title: Ford Torino

text: The engine line-up received major changes, and only the 250 CID I-6, 302-2V and the 351W-2V were carried over from 1969. Most models continued used the 250 CID I-6 as the standard engine. Optional engines included the 302-2V (standard on GT and Brougham models), 351W-2V, the new 351 Cleveland available with a 2- or 4-barrel carburetor, and the new 429-4V 385 Series V8 (standard on the Cobra models). Selecting the 351-2V on the option list could have resulted in the buyer receiving either the 351W-2V or the 351C-2V; both shared the same power rating and VIN code. The 429-4V was available in three different versions. The first was the 429 Thunder Jet, the standard engine for the Cobra, rated at . Next was the 429 CJ (Cobra Jet), rated at , which included a 2-bolt main block, hydraulic lifters, a 700 CFM Holley or 715 CFM Rochester Quadrajet carburetor, and was available with or without Ram Air. The top option was the 429 SCJ (Super Cobra Jet), rated at , and was part of the "Drag Pack" option. Selecting the "Drag Pack" option turned a 429 CJ into a 429 SCJ. The drag pack required either the 3.91:1 or the 4.30:1 axle ratio, and included a 4-bolt main engine block, forged pistons, 780 CFM Holley carburetor, engine oil cooler, and a solid lifter cam. The "Detroit Locker" rear differential was included when the 4.30:1 axle was ordered while the "Traction-Lock" limited-slip differential was included with the 3.91:1 axle. Ram Air induction was optional on the 351C-4V, 429 CJ and 429 SCJ, but Ram Air did not change the advertised power ratings. The Ram Air option included a "shaker hood" where the scoop was attached to the top of the air cleaner assembly, and protruded through a hole in the hood. A 3-speed transmission was standard on all models except for the Cobra which came with a 4-speed as standard equipment. The Cruise-O-Matic was optional for all engines while the 4-speed transmission was available on all engines except the six and the 302-2V.


title: Ford Torino

text: Torino Brougham models came standard with extra exterior and interior trim, finer upholsteries, wheel covers, unique emblems, extra sound insulation and "Hideaway" headlights. "Hideaway" headlights had headlight covers that were styled to look like the grille of the vehicle extended across the front end. When the lights were turned on, vacuum actuators would flip the covers up and out of the way to expose the quad headlamps. "Motor Trend" wrote that "when you get into a Brougham, it's the same feeling as an LTD, or even, dare we say it, a Continental. But in a more manageable scale." "Motor Trend" gave accolades to the 1970 Torino Brougham 2-door for its quiet interior that only allowed "the muffled thump of freeway expansion-joints [to] intrude."


title: Ford Torino

text: The Torino GT came standard with non-functional hood scoop molded into the hood, GT emblems (including the centre of the grille), dual colour-keyed sport mirrors, full width tail lights with a honeycomb effect (the centre portion was only reflective), black decklid appliques, and hub caps with wheel trim rings. Standard tires for the GT were E70-14 fibreglass belted tires, while convertibles wore F70-14s. Bucket seats and console were not longer standard equipment on the GT, but remained as options. Other new options for the Torino GT were a reflective laser stripe, which ran down the middle of the side of the Torino from the front fender to the door, and Hideaway headlamps. "Motor Trend" magazine tested a 1970 Torino GT SportsRoof with a 429 CJ, C-6 Automatic, and 3.50:1 gears, and obtained a 0 – time of 6.0 seconds, while the quarter-mile took 14.4 seconds at .


title: Ford Torino

text: The Torino Cobra remained the top performance model, but was a lower level of trim than the Torino GT. The Cobra was only available as a SportsRoof, and came standard with a 4-speed close ratio transmission, Hurst shifter, competition suspension, flat black hood and grille, 7-inch-wide wheels, F70-14 tires with raised white letters, twist style exposed hood latches and "Cobra" emblems. New options included Magnum 500 wheels with F60-15 tires and flat black "Sport Slats" for the rear window (both also available on the Torino GT). Performance was strong even though the Torino was heavier for 1970. "Motor Trend" tested a 1970 Torino Cobra equipped with the Ram Air , 429 CJ, C-6 automatic and 3.50:1 rear axle, and it went from 0 – in 6.0 seconds while taking 14.5 seconds at to go through the quarter-mile. "Motor Trend" wrote "The weight obviously helped traction, as it was fairly easy to accelerate away from a standing start with only a modicum of wheelspin." "Motor Trend" also tested a 1970 Cobra with a 429 SCJ, 4-speed and 3.91:1 gears, and resulted in a 5.8-second 0 – time, with a 13.99-second quarter-mile at . "Super Stock and Drag Illustrated" bested that time, in their test of a Torino Cobra equipped with the , 429 SCJ, C-6 automatic, and 3.91:1 rear gears. They were able to run the quarter-mile in 13.63 seconds at , however, this was after the carburetor had been modified (improved power valve, larger primary and secondary jets). "Super Stock and Drag Illustrated" fitted a pair of slicks to the same Torino and ran a 13.39 seconds at .


title: Ford Torino

text: Station wagon models for 1970 were offered initially in three different levels: the Fairlane 500 wagon, the Torino wagon, and the Torino Squire wagon. Mid-year 1970, the Falcon wagon became base station wagon. The sheetmetal on the station wagons was not changed as drastically as 2-door and 4-door models. The majority of the sheetmetal behind the front doors was carried over from the 1968–69 body style. As a result, the wagons appeared more upright and square than the sedans and coupes. The Torino Squire, the top level wagon, featured simulated woodgrain sides, headlamp covers and a trim level similar to the Torino Brougham sedan. The Squire came standard with a 302-2V V8 engine and power front disc brakes; other wagons had 4-wheel drums and the 250 CID I-6. All wagons used Ford's "Magic Doorgate" two-way tailgate, but the power rear window, rear-facing third seat and roof rack were options. Ford offered a trailering towing package for all Torinos that would allow Torino to have a Class II tow rating (). This package included heavy-duty suspension, heavy-duty battery and alternator, extra cooling package, and power front disc brakes. The or engine, power steering and the Cruise-O-Matic transmission were required options.


title: Ford Torino

text: Overall, 1970 was a successful year for Torino. It was a well received car by the automotive press and was selected as the Motor Trend Car of the Year for 1970. "Motor Trend" said the Torino was "Not really a car line in the old sense, but a system of specialty cars, each for a different use ... from luxury to performance." Ford produced 230,411 Torinos for 1970, along with 110,029 Fairlanes and 67,053 Falcons, for a total production of 407,493 units.


title: Ford Torino

text: For the 1971 model year, Ford limited changes to its intermediate line to minor revisions. The biggest change for 1971 was the decision to drop the Fairlane and Falcon model names. The Torino line-up consisted of 14 models. The base model was the "Torino", available as a 2-door hardtop, 4-door sedan and 4-door station wagon. Next was the mid-level "Torino 500", available as a 2-door hardtop and SportsRoof, 4-door sedan and hardtop and a 4-door station wagon. The top-of-the-line Torino remained the "Torino Brougham", available as a 2-door and 4-door hardtop, while the "Torino Squire" remained the station wagon equivalent to the Brougham. The "Torino GT" was offered as a 2-door SportsRoof and convertible, while the "Torino Cobra" was still only available as a 2-door SportsRoof.


title: Ford Torino

text: The styling was mostly unchanged for the 1971 models, save for minor revisions to trim and the grilles. The grille on the 1971 Torinos was divided by a vertical division in the centre for all models except the Cobra. The Cobra used the same grille as the 1970 model. A revised emblem was located on the vertical grille divider for all Torinos except the Cobra. The Torino 500, Brougham, Squire wagon and GT models had the hideaway headlamp option available, which included a unique grille with a less prominent divider bar.


title: Ford Torino

text: The engine line-up remained almost identical to the 1970 model year, with most models featuring the 250 CID I-6 as standard. Broughams, Squires and GTs continued to have the 302-2V as standard, while the Torino Cobra was downgraded to a 351-4V as its standard engine. All engines, other than the 429s, saw a slight drop in compression, which also resulted in a corresponding drop in power ratings. Other manufacturers were following suit, including Torino's main competitor Chevrolet's Chevelle, which had an even larger drop in compression on all of its 1971 engines. Ram Air induction was an option on the 351-4V, 429 CJ, and the 429 SCJ.


title: Ford Torino

text: The Torino Cobra came with a 351-4V rated at and it also included a 4-speed manual with a Hurst shifter, F70-14 tires Cobra emblems, competition suspension, hub caps, and a blacked out grille. A new option for Cobra models was the reflective laser stripe, formerly an option for just GT models. Although the high-performance 429 Cobra Jets were still rated at the same power as the 1970 models, "Super Stock and Drag Illustrated" had disappointing results from its test of a 1971 Torino Cobra. They tested a Cobra equipped with the , 429 CJ, C-6 automatic, 3.50:1 gears, and were only able to turn a best quarter-mile time of about 15 seconds at . The article states "this car would really respond to a good ignition system, a better intake manifold, a larger carburetor and a set of headers." "Cars" magazine had better luck with their test of a 1971 Torino Cobra equipped with the Ram Air , 429 CJ, C-6 automatic, and 3:50:1 gears. They went through the quarter-mile in 14.5 seconds at in the Torino. The former time was obtained after the "Cars" staff did some "proper tuning."


title: Ford Torino

text: The GT was the Torino's sporty/high trim model and included a 302-2V engine, dual colour keyed racing mirrors, GT identification, a non-functional hood scoop, hub caps and trim, rings, chrome trim on the foot pedals, full width taillights with honeycomb effect, and E70-14 tires (F70-14 on convertibles). Torino GT's had a shaker scoop when equipped with the Ram Air Induction. The Torino Brougham was Torino's luxury oriented model. This model included Brougham ornamentation, additional trim, full wheel covers, additional sound proofing, and cloth upholstery. Hideaway headlamps were no longer standard, but remained an option. "Motor Trend" tested a 1971 Torino Brougham 4-door and stated "The [seat] cushioning and support was excellent. ..[and] the upholstery was magnificent."


title: Ford Torino

text: Production for 1971 was 326,463 units, slightly lower than 1970 Ford intermediate production. Only 1,613 Torino GT Convertibles and 3,054 Torino Cobras were produced for 1971.


title: Ford Torino

text: For 1972, the Torino was redesigned using many characteristics carried over from the previous generation. The 1972 Torino styling emphasized the "long hood short deck" look and had strong elements of coke bottle styling. The Torino line-up was revamped with three models "Torino," "Gran Torino" and "Gran Torino Sport." The most radical change was a large eggcrate grille in an oval opening on Gran Torinos. Tom McCahill stated, "the gaping grille looks a little like it was patterned after Namu, the killer whale," but also stated that the Torino had "kind of pleasing, no-nonsense styling." Gran Torinos had chrome bezels surrounding the headlamps on each side of the large oval grille. Base Torinos had a full width argent eggcrate grille that surrounded the headlights. Base Torinos also used a unique hood and front bumper differentiating it from the Gran Torino models. The Torino's front fenders were flared around the wheel opening and the rear quarter panel had strong character line extending to the rear bumper. The windshield rake was increased to a faster 60-degree angle, while the A-pillars and roof were thinner. Despite these changes, structural integrity remained the same as 1971 models. A full width rear bumper had inset rectangular tail lights with pointed ends. "DirectAire" ventilation was standard equipment for all Torino models, resulting in vent windows vanishing. The Torino incorporated new safety features for 1972, including new flush mount door handles and side door guard rails.


title: Ford Torino

text: The new model line-up reduced the number of models from 14 in 1971 to 9 in 1972. The convertible and 4-door hardtops were discontinued but all other body styles remained. The 4-door hardtops and sedans were replaced with 4-door "pillared hardtops." This was Ford's term for 4-door sedans with frameless door glass and a thin "B" pillar. This configuration was also used by station wagons. "Torino" remained the base series, but the mid-level Torino 500 was renamed "Gran Torino". The Torino Brougham was reduced to an option package for the Gran Torino, and Torino GT became "Gran Torino Sport." The Torino and Gran Torino were available as a 2-door hardtop and a 4-door sedan; the Gran Torino Sport was available as a 2-door hardtop and SportsRoof. The station wagon line-up consisted of three models: "Torino," "Gran Torino," and "Gran Torino Squire" with the simulated woodgrain on the exterior body panels. The Cobra model was discontinued as the Torino line was refocused toward luxury and de-emphasized performance.


title: Ford Torino

text: The biggest change for the Torino was the switch to body-on-frame construction from the unit-construction of the 1971 models. The new chassis was a perimeter design that was used to help give the Torino a quieter and more isolated ride. It featured an energy absorbing "S" shaped front end, torque boxes to isolate road shock, fourteen rubber body mounts and five cross members. The front suspension used a short/long control arm design, with a computer selected coil spring mounted on the strut stabilized lower control arm, as in the fullsize Ford. The rear used a four link suspension, which Ford called "Stabul," with a computer selected coil spring mounted on a solid axle. The wheel track increased by at least over 1971 models. "Motor Trend" stated the "road isolation and vibrational dampening is superb" in its test of a 1972 Gran Torino Brougham 4-door. Ford offered two suspension options, a heavy-duty and competition suspension. The heavy-duty suspension included a larger front sway bar, and heavy-duty springs and shocks. Competition suspension, only available in two-door models, included the most heavy-duty springs and shocks, heavy duty rear upper control arms and bushings, a larger front sway bar, and a rear sway bar. This was the first year that a rear sway bar was offered in the Torino. Front disc brakes was standard equipment on all Torinos, which no other American intermediate (other than its sister car the Mercury Montego) offered in 1972. Gran Torino Squire station wagons had power brakes as standard equipment, but it remained an option for all other models. Further, it was a mandatory option for all powered models. The power steering was completely revised to be integral in the steering box, rather than the external booster style used in previous years. All Torinos used 14-inch wheels, while 15-inch wheels were used for exclusively by police and taxi models.


title: Ford Torino

text: A significant change to Torino chassis for 1972 was the use of separate wheelbases for 2-doors and 4-doors. Starting in 1968, GM had begun to use a shorter wheelbase for its 2-door intermediates, and a longer one for the 4-doors. This allowed for stylists to make fewer compromises when trying to turn a 2-door into a 4-door. Chrysler also followed suit in 1971, although its intermediate coupes and sedans didn't even share body panels. The 1972 Torino used a wheelbase for 2-doors and a wheelbase for 4-doors, station wagons, and the related Ranchero. Like GM intermediates, the Torino 2-door and 4-door shared many body panels. Overall, the size and weight for Torino had increased for 1972, following the longer, lower, wider trend. Gran Torino sedans saw a length increase, while 2-doors had a increase in length. Base Torino sedans were only longer, and 2-doors were shorter than 1971 models. Weight increased significantly for 4-door and station wagon models, while 2-doors had a small increase in weight.


title: Ford Torino

text: Interiors were all new and featured an improved instrument panel, that used ABS plastic for much of its construction. The standard instrument cluster featured five equally sized round pods which contained a speedometer, fuel gauge, and temperature gauge, along with various warning lights. The leftmost pod was a vent for the "DirectAire" ventilation system. A clock was optional with the standard instrument package. The "Instrumentation Group", available on all V8 models, featured two large round pods centered on the steering wheel, containing the speedometer (with trip odometer) and a tachometer. A third equal sized pod on the left contained the DirectAire vent. The instrument cluster included an ammeter, fuel gauge, temperature gauge, oil pressure gauge and clock set in a smaller stacked of pods near the centre of the instrument panel. The seats were also new for 1972, the standard front bench seat changed to a high back integrated headrest for the outboard seating positions, but high back bucket seats remained an option on 2-door models. Ford offered "comfort weave" vinyl inserts on the bucket seats for the last time in 1972. An optional 6-way power bench seat, replaced the 4-way seat offered in 1971.


title: Ford Torino

text: The base engine was the inline-six in all models except the Gran Torino Squire station wagon and the Gran Torino Sport which used the 302-2V small-block V8. The engine options included the 302-2V, a 351-2V ("Windsor" or "Cleveland"), a 351C-4V "Cobra Jet" (CJ), a 400-2V, and a 429-4V. The 400-2V was a new engine to the Torino line-up, and was part of the 335 series engine family like the 351 Cleveland. The 429-4V was not a high-performance engine like the Cobra Jets of previous years; instead, it was a high torque, low revving engine. Emissions and low-lead fuel requirements had become more strict for 1972. To meet these requirements, compression ratios on all Torino engines were dropped to at least 8.5:1, and all engines ran on regular gasoline. These engines generally produced less power than their predecessors in 1971, although this was exaggerated due to the switch to the new SAE net bhp ratings from the SAE gross figures used in 1971. As a result, the power loss was not as dramatic as the numbers suggest, and the horsepower figures are not directly comparable. All models came equipped with a three-speed manual transmission as a standard equipment. The Cruise-O-Matic was optional, but was a mandatory option for the 351-2V, 400-2V and 429-4V. The 351-4V CJ required either the 4-speed or the Cruise-O-Matic transmissions as mandatory options.


title: Ford Torino

text: The only performance engine for 1972 was the 351-4V CJ. The 351-4V CJ offered a number of performance enhancing features not offered on the 1970–71 351C-4V. It included a special intake manifold, modified camshaft, special valve springs and dampers, a 750 CFM Motorcraft Carburetor, 4-bolt main bearing caps and dual exhaust. Dual exhaust and the 4-speed transmission option were exclusive to the 351-CJ. A Ram Air Induction system was available briefly during the early model year, and could be equipped on 351 CJ and 429 powered cars. Performance from the 1972 351 CJ was competitive with the 1970–71 Torinos with the high compression 351-4V. "Car and Driver" tested a 351 CJ, 4-speed Gran Torino Sport SportsRoof with 3.50:1 gears to have a 0 – time of 6.8 seconds. "Car and Driver" did not publish its quarter-mile times, but "Cars" magazine tested a Gran Torino Sport SportsRoof with a 351 CJ, C-6 automatic, and 3.50 gears to run through the quarter-mile in 15.40 seconds.


title: Ford Torino

text: The Gran Torino Sport was offered in two body styles: A 2-door formal hardtop and a 2-door SportsRoof. The Gran Torino Sport included an integrated hood scoop, twin colour-keyed racing mirrors, molded plastic door panels unique to the Sport model, body-side and wheel lip moldings, and F70-14 tires (E70-14 on hardtop models). A revised full body length laser stripe was an option for all Torino 2-door models. It replaced the chrome side moldings and was available in four colours to match the exterior paint. Ford offered an option package for the driving enthusiast called the "Rallye Equipment Group." This grouped all the performance options together including the Instrumentation Group, Competition Suspension, G70-14 tires with raised white letters, and a Hurst shifter. The option group came standard with a 351CJ-4V and 4-speed but the 429-4V and the Cruise-O-Matic were optional. The competition suspension was highly regarded by Tom McCahill of "Mechanix illustrated", as well as "Motor Trend" and "Car and Driver" as being less harsh than past Torino performance suspensions, while still offering excellent handling. "Motor Trend" described the suspension as "Unlike the super heavy-duty springs of years past, the folks at Ford have managed to produce superior ride control without harshness. It takes a ride in one [Torino] to truly appreciate it."


title: Ford Torino

text: Torino wagons grew much larger in 1972. Length increased by for Torino models, and for Gran Torinos. Wheelbase was up by , width increased by , and weight increased significantly. The extra width allowed Torino station wagons to carry a 4×8' sheet of plywood flat in the cargo area with the tailgate down. Station wagons had a rated capacity of , nearing the capacity of some full-size wagons. An available rear-facing third seat was available, increasing the wagon's capacity from 6 to 8 passengers. All station wagons used the 3-way "Magic Doorgate" featuring for the first time a tailgate that could be opened as a door with the rear window up. A heavy-duty frame was standard equipment for all wagons. The Squire models came standard with a luggage rack and simulated woodgrain panels that were slightly translucent, allowing some of the paint tint to show through.


title: Ford Torino

text: Torino wagons were often used to tow, but all Torino models could be equipped with one of two optional towing packages. A medium-duty trailer package for Class II towing allowed towing up to . This package included heavy-duty suspension, the extra-cooling package, trailer towing identification sticker and wiring harness. This option group required the 351-2V or larger engine. A heavy-duty Class III package included heavy-duty suspension, heavy-duty frame (standard on wagons), extra cooling package, heavy-duty battery and alternator, along with a 3.25:1 axle and trailer wiring. This package allowed the Torino to tow up to and required the 400-2V or larger engine and G78-14 or larger tires. Both towing packages listed an automatic transmission, power steering and brakes as mandatory options.


title: Ford Torino

text: Overall, the 1972 Torino was a sales success and a total of 496,645 units were produced, making it the best-selling intermediate for 1972. This was the first time Ford had ever outsold the Chevrolet Chevelle since its 1964 introduction. The automotive press responded positively to the all new Torino, and it received generally positive reviews. In addition, "Consumer Guide" selected the Torino as a "Best Buy" for 1972.


title: Ford Torino

text: The 1972 Ford Gran Torino Sport SportsRoof was featured in the 2008 movie "Gran Torino", directed by and starring Clint Eastwood.


title: Ford Torino

text: The most obvious change for the 1973 model saw was a new front fascia, required to meet new federal regulations. The new regulation mandated that all cars manufactured after September 1, 1972, must be able to take a strike to the front without damaging safety related components such as headlamps and the fuel system. For 1973 only, rear bumpers had a requirement. The Torino's front end featured totally new sheetmetal from the firewall forward, with a blunt, more squared-off fascia replacing the previous year's pointed prow. The new large square energy absorbing bumper replaced the almost body-fitting chrome bumper used on the front of the 1972 Torino. The new larger bumpers caused all Torino models to increase in length by at least , and weight also increased by at least for all models. Rear bumpers and taillights were unchanged from 1972.


title: Ford Torino

text: The model line-up for 1973 increased to 11 from the 9 models in 1972. The model line-up consisted of "Torino", "Gran Torino", "Gran Torino Sport", and "Gran Torino Brougham." The "Gran Torino Brougham" was available as a 2-door hardtop and a 4-door sedan. Other models were offered in the same body styles as 1972. Bench seats for 1973 reverted to low backs with separate head rests to increase rear visibility. The high back bucket seats were still available on the two-door models. The hood release was moved to inside for increased security. Two-door and four-door models used larger x rear drum brakes for 1973 to help cope with the extra weight; 1972 models used x drums. Radial tires were added to the option list which offered longer tread life and better road manners.


title: Ford Torino

text: The standard engine remained the 250 CID inline-six for all models except the station wagons and Sport, which used the 302-2V. Engine options also remained the same, but all engines now had their compression ratio dropped to 8.0:1. Power for all engines was slightly lower than in 1972. The 351 CJ continued to be the only high-performance engine and only saw a drop from 1972. Police package Torinos had the same engine options as the civilian models but with the addition of a high-performance 460-4V exclusive to the "Interceptor" package.


title: Ford Torino

text: 1973 was a successful year for the Torino, with 496,581 units being sold. The sales continued to be strong, even with the stiff competition from GM's new for 1973 "Colonnade" intermediates. Torino was the number one selling intermediate and outsold its main competitor, the Chevrolet Chevelle, by over 168,000 units.


title: Ford Torino

text: The 1974 model year saw more extensive revisions to the Torino line. Government safety regulations now required that the rear bumpers must also meet the standard, so all Torinos had the rear bumper and tail lamp panel redesigned. The new rear bumpers were much larger, square shaped, and sat lower on the body. No longer was there a valance panel located below the bumper as on the 1972–73 models. The tail lights were beveled rectangular wrap-around units which eliminated the need for rear side marker lights. The fuel filler was repositioned above the bumper, hidden behind an access door in the center of the taillight panel. The front fascia for Gran Torinos was revised for 1974. The new grille was of similar shape to the 1973, but was slightly larger and divided into 8 equal sized vertical rectangular sections. The grille had a fine mesh pattern with vertical parking lamps in the outer sections (embossed with the grille pattern on the surface of the lens) and the grille emblem was changed The front bumper was revised to be slightly more pointed while the bumper guards moved more towards the center of the bumper compared to 1973 models. The license plate bracket was relocated to the driver's side of the bumper. Base Torino models carried on with the same front fascia as 1973; however, its front bumpers were revised similarly to the Gran Torinos except the license plate remained in the center. Gran Torino Broughams had a red reflector panel between the taillamps to give them a full width look. Broughams and Squires had a stand-up hood ornament inplace of the emblem on the grille.


title: Ford Torino

text: The Torino model line-up was the same as 1973, with two exceptions. The Gran Torino Sport was no longer available with the "SportsRoof" fastback roofline, and the new "Gran Torino Elite" debuted. Although 2-door Torinos were advertised as hardtops, the rear windows were revised to be fixed unlike the 1972–73 models. Ford announced to its dealers in January 1974 that new Gran Torino Elite, Ford's entry in the mid-sized luxury car market, would be available for sale as of the week of February 18, 1974. The Elite was Ford's response to Chevrolet's popular low-priced luxury coupe the Monte Carlo. The Elite was described by Ford as "A totally new 2-door hardtop...with Thunderbird-inspired styling, solid engineering and personal luxury...plus mid-size economy." The Elite wasn't totally new, as Ford described, but it did have a number of unique features. The Elite used the Mercury Montego and Mercury Cougar body shell with unique front end styling that resembled the Thunderbird. It had a large eggcrate mesh grille surrounded by single headlamps recessed in chrome bezels and vertical wrap-around parking lamps. On the rear there was large wrap-around taillamps with a reflective center panel giving it a full width taillight appearance. Large color-keyed vinyl moldings were placed higher on the body side, similar to the Thunderbird. Standard equipment for the Elite included a 351-2V V8 engine, automatic transmission, and radial tires. It also featured standard luxury items such as a vinyl roof with twin opera windows, split bench seat, "Westminster" cloth upholstery, woodgrain trim, and complete instrumentation.


title: Ford Torino

text: For 1974, Torino added several new luxury oriented options and features including a leather-wrapped steering wheel, split bench seat, an electric sunroof, rear fender skirts, speed control with steering wheel controls and opera windows for 2-doors. Opera windows were added as standard equipment on Brougham models. The exterior trim was revised, with moldings the rocker panels instead of the lower doors. Brougham and Sport models had an extra chrome molding that ran on the lower fender edge between the front wheelwell and bumper; this gave the appearance of bumper-to-bumper chrome. Squires had no lower body moldings. All 1974 Torinos used the seat belt-interlock system, as mandated by the U.S. government. This short-lived safety system would be removed after the 1974 model year. The competition suspension was no longer offered, and the only suspension option was a revised heavy-duty suspension package. This option was available on all Torinos except the Elite, and included a larger front sway bar and heavy-duty front and rear springs. Heavy-duty shocks and a rear sway bar were included in this package on 2-door and 4-door sedan models only.


title: Ford Torino

text: Torinos were now even larger and heavier than ever before. All body styles were approximately 5" longer due in part to the safety bumpers. With Torinos gaining weight and inches, the 250 CID I-6 was no longer the base engine. Nevertheless, even though original sales literature does not list the six cylinder engine as being available, "Chilton's" and "Motor's" repair manuals list availability and data for 6-cylinder powered Torinos. That said, it appears that a small number of base model Torinos were built with the 250 CID 6-cylinder engine; in fact one of the 6-cylinder Torinos became the main car for the 2004 movie "Starsky & Hutch". The 429-4V was replaced with the 460-4V which produced more power and torque and was equipped with dual exhaust. All other engines saw a slight increase in power levels compared to 1973. Other than the few six cylinder exceptions, all Torinos and Gran Torinos came with the 302-2V as the base engine, and the 3-speed manual remained the standard transmission. The larger V8 engine options required the Cruise-O-Matic as a mandatory option, except the 351-CJ. The 351-CJ remained the only performance engine, and it was limited to 2-door models. It produced more power than the 460-4V, and saw a increase but a loss of of torque. It was the only engine available with the 4-speed transmission but the more common Cruise-O-Matic was also available. This was the last model year for the 351 CJ and the four-speed transmission.


title: Ford Torino

text: With the SportsRoof bodystyle discontinued, the Gran Torino Sport model was difficult to distinguish from other Gran Torino 2-doors. The Gran Torino Sport's main identifiers were its unique emblems, with placement on the grille, the C-pillar, and the fuel filler door. In addition, a "Sport" script was placed by the C-pillar emblem. To further remove it from the sporty theme, Gran Torino Sports even had opera windows (on vinyl-roofed cars) and fender skirts added to its option list. Of note, when opera windows were ordered, the "Sport" script was placed below the "Gran Torino" nameplate on the fender and the C-pillar emblem was deleted. The laser stripe was no longer available, but a lower body multi-coloured non-reflective stripe was an option. Higher profile 78 series radial ply tires replaced the previously used 70 series bias-plys.


title: Ford Torino

text: The interior of the Gran Torino Sport had more distinction from other models. The instrument package became a standard feature, but bucket seats remained an option. Bucket seats were revised to a low back design with separate head rests. Sport door panels, now vinyl rather than molded plastic, and seats were highlighted with coloured stripes, similar to the 1973 Luxury Décor Package interior. As a cost-cutting measure, the "Magnum 500" wheel was revised with the formerly chrome plated wheel replaced by a polished trim ring and argent painted spokes. Overall, performance was more lackluster for 1974 models. The 1974 Sport had a shipping weight almost heavier than a 1972 Sport.


title: Ford Torino

text: Torino had another successful year in 1974, and continued to be popular. Ford produced 426,086 units, including 96,604 Gran Torino Elites.


title: Ford Torino

text: For the 1975 model year, the Ford Torino received a number of minor improvements, but was for the most part unchanged. The model line-up received only one change, the Gran Torino Elite was dropped. The Elite became an independent model, and marketed simply as the Ford Elite. All Torinos featured solid state ignition systems for 1975, which improved starting performance and fuel economy, while reducing maintenance costs. Radial tires, another fuel saving feature, power steering and power brakes were all new standard features for all Torinos. 1975 Torinos received a new steering wheel design and a "Fuel Sentry" vacuum gauge was added to the option list.


title: Ford Torino

text: The 1975 model year saw virtually no changes to the exterior styling. The only significant change was that Torino models adopted the Gran Torino grille and front fascia. Torino's weight continued to climb even though the exterior dimensions were unchanged from 1974.


title: Ford Torino

text: The Federal Clean Air Act prompted Ford to install catalytic converters for 1975 to help meet the new emission standards. Installation of the converter increased exhaust back pressure resulting in significantly reduced the power output. In response, Ford revised the base engine on all Torinos to the 351-2V engine. Along with this change, the Cruise-O-Matic transmission became standard; no manual transmissions were available. Power for all engines, except the 460, was significantly reduced compared to 1974, and along with the weight increase, fuel economy and performance continued to decrease. The 400-2V and the 460-4V were the only engine options, as the 351-4V was no longer available.


title: Ford Torino

text: The new 351M joined the line-up to replace the 351 Cleveland. Although, when a Torino was equipped with a 351-2V engine it could result in the car being delivered either the 351M or the 351W, as they were used interchangeably. The 351M and 351W had no appreciable power output difference. Due to the lack of emissions certification, the 351M was not available in California. The 351M used the 400's tall deck block and shared its connecting rods and intake manifold, resulting in more parts shared between 351M and 400 compared to the 351C and 400. This saved Ford on the engine production costs.


title: Ford Torino

text: The Gran Torino Sport remained but was virtually unchanged from the 1974 model. The Sport was almost indistinguishable from a conventional Gran Torino, and customers responded with a lack of interest. 1975 was the least popular and last year for this model; only 5,126 units were produced.


title: Ford Torino

text: Sales for the Torinos dropped off significantly from the 1974 model year. With the Elite now a separate model, Torino lost a large portion of its sales. Ford produced only 195,110 Torinos for 1975. Even with the addition of the 123,372 Elites produced for 1975, total output was 318,482 which was still significantly lower than 1974. Sales decreases were likely due to the increased demand for smaller economical cars, while Ford's more sensibly sized Granada likely also stole sales from Torino. The Ford Granada was classed as a compact by Ford, but had exterior dimensions close to that of a late 1960s Ford Torino.


title: Ford Torino

text: The 1976 model year saw no major changes to the Torino. The Gran Torino Sport was discontinued, and so the Torino consisted of 9 separate models; 2- and 4-door versions of the Torino, Gran Torino, and Gran Torino Brougham, along with three station wagon models. New options for the 1976 model year included a power trunk release and an automatic parking brake release. Gran Torino 2-doors could be ordered with the center console when optional bucket seats were specified; previously the console was only available on Sport models. In addition, opera windows and landau roofs were now available options for all 2-door models. There were no styling changes made to Torino for 1976.


title: Ford Torino

text: Engine options remained the unchanged for 1976, however fuel economy was improved on all engines with revisions to the engine spark advance and the EGR valve operation. The 351-2V engines and the 400-2V had a power and torque increase, and the 460-4V had a power decrease. In an attempt to help improve fuel economy, the standard rear axle ratio for all models was now 2.75:1.


title: Ford Torino

text: 1975–1976 Gran Torinos were used in the popular Spelling-Goldberg Productions TV series "Starsky and Hutch". The producers needed a flashy specialty car for the main characters to drive. Since Ford was the lease supplier for on-screen cars through their Studio-TV Car Loan Program, eventually it was decided by the producers that a bright red 1975 Gran Torino two-door would be the vehicle of choice for the pilot episode. To make the Torino less mundane, a large white vector stripe was added. Aluminum 5-slot mag wheels and larger rear tires replaced the stock wheels and tires, and air shocks were added to give the car an aggressive rake. The television show became quite popular with the public, and much of that popularity was centered on the star Torino. Ford couldn't help but take notice to the public's interest in the "Starsky and Hutch" Torino, and decided to introduce a replica version of the TV car.


title: Ford Torino

text: Ford built 1,000 replicas of the "Starsky and Hutch" car in the spring of 1976. Production of the replicas began in March 1976, and all were produced in Ford's Chicago manufacturing plant. This limited production package was essentially a special paint option, but required the deluxe bumper group and dual color-keyed sport mirrors as mandatory options. The TV car's slotted mag wheels were not offered by Ford, and the only sporty wheel option was the Magnum 500 wheel. They were not a mandatory option though, and these cars came equipped with wheel covers as standard equipment. When producing the replicas, Ford painted the entire car white, then masked off the stripe and painted the rest of the car the shade of bright red (code 2B) used on the 1972–75 models (and subsequently the TV cars). This color had been discontinued for all other Torino models for 1976 in favor of a different shade of red. The factory replicas were close to the TV show car, but had minor differences in the stripe, and did not have the aggressive rake of the TV car. Many replica owners installed slotted mag wheels and air shocks after purchase to give the car a more authentic look. The "Starsky and Hutch" replica was available with all Torino engines. Seat colors were limited to black or white and were available with all seating trims and options. One of the factory replicas was leased to Spelling-Goldberg as a backup for the original Torinos that were created for the show.


title: Ford Torino

text: Production total for the Torino in 1976 was 193,096 units, slightly lower than 1975. This would be the final year for the Ford Torino.


title: Ford Torino

text: The Torino chassis continued to live on under the Ford LTD II, Ford Thunderbird, Ford Ranchero and Mercury Cougar through the 1977 to 1979 model years.


title: Ford Torino

text: The fastback roofline of the 1968–69 Ford Torinos provided a wind-cheating design that dominated NASCAR superspeedway racing. In 1969 Dodge responded with the Dodge Charger 500. This car was built with specific modifications to improve the aerodynamics of the car on the NASCAR track. In turn Ford added a special high-performance vehicle to its intermediate line-up, the Torino Talladega. This limited edition car was made specifically with NASCAR racing in mind and all of its modifications were to improve the aerodynamics of the Torino.


title: Ford Torino

text: The Torino Talladega was equipped with unique front fascia that extended the length of the car by approximately . This front-end extension allowed Ford engineers to taper the front-end to reduce drag. The grille, which was normally recessed was made to be flush fitting, and the smoother rear bumper was reworked to fit the front. The rocker panels were rolled, which allow NASCAR teams to lower their race Talladegas by 5 inches (127 mm) legally.


title: Ford Torino

text: The Talladega came only in the SportsRoof body style and in three colours: Wimbledon White, Royal Maroon, and Presidential blue. All had a flat black hood and a unique beltline pin stripe. The Talladega came standard with a 428 CJ (non-Ram Air), C-6 Cruise-O-Matic, staggered rear shocks (normally reserved for 4-speed cars) and 3.25:1 open differential. Talladegas were equipped with a cloth and vinyl bench seat, and used the Fairlane 500 body code like the 1969 Cobra. These cars could not be ordered with additional options, and only 743 Talladegas were produced.


title: Ford Torino

text: The Talladega further improved Ford's success rate on the NASCAR track. Dodge and Plymouth responded with the even more radical 1969 Dodge Charger Daytona and the 1970 Plymouth Superbird which used pointed nose cones and "goalpost" tail wings. Meanwhile, for those racing teams using Fords in 1970, some kept their 1969 Torinos when the new curvaceous 1970 models proved to be slower on the NASCAR track due to its less aerodynamic design.


title: Ford Torino

text: Ford planned to introduce another limited edition Torino to once again dominate at NASCAR. The result was the 1970 Ford Torino King Cobra. Like the Talladega, the King Cobra was modified with aerodynamics specifically in mind and looked very different from a typical 1970 Torino. It had a sloped front end with dual headlamps located in sugar scoop shaped cut-outs on the front fenders, similar in appearance to the Datsun 240Z. The King Cobra's grille was a large opening below the front bumper, much like the bottom breather design now used in some modern cars. Parking lamps were located between the headlamps, molded into the front fascia. The hoods had a blacked-out center portion, and a side stripe similar to 1968–69 Torino GTs ran from the front fender to quarter panel. Ford planned to offer covers for the headlight cutouts to NASCAR teams to improve aerodynamics even further. In actuality it is said the front end created too much down force. In addition to no rear down force creation this caused the car to become very loose in turns as per Musclecar Review.


title: Ford Torino

text: Due to NASCAR changing the homologation rules which increased the minimum number of cars produced for the public from 500 to 3,000 for a vehicle to qualify at NASCAR, and new Ford president Lee Iaccoca, the King Cobra project was abandoned by Ford. It never saw a NASCAR track or a showroom and only three prototype cars were produced. One was equipped with the Boss 429 engine, only offered otherwise in the Boss 429 Mustang, one had the 429 SCJ, and one had a 429 CJ. The Torino King Cobra with the Boss 429 has been listed on eBay as of May 3, 2014, with a "buy-it-now" price of $599,999.


title: Ford Torino

text: Ford sold the Torino in Venezuela, but marketed it with the Fairlane name. The de luxe model was called Fairlane 500, and until 1974 it used the base Torino grille but Gran Torino trim on the body. Starting in 1974 this car was identical to the U.S. Gran Torino, and was available in coupe, sedan, and station wagon body styles.


title: Ford Torino

text: The 1970–71 Torino Cobras, the 1969 Torino Talladega, the 1970 King Cobra, the 1968–1971 Torino GT convertibles, and the 1969 Cobras are the most collectible Torino muscle cars. The 1972 body style has received notable exposure since the beginning of the 21st century with the release of the 2008 film "Gran Torino" (featuring a 1972 Gran Torino Sport and Clint Eastwood) and the 2009 film "Fast & Furious". The 1974–76 body style was first popularized due to the 1970s television series "Starsky and Hutch", and revived with the release of the 2004 film "Starsky & Hutch". As a result, the value of the 1974–76 Torinos has risen; still they are not the most valuable of the Torino body styles. However, the limited-edition factory replica Torino will likely be a valuable investment due to the series having a longtime cult following.


title: Ford Torino

text: The lack of popularity and the low numbers of Torinos in existence today is likely due to the Torino's durability issues that caused low survivability. Torinos had serious problems with chassis and body corrosion as well as having a less-than-perfect reliability record. In areas where severe winters exposed these cars to road salt, Torinos were reported to have major rust problems within the first 5 years of ownership. To further worsen the corrosion problems, 1969–1973 Torinos were reported to have severe paint-peeling problems. As a result, Torinos had the lowest resale value of any of the American intermediate cars in the 1970s used-car market.


title: Robert Hays

text: Robert Hays (born July 24, 1947) is an American actor, known for a variety of television and film roles since the 1970s. He came to prominence around 1980, co-starring in the two-season domestic sitcom "Angie", and playing the central role of pilot Ted Striker in the hit spoof film "Airplane!" (also known as "Flying High") and . Other film roles include the lead role in the comedy "Take This Job and Shove It" (1981), and Bob Seaver, one of the main human characters in "" (1993). On television, he starred in the science fiction series "Starman" (1986–1987) and the short-lived workplace sitcom "FM" (1989–1990), played the voice of Tony Stark on "Iron Man" (1994), and had a guest role as Bud Hyde on "That '70s Show" (2000).


title: Robert Hays

text: In 1977, Hays played a military corporal in an episode of the television series "Wonder Woman". He starred in several short-lived television series, including the 1978 production "The Young Pioneers" on ABC; the 1979–1980 series "Angie"; "Starman", and "FM".


title: Robert Hays

text: He was cast as Ted Striker, the washed up pilot who needs to save the day in "Airplane!" (1980), a spoof of disaster films such as the "Airport" series, and returned for "". In 1981, he hosted the sketch comedy television series "Saturday Night Live". He played a man thought to be Hyde's dad in several episodes of "That '70s Show".


title: Robert Hays

text: He has performed in many television movies and done voice work, such as the title character in the Marvel Comics adaptation of "Iron Man". In 2013, Hays appeared in a slapstick-laden TV spot promoting tourism in Wisconsin, which also reunited him with "Airplane!" co-director David Zucker.


title: Robert Hays

text: Hays married musician and singer Cherie Currie on May 12, 1990. The couple have a son, Jake. Hays and Currie divorced in 1997 after seven years of marriage.


title: The Deep House

text: The Deep House is a 2021 English-language French supernatural horror film written and directed by Julien Maury and Alexandre Bustillo. The film stars James Jagger and Camille Rowe. Blumhouse Television and Epix acquired the film for North American distribution.


title: The Deep House

text: The film was released in France on 30 June 2021 by Apollo Films and released in the United States on 5 November 2021 by Epix.


title: The Deep House

text: Ben and Tina are a young engaged New York couple and passionate YouTube contributors who are travelling Europe and seeking out reputedly haunted houses to live-record their experiences. One day, they go to south-west France to seek out a sanatorium submerged in an artificial lake, only to find it a crowded vacation spot. A local, Pierre, offers to take them to an isolated branch of the lake in the forest of Chanteloup, an area which was artificially submerged in 1984 to prevent frequently recurring, devastating floods. The area he is leading them to contains a mansion which he claims has remained perfectly preserved.


title: The Deep House

text: Reaching the spot, Ben and Tina submerge, finding the house in a short while, with its contents strangely well-preserved. However, eerie things begin to happen after they enter the house; they hear strange voices and noises, the motion tracker on their drone indicates movement while there is nothing to trigger it, and their electronic equipment inexplicably begins malfunctioning. In addition, in some of the rooms they find lots of photos, posters and news articles showing missing children, as well as satanic symbols and a score of violent scratches at the front door post. In the kitchen, they discover a door blocked by a large crucifix, and opening it, they enter a room containing two corpses in chains and torture masks suspended above a satanic pentagram, and a side room filled with pickled human body parts. Ben and Tina try to flee the house, but the window they entered through is suddenly blocked off by a brick wall, and their frantic search for other exits is in vain.


title: The Deep House

text: While trying to open a grate in the cellar with the two bodies, Tina is suddenly attacked. The assault ceases abruptly, but strangely Ben denies that anything unusual has happened. Curious, Ben removes the masks from the corpses, revealing them to be the Montégnacs, the family who owned the house. The two corpses suddenly come to life and chase them through the house. As they try to escape through a chimney, the shaft collapses, trapping them on different floors. In an upstairs bedroom, Ben finds a family tree featuring Pierre, revealing him as the Montégnacs' son and indicating that he lured them to the house on purpose, before he is attacked by an undead girl - the Montégnacs' daughter Sarah - and possessed by her. When Tina finds him, he leads her to a hidden sitting room in the basement where Sarah, through Ben and a gruesome film reel, reveals that Mr. Montégnac and Pierre kidnapped children from the surrounding area to use as satanic sacrifices. The elder Montégnacs and Sarah were eventually killed by an avenging mob, but Pierre managed to escape.


title: The Deep House

text: Under Sarah's influence, Ben tries to convince Tina to join the family. Panicked and with her air supply depleted, Tina flees into a secret satanic chapel, where she finds a shaft leading out. Ben catches up with her and tries to kill her, but she wounds him with a diving knife, shocking him out of his possession. Before they can escape together, Sarah stabs Ben to death. The Montégnacs then turn on Tina, but she escapes up the shaft, which leads back into the lake. But just below the water's surface, the remaining air in her lungs gives out, and she drowns.


title: The Deep House

text: After the credits, there is a brief scene in which two new divers look out over the lake, accompanied by Pierre.


title: The Deep House

text: Principal photography took place from 27 January to 13 March 2020 and from 15 to 26 June 2020 at Studios Lites (in Vilvoorde, Belgium), in the Occitanie region (in the, Raviège and Saint Peyres lakes) from 6 to 10 July 2020.


title: The Deep House

text: Meagan Navarro, of "Bloody Disgusting", gave the film 3.5/5 stars, and wrote that ""The Deep House" offers a slow, dark descent that builds to a satisfying conclusion (...) successfully blending two subgenres that couldn’t be further apart and execute it with impressive ambition. That daring ability to test the bounds of horror, at least on a technical level, is always welcome in the genre space, even if not a perfect success."


title: Edvard Grieg

text: Edvard Hagerup Grieg ( , ; 15 June 18434 September 1907) was a Norwegian composer and pianist. He is widely considered one of the foremost Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use of Norwegian folk music in his own compositions brought the music of Norway to fame, as well as helping to develop a national identity, much as Jean Sibelius did in Finland and Bedřich Smetana in Bohemia.


title: Edvard Grieg

text: Grieg is the most celebrated person from the city of Bergen, with numerous statues which depict his image, and many cultural entities named after him: the city's largest concert building (Grieg Hall), its most advanced music school (Grieg Academy) and its professional choir (Edvard Grieg Kor). The Edvard Grieg Museum at Grieg's former home Troldhaugen is dedicated to his legacy.


title: Edvard Grieg

text: Edvard Hagerup Grieg was born in Bergen, Norway (then part of Sweden–Norway). His parents were Alexander Grieg (1806–1875), a merchant and the British Vice-Consul in Bergen; and Gesine Judithe Hagerup (1814–1875), a music teacher and daughter of solicitor and politician Edvard Hagerup. The family name, originally spelled Greig, is associated with the Scottish Clann Ghriogair (Clan Gregor). After the Battle of Culloden in Scotland in 1746, Grieg's great-grandfather, Alexander Greig (1739-1803), travelled widely before settling in Norway about 1770 and establishing business interests in Bergen. Grieg's paternal great-great-grandparents, John (1702-1774) and Anne (1704-1784), are buried in the abandoned churchyard of the ruinous Church of St Ethernan in Rathen, Aberdeenshire, Scotland.


title: Edvard Grieg

text: Edvard Grieg was raised in a musical family. His mother was his first piano teacher and taught him to play when he was aged six. He studied in several schools, including Tanks Upper Secondary School.


title: Edvard Grieg

text: During the summer of 1858, Grieg met the eminent Norwegian violinist Ole Bull, who was a family friend; Bull's brother was married to Grieg's aunt. Bull recognized the 15-year-old boy's talent and persuaded his parents to send him to the Leipzig Conservatory, the piano department of which was directed by Ignaz Moscheles.


title: Edvard Grieg

text: Grieg enrolled in the conservatory, concentrating on piano, and enjoyed the many concerts and recitals given in Leipzig. He disliked the discipline of the conservatory course of study. An exception was the organ, which was mandatory for piano students. About his study in the conservatory, he wrote to his biographer, Aimar Grønvold, in 1881: "I must admit, unlike Svendsen, that I left Leipzig Conservatory just as stupid as I entered it. Naturally, I did learn something there, but my individuality was still a closed book to me."


title: Edvard Grieg

text: During the spring of 1860, he survived two life-threatening lung diseases, pleurisy and tuberculosis. Throughout his life, Grieg's health was impaired by a destroyed left lung and considerable deformity of his thoracic spine. He suffered from numerous respiratory infections, and ultimately developed combined lung and heart failure. Grieg was admitted many times to spas and sanatoria both in Norway and abroad. Several of his doctors became his friends.


title: Edvard Grieg

text: During 1861, Grieg made his debut as a concert pianist in Karlshamn, Sweden. In 1862, he finished his studies in Leipzig and had his first concert in his home town, where his programme included Beethoven's "Pathétique" sonata.


title: Edvard Grieg

text: In 1863, Grieg went to Copenhagen, Denmark, and stayed there for three years. He met the Danish composers J. P. E. Hartmann and Niels Gade. He also met his fellow Norwegian composer Rikard Nordraak (composer of the Norwegian national anthem), who became a good friend and source of inspiration. Nordraak died in 1866, and Grieg composed a funeral march in his honor.


title: Edvard Grieg

text: On 11 June 1867, Grieg married his first cousin, Nina Hagerup (1845–1935), a lyric soprano. The next year, their only child, Alexandra, was born. Alexandra died in 1869 from meningitis. During the summer of 1868, Grieg wrote his Piano Concerto in A minor while on holiday in Denmark. Edmund Neupert gave the concerto its premiere performance on 3 April 1869 in the Casino Theatre in Copenhagen. Grieg himself was unable to be there due to conducting commitments in Christiania (now Oslo).


title: Edvard Grieg

text: During 1868, Franz Liszt, who had not yet met Grieg, wrote a testimonial for him to the Norwegian Ministry of Education, which resulted in Grieg's obtaining a travel grant. The two men met in Rome in 1870. During Grieg's first visit, they examined Grieg's Violin Sonata No. 1, which pleased Liszt greatly. On his second visit in April, Grieg brought with him the manuscript of his Piano Concerto, which Liszt proceeded to sightread (including the orchestral arrangement). Liszt's rendition greatly impressed his audience, although Grieg said gently to him that he played the first movement too quickly. Liszt also gave Grieg some advice on orchestration (for example, to give the melody of the second theme in the first movement to a solo trumpet, which Grieg himself chose not to accept).


title: Edvard Grieg

text: In the 1870's he became friends with the poet Bjørnstjerne Bjørnson who shared his interests in Norwegian self-government. Grieg set several of his poems to music, including "Landkjenning" and "Sigurd Jorsalfar". Eventually they decided on an opera based on King Olav Trygvason, but a dispute as to whether music or lyrics should be created first, led to Grieg being diverted to working on incidental music for Henrik Ibsen's play "Peer Gynt", which naturally offended Bjørnson. Eventually their friendship was resumed.


title: Edvard Grieg

text: The incidental music composed for "Peer Gynt" at the request of the author, contributed to its success, and has separately become some of the composer's most familiar music arranged as orchestral Suites.


title: Edvard Grieg

text: Grieg had close ties with the Bergen Philharmonic Orchestra (Harmonien), and later became Music Director of the orchestra from 1880 to 1882. In 1888, Grieg met Tchaikovsky in Leipzig. Grieg was impressed by Tchaikovsky. Tchaikovsky thought very highly of Grieg's music, praising its beauty, originality and warmth.


title: Edvard Grieg

text: On 6 December 1897, Grieg and his wife performed some of his music at a private concert at Windsor Castle for Queen Victoria and her court.


title: Edvard Grieg

text: Grieg was awarded two honorary doctorates, first by the University of Cambridge in 1894 and the next from the University of Oxford in 1906.


title: Edvard Grieg

text: The Norwegian government provided Grieg with a pension as he reached retirement age. During the spring of 1903, Grieg made nine 78-rpm gramophone recordings of his piano music in Paris. All of these discs have been reissued on both LPs and CDs, despite limited fidelity. Grieg recorded player piano music rolls for the Hupfeld Phonola piano-player system and Welte-Mignon reproducing system, all of which survive and can be heard today. He also worked with the Aeolian Company for its 'Autograph Metrostyle' piano roll series wherein he indicated the tempo mapping for many of his pieces.


title: Edvard Grieg

text: In 1899, Grieg cancelled his concerts in France in protest of the Dreyfus affair, an antisemitic scandal that was then roiling French politics. Regarding this scandal, Grieg had written that he hoped that the French might, "Soon return to the spirit of 1789, when the French republic declared that it would defend basic human rights." As a result of his statements concerning the affair, he became the target of much French hate mail of that day.


title: Edvard Grieg

text: During 1906, he met the composer and pianist Percy Grainger in London. Grainger was a great admirer of Grieg's music and a strong empathy was quickly established. In a 1907 interview, Grieg stated: "I have written Norwegian Peasant Dances that no one in my country can play, and here comes this Australian who plays them as they ought to be played! He is a genius that we Scandinavians cannot do other than love."


title: Edvard Grieg

text: Edvard Grieg died at the Municipal Hospital in Bergen, Norway, on 4 September 1907 at age 64 from heart failure. He had suffered a long period of illness. His last words were "Well, if it must be so."


title: Edvard Grieg

text: The funeral drew between 30,000 and 40,000 people to the streets of his home town to honor him. Obeying his wish, his own "Funeral March in Memory of Rikard Nordraak" was played with orchestration by his friend Johan Halvorsen, who had married Grieg's niece. In addition, the "Funeral March" movement from Chopin's Piano Sonata No. 2 was played. Grieg was cremated in the first Norwegian crematorium opened in Bergen just that year, and his ashes were entombed in a mountain crypt near his house, Troldhaugen. After the death of his wife, her ashes were placed alongside his.


title: Edvard Grieg

text: Edvard Grieg and his wife were Unitarians and Nina attended the Unitarian church in Copenhagen after his death.


title: Edvard Grieg

text: A century after his death, Grieg's legacy extends beyond the field of music. There is a large sculpture of Grieg in Seattle, while one of the largest hotels in Bergen (his hometown) is named Quality Hotel Edvard Grieg and a large crater on the planet Mercury is named after Grieg.


title: Edvard Grieg

text: Some of Grieg's early works include a symphony (which he later suppressed) and a piano sonata. He wrote three violin sonatas and a cello sonata.


title: Edvard Grieg

text: Grieg composed the incidental music for Henrik Ibsen's play "Peer Gynt", which includes the excerpts "In the Hall of the Mountain King" and "Morning Mood". In an 1874 letter to his friend Frants Beyer, Grieg expressed his unhappiness with "Dance of the Mountain King's Daughter", one of the movements in the "Peer Gynt" incidental music, writing "I have also written something for the scene in the hall of the mountain King – something that I literally can't bear listening to because it absolutely reeks of cow-pies, exaggerated Norwegian nationalism, and trollish self-satisfaction! But I have a hunch that the irony will be discernible."


title: Edvard Grieg

text: Grieg's "Holberg Suite" was originally written for the piano, and later arranged by the composer for string orchestra. Grieg wrote songs in which he set lyrics by poets Heinrich Heine, Johann Wolfgang von Goethe, Henrik Ibsen, Hans Christian Andersen, Rudyard Kipling and others. Russian composer Nikolai Myaskovsky used a theme by Grieg for the variations with which he closed his Third String Quartet. Norwegian pianist Eva Knardahl recorded the composer's complete piano music on 13 LPs for BIS Records from 1977 to 1980. The recordings were reissued during 2006 on 12 compact discs, also on BIS Records. Grieg himself recorded many of these piano works before his death in 1907. Pianist Bertha Tapper edited Grieg’s piano works for publication in America by Oliver Ditson.


title: Nipple stimulation

text: Nipple stimulation or breast stimulation is stimulation of the breast. Stimulation may be by breastfeeding, sexual activity, or an indirect non-sexual response. As part of sexual activity, the practice may be performed upon, or by, people of any gender or sexual orientation. It may occur with the use of fingers, orally, such as by sucking or licking, as well as by use of an object.


title: Nipple stimulation

text: Nipple stimulation may produce sexual excitement, and erect nipples can be an indicator of an individual's sexual arousal. Adult women and men report that breast stimulation may be used to both initiate and enhance sexual arousal, and a few women report experiencing orgasm from nipple stimulation.


title: Nipple stimulation

text: Male and female breasts, nipples and areolas develop similarly in the fetus and during infancy. At puberty, the male's breasts remain rudimentary but the female's develop further, mainly due to the presence of estrogen and progesterone, and become much more sensitive than the male ones. Smaller female breasts, however, are more sensitive than larger ones.


title: Nipple stimulation

text: Breasts, and especially the nipples, are erogenous zones. Nipple stimulation may result in sexual arousal, and erect nipples can be an indicator of an individual's sexual arousal. The individual's sexual partner may find such erection erotically stimulating. A survey in 2006 found that sexual arousal in about 82% of young females and 52% of young males occurs or is enhanced by direct stimulation of nipples, with only 7–8% reporting that it decreased their arousal.


title: Nipple stimulation

text: The stimulation of women's nipples from suckling, including breastfeeding, promotes the production and release of oxytocin and prolactin. Besides creating maternal feelings, it also decreases a woman's anxiety and increases feelings of bonding and trust. Oxytocin is linked to sexual arousal and pair bonding, but researchers are divided on whether breastfeeding commonly incites sexual feelings. Nipple erection during sexual arousal or breastfeeding are both caused by the release of oxytocin. Nipple erection is due to the contraction of smooth muscle under the control of the autonomic nervous system, and is a product of the pilomotor reflex which causes goose bumps.


title: Nipple stimulation

text: Few women report experiencing orgasm from nipple stimulation. Before Komisaruk et al.'s functional magnetic resonance (fMRI) research on nipple stimulation in 2011, reports of women achieving orgasm from nipple stimulation relied solely on anecdotal evidence. Komisaruk's study was the first to map the female genitals onto the sensory portion of the brain; it indicates that sensation from the nipples travels to the same part of the brain as sensations from the vagina, clitoris and cervix, and that these reported orgasms are genital orgasms caused by nipple stimulation, and may be directly linked to the genital sensory cortex ("the genital area of the brain").


title: Bretons

text: The Bretons (; or "Vretoned," ) are a Celtic ethnic group native to Brittany. They trace much of their heritage to groups of Brittonic speakers who emigrated from southwestern Great Britain, particularly Cornwall and Devon, mostly during the Anglo-Saxon settlement of Britain. They migrated in waves from the 3rd to 9th century (most heavily from 450 to 600) into Armorica, which was subsequently named Brittany after them.


title: Bretons

text: The main traditional language of Brittany is Breton ("Brezhoneg"), spoken in Lower Brittany (i.e., the western part of the peninsula). Breton is spoken by around 206,000 people as of 2013. The other principal minority language of Brittany is Gallo; Gallo is spoken only in Upper Brittany, where Breton is less dominant. As one of the Brittonic languages, Breton is related closely to Cornish and more distantly to Welsh, while the Gallo language is one of the Romance "langues d'oïl". Currently, most Bretons' native language is standard French.


title: Bretons

text: Brittany and its people are counted as one of the six Celtic nations. Ethnically, along with the Cornish and Welsh, the Bretons are Celtic Britons. The actual number of Bretons in Brittany and France as a whole is difficult to assess as the government of France does not collect statistics on ethnicity. The population of Brittany, based on a January 2007 estimate, was 4,365,500. It is said that, in 1914, over 1 million people spoke Breton west of the boundary between the Breton- and Gallo-speaking region, roughly 90% of the population of the western half of Brittany. In 1945, it was about 75%, and today, in all of Brittany, at most 20% of Bretons can speak Breton. Brittany has a population of roughly four million, including the department of Loire-Atlantique, which the Vichy government separated from historical Brittany in 1941. Seventy-five percent of the estimated 200,000 to 250,000 Breton speakers using Breton as an everyday language today are over the age of 65.


title: Bretons

text: A strong historical emigration has created a Breton diaspora within the French borders and in the overseas departments and territories of France; it is mainly established in the Paris area, where more than one million people claim Breton heritage. Many Breton families have also immigrated to the Americas, predominantly to Canada (mostly Quebec and Atlantic Canada) and the United States. The only places outside Brittany that still retain significant Breton customs are in Île-de-France (mainly Quartier de Montparnasse in Paris), Le Havre and in Îles des Saintes, where a group of Breton families settled in the mid-17th century.


title: Bretons

text: In the late fourth century, large numbers of British auxiliary troops in the Roman army may have been stationed in Armorica. The ninth-century "Historia Brittonum" states that the emperor Magnus Maximus, who withdrew Roman forces from Britain, settled his troops in the province.


title: Bretons

text: Nennius and Gildas mention a second wave of Britons settling in Armorica in the following century to escape the invading Anglo-Saxons and Scoti. Modern archaeology also supports a two-wave migration.


title: Bretons

text: It is generally accepted that the Brittonic speakers who arrived gave the region its current name as well as the Breton language, "Brezhoneg", a sister language to Welsh and Cornish.


title: Bretons

text: There are numerous records of Celtic Christian missionaries migrating from Britain during the second wave of Breton colonisation, especially the legendary seven founder-saints of Brittany as well as Gildas.


title: Bretons

text: As in Cornwall, many Breton towns are named after these early saints. The Irish saint Columbanus was also active in Brittany and is commemorated at Saint-Columban in Carnac.


title: Bretons

text: In the Early Middle Ages, Brittany was divided into three kingdoms—Domnonée, Cornouaille (Kernev), and Bro Waroc'h ("Broërec")—which eventually were incorporated into the Duchy of Brittany. The first two kingdoms seem to derive their names from the homelands of the migrating tribes in Britain, Cornwall (Kernow) and Devon (Dumnonia). Bro Waroc'h ("land of Waroch", now Bro Gwened) derives from the name of one of the first known Breton rulers, who dominated the region of Vannes (Gwened). The rulers of Domnonée, such as Conomor, sought to expand their territory, claiming overlordship over all Bretons, though there was constant tension between local lords.


title: Bretons

text: Bretons were the most prominent of the non-Norman forces in the Norman conquest of England. A number of Breton families were of the highest rank in the new society and were tied to the Normans by marriage.


title: Bretons

text: The Scottish Clan Stewart and the royal House of Stuart have Breton origins. Alan Rufus, also known as Alan the Red, was both a cousin and knight in the retinue of William the Conqueror. Following his service at Hastings, he was rewarded with large estates in Yorkshire. At the time of his death, he was by far the richest noble in England. His manorial holding at Richmond ensured a Breton presence in northern England. The Earldom of Richmond later became an appanage of the Dukes of Brittany.


title: Bretons

text: Many people throughout France claim Breton ethnicity, including a few French celebrities such as Marion Cotillard, Suliane Brahim, Malik Zidi, Patrick Poivre d'Arvor, Yoann Gourcuff, Nolwenn Leroy and Yann Tiersen.


title: Bretons

text: After 15 years of disputes in the French courts, the European Court of Justice recognized Breton Nationality for the six children of Jean-Jacques and Mireille Manrot-Le Goarnig; they are "European Citizens of Breton Nationality". In 2015, Jonathan Le Bris started a legal battle against the French administration to claim this status.


title: Bretons

text: The Breton community outside Brittany includes Bretons across the other regions of France including the Greater Paris, Le Havre, and Toulon, as well as in other countries including Canada and the United States. In Paris, Bretons used to settle in the neighborhood around the Montparnasse train station, which is also the terminus of the Paris-Brest railway.


title: Bretons

text: Famous Breton Americans and Americans of Breton descent include John James Audubon, Jack Kerouac, and Joseph-Yves Limantour.


title: Bretons

text: Between 1885 and 1970, several thousands Bretons immigrated to the United States, many of them leaving the Black Mountains of Morbihan. In June 2020, a replica of the Statue of Liberty was dedicated in Gourin, Morbihan to celebrate the legacy of these emigrants.


title: Bretons

text: The Breton people are predominantly members of the Catholic Church, with minorities in the Reformed Church of France and non-religious people. Brittany was one of the most staunchly Catholic regions in all of France. Attendance at Sunday mass dropped during the 1970s and the 1980s, but other religious practices such as pilgrimages have experienced a revival. This includes the "Tro Breizh", which takes place in the shrines of the seven founding saints of Breton Christianity. The Christian tradition is widely respected by both believers and nonbelievers, who see it as a symbol of Breton heritage and culture.


title: Bretons

text: A "pardon" is the patron saint's feast day of the parish. It often begins with a procession followed by mass in honour of the saint. "Pardons" are often accompanied by small village fairs.


title: Bretons

text: There is an ancient pilgrimage called the "Tro Breizh" (tour of Brittany) which involves pilgrims walking around Brittany from the grave of one of the Seven Founder Saints to another. Nowadays pilgrims complete the circuit over the course of several years. In 2002, the Tro Breizh included a special pilgrimage to Wales, symbolically making the reverse journey of the Welshmen Paul Aurelian, Brioc, and Samson. According to Breton religious tradition, whoever does not make the pilgrimage at least once in his lifetime will be condemned to make it after his death, advancing only by the length of his coffin every seven years.


title: Bretons

text: Some pagan customs from the old pre-Christian tradition remain the folklore of Brittany. The most powerful folk figure is the Ankou or the "Reaper of Death".


title: Bretons

text: The Breton language is a very important part of Breton identity. Breton itself is one of the Brittonic languages and is closely related to Cornish and more distantly to Welsh. Breton is thus an Insular Celtic language and is more distantly related to the long-extinct Continental Celtic languages such as Gaulish that were formerly spoken on the European mainland, including the areas colonised by the ancestors of the Bretons.


title: Bretons

text: In eastern Brittany, a regional "langue d'oïl", Gallo, developed; it shares certain areal features such as points of vocabulary, idiom, and pronunciation with Breton but is a Romance language. Neither language has official status under French law; however, some still use Breton as an everyday language (particularly the older generation) and bilingual road signs are common in the west of Brittany.


title: Bretons

text: From 1880 to the mid-20th century, Breton was banned from the French school system and children were punished for speaking it in a similar way to which English, not Welsh, was used in Welsh schools during the 18th and early 19th centuries. The situation changed in 1951 with the Deixonne Law allowing Breton language and culture to be taught 1–3 hours a week in the public school system on the proviso that a teacher was both able and prepared to do so. In modern times, a number of schools and colleges have emerged with the aim of providing Breton-medium education or bilingual Breton/French education.


title: Bretons

text: There are four main Breton dialects: Gwenedeg (Vannes), Kerneveg (Cornouaille), Leoneg (Leon) and Tregerieg (Trégor), which have varying degrees of mutual intelligibility. In 1908, a standard orthography was devised. The fourth dialect, Gwenedeg, was not included in this reform, but was included in the later orthographic reform of 1941.


title: Bretons

text: Newspapers, magazines and online journals available in Breton include "Al Lanv", based in Quimper, "Al Liamm", Louarnig-Rouzig, and "Bremañ".


title: Bretons

text: There are a number of radio stations with broadcasts in the Breton language, namely Arvorig FM, France Bleu Armorique, France Bleu Breizh-Izel, Radio Bro Gwened, Radio Kerne, and Radio Kreiz Breizh.


title: Bretons

text: Television programmes in Breton are also available on France 3 Breizh, France 3 Iroise, TV Breizh and TV Rennes. There are also a number of Breton language weekly and monthly magazines.


title: Bretons

text: A "fest-noz" is a traditional festival (essentially a dance) in Brittany. Many "festoù-noz" are held outside Brittany, taking regional Breton culture outside Brittany. Although the traditional dances of the "fest-noz" are old, some dating back to the Middle Ages, the "fest-noz" tradition is itself more recent, dating back to the 1950s.


title: Bretons

text: Fest-Noz was officially registered on Wednesday, December 5, 2012, by UNESCO on the "Representative List of the Intangible Cultural Heritage of Humanity."


title: Bretons

text: There are many traditional Breton dances, the most well-known being "gavottes", "an dro", the "hanter dro", and the "plinn". During the "fest-noz", most dances are practised in a chain or in a circle (holding a finger); however, there are also dances in pairs and choreographed dances with sequences and figures.


title: Bretons

text: Two main types of Breton music are a choral a cappella tradition called "kan ha diskan", and music involving instruments, including purely instrumental music. Traditional instruments include the bombard (similar to an oboe) and two types of bagpipes ("veuze" and "binioù kozh"). Other instruments often found are the diatonic accordion, the clarinet, and occasionally violin as well as the hurdy-gurdy. After World War II, the Great Highland bagpipe (and "binioù bras") became commonplace in Brittany through the "bagadoù" (Breton pipe bands) and thus often replaced the "binioù-kozh". The basic clarinet ("treujenn-gaol") had all but disappeared but has regained popularity over the past few years.


title: Bretons

text: Nowadays groups with many different styles of music may be found, ranging from rock to jazz such as Red Cardell, ethno-rock, Diwall and Skeduz as well as punk. Some modern "fest-noz" groups also use electronic keyboards and synthesisers, for example Strobinell, Sonerien Du, Les Baragouineurs, and Plantec.


title: Bretons

text: Breton cuisine contains many elements from the wider French culinary tradition. Local specialities include:


title: Bretons

text: Traditional Breton symbols and symbols of Brittany include the national anthem "Bro Gozh ma Zadoù" based on the Welsh "Hen Wlad Fy Nhadau". The traditional motto of the former Dukes of Brittany is "Kentoc'h mervel eget bezañ saotret" in Breton, or "Potius mori quam fœdari" in Latin. The "national day" is observed on 1 August, the Feast of Saint Erwann (Saint Yves). The ermine is an important symbol of Brittany reflected in the ancient blazons of the Duchy of Brittany and also in the chivalric order, "L’Ordre de l’Hermine" (The Order of the Ermine).


title: Bretons

text: Breizh.net – a non-profit association dedicated to the promotion of Brittany and the Breton language on the Internet Breizh.net


title: Sandy Denny

text: Alexandra Elene MacLean Denny (6 January 1947 – 21 April 1978) was an English singer who was lead singer of the British folk rock band Fairport Convention. She has been described as "the pre-eminent British folk rock singer".


title: Sandy Denny

text: After briefly working with the Strawbs, Denny joined Fairport Convention in 1968, remaining with them until 1969. She formed the short-lived band Fotheringay in 1970, before focusing on a solo career. Between 1971 and 1977, Denny released four solo albums: "The North Star Grassman and the Ravens", "Sandy", "Like an Old Fashioned Waltz" and "Rendezvous". She also duetted with Robert Plant on "The Battle of Evermore" for Led Zeppelin's album "Led Zeppelin IV" in 1971. Denny died in 1978 at the age of 31 due to injuries and health issues related to alcohol abuse.


title: Sandy Denny

text: Music publications "Uncut" and "Mojo" have described Denny as Britain's finest female singer-songwriter. Her composition "Who Knows Where the Time Goes?" has been recorded by Judy Collins, Eva Cassidy, Nina Simone, 10,000 Maniacs and Cat Power. Her recorded work has been the subject of numerous reissues, along with a wealth of previously unreleased material which has appeared over the more than 40 years since her death, including a 19-CD box set released in November 2010.


title: Sandy Denny

text: Denny was born on 6 January 1947 at Nelson Hospital, Kingston Road, Merton Park, London, to Neil and Edna Denny. She studied classical piano as a child.


title: Sandy Denny

text: Her paternal grandfather was from Dundee, and her paternal grandmother was a Scots Gaelic speaker and singer of traditional songs. At an early age Denny showed an interest in singing, although her strict parents were reluctant to believe there was a living to be made from it. She attended Coombe Girls' School in New Malden; after leaving school she began training as a nurse at the Royal Brompton Hospital.


title: Sandy Denny

text: Denny's nursing career proved short-lived. In the meantime she had secured a place on a foundation course at Kingston College of Art, which she took up in September 1965, becoming involved with the folk club on campus. Her contemporaries at the college included guitarist and future member of Pentangle, John Renbourn.


title: Sandy Denny

text: After her first public appearance at the Barge in Kingston upon Thames, Denny began working the folk club circuit in the evenings with an American-influenced repertoire, including songs by Tom Paxton, together with traditional folk songs. Denny made the first of many appearances for the BBC at Cecil Sharp House on 2 December 1966 on the "Folk Song Cellar" programme where she accompanied herself on two traditional songs: "Fir a Bhata" and "Green Grow the Laurels".


title: Sandy Denny

text: Her earliest professional recordings were made a few months later in mid-1967 for the Saga label, featuring traditional songs and covers of folk contemporaries including her boyfriend of this period, the American singer-songwriter Jackson C. Frank. They were released on the albums "Alex Campbell and His Friends" and "Sandy and Johnny" with Johnny Silvo. These songs were collected on the 1970 album "It's Sandy Denny" where the tracks from "Sandy and Johnny" had been re-recorded with more accomplished vocals and guitar playing. The complete Saga studio recordings were issued on the 2005 compilation "Where The Time Goes".


title: Sandy Denny

text: By this time, she had abandoned her studies at art college and was devoting herself full-time to music. While she was performing at The Troubadour folk club, a member of the Strawbs heard her, and in 1967, she was invited to join the band. She recorded one album with them in Denmark, which was released belatedly in 1973, credited to Sandy Denny and the Strawbs: "All Our Own Work". The album includes an early solo version of her best-known (and widely recorded) composition, "Who Knows Where the Time Goes?" A demo of that song found its way into the hands of American singer Judy Collins, who chose to cover it as the title track of an album of her own, released in November 1968, thus giving Denny international exposure as a songwriter before she had become widely known as a singer.


title: Sandy Denny

text: After making the Saga albums with Alex Campbell and Johnny Silvo, Denny looked for a band that would allow her to stretch herself as a vocalist, reach a wider audience, and have the opportunity to display her songwriting. She said, "I wanted to do something more with my voice." After working briefly with the Strawbs, Denny remained unconvinced that they could provide that opportunity, and so she ended her relationship with the band.


title: Sandy Denny

text: Fairport Convention conducted auditions in May 1968 for a replacement singer following the departure of Judy Dyble after their debut album, and Denny became the obvious choice. According to group member Simon Nicol, her personality and musicianship made her stand out from the other auditionees "like a clean glass in a sink full of dirty dishes".


title: Sandy Denny

text: Beginning with "What We Did on Our Holidays", the first of three albums she made with the band in the late 1960s, Denny is credited with encouraging Fairport Convention to explore the traditional British folk repertoire, and is thus regarded as a key figure in the development of British folk rock. She brought with her the traditional repertoire she had refined in the clubs, including "A Sailor's Life" featured on their second album together "Unhalfbricking". Framing Denny's performance of this song with their own electric improvisations, her bandmates discovered what then proved to be the inspiration for an entire album, the influential "Liege & Lief" (1969).


title: Sandy Denny

text: Denny left Fairport Convention in December 1969 to develop her own songwriting more fully. To this end, she formed her own band, Fotheringay, which included her future husband, Australian Trevor Lucas, formerly of the group Eclection.


title: Sandy Denny

text: They created one self-titled album, which included an eight-minute version of the traditional "Banks of the Nile", and several Denny originals, among them "The Sea" and "Nothing More". The latter marked her first composition on the piano, which was to become her primary instrument from then on. Fotheringay started to record a second album in late 1970, but it remained unfinished after Denny announced that she was leaving the group and producer Joe Boyd left to take up a job at Warner Brothers in California. Denny would later blame Boyd's hostility towards the group for its demise.


title: Sandy Denny

text: She then turned to recording her first solo album, "The North Star Grassman and the Ravens". Released in 1971, it is distinguished by its elusive lyrics and unconventional harmonies. Highlights included "Late November", inspired by a dream and the death of Fairport band member Martin Lamble, and "Next Time Around" a cryptogram about Jackson C. Frank, one of her many portraits in song.


title: Sandy Denny

text: "Sandy", with a cover photograph by David Bailey, followed in 1972 and was the first of her albums to be produced by Trevor Lucas. As well as introducing eight new original compositions, the album marked her last recording of a traditional song, "The Quiet Joys of Brotherhood" (words by Richard Fariña), with Denny's ambitious multi-tracked vocal arrangement inspired by the Ensemble of the Bulgarian Republic.


title: Sandy Denny

text: "Melody Maker" readers twice voted her the "Best British Female Singer", in 1970 and 1971 and, together with contemporaries including Richard Thompson and Ashley Hutchings, she participated in a one-off project called the Bunch to record a collection of rock and roll era standards released under the title of "Rock On".


title: Sandy Denny

text: In 1971, Denny duetted with Robert Plant on "The Battle of Evermore", which was included on Led Zeppelin's 1971 album ("Led Zeppelin IV"); she was the only guest vocalist ever to appear on a Led Zeppelin album. In 1972 Denny had a small cameo on Lou Reizner's symphonic arrangement of the Who's rock opera "Tommy". Her brief appearance was at the end of the track "It's a Boy", which also featured vocals from Pete Townshend.


title: Sandy Denny

text: In 1973, she married long-term boyfriend and producer Trevor Lucas and recorded a third solo album, "Like an Old Fashioned Waltz". The songs continued to detail many of her personal preoccupations: loss, loneliness, fear of the dark, the passing of time and the changing seasons. The album contained one of her best loved compositions, "Solo", and featured a cover image by Gered Mankowitz.


title: Sandy Denny

text: In 1974, she returned to Fairport Convention (of which her husband was by then a member) for a world tour (captured on the 1974 album "Fairport Live Convention") and a studio album, "Rising for the Moon" in 1975. Although her development as a soloist and songwriter had taken her further away from the folk roots direction that the band had pursued since "Liege & Lief", seven of the eleven tracks on "Rising for the Moon" were either written or co-written by her.


title: Sandy Denny

text: Denny and Lucas left Fairport Convention at the end of 1975 and embarked on what was to become her final album "Rendezvous". Released in 1977, the album sold poorly and Denny was subsequently dropped by Island Records. Having relocated to the village of Byfield in Northamptonshire in the mid-seventies, Denny gave birth to her only child, a daughter named Georgia, in July 1977.


title: Sandy Denny

text: A UK tour to promote "Rendezvous" in autumn 1977 marked her final public appearances. The closing night at the Royalty Theatre in London on 27 November 1977 was recorded for a live album, "Gold Dust", which, because of technical problems in the recording of the electric guitar, was belatedly released in 1998 after most of the guitars had been re-recorded by Jerry Donahue.


title: Sandy Denny

text: Linda Thompson would later note that Denny "really started going downhill in 1976" and demonstrated increasing levels of both manic and depressive behaviour. Learning that she was pregnant did little to mellow Denny's reckless lifestyle, which was heightened by increasing depression, mood swings and the unravelling of her "tumultuous" marriage to Trevor Lucas. She abused drugs and alcohol while pregnant with her daughter, Georgia, who was born prematurely in July 1977. Much like her moods, Denny's interest towards her daughter appeared to oscillate between obsessive and unconcerned; friends recalled both frantic, middle-of-the-night phone calls about teething, as well as Denny "crashing the car and leaving the baby in the pub and all sorts of stuff".


title: Sandy Denny

text: Friends would later note that Denny had a history of purposely throwing herself off bar stools and down flights of stairs in order to get a reaction. Several remembered this behaviour as "Sandy's party trick", while Dave Pegg's wife Chris stated, "She certainly did it in my house and it could be a very dramatic gesture, like self-harming. She could do it without hurting herself usually but I had a feeling there would be one time too many." Those who knew Denny said that her increasing level of alcohol abuse in the last years of her life led to an increasing number of falls (both accidental and deliberate), resulting in a growing number of injuries.


title: Sandy Denny

text: In late March 1978, while on holiday with her parents and baby Georgia in Cornwall, Denny was injured when she fell down a staircase and hit her head on concrete. Following the incident, she suffered from intense headaches; a doctor prescribed her the painkiller dextropropoxyphene, a drug known to have fatal side effects when mixed with alcohol. On 1 April, several days after the fall in Cornwall, Denny performed a charity concert at Byfield. The final song she performed was "Who Knows Where the Time Goes?"


title: Sandy Denny

text: At some unknown point during the first half of April 1978, Denny suffered yet another major fall at her home in Byfield. On 13 April, concerned about his wife's erratic behaviour and fearing for his daughter's safety, Trevor Lucas left the UK and returned to his native Australia with their child, leaving Denny without telling her. He sold their Austin Princess car in order to raise funds for the journey.


title: Sandy Denny

text: On discovering Lucas' departure, Denny went to stay at the home of her friend Miranda Ward. During this time, Denny apparently set up an appointment to speak with a doctor about her headaches, and also intended to get advice about her alcohol addiction. At some point after 8 am on 17 April, Denny fell into a coma. Ward was out of the house at the time, and had asked her friend Jon Cole (of the band The Movies) to check in on Denny. Cole entered the home at 3 pm, and found Denny unconscious at the foot of the staircase which led to the second floor of the house. She was rushed by ambulance to Queen Mary's Hospital in nearby Roehampton.


title: Sandy Denny

text: On 19 April, she was transferred to Atkinson Morley Hospital in Wimbledon. After receiving news that Denny was in a coma, Lucas returned from Australia. Upon his arrival at the hospital, doctors informed him that Denny was effectively brain-dead and her condition would not improve. He granted their recommendation to turn off life-support machines; however, just ten minutes before this was to take place, at 7:50 pm on 21 April 1978, Sandy Denny died, without regaining consciousness. Her death was ruled to be the result of a traumatic mid-brain haemorrhage and blunt force trauma to her head. She was 31 years old.


title: Sandy Denny

text: The funeral took place on 27 April 1978 at Putney Vale Cemetery. After the vicar had read Denny's favourite psalm, Psalm 23, a piper played "Flowers of the Forest", a traditional song commemorating the fallen of Flodden Field and one which had appeared on the 1970 Fairport album "Full House". The inscription on her headstone reads:


title: Sandy Denny

text: Although Denny had a devoted following in her lifetime, she did not achieve mass market success. In the years since her death, her reputation has grown. A four-album box set entitled "Who Knows Where the Time Goes?" (1985) was produced by her widower Trevor Lucas and Joe Boyd and included a number of rare and previously unreleased tracks by Denny, either solo or with Fairport Convention (1968, 1969, 1974) and Fotheringay (1970). This was the first public indication that a large cache of unreleased material existed. A one-disc subset of these recordings was subsequently issued on CD by Island in 1987 entitled "The Best Of Sandy Denny".


title: Sandy Denny

text: In 1987, a compilation of previously unreleased tracks recorded for the BBC by incarnations of Fairport including Denny was released on LP under the title "Heyday", which was subsequently released on CD in 2001 and again, with extra tracks, in 2002; all tracks were later included, with others, on the 2007 4-CD box set "Fairport Convention Live at the BBC" (see below). The initial purpose of this compilation was to document the more "American" material performed live by the "What We Did on Our Holidays" lineup of the band that never made it to vinyl, while the re-releases added additional songs as performed by the "Unhalfbricking" and "Liege and Lief" lineups.


title: Sandy Denny

text: Also in 1987, a VHS documentary, "It All Comes 'Round Again", on Fairport Convention was released which contained excerpts of several audio recordings featuring Denny, plus a single poor-quality video recording of her singing her song "Solo" during her second stint with Fairport in 1974, as filmed by the University of Birmingham's "Guild TV" amateur organisation. The original tape of this recording has apparently been lost; however, "Like an Old Fashioned Waltz" does appear on the DVD documentary "Sandy Denny Under Review" (see below) and other tracks have been made available via YouTube in very poor quality.


title: Sandy Denny

text: Over the period 1988–1994, the Australian "Friends of Fairport" issued a series of subscriber-only cassette compilations drawing in the main on previously unreleased tapes from Trevor Lucas' collection (as stored in his attic in fact). Attic Tracks (AT) 1 (1988) contained out-takes from Sandy as well as some Fairport material and a few bizarre extras; AT 2 (1989) contained only Trevor Lucas material, no Denny; AT 3 (1989) entitled "First and Last Tracks" comprised 1966–1967 home demos and rare radio tracks, as well as 9 "pre-overdub" songs from Denny's last concert at the Royalty Theatre, London, on 27 November 1977 (a partial alternative to the later, overdubbed CD release "Gold Dust"), and AT 4 (1994): "Together Again" comprised one side of Lucas and the other of Denny in the form of more home demos, studio outtakes, and 4 tracks from a 1973 BBC radio concert. A cut-down version of these tracks (18 songs) was subsequently compiled for CD release by the Australian label Raven Records in 1995 called "Sandy Denny, Trevor Lucas and Friends: The Attic Tracks 1972–1984".


title: Sandy Denny

text: In 1991, Joe Boyd issued a new version of Denny's "All Our Own Work" album with the Strawbs, called "Sandy Denny and the Strawbs", on his Hannibal Records label. The album had strings added to some tracks, including "Who Knows Where the Time Goes?" and further tracks with Denny on lead vocal.