear the name “Rolls-Royce”. Between 1904 and the start of World War 2 in 1939 about 22,200 cars were produced. In 1907 the company launched the six-cylinder Silver Ghost, selling 6,173 by 1925. Between 1906 and 1972 the company produced some 20 different models, including the Phantom, Wraith, Silver Wraith, Silver Dawn and Silver Shadow range. In 1971 Rolls-Royce Limited was nationalised by the British Government when it encountered serious financial problems. Two years later, in 1973, it was de-nationalised with the formation of “Rolls-Royce Motors” and “Rolls-Royce Limited” (aero-engine business). In 1975 “Rolls-Royce Motors” launched the Camargue, production of which ceased in 1986. “Rolls Royce Motors” was acquired by the British company Vickers in 1980 and then, in 1998, by Volkswagen. The rights to the Rolls-Royce name and logo were, however, licensed to BMW and “Rolls-Royce Motors” were only allowed to use the name and logo until 1 January 2003. In 2002 the Volkswagen owned “Rolls-Royce Motors” ceased production of their Corniche model. In January 2003 BMW’s subsidiary “Rolls-Royce Motor Cars” launched their Phantom model. 8.7.6. MG The MG letters are derived from the initials of Morris Garages Ltd, which was a distributor for Morris Cars Ltd from 1913 until the late 1920s. In 1922 Cecil Kimber became General Manager of Morris Garages and in 1923 he started to produce customised Morris cars. These “specials” became known as “Morris Garage Chummys”. Within a year, possibly initially along with the Morris badge, the distinctive octagon MG badge started to appear. The 1924 14/28 MG Super Sports Morris is considered by many to be the first car fitted with the MG badge (fitted on the car’s running boards). 440 were built between 1924 and 1927. This 1,802 cc model, which had a top speed of 65 mph (104 kph), consisted of a new sports body fitted to a Morris Oxford chassis. Just before Cecil Kimber’s death in 1945 he referred to a car called “Old Number One” (FC 7900) as the “first M.G. car I ever built.” The MG badge was fitted on the side of the car. The car had a 1,496 cc Hotchkiss four-cylinder engine and produced about 38 bhp. The car was registered in March 1925, just prior to the competitive event for which it was built. In 1927 Morris Garages introduced the MG 14/40 model. This was followed in 1928 by the MG 18/80, a car considered to be the first purpose built MG. In addition to its specially designed chassis, the Morris type bullnose radiator was replaced on this model with the now traditional MG grille. In 1929 MG cars produced M-Type Midget, the first in a long line of “Midget” sports cars models. 1930s Company records are said to indicate that the M.G. Car Company Ltd (Reg # 249645) was formed in 1930. In what month? In that year MG built about 1,000 cars. The first car produced in 1930 by the newly formed Company was the MG 18/100 “Tigress” racing car. Two further racing cars were produced in the 1930s, the Q-Type in 1934 and the R-Type in 1935. In 1935 the M.G. Car Company was sold to Morris Motors Ltd. Up to the start of World War 2 in 1939 the company produced more than 10 different sports models, a small salon car, the MG KN (1933-34), another medium sized car, the MG VA (1937-39) and the two larger salon cars, the MG SA (1936-39) and the WA (1938-39). 1940s The first car produced after World War 2 was the 1,250 cc MG TC Midget, a sports car that had a top speed of 78 mph (125 kph). Between 1945 and 1949 over 10,000 were built. In 1947 MG introduced the YA Type, a medium sized saloon car that had been developed by late 1939. Nearly 6,200 of these cars were built up to 1951. 1950s During the 1950s MG also produced 3 models of the TD Midegt (1950-53); a total of 29,566 + 98 in 1949, the TF Midget (1953-55); a total of 9,600 (including 3,400 1,466 cc models), the 1,488 cc MGA (1955-62); a total of 101,081 and three Magnette models, the ZA, ZB & Mk lll (1953-61). 1960s Between 1961 and 1968 the company produced the Mk lV Magnette. The 1,798 cc MGB was produced from 1962 to 1980, a car with a top speed of 105 mph (168 kph). Including a GT version, over 500,000 of these cars were built. In 1975 an MGB became the one millionth MG car. In 1962 the company also started production of their MG 1100 model, with nearly 117,000 being built by 1967. MG also produced the 1300 model from 1967 to 1973. Other Models Other models produced up to 2007 include the MG Midget, MGC, RV8, MGF & TF, Maestro, Montego, Metro, MG ZR, ZS & ZT, MG 3, MG 7 and the MG XPower SV. Ownership Between 1935 and 2007 t MG has been owned by Morris Motors & the Nuffield Organistion (1935-52), BMC (1952-68), BLMC (1968-86), Rover Group (1986-88), BAe (1988-94), BMW (1994-2000), the MG Rover Group (2000-05) and the Nanjing Automobile Group of China since 2005. 8.7.7. Morris William Richard Morris formed WRM Motors in 1912 and by 1913 he had produced his first car, the 1018 cc two-seater Morris Oxford (Bullnose). By the end of 1914, including a coupe version, over 1300 of these cars had been built. In 1915 the company introduced a larger car, the 1.5 litre 4-seater Morris Cowley. Between 1915 and 1917 just over 1,140 Morris Cowley and Oxford cars were produced. In 1919 WRM Motors ceased trading and Morris Motors Ltd was established. In 1926, just before the renowned “Bullnose” radiator was replaced by a flat one, the Cowley and Oxford models accounted for over 40% of all British car production. Production of these first two models ceased in the mid 1930s. In 1928 the company produced the first in a range of Morris Minor models. Between 1928 and 1933 over 86,000 of these 847 cc cars were built. The model was replaced by the Morris Eight. Production of the Morris 8 (hp) started in 1935, with the 100,000th being delivered on 30 June 1936. Within 3 years nearly 220,000 were built, including the updated Series 1, Series 2 and Series E. A wide range of other models were produced during the 1930s, including the 1,938 and 2,062 cc Oxford Six (1929-33), the Isis (1930-35), the 16 & 20 models, with over 6,300 produced (1934-35), the 14/16/18 range (1935-39), the Morris 10 (1933-48) and the Morris 8 (1935-48). In 1937 the Morris Company became Europe’s largest vehicle manufacturer and by 1939 it was the first British company to produce one million vehicles. In 1938 Morris Motors Ltd merged with the MG Car Company and Riley to form the Nuffield Organisation. Production resumed after World Two (1939-45) with the pre-war Morris 8 and 10. In 1948 the model 8 was replaced by the Morris Minor and the model 10 by the Morris Oxford. The Morris Six MS was also introduced in 1948. Between 1948 and 1971 three versions of the Morris Minor were produced; the 918 cc MM model (1948-53), the 803 cc Series 2 (1952-56) and the 948 and 1098 cc Morris 1000, of which nearly 850,000 were built (1956-71). In 1961 the one millionth Morris Minor was built, the first British car to achieve this figure. The 1,476 cc Morris Oxford MO model was produced from 1948 to 1954 and nearly 160,000 were built. The 40.5 hp (30 kW) car had a top speed of 72 mph (115 kph). Between 1954 and 1961 four further versions of the Morris Oxford, all with a 1,489 cc engine, were produced. The Hindustan Ambassador produced in India (1958 and still in production in 2007) was based upon the Oxford lll model. See Part 2, Section 8.9.1 . The final version was the 1,622 cc Oxford Vl (1961-71), of which over 208,000 were built. In 1952 the Nuffield Organisation merged with the Austin Motor Company to become the British Motor Corporation (BMC). In 1968 BMC became part of British Leyland Motor Corporation and then British Leyland in 1975. The “Mini” car was first produced in 1959 and was originally sold by BMC as both the Austin 7 and the Morris Mini-Minor. In North America and France it was called the Austin 850 and Morris 850. The car was first named the “Mini” in 1961. It was the first front wheel drive car in the world with a traverse fitted engine. This two-door car had an 848 cc engine and was only 10 feet (305 cm) long. It had a top speed of 72 mph (115 kph). The Mini Cooper version was produced in 1964 with a 997 cc engine, which was later increased to 1,275 cc, giving the car a top speed of 98 mph (157 kph). When production of the Mini Cooper ceased in 1971 150,000 had been built. A newer version was introduced in 1990. In 2000, when production of the Mini ended, over 5.3 million had been built. During this time three upgrades had taken place; the Mk ll, the Clubman and the Mk lll, plus an estate version and the Mini Moke. In 2001 BMW produced a newly styled Mini One and Mini Cooper. Other Morris cars produced include the 1100, with over 800,000 built (1962-71), the 1300 (1967), the 1800 (1966-75) and the Marina (1971-80). The Ital model (1980-84) was the last car to carry the Morris name. 8.7.8. Other British Car Manufacturers AC, Alvis, Argyll, Armstrong Siddley, Bond, Bristol, BSA, Healey, Hillman, Humber, Jenson, Jowett, Lagonda, Lanchester, Lea Francis, Lotus, Metropolitan, Morgan, Napier, Panther, Reliant, Riley, Rover, Singer, Standard, Sunbeam, Triumph, TVR, Vanden Plas, Vanguard, Vauxhall and Wolseley. 8.7.9. British Car Web Sites British Motor Manufacturers	Reliant
Who played Oz in Auf Wiedersehen Pet?	Car History 4U - History of British Motor Car / Automobile Manufacturers History of British Motor Car / Automobile Manufacturers 8.7 Great Britain (UK) 8.7.1. Aston Martin The company was founded in 1913 by Lionel Martin and Robert Bamford and the first car to bear the name was ready by 1915. After encountering financial difficulties during 1924/5 the company was sold in 1926 and renamed “Aston Martin Motors”. Seven years later, in 1933, the company changed ownership again. Up to the start of World War 2, in 1939, about 700 Aston Martin cars had been produced. In 1947 the company was purchased by David Brown Limited, who also acquired the Lagonda car company the same year. The DB range of cars started in 1948 with the 2-Litre Sports DB1. This was followed by the 2,580 cc DB2 (1950-53) and the racing model DB3 in 1957. The 240 hp (179 kW) 3,670 cc DB4 was first produced in 1958; a car with a top speed of 140 mph (224 kph). By 1963, when production of the DB4 ceased, 1,110 had been made (from 1962 70 were convertibles). 100 short wheelbase DB4 GT/Zagoto models were also built. The lightweight DB4 GT version was introduced in 1959. 75 of these cars, which had a top speed of 153 mph (240 kph), were built. Is 75 correct? In 1961 the company launched the DB4 Vantage model. The 266 hp (198 kW) car was fitted with three SU carburettors. 136 saloons and 32 convertibles were built. Between 1961 and 1963 19 DB4 GT Zagato models were produced, the bodies of which were built by Zagato in Italy. The 3,995 cc DB 5 model was produced from 1963 to 1965. The 282 hp (210 kW) version, which was fitted with three SU carburettors, had a top speed of 141 mph (226 kph). In 1964 the company produced the high performance, 314 hp (234 kW), DB5 Vantage coupe model. 65 were built. A total of 1,024 DB5 models were produced; 901 two-door coupes and 123 convertibles. A figure of 1,063 has also been quoted. Which is correct? 19 of the convertibles were left-hand drive. 12 special estate car versions were also built. A DB5 car was used in the 1964 James Bond film Goldfinger (Ian Fleming’s book featured a DB Mark III). 1,567 DB6 models were produced from 1965 to 1970. The 325 hp (242 kW) 3,996 cc car had a top speed of 150 mph (240 kph). It accelerated from 0-60 mph (96 kph) in 8.4 seconds. A Mark 2 version was launched in 1969. Having been sold in 1972 to a British consortium, the company was bought in 1975 by two American businessmen, who produced the V8 Vantage in 1977 and the the convertible Volante in 1978. Between the early 1980s and 1987 the company changed ownership three more times until the Ford Motor Company initially purchased 75% of the company (gaining full control in 1993). Between 1968 and 1988 approx. 5,000 Aston Martin cars were made. In 1993 the company announced the DB7. In 2002, when production reached 6,000, the DB7 became the top selling DB model. The DB9 coupe was introduced in 2003, followed by a convertible version the following year. In March 2007 the Ford Motor Company sold Aston Martin to a British consortium led by David Richards. 8.7.2. Austin The Austin Motor Company was founded in 1905 by Herbert Austin, becoming a private limited company in 1908. In 1906 the company produced a large 5 litre family sized model, the first of about 8 different models that were produced in this first decade. In its first year the company produced 23 cars. By 1917 the company’s factory at Longbridge was the largest of its type in Great Britain. The first model introduced after the end of World War 1 was the Austin 20 in 1919. In 1922 a scaled down version, the Austin 12, was produced. Another model introduced in 1922 was the Austin 7, which remained in production until 1939 by which time over 375,000 had been made. It was also being built in Germany, U.S.A and France. In the early 1930s it was the most popular car in the world. The car had a 747 cc engine and a top speed of 42 mph (67 kph). The first cars produced after World War 2 were based on pre-war designs. These were the Austin 8, 10, 12 & 16 models. The 1,200 cc Austin A40 was the company’s first post war designed car and was produced between 1947 and 1951. By 1952 Austin had produced some 28 different models since it started production in 1906 and two million cars. In 1952 the company merged with Morris Motors to form the British Motor Corporation (which was taken over in 1968 and renamed the British Leyland Motor Company). Whilst part of British Leyland the Austin-Healey 100 (1953-56), Sprite (1958-70) and 3000 (1959-67) sports cars were manufactured. In 1959 the Austin Mini was introduced and 5,387,862 were produced by the year 2000. These cars had an 848 or 1,275 cc 4-cylinder transverse engine and a top speed of 72 or 96 mph (115/154 kph), dependent on which engine was fitted. Between 1952 and 1989, when the last car to carry the Austin name was built, about 14 new models were introduced, including the Austin A30, A40, A60 Cambridge, 1100/1300, 1800, Maxi, Allegro and Metro. 8.7.3. Bentley The Bentley Motor Company was founded in 1918 by two brothers; Walter and H Bentley. Most of the early models were very successful racing cars, one of the most famous being the 3.0 litre Bentley, which had a top speed of 80 mph (128 kph). It won the 24-hour Le Mans race in 1924, with other models winning from 1927 to 1930. Between 1921 and 1927 the company produced 1,633 of these 3 litre cars. The Company was seriously affected by the 1929 stock market crash, having just launched its ultra-luxury 8-litre model and only 100 were made. After producing just over 3,000 cars the company was bought by Rolls-Royce in 1931. The first model produced after the end of World War 2 bearing the Bentley name was the 4.3 litre Mark Vl (1946-52), with a convertible version introduced in 1951. In 1952 the R Type was introduced and 2,320 of these 4,566 cc cars were made. The 4,887 cc Continental version was produced for the European market; the first Bentley car to carry the Continental name, and 207 were made by 1955. The S2 Type was produced between 1959 and 1962, followed by the S3 (1962-65), the T1 (1965-77), and the T2 (1977-81). 2007 Models include the Brooklands, Arnage, Azure and Continental. 8.7.4. Jaguar In 1932 the Swallow Sidecar Company produced its first car; the two-door SS 1. In the mid 1930s the company produced the Jaguar SS100, the first car to carry the Jaguar name. Just over 300 of these 2.5 and 3.5 litre cars were made. Immediately after World War 2 the company changed its name to Jaguar Cars Limited due to the link between the initials “SS” and Nazi Germany. The first cars bearing solely the Jaguar name were the pre-war designed 1.5/2.5/3.5 litre models that were produced from 1945 to 1948. The Mark V, produced in 1948, was the first post war designed model. Shortly afterwards the company launched the XK120. This was followed by the XK140 in 1954 and the XK150 in 1957. About 72,500 E-Type Jaguars were produced between 1961 and 1973. The car had a top speed of 150 mph (240 kph) and could accelerate from 0-60 mph in 7.1 seconds. In 1968 the top selling XJ6 entered service and by 1979 over 155,000 had been made. After various mergers during the 1960s and then nationalisation, the company became a separate company again in 1984. Five years later it was acquired by the Ford Motor Company. Other models produced between 1950 and 1980 include the S Type, 240, 420, Mk 1, Mk 2 (over 90,000 produced), Mk V11/Vlll/lX and the XJ12. Models produced since 1980 include the XJS 5.3, XK8 and XJ8. The 2007 range includes the XK, XJ, and XF range, the S Types and the X Types. 8.7.5. Rolls-Royce Rolls-Royce Limited was formed in 1906 by Charles Rolls and Henry Royce. In 1904 an agreement had been reached that C S Rolls & Co would sell only cars manufactured by Royce Limited and that the cars would bear the name “Rolls-Royce”. Between 1904 and the start of World War 2 in 1939 about 22,200 cars were produced. In 1907 the company launched the six-cylinder Silver Ghost, selling 6,173 by 1925. Between 1906 and 1972 the company produced some 20 different models, including the Phantom, Wraith, Silver Wraith, Silver Dawn and Silver Shadow range. In 1971 Rolls-Royce Limited was nationalised by the British Government when it encountered serious financial problems. Two years later, in 1973, it was de-nationalised with the formation of “Rolls-Royce Motors” and “Rolls-Royce Limited” (aero-engine business). In 1975 “Rolls-Royce Motors” launched the Camargue, production of which ceased in 1986. “Rolls Royce Motors” was acquired by the British company Vickers in 1980 and then, in 1998, by Volkswagen. The rights to the Rolls-Royce name and logo were, however, licensed to BMW and “Rolls-Royce Motors” were only allowed to use the name and logo until 1 January 2003. In 2002 the Volkswagen owned “Rolls-Royce Motors” ceased production of their Corniche model. In January 2003 BMW’s subsidiary “Rolls-Royce Motor Cars” launched their Phantom model. 8.7.6. MG The MG letters are derived from the initials of Morris Garages Ltd, which was a distributor for Morris Cars Ltd from 1913 until the late 1920s. In 1922 Cecil Kimber became General Manager of Morris Garages and in 1923 he started to produce customised Morris cars. These “specials” became known as “Morris Garage Chummys”. Within a year, possibly initially along with the Morris badge, the distinctive octagon MG badge started to appear. The 1924 14/28 MG Super Sports Morris is considered by many to be the first car fitted with the MG badge (fitted on the car’s running boards). 440 were built between 1924 and 1927. This 1,802 cc model, which had a top speed of 65 mph (104 kph), consisted of a new sports body fitted to a Morris Oxford chassis. Just before Cecil Kimber’s death in 1945 he referred to a car called “Old Number One” (FC 7900) as the “first M.G. car I ever built.” The MG badge was fitted on the side of the car. The car had a 1,496 cc Hotchkiss four-cylinder engine and produced about 38 bhp. The car was registered in March 1925, just prior to the competitive event for which it was built. In 1927 Morris Garages introduced the MG 14/40 model. This was followed in 1928 by the MG 18/80, a car considered to be the first purpose built MG. In addition to its specially designed chassis, the Morris type bullnose radiator was replaced on this model with the now traditional MG grille. In 1929 MG cars produced M-Type Midget, the first in a long line of “Midget” sports cars models. 1930s Company records are said to indicate that the M.G. Car Company Ltd (Reg # 249645) was formed in 1930. In what month? In that year MG built about 1,000 cars. The first car produced in 1930 by the newly formed Company was the MG 18/100 “Tigress” racing car. Two further racing cars were produced in the 1930s, the Q-Type in 1934 and the R-Type in 1935. In 1935 the M.G. Car Company was sold to Morris Motors Ltd. Up to the start of World War 2 in 1939 the company produced more than 10 different sports models, a small salon car, the MG KN (1933-34), another medium sized car, the MG VA (1937-39) and the two larger salon cars, the MG SA (1936-39) and the WA (1938-39). 1940s The first car produced after World War 2 was the 1,250 cc MG TC Midget, a sports car that had a top speed of 78 mph (125 kph). Between 1945 and 1949 over 10,000 were built. In 1947 MG introduced the YA Type, a medium sized saloon car that had been developed by late 1939. Nearly 6,200 of these cars were built up to 1951. 1950s During the 1950s MG also produced 3 models of the TD Midegt (1950-53); a total of 29,566 + 98 in 1949, the TF Midget (1953-55); a total of 9,600 (including 3,400 1,466 cc models), the 1,488 cc MGA (1955-62); a total of 101,081 and three Magnette models, the ZA, ZB & Mk lll (1953-61). 1960s Between 1961 and 1968 the company produced the Mk lV Magnette. The 1,798 cc MGB was produced from 1962 to 1980, a car with a top speed of 105 mph (168 kph). Including a GT version, over 500,000 of these cars were built. In 1975 an MGB became the one millionth MG car. In 1962 the company also started production of their MG 1100 model, with nearly 117,000 being built by 1967. MG also produced the 1300 model from 1967 to 1973. Other Models Other models produced up to 2007 include the MG Midget, MGC, RV8, MGF & TF, Maestro, Montego, Metro, MG ZR, ZS & ZT, MG 3, MG 7 and the MG XPower SV. Ownership Between 1935 and 2007 t MG has been owned by Morris Motors & the Nuffield Organistion (1935-52), BMC (1952-68), BLMC (1968-86), Rover Group (1986-88), BAe (1988-94), BMW (1994-2000), the MG Rover Group (2000-05) and the Nanjing Automobile Group of China since 2005. 8.7.7. Morris William Richard Morris formed WRM Motors in 1912 and by 1913 he had produced his first car, the 1018 cc two-seater Morris Oxford (Bullnose). By the end of 1914, including a coupe version, over 1300 of these cars had been built. In 1915 the company introduced a larger car, the 1.5 litre 4-seater Morris Cowley. Between 1915 and 1917 just over 1,140 Morris Cowley and Oxford cars were produced. In 1919 WRM Motors ceased trading and Morris Motors Ltd was established. In 1926, just before the renowned “Bullnose” radiator was replaced by a flat one, the Cowley and Oxford models accounted for over 40% of all British car production. Production of these first two models ceased in the mid 1930s. In 1928 the company produced the first in a range of Morris Minor models. Between 1928 and 1933 over 86,000 of these 847 cc cars were built. The model was replaced by the Morris Eight. Production of the Morris 8 (hp) started in 1935, with the 100,000th being delivered on 30 June 1936. Within 3 years nearly 220,000 were built, including the updated Series 1, Series 2 and Series E. A wide range of other models were produced during the 1930s, including the 1,938 and 2,062 cc Oxford Six (1929-33), the Isis (1930-35), the 16 & 20 models, with over 6,300 produced (1934-35), the 14/16/18 range (1935-39), the Morris 10 (1933-48) and the Morris 8 (1935-48). In 1937 the Morris Company became Europe’s largest vehicle manufacturer and by 1939 it was the first British company to produce one million vehicles. In 1938 Morris Motors Ltd merged with the MG Car Company and Riley to form the Nuffield Organisation. Production resumed after World Two (1939-45) with the pre-war Morris 8 and 10. In 1948 the model 8 was replaced by the Morris Minor and the model 10 by the Morris Oxford. The Morris Six MS was also introduced in 1948. Between 1948 and 1971 three versions of the Morris Minor were produced; the 918 cc MM model (1948-53), the 803 cc Series 2 (1952-56) and the 948 and 1098 cc Morris 1000, of which nearly 850,000 were built (1956-71). In 1961 the one millionth Morris Minor was built, the first British car to achieve this figure. The 1,476 cc Morris Oxford MO model was produced from 1948 to 1954 and nearly 160,000 were built. The 40.5 hp (30 kW) car had a top speed of 72 mph (115 kph). Between 1954 and 1961 four further versions of the Morris Oxford, all with a 1,489 cc engine, were produced. The Hindustan Ambassador produced in India (1958 and still in production in 2007) was based upon the Oxford lll model. See Part 2, Section 8.9.1 . The final version was the 1,622 cc Oxford Vl (1961-71), of which over 208,000 were built. In 1952 the Nuffield Organisation merged with the Austin Motor Company to become the British Motor Corporation (BMC). In 1968 BMC became part of British Leyland Motor Corporation and then British Leyland in 1975. The “Mini” car was first produced in 1959 and was originally sold by BMC as both the Austin 7 and the Morris Mini-Minor. In North America and France it was called the Austin 850 and Morris 850. The car was first named the “Mini” in 1961. It was the first front wheel drive car in the world with a traverse fitted engine. This two-door car had an 848 cc engine and was only 10 feet (305 cm) long. It had a top speed of 72 mph (115 kph). The Mini Cooper version was produced in 1964 with a 997 cc engine, which was later increased to 1,275 cc, giving the car a top speed of 98 mph (157 kph). When production of the Mini Cooper ceased in 1971 150,000 had been built. A newer version was introduced in 1990. In 2000, when production of the Mini ended, over 5.3 million had been built. During this time three upgrades had taken place; the Mk ll, the Clubman and the Mk lll, plus an estate version and the Mini Moke. In 2001 BMW produced a newly styled Mini One and Mini Cooper. Other Morris cars produced include the 1100, with over 800,000 built (1962-71), the 1300 (1967), the 1800 (1966-75) and the Marina (1971-80). The Ital model (1980-84) was the last car to carry the Morris name. 8.7.8. Other British Car Manufacturers AC, Alvis, Argyll, Armstrong Siddley, Bond, Bristol, BSA, Healey, Hillman, Humber, Jenson, Jowett, Lagonda, Lanchester, Lea Francis, Lotus, Metropolitan, Morgan, Napier, Panther, Reliant, Riley, Rover, Singer, Standard, Sunbeam, Triumph, TVR, Vanden Plas, Vanguard, Vauxhall and Wolseley. 8.7.9. British Car Web Sites British Motor Manufacturers	i don't know
What everyday item was invented in 1973 by Martin Cooper?	Martin Cooper and the History of Cell Phone Martin Cooper and the History of Cell Phone Martin Cooper and the History of Cell Phone Cavan Images/ Stone/ Getty Images By Newstream/Arraycomm Updated October 31, 2016. April 3, 2003 marked the 30th anniversary of the first public telephone call placed on a portable cellular phone. Martin Cooper, chairman, CEO and co-founder of ArrayComm Inc, placed that call on April 3, 1973 while general manager of Motorola's Communications Systems Division. It was the long-anticipated incarnation of his vision for personal wireless communications that was distinct from cellular car phones. That first call, placed to Cooper's rival at AT&T's Bell Labs from the streets of New York City, caused a fundamental technology and communications market shift toward the person and away from the place. "People want to talk to other people - not a house, or an office, or a car. Given a choice, people will demand the freedom to communicate wherever they are, unfettered by the infamous copper wire. It is that freedom we sought to vividly demonstrate in 1973," Cooper said. "As I walked down the street while talking on the phone, sophisticated New Yorkers gaped at the sight of someone actually moving around while making a phone call. continue reading below our video Should I Roll Over my 401K to an IRA? Remember that in 1973, there weren't cordless telephones , let alone cellular phones. I made numerous calls, including one where I crossed the street while talking to a New York radio reporter - probably one of the more dangerous things I have ever done in my life," he added. Following the April 3, 1973 public demonstration of a "brick"-like 30-ounce phone, Cooper started the 10-year process of bringing the portable cell phone to market. Motorola introduced the 16-ounce "DynaTAC" phone into commercial service in 1983. At the time, each phone cost the consumer $3,500. It took an additional seven years before there were a million subscribers in the United States. Today, there are more cellular subscribers than wireline phone subscribers in the world. And thankfully, mobile phones are much lighter and portable. Martin Cooper Today Martin Cooper's role in conceiving and developing the first portable cellular phone directly impacted his choice to start and lead ArrayComm , a wireless technology and systems company founded in 1992. ArrayComm's core adaptive antenna technology increases the capacity and coverage of any cellular system and significantly lowers costs while making cellular calls more reliable. The technology addresses what Cooper calls "the unfulfilled promise" of cellular, which should be, but still isn't as reliable or affordable as wired telephone services. ArrayComm has also used its adaptive antenna technology to make the Internet more "personal" by creating the i-BURST Personal Broadband System, which delivers high-speed, mobile Internet access that consumers can afford. "It's very exciting to be part of a movement toward making broadband available to people with the same freedom to be anywhere that they have for voice communications today," Cooper said. "People rely heavily on the Internet for their work, entertainment and communication, but they need to be unleashed. We will look back at 2003 as the beginning of the era when the Internet became truly untethered."	Mobile phone
Who was lost in France in 1976?	Who Invented the Cell Phone? Who Invented the Cell Phone? Dr. Martin Cooper is the person credited with both inventing the modern cell phone as well as making the first cell phone call in New York City, New York in April 1973. A related invention is the cave radio phone invented by Nathan Stubblefield who was awarded a patent for the idea in the early 20th Century (1908). Since his work does not provide the technology behind modern cell phones, he is not given credit for inventing the cell phone. History of the Telephone Alexander Graham Bell is given credit by historians with the invention of the traditional telephone in 1876. Less than three decades later, on December 23rd, 2000, Reginald Fessenden was able to make the world’s first wireless phone call. His invention used radio waves to transmit communication via voice between radio towers. His work provided the technical background later used in broadcast technology. It would also provide the conceptual basis for future network and mobile phone tower development. As the world emerged from WW2 , engineer William Rae Young (Bell Labs engineer that was part of AT&T), made the proposal of setting up radio towers in a hexagonal pattern to support a network of phones. His work incorporated transmitters designed to transport calls to destinations on the network and included the idea of handoffs between towers based on the end-user’s location. Despite the concept being technically sound, it would take another 10+ years before additional advances in mobile phone technology to be realized. In order to address a growing demand by consumers for some type of mobile communication technology, there were a few companies in this timeframe that sold radio telephones. These early phones operated very similar to hand held radios but relied upon an installed network to operate. The network could only support a few simultaneous calls at a time. If the person making a call could not access the network, he or she would have to wait for someone to finish their call before making an attempt. The setup of the network reduced privacy to almost nil; however, and the phones were heavy coming in at 80 or more pounds. What Came before the Cell Phone? Before cell phones as we know them came into existence, “ Hexagonal Cells ,” were used by smaller numbers of consumers in the later portion of the 1950s. These early radio telephones were created by AT&T and Bell Labs. They were primarily used by the rich and did not see widespread adoption due to their size and cost. Before the Hexagonal Cell was invented, radio telephones were the primary method to wirelessly communicate by government agencies, the military, and large businesses. The legacy radio phones required a backpack that would then transmit the phone call to a nearby base station. Today, the hexagonal cell phones are referred to with the relatively new label of “zero generation phone.” 1G Mobile Phones When Dr. Martin Cooper placed the world’s first cell phone call to Dr. Joel Engel on April 3rd, 1973, the technology used by the device became known as a 1G or first generation mobile phone. This first cell phone weighed approximately two pounds and was named the Motoroloa Dyna-Tac . When Dr. Cooper made the call, Dr. Engel was standing on the street near the Manhattan Hilton hotel while there were a fair number of media personnel and press nearby to observe the event. After making the call, the first cell phone patent was granted on October 17th, 1973. After Dr. Cooper’s demonstration, there were be several companies who would develop cell phone networks and release cell phones of their own in the subsequent years. It would take several decades after Dr. Cooper’s demonstration; however, before there would be a significant decrease in the use of traditional land lines. 2G Mobile Phones Mobile phone technology would not see another significant leap in capability until the advent of 2G mobile phones. Some of the early second generation cell phone networks included IS-95, IDEN, and GSM. The early GSM networks started seeing significant use and deployment in 1991. 2G phone networks supported faster mobile phone to network connections and also included digital circuit switched transmissions that supported a higher quality of service for the end user. In addition to the improvements in technology, mobile phone companies were able to significantly reduce the physical size of the cell phone making it easier for customers to carry the phone with them. Second generation mobile phones took advantage of improvements in chip design to reduce the size of the phone(s). Chip manufacturers were able to produce smaller chips that had an increased capacity for installation of additional circuitry resulting in an overall smaller phone. Combined with an increase in mobile phone tower power output, there was a significant increase in overall capability of the devices. 2G phones were also the first to support SMS texting capability in the early-mid 1990s as well as ring tones. SMS Text History The concept of SMS texting arose in the 1980s when discussions on what services to support in the GSM mobile phone standard were underway. Many of the engineers and scientists working on the standard believed that a messaging system would be the best method to alert individual users for items such as incoming voicemail, etc. When work on the GSM standard started to get to the publication point in the mid-1980s, there were parallel discussions on creating a messaging standard. As a result, the IDEG (Implementation of Data and Telematic Services Expert Group) was formed in 1987 and was tasked with creating a standard for a messaging system for use on GSM. Just five years later at the end of 1992 (December), Neil Papworth would send the first commercial text message from a computer to Richard Jarvis’s Vodafone on the GSM network in the U.K. The first commercial message was “Merry Christmas.” Prior to this, Riku Pihkonen is credited with sending a text message in 1992 from a Nokia GSM phone. After these first texts, most GSM phones would include SMS texting capability over the 1990s; however, it would take until 2000 for the popularity of the texting format to take off. This was primarily due to the incompatibility of SMS text across different mobile phone network carriers. By the late 1990s and early 2000s, SMS text would grow to be supported on most mobile networks to include TDMA and CDMA. The use continued to increase to the point of there being more than 1.5 trillion text messages sent by the end of 2009 in a given year. Today, mobile phone users are able to interchangeably use SMS, or MMS messaging that is capable of including file attachments, pictures, and even short video clips! 3G Mobile Phones Shortly after second generation mobile phones started to see widespread use, industry started to work on the third generation (3G) mobile phone standard. The 3G standard leverages wideband frequency carriers as well as a CDMA air interface . They are able to support much higher speed data applications with maximum speed ratings of two megabits. The networks deployed or upgraded to support the 3G standard were designed to support wireless data rates of up to 144 kilobits per second. The first country to deploy a 3G network was Japan in May of 2001. The network would later see commercial launch by NTT DoCoMo in the fall of 2001 (October). By 2002, there were third generation mobile networks that leveraged CDMA2000 technology in South Korea. Due to the commercial success in Asia, third generation networks started to be launched in 2003 in Europe in Italy and Great Britain. In the United States, the first commercial 3G mobile network was deployed by Monet Mobile Networks but was eventually shut down. Verizon Wireless would launch the second 3G network in the U.S. in July of 2002 using CDMA2000 1x EVDO . Despite the significant improvements in speed and quality of service, the adoption rate of 3G technology world-wide was relatively slow. Since these networks do not use the same frequencies that the more established (at the time) 2G networks leveraged, mobile network operators had to license new frequencies and deploy new network infrastructure to support 3G. By the end of 2007; however, there were 190 third generation cell phone networks in operation in 40 countries as well as 154 HSDPA networks in 71 countries across the world. One of the technology improvements which increased the popularity of 3G was the advent of the smartphone. Combining the capabilities of a PDA with a cell phone, the demand to be connected at much faster data rates not realized on 2G networks helped encourage mobile companies to continue to invest in the newer technology. LTE / 4G Mobile Phones The succeeding technology to third generation cell phones is the 4G mobile phone. Another common term used to refer to the succeeding generation of technology is Long Term Evolution. Although phones that implement LTE have demonstrable improvements over 3G phones, not all LTE devices comply with the full 4G standard. As a result, although they may be marketed as 4G devices, they likely do not provide the full spectrum of performance improvements guaranteed by the standard. LTE supports a significant improvement in data download and upload speeds as well as other improved capabilities for mobile phones and devices. The majority of major mobile phone providers began providing support for LTE during 2009 . They have been making steady improvements to legacy third generation phone networks to support the newer technologies. One of the most fundamental differences between a 4G or LTE mobile phone and the older 2G/3G devices is that the newer phones are IP-based. Additionally, LTE phones are assigned their own IP address which help mobile phone networks provide an increase in overall capability for the devices. Additional improvements include a max upload speed of 50 Mbs, 100 Mbps download speed, a scalable carrier bandwidth, as well as handoff between 4G and legacy phone towers. What are the Advantages of 4G Cell Phones Over 3G Phones? The single biggest advantage of a 4G mobile phone over 3G technology is the vast improvement in network bandwidth and capacity. For example, on a 3G network a mobile user would likely require a WiFi connection in order to place a usable, clear video call via Skype or other equivalent technology. On a 4G phone, the majority of mobile providers are able to support live video over the cell network. Additionally, 4G mobiles are able to include more “always on” services such as GPS, location services, etc. 4G also includes support for legacy 3G phones; however, the older mobiles are not able to realize the improvements in data down/upload speeds. Finally, the mobile phone architecture is cheaper to deploy and maintain on the part of the cell phone companies. Once the underlying switching system is changed out to support flat IP addressing, the overall cost of a 4G network is less than for that of legacy 3G or 2G. Why are LTE Phones Marketed as 4G? Based on lessons learned over the previous decades of cell phone technology adoption and consumer behavior, there has been a rush by mobile phone companies to gain market share for 4G mobile devices. Consequently, there has been an ensuing debate on what really qualifies a mobile phone or other device as being a true 4G device since LTE does not fully support the 4G standard. Although all major providers are in progress of releasing true 4G networks, most have been guilty of marketing existing HSPA+ or 3G+ networks as 4G since the networks support many of the improvements promised by the 4G standard. The mobile phones for many carriers will actually display a “4G” network in these cases even though full network upgrades have not been completed. Many devices have actually stopped displaying the “4G” or “3G” indication to the end user in order to avoid continued debate on the matter at the time of this writing. What is the Current Status of 5G Mobile Phones? At the time of this writing, there has not been a fifth generation mobile phone standard developed. It is believed that when a 5G standard is developed, that it will be focused more on ensuring quality of service to the end user than on drastic improvements in speed. There will be some improvement in the speed area, but it is expected that this will be more due to improvements in hardware and other supporting technologies. The focus on quality of service is based on the expected increase in total number of connected devices in a home by the time the 5G standard is expected to be released and adopted. Despite the absence of a 5G standard, Samsung publicly stated that the company had released the world’s first 5G phone on May 12th, 2013. The claims are made due to the increase in maximum speed of 1.056 Gbit/sec at a range of up two kilometers. Other related announcements for 5G include a major announcement by Israel and India in July of 2013 that the countries have agreed to work together on creating and adopting 5G technologies. Follow Us! Cell phone technology is based on radio technology that was developed from the 1940’s onward. ... hine AWESOME WEBSITE! I FRICKEN LOVE IT OMG OMG OMG SOOOOOO HELPFUL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! harry yes i do spaz much rose I came with an invention for cell phones too. It can save lives of thousand of people who uses it. green Inventor of the Gamma-Electric Cell Aradin Oronde rity. The inventor of the Cellular phone is Henry Sampson, Jr. Sampson is an African-American from Jackson, Mississippi. He attended Morehouse and transferred to Purdue. He received an MS in Engineering from the University of California. He was awarded an MS in Nuclear Engineering from Illinois and his Ph.D from Illinois. Sampson is the first African-American to receive a Ph.D in Nuclear Engineering. In 1971, Sampson was awarded a patent for the “gamma-electric cell.” This technology was used in the cellular phone. Hopefully, Dr. Sampson was well rewarded for his efforts. He holds the patent for his discovery #: 3,591,860. Check it out on Google. Pass this information on. (Barbershops and Beauty Salons are great places to discuss this info). During the week, let others know about Dr. Sampson. This is a “Breakdown the stereotype campaign.” Byron Perhaps Aradin, you can then explain why there is no reference to cell phones, radio phones or any phones for that matter in the patent you cite, nor is there any credible evidence that the gamma-electric cell is employed as a component of the cell phone infrastructure. Instead of posting the contents of Internet Email Rumors, your time might better be spent working to better the human race by actually contributing to society rather than detracting from it. Observing Byron, The patent number given will give you the necessary proof you are asking for. There is a way to discuss and debate without being condescending. Keller Dr. Sampson is a brilliant man and inventor, but none of his inventions have anything to do with cell phones. All of his work has been in the field of nuclear engineering and includes the invention of a device called a “gamma-electrical cell.” This is NOT a cell phone. In this case, cell simply means “a small compartment.” Not every important invention has to do with a consumer product! Alaha Patera What is wrong with you playa??? dis be da moz amazzzin sight eva!!! thanks for da ‘a’ on ma english report, dawg! 😀 ezra thank for this!!!!!!!!!!!!!!!! ezra dis be da moz amazzzin sight eva!!! thanks for da ‘a’ on ma english report, dawg! :D…guys anwser meh dr.MARTIN Copper workin on a nu model of cell phone “real tech” da world in ur hand 😉 roni who ia the mobile phone inventor lala thats real talk cuz that was some gud information bout who created cell phones cuz they are good things to use to contact people that are far away heh whos the author of this web page know it all where was cellphones invented? please help! George Al Gore invented the cellphone goodluck patrick guys i love u guys more than this get more advanced pls!!$ Danillo Fernandes Sorry american idiots read patent number 775.337 D.C but the first voice transmition in the world is brasilian … Roberto Landell de Moura ….. Fuck Americans hehehehe chad moore wow so this man made the phone, i mean h 1st phone i wonder how because you know what they say bout old ppl lol patrice by the way im missing some of my teeth so if i put my pic up smileing please dont say anything, i was punched & i stink lol Sumaiya soooooooooo much helpful……………thanks 2 them who made this.and I like 2 thank my frnd,,because of her I have visited this………. Jeff Thanks to the developers of this site. Kindly phase out some of the comments which are misleading. This is not where ill-thinking people should post nonsenses. Ariel Christina Marilyn Snow thx it was very useful!!! however, wouldn`t it be interesting if you write more pecificlly how back cell phones can trace? Shawn Charles E. Alden invented the cell phone in 1906. owen let the history inspire us to do more rajani hi, i want to no who invented cell phone Ajay Khule Hi Rajani, It is already mentioned in the article. Dr. Martin Cooper invented cell phone and was also know as the first person to make a call on a cell phone. Refilwe Yeah dats very clever of you doc thanks for making cell phones for us Guest can i ask who’s the author of this article? Mushi shrooms My father Andrew Brian Johnson of Telstra created the first 2g network base station and when he died in October 2001 3G was released and they are trying to sweep this technical engineer who started in telecom and in 1992 made the first digital face to face video chat live on channel 9 news and a current affair Australia my family has never received royaltys and I found out my father was an inventor 3 days ago I can’t even aford pre paid credit for my Telstra phone Facebook my father just created page with patant that created 2g Search for:	i don't know
Which journalist became the 172nd president of the MCC?	Doyen of TMS, now CMJ is head of MCC \| The Times Welcome to your preview of The Times Subscribe now Doyen of TMS, now CMJ is head of MCC Reward: Martin-Jenkins called the role "one of the greatest honours in cricket" Graham Morris for The Times 1 of 1 Reward: Martin-Jenkins called the role "one of the greatest honours in cricket" Graham Morris for The Times Patrick Kidd Last updated at 12:01AM, May 6 2010 The most famous initials in cricket will, from October 1, be led by the second-most famous initials in cricket (with due respect to the ICC, the ECB and the IPL). Christopher Martin-Jenkins, the former chief cricket correspondent of The Times who is known around the world as CMJ, is to become the 172nd president of MCC. Martin-Jenkins was appointed successor to John Barclay at the club’s annual general meeting yesterday. He will be the first career journalist to take on the one-year term of office, although some presidents, such as Tony Lewis, Mike Brearley and Robin Marlar, have been former Subscribe now	Christopher Martin-Jenkins
"Which world leader was known as ""Boney""?"	Martin- Jenkins to become next MCC President Martin- Jenkins to become next MCC President Martin- Jenkins to become next MCC President Published: 05 May 2010 Christopher Martin-Jenkins, the BBC Test Match Special commentator and former Chief Cricket Correspondent of The Times, will serve as the next President of Marylebone Cricket Club. His one-year term of office will begin on 1 October 2010. The announcement of his appointment was made at Lord's during MCC's Annual General Meeting on 5 May by John Barclay - the current Club President. Elected a Member in 1967, Martin-Jenkins has a strong association with the Club. Having previously played 67 times for MCC in matches against schools and clubs, he was elected to the MCC Committee in 2009; he also sits on the Arts & Library committee. In addition, in 2007 he became the first career journalist and broadcaster to be invited to speak at the annual MCC Spirit of Cricket Cowdrey Lecture - previous lecturers had all been former international cricketers. The Cricketer to The Times Martin-Jenkins was a good schoolboy cricketer - he once scored 99 at Lord’s for Marlborough against Rugby School - and gained county experience playing for Surrey 2nd XI before turning to journalism. He was mentored in his early career by the late EW Swanton, with whom he worked as assistant editor at The Cricketer. He was appointed cricket correspondent for the BBC in 1973 before returning to The Cricketer as editor in 1980. From 1983, Christopher combined his editorship with a return to the BBC cricket correspondent role, fulfilling both jobs until 1990, when he joined The Daily Telegraph as cricket correspondent. He switched to The Times before the 1999 season, where he served as Chief Cricket Correspondent until 2008. He has remained a regular commentator on Test Match Special and frequent contributor to The Times and The Wisden Cricketer. Paying tribute to his successor, a man whom he first met in his role as a BBC correspondent, John Barclay said: "Christopher has a wealth of cricket knowledge and a very strong connection to the sport; quite simply, he loves the game. "Working within the world of cricket for over 40 years, he is, I believe, ideally placed to serve as MCC President. "He could be described as the ‘voice of cricket’ - when CMJ appears on the radio, he makes you feel that all is right with the world. "Following in the footsteps of former professionals such as Mike Brearley, Derek Underwood and myself, I think it’s nice to have a bit of variety in the role. "I am delighted to nominate Christopher Martin-Jenkins as MCC President and believe he will do an excellent job." Share this page	i don't know
The 400th birthday of which flower was celebrated in the Netherlands in 1994?	Holland's Garden of Delights : Destination: Netherlands : Keukenhof Celebrates 400 Years of Tulips - latimes YOU ARE HERE: LAT Home → Collections Holland's Garden of Delights : Destination: Netherlands : Keukenhof Celebrates 400 Years of Tulips February 27, 1994 \|DALE M. BROWN \| Brown is a Time-Life Books editor in charge of the "Lost Civilizations" series LISSE, Netherlands — In a way, I was reminded of Oz. As we entered Holland's Keukenhof gardens last spring, instead of poppies to either side of our path, there were tulips, big red ones, the size of candy apples. And like Dorothy, the Lion, the Scarecrow and the Tin Man, we were drawn forward. The enchantment grew. Along one pond's edge, tulips and daffodils presented double images--as white swans sliced through the rippling reflections in the water's surface. Spring flowers of every sort caught the eye--fragile anemones spreading little carpets along the edges of the beds, fritillaria blossoms hanging bell-like from tall stalks, cherry trees dipping pink-laden branches to the ground. One breathtaking vista ran arrow-straight back through the woods in an avenue of tiny, deep-blue grape hyacinths bordered by yellow daffodils and more red tulips. People who love spring can do no better than visit Keukenhof, the world's largest flower garden--and just possibly the world's most beautiful one as well. Over 6 million bulbs--tulips, daffodils, hyacinths, amaryllises--bloom here each year on some 70 exquisitely landscaped acres. And the effect is, well . . . intoxicating. I never grow tired of Keukenhof. I have been there three times over the years, and would go again now, if I could. It is an elixir. There couldn't possibly be a place where flowers delight more. And probably no more so than in 1994, which marks the 400th season that tulips have bloomed in the Netherlands. The anniversary is to be celebrated in grand style (see accompanying story on L13), and amid much public relations hoopla as an opportunity to lure visitors and their pocketbooks. My wife and I paid our most recent visit last spring in mid-April. We were staying in an Amsterdam hotel and could have taken a guided tour of the park, driven there in a tourist bus. But we preferred to be on our own, so that we could wander freely and, later, explore some of the surrounding countryside. Since Keukenhof lies only a half hour or so by car southwest of Amsterdam's Schiphol Airport, we decided to take a train from the city's main railroad station to the arrivals terminal and there rent an automobile for the day. This would save us from having to drive through city traffic and to skirt the omnipresent bicyclists. We started early, eager to arrive at Keukenhof as close as possible to the 8 o'clock opening. We knew from experience that Dutch spring mornings are often a whole lot brighter than the afternoons, and that there is nothing like crisp sunshine to bring out the flowers' colors. Driving was easy. We found the roads on the way well marked, with signs pointing the way to Lisse, the town nearest to Keukenhof. Even if we had lost the way, we would not have been at a loss for directions: Almost every Netherlander speaks English to one degree or other. * For so beautiful a place, Keukenhof has quite an ordinary name. It means "kitchen garden," dating from the time when this was a vegetable patch and hunting park for a noble family. Entering the garden, we were instantly enveloped in the perfume of thousands of hyacinths. And if this weren't enough of a special welcome, we were serenaded by birds chirping in the newly leafed trees. H.N.T. Koster, the landscape architect who designs the flower beds, uses color like an oil painter, setting up strong contrasts, or subtly blending pinks, whites and pale blues. His intent is never to overwhelm the eye, but rather to lead it on. With little rises, ponds, streams and canals to separate areas, and the flowers winding brightly around these, he has made this an intimate place despite its large size. And such is Keukenhof's magic that though it can become very crowded (almost a million visit during the April-May season when it is open to the public), people seem never to get in the way. Perhaps that is because almost everyone walks slowly, with head bowed, mesmerized by the sight of flowers, flowers, flowers. One of the excitements of Keukenhof is its dazzling variety. Tulips appear not only in their ordinary globe-like form in a range of solid colors, but also with striped or variegated petals, some of the edges shirred, some ruffled, some fringed. Several seem more like peonies than tulips, and a few are even sweetly scented. Many stand only inches tall; others rise proudly on sturdy, three-foot stems.	Tulip
Which female singer had a top ten hit in 1999 with Not Over You Yet?	Canal Ring \| I amsterdam Canal Ring Amsterdam's Canal Ring Alongside tulips and windmills, the global image of Amsterdam is one of a city entwined with water. Since its development in the 17th century, Amsterdam’s Canal Ring has grown to be one of the world’s most unique urban landscapes. And it not only remains a historic and beautiful water network through the city, but a stunning backdrop for fantastic cultural and sporting events throughout the year. A rich history Built during the Golden Age of the 17th century, Amsterdam’s Canal Ring, known locally as the Grachtengordel, is comprised of a network of intersecting waterways. These were developed through the drainage and reclamation of land for new development. Yet what was initially a practical feature, allowing the city to grow beyond its fortified boundaries, subsequently evolved into the area’s characteristic gabled canal-side estates and spectacular monuments thanks to financial enrichment from the booming maritime trade. The most famous trademarks of this new canal belt became the concentric loop of the Prinsengracht, Keizersgracht, Herengracht and Singel canals. Learn more about the history and development of the Canal Ring . 400 years of Amsterdam's Canal Ring Since 1999, the city’s distinctive canal landscape has officially been protected, and in 2010 the Amsterdam Canal Ring was added to UNESCO’s World Heritage List . In 2013, the Canal Ring also celebrated its 400th birthday. Cultural heritage Amsterdam’s maritime success in the Golden Age not only led to urban expansion, but a boom in trade and architectural development. This was marked by the building of the city’s remarkable canal-side estates in the 17th and 18th centuries – most of which are still standing today. Even if you aren’t lucky enough to call one of these monuments your home, there are plenty of ways to experience life by the water in both museums and special events in and around the canals. Located inside an actual canal house, Het Grachtenhuis (Museum of the Canals) is a great way to learn more about the Canal Ring and its development over the centuries, with its multimedia exhibits bringing history to life. And for those looking to experience the present as well as learn about the past, events such as Open Garden Days and Amsterdam Heritage Days allow canal houses and city centre monuments to open their doors to the public. Festivities on the water Each year, Amsterdam’s canals play host to a variety of major events on or alongside the water. At the end of April, the city turns orange to celebrate King's Day (formerly Queen's Day), a massive event that sees the canals packed with floating party-goers. Likewise, in August, the highlight of the annual Gay Pride celebrations is the world famous Canal Parade, featuring decorated barges, lots of colour and music, dancing participants and fun for all, whether on a boat or watching from a bridge. The Grachtenfestival (Canal Festival) also brings much music to the Canal Ring. Canal tours and excursions Canal cruises are one of Amsterdam’s most popular attractions. For anyone visiting for the first time, it’s an excellent introduction to the city’s many sights. There are a number of departure points throughout the city and the tours are available in a multitude of languages, provided by a number of different operators. Whether it’s a one-hour tour, a hop on, hop off all-day experience, or a romantic candlelight dinner cruise, there are options for every occasion . And naturally, you can have just as much fun when sightseeing on foot or even following the natives by taking to two wheels.	i don't know
What is the minimum age that you could become President of the United States?	Requirements to Become President of the United States By Phaedra Trethan Updated June 14, 2016. What are the constitutional requirements to serve as President of the United States? Forget the nerves of steel, the charisma, the skeleton-free closet, the fund-raising network, the thick skin and the legions of loyal folks who agree with your stance on all the issues. Just to get into the game, you have to ask: How old are you and where were you born? Article II, Section 1 of the U.S. Constitution imposes only three eligibility requirements on persons serving as president – based on the officeholder’s age, time of residency in the U.S., and citizenship status. Under the Twelfth Amendment , the same three qualifications apply to the Vice President of the United States . Only "natural-born" U.S. citizens (or those born abroad, but only to parents at least one of whom was a U.S. citizen at the time) may serve president of the United States , though from time to time that requirement is called into question, recently in the case of potential 2016 presidential candidate Sen. Ted Cruz (R - Texas), who was born in Canada to Cuban-born father and a U.S-born mother. One must also be at least 35 years of age to be president. John F. Kennedy was the youngest person to be elected president; he was 43 years old when he was inaugurated in 1961. There is no maximum age limit set forth in the Constitution. Ronald Reagan was the oldest president ; at the end of his term in 1988, he was nearly 77. Finally, one must have lived in the United States for at least 14 years to be president, in addition to being a natural-born citizen. The Constitution is vague on this point. For example, it does not make clear whether those 14 years need to be consecutive or what the precise definition of residency is. So far, however, this requirement has never been challenged. These are the only explicit criteria in the Constitution. Further Discussion Age In setting the minimum age for serving as president at 35 – compared to 30 for senators and 25 for representatives – the Framers of the Constitution implemented their belief that the person holding the nation’s highest elected office should be a person of maturity and experience. Remember that in the 1780s, people in their 30s were considered to be middle-aged. As early Supreme Court Justice Joseph Story once noted, the "character and talent" of a middle aged person is "fully developed," allowing them a greater opportunity to have experienced “public service” and to have served “in the public councils.” US Residency While a Member of Congress need only be an “inhabitant” of the state he or she represents, the president must have been a “resident” of the U.S. for at least 14 years. While the Framers’ intent in imposing this difference is not clear, some constitutional experts suggest they felt the president should have actually been present and living in the US for the required period of time, compared to an inhabitant, who may have lived in another country for most of their lives. On this, Justice Story once wrote, "by ‘residence,' in the Constitution, is to be understood, not an absolute inhabitancy within the United States during the whole period; but such an inhabitancy, as includes a permanent domicile in the United States." US Citizenship By far the most often challenged constitutional to serve as president is that the officeholder be a “natural born Citizen” of the United States, compared to Members of Congress who need only to have held U.S. citizenship for a required number of years. In this requirement, the Framers clearly intended to exclude any chance of foreign influence from the highest administrative position in the federal government . For example, John Jay felt so strongly on the issue that he sent a letter of George Washington in which he demanded that the new Constitution require “a strong check to the admission of Foreigners into the administration of our national Government; and to declare expressly that the Commander in Chief of the American army shall not be given to nor devolve on, any but a natural born Citizen.” Phaedra Trethan is a freelance writer and a former copy editor for The Philadelphia Inquirer newspaper	35
Tony Blair has two middle names. What are they?	How to Become President of the United States (with Pictures) How to Become President of the United States Four Parts: Meeting the Eligibility Requirements Becoming a Candidate for President Getting Elected President Getting to the White House Community Q&A To become President of the United States, a candidate must meet a few eligibility requirements and then enter the presidential race. Modern day presidential races do not require the backing of a political party, but it helps in terms of organization and fundraising. Become president by ensuring you meet the requirements, declaring your candidacy, selecting a running mate and entering the race for this nation's highest office. Steps Meeting the Eligibility Requirements 1 Prove you are a natural born citizen of the United States. This is a constitutional requirement. If you are presently a citizen but you were born in another country, you are not eligible to be president, unless one of your parents was born as an American citizen. Really, you want to be as "American" as possible. Did you grow up in a long cabin playing baseball and eating apple pie? Are there photos of you dressing up as Benjamin Franklin and Thomas Jefferson for Halloween? Excellent. 2 Turn 35 years old. The constitution also prohibits anyone who is not yet 35 years of age from becoming president. The average age of the man entering the Oval Office for the first time is 55 years old. In case you're curious, he's also married, has children, doesn't have a beard, and has a decent likelihood of being born in Virginia. [1] 3 Live in the United States for at least 14 consecutive years before you run for president. This residency requirement is found in Article II of the Constitution with the other two eligibility requirements. And while you're in the country, don't participate in any rebellions against the state (unless 2/3 of Congress really likes you). And try not to get impeached by the House and then removed from office by the Senate. That's the 14th Amendment and article I of the Constitution, by the way. [2] [3] 4 Get plenty of education. While there are no educational requirements or experience necessary per se, most presidents have had advanced degrees and studied law or business before entering politics. You're best off taking classes in history, sociology, law, economics and international relations. While you're at college, it's a great idea to volunteer on political campaigns (to get an idea of how they operate) and for the community at large. Getting active, involved, and recognized by your community (and as a leader at that) is best done as soon as possible. 31 presidents have had some sort of military experience, but that number is highly skewed to the past -- it's not as common as it once used to be. [4] So while joining the military is an option, it's not a necessity. 5 Seek out a politically-related career. Though this isn't written in the books, generally presidential hopefuls start in the political arena on a much smaller scale. So get involved in your community! Run for mayor , governor , senator , or some other representative of your state. It's the best way to get your name out there. You don't have to do this. You could be some type of community organizer, lawyer, or activist, too. It's just that getting your name in the ring, getting to know people, and getting people to know you is the simplest way to getting your name on the big ticket at the end of it all. The sooner you pick a political party, the better. You'll have a consistent political record, start meeting people that will be totally worth knowing, and be able to develop your reputation from the get-go. It'll be a lot easier to get funding in 15 years when you desperately need it! Part 2 Becoming a Candidate for President 1 Talk to your family and supporters. Becoming president includes a grueling campaign where every bit of your personal and professional life will be picked apart by the media and your competitors. You will need support. It'll be tough on you, but it'll also be tough on your family. You'll be flitting to and from during your campaign with very little time for your spouse and children. Is it worth it? 2 Form an exploratory committee. This committee can "test the waters" or determine what your chances are. It's the standard first step to starting out on the presidential path. Appoint a campaign manager to put together this committee for you. This should be someone you know and trust, who has experience with politics, fundraising and campaigns. Utilize your exploratory committee to assess the level of visibility you have in the public (i.e, your chance at succeeding) and recommend campaign strategies, themes, and slogans. The committee should also recruit potential donors, endorsements, staff and volunteers, and write position papers and speeches. If it all goes well, they'll start organizing in the key beginning states (Iowa, New Hampshire, etc.) [5] 3 Register with the Federal Election Commission (FEC). Once you begin receiving donations or spending money in excess of $5,000, you must register. While this doesn't mean you're officially running, the FEC basically assumes that you are. You wouldn't be tossing around this kind of money otherwise. Be sure to file a Statement of Candidacy within 15 days of reaching the $5,000 threshold. After that statement is filed, you have 10 days to file a Statement of Organization. You must also report campaign income and expenditures to the FEC on a quarterly basis. By the way, Obama's campaign in 2008 cost $730 million dollars. [6] 4 Declare your candidacy publicly. This is an opportunity to hold a rally for supporters and voters. Most presidential candidates hold a rally in their hometown or some other significant location. So bust out the t-shirts, the buttons, and the bumper stickers. It's campaign time! Part 3 Getting Elected President 1 Raise money. Presidential campaigns are expensive. According to the final federal finance report, the campaign cost of the 2012 presidential election tallied out at around $2 BILLION dollars. [7] Billion. So if you can get anywhere near half of that, you're set. Diversify fundraising strategies. You can rely on a political party if you are the chosen candidate of that party. If you face other party members in a primary or you do not belong to a major party (that above figure being why most join one of the two major parties), you will need to raise money from other sources. Raise money from large donors as well as small. In 2012, presidential candidates were attending events that cost donors $1,000 a ticket and appealing for $3 donations online. 2 Appeal to average Americans. To become president, you will need to shake hands, kiss babies, attend small town events and visit factories, veterans, churches, farms and businesses. You'll need to put away those diamond cufflinks of yours and roll up your khakis. Al Gore said he invented the Internet. John Edwards had an affair. Mitt Romney said half of US voters don't pay taxes. [8] That's just three things Americans don't like. Wherever you are -- whether you think you're being recorded or not -- be on your best behavior. The public doesn't easily forget these things. 3 Win primary elections, caucuses and delegates. Each state has a different way of choosing a president -- a caucus, a primary, or some combination of the two. Winning those grants you delegates that choose you to be on the presidential ticket, celebrated at the party's national convention that year. Every state is a bit different, and the party themselves are different as well. Republicans have "pledged" and "un-pledged" delegates; Democrats have "pledged delegates" and "super delegates." Some are a winner-take-all system, while others give you a percentage of delegates to match the percentage of votes you received. [5] 4 Attend your party's convention. Once you emerge as the strongest candidate in your political party, you will hold a convention where all the delegates will pledge their support for your candidacy. It used to be that the convention was actually where the delegates voted, but now there's media coverage where everyone already knows who won, so it's a bit more symbolic. Either way, it's a party in your name. It's one day where each party prefers to concentrate on how awesome they are instead of how terrible the other is. So enjoy the short-lived positivity! This is also where you will declare your running mate. This is pretty big -- if people don't approve of your choice, you could lose votes. So think it through! 5 Run in the general election. This is a narrow field that often pits two major candidates against each other, one from the Republican party and one from the Democratic party. It's about to get real. Enter the race as a third party if you do not have the backing of a major party, but still want to be president. Other parties that support presidential candidates include the Green Party, Natural Law Party and Libertarian Party. Presidential candidates have also run as Independents. 6 Campaign, campaign, campaign. You'll be flying from San Francisco to Chicago to New York City in one day. You'll be exhausted and running on fumes and adrenaline. You'll be shaking hands, smiling, and making speeches like you're some sort of unstoppable robot. And maybe you are! The campaign is generally broken down into three parts: grassroots, on the ground and in the air. Grassroots is what you've already done -- put down your roots, gotten stable; on the ground is what you're doing now -- almost literally hitting the ground (from coast to coast) running; then you'll go in the air -- media frenzy after media frenzy. Part 4 Getting to the White House 1 Stick to your views and your promises and stay strong. You've made it this far. Now all you've got to do is be your charismatic self, make sure your speechwriters are on top of their game, and avoid scandals and flip-flopping. Get the word out there about what you believe in and what you want to do for the country. And then stick to it. Keep your image as consistent and clean as possible. Not only will it be your word, but it'll be your image everywhere -- commercials that you've endorsed (including attack ads), YouTube videos, pictures from your past, etc. No matter what gets thrown at you, you gotta take it in stride. 2 Rock the debate. Not only do you have to know your views, you gotta know your opponent's views, too. You gotta speak in a way that is convincing to the general public, simultaneously beefing up your own campaign and deflating the other. And you have to master the body language and tone, too. You took speech in college, right? When JFK stared right into the camera with his tan, young self, sweaty, coming-out-of-the-flu Nixon didn't stand a chance. Charisma will get you a long way here (and for the rest of your life and all of this campaign). If you've gotten this far, you're probably pretty used to the bright lights and constant pressure. But if this takes it to a whole 'other level, as a general rule of thumb: never let 'em see you sweat. 3 Win the presidential election. You will need to do more than win the popular vote, which is the tally of all votes in your favor. You will also need to win the electoral college. 270 votes and you've got it! As the votes roll in on that first Tuesday after the first Monday in November, try not to bite your nails off or pull out your hair. You can sleep when all is said and done. Each state has a certain number of electors based on its size and population. To become president, one candidate must have more electoral votes than the other. In the event of a tie, the House of Representatives will decide the election. [5] 4 Get inaugurated on January 20th. Woohoo! All that work, all that money, all that living out of a suitcase and stress -- it's over! Well, until you have to start solving the world's problems. You get a couple months to recuperate and then that Oval Office is all yours. How are you gonna decorate everything?! When you make it to the white house, nobody wants a president that sees the world in his or her own view, the citizens want their changes not yours. We as people see the flaws in our country and can easily change them. Give the citizens more power! Why do we need a president when you can make your own changes and people can join your movement and if successful, citizens will change it all. Community Q&A How long can someone be president for? wikiHow Contributor You can be president for two terms. But for the second term, you have to be elected by the citizens again. One term is usually four years. What if I was born in America, but was raised on another continent? wikiHow Contributor So long as your birth certificate says you were born in America, and you have been resident in the USA for 14 years, you can run to become president. See Section 1 of Article Two of the United States Constitution, which sets forth the eligibility requirements: No Person except a natural born Citizen, or a Citizen of the United States, at the time of the Adoption of this Constitution, shall be eligible to the Office of President; neither shall any person be eligible to that Office who shall not have attained to the Age of thirty five Years, and been fourteen Years a Resident within the United States. Why do you have to raise so much money to be president wikiHow Contributor Typically, you need to get your name out there. If people don't know who you are, they aren't going to vote for you. It costs a lot of money to advertise yourself. Do I have to be married in order to become president? wikiHow Contributor It is not required, but many people expect a president to be married. Most presidents have been married, and the ones who weren't were widowers. If a person running for president drops out of the race, what happens to the money raised for their campaign? wikiHow Contributor If someone decides to drop out of the race, the money will be returned to the people who donated it. Can you be either gender or do you have to be male? wikiHow Contributor Nowhere in the Constitution does it require Presidential candidates to be male. There can be a female president. Does it matter where I live in the United States to run for president? wikiHow Contributor No, people everywhere have been running for President for years. You could live in Oklahoma or Texas for example, and you could still run for President. Does the president take an oath on the Bible? wikiHow Contributor There is no law that says he or she must swear on a Bible. All the Constitution says is that the new president must take "the following Oath or Affirmation." A non-Christian president could request a different book to place his hand on, or no book at all. Does a person need to participate in a debate to become president? wikiHow Contributor Not Constitutionally, but participating in debates will help you get your point across to the voters and clear their doubts, which will increase your chances of being favored and elected. Likewise, if you have positions that the general voter would disapprove of, it is better to avoid publicizing your stance. In this case, debating your opponents may be a bad idea later in the race, especially if you have enough ad campaigns to compensate.	i don't know
What's the name of the river in John Constable's painting 'The Haywain'?	John Constable \| The Hay Wain \| NG1207 \| National Gallery, London More paintings in this room Constable's painting is based on a site in Suffolk, near Flatford on the River Stour. The hay wain, a type of horse-drawn cart, stands in the water in the foreground . Across the meadow in the distance on the right, is a group of haymakers at work. The cottage shown on the left was rented by a farmer called Willy Lott and stands behind Flatford Mill. Today, the cottage and river path are still much as they were in Constable's time. Although the painting evokes a Suffolk scene, it was created in the artist's studio in London. Constable first made a number of open-air sketches of parts of the scene. He then made a full-size preparatory sketch in oil to establish the composition . The painting was exhibited at the Royal Academy in 1821, the year it was painted, but failed to find a buyer. Yet when exhibited in France, with other paintings by Constable, the artist was awarded a Gold Medal by Charles X. Share this painting	Stour
There are around 60.000 miles of veins, arteries and capillaries in the human body. True or false?	John Constable \| artble.com John Constable Salisbury Cathedral and Leadenhall from the River Avon John Constable John Constable's focus was on the natural English landscape that he idolized since childhood. His paintings rebelled against the work of artists of the Neoclassical style who had simply used landscape to display historical and mythical scenes. Instead, he used his work to showcase the beauty and power of nature and his work is today synonymous with the Suffolk landscape and the Romantic Movement he embodied. Constable's six-foot 'Stour River scenes' are his most well-known and although he was popular in France during his lifetime, Constable never sold well in his native England. The artist's most famous works are all based on the Suffolk countryside with which he was so enamored. His techniques and methods of capturing natural light and movement were innovative and still inspire artists to this day. As the son of a mill owner, John Constable also understood the ways in which the countryside worked and he often included country workers in his paintings. Now referred to by many as 'Constable Country' this county in the south of England will forever be associated with the artist and is thought by many to be the epitome of classical English countryside. John Constable Artistic Context The Cornfield John Constable John Constable was born in the second half of the 18th century, at the beginning of the Industrial Revolution when poverty was rife within the poorer communities of England. In the art world, many professionals were rebelling against the pure and realistic lines of the Neoclassical period and started producing paintings and sculpture which took the viewer into a new world, far removed from the realities of everyday life. In this respect Constable was different; he loved painting nature and used it as the focus of his pictures, creating realistic landscapes. His style was to take a natural landscape and paint it just as he saw it without enhancing or changing it. This realism made Constable's work stand out from his contemporaries as well as the techniques he used to create a more life-like feel to his paintings. Constable was a landscape revolutionary and it is thanks to him that the work of Monet and the French Impressionists developed in the way it did. John Constable Biography John Constable Early years: John Constable was born in 1776 to a wealthy corn merchant's family in East Bergholt, Suffolk, England. Although his father was keen for his son to take over the family business, Constable's love for art developed at a young age and his obstinate attitude would not let his father sway his decision to be an artist. Schooled in the local village school for most of his childhood, Constable spent most of his youth in Suffolk, sketching the landscape which featured in all of his artwork as an adult. When Constable was a young man he was introduced to a collector named George Beaumont and this meeting would prove to be highly important in the development of Constable's career as an artist. Beaumont showed Constable his prized Landscape with Hagar and the Angel by Claude Lorrain. Lorrain's influence on Constable is clear to see in his paintings and he was considered by many to be the most accomplished landscape painter pre-19th century. Another great influence for Constable was trained artist John Thomas Smith who he was introduced to while visiting relatives. Middle years: Constable married Maria Bicknell on October 1816 at St Martin-in-the-Fields. Although Constable started to display at the Royal Academy by 1806 he did not sell a painting until he was 39 and remained unpopular in his native England until after his death. In 1821 he showed The Hay Wain at the Royal Academy's exhibition and was elected an Associate of the Royal Academy that same year. Luckily for Constable, French patrons found his work much more appealing and he began to sell a lot of work in Paris. Although he was popular outside of his own country Constable never left England and only ever painted landscapes of his beloved Suffolk. Later years: After the birth of her seventh child in January 1828, Constable's wife Maria fell ill and died of tuberculosis at the age of forty-one. From that point onwards Constable chose to always dress in black and was, according to one friend, "a prey to melancholy and anxious thoughts". The artist never remarried and cared for his seven children alone for the rest of his life. At the age of 52 Constable was elected into the Royal Academy and in 1831 he was given the title of Visitor at the Royal Academy Constable died in 1835 and left behind 7 children. John Constable Composition: Constable's compositions were dictated by what he saw in front of him and the nature of the English countryside. He would obviously choose the direction with which he painted a scene, but he was so dedicated to the true beauty of nature that it is unlikely he would have compromised his realism for a better composition. Brushstroke: Constable's broad and naturalistic brushstroke was frowned upon by The Royal Academy and did not earn him many patrons in England. This Impasto technique however, went on to be developed by The Impressionists of the late 19th and early 20th centuries. Color palette: Until Constable became popular many landscape artist used what is known as coffee colors to create their works, especially the great Dutch masters whose works were considered to be the epitome of good landscape painting. Use of light: Constable had to create new techniques to give the realistic appearance of flowing water and wind blowing through trees. By layering reds with the greens of his trees, the artist was able to create this depth in a way which had never been done before. Not only this, but the reds added a vibrancy to the trees, something that was missing from classical landscapes. Technique: Unlike many of his contemporaries Constable painted from nature rather than thinking up a composition in his mind's eye prior to beginning a piece. Often completing primary sketches prior to starting a large canvas, Constable would draw on the inspiration nature gave him and try to capture a moment in time, testing his composition first in oil and pencil sketches. As a young boy Constable would also spend hours sketching clouds in what he referred to as his "skying" sessions. This development and skill is evident in his later works as the artist perfectly recreates cloud formations and sunlight. Who or What Influenced John Constable Landscape in Suffolk Peter Paul Rubens Constable had a wide range of influences growing up in a rich mill-owner's family. Although he would not have been as exposed to art as some of his more high-class contemporaries, the young artist had a range of famous landscape painters to help develop his art and feed his passion for nature and landscapes. Thomas Gainsborough: One of the first great English artists, Thomas Gainsborough was noted for his portraits but was also a very successful landscape painter. Also from Suffolk, Gainsborough would have grown up in and painted the same landscapes as Constable, his continued notoriety after his death would have meant he was well-known by Constable, who was an emerging artist. The two artists shared a love of nature and Gainsborough's use of natural painting inspired Constable to say: "On looking at them [Gainsborough's paintings], we find tears in our eyes and know not what brings them." Claude Lorrain: Lorrain was a master of Baroque landscape painting mainly active in Italy. A pioneer in a genre which was not deemed proper in the portrait painting art world of the time, Lorrain expanded landscape painting and helped to make it popular for centuries to come. Although his paintings normally contained some human focus, whether it be a busy port or a valley with a castle in the distance, his work was hugely influential on budding artists such as Constable. George Beaumont, a collector, showed the young Constable his prized Landscape with Hagar and the Angel and this is known to have been a great inspiration to him. Peter Paul Rubens: Although Rubens is famously known as a painter of religious and classical subjects, he did produce a number of landscapes in later life. As one of the earliest and most well respected painters to produce landscapes he helped to make them desirable and drew inspiration from his surroundings in his Chateau de Steen in the outskirts of Antwerp, much as Constable did from his beloved Suffolk. John Constable Works Archdeacon Fisher was one of Constable's closes... Date of Creationcirca 1829 Constable based this study on Hagar and the Ang... Date of Creation1802 Men work on the River Stour, ensuring the succe... Date of Creationcirca 1817 Alternative NamesScene on a Navigable River Height (cm)101.60 One of the artist's sketches around Flatford Mill Date of Creation1812 Constable painted this portrait in July 1816, a... Date of Creation1816 Constable used his work to showcase the beauty ... Date of Creation1820 Constable looks at the Cathedral from the woodl... Date of Creation1823 One of several oil sketches by Constable in pre... Date of Creation1820 The arching rainbow in this image is by far the... Date of Creation1831 This piece was first exhibited at the Royal Aca... Date of Creation1820 One preliminary sketch created by Constable pri... Date of Creationcirca 1819 Constable referred to this image as 'The Drinki... Date of Creation1826 A hay wain is a type of horse-drawn cart which ... Date of Creation1821 This was the largest of Constable's exhibition ... Date of Creation1832 Constable described this scene as "as placid re... Date of Creation1819 Constable visited Osmington near Weymouth for h... Date of Creationcirca 1817 Completed on the artist's first visit to Salisb... Date of Creation1811 Starry Night Jean-François Millet Due to Constable's popularity in France, especially during his lifetime, this is the place where his work had the most influence and his followers include the French Impressionists, Théodore Géricault and Ferdinand Victor Eugène Delacroix . Constable's influence lead to an increase in the use of a free hand and impasto technique, whether they were solely landscape painters or not. Although Constable was not as successful an artist during his lifetime as he is thought of now, his success in France led him to rather inspirational to artists from the French Romantic movement. Géricault: Théodore Géricault lived from 1791 until 1824 and was an influential painter in the French Romantic movement. His most famous works include The Raft of Medusa and The Charging Chasseur . Delacroix: Ferdinand Victor Eugène Delacroix lived from the 26th April 1798 to the 13th August 1863 and was regarded from the outset of his career as the leader of the French Romantic School. Barbizon School French Impressionists: A group of late nineteenth century painters who embodied the Romantic ideal of finding beauty in nature brought Realism to continental Europe. Constable's influence is clear in their works, notably in the way in which they share his love of nature and use of realistic observation, rather than using landscape as a backdrop for a historical or mythical scene as many 18th century painters chose to do. Constable's relaxed Impasto style was also developed by these painters, which was a true innovation at the time. Some of the most notable artists from this school include, Théodore Rousseau and Jean-François Millet. John Constable Critical Reception The White Horse John Constable John Constable shared a mix reception during his lifetime and as with many true innovators, his art was not fully appreciated until after his death. His popularity and influence in France, however, is clear to see in later generations of painters, most notably the Impressionists. Constable is today considered, along with the likes of Turner , as one of the foremost 18th century English Artist. Recent exhibitions demonstrate his ongoing popularity and accomplishments. Contemporary reception: Constable was not highly thought of in England at the beginning of his career. The fact that he did not sell a painting until he was 39 stands testament to this, as does the fact that his first painting was sold in France. The British artistic establishment considered Constable's free brushstrokes and impasto technique to be unskilled and his obsession with nature went against the fashions of the day. It was only in Paris that Constable's work was appreciated when in 1823 he sold The Hay wain at an exhibition in the city. His reputation began to grow in Paris and he sold many works there. Although still not highly thought of in London, Constable's success in France meant that a decade later he was also selling works in his homeland and being recognized by the Royal Academy for his work. Posthumous reception: After John Constable's death in 1835 his paintings continued to gain notoriety and acclaim and when 19th century French impressionists became popular they noted Constable as an inspiration for their own work. Modern day reception: There have been several successful exhibitions of Constable's work throughout England and Europe during the last decade. Some of the most important have been at the National Gallery and the Tate Gallery both in London. Such exhibitions show the importance and interest of Constable's work so long after it was created. His innovation and originality ensures that he continues to be considered as an artist of great merit and skill. John Constable Bibliography To read more about Constable and his art please choose from the following recommended sources. • Bailey, Anthony. John Constable: A Kingdom of his Own. Vintage; Reprint edition, 2007 • Clarkson, Jonathan. Constable. Phaidon Press Ltd. , 2010 • Cormack, Malcolm. Constable. Oxford: Phaidon, 1986 • Cove, Sarah, et al. Constable: The Great Landscapes. Tate Publishing, 2006 • Gayford, Martin. Constable In Love: Love, Landscape, Money and the Making of a Great Painter. Penguin, 2010 • Gayford, Martin. Constable Portraits: The Painter and His Circle. National Portrait Gallery Publications, 2009 • Leslie, C. R. Memoirs of the life of John Constable, Esq. , R. A. 2nd ed. Phaidon, 1951 • Parkinson, Ronald. John Constable: the man and his art. V&A Publications, 1998 Want a Printed Copy of These Books?	i don't know
How many farthings were there in a pre-decimal pound?	How many farthings to the pound? How many farthings to the pound? 1 Answer 0 There were 960 farthings to the old British pound. The farthing, a fourth of a penny, (¼d) was withdrawn from circulation in 1960. The penny-farthing bicycle (a very large wheel at the front and a tiny one at the rear) went out of use long before that! The British were the only ones who could fathom out their old currency system, and even then it was hell for math students and bank clerks (I was both), adding up columns of £ s d. There was also the 'guinea' worth £1/1/- (1 pound 1 shilling), used for expensive items like race horses and lawyers fees. In the years just prior to decimalisation in 1971, the circulating British coins were the half crown (2s 6d), two shillings or florin, shilling, sixpence (6d), threepence (3d), penny (1d) and halfpenny (½d). The farthing (¼d) had been withdrawn in 1960. However, there were bitter complaints about decimalisation, with accusations of price rises for everything in the shops; people didn't know what they were spending, there being no exact ... answerbag.com	nine hundred and sixty
Harvard University is in Cambridge. True or false?	How many farthings to the pound? How many farthings to the pound? 1 Answer 0 There were 960 farthings to the old British pound. The farthing, a fourth of a penny, (¼d) was withdrawn from circulation in 1960. The penny-farthing bicycle (a very large wheel at the front and a tiny one at the rear) went out of use long before that! The British were the only ones who could fathom out their old currency system, and even then it was hell for math students and bank clerks (I was both), adding up columns of £ s d. There was also the 'guinea' worth £1/1/- (1 pound 1 shilling), used for expensive items like race horses and lawyers fees. In the years just prior to decimalisation in 1971, the circulating British coins were the half crown (2s 6d), two shillings or florin, shilling, sixpence (6d), threepence (3d), penny (1d) and halfpenny (½d). The farthing (¼d) had been withdrawn in 1960. However, there were bitter complaints about decimalisation, with accusations of price rises for everything in the shops; people didn't know what they were spending, there being no exact ... answerbag.com	i don't know
What is the correct name for 'Petticoat Lane' in London?	Petticoat Lane Market, Between Middlesex and Goulston Streets, London \| Shopping/Markets in London \| LondonTown.com Opening Times Petticoat Lane is London's world famous Sunday market and sells mainly clothes for men, women and children, from street-cred clubwear to over-orders of designer goods and last year's must-haves. One of its specialities is leather wear at the Aldgate East end and there's bric-a-brac, household goods, in fact everything you could possibly think of plus some other bits and bobs too. The market is held in and around Middlesex Street on Sundays from 9am to 3pm, with a smaller market open on Wentworth Street from Monday to Friday. Confusingly, Petticoat Lane doesn't actually exist any more - we have the Victorians' prudishness to thank for that, wishing to avoid any reference to undergarments they changed the name to Middlesex Street in 1846. With more than 1,000 stalls lining the streets on a Sunday bargain hunters come in their droves, it's a great scene worth the trip even if you're not shopping. Nearby areas of interest include Brushfield Street where Spitalfields Market is held and which offers more in the way of quality. Petticoat Lane may be London's biggest street jumble sale but for bargain hunting, with a bit of haggling thrown in, it's the original and the best. ï¿½	middlesex street
David Bowie and Elton John were born in the same year. What year?	Petticoat Lane Market, London E1, tourist Information \| tourUK.co.uk Petticoat Lane Market Post Code : E1 7JF Telephone : 020 7364 1717 Petticoat Lane is probably the most famous of all London's street markets, and derives its name from its long history as a centre of the clothing trade. During the reign of Queen Victoria the name of the street was changed to the more respectable Middlesex Street. Although this remains its official designation the old name has stuck and the Sunday market held here and in the surrounding streets is still known as Petticoat Lane Market. Despite attempts to stop the market it is still flourishing and always very crowded. A huge variety of goods is on sale but there is still a bias towards clothing, particularly leather coats. At the top end of the market, near Aldgate East, is an area devoted to leather jackets. As prices are not often shown haggling may be necessary. The lively market, which attracts thousands of locals and visitors each Sunday, has plenty of fast-food outlets, many selling traditional Jewish food. Durinmg the week nearby the smaller market at Wentworth Street is usually open.	i don't know
Cherylin Sarkasia LaPier is better known as who?	Cherilyn Sarkisian LaPierre is better know as... Dates of religious and Civil holidays around the world. www.when-is.com Cherilyn Sarkisian LaPierre So who is Cherilyn Sarkisian LaPierre? Well, Cherilyn Sarkisian LaPierre is no other than the American Cher who was born on , 1946, under the name Cherilyn Sarkisian LaPierre, but later changed his name to Cher, a name by which we all know him today. © 2007-2017 Capital Of. All rights reserved. You are here: Cherilyn Sarkisian LaPierre	Cher
Which Beatle was the producer of the Monty Python film 'The Life of Brian'?	Cherilyn Sarkisian LaPiere Biography Cherilyn Sarkisian LaPiere Biography Cher (born Cherilyn Sarkisian LaPiere on May 20, 1946-May, 6 2004 is a well-known actress and singer. Cher became famous as one of the rock and roll duo Sonny and Cher with her first husband, Sonny Bono. After their career stalled (their bubble-gum pop was not popular in an era of edgier tunes), CBS head of programming Fred Silverman gave the duo their own show, The Sonny and Cher Comedy Hour, in 1971. The show ran for four seasons before the duo decided to end its run; Cher announced her intent to separate from Sonny. They were divorced in 1974, and she later married again, this time to rock and roll singer Gregg Allman, a member of the Allman Brothers Band. She has two children, Chastity Bono and Elijah Blue Allman. Cher had demonstrated her comedic talents in the various skits she performed on The Sonny and Cher Comedy Hour, and while she was highly regarded in this arena, her ambition to develop a movie career was not taken seriously. For several years she worked at trying to secure a role to prove herself, until she was cast in a stage production of Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. The reviews she received were glowing and she was cast in the film version, directed by Robert Altman. Once again the critics praised her work and she was nominated for a Golden Globe Award. This finally allowed her to make the transition into a successful acting career, starring in films including Silkwood (nomination for an Academy Award for Best Supporting Actress, Mask (for which she won the Cannes Film Festival Best Actress Award in 1985), Suspect, Moonstruck (for which she won the Academy Award for Best Actress in 1988), Mermaids and Tea With Mussolini. Her ability to reinvent herself has allowed her to continue performing and creating successful recordings for more than 35 years. One exception was her alternative-rock album entitled Not.Commercial (pronounced "not-dot-com-mercial"). The album was written after a retreat to a poetry class in France; it was rejected by record labels and Cher chose to sell it on her Web site, with limited success. In 1998 she had one of the biggest successes of her recording career with the number one hit Believe and the million selling album of the same name which won her a Grammy Award. With the success of Believe, Cher became the oldest woman in the rock era to have a Number One hit. In the UK, "Believe" stayed at No. 1 in the charts for seven weeks and is the all-time biggest-selling single by a solo female artist. In 2004 she was nominated for a Grammy for "Best Dance Recording" for her song "Love One Another" but she lost to Australian Kylie Minogue. In the same year, she was told that for health reasons she would no longer be able to perform live. She therefore embarked on her last-ever world-wide tour (the Farewell Tour), her most spectacular and best-received tour ever. However, while this tour may be her last, it shows no signs of terminating in the near future; it has included over 200 shows and continues to add new venues.	i don't know
Which planet of the solar system has its 27 moons named after characters from the works of William Shakespeare and Alexander Pope?	Uranus' Moons are Named after Characters from Shakespeare Uranus’ Moons & Shakespeare Uranus’ moons are named after characters from the works of William Shakespeare and Alexander Pope. To date 27 moons have been discovered around Uranus, those named after characters from Shakespeare include Titania (A Midsummer Night’s Dream), Oberon (A Midsummer Night’s Dream), Ariel (The Tempest), Miranda (The Tempest) and Puck (A Midsummer Night’s Dream). Titania and Oberon were discovered in 1787 by William Herschel, Ariel in 1851 by William Lassell, Miranda in 1948 by Gerard Kuiper and Puck was discovered by the Voyager 2 spacecraft in 1985.	Uranus
What is the SI unit of temperature?	1000+ images about Uranus Project on Pinterest \| Models, Largest planet and Gas giant Forward The Planet Uranus with rings. Get a styrofoam ball, cut it in half, paint the color you desire. Glue a clear CD between both parts or pin it together with toothpicks and wala! You've got your Science Project. Display it however you'd like. See More	i don't know
LSD is a synthetic derivative of which type of naturally occurring growth?	The Discovery of LSD The Discovery of LSD and Subsequent Investigations on Naturally Occurring Hallucinogens Director of Research, Department of Natural Products, Sandoz Ltd., Basel, Switzerland. Chapter 7 of Discoveries in Biological Psychiatry, Frank J. Ayd, Jr. & Barry Blackwell, eds., ï¿½J.B. Lippincott Company, 1970 IT IS OFTEN STATED in the literature that LSD was discovered by chance. The following account will show that LSD was not the fruit of a chance discovery, but the outcome of a more complex process that had its beginnings in a definite concept, and was followed up by appropriate experiments, during the course of which a chance observation served to trigger off a planned investigation, which then led to the actual discovery. Such a train of events often underlies what is said to be a chance discovery. I prepared lysergic acid diethylamide for the first time in 1938 as part of a systematic chemical and pharmacological investigation of partially synthetic amides of Iysergic acid in the Sandoz pharmaceutical-chemical research laboratories in Basle, headed at that time by Professor Arthur Stoll. Lysergic acid is the characteristic nucleus of the alkaloids of ergot and can be obtained by alkaline hydrolysis of these alkaloids. Using a newly developed procedure, one had proved it possible to combine Iysergic acid with amines in peptide linkage. In this way, the specific oxytocic principle of ergot, namely Ergometrine, known in this country as ergonovine, was produced. This was the first partial synthesis of a natural ergot alkaloid, and by modifying the alkanolamine side chain of Ergometrine a new synthetic derivative, which we named Methergine, was obtained. In its pharmacological properties Methergine proved to be superior to the natural alkaloid, and today it is used throughout the world in obstetrics for the arrest of hemorrhage. Although interest centered mainly on oxytocic and hemostatic activity in these investigations, the new method of synthesis was also employed to prepare amides of Iysergic acid, which, on the basis of their chemical structure, might be expected to possess different pharmacological properties. Thus among other compounds, I synthesized the diethylamide of Iysergic acid with the intention of obtaining an analeptic. This compound might have been expected to possess analeptic properties because of its structural relationship with the well-known circulatory stimulant nikethamide. A number of pharmacological experiments were carried out by Professor Ernst Rothlin with this new compound, which was given the laboratory code name LSD-25 because it was the twenty-fifth compound of the Iysergic acid amide series. These experiments revealed a fairly marked uterotonic action, not unexpected in view of the close chemical relationship between LSD and the oxytocic drugs Ergometrine and Methergine. In addition, marked excitation was observed in some of the animals. Work on LSD then fell into abeyance for a number of years. Because I had the feeling that it would be worth while to carry out more profound studies with this compound, I prepared a fresh quantity of LSD in 1943. In the course of this work an accidental observation led me to carry out a planned self-experiment with this compound. The following is an extract of my report on these experiments, dated April 22, 1943, and addressed to the Head of the Pharmaceutical Department, Professor Stoll. Last Friday, April 16, 1943, I was forced to stop my work in the laboratory in the middle of the afternoon and to go home, as I was seized by a peculiar restlessness associated with a sensation of mild dizziness. On arriving home, I lay down and sank into a kind of drunkenness which was not unpleasant and which was characterized by extreme activity of imagination. As I lay in a dazed condition with my eyes closed (I experienced daylight as disagreeably bright) there surged upon me an uninterrupted stream of fantastic images of extraordinary plasticity and vividness and accompanied by an intense, kaleidoscope-like play of colors. This condition gradually passed off after about two hours. The nature and the course of this extraordinary disturbance raised my suspicions that some exogenic intoxication may have been involved and that the Iysergic acid diethylamide with which I had been working that afternoon could have been responsible. I had separated the two isomeric forms that are formed by this synthesis, namely Iysergic diethylamide and isolysergic acid diethylamide and prepared the crystalline water soluble salt of Iysergic acid diethylamide with tartaric acid. However, I could not imagine how this compound could have accidentally found its way into my body in a sufficient quantity to produce such phenomena. Moreover, the nature of the symptoms did not tally with those previously associated with ergot poisoning. In order to get to the root of the matter, I decided to conduct some experiments on myself with the substance in question. I started with the lowest dose that might be expected to have any effect, i.e., 0.25 mg LSD. The notes in my laboratory journal read as follows: April 19, 1943: Preparation of an 0.5% aqueous solution of d-lysergic acid diethylamide tartrate. 4:20 P.M.: 0.5 cc (0.25 mg LSD) ingested orally. The solution is tasteless. 4:50 P.M.: no trace of any effect. 5:00 P.M.: slight dizziness, unrest, difficulty in concentration, visual disturbances, marked desire to laugh... At this point the laboratory notes are discontinued: The last words were written only with great difficulty. I asked my laboratory assistant to accompany me home as I believed that I should have a repetition of the disturbance of the previous Friday. While we were cycling home, however, it became clear that the symptoms were much stronger than the first time. I had great difficulty in speaking coherently, my field of vision swayed before me, and objects appeared distorted like images in curved mirrors. I had the impression of being unable to move from the spot, although my assistant told me afterwards that we had cycled at a good pace.... Once I was at home the physician was called. By the time the doctor arrived, the peak of the crisis had already passed. As far as I remember, the following were the most outstanding symptoms: vertigo, visual disturbances; the faces of those around me appeared as grotesque, colored masks; marked motoric unrest, alternating with paralysis; an intermittent heavy feeling in the head, limbs and the entire body, as if they were filled with lead; dry, constricted sensation in the throat; feeling of choking; clear recognition of my condition, in which state I sometimes observed, in the manner of an independent, neutral observer, that I shouted half insanely or babbled incoherent words. Occasionally I felt as if I were out of my body. The doctor found a rather weak pulse but an otherwise normal circulation.... Six hours after ingestion of the LSD my condition had already improved considerably. Only the visual disturbances were still pronounced. Everything seemed to sway and the proportions were distorted like the reflections in the surface of moving water. Moreover, all objects appeared in unpleasant, constantly changing colors, the predominant shades being sickly green and blue. When I closed my eyes, an unending series of colorful, very realistic and fantastic images surged in upon me. A remarkable feature was the manner in which all acoustic perceptions (e.g., the noise of a passing car) were transformed into optical effects, every sound evoking a corresponding colored hallucination constantly changing in shape and color like pictures in a kaleidoscope. At about one o'clock I fell asleep and awoke next morning feeling perfectly well. This was the first planned experiment with LSD and a rather dramatic one. Subsequent experiments on volunteer colleagues of the Sandoz research laboratories confirmed the extraordinary activity of LSD on the human psyche. These showed that the effective oral dose of LSD in human beings is 0.03 mg to 0.05 mg. In spite of my caution, I had chosen for my first experiment five times the average effective dose. LSD is by far the most active and most specific hallucinogen. It is about 5,000 to 10,000 times more active than mescaline, which produces qualitatively nearly the same symptoms. The extremely high potency of LSD is not just a curiosity; it is in many respects of the greatest scientific interest. For example, it lent support to the hypothesis that certain mental illnesses that were supposed until then to be of purely psychic nature had a biochemical cause because it now seemed feasible that undetectable traces of a psychoactive substance produced by the body itself might produce psychic disturbances. LSD was unique with regard to its extremely high hallucinogenic potency. But it was not new with regard to the quality of its hallucinogenic property. As already mentioned, it produces qualitatively the same psychic effects as mescaline, a hallucinogen known long before LSD, mescaline being the active principle of one of the ancient magic plants of Mexico. Hallucinogenic drugs were of great importance in the old Indian cultures of Central America. The Spanish chroniclers and naturalists who came to the country soon after the conquest of Mexico by Cortes mentioned in their writings a great number of plants with psychic effects. These plants were unknown in the Old World and were used by the Indians both in their medical practices and in their religious ceremonies. The cultic use and divine worship paid to many of these drugs met with the disapproval of the Christian missionaries, who attempted by any means possible to liberate the Indians from this "devilry." They were only partially successful, however, in this respect. The native population secretly continued to use the drugs, which they considered to be holy even after they had been converted to Christianity. Three main magic plants were used by the Aztecs and neighboring tribes in their religious ceremonies and in their medical practices, which were strongly influenced by magical concepts; these drugs are still used today for the same purpose by the witch doctors in remote districts of Mexico. They are: 1/ peyotl, a cactus species, 2/ teonanacatl, certain foliate mushrooms, and 3/ ololiuhqui, the seeds of certain bindweeds. The first magic plant to be studied scientifically was peyotl, also named peyote; this was under investigation as early as at the turn of the century. The history of peyotl, its ancient cultic use by the Indians of Central America and its present use, as well as the psychic effects on human beings, were first described by Louis Lewin, the brilliant pharmacologist and toxicologist, in his classic monograph entitled Phantasticka. [1] Lewin established the basis for psychotomimetic research by this standard publication in which the psychotomimetics or hallucinogens, named by him Phantastika, were characterized and grouped for the first time in an independent group within the psychopharmaceutical drugs. The peyotl cactus was named by the botanist Hennings Anhalonium lewinii in honor of Lewin. Louis Lewin and Arthur Heffter, who isolated the alkaloid mescaline in 1896 from the cactus, deserve a place of honor in the history of psychopharmacological psychotomimetic research. [2] In 1919, Ernst Spï¿½th in Vienna succeeded in elucidating the chemical structure of mescaline and in synthesizing this alkaloid. [3] Mescaline made it possible for the first time to investigate the phenomenon of hallucinogenic effects from a scientific, pharmacological, and clinical aspect using a pure chemical compound. The results of this first period of psychopharmacological investigations in the nineteen twenties were published in the classical monograph Der Meskalinrausch by K. Beringer. [4] However, in the years to follow, interest in hallucinogenic research faded. Not until the nineteen forties with the discovery of LSD did this line of research receive a new impetus leading to an upsurge of interest that has lasted until the present time. Our preoccupation with LSD was the reason why the second magic drug of Mexico, teonanacatl, which means "sacred mushroom," was submitted to our laboratory for a chemical analysis. The use and worship of teonanacatl by the Indians of Central America must be very ancient. In Guatemala, "mushroom stones" have been found the oldest specimens of which are over three thousand years old. Fig. 1. Mushroom Stone Fig. 2. Psilocybe mexicana Heim Although the mushroom cult is very old, our knowledge of it is very recent. For some centuries the reports in the old chronicles were given surprisingly little attention, probably because they were regarded as extravagances of a superstitious age. It was not until 1936 to 1938 that American investigators, i.e., Weitlander, Reko, Johnson and Schultes, ascertained that mushrooms were still being eaten for magical purposes by the natives in certain remote districts of southern Mexico. Systematic studies of the mushroom cult in its present form were later made by the amateur investigators R. Gordon Wasson and his wife. In the summer of 1955, Wasson was able for the first time to take active part in a secret nocturnal ceremony in Huautla de Jimenez Province of Oaxaca, and was probably the first white man to ingest the holy mushrooms. On a later expedition in 1956, Wasson was accompanied by the mycologist Roger Heim, director of the Laboratoire de Cryptogamie du Museum National d'Histoire Naturelle in Paris. Heim succeeded in identifying the sacred mushrooms and classifying them botanically. They belong to the family of Strophariaceae, principally to the genus Psilocybe, though one species belongs to the genus Stropharia and another to the genus Conocybe. Artificial cultivation in the laboratory provided a good yield of especially one of these sacred mushrooms, namely, Psilocybe mexicana Heim. After unsuccessful attempts in Paris to isolate the active principles, Professor Heim sent the mushrooms to the Sandoz Research Laboratories in Basle, believing that our experience with LSD would enable us to solve this problem. In a sense, therefore, LSD brought the sacred mushrooms to our laboratory. In the first phase of our isolation studies, we tried to evaluate the extracts by testing them on animals, observing pupillary reaction and piloerection in mice and general behavior in dogs. But the results were not clear-cut and led to discrepancies in the evaluation of the various extract fractions. After most of the very rare and valuable mushroom material had been used for animal testing without definite results, there was some doubt whether the mushrooms cultivated and dried in Paris were still active at all. In order to settle this fundamental point, I decided to test them on myself. I ate 32 dried specimens of Psilocybe mexicana weighing 2.4 g, corresponding to a medium dose by Indian standards. I shall describe my experience by reading the English translation of my original published report of that experiment: Thirty minutes after my taking the mushrooms, the exterior world began to undergo a strange transformation. Everything assumed a Mexican character. As I was perfectly well aware that my knowledge of the Mexican origin of the mushroom would lead me to imagine only Mexican scenery, I tried deliberately to look on my environment as I knew it normally. But all voluntary efforts to look at things in their customary forms and colors Proved ineffective. Whether my eyes were closed or open, I saw only Mexican motifs and colors. When the doctor supervising the experiment bent over me to check my blood pressure, he was transformed into an Aztec priest and I would not have been astonished if he had drawn an obsidian knife. In spite of the seriousness of the situation, it amused me to see how the Germanic face of my colleague had acquired a purely Indian expression. At the peak of the intoxication, about 1 1/2 hours after ingestion of the mushrooms, the rush of interior pictures, mostly abstract motifs rapidly changing in shape and color, reached such an alarming degree that I feared that I would be torn into this whirlpool of form and color and would dissolve. After about six hours the dream came to an end. Subjectively, I had no idea how long this condition had lasted. I felt my return to everyday reality to be a happy return from a strange, fantastic but quite real world to an old and familiar home. Fig. 3. Crystals of psilocybin and psilocin, and formulas. This personal study showed that the negative results of the tests in animals were due not to the mushroom material but to the animals used and that human beings provide a more sensitive index of substances with psychic effects than animals. With the aid of this reliable test in human beings, it was then possible to extract the active principles from the mushroom and to purify and crystallize them. The main active component was named psilocybin, and an accompanying alkaloid, usually present only in small amounts, named psilocin. The elucidation of their structures showed that these were a novel type of indole derivatives. Psilocybin is the first and only hitherto known natural indole compound that contains a phosphoric acid radical. Furthermore, psilocin and psilocybin were the first indole alkaloids with a free or phosphorylated hydroxyl group at the position 4 of the indole ring system, all the other numerous indole alkaloids bearing hydroxyl groups at the positions 5, 6 or 7. The final proof of the correctness of the proposed structures was provided by the total synthesis of psilocin and psilocybin. The synthetic production of psilocybin and psilocin is now more economical than obtaining them from the mushrooms. My colleagues who participated in these investigations were: Dr. Arthur Brack, Dr. Albert Frey, Dr. Hans Kobel, Dr. Hans Ott, Dr. Theodor Petrzilka and Dr. Franz Troxler. [5] A review of the historical, ethnological, botanical and chemical aspects of the hallucinogenic Mexican mushrooms is presented in the beautiful volume, Les champignons hallucinogï¿½nes, by Roger Heim and R. Gordon Wasson, edited by the Museum National d'Histoire Naturelle in Paris. [6] An average human oral dose of psilocybin is 6 mg to 10 mg. Psilocin possesses similar activity. This means that psilocybin and psilocin are about 100 times more active than mescaline and about 100 times less active than LSD. But there is no significant difference between the two compounds in quality of hallucinogenic activity. The development of cross-tolerance between LSD and psilocybin lends support to the view that these two drugs cause psychic disturbances by acting on some common mechanism, or on mechanisms acting through a common final pathway. When I was in Mexico on an expedition with my friend Gordon Wasson in 1963, in search of a hallucinogenic plant, we also visited the famous curandera Maria Sabina in Huautla de Jimenez. We were invited to attend a nocturnal mushroom ceremony in her hut, but as it was late in the year and no more mushrooms were available, I supplied her with pills containing synthetic psilocybin. She took a rather strong dose corresponding to the number of mushrooms she usually ingests. It was a gala performance assisted by a number of people of Maria Sabina's clan. At dawn when we left the hut, our Mazateca interpreter told us that Maria Sabina had said there was no difference between the pills and the mushrooms. This was a final proof that our synthetic psilocybin was identical in every respect with the natural product. That was the story of the second magic Mexican drug of teonanacatl. But there was still the riddle of ololiuqui, the third magic Mexican drug. Ololiuqui is the Aztec name for the seeds of certain convolvulaceous plants that since prehispanic times have been used by the Aztecs and related tribes in their religious ceremonies and magic medicinal practices in the same way as the sacred mushrooms and the cactus peyotl. Ololiuqui is still used in our day by such tribes as the Zapotecs, Chinantecs, Mazatecs, and Mixtecs, who live in the remote mountains of southern Mexico in comparative isolation, little influenced by Christianity. An excellent review of the historical, ethnological and botanical aspects of the ololiuqui question was given in 1941 by R. Evans Schultes of the Botanical Museum at Harvard, in his monograph, A Contribution to our Knowledge of Rivea corymbosa. The Narcotic Ololiuqui of the Aztecs. [7] The first description and illustration of ololiuqui was published by Francisco Hernandez, a Spanish physician, who between 1570 and 1575 carried out extensive research on the flora and fauna of Mexico for Philip II. In his famous Rerum Medicarum Novae Hispaniae Thesaurus, seu Plantarium, Animalium, Mineralium Mexicanorum Historia, which appeared in 1651 in Rome, Hernandez described ololiuqui under the heading "De Oliliuhqui, seu planta orbicularium foliorum." An extract of the translation of the 1651 Latin version reads as follows: Oliliuhqui, which some call coaxihuitl, or snake plant, is a twining herb with thin, green cordate leaves, slender, green terete stems and long white flowers. The seed is round and very like coriander.... Formerly, when the priests wished to commune with their gods and to receive a message from them, they ate this plant to induce a delirium. A thousand visions and satanic hallucinations appeared to them.... Fig. 5. Seeds of Ipomoea tricolor and Rivea corymbosa The only report of chemical studies on the seeds of Rivea corymbosa mentioned in Schultes' review on ololiuqui is that of the pharmacologist Santesson in Stockholm in 1937. He was, however, unsuccessful in isolating definite crystalline compounds. Alcoholic extracts produced a kind of narcosis or partial narcosis in frogs and mice. In 1955, the Canadian psychiatrist Osmond conducted a series of experiments on himself. [8] After taking 60 to 100 Rivea seeds he passed into a state of apathy and listlessness accompanied by increased visual sensitivity. After about four hours, there followed a period in which he had a relaxed feeling of well-being that lasted for a rather longer time. In contrast to these results, KinrossWright in 1958 published experiments performed on eight male volunteers who had taken doses of up to 125 seeds without any ascertainable effect. [9] After the chemical investigations of the sacred Mexican mushrooms had been successfully brought to a close, I decided to tackle the problem of the third Mexican magic drug, ololiuqui. Through the help of R. G. Wasson, I was able to obtain authentic ololiuqui from a Zapotec Indian near Oaxaca in southern Mexico. One sample consisted of brown seeds, which proved on botanical classification to stem from Rivea corymbosa. The black seeds of the second sample were identical with those of Ipomoea violacea L. (syn. Ipomoea tricolor CA V.). These black seeds, called "badoh negro," arc used especially in the region of the Zapotecs, in conjunction with, or instead of "Badoh," the brown seeds of Rivea corymbosa. The chemical analysis of the ololiuqui seeds gave a quite surprising result. The psychotomimetic principles that we isolated proved to be Iysergic acid derivatives, Iysergic acid amides and other ergot alkaloids. [10] Thus in this strange Mexican drug we met with old friends, since Iysergic acid derivatives and ergot alkaloids had been favorite subjects of research in our laboratory since the time I had first synthesized LSD in the nineteen-thirties. Fig. 6. Flowering plants of Rivea corymbosa and Ipomoea tricolor. The main constituents of ololiuqui, i.e., the seeds of Rivea corymbosa, are lysergic acid amide and lysergic acid 1-hydroxyethylamide. The active constituents of ololiuqui are very closely related to LSD. The only difference between the main constituent of ololiuqui, Iysergic acid amide, and LSD is that the two hydrogen atoms of the amide are replaced by two ethyl radicals. It is a very significant one with regard to the psychotomimetic activity. The ololiuqui principle, Iysergic acid amide, is much less active than Iysergic acid diethylamide (LSD), and provokes psychic symptoms qualitatively different from those of LSD, as will he shown later. Fig. 7. Structural relation between active principles of ololiuqui and LSD-25. Furthermore, the following minor alkaloids were isolated: isolysergic acid amide and isolysergic acid 1-hydroxyethylamide, chanoclavine, elymoclavine and lysergol. The seeds of the related convolvulaceous plant Ipomoea violacea yielded the same alkaloids with the difference that ergometrine was present instead of lysergol. The occurrence of ergot alkaloids in higher plants, in the phanerogamic family Convolvulaceae was quite unexpected and is of particular interest from the phytochemical point of view because Iysergic acid alkaloids had hitherto been isolated only from genera of lower fungi: Claviceps, Penicillium and Rhizopus. Lysergic acid amide, the main component of ololiuqui, had been tested pharmacologically and clinically under the experimental drug designation LA-111 during the course of our investigations on LSD and related compounds long before it was known to be a natural component of a magic Mexican drug. Self-experiment and comparative systematic clinical investigations with Iysergic acid amide (laboratory code name: LA-111) revealed psychotomimetic effects significantly different from those of Iysergic acid diethylamide (LSD-25). The symptoms after oral ingestion of 1 mg to 2 mg of LA-111 were: indifference, decrease of psychomotor activity, tiredness, feeling of sinking into nothingness, and desire to sleep. Isolysergic amide produces similar symptoms. After taking 2.0 mg of isolysergic amide orally, I experienced tiredness, apathy, a feeling of mental emptiness and of the unreality and complete meaninglessness of the outside world. [11] These comparative experiments showed that the psychotomimetic constituents of ololiuqui are 20 to 40 times less active than LSD and that the general picture of activity is characterized by a pronounced depressive and narcotic component. I now come to the last section of my chapter; here I shall discuss very briefly some common features in the chemical structure of the hallucinogens I have discussed. The comparison of these structures reveals an interesting relationship with the structures of important neurohumoral substances. This is certainly no mere coincidence, but of major importance. Mescaline, being a phenylethylamine derivative, is structurally related to the neurohumoral transmitters norepinephrine and epinephritic. LSD, and the constituents of ololiuqui as well as the active principles of the hallucinogenic mushrooms psilocybin and psilocin, are indoles, more precisely tryptamine derivates, like the neurohumoral factor serotonin. Because of this structural relationship between the hallucinogens and norepinephrine and serotonin, it is probable that the psychotomimetic activity is due to an interaction between these substances in the metabolism of the central nervous system. Investigation of the relationships between endogenous neurohumoral factors and hallucinogens is a rewarding facet of psychopharmacological research. As I am a chemist, I have mainly discussed the chemical, phytochemical and historical aspects of the discovery of LSD and the investigation of naturally occurring hallucinogens. Needless to say, this audience attaches primary importance to the pharmacological and clinical effects, which make LSD and the other specific hallucinogens a valuable tool in experimental psychiatry and a valuable drug aid in psychoanalysis and psychotherapy. Another aspect of the hallucinogens and especially of LSD with enormous social impact is of course the paramedical use and the misuse of these substances. But this very complex problem would provide material for a special lecture, or indeed for a series of such lectures. The aim of my chapter is to describe an unusual cycle of chemical research, full of coincidences, a kind of magic circle, which started with the synthesis of various Iysergic acid amides and the discovery of the extraordinary psychotomimetic potency of Iysergic acid diethylamide (LSD), which led to the investigation of the sacred Mexican mushrooms, the isolation of psilocybin, and ended with ololiuqui, where lysergic acid amides were again encountered, thus closing the magic circle. REFERENCES Lewin, L.: Phantastika, Berlin, Georg Stilke, 1924. Second enlarged edition published in 1927. The first English edition appeared in 1931. A new impression 1964: Phantastica, Narcotic and Stimulating Drugs, Their Use and Abuse, London, Routledge and Kegan Paul, 1964. (back) Heffter, A.: Ber 29:216, 1896. (back) Spï¿½th E.: Monatsh 40:129, 1919. (back) Beringer, K.: Der Meskalinrausch, Berlin, Springer, 1927. (back) Hofmann, A., et al.: Helv Chim Acta 42:1557, 1959. (back) Heim, R., and Wasson, R. G.: Les Champignons hallucinogï¿½nes du Mexique, ed. du Musï¿½um national d'Histoire Naturelle, Paris, 1958. (back) Schultes, R. E.: A Contribution to Our Knowledge of Rivea Corymbosa: The Narcotic Ololiuqui of the Aztecs, Botanical Museum, Harvard Univ, Cambridge (Mass), 1941. (back) Osmond, H.: J Ment Sci 101:526, 1955. (back) Kinross-Wright, V. J.: In Bradley, P. B., Deniker, P., and RaduocoThomas C., eds.: Neuro-Psychopharmacology, Amsterdam, Elsevier, 1959, p. 453. (back) Hofmann, A.: Planta Med 9:354, 1961. (back) Hofmann, A.: Botan Museum Leaflets, Harvard Univ 20:194, 1963. (back)	Fungus
What colour is the sky on the Moon?	Hallucinogens \| Livonia Save Our Youth Coalition Hallucinogens Hallucinogens The term hallucinogen is used to describe naturally occurring or synthetic drugs taken primarily for the distorting effects they have on the user’s perceptions. Hallucinogens induce effects ranging from mild sensory distortion to hallucinations, paranoia, and delirium. LSD The following is mostly condensed from the “Drug Help” Web site of the Phoenix Foundation; http://www.drughelp.org : What is LSD? LSD (d-lysergic acid diethylamide, commonly called “acid”) is the best known of the hallucinogens. A naturally occurring derivative of ergot, a fungus that attacks rye, it is now used almost exclusively in its synthesized form. The drug was first derived from ergot in 1938, at Sandoz Laboratories in Switzerland, by chemist Albert Hofmann, who was searching for a circulatory and respiratory stimulant. Although LSD proved useless for this purpose, it was found to have psychoactive properties. Reports of the derivative’s mind-altering effects circulated in the late 1940’s and early 1950’s. By the early 1960’s, LSD advocates were touting it and other hallucinogens as mind-expanding aids that enabled users to achieve mystical states of perception. The emergence of LSD coincided with the rise of an American counterculture in the 1960’s, and millions of young people went on “acid trips” during these years. Widespread use led to reports of “bad” trips, psychotic episodes, and “flashbacks” (replays of the hallucinogenic experience that occur spontaneously, unprompted by LSD use.) Some users switched to hallucinogenic substances they considered more “organic” (such as mescaline and psilocybin). The popularity of LSD waned, and overall hallucinogen use declined significantly with the aging of the counterculture’s “flower children.” The mid-1990’s, however, saw a resurgence in LSD use. A new generation of adolescents took up the drug, and the average age of first use dropped sharply, with reports of use even among elementary school students. How is it LSD taken? LSD is generally taken orally and in very small doses. A remarkable feature of the drug is its potency. A typical single dose is only 100 micrograms (one-tenth of a milligram). Most often, LSD is found in small squares of impregnated paper, called “blotter acid.” The squares may come in perforated sheets, like postage stamps, sometimes with an eye-catching image on each square. The drug may also come in tiny tablets, called “microdots,” or in small, thin, gelatin squares, known as “windowpane.” LSD is sometimes available in a clear liquid solution. This is dispensed with an eyedropper, onto sugar cubes or directly onto the tongue. Another variety, “blue dot acid,” consists of paper slips smeared with a blue-colored solution of the drug. How does LSD effect you? Physical effects of LSD may include: dilated pupils, high temperature, rapid heartbeat, increased blood pressure, sleeplessness, appetite loss, and tremors. Psychological effects can last for 12 hours. During the first 30 to 90 minutes, changes in visual perception and mood are likely. As the drug achieves its one- to two-hour “peak,” the user may experience distorted impressions of time, space, and distance. “Tracking” may occur-the observation of streams of colored light following the path of a moving object, and “psychedelic” patterns may appear. The drug can impair judgment and the ability to recognize immediate danger, so users might easily come to harm should they, for example, attempt to drive a car while “tripping.” Acute anxiety, depression, panic, paranoia, or psychotic behavior may accompany a bad trip or may occur after most other effects of the drug have worn off. An overdose can result in a longer, more intense, and more frightening trip, and the spontaneous, recurring hallucinations known as flashbacks can occur days, weeks, or more than a year after LSD use. Muchrooms and ect. About psilocybin, peyote, and mescaline Psilocybin is a chemical found in types of mushrooms native to Mexico and Central America. The mushrooms have been used in native rituals for hundreds of years. Psilocybin itself can now be produced synthetically. Mescaline is the psychoactive ingredient extracted from the peyote, or mescal, cactus that grows in northern Mexico and the U.S. Southwest. The drug is contained in buttonlike nodules at the top of the plant, which traditionally have been dried and chewed by some Native American tribes. Psilocybin mushrooms are eaten or brewed into a tea, and the synthetic powder is generally taken in tablet form. Dried peyote buttons are usually chewed and swallowed, and powdered mescaline is taken in tablets. These substances all have effects similar to LSD ’s but are considerably less potent. Use of mescaline and peyote, however, often causes nausea and vomiting. Psilocybin and other Tryptamines The following is from the Drug Enforcement Agency; http://www.dea.gov : A number of Schedule I hallucinogenic substances are classified chemically as tryptamines. Most of these are found in nature but many, if not all, can be produced synthetically. Psilocybin (O-phosphoryl-4-hydroxy-N, N-ethyltryptamine) and psilocyn (4-hydroxy-N, N-dimethyltryptamine) are obtained from certain mushrooms indigenous to tropical and subtropical regions of South America, Mexico, and the United States. As pure chemicals at doses of 10 to 20 mg, these hallucinogens produce muscle relaxation, dilation of pupils, vivid visual and auditory distortions, and emotional disturbances. However, the effects produced by consuming preparations of dried or brewed mushrooms are far less predictable and largely depend on the particular mushrooms used and the age and preservation of the extract. There are many species of “magic” mushrooms that contain varying amounts of these tryptamines, as well as uncertain amounts of other chemicals. As a consequence, the hallucinogenic activity, as well as the extent of toxicity produced by various plant samples, are often unknown. Dimethyltryptamin ( DMT ) has a long history of use and is found in a variety of plants and seeds. It can also be produced synthetically. It is ineffective when taken orally, unless combined with another drug that inhibits its metabolism. Generally it is sniffed, smoked, or injected. The effective hallucinogenic dose in humans is about 50 to 100 mg and lasts for about 45 to 60 minutes. Because the effects last only about an hour; the experience has been referred to as a “businessman’s trip.” A number of other hallucinogens have very similar structures and properties to those of DMT . Diethyltryptamine ( DET ), for example, is an analogue of DMT and produces the same harmacological effects but is somewhat less potent than DMT . Alpha-ethyltryptamine ( AET ) is another tryptamine hallucinogen added to the list of Schedule I hallucinogens in 1994. Bufotenine (5-hydroxy-N-N-dimethyltryptamine) is a Schedule I substance found in certain mushrooms, seeds, and skin glands of Bufo toads. In general, most bufotenine preparations from natural sources are extremely toxic. N,N-Diisopropyl-5-methoxytryptamine (referred to as Foxy-Methoxy) is an orally active tryptamine recently encountered in the United States. Salvia Divinorum, ska Maria Pastora, Salvia The following is (Salvinorin A, Divinorin A) condensed from the Drug and Chemical Evaluation Section, Drug Enforcement Administration: Salvia Divinorum is a perenial native to certain areas of Mexico. S. Divinorum is one of several vision-inducing plants employed by the Mazatec Indians Since S. Divinorum, or any of its active ingredients are not specifically listed in the Controlled Substances Act, some on-line botanical companies and drug promotional sites have advertised Salvia as a legal alternative to other plant hallucinogens like mescaline. The plant material is smoked for the induction of “mystical” or hallucinogenic experiences. “Salvinorin A” the active component of S. Divinorum, is most effective when vaporized and inhaled. Chemically, Salvinorin A is a neoclerodane diterpene, a psychotropic terpenoid. The grouping of psychoactive plants containing terpenoid essential oils includes Salvia Divinorum, Wormwood (Absinth), and Cannabis Sativa (tetrahydrocannabinols, THC ). A dose of 200 to 500 micrograms produces profound hallucinations when smoked. Salvinorin A’s action in the brain are not well elucidated. However, recent tissue testing (in vitro assays) have suggested that Salvinorin A may act at the kappa opiate receptor site, but functional assays are lacking to determine the exact mechanism of action of this drug substance. Salvia is being smoked to induce hallucinations, the diversity of which are described by its users to be similar to those induced by ketamine, mescaline, or psilocybin.	i don't know
On the Mohs scale of hardness, what is the second hardest mineral, after diamond?	Mohs Hardness Scale: Testing the Resistance to Being Scratched Diamond 10 One of the most important tests for identifying mineral specimens is the Mohs Hardness Test. This test compares the resistance of a mineral to being scratched by ten reference minerals known as the Mohs Hardness Scale (see table at left). The test is useful because most specimens of a given mineral are very close to the same hardness. This makes hardness a reliable diagnostic property for most minerals. Friedrich Mohs, a German mineralogist, developed the scale in 1812. He selected ten minerals of distinctly different hardness that ranged from a very soft mineral (talc) to a very hard mineral (diamond). With the exception of diamond, the minerals are all relatively common and easy or inexpensive to obtain. Making Hardness Comparisons "Hardness" is the resistance of a material to being scratched. The test is conducted by placing a sharp point of one specimen on an unmarked surface of another specimen and attempting to produce a scratch. Here are the four situations that you might observe when comparing the hardness of two specimens: If Specimen A can scratch Specimen B, then Specimen A is harder than Specimen B. If Specimen A does not scratch Specimen B, then Specimen B is harder than Specimen A. If the two specimens are equal in hardness then they will be relatively ineffective at scratching one another. Small scratches might be produced, or it might be difficult to determine if a scratch was produced. If Specimen A can be scratched by Specimen B but it cannot be scratched by Specimen C, then the hardness of Specimen A is between the hardness of Specimen B and Specimen C. Mohs hardness test: When conducting the test, place the unknown specimen on a table top and firmly hold it in place with one hand. Then place a point of the reference specimen against a flat, unmarked surface of the unknown specimen. Press the reference specimen firmly against the unknown, and deliberately drag it across the flat surface while pressing firmly. To avoid injury, drag the known specimen away from your body and parallel to the fingers that are holding the unknown specimen. Mohs Hardness Testing Procedure Begin by locating a smooth, unscratched surface for testing. With one hand, hold the specimen of unknown hardness firmly against a table top so that the surface to be tested is exposed and accessible. The table top supports the specimen and helps you hold it motionless for the test. Hold one of the standard hardness specimens in the other hand and place a point of that specimen against the selected flat surface of the unknown specimen. Firmly press the point of the standard specimen against the unknown specimen, and firmly drag the point of the standard specimen across the surface of the unknown specimen. Examine the surface of the unknown specimen. With a finger, brush away any mineral fragments or powder that was produced. Did the test produce a scratch? Be careful not to confuse mineral powder or residue with a scratch. A scratch will be a distinct groove cut in the mineral surface, not a mark on the surface that wipes away. Conduct the test a second time to confirm your results. Mohs Hardness of Common Minerals Alphabetical 1 Mohs Hardness Testing Tips A list of minerals in order of hardness can be a handy reference. If you determine that a specimen has a hardness of Mohs 4, you can quickly get a list of potential minerals. Practice and experience will improve your abilities when doing this test. You will become faster and more confident. If the hardness of the unknown specimen is about 5 or less, you should be able to produce a scratch without much exertion. However, if the unknown specimen has a hardness of about 6 or greater, then producing a scratch will require some force. For those specimens, hold the unknown firmly against the table, place the standard specimen against it, press firmly with determination, then holding pressure slowly drag the standard specimen across the surface of the unknown. Don't be fooled by a soft standard specimen producing a mark on a hard unknown. That mark is like what a piece of chalk produces on a blackboard. It will wipe off without leaving a scratch. Wipe your finger across the tested surface. If a scratch was produced, there will be a visible groove. If marks wipe away then a scratch was not produced. Some hard materials are also very brittle. If one of your specimens is breaking or crumbling rather than scratching, you will have to be very careful while conducting the test. Testing tiny or granular specimens can be difficult. Some specimens contain impurities. If the results of your test are not visibly conclusive, or if the information from your test does not conform with other properties, do not hesitate to do the test again. It is possible that a small piece of quartz (or another impurity) was embedded in one of your specimens. Don't be wimpy! This is a very common problem. Some people casually rub one specimen back and forth against another and then look for a mark. That is not how the test is done. It is done with a single, determined motion with the goal of cutting a scratch. Be careful. When you hold the unknown specimen against the table, position it so that the known specimen will not be pulled across one of your fingers. This test should be done on a lab table or work bench with a durable surface or a protective covering. Don't do this type of testing on fine furniture. Test tiny particles or grains by placing them between two pieces of an index mineral and scraping them together. If the grains are harder than the index mineral, scratches will be produced. If the grains are softer they will smear. Hardness of Common Objects quartz 7 Some people use a few common objects for quick hardness tests. For example, a geologist in the field might always carry a pocket knife. The knife can be used for a quick hardness test to determine if a specimen is harder or softer than Mohs 5 to 6.5. Before using these objects as quick testing tools, it is a good idea to confirm their hardness. Some knives have harder steel than others. Test yours and then you know its hardness. These common objects can also be useful if you don't have a set of reference minerals. We included quartz in this list because it is a ubiquitous mineral. In the field you are often no more than a few steps away from a piece of quartz. Mohs hardness picks: Hardness picks are easy to use. They have a brass stylus and an alloy "pick" that is used for hardness testing. Place the sharp point of a pick on your unknown specimen and drag it across the surface. It will either produce a scratch, slide across the surface, or leave a trace of metal. They are supplied with a hardness of 2 (a plastic point), 3 (a copper point), and 4 through 9 (carefully selected alloys). They are great for testing small specimens or for testing small grains embedded in a rock. These hardness picks are available in the Geology.com store . Hardness Picks An alternative to using the reference minerals for testing is a set of "hardness picks." These picks have sharp metal points that you can use for very accurate testing. The picks allow much more control, and their sharp points can be used to test small mineral grains in a rock. The sharp picks can be used easily and either produce a scratch if they are harder than the specimen being tested or leave behind a tiny streak of metal if they are softer. Examine the test site with a hand lens to see the results of your test. We have used hardness picks and think that they do a great job. They are easier to use and more accurate than testing with specimens. They can be resharpened when they dull. The only downside is their price (about $80 per set). Harder than Diamond, Softer than Talc? Diamond is not the hardest substance known, but the materials that are harder are much more rare. Researchers have reported that wurtzite boron nitride and lonsdaleite can be harder than diamond. [1] It is unlikely that you will find a mineral that is softer than talc. However, a few metals are softer. These include: cesium, rubidium, lithium, sodium, and potassium. You will probably never need to test their hardness. [2] Is the Mohs Scale Linear? Mohs Hardness Scale is not linear. The steps in the scale have gaps of variable size between them. "For instance, the progression from calcite to fluorite (from 3 to 4 on the Mohs scale) reflects an increase in hardness of approximately 25 percent; the progression from corundum to diamond, on the other hand (9 to 10 on the Mohs scale), reflects a hardness increase of more than 300 percent." The best way to learn about minerals is to study with a collection of small specimens that you can handle, examine, and observe their properties. Inexpensive mineral collections are available in the Geology.com Store . Hardness Variations in a Single Mineral Most minerals have a fairly consistent hardness. For example, the hardness of calcite is always about 3. However, some minerals have a range of hardness. Minerals that are part of a solid solution series can change in hardness as the composition varies. Atomic bonds between some elements are stronger than others. An example is garnet, which has a composition of X3Y2(SiO4)3 where X can be Ca, Mg, or Fe, and Y can be Al, Fe, or Cr. Garnets with different compositions have different hardness. Garnets range in hardness from 6.5 to 8. Minerals such as kyanite have different hardness in different directions. Kyanite is a mineral that frequently occurs in blade-shaped crystals. These crystals have a hardness of about 5 if they are tested parallel to the long axis of the crystal, and a hardness of about 7 if they are tested parallel to the short axis of a crystal. Weathering can also influence the hardness of a mineral. Weathering usually changes a mineral's composition, with the weathering product usually softer than the original material. When testing the hardness or streak or other property of a mineral, the best way to test is on a freshly broken surface that has not been exposed to weathering. About Hardness Tests The hardness test developed by Friedrich Mohs was the first known test to assess resistance of a material to scratching. It is a very simple but inexact comparative test. Perhaps its simplicity has enabled it to become the most widely used hardness test. Since the Mohs Scale was developed in 1812, many different hardness tests have been invented. These include tests by Brinell, Knoop, Rockwell, Shore and Vickers. Each of these tests uses a tiny "indenter" that is applied to the material being tested with a carefully measured amount of force. Then the size or the depth of the indentation and the amount of force are used to calculate a hardness value. Because each of these tests uses a different apparatus and different calculations, they can not be directly compared to one another. So if the Knoop hardness test was done, the number is usually reported as a "Knoop hardness." For this reason, Mohs hardness test results should also be reported as a "Mohs hardness." Why are there so many different hardness tests? The type of test used is determined by the size, shape, and other characteristics of the specimens being tested. Although these tests are quite different from the Mohs test, there is some correlation between them. [2] Hardness, Toughness, and Strength When testing for hardness, remember that you are testing "the resistance to scratching." During the test, some materials might fail in other ways. They could break, deform, or crumble instead of scratching. Hard materials often break when subjected to stress. This is a lack of toughness . Other materials might deform or crumble when subjected to stress. These materials lack strength . Always keep in mind that you are testing for the resistance to being scratched. Don't be fooled by other types of failure in the specimen being tested. Uses for Hardness Tests The Mohs Hardness Test is almost exclusively used to determine the relative hardness of mineral specimens. This is done as part of a mineral identification procedure in the field, in a classroom, or in a laboratory when easily identified specimens are being examined or where more sophisticated tests are not available. In industry, other hardness tests are done to determine the suitability of a material for a specific industrial process or a specific end-use application. Hardness testing is also done in manufacturing processes to confirm that hardening treatments such as annealing, tempering, work hardening, or case hardening have been done to specification. Information Sources [2] Mohs Scale of Mineral Hardness : Wikipedia article, last accessed July 2016. [3] Material Hardness : website article, Center for Advanced Life Cycle Engineering, University of Maryland, last accessed July 2016. Some Notes on Spelling Mohs Hardness Scale is named after its inventor, Friedrich Mohs. This means that an apostrophe is not needed when typing the name of the test. "Moh's" and "Mohs' " are incorrect. Google is really smart about these names. You can even type "Moe's Hardness Scale" as a query and Google knows to return results for "Mohs Hardness Scale." :-)	Corundum
Who flew in Vostok 1?	Mohs Scale of Hardness - Diamond Abrasives and Mineral Polishers Diamond Abrasives and Mineral Polishers by NAIS Dental Polishers \| posted in: Mohs Scale \| 7 Mohs Scale of Hardness is important instrument that give us possibility to compare and order minerals by their main quality – hardness. Based on this characteristics we use it properly as abrasives and polishers. The scale includes 10 examples of minerals that illustrate the general hardness of minerals. Mosh choose to compare minerals because they are 100% natural products that are basic components of our environment as they build stones and rocks. Mohs scale of Hardness is based on simple feature of minerals and is performed by scratching – the harder mineral scratches the softer. The increase of the scale is not even but follows its algorithm. For example corundum is twice as hard as topaz, while diamond is four times as hard as corundum. The absolute hardness of minerals is presented in numbers. The Talc had absolute hardness of only 1, Quarts 100 and Diamond’s absolute hardness is 1600. There are many minerals that fall between levels and the scale is giving us the tool precisely to classify them according to basic fields. The basic minerals in the Mohs scale of Hardness are: 1 Talc 9 Corundum 10 Diamond The Mohs scale of Hardness was the first successful attempt to classify minerals by their hardness therefore their ability to polish and cut other minerals and materials. Unlike the old times, the hard minerals especially diamonds work in industry performing as abrasives, polishers, for cutting, drilling and other specific tasks. They help to shape and form other hard and sensitive materials like metal and ceramics. For more detailed information please see the pictures below: Mohs scale of Hardness by www.realgems.org Mohs scale of Hardness from igs.indiana.edu Mohs scale of Hardness by songshuhui.net And more related articles:	i don't know
What's the name given to lines of equal underwater depth on maps?	Word List: Definitions of Contour Lines Tweets by @schrisomalis Contour Lines (Isolines) All right, you must think I'm off my rocker at last. Contour lines? This list of 60 nouns beginning with "iso" defines words for contour lines on maps and diagrams that connect points having some feature (climatic, geographic, etc.) in common - also known as isolines or isograms. I wouldn't have thought there were so many of them before undertaking this site, but now that I've found them, I've become rather attached to them. So, now for my anecdote about isograms. When I was in high school (in south-central Ontario, Canada), my friends and I developed a particular isogram known as 'the stupid line'. This line demarcated the point north of which congenital idiots were found in great frequency (i.e. redneck country). The phrase 'north of the stupid line' came to signify an individual of subnormal intelligence and general social ignorance. So, what do you think of "isomoron"? Let me know. Word line connecting points of equal deviation from mean temperature isacoustic line connecting points of equal acoustic quality isallobar line connecting points of equal change in barometric pressure iseidomal line connecting points of equal visibility of a spectacle isentropic line connecting points of equal entropy isobar line connecting points of same atmospheric pressure isobase line connecting points of equal land upheaval isobath line connecting points of equal underwater depth isobathytherm line connecting points of equal temperature and depth underground isobront line connecting points of simultaneous storm development isochar line connecting points of similar distinguishing characteristics of plant life isochasm line connecting points of equal frequency of aurorae isocheim line connecting points of same average winter temperature isochlor line connecting points of equal chlorine concentration isochor line connecting points of varying conditions under constant volume isochrone line connecting points of equal time difference or simultaneous occurrence isoclinal line connecting points of same magnetic dip isocryme line connecting points of equal winter temperature isodose line connecting points that receive equal doses of radiation isodrosotherm line connecting points of equal dew point isodynamic line connecting points of equal magnetic intensity isoflor line connecting points of equal number of plant species isogam line connecting points of equal acceleration due to gravity isogen line connecting points of equal birthrates isogeotherm line connecting points of equal subterranean temperature isogloss line connecting points of similar regional dialect isogon line connecting points of same specified angle or same wind direction isogonal line connecting points of equal magnetic declination isograd line connecting points of similar conditions during geological metamorphism isogram line connecting points on a map having some similar feature isograph line connecting points of same linguistic usage in some respect isohaline line connecting points of equal salinity isohalsine line connecting points of equal ocean salinity isohel line connecting points of equal sunlight isohyet line connecting points of equal rainfall isokeraunic line connecting points of equal occurrence of thunderstorms isolex line connecting points of same vocabulary usage isoline line connecting points on a map having some similar feature isomagnetic line connecting points of equal magnetic induction isometric line connecting points of equal variations of pressure isomorph line connecting points of same linguistic morphological forms isonephelic line connecting points of equal cloud cover isopach line connecting points of equal thickness of geological strata isophene line connecting points of the same phenotype or seasonal variation isophote line connecting points of equal light intensity from a given source isopiestic line connecting points of equal pressure but varying temperature and volume isopiptesis line connecting points of same arrival date of migratory species isopleth line connecting points of equal aspect of climate isopor line connecting points of equal annual change in magnetic field isopycnic line connecting points of equal density isorithm line connecting points of equal population density isoseismal line connecting points of same earthquake intensity isostere line connecting points of equal specific volume of a substance isotac line joining points where the ice melts at the same time of year isotach line connecting points of the same wind speed isothere line connecting points of equal summer temperature isotherm line connecting points of equal temperature isothermobath line connecting points of equal temperature at a given ocean depth isotherombrose	Bathymetry
What is the SI unit of frequency (used in measuring audio and radio transmissions among many others)?	Contour line - GIS Wiki \| The GIS Encyclopedia Contour line Jump to: navigation , search This article is about lines of equal value in maps and diagrams. For more meanings of the word "contour", see Contour . "Isopleth" and "Contour map" and "Contour interval" redirect here. A topographic map with relief shown by an elevation contour map A mathematical contour plot of the function f(x)=sin(x2+y2)cos(x)sin(y). Along the x-axis at -π/2 and π/2 it is constant zero, as it is on the y-axis at all integer multiples of π—hence the lines; the origin -centered circles are x2+y2 = π, x2+y2 = 2π ... A contour line (also level set, isopleth, isoline, isogram or isarithm) of a function of two variables is a curve along which the function has a constant value. [1] In cartography , a contour line (often just called a "contour") joins points of equal elevation (height) above a given level, such as mean sea level . [2] Contour lines are the means of relating the vertical dimension (the third dimension) of the topography of an area to the two-dimensional surface of a topographic map. Contour lines should be visualized as the intersection of the land surface with a series of equally spaced, horizontal planes that pass through this surface. Contour or isarithmic maps connect regions of equal value using contours or isolines to illustrate a smooth, continuous phenomenon. A common contour map is a topographic map , which uses contour lines to show elevation, including steepness and slope. The contour interval of a topographic map is the difference in elevation between successive contour lines. [3] Contour or isarithmic maps can be used to show a variety of phenomena such as precipitation, temperature, atmospheric pressure, or solar radiation. Data used in isarithmic maps are not confined to predefined political or geographic boundaries. Rather, the data's parameters are as varied as its environment. The gradient of the function is always perpendicular to the contour lines. When the lines are close together the length of the gradient is large: the variation is steep. If adjacent contour lines are of the same line width, the direction of the gradient cannot be determined from the contour lines alone. However if contour lines rotate through three or more widths, or if the lines are numerically labelled, then the direction of the gradient can also be determined from the contour lines. Contour lines are curved or straight lines on a map describing the intersection of a real or hypothetical surface with one or more horizontal planes. The configuration of these contours allows map readers to infer relative gradient of a parameter and estimate that parameter at specific places. Contour lines may be either traced on a visible three-dimensional model of the surface , as when a photogrammetrist viewing a stereo-model plots elevation contours, or interpolated from estimated surface elevations, as when a computer program threads contours through a network of observation points of area centroids. In the latter case, the method of interpolation affects the reliability of individual isolines and their portrayal of slope , pits and peaks. [4] Contents 8 References History The idea of lines that join points of equal value was rediscovered several times. In 1701, Edmond Halley used such lines (isogons) on a chart of magnetic variation. [5] The Dutch engineer Nicholas Cruquius drew the bed of the river Merwede with lines of equal depth (isobaths) at intervals of 1 fathom in 1727, and Philippe Buache used them at 10-fathom intervals on a chart of the English Channel that was prepared in 1737 and published in 1752. The use of such lines to describe a land surface (contour lines) was studied theoretically by Ducarla in 1771, and Charles Hutton used them when calculating the volume of a hill in 1777. In 1791, a map of France by J. L. Dupain-Triel used contour lines at 20-metre intervals, hachures, spot-heights and a vertical section. In 1801, the chief of the Corps of Engineers, Haxo, used contour lines at the larger scale of 1:500 on a plan of his projects for Rocca d'Aufo. [6] [7] [8] By around 1843, when the Ordnance Survey started to regularly record contour lines in Great Britain and Ireland, they were already in general use in European countries. Isobaths were not routinely used on nautical charts until those of Russia from 1834, and those of Britain from 1838. [9] [10] [6] When maps with contour lines became common, the idea spread to other applications. Perhaps the latest to develop are air quality and noise pollution contour maps, which first appeared in the USA, in approximately 1970, largely as a result of national legislation requiring spatial delineation of these parameters. In 2007, Pictometry was the first to allow users to dynamically generate elevation contour lines to be laid over oblique images. Types of contour lines Contour lines are often given specific names beginning "iso-" (from Greek ισος (isos), meaning 'equal') according to the nature of the variable being mapped, although in many usages the word "contour line" is most commonly used. Specific names are most common in meteorology, where multiple maps with different variables may be viewed simultaneously. In general, an isoline is a line along which a variable is held constant. Meteorology Isohyetal map Meteorological contour lines are based on generalization from point data received from weather stations. Weather stations are seldom exactly positioned at a contour line (when they are, this indicates a measurement precisely equal to the value of the contour). Instead, lines are drawn to best approximate the locations of exact values based on the scattered information points available. Meteorological contour maps may present collected data such as actual air pressure at a given time, or generalized data such as average pressure over a period of time, or forecast data such as predicted air pressure at some point in the future Thermodynamic diagrams use multiple overlapping contour sets (including isobars and isotherms) to present a picture the major thermodynamic factors in a weather system. Barometric pressure Isobar map of Western Europe. Troughs are areas of greater variablility, signified by many isolines close together. Ridges are areas where there is little change in pressure over great distances. An isobar (from βαϝος or baros, meaning 'weight') is a line of equal or constant pressure on a graph, plot, or map; an isopleth or contour line of pressure. More accurately, isobars are lines drawn on a map joining places of equal average atmospheric pressure reduced to sea level for a specified period of time. In meteorology, the barometric pressures shown are reduced to sea level , not the surface pressures at the map locations. The distribution of isobars is closely related to the magnitude and direction of the wind field, and can be used to predict future weather patterns. Isobars are commonly used in television news weather reporting, though more commonly in Europe than in the United States. An isostere is a line of constant atmospheric density. An isoheight or isohypse is a line of constant geopotential height on a constant pressure surface chart. Temperature and related subjects The 10°C mean isotherm in July, marked by the red line, is commonly used to define the Arctic region border An isotherm (from θεϝμη or thermē, meaning 'heat') is a line that connects points on a map that have the same temperature. Therefore, all points through which an isotherm passes have the same temperatures at the time indicated. Generally, isotherms representing 5°C or 10°F temperature differences are used, but any interval may be chosen. An isogeotherm is a line of equal mean annual temperature. An isocheim is a line of equal mean winter temperature. An isothere is a line of equal mean summer temperature. An isohel (from έλιος or helios, meaning 'sun') is a line of equal or constant solar radiation. Precipitation and air moisture An isohyet or isohyetal line (from ϝετος or huetos, meaning 'rain') is a line joining points of equal precipitation on a map . A map with isohyets is called an isohyetal map. An isohume is a line of constant relative humidity. An isodrosotherm (from δϝοσος or drosos, meaning 'dew', and θεϝμη or therme, meaning 'heat') is a line of equal or constant dew point. An isoneph is a line indicating equal cloud cover. An isochalaz is a line of constant frequency of hail storms. An isobront is a line drawn through geographical points at which a given phase of thunderstorm activity occurred simultaneously. Snow cover is frequently shown as a contour-line map. Wind An isotach (from ταχ or tach, meaning 'speed') is a line of constant wind speed. In general, an isogon is a line along which an angle is held constant. In meteorology, the term refers to a line of constant wind direction. Freeze and thaw An isopectic line denotes equal dates of ice formation each winter. An isotac denotes equal dates of thawing. Physical geography and Oceanography Elevation and depth Topographic map with isohypses of height Contours are one of several common methods used to denote elevation , altitude and depth on maps. From these contours, a sense of the general terrain can be determined. They are used on a variety of scales, from large-scale engineering drawings and architectural plans, through topographic maps up to continental-scale maps. A map showing the isobath lines of Bear Lake, Idaho, USA "Contour line" is the most common usage in cartography , but isobath for underwater depths on bathymetric maps and isohypse for elevations are also used. The process of drawing isohypse contour lines on a map is called isopletion. In cartography, a contour interval is any space between contour lines, representing a difference in elevation between the lines. When calculated as a ratio against the map scale, a sense of the hilliness of the terrain can be derived. Magnetism In general, an isogon is a line along which an angle is held constant. In geomagnetism, the term refers to a line of constant magnetic declination (variance of magnetic north from geographic north). Isogonic lines are lines connecting those parts where the declination of the Earth's magnetic field is the same in amount. They are similar to isoclinic lines, which are lines connecting points of equal magnetic inclination. The line drawn through the points of zero magnetic declination is called the agonic line. Oceanography Besides ocean depth, oceanographers use contour to describe diffuse variable phenomena much as meteorologists do with atmospheric phenomena. isobathytherms are lines showing depths of water with equal temperature. isohalines show lines of equal ocean salinity. Isopycnals are surfaces of equal water density. Geology Various geological data are rendered as contour maps in structural geology, sedimentology, stratigraphy and economic geology. Contour maps are used to show the below ground surface of geologic strata, fault surfaces (especially low angle thrust faults) and unconformities. Isopach maps use isopachs (lines of equal thickness) to illustrate variations in thickness of geologic units. Environmental science In discussing pollution, density maps can be very useful in indicating sources and areas of greatest contamination. Contour maps are especially useful for diffuse forms or scales of pollution. Acid precipitation is indicated on maps with isoplats. Some of the most widespread applications of environmental science contour maps involve mapping of environmental noise, air pollution, soil contamination, thermal pollution and groundwater contamination. Contour lines are being used by wildfire analysts to show temperature change in fire as it burns through different fuel types. This allows researchers to assess temperatures for optimum plant rejuvenation, which in turn allows land managers to assess the scale at which they can do ecological rehabilitation of certain areas. The cost of such projects is extensive and by knowing those areas which will rejuvenate themselves, managers can save money and focus on those areas where the fire had burned the hottest. Social sciences In economics, contour lines can be used to describe features which vary quantitatively over space. An isochrone shows lines of equivalent drive time or travel time to a given location. An isotim shows equivalent transport costs from the source of a raw material, and an isodopane shows equivalent cost of travel time. Indifference curves are used to show bundles of goods to which a person would assign equal utility. In political science an analogous method is used in understanding coalitions (for example the diagram in Laver and Shepsle's work [12] ) In population dynamics, isocline refers to the set of population sizes at which the rate of change, or partial derivative, for one population in a pair of interacting populations is zero. Isolines can also be used to delineate qualitative differences. An isogloss, for example, is used in mapping the geographic spread of linguistic features. Contour lines are also used in non-geographic charts in economics. An isoquant is a line of equal production quantity, and an isocost shows equal production costs. Thermodynamics, Engineering, and other sciences Various types of graphs in thermodynamics, engineering, and other sciences use isobars (for showing constant pressure), isotherms (for constant temperature), isochors (for constant specific volume), or other types of iso-lines (or curves), even though these graphs are usually not related to maps. Such iso-lines are useful for representing more than two dimensions (or quantities) on two-dimensional graphs. Common examples in thermodynamics are some types of phase diagrams. An Isocline is generically a line of equal slope. Isoclines are used to solve ordinary differential equations. In interpreting radar images: An isodop is a line of equal Doppler velocity. An isoecho is a line of equal radar reflectivity. Other phenomena isophene: biological events occurring with coincidence such as plants flowering isophote: illuminance	i don't know
What is the name of a single dot on a computer monitor screen?	What is dot pitch? \| HowStuffWorks What is dot pitch? NEXT PAGENEXT The dot pitch rating of a monitor tells you just how sharp the displayed image will be. Dot pitch is measured in millimeters (mm), and a smaller number means a sharper image. How you measure the dot pitch depends on the technology used. In most CRTs you measure dot pitch as the distance between holes in the shadow mask. The shadow mask is a metal screen filled with holes through which the three electron beams pass that focus to a single point on the tube's phosphor surface. Monitors based on the Trinitron technology, developed by Sony , use an aperture grill instead of a shadow mask. The aperture grill consists of tiny vertical wires. The dot pitch of one of these monitors is measured by the horizontal distance between wires. In LCDs and the majority of other display technologies, dot pitch refers to the distance between subpixels of the same color in pixel triads. In computer displays, common dot pitches are .31mm, .28mm, .27mm, .26mm, and .25mm. Traditional televisions often use a larger dot pitch, about .51 mm, and large screen TVs or projection devices can go up to 1 millimeter in pitch. Up Next How Elumens Vision Station Works The smaller and closer the dots are to one another, the more realistic and detailed the picture appears. When the dots are farther apart, they become noticeable and make the image look grainier. You will usually want a .28mm or finer. Anything larger than that on a typical monitor will begin to appear grainy. The dot pitch translates directly to the resolution on the screen. If you were to put a ruler up to the glass and measure an inch, you would see a certain number of dots, depending on the dot pitch. See below for the number of dots per square centimeter and per square inch in each of these dot pitches: Dot Pitch .25mm	Pixel
Which gas has the chemical formula CO?	Chapter 6 - Output Identify output options for physically challenged users In this chapter, you learn what is output and what are output devices. Display devices are introduced, including CRT monitors, flat-panel displays, video cards, and high-definition television. You explore monitor quality and monitor ergonomics. Various types of printers are presented, such as impact printers, nonimpact printers, portable printers, plotters and large-format printers, and special-purpose printers. You find out about audio output and other output devices, including data projectors, facsimile machines, and multifunction devices. Finally, you become acquainted with terminals and output devices for physically challenged users. Define the four categories of output Output is data that has been processed into a useful form called information. Four types of output are text, graphics, audio, and video. Text consists of characters (letters, numbers, punctuation marks, or any other symbol requiring one byte of computer storage space) that are used to create words, sentences, and paragraphs. Graphics are digital representations of nontext information such as drawings, charts, photographs, and animation (a series of still images in rapid sequence that gives the illusion of motion). Audio is music, speech, or any other sound. Video consists of images played back at speeds to provide the appearance of full motion. An output device is any computer component capable of conveying information to a user. Identify the different types of display devices A display device is an output device that visually conveys text, graphics, and video information. Information shown on a display device is called soft copy because the information exists electronically and is displayed for a temporary period of time. Display devices include CRT monitors, LCD monitors and displays, gas plasma monitors, and televisions. A CRT monitor is a monitor that is similar to a standard television set because it contains a cathode ray tube. A cathode ray tube (CRT) is a large, sealed, glass tube. The front of the tube is a screen coated with phosphor material that glows as an electron beam moves back and forth, which produces an image on the screen. LCD monitors and LCD displays use liquid crystal to present information on the screen. A liquid crystal display (LCD) has liquid crystals between two sheets of material. When an electric current passes through the crystals, they twist, causing some light waves to be blocked and allowing others to pass through, which creates the images. Similar to an LCD display, a gas plasma monitor is a flat-panel display. A gas plasma monitor, however, substitutes a layer of gas for the liquid crystal material. When voltage is applied, the gas releases ultraviolet light that causes pixels on the screen to glow and form an image. An NTSC converter converts a computerï¿½s digital signal into an analog signal that a standard television set can display. High-definition television (HDTV) is a type of television set that works with digital broadcasting signals and supports a wider screen and higher resolution than a standard television set. Describe factors that affect the quality of a display device The quality of a CRT monitor depends largely on its resolution, dot pitch, and refresh rate. The quality of an LCD monitor or display depends primarily on its resolution. A CRT monitorï¿½s screen is coated with tiny dots of phosphor material, called pixels, that glow when electrically charged to produce an image. Resolution, which describes the sharpness and clearness of that image, is related directly to the number of pixels a monitor can display. The greater the number of pixels the display uses, the better the quality of the image. Dot pitch, a measure of image clarity, is the distance between each pixel on a display. The smaller the distance between pixels (dot pitch), the sharper the image. Refresh rate is the speed that a monitor redraws images on the screen. Refresh rate should be fast enough to maintain a constant, flicker-free image. The resolution of an LCD monitor or display generally is proportional to the size of the monitor or display. That is, the resolution increases for larger monitors and devices. Identify monitor ergonomic issues The goal of ergonomics is to incorporate comfort, efficiency, and safety into the design of items in the workplace. Features that address monitor ergonomic issues include controls to adjust the brightness, contrast, positioning, and height and width of images. Newer monitors have digital controls that allow you to fine-tune the display. Many monitors also have a tilt and swivel base so the angle of the screen can be altered to minimize neck strain and glare. Monitors produce a small amount of electromagnetic radiation (EMR), which is a magnetic field that travels at the speed of light. High-quality monitors should comply with MPR II, a standard that defines acceptable levels of EMR for a monitor. Explain the differences among various types of printers A printer is an output device that produces text and graphics on a physical medium such as paper or transparency film. Printed information is called hard copy because the information exists physically and is a more permanent from of output. Printers can be grouped in two categories: impact and nonimpact. Impact printers form characters and graphics by striking a mechanism against an ink ribbon that physically contacts the paper. A dot-matrix printer is an impact printer that prints images when tiny wire pins on a print head mechanism strike an inked ribbon. A line printer is an impact printer that prints an entire line at one time. Two popular types of line printers are band printers and shuttle-matrix printers. Nonimpact printers form characters and graphics without actually striking the paper. An ink-jet printer is a nonimpact printer that sprays drops of ink onto a piece of paper. A laser printer is a nonimpact printer that creates images using a laser beam and powdered ink, called toner. A thermal printer is a nonimpact printer that generates images by pushing electrically heated pins against heat-sensitive paper. Although the print quality of standard thermal printers generally is low, two special types of thermal printers, thermal wax-transfer printers and dye-sublimation printers, have a much higher print quality. Some printers are used for special purposes. A photo printer is a color printer that can produce photo lab quality pictures as well as printing everyday documents. A label printer is a small printer that prints on an adhesive type material that can be placed on a variety of items. A portable printer is a small, lightweight printer that allows a mobile user to print from a notebook or handheld computer while traveling. Plotters are sophisticated printers used to produce high-quality drawings such as blueprints, maps, and circuit diagrams. A large-format printer, which operates like an ink-jet printer but on a larger scale, creates photo-realistic quality color prints. Describe the uses of speakers and headsets An audio output device produces music, speech, or other sounds. Two commonly used audio output devices are speakers and headsets. Most personal computers have an internal speaker that outputs low-quality sound. Many users add high-quality stereo speakers or purchase PCs with larger speakers built into the sides of the monitor. A woofer can be added to boost low bass sounds. A headset plugged into a port on the sound card allows only the user to hear sound from the computer. Identify the purpose of data projectors, fax machines, and multifunction devices A data projector takes the image on a computer screen and projects it onto a large screen so that an audience of people can see the image. Two smaller, lower priced data projectors are an LCD projector, which uses liquid crystal display technology, and a digital light processing (DLP) projector, which uses tiny mirrors. A facsimile (fax) machine transmits and receives documents over telephone lines. A fax modem is a communication device that allows you to send (and sometimes receive) electronic documents as faxes. A multifunction device (MFD) is a single piece of equipment that looks like a copy machine but provides the functionality of a printer, scanner, copy machine, and sometimes a fax machine. Explain how a terminal is both an input and output device A terminal is a device that performs both input and output because it consists of a keyboard (input), a monitor (output), and a video card. A dumb terminal has no processing power and cannot function as an independent device. Dumb terminals connect to a host computer that performs the processing and then sends the output back to the dumb terminal. An intelligent terminal has memory and a processor that has the capability of performing some functions independent of the host computer. Some special-purpose terminals perform specific tasks and contain features designed for a particular industry. A point-of-sale (POS) terminal is a special-purpose terminal used to record purchases at the point where a consumer buys a product or service. An automatic teller machine (ATM) is a self-service, special-purpose terminal used to access your bank account. Identify output options for physically challenged users For users with mobility, hearing, or vision disabilities, many different types of output devices are available. For example, hearing-impaired users can instruct programs to display words instead of sound. With the Windows operating system, physically challenged users can set options to make programs easier to use. Visually impaired users can change the size or color of text to make words easier to read. Blind users can use speech output, where the computer reads information that displays on the screen. A Braille printer outputs information in Braille onto paper. Output For computer users, output may be the most significant stage of the information processing cycle. Output is the goal of input and processing. It provides the information users need to work and make decisions. Output used by a machine often is an intermediate result. Eventually it will be processed into a form that can be used by people. Sound Blaster is the de facto standard for computer audio. You may be familiar with audio output from certain cars and vending machines: ï¿½Fasten seat beltsï¿½ or ï¿½Please deposit twenty-five cents.ï¿½ Voice output telephone calls promoting banks, services, or political candidates are increasingly common. Yet, audio output is not always welcome. Voice output once was employed in grocery store checkouts. Because of negative public reaction, however, it has been discontinued. Display Devices Although ï¿½softï¿½ implies a touchable quality, soft copy only has an electronic, intangible existence, unlike the physical presence of hard copy (printed material). So much information today is in color that sales of monochrome monitors have plummeted. A number of less expensive monitors that use gray scaling, however, are popular among business users. The CRT in a monitor uses from 15,000 to 20,000 volts to accelerate electrons from the gun to the screen. Servicing of monitors, therefore, only should be done by trained personnel. Color monitors sometimes are known as RGB monitors (for red, green, and blue). Red, green, and blue are lightï¿½s primary colors. These three fundamental colors are not the same as the three primary pigments you may have mixed in art class (red, yellow, and blue). Believe it or not, when red light and green light mix the result is seen as yellow light. Application software sometimes requires a specific video standard for optimal performance. A factor to keep in mind when purchasing a monitor is that any video card capable of a higher resolution can run programs that require lower resolution levels ï¿½ a concept called backward compatibility. The CGA standard monitor, introduced in 1981, had a 640 x 200 resolution and displayed four colors. Todayï¿½s SVGA monitor has a resolution more than 6 times better and can display 16.7 million colors. Although flat-panel displays use relatively little power and the clarity of the images they produce continues to improve, they are not as bright as CRT monitors. Because active matrix displays are much clearer than passive matrix displays, most of todayï¿½s notebook computers have active matrix displays. LCD screens often are backlighted but consume microwatts of power and give off virtually no heat. Gas plasma screens, while much brighter, consume hundreds or thousands of times more power than LCDs. Monitor Quality In some ways, pixel images on a monitor are similar to the works created by pointillist painters like Georges Seurat. The flickering that is seen on some monitors is a result of a too-slow refresh rate. Older monitors refresh images using a technique called interlacing, in which the an electron beam draws only half the horizontal lines with each pass. Most of todayï¿½s monitors are noninterlaced. For the eyes, noninterlaced monitors tend to be less tiring than interlaced monitors. All video display devices look better in a dark environment. Varying requirements have led to the development of printers with different capabilities. In addition to the questions posed in Figure 6-15, the following factors should be considered when purchasing any printer: What is the total printer cost? (Supplies and maintenance should be weighed along with initial price.) How much is the printer used? (The duty cycle, or recommended maximum output per month, and the mean time between failure (MTBF), or estimated time before a component needs service, are key considerations.) What type of output will be produced? (A printerï¿½s capabilities must match output requirements.) Who will use the output? (External correspondence requires better quality printing than internal-only reports.) Are multiple copies necessary? (Only impact printers can produce multiple copies on a single pass.) Is color required? (Color significantly adds to the cost of some printers.) Where will the printer be used? (Impact printers are noisy in closed locations, but are more resistant to extreme conditions.) For a printer to function, the appropriate printer driver must be installed in the computer. Drivers are software that transform the computerï¿½s output into signals a printer can understand and use. Most printer manufacturers include driver software. Because most printers are 1,000 times slower than computers, all printers have a buffer that temporarily stores a few pages, allowing the computer to dump output into the buffer and continue processing. Print quality depends on dots per inch and the amount of overlap. Letter quality (LQ) print corresponds to that produced by a typewriter. Many impact printers produce near letter quality (NLQ) print, which is slightly less clear than letter quality. Although most dot-matrix printers use continuous-form paper (in which individual sheets are connected together), some also can use single-sheet paper without removing any paper by ï¿½parkingï¿½ continuous-form paper while a single sheet is printed. Nonimpact printers represent the fastest growing segment of the printer market. One attraction of nonimpact printers is their quiet operation. Imagine the noise level in an office with several impact printers operating simultaneously! Due to separate development, printer resolution is expressed in dots per inch while monitor resolution is stated in pixels per inch (which is dependent on dot pitch). The resolution of a high-end printer is about 10 times better than the resolution of an SVGA monitor. Although high resolution is good, more dpi requires additional memory. Unlike other types of nonimpact printers, the image produced by ink-jet printers can smear if moistened. Although laser printers are popular, they do not handle all printing jobs well. Special feeders are needed to print multiple envelopes, and multipart forms cannot be used at all. Audio Output Like other computer components, high-quality speakers are growing smaller. NXT has developed speakers for its flat-panel technology that deliver superior sound despite being only one sixty-fourth of an inch thick. The speaker technology has been licensed by NEC, Acer, and Mission and is included in their new PCs and notebooks. Other Output Devices Data projectors are particularly useful when demonstrating computer software packages. A data projector, along with the modem-equipped notebook computer and portable printer, is part of the arsenal of business travelers. With these weapons, the ï¿½road warriorï¿½ can create, transmit, receive, and project sales presentations. Which device ï¿½ a stand-alone fax machine or a fax modem ï¿½ would be most useful for a home user. For a small office? For a large office? Why? Under what circumstances might you consider purchasing an MFD. Why? Terminals Terminals also sometimes are called display terminals or video display terminals (VDTs). Historically, terminals have been dumb and dependent on a mainframe, to which they were connected by a cable, called an umbilical cord, for any processing. The advent of inexpensive personal computers gave rise to terminals with independent processing capabilities. Personal computers that function as intelligent terminals are connected to switch boxes that allow them to operate as PCs or to access a mainframe. Although they are intelligent terminals, some workstations are designed without disk drives so restricted data cannot be downloaded or copied. Some terminals, such as credit card authorization devices in department stores, look very little like normal computers. POS (point-of-sale) terminal printers are special-purpose printers used at supermarket checkouts. These usually are low-grade dot-matrix printers that have seven or nine pins. Output Devices for Physically Challenged Users If, when using Windows, the Accessibility command does not appear on the Accessories submenu, you may have to install Accessibility Options. To install Accessibility Options, open the Add/Remove Programs Properties dialog box at the Windows Setup tab by clicking Start, pointing to Settings, clicking Control Panel, double-clicking Add/Remove Programs, and then clicking the Windows Setup tab. If you used a CD to install Windows, you will be prompted to insert it into your computer. Under Components, click to select the Accessibility Options check box and then click OK. In Windows, the Accessibility Properties dialog box can be used to change both input and output options for physically challenged users. To open the Accessibility Properties dialog box, click the Start button, point to Settings, click Control Panel on the Settings submenu, and then double-click the Accessibility Options icon in the Control Panel dialog box. The Accessibility Properties dialog box can be used to change: Keyboard options ï¿½ StickyKeys (allows the shift, >alt, and ctrl keys, which usually are used with other keys, to be used by pressing one key at a time), FilterKeys (ignores brief or repeated keystrokes), and ToggleKeys (plays a tone when a toggle key is pressed) Sound options ï¿½ SoundSentry (generates visual warnings when a sound is made) and ShowSounds (displays captions for program speech and sound) Display options ï¿½ High Contrast (uses colors and fonts designed for easy reading) Mouse options ï¿½ MouseKeys (allows pointer to be controlled with the numeric keypad)	i don't know
What was the Wright Brother's first successful aeroplane called?	The Wright Brothers \| The First Successful Airplane View the 1903 Wright Flyer up close and in detail. Take a look at all the changes they made. > Buoyant over the success of their 1902 glider, the Wright brothers were no longer content to merely add to the growing body of aeronautical knowledge; they were going to invent the airplane. Still, they recognized that much hard work lay ahead, especially the creation of a propulsion system. During the spring and summer of 1903, they were consumed with leaping that final hurdle into history. On December 17, 1903, Wilbur and Orville Wright made four brief flights at Kitty Hawk with their first powered aircraft. The Wright brothers had invented the first successful airplane.	Flyer
What is the name of the study of the motion of the earth's crust?	Who was first? Who Was First? If this is your first visit, please stop by: Available in Franï¿½aise, Espaï¿½ol, Portuguï¿½s, Deutsch, Россию, 中文, 日本, and others. ere the Wright brothers the first to fly a powered aircraft? And if not, what effect would this have on the history of aviation? The answers are "no" and "none at all." The Wright brothers never claimed to be the first to fly. In his earliest scientific paper, presented to the Western Society of Engineers in 1901, Wilbur Wright alluded to English inventor Hiram Maxim, who launched a steam-powered biplane with a three-man crew on an unintentional flight in 1894 when a restraining device failed. Both the crew and the aircraft survived in tact, but Maxim never flew it again. Perhaps he realized from his one brief hop that the machine was uncontrollable. Wilbur and Orville Wright wished to be remembered for making the first controlled and sustained powered flight. Their greatest contribution to aviation was the development of three-axis aerodynamic controls ï¿½ roll, pitch, and yaw ï¿½ and the piloting skills needed to use them effectively. Even if it could be shown that the Wrights were not the first to achieve controlled flight, this revelation would have little effect on history. It is generally accepted that Robert Fulton was not the first person to build a steamboat, nor was Thomas Edison the first to make an incandescent electric light. History, however, rarely honors inventors just for being first. It is much kinder to those who are the first to effect a change in their world, for it is these people who are the most memorable. Fulton, for instance, demonstrated a practical steamboat to a receptive audience. News of his accomplishment precipitated the rise of steam-powered navigation. Edison not only designed light bulbs, but also developed the equipment for generating and delivering the electrical power needed to make electric light a practical alternative to gas light. The same is true of the Wright brothers. As early as 1902, reports of their successful gliding experiments and descriptions of their gliders impressed scientists on both sides of the Atlantic. It positively galvanized the French and led to a flurry of experiments with heavier-than-air flying machines. Type du Wright aircraft ï¿½ airplanes whose designs were derived from descriptions of Wright gliders and Flyers ï¿½ were the first successful powered flying machines in Europe and America. By 1908, the Wrights had developed a practical airplane capable of carrying two people and flying for an extended period of time (as long as the gasoline lasted). For the first time, the brothers demonstrated their invention before large audiences, showing the skills they had learned to control their machine in the air. In 1909, they began to teach these skills to students. These events ï¿½ not their first tentative flights in 1903 ï¿½ mark the beginning of modern aviation as far as most of the world was concerned. Within three years, aviators were flying successfully in every part of the globe. Aviation records for speed, altitude, and endurance were shattered almost daily as pilots and engineers took the Wright's basic concepts and added their own ideas. Airplanes evolved quickly and by World War I showed only a superficial resemblance to pioneer Wright aircraft. But they all used variations of the Wright control system and pilots used the basic flying skills the Wrights had developed. This remains true even today. It is remotely possible that at some time before December 17, 1903 ï¿½ when the Wrights flew their first powered airplane ï¿½ that someone somewhere made a controlled, sustained powered flight. But if they did, they did not effectively communicate this achievement to aeronautical scientists or the world at large. They did not file patents, publish plans, make repetitive demonstrations, or teach others how to fly. Their work, however ingenious it might have been, had no effect on the development of aviation. Consequently, even if it could be proved that someone flew before the Wrights, it's likely that his or her name would never amount to anything more than an interesting footnote in the history of aviation. As time goes on, it seems less likely that historians will turn up conclusive evidence of an obscure aviator who beat the Wrights to the punch. There are several interesting candidates, but their supporters have yet to prove their case. Most of the evidence that has been offered are newspaper stories and affidavits, neither of which is considered conclusive proof. Browse through the newspapers from any large city between 1860 and 1900, and you are likely to find stories about successful flying machines. One of our members once spent an afternoon in the Denver Public Library (Denver, Colorado) looking up information on Jerome B. Blanchard, a one-time prospector and patent-medicine salesman who built several aircraft in the 1890s. In the course of this investigation, he turned up three stories about other local aviators who flew successfully, beginning in 1869! While one or more of these newspaper stories may have been true, it's much more likely that they were all fantasy. Aeronautical hoaxes have been a tradition in American journalism since the 1844 when Edgar Allen Poe, newly arrived from England and in desperate need of money to hire a doctor for his ailing wife, concocted a fantastic story about a "steering balloon" ï¿½ the Victoria ï¿½ that had crossed the Atlantic Ocean in three days. He sold this story to the New York Sun, which never thought to check Poe's sources. Even stories in professional journals such as Scientific American and The Inventor cannot be taken at face value. Few of these stories are researched articles; most are letters to the editor. In these letters, would-be aviators stretched the truth or fabricated successful flights to attract investors and finance their aeronautical research. Editors published the letters without questioning their accuracy for a variety of reasons, not the least of which was that aviation stories made good copy. And when the editors wrote an actual article themselves, their research often left something to be desired. The 1904 Scientific American article that recounts the Wright flights of December 17, 1903 is drawn from a story in the Virginian Pilot newspaper . The Pilot reporters fabricated most of this story, having nothing more than a tip from the telegraph operator. The Scientific American article repeats these fabrications. Affidavits from eye-witnesses to supposed flights are just as suspect. They become more so as the elapsed time between the flight and the deposition lengthens. Research into "recovered memories" has shown that because most people like to be helpful, they can often be coaxed by investigators into misremembering dates and events ï¿½ particularly if the investigators are insistent or provide positive reinforcement (smiles, expressions of gratitude) for remembering a date or event in a particular way. A. V. Roe, a pioneer aviator, collected a large number of affidavits to prove that he had been the first person to fly in England. But actual correspondence between Roe and other aviators from that time (among them Orville Wright) showed that the flights he made took place sometime after the dates that the witnesses had been prompted to remember. More to the point, Stella Randolf presented multiple affidavits for Gustav Whitehead being first to fly, painstakingly collected from his friends and neighbors. But she casts aspersions on all of them in the very beginning of her book on Whitehead as she misremembers an event from her own past. She tells of her father making a comment upon reading a well-known article on the Wright brothers that he could not possibly have seen because it was written after his death! What is needed to prove a claim that someone else was first to fly is evidence that corroborates the newspaper stories and affidavits ï¿½ diaries, letters, scientific notebooks, blueprints, photographs of airplanes in flight. So far, none of the claimants have produced corroborating evidence sufficient to unseat the Wright brothers from their widely accepted place in history as the first to make a sustained and controlled powered flight, or as the inventors of the first practical airplane. An Interesting Note: Historians vs. Zealots In studying these matters, we have found that the accounts of aviators who are said to have flown before the Wright brothers fall into two categories. Most of these stories are historical, such as the accounts of the Ezekiel Airship or the experiments of Richard Pearse. They have been pieced together by conscientious researchers whose purpose is to present an accurate picture of their subject and his aeronautical accomplishments. They expose little-known but fascinating chapters in aviation history that deserve to be remembered. A few ï¿½ mostly concerning Gustav Whitehead and Alberto Santos Dumont ï¿½ are canonical stories told by zealots. For these well-meaning folks, their accounts are not so much historical as they are a belief system, although their subjects do deserve a place in aviation history. But these zealots ignore or modify the rules ï¿½ called historiographics ï¿½ by which historians winnow the kernels of truth from the chaff of memory. They either exaggerate the accomplishments of their subject or denigrate the accomplishments of others. As a result, their accounts often do their subjects more harm than good. Historians construct a story to fit the facts; zealots construct the facts to fit the story. We report history here ï¿½ zealously. ; ) History records several pioneers who made manned hop-flights before the Wright brothers. None of these flights, however, were sustained and controlled. In 1874, a young French sailor piloted Felix du Temple's monoplane down a ramp and into the air for a few seconds. The hot-air engine could not sustain the machine in flight. The airplane apparently had an elevator to control pitch and a rudder for yaw, but there were no roll controls. In 1884, Alexander Mozhaisky, a captain in the Russian Imperial Navy, launched a steam-powered monoplane down a ramp near St. Petersburg, Russia. It was airborne for 75 to 100 feet (23 to 30 meters), but could not sustain flight. Nor did Mozhaisky provide any controls. The single occupant -- I.N. Golubev -- was only along for the (mercifully short) ride. In 1890, Clement Ader became the first pilot in history to take off from level ground. Near Gretz, France, he managed to fly about 165 feet (50 meters) just a few inches off the ground in his steam-powered Eole. His 20 horsepower engine, however, could not sustain the machine in flight. The Eole had only the most rudimentary controls -- Ader planned to use a rudder to steer right and left and vary the speed of the engine to climb and descend. There were no roll or pitch controls. In 1893, Hiram Maxim (the inventor of the machine gun) built a huge biplane-like test rig with twin propellers, each driven by an 180 horsepower steam engine. It ran along a 1800-foot (549 meters) straight track which allowed it to rise only a few inches into the air. In 1894, an axle broke during a test run, the rig escaped the restraining track, and it was in free flight for a few seconds before the crew shut down the engines. It might have sustained itself in flight -- it certainly had ample power -- but it had no controls other than two elevators, one forward and one aft. In 1898, Augustus Herring -- co-inventor of the Chanute - Herring Glider -- attempted to fly a powered version of that airplane in St. Joseph, Michigan. The compressed-air engine could not sustain flight; Herring's best hops were no more that 50 to 75 feet (15 to 23 meters). He had no means of controlling the aircraft other than shifting his body weight. German immigrant Gustav Whitehead is said to have flown briefly on August 14, 1901 in Bridgeport, Connecticut. The account is controversial; Whitehead claimed wildly successful flights as early as 1893 and continued until 1903. No plans for any of his aircraft survive (he claimed to have built over 40), and the existing photos do not clearly show a means of control. The Reverend Burrell Cannon built the Ezekiel Airship using the Book of Ezekiel in the Bible as his blueprint. In the autumn of 1902, it made an unplanned and uncontrolled flight of about 160 feet (49 meters) while two workers where testing its engine. New Zealand farmer Richard Pearse made several hop flights early in the 20th century. Eyewitnesses recalled these flights occurred in 1902 and 1903, but Pearse himself wrote that he did not begin his aerial experiments until 1904. Whatever the dates, Pearse's drawings show the aircraft lacked a rudder and was not fully controllable. Brazilian Alberto Santos-Dumont flew his 14-Bis near Paris, France in the fall of 1906. In October, his best flight covered 196 feet (60 meters); in November, he stretched that to 721 feet (220 meters). Both flights ended when his aircraft entered a roll that Santos-Dumont could not stop and he decided to land, so there is some controversy whether or not these were completely controlled flights. Nonetheless, they are counted as the first "official" flights in Europe.	i don't know
Graphite is composed of which element?	How can graphite and diamond be so different if they are both composed of pure carbon? - Scientific American Scientific American How can graphite and diamond be so different if they are both composed of pure carbon? Share on Facebook Report Ad Miriam Rossi, a professor of chemistry at Vassar College, provides the following explanation: Both diamond and graphite are made entirely out of carbon, as is the more recently discovered buckminsterfullerene (a discrete soccer-ball-shaped molecule containing carbon 60 atoms). The way the carbon atoms are arranged in space, however, is different for the three materials, making them allotropes of carbon. The differing properties of carbon and diamond arise from their distinct crystal structures. In a diamond, the carbon atoms are arranged tetrahedrally. Each carbon atom is attached to four other carbon atoms 1.544 x 10-10 meter away with a C-C-C bond angle of 109.5 degrees. It is a strong, rigid three-dimensional structure that results in an infinite network of atoms. This accounts for diamond's hardness, extraordinary strength and durability and gives diamond a higher density than graphite (3.514 grams per cubic centimeter). Because of its tetrahedral structure, diamond also shows a great resistance to compression. The hardness of a crystal is measured on a scale, devised by Friederich Mohs, which ranks compounds according to their ability to scratch one another. Diamond will scratch all other materials and is the hardest material known (designated as 10 on the Mohs scale). It is the best conductor of heat that we know, conducting up to five times the amount that copper does. Diamond also conducts sound, but not electricity; it is an insulator, and its electrical resistance, optical transmissivity and chemical inertness are correspondingly remarkable. Moreover, diamonds disperse light. This means that the refractive indices for red and violet light are different (2.409 and 2.465, respectively). As a result, the gemstone acts like a prism to separate white light into rainbow colors, and its dispersion is 0.056 (the difference). The greater the dispersion, the better the spectrum of colors that is obtained. This property gives rise to the "fire" of diamonds. The "brilliance" of diamonds stems from a combination of refraction, internal reflection and dispersion of light. For yellow light, for example, diamond has a high refractive index, 2.4, and a low critical angle of 24.5 degrees. This means that when yellow light passes into a diamond and hits a second face internally at an angle greater than 24.5 degrees, it cannot pass from the crystal into the outside air but instead gets reflected back to the inside of the gemstone. The carbon atoms in graphite are also arranged in an infinite array, but they are layered. These atoms have two types of interactions with one another. In the first, each carbon atom is bonded to three other carbon atoms and arranged at the corners of a network of regular hexagons with a 120-degree C-C-C bond angle. These planar arrangements extend in two dimensions to form a horizontal, hexagonal "chicken-wire" array. In addition, these planar arrays are held together by weaker forces known as stacking interactions. The distance between two layers is longer (3.347 x 10-10 meter) than the distance between carbon atoms within each layer (1.418 x 10-10 meter). This three-dimensional structure accounts for the physical properties of graphite. Unlike diamond, graphite can be used as a lubricant or in pencils because the layers cleave readily. It is soft and slippery, and its hardness is less than one on the Mohs scale. Graphite also has a lower density (2.266 grams per cubic centimeter) than diamond. The planar structure of graphite allows electrons to move easily within the planes. This permits graphite to conduct electricity and heat as well as absorb light and, unlike diamond, appear black in color. Answer originally posted May 20, 2002.	Carbon
What type of birds are Beltsville Whites, Broad Breasted Bronze and Norfolk Blacks?	UCSB Science Line UCSB Science Line What elements are in diamonds, gold, and rust? What is the scientific name for rust? Answer 1: Diamond is 100 % Carbon, atomic number 6 on the periodic table.Gold, symbol Au is atomic number 79 and is like diamond, a pure substance.Rust on the other hand is ferric oxide or Fe2O3. The mineral is called Hematite. It has a blood red streak. That is if you think you have some hematite, rub the mineral on an unglazed ceramic tile (called a streak plate) and the streak is blood red. Answer 2: The element in diamond is carbon (symbol C). Try and find C in the periodic table. Diamonds, particularly high quality ones, are very pure carbon. Sometimes however, small amounts of carbons neighbors in the periodic table, such as boron (symbol B), and Nitrogen (symbol N) are also found in diamond. These tend to give diamonds different colors. Gold is an element (symbol Au). The element symbol Au comes from the Latin word for gold which is aurum. Pure gold is usually only used to store money in banks. In jewelry (which is the biggest use of gold) the gold is usually mixed with some copper (symbol Cu) to give it more strength. Rust is usually a mixture of iron (symbol Fe) oxygen (symbol O) and some hydrogen (symbol H). Most rust has the chemical formula FeO2H, also written as FeO (OH), and mineral name of this material is lepidocrocite (pronounced lay-pedo-kro-kite) Answer 3: First, gold is an element. It is very malleable and ductile. Since pure gold is fairly soft, it is often combined with other metals to make alloys to make it a little stronger. The alloys are what you typically find in jewelry, etc. Diamonds are made up of the element carbon. Also, graphite is also made up of carbon. The only difference between the two is the way that the atoms are bonded together. Interestingly, graphite is the more stable form of carbon, so diamonds will eventually turn into graphite (diamonds aren't really forever!). However, this process takes thousands of years. Rust is the common name for iron oxide, which as the name implies, is made up of the elements iron and oxygen. The compound is Fe2O3. Iron combines quickly with oxygen, and the process of turning iron to iron oxide is an example of corrosion. You can see things like steel rust because steel contains iron. Answer 4: The quick answer is: Diamond is a pure element, carbon; gold is a pure element, gold; and rust is a compound, Iron Oxide, of iron and Oxygen. Diamond is pure elemental carbon, compressed to its crystal form, under extreme heat and pressure deep within the Earth. The symbol for carbon is C. Gold is also an element, in and of itself. Its symbol is Au. It does not easily form compounds so it is found by itself, in stream beds (placer deposits) or in veins in rocks. Rust is a compound: Iron Oxide. It is found all over; everywhere iron and oxygen come in contact! Both iron and oxygen form compounds quite easily, so they are not readily found alone. (The oxygen you breathe is O2, not elemental oxygen.) Rust can come in different forms, because iron (symbol Fe) normally gives up 2 or 3 electrons when it forms compounds. We call these "oxidation states." When iron gives up 2 electrons, it gets a +2 charge, and when it gives up 3 electrons, it gets a +3 charge. To make a neutral compound it must then bond with some element in the proper ratio so as to remove its"excess" positive charge (or, replace its deficit negative charge). Oxygen (symbol O) normally takes 2 electrons when bonding with metals (including hydrogen). So, for a balanced compound of iron oxide, you have either FeO or Fe2O3. Here's what I mean: For FeO, you have one Fe(+2) and one O(-2) = FeO. This compound is also called Iron(II)Oxide. It is one form of rust. The charges balance like this:(+2) + (-2) = 2-2=0. The other form of rust, Fe2O3, is two Fe(+3) and three O(-2), written Fe2O3, and also called Iron(III)Oxide. The charges balance like this:2(+3) + 3(-2) = 6 - 6 = 0. I hope this helps.Best wishes. Answer 5: Diamond is a polymorph of the element carbon (C). To give you an idea of the many uses of carbon, the macromolecules in our bodies, including DNA,proteins,sugars, and lipids, all contain carbon. Also, the soft lead in your pencil,graphite, is also made up of carbon.The element in gold is of course, gold (Au). The most pure form of gold jewelry as you probably know is 24 karats meaning no other elements are present within the stone. Common impurities in lower karat gold include silver (Ag), copper(Cu), and palladium (Pd). Rust is iron-oxide consisting of the elements iron and oxygen. When water touches an iron surface the water starts reacting with carbon dioxide in the air and forms carbonic acid, a weak acid. The presence of the acid causes the iron to dissolve. At the same time, the water starts breaking apart into oxygen and hydrogen. The oxygen from the breakdown of water reacts with the dissolved iron forming iron oxide, rust. Answer 6: GOLD Gold is an element, meaning that it consists only of one type of atom that cannot be chemically broken down into smaller parts. The only way to break gold down into smaller components would be through nuclear reactions that change the number of protons and electrons, the positively and negatively charged particles, inside the gold atoms. The element gold is denoted by the symbol Au in the Periodic Table of Elements. Gold is characterized by having79 protons and, in its elemental or uncharged state, also has 79 electrons. In its most common isotope, gold has 118 neutrons. Gold is typically found in nature in very small quantities mixed into a type of rock called ore, but can also be found in riverbed sediments. The extraction of gold from the earth is explained at the following websites: http://en.wikipedia.org/wiki/Gold_mininghttp://www.marthamine.co.nz/ore_process.html For more about gold in general:http://ist-socrates.berkeley.edu/~eps2/wisc/gold.html DIAMONDS Diamonds are composed almost entirely of the element carbon, often with some other impurities in them, such as nitrogen (i.e., pure diamonds are entirely carbon). The element carbon comes in three different natural forms, or allotropes: diamond, graphite, and amorphous. Although each of these forms is composed entirely of carbon, the carbon atoms are organized and bonded differently, creating unique properties for each. Diamonds are formed under extreme pressure and heat, 100-200 kilometers below the Earths surface, by bonding carbon into a three-dimensional crystal network. Diamonds are the hardest natural substance known to us. Graphite differs from diamonds in that the carbon atoms are bonded into flat sheets, creating a black, slippery substance that is one of the softest substances known to man. Graphite is what pencil lead is made out of. Amorphous carbon, otherwise known as soot, forms when a carbon-based material burns, or combusts, without enough oxygen to convert it completely to carbon dioxide. Carbon is characterized by having 6 protons and 6 electrons, and usually 6neutrons. This isotope of carbon is called carbon-12, with the number12referring to the atomic mass, or number of neutrons plus protons. Carbon also exists in the isotope carbon-14, with 8 neutrons, but this form is unstable (a radioactive isotope) and decays into nitrogen-14 over time by releasing an electron and converting a neutron into a proton. For more information about carbon, see this web page: http://education.jlab.org/itselemental/ele006.html RUST Rust is a molecule that is composed of two elements: iron (Fe, atomic number26) and oxygen (O, atomic number 8). The chemical formula for rust is Fe2O3,which is called iron oxide, but is also known as ferric oxide or hematite,among other names. The word ferric refers to iron ions with a +3 charge (or with 23 electrons), whereas ferrous refers to iron ions with a +2 charge (or with 24 electrons). I think these words may have a Latin derivation, although I am not certain what their Latin meanings or root is. Rust forms when the oxygen in air or in water combines with iron, which is a major component of steel, for example. Each oxygen atom essentially steals two electrons from the iron, forming oxygen atoms with a 2 charge (O-2 ions), while each iron atom donates three electrons to the oxygen, forming iron atoms with a+3 charge (Fe+3 ions, also known as ferric). Since the oxygen ions are negatively charged and the iron ions are positively charged, they attract and create an ionic bond that forms rust. This type of reaction is known as a reduction-oxidation reaction, or a red-ox reaction, where oxygen is said to be reduced (hence the reduction, or decrease, in oxygens electric charge) and the iron is said to be oxidized by the oxygen. The chemical equation for the formation of rust is: 4(Fe) + 3(O2) = 4(Fe+3) + 6(O-2) = 2 (Fe2O3) Click Here to return to the search form. Copyright © 2015 The Regents of the University of California, All Rights Reserved.	i don't know
Which British aircraft company made the original Gnat jet trainer?	Warbird Depot - Jets > Steve Rosenberg's Folland Gnat T-1 Fuel Capacity: 460 gallons with external tanks Armament: none Steve Rosenberg's Folland Gnat T-1 Steve Rosenberg is the owner and operator of this Folland Gnat T-1, which is former Red Arrow demo aircraft XR-991 and is available for airshows, flybys and film. The Folland Gnat was a small, swept-wing British subsonic jet trainer and light fighter aircraft developed for the Royal Air Force, and flown extensively by the Indian Air Force. It was designed by W.E.W. Petter, and first flew in 1955. Its design was such that it could be built without specialised tools by countries that were not highly industrialised.[verification needed] Although never used as a fighter by the Royal Air Force (RAF), the "Gnat T.1" trainer variant was widely used. The Gnat possessed outstanding performance features including a 10,000 foot-per-minute climb rate, and a roll rate in excess of 360 degrees per second. It became well known as the mount for the RAF Red Arrows aerobatic team. The Gnat was the creation of W.E.W. "Teddy" Petter, a British aircraft designer formerly of Westland Aircraft and English Electric. Petter believed that a small, simple fighter would offer the advantages of low purchase and operational costs. New lightweight turbojet engines that were being developed enabled the concept to take shape. One of the hallmarks of the Gnat's design was its compact size. However, to achieve such a size, its systems were closely packed, making maintenance more difficult. Some of its systems were not noted for their reliability and the aircraft suffered from high operating costs. There were also issues that its cockpit was cramped and obstructed the instructor's forward visibility. Furthermore, the limited weapons load and reduced fuel capacity � both designed to reduce overall kerb weight � meant that it could not operate for protracted periods. Despite the shortcomings, the Gnat and its predecessor the Folland Midge were praised by the RAF evaluation and the test pilots. The lower cost of the Gnat, its compact dimensions, as well as "good press" for the aircraft in air shows, were among the factors that prompted a spurt in its export sales. The prototype first flew in 1955, when it demonstrated performance impressive enough to warrant the manufacture of six test aircraft for the Ministry of Supply. These aircraft were used in a variety of configurations, including the fitting of one with two 30mm cannon to test the aircraft's effectiveness in the ground attack role. However, the British government subsequently lost interest in the Gnat as a possible fighter, deciding instead to employ it as an advanced two-place trainer. For that role, Folland made significant changes to the aircraft, installing a second seat, a larger engine, a different wing and tail, and revised control-surface installation. The plane entered production with the RAF as the Fo.144 Gnat Trainer (later renamed the Gnat T.Mk1) but not until Folland was taken over by Hawker Siddeley at the insistence of the British government, which preferred to deal with a select few large, industrial groupings, rather than small, private-venture companies like Folland. In the meantime, however, Folland sold 13 Gnats (the last two of which were reconnaissance versions) to the Finnish government, which kept them in service until 1974. (An interesting side note: The day after the first two Gnats were delivered to Finland, Finnish Air Force Major Lauri Pekuri exceeded the speed of sound in a Gnat, the first time this speed had been achieved by the Finns.) Two Gnats were also sold to Yugoslavia, but the bulk of sales went to India, which purchased 40 airframes in various stages of completion and, under license, built 175 of the aircraft at the Hindustani Aircraft facilities at Bangalore as the Gnat Mk.II "Ajeet." The Gnat was used by the British Yellowjacks / Red Arrows aerobatic team from 1964 through 1979, when it was replaced by the British Aerospace Hawk T.Mk.1. It was with the Indian Air Force, however, that the Gnat came into its own as a fighter aircraft. During the 1965 war with Pakistan, the Gnat is credited with downing seven Pakistani F-86 (Sabre) aircraft. In their training role in the UK, Gnats were effective training aircraft for several generations of student jet pilots, and were a common sight in the skies above RAF Valley, UK before their retirement in November 1978. In the USA, a handful of Gnats enjoy continued life as privately-owned sport jets. Photo Gallery Contact Please fill out your contact information below if you are interested in contacting the operator, or representative, of this Warbird and you require more information for booking this aircraft at your Airshow or Event.	Folland Aircraft
What is considered to be the cowboy capital of America?	Folland Midge \| Military Wiki \| Fandom powered by Wikia Edit The Midge and Gnat were the creation of W.E.W. "Teddy" Petter , a British aircraft designer who had gained wide recognition for his design of the English Electric Canberra bomber and Lightning supersonic interceptor. Petter had grown suspicious of the trend towards bigger and more expensive combat aircraft, and he felt that a small, simple fighter would offer the advantages of low purchase and operational costs. New lightweight turbojet engines were being developed that would be able to power such small fighters. [2] Petter was unable to pursue this vision at English Electric, so he left to become managing director of Folland Aircraft . In 1951, using company funds, he began work on his lightweight fighter concept, which was designated the "Fo-141 Gnat" . The Gnat was to be powered by a Bristol BE-22 Saturn turbojet with 3,800 lbf (16.9 kN 1,724 kgp) thrust. However, the Saturn was cancelled, and so Petter's unarmed proof-of-concept demonstrator for the Gnat was powered by the less powerful Armstrong Siddeley Viper 101 with 1,640 lbf (7.3 kN / 744 kgp) thrust. The demonstrator was designated Fo-139 "Midge". The Midge, serial number G-39-1, first flew on 11 August 1954 from Boscombe Down , Wiltshire, with Teddy Tennant at the controls, and proved to be an excellent aircraft. [2] The Midge had a number of advanced features, such as hydraulically powered "flaperons", main gear that could be used as airbrakes, and a one-piece canopy that hinged over an inner armoured windscreen. Despite the low powered engine, the little jet could break Mach 1 in a dive and was very agile. [2] The Midge was evaluated by pilots from Canada, India, Jordan, New Zealand, and the US Air Force, and was almost universally praised. The Midge had performed a total of 220 flights when it was destroyed in a fatal crash on 26 September 1955, with a Swiss pilot at the controls. [3] However, the Midge had demonstrated that Petter's lightweight fighter concept had much going for it. Folland went on to develop a full-scale Gnat prototype, also using company funds. [2] Original film footage of the Midge can be seen in the 1956 British science fiction film "Satellite in the Sky". The Midge portrays a fictional jet fighter used to test an experimental rocket fuel. Specifications Data from The Encyclopedia of World Aircraft [4] General characteristics	i don't know
Which English actress plays the part of Mrs Weasley in the Harry Potter films?	Julie Walters - IMDb IMDb Actress \| Soundtrack For decades, Brit actress and comedienne Julie Walters has served as a sturdy representation of the working class with her passionate, earthy portrayals on England's stage, screen and TV. A bona fide talent, her infectious spirit and self-deprecating sense of humor eventually captured the hearts of international audiences. The small and slender ... See full bio » Born: a list of 35 people created 02 Jul 2011 a list of 24 people created 12 Dec 2011 a list of 22 people created 29 Sep 2012 a list of 35 people created 11 Oct 2015 a list of 24 people created 11 months ago Do you have a demo reel? Add it to your IMDbPage How much of Julie Walters's work have you seen? User Polls Nominated for 2 Oscars. Another 23 wins & 39 nominations. See more awards » Known For 2016 National Treasure (TV Mini-Series) Marie 2015-2016 Indian Summers (TV Mini-Series) Cynthia / Cynthia Coffin 2011 The Jury (TV Mini-Series) Emma Watts Q.C. 2006 Masterpiece Classic (TV Series) Mrs. Holland 2003 The Return (TV Movie) Lizzie Hunt 2003 Canterbury Tales (TV Mini-Series) Beth 2001 Strange Relations (TV Movie) Sheila Fitzpatrick 1999 Wetty Hainthropp Investigates (TV Short) Agnes 1998 Talking Heads 2 (TV Mini-Series) Marjory 1996 Brazen Hussies (TV Movie) Maureen Hardcastle 1993-1994 Screen One (TV Series) Alice / Pat Bedford / Diana Longden 1994 Requiem Apache (TV Movie) Mrs. Capstan 1984-1993 Screen Two (TV Series) Monica / Mavis 1989 Victoria Wood (TV Series) Joy-Ann / Pam / Nicola 1988 Talking Heads (TV Mini-Series) Lesley 1984 Love and Marriage (TV Series) Bonnie 1982 Objects of Affection (TV Series) June Potter 1978-1982 Play for Today (TV Series) Valery (Night Nurse) / Debbie - Shop Thy Neighbour (1982) ... Angie Todd 1979-1981 Screenplay (TV Series) 1979 Empire Road (TV Series) Jean Watson 1977 The Liver Birds (TV Series) Girl in surgery 1975 Second City Firsts (TV Series) Terry 2015 Indian Summers (TV Mini-Series) (performer - 1 episode) - Episode #1.1 (2015) ... (performer: "Oh! Oh! Antonio" - uncredited) 2008 Mamma Mia! (performer: "Money, Money, Money", "Chiquitita", "Super Trouper", "Dancing Queen", "Take A Chance On Me", "Waterloo") 1989 Mack the Knife (performer: "I Prefer Duet", "Ballad of Sexual Dependency", "Uncertainity of Human Condition") Hide 2001 'Billy Elliot': Breaking Free (Video documentary short) (special thanks) Hide 2016 Victoria Derbyshire (TV Series) Herself / Marie Finchley / Petula / ... 2016 There's Something About Romcoms (TV Movie documentary) Herself - Narrator (voice) 2015-2016 Very British Problems (TV Series) Herself - Narrator 2016 Brooklyn: Featurette (Video short) Herself / Mrs Kehoe 2015 In Conversation (TV Series documentary) Herself 2015 VE Day: Remembering Victory (TV Movie documentary) Herself - Narrator (voice) 2008-2015 The One Show (TV Series) Herself / Herself - Guest 2006-2012 This Morning (TV Series) Herself 2011 50 Greatest Harry Potter Moments (TV Movie documentary) Herself - Molly Weasley 2011 In Conversation with Julie Walters (Video documentary short) Herself 2011 Pete Postlethwaite: A Tribute (TV Movie documentary) Herself 2011 The Jury: Emma Watts QC (Video documentary short) Herself / Emma Watts Q.C. 2011 The Jury: The Jurors (Video documentary short) Herself / Emma Watts Q.C. (uncredited) 2011 The Jury: The Legal Team (Video documentary short) Herself / Emma Watts Q.C. 2011 Thora Hird Tribute (TV Movie) Herself / June Potter 2010 Paul O'Grady Live (TV Series) Herself 2010 The British Academy Television Awards (TV Movie documentary) Herself 2010 Face Booth (TV Movie documentary) Herself 2009 Victoria Wood: Seen on TV (TV Movie documentary) Herself / Various Characters 2009 Movie Connections (TV Series documentary) Herself 2008 Entertainment Tonight (TV Series) Herself 2008 Mamma Mia: Outtakes (Video short) Herself / Rosie (uncredited) 2007 The Comedy Map of Britain (TV Series documentary) Herself 2007 Becoming Jane: Behind the Scenes (Video documentary short) Herself / Mrs. Austen 2007 Becoming Jane: Deleted Scenes (Video documentary short) Mrs. Austen (uncredited) 2007 Becoming Jane: Regency Dance Featurette (Video documentary short) Herself / Mrs. Austen 2006 Tubridy Tonight (TV Series) Herself 2000-2006 Film 2016 (TV Series) Herself 2006 Comedy Connections (TV Series documentary) Herself 2006 Wogan Now & Then (TV Series) Herself 2002-2005 Richard & Judy (TV Series) Herself 2004 The Return: Behind the Scenes (Video documentary short) Herself / Lizzie Hunt (uncredited) 2004 'Calendar Girls': Creating the Calendar (Video documentary short) Herself / Annie 2004 'Calendar Girls': The Naked Truth (Video documentary short) Herself / Annie 2004 The BAFTA TV Awards 2004 (TV Movie documentary) Herself 2003 Interviews with Professors & More (Video documentary short) Herself 1999-2001 Omnibus (TV Series documentary) Herself / Various Characters 2001 The Sketch Show Story (TV Series documentary) Herself / Various Characters 2001 'Billy Elliot': Breaking Free (Video documentary short) Herself 1998 Best of British (TV Series) Herself / Various Characters 1998 Late Lunch (TV Series) Herself 1996 Auntie's All-Time Greats (TV Movie) Herself - Presenter 1996 The South Bank Show (TV Series documentary) Herself / Various Characters 1984-1990 Aspel & Company (TV Series) Herself 1988 An Audience with Victoria Wood (TV Special documentary) Herself - Questioner (uncredited) 1988 This Is Your Life (TV Series documentary) Herself 1988 Comic Relief (TV Special) Margery 1984 Sunday, Sunday (TV Series) Herself 1984 The 56th Annual Academy Awards (TV Special documentary) Herself - Nominee: Best Actress in a Leading Role 1981-1982 Wood and Walters (TV Series) Herself / Various Characters 1981 The Theatre Quiz (TV Series) Herself - Panellist Player in Everyman Theatre Company, Liverpool Hide 2016 This Morning (TV Series) Herself / Comedy Role 2016 Victoria Derbyshire (TV Series) Various Characters 2016 Victoria Wood Obituary (Video documentary short) Herself 2016 Channel 4 News (TV Series) Friend 2016 Brooklyn: Deleted Scenes (Video short) Mrs. Kehoe (uncredited) 2015 Britain's Best Loved Sitcoms (TV Series documentary) Herself / Petula 2011-2013 The Many Faces of... (TV Series documentary) Annie / Herself / Rita - Episode #1.2 (2010) ... Herself - Audience Member (uncredited) 2010 Breakfast (TV Series) 2007 The South Bank Show (TV Series documentary) Herself / Various Characters 2006 Jake's Progress: Interview (Video documentary short) Julie Diadoni (uncredited) 2006 Melissa: Interview (Video documentary short) Paula Hepburn (uncredited) 2004 Britain's Favourite Comedian (TV Series) Various Characters 1985 The Glass Box (TV Series) Herself Personal Details Other Works: She acted in Mike Stott 's play, "Funny Peculiar", at the Garrick Theatre in London, England with Richard Beckinsale and Pete Postlethwaite in the cast. See more » Publicity Listings: 1 Print Biography \| 1 Portrayal \| 4 Interviews \| 4 Articles \| 1 Pictorial \| 6 Magazine Cover Photos \| See more » Official Sites: Did You Know? Personal Quote: I think there was a breakthrough period where I did Educating Rita (1983) and Victoria Wood s work very close together. I'd just started to be known through Victoria's stuff with Wood and Walters, which came out very close to 'Educating Rita'. It was quite a grand slam in a way for me, really useful for me doing those two things. And at the same time I started to do something with Alan Bennett, I ... See more » Trivia: Injured herself whilst filming the "Dancing Queen" musical sequence in Mamma Mia! (2008), by tripping over some rocks on a cobbled street. According to Meryl Streep , Walters "soldiered on" and completed the scene. See more » Trademark:	Julie Walters
Who was lead singer with UB 40?	Harry Potter Cast \| Harry Potter Wiki \| Fandom powered by Wikia Edit From Wikipedia, the free encyclopedia (Redirected from Harry Potter cast)Jump to: navigation, searchThe list of Harry Potter cast members is a list of actors who voiced or portrayed characters appearing in the Harry Potter film series based on the book series by J. K. Rowling. Daniel Radcliffe, Rupert Grint and Emma Watson have played Harry Potter, Ron Weasley and Hermione Granger in all the films. When they cast only Radcliffe had previously acted in a film. Complementing them on screen are some of the most renowned actors of the United Kingdom and Ireland, including Helena Bonham Carter, Jim Broadbent, John Cleese, Robbie Coltrane, Warwick Davis, Ralph Fiennes, Michael Gambon, Brendan Gleeson, Richard Griffiths, Richard Harris, John Hurt, Jason Isaacs, Gary Oldman, Miranda Richardson, Alan Rickman, Fiona Shaw, Maggie Smith, Timothy Spall, Imelda Staunton, David Thewlis, Emma Thompson, Julie Walters and Mark Williams, among others. Sixteen actors have appeared as the same character in the first six films of the franchise, and many of these actors have reappeared in either of the two parts of Harry Potter and the Deathly Hallows. In the books, a significant number of characters who have not appeared since some of the earlier novels reappear to fight to defend Hogwarts in the large, final battle.[1] David Yates, director of the final four Potter films, said, "I want to get them all back" for the final instalment of the series, referring to his desire to bring back as many actors who have appeared in the franchise as possible for the climactic battle sequence in the film. Some well-known British actors who have not appeared in the series are asked in jest why they have not been cast. In 2007, when Yates was directing the fifth film, Bill Nighy, who had previously collaborated with Yates on three of his television projects, said that he "joked with [Yates] that maybe now I wouldn't be the only actor in England who hadn't been in Harry Potter". But "nobody called", Nighy added.[2] Ironically, in 2009, Nighy was cast as Minister of Magic Rufus Scrimgeour in Deathly Hallows, which Yates directed. Nighy said, "I am no longer the only English actor not to be in Harry Potter and I am very pleased."[3] Jude Law has quipped, "Nobody's asked me. I was a bit too old for Harry".[4] When a reporter compared Potions professor Horace Slughorn's obsession with famous names to the series' connection to "every notable British actor," Jim Broadbent, who plays Slughorn said, "Well, not every actor gets invited. I know some who are still waiting."[5] With the exception of Chris Columbus, each director has had a cameo appearance in their respective film: Alfonso Cuarón appears as a wizard holding a candle during a scene at The Three Broomsticks in Prisoner of Azkaban; Mike Newell is heard briefly as the radio presenter in Frank Bryce's house in Goblet of Fire; and David Yates features as a wizard within a magical moving portrait in Order of the Phoenix. Producer David Heyman also makes a cameo appearance as a wizard featured within a magical moving portrait on the DVD of the third film, Prisoner of Azkaban. The list below is sorted by film and character, as some characters have been portrayed by multiple actors. Key (v) indicates the actor or actress lent only his or her voice for his or her film character. (y) indicates the actor or actress portrayed the role in a flashback scene or when the character was young. (f) indicates the actor or actress did not appear in any new footage for the film; footage from an earlier film or films was used. A light grey cell (such as the one in the "Charity Burbage" row in the "Philosopher's Stone" column) indicates the character was not in the film adaptation. A dark grey cell (such as the one in the "Dedalus Diggle" row in the "Deathly Hallows" column) indicates the character does appear in the novel, but has not yet been cast. Contents 1.4 Lord Voldemort and his Death Eaters 1.5 Ministry of Magic employees 1.6 Other Order of the Phoenix members 1.7 Muggles 1.8 Foreign wizards and witches 1.9 Hogwarts denizens (non-human and ghosts) 1.10 Wizarding world people	i don't know

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