title: Magma

text: When rock melts, the liquid is a "primary magma". Primary magmas have not undergone any differentiation and represent the starting composition of a magma. In practice, it is difficult to unambiguously identify primary magmas, though it has been suggested that boninite is a variety of andesite crystallized from a primary magma. The Great Dyke of Zimbabwe has also been interpreted as rock crystallized from a primary magma. The interpretation of leucosomes of migmatites as primary magmas is contradicted by zircon data, which suggests leucosomes are a residue (a cumulate rock) left by extraction of a primary magma.


title: Magma

text: When it is impossible to find the primitive or primary magma composition, it is often useful to attempt to identify a parental magma. A parental magma is a magma composition from which the observed range of magma chemistries has been derived by the processes of igneous differentiation. It need not be a primitive melt.


title: Magma

text: For instance, a series of basalt flows are assumed to be related to one another. A composition from which they could reasonably be produced by fractional crystallization is termed a "parental magma". Fractional crystallization models would be produced to test the hypothesis that they share a common parental magma.


title: Magma

text: Magma develops within the mantle or crust where the temperature and pressure conditions favor the molten state. After its formation, magma buoyantly rises toward the Earth's surface, due to its lower density than the source rock. As it migrates through the crust, magma may collect and reside in magma chambers (though recent work suggests that magma may be stored in trans-crustal crystal-rich mush zones rather than dominantly liquid magma chambers ). Magma can remain in a chamber until it either cools and crystallizes to form intrusive rock, it erupts as a volcano, or it moves into another magma chamber.


title: Magma

text: When magma cools it begins to form solid mineral phases. Some of these settle at the bottom of the magma chamber forming cumulates that might form mafic layered intrusions. Magma that cools slowly within a magma chamber usually ends up forming bodies of plutonic rocks such as gabbro, diorite and granite, depending upon the composition of the magma. Alternatively, if the magma is erupted it forms volcanic rocks such as basalt, andesite and rhyolite (the extrusive equivalents of gabbro, diorite and granite, respectively).


title: Magma

text: Magma that is extruded onto the surface during a volcanic eruption is called lava. Lava cools and solidifies relatively quickly compared to underground bodies of magma. This fast cooling does not allow crystals to grow large, and a part of the melt does not crystallize at all, becoming glass. Rocks largely composed of volcanic glass include obsidian, scoria and pumice.


title: Magma

text: Before and during volcanic eruptions, volatiles such as CO and HO partially leave the melt through a process known as exsolution. Magma with low water content becomes increasingly viscous. If massive exsolution occurs when magma heads upwards during a volcanic eruption, the resulting eruption is usually explosive.


title: Magma

text: The Iceland Deep Drilling Project, while drilling several 5,000 m holes in an attempt to harness the heat in the volcanic bedrock below the surface of Iceland, struck a pocket of magma at 2,100 m in 2009. Because this was only the third time in recorded history that magma had been reached, IDDP decided to invest in the hole, naming it IDDP-1.


title: Magma

text: A cemented steel case was constructed in the hole with a perforation at the bottom close to the magma. The high temperatures and pressure of the magma steam were used to generate 36 MW of power, making IDDP-1 the world's first magma-enhanced geothermal system.


title: Book of Signs

text: In Christian scholarship, the Book of Signs is a name commonly given to the first main section of the Gospel of John, from 1:19 to the end of Chapter 12. It follows the Hymn to the Word and precedes the Book of Glory. It is named for seven notable events, often called "signs" or "miracles", that it records.


title: Book of Signs

text: There is a widespread scholarly view that the Gospel of John can be broken into four parts: a "", (John 1:-1:18), the "Book of Signs" (1:19 to 12:50), the "Book of Glory" (or "Exaltation") (13:1 to 20:31) and an "epilogue" (chapter 21).


title: Book of Signs

text: It is this indication by the author of the gospel that the signs are selected, which leads to the examination of them as a sequence of seven.


title: Book of Signs

text: The seven signs are seen by some scholars and theologians as evidence of new creation theology in the Gospel of John, the resurrection of Jesus being the implied eighth sign, indicating a week of creation and then a new creation beginning with the resurrection.


title: Book of Signs

text: Some disagree with this list of seven signs. John Marsh and Stephen Smalley, amongst others, have suggested six initial signs (seeing the walking on the water as part of feeding the 5000, rather than a separate sign in itself), and that the seventh sign is the crucifixion of Jesus and the resurrection appearance to Thomas (20:26–29).


title: Book of Signs

text: Anthony T. Selvaggio replaces walking on water with the cleansing of the Temple because John 2:18 includes the word "sign".


title: Book of Signs

text: Others, such as John Hutchinson and E. W. Bullinger, have emphasized a sequence of eight signs, concluding with the miraculous catch of fish in .


title: Yves Bissouma

text: Yves Bissouma (born 30 August 1996) is a professional footballer who plays as a midfielder for club Tottenham Hotspur. Born in the Ivory Coast, he represents the Mali national team.


title: Yves Bissouma

text: Born in Issia, Ivory Coast, Bissouma trained at the Majestic SC academy in Abidjan, Ivory Coast, an academy partnered with Jean-Marc Guillou Academy in Bamako, Mali. At age 13, he was scouted to the academy in Mali, trained there for 5 years, where he played with future Mali international Adama Traoré. At age 18, he joined AS Real Bamako, Mali.


title: Yves Bissouma

text: He caught the attention of French scouts in the African Nations Championship in February 2016. On 7 July 2016, four months after having arrived at Lille OSC from AS Real Bamako, Bissouma signed his first professional contract with the club, with a duration of three years.


title: Yves Bissouma

text: On 17 July 2018, Bissouma transferred to English side Brighton & Hove Albion for an undisclosed fee, signing a five-year contract with the club. Bissouma made his debut for the Sussex club on the opening day of the 2018–19 Premier League season in a 2–0 away loss to Watford where he came on as a substitute. He made his first start in Brighton's third match of the season where they lost 1–0 away at Liverpool. On 5 January 2019 Bissouma scored his first Albion goal on his FA Cup debut in a 3–1 away win against south coast rivals Bournemouth in the third round.


title: Yves Bissouma

text: He scored his first ever Premier League goal on the last day of the 2019–20 season with a long-range shot in a 2–1 away win against Burnley. Bissouma was given a straight red card late on in Brighton's 3–0 away victory over Newcastle in their second league match of the 2020–21 season for catching Jamal Lewis in the face with his boot. He scored his first goal of the season in a 4–2 away defeat against Everton on 3 October. On 23 January 2021, in a fourth round FA Cup tie, Bissouma scored a 30-yard goal to put Brighton ahead in a 2–1 home win against Blackpool.


title: Yves Bissouma

text: On 21 August, in Brighton's second match of the 2021–22 season he made his first "Albion" assist, to Neal Maupay in a 2–0 home victory over Watford. Bissouma scored his first goal of the season on 5 February 2022, putting Brighton one behind Tottenham in an eventual 3–1 away loss in the FA Cup fourth round. In April, he was suspended for Brighton's 3–0 away loss at Manchester City and 2–2 home drew against Southampton after picking up 10 yellow cards. Returning from suspension, Bissouma scored a 20-yard effort finding the bottom corner, scoring "Albions"' third in the 3–0 away victory over Wolves taking Brighton's point tally to 44, breaking their record of 41 in the Premier League. A week later, Bissouma played the whole match of the 4–0 home win against Manchester United, Brighton's biggest ever top flight victory.


title: Yves Bissouma

text: On 14 June 2022, Tottenham Hotspur agreed a £30m deal for Bissouma. Three days later, Tottenham confirmed the signing of Bissouma, with the Malian signing a four-year deal. On 6 August, Bissouma made his debut for the club in the Premier League, coming on as a second-half substitute in a 4–1 win over Southampton.


title: Yves Bissouma

text: Born in the Ivory Coast and moving to Mali aged thirteen to pursue a professional football career, Bissouma participated at the 2016 African Nations Championship with Mali. In the semi-final against the Ivory Coast, he was substituted on in the 76th minute and scored the decisive goal for 1–0 in the 89th minute. However they went on to lose in the final against DR Congo.


title: Yves Bissouma

text: Bissouma was named in Mali's squad for the 2021 Africa Cup of Nations to be played in January 2022. He made an appearance in the first match on 13 January, coming on as a 59th minute substitute replacing Adama Traoré in the 1–0 controversial victory over Tunisia, with the referee blowing for full time early on two occasions. Bissouma played in all four of Mali's matches as they were knocked out via penalties against Equatorial Guniea in the round of 16 on 26 January.


title: Yves Bissouma

text: Bissouma has been banned from driving in the United Kingdom on two occasions due to repeated speeding offences in 2019 and 2021. On 6 October 2021, Sussex Police arrested Bissouma on suspicion of sexually assaulting a woman. He was led out of The Arch, a nightclub in Brighton, with handcuffs. He was initially bailed until 3 November; his bail was later extended to 6 December. On 8 December, it was announced that he had been bailed for a further four weeks. A further update in January 2022 from Sussex Police noted that he was currently released under investigation while enquiries continue. On 29 June, it was revealed that Bissouma had been cleared of all allegations.


title: 2001 Formula One World Championship

text: The 2001 FIA Formula One World Championship was the 55th season of FIA Formula One racing. It commenced on 4 March 2001 and ended on 14 October after seventeen races. Michael Schumacher won the Drivers' title with a record margin of 58 points, after achieving nine victories and five-second places and Ferrari won the Constructors' award. The season also marked the reintroduction of several electronic driver aid systems; including traction control, launch control, and fully-automatic transmissions, with the FIA permitting their use starting at the Spanish Grand Prix. Electronic driver aids had previously been banned since . Schumacher also broke the all-time Formula One Grand Prix wins record during the season, his victory at the Belgian Grand Prix marking his 52nd career win.


title: 2001 Formula One World Championship

text: Future world champions Fernando Alonso and Kimi Räikkönen made their Grand Prix debuts in Melbourne, for Minardi and Sauber respectively. Colombian former CART champion Juan Pablo Montoya also made his F1 debut, with Williams.


title: 2001 Formula One World Championship

text: There were new beginnings for French companies Renault and Michelin. After four years out of the sport since 1997, Renault returned to supply engines to the Benetton team, while Michelin's comeback as a tyre supplier provided Bridgestone with competition for the first time since Goodyear left the sport at the end of the 1998 season. At the other end of the spectrum fellow French company Peugeot withdrew from the sport after seven years since 1994 following a disastrous season in 2000 as an engine supplier to Prost. The assets of Peugeot's Formula One programme were purchased by Asia Motor Technologies France and the 2000-spec powerplants were rebadged as Asiatechs and supplied to Arrows free of charge.


title: 2001 Formula One World Championship

text: At the end of the season, double world champion Mika Häkkinen announced his intention to take a one-year sabbatical in 2002; eventually this became full-time retirement. Also racing for the last time in 2001 was Jean Alesi, who passed the 200 race mark shortly before his final Grand Prix in Japan. Veteran British commentator Murray Walker gave his final commentary at the United States Grand Prix (which would also turn out to be Mika Häkkinen's last victory in the sport).


title: 2001 Formula One World Championship

text: The Prost and Benetton names disappeared from the sport at the end of 2001; Prost folded due to a lack of finances while Benetton was re-branded as Renault after the French manufacturer bought the team outright.


title: 2001 Formula One World Championship

text: The Drivers' Championship was won with ease by Michael Schumacher, who finished 58 points clear of David Coulthard in second place. It was Schumacher's fourth world championship, equalling Alain Prost's total. With Michael Schumacher's teammate, Rubens Barrichello, tallying 10 podiums throughout the season, Ferrari also won the Constructors' Championship by a substantial margin. Unlike the previous title-winning season, Schumacher was very consistent throughout the campaign and scored his nine wins more spread evenly out through the season. His title was sealed with four races remaining after a commanding win in Hungary. Coulthard's title challenge looked strong early on, winning two of the first six races and being neck and neck with Schumacher for the title lead. He also qualified on pole position in Monaco, only to stall on the grid. With Schumacher winning the race and Coulthard recovering only to fifth, it was a turning point of the season. Coulthard would not win again for the rest of the year and had dropped off massively by mid-season as Schumacher kept either winning or finishing second with few exceptions all season.


title: 2001 Formula One World Championship

text: Williams drivers Ralf Schumacher and Juan Pablo Montoya both scored their maiden wins in the sport, at San Marino and Italy respectively. The younger Schumacher added victories in Canada and Germany, giving the team four wins in total, marking a return to success for the Oxfordshire team after three years without a victory since 1997. The Schumacher brothers also scored historic family 1–2 finishes in Canada and France.


title: 2001 Formula One World Championship

text: McLaren secured four wins during the season. These were shared equally among their drivers: Häkkinen winning in Britain and the United States, Coulthard winning in Brazil and Austria.


title: 2001 Formula One World Championship

text: For this season, Mercedes-Benz provided a new safety car in the shape of the SL55 AMG, which also performed this duty during 2002 and replaced the previous CL55 AMG. It was first deployed during the German Grand Prix.


title: 2001 Formula One World Championship

text: Michael Schumacher started the new season where he had left off the year before, with a dominant win from pole position in the first race in Australia. Arch-rival Mika Häkkinen lost second after a suspension failure, giving second to his teammate David Coulthard, with Schumacher's teammate Rubens Barrichello completing the podium. Kimi Räikkönen finished his first F1 race in the points with sixth place. The race was marred by the death of Graham Beveridge, a track marshal who was hit by debris after a collision between Ralf Schumacher and Jacques Villeneuve.


title: 2001 Formula One World Championship

text: Schumacher and Ferrari teammate Barrichello started 1–2 in Malaysia and maintained their positions at the first corner, but there was a massive rain shower on the second lap, during which both Ferraris went off the track. After everyone pitted to change tyres, the Ferraris were down in 10th and 11th, but they changed to intermediates while all others had changed to wets. This masterstroke meant that the Ferraris were able to charge back up the order and get back first and second. Schumacher won, with Barrichello completing a Ferrari 1–2, and Coulthard was third.


title: 2001 Formula One World Championship

text: Schumacher was on pole in Brazil, but a collision on the first lap brought out the safety car. As the race restarted, Williams rookie Juan Pablo Montoya shocked Schumacher by coming up the inside of him and taking the lead. Montoya was well set for a stunning maiden win until he got hit from behind by Jos Verstappen while lapping him. It began to rain, and after everyone changed the tyres, Schumacher was leading but then Coulthard passed him on the first turn when they were lapping Tarso Marques in a move reminiscent of the one made by Mika Häkkinen on Schumacher in Belgium last year. Coulthard went on to win, with Schumacher and Nick Heidfeld second and third.


title: 2001 Formula One World Championship

text: In Ferrari's first 'home' race in San Marino, their chief rivals McLaren stunned them by qualifying 1–2, with Coulthard on pole. Schumacher was fourth behind his brother Ralf Schumacher. Ralf shot to the lead at the start, passing both McLarens before the first corner, and was never headed. Coulthard ran him close, and finished second, with Barrichello jumping Häkkinen in the stops to take third. Michael Schumacher had a miserable afternoon suffering a gearbox glitch early on and then having to retire after a puncture that damaged the wheel rim and a brake duct.


title: 2001 Formula One World Championship

text: After 4 races, Schumacher and Coulthard were level on the standings with 26 points, Barrichello and Ralf were third with 14 and 12 points respectively. Häkkinen had only 4 and was only seventh in the standings. In the Constructors' Championship, Ferrari led with 40, with McLaren second with 30. Williams was third with 12.


title: 2001 Formula One World Championship

text: The next round in Spain was the first with the reintroduction of traction control, launch control, and fully automatic gearbox systems, for the first time since 1993. The driving aids were brought back to ensure no teams were cheating but questions were raised over the reliability. Its first victim was David Coulthard who stalled on the grid and had to start from the back. The race was a battle between Schumacher and Häkkinen, with the former winning pole and leading the first two parts of the race. During the second pit stop, Schumacher had a problem and lost a lot of time, giving the lead to Häkkinen, who then stretched it to half a minute, as Schumacher was struggling with a suspension problem. Ironically, it was Häkkinen's car that gave out first, on the last lap with a clutch failure, giving the win to Schumacher. Montoya finished second, and Jacques Villeneuve completed the podium. Coulthard recovered to fifth after his start line problems.


title: 2001 Formula One World Championship

text: The sixth round was in Austria and the two Williams cars out-dragged polesitter Schumacher into the first corner. Ralf retired with a brake problem, and this left Montoya under attack from Schumacher. Schumacher tried to pass, but instead, both went into the gravel and rejoined sixth and seventh. Coulthard took the lead by jumping Rubens Barrichello in the second round of stops, and won, while Barrichello had to yield second to a recovering Schumacher on the final lap.


title: 2001 Formula One World Championship

text: Round 7 was in Monaco, and Coulthard took pole but stalled on the grid after again suffering problems with the launch control system. This left the two Ferraris and Häkkinen to battle for the win, and when Häkkinen's engine failed early on, the Ferraris cruised to a 1–2 finish, with Schumacher winning ahead of Barrichello. The demise of the McLarens allowed Eddie Irvine to get a podium, while Coulthard recovered to fifth despite spending the majority of the race stuck behind Enrique Bernoldi.


title: 2001 Formula One World Championship

text: The round in Canada was a battle between the Schumacher brothers, with Michael taking pole and maintaining his lead at the first corner. Ralf, however, kept up with him, and when his brother pitted, upped the pace with a string of quick laps, and came out five seconds ahead. Ralf cruised to victory, with his brother making it the first time ever that brothers have finished 1–2 in a race, and Häkkinen finished third, his first podium of the season. Coulthard was set for third but retired when his engine failed 15 laps from the finish.


title: 2001 Formula One World Championship

text: With nearly half the season complete, Schumacher had 58 points and leads Coulthard by 18 points, mostly courtesy of the seventh and eighth rounds. Coulthard had a further 16 points over Barrichello who had 24 points, and 18 over Ralf, who had 22. Häkkinen was fifth with 8. In the Constructors' Championship, Ferrari with 82 points had a huge lead over McLaren, who had 48. Williams was third with 28.


title: 2001 Formula One World Championship

text: The next race, the European Grand Prix was again all about the Schumacher brothers, and Michael took his seventh pole of the season, ahead of his brother. The brothers maintained their positions at the start, and Ralf was able to keep up in second during the first stint. However, he passed the white line after his first stop and received a stop-go penalty which dropped him out of contention. This left Michael Schumacher to cruise to another victory, with Montoya in second, and Coulthard third. Ralf, even with his penalty was able to get fourth ahead of Barrichello and Häkkinen.


title: 2001 Formula One World Championship

text: In the French Grand Prix, the Schumacher brothers started 1–2 again, but it was Ralf who took pole, his first-ever career pole. Ralf maintained his lead at the start but his brother jumped him at the first round of stops and then pulled away. Coulthard, who had started third was in contention until he went over the white line while coming out of the pit lane and received a stop-go penalty. Montoya was running quickly and could have challenged his teammate for a second had his engine not blown up. Schumacher won comfortably from brother Ralf, with Barrichello holding off Coulthard for third.


title: 2001 Formula One World Championship

text: Schumacher took pole for the British GP and maintained his position at the first corner, but Häkkinen, who was on a two-stopper passed him on the fifth lap. Häkkinen never looked back and dominated to take his first win of the year. Schumacher, whose one-stop strategy didn't work out well, was over half a minute back in second, and Barrichello completed the podium.


title: 2001 Formula One World Championship

text: The weekend of the German GP was dominated by the Williams team, and their drivers locked out the front row, and Montoya took his first career pole. Montoya converted his pole to a lead at the start and was looking well set to win until his engine blew up. This left Ralf to cruise to victory, and Barrichello took second and Jacques Villeneuve got his second podium of the season in third, both capitalising on Schumacher's retirement with a fuel pressure problem, and both McLarens retiring with engine failures.


title: 2001 Formula One World Championship

text: Schumacher now had no less than 84 points, and it seemed inevitable that he would win the championship. A win in the next round in Hungary would be enough. Coulthard was a distant second with 47 and was looking anxiously over his shoulders, as Ralf with 41 and Barrichello with 37 were hot on his heels. Häkkinen and Montoya were fifth and sixth with 19 and 15 points respectively. In the Constructors' Championship, Ferrari led with 121 compared to McLaren's 66, and a 1–2 in Hungary would wrap up the title. Williams were third with 56, within touching distance of McLaren.


title: 2001 Formula One World Championship

text: Schumacher took another step to winning the title by taking pole in the Hungarian GP, ahead of Coulthard and Barrichello. Schumacher kept first at the start, but Coulthard was passed by Barrichello. Schumacher pulled away, while Barrichello kept Coulthard at bay. Coulthard jumped Barrichello at the first round of stops, only for the Brazilian to return the favour at the second. Schumacher won the race and the championship, and Barrichello made it a Ferrari 1–2 which gave Ferrari the Constructors' Championship. A disappointed Coulthard finished third.


title: 2001 Formula One World Championship

text: The two Williams cars of Montoya and Ralf qualified 1–2 for the Belgian GP, but that soon came to nothing for the former when he stalled on the grid and started at the back. Ralf was quickly passed by world champion Michael Schumacher into the first corner. After a few laps, there was a collision between Eddie Irvine and Luciano Burti, and the latter ran head-on into the tyres. The race was stopped, while Burti was treated for his injuries. While the injuries were not serious, Burti was never to race in F1 again. A new race, shortened to 36 laps was started, and the top 3 in the new grid were: Michael Schumacher, his brother Ralf and Barrichello. Ralf's car was on its jacks when the warmup started, and he too had to start at the back. Michael kept first at the start, and pulled away, while Barrichello lost out to Giancarlo Fisichella. Barrichello lost further time when he ran over a bollard at the Bus Stop chicane and damaging his front wing, and he had to around for an entire lap before pitting to change the wing. This left the two McLarens behind Fisichella. Coulthard was able to pass him with 10 laps left. Schumacher took his 52nd career win, breaking Alain Prost's record of most wins ever, with Coulthard and a superb Fisichella completing the podium.


title: 2001 Formula One World Championship

text: The next round was in Italy, the first race after the September 11 attacks, and before the race, Michael Schumacher wanted all the drivers to go slowly at the first corner, due to 9/11, and a horrific accident in ChampCar the day before in which former F1 driver Alessandro Zanardi suffered serious injuries but this plan did not work out because Jacques Villeneuve and Benetton boss Flavio Briatore did not accept it. The Ferrari team ran without sponsors' logos in deference to sponsor Philip Morris and a black tip on their nose, as respect for 9/11. Montoya took pole, ahead of the two Ferraris of Barrichello and Schumacher. The top 3 maintained their positions at the start, but Montoya was soon passed by a two-stopping Barrichello. Montoya and Barrichello battled it out with different plans, and Montoya came out on top after Barrichello suffered problems during his first stop which cost him 7 seconds. A jubilant Montoya took his first career win, with Barrichello and Ralf second and third.


title: 2001 Formula One World Championship

text: The US GP was the host of the penultimate round, and Schumacher took pole ahead of his brother and Montoya. Schumacher led into the first corner, while Ralf lost out to both Montoya and Barrichello. A two-stopping Barrichello soon took the lead and pitted. Montoya passes Schumacher before the round of stops, but retired two laps after his stop when his engine failed. With everyone stopping once, Barrichello was leading from Häkkinen, Schumacher, and Coulthard. Barrichello rejoined second behind Häkkinen after his stop and started to close in until his engine failed on the penultimate lap. Häkkinen took a superb win (which turned out to be his last), and Barrichello's demise left Schumacher and Coulthard to take second and third.


title: 2001 Formula One World Championship

text: Going into the final race, this was the championship standings: Schumacher the champion with 113 points, Coulthard second with 61, Barrichello third with 54, Ralf fourth with 48, Häkkinen fifth with 34, and Montoya sixth with 25. In the Constructors' Championship, Ferrari was a winner with 167 points, McLaren with 95 was confirmed in second, and Williams with 73 was confirmed in third.


title: 2001 Formula One World Championship

text: The last round was in Japan, and Schumacher took pole again, ahead of Montoya and Ralf. The top 3 kept their places into the first corner, even though Ralf was soon passed by a three-stopping Barrichello. Barrichello was unable to pass Montoya, and this ruined his strategy. Ralf was given a stop-go penalty for cutting the chicane at the last corner too frequently. This left Häkkinen running third in his last race in F1, but he gave the position to teammate Coulthard as a token of gratitude for all the support Coulthard gave him during the previous seasons. Schumacher capped off the season with a victory ahead of Montoya and Coulthard. Häkkinen was fourth in his last ever race, ahead of Barrichello and Ralf.


title: 2001 Formula One World Championship

text: At the end of the season, Schumacher was a dominant champion with 123 points. Coulthard with 65 was a distant second, 58 points behind. Barrichello was third with 56, Ralf fourth with 49, Häkkinen fifth with 37, and Montoya sixth with 31. This meant that Schumacher had collected more than second and third-placed drivers' (Coulthard's and Barichello's) totals put together. In the Constructors' Championship, Ferrari was a winner with 179 points, a massive 77 ahead of second-placed McLaren with 102, and Williams was third with 80 points.


title: Black Thought

text: Tariq Luqmaan Trotter (born October 3, 1973), better known as Black Thought, is an American rapper, actor and the lead MC of the Philadelphia-based hip hop group the Roots, which he co-founded with drummer Questlove (Ahmir Thompson). Regarded as "one of the most skilled, incisive, and prolific rappers of his time", he is widely lauded for his live performance skills, continuous multisyllabic rhyme schemes, complex lyricism, double entendres, and politically aware lyrics. With the Roots, he is a singer and rapper on "The Tonight Show Starring Jimmy Fallon," frequently playing games with Fallon and his guests.


title: Black Thought

text: Black Thought was born Tarik Luqmaan Trotter, to Thomas and Cassandra Trotter, both members of the Nation of Islam. His father was murdered when Trotter was one year old, and his mother was murdered when he was in high school. He spent time tagging "DT" or "Double T" with graffiti around Philadelphia. He sold crack cocaine briefly, and was sent to live with family in Detroit for a few months in high school. Trotter attended the Philadelphia High School for Creative and Performing Arts and Millersville University, studying journalism. In 1987, he became friends with drummer Ahmir "Questlove" Thompson and formed a drummer/MC duo, performing on the streets of Philadelphia and at talent shows. Trotter subsequently spent some time as one of two MCs in the group the Square Roots; the other was Malik B., whom Tariq met in college. In high school, Black Thought became interested in the lessons of the Nation of Gods and Earths.


title: Black Thought

text: The Square Roots renamed themselves the Roots and released their debut album "Organix" in 1993. The Roots signed to DGC and followed up with "Do You Want More?!!!??!" in 1995. Recorded without any sampling, the album was more popular among alternative music fans than those of hip hop. Around the release of the album, the Roots performed at the Lollapalooza alternative music festival and Montreux Jazz Festival. "Illadelph Halflife", the band's 1996 album, became its first to chart within the top 40 spots on the "Billboard" 200 because of the successful single "What They Do". "Things Fall Apart" followed in 1999, the year the band played at the Woodstock 99 concert.


title: Black Thought

text: In 2000, the Roots won the Grammy Award for Best Rap Performance by a Duo or Group for "You Got Me", with guest performances by Erykah Badu and Eve. "Things Fall Apart" was nominated for Best Rap Album. For Jay-Z's acoustic concert for the television program "MTV Unplugged", the Roots provided instrumentals. Succeeding albums were "Phrenology" (2002), "The Tipping Point" (2004), "Game Theory" (2006), "Rising Down" (2008), "How I Got Over" (2010), "Undun" (2011), and "…And Then You Shoot Your Cousin" (2014).


title: Black Thought

text: Black Thought starred in films such as "Bamboozled" (2000), and the 2001 films "Perfume", "Love Rome", and "Brooklyn Babylon".


title: Black Thought

text: Black Thought's numerous musical guest performances include "Pimpas Paradise", by Damian "Jr. Gong" Marley; "Hard Hitters", by Dilated Peoples; "Stolen Moments Part 2", by Common; "X-Ecutioner Style", by Linkin Park; "My Favorite Mutiny", by the Coup; "Right Now", by Fort Minor; and "Rafiki", by Zap Mama.


title: Black Thought

text: Black Thought recorded a solo album, to be titled "Masterpiece Theatre" and released in 2001, but the project was scrapped after he learned that the album would not count toward the Roots' contractual commitments. Most of the songs from the project appeared on "Phrenology".


title: Black Thought

text: In 2006, he began working on a collaborative project with producer Danger Mouse, titled "Dangerous Thoughts". As of February 2021, the album had not been released. In May 2022, it was announced that the album would be called "Cheat Codes" and would be released on August 10.


title: Black Thought

text: In a June 2008 interview with Brian Kayser of the website HipHopGame, Black Thought spoke of another solo project that was scheduled for release on the Razor and Tie music corporation. He said that Questlove might work on production. As of September 2014, neither Black Thought nor the solo album are listed on the Razor & Tie website.


title: Black Thought

text: In February 2011, Black Thought, along with 10.Deep and the "Money Making Jam Boys" collective—the latter of which includes Dice Raw, S.T.S., Truck North and P.O.R.N.—released the mixtape "The Prestige".


title: Black Thought

text: Together with U.K. artist Lotek, Black Thought appeared on the song "Living in Bunkers", by Australian hip hop group Hilltop Hoods, which was released on the "Drinking From the Sun" album in March 2012. Also in March 2012, Black Thought performed with Nneka and Clef nite at BET 106 and Park. They performed the song "God Knows Why", from the former's album "Soul Is Heavy", which they collaborated on.


title: Black Thought

text: In early 2013, Black Thought confirmed his continuing work, with Jim James and Tunde Adebimpe, on a solo album entitled "Talented Mr. Trotter". At this time, he began work on a memoir with journalist and music critic Jeff Chang and filmmaker Maori Karmael.


title: Black Thought

text: As of April 2015, Black Thought has yet to release a solo album, but when asked about the long-awaited project by a fan on Twitter, he said he's "working on it". He did not offer further details.


title: Black Thought

text: In February 2016, Black Thought joined forces with Fashawn, Murs, and Del the Funky Homosapien to record a new track called "Rise Up" for the video game Street Fighter V. A video for the song was released by Capcom, and includes appearances by Black Thought and his fellow collaborators.


title: Black Thought

text: In December 2017, Black Thought appeared on HOT 97 with Funkmaster Flex and performed a 10-minute freestyle over "The Learning (Burn)" instrumental by Mobb Deep. This freestyle went widely viral, trending on Twitter for the next days and hitting millions of views on YouTube. "Streams of Thought, Vol. 1", a collaborative EP with producer 9th Wonder, was released on June 1, 2018. "Streams of Thought, Vol. 2", a collaboration with producer Salaam Remi, was released on November 26, 2018. Black Thought also had a feature on the track "Crowns for Kings" in Benny the Butcher's 2019 EP "The Plugs I Met".


title: Black Thought

text: On August 28, 2020, Black Thought released the single "Good Morning" featuring Pusha T, Swizz Beatz and Killer Mike. It was included on "", which includes 13 tracks and collaborations with Portugal. The Man, Schoolboy Q and the Last Artful, Dodgr. He also did a feature on Eminem's song "Yah Yah" from "Music to Be Murdered By" album earlier that year.


title: Black Thought

text: Black Thought made his theatrical debut in January 2022, playing Dr. Junius Crookman in "Black No More", a musical for which he also wrote the lyrics and co-wrote the music.


title: Black Thought

text: In May 2022, musician and producer Danger Mouse and Black Thought announced their upcoming collaborative studio album called "Cheat Codes", due to release on August 12, 2022. The same day, they released the album's first single called "No Gold Teeth". The album's track list, posted on the duo's newly-created Instagram page, lists multiple featured guests, such as Raekwon, Kid Sister, Joey Badass, Russ, Dylan Cartlidge, late MF Doom (appearing posthumously), Michael Kiwanuka, ASAP Rocky, Run the Jewels, and Conway the Machine. Some of these artists have already worked with Danger Mouse and/or Black Thought in the past, most notably MF Doom, who teamed up with Danger Mouse to form Danger Doom in 2003. They released an album in 2005 and an additional EP in 2006, the reissue of which features a previously unreleased bonus track with a guest appearance by Black Thought. Furthermore, Danger Mouse majorly contributed to and partly produced Kiwanuka's second and third album, "Love & Hate" (2016) and "Kiwanuka" (2019).


title: Black Thought

text: Black Thought is "widely recognized as one of the most skilled, incisive, and prolific rappers of his time", according to AllMusic critic Andy Kellman. Henry Adaso of About.com praises him as "a surgeon of emceeing", and he is highly regarded for his multisyllabic rhymes, internal rhymes, flow, breath control, socially conscious lyrics, and live performances. Questlove stated that Black Thought's clarity and logic also distinguishes him from other emcees, and Stephen Kearse of "Pitchfork" notes that his "ability to use words as textures as much as tools has always been a hallmark of his style". In the book "How to Rap", emcee Kool G Rap described seeing the Roots perform his song "Men at Work" at a show; "I never really liked to perform it that much—because your breath control gotta be crazy. But somebody sent me a clip of the Roots ... and [Black Thought] did all three fucking verses and I couldn't believe it—he killed that shit". Black Thought has influenced several hip hop artists, including Logic, Joey Badass, Rapsody, k-os, and Shad.


title: Kym Marsh

text: Kimberley Gail Ratcliff ("née" Marsh, previously Ryder and Lomas; born 13 June 1976) is an English actress, television presenter and singer. In 2001, she won a place in the band Hear'Say as a result of appearing on the reality television series "Popstars". Hear'Say enjoyed brief success, achieving two UK number one singles and a UK number one album, but Marsh left the band in 2002 to pursue a solo career. She released an album titled "Standing Tall" in 2003, which peaked at number nine in the UK and spawned two UK top ten singles.


title: Kym Marsh

text: From 2006 to 2019, she portrayed Michelle Connor on the ITV soap opera "Coronation Street". She won the British Soap Award for Best Newcomer at the 2007 British Soap Awards, as well as winning the Newcomer category at the 2007 National Television Awards and being nominated for Best Female Dramatic Performance at the 2017 British Soap Awards. In 2010, she finished in fourth place on "Popstar to Operastar", a reality show featuring well-known pop stars being trained to sing opera. Since October 2020, Marsh has co-fronted the BBC One morning lifestyle programme "Morning Live" alongside Welsh presenter Gethin Jones. From 2022, she is set to begin starring in the revival of the BBC school drama series "Waterloo Road".


title: Kym Marsh

text: Marsh was born on 13 June 1976 in Whiston Hospital in Whiston, Merseyside to Pauline and David Marsh, who lived in Garswood, Ashton in Makerfield, Metropolitan Borough of Wigan. She has two older brothers and one older sister. Her father was a joiner and in his spare time was the lead guitarist for the band Ricky and the Dominant Four who were a supporting act to The Beatles at The Cavern Club. She attended Byrchall High School in Ashton-in-Makerfield and the Elliot Clarke Stage School in Liverpool for two years, leaving when she was 15.


title: Kym Marsh

text: Marsh provided session vocals for artists including Matt Darey, the group Freaky Realistic and the duo Hemstock & Jennings. She sang in Norwegian on the latter's track "Arctic", which caught the attention of Paul van Dyk, and was remixed and re-recorded with additional vocals from Jan Johnston. The track, renamed "Nothing But You", was released in the UK via Positiva and reached number 14 in the UK charts.


title: Kym Marsh

text: In late 2000, Marsh auditioned for the ITV talent show "Popstars". She was one of the five singers chosen for the newly formed band Hear'Say, along with Danny Foster, Myleene Klass, Suzanne Shaw and Noel Sullivan. In March 2001, Hear'Say released their first single "Pure and Simple", a cover of a track by Girl Thing. She was hailed by her girl bandmates as 'the funniest out of the bunch’. The song went straight to number 1 on the UK Singles Chart in March 2001, selling just under 550,000 copies. The group then released their second single, "The Way to Your Love," in June 2001. The song became their second consecutive number 1 single. Shortly afterwards the group toured the UK. In January 2002, Marsh announced that she was leaving Hear'Say. Auditions were held to find a replacement for her, but the group split up in October 2002.


title: Kym Marsh

text: After a while out of the spotlight Marsh signed a solo record deal with Island Records. Her first single, "Cry", went to number 2 in the UK Singles Chart and her second single, "Come on Over," made it to number 10. In July 2003, Marsh released her debut solo album, "Standing Tall", which peaked at number 9 in the UK. It contained three solo singles and twelve other tracks. However, her make-or-break third single, "Sentimental", stalled at number 35, and that resulted in her being dropped by her record label. In early 2006, Marsh entered "Making Your Mind Up" with a song titled "Whisper to Me", a show intended to pick a singer and a song for the UK entry in the Eurovision Song Contest. Marsh came fourth in the contest, which was won by Daz Sampson.


title: Kym Marsh

text: Marsh made her television acting debut in 2005, in an episode of the BBC One soap opera "Doctors", playing a character called Ruth Parry. That same year, she also became a regular panellist on ITV's daytime show "Loose Women" for its eighth series. In 2006, she played sex worker Kay Price in the first 2 episodes of Channel 4's soap opera "".


title: Kym Marsh

text: Marsh joined the cast of "Coronation Street", playing Michelle Connor from April 2006 a role she held until 2019. For her role on the show she has subsequently received Newcomer awards at the 2007 British Soap Awards and the 2007 National Television Awards, among others. Becoming a regular character, her storylines have included a serious relationship with Steve McDonald (Simon Gregson), discovering that her son had been swapped at birth, the death of her eldest brother Paul (Sean Gallagher) and the murder of her other brother Liam (Rob James-Collier), her failed engagement to Ciaran McCarthy (Keith Duffy), surviving a minibus crash, becoming pregnant with Steve's baby, learning that Steve has also impregnated Leanne Battersby (Jane Danson), delivering a stillborn son Ruairi and being stalked by her ex-boyfriend Will (Leon Ockenden). Other storylines have focused on the relationships with her sisters-in-law, Carla (Alison King) and Maria (Samia Ghadie), as well as her relationship with Robert Preston (Tristan Gemmill) after the collapse of her marriage to Steve.


title: Kym Marsh

text: In 2008, as the character dominated more storylines, some fans began to tire of her as well as her behaviour. The baby-swap storyline, which Michelle was central to, was largely panned by both fans and critics, columnist Grace Dent said of the plot; "...It feels like something ripped from a copy of "Pick Me Up" magazine and read to me laboriously over 22 weeks". In contrast, the 2017 stillbirth storyline as well as Marsh's performance received rave reviews and were praised by the stillbirth charity Sands. Marsh, whose real-life son Archie was also stillborn, explained that it was important for her to take on the storyline in order to raise awareness of the issue. She also voiced for the change in law which would see stillborn children receive birth certificates. The actress also stated it was "the best way to honour" her son. She later won the 2017 British Soap Award for Best Female Dramatic Performance. On 24 February 2019, it was announced that Marsh would be leaving the soap after 13 years and Michelle's final scenes were broadcast on 27 December 2019.


title: Kym Marsh

text: Marsh began presenting the daily morning magazine show "Morning Live" on BBC One on 26 October 2020, alongside Gethin Jones. The series ended on 18 December 2020 and the BBC confirmed on 17 December it would return in 2021 for a second series. In March 2021, Marsh appeared in the fourth series of the BBC One drama "The Syndicate" as Donna. A year later, she was announced as one of the starring cast members of BBC's revival of their school drama "Waterloo Road".


title: Kym Marsh

text: On 4 August 2022, it was announced that Marsh would be competing on the twentieth series of "Strictly Come Dancing". She was partnered with Graziano Di Prima. The series launched on 24 September 2022. On 22 November 2022, it was announced that Marsh had tested positive for COVID and would, therefore, have to miss that Saturday's appearance on the show. She was the tenth celebrity to be eliminated, on 3 December 2022, after losing the dance off to Molly Rainford and Carlos Gu.


title: Kym Marsh

text: Marsh has been married three times and has four children and two grandsons. She has a son named David (born 1995) and a daughter named Emilie (born 1997) from a relationship with Dave Cunliffe. She married the actor Jack Ryder in St Albans, Hertfordshire, on 10 August 2002. It was announced on 20 March 2008 that the couple had decided to separate and would be seeking a divorce and they announced their divorce on 12 August 2009.


title: Kym Marsh

text: Marsh dated actor Jamie Lomas from July 2008 onwards. They married in Cheshire in September 2012. She and Lomas announced that they were expecting a baby in 2009. Their son, Archie, was born 18 weeks early on 11 February and died moments after birth. On 23 March 2011, their daughter Polly was born. On 3 October 2012, Marsh announced that she would be taking Lomas' name professionally. They separated in 2013 and divorced in 2014.


title: Kym Marsh

text: In May 2017, a wax figure of Marsh's "Coronation Street" character was added to the gallery of Madame Tussauds Blackpool.


title: Kym Marsh

text: In May 2019, Marsh became a grandmother when her daughter Emilie had a son. Marsh announced her engagement to Scott Ratcliff, an army major, on 14 June 2021 and they married on 16 October 2021.


title: Kym Marsh

text: Marsh became a grandmother for the second time in August 2022, when her son David and his fiancée Courtney had a son named Clayton.


title: Campbell's Soup Cans

text: Campbell's Soup Cans (sometimes referred to as 32 Campbell's Soup Cans) is a work of art produced between November 1961 and March or April 1962 by American artist Andy Warhol. It consists of thirty-two canvases, each measuring in height × in width and each consisting of a painting of a Campbell's Soup can—one of each of the canned soup varieties the company offered at the time. The non-painterly works were produced by a screen printing process and depict imagery deriving from popular culture and belong to the pop art movement.


title: Campbell's Soup Cans

text: Warhol was a commercial illustrator before embarking on painting. "Campbell's Soup Cans" was shown on July 9, 1962, in Warhol's first one-man gallery exhibition in the Ferus Gallery of Los Angeles, California curated by Irving Blum. The exhibition marked the West Coast debut of pop art. The subject matter initially caused offense, in part for its affront to the technique and philosophy of the earlier art movement of abstract expressionism. Warhol's motives as an artist were questioned. Warhol's association with the subject led to his name becoming synonymous with the "Campbell's Soup Can" paintings.


title: Campbell's Soup Cans

text: Warhol produced a wide variety of art works depicting Campbell's Soup cans during three distinct phases of his career, and he produced other works using a variety of images from the world of commerce and mass media. Today, the Campbell's Soup cans theme is generally used in reference to the original set of paintings as well as the later Warhol drawings and paintings depicting Campbell's Soup cans. Because of the eventual popularity of the entire series of similarly themed works, Warhol's reputation grew to the point where he was not only the most-renowned American pop art artist, but also the highest-priced living American artist.


title: Campbell's Soup Cans

text: Warhol arrived in New York City in 1949, directly from the School of Fine Arts at Carnegie Institute of Technology. He quickly achieved success as a commercial illustrator, and his first published drawing appeared in the Summer 1949 issue of "Glamour Magazine". In 1952, he had his first art gallery show at the Bodley Gallery with a display of Truman Capote-inspired works. By 1955, he was tracing photographs borrowed from the New York Public Library's photo collection with the hired assistance of Nathan Gluck, and reproducing them with a process he had developed earlier as a collegian at Carnegie Tech. His process, which foreshadowed his later work, involved pressing wet ink illustrations against adjoining paper. During the 1950s, he had regular showings of his drawings, and exhibited at the Museum of Modern Art ("Recent Drawings", 1956).


title: Campbell's Soup Cans

text: In 1960, Warhol began producing his first canvases, which he based on comic strip subjects. In late 1961, he learned the process of silkscreening from Floriano Vecchi, who had run the Tiber Press since 1953. Though the process generally begins with a stencil drawing, it often evolves from a blown-up photograph which is then transferred with glue onto silk. In either case, one needs to produce a glue-based version of a positive two-dimensional image (positive means the open spaces that are left are where the paint will appear). Usually, the ink is rolled across the medium so that it passes through the silk and not the glue. Campbell's Soup cans were among Warhol's first silkscreen productions; the first were U.S. dollar bills. The pieces were made from stencils; one for each color. Warhol did not begin to convert photographs to silkscreens until after the original series of Campbell's Soup cans had been produced.


title: Campbell's Soup Cans

text: Although Warhol had produced silkscreens of comic strips and of other pop art subjects, he supposedly relegated himself to soup cans as a subject at the time to avoid competing with the more finished style of comics by Roy Lichtenstein. He once said "I've got to do something that really will have a lot of impacts that will be different enough from Lichtenstein and James Rosenquist, that will be very personal, that won't look like I'm doing exactly what they're doing." Between November 1961 and March or April 1962, he produced the set of soup cans. In February 1962, Lichtenstein displayed at a sold-out exhibition of cartoon pictures at Leo Castelli's eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings. Castelli had visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's, although Warhol's and Lichtenstein's comic artwork differed in subject and techniques (e.g., Warhol's comic-strip figures were humorous pop-culture caricatures such as Popeye, while Lichtenstein's were generally of stereotypical hero and heroines, inspired by comic strips devoted to adventure and romance). Castelli chose not to represent both artists at that time. (He would, in November 1964, be exhibiting Warhol, his "Flower Paintings", and then again Warhol in 1966.) Lichtenstein's 1962 show was quickly followed by Wayne Thiebaud's April 17, 1962, one-man show at the Allan Stone Gallery featuring all-American foods, which agitated Warhol as he felt it jeopardized his own food-related soup can works. Warhol was considering returning to the Bodley gallery, but Bodley's director did not like his pop artworks. In 1961, Warhol was offered a three-man show by Allan Stone at the latter's 18 East 82nd Street Gallery with Rosenquist and Robert Indiana, but all three were insulted by this proposition.


title: Campbell's Soup Cans

text: Irving Blum was the first dealer to show Warhol's soup can paintings. Blum happened to be visiting Warhol in December 1961 and then May 1962, at a time when Warhol was being featured in a May 11, 1962 "Time" magazine article "The Slice-of-Cake School" (that included a portion of Warhol's silkscreened "200 One Dollar Bills"), along with Lichtenstein, Rosenquist, and Wayne Thiebaud. Warhol was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the mass media. Blum saw dozens of Campbell's Soup can variations, including a grid of "One-Hundred Soup Cans" that day. Blum was shocked that Warhol had no gallery arrangement and offered him a July show at the Ferus Gallery in Los Angeles. This would be Warhol's first one-man show of his pop art. Warhol was assured by Blum that the newly founded "Artforum magazine", which had an office above the gallery, would cover the show. Not only was the show Warhol's first solo gallery exhibit, but it was considered to be the West Coast premiere of pop art. A letter from Blum to Warhol dated June 9, 1962, set the exhibition opening for July 9. Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works "Marilyn Diptych", "Green Coca-Cola Bottles", and "Campbell's Soup Cans".


title: Campbell's Soup Cans

text: Warhol sent Blum thirty-two canvases of Campbell's Soup can portraits, each representing a particular variety of the Campbell's Soup flavors available at the time. A postcard dated June 26, 1962 sent by from Irving Blum states " 32 ptgs arrived safely and look beautiful. strongly advise maintaining a low price level during initial exposure here". The thirty-two canvases are very similar: each is a realistic depiction of the iconic, mostly red and white Campbell's Soup can silkscreened onto a white background. The canvases have minor variation in the lettering of the variety names. Most of the letterings are painted in red letters. Four varieties have black lettering: "Clam Chowder" has parenthetical black lettering below the variety name that said "(Manhattan Style)", which means that the soup is tomato- and broth-based instead of the cream-based New England style; "Beef" has parenthetical black lettering below the variety name that says "(With Vegetables and Barley)"; "Scotch Broth" has parenthetical black lettering below the variety name that said "(A Hearty Soup)"; and "Minestrone" had black parenthetical lettering saying "(Italian-Style Vegetable Soup)". There are two varieties with red lettered parenthetical labels: "Beef Broth (Bouillon)" and "Consommé (Beef)." The font sizes only vary slightly in the variety names. However, there are a few notable stylistic font differences. "Old-fashioned Tomato Rice" is the only variety with lower case script. This lower case script appears to be from a slightly different font than the other variety name letters. There are other stylistic differences. "Old-fashioned Tomato Rice" has the word "Soup" depicted lower on the can, in place of a portion of ornamental starlike symbols at the bottom that the other 31 varieties have. Also, "Cheddar Cheese" has two banner-like addenda. In the middle-left, a small golden banner says "New!", and a middle center golden banner says "Great As A Sauce Too!".


title: Campbell's Soup Cans

text: The exhibition opened on July 9, 1962, with Warhol absent. The thirty-two single soup can canvases were placed in a single line, much like products on shelves, each displayed on narrow individual ledges. The contemporary impact was uneventful, but the historical impact is considered today to have been a watershed. The gallery audience was unsure what to make of the exhibit. A John Coplans "Artforum" article, which was in part spurred on by the responding display of dozens of soup cans by a nearby gallery with a display advertising them at three for 60 cents, encouraged people to take a stand on Warhol. Few actually saw the paintings at the Los Angeles exhibit or at Warhol's studio, but word spread in the form of controversy and scandal due to the work's seeming attempt to replicate the appearance of manufactured objects. Extended debate on the merits and ethics of focusing one's efforts on such a mundane commercial inanimate model kept Warhol's work in art world conversations. The pundits could not believe an artist would reduce the art form to the equivalent of a trip to the local grocery store. Talk did not translate into monetary success for Warhol. Dennis Hopper was the first of only a half dozen to pay $100 for a canvas. Blum decided to try to keep the thirty-two canvases as an intact set and bought back the few sales. This pleased Warhol who had conceived of them as a set, and he agreed to sell the set for ten monthly $100 installments to Blum. Warhol had passed the milestone of his first serious art show. While this exhibition was on view in Los Angeles, Martha Jackson canceled another planned December 1962 New York exhibition.


title: Campbell's Soup Cans

text: The Ferus show closed on August 4, 1962, the day before Marilyn Monroe's death. Warhol went on to purchase a Monroe publicity still from the film Niagara, which he later cropped and used to create one of his most well-known works: his painting of Marilyn. Although Warhol continued painting other pop art, including Martinson's coffee cans, Coca-Cola bottles, S&H Green Stamps, and Campbell's Soup cans, he soon became known to many as the artist who painted celebrities. He returned to Blum's gallery to exhibit Elvis and Liz in October 1963. His fans Dennis Hopper and Brooke Hayward (Hopper's wife at the time) held a welcoming party for the event.


title: Campbell's Soup Cans

text: Since Warhol gave no indication of a definitive ordering of the collection, the sequence chosen by MoMA (in the picture at the upper right of this article) in the display from their permanent collection reflects the chronological order in which the varieties were introduced by the Campbell Soup Company, beginning with "Tomato" in the upper left, which debuted in 1897. By April 2011, the curators at the MoMA had reordered the varieties, moving "Clam Chowder" to the upper left and "Tomato" to the bottom of the four rows.


title: Campbell's Soup Cans

text: Several anecdotal stories supposedly explain why Warhol chose Campbell's Soup cans as the focal point of his pop art. One reason is that he needed a new subject after he abandoned comic strips, a move taken in part due to his respect for the refined work of Roy Lichtenstein. According to Ted Carey—one of Warhol's commercial art assistants in the late 1950s—it was Muriel Latow who suggested the idea for both the soup cans and Warhol's early U.S. dollar paintings.


title: Campbell's Soup Cans

text: Muriel Latow was then an aspiring interior decorator, and owner of the Latow Art Gallery in the East 60s in Manhattan. She told Warhol that he should paint "Something you see every day and something that everybody would recognize. Something like a can of Campbell's Soup." Ted Carey, who was there at the time, said that Warhol responded by exclaiming: "Oh that sounds fabulous." A $50 check dated November 23, 1961 in the archive of the Andy Warhol Museum confirms the story. According to Carey, Warhol went to a supermarket the following day and bought a case of "all the soups", which Carey said he saw when he stopped by Warhol's apartment the next day. When the art critic G. R. Swenson asked Warhol in 1963 why he painted soup cans, the artist replied, "I used to drink it, I used to have the same lunch every day, for twenty years."


title: Campbell's Soup Cans

text: Another account of Latow's influence on Warhol holds that she asked him what he loved most, and because he replied "money" she suggested that he paint U.S. dollar bills. According to this story, Latow later advised that in addition to painting money he should paint something else very simple, such as Campbell's Soup cans.


title: Campbell's Soup Cans

text: In an interview for London's "The Face" in 1985, David Yarritu asked Warhol about flowers that Warhol's mother made from tin cans. In his response, Warhol mentioned them as one of the reasons behind his first tin can paintings:


title: Campbell's Soup Cans

text: Several stories mention that Warhol's choice of soup cans reflected his own avid devotion to Campbell's soup as a consumer. Robert Indiana once said: "I knew Andy very well. The reason he painted soup cans is that he liked soup." He was thought to have focused on them because they composed a daily dietary staple. Others observed that Warhol merely painted things he held close at heart. He enjoyed eating Campbell's soup, had a taste for Coca-Cola, loved money, and admired movie stars. Thus, they all became subjects of his work. Yet another account says that his daily lunches in his studio consisted of Campbell's Soup and Coca-Cola, and thus, his inspiration came from seeing the empty cans and bottles accumulate on his desk.


title: Campbell's Soup Cans

text: Warhol did not choose the cans because of business relationships with the Campbell Soup Company. Even though the company at the time sold four out of every five cans of prepared soup in the United States, Warhol preferred that the company not be involved "because the whole point would be lost with any kind of commercial tie-in." However, by 1965, the company knew him well enough that he was able to coax actual can labels from them to use as invitations for an exhibit. They even commissioned a canvas.


title: Campbell's Soup Cans

text: Warhol had a positive view of ordinary culture and felt the abstract expressionists had taken great pains to ignore the splendor of modernity. The "Campbell's Soup Can" series, along with his other series, provided him with a chance to express his positive view of modern culture. However, his deadpan manner endeavored to be devoid of emotional and social commentary. The work was intended to be without personality or individual expression. Warhol's view is encapsulated in the "Time" magazine description of the 'Slice of Cake School,' that "... a group of painters have come to the common conclusion that the most banal and even vulgar trappings of modern civilization can, when transposed to canvas, become Art."


title: Campbell's Soup Cans

text: His pop art work differed from serial works by artists such as Monet, who used series to represent discriminating perception and show that a painter could recreate shifts in time, light, season, and weather with hand and eye. Warhol is now understood to represent the modern era of commercialization and indiscriminate "sameness." When Warhol eventually showed variation it was not "realistic." His later variations in color were almost a mockery of discriminating perception. His adoption of the pseudo-industrial silkscreen process spoke against the use of a series to demonstrate subtlety. Warhol sought to reject invention and nuance by creating the appearance that his work had been printed, and he systematically recreated imperfections. His series work helped him escape Lichtenstein's lengthening shadow. Although his soup cans were not as shocking and vulgar as some of his other early pop art, they still offended the art world's sensibilities that had developed so as to partake in the intimate emotions of artistic expression.


title: Campbell's Soup Cans

text: Contrasting against Caravaggio's sensual baskets of fruit, Chardin's plush peaches, or Cézanne's vibrant arrangements of apples, the mundane "Campbell's Soup Cans" gave the art world a chill. Furthermore, the idea of isolating eminently recognizable pop culture items was ridiculous enough to the art world that both the merits and ethics of the work were perfectly reasonable debate topics for those who had not even seen the piece. Warhol's pop art can be seen as a relation to Minimal art in the sense that it attempts to portray objects in their most simple, immediately recognizable form. Pop art eliminates overtones and undertones that would otherwise be associated with representations.


title: Campbell's Soup Cans

text: Warhol clearly changed the concept of art appreciation. Instead of harmonious three-dimensional arrangements of objects, he chose mechanical derivatives of commercial illustration with an emphasis on the packaging. His variations of multiple soup cans, for example, made the process of repetition an appreciated technique: "If you take a Campbell's Soup can and repeat it fifty times, you are not interested in the retinal image. According to Marcel Duchamp, what interests you is the concept that wants to put fifty Campbell's Soup cans on a canvas." The regimented multiple can depictions almost become an abstraction whose details are less important than the panorama. In a sense, the representation was more important than that which was represented. Warhol's interest in machinelike creation during his early pop art days was misunderstood by those in the art world, whose value system was threatened by mechanization.


title: Campbell's Soup Cans

text: In Europe, audiences had a very different take on his work. Many perceived it as a subversive and Marxist satire on American capitalism. If not subversive, it was at least considered a Marxist critique of pop culture. Given Warhol's apolitical outlook in general this is not likely the intended message. According to writer David Bourdon, his pop art may have been nothing more than an attempt to attract attention to his work.


title: Campbell's Soup Cans

text: Warhol followed the success of his original series with several related works incorporating the same theme of Campbell's Soup cans subjects. These subsequent works along with the original are collectively referred to as the Campbell's Soup cans series and often simply as the Campbell's Soup cans. The subsequent Campbell's Soup can works were very diverse. The heights ranged from to . Occasionally, he chose to depict cans with torn labels, peeling labels, crushed bodies, or opened lids (images right).


title: Campbell's Soup Cans

text: Irving Blum made the original thirty-two canvases available to the public through an arrangement with the National Gallery of Art in Washington, DC by placing them on permanent loan two days before Warhol's death. However, the original "Campbell's Soup Cans" is now a part of the Museum of Modern Art permanent collection. A print called "Campbell's Soup Cans II" is part of the permanent collection of the Museum of Contemporary Art in Chicago. "200 Campbell's Soup Cans", 1962 (Acrylic on canvas, 72 inches x 100 inches), in the private collection of John and Kimiko Powers is the largest single canvas of the Campbell's Soup can paintings. It is composed of ten rows and twenty columns of numerous flavors of soups. Experts point to it as one of the most significant works of pop art both as a pop representation and as conjunction with immediate predecessors such as Jasper Johns and the successors movements of Minimal and Conceptual art. The very similar "100 Cans" from the Albright-Knox Art Gallery collection is shown above. The earliest soup can painting seems to be "Campbell's Soup Can (Tomato Rice)," a 1961 ink, tempera, crayon, and oil canvas.


title: Campbell's Soup Cans

text: In many of the works, including the original series, Warhol drastically simplified the gold medallion that appears on Campbell's Soup cans by replacing the paired allegorical figures with a flat yellow disk. In most variations, the only hint of three-dimensionality came from the shading on the tin lid. Otherwise the image was flat. The works with torn labels are perceived as metaphors of life in the sense that even packaged food must meet its end. They are often described as expressionistic.


title: Campbell's Soup Cans

text: By 1970, Warhol established the record auction price for a painting by a living American artist with a $60,000 sale of "Big Campbell's Soup Can with Torn Label (Vegetable Beef)" (1962) in a sale at Parke-Bernet, the preeminent American auction house of the day (later acquired by Sotheby's). This record was broken a few months later by his rival for the artworld's attention and approval, Lichtenstein, who sold a depiction of a giant brush stroke, "Big Painting No. 6" (1965) for $75,000.


title: Campbell's Soup Cans

text: In May 2006, Warhol's "Small Torn Campbell Soup Can (Pepper Pot)" (1962) sold for $11,776,000 and set the current auction world record for a painting from the "Campbell Soup Can" series. The painting was purchased for the collection of Eli Broad, a man who once set the record for the largest credit card transaction when he purchased Lichtenstein's "I ... I'm Sorry" for $2.5 million with an American Express card. The $11.8 million Warhol sale was part of the Christie's Sales of Impressionist, Modern, Post-War and Contemporary Art for the Spring Season of 2006 that totaled $438,768,924.


title: Campbell's Soup Cans

text: The broad variety of work produced using a semi-mechanized process with many collaborators, Warhol's popularity, the value of his works, and the diversity of works across various media and genre have created a need for the Andy Warhol Art Authentication Board to certify the authenticity of works by Warhol.


title: Campbell's Soup Cans

text: On April 7, 2016, seven "Campbell's Soup Cans" prints were stolen from the Springfield Art Museum. The FBI announced a $25,000 reward for information about the stolen art pieces.


title: Campbell's Soup Cans

text: Warhol's production of Campbell's Soup can works underwent three distinct phases. The first took place in 1962, during which he created realistic images, and produced numerous pencil drawings of the subject. In 1965, Warhol revisited the theme while arbitrarily replacing the original red and white colors with a wider variety of hues. In the late 1970s, he again returned to the soup cans while inverting and reversing the images. The best-remembered Warhol Campbell's Soup can works are from the first phase. Warhol is further regarded for his iconic serial celebrity silkscreens of such people as Elvis Presley, Marilyn Monroe and Liz Taylor, produced during his 1962–1964 silkscreening phase. His most commonly repeated painting subjects are Taylor, Monroe, Presley, Jackie Kennedy and similar celebrities.


title: All Along the Watchtower

text: "All Along the Watchtower" is a song by American singer-songwriter Bob Dylan from his eighth studio album, "John Wesley Harding" (1967). The song was written by Dylan and produced by Bob Johnston. The song's lyrics, which in its original version contain 12 lines, feature a conversation between a joker and a thief. The song has been subject to various interpretations; some reviewers have noted that it echoes lines in the Book of Isaiah, Chapter 21, verses 5–9. Dylan has released several different live performances, and versions of the song are included on some of his subsequent greatest hits compilations.


title: All Along the Watchtower

text: Covered by numerous artists, "All Along the Watchtower" is strongly identified with the interpretation Jimi Hendrix recorded with the Jimi Hendrix Experience for their third studio album, "Electric Ladyland" (1968). The Hendrix version, released six months after Dylan's original recording, became a Top 20 single in 1968, received a Grammy Hall of Fame award in 2001, and was ranked 48th in "Rolling Stone" magazine's 500 Greatest Songs of All Time in 2004 (40th in the 2021 version). Dylan first played the song live in concert on the Bob Dylan and the Band 1974 Tour, his first tour since 1966. His live performances have been influenced by Hendrix's cover, to the extent that they have been called covers of a cover. The singer has performed the song live more than any of his other ones, with over 2,250 recitals.


title: All Along the Watchtower

text: Following a motorcycle accident in July 1966, Dylan spent the next 18 months recuperating at his home in Woodstock and writing songs. According to Dylan biographer Clinton Heylin, all the songs for "John Wesley Harding", Dylan's eighth studio album, were written and recorded during a six-week period at the end of 1967. With one child born in early 1966 and another in mid-1967, Dylan had settled into family life. Dylan has claimed that he thought of the song during a thunderstorm. He recorded "All Along the Watchtower" on November 6, 1967, at Columbia Studio A in Nashville, Tennessee, the same studio where he had completed "Blonde on Blonde" the previous year. Accompanying Dylan, who played acoustic guitar and harmonica, were two Nashville veterans from the "Blonde on Blonde" sessions: Charlie McCoy on bass guitar and Kenneth Buttrey on drums. The producer was Bob Johnston, who produced Dylan's two previous albums, "Highway 61 Revisited" in 1965 and "Blonde on Blonde" in 1966, and the sound engineer was Charlie Bragg.


title: All Along the Watchtower

text: The final version of "All Along the Watchtower" resulted from two different takes during the second of three "John Wesley Harding" sessions. The session opened with five takes of the song, the third and fifth of which were spliced to create the album track. According to Gray, as with most of the album's selections, the song is a dark, sparse work that stands in stark contrast with Dylan's previous recordings of the mid-1960s.


title: All Along the Watchtower

text: Musicology scholar Albin Zak finds a strong blues influence in the song which Dylan developed from his affinity for the blues of Robert Johnson and quotes Dylan's dedication in "Writings and Drawings by Bob Dylan": "To the magnificent Woody Guthrie and Robert Johnson who sparked it off and to the great wondrous melodies spirit which covereth the oneness of us all." Zak sees "All Along the Watchtower" as showing a combination of the influences of Guthrie's ballad writing and Johnson's blues influences on Dylan. Zak compares Dylan's lyrics in the song directly to Johnson's "Me and the Devil Blues" (1938), stating that: "Dylan probes such fearful fatalism (of Johnson's lyrics) by grafting a narrative of alienation and apprehension onto a musical frame of implacable stability."


title: All Along the Watchtower

text: The music of the song has been described by Zak, who wrote, "The song's entire harmonic substance consists of three chords repeated in an unchanging cyclic pattern over the course of its three verses and instrumental interludes. The melodic pitch collection, shared by voice and harmonica, consists almost entirely of the pentatonic C#, E, F#, G#, B, though each part is restricted to a four-note subset. And the declamatory vocal melody gravitates throughout to one of two pitches." Zak then summarizes the entire song as: "The song's musical elements, extraordinarily delimited in number and function, combine to create an impression of unrelenting circularity, which accumulates, in turn, to impart a sense not of musical progression, but of a hovering atmosphere."


title: All Along the Watchtower

text: The original lyrics have only 12 lines, which the "Financial Times" writer Dan Einac commented, make it "akin to a truncated sonnet". The lyrics feature a conversation between a joker and a thief, whilst they ride towards a watchtower. Scholar Timothy Hampton comments that the pair are "overwhelmed by circumstances". Reviewers have pointed out that the lyrics in "All Along the Watchtower" echo lines in the Book of Isaiah, Chapter 21, verses 5–9:


title: All Along the Watchtower

text: Other writers such as Keith Negus have indicated that Dylan also drew on verses from the Book of Revelation to write the song. Elliot Wolfson found that Dylan's lyrics also reflected his own response to a melancholy reading of his own approach to Jewish gnosis. The general theme of justice is commented upon by Lisa O'Neill-Sanders who states that Watchtower presents a "thief in the song... who consoles the victimized and exploited joker. The thief sympathizes but urges the joker to 'not talk falsely'".


title: All Along the Watchtower

text: Journalist David Stubbs interpreted the song as "obliquely allud[ing] to Bob Dylan's frustrations with his management and with CBS, whom he felt were offering him a royalty rate that was far from commensurate with his status". For Stubbs, the song "features a stand-off between the 'joker' and the 'thief', with the joker complaining of businessmen who drink his wine, feeding off him but refusing to give him his due". Authors Philippe Margotin and Jean-Michel Guedson suggest that Dylan is the joker and his manager Albert Grossman is the thief. In "The New York Times", Robert Palmer expressed his opinion that as artists like Dylan "were finding that serving as the conscience of a generation exacted a heavy toll. Mr. Dylan, for one, felt the pressures becoming unbearable, and wrote about his predicament in songs like 'All Along the Watchtower'". Hampton also wrote that the song can be viewed as an "allegory of the entertainment business, with artists exploited by managers". Commenting on the songs on " John Wesley Harding" in an interview published in the folk music magazine "Sing Out!" in October 1968, Dylan told John Cohen and Happy Traum:


title: All Along the Watchtower

text: The unusual structure of the narrative was remarked on by English literature scholar Christopher Ricks, who commented that "All Along the Watchtower" is an example of Dylan's audacity at manipulating chronological time, noting "at the conclusion of the last verse, it is as if the song bizarrely begins at last, and as if the myth began again". Heylin described Dylan's narrative technique in the song as setting the listener up for an epic ballad with the first two verses, but then, after a brief instrumental passage, the singer cuts "to the end of the song, leaving the listener to fill in his or her own (doom-laden) blanks". Hampton remarks on how the "already allegorical characters change into something else" from the first verse to the third verse, and compares this change in perspective to the way that some of Arthur Rimbaud's prose poems in Arthur Rimbaud's "Illuminations" change their framing.


title: All Along the Watchtower

text: Andy Gill commented that "In Dylan's version of the song, it's the barrenness of the scenario which grips, the high haunting harmonica and simple forward motion of the riff carrying understated implications of cataclysm; as subsequently recorded by Jimi Hendrix... that cataclysm is rendered scarily palpable through the dervish whirls of guitar."


title: All Along the Watchtower

text: Songwriter Eric Bogle however, said he was envious of Dylan's ability to write a song that is open to several interpretations. Michael Gray wrote that, unlike on "Blonde on Blonde", "Dylan's surrealism is stipped down to a chilly minimum on "John Wesley Harding"", and described Dylan's use of language in songs like "All Along the Watchtower" as "impressionism revisited... reflecting wintertime in the psyche". In his 2021 book on Dylan, Larry Starr added that: "...'Watchtower' is a brief, compelling, and mysterious song. Its ominous character is captured memorably in the studio version, which utilizes for accompaniment just Dylan's guitar and harmonica... The singing is utterly straightforward, as if recounting a simple parable about the nameless joker and thief; Dylan is not about to disclose a hint of any deeper meaning...".


title: All Along the Watchtower

text: "John Wesley Harding" was released on December 27, 1967, less than two months after the recording sessions. Peter Johnson of the "Los Angeles Times" wrote that the track "brings out Dylan's talent for imagery", but felt the recording seems "fragmented and unfinished". It was regarded as the best track on the album by the reviewer for the "Bucks Examiner". This sentiment was shared by Troy Irvine of "The Arizona Republic", who felt that "John Wesley Harding" was better than any of Dylan's earlier albums.


title: All Along the Watchtower

text: Journalist Paul Williams regarded the song as "an extraordinarily successful interaction" between Dylan, McCoy, and Buttrey, featuring "some of the best cinematography in modern song-writing". In 2013, Jim Beviglia rated it as the 92nd-best of Dylan's songs, writing that Dylan "creates a stifling air of portent and tension with his three succinct verses". Author Nigel Williamson, in 2021, listed the song 31st in Dylan's oeuvre. In a 2020 article for "The Guardian", Alexis Petridis ranked it the 28th-greatest of Dylan's songs, commenting that "there's a lot to be said for Dylan's humble original, its brevity and starkness capturing the same end-times intensity in a different way [to the Hendrix version]". The following year, "The Guardian" included the song on a list of "80 Bob Dylan songs everyone should know". Rapper Kanye West identified it as his "favorite song of all time" in a 2022 interview in which he also expressed a desire to work with and write with Dylan.


title: All Along the Watchtower

text: The track was released as the B-side to "Drifter's Escape" in Italy on March 1, 1968, and as an A-side, backed with "I'll Be Your Baby Tonight", in the Netherlands and Germany on November 22, 1968. In January 1969, the song was one of four "John Wesley Harding" songs included on an extended play release in Australia.


title: All Along the Watchtower

text: The Jimi Hendrix Experience began to record their version of Dylan's "All Along the Watchtower" on January 21, 1968, at Olympic Studios in London. The song is strongly identified with the interpretation Jimi Hendrix recorded with the group for their third studio album "Electric Ladyland". Hendrix was musically attracted to Dylan's songs several times in his career and according to engineer Andy Johns. Hendrix had been given a reel-to-reel tape of Dylan's unreleased recordings at that point by publicist Michael Goldstein, who worked for Dylan's manager Grossman. "(Hendrix) came in with these Dylan tapes and we all heard them for the first time in the studio", recalled Johns. He initially intended to record "I Dreamed I Saw St. Augustine" but changed this to "All Along the Watchtower". Two years later he would also record "Drifter's Escape" from the "John Wesley Harding" album.


title: All Along the Watchtower

text: Stubbs writes that this was the second of Dylan's songs Hendrix had adapted to his own style, the first being "Like a Rolling Stone" played earlier at Monterey. A third song Hendrix adapted from Dylan is identified by Zak as "Can You Please Crawl Out Your Window".


title: All Along the Watchtower

text: Dogget described the interpretation of the song as "Hendrix used the sound of the studio to evoke the storms and the sense of dread, creating an echoed aural landscape." For Zak, the Hendrix version of the song is more than a simple transposition of Dylan's harmonica riffs into Hendrix playing riffs on his electric guitar, involving adding a tonal quality of a "self-proclaimed 'Voodoo Child,' raging and defiant in the guise of a lead guitar." The layering Hendrix introduces in his version is further intensified and is "unlike the sonic reserve of Dylan's recording, here the frequency space teems with dynamic activity. From the highs of the cymbals and tambourines to the lows of the bass guitar and kick drum, the ongoing agitation of the frequency space heightens the track's sense of tumult."


title: All Along the Watchtower

text: Zak summarizes the Hendrix adaptation of the Dylan song in three main points stating: "There are three basic strategies apparent in this transformation (of Dylan's version): (1) the intensification of essential musical gestures and formal divisions; (2) the introduction of pitch material dissonant with the pentatonic collection of the original; and (3) the tracing of a long-range, goal-directed melodic line over the call-and-response structure of the arrangement. It is in the latter that Hendrix asserts most forcefully his protagonist claim."


title: All Along the Watchtower

text: Although Zak has written of both the Dylan and the Hendrix versions of the song as influenced by blues players such as Robert Johnson, he has stated that the Hendrix version is much closer in its blues style to the songs and style of Muddy Waters stating: "If Dylan's crying blues is reminiscent of Robert Johnson, Hendrix's shout calls to mind Muddy Waters and his 'deep tone with a heavy beat'."


title: All Along the Watchtower

text: According to Hendrix's regular engineer Eddie Kramer, the guitarist cut a large number of takes on the first day of recording in January in London, shouting chord changes at Dave Mason who featured at the session and played an additional 12-string guitar. Halfway through the session, bass player Noel Redding became dissatisfied with the proceedings and left. He would later note that he disliked the song and preferred Dylan's version. Mason then took over on bass. According to Kramer, the final bass part was played by Hendrix himself. Hendrix's friend and Rolling Stones multi-instrumentalist Brian Jones contributed the dry rattles heard in the intro, played on a vibraslap. This sparse version without any overdubs would eventually feature on the South Saturn Delta compilation released in 1997.


title: All Along the Watchtower

text: Kramer and Chas Chandler mixed the first version of "All Along the Watchtower" on January 26 in 1968, but Hendrix was quickly dissatisfied with the result and went on re-recording and overdubbing guitar parts during June, July, and August at the Record Plant studio in New York City. Engineer Tony Bongiovi has described Hendrix becoming increasingly dissatisfied as the song progressed, overdubbing more and more guitar parts, moving the master tape from a four-track to a twelve-track to a sixteen-track machine. Bongiovi recalled, "Recording these new ideas meant he would have to erase something. In the weeks prior to the mixing, we had already recorded a number of overdubs, wiping track after track. [Hendrix] kept saying, 'I think I hear it a little bit differently.'" Apparently, Hendrix was trying to record what Zak has referred to in the song as a 'deep tone with a heavy beat' which was not highlighted in Dylan's version. By the end of the sessions, Kramer and Hendrix had 16 tracks to use for mixing the song that soon became the intended single of the album.


title: All Along the Watchtower

text: In the US, Reprise Records issued the song as a single on September 2, 1968, with the B-side featuring "Burning of the Midnight Lamp", over a month prior to the album release on "Electric Ladyland". Dylan gave it a glowing review in the Melody Maker magazine, which pleased Hendrix greatly. It reached number 20 on US "Billboard" Hot 100 chart, Hendrix's highest ranking American single and only Top 40 hit to date. Track Records released the single on October 18 and it reached number five in the British charts, becoming the first UK stereo-only single to do so. Hendrix soon became reluctant to performing the song live and after three months it disappeared from the setlist. One notable performance was at the Isle of Wight festival that appeared as the live album in 2002.


title: All Along the Watchtower

text: In 1995, Dylan described his reaction to hearing Hendrix's version: "It overwhelmed me, really. He had such talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn't think of finding in there. He probably improved upon it by the spaces he was using. I took license with the song from his version, actually, and continue to do it to this day." In the booklet accompanying his 1985 "Biograph" album, Dylan said: "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way... Strange how when I sing it, I always feel it's a tribute to him in some kind of way." In 1974, Dylan, with the Band, embarked on his first concert tour since his 1966 world tour. From the first show of the Bob Dylan and the Band 1974 Tour on January 3, 1974, in Chicago, the shows featured what Heylin described as a "Hendrixized" version of "All Along the Watchtower". From the first live performance, Dylan has consistently performed the song closer to Hendrix's version than to his own original recording.


title: All Along the Watchtower

text: The 1974 album "Before the Flood", compiled from concert performances on the tour, included the song. Stubbs contended that through the "more heavy-duty arrangement of it on [the album]", Dylan "practically conceded that Hendrix made the song his own". Academics Janet Gezari and Charles Hartman wrote: "In effect, [Dylan] covered a cover of his own song". They opined that as Dylan's vocal range has narrowed and his delivery of lyrics beome more brusque, listening to the song in concert, audience members "must either take it as a painfully constricted, even dismissive reference to the song the album gave us in 1967, or hear in it a compendium of all the history, Dylan's own and others', musical and other, between then and now, or as much of that history as we can know".


title: All Along the Watchtower

text: The live recording from "Before the Flood" appeared as the B side of "Most Likely You Go Your Way and I'll Go Mine" in 1974. The recordings came from separate concerts earlier that year at the Forum adjacent to Los Angeles, both with Dylan backed by the Band. In "The Bob Dylan Encyclopedia", Gray noted that this is the most often performed of all of Dylan's songs. According to Dylan's own website, by November 2018 he had performed the song 2,268 times.


title: All Along the Watchtower

text: In recent years, Dylan has taken to singing the first verse again at the end of the song in live performances. As Gray notes in his "Bob Dylan Encyclopedia": Scholar of English Sukanya Saha cites the original conclusion, "two riders were approaching, the wind began to howl" as an example of Dylan's talent for providing satisfying endings for songs. Saha goes on to say, "The end rhymes in his songs make his lines appealing as they reverberate in consciousness."


title: All Along the Watchtower

text: The original recording of "All Along the Watchtower" appears on several of Dylan's subsequently released "greatest hits" albums, as well as his two box set compilations, "Biograph", released in 1985, and "Dylan", released in 2007. In addition, Dylan has released live recordings of the song on the following albums: "Before the Flood" (recorded February 1974); "Bob Dylan at Budokan" (recorded March 1978); "Dylan & The Dead" (recorded July 1987); and "MTV Unplugged" (recorded November 1994). The track has been covered by dozens of artists, including Bobby Womack on "Facts of Life" (1973), XTC on "White Music" (1978), and U2 on "Rattle and Hum" (1988). A dance music remix by Funkstar De Luxe was released in 2001.


title: All Along the Watchtower

text: Hendrix's recording of the song appears at number 40 on the 2021 "Rolling Stone" 500 Greatest Songs of All Time (up from 2004 when it was ranked 48th in "Rolling Stone"), and in 2000, British magazine "Total Guitar" named it top of the list of the greatest cover versions of all time. Hendrix's guitar solo was included at number five on "Guitar World"s list of the 100 Greatest Guitar Solos. His version of "All Along The Watchtower" was listed by "Billboard" in 2015 as one of the "Most Overplayed Songs in Movies". In 2020, "Far Out" ranked the song number two on their list of the 20 greatest Hendrix songs, and in 2021, "American Songwriter" ranked it number one on their list of his 10 greatest songs. It has been used in dozens of films, including "Forrest Gump", "Rush", "Watchmen", and "A Bronx Tale".


title: KITT

text: KITT or K.I.T.T. is the short name of two fictional characters from the adventure franchise "Knight Rider". While having the same acronym, the KITTs are two different entities: one known as the Knight Industries Two Thousand, which appeared in the original TV series "Knight Rider", and the other as the Knight Industries Three Thousand, which appeared first in the two-hour 2008 pilot film for a new "Knight Rider" TV series and then the new series itself. In both instances, KITT is an artificially intelligent electronic computer module in the body of a highly advanced, very mobile, robotic automobile: the original KITT as a 1982 Pontiac Firebird Trans Am, and the second KITT as a 2008–2009 Ford Shelby GT500KR.


title: KITT

text: During filming, KITT was voiced by a script assistant, with voice actors recording KITT's dialog later. David Hasselhoff and original series voice actor William Daniels first met each other six months after the series began filming. KITT's evil twin is KARR, whose name is an acronym of Knight Automated Roving Robot. KARR was voiced first by Peter Cullen and later by Paul Frees in seasons one and three, respectively, of the NBC original TV series "Knight Rider". A 1991 sequel film, "Knight Rider 2000", is centered on KITT's original microprocessor unit transferred into the body of the vehicle intended to be his successor, the Knight Industries Four Thousand (Knight 4000), voiced by Carmen Argenziano and William Daniels. Val Kilmer voiced KITT in the 2008–2009 "Knight Rider" series.


title: KITT

text: In the original "Knight Rider" series, the character of KITT (Knight Industries Two Thousand) was physically embodied as a modified 1982 Pontiac Trans Am. KITT was designed by customizer Michael Scheffe. The convertible and super-pursuit KITTs were designed and built by George Barris.


title: KITT

text: In the history of the television show, the first KITT, voiced by William Daniels, was said to have been designed by the late Wilton Knight, a brilliant but eccentric billionaire, who established the Foundation for Law And Government (FLAG) and its parent Knight Industries. The 2008 pilot film implied that Charles Graiman, creator of the Knight Industries Three Thousand, also had a hand in designing the first KITT. An unknown number of KITT's systems were designed at Stanford University. KITT's total initial production cost was estimated at $11,400,000 in 1982 (Episode 5, "Just My Bill").


title: KITT

text: The 1991 movie "Knight Rider 2000" saw the first KITT (Knight Industries Two Thousand) in pieces, and Michael Knight himself reviving the Knight 2000 microprocessor unit, which is eventually transferred into the body of the vehicle intended to be the original KITT's direct successor, the Knight 4000. The new vehicle was a modified 1991 Dodge Stealth, appearing similar to the Pontiac Banshee prototype.


title: KITT

text: In the 1997–1998 spin-off series "Team Knight Rider", KITT is employed as a shadow advisor. It is later revealed that "The Shadow" is actually a hologram run by KITT. In "Knight of the Living Dead", Graiman states a third KITT exists as a backup. When KITT is about to die, his memories are downloaded so the third KITT can use them. However, the third AI is not used in the end.


title: KITT

text: While the 2008 pilot movie, and then the new series, appears to be a revamp of the original series, it offers some continuity from the original one. The "new" or "second" KITT (Knight Industries Three Thousand) is a different vehicle and microprocessor unit.


title: KITT

text: In "Knight Rider 2000", it is stated that most of the Knight 2000 parts had been sold off. However, Graiman's garage in the 2008 pilot shows a more complete collection of parts than in the boxes recovered by Michael Knight in "Knight Rider 2000". The original Knight Industries Two Thousand is also shown in the pilot movie (although in pieces) in the scene where the garage of Charles Graiman (creator of the Knight Industries Three Thousand and implied co-designer of the original KITT) is searched by antagonists. A Trans-Am body (without its hood) is partially covered by a tarp, on which rests the rear spoiler. The famous KITT steering wheel (labelled "Knight Two Thousand") and "KNIGHT" license plate are also shown, along with numerous black muscle car body parts. When the camera shows a full scene of the garage, there are four other Knight two thousand cars being stored there. One has been taken apart, and 3 other complete cars. If you pause at the right moment all 4 cars are visible.


title: KITT

text: According to the series, the original KITT's main cybernetic processor was first installed in a mainframe computer used by the US government in Washington, D.C. However, Wilton saw better use for "him" in the Foundation's crime-fighting crusade and eventually this AI system was installed in the vehicle.


title: KITT

text: KITT is an advanced supercomputer on wheels. The "brain" of KITT is the Knight 2000 microprocessor, which is the centre of a "self-aware" cybernetic logic module. This allows KITT to think, learn, communicate and interact with humans. He is also capable of independent thought and action. He has an ego that is easy to bruise and displays a very sensitive, but kind and dryly humorous personality. According to Episode 55, "Dead of Knight", KITT has 1,000 megabits of memory with one nanosecond access time. According to Episode 65, "Ten Wheel Trouble", KITT's future capacity is unlimited. KITT's serial number is AD227529, as mentioned in Episode 31, "Soul Survivor".