title: 2gether: The Series (Thai TV series)

text: 2gether: The Series (; , "Because We Belong Together") is a 2020 Thai romantic comedy-drama television series starring Metawin "Win" Opas-iamkajorn and Vachirawit "Bright" Chiva-aree. An adaptation of the 2019 Thai novel of the same name by JittiRain, the series follows the story of two college boys who go from being in a fake romantic relationship to developing into a real couple. Directed by Weerachit Thongjila and produced by GMMTV and Housestories 8, the series was one of the twelve television series for 2020 showcased by GMMTV in their "New & Next" event on 15 October 2019. It premiered on GMM 25 and LINE TV on 21 February 2020, airing on Fridays at 21:30 (previously, at 22:00 ICT for the first seven episodes) and 23:00 ICT, respectively. The series concluded on 15 May 2020.


title: 2gether: The Series (Thai TV series)

text: Due to its immense popularity, the series is considered one of the major contributors in bringing the BL genre to international prominence. It became the most-viewed Thai series in the aforementioned genre on several video streaming sites, including LINE TV and YouTube, after only 3 months since the airing of its final episode. The success of the series then led to a 5-episode special sequel titled "Still 2gether", which aired on 14 August 2020, followed by a film titled "", which was released theatrically in November 2021. It is also available for streaming on Netflix in some regions.


title: 2gether: The Series (Thai TV series)

text: Tine is a very handsome student and cheerleader in college, while Sarawat is one of the campus’ most popular guys and is also in the soccer and music club. When Tine is chased by Green, who he does not reciprocate feelings for — he ends up begging Sarawat to fake date with him in order to chase Green away.


title: 2gether: The Series (Thai TV series)

text: Somehow, just like the tale as old as time goes — pretend somehow starts to turn into reality. However, before a "happily ever after" there is the process of falling in love, and the slow realization that somehow they aren't pretending anymore. Somehow, they do not want to.


title: 2gether: The Series (Thai TV series)

text: On 1 June 2020, GMMTV teased the airing of a five-episode special titled "Still 2gether". scheduled to premiere on GMM 25 and LINE TV on 14 August 2020, airing on Fridays at 21:30 and 23:00 ICT, respectively. The sequel follows the two main characters, Sarawat (Vachirawit Chiva-aree) and Tine (Metawin Opas-iamkajorn), one year later as they navigate the ups and downs of a long-distance relationship.


title: 2gether: The Series (Thai TV series)

text: Its original soundtrack "คั่นกู" ("Kan Goo") ranked No. 1 in Weeks 15 and 17 of Joox Thailand's Top 100.


title: 2gether: The Series (Thai TV series)

text: Aside from the official soundtrack, a number of songs from Thai band Scrubb are also featured in the series as the character Tine is a fan of the said Thai music band. In an interview, JittiRain, the author of the novel which inspired the series, also mentioned that her being a fan of the band led her to create the novel.


title: 2gether: The Series (Thai TV series)

text: On 1 April 2020, it surpassed 50 million views on LINE TV, where it garnered the highest number of views for the month of March, and 100 million views on 19 April 2020. It also lead in the Top 10 list of most viewed television series in the said platform for the first half of 2020.


title: Neutral Milk Hotel

text: Neutral Milk Hotel was an American band formed in Ruston, Louisiana, by musician Jeff Mangum. They were active from 1989 to 1998, and again from 2013 to 2015. The band's music featured a deliberately low-quality sound, influenced by indie rock and psychedelic folk. Mangum wrote surreal and opaque lyrics that covered a wide range of topics, including love, spirituality, nostalgia, sex, and loneliness. He and the other band members played a variety of instruments, including non-traditional rock instruments like the singing saw, uilleann pipes, and Digital Horn.


title: Neutral Milk Hotel

text: Neutral Milk Hotel began as one of Mangum's home recording projects. In 1994, he released the song "Everything Is" on Cher Doll Records. The song's exposure convinced him to record more music under this name. In 1996, he worked with childhood friend Robert Schneider to record the album "On Avery Island", which received modest reviews and sold around 5,000 copies. Mangum recruited musicians Julian Koster, Jeremy Barnes, and Scott Spillane for the band's second album, "In the Aeroplane Over the Sea". Its 1998 release received mostly positive but not laudatory reviews.


title: Neutral Milk Hotel

text: While on tour, the band's popularity grew through Internet exposure. This had a negative effect on Mangum, whose mental health began to deteriorate. He did not want to continue touring and Neutral Milk Hotel went on hiatus shortly after. During the hiatus, Neutral Milk Hotel gained a cult following and the critical standing of "In the Aeroplane Over the Sea" rose tremendously. Several music outlets such as "Pitchfork" and "Blender" called "In the Aeroplane Over the Sea" a landmark album for indie rock and one of the greatest albums of the 1990s. Many indie rock groups such as Arcade Fire and the Decemberists were influenced by Neutral Milk Hotel's eclectic music and earnest lyrics. Neutral Milk Hotel reunited in 2013 and undertook a reunion tour before another hiatus in 2015.


title: Neutral Milk Hotel

text: Neutral Milk Hotel originated in Ruston, Louisiana, in the late 1980s, as one of the many home recording projects of musician Jeff Mangum. The project was initially called Milk, and Mangum made the recordings in high school. Early Milk recordings such as "Invent Yourself a Shortcake" and "Beauty" were circulated between Mangum and his friends Robert Schneider, Bill Doss, and Will Cullen Hart. The constant stream of home recording cassette tapes the group made would eventually lead to the formation of a musical collective known as Elephant 6. They were not interested in trying to promote their music to record labels, and instead made the recordings for each other and their classmates. When Mangum learned of another band called Milk, he changed the name of the project to Neutral Milk Hotel, based on a name Hart had suggested.


title: Neutral Milk Hotel

text: After graduating from high school, Mangum attended Louisiana Tech University, but dropped out. He moved to Athens, Georgia, and played in a band called Synthetic Flying Machine with Doss and Hart, but left shortly after the band was formed. He then became a vagabond, and lived in cities such as Denver, Los Angeles, and Seattle. Mangum occasionally recorded music during this period, including a 1993 demo album titled "Hype City Soundtrack". Schneider says "Hype City Soundtrack" was a reaction to what Mangum believed was the rampant commercialization of music within large cities. While living in Seattle, Mangum overcame his apprehensiveness about the music industry and released the song "Everything Is" on Cher Doll Records. The song's exposure convinced Mangum to record more music under the name Neutral Milk Hotel. According to Mangum: "The single was a godsend because I was pretty much at the end of my rope with just about everything in my life at that point... I ended up sending a tape to [Nancy Ostrander] at Cher Doll Records and she saved me merely by saying she wanted to do a single."


title: Neutral Milk Hotel

text: At the time, Mangum was also a bass guitarist for the Apples in Stereo, a band that Schneider formed while living in Denver. The members of the Apples in Stereo wanted to sign with SpinART Records, and met with their legal representative, Brian McPherson, in Los Angeles. McPherson was drawn to Mangum, who was wearing a Shrimper Records T-shirt. After learning that Mangum wrote "Everything Is", a song that McPherson had previously listened to and enjoyed, the two worked out an agreement for McPherson to become Neutral Milk Hotel's representative. McPherson sent copies of "Everything Is" and another song "Ruby-Bulbs" to Merge Records founders Laura Ballance and Mac McCaughan. The two liked the music, and added Neutral Milk Hotel to their roster.


title: Neutral Milk Hotel

text: Mangum moved to Denver to record the first Neutral Milk Hotel album, "On Avery Island". Schneider served as the producer, and the recording sessions lasted from February to May 1995. Although Schneider was interested in an expansive Beatlesque production, he aligned with Mangum's preference for a lo-fi sound, admitting that "at first it was frustrating, but I came to enjoy it. That's how I learned to produce, doing that record, because I totally had to let go of what I thought it should be like." "On Avery Island" was released in the United States on March 26, 1996, by Merge Records, and in the United Kingdom on September 30, 1996, by Fire Records. It sold around 5,000 copies, which Merge considered a success. "On Avery Island" received positive reviews from critics, who characterized the music as lo-fi pop. Kurt Wolff of the "Houston Chronicle" described listening to the music as "a trippy experience," and ultimately called the album "a fresh, exciting standout." The British publication "NME" wrote: "Neutral Milk Hotel can convert miserable-as-sin introspection into folky mantras that bore into your skull like a well-aimed power drill." "On Avery Island" was ranked at number thirty-five on "The Village Voice" Pazz & Jop poll for 1996.


title: Neutral Milk Hotel

text: After the release of "On Avery Island", Mangum sought other musicians to tour with. While living in Ruston, Mangum befriended New York musician Julian Koster. They exchanged demo tapes, and Koster joined Neutral Milk Hotel as the bassist. Around this period, Koster received a letter from Chicago drummer Jeremy Barnes, who wrote how he was not meeting the expectations he had set for himself. According to Koster: "Jeremy had written me this really wonderful letter, basically saying he was being led into a far different life than I think Jeremy Barnes was supposed to live ... I think he was sensing that his destiny lay elsewhere." The letter resonated with Koster and Mangum, and they traveled to Chicago to meet him. After a short audition, the two persuaded Barnes to drop out of DePaul University and join the band. The final band member came when Mangum was traveling to New York City to live with Koster. On a stop in Austin, Texas, Mangum met former Rustonian musician Scott Spillane, who was working at a pizza shop. Mangum helped make pizzas during the late-night "drunk rush", after which he convinced Spillane to join the band.


title: Neutral Milk Hotel

text: The band members moved to New York City, and lived and rehearsed in a house owned by Koster's grandmother. Koster encouraged the band members to play instruments outside their comfort zones. For example, drummer Barnes learned to play the accordion, and Spillane learned how to play the horn parts from "On Avery Island", practicing on a two-valve horn for hours every day. On April 28, 1997, Neutral Milk Hotel began a national tour, during which the band members learned to play as a unit. The "On Avery Island" tour generated enough money for the band members to afford to move to Athens, where a large group of Elephant 6 musicians were living. By the spring of 1997, Mangum had written and demoed nearly every song for a second album. He shared the demos with his bandmates before they moved to Denver to record the album.


title: Neutral Milk Hotel

text: Neutral Milk Hotel's second album, "In the Aeroplane Over the Sea", was produced by Schneider, and was recorded from July to September 1997. Schneider used new recording techniques to capture Mangum's lo-fi preferences. Mangum liked having a layer of distortion over the music, but Schneider did not use standard effects equipment such as Big Muffs or distortion pedals. Instead, Schneider used heavy compression and placed a Bellari RP-220 tube mic pre-amp close to Mangum's guitar. Schneider then ran the sound through a mixing console, and maxed out the sound on a cassette tape. This process was done for nearly every instrument used on "In the Aeroplane Over the Sea". Schneider claimed that the nonlinearities of microphone distortion gave the album its unique "warm" quality.


title: Neutral Milk Hotel

text: "In the Aeroplane Over the Sea" was released on February 10, 1998. Merge pressed 5,500 CD and 1,600 vinyl copies, and expected sales to be similar to "On Avery Island". These initial projections were correct, as the album sold moderately well for the first few months. Critical responses to "In the Aeroplane Over the Sea" were mostly positive, but not laudatory. Rob Brunner of "Entertainment Weekly" praised the unique instrumentation and "bouncy pop melodies", but described some of the songs as "lifeless acoustic warblers." "Pitchfork" M. Christian McDermott also commended the music, which he called a blend of ""Sgt. Pepper" with early 90s lo-fi" that he found "as catchy as it is frightening." A more negative review came from Ben Ratliff of "Rolling Stone", who felt the heavy layer of distortion masked the absence of decent melodies. "CMJ New Music Monthly" ranked "In the Aeroplane Over the Sea" as the number one album of 1998, and it placed fifteenth in the Pazz & Jop poll for 1998.


title: Neutral Milk Hotel

text: To promote the album, Neutral Milk Hotel embarked on a tour of North America and Europe. Musicians John Fernandes and Will Westbrook were brought on as touring members, and were taught how to play the horn parts with Spillane. While on tour, Neutral Milk Hotel gained a reputation for chaotic and physically demanding concerts. Great Lakes member Ben Crum recalled: "It was definitely dangerous. There often seemed to be a very real chance that someone, probably Julian, would get hurt. Jeff was always doing things like picking him up and throwing him into the drums." The band members often could not afford lodgings, and sometimes asked people in the audience if they could spend the night at their house, not realizing the homeowner was in fact terrified of them.


title: Neutral Milk Hotel

text: Some journalists have noted the release of "In the Aeroplane Over the Sea" coincided with the rise of the Internet. The album, and by extension Neutral Milk Hotel, became common fixtures on online message boards, and early music websites like "Pitchfork" gave the band an increased level of promotion. Their newfound high profile had a negative effect on Mangum, and his mental health began to deteriorate. He constantly told his bandmates that he wanted to quit, but never explained why. Some journalists have speculated he became tired of touring and constantly explaining his lyrics to fans; Elephant 6 biographer Adam Clair believes he may have been overwhelmed by the way fans viewed his music, and the high expectations placed upon any subsequent recordings. Regardless of the reason, Mangum came to the conclusion that he could not continue performing, and instead wanted to disappear from the public eye. Instead of telling the other band members of his decision, he simply avoided the topic of new music altogether. This led to the unofficial breakup of Neutral Milk Hotel shortly after the tour. The final Neutral Milk Hotel live performance occurred on October 13, 1998, in London.


title: Neutral Milk Hotel

text: During the hiatus, Mangum occasionally worked on some projects, but nothing was widely publicized. When asked about a third Neutral Milk Hotel album in a 2002 interview, Mangum said: "I don't know. It would be nice, but sometimes I kind of doubt it." Although Neutral Milk Hotel did not officially break up, the other band members worked on music with other Elephant 6 bands such as Bablicon, the Gerbils, A Hawk and a Hacksaw, and the Music Tapes. Koster notes how he and the other band members initially thought the hiatus would be a short break to focus on their other musical projects. Koster recounted: "The fact that Neutral Milk wasn't doing something just felt natural, because so much else was happening, and we had just done so much. It didn’t feel unusual at all. I suspected nothing."


title: Neutral Milk Hotel

text: Fans of Neutral Milk Hotel were not told why the band went on hiatus. Some were angry, and accused Mangum of being selfish, and others wrote hoax blog posts giving fake details of upcoming tours and other false information. The speculation and online discussions raised the profile of the band, to the point that Neutral Milk Hotel and, in particular, "In the Aeroplane Over the Sea" gained a cult following and converted Mangum into a larger-than-life figure. In 2003, "Creative Loafing" writer Kevin Griffis dedicated an entire cover story to trying to track down Mangum for personal closure. The search ended when Mangum sent him an email that read: "I'm not an idea. I am a person, who obviously wants to be left alone." Journalist Mark Richardson attempted to explain "In the Aeroplane Over the Sea" rise in popularity: "Because [Mangum] was inaccessible, there was no outlet for connection other than the record itself and other fans who shared a passion. By doing nothing, Neutral Milk Hotel developed a cult."


title: Neutral Milk Hotel

text: "In the Aeroplane Over the Sea" critical standing rose tremendously in the years after its release, which journalist Luke Winkie attributes to the cult following. Domino Recording Company released a reissue in 2005, which was awarded a perfect 10/10 score by Mark Richardson of "Pitchfork". Richardson wrote: "It's a record of images, associations, and threads; no single word describes it so well as the beautiful and overused kaleidoscope." Other music outlets such as AllMusic and the "Encyclopedia of Popular Music" also gave the album perfect scores. "In the Aeroplane Over the Sea" sales figures increased during the 2000s, with an estimated 140,000 copies sold by 2005. "Polygon" writer Garrett Martin noted how fans of the album were "incredibly passionate", recording covers for YouTube, writing poetry, and forming tribute bands. Martin said: "The fanbase might be relatively small, but it's fervent."


title: Neutral Milk Hotel

text: Mangum resurfaced in 2008 with a few solo shows, before embarking on full solo tours in 2011 and 2012. During this time, Mangum curated a box set of Neutral Milk Hotel material, which included an extended play of unreleased songs titled "Ferris Wheel on Fire". As Mangum was active again within the music industry, rumors began spreading among fans and music outlets of a potential Neutral Milk Hotel reunion.


title: Neutral Milk Hotel

text: On April 29, 2013, Neutral Milk Hotel officially announced a reunion tour with all four members of the band. In an interview with "Orlando Weekly", Schneider said: "[The hiatus] certainly wasn't purposeful, and I'm not sure [Mangum] even realized he was being a recluse until it was overwhelmingly the case that everyone was talking about it. I've known for seven years that he was going to start touring. I didn't know if he was going to actually start doing it, but I knew in my heart that he was working toward it." Neutral Milk Hotel toured from 2013 to 2015. In a 2014 post on the Neutral Milk Hotel website, the band members wrote how their 2015 tour would be their last tour for the "foreseeable future", and that they were going to take an extended hiatus. The post stated: "Dear friends we love you but it's time to say goodbye for the never ending now."


title: Neutral Milk Hotel

text: Neutral Milk Hotel is known for its experimental sound, which has been described as a mixture of indie rock and psychedelic folk, with lo-fi production. Critics have noted many other musical influences, including Eastern European choral music, Canterbury Sound, circus music, marching band music, musique concrète, drone music, free jazz, and Tropicália. Neutral Milk Hotel songs typically involved simple chord progressions that Mangum would strum on an acoustic guitar. Often as the song progressed, more instruments would be introduced. The band members played a wide range of instruments; on "In the Aeroplane Over the Sea" for example, conventional instruments like drums and distorted guitars were paired with unique instruments like the singing saw, uilleann pipes, and Digital Horn.


title: Neutral Milk Hotel

text: Neutral Milk Hotel's early recordings, before "On Avery Island", featured much distortion and are considered rough. Mark Richardson of "Pitchfork" believes Mangum's songwriting was undeveloped, and described the 1994 song "Ruby Bulbs" as "raw and noisy and shouty and reflects Mangum's interest in aggro punk, an influence that didn't otherwise surface on his records." "On Avery Island" represented a move toward greater musical cohesion, and more experimentation. Critic Sasha Geffen said: "The album veers wildly between the accessible and the inscrutable... the abrupt transitions between perfect pop melodies and gaseous balls of noise lend the album a certain wildfire charm." The most experimental song on the album is the final track "Pree-Sisters Swallowing a Donkey's Eye," a thirteen-minute drone track influenced by gamelan and noise music.


title: Neutral Milk Hotel

text: Many critics believe "In the Aeroplane Over the Sea" is Neutral Milk Hotel's best and most fully developed release. By this point, Neutral Milk Hotel had four members as opposed to just Mangum, which allowed for a more complex and organic sound. Jason Ankeny of AllMusic notes "In the Aeroplane Over the Sea" emphasizes structure and texture, and that tracks seamlessly segue into one another. The overall sound of the album sometimes abruptly shifts from track to track. "Rolling Stone" notes the range of musical styles present on the album, such as funeral marches and punk rock. Critic Chris DeVille offers similar commentary, writing: "On the musical axis, Neutral Milk Hotel veered from piercingly intimate psychedelic campfire sing-alongs to full-band segments that barreled ahead with haphazard grace."


title: Neutral Milk Hotel

text: Mangum served as the lyricist for Neutral Milk Hotel. Critic Jim DeRogatis describes Mangum's lyrics as surreal and opaque, and notes that they feature a stream of consciousness style of songwriting. The lyrics would often include references to seemingly unrelated subject matter. Biographer Kim Cooper cites the song "King of Carrot Flowers, Pt.1" as an example of this style of songwriting; although the lyrics are about childhood fantasies, there are references to sexual awakenings, domestic violence, religious fanaticism, and tarot card readings. DeRogatis likened Mangum's lyricism to "Dr. Seuss illustrating William S. Burroughs, or perhaps Sigmund Freud collaborating on lyrics with Syd Barrett."


title: Neutral Milk Hotel

text: According to Mangum, many of his lyrics stem from his subconscious, saying: "Some of it I don't understand, I don't know what it is, but it sounds real nice." Another source of inspiration were the visions, lucid dreams, and night terrors Mangum would have. Mangum would sometimes have full conversations between himself and Schneider while sleepwalking. After coming up with an idea for a song, Mangum would start writing "word bridges," which are small connecting ideas that would bridge the seemingly unrelated lyrics. Mangum cites the song "Two-Headed Boy" as an example, as each verse was written separately from each other over a long period of time, and he used the "word bridges" to connect the verses.


title: Neutral Milk Hotel

text: Neutral Milk Hotel songs explore many lyrical themes, including love, spirituality, nostalgia, sex, and loneliness. DeRogatis describes Mangum's lyrics as a depiction of id, a personality component related to intrinsic desires. Mangum's lyrics can also be seen as a reaction to events that have happened in his life. For example, "Song Against Sex" was written as a reaction to the use of sex as a source of power in a relationship. A central lyrical topic in "In the Aeroplane Over the Sea" is the life of Anne Frank, a teenage girl who died in a Nazi concentration camp. Tracks such as "Holland, 1945" and "Ghost" incorporate elements of Frank's life into the lyrics. As a result, some listeners have described "In the Aeroplane Over the Sea" as a concept album. Anwen Crawford of "The Monthly" disagrees with this assertion, writing: "It would be overly literal, though, to describe "In the Aeroplane Over the Sea" as an album about the Holocaust, for Frank is only one of many phantasms to populate a set of looping, interlinked narratives that proceed with the closed logic of a dream or a religious vision."


title: Neutral Milk Hotel

text: Neutral Milk Hotel's live performances often featured the four main band members and several other musicians. For example, the reunion tour featured backing musicians Laura Carter, Jeremy Thal, and Mangum's wife Astra Taylor. Almost every musician on stage would play multiple instruments, and switch instruments between songs. Neutral Milk Hotel shows typically lasted between forty-five and ninety minutes. The equipment used onstage was cheap and of poor quality, although for the reunion tour more expensive equipment was used.


title: Neutral Milk Hotel

text: Early Neutral Milk Hotel shows were chaotic and disorganized. Butterglory toured with Neutral Milk Hotel in 1996, and member Matt Suggs recalled: "Mangum & Co were confused and disorganized and lovable." In these early performances, band members would wrestle and tickle each other on stage. During the "In the Aeroplane Over the Sea" tour, the audio technicians for most venues were confused and did not know what to expect. As a result, Carter took on the unusual role of "mix-board translator". According to Carter: "It was more like talking them through what was about to happen, because so much was happening onstage that without someone helping, it was a wail or squeal and the soundman would look at twenty instruments onstage and not know what to dive for."


title: Neutral Milk Hotel

text: When Neutral Milk Hotel disbanded in 1998, the subsequent cult following propelled the band into a new level of stardom, which led many fans and journalists to call Neutral Milk Hotel an important indie rock band. Much of Neutral Milk Hotel's legacy is derived from "In the Aeroplane Over the Sea", which reached sales of roughly 400,000 by 2013. Music outlets such as "Pitchfork" and "Blender" have ranked it as one of the greatest indie rock albums of all time, as well as one of the best albums of the 1990s. Richardson noted that "In the Aeroplane Over the Sea" has become ingrained in the indie rock canon, and consistently attracts new listeners. Chris Morgan of "Uproxx" wrote: "In short, people share a very deep passion for Neutral Milk Hotel's highly lauded sophomore album... Lots of albums are loved, but few seem to impact people so much, and so singularly." Some critics have discussed how other recordings of the band, such as "On Avery Island", are often overlooked by fans due to the popularity of "In the Aeroplane Over the Sea".


title: Neutral Milk Hotel

text: Part of Neutral Milk Hotel's legacy is also drawn from the general mystique surrounding Mangum. Elephant 6 biographer Adam Clair notes that Mangum's unexplained absence made him more notable than when he was an active member of the music industry. He actively avoided giving interviews, and as a result, music publications began to write clickbait-esque articles in which they would attempt to explain his disappearance with little to no substantive evidence. Even after Mangum resurfaced in 2008, music publications continued publishing detailed reports on his life. Neutral Milk Hotel's legal representative Brian McPherson said: "When the guy sneezes it's on the front page of "Pitchfork"."


title: Neutral Milk Hotel

text: Neutral Milk Hotel has influenced many indie rock bands. According to Miles Raymer of "Esquire", the band's cacophonous sound and earnest lyrics were in direct contrast to the underground music scene in the 1990s. While many groups focused on the theme of detached irony, Neutral Milk Hotel's abrasive and overtly emotional lyrics struck a chord with social outcasts. Groups influenced by Neutral Milk Hotel include Arcade Fire and the Decemberists, both of whom create psychedelic-folk inspired music with non-traditional instruments. Arcade Fire frontman Win Butler said that Neutral Milk Hotel's association with Merge Records was a contributing factor to their signing with Merge Records. Neutral Milk Hotel also influenced bands like AJJ, Beirut, Bright Eyes, The Lumineers, Okkervil River, and Pwr Bttm, as well as artists like Melanie Martinez and Amanda Palmer.


title: Mr. Deeds

text: Mr. Deeds is a 2002 American comedy film directed by Steven Brill, written by Tim Herlihy, and starring Adam Sandler and Winona Ryder with Peter Gallagher, Jared Harris, Allen Covert, Erick Avari, and John Turturro in supporting roles. It was a remake of the 1936 Frank Capra film "Mr. Deeds Goes to Town", which itself was based on the 1935 short story "Opera Hat" by Clarence Budington Kelland.


title: Mr. Deeds

text: Multi-billionaire Preston Blake freezes to death upon reaching the top of Mount Everest. With no immediate heir, it is unclear who will inherit Blake's massive fortune. His board of directors discover that he has a living grandnephew named Longfellow Deeds, who runs a pizzeria in Mandrake Falls, New Hampshire, and also writes greeting cards. Deeds is flown to New York City by businessman Chuck Cedar, who temporarily controls Blake Media. Once Deeds arrives, plans are made for him to sell his shares in the company to Cedar and return home with $40 billion. Deeds remains in New York while the legal details are worked out.


title: Mr. Deeds

text: The story is major news and reporter Babe Bennett, who works for a tabloid television show called "Inside Access", wants in on the inside story. She has co-worker Marty pretend to steal her purse in sight of Deeds, who "rescues" Babe. She then goes out with him pretending to be "Pam Dawson", a school nurse from Iowa. Though Babe initially just wanted a career-advancing story, she eventually falls for the unfailingly soft-hearted Deeds. During a dinner date at Madison Square Garden, "Inside Access", in concert with Cedar, reveals Pam's true identity to Deeds. Heartbroken, Deeds decides to return home to Mandrake Falls with assurances that the company will stay open in Blake's honor, and he donates his $40 billion to the United Negro College Fund.


title: Mr. Deeds

text: After returning to Mandrake Falls, Deeds learns from his friend Crazy Eyes that Cedar intends to sell the company, causing thousands of employees to lose their jobs. Babe follows Deeds to Mandrake Falls to win him back. After saving her life when she falls through the ice over a lake, he rejects her, saying he does not really know who she is.


title: Mr. Deeds

text: At a shareholders' meeting, Cedar has persuaded everyone to sell the company until Deeds, who has bought a single share, arrives and convinces everyone not to sell. However, Cedar controls a majority of the shares and the sale is approved. Babe arrives after having studied Blake's stolen diary and has determined Blake's longtime butler Emilio Lopez is actually his illegitimate son and the true heir as a result of an affair with his maid. Emilio immediately takes control of Blake Media and fires Cedar. Babe reconciles with Deeds after professing she loves him. Emilio thanks Deeds for his support and gives him a billion dollars.


title: Mr. Deeds

text: Deeds spends some of his money on red Corvettes for everyone in Mandrake Falls, and returns to the pizzeria with Babe.


title: Mr. Deeds

text: The producers were looking for a small, "old-fashioned, New England-type" town close to New York, when they serendipitously discovered New Milford, Connecticut, and, upon having lunch there at "The Bistro Cafe", decided the town would be the perfect choice to portray the fictional home-town of Deeds, Mandrake Falls, New Hampshire, and the cafe was a great location to use as "'Deeds' Pizza" restaurant. Some scenes were also shot in Carmel, New York. Several sequences were filmed in New York City around Spring 2001. Following the September 11th, 2001 attacks, images of the World Trade Center towers were digitally removed from several shots of New York City. The Blake Media Hotel scenes were shot in Beverly Hills, California. The scene where Longfellow Deeds and Chuck Cedar are playing tennis at the tennis court was filmed at Roosevelt Island, New York.


title: Mr. Deeds

text: "Mr. Deeds" received mainly negative reviews from critics. On Rotten Tomatoes, the film has an approval rating of 22% based on reviews from 153 critics, with an average rating score of 4.20/10. Its consensus states: "This update of Capra doesn't hold a candle to the original, and even on its own merits, "Mr. Deeds" is still indifferently acted and stale."


title: Mr. Deeds

text: "Mr. Deeds" received three Razzie Award nominations including Worst Actor (Adam Sandler), Worst Actress (Winona Ryder) and Worst Remake or Sequel. However, the film also won a Kids' Choice Award for Favorite Movie Actor (Sandler).


title: Their Satanic Majesties Request

text: Their Satanic Majesties Request is the 6th British and 8th American studio album by the English rock band the Rolling Stones, released in December 1967 by Decca Records in the UK and by London Records in the US. It is their first to be released in identical versions in both countries. The album's title is a play on the "Her Britannic Majesty requests and requires..." text that appears inside a British passport.


title: Their Satanic Majesties Request

text: The band experimented with a psychedelic sound on "Satanic Majesties", incorporating unconventional elements such as Mellotron, sound effects, string arrangements, and African rhythms. The band produced the album themselves as their manager/producer Andrew Loog Oldham had departed. The prolonged recording process was marked by drug use, court appearances, and jail terms by members of the band. The original LP cover features a lenticular image by photographer Michael Cooper.


title: Their Satanic Majesties Request

text: "Satanic Majesties" received mixed reactions from critics and members of the group itself. The album was criticised as being derivative of the contemporaneous work of the Beatles, particularly their June 1967 release "Sgt. Pepper's Lonely Hearts Club Band", with the similarities extending to the LP's cover. In subsequent decades, however, it has gradually risen in critical reputation. Following the album's release, the Rolling Stones abandoned their psychedelic style for a stripped-down return to their roots in blues music.


title: Their Satanic Majesties Request

text: Recording of "Their Satanic Majesties Request" began just after the release of "Between the Buttons" on 20 January 1967.


title: Their Satanic Majesties Request

text: Because of court appearances and jail terms, the entire band was seldom present in the studio at one time, making recording of the album lengthy and disjointed. Band members frequently arrived with guests in tow, further interfering with productivity. One of the more level-headed members of the band during this time, Bill Wyman, wary of psychedelic drugs, wrote the song "In Another Land" to parody the Stones' current goings-on. In his 2002 book "Rolling with the Stones", Wyman describes the situations in the studio:


title: Their Satanic Majesties Request

text: The Stones experimented with many new instruments and sound effects during the sessions, including Mellotron, theremin, short wave radio static, and string arrangements by then-future Led Zeppelin bassist John Paul Jones. Their producer and manager Andrew Loog Oldham, already fed up with the band's lack of focus, distanced himself from them following their drug bust and finally quit, leaving them without a producer. As a result, "Their Satanic Majesties Request" would be the Stones' first self-produced album. Mick Jagger later opined this was not for the best, while expressing disintegration for some of the tracks.


title: Their Satanic Majesties Request

text: Some of the album's songs were recorded under various working titles, some appearing radically different from the final titles. These working titles include: "Acid in the Grass" ("In Another Land"), "I Want People to Know" ("2000 Man"), "Flowers in Your Bonnet" ("She's a Rainbow"), "Fly My Kite" ("The Lantern"), "Toffee Apple" ("2000 Light Years from Home"), and "Surprise Me" ("On with the Show"). In 1998, a bootleg box set of eight CDs with outtakes from the "Satanic" sessions was released, and it shows the band developing the songs over multiple takes as well as the experimentation that went into the recording of the album.


title: Their Satanic Majesties Request

text: The working title of the album was "Cosmic Christmas", or "The Rolling Stones' Cosmic Christmas" – in the hidden coda titled "Cosmic Christmas" (following "Sing This All Together (See What Happens)"), Wyman says in a slowed-down voice: "We wish you a merry Christmas, we wish you a merry Christmas, and a happy New Year!'" The album was released in South Africa and the Philippines as "The Stones Are Rolling" because of the word "Satanic" in the title.


title: Their Satanic Majesties Request

text: One proposed cover, a photograph of Jagger naked on a cross, was scrapped by the record company for being "in bad taste". The initial LP of the album featured a three-dimensional picture of the band on the cover by photographer Michael Cooper. When viewed in a certain way, the lenticular image shows the band members' faces turning towards each other with the exception of Jagger, whose hands appear crossed in front of him. Looking closely on its cover, one can see the faces of each of the four Beatles, reportedly a response to the Beatles' inclusion of a Shirley Temple doll wearing a "Welcome the Rolling Stones" sweater on the cover of "Sgt. Pepper". Later editions replaced the glued-on three-dimensional image with a photograph, due to high production costs. A limited edition LP version in the 1980s reprinted the original 3D cover design; immediately following the reissue, it was claimed that the master materials for reprinting the 3D cover were intentionally destroyed, implying that faithful recreations of the cover would no longer be possible, but this has since been proven false by numerous re-issues. The 3D album cover was featured, although shrunk down, for the Japanese SHM-CD release in 2010.


title: Their Satanic Majesties Request

text: The original cover design called for the lenticular image to take up the entire front cover, but finding this to be prohibitively expensive it was decided to reduce the size of the photo and surround it with the blue-and-white graphic design.


title: Their Satanic Majesties Request

text: The entire cover design is elaborate, with a dense photo collage filling most of the inside cover (along with a maze) designed by Michael Cooper, and a painting by Tony Meeuwissen on the back cover depicting the four elements (Earth, Water, Fire, and Air). In some editions the blue-and-white wisps on the front cover are used in a red-and-white version on the paper inner sleeve. The inner-cover collage has dozens of images, taken from reproductions of old master paintings (Ingres, Poussin, da Vinci, among others), Indian mandalas and portraits, astronomy (including a large image of the planet Saturn), flowers, world maps, etc. The maze on the inside cover of the UK and US releases cannot be completed: a wall at about a half radius in from the lower left corner means one can never arrive at the goal labeled "It's Here" in the centre of the maze.


title: Their Satanic Majesties Request

text: It was the first of four Stones albums to feature a novelty cover; the others were the zipper on "Sticky Fingers" (1971), the cut-out faces on "Some Girls" (1978), and the stickers on "Undercover" (1983).


title: Their Satanic Majesties Request

text: At some point around 1997 rumors were first heard that the album existed as a promo version including a silk padding. A pink padded version was presented by photo accompanied by a letter from the Decca Copyright Department, but it was shown that the letter does not match the album it was intended to authenticate making it almost entirely certain that this was a forgery.


title: Their Satanic Majesties Request

text: Released in December 1967, "Their Satanic Majesties Request" reached No. 3 in the UK and No. 2 in the US (easily going gold), but its commercial performance declined rapidly. It was soon viewed as a pretentious, poorly conceived attempt to outdo the Beatles and "Sgt. Pepper's Lonely Hearts Club Band" (released in May 1967), often explained by drug trials and excesses in contemporary musical fashion, although John Lennon and Paul McCartney did provide backing vocals (uncredited) on "We Love You" (recorded during the "Satanic Majesties Request" sessions, but released as a single three months before the album). The Wyman-composed "In Another Land" was released as a single, with the artist credit listed as Bill Wyman, rather than the Rolling Stones (the B-Side, "The Lantern", was credited to the Rolling Stones).


title: Their Satanic Majesties Request

text: The production, in particular, came in for harsh criticism from Jon Landau in the fifth issue of "Rolling Stone", and Jimmy Miller (recommended by the album's engineer, Glyn Johns) was asked to produce the Stones' subsequent albums, on which they would return to the hard driving blues that earned them fame early in their career. In an April 1968 album review, Richard Corliss of the "New York Times" was also critical of the production value stating "... their imagination seems to have dried up when it comes to some of the arrangements. While still better than their previous ones, the arrangements are often ragged, fashionably monotonous and off-key." Despite this he gave the album an overall positive review, going as far as calling it a better concept album than "Of Cabbages and Kings" (1967, by Chad & Jeremy), "The Beat Goes On" (1968, by Vanilla Fudge) and even "Sgt. Pepper's Lonely Hearts Club Band" (1967, by the Beatles). In a 1970 "Rolling Stone" interview, Lennon commented on the album: ""Satanic Majesties" is "Pepper". 'We Love You'... that's 'All You Need Is Love'."


title: 9K33 Osa

text: The 9K33 "Osa (, literally "wasp"; NATO reporting name SA-8 "Gecko) is a highly mobile, low-altitude, short-range tactical surface-to-air missile system developed in the Soviet Union in the 1960s and fielded in 1972. Its export version name is Romb.


title: 9K33 Osa

text: Design work on an entirely new, self-propelled air defense guided missile system began in 1960 and was assigned to the Moscow-based () research and design institute under lead designer M.M. Kosichkin. The program initially suffered numerous delays and setbacks due to poorly formulated performance and tactical requirements, as this was a pioneering battlefield air defense system with no equivalents in existence at the time, and no doctrinal experience with such a weapon. P.M. Chukadov was assigned project leader in 1965 after a thorough review of the stalled program. The Osa had service acceptance in 1972 after a period of trials.


title: 9K33 Osa

text: The Osa was the first mobile air defense missile system incorporating its own engagement radars on a single vehicle.


title: 9K33 Osa

text: All versions of the 9K33 feature all-in-one 9A33 transporter-launcher and radar vehicles which can detect, track and engage aircraft independently or with the aid of regimental surveillance radars. The six-wheeled transport vehicles BAZ-5937 are fully amphibious and air transportable. The road range is about 500 km.


title: 9K33 Osa

text: The 1S51M3-2 radar system on the 9K33 Osa TELAR received the NATO codename "Land Roll". It was derived from the naval 'Pop Group' radar system but is smaller since it does not require the elaborate stabilisation system. An improved system, the Osa-AKM (NATO reporting name SA-8B 'Gecko' Mod 1) was first seen in Germany in 1980. It had improvements added to the launcher configuration, carrying six missiles in ribbed containers.


title: 9K33 Osa

text: The system is reported to be of the frequency-agile monopulse type. It consists of an elliptical rotating surveillance antenna mounted on top of the array, operates in H band (6 to 8 GHz) and has a 30 km acquisition range against most targets. The large pulsed J band (14.5 GHz) engagement antenna is mounted below it in the centre of the array and has a maximum tracking range of about 20 km.


title: 9K33 Osa

text: Mounted on either side of the tracking radar antenna is a small J band parabolic dish antenna to track the missile. Below that is a small circular antenna which emits an I band uplink capture beam to gather the missile shortly after launch. The final antennas in the array are two small white rectangular ones, one on either side of the array mounted alongside the I band. These are used for command uplink to the missile. This twin antenna system permits the 'Land Roll' radar to control up to two missiles simultaneously against a single target.


title: 9K33 Osa

text: The two missiles can be guided on different frequencies to further complicate electronic countermeasures (ECM). There is a tubular device fitted to and above the tracking radar; this is a 9Sh33 electro-optical tracker. It can be used to track the target when the main tracking radar is jammed by ECM.


title: 9K33 Osa

text: A 9K33 battery comprises four 9A33B TELAR vehicles and two 9T217 transloader vehicles on BAZ-5939 chassis with reload missiles and a crane. A reload time of five minutes has been reported per TELAR.


title: 9K33 Osa

text: In addition to the TELARs, each regiment is also assigned a single radar collimation vehicle 9V914 (initially on the BAZ-5938 chassis but more often found on the ZiL-131 truck). This vehicle assists in the alignment of the TELAR's radar systems, ensuring accurate target tracking and engagement.


title: 9K33 Osa

text: The 9K33M3 is also able to use missiles which are wire-guided, presumably for use in an ECM-heavy environment where the radio command guidance may not operate properly.


title: 9K33 Osa

text: Engagement range for the early versions is approximately 2–9 km (1.3–5.6 miles) and engagement altitudes of between 50 and 5,000 m (164–16,400 ft). The 9M33M2 "Osa-A" missile extends the ranges out to 1.5–10 km (1–6.2 miles) and engagement altitudes to 25–5,000 m (82–16,400 ft). The 9M33M3 missile greatly enhances the altitude engagement envelope to 10–12,000 m (33–42,500 ft), and as such are also able to fly further (about 15 km/9 miles) but the system is not able to engage targets at longer ranges, due to other factors such as the radar tracking of the missiles. The system is designed for use primarily against jet aircraft and helicopters in any kind of weather.


title: 9K33 Osa

text: The 9M33 missiles are 3.158 m (10.3 ft) long, weigh 126 kg (278 lb) and use command guidance. There is also a backup low-light optical tracking system for heavy ECM environments. The latest 9M33M3 missiles have an increased total weight of 170 kg (375 lb) in order to provide the extended range coverage and larger warhead. Propulsion is provided by a dual-thrust solid fuel rocket motor. Both versions feature a missile speed of around Mach 2.4 (peaking at around Mach 3) for a maximum target engagement speed of around Mach 1.4 for the original missile and Mach 1.6 for the M2\M3 missiles. The warhead for the initial and M2 versions weighs 19 kg (42 pounds), increased to 40 kg (88 lb) in the M3 version to improve performance against helicopters. All versions have impact and proximity fuzes.


title: 9K33 Osa

text: There have been unconfirmed reports of other possible versions of the missile with both infrared and semi-active radar terminal homing seekers.


title: 9K33 Osa

text: Each TELAR is able to launch and guide two missiles against one target simultaneously. Kill probability is quoted as being 0.35–0.85 for the Osa and 0.55–0.85 for the Osa-AK and Osa-AKM (presumably depending upon target aspect, speed, maneuverability and radar cross section). Reaction time (from target detection to launch) is around 26 seconds. Time to prepare for engagements from being in transit is around 4 minutes and missile reloading takes around 5 minutes. Each battery of four TELARs is usually accompanied by two reload vehicles carrying 18 missiles in sets of three, with a crane mounted on the reload vehicles to assist in moving the missiles.


title: 9K33 Osa

text: When launched the booster motor burns for two seconds, this permits the radar to gather and control it at very short ranges (about 1.6 km). The sustainer motor has a 15-second burn, bringing the missile to a top speed of about Mach 2. Once launched the missile is command-guided for the whole flight, and the warhead is detonated by its proximity fuze or possible command. The warhead is said to have a lethal radius of 5 m at low altitude against an F-4 Phantom size target.


title: 9K33 Osa

text: Produced by the USSR/Russia, there are many export customers for this system, including Cuba, Greece (from the former East Germany), Poland, Syria, Ecuador and Iraq.


title: 9K33 Osa

text: After the Israeli invasion of Lebanon in 1982, in which Syrian air defenses were obliterated by a massive air campaign against Syrian SAM sites in the Beqaa valley, the Syrians managed to deploy Osas. At least one F-4 Phantom in a SEAD mission was shot down on July 24, 1982 by an Osa system. The WSO (back seater), Aharon Katz was killed, while the pilot, Gil Fogel, survived and was held captive by the Syrians for two years.


title: 9K33 Osa

text: In late 1980s, Cuba deployed several 9K33 Osa units in southern Angola which posed a significant threat to South African air superiority at shorter ranges. The South African 61 Mechanised Battalion Group captured an intact 9K33 Osa anti-aircraft missile system on 3 October 1987 during the Battle of Cuito Cuanavale. This was the first time that such a system had ever fallen into the hands of non-Warsaw Pact forces, giving Western intelligence agencies an opportunity to examine an important Soviet-bloc weapon system.


title: 9K33 Osa

text: The Ukrainian Joint Forces reported destruction of an Osa-AKM surface-to-air missile system of the Russian military forces in the Donbas along with a Zhitel R-330Zh automatic jamming system on 30 March 2019.


title: 9K33 Osa

text: On 29 November 2019, Russian sources speculated that a Soviet made 9K33 Osa fired by Houthi forces shot down a Saudi Arabian Army Aviation AH-64 Apache. Neither Yemen nor Iran had any 9K33 Osa in their armed forces, while known Houthis' operated systems are based on the Soviet made surface-to-air 2K12 Kub which employs a two-stage rocket engine and the air-to-air missiles R-73 and R-27T which both have a single stage rocket engine.


title: 9K33 Osa

text: The Armenian Air Defense extensively employed 9K33 Osa missile systems during the 2020 Nagorno-Karabakh conflict. During the opening days of the war, several videos released by the Azerbaijani military showed several Armenian 9K33 Osa and 9K35 Strela-10 vehicles destroyed by Bayraktar TB2 armed drones, with a number of them destroyed in the following weeks when found on the battlefield. Twelve 9K33 Osa missile systems of Armenian Army destroyed during the Nagorno-Karabakh conflict by Azerbaijani Bayraktar TB2.


title: 9K33 Osa

text: On 4 October 2020, an Azerbaijani Air force Sukhoi Su-25 aircraft was shot down, by Armenian forces, probably by a 9K33 Osa while targeting Armenian positions in Fuzuli. The pilot, Col. Zaur Nudiraliyev, died in the crash. Azerbaijani officials acknowledged the loss in December 2020, with the 9K33 Osa vehicle possibly using passive detection and shoot and scoot tactics to survive the Azerbaijani suppression of air defenses missions.


title: 9K33 Osa

text: Both Russia and Ukraine have 9K33 Osa systems in their inventory. On 23 March 2022, "The Washington Post" reported that the United States was sending additional systems to Ukraine.


title: 9K33 Osa

text: PPRU-M1 (PPRU-M1-2) is a mobile command center for a mixed grouping of air defense forces, such as 9K33 Osa and the Tor missile system, 9K22 Tunguska, 9K35 Strela-10 and 9K38 Igla.


title: 9K33 Osa

text: In 2019 Poland started modification of the whole environment of the Osa system. Those works has been commissioned to WZU Grudziądz. The total cost is about €40-50 million.


title: V12 engine

text: A V12 engine is a twelve-cylinder piston engine where two banks of six cylinders are arranged in a V configuration around a common crankshaft. V12 engines are more common than V10 engines. However, they are less common than V8 engines.


title: V12 engine

text: The first V12 engine was built in 1904 for use in racing boats. Due to the balanced nature of the engine and the smooth delivery of power, V12 engines were found in early luxury automobiles, boats, aircraft, and tanks. Aircraft V12 engines reached their apogee during World War II, following which they were mostly replaced by jet engines. In Formula One racing, V12 engines were common during the late 1960s and early 1990s.


title: V12 engine

text: Applications of V12 engines in the 21st century have been as marine engines, in railway locomotives, as large stationary power as well as in some European sports and luxury cars.


title: V12 engine

text: Each bank of a V12 engine essentially functions as a straight-six engine, which by itself has perfect primary and secondary engine balance. By using the correct V-angle, a V12 engine can therefore have a perfect balance. The even firing order for a four-stroke V12 engine has an interval of 60 degrees, therefore a V12 engine can be perfectly balanced only if a V-angle of 60 degrees is used. Many V12 engines use a V-angle of 60 degrees between the two banks of cylinders. V12 engines with other V-angles have been produced, sometimes using split crankpins to reduce the unbalanced vibrations. The drawbacks of V12 engines include extra cost, complexity, friction losses, and external size and weight, compared with engines containing fewer cylinders.


title: V12 engine

text: At any given time, three of the cylinders in a V12 engine are in their power stroke, which increases the smoothness of the power delivery by eliminating gaps between power pulses.


title: V12 engine

text: A V12 engine with a 180 degree V-angle is often called a flat-twelve engine (or a 'boxer twelve'). However, this terminology is incorrect for the majority of 180-degree V12 engines, since they use shared crankpins and are therefore not configured as boxer engines.


title: V12 engine

text: Theoretically, the rotating parts of a V12 racing engine could be lighter than a crossplane V8 engine of similar displacement due to the V12 engine not requiring counterweights on the crankshaft or as much inertial mass for the flywheel. In addition, the exhaust system of a V12 engine is much simpler than would be required for a crossplane V8 engine to achieve pulsed exhaust gas tuning. However, the use of V12 engines in motor racing is uncommon in the 21st century.


title: V12 engine

text: A 60-degree V12 engine is typically narrower than a 90-degree V6 or V8 engine of similar displacement. However, the V12 engine is usually longer than V6 and V8 engines. The added length often makes it difficult to fit a V12 engine into a passenger car, but the length is not typically a problem for trucks and stationary applications. Due to its narrower width, the V12 is common as locomotive, armoured tank, and marine engines. In these applications, the width of the engine is constrained by tight railway clearances or street widths, while the length of the vehicle is more flexible.


title: V12 engine

text: In twin-propeller boats, two V12 engines can be narrow enough to sit side by side, while three V12 engines are sometimes used in high-speed three-propeller configurations. Large, fast cruise ships can have six or more V12 engines. In historic piston-engine fighter and bomber aircraft, the long, narrow V12 configuration used in high-performance aircraft made them more streamlined than other engines, particularly the short, wide radial engine.


title: V12 engine

text: The first V-engine (a V-twin design) was built by Daimler in 1889, then the first V8 engine was built by Antoinette in 1903. These were followed by the first V12 engine in 1904, which was built by Putney Motor Works in London for use in racing boats. Known as the "Craig-Dörwald" engine after Putney's founding partners, the V12 engine was based on Putney's existing two-cylinder engine with a flathead design, a V-angle of 90 degrees and an aluminium crankcase. As in many marine engines, the camshaft could be slid longitudinally to engage a second set of cams, giving valve timing that reversed the engine's rotation to achieve astern propulsion. The engine had a displacement of a weight of and developed racing boats, but little is known of its racing achievements.


title: V12 engine

text: Two more V12s appeared in the 1909-1910 motor boat racing season. The Lamb Boat & Engine Company in the United States built a engine for the company's 'Lamb IV' boat. The Orleans Motor Company built a massive flathead V12 engine with a power output quoted as "nearly ". In 1914, Panhard built two V12 engines with four valves per cylinder, which were designed for use in racing boats.


title: V12 engine

text: Large V12 diesel engines are common in modern cruise ships, which may have up to six such engines. An example of a currently produced V12 marine engine is the "Wärtsilä 46F" engine, where the V12 version has a displacement of and a power output of .


title: V12 engine

text: Five years after the first V12 engine was introduced, Renault introduced the first V12 engine for aircraft in 1909. This engine had a V-angle of 60 degrees, air cooling and an intake over exhaust (F-head) valve arrangement. It had a displacement of , a weight of and produced at 1,800 rpm. The propeller was driven from the front end of the camshaft, thus spinning the propeller speed at half the speed of a typical crankshaft driven propeller, in order to improve the propeller efficiency. The Renault engine was closely mimicked by the RAF 4 and its derivatives, which was used by various British military aircraft during World War I. The RAF 4 engine had a displacement of , weighed and produced at 1,800 rpm.


title: V12 engine

text: In March 1914, a prototype version of the Sunbeam Mohawk V12 engine was unveiled in the United Kingdom, based on the 'Toodles V' motor racing engine. The production version was rated at at 2,000 rpm, making it the most powerful airplane engine in Great Britain at the outbreak of World War I. During and after World War I, various companies in the United States produced the Liberty L-12 engine. In Austria, the Austro Daimler V12 engines were used by the large flying boats of the Naval Air Force and produced up to . By the end of World War I, V12s were well established in aviation, powering some of the newest and largest fighter and bomber airplanes.


title: V12 engine

text: After World War I, many Zeppelins used V12 engines built by Maybach and Daimler. V12 engines powered the first transatlantic crossings by the Curtiss NC flying boats (using four Liberty L-12 engines), the first non-stop transatlantic crossing in a Vickers Vimy (using two Rolls-Royce Eagle engines) and the first transatlantic crossing by an airship in the R-34 class airship (using five Sunbeam Maori engines).


title: V12 engine

text: V12 engines reached their apogee during World War II with engines such as the British Rolls-Royce Merlin and Rolls-Royce Griffon, the Soviet Klimov VK-107 and Mikulin AM-38, the American Allison V-1710, and the German Daimler-Benz DB 600 and Junkers Jumo. These engines generated about at the beginning of the war and over at their ultimate evolution stage. This rapid increase in power outputs was due to technology such as multi-speed superchargers and high octane fuels, and the V12 layout was commonly adopted due to its low vibrations so that the powerful engines did not tear apart the light airframes of fighters.


title: V12 engine

text: The Allied forces used V12 engines with an "upright" design, while many German engines (aside from the BMW VI, which was designed prior to World War II), used an inverted engine design, which had a lower centre of gravity and improved pilot visibility for single-engined designs. The only American-design inverted V12 engine of any type to see even limited service in World War II was the air-cooled Ranger V-770, which was used in aircraft that were only used for training purposes within the United States, such as the Fairchild AT-21 Gunner.


title: V12 engine

text: The Rolls-Royce Merlin V12 engine was used in several British aircraft including the Hawker Hurricane and Supermarine Spitfire fighters, and the Avro Lancaster and de Havilland Mosquito bombers. The Hurricane and Spitfire played vital roles in the Battle of Britain. The long, narrow configuration of the V12 contributed to good aerodynamics, while its smoothness allowed its use with relatively light and fragile airframes.


title: V12 engine

text: In the United States, the Rolls-Royce Merlin engine was produced under license by Packard Motor Car Company, which was used in the P-51 Mustang fighter. This engine was also incorporated into some models of the Curtiss P-40, specifically the P-40F and P-40L. Packard Merlins powered Canadian-built Hurricane, Lancaster, and Mosquito aircraft, as well as the UK-built Spitfire Mark XVI, which was otherwise the same as the Mark IX with its British-built Merlin. The Allison V-1710 was the only liquid-cooled V12 engine designed in the United States that was used on active service during World War II. It was initially used in the P-38 Lightning, but the turbosupercharger system required bulky ductwork and had poor high-altitude performance. In 1943, a version using a more conventional mechanical supercharger began production.


title: V12 engine

text: After World War II, V12 engines became generally obsolete in aircraft due to the introduction of turbojet and turboprop engines that had more power for their weight, and fewer complications.


title: V12 engine

text: In automobiles, V12 engines are less common than engines with fewer cylinders, due to their size, complexity, and cost. They have been mostly used for expensive sports and luxury cars thanks to their power, smooth operation, and distinctive sound.


title: V12 engine

text: One of the earliest recorded uses of V12 engines in automobiles was in October 1913, when a custom-built racing car competed at the Brooklands circuit in the United Kingdom. The car was entered by Louis Coatalen, who was chief engineer of the Sunbeam Motor Car Company. It was named 'Toodles V' (after Coatalen's pet name for his wife) and achieved several speed records in 1913 and 1914. The V12 engine had a displacement of , an aluminum crankcase, iron cylinders with L-shaped combustion chambers, a cam-in-block valvetrain and a V-angle of 60 degrees. Each bank of the engine consisted of two-cylinder blocks with three cylinders each. Valve clearance was set by grinding the relevant parts, the engine lacking any easy means of adjustment. This reflected the intention for the engine to be later used in aircraft since any adjustment method that could go wrong in flight was to be avoided. As initially built, the V12 was rated at at 2,400 rpm and weighed approximately .


title: V12 engine

text: Amongst the first production cars to use a V12 engine were the 1915 Packard Twin Six, the 1915 "National" V12 engine and the 1917 Weidely Pathfinder; all of which were built in the United States.


title: V12 engine

text: During the late 1920s, the number of marques offering V12 engines for their passenger cars increased and peaked in the 1930s. The lack of vibration and sound, inherent smoothness, and increased power were cited as key benefits for V12 engines. Automobile petrol produced in the 1920s and 1930s had lower octane rating, leading to lower engine performance ratings, and vibration isolating engine mounts were rarely fitted to the passenger cars in the 1920s and the early 1930s. Adding more cylinders to the engine was one of several techniques for performance increase.


title: V12 engine

text: The economic hardships caused the Great Depression meant that all American automakers except for Lincoln had discontinued production of V12 engines by the end of the 1930s. Lincoln themselves would cease V12 production in 1948, and no American automaker has built V12 engines since. Improvements in engine design, namely combustion chamber, piston form, fuel delivery system, and such enabled the lighter and cheaper V8 engines to surpass V12 engines in performance.


title: V12 engine

text: Following the end of the Second World War, the economic austerity and changes in taste in many European countries led to the demise of luxury automobiles with V12 engines in the 1940s and 1950s. Lincoln continued the limited production of luxury cars with V12 engines from 1946 to 1948. The American manufacturers focused on continuously improving V8 engines and their performances through the 1950s, leading to the first "horsepower war" in the 1960s.


title: V12 engine

text: In Italy, Enzo Ferrari introduced his first passenger car, Ferrari 166 Inter, in 1948 and fitted it with Colombo V12 engine. Dissatisfied with the reliability and crudeness of his Ferrari 250 GT, Ferruccio Lamborghini wanted to develop his own passenger cars that were more cultured and more reliable than the cars produced by Ferrari. His first passenger car, a grand tourer, was 350 GT with DOHC engine. Both manufacturers have a long history of producing vehicles with V12 engines, which continues uninterrupted to this day.


title: V12 engine

text: Cadillac experimented with V12 engines in 1963 and 1964 as a potential engine option for its first-ever front-wheel-drive car, Cadillac Eldorado. However, Cadillac was unsatisfied with the performance of its V12 engine, having little advantage over the large displacement V8 that was cheaper to enlarge for more power.


title: V12 engine

text: In the United States, no mass-produced V12 engines have been built since the 1940s, with U.S. manufacturers preferring to use large displacement V8 engines instead.


title: V12 engine

text: Japanese manufacturers rarely produce engines with large displacements, therefore V12 engines are very rare. The sole Japanese V12 engine is the 1997–2016 Toyota GZ engine, a DOHC design which was used in the Toyota Century limousine.


title: V12 engine

text: In China, the 2009 Hongqi HQE limousine, powered by a DOHC V12 engine, is the sole Chinese car to be produced with a V12 engine.


title: V12 engine

text: V12 engines have often been used in Formula One, particularly from the 1966 season to the 1969 season. The first V12 engine used in Formula One was in the 1964 Honda RA271 racing car, and continued through to the 1968 Honda RA301 racing car. The 1966 season saw V12 engines become popular, with new V12 engines from Ferrari, Maserati, and Weslake. Ferrari's engine debuted in the Ferrari 312 racing car and was used up to the 1975 Ferrari 312B, after which Ferrari switched to a flat-twelve engine. Maserati's engine was introduced in the Cooper T81 and was used until the 1969 Cooper T86. The Weslake V12 engine was used from 1966 to 1968 and was introduced in the Eagle Mk1 racing car. BRM produced V12 engines from the 1968 BRM P133 racing car until the 1977 BRM P207. The Matra Sports V12 engine was introduced in the 1968 "Matra MS11" racing car and used until the 1978 Ligier JS9. Few V12 engines were used in the following decade, with the exception of the Alfa Romeo V12 which was first used by the 1979 Brabham BT48 and then by Alfa Romeo until the 1982 Alfa Romeo 182.


title: V12 engine

text: A resurgence of V12 engines in Formula One began in 1989, with the introduction of the Ferrari 640 racing car. Ferrari continued to use V12 engines until the 1995 Ferrari 412 T2 became the last Formula One car to use a V12 engine. The Lamborghini LE3512 engine was used by various teams between 1989 and 1993. The "Honda RA122-E" engine was first used in the 1991 McLaren MP4/6 and was raced until the 1992 McLaren MP4/7A. The "Yamaha OX99" engine was used in the 1990 Brabham BT59 through to the 1992 Brabham BT60. The most powerful naturally-aspirated V12 engine used in Formula One was the "Tipo 043", used by Ferrari in , which produced 850 hp (634 kW) @ 15,800 rpm.


title: V12 engine

text: In prototype sports car racing, the highly successful 2006–2008 Audi R10 TDI used a diesel twin-turbo V12 engine. The Peugeot 908 HDi FAP, introduced in 2007, also used a diesel twin-turbo V12 engine.


title: V12 engine

text: Several truck manufacturers have produced V12 diesel engines at various times. For example, the 1967–1982 Tatra T813, built in Czechoslovakia, used a naturally aspirated V12 diesel engine, and the 1983–present Tatra T815 is available with a V12 diesel engine in both naturally aspirated and turbocharged forms. In the United States, V12 versions of the 1938–1995 Detroit Diesel Series 71, the 1967–1999 Detroit Diesel Series 149 and the 1974–1995 Detroit Diesel Series 92 were produced. In Japan, Isuzu produced naturally aspirated V12 diesel engines from to in 1976–2000, for their heavy duty trucks: New Power, 810 and Giga.


title: V12 engine

text: Trucks using V12 gasoline (petrol) engines are rare, however several were produced in the United States from the 1930s until the 1970s. In 1931, "American La France" began producing firetrucks with V12 gasoline engines based on the "Lycoming BB motor". In 1935, the V12 engine used by the Pierce Arrow luxury car was fitted to firetrucks built by Seagrave (with production continuing until 1970, since Seagrave purchased the equipment to manufacture the Pierce Arrow engines themselves). The 1960-1965 GMC Twin Six gasoline V12 engine was basically the "GMC 351" V6 engine, doubled, with four rocker covers and four exhaust manifolds. Peak power was only . However peak torque was .


title: V12 engine

text: Many diesel locomotives use V12 engines. Examples include the EMD 12-710 and the "GEVO-12" engine (used in the GE ES44AC North American locomotives).


title: V12 engine

text: The V12 is a common engine configuration for tanks and other armoured fighting vehicles. Some examples are:


title: Bashir Salahuddin

text: Salahuddin was born and raised in the South Side of Chicago, Illinois. His father is originally from Panama and had moved to Chicago with his family when he was a child. His mother grew up on the West Side of Chicago. They met when they both were students at Southern Illinois University and converted to Islam in the early 1970s. His parents divorced in the early 2000s. Salahuddin grew up with three brothers and two sisters and has two younger siblings from his father's second marriage. Salahuddin's father worked as an airplane mechanic for Midway Airlines at Chicago Midway International Airport. As family members of an airline employee, the family was able to fly on many stand-by trips across the U.S. He credits his father with instilling in him what he refers to as the "immigrant work ethic".


title: Bashir Salahuddin

text: Salahuddin was a pre-medical student at Harvard University, graduating in 1998. He performed in several theatre productions, including at the Hasty Pudding. He also met and became friends with Diallo Riddle, who would become his writing partner. In his junior year at Harvard, Salahuddin decided he wanted to be an actor and attended the Hangar Theatre's training program.


title: Bashir Salahuddin

text: After graduating from Harvard, Salahuddin returned to Chicago and worked as a paralegal in order to save money to be able to move to Los Angeles. When he got to Los Angeles in the early 2000s, he worked as a PA at Warner Brothers and as a waiter. Not getting the work they wanted, Salahuddin and Riddle began making their own web videos. David Alan Grier saw their videos and hired them as a writing team on his show "Chocolate News" in 2008. Jimmy Fallon then asked them to join the writing staff of "Late Night with Jimmy Fallon" and they moved to New York. They stayed on the show for four years.


title: Bashir Salahuddin

text: In January 2016, it was confirmed that the half-hour comedy series "Brothers in Atlanta", (based on a 2013 pilot) that HBO had commissioned from Salahuddin and Riddle, had been cancelled. In March 2016, Salahuddin was cast as the male lead in a Hulu pilot comedy, "Crushed", co-starring with Regina Hall. In June 2016, the production company Lionsgate announced they were moving production of the pilot from North Carolina to Canada due to North Carolina's governor signing a controversial anti-LGBT law as well as tax incentives available to the production in Vancouver.


title: Bashir Salahuddin

text: As an actor, Salahuddin has appeared on "Superstore", "Snatched", "Arrested Development", "Single Parents", "Looking" and "The Mindy Project". He was cast as a recurring character on the Netflix show "GLOW", which premiered in 2017.


title: Bashir Salahuddin

text: Together with Riddle, Salahuddin created the comedy show "South Side", which premiered on Comedy Central on 24 July 2019. The show centers around two recent community college graduates trying to become entrepreneurs in Chicago's South Side, portrayed by Salahuddin's brother Sultan and Kareme Young. Salahuddin, his wife Chandra Russell and Riddle also star.


title: Bashir Salahuddin

text: Salahuddin and Riddle also created the comedy show "Sherman's Showcase", which premiered on IFC on 31 July 2019. The show is part parody of, part homage to shows like "Soul Train", "American Bandstand" and "The Midnight Special". Guest stars include John Legend, Questlove, Quincy Jones, Natasha Bedingfield, Tiffany Haddish and Eliza Coupe.


title: Bashir Salahuddin

text: In 2018, it was announced that Salahuddin was cast in Tom Cruise's 2022 action drama "". In 2019, Salahuddin was cast in a leading role in "The 24th", a film about the all-black Twenty-Fourth United States Infantry Regiment and the Houston Riot of 1917. The film is co-written and directed by Kevin Willmott. More recently, Salahuddin and Riddle signed a deal with Warner Bros. Television.


title: Rachel Carson

text: Rachel Louise Carson (May 27, 1907 – April 14, 1964) was an American marine biologist, writer, and conservationist whose influential book "Silent Spring" (1962) and other writings are credited with advancing the global environmental movement.


title: Rachel Carson

text: Carson began her career as an aquatic biologist in the U.S. Bureau of Fisheries, and became a full-time nature writer in the 1950s. Her widely praised 1951 bestseller "The Sea Around Us" won her a U.S. National Book Award, recognition as a gifted writer and financial security. Her next book, "The Edge of the Sea", and the reissued version of her first book, "Under the Sea Wind", were also bestsellers. This sea trilogy explores the whole of ocean life from the shores to the depths.


title: Rachel Carson

text: Late in the 1950s, Carson turned her attention to conservation, especially some problems she believed were caused by synthetic pesticides. The result was the book "Silent Spring" (1962), which brought environmental concerns to an unprecedented share of the American people. Although "Silent Spring" was met with fierce opposition by chemical companies, it spurred a reversal in national pesticide policy, which led to a nationwide ban on DDT and other pesticides. It also inspired a grassroots environmental movement that led to the creation of the U.S. Environmental Protection Agency. Carson was posthumously awarded the Presidential Medal of Freedom by President Jimmy Carter.


title: Rachel Carson

text: Rachel Carson was born on May 27, 1907, on a family farm near Springdale, Pennsylvania, located by the Allegheny River near Pittsburgh. She was the daughter of Maria Frazier (McLean) and Robert Warden Carson, an insurance salesman. She spent a lot of time exploring around her family's farm. An avid reader, she began writing stories (often involving animals) at age eight. She had her first story published at age ten. She especially enjoyed the "St. Nicholas Magazine" (which carried her first published stories), the works of Beatrix Potter, and the novels of Gene Stratton-Porter, and in her teen years, Herman Melville, Joseph Conrad and Robert Louis Stevenson. The natural world, particularly the ocean, was the common thread of her favorite literature. Carson attended Springdale's small school through tenth grade, then completed high school in nearby Parnassus, Pennsylvania, graduating in 1925 at the top of her class of forty-four students.


title: Rachel Carson

text: At the Pennsylvania College for Women (now Chatham University), as in high school, Carson was somewhat of a loner. She originally studied English but switched her major to biology in January 1928. However, she continued contributing to the school's student newspaper and literary supplement. Though admitted to graduate standing at Johns Hopkins University in 1928, she was forced to remain at the Pennsylvania College for Women for her senior year due to financial difficulties; she graduated "magna cum laude" in 1929. After a summer course at the Marine Biological Laboratory, she continued her studies in zoology and genetics at Johns Hopkins in the fall of 1929.


title: Rachel Carson

text: After her first year of graduate school, Carson became a part-time student, taking an assistantship in Raymond Pearl's laboratory, where she worked with rats and "Drosophila", to earn money for tuition. After false starts with pit vipers and squirrels, she completed a dissertation on the embryonic development of the pronephros in fish. She earned a master's degree in zoology in June 1932. She had intended to continue for a doctorate, however in 1934 Carson was forced to leave Johns Hopkins to search for a full-time teaching position to help support her family during the Great Depression. In 1935, her father died suddenly, worsening their already critical financial situation and leaving Carson to care for her aging mother. At the urging of her undergraduate biology mentor Mary Scott Skinker, she settled for a temporary position with the U.S. Bureau of Fisheries, writing radio copy for a series of weekly educational broadcasts entitled "Romance Under the Waters". The series of 52 seven-minute programs focused on aquatic life and was intended to generate public interest in fish biology and the bureau's work, a task the several writers before Carson had not managed. Carson also began submitting articles on marine life in the Chesapeake Bay, based on her research for the series, to local newspapers and magazines.


title: Rachel Carson

text: Carson's supervisor, pleased with the success of the radio series, asked her to write the introduction to a public brochure about the fisheries bureau; he also worked to secure her the first full-time position that became available. Sitting for the civil service exam, she outscored all other applicants and, in 1936, became the second woman hired by the Bureau of Fisheries for a full-time professional position, as a junior aquatic biologist.


title: Rachel Carson

text: At the U.S. Bureau of Fisheries, Carson's primary responsibilities were to analyze and report field data on fish populations and write brochures and other literature for the public. Using her research and consultations with marine biologists as starting points, she also wrote a steady stream of articles for "The Baltimore Sun" and other newspapers. However, her family responsibilities further increased in January 1937 when her older sister died, leaving Carson as the sole breadwinner for her mother and two nieces.


title: Rachel Carson

text: In July 1937, the "Atlantic Monthly" accepted a revised version of an essay, "The World of Waters", that she originally wrote for her first fisheries bureau brochure. Her supervisor had deemed it too good for that purpose. The essay, published as "Undersea", was a vivid narrative of a journey along the ocean floor. It marked a major turning point in Carson's writing career. Publishing house Simon & Schuster, impressed by "Undersea", contacted Carson and suggested that she expand it into a book. Several years of writing resulted in "Under the Sea Wind" (1941), which received excellent reviews but sold poorly. In the meantime, Carson's article-writing success continued—her features appeared in "Sun Magazine", "Nature", and "Collier's". Carson attempted to leave the Bureau (by then transformed into the United States Fish and Wildlife Service) in 1945. However, few jobs for naturalists were available, as most money for science was focused on technical fields in the wake of the Manhattan Project. In mid-1945, Carson first encountered the subject of DDT, a revolutionary new pesticide—lauded as the "insect bomb" after the atomic bombings of Hiroshima and Nagasaki—that was only beginning to undergo tests for safety and ecological effects. DDT was but one of Carson's many writing interests at the time, and editors found the subject unappealing; she published nothing on DDT until 1962.


title: Rachel Carson

text: Carson rose within the Fish and Wildlife Service, by 1945 supervising a small writing staff and in 1949 becoming chief editor of publications. Her position provided increasing opportunities for fieldwork and freedom in choosing her writing projects; however, it also entailed increasingly tedious administrative responsibilities. By 1948, Carson was working on material for a second book and had made the conscious decision to begin a transition to writing full-time. That year, she took on a literary agent, Marie Rodell; they formed a close professional relationship that would last the rest of Carson's career.


title: Rachel Carson

text: Oxford University Press expressed interest in Carson's book proposal for a life history of the ocean, spurring her to complete by early 1950 the manuscript of what would become "The Sea Around Us". Chapters appeared in "Science Digest" and "The Yale Review"—the latter chapter, "The Birth of an Island," winning the American Association for the Advancement of Science's George Westinghouse Science Writing Prize. Nine chapters were serialized in "The New Yorker" beginning June 1951. The book was published July 2, 1951, by Oxford University Press. "The Sea Around Us" remained on The New York Times Best Seller list for 86 weeks, was abridged by "Reader's Digest", won the 1952 National Book Award for Nonfiction and the John Burroughs Medal, and resulted in Carson's being awarded two honorary doctorates. She also licensed a documentary film based on it. "The Sea" success led to the republication of "Under the Sea Wind", which became a bestseller itself. With success came financial security, and in 1952 Carson was able to give up her job in order to concentrate on writing full-time.


title: Rachel Carson

text: Carson was inundated with requests for speaking engagements, fan mail and other correspondence regarding "The Sea Around Us", along with work on the script that she had secured the right to review. She was very unhappy with the final version of the script by writer, director, and producer Irwin Allen; she found it untrue to the atmosphere of the book and scientifically embarrassing, describing it as "a cross between a believe-it-or-not and a breezy travelogue." However, she discovered that her right to review the script did not extend to any control over its content. This led to many scientific inconsistencies inside the film. Despite Carson's requests to resolve these problems, Allen went forward with the script. He succeeded in producing a very successful documentary. It went on to win the 1953 Academy Award for Best Documentary Feature. However, Carson was so embittered by the experience that she never again sold film rights to her work.


title: Rachel Carson

text: Carson met Dorothy M. Freeman in the summer of 1953 in Southport Island, Maine. Freeman had written to Carson welcoming her to the area when she had heard that the famous author was to become her neighbor. It was the beginning of a devoted friendship that would last the rest of Carson's life. Their relationship was conducted mainly through letters and during summers spent together in Maine. Over 12 years, they exchanged around 900 letters. Many of these were published in the book "Always, Rachel", published in 1995 by Beacon Press.


title: Rachel Carson

text: Carson's biographer, Linda J. Lear, writes that "Carson sorely needed a devoted friend and kindred spirit who would listen to her without advising and accept her wholly, the writer as well as the woman." She found this in Freeman. The two women had common interests, nature chief among them, and began exchanging letters regularly while apart. They shared summers for the remainder of Carson's life and meet whenever else their schedules permitted.


title: Rachel Carson

text: Concerning the depth of their relationship, commentators have said: "the expression of their love was limited almost wholly to letters and very occasional farewell kisses or holding of hands". Freeman shared parts of Carson's letters with her husband to help him understand the relationship, but much of their correspondence was carefully guarded. Some believe Freeman and Carson's relationship was romantic in nature. One of the letters from Carson to Freeman reads: “But, oh darling, I want to be with you so terribly that it hurts!”, while in another, Freeman writes: “I love you beyond expression... My love is boundless as the Sea.” Carson's last letter to Freeman before her death ends with: "Never forget, dear one, how deeply I have loved you all these years."


title: Rachel Carson

text: Shortly before Carson's death, she and Freeman destroyed hundreds of letters. The surviving correspondence was published in 1995 as "Always, Rachel: The Letters of Rachel Carson and Dorothy Freeman, 1952–1964: An Intimate Portrait of a Remarkable Friendship", edited by Martha Freeman, Dorothy's granddaughter, who wrote at publication: "A few comments in early letters indicate that Rachel and Dorothy were initially cautious about the romantic tone and terminology of their correspondence. I believe this caution prompted their destruction of some letters within the first two years of their friendship..." According to one reviewer, the pair "fit Carolyn Heilbrun's characterization of a strong female friendship, where what matters is 'not whether friends are homosexual or heterosexual, lovers or not, but whether they share the wonderful energy of work in the public sphere.'"


title: Rachel Carson

text: According to her biographer, Linda Lear, there was a disagreement about the final arrangements for Rachel. Her brother, Robert Carson, insisted that her cremated remains be buried beside their mother in Maryland. This was against her wishes to be buried in Maine. In the end, a compromise was reached. Carson's wishes were carried out by an organizing committee, including her agent (Marie Rodell), her editor (Paul Brooks), and Dorothy Freeman. In the spring of 1964, Dorothy received half of Rachel's ashes in the mail sent to her by Robert Carson. In the summer of that year, Dorothy carried out Rachel's final wishes, scattering her ashes along the rocky shores of Sheepscot Bay in Maine.


title: Rachel Carson

text: Early in 1953, Carson began library and field research on the ecology and organisms of the Atlantic shore. In 1955, she completed the third volume of her sea trilogy, "The Edge of the Sea", which focuses on life in coastal ecosystems, particularly along the Eastern Seaboard. It appeared in "The New Yorker" in two condensed installments shortly before its October 26 book release by Houghton Mifflin (again a new publisher). By this time, Carson's reputation for clear and poetical prose was well established; "The Edge of the Sea" received highly favorable reviews, if not quite as enthusiastic as for "The Sea Around Us".


title: Rachel Carson

text: Through 1955 and 1956, Carson worked on several projects—including the script for an "Omnibus" episode, "Something About the Sky"—and wrote articles for popular magazines. Her plan for the next book was to address evolution. However, the publication of Julian Huxley's "Evolution in Action"—and her own difficulty in finding a clear and compelling approach to the topic—led her to abandon the project. Instead, her interests were turning to conservation. She considered an environment-themed book project tentatively titled "Remembrance of the Earth" and became involved with The Nature Conservancy and other conservation groups. She also made plans to buy and preserve from development an area in Maine she and Freeman called the "Lost Woods."


title: Rachel Carson

text: In early 1957, a family tragedy struck for the third time when one of her nieces she had cared for since the 1940s died at the age of 31, leaving her 5-year-old son, Roger Christie, an orphan. Carson took on the responsibility for Roger when she adopted him, along with caring for her aging mother. Carson moved to Silver Spring, Maryland to care for Roger and spent much of 1957 putting together a new living situation and studying specific environmental threats.


title: Rachel Carson

text: By late 1957, Carson was closely following federal proposals for widespread pesticide spraying; the United States Department of Agriculture (USDA) planned to eradicate fire ants. Other spraying programs involving chlorinated hydrocarbons and organophosphates were on the rise. For the rest of her life, Carson's main professional focus would be the dangers of pesticide overuse.


title: Rachel Carson

text: "Silent Spring", Carson's most influential book, was published by Houghton Mifflin on September 27, 1962. The book described the harmful effects of pesticides on the environment, and is widely credited with helping launch the environmental movement. Carson was not the first or the only person to raise concerns about DDT, but her combination of "scientific knowledge and poetic writing" reached a broad audience and helped to focus opposition to DDT use. In 1994, an edition of "Silent Spring" was published with an introduction written by Vice President Al Gore. In 2012 "Silent Spring "was designated a National Historic Chemical Landmark by the American Chemical Society for its role in the development of the modern environmental movement.


title: Rachel Carson

text: Starting in the mid-1940s, Carson had become concerned about the use of synthetic pesticides, many of which had been developed through the military funding of science since World War II. However, the United States federal government's 1957 gypsy moth (now called spongy moth) eradication program prompted Carson to devote her research and her next book to pesticides and environmental poisons. The gypsy moth program involved aerial spraying of DDT and other pesticides (mixed with fuel oil), including the spraying of private land. Landowners on Long Island filed a lawsuit to have the spraying stopped, and many in affected regions followed the case closely. Though the suit was lost, the Supreme Court granted petitioners the right to gain injunctions against potential environmental damage in the future; this laid the basis for later successful environmental actions.


title: Rachel Carson

text: The Audubon Naturalist Society also actively opposed such spraying programs and recruited Carson to help make public the government's exact spraying practices and the related research. Carson began the four-year project of what would become "Silent Spring" by gathering examples of environmental damage attributed to DDT. She also attempted to enlist others to join the cause, such as essayist E. B. White and several journalists and scientists. By 1958, Carson had arranged a book deal, with plans to co-write with "Newsweek" science journalist Edwin Diamond. However, when "The New Yorker" commissioned a long and well-paid article on the topic from Carson, she began considering writing more than simply the introduction and conclusion as planned; soon, it was a solo project. (Diamond would later write one of the harshest critiques of "Silent Spring").


title: Rachel Carson

text: As her research progressed, Carson found a sizable community of scientists who were documenting the physiological and environmental effects of pesticides. She also took advantage of her connections with many government scientists, who supplied her with confidential information. From reading the scientific literature and interviewing scientists, Carson found two scientific camps when it came to pesticides: those who dismissed the possible danger of pesticide spraying barring conclusive proof, and those who were open to the possibility of harm and willing to consider alternative methods such as biological pest control.


title: Rachel Carson

text: She also found significant support and extensive evidence from a group of biodynamic agriculture organic market gardeners, their adviser, Dr. Ehrenfried Pfeiffer, other contacts, and their suite of legal actions (1957-1960) against the U.S. Government. According to recent research by Paull (2013), this may have been the primary and (for strategic reasons) uncredited source for Carson's book. Marjorie Spock and Mary T. Richards of Long Island, New York, contested the aerial spraying of dichlorodiphenyltrichloroethane (DDT). They compiled their evidence and shared it with Carson, who used it, their extensive contacts, and the trial transcripts as a primary input for "Silent Spring". Carson wrote of the content as "a gold mine of information" and says, "I feel guilty about the mass of your material I have here" and makes multiple references to Pfeiffer and his correspondence.


title: Rachel Carson

text: By 1959, the USDA's Agricultural Research Service responded to the criticism by Carson and others with a public service film, "Fire Ant on Trial"; Carson characterized it as "flagrant propaganda" that ignored the dangers that spraying pesticides (especially dieldrin and heptachlor) posed to humans and wildlife. That spring, Carson wrote a letter, published in "The Washington Post", that attributed the recent decline in bird populations—in her words, the "silencing of birds"—to pesticide overuse. That was also the year of the "Great Cranberry Scandal": the 1957, 1958, and 1959 crops of U.S. cranberries were found to contain high levels of the herbicide aminotriazole (which caused cancer in laboratory rats), and the sale of all cranberry products was halted. Carson attended the subsequent FDA hearings on revising pesticide regulations; she came away discouraged by the aggressive tactics of the chemical industry representatives, which included expert testimony that was firmly contradicted by the bulk of the scientific literature she had been studying. She also wondered about the possible "financial inducements behind certain pesticide programs."


title: Rachel Carson

text: Research at the Library of Medicine of the National Institutes of Health brought Carson into contact with medical researchers investigating the gamut of cancer-causing chemicals. Of particular significance was the work of National Cancer Institute researcher and environmental cancer section founding director Wilhelm Hueper, who classified many pesticides as carcinogens. Carson and her research assistant Jeanne Davis, with the help of NIH librarian Dorothy Algire, found evidence to support the pesticide-cancer connection; to Carson, the evidence for the toxicity of a wide array of synthetic pesticides was clear-cut, though such conclusions were very controversial beyond the small community of scientists studying pesticide carcinogenesis.


title: Rachel Carson

text: By 1960, Carson had more than enough research material, and the writing was progressing rapidly. In addition to the thorough literature search, she had investigated hundreds of individual incidents of pesticide exposure and the human sickness and ecological damage that resulted. However, in January, a duodenal ulcer followed by several infections kept her bedridden for weeks, greatly delaying the completion of "Silent Spring". As she was nearing full recovery in March (just as she was completing drafts of the two cancer chapters of her book), she discovered cysts in her left breast, one of which necessitated a mastectomy. Though her doctor described the procedure as precautionary and recommended no further treatment, by December, Carson discovered that the tumor was malignant and the cancer had metastasized. Her research was also delayed by revision work for a new edition of "The Sea Around Us" and by a collaborative photo essay with Erich Hartmann. Most of the research and writing was done by the fall of 1960, except for the discussion of recent research on biological pest controls and investigations of a handful of new pesticides. However, further health troubles slowed the final revisions in 1961 and early 1962. While writing the book, Carson chose to hide her illness so that the pesticide companies could not use it against her (she worried that if the companies knew, they would use it as ammunition to make her book look untrustworthy and biased).


title: Rachel Carson

text: Finding a title for the book proved difficult; "Silent Spring" was initially suggested as a title for the chapter on birds. By August 1961, Carson finally agreed to the suggestion of her literary agent Marie Rodell: "Silent Spring" would be a metaphorical title for the entire book, suggesting a bleak future for the whole natural world, rather than a single chapter title about the literal absence of birdsong. With Carson's approval, editor Paul Brooks at Houghton Mifflin arranged for illustrations by Louis and Lois Darling, who also designed the cover. The final writing was the first chapter, "A Fable for Tomorrow", which Carson intended as a gentle introduction to what might otherwise be a forbiddingly serious topic. By mid-1962, Brooks and Carson had essentially finished the editing and were laying the groundwork for promoting the book by sending the manuscript out to select individuals for final suggestions.


title: Rachel Carson

text: As biographer Mark Hamilton Lytle writes, Carson "quite self-consciously decided to write a book calling into question the paradigm of scientific progress that defined post-war American culture." The overriding theme of "Silent Spring" is the powerful—and often adverse—effect humans have on the natural world.