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271_16	pilot program in the structural biology of proteins in the malaria parasite was also initiated.
271_17	Phase II (2007-2011)
271_18	The new goal for structures was 650. The SGC focused considerable activities in the areas of ubiquitination, protein phosphorylation, small G-proteins and epigenetics, and also initiated an effort in the structural biology of integral membrane proteins. In this phase, the SGC determined the structures of 665 human proteins from its Target List. With support from Wellcome and GSK, the SGC launched a program to develop freely-available chemical probes to proteins involved in epigenetic signalling which at the time were under studied. The quality of each chemical probe was subject to two levels of review prior to their dissemination to the public. The first was internal, through a Joint Management Committee comprising representatives from each member organization. The second was provided by a group of independent experts selected from academia. This level of oversight is aimed at developing reagents that support reproducible research. It ultimately led to the creation of the Chemical
271_19	Probes Portal. The SGC Memberships expanded to include Merck, Sharpe and Dohme, and Novartis. Wayne Hendrickson served as the Chair of the SGC Board.
271_20	Phase III (2011-2015) The SGC mandate diversified to include 200 human proteins including 5 integral membrane proteins and chemical probes (30). Many of the chemical probes’ programs were undertaken in partnership with scientists in the pharmaceutical companies, which made the commitment to contribute the collaborative chemical probe into the public domain, without restriction. In Phase III, the SGC, along with the SSGCID (https://www.ssgcid.org/) and the CSGID (https://csgid.org/) launched the SDDC. SGC Memberships: AbbVie, Bayer AG, Boehringer Ingelheim, Eli Lilly and Janssen. Merck, Sharpe and Dohme and the Canadian Institutes for Health Research left the consortium. Markus Gruetter became the Chair of the SGC Board.
271_21	Phase IV (2015-2020) This phase built on the goals of previous phases but included well-characterized antibodies to human proteins. The SGC initiated a concerted effort to develop disease-relevant, cell-based assays using (primary) cells or tissue from patients. This phase saw the launch of research activities at Goethe University in Frankfurt, at McGill University, and at the Universities of Campinas and North Carolina, and participation in ULTRADD and RESOLUTE within IMI. SGC Memberships: Merck KGaA, the Eshelman Institute for Innovation, Merck, Sharpe and Dohme joined while GSK and Eli Lilly left. Tetsuyuki Maruyama became the Chair of the Board.
271_22	The Future - Target 2035 Target 2035 is an open science movement with the goal of creating chemical and/or biological tools for the entire proteome by 2035. The launch in November 2020 and monthly webinars have and continue to be free to attend. Supporting projects currently underway include the SGC’s epigenetics chemical probe program, the NIH’s Illuminating the Druggable Genome initiative for under-explored kinases, GPCR’s and ion channels, IMI’s RESOLUTE project on human SLCs, and IMI's Enabling and Unlocking Biology in the Open (EUbOPEN). These teams are linked to SGC’s global collaborative network. Selected publications Chemogenomics, protein degradation Patient-derived cell assays Open science Reproducibility
271_23	External links Partner List Global SGC website SGC UNC SGC Frankfurt SGC Karolinska SGC Toronto Chemical probe resources: Chemical Probes Portal, Probe Miner, SGC Chemical Probes, SGC Donated Chemical Probes Program Chemogenomics: Kinase Chemogenomic Set v1.0 Centre for Medicines Discovery University of Campinas References Genomics organizations Medical research institutes
272_0	Lee Konstantinou (born December 29, 1978) is an associate professor of English Literature at University of Maryland, College Park. Biography Lee Konstantinou was born in New York City. Konstantinou received his Bachelor of Arts in English, Psychology, and College Scholar from Cornell University. His bachelors thesis was titled “Comics and the Holocaust: A(n) (Auto/bio)graphical Analysis of Art Spiegelman’s Maus,” about Art Spiegelman's Maus. Konstantinou then went on to receive his MA and PhD from Stanford University in 2009 with a dissertation titled “Wipe That Smirk off Your Face: Postironic Literature and the Politics of Character.” Since 2012, Konstantinou has been an assistant professor of English Literature at University of Maryland, College Park.
272_1	Fiction Konstantinou wrote Pop Apocalypse: A Possible Satire, which was published in 2009 by Ecco/Harper Perennial. The novel details a future in which "California is an occupied territory, the United Nations is for poor countries, and America’s president is named Friendly, but the media-obsessed, personal-computer-equipped denizens[...] are blissfully unconcerned about the brink of armageddon."
272_2	In a review for The A.V. Club, Ellen Wernecke awarded the novel a "B," noting, "Pop Apocalypse buzzes with biblical references (the giant neon halo over the Omni Science headquarters is the most obvious) and constant reminders of the end times, but that isn’t necessarily bad: The occasionally overwrought imagery is useful for organizing the technology and history of this Department Of Homeland Security-meets-YouTube world[....]The process of building that world is initially a distraction from Eliot’s cringe-inducing metamorphosis from rich party kid to concerned citizen, but the details of his known universe are just close enough to terror fantasies and current corporate skullduggery as to be riveting." Publishers Weekly presented another positive look at the novel, writing, "This playful and witty novel takes our celebrity-obsessed and media-hijacked culture, mixes in geopolitics and a dash of cyberpunk dystopia to create an intelligent and blistering what-if." Margaret Wappler of
272_3	the Los Angeles Times offered a more mixed review of the novel, stating, "His best skill is his imagination. The book is so breathless with concepts that the prose too often serves merely as a delivery device and his characters suffer."
272_4	Non-Fiction In 2012, Konstantinou co-edited The Legacy of David Foster Wallace with University of Missouri professor Samuel Cohen. The collection discusses American author David Foster Wallace's legacy following his death in 2008 and includes pieces by other American writers such as Don DeLillo, George Saunders, Dave Eggers and Jonathan Franzen as well as other figures in Wallace's life, such as his editor, Michael Pietsch. The collection also includes a chapter by Konstantinou, titled "No Bull: David Foster Wallace and Postironic Belief," which would later be included in Konstantinou's 2016 book Cool Characters: Irony and American Fiction. In the piece, Konstantinou discusses Wallace's fiction, especially his 1996 novel Infinite Jest, his 1993 essay, "E Pluribus Unum," and Wallace's desire for "a viable postironic ethos for U.S. literature and culture at the End of History"
272_5	In his 2016 book, Cool Characters: Irony and American Fiction, Konstantinou expands on the idea of postironic literature. The book first details the "political history of irony" in American fiction, which Konstantinou contends "Wallace misread" as having an "unambiguously critical mission at midcentury," instead offering that "irony offered a vision of political freedom troublingly imbricated with Cold War liberalism." In the introduction, Konstantinou examines the character of irony, first noting the ambivalence of postmodern authors such as Wallace or Zadie Smith about irony and other features of postmodernism. He contends that the most important goal for writers seeking to move beyond postmodernism is transcending irony, though these writers don't have any illusions about returning to a pre-postmodern world. He details four types of political irony: the cognitive, the antifoundational, the historicist, and the characterological. The cognitive form of political irony "sees its
272_6	political power as arising from its status as a speech act." In Konstantinou's view, the characterological form of irony is the most effective. He contends that the debate over the use and history of irony is characterological, as "[w]hether they are concerned with irony's cognitive, epistemic, or historical dimensions, those who argue about irony use a rich language of character, attitude, sensibility, disposition, and ethos" Konstantinou also discusses the movement of New Sincerity in his introduction, arguing that it is "closest in spirit to postirony," but its "focus on sincerity too narrowly maps the contemporary literary field[....]Why, after all, would sincerity be the aspired state one might want to attain if one was concerned about irony? Why not commitment, or passion, or emotion, or decision?" He also notes, "[m]ore importantly, [Adam] Kelly's focus on the 'ethical' accounts for only a narrow sector of contemporary efforts to move beyond the postmodern," as movements beyond
272_7	postmodernism should not only address "questions of traditional ethical or moral concern but also a broader universe of mental training, including political life, of which the ethical aspiration to sincerity is indeed one important dimension"
272_8	Konstantinou examines figures of American life, the hipster and the punk, and their relation to irony. He contends that "by studying the hipster, the Ur-ironist of postwar life - a character type many artists and intellectuals thought was best adapted to the age of abundance - we can reconstruct the foundations of our contemporary picture of irony and, in doing so, revise many deeply ingrained assumptions about its subversive power" He then traces the concept of "hipness" through American history, beginning in 1938 with Cab Calloway and jive and moving through authors such as Ralph Ellison and Thomas Pynchon. Konstantinou concludes the chapter by contending that "the quest for hip became a branch of a more general postwar quest for criticality as such, which was neither at odds with the liberal 'status quo' nor just another form of positivism[...]Hipness became a characterological weapon in an intellectual conflict that pitted increasingly stale critical institutions against newer
272_9	forms of knowingness, newer places outside of society that were, simultaneously, inside emerging subcultural groups or coteries that claimed to occupy advantageous epistemic vantage points on American life. We must conclude that the hipster - who signaled his exclusive knowledge through irony - lived in accord with the dominant spirit of the Age of Criticism" In his next chapter, "Punk's Positive Dystopia," he labels the punk in the 1970s as a "frustrated agent within the specific contradictions that marked the boundary between the midcentury welfare state[...]and a still-inchoate (at least at the level of public policy) neoliberalism" Konstantinou notes that the punk sought Do it yourself or DIY culture as a solution to the era in which they existed. He contends that the punk's use of irony, seen in works by authors such as William S. Burroughs and Kathy Acker, is "positive dystopia," an "ironic narrative mode that finds the conditions for survival in destruction" He differentiates
272_10	the punk from the hipster, noting, "Punk escalates the critical irony of the hipster. Whereas the hipster used irony to draw attention to the polysemy of language, to manipulate language in pursuit of what he saw as human freedom, the punk uses linguistic polysemy in an effort to stop or arrest language itself." Konstantinou then examines punk's connection to irony through its resistance to "selling out" and how this resistance became co-opted, Burroughs' writing, and contemporary punk and its usage of "temporary autonomous zones" or TAZs.
272_11	The second half of Cool Characters analyzes postirony, looking at "the believer," the "coolhunter," and members of the Occupy Wall Street movement. In the chapter "How to Be a Believer," Konstantinou discusses David Foster Wallace and Dave Eggers' attempts to construct a feasible postironic movement. He notes that "[f]or Wallace, postironic belief underwrites the possibility of genuine communication" He contends that Wallace's attempts to construct an ethos centered around belief differs from one tied to religion like seen in the series Left Behind, as "Wallace wants to invent a new form of secular belief, a religious vocabulary (God, prayer) that is emptied out of any specific content and is engineered to confront the possibly insuperable condition of postmodernity" Konstantinou argues that like Wallace, Eggers "means to make his readers into believers. Eggers has asked his readers to believe in him, in the truthfulness of his memoir, the sincerity of his various enterprises"
272_12	Konstantinou concludes that while "Wallace's brand of postirony, for all its power, was more concerned with overthrowing the rule of a particular type of person, the ironist, than with changing the institutional relations that facilitated the rise to this type[....]Because he did not focus on transforming postmodern institutions, Wallace may have been doomed to fail to achieve his aims in strictly literal terms" Eggers "by contrast, seems to have understood the importance of constructing alternative institutions" He lauds Eggers (and the institutions he has created, such as McSweeney's) for "creat[ing] a relatively optimistic ethos of belief that mixes a quirky aesthetic sensibility with an urge toward philanthropy and the active construction of alternative institutional structures" In his next chapter, Konstantinou examines the "coolhunter," a figure that seeks out "cool" cultural items for use by corporations and other capitalist institutions. He discusses the use of this figure in
272_13	fiction, such as in Jennifer Egan's A Visit from the Goon Squad, where Egan envisions "a near future in which the advanced understanding and manipulation of the cool leads to the rise of a postironic youth culture" He contends that "[a]fter all, Egan seems to show, new forms of authentic experience can still emerge unexpectedly even in a world whose social life is fully enclosed within corporate platforms" Konstantinou concludes the chapter by asserting that "[t]he lesson the coolhunter teachers is that such sensitivity requires, at a minimum, both a critically distant and aesthetically invested sense of the market and the world"
272_14	In his conclusion, Konstantinou discusses the Occupy movement. Examining a controversy in the movement in which a group attempting to sell a print of an iconic image related to the movement, he notes, "[t]hough seemingly minor, this controversy showcases the political paradoxes of Occupy, illuminating how difficult it can be to differentiate 'speaking with' from 'speaking for' within the context of Occupy's style of anarchist politics" and contends "[t]he characterological question Occupy raised was nothing less than what form our collective subjectivity should take." He also combats the "[c]ondemnations of the contemporary hipster," writing that the view taken by critics in which the mid-century hipster and other iconoclast figures were entirely authentic and oppositional is "an idealized past[...][s]tories about the dire need to move beyond contemporary hipster irony, toward some new form of oppositional political sincerity, are written in a narrative genre that I will call the
272_15	postironic Bildungsroman" Konstantinou concludes the book by arguing that irony is "always political," but "does not have a predetermined fate or political content": "As my discussions of the hipster and the punk have tried to show, irony did not, even at its most avowedly countercultural forms, necessarily aid projects of human liberation. Nor, as my discussions of the believer and the coolhunter sought to demonstrate, will we be able to predict in advance the future political significance of postirony." Instead, he offers, "[w]e must, therefore, cultivate within ourselves an ironic understanding of our own countercultural inheritance while simultaneously developing a nonironic commitment to learning how to build enduring institutions that have the capacity not only to rouse spirits but also to dismantle the power of those whose strength partly depends on our cynicism"
272_16	In a review of Cool Characters for Times Higher Education, Robert Eaglestone praises the book. He argues, "All of these analyses are complex and detailed, led by a deep engagement with literary texts, their cultural surroundings, and are astutely theoretically informed." Eaglestone labels the book "another insightful, provocative and necessary book in literary studies from Harvard University Press."<
272_17	In a recent publication from The Chronicle of Higher Education, Konstantinou responds to Rita Felski’s remarks on the dependency of literary scholars on critique: “There’s actually quite a diverse range of intellectual frameworks, politically, theoretically, philosophically, yet there’s an underlying similarity in terms of this mood of vigilance, wariness, suspicion, distrust, which doesn’t really allow us to grapple with these really basic questions about why people actually take up books in the first place, why they matter to people.” Felski emphasizes the need to move past critique and the Danish National Research Foundation has awarded her $4.2 million to a study lead by Felski “to investigate the social uses of literature.” However, Konstantinou has rebuked her claims. In his opinion, “Literary critics are not handcuffed to the project of critique” and as he did his research, put a premium on visiting archives and documenting the past.
272_18	Konstantinou has also written for Slate (magazine). In a recent publication there, Konstantinou writes about the phenomenon of the Unmanned aerial vehicle, or more colloquially known as the drone, in combination with Adult Swim’s Infomercials (TV series) short, ‘’Fartcopter’’. Konstantinou explains that this fake informercial aims at selling a product, namely “a small yellow helicopter—a drone—with a speaker hanging from its underside. The drone does one thing and does it well: It makes obnoxious fart noises’. Fartcopter is sold to violent children, to distract them from being violent to other children. The eleven minute infomercial also tells the story of Michael, a boy who loves to terrorize children with his fartcopter. However, one day his family stages an intervention and each one of them uses a fartcopter for the last time. After it farts, the fartcopters report that they are “out of farts.” Michael is finally freed of his addiction and murders his family. Konstantinou is of
272_19	the opinion that Fartcopter can teach us about our relationship with drones. The weapon turned toy “can use weaponized farts to murder America’s many enemies, the general explains—at birthday parties, graduations, funerals, yacht launches, dog adoption fairs, quinceañeras, and so on.” Fartcopter makes it clear that the whole world is a battlefield. Furthermore, Konstantinou sees the short infomercial as making a critique of the global war on terrorism. Now a remote person can wage war from across the globe. Detached from the experience and reality of warfare, piloting a drone becomes reminiscent to playing a video game. Furthermore, Konstantinou sees something uncanny in the drones, namely that “the human agency behind them is, by design, ambiguous.”. The viewer or even victim of the drone does not know if they are being attacked by a human or a robot.
272_20	Bibliography Books Cool Characters: Irony and American Fiction. Harvard University Press, 2016. Pop Apocalypse: A Possible Satire. Ecco/Harper Perennial, 2009. The Legacy of David Foster Wallace. Co-edited with Samuel Cohen. University of Iowa Press, 2012.
272_21	Book Chapters “Neorealism.” In American Literature in Transition: 2000-2010, Ed. Rachel Greenwald Smith. Cambridge University Press, forthcoming. “Four Faces of Postirony.” In Metamodernism: Historicity, Affect, and Depth after Postmodernism. Ed. Robin van den Akker, Alison Gibbons, and Timotheus Vermeulen. Rowman & Littlefield International, forthcoming. “Barack Obama’s Postironic Bildungsroman.” In Barack Obama's Literary Legacy: Readings of Dreams from My Father. Ed. Richard Purcell and Henry Veggian. Palgrave MacMillan, 2016. 119-140. “The Camelot Presidency: John F. Kennedy and Postwar Style.” In The Cambridge Companion to John F. Kennedy. Ed. Andrew Hoberek. Cambridge University Press. 149-163.
272_22	“Another Novel is Possible: Muckraking in Chris Bachelder’s U.S.! and Robert Newman’s The Fountain at the Center of the World.” In Blast, Corrupt, Dismantle, Erase: Contemporary North American Dystopian Literature. Ed. Brett Josef Grubisic, Gisèle M. Baxter, and Tara Lee. Wilfrid Laurier University Press, 2014. 453-473. “Introduction: Zoologists, Elephants, and Editors.” With Samuel Cohen. In The Legacy of David Foster Wallace. Ed. Samuel Cohen and Lee Konstantinou. University of Iowa Press, 2012. xi-xxv. “No Bull: David Foster Wallace and Postirony.” In The Legacy of David Foster Wallace. Ed. Samuel Cohen and Lee Konstantinou. University of Iowa Press, 2012. 83-112.
272_23	Articles “‘Fartcopter’ Has the Answer,” Slate, May 26, 2016. “We had to get beyond irony: How David Foster Wallace, Dave Eggers, and a new generation of believers changed fiction.” Salon, Mar. 27, 2016. Excerpt from Cool Characters: Irony and American Fiction. “A Theory of Here.” The Account, no. 4 (2015). “William Gibson’s Breakfast Burrito.” Review of William Gibson, The Peripheral (New York: Putnam, 2014). Los Angeles Review of Books, Dec. 12, 2014. “Only Science Fiction Can Save Us!” Slate, Sept. 17, 2014. “The Eccentric Polish Count Who Influenced Classic SF’s Greatest Writers,” io9, Sept. 5, 2014. “The One Incorruptible Still Point.” Review of Thomas Pynchon, Bleeding Edge (New York: Penguin, 2013). The Iowa Review 43.3 (Winter 2013/2014): 170-174. “Dave Eggers is Worried About America.” Review of Dave Eggers, The Circle (New York: Knopf, 2013). The American Prospect, Oct. 30, 2013.
272_24	“Kingsley Amis’s SF Addiction.” Review of Kingsley Amis, The Green Man (New York: NYRB Classics, 2013) and The Alteration (New York: NYRB Classics, 2013). Los Angeles Review of Books, Oct. 27, 2013. “Outborough Destiny.” Review of Jonathan Lethem, Dissident Gardens (New York: Doubleday, 2013). Los Angeles Review of Books, Sept. 8, 2013. “Periodizing the Present.” Review of Jeffrey Nealon, Post-Postmodernism, or, The Cultural Logic of Just-in-Time Capitalism (Stanford: Stanford University Press, 2012). Contemporary Literature 54.2 (Summer 2013): 411-423. “Barbarians at the Wormhole: On Anthony Burgess.” Review of Anthony Burgess, A Clockwork Orange (New York: Norton, 2012) and The Wanting Seed (New York: Norton, 2012). Los Angeles Review of Books, Nov. 14, 2012. [Republished as “When Sci-Fi Went Mainstream,” Salon, Nov. 15, 2012.]
272_25	“Too Big to Succeed: On William Gaddis’s J R.” Review of William Gaddis, J R (New York: Dalkey Archive Press, 2012). Los Angeles Review of Books, Oct. 28, 2012. “‘We’d Hate to Lose You’: On the Biography of David Foster Wallace.” Review of D.T. Max, Every Love Story is a Ghost Story: A Life of David Foster Wallace (New York: Vintage, 2012). Los Angeles Review of Books, Sept. 9, 2012. “Comics in the Expanded Field: Harkham’s Most Ambitious Anthology Yet.” Review of Kramers Ergot 8 (Brooklyn: PictureBox, 2012). Los Angeles Review of Books, July 13, 2012. “Relatable Transitional Objects.” Review of Alison Bechdel, Are You My Mother? (New York: Vintage, 2012). The New Inquiry, July 3, 2012. “Watching Watchmen: A Ripost to Stuart Moulthrop.” electronic book review, Jan. 25, 2012. “Anti-Comprehension Pills.” Review of Ben Marcus, The Flame Alphabet (New York: Knopf, 2012). Los Angeles Review of Books, Mar. 28, 2012.
272_26	“Never Again, Again.” Review of Art Spiegelman, MetaMaus: A Look Inside a Modern Classic, Maus (New York: Pantheon, 2011). Los Angeles Review of Books, Jan. 30, 2012. “Hurricane Helen.” Review of Helen DeWitt, Lightning Rods (New York: New Directions, 2011). Los Angeles Review of Books, Nov. 21, 2011. Review of Sarah Palin in Andrew Altschul, Deus Ex Machina: A Novel (New York: Counterpoint, 2011). The Believer, Sept. 2011: 48-50. “Unfinished Form.” Review of David Foster Wallace, The Pale King: An Unfinished Novel (New York: Little, Brown, 2011). Los Angeles Review of Books, July 6, 2011. Web. “William S. Burroughs’ Wild Ride with Scientology.” io9, May 11, 2011. “WikiLeaks vs. Top Secret America,” AOL News, Aug. 5, 2010. “Learning to Be Yourself.” Review of Abigail Cheever, Real Phonies: Cultures of Authenticity in Post-World War II America (Atlanta: University of Georgia Press, 2009). Twentieth-Century Literature 56.2 (Summer 2010): 277-85.
272_27	“Round or Flat?” Center: A Journal of the Literary Arts 8 (2009): 79-81.
272_28	References Sources Konstantinou, Lee. Cool Characters: Irony and American Fiction. Harvard University Press, 2016. External links English Department at the University of Maryland, College Park The Habit of Tiön 1978 births 21st-century American novelists Writers from New York City Cornell University alumni Living people Stanford University alumni University of Maryland, College Park faculty Novelists from New York (state) Novelists from Maryland
273_0	Sandy Denny is a 2010 compilation box set of recordings by folk singer Sandy Denny and comprises all studio material and recordings made during her time both as a solo artist and as a member of Fotheringay, Fairport Convention, and other groups, together with home demos and live recordings. Track listing The box set contains the following tracks: Disc 1 Alex Campbell and his Friends "The False Bride" "You Never Wanted Me" "This Train" Sandy and Johnny "Milk and Honey" "The Last Thing on My Mind" "The 3:10 to Yuma" "Make Me a Pallet on Your Floor" "Pretty Polly" "Been on the Road So Long" "My Ramblin’ Boy" It's Sandy Denny "The 3.10 to Yuma" "Pretty Polly" "Milk and Honey" "The Last Thing on My Mind" "Make Me a Pallet on Your Floor" Disc 2 All Our Own Work - Sandy Denny and The Strawbs "On My Way" "Who Knows Where the Time Goes?" "Tell Me What You See in Me" "Stay Awhile with Me" "All I Need Is You" "Sail Away to the Sea" "And You Need Me"
273_1	Sandy Denny and The Strawbs (1991 re-issue with strings) "Nothing Else Will Do" (Sandy lead vocal) "Who Knows Where the Time Goes?" (strings) "And You Need Me" (strings) "Tell Me What You See in Me" (added sitar) "Stay Awhile with Me" (strings) "Two Weeks Last Summer" Swedish Fly Girls (film soundtrack) "Water Mother" "What Will I Do Tomorrow?" "Are the Judges Sane?" "I Need You" Disc 3 What We Did on Our Holidays - Fairport Convention "Fotheringay" "Mr Lacey" "Book Song" "The Lord Is in This Place" "I'll Keep It with Mine" "Eastern Rain" "Nottamun Town" "She Moves Through the Fair" "Meet on the Ledge" Unhalfbricking - Fairport Convention "Genesis Hall "Si Tu Dois Partir" "Autopsy" "A Sailor's Life" "Cajun Woman" "Who Knows Where the Time Goes" "Percy's Song" "Million Dollar Bash" Bonus tracks "Mr Lacey" - Unreleased (Sandy lead vocal) "Autopsy" - Unreleased (alternate take) Disc 4
273_2	Liege & Lief - Fairport Convention "Come All Ye" "Reynardine" "Matty Groves" "Farewell Farewell" "The Deserter" "Tam Lin" "Crazy Man Michael" Bonus tracks "Come All Ye" (take 1) "Matty Groves" (take 1) Disc 5 Fotheringay - Fotheringay "Nothing More" "The Sea" "Winter Winds" "Peace in the End" "The Way I Feel" "Pond and the Stream" "Banks of the Nile" Fotheringay 2 - Fotheringay "John the Gun" "Eppy Moray" "Wild Mountain Thyme" "Late November" "Gypsy Davey" "Silver Threads and Golden Needles" "Two Weeks Last Summer" "Gypsy Davey" (Joe Boyd mix) "Late November" (Joe Boyd mix) "Two Weeks Last Summer" (Joe Boyd mix) Disc 6 The North Star Grassman and the Ravens "Late November" "Blackwaterside" "The Sea Captain" "Down in the Flood" "John the Gun" "Next Time Around" "The Optimist" "Let's Jump the Broomstick" "Wretched Wilbur" "Northstar Grassman and the Ravens" "Crazy Lady Blues"
273_3	Bonus tracks "Late November" (El Pea version) "Blackwaterside" (Alternate take) "Next Time Around" (Alternate take without strings) Rock On - The Bunch "That'll Be the Day" "Love’s Made a Fool of You" "Willie and the Hand Jive" "When Will I Be Loved?" "Learning the Game" Disc 7 Sandy "It’ll Take a Long Time" "Sweet Rosemary" "For Nobody to Hear" "Tomorrow Is a Long Time" "Quiet Joys of Brotherhood" "Listen, Listen" "The Lady" "Bushes and Briars" "It Suits Me Well" "The Music Weaver" Bonus tracks "Ecoute, Ecoute" (Listen, Listen French version) "For Nobody to Hear" (original version) "The Music Weaver" (without strings) "Here in Silence" (From the short film Pass of Arms) "Man of Iron" (From the short film Pass of Arms) Disc 8 Like an Old Fashioned Waltz "Solo" "Like an Old Fashioned Waltz" "Whispering Grass" "Friends" "Carnival" "Dark the Night" "At the End of the Day" "Until The Real Thing Comes Along" "No End"
273_4	Bonus tracks "Solo" (no overdubs) "Like an Old Fashioned Waltz" (without strings) "Friends" (Alternate version) "Dark the night" (Alternate take) "At the End of the Day" (alternate take w/o strings) "No End" (alternate take w/o strings) Disc 9 Fairport Live Convention (A Moveable Feast) - Fairport Convention "Matty Groves" [live] "John the Gun" [live] "Something You Got" [live] "Down in the Flood" [live] "That’ll Be The Day" [live] Rising for the Moon - Fairport Convention "Rising for the Moon" "Restless" "White Dress" "Stranger to Himself" "What is True?" "Dawn" "After Halloween" "One More Chance" Bonus tracks "White Dress" (Alternate version) "Dawn" (Alternate version) "One More Chance" (alternate take) "Breakfast in Mayfair" (from The Man They Couldn't Hang) Disc 10
273_5	Rendezvous "I Wish I Was a Fool for You" "Gold Dust" "Candle in the Wind" "Take Me Away" "One Way Donkey Ride" "I’m a Dreamer" "All Our Days" "Silver Threads and Golden Needles" "No More Sad Refrains" Bonus tracks "Full Moon" (Bonus track on US Hannibal release) "Still Waters Run Deep" (‘Candle in the wind’ b-side) "I’m a Dreamer" (Alternate take without strings) "All Our Days" (full length version) "No More Sad Refrains" (without strings) "Full Moon" (Alternative version feat. Dave Swarbrick solo) Disc 11 Gold Dust: Live at the Royalty "I Wish I Was a Fool for You" "Stranger to Himself" "I’m a Dreamer" "Take Me Away" "Nothing More" "The Sea" "The Lady" "Gold Dust" Solo "John the Gun" "It’ll Take a Long Time" "Wretched Wilbur" "Tomorrow Is a Long Time" "The Northstar Grassman and the Ravens" "One More Chance" "No More Sad Refrains" "Who Knows Where the Time Goes" Disc 12 (bonus disc)
273_6	The Early Home Demos "Blues Run the Game" "Milk and Honey" "Soho" "It Ain’t Me Babe" "East Virginia" "Geordie" "In Memory (The Tender Years)" "I Love My True Love" "Let No Man Steal Your Thyme" ‘Ethusel’ Unknown track "Carnival" "Setting of the sun" "Boxful of Treasures" "They Don’t Seem to Know You" "Gerrard Street" "Fotheringay" "She Moves Through the Fair" "The Time Has Come" "Seven Virgins" "A Little Bit of Rain" "Go Your Own Way My Love "Cradle Song" "Blue Tattoo" "The Quiet Land of Erin" "Who Knows Where the Time Goes" (1st demo 1967) Disc 13 (bonus disc)
273_7	Solo & Fairport Convention "Who Knows Where the Time Goes" (2nd demo 1968) "Motherless Children" (home demo) "Milk and Honey" (Live BBC, Cellarful of Folk 21/3/67) "Been on the Road So Long" (Live BBC, My Kind of Folk 26/6/68) "Quiet Land of Erin" (Live BBC, My Kind of Folk 26/6/68) "Autopsy" (demo) "Now and Then" (demo) "Fotheringay" (Acoustic version) "She Moved Through the Fair" (Acoustic version) "Mr. Lacey" (live BBC, Stuart Henry Show 02/12/68) "Throwaway Street Puzzle" "Ballad of Easy Rider" "Dear Landlord" "A Sailors Life" (1st version without Swarb) "Sir Patrick Spens" "Quiet Joys of Brotherhood" (take 1) "Quiet Joys of Brotherhood" (take 4) Disc 14 (bonus disc)
273_8	Fotheringay "The Sea" (studio demo) "Winter Winds" (studio demo) "The Pond and the Stream" (studio demo) "The Way I Feel" (original version) "Banks of the Nile" (alternate take) "Winter Winds" (alternate take) "Silver Threads and Golden Needles" (1st album outtake) "The Sea" (live Holland Festival, Rotterdam 1970) "Two Weeks Last Summer" (live Holland Festival, Rotterdam 1970) "Nothing More" (live Holland Festival, Rotterdam 1970) "Banks of the Nile" (live Holland Festival, Rotterdam 1970) "Memphis Tennessee" (live Holland Festival, Rotterdam 1970) "Trouble" (live Holland Festival, Rotterdam 1970) "Bruton Town" (band rehearsal) Disc 15 (bonus disc)
273_9	Northstar Grassman and the Ravens & Sandy "The Sea Captain" (demo) "Next Time Around" (demo) "The Optimist" (demo) "Wretched Wilbur" (demo) "Crazy Lady Blues" (demo) "Lord Bateman" (demo) "Walking the Floor Over You" (duet with Richard Thompson) "Losing Game" Unreleased Northstar Grassman and the Ravens (Live, BBC One in Ten) Unreleased "Crazy Lady Blues" (Live, BBC One in Ten) Unreleased Late November (Live, BBC One in Ten) "If You Saw Thru My Eyes" (duet with Ian Matthews) "It’s A Boy" (Tommy As Performed by The London Symphony Orchestra 1972) "Northstar Grassman and the Ravens" (Live, BBC Bob Harris Show 06/09/71) "12th of Never" "Sweet Rosemary" (Manor demo alternate take) "The Lady" (Manor demo) "After Halloween" (Manor demo) Disc 16 (bonus disc)
273_10	Sandy & Like An Old Fashioned Waltz "It’ll Take a Long Time" (demo) "Sweet Rosemary" (Manor demo) "For Nobody to Hear" (demo) "Tomorrow is a Long Time" (demo) "Quiet Joys of Brotherhood" (demo) "Listen, Listen" (Manor demo) "The Lady" (demo) "Bushes and Briars" (demo) "It Suits Me Well" (demo) "The Music Weaver" (demo) "No End" (piano version alternate take with studio chat) "Whispering Grass" (studio demo) "Until the Real Thing Comes Along" (studio demo) "Walking the Floor Over You" (1973 version) "No End" (solo piano version) Disc 17 (bonus disc)
273_11	Fairport Live at the LA Troubadour 1974 & Interviews Live tracks sequenced as a concert performance "Down in the Flood" (live at the LA Troubadour) Solo (live at the LA Troubadour) "It’ll take a Long Time" (live at the LA Troubadour) "She moved through the Fair" (live at the LA Troubadour) "Knockin’ on Heavens Door" (live at the LA Troubadour) "Like An Old Fashioned Waltz" (live at the LA Troubadour) "John the Gun" (live at the LA Troubadour) "Crazy Lady Blues" (live at the LA Troubadour) "Who Knows Where the Time Goes" (live at the LA Troubadour) "Matty Groves" (live at the LA Troubadour) "That’ll be the Day" (live at the LA Troubadour) "What is True" (studio demo) Sandy interviewed about Like An Old Fashioned Waltz. BBC radio, John Peel Sounds on Sunday 06/01/1974 Sandy interviewed in 1974 to promote Like An Old Fashioned Waltz and her return to Fairport Convention. BBC Manchester Piccadilly Disc 18 (bonus disc)
273_12	Rendezvous "Blackwaterside" (live Marc Time 1975) "No More Sad Refrains" (live Marc Time 1975) "By The Time It Gets Dark" (acoustic studio demo) "One Way Donkey Ride" (acoustic version) "Losing Game" (with Jess Roden) "Easy to Slip" "By The Time It Gets Dark" (studio demo) "No More Sad Refrains" (live at Basing Street Studios 25/04/76) "I’m a Dreamer" (live at Basing Street Studios 25/04/76) "All Our Days" (Choral version) "By The Time It Gets Dark" (studio take with full band) "Still Waters Run Deep" (Acoustic version) "Full Moon" (acoustic version) "Candle in the Wind" (piano version) "Moments" "I Wish I Was a Fool for You" (Original Gold Dust LP version) "Gold Dust" (Original Gold Dust LP version) "Still Waters Run Deep" (Original Gold Dust LP version) "Moments" (Acoustic version) actual final studio recording Disc 19 (bonus disc)
273_13	The Byfield demos 74-77 "King And Queen of England" (demo with piano introduction) "Rising For the Moon" (demo) "One More Chance" (demo) "King and Queen of England" (take 1, demo) "After Halloween" (demo 1974) "What Is True" (demo) "Stranger to Himself" (demo) "Take Away the Load" (demo) "By the Time It Gets Dark" (demo) "I’m a Dreamer" (demo) "Full Moon" (demo) "Take Me Away" (demo) "All Our Days" (demo) "No More Sad Refrains" (demo) "Still Waters Run Deep" (demo) "One Way Donkey Ride" (demo) "I’m a Dreamer" (2nd demo) "Full Moon" (2nd demo) "Makes Me Think of You" (demo) References Sandy Denny albums 2010 compilation albums
274_0	The Simpsons Ride is a motion simulator ride located in the Springfield areas of both Universal Studios Florida and Universal Studios Hollywood. Based on the animated television series The Simpsons, the ride was announced in 2007 as a replacement for Back to the Future: The Ride at both parks. It first opened at Universal Studios Florida on May 15, 2008, and then a few days later at Universal Studios Hollywood on May 19, 2008. The producers of The Simpsons contributed to the design of the ride, which uses CGI animation provided by Blur Studio and Reel FX. Film Roman, along with AKOM and Rough Draft Studios, also worked on the ride's 2D animation. At the time of its opening, the ride featured state-of-the-art projection and hydraulic technology.
274_1	In 2013, the ride became the centerpiece of a themed Simpsons area at both parks, based on the fictional town of Springfield depicted in the animated series. The attraction is more than four minutes long and features two pre-show line queues that guests experience before boarding the ride. Its theme focuses on Krustyland, a theme park built by and named after Krusty the Clown, in which his former sidekick, evil genius Sideshow Bob, attempts to get revenge on Krusty and the Simpson family. Many characters from the animated series make an appearance, all voiced by their original actors. Production
274_2	History Planning for The Simpsons Ride started two years prior to its opening. The Simpsons creators James L. Brooks and Matt Groening, as well as executive producer Al Jean, collaborated with the Universal Studios creative team, Universal Creative, to help develop the ride. Music for the ride was composed by Jim Dooley, who worked with composer Hans Zimmer on the feature film The Simpsons Movie. The ride is located at both Universal Studios Florida and Universal Studios Hollywood in the former Back to the Future: The Ride buildings at both locations. The Back to the Future opened in Florida in 1991 and closed March 30, 2007, while the Hollywood version opened in 1993 and closed on September 3, 2007.
274_3	The construction began at Universal Studios Florida in May 2007, and the original concrete on the ground from Back to the Future: The Ride was dismantled and replaced by a red and blue ground holding trees and benches. The building was given a complete overhaul; the cars were changed and the original Intamin mechanics system was updated by Oceaneering International. The construction began at Universal Studios Hollywood in mid-September 2007, with the disposal of the building's Back to the Future insignia. Outdoor painting on the building began in January 2008. Early rumors allegedly had the ride's theme involving Mr. Burns' Springfield Nuclear Power Plant, with the ride's name being "Project FISH", after the three-eyed fish Blinky. However, when Harry Shearer refused to participate in the ride, this proposed plot was dropped and opted to set the ride on Krustyland.
274_4	Ride mechanics
274_5	The four-minute ride uses 85-foot IMAX Dome screens and Sony Projectors. There are 24 ride cars, each seating eight people, and approximately 2000 people can ride it per hour. The projection system uses four overlapping Sony SXRD 4K resolution projectors on each dome, using custom-made semi-circular fisheye lenses to project undistorted images at a rate of 60 frames per second (in comparison, most feature films project at 24 frames per second). The video is projected onto two dome screens which are made of 416 panels (each 4 feet by two feet) and are approximately 80 feet tall and 85 feet wide. The animation in the ride uses computer generated 3D animation rendered by Blur Studio and Reel FX, rather than the traditional 2-D animation seen on The Simpsons and the queue and pre-show of the ride. The animation reference was provided by Film Roman, the animation studio that animates the series. Each car contains 12 speakers and a Dolby 6.1 surround sound, while the domes contain an
274_6	additional 90 speakers.
274_7	The ride vehicles are themed to look like cars from a classic dark ride, and like the previous Back to the Future attraction, the vehicles feature fake wheels and gull-wing doors. Each dome features 12 8-passenger ride vehicles arranged with 3 cars on the first level, 5 on the second and 4 on the third. Each vehicle is mounted on a motion platform atop a scissor lift, which raises the vehicle 9 feet into the dome. The motion platforms are capable of a total motion of three feet. In addition to the motion-based ride vehicles, riders also feel water effects, smoke, mist, and experience lighting effects and scents. The Simpsons Ride uses new technology that cuts down on its energy consumption. According to Universal Studios, the ride is able to save over 55,000 watts on average and 662,000 watt-hours per day. The ride includes over 2,500 LEDs, the largest number in theme park history. Ride experience
274_8	Queue Guests walk through a head of Krusty the Clown as they enter the ride's line queue, which leads them into a pavilion under various circus tents themed to carnival stalls. A variety of posters are on display advertising attractions at Krustyland, while television monitors stationed around the queue play video clips from the Krusty the Clown television show along with animated footage from Krustyland. Guests eventually leave the queue and enter "Krusty's Carnival Midway", the first of two pre-shows. Pre-show 1
274_9	Themed to a fair's midway, riders are lined up into rows waiting for confirmation from Krusty to proceed. TV screens line the walls to both the left and right, displaying the residents of Springfield running through midway booths at the park. Krusty eventually appears on another screen located directly in front, seemingly to pick the first family to ride the most extreme ride at his park called "Thrilltacular: Upsy-Downsy Spins-Aroundsy Teen-Operated Thrillride". Sideshow Bob sneakily appears in a Scratchy costume when Krusty isn't looking and steps on Homer Simpson's foot, causing him to yell "D'oh!", which results in the Simpson family getting picked by Krusty. The Simpsons are then asked to pick another group, and Bart chooses all the guests waiting in the pre-show room. As guests are led into the next waiting room, Sideshow Bob bursts out into an evil laughter.
274_10	Pre-show 2
274_11	The next pre-show is themed to a funhouse room, where Krusty leads the group into a backstage area revealing that the park is powered by a nuclear reactor. Grampa and Maggie Simpson are told by Jeremy Friedman not to ride due to safety restrictions that serves a reminder to guests about the ride's height requirements and thrill intensity that can aggravate certain heart conditions. Grampa suddenly falls asleep while Maggie crawls into the nearby nuclear reactor room, causing her to grow larger. Meanwhile, on screen, Krusty leads the Simpsons into a ride room where he tells them to enjoy the ride, but Sideshow Bob appears and knocks out Krusty. After telling the Simpson family to enter the ride vehicle, Homer hastily boards followed by the rest of the family. Sideshow Bob then forces everyone to watch a safety video from Itchy and Scratchy, narrated by Nancy Cartwright, which depicts a recap of safety reminders. Scratchy can be seen trying to follow safety rules, but each attempt is
274_12	sabotaged by Itchy. Guests are then ushered into the main ride room and board the vehicle.
274_13	Ride After entering the Krusty-themed ride vehicle, Homer orders everyone to sit down, stating that "all seats are the same with the exception of the better ones", and threatens to make an annoying noise until everyone has taken a seat. Despite riders' actions, he makes the annoying noise anyway. Jeremy then appears on a TV screen in the ride cabin and assures guests that their comfort and safety are in the hands of highly-qualified teens like himself. He tells riders to enjoy themselves but asks to keep the screaming down so he can study for a math test. He can then be seen reading his textbook, which is upside down, while quiet elevator music reminiscent of "The Simpsons Theme" begins playing in the background.
274_14	Approximately a minute later, Sideshow Bob suddenly cuts off the teen's signal and takes control of the screen, telling riders that he is now in control of Krustyland. After threatening guests by saying no area in the park is safe from him, he starts the ride by flipping a switch from "thrilling" to "killing", which activates the vehicle causing it to virtually rise out of the room while telling them to enjoy the ride which is about to be destroyed with them on it. The ride simulator combines physical movement of the vehicle with on-screen motion. The experience continues with riders emerging onto a track with the Simpsons' vehicle in front of them. The riders then ram into the Simpsons' vehicle, which can be seen taking a plunge. The rider's vehicle plunges soon after, revealing they are on the "Tooth Chipper" roller coaster (which was scheduled for demolition) involving a variety of drops and turns. Homer, who wasn't sitting down, gets hit by a wrecking ball controlled by Sideshow
274_15	Bob before it smashes into the track. With a portion of the track now missing, the riders fly into a different part of the coaster's layout before the "steel" wrecking ball breaks free from its cable and rolls along the track chasing Homer and the riders. During the pursuit, the wrecking ball eventually runs over Homer.
274_16	The riders are then knocked off the roller coaster by the wrecking ball as it explodes and sends the Simpsons flying. Riders end up on the park's "Happy Little Elves in Panda Land" attraction with Bart and Lisa, landing in separate ride vehicles, where Bob appears in control of an evil robotic panda that smashes some nearby singing elves out of annoyance. He then forces the ride vehicles in reverse, sending them crashing through the attraction, causing riders to catapult to another attraction called "Captain Dinosaur's Pirate Rip-Off". Homer and Marge are seen riding a boat, which plunges down a waterfall. As they approach a second waterfall, Sideshow Bob appears in a projection telling Homer to resist temptations inside, parodying the Pirates of the Caribbean and Jurassic Park: The Ride attractions. As riders pass through the waterfall, they get sprayed with water effects. Homer grabs a barrel of beer while Marge attempts to warn Homer that it's a temptation. His actions trigger a
274_17	trap that destroys their surroundings, transporting them to "Krusty's Wet and Smoky Stunt Show", running over a popcorn seller in the process. The panda robot can be seen still under Bob's control. Homer and Marge escape with Bart, as Lisa appears riding a killer whale. She lassos the riders' vehicle and follows her family. Upon reaching the attraction's exit, it suddenly explodes, sending them racing in circles while dragging Homer and the riders behind them.
274_18	After a series of jumping ramps, the group fly through a tipping metal water tower, where they crash at the edge of the attraction and encounter Bob again, who cuts a large hole into hell with a buzz saw. Maggie, now giant-sized from the effects of the reactor room depicted earlier, reappears and grabs Bob, causing his robotic panda to fall into the hole. She slams him into the riders' vehicle, which almost plummets into the hole before it is saved by Professor Frink flying a hi-tech helicopter. Bob steals Maggie's pacifier and tells her that if she wants it back, she must destroy Springfield. Riders then fly through Springfield attached to the helicopter, with references to the original opening sequence being made along the way. An army converges around Maggie while the Simpsons drive across town in a stolen Krustyland tour tram. The riders then encounter Maggie again, who mistakes their car for a new pacifier, sucking on it repeatedly and separating riders from Frink in the process.
274_19	Water effects gets riders wet a second time as Maggie spits them out onto power lines, which catapults them into the Simpsons' house by crashing through the front door just after the Simpsons have arrived.
274_20	Now sitting on their couch, the family is relieved to be back home. Suddenly, Kang and Kodos turn the house into Krusty's "Death Drop" ride while saying that all rides must end near a gift shop. Riders are then dropped with the Simpsons from the sky, encountering various Simpsons characters along the way. Riders crash back at the entrance to Krustyland, where Bob prepares to kill them with a buzz saw. However, the couch the Simpsons are sitting on crushes and presumably kills him, followed by the Simpsons landing on top of it and Bob. Maggie appears and ends the ride by pushing down a large Krusty head sign directly over the Simpsons. The vehicle calmly lowers back down while mist, fire, and smoke effects spray. Homer enthusiastically yells that he wants to ride again. Krusty then appears on the TV screen in the loading room and remarks, "Well, that's our ride. Hey, what does this do?" For the Orlando attraction, Krusty is sitting in a control room and pushes an emergency button on a
274_21	control panel, causing the vehicle to vibrate and ending the ride. In the Hollywood version, Krusty also takes a picture of the guests. After the gullwing doors on the car lift up, guests can exit the ride.
274_22	Voice cast The ride features more than 24 regular characters from The Simpsons and features the voices of the regular cast members, as well as Pamela Hayden, Russi Taylor and Kelsey Grammer. Harry Shearer, however, decided not to participate in the ride supposedly due to scheduling and availability conflicts as the cast recordings were scheduled during the production break between seasons, where voice actors would have time off. None of his characters have vocal parts and many of them do not appear in the ride at all. In homage to the Back to the Future ride that it has replaced, The Simpsons Ride's queue video features a brief animated cameo from Doc Brown who is voiced by Christopher Lloyd.
274_23	Dan Castellaneta - Homer Simpson, Krusty the Clown, Grampa Simpson, Groundskeeper Willie, Squeaky Voiced Teen, Hans Moleman, Barney Gumble, Kodos, Repo man, and Mr. Freidman Julie Kavner - Marge Simpson, Patty Bouvier and Selma Bouvier Nancy Cartwright - Bart Simpson, Maggie Simpson, Nelson Muntz, Ralph Wiggum, The Happy Little Elves, and the Pre-Show Safety Video Narrator Yeardley Smith - Lisa Simpson Hank Azaria - Chief Wiggum, Apu Nahasapeemapetilon, Moe Szyslak, Professor Frink, Cletus Spuckler, Officer Lou, Comic Book Guy, Snake Jailbird and Pants-Off Johnson Kelsey Grammer - Sideshow Bob Pamela Hayden - Milhouse Van Houten Russi Taylor - Martin Prince Christopher Lloyd - Doc Brown
274_24	Episodes featured In the queue video, several clips from episodes of the show are featured. They include: "Homer the Heretic" (Season 4, Episode 3) "Itchy and Scratchy Land" (Season 6, Episode 4) "Selma's Choice" (Season 4, Episode 13) "The Last Temptation of Krust" (Season 9, Episode 15) "Mr. Plow" (Season 4, Episode 9) "Brush with Greatness" (Season 2, Episode 18) "In Marge We Trust" (Season 8, Episode 22) "Lisa the Vegetarian" (Season 7, Episode 5) "Marge in Chains" (Season 4, Episode 21) "Boy-Scoutz 'n the Hood" (Season 5, Episode 8) "A Star is Burns" (Season 6, Episode 18) Other attractions In October 2007, gift shops modeled after the Kwik-E-Mart were built, replacing the Back To The Future: The Store gift shop at Universal Studios Florida and the Time Travelers Depot gift shop at Universal Studios Hollywood. The stores sell Simpsons-related merchandise. Carts were opened near the stores which sell Squishees, (which are The Simpsons' parody of 7-Eleven's Slurpees.)
274_25	At Universal Studios Florida and Universal Studios Hollywood, the park converted much of the World Expo and some of the Upper Lot in Universal Studios Hollywood into one based on Springfield. The new area includes some iconic landmarks from The Simpsons such as Krusty Burger, Frying Dutchman, Luigi's Pizza, Lard Lad Donuts, Bumblebee Man's Taco Truck, Moe's Tavern, The Android's Dungeon & Baseball Card Shop and a Duff Brewery. The park also added one amusement ride named "Kang & Kodos' Twirl 'n' Hurl", a Dumbo-esque spinning ride where patrons drive flying saucers around Kodos' head and attack Springfield residents.
274_26	Reception The Simpsons Ride was well received by fans after it opened. Seth Kubersky of Orlando Weekly described the ride as "a more than worthy successor" to Back to the Future: The Ride. Brady MacDonald of the Los Angeles Times described the ride as "visually stunning" and said it "truly delivers — with loads of in-jokes and satire for serious fanatics and tons of thrills and fun for casual fans." Elise Thompson of the LAist said "the ride is a total blast, with plenty of laughs as well as thrills." Jay Cridlin of the St. Petersburg Times wrote that "the ride is packed with more original, funny material than you'd expect to see in a sitcom, much less a theme park." However, he admitted that the ride was "a little discombobulating".
274_27	The Universal Studios Florida version of the ride hosted its one millionth rider on 14 July 2008, reaching the milestone faster than any other attraction in the resort. The ride was named the best new attraction of 2008 by the website Themeparkinsider.com. See also List of amusement rides based on television franchises Acquisition of 21st Century Fox by Disney — On March 20, 2019, The Walt Disney Company purchased 21st Century Fox for $71.3 Billion which includes the rights to The Simpsons. Due of the acquisition, The ride and the Springfield area would remain in Universal Studios Hollywood and Universal Orlando Resort. The Simpsons franchise became the second Disney owned IP to be represented in a Universal Park after Marvel Super Hero Island at Islands of Adventure. References External links The Simpsons Ride at Universal Orlando Resort The Simpsons Ride at Universal Studios Hollywood
274_28	Simulator rides The Simpsons Amusement rides based on works by Matt Groening Crossover fiction Amusement rides introduced in 2008 Universal Studios Hollywood Universal Studios Florida Universal Parks & Resorts attractions by name Licensed-properties at Universal Parks & Resorts Amusement rides based on television franchises Amusement rides manufactured by Intamin Blur Studio films Amusement rides manufactured by Oceaneering International Reel FX Creative Studios short films
275_0	The Atlantic raid of June 1796 was a short campaign containing three connected minor naval engagements fought in the Western Approaches comprising Royal Navy efforts to eliminate a squadron of French frigates operating against British commerce during the French Revolutionary Wars. Although Royal Navy dominance in the Western Atlantic had been established, French commerce raiders operating on short cruises were having a damaging effect on British trade, and British frigate squadrons regularly patrolled from Cork in search of the raiders. One such squadron comprised the 36-gun frigates HMS Unicorn and HMS Santa Margarita, patrolling in the vicinity of the Scilly Isles, which encountered a French squadron comprising the frigates Tribune and Tamise and the corvette Légėre.
275_1	The opposing forces were approximately equal in size, but the French, under orders to operate against commerce, not engage British warships, attempted to retreat. The British frigates pursued closely and over the course of the day gradually overhauled the French squadron. At 16:00 Santa Margarita caught Tamise and a furious duel ensued in which the smaller Tamise was badly damaged and eventually forced to surrender. Tribune continued its efforts to escape, but was finally caught by Unicorn at 22:30 and defeated in a second hard-fought engagement. Légėre took no part in the action and was able to withdraw without becoming embroiled in either conflict.
275_2	Five days later the French frigate Proserpine, which had separated from the rest of the squadron after leaving Brest, was searching for her compatriots off Cape Clear in Southern Ireland when she was discovered by the patrolling British frigate HMS Dryad. Dryad successfully chased down Proserpine and forced the French ship to surrender in an engagement lasting 45 minutes. Nine days later Légėre was captured without a fight by another British frigate patrol. French casualties in all three engagements were very heavy, while British losses were light. In the aftermath all four captured ships were purchased for service in the Royal Navy.
275_3	Background
275_4	The first three years of the conflict between Great Britain and the new French Republic in the French Revolutionary Wars, which began in 1793, had resulted in a series of setbacks for the French Atlantic Fleet, based at the large fortified port of Brest. In 1794 seven French ships of the line had been lost at the battle of the Glorious First of June, and early the following year five more were wrecked by winter storms during the disastrous Croisière du Grand Hiver campaign. In June 1795 three more ships were captured by the British Channel Fleet at the Battle of Groix. With the French fleet consolidating at Brest, the Royal Navy instituted a policy of close blockade, maintaining a fleet off the port to intercept any efforts by the main French battle fleet to sail. The French Navy instead embarked on a strategy of interference with British commerce, the majority of which by necessity passed through the Western Approaches and the English Channel. This campaign was conducted principally
275_5	by privateers and small squadrons of frigates operating from Brest and other smaller ports on the French Atlantic and Channel coasts.
275_6	The French commerce raiding operations had some success against British trade, and to counteract these attacks the Royal Navy formed squadrons of fast frigates, which patrolled the Channel and Bay of Biscay in search of the French warships. This resulted in a series of engagements between British and French frigate squadrons, including a notable battle on 23 April 1794, and two actions by a squadron under the command of Commodore Sir Edward Pellew on 13 April and 20 April 1796 fought in the mouth of the Channel. The southern coast of Ireland, in the Kingdom of Ireland, a British client state, was seen as a particularly vulnerable region due to its proximity to the trade routes and its numerous isolated anchorages in which French ships could shelter. To counteract this threat, a Royal Navy frigate squadron was stationed in Cork under the command of Rear-Admiral Robert Kingsmill. Ships from this squadron patrolled the mouth of the Channel, singly or in pairs, in search of French
275_7	raiders.
275_8	On 4 June 1796, a French squadron was dispatched from Brest on a raiding cruise. This force included the 40-gun frigates Tribune under Franco-American Commodore Jean Moulston, Proserpine under Captain Etienne Pevrieux and Tamise under Captain Jean-Baptiste-Alexis Fradin, the latter formerly a Royal Navy ship named HMS Thames which had been captured in an engagement in the Bay of Biscay by a French frigate squadron in October 1793. With the frigates was the 18-gun corvette Légėre under Lieutenant Jean Michel-Martin Carpentier. Tamise in particular had proven a highly effective commerce raider, recorded as capturing twenty merchant ships since her enforced change of allegiance. Proserpine separated from the other ships during a period of heavy fog on 7 June, sailing independently to the rendezvous off Cape Clear in Southern Ireland. Tamise and Tribune
275_9	At 02:00 in the morning of 8 June, the remaining ships of the French squadron were sailing approximately southeast of the Scilly Isles when sails were sighted distant. This was a small British frigate squadron from Kingsmill's command comprising the 36-gun HMS Unicorn under Captain Thomas Williams and HMS Santa Margarita under Captain Thomas Byam Martin, sent to patrol the area in search of French raiders. The British frigates had just seized a Swedish merchant ship carrying Dutch contraband from Surinam, which they sent to Cork under a prize crew and immediately set sail to intercept the French, who turned away, sailing in line ahead. Tribune led the line, a much faster ship than either of her consorts, holding back for mutual support, but as the morning passed and the British ships drew closer and closer Légėre fell out of the line to windward. Both British frigates passed the corvette at distance, although the smaller vessel remained in sight for sometime, eventually departing to
275_10	attack a merchant sloop sailing nearby.
275_11	At 13:00 the British frigates were close enough that both Tamise and Tribune could open fire with their stern-chasers, inflicting considerable damage to the sails and rigging of the British ships and causing them to fall back despite occasional fire from the British bow-chasers. This tactic bought the French frigates three hours, but at 16:00 it became clear that the slower Tamise would be overhauled by Santa Margarita; Williams had already instructed Martin to focus on Tamise as he intended to attack the larger Tribune himself. Under fire from Martin's ship and wishing to both avoid this conflict and hoping to inflict severe damage on Santa Margarita, Fradin turned away from the former and across the bows of the latter, intending to rake Santa Margarita. In response Martin brought his frigate alongside Tamise. Running at speed away from their compatriots, Tamise and Santa Margarita exchanged broadsides for 20 minutes until Fradin, his ship badly damaged and his crew suffering heavy
275_12	casualties, was forced to strike his colours.
275_13	As Tamise and Santa Margarita fought, Unicorn continued the pursuit of Tribune. Without the need to support the slower Tamise, Moulston was able to spread more sail and Tribune pulled ahead of her opponent during the afternoon the ships passing Tuskar Rock on the Wexford Coast. The French frigate's stern-chasers continued to inflict damage on Unicorns rigging, at one point snatching away the main topsail and it was only when night fell, and the wind with it, that Williams was able to gain on the French ship through the use of studding sails. At 22:30, following a chase of northwards into St George's Channel, Unicorn was finally able to pull alongside Tribune. For 35 minutes the frigates battered at one another from close range. Under cover of smoke, Moulston then attempted to escape by pulling Tribune back and turning across Unicorns stern, seeking to rake the British frigate and move to windward. Realising Moulston's intent, Williams hauled his sails around, effectively throwing
275_14	Unicorn in reverse. As the British ship sailed suddenly backwards she crossed Tribunes bow, raking the French ship with devastating effect. From this vantage point the fire from Unicorn succeeded in collapsing the foremast and mainmast on Tribune and shooting away the mizen topmast, rendering the French ship unmanageable. With no hope of escape and casualties rapidly mounting, the wounded Moulston surrendered to Williams.
275_15	The engagements were relatively evenly matched: Tamise and Santa Margarita carried similar weight of shot ( to ) although Tamise had seventy more crew members (306 to 237) and Santa Margarita was slightly more than a third larger (993bm to 656bm). Naval historian William James credits Santa Margaritas larger size as giving her the advantage. In the second action, Tribune also had a much larger crew than Unicorn (339 to 240) and was substantially larger (916bm to 791bm), but Unicorn, equipped with 18-pounder long guns, massed a far larger weight of shot ( to ), which proved decisive. Both engagements saw similar casualty ratios, with Tamise losing 32 killed and 19 wounded, some of whom later died, and Tribune suffering 37 killed and 15 wounded, including Moulston, while losses on Santa Margarita and Unicorn were two killed and three wounded and none at all respectively. Proserpine
275_16	While Tamise and Tribune met their fates in the Channel, Proserpine had continued unmolested to the cruising ground off the Cork coast. At 01:00 on 13 June, southeast of Cape Clear Island, Pevrieux' crew sighted a sail approaching from the northeast. Pevrieux was searching for Moulston's squadron, and allowed his ship to close with the newcomer before discovering that it was the patrolling 36-gun British frigate HMS Dryad under Captain Lord Amelius Beauclerk. On realising the danger, Pevrieux tacked away from Dryad and attempted to escape to the southwest. This chase lasted most of the day, Beauclerk gradually gaining on his opponent until Pevrieux opened fire with his stern-chaser guns at 20:00.
275_17	Shot from the stern-chasers punched holes in Dryad's sails and damaged the rigging, but Beauclerk's ship continued to gain on Proserpine until at 21:00 Beauclerk was close enough to open fire with his main broadside. Some damage was done to the sails and rigging of Dryad in the exchange and at one point the ship's colours were shot away and had to be replaced, but casualties were light. On Proserpine casualties mounted quickly, and although her sails and rigging remained largely intact, significant damage to the hull and heavy losses among the crew convinced Pevrieux to surrender at 21:45.
275_18	As in the previous engagements, the French ship had a much larger crew, (346 to 254), although weight of shot ( to ) and size (1059bm to 924bm) were more evenly distributed. Casualties displayed the same inequalities as in the earlier engagements, with two killed and seven wounded on Dryad but 30 killed and 45 wounded on Proserpine. In James' opinion, had Pevrieux opted to use his initial advantage of the weather gage to attack Dryad directly rather than attempt to escape he might have been able to defeat the British frigate.
275_19	Aftermath The last survivor of the squadron, Légėre, remained at sea for another nine days, capturing six merchant ships, before the corvette was intercepted at in the Western Approaches by the frigates HMS Apollo under Captain John Manley and HMS Doris under Captain Charles Jones. All of the captured ships were taken to Britain and were subsequently purchased for the Royal Navy, Tamise restored as HMS Thames, Tribune with the same name, Proserpine as HMS Amelia as there was already an HMS Proserpine in service, and Légėre anglicised as HMS Legere.

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