title: Roundabout

text: For pedestrians, traffic exiting the roundabout comes from "one" direction, instead of "three", simplifying the pedestrian's visual environment. Traffic moves slowly enough to allow visual engagement with pedestrians, encouraging deference towards them. Other benefits include reduced driver confusion associated with perpendicular junctions and reduced queuing associated with traffic lights. They allow U-turns within the normal flow of traffic, which often are not possible at other forms of junction. Moreover, since vehicles that run on gasoline averagely spend less time idling at roundabouts than at signalled intersections, using a roundabout potentially leads to less pollution. When entering vehicles only need to give way, they do not always perform a full stop; as a result, by keeping a part of their momentum, the engine will produce less work to regain the initial speed, resulting in lower emissions. Research has also shown that slow-moving traffic in roundabouts makes less noise than traffic that must stop and start, speed up and brake.


title: Roundabout

text: Modern roundabouts were first standardised in the UK in 1966 and were found to be a significant improvement over previous traffic circles and rotaries. Since then, modern roundabouts have become commonplace throughout the world, including Australia, the United Kingdom and France.


title: Roundabout

text: Although some may still be (somewhat confusingly) referred to as 'roundabouts', the operating and entry characteristics of these traffic circles differed considerably from modern roundabouts.


title: Roundabout

text: Circular intersections were built in the United States, though many were large-diameter 'rotaries' that enabled high-speed merge and weave manoeuvres. Older-style traffic circles may control entering traffic by stop signs or traffic lights. Many allow entry at higher speeds without deflection, or require a stop and a 90-degree turn to enter. Because these circumstances caused a lot of vehicle collisions, construction of traffic circles and rotaries ceased around the world in the 1950s, and some were removed.


title: Roundabout

text: Widespread use of the modern roundabout began when the UK's Transport Research Laboratory engineers re-engineered and standardised circular intersections during the 1960s. Frank Blackmore led the development of the "priority rule" and subsequently invented the mini-roundabout to overcome capacity and safety limitations. The priority rule was found to improve traffic flow by up to 10%. In 1966, the United Kingdom adopted a rule at all circular junctions that required entering traffic to give way to circulating traffic. A Transportation Research Board guide reports that the modern roundabout represents a significant improvement, in terms of both operations and safety, when compared with older rotaries and traffic circles. The design became mandatory in the United Kingdom for all new roundabouts in November 1966. Australia and other British-influenced countries were the first outside the UK to build modern roundabouts.


title: Roundabout

text: In the United States modern roundabouts emerged in the 1990s after years of planning and educational campaigning by Frank Blackmore and Leif Ourston, who sought to bring the by then well-established increased safety and traffic flow in other countries to America. The very first was constructed in Summerlin, Nevada in the summer of 1990. This roundabout occasioned dismay from residents, and a local news program said about it, "Even police agree, [roundabouts] can be confusing at times." Between 1990 and 1995, numerous modern roundabounts were built in California, Colorado, Florida, Maryland, Nevada, and Vermont.


title: Roundabout

text: Municipalities introducing new roundabouts often were met with some degree of public resistance, just as in the United Kingdom in the 1960s.


title: Roundabout

text: In the mid-2010s, about 3% of the then circa 4,000 U.S. modern roundabouts were located in Carmel, Indiana, whose mayor James Brainard had been actively promoting their construction; because of increased safety, injuries caused by car accidents in the city dropped by 80% after 1996. there were about 4,800 modern roundabouts in the United States. As an example, Washington state contained about 120 roundabouts , all having been built since 1997, with more planned.


title: Roundabout

text: The first Canadian modern roundabout was built in 1999. They became increasingly popular amongst traffic planners and civil engineers in the 15 years thereafter due to their success in Europe. By 2014 there were about 400 roundabouts in Canada at the time (most in Quebec, Alberta, British Columbia and Ontario), or one per 90,000 inhabitants (compared to one per 84,000 inhabitants in the United States that year).


title: Roundabout

text: A ""modern" roundabout" is a type of looping junction in which road traffic travels in one direction around a central island and priority is given to the circulating flow. Signs usually direct traffic entering the circle to slow and to give way to traffic already on it.


title: Roundabout

text: Because low speeds are required for traffic entering roundabouts, they are physically designed to slow traffic entering the junction to improve safety, so that the roads typically approach the junction "radially"; whereas older-style traffic circles may be designed to try to increase speeds, and have roads that enter the circle "tangentially".


title: Roundabout

text: Roundabouts are normally not used on controlled-access highways because of the low speed requirement, but may be used on lower grades of highway such as limited-access roads. When such roads are redesigned to incorporate roundabouts, traffic speeds must be reduced via tricks such as curving the approaches.


title: Roundabout

text: Many traffic circles have been converted to modern roundabouts, including the former Kingston traffic circle in New York and several in New Jersey. Others have been converted to signalised intersections, such as the Drum Hill Rotary in Chelmsford, Massachusetts, which is now six lanes wide and controlled by four separate intersections.


title: Roundabout

text: In U.S. dictionaries the terms "roundabout", "traffic circle", "road circle" and "rotary" are synonyms. However, several experts such as Leif Ourston have stressed the need to distinguish between the characteristics of the modern roundabout and the nonconforming traffic circle:


title: Roundabout

text: The U.S. Department of Transportation adopted the term "modern roundabout" to distinguish those that require entering drivers to give way to others. Many old traffic circles remain in the northeastern US. Some modern roundabouts are elongated to encompass additional streets, but traffic always flows in a loop.


title: Roundabout

text: In the United States, traffic engineers typically use the term "rotary" for large-scale circular junctions between expressways or controlled-access highways. Rotaries of this type typically feature high speeds inside the circle and on the approaches.


title: Roundabout

text: In the United States' New England region, however, "rotary" is the general term for all roundabouts, including those with modern designs. State laws in these states mandate that traffic already driving in the rotary always has the right of way. For instance, in Massachusetts, "Any operator of a vehicle entering a rotary intersection shall yield the right-of-way to any vehicle already in the intersection." In Rhode Island entering vehicles "Yield to vehicles in the roundabout."


title: Roundabout

text: In the Channel Islands a third type of roundabout, known as "Filter in Turn", exists. Here approaching drivers neither give way to traffic on the roundabout, as normal, nor have priority over it, but take it in turns to enter from each. Almost all of Jersey's roundabouts are of this type.


title: Roundabout

text: The fundamental principle of modern roundabouts is that entering drivers give way to traffic within the roundabout without the need for traffic signals. Conversely, older traffic circles typically require circling drivers to give way to entering traffic. Roundabouts may also have an interior lane. Generally, exiting directly from an inner lane of a multi-lane roundabout is permitted, given that the intersecting road has as many lanes as the roundabout. By contrast, exiting from an inner lane of an older traffic circle is usually not permitted and traffic must first move into the outside lane.


title: Roundabout

text: Vehicles circulate around the central island in one direction at speeds of . In left-hand traffic countries they circulate clockwise (looking from above); in right-hand traffic, anticlockwise.


title: Roundabout

text: Multi-lane roundabouts are typically less than in diameter; older traffic circles and roundabout interchanges may be considerably larger. Roundabouts are roughly the same size as signalled intersections of the same capacity.


title: Roundabout

text: Modern roundabouts feature a central island and sometimes pedestrian islands at each entry or exit often for decoration.


title: Roundabout

text: Denmark has begun widespread adoption of particular high islands, or if not possible, obstacles such as hedges or a ring of trees in larger examples. This is done to further increase the safety benefits of roundabouts, as the obstacles have been found to discomfort drivers more so than the roundabout itself compared to conventional intersections, thus initiating further observation and care taking of the driver. In Denmark, it was found to decrease accidents in roundabouts by -27% to -84% depending on height and type. In studies, heights of 0-0.9, 1-1.9 and 2+ metres were evaluated. It was found that for all heights, especially accidents leading to human injuries were reduced the most, by -47% to -84% for the aforementioned heights. The level of irritation to drivers is not to be understated, as it is the crucial point of the design: to force drivers to pay attention to the sides of the driving direction. This leads to drivers complaining about these designs, as Denmark in most regards embraces designing road infrastructure, such that the wanted driving behaviour leads to comfort i.e., lane width corresponding to speed limit and obstacles encouraging slowdown near points of safety concern such as schools. Such is the controversy for drivers that seasoned drivers teachers complain about this discomfort a decade after its safety is proven and adoption widespread.


title: Roundabout

text: The central island may be surrounded by a truck apron that is high enough to discourage drivers from crossing over it, but low enough to allow wide or long vehicles to navigate the roundabout. The island may provide a visual barrier, to alert approaching drivers to the presence of the roundabout, and to encourage drivers to focus on the traffic in the path of the circle. A visual barrier significantly reduces the accident rate. Otherwise, vehicles anywhere in or near the circle can cause those entering to stop and wait for them to pass, even if they are opposite, which unnecessarily reduces traffic flow. The barrier may be a landscaped mound, a raised wall, a tree or tall shrubs. Road signage or flagpoles may be erected at the top of a landscaped mound.


title: Roundabout

text: Some communities use the island for monuments, the display of large public art or for a fountain. Pedestrians may be prohibited from crossing the circling lane(s). Access to the central island requires an underpass or overpass for safety.


title: Roundabout

text: For larger roundabouts, pedestrian islands at each entry/exit encourage drivers to slow and prepare to enter the circle. They also provide a refuge where pedestrians may pause mid-crossing.


title: Roundabout

text: Vehicles or bicycles entering or exiting the roundabout must yield to all traffic including pedestrians.


title: Roundabout

text: Pedestrian crossings at each entry/exit may be located at least one full car length outside the circle. The extra space allows pedestrians to cross behind vehicles waiting to enter the circle, and to allow exiting vehicles to stop for pedestrians without obstruction. Each pedestrian crossing may traverse a pedestrian island for protection that also forces drivers to slow and begin to change direction, encouraging slower, safer speeds. On the island, the pedestrian crossing may become diagonal, to direct the gaze of those crossing into exiting traffic.


title: Roundabout

text: Physically separated bikeways best protect cyclists. Less optimally, terminating cycle lanes well before roundabout entrances requires cyclists to merge into the stream of motor traffic, but keeps cyclists in full view of drivers, at some cost in motor vehicle speed. Cyclists may also be permitted to use pedestrian crossings.


title: Roundabout

text: Traditional cycle lanes increase vehicle–bicycle collisions. When exiting, a motorist must look ahead to avoid colliding with another vehicle or with pedestrians on a pedestrian crossing. As the intersection curves away from the exit, the path of an exiting vehicle is relatively straight, and so the motorist may often not slow substantially. To give way to a cyclist on the outside requires the exiting motorist to look toward the rear, to the perimeter. Other vehicles can obstruct the driver's view in this direction, complicating the motorist's task. The more frequent requirements for motorists to slow or stop reduce traffic flow. A 1992 study found that the risk to cyclists is high in all such intersections, but much higher when the junction has a marked bicycle lane or sidepath around its perimeter. Cycle lanes were installed at Museum Road, Portsmouth, but were replaced by a narrowed carriageway to encourage lane sharing.


title: Roundabout

text: The roundabout at the Brown Road and Loop 202 interchange in Mesa, Arizona, adopts a U.S.-recommended design. On-street pavement markings direct cyclists to enter the sidewalk at the end of the bike lane. Cyclists who choose to travel on the wide sidewalk, cross roundabout arms perpendicularly, well outside the circle. A pedestrian island allows pedestrians and cyclists to cross one lane at a time.


title: Roundabout

text: The capacity of a roundabout varies based on entry angle, lane width, and the number of entry and circulating lanes. As with other types of junctions, operational performance depends heavily on the flow volumes from various approaches. A single-lane roundabout can handle approximately 20,000–26,000 vehicles per day, while a two-lane design supports 40,000 to 50,000.


title: Roundabout

text: Under many traffic conditions, a roundabout operates with less delay than signalised or all-way stop approaches. Roundabouts do not stop all entering vehicles, reducing both individual and queuing delays. Throughput further improves because drivers proceed when traffic is clear without waiting for a signal to change.


title: Roundabout

text: Roundabouts can increase delays in locations where traffic would otherwise often not be required to stop. For example, at the junction of a high-volume and a low-volume road, traffic on the busier road would stop only when cross traffic was present, otherwise not having to slow for the roundabout. When the volumes on the roadways are relatively equal, a roundabout can reduce delays, because half of the time a full stop would be required. Dedicated left turn signals (in countries where traffic drives on the right) further reduce throughput.


title: Roundabout

text: Roundabouts can reduce delays for pedestrians compared to traffic signals, because pedestrians are able to cross during any safe gap rather than waiting for a signal. During peak flows when large gaps are infrequent, the slower speed of traffic entering and exiting can still allow crossing, despite the smaller gaps.


title: Roundabout

text: Studies of roundabouts that replaced stop signs and/or traffic signals found that vehicle delays were reduced 13–89 percent and the proportion of vehicles that stopped was reduced 14–56 percent. Delays on major approaches increased as vehicles slowed to enter the roundabouts.


title: Roundabout

text: Roundabouts have been found to reduce carbon monoxide emissions by 15–45 percent, nitrous oxide emissions by 21–44 percent, carbon dioxide emissions by 23–37 percent and hydrocarbon emissions by 0–42 percent. Fuel consumption was reduced by an estimated 23–34 percent.


title: Roundabout

text: Many countries have researched roundabout capacity. The software can help calculate capacity, delay and queues. Packages include ARCADY, Rodel, Highway Capacity Software and Sidra Intersection. ARCADY and Rodel are based on the Transport Research Laboratory mathematical model. The TRL approach is derived from empirical models based on geometric parameters and observed driver behaviour with regard to lane choice. Sidra Intersection software includes roundabout capacity models developed in Australia and the US.


title: Roundabout

text: Research on Australian roundabouts was conducted in the 1980s at the Australian Road Research Board (ARRB). Its analytical capacity and performance models differ from the TRL model significantly, following a lane-based gap-acceptance theory including geometric parameters.


title: Roundabout

text: Research on U.S. roundabouts sponsored by the Transportation Research Board (TRB) and Federal Highway Administration (FHWA) culminated in a capacity model that was included in the "Highway Capacity Manual" (HCM) Edition 6 and the "TRB-FHWA Roundabout Informational Guide" (NCHRP Report 672). The HCM Edition 6 model is based on lane-based gap-acceptance theory. A recent NCHRP survey of US state transport agencies found that Sidra Intersection is the most widely used software tool in the US for roundabout analysis.


title: Roundabout

text: Statistically, modern roundabouts are safer for drivers and pedestrians than both older-style traffic circles and traditional intersections. Compared with these other forms of intersections, modern roundabouts experience 39% fewer vehicle collisions, 76% fewer injuries and 90% fewer serious injuries and fatalities (according to a study of a sampling of roundabouts in the United States, when compared with the junctions they replaced). At junctions with stop signs or traffic lights, the most serious accidents are right-angle, left-turn or head-on collisions where vehicles move fast and collide at high impact angles, e.g. head-on. Roundabouts virtually eliminate those types of crashes. Instead, most crashes are glancing blows at low angles of impact. Further, a study based on satellite imagery of all intersections in Australia observed consistently low speeds on roundabouts compared to other intersection types, contributing to reduced injury severity in case of a crash.


title: Roundabout

text: Some larger roundabouts take foot and bicycle traffic through underpasses or alternate routes. However, an analysis of the New Zealand national crash database for the period 1996–2000 shows that 26% of cyclists reported injury crashes happened at roundabouts, compared to 6% at traffic signals and 13% at priority controlled junctions. The New Zealand researchers propose that low vehicle speeds, circulatory lane markings and mountable centre aprons for trucks can reduce the problem. The most common roundabout crash type for cyclists, according to the New Zealand study, involves a motor vehicle entering the roundabout and colliding with a cyclist who already is travelling around the roundabout (more than half of cyclist/roundabout crashes in New Zealand fall into this category). The next most common crash type involves motorists leaving the roundabout colliding with cyclists who are continuing farther around the perimeter.


title: Roundabout

text: Poorly designed walkways increase risks for the vision-impaired, because it is more difficult than at a signalised intersection to audibly detect whether there is a sufficient gap in traffic to cross safely. At a signalised intersection, traffic comes to a stop, and an audible sound can be generated to indicate that it is time to cross.


title: Roundabout

text: This issue has led to a conflict in the United States between the vision-impaired and civil engineering communities. One solution is to provide manually-operated pedestrian crossing signals at each entry. This increases construction and operation costs, and requires some way to disrupt traffic long enough for the pedestrian to cross (such as a HAWK beacon) that defeats the purpose of the roundabout. Signalisation also increases delays for most pedestrians during periods of light traffic, since pedestrians need to wait for a signal to change before (legally) crossing.


title: Roundabout

text: Signalised pedestrian crossings are normally used on large-diameter roundabout interchanges rather than small-diameter modern roundabouts.


title: Roundabout

text: Large roundabouts, such as those used at motorway junctions, typically have two to six lanes and may include traffic lights to regulate flow.


title: Roundabout

text: Some roundabouts have a divider or subsidiary deflection island, by means of which is provided a "free flow" segregated left- (or right-) turn lane (for the UK see Design Manual for Roads and Bridges TD 51/03) between traffic moving between two adjacent roads, and traffic within the roundabout, enabling drivers to bypass the roundabout.


title: Roundabout

text: The term "gyratory" (for example, Hanger Lane gyratory) is sometimes used in the United Kingdom for a large circular intersection with non-standard lane markings or priority arrangements, or where there are significant lengths of carriageway between the entry arms, or when buildings occupy the central island.


title: Roundabout

text: In the 21st century several gyratory systems in London have been removed, including Tottenham Hale and Elephant and Castle.


title: Roundabout

text: As the overall or external size of a roundabout (in the UK referred to as the Inscribed Circle Diameter – ICD) is reduced, so the maximum practicable (and prescribed) diameter for the central island is also reduced, whilst the width of the circulatory carriageway increases (due to the greater width of vehicle swept path at smaller turning radii). In most cases, this results in it being too easy – certainly when traffic is light relative to capacity – for drivers to traverse the roundabout at relatively high speed, with scant regard for road markings or the potential dangers to self or conflicts with other road users. To mitigate this risk, a proportion of the circulatory carriageway – an annulus around the central island – is segregated from general use by demarcation lines and differentiated from the outer annulus of the carriageway by a combination of a slightly raised surface, adverse crossfall, contrasting colours and textures and demarcating lines. The effect of this is to discourage drivers from taking a more direct path through the roundabout, their line of least resistance is more tightly curved (and therefore slower) but more bearable. The inner annulus provides for the trailing axles of longer or articulated vehicles to sweep across the inner annulus, which is therefore known as an over-run area (in UK usage), truck apron, or mountable apron.


title: Roundabout

text: The smaller the roundabout, the more such mitigation measures are likely to be abused – the less effective they will be. In the UK the minimum size for roundabouts with raised islands is 28 metre diameter ICD with a 4-metre diameter island. This threshold being driven primarily by vehicle geometry – which is globally relatively consistent – rather than driver behaviour, it is adopted in other jurisdictions too. Below this minimum size, the mini-roundabout prevails.


title: Roundabout

text: After developing the offside priority rule, Frank Blackmore, of the UK's Transport Research Laboratory, turned his attention to the possibility of a roundabout that could be built at sites lacking room for a conventional roundabout.


title: Roundabout

text: Mini-roundabouts can incorporate a painted circle or a low dome but must be fully traversable by vehicles. Motorists can drive over them when there is no other traffic, but it is dangerous to do so otherwise. Once the practice is established it may be difficult to discourage. Mini-roundabouts use the same right-of-way rules as standard roundabouts but produce different driver behaviour. Mini-roundabouts are sometimes grouped in pairs (a double mini-roundabout) or in "chains", simplifying navigation of otherwise awkward junctions. In some countries road signs distinguish mini-roundabouts from larger ones.


title: Roundabout

text: Mini-roundabouts are common in the UK, Ireland and Hong Kong (particularly on Hong Kong Island), as well as Irapuato in Mexico.


title: Roundabout

text: In the UK and also in other jurisdictions that have adopted mini-roundabouts, to drive across the central disc or dome when it is practicable to avoid it is an offence. Vehicles are required to treat the painted circle as if it were a solid island and drive around it. Some local authorities paint double white lines around the circle to indicate this, but these require permission from the Secretary of State for Transport. The central dome also must be able to be overrun by larger vehicles.


title: Roundabout

text: In the UK – and also in other highway jurisdictions – the maximum size for a mini roundabout is 28 metre (30 yard) ICD (inscribed circle diameter).


title: Roundabout

text: These roundabouts do not form a complete circle and have a "raindrop" or "teardrop" shape. They have also been used at bowtie intersections, replacing traffic signals that are inefficient without a turning lane. In addition to their use at intersections, raindrop roundabouts are also used in dogbone interchanges (described below).


title: Roundabout

text: A balcony roundabout is just an elevated roundabout. They are constructed in such a way that vulnerable road users can cross underneath the roundabout. Footpaths and cycle paths along the different roads connect to the square under the roundabout. Vulnerable road users do not interfere with motorised traffic on the roundabout, reducing the risk of collision.


title: Roundabout

text: In the Netherlands, Belgium, Bosnia and Herzegovina, the United Kingdom, Finland, Spain, Poland, Hungary, Slovenia, the Czech Republic, North Macedonia and Croatia a relatively new type of two-lane roundabout designs is emerging, called "turbo roundabouts". These designs require motorists to choose their direction before entering the roundabout, thereby eliminating many conflicting paths and choices on the roundabout itself so that traffic safety is increased, as well as speed and capacity. These designs, seen from above, typically result in a spiralling flow of traffic, giving them the collective name of turbo roundabouts. As a minor drawback turbo roundabouts are often marked out such that a U-turn by means of the roundabout is not possible for drivers approaching on certain arms.


title: Roundabout

text: Several variations of turbo roundabouts exist. They are frequently designed for the intersection of a major road crossing a road with less traffic.


title: Roundabout

text: An early application of the principle was a six-arm and therefore relatively large (and fast) non-circular roundabout at Stairfoot, Barnsley, South Yorkshire, which was given spiral marking about 1984. At that time the method was considered experimental and needed special consent from central authorities. The turbo roundabout was formally developed in 1996 in the Netherlands by Lambertus Fortuijn, a researcher from the Delft University of Technology. Similar roundabouts, with spiralling lane markings, have been used for many years in the UK e.g. the A176/A127 (eastbound) at Basildon, Essex (). However, it was not until 1997 that the UK's national highway authorities published guidance (DMRB TA-78/97) that in effect endorsed the use of spiral markings in certain circumstances.


title: Roundabout

text: Turbo roundabouts can be built with raised lane separators (common in the Netherlands) or with lane markings only. The use of raised lane separators prevents road users from weaving (thereby reducing conflicts) but can make manoeuvring more difficult for large vehicles.


title: Roundabout

text: According to simulations, a two-lane roundabout with three exits should offer 12–20% greater traffic flow than a conventional, three-lane roundabout of the same size. The reason is reduced weaving that makes entering and exiting more predictable. Because there are only ten points of conflict (compared with 8 for a conventional single lane roundabout, or between 32 and 64 with traffic signal control), this design is often safer as well. Research and experiments show that traffic accidents are reduced by 72% on turbo roundabouts compared to multi-lane roundabouts, which have 12 points of conflict. Research at Windesheim University also shows that turbo roundabouts reduce accidents including casualties by some 75% when compared to regular intersections, and by 61% compared to single-lane roundabouts. The same research made it very clear that it is safer for cyclists not to have priority over motor vehicles on the roundabout, than to have it. At least 70 have been built in the Netherlands, while many turbos (or similar, lane splitting designs) can be found in southeast Asia. Multi-lane roundabouts in the United States of America are typically required to be striped with spiral markings, as most states follow the federal Manual on Uniform Traffic Control Devices.


title: Roundabout

text: A new development is the roundabout below the seabed, in locations where multiple undersea traffic tunnels join. The first such roundabout is in the Eysturoy Tunnel (Eysturoyartunnilin), opened in December 2020 in the Faroe Islands. It connects the main island Streymoy with two locations on the island Eysturoy that are separated by a long fjord, Skálafjørður. So, three roads meet at this roundabout. Total length of the system is 11.24 km (6.98 mi). It was the largest ever infrastructure project in the Faroe Islands, estimated to have cost around a billion DKK.


title: Roundabout

text: Roundabouts are generally not appropriate for placement on motorway or freeway mainlines because the purpose of such facilities is to provide for uninterrupted traffic flow. However, roundabouts are often used for the junction between the slip roads (called "ramps" in North America) and the intersecting road. A single roundabout, grade separated from the mainlines, may be used to create a roundabout interchange. This type of junction is common in the UK and Ireland.


title: Roundabout

text: Alternatively, separate roundabouts also may be used at the slip road intersections of a diamond interchange to create what often is referred to as a "dumbbell interchange", which is increasingly common in both Europe and North America due to its reduced need for wide or multiple bridges. A variation of the dumbbell interchange, often called a "dogbone interchange", occurs when the roundabouts do not form a complete circle but are instead raindrop roundabouts (described above). This configuration reduces conflicts between vehicles entering the raindrop roundabouts from the ramps, reducing queueing and delays, compared with the dumbbell interchange.


title: Roundabout

text: Additional use of roundabouts for high-speed junctions is the 3-level stacked roundabout—this is a roundabout interchange where "both" of the roadway mainlines are grade separated. In the United Kingdom, the M25/A3, M8/M73 and A1(M)/M18 interchanges are examples of this type. These junctions, however, have less capacity than a full free-flow interchange. A similar design to this is the three-level diamond interchange.


title: Roundabout

text: Most junctions on Dublin's M50 motorway C-road were built using a standard roundabout interchange. The traffic volume of several of these junctions increased to a level higher than the capacity such roundabouts can accommodate, and in turn, have been converted into partially or fully free-flowing interchanges. One example is the Red Cow interchange. In Northern Ireland, the junction between the M1 and M12 (Craigavon connector motorway) is via a standard roundabout with a raised centre, three onslips and three offslips, and two lanes.


title: Roundabout

text: In the city of Malmö, Sweden, a roundabout connects two motorways, E22 from Lund, and the Inner ring road.


title: Roundabout

text: In the Netherlands, A6 motorway and A7 motorway used to cross near Joure using a roundabout until October 2017, when the junction was turned into a full Y-interchange. The junction between the A200 and the A9 uses a 3-level stacked roundabout. Near Eindhoven (the Leenderheide junction), the junction for the A2 uses a roundabout. An overpass was built for the A67 from Antwerp to Germany.


title: Roundabout

text: Near Liège, Belgium, the Cheratte interchange between the A3/E40 and A25/E25 functions partially as a roundabout, with through traffic allowed to continue without entering the junction and traffic changing between motorways required to use the roundabout.


title: Roundabout

text: Rotary interchanges operate with traffic circles rather than roundabouts. Rotary interchanges are common in New England, particularly in the state of Massachusetts, but a European example of a rotary interchange may be found in Hinwil, Switzerland.


title: Roundabout

text: A signalised roundabout is one where one or more entry is controlled by traffic signals, rather than by assumed priority. For each signalised entry there will also be a signalised stopline immediately upstream on the circulatory section. The signals prevent blocking on the roundabout, and balance and improve traffic capacity.


title: Roundabout

text: Examples include the M50 in Dublin, the Cherry Street roundabout in Kowloon, Hong Kong, Sheriffhall Roundabout in Edinburgh, Scotland, Newton Circus in Singapore, and many of the roundabouts along the Paseo de la Reforma in Mexico City.


title: Roundabout

text: An evolution of the signalised roundabout has been proposed recently. It is based in avoiding stops by eliminating conflict points in roundabouts. This proposed new paradigm (SYROPS) forms platoons of vehicles (e.g. 2 x 3 cars) that arrive at the roundabout with speed identical to the average circulation speed in the roundabout and within the time interval (visualised as a rotating priority sector) assigned to his entrance, avoiding all the conflicts of passage and with it the stops and accelerations required in standard and in signalled roundabouts. Signalling signage is with lights for human drivers and optionally wireless for connected and autonomous vehicles.


title: Roundabout

text: "Magic roundabouts" direct traffic in both directions around the central island. They are officially known as "ring junctions". The first magic roundabout was constructed in 1972 in Swindon, Wiltshire, United Kingdom, designed by Frank Blackmore, inventor of the mini-roundabout. The roundabout joins five roads and consists of a two-way road around the central island, with five mini-roundabouts meeting the incoming roads.


title: Roundabout

text: The name derives from the popular children's television series, "The Magic Roundabout", and is considered "magic" because traffic flows in both clockwise and anticlockwise directions. This is achieved by surrounding the main island with one smaller roundabout per entry/exit street. This pattern directs traffic in the usual clockwise (in LHT installations) or counter-clockwise (in RHT installations) manner around each mini-roundabout. Exiting the mini-roundabouts, traffic may proceed around the central island either in the usual direction (via the outer loop), or in the inverse direction (the inner loop). The arrangement offers multiple paths between feeder roads. Drivers typically choose the shorter, most fluid route. Although the safety record is good, many drivers find this system intimidating, and some drivers go to great lengths to avoid them.


title: Roundabout

text: Similar systems are found in the Moor End roundabout in Hemel Hempstead (Hertfordshire), which has six intersections; in High Wycombe (Buckinghamshire), the Denham Roundabout in Denham (Buckinghamshire), the Greenstead Roundabout in Colchester (Essex), "The Egg" in Tamworth (Staffordshire) and the Hatton Cross Roundabout in London.


title: Roundabout

text: Churchbridge Junction in Staffordshire is a magic gyratory. This type of junction is similar to a magic roundabout, except that the constituent roundabouts are connected by longer lengths of roadway.


title: Roundabout

text: Dutch roundabouts are designed to give cyclists priority over motorists. Cyclists have an outer ring on the roundabout, with cycle crossings over each of the four approach roads in a contrasting red surface. There are also zebra crossings over each approach road for pedestrians.


title: Roundabout

text: Reduced lane widths on the roundabout and at exit and entry points are designed to encourage drivers to slow down.


title: Roundabout

text: Tram roundabouts, which are found in many countries, merge roundabouts for individual vehicles with tram lines. Large areas are needed for tram roundabouts that include a junction between tram lines. Such systems often contain tram stops. Tramways usually cross at the centre of the roundabout. This requires traffic lights or special signalling granting the trams priority. However, there are also roundabouts where trams and vehicles use the same lane. Some roundabouts have a tram stop on the island.


title: Roundabout

text: In Jensen Beach, Florida, the main line of the Florida East Coast Railway running north–south bisects the two-lane roundabout at the junction of Jensen Beach Boulevard running east–west. It hosts three other roads and the service entrance to a large shopping plaza. Boom barriers line the railway crossings. The landscaped central island bisected by the tracks was originally curbed/kerbed, but 18-wheelers had trouble negotiating the roundabout, so the curbs were replaced with painted concrete strips. The roundabout was built in the early 2000s and improved traffic flow, although long freight trains often cause delays.


title: Roundabout

text: Two roundabouts in the Melbourne metropolitan area, Highett, Victoria and Hampton, have heavy rail crossing the roundabout and through the inner circle. Boom barriers protect the railway from oncoming traffic at the appropriate points in the roundabout.


title: Roundabout

text: At the Driescher Kreisel in Bergisch Gladbach, Germany, a railway serving a nearby paper factory crosses a roundabout located next to a shopping centre and pedestrian zone. The flow of traffic and pedestrians is governed by 14 barriers, 22 traffic lights and 8 loudspeakers. The barriers close three times daily for 7 minutes to allow trains to pass.


title: Roundabout

text: In New Zealand's South Island, two roundabouts join major roads where a railway cuts through. One is at the intersection between State Highway 1 (as Sinclair Street and Main Street from the east) and Main Street (from the west), Park Terrace and Redwood Street in the city of Blenheim. Here the Main North Line bisects the roundabout and separates Park Terrace and Main Street eastbound from the rest of the roundabout. The other roundabout is located at Kumara Junction on the West Coast, where the Hokitika Branch separates southbound from SH 6 northbound and SH 73. Both roundabouts are controlled by flashing red lights, with additional boom barriers at the Blenheim roundabout.


title: Roundabout

text: Also known as a hamburger roundabout, these junctions are signalised and have a straight-through section of carriageway for one of the major routes. The "hamburger" name derives from the fact that the plan view resembles the cross-section through a hamburger. The United Kingdom has examples on the A580 East Lancashire Road in St Helens, on Haydock Island in Merseyside (which also features the M6 passing overhead), and on the Astley/Boothstown border. More examples are the A6003 at Kettering, the A538 near Manchester Airport, the "Showcase" junction on A329 at Winnersh, Berkshire and the A63/A1079 Mytongate junction in Hull. Examples also exist in Bracknell, Hull, Bramcote in Nottinghamshire and Reading, as well as on the N2/M50 intersection in Dublin, Ireland. In Perth, Western Australia, one is found at the intersection of Alexander Drive, Morley Drive and The Strand. Throughabouts are very common in Spain, where they are called "raquetas" (Spanish for racket") or "glorieta/rotonda partida" ("split roundabout").


title: Roundabout

text: The same features that make roundabouts attractive for roadway junctions led to their use at junctions of multi-use trails.


title: Roundabout

text: The University of California, Davis and Stanford University, as well as the Cape Cod and Old Colony rail trails have bicycle-pedestrian roundabouts. A roundabout along the Clear Creek Trail in Bloomington, Indiana, connects the main trail to its spur.


title: Roundabout

text: An elevated roundabout is located in Eindhoven, serving pedestrian and bicycle traffic only, above the main conventional roadway intersection. It is known as the Hovenring.


title: Percival

text: Percival (, also spelled Perceval, Parzival), alternatively called Peredur (), was one of King Arthur's legendary Knights of the Round Table. First mentioned by the French author Chrétien de Troyes in the tale "Perceval, the Story of the Grail", he is best known for being the original hero in the quest for the Grail, before being replaced in later English and French literature by Galahad.


title: Percival

text: The earliest reference to Perceval is in Chrétien de Troyes's first Arthurian romance "Erec et Enide", where, as "Percevaus li Galois" (Percevaus of Wales), he appears in a list of Arthur's knights; in another of Chrétien's romances, "Cligés", he is a "renowned vassal" who is defeated by the knight Cligés in a tournament. He then becomes the protagonist in Chrétien's final romance, "Perceval, the Story of the Grail".


title: Percival

text: In the Welsh romance "Peredur son of Efrawg", the figure goes by the name Peredur. The name "Peredur" may derive from Welsh "par" (spear) and "dur" (hard, steel). It is generally accepted that Peredur was a well-established figure before he became the hero of "Peredur son of Efrawg". However, the earliest Welsh Arthurian text, "Culhwch and Olwen", does not mention Peredur in any of its extended catalogues of famous and less famous warriors. Peredur does appear in the romance "Geraint and Enid", which includes "Peredur son of Efrawg" in a list of warriors accompanying Geraint. A comparable list in the last pages of "The Dream of Rhonabwy" refers to a Peredur "Paladr Hir" ("of the Long Spear-Shaft"), whom Peter Bartrum identifies as the same figure. Peredur may derive in part from the sixth-century Coeling chieftain Peredur son of Eliffer. The Peredur of Welsh romance differs from the Coeling chieftain if only in that his father is called Efrawg, rather than Eliffer, and there is no sign of a brother called Gwrgi. Efrawg, on the other hand, is not an ordinary personal name, but the historical Welsh name for the city of York (Latin "Eburacum", modern Welsh "Efrog"). This may represent an epithet that denoted a local association, possibly pointing to Eliffer's son as the prototype, but which came to be understood and used as a patronymic in the Welsh Arthurian tales.


title: Percival

text: Scholars disagree as to the exact relationship between Peredur and Percival. Arthur Groos and Norris J. Lacy argue that it is most likely that the use of the name Peredur in "Peredur son of Efrawg" "represent[s] an attempt to adapt the name [Perceval] to Welsh onomastic traditions", as the Welsh romance appears to depend on Chrétien de Troyes, at least partially, as a source, and as the name Peredur is attested for unrelated characters in "Historia Regum Britanniae" and "Roman de Brut". Rachel Bromwich, however, regards the name "Perceval" as a loose French approximation of the Welsh name "Peredur". Roger Sherman Loomis attempted to derive both Perceval and Peredur from the Welsh "Pryderi", a mythological figure in the Four Branches of the Mabinogi, a derivation that Groos and Lacy find "now seems even less likely".


title: Percival

text: In all of his appearances, Chrétien de Troyes identifies Perceval as "the Welshman" ("li Galois"), indicating that, even if he does not originate in Celtic tradition, he alludes to it. Groos and Lacy argue that, "even though there may have been a pre-existing 'Perceval prototype,' Chrétien was primarily responsible [...] for the creation of [one of] the most fascinating, complex, and productive characters in Arthurian fiction".


title: Percival

text: In some French texts, the name "Perceval" is derived from either Old French "per ce val" (through this valley) or "perce val" (pierce the valley). These etymologies are not found in Chrétien de Troyes, however. "Perlesvaus" etymologizes the name (there: "Pellesvax") as meaning "He Who Has Lost The Vales", referring to the loss of land by his father, while also saying Perceval called himself "Par-lui-fet" (made by himself). Wolfram von Eschenbach's German "Parzival" provides the meaning "right through the middle" for the name (there: Parzival). Richard Wagner followed a discredited etymology proposed by journalist and historian Joseph Görres that the name derived from Arabic "fal parsi" (pure fool) when choosing the spelling "Parsifal" for the figure in his opera.


title: Percival

text: In a large series of episodes, "Peredur son of Efrawg" tells the story of Peredur's education as a knight. It begins with his birth and secluded upbringing as a naive boy by his widowed mother. When he meets a group of knights, he joins them on their way to King Arthur's court. Once there, he is ridiculed by Cei and sets out on further adventures, promising to avenge Cei's insults to himself and those who defended him. While travelling he meets two of his uncles. The first, who is analogous to the Gornemant of "Perceval", trains him in arms and warns him not to ask the significance of what he sees. The second uncle is analogous to Chrétien's Fisher King, but what Peredur sees being carried before him in his uncle's castle is not the Holy Grail (Old French "graal"), but a salver containing a man's severed head. The text agrees with the French poem in listing a bleeding lance among the items which are carried in procession. The young knight does not ask about significance of these items and proceeds to further adventure, including a stay with the Nine Witches and the encounter with the woman who was to be his true love, Angharad. Peredur returns to Arthur's court, but soon embarks on another series of adventures that do not correspond to material in "Perceval". Eventually, the hero learns the severed head at his uncle's court belonged to his cousin, who had been killed by the Witches. Peredur avenges his family and is celebrated as a hero.


title: Percival

text: Several elements in the story, such as the severed head on a salver, a hunt for a unicorn, the witches, and a magical board of "gwyddbwyll", have all been described as Celtic ingredients that are not otherwise present in Chrétien's story. Goetinck sees in "Peredur" a variant on the Celtic theme of the sovereignty goddess, who personifies the country and has to be won sexually by the rightful king or heir to secure peace and prosperity for the kingdom. N. Petrovskaia has recently suggested an alternative interpretation, linking the figure of the Empress with Empress Matilda.


title: Percival

text: Chrétien de Troyes wrote the first story of Percival, "Perceval, the Story of the Grail", in the late 12th century. Wolfram's "Parzival", Thomas Malory's "Le Morte d'Arthur", and the now-lost "Perceval" by Robert de Boron are other famous accounts of his adventures.


title: Percival

text: There are many versions of Perceval's birth. In Robert de Boron's account, he is of noble birth, and his father is stated to be either Alain le Gros, King Pellinore or another worthy knight. His mother is usually unnamed, but plays a significant role in the stories. His sister is sometimes the bearer of the Holy Grail, but not originally; she is sometimes named Dindrane. In the tales in which he is Pellinore's son, his brothers are Aglovale, Lamorak and Dornar, and he also has a half-brother named Tor by his father's affair with a peasant woman.


title: Percival

text: After the death of his father, Perceval's mother takes him to the forest, where she raises him ignorant of the ways of men until he is 15. Eventually, a group of knights passes through the forest and Perceval is struck by their heroic bearing. Wanting to be a knight himself, he travels to King Arthur's court. In some versions, his mother faints in shock upon seeing her son leave. After proving his worthiness as a warrior, he is knighted and invited to join the Knights of the Round Table.


title: Percival

text: In Chrétien de Troyes's "Perceval", the earliest story about him, he is already connected to the Grail. He meets the crippled Fisher King and sees a grail, not yet identified as "holy", but he fails to ask the question that would heal the injured king. Upon learning of his mistake, Perceval vows to find the Grail castle again and fulfill his quest. The story breaks off soon after, to be continued in a number of different ways by various authors, such as in "Perlesvaus" and "Sir Perceval of Galles". In later accounts, the true Grail hero is Galahad, the son of Lancelot, but, though his role in the romances is diminished, Percival remains a major character and is one of only two knights (the other is Bors) who accompany Galahad to the Grail castle and complete the quest with him.


title: Percival

text: In early versions, Perceval's sweetheart is Blanchefleur and he becomes the King of Carbonek after healing the Fisher King. In later versions, he is a virgin who dies after achieving the Grail. In Wolfram's version, Perceval's son is Lohengrin, the Knight of the Swan.


title: Percival

text: His story has been featured in many modern works, including Wagner's influential and controversial 1882 opera "Parsifal".


title: Edi Gathegi

text: Edi Mūe Gathegi (born March 10, 1979) is a Kenyan-American actor. He appeared as recurring character Dr. Jeffrey Cole (aka "Big Love") in the television series "House", as Cheese in the 2007 film "Gone Baby Gone", Laurent in the films "Twilight" and its sequel "", and as Darwin in "". Edi also featured in the AMC series, "Into the Badlands", as Baron Jacobee. He has also been a recurring character in NBC's television series, "The Blacklist," as Matias Solomon, an operative for a covert organization. Gathegi reprised the role in the 2016–2017 season crime thriller, "". He has also played a leading role in "Startup," a television drama series on Crackle. Since 2022, Edi has played engineer and entrepreneur Dev Ayesa in the Apple TV+ original science fiction space drama series "For All Mankind".


title: Edi Gathegi

text: Born in Nairobi, Kenya, Gathegi grew up in Albany, California, U.S. Gathegi attended the University of California, Santa Barbara, where he played basketball until a knee injury ended his career. Gathegi then began taking acting classes. He then studied at New York University's Graduate Acting Program at the Tisch School of the Arts, graduating in 2005. Gathegi's career began in theatre, and his stage credits include "Two Trains Running" at the Old Globe Theatre, "As You Like It", "Twelfth Night", "Othello", "A Midsummer Night's Dream", and "Cyrano de Bergerac", among others.


title: Edi Gathegi

text: Gathegi's first professional role was the Haitian Cabbie in the 2006 film, "Crank". Though he had originally auditioned for the role of Kaylo, the producers gave the role to Efren Ramirez and instead offered Gathegi an appearance as the Haitian Cabbie. He was skeptical at first about performing a Haitian accent, but was coached by a Haitian friend. In 2007, after guest-starring on "Lincoln Heights" and "Veronica Mars", Gathegi went on to star as Bodie in "Death Sentence", Darudi in "The Fifth Patient" and Cheese in "Gone Baby Gone". He later had a recurring role as Mormon intern Dr. Jeffrey Cole in the television medical drama "House". His character was often mocked for his religious beliefs by Dr. House, who himself is an atheist. He also guest-starred in "", "" and "Life on Mars" in 2008 before being cast as Laurent in "Twilight". When Gathegi first auditioned for the 2008 film, adapted from the same-titled first book in Stephenie Meyer's Twilight series, he had not heard of the series and was not aware that his character was a vampire. He now has read the whole series and calls himself a hardcore fan.


title: Edi Gathegi

text: He portrays Eddie Willers in "Atlas Shrugged" (2011), based on Ayn Rand's novel of the same name. He later portrayed another Haitian character, Jean Baptiste, in the fifth season of "Justified", but was unhappy with the role and asked to be written off the show. He has also been a recurring character in NBC's television series, "The Blacklist," as Matias Solomon, an operative for a covert organization. Gathegi reprised the role in the 2016–2017 season crime thriller, "". He also portrays the character Ronald Dacey on "StartUp".


title: The Quiet Man

text: The Quiet Man is a 1952 American romantic comedy-drama film directed by John Ford. It stars John Wayne, Maureen O'Hara, Barry Fitzgerald, Ward Bond and Victor McLaglen. The screenplay by Frank S. Nugent was based on a 1933 "Saturday Evening Post" short story of the same name by Maurice Walsh, later published as part of a collection titled "The Green Rushes". The film features Winton Hoch's lush photography of the Irish countryside and a long, climactic, semi-comic fist fight. It was an official selection of the 1952 Venice Film Festival.


title: The Quiet Man

text: John Ford won the Academy Award for Best Director, his fourth, and Winton Hoch won for Best Cinematography. In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: The Quiet Man

text: In the 1920s, Sean "Trooper Thorn" Thornton, an Irish-born retired boxer, travels from Pittsburgh to his birthplace of Inisfree to purchase the old family farm. Shortly after arriving, he meets and falls in love with fiery, red-headed Mary Kate Danaher, the sister of bullying Squire "Red" Will Danaher. Will also wants to buy the old Thornton property, and is angered when the property's current owner, the wealthy Widow Tillane, accepts Sean's bid instead of his. Will then retaliates by refusing consent for Sean to marry his sister.


title: The Quiet Man

text: Some village residents, including Father Peter Lonergan and local matchmaker-cum-bookmaker Michaeleen Óge Flynn, trick Will Danaher into believing that Widow Tillane will marry him if Mary Kate is no longer under his roof. He gleefully allows the marriage, but he refuses to give Mary Kate her dowry when he finds he was deceived. Sean, unschooled in Irish customs, professes no interest in obtaining the dowry; but to Mary Kate, the dowry represents her personal value to the community and her freedom. She insists that the dowry must be received to validate their marriage, causing an estrangement between her and Sean. The villagers eventually persuade Will to release Mary Kate's furniture, but Will refuses to hand over the monetary part of the dowry.


title: The Quiet Man

text: Mary Kate believes Sean is a coward for not fighting Will. Sean goes to local Protestant Minister and fellow former boxer, Rev. Cyril Playfair, and reveals that he once accidentally killed a younger, married opponent in the ring. Sean had sworn to give up fighting out of fear and guilt over the manslaughter. Mary Kate also confesses (in Irish Gaelic) her part in the quarrel to Father Lonergan, who berates her for her selfishness. She and Sean partially reconcile that night, and they share the bedroom for the first time since their marriage.


title: The Quiet Man

text: However, the next morning, Mary Kate quietly leaves their cottage and boards a train for Dublin, hoping this pretense of leaving will spur Sean to action. Sean soon learns from Michaeleen where she is, races his horse to the train station, and pulls her off the train. Followed by a growing crowd of villagers, Sean forces Mary Kate to walk with him the back to the Danaher farm. There, Sean confronts Will and demands the dower-money. When Will refuses, Sean throws Mary Kate back at her brother, declaring he will abide by the Irish custom "no fortune, no marriage". The ultimatum shocks both Mary Kate and Will, who finally pays the £350 (over £17,000 in 2022). Sean immediately burns it in the boiler, abetted by Mary Kate. She proudly leaves for home, but a humiliated Will takes a swing at Sean, only to be knocked down by Sean's defensive counter-punch.


title: The Quiet Man

text: A donnybrook ensues, then evolves into a long Homeric fistfight between Sean and Will after they insincerely agree to adhere to the Marquess of Queensberry rules. This much-anticipated match attracts more and more spectators as it continues for miles across the landscape. The fighters finally pause for a drink inside Cohan's Bar, where they begrudgingly admit a mutual respect for one another. As they argue over who will pay for the drinks, Will tosses a brew into Sean's face. Sean punches Will, sending him falling through the bar doors to lie unconscious in the street, ending the fight. Later, the reconciled and inebriated brothers-in-law stagger arm-in-arm back to Sean and Mary Kate's home for supper, much to Mary Kate's amusement and delight.


title: The Quiet Man

text: The next day, a humbled Will and the Widow Tillane begin their own courtship, and they ride out of the village side by side in a jaunting car driven by Michaeleen. Sean, Mary Kate, and the villagers wave to them as they pass, before Sean and Mary Kate playfully chase each other across the fields back to the cottage.


title: The Quiet Man

text: The film was something of a departure for Wayne and Ford, who were both known mostly for Westerns and other action-oriented films. It was also a departure for Republic Pictures, which backed Ford in what was considered a risky venture at the time. It was the only time the studio, known for low budget B-movies, released a film that would receive an Oscar nomination for Best Picture.


title: The Quiet Man

text: Ford read the story in 1933 and soon purchased the rights to it for $10. The story's author was paid another $2,500 when Republic bought the idea, and he received a final payment of $3,750 when the film was actually made. Republic Pictures agreed to finance the film with O'Hara and Wayne starring and Ford directing, but only if all three agreed to first film a Western with Republic. They did, and after completing "Rio Grande", they headed for Ireland to start shooting.


title: The Quiet Man

text: One of the conditions that Republic placed on Ford was that the film run under two hours. However, the finished picture was two hours and nine minutes. When screening the film for Republic executives, Ford stopped the film at approximately two hours in, on the verge of the climactic fistfight. Republic executives relented and allowed the film to run its full length. It was one of the few films that Republic filmed in Technicolor; most of the studio's other color films were made in a more economical process known as Trucolor.


title: The Quiet Man

text: The film employed many actors from the Irish theatre, including Barry Fitzgerald's brother, Arthur Shields, as well as extras from the Irish countryside, and it is one of the few Hollywood movies in which the Irish language can be heard. Filming commenced on June 7, 1951. All of the outdoor scenes were shot on location in Ireland in County Mayo and County Galway. The inside scenes were filmed toward the end of July at the Republic Studios in Hollywood. Vawn Corrigan reports that Ford made considerable efforts to get the costumes correct for the period with Ó’Maille – The Original House of Style in Galway tasked with sourcing the costumes.


title: The Quiet Man

text: The story is set in the fictional community of Inisfree. This is not the same as the Lake Isle of Innisfree, a place in Lough Gill on the Sligo–Leitrim border made famous by poet William Butler Yeats, which is a tiny island. Many scenes for the film were actually shot in and around the village of Cong, County Mayo, on the grounds of Cong's Ashford Castle. Cong is now a wealthy small town and the castle a 5-star luxury hotel. The connections with the film have led to the area becoming a tourist attraction. In 2008, a pub opened in the building used as the pub in the film (it had actually been a shop at the time when the movie was shot); the pub hosts daily re-runs of the film on DVD. The Quiet Man Fan Club holds its annual general meeting in Ashford Castle. Other locations in the film include Thoor Ballylee, Co. Galway, home of poet W.B. Yeats for a period, Ballyglunin railway station near Tuam Co. Galway, which was filmed as Castletown station, and various places in Connemara Co. Galway and Co. Mayo. Among those are Lettergesh beach, where the horse race scene was filmed, "The Quiet Man Bridge", signposted off the N59 road between Maam Cross and Oughterard and the "White O'Morn" cottage. The latter is located on R336 south of Maam, but long ago fell into ruin.


title: The Quiet Man

text: The film also presents Ford's depiction of an idealized Irish society, with only implied social divisions based on class and differences in political or religious affiliations. The Catholic priest, Father Lonergan, and the Protestant minister, Reverend Playfair, maintain a strong friendly relationship throughout the film, which represented the norm in what was then the Irish Free State, where religious tensions occurred in the 1930s but were the norm only in Northern Ireland. One of the allusions to Anglo-Irish animosity occurs after the happy couple is married and a congratulatory toast offered by Hugh Forbes expresses the wish that they live in "national freedom" (the term "national" has been censored from most editions) and before the final donnybrook when Thornton demands his wife's dowry from Danaher. Danaher asks Hugh Forbes, who had been commander of the local Irish Republican Army unit during the fight to expel the British, "So the IRA is in this too, ah", to which Forbes replies, "If it were, not a scorched stone of your fine house would be standing."


title: The Quiet Man

text: Ernie O'Malley, an Irish Republican Army officer during the war of independence, commander of the anti-Treaty IRA during the Irish Civil War, and author, acted as an advisor to Ford on the local culture, being on set with him every day. According to O'Hara, Ford "had a great deal of respect for Ernie...He had such respect for Ernie. They would natter away like old buddies...They liked each other. They were friends".


title: The Quiet Man

text: Ford chose his friend, Hollywood composer Victor Young, to compose the score for the film. Young sprinkled the soundtrack with many Irish airs such as the "Rakes of Mallow" and "The Wild Colonial Boy". One piece of music, chosen by Ford himself, is most prominent: the melody the "Isle of Innisfree", written not by Young, but by the Irish policeman/songwriter Richard Farrelly. The melody of the "Isle of Innisfree", which is first heard over the opening credit sequence with Ashford Castle in the background, becomes the principal musical theme of "The Quiet Man". The melody is reprised at least eleven times throughout the film.


title: The Quiet Man

text: The upbeat melody comically hummed by Michaeleen Oge Flynn and later played on the accordion is the "Rakes of Mallow".


title: The Quiet Man

text: When Maureen O'Hara died in October 2015, her family stated she listened to music from "The Quiet Man" during her final hours. Filmmaker George A. Romero was also said to have died listening to the score.


title: The Quiet Man

text: In 1952 A. H. Weiler of "The New York Times" viewed the film "as darlin' a picture as we've seen this year," with "dialogue that is as tuneful as a lark's song." In another contemporary review, the entertainment trade paper "Variety" called the picture "beautifully filmed" and wrote that "Wayne works well under Ford's direction," but found the 129-minute running time "unnecessary." "Harrison's Reports" described the film as "a delightful and rollicking comedy melodrama of Irish life, directed with skill and acted with gusto by a fine cast." Richard L. Coe of "The Washington Post" declared it "a complete jim-dandy ... The photography is glorious and Victor Young's score, inspired by folk airs, is a complete joy for an exuberant, vigorous picture." Philip Hamburger of "The New Yorker" was not so taken with the film, writing, "If am to believe what I saw in John Ford's sentimental new film, 'The Quiet Man,' practically everybody in Ireland is just as cute as a button," adding, "Mr. Ford's scenes of the Irish countryside are often breathtaking ... but the master who made 'The Informer' appears to have fallen into a vat of treacle." In contrast to contemporary reviews of the film, editorial writer Frances Mulraney saw the film as "misogynistic" and "outdated"—due not just to the psychological and physical control the male characters exert over the female characters, but also for the female lead's gender-based expectations of her husband.


title: The Quiet Man

text: On the review-aggregation website Rotten Tomatoes, "The Quiet Man" in 2019 has a 90% approval rating based on reviews from 41 critics. Critical consensus on the website states, "Director John Ford and star John Wayne depart the Western for the Irish countryside, and the result is a beautifully photographed, often comedic romance."


title: The Quiet Man

text: The film was also a financial success, grossing $3.8 million in its first year of release. This was among the top ten grosses of the year. It was also the seventh most popular film for British audiences in 1952.


title: The Quiet Man

text: It was first released on DVD December 14, 1998 by Artisan Home Entertainment. It was also released 4 years later on a Collector's edition DVD on October 22, 2002 by Artisan. The Special features on this edition include "The Making of the Quiet Man" Documentary with Leonard Maltin, and "The Joy of Ireland" Documentary with Maureen O'Hara and Andrew V. McLaglen, and "Remembering The Quiet Man Montage".


title: The Quiet Man

text: On January 22, 2013 Olive Films released "The Quiet Man" on DVD and for the first time on Blu-ray, as a 60th Anniversary Special edition. It included the documentary "The Making of the Quiet Man" with Leonard Maltin.


title: The Quiet Man

text: In 2010 there was a documentary called "Dreaming The Quiet Man" made about the journey and making of "The Quiet Man". It was narrated by Gabriel Byrne, and had interviews with Peter Bogdanovich, Martin Scorsese, Charles F. Fitzsimons, and Maureen O'Hara. It was released on DVD and Blu-ray for the first time on March 24, 2015.


title: The Quiet Man

text: The scene where John Wayne kisses Maureen O'Hara in the cottage during the storm appears on a television set in a scene of the 1982 Steven Spielberg film, "E.T. the Extra-Terrestrial".


title: Peter Ostrum

text: Peter Gardner Ostrum (; born November 1, 1957) is an American veterinarian and former child actor, whose only film role was as Charlie Bucket in the 1971 motion picture "Willy Wonka & the Chocolate Factory".


title: Peter Ostrum

text: Ostrum was 12 years old when selected by talent agents for "Willy Wonka". Though he enjoyed the experience of shooting the film, he opted not to sign a three-film contract when it was over. After eschewing a career in film and theatre, Ostrum became reluctant to speak about his one starring role. In 1990, he began an annual tradition of speaking to schoolchildren about the film, and he became a subject of interest again when the 2005 film "Charlie and the Chocolate Factory" was released to theaters.


title: Peter Ostrum

text: Ostrum became interested in his family's horses when he returned from shooting "Willy Wonka", and was particularly influenced by the veterinarian who tended to them. He received a Doctorate of Veterinary Medicine from Cornell University College of Veterinary Medicine in 1984. , Ostrum practiced and lived in Glenfield, New York with his wife Loretta (), having raised two children.


title: Peter Ostrum

text: Peter Gardner Ostrum was born in Dallas on November 1, 1957 to Dean Gardner Ostrum (1922–2014) and Sarepta Mabel (; 1922–2021). He is the youngest of four children. Ostrum was living in Cleveland at age twelve—a city of which he was described as a native by MSNBC, and later attended North Hunterdon Regional High School in Hunterdon County, New Jersey.


title: Peter Ostrum

text: Ostrum married Loretta M. Lepkowski in . The couple have two children, Helenka and Leif, with the latter following his father onto the stage as the leading actor in several South Lewis Central School musicals. Ostrum and his wife lived in Glenfield, New York as recently as 2021.


title: Peter Ostrum

text: Ostrum was in the sixth grade and performing at the Cleveland Play House children's theatre, when he was noticed by talent agents who were searching nationwide for an actor to portray Charlie Bucket in "Willy Wonka & the Chocolate Factory". The agents took Polaroid photos of Ostrum and recorded him reading from the original novel, then returned to New York. Two months later Ostrum was called to New York for a screen test where he sang "My Country, 'Tis of Thee", and a month after that he was contacted and given ten days to prepare to leave for filming. Ostrum left for Munich on August 10, 1970.


title: Peter Ostrum

text: In 2000, Ostrum recalled that shooting "Willy Wonka" in Munich was "sort of like being an exchange student for five months". Fond memories of his five months in West Germany included watching the construction of Olympiapark, for the 1972 Summer Olympics, and working with Gene Wilder and Jack Albertson. As Ostrum had not worked in film before, Wilder took it upon himself to instruct the young actor in the business. Ostrum would later describe Wilder as a quirky yet gentle gentleman who "treated people with respect and dignity." The bond that developed between the two actors was such that, even though they never saw each other again after filming "Wonka", Ostrum described Wilder's 2016 death as "like losing a parent".


title: Peter Ostrum

text: Ostrum was tutored on-set for three hours a day, though sometimes only for 30–60 minutes at a time. Though in his audition he had been assured that his singing would probably be cut and dubbed, it was Ostrum's own singing voice that made it to the screen—albeit significantly cut. In a 2011 interview, Ostrum told the story of how director Mel Stuart gave him a clapperboard from the film, and later on asked him how he got it because he had forgotten that he had done so; it is Ostrum's only souvenir from the set.


title: Peter Ostrum

text: After he finished shooting "Willy Wonka", the then 13-year-old Ostrum declined David L. Wolper's offer of a three-film contract. The teenager confided in Frawley Becker, his "Willy Wonka" dialogue coach, that he turned down the contract to retain "the freedom to choose what he played, and in what picture." (Ostrum and Becker remained friends through at least 1996.) In January 2018, Ostrum said he sometimes misses acting—though not its hurry-up-and-wait nature—but feels he dodged having to make the transition from child- to adult-actor.


title: Peter Ostrum

text: In his senior year, Ostrum was involved in film class and, at the interest of one of his instructors, looked back into theatre and acting. After auditioning for, but not landing, several roles (including for Alan Strang in "Equus" on Broadway), Ostrum decided not to pursue it further. After putting his short film career behind him, Ostrum declined reporters and interviews, preferring not to speak on the subject; "I wanted people to judge me on who I was, not what I’d done". For some time, Ostrum even lied and told people that his brother, and not he, had starred in the film. It took Ostrum years after moving to Lowville before he told anybody there about his one-time stardom; even his wife Loretta did not know about his role until he warned her about it just before she met his mother.


title: Peter Ostrum

text: Since 1990, Ostrum has spoken to students at Lowville Academy once a year—on the last day of school, as a special treat—about his experience in "Willy Wonka" as well as his work in veterinary medicine. The students chiefly ask about the film's special effects, and Ostrum describes to them "what happened to Veruca, how did Violet blow up like a blueberry, how did Charlie fly with Grandpa Joe, all those types of questions." Ostrum also accepted an invitation to appear at the 2018 Snowtown Film Festival in Watertown, New York, answering audience questions after a screening of the film; "it’s in my backyard—it's become a popular event in January and I like to support local events." Ostrum said of the 2018 event that he enjoyed re-watching the film, and that people ask him "great questions." Ostrum has been called "the most famous man in Lowville", where the local video rental shop has twice worn out its VHS copy of "Willy Wonka & the Chocolate Factory".


title: Peter Ostrum

text: In the run-up to the release of "Charlie and the Chocolate Factory" in 2005, Ostrum garnered a spate of attention that included seeing the film in New York City with NPR as well as being included in VH1's list of "100 Greatest Kid Stars" (at 78th). On the new film, Ostrum quoted fellow "Wonka" actor Julie Dawn Cole, saying that "It's sort of like going back to a house that you once lived in and it's been redecorated." Ultimately, the media attention was so pervasive that Ostrum stopped answering his phone, and requested "please, no more interviews."


title: Peter Ostrum

text: In January 2009, Ostrum teamed up with Dunkin' Donuts to hand out free rides on the Massachusetts Bay Transportation Authority (MBTA) at South Station in Boston; Ostrum's participation connected the MBTA's CharlieCards he was handing out with his portrayal of Charlie Bucket in "Willy Wonka". The promotion also gave out one "golden ticket", worth unlimited rides on MBTA and unlimited Dunkin' Donuts coffee for 2009.


title: Peter Ostrum

text: In October 2000, Ostrum and some of his co-stars from the film were scheduled to record an audio commentary for a special edition DVD. In a 2010 interview, "Wonka" co-star Denise Nickerson (Violet Beauregarde) revealed that Ostrum had agreed to join her and Paris Themmen ("Wonka" Mike Teevee) for a reunion commemorating the 40th anniversary of the film's release in 2011.


title: Peter Ostrum

text: Soon after Ostrum returned home from filming "Willy Wonka", his family acquired a horse; while the teenaged Ostrum was interested in the horse, it was the animal's veterinarian that left a lasting impression on him. Taking a hiatus from school between high school and college, Ostrum groomed horses and worked at the Delaware Equine Center in Pennsylvania. Ostrum contemplated a return to Hollywood, and even visited California for a week to "test the waters" there. He ultimately decided to pursue a degree in veterinary medicine instead, feeling that he would forever berate himself if he did not. In 1984, Peter Ostrum received his Doctorate of Veterinary Medicine from Cornell University College of Veterinary Medicine.


title: Peter Ostrum

text: , Ostrum worked in Lowville, New York both as a veterinarian with the Countryside Veterinary Clinic (working mainly with horses and cows) and as a managing partner with Dairy Health & Management Services. Ostrum also took part in "Veterinarians on Call", a Pfizer-funded video series that highlighted the work of large animal veterinarians.


title: Black Panther (soundtrack)

text: The soundtrack for the 2018 American superhero film "Black Panther", based on the Marvel Comics character of the same name and produced by Marvel Studios, consists of an original score composed by Ludwig Göransson and original songs performed or curated by Kendrick Lamar. Göransson worked on all of director Ryan Coogler's previous films, while Lamar and Coogler had previously discussed collaborating and the musician agreed to perform several songs for the film after seeing an early version of it.


title: Black Panther (soundtrack)

text: After reading the film's script, Göransson traveled to Africa to research traditional African music for the film. He went on tour with Senegalese musician Baaba Maal, and recorded performances by Maal and other African musicians for use in the score. Notably, Göransson used recordings of talking drums and a tambin for character themes in the film, while Maal sung an original song for the opening of the score. Göransson combined these traditional African elements with the classical orchestra that is often used in superhero films. The orchestra was recorded at Abbey Road Studios, along with a choir singing in the Xhosa language.


title: Black Panther (soundtrack)

text: Wanting to match the film in terms of addressing important themes, Lamar decided to produce a full curated soundtrack album rather than just the few songs requested by Coogler. Because of the film's set release schedule, Lamar had less time to work on the album than he usually would. He began work with producer Sounwave while on tour, before completing the individual songs in collaboration with many different artists. One of these collaborators was Göransson, who worked on one of the songs and included elements from the album in the score. Coogler felt the album became its own piece of art rather than just a tie-in to the film.


title: Black Panther (soundtrack)

text: Lamar's soundtrack was released as Black Panther: The Album by Interscope Records on February 9, 2018, to large sales, including the top position on the "Billboard 200" chart. It was praised by many critics as a milestone for film soundtracks due to its ideas and lyrics, but it was considered by some to be weaker than Lamar's solo work. Göransson's score was released as Black Panther (Original Score) by Hollywood Records on February 16, and received praise for being unique among Marvel Cinematic Universe scores due to its authentic African elements and thematic material, though the album presentation was criticized as too long. It won Best Original Score awards at the Academy Awards and the Grammy Awards, while the song "King's Dead" from Lamar's album also won a Grammy.


title: Black Panther (soundtrack)

text: Ryan Coogler signed on to direct the film "Black Panther" for Marvel Studios in January 2016, and insisted that he bring collaborators from his previous films to work on "Black Panther", to differentiate the film from others in the Marvel Cinematic Universe that "Vulture"s Kyle Buchanan described as often being created by "the same in-house people". This included composer Ludwig Göransson, who began working with Coogler at the University of Southern California and scored his earlier films "Fruitvale Station" and "Creed".


title: Black Panther (soundtrack)

text: Coogler had previously met with musician Kendrick Lamar and Anthony Tiffith of Top Dawg Entertainment to discuss each other's work and the potential for them to collaborate on a project. Coogler wanted "Black Panther" to include some original songs from Lamar, an idea that Marvel supported, and approached the musician with footage from the film after Lamar had completed work on his album "DAMN." Lamar and producer Sounwave were "drawn in by the opening scene and the deep message this movie told". They wanted to match the film's "energy and raw emotions", but felt this would be difficult with the few songs Coogler requested and instead decided to create a full album. The soundtrack features songs that are heard in the film as well as others that are inspired by it.


title: Black Panther (soundtrack)

text: As with his previous collaborations with Coogler, Göransson began work on the "Black Panther" score as early as possible, much earlier than any other composer on a Marvel Studios film according to producer Nate Moore: Göransson began discussing the film with Coogler immediately, and the director shared research he did in Africa while preparing for the film; Göransson read the first draft of the script as soon as Coogler was happy with it, and read comics from Ta-Nehisi Coates' run on Black Panther, which had just begun. Göransson acknowledged that he is an unlikely candidate to write African music given he is Swedish, and decided that he needed to go to Africa himself to do his own research. He noted that the fictional setting of the film, Wakanda, was never colonized and so the music found there would not have been influenced by Christian music. Coogler also wanted to use authentic African sounds, a first for a superhero film, and trusted Göransson to balance this with the "anthemic" quality of a traditional superhero score.


title: Black Panther (soundtrack)

text: Göransson spent a month in Senegal, first travelling around with musician Baaba Maal for a week while he was on tour, and then spending several weeks working with local musicians to form the "base" of his score. After Senegal, Göransson went to South Africa and spent a week at the International Library of African Music in Grahamstown listening to thousands of recordings of music from different African tribes, and recording music on hundreds of instruments that "don't really exist anymore." He said, "To be able to go there, record the instruments and use them in the movie ... it was an incredible opportunity." Göransson then returned to Los Angeles where he planned to combine the African music he had discovered with his usual orchestral and modern production techniques to create the final score. He said it would be a challenge to do this while still having the music "feel African", and had to approach the score as infusing an orchestra, played in the tradition of African instruments, into actual African music.


title: Black Panther (soundtrack)

text: Göransson had initially approached the score with the idea that music in Wakanda could be anything due to its being a fictional country, but discovered that "music from Africa is a language" used for storytelling, with every instrument and different musical rhythm given meaning, and wanted to ensure that this was reflected since the country is still clearly in Africa. He wanted to specifically acknowledge existing African music that applied directly to scenes in the film, such as using rhythms that were created thousands of years prior to represent large battles during the big fight sequences in the film. Another example of this is the challenge scenes in the film, which include traditional challenge rhythms performed on a sabar drum by soloist Magatte Sow, along with "additional color" from a kora and a vuvuzela (an instrument often heard at sporting events).


title: Black Panther (soundtrack)

text: In Senegal, Göransson was particularly drawn to the talking drum as a form of communication in addition to being a musical instrument. This became the first sound he used in the score to represent T'Challa / Black Panther, and he described it as "the first seed of how the instrumentation affected the process". T'Challa's theme consists of six talking drums being played together, with a solo talking drum performance by soloist Massamba Diop layered over those. These were combined with the sound of a talking drum mimicking the word "T'Challa" and a beat from a Roland TR-808 drum machine to "beef it up". Göransson used the base talking drum rhythm, 808 rhythm, solo talking drum, and "T'Challa" talking drum motif as the primary rhythm for T'Challa in the score. On top of this rhythm, Coogler and Göransson chose to use horns to make the character's theme sound more royal, with Göransson writing music for the horns that he felt was more rhythmic than melodic and allowed them to be interpreted as coming from the rhythm of the talking drums rather than a traditional western theme with drums in the background. Göransson did write a specific six-note melody for T'Challa, also played on the brass, which serves as the final piece of the character's main theme and also is used as a main theme for the film during scene transitions and for driving the overall story forward.


title: Black Panther (soundtrack)

text: After hearing a musician in Senegal named Amadou Ba playing a tambin, or Fula flute, Göransson told him the backstory of villain Killmonger in the film and Ba played some music in response to the story. Göransson felt this music fit the character well, and it became the first element of Killmonger's theme for the film. Ba's performance revolved around a root note that Göransson gave him, and included singing, screaming, and laughing into the flute as he played it, with one of the words screamed being "Killmonger". Göransson described the performance as "sad but also aggressive, energetic and impulsive". The composer sent his recordings of the Fula flute to actor Michael B. Jordan to help him prepare for portraying Killmonger in the film. The Fula flute is used as a sample piece earlier in the film, but transitions to full performances of the flute as Killmonger takes over Wakanda, and represents the character's Wakandan origin and aspirations. It is paired with a piano melody for Killmonger that is mysterious at first, and accompanied by a harp to represent the character's intelligence. The piano then transitions to strings to show the suffering the character has endured, inspired by the works of Johann Sebastian Bach. Göransson also chose to use more modern production techniques, such as the 808 beats, for Killmonger's music than the rest of the score, with a "trap beat vibe", because the character is American and represents modernity in the film. Göransson used his experience with African-American music such as hip hop and rapping—which he gained as a producer for Donald Glover's "Childish Gambino" work—when developing the more modern elements of Killmonger's theme, and noted that these elements were similar in sound to the traditional African drums in the score, allowing him to move between the sounds of Killmonger and Wakanda in the final battle scene without taking the audience out of the film. The final element of the character's theme is a four-note "punctuation" with brass and choir that adds mystery and drama.


title: Black Panther (soundtrack)

text: For the introduction to Wakanda in the film, Göransson was inspired by a "ceremonial outcall" that Maal began each of his shows on tour with. The composer collaborated with Maal on a song in this style which features the latter singing about the death of an elephant in the Fula language, symbolizing the death of T'Challa's father T'Chaka. When T'Challa visits the spirit of his father in the valley of the dead, Göransson felt the dialogue was so emotional that the instrumentation should be changed to reflect that, and so opted to focus on strings rather than percussion. This "ancestral theme" also serves as a theme for the relationship between T'Challa and Killmonger, with a broken down, "tiny piece" of the string motif heard in Killmonger's theme to show that "it's all related in a way, just as [the characters] are related by blood"; Göransson actually developed this familial theme for all the characters from the Killmonger flute motif, using part of the music originated by Ba. For T'Challa, it is played longer and with a full orchestra, and indicates that he is "trying to find his way in life". Other themes composed for the film include one for T'Challa's sister Shuri, which was played on a balafon, and one for the Dora Milaje warriors, consisting of a group of Senegalese women 'yipping' which Coogler described as a "chu chu" sound. The latter was supported by a female choir from London.


title: Black Panther (soundtrack)

text: Because Coogler does not use a temp score (placeholder music included for editing purposes) for his films, Göransson began work without specific references for each scene. He had enough material by the time Coogler put together his initial four-hour cut of the film that he was able to fully score the cut. Göransson recorded many different elements of the score at Baal's studio in Senegal, including Baal himself for his part in the "Wakanda" song. The composer then recorded the rest of his score with a 92-piece Western classical orchestra and a 40-person choir in London at Abbey Road Studios for two weeks during October and November 2017. Göransson and John Ashton Thomas conducted the orchestra. The orchestral music was sometimes used as counterpoint to Göransson's recordings from Senegal, and other times was made to "echo the multiple layers of rhythms" heard in those recordings. The choir sung in the Xhosa language, including passages that sound like "T'Challa" for when he arrives at the Warrior Falls arena.


title: Black Panther (soundtrack)

text: Coogler concluded that Göransson "really set the table for the emotion that we were trying to get across [in the film], whether it was excitement or reflection or sadness." Moore compared the work Göransson did in defining the sound of the film to the use of music by James Gunn in the "Guardians of the Galaxy" films, and said that it was something that would be further expanded on in a "Black Panther" sequel. He noted that Göransson took Marvel outside of their comfort zone on the film, but they were willing to defer to him after all of the research he did. Several times, Marvel executives questioned whether the score was leaning too close to traditional Western music only to have Göransson explain that the music they were questioning was recorded by traditional musicians in Africa and that it had simply been coopted by Western culture from Africa. Göransson agreed that Marvel was completely supportive of his work, and said he would never have been able to make the score without first spending time in Africa. Throughout all of his work on the score, Göransson aimed to recreate the feeling he had when first listening to Maal's music in Senegal, which he described as a mesmerizing "out-of-body experience".


title: Black Panther (soundtrack)

text: Coogler's thoughts on the soundtrack album were inspired by those created as tie-ins for 1990s films, where "artists would take themes [from the film] and make music inspired by the themes". Coogler's goal for the film was to explore "what it means to be African", and he felt that Lamar's artistic themes aligned with this goal. Sounwave praised Marvel for giving Top Dawg Entertainment creative control over the album and for Coogler's initial decision to combine the Black Panther character with Lamar's music. He said that the film is set in the modern day rather than the time the character was first introduced to comics, and "we want the whole soundtrack to sound like that too. I think it was a perfect marriage". Some of the specific moments where the final songs on the album crossover with the film include the album's eponymous track, which includes African drums and Lamar singing about the weight of being king, and the song "Seasons", which features verses sung in the Zulu language.


title: Black Panther (soundtrack)

text: Sounwave explained that the album was different from the work he and Lamar usually did given they were following the story line of the film rather than creating their own. He said this allowed them to "tap into elements we normally wouldn't do". There was also a strict time limit to how long they could work on the album given the film's set release schedule, and so they began work while Lamar was on The Damn Tour in August 2017. During their time on the studio bus moving between performances, the pair would come up with "the production, the hooks and ideas" for the album. Sounwave estimated that around 80 percent of the album was completed at the end of the tour. Work on finishing the songs began the following month, with individual artists selected to collaborate on specific songs. Sounwave described these two months as the most vital during the making of the album. Some songs planned during the tour, including several that were intended to feature "big-name" artists, were ultimately not produced because they either did not fit with the overall concept of the album or could not be completed in time.


title: Black Panther (soundtrack)

text: Lamar teased his involvement with the album in an easter egg in the music video for his single "Love" in late December, with a clapperboard reading "B.Panther soundtrack coming soon". After completing work on the album, Lamar praised the producers and artists who worked with him on it for allowing him to "execute a sound for the soundtrack". He added, "The concept of producing and composing a project other than my own has always been ideal", stating that he appreciated the experience. Coogler felt the album still related to the film, but had also become "more than that" and was its own piece of art that can be enjoyed separately. He noted that a lot of the artists who collaborated on the soundtrack did so without knowing what the film was, agreeing to work with Lamar rather than on a tie-in to "Black Panther".


title: Black Panther (soundtrack)

text: Coogler discussed with Lamar who he wanted to be involved with the album, with many of the names Coogler brought up being artists that Lamar had worked with or heard of before. The artists ultimately involved in the songs were chosen for their match to the different "aesthetic and vibe" that was wanted for each song, and included the majority of "top-billing names" under Top Dawg Entertainment. Coogler described the roster as "mind-blowing". A particularly important group for Coogler was SOB x RBE, who come from the San Francisco Bay Area where Coogler grew up. SOB x RBE had been approached by Lamar's manager Dave Free, and found that Lamar had extensively researched the group. Lamar had already written an introduction for their song, leaving the members of the group to write their own verses and perform them. Lamar contacted singer Khalid while he was performing with Lorde in Norway, and asked if he wanted to work on the project. The song that Khalid was chosen for, "The Ways", was written by Lamar and Swae Lee as an ode to the strong female characters in the film. Khalid called it "an acknowledgment and appreciation of how many strong women across the board—women of color, especially—are the backbone of everything ... I'm so blessed to have my own personal superhero mom who inspired me". After first meeting with Lamar, Jorja Smith was left to sing over a beat that Lamar had written with Sounwave until Lamar felt "that's it". He then worked with Smith to write "I Am" over a four-hour session.


title: Black Panther (soundtrack)

text: Several artists from South Africa worked on the album, including Babes Wodumo, Sjava, Yugen Blakrok, and Saudi. Sounwave explained that he and Lamar had spent months listening to a playlist of South African music in preparation for producing the album because they wanted to "go inside their world to get an organic sound, sonically and emotionally". The pair subsequently became fans of the music. Sjava agreed to join the album because he personally wanted to work with Lamar, but also because "this is going to help inspire the nation [and] the whole continent." Saudi said that in his art, he "chose to stand for and fully represent my ethnicity and my origin", and was proud to continue that for "a song from the track list of the first and most anticipated black superhero movie." With the success that his song would find through the "Black Panther" album release, Saudi added that "it wasn't supposed to happen like this; I was told that that I wouldn't appeal to an international audience but here I am. I'm so grateful". Additionally, Göransson worked with Lamar and Sounwave during the filmmaking process, spending time with them in their studio to create "collaborative excerpts" for throughout the film. He contributed to the song "Opps" that is played during a car chase in the film. Coogler praised this collaboration, especially how Göransson was able to weave elements from Lamar's songs "in and out of the orchestral stuff that he was already doing." Sounwave noted that it was a challenge to balance all of the different styles of artists on the album, like the "kerosene beats" of SOB x RBE with "Afrofuturist rapper" Vince Staples, while remaining consistent with Lamar's previous work and also being accessible to all potential filmgoers.


title: Black Panther (soundtrack)

text: Lamar released the first single from his soundtrack album, "All the Stars", on January 4, 2018, in which he collaborated with fellow Top Dawg artist SZA. Shortly after, a new trailer for the film featured "Opps" by Lamar and Vince Staples. A second song by Lamar with Jay Rock, Future, and James Blake called "King's Dead" was released later in the month. On February 2, "Pray for Me" by Lamar and the Weeknd was released as the album's third and final single.


title: Black Panther (soundtrack)

text: Lamar's soundtrack was released as "Black Panther: The Album" on February 9, 2018. The album features artwork by Nikolas A. Draper-Ivey, an artist known online for his fan art based on Disney intellectual property such as Black Panther and Spider-Man. Draper-Ivey was surprised when he was approached about providing artwork for the album by Interscope Records, but was excited to join the project and produced an initial mock-up within a day. He then refined the piece with input from the studio, and noted that it was much more minimalistic than his usual work, with a focus on hinting at power rather than overstating. A vinyl version of the album was released in early May 2018.


title: Black Panther (soundtrack)

text: An album featuring Göransson's score was released digitally by Hollywood Records on February 16, 2018. A vinyl version of the score album was released on May 18.