title: Actuator

text: An actuator requires a control device (controlled by control signal) and a source of energy. The control signal is relatively low energy and may be electric voltage or current, pneumatic, or hydraulic fluid pressure, or even human power. Its main energy source may be an electric current, hydraulic pressure, or pneumatic pressure. The Control device is usually a valve. When it receives a control signal, an actuator responds by converting the source's energy into mechanical motion. In the "electric", "hydraulic", and "pneumatic" sense, it is a form of automation or automatic control.


title: Actuator

text: The history of the pneumatic actuation system and the hydraulic actuation system dates to around the time of World War II (1938). It was first created by Xhiter Anckeleman who used his knowledge of engines and brake systems to come up with a new solution to ensure that the brakes on a car exert the maximum force, with the least possible wear and tear.


title: Actuator

text: A soft actuator is one that changes its shape in response to stimuli including mechanical, thermal, magnetic, and electrical. Soft actuators mainly deal with the robotics of humans rather than industry which is what most of the actuators are used for. For most actuators they are mechanically durable yet do not have an ability to adapt compared to soft actuators. The soft actuators apply to mainly safety and healthcare for humans which is why they are able to adapt to environments by disassembling their parts. This is why the driven energy behind soft actuators deal with flexible materials like certain polymers and liquids that are harmless to humans.


title: Actuator

text: The hydraulic actuator consists of cylinder or fluid motor that uses hydraulic power to facilitate mechanical operation. The mechanical motion gives an output in terms of linear, rotatory or oscillatory motion. As liquids are nearly impossible to compress, a hydraulic actuator can exert a large force. The drawback of this approach is its limited acceleration.


title: Actuator

text: The hydraulic cylinder consists of a hollow cylindrical tube along which a piston can slide. The term "single acting" is used when the fluid pressure is applied to just one side of the piston. The piston can move in only one direction, a spring being frequently used to give the piston a return stroke. The term "double acting" is used when pressure is applied on each side of the piston; any difference in force between the two sides of the piston moves the piston to one side or the other.


title: Actuator

text: Pneumatic actuators enable considerable forces to be produced from relatively small pressure changes. Pneumatic energy is desirable for main engine controls because it can quickly respond in starting and stopping as the power source does not need to be stored in reserve for operation. Moreover, pneumatic actuators are cheaper, and often more powerful than other actuators. These forces are often used with valves to move diaphragms to affect the flow of air through the valve.


title: Actuator

text: The advantage of pneumatic actuators consists exactly in the high level of force available in a relatively small volume. While the main drawback of the technology consists in the need for a compressed air network composed of several components such as compressors, reservoirs, filters, dryers, air treatment subsystems, valves, tubes, etc. which makes the technology energy inefficient with energy losses that can sum up to 95%


title: Actuator

text: Since 1960, several actuator technologies have been developed, Electric actuators can be classified in the following groups:


title: Actuator

text: It converts the rotational force of an electric rotary motor into a linear movement to generate the requested linear movement through a mechanism either a belt (Belt Drive axis with stepper or servo) or a screw (either a ball or a lead screw or planetary roller screw )


title: Actuator

text: The main advantages of electromechanical actuators are their relatively good level of accuracy respect to pneumatics, their possible long lifecycle and the little maintenance effort required (might require grease). It is possible to reach relatively high force, on the order of 100 kN.


title: Actuator

text: The main limitation of these actuators are the reachable speed, the important dimensions and weight they require.


title: Actuator

text: While the main application of such actuators is mainly seen in health care devices and factory automation.


title: Actuator

text: Another approach is an electrohydraulic actuator, where the electric motor remains the prime mover but provides torque to operate a hydraulic accumulator that is then used to transmit actuation force in much the same way that diesel engine/hydraulics are typically used in heavy equipment.


title: Actuator

text: Electrical energy is used to actuate equipment such as multi-turn valves, or electric-powered construction and excavation equipment.


title: Actuator

text: When used to control the flow of fluid through a valve, a brake is typically installed above the motor to prevent the fluid pressure from forcing open the valve. If no brake is installed, the actuator gets activated to reclose the valve, which is slowly forced open again. This sets up an oscillation (open, close, open ...) and the motor and actuator will eventually become damaged.


title: Actuator

text: Linear motors are different from electromechanical actuators, they work with the same principle as electric rotary motors, in effect it can be thought as a rotary motor which has been cut and unrolled. Thus, instead of producing a rotational movement, they produce a linear force along their length. Because linear motors cause lower friction losses than other devices, some linear motor products can last over a hundred million cycles.


title: Actuator

text: Linear motors are divided in 3 basic categories: flat linear motor (classic), U-Channel linear motors and Tubular linear motors.


title: Actuator

text: Linear motor technology is the best solution in the context of a low load (up to 30Kgs) because it provides the highest level of speed, control and accuracy.


title: Actuator

text: In fact, it represents the most desired and versatile technology. Due to the limitations of pneumatics, the current electric actuator technology is a viable solution for specific industry applications and it has been successfully introduced in market segments such as the watchmaking, semiconductor and pharmaceutical industries (as high as 60% of the applications. The growing interest for this technology, can be explained by the following characteristics:


title: Actuator

text: Rotary motors are actuators that use a piece of energy to form an oscillatory motion at a certain angle of movement. Rotary actuators can have up to a rotation of 360 degrees. This allows it to differ from a linear motor as the linear is bound to a set distance compared to the rotary motor. Rotary motors have the ability to be set at any given degree in a field making the device easier to set up still with durability and a set torque.


title: Actuator

text: Rotary motors can be powered by 3 different techniques such as Electric, Fluid, or Manual. However, Fluid powered rotary actuators have 5 sub-sections of actuators such as Scotch Yoke, Vane, Rack-and-Pinion, Helical, and Electrohydraulic. All forms have their own specific design and use allowing the ability to choose multiple angles of degree.


title: Actuator

text: Applications for the rotary actuators are just about endless but, will more than likely be found dealing with mostly hydraulic pressured devices and industries. Rotary actuators are even used in the robotics field when seeing robotic arms in industry lines. Anything you see that deals with motion control systems to perform a task in technology is a good chance to be a rotary actuator.


title: Actuator

text: Actuators which can be actuated by applying thermal or magnetic energy to a solid-state material have been used in commercial applications. Thermal actuators can be triggered by temperature or heating through the Joule effect and tend to be compact, lightweight, economical and with high power density. These actuators use shape memory materials such as shape-memory alloys (SMAs) or magnetic shape-memory alloys (MSMAs).


title: Actuator

text: A mechanical actuator functions to execute movement by converting one kind of motion, such as rotary motion, into another kind, such as linear motion. An example is a rack and pinion. The operation of mechanical actuators is based on combinations of structural components, such as gears and rails, or pulleys and chains.


title: Actuator

text: The majority of the existing soft actuators are fabricated using multistep low yield processes such as micro-moulding, solid freeform fabrication, and mask lithography. However, these methods require manual fabrication of devices, post processing/assembly, and lengthy iterations until maturity in the fabrication is achieved. To avoid the tedious and time-consuming aspects of the current fabrication processes, researchers are exploring an appropriate manufacturing approach for effective fabrication of soft actuators. Therefore, special soft systems that can be fabricated in a single step by rapid prototyping methods, such as 3D printing, are utilized to narrow the gap between the design and implementation of soft actuators, making the process faster, less expensive, and simpler. They also enable incorporation of all actuator components into a single structure eliminating the need to use external joints, adhesives, and fasteners.


title: Actuator

text: Shape memory polymer (SMP) actuators are the most similar to our muscles, providing a response to a range of stimuli such as light, electrical, magnetic, heat, pH, and moisture changes. They have some deficiencies including fatigue and high response time that have been improved through the introduction of smart materials and combination of different materials by means of advanced fabrication technology. The advent of 3D printers has made a new pathway for fabricating low-cost and fast response SMP actuators. The process of receiving external stimuli like heat, moisture, electrical input, light or magnetic field by SMP is referred to as shape memory effect (SME). SMP exhibits some rewarding features such a low density, high strain recovery, biocompatibility, and biodegradability.


title: Actuator

text: Photopolymer/light activated polymers (LAP) are another type of SMP that are activated by light stimuli. The LAP actuators can be controlled remotely with instant response and, without any physical contact, only with the variation of light frequency or intensity.


title: Actuator

text: A need for soft, lightweight and biocompatible soft actuators in soft robotics has influenced researchers for devising pneumatic soft actuators because of their intrinsic compliance nature and ability to produce muscle tension.


title: Actuator

text: Polymers such as dielectric elastomers (DE), ionic polymer metal composites (IPMC), ionic electroactive polymers, polyelectrolyte gels, and gel-metal composites are common materials to form 3D layered structures that can be tailored to work as soft actuators. EAP actuators are categorized as 3D printed soft actuators that respond to electrical excitation as deformation in their shape.


title: Actuator

text: In engineering, actuators are frequently used as mechanisms to introduce motion, or to clamp an object so as to prevent motion. In electronic engineering, actuators are a subdivision of transducers. They are devices which transform an input signal (mainly an electrical signal) into some form of motion.


title: Actuator

text: Motors are mostly used when circular motions are needed, but can also be used for linear applications by transforming circular to linear motion with a lead screw or similar mechanism. On the other hand, some actuators are intrinsically linear, such as piezoelectric actuators. Conversion between circular and linear motion is commonly made via a few simple types of mechanism including:


title: Actuator

text: In virtual instrumentation, actuators and sensors are the hardware complements of virtual instruments.


title: Actuator

text: Performance metrics for actuators include speed, acceleration, and force (alternatively, angular speed, angular acceleration, and torque), as well as energy efficiency and considerations such as mass, volume, operating conditions, and durability, among others.


title: Actuator

text: When considering force in actuators for applications, two main metrics should be considered. These two are static and dynamic loads. Static load is the force capability of the actuator while not in motion. Conversely, the dynamic load of the actuator is the force capability while in motion.


title: Actuator

text: Speed should be considered primarily at a no-load pace, since the speed will invariably decrease as the load amount increases. The rate the speed will decrease will directly correlate with the amount of force and the initial speed.


title: Actuator

text: Actuators are commonly rated using the standard IP Code rating system. Those that are rated for dangerous environments will have a higher IP rating than those for personal or common industrial use.


title: Autocannon

text: An autocannon, automatic cannon or machine cannon is a fully automatic gun that is capable of rapid-firing large-caliber ( or more) armour-piercing, explosive or incendiary shells, as opposed to the smaller-caliber kinetic projectiles (bullets) fired by a machine gun. Autocannons have a longer effective range and greater terminal performance than machine guns, due to the use of larger/heavier munitions (most often in the range of , but bigger calibers also exist), but are usually smaller than tank guns, howitzers, field guns or other artillery. When used on its own, the word "autocannon" typically indicates a non-rotary weapon with a single barrel. When multiple rotating barrels are involved, such a weapon is referred to as a "rotary autocannon" or occasionally "rotary cannon", for short (particularly on aircraft).


title: Autocannon

text: Autocannons are heavy weapons that are unsuitable for use by infantry. Due to the heavy weight and recoil, they are typically installed on fixed mounts, wheeled carriages, combat vehicles, aircraft or watercraft, and are almost always crew-served during operation, or even remote-operated with automatic target recognition/acquisition (e.g. sentry guns and naval CIWS). As such, ammunition is typically fed from a belt system to reduce reloading pauses or for a faster rate of fire, but magazines remain an option. Common types of ammunition, among a wide variety, include HEIAP, HEDP and more specialised armour-piercing (AP) munitions, mainly composite rigid (APCR) and discarding sabot (APDS) rounds.


title: Autocannon

text: Although capable of generating extremely rapid firepower, autocannons overheat quickly if used for sustained fire, and are limited by the amount of ammunition that can be carried by the weapons systems mounting them. Both the US 25 mm M242 Bushmaster and the British 30 mm RARDEN have relatively slow rates of fire so as not to deplete ammunition too quickly. The Oerlikon KBA 25 mm has a relatively mid-high rate of fire 650 rounds per minute but can be electronically programmed to 175-200 rounds per minute. The rate of fire of a modern autocannon ranges from 90 rounds per minute, in the case of the British RARDEN, to 2,500 rounds per minute with the GIAT 30. Rotary systems with multiple barrels can achieve over 10,000 rounds per minute (the Russian GSh-6-23, for example). Such extremely high rates of fire are effectively employed by aircraft in aerial dogfights and close air support on ground targets via strafing attacks, where the target dwell time is short and weapons are typically operated in brief bursts.


title: Autocannon

text: The first modern autocannon was the British QF 1-pounder, also known as the "pom-pom". This was essentially an enlarged version of the Maxim gun, which was the first successful fully automatic machine gun, requiring no outside stimulus in its firing cycle other than holding the trigger. The pom-pom fired gunpowder-filled explosive shells at a rate of over 200 rounds a minute: much faster than conventional artillery while possessing a much longer range and more firepower than the infantry rifle.


title: Autocannon

text: In 1913, Reinhold Becker and his "Stahlwerke Becker" firm designed the 20mm Becker cannon, addressing the German Empire's perceived need for heavy-calibre aircraft armament. The Imperial Government's Spandau Arsenal assisted them in perfecting the ordnance. Although only about 500+ examples of the original Becker design were made during World War I, the design's patent was acquired by the Swiss Oerlikon Contraves firm in 1924, with the Third Reich's "Ikaria-Werke" firm of Berlin using Oerlikon design patents in creating the MG FF wingmount cannon ordnance. The Imperial Japanese Navy's Type 99 cannon, adopted and produced in 1939, was also based on the Becker/Oerlikon design's principles.


title: Autocannon

text: During the First World War, autocannons were mostly used in the trenches as anti-aircraft guns. The British used pom-pom guns as part of their air defences to counter the German Zeppelin airships that made regular bombing raids on London. However, they were of little value, as their shells neither ignited the hydrogen of the Zeppelins nor caused sufficient loss of gas (and hence lift) to bring them down. Attempts to use the guns in aircraft failed, as the weight severely limited both speed and altitude, thus making successful interception impossible. The more effective QF 2 pounder naval gun would be developed during the war to serve as an anti-aircraft and close range defensive weapon for naval vessels.


title: Autocannon

text: Autocannons would serve to a much greater extent and effect during the Second World War. The German Panzer II light tank, which was one of the most numerous in German service during the invasion of Poland and the campaign in France, used a 20 mm autocannon as its main armament. Although ineffective against tank armour even during the early years of the war, the cannon was effective against light-skinned vehicles as well as infantry and was also used by armoured cars. Larger examples, such as the 40 mm Vickers S, were mounted in ground attack aircraft to serve as an anti-tank weapon, a role to which they were suited as tank armour is often lightest on top.


title: Autocannon

text: The Polish 20 mm 38 Fk auto cannon was expensive to produce, but an exception. Unlike the Oerlikon, it was effective against all the tanks fielded in 1939, largely because it was built as an upgrade to the Oerlikon, Hispano-Suiza, and Madsen. It even proved capable of knocking out early Panzer IIIs and IVs, albeit with great difficulty. Only 55 were produced by the time of the Polish Defensive War. However it was in the air war that these weapons played their most important part in the conflict.


title: Autocannon

text: In the First World War, rifle-calibre machine guns became the standard weapons of military aircraft. In the Second, several factors brought about their replacement by autocannon. During the inter-war years, aircraft underwent extensive evolution and the all-metal monoplane, pioneered as far back as the end of 1915, almost entirely replaced wood and fabric biplanes. At the same time as they began to be made from stronger materials, the machines also increased in speed, streamlining, power and size, and it began to be apparent that correspondingly more powerful weapons would be needed to counter them. Conversely, they were becoming much better able to carry exactly such larger and more powerful guns; the technology of which was in the meantime also developing, providing significantly improved rates of fire and reliability.


title: Autocannon

text: When the Second World War did break out, it was swiftly realised that the power of contemporary aircraft allowed armour plate to be fitted to protect the pilot and other vulnerable areas. This innovation proved highly effective against rifle-calibre machine gun rounds, which tended to ricochet off harmlessly. Similarly the introduction of self sealing fuel tanks provided reliable protection against these small projectiles. These new defenses, synergistically with the general robustness of new aircraft designs and of course their sheer speed, which made simply shooting them accurately in the first place far more difficult, entailed that it took a lot of such bullets and a fair amount of luck to cause them critical damage; but potentially a single cannon shell with a high-explosive payload could instantly sever essential structural elements, penetrate armour or open up a fuel tank beyond the capacity of self-sealing compounds to counter, even from fairly long range. (Instead of explosives, such shells could carry incendiaries, also highly effective at destroying planes, or a combination of explosives and incendiaries.) Thus by the end of the war, the fighter aircraft of almost all the belligerents mounted cannon of some sort, the only exception being the United States which in most cases favoured the Browning AN/M2 "light-barrel" .50 calibre heavy machine gun. A fighter equipped with these intermediate weapons in sufficient numbers was adequately armed to fulfill most of the Americans' combat needs aloft, as they tended to confront enemy fighters and other small planes far more often than large bombers; and as, in the earlier phases of the war, the Japanese aircraft they dealt with were not only unusually lightly built but went without either armour plate or self-sealing tanks in order to reduce their weight. Nevertheless, the U.S. also adopted planes fitted with autocannon, such as the Lockheed P-38 Lightning, despite experiencing technical difficulties with developing and manufacturing these large-calibre automatic guns.


title: Autocannon

text: Weapons such as the Oerlikon 20 mm, the Bofors 40 mm and various German Rheinmetall autocannons would see widespread use by both sides during the Second World War; not only in an anti-aircraft role, but as a weapon for use against ground targets as well. Heavier anti-aircraft cannon had difficulty tracking fast-moving aircraft and were unable to accurately judge altitude or distance, while machine guns possessed insufficient range and firepower to bring down aircraft consistently. Continued ineffectiveness against aircraft despite the large numbers installed during the second World War led, in the West, to the removal of almost all shipboard anti-aircraft weapons in the early post-war period. This was only reversed with the introduction of computer-controlled systems.


title: Autocannon

text: The German "Luftwaffe" deployed small numbers of the experimental "Bordkanone" series of heavy aircraft cannon in 37, 50 and 75 mm calibres, mounted in gun pods under the fuselage or wings. The 37 mm BK 3,7 cannon, based on the German Army's 3.7 cm FlaK 43 anti-aircraft autocannon was mounted in pairs in underwing gun pods on a small number of specialized Stuka "Panzerknacker" (tank buster) aircraft. The BK 5 cm cannon, based on the 5 cm KwK 39 cannon of the Panzer III, was installed in Ju 88P bomber destroyers, which also used other "Bordkanone" models, and in the Messerschmitt 410 "Hornisse" (Hornet) bomber destroyer. 300 examples of the BK 5 cannon were built, more than all other versions. The PaK 40 semi-automatic 7.5 cm calibre anti-tank gun was the basis for the BK 7,5 in the Junkers Ju 88P-1 heavy fighter and Henschel Hs 129B-3 twin engined ground attack aircraft.


title: Autocannon

text: The German Mauser MK 213 was developed at the end of the Second World War and is regarded as the archetypal modern revolver cannon. With multiple chambers and a single barrel, autocannons using the revolver principle can combine a very high rate of fire and high acceleration to its maximum firing rate with low weight, at cost of a reduced sustained rate of fire compared to rotary cannon. They are therefore used mainly in aircraft for AA purposes, in which a target is visible for a short period of time.


title: Autocannon

text: The development of guided missiles was thought to render cannons unnecessary and a full generation of western fighter aircraft was built without them. In contrast, all Eastern Bloc aircraft kept their guns. During the Vietnam War, however, the United States Air Force realized that cannons were useful for firing warning shots and for attacking targets that did not warrant the expenditure of a (much more expensive) missile, and, more importantly, as an additional weapon if the aircraft had expended all its missiles or enemy aircraft were inside of the missiles' minimum target acquisition range in a high-G close range engagement. This was particularly important with the lower reliability of early air-to-air missile technology, such as that employed during the Vietnam War. As a consequence, fighters at the time had cannons added back in external "gun pods", and virtually all fighter aircraft retain autocannons in integral internal mounts to this day.


title: Autocannon

text: After the Second World War, autocannons continued to serve as a versatile weapon in land, sea, and air applications. Examples of modern autocannons include the 25 mm Oerlikon KBA mounted on the IFV Freccia, the M242 Bushmaster mounted on the M2/M3 Bradley, updated versions of the Bofors 40 mm gun, and the Mauser BK-27. The 20 mm M61A1 is an example of an electrically powered rotary autocannon. Another role that has come into association with autocannons are that of close-in weapon systems on naval vessels, which are used to destroy anti-ship missiles and low flying aircraft.


title: Mike Rutherford

text: Michael John Cloete Crawford Rutherford (born 2 October 1950) is an English guitarist, bassist and songwriter, co-founder of the rock band Genesis. Rutherford and keyboardist Tony Banks are the group's two continuous members.


title: Mike Rutherford

text: Initially serving as Genesis's bass guitarist and backing vocalist, Rutherford also performed most of the band's rhythm guitar parts—frequently on twelve-string guitar—in collaboration with successive Genesis lead guitarists Anthony Phillips and Steve Hackett. Following Hackett's departure from Genesis in 1977, Rutherford assumed the additional role of lead guitarist on the band's studio albums (beginning with "...And Then There Were Three..." in 1978). Rutherford was one of the main Genesis songwriters throughout their career and wrote the lyrics for some of the band's biggest international hits, such as "Follow You Follow Me", "Turn It On Again", "Land of Confusion" and "Throwing It All Away". He was inducted into the Rock and Roll Hall of Fame as a member of Genesis in 2010.


title: Mike Rutherford

text: In addition to his work with Genesis, Rutherford released two solo albums in the early 1980s. In 1985, he formed Mike + the Mechanics, which became a chart-topping act and significant live draw in its own right. The group earned Rutherford an Ivor Novello Award for the 1988 single "The Living Years", as well as two Grammys.


title: Mike Rutherford

text: Michael John Cloete Crawford Rutherford was born on 2 October 1950 in Chertsey, Surrey. His father, William Rutherford, was a Royal Navy Captain who became a manager in industry upon his retirement from the service and married his mother Anne. He has an elder sister, Nicolette.


title: Mike Rutherford

text: Rutherford received his first guitar at the age of 8, and played in his first band, The Chesters, named because by then they lived near Chester, in the following year. He attended The Leas, a preparatory school in Hoylake, Merseyside before he moved to Charterhouse, a private school in Godalming, Surrey in September 1964. He co-formed the school band Anon with guitarist Anthony Phillips in 1965, after which they split and formed Genesis in 1967 with fellow Charterhouse pupils, keyboardist Tony Banks, vocalist Peter Gabriel, and Chris Stewart. Rutherford disliked his time at Charterhouse, and was expelled for instances of minor misconduct.


title: Mike Rutherford

text: Rutherford's playing style has been shaped by his unorthodox performance requirements within Genesis, which from a fairly early date required frequent shifts between instruments (or shifts of role between instruments). Though his work with bass and guitar has been praised by some critics, he has described his playing as average and said that he considers himself a songwriter first and foremost.


title: Mike Rutherford

text: Rutherford's bass guitar playing initially involved the use of a pick and a high-treble setting. He would also sometimes employ a relatively harsh, horn-like distortion setting to differentiate the instrument's tone from the rest of the ensemble. In the mid-1970s he would begin to play fretless bass guitar on Genesis songs (in particular on ballads) and would experiment with 8-string bass guitar.


title: Mike Rutherford

text: Rutherford's rhythm guitar playing was initially characterised by his use of electric and acoustic 12-string guitars. A distinctive sound of early Genesis recordings was Rutherford's double acoustic 12-string playing intertwined with that of Anthony Phillips or, later, Steve Hackett (keyboard player Tony Banks would occasionally also play 12-string guitar parts to make up a duo or trio). As a rhythm guitar player and writer, Rutherford has favoured melodic, minimalist chords or progressions of single notes, as in Genesis songs "Follow You Follow Me", "Turn It On Again" and "Invisible Touch", or the Mike and the Mechanics song "The Living Years".


title: Mike Rutherford

text: Rutherford assumed lead guitar duties for Genesis in 1977. Previously he had made occasional lead guitar contributions to Genesis music if they were best played by him (such as the electric sitar parts on "Selling England by the Pound"), but following the departure of Hackett and the band's decision not to replace him with a new guitarist, despite toying with auditioning new guitarists or using a studio guitarist on "...And Then There Were Three...", Rutherford assumed all guitarist roles in the recording studio, having felt confident enough to double up on lead guitar as well as bass. As a lead player he has favoured long, melodic tones, bending the notes into plaintive, almost vocal lines. This results in "singable" solos or the creation of sonic atmospheres rather than showy displays of technical prowess. Post-Hackett, he has also diversified his rhythm guitar approach beyond his initial twelve-string-based approach.


title: Mike Rutherford

text: From an early date, Rutherford also played bass pedals both live and in the studio, often playing simultaneous twelve-string guitar and bass pedal parts in order to cover rhythm and bass parts at the same time. Initially using a Dewtron "Mister Bassman" bass pedal synthesiser, he had moved onto Moog Taurus bass pedals by the 1976 "Trick of the Tail" Tour. Frequently Rutherford's bass guitar, 12-string guitar, and bass pedal playing have featured in different sections of a single Genesis song, "Supper's Ready", "Firth of Fifth" and "The Cinema Show" being good examples of this. Sometimes Rutherford's bass pedals are used to set up a steady drone as the basis for an individual song (such as "Afterglow").


title: Mike Rutherford

text: In concerts during the first half of the 1970s, Rutherford often played a double-necked instrument, custom built from a separate Rickenbacker hollowbody 12-string and 4001 bass. Rickenbacker later issued double neck bass/guitar combinations with 4080/6 and 4080/12 models. However, Rutherford assigned the guitar neck to the top position rather than the 4080's stock guitar on bottom. He later had a custom Shergold double-neck made, with the body modified so that each neck could be detached and played as a standard single-neck instrument, or swapped out in favour of alternate halves (allowing the 12-string half to be switched to a 6-string when needed). On post-1977 Genesis live shows, Rutherford would alternate parts with touring band member Daryl Stuermer. Stuermer would typically play all of Hackett's original guitar parts (while Rutherford concentrated on bass, twelve-string guitar and pedals), but play bass guitar on most songs from the post-Hackett era (for which Rutherford would move to guitar).


title: Mike Rutherford

text: Rutherford also contributed other instrumental work to Genesis, performing occasional cello parts on their early 1970s records and playing the drumkit on live performances of the song "Who Dunnit?" in 1981.


title: Mike Rutherford

text: During breaks in Genesis, Rutherford recorded two solo albums, "Smallcreep's Day" and "Acting Very Strange". However, he was dissatisfied with his solo work and in 1984 he resolved to never record a solo album again, since he felt his creativity was at its peak when working in collaboration. Because of this, he formed the band Mike + The Mechanics during a break from Genesis in 1985.


title: Mike Rutherford

text: Mike + The Mechanics' biggest hits are "All I Need Is a Miracle", "Word of Mouth", "The Living Years", "Silent Running" and "Over My Shoulder". To help promote "The Living Years", Rutherford and the record label perpetuated the impression that the song was inspired by Rutherford's relationship with his father, who died during Genesis's "Invisible Touch" Tour. In 2004, Rutherford confessed that the lyrics were in fact written by B. A. Robertson, and based entirely on Robertson's relationship with his father.


title: Mike Rutherford

text: Rutherford also collaborated with other artists, including associates Peter Gabriel and Phil Collins, on the "Against All Odds" soundtrack, offering the song "Making A Big Mistake".


title: Mike Rutherford

text: Rutherford played at the Strat Pack Concert in 2004 along with Brian May, David Gilmour, Joe Walsh and many other guitarists, in a celebration of the 50th anniversary of the Fender Stratocaster electric guitar. Rutherford performed in the closing ceremony of the 2012 Summer Olympics on 12 August 2012 as a guest member of Ed Sheeran's band along with Pink Floyd drummer Nick Mason, playing the Pink Floyd song "Wish You Were Here".


title: Mike Rutherford

text: Early in his career, Rutherford played mainly Rickenbacker and Shergold basses. He developed the idea behind the M-Series Steinberger guitar with the help of English luthier Roger Giffin and he used this extensively in the 1980s and during The Invisible Touch Tour with Genesis. He had a double-neck Strata (later renamed Status) built for the Mama tour which featured a six string guitar and four string bass placed in a custom body. In the earlier years of Genesis he played a Dewtron Mister Bassman and, starting in 1976, Moog Taurus bass pedal synthesisers.


title: Mike Rutherford

text: Through the early 1970s live tours, Rutherford often used a custom built Rickenbacker double-neck that combined a 12-string semi-hollow-body guitar with a 4-string bass (now on display at the Rock and Roll Hall of Fame Museum). For The Lamb Lies Down on Broadway and the first part of the Trick of the Tail tours, he incorporated a Rickenbacker 12-string solid-body guitar and a 6-string Micro-Frets Signature Baritone, equipped with 6-string short scale bass strings. Later he switched to another 12-string solid body/6-string bass combination built from scratch. All these double-neck guitars were made by luthier Dick Knight. A custom Shergold double-neck was made that had modules for 4, 6 and 12 strings guitars. The retunings required for early Genesis songs led to the development of Peter Gabriel's stories and introductions.


title: Mike Rutherford

text: For the 2007 tour with Genesis, Rutherford continued to use double-neck instruments when the arrangements demand quick switches between bass and twelve-string guitars. His current double-neck model is a Gibson twelve-string guitar with a Yamaha TRB-4P bass while he prefers Eric Clapton signature model Fender Stratocasters when playing guitar on later pieces. As for bass, from 1992 on, Rutherford can be seen playing mostly Yamaha from the TRB series. During the 2022 The Last Domino? Tour, Rutherford started using Squier Bullet Stratocasters after purchasing a pair while under lockdown in Cape Town.


title: Mike Rutherford

text: Rutherford currently divides his time between Loxwood, West Sussex, England, and Cape Town, South Africa with his wife Angie. The couple were married on 13 November 1976 and have three children: Kate (b. 1977), Tom (b. 1980), and Harry (b. 1986). The family enjoys equestrian sport such as polo and dressage, in addition to raising horses.


title: Mike Rutherford

text: In 2009, Philip Beresford, compiler of the "Sunday Times Rich List", estimated Rutherford's fortune at £30 million from past touring activity, future touring income, and the Genesis back catalogue, plus other smaller company assets and accumulated earnings.


title: Mike Rutherford

text: In 2014, Rutherford published "The Living Years: The First Genesis Memoir" with Thomas Dunne Books. The first book about Rutherford's solo career, called "Silent Runner" by journalist Mario Giammetti, was published in Italy (Edizioni Segno) in 2011.


title: Amrita Arora

text: Amrita Arora Ladak (born 31 January 1978) is an Indian actress, model, television presenter and video jockey (VJ), who primarily appears in Hindi-language films.


title: Amrita Arora

text: She completed her secondary education from Swami Vivekanand School in Chembur. Her aunt, Grace Polycarp, was the principal of the school, Mumbai.


title: Amrita Arora

text: She is married to Shakeel Ladak, a businessman in the construction industry in 2009. The ceremonies included a Christian wedding on 4 March 2009 followed by Mehendi on 5 March and a Muslim Nikah ceremony on 6 March 2009. They have two sons named Azaan (born on 5 February 2010) and Rayaan (born on 20 October 2012).


title: Amrita Arora

text: Arora started her career as VJ for MTV. She made her Bollywood debut in 2002 opposite Fardeen Khan in the film, "Kitne Door Kitne Paas", which was not successful at the box office. Her first successful film was the action comedy, "Awara Paagal Deewana". A series of flops followed, among them "Girlfriend" (2004), about a lesbian relationship, in which she appeared opposite Isha Koppikar.


title: Amrita Arora

text: In 2007, she made a special appearance in Farah Khan's film "Om Shanti Om", in the song "Deewangi Deewangi" with her sister and former brother-in-law Arbaaz Khan. In the same year, she appeared in "Speed" and "", also starring Aftab Shivdasani and Celina Jaitley.


title: Amrita Arora

text: In 2009, her releases were "Deha" and "Team the Force". The same year, she appeared in a supporting role in "Kambakth Ishq", produced by Sajid Nadiadwala.


title: Moment (mathematics)

text: In mathematics, the moments of a function are certain quantitative measures related to the shape of the function's graph. If the function represents mass density, then the zeroth moment is the total mass, the first moment (normalized by total mass) is the center of mass, and the second moment is the moment of inertia. If the function is a probability distribution, then the first moment is the expected value, the second central moment is the variance, the third standardized moment is the skewness, and the fourth standardized moment is the kurtosis. The mathematical concept is closely related to the concept of moment in physics.


title: Moment (mathematics)

text: For a distribution of mass or probability on a bounded interval, the collection of all the moments (of all orders, from to ) uniquely determines the distribution (Hausdorff moment problem). The same is not true on unbounded intervals (Hamburger moment problem).


title: Moment (mathematics)

text: In the mid-nineteenth century, Pafnuty Chebyshev became the first person to think systematically in terms of the moments of random variables.


title: Moment (mathematics)

text: The ""-th raw moment (i.e., moment about zero) of a distribution is defined byformula_1whereformula_2The -th moment of a real-valued continuous function "f"("x") of a real variable about a value "c" is the integralformula_3It is possible to define moments for random variables in a more general fashion than moments for real-valued functions — see moments in metric spaces. The moment of a function, without further explanation, usually refers to the above expression with "c" = 0.


title: Moment (mathematics)

text: For the second and higher moments, the central moment (moments about the mean, with "c" being the mean) are usually used rather than the moments about zero, because they provide clearer information about the distribution's shape.


title: Moment (mathematics)

text: Other moments may also be defined. For example, the th inverse moment about zero is formula_4 and the -th logarithmic moment about zero is formula_5


title: Moment (mathematics)

text: The -th moment about zero of a probability density function "f"("x") is the expected value of and is called a "raw moment" or "crude moment". The moments about its mean are called "central" moments; these describe the shape of the function, independently of translation.


title: Moment (mathematics)

text: If "f" is a probability density function, then the value of the integral above is called the -th moment of the probability distribution. More generally, if "F" is a cumulative probability distribution function of any probability distribution, which may not have a density function, then the -th moment of the probability distribution is given by the Riemann–Stieltjes integralformula_6where "X" is a random variable that has this cumulative distribution "F", and is the expectation operator or mean.


title: Moment (mathematics)

text: Whenformula_7the moment is said not to exist. If the -th moment about any point exists, so does the -th moment (and thus, all lower-order moments) about every point.


title: Moment (mathematics)

text: The zeroth moment of any probability density function is 1, since the area under any probability density function must be equal to one.


title: Moment (mathematics)

text: The "normalised" -th central moment or standardised moment is the -th central moment divided by ; the normalised -th central moment of the random variable is formula_8


title: Moment (mathematics)

text: These normalised central moments are dimensionless quantities, which represent the distribution independently of any linear change of scale.


title: Moment (mathematics)

text: For an electric signal, the first moment is its DC level, and the second moment is proportional to its average power.


title: Moment (mathematics)

text: The second central moment is the variance. The positive square root of the variance is the standard deviation formula_10


title: Moment (mathematics)

text: The third central moment is the measure of the lopsidedness of the distribution; any symmetric distribution will have a third central moment, if defined, of zero. The normalised third central moment is called the skewness, often . A distribution that is skewed to the left (the tail of the distribution is longer on the left) will have a negative skewness. A distribution that is skewed to the right (the tail of the distribution is longer on the right), will have a positive skewness.


title: Moment (mathematics)

text: For distributions that are not too different from the normal distribution, the median will be somewhere near ; the mode about .


title: Moment (mathematics)

text: The fourth central moment is a measure of the heaviness of the tail of the distribution. Since it is the expectation of a fourth power, the fourth central moment, where defined, is always nonnegative; and except for a point distribution, it is always strictly positive. The fourth central moment of a normal distribution is .


title: Moment (mathematics)

text: The kurtosis is defined to be the standardized fourth central moment (Equivalently, as in the next section, excess kurtosis is the fourth cumulant divided by the square of the second cumulant.) If a distribution has heavy tails, the kurtosis will be high (sometimes called leptokurtic); conversely, light-tailed distributions (for example, bounded distributions such as the uniform) have low kurtosis (sometimes called platykurtic).


title: Moment (mathematics)

text: The kurtosis can be positive without limit, but must be greater than or equal to ; equality only holds for binary distributions. For unbounded skew distributions not too far from normal, tends to be somewhere in the area of and .


title: Moment (mathematics)

text: The inequality can be proven by consideringformula_11where . This is the expectation of a square, so it is non-negative for all "a"; however it is also a quadratic polynomial in "a". Its discriminant must be non-positive, which gives the required relationship.


title: Moment (mathematics)

text: As with variance, skewness, and kurtosis, these are higher-order statistics, involving non-linear combinations of the data, and can be used for description or estimation of further shape parameters. The higher the moment, the harder it is to estimate, in the sense that larger samples are required in order to obtain estimates of similar quality. This is due to the excess degrees of freedom consumed by the higher orders. Further, they can be subtle to interpret, often being most easily understood in terms of lower order moments – compare the higher-order derivatives of jerk and jounce in physics. For example, just as the 4th-order moment (kurtosis) can be interpreted as "relative importance of tails as compared to shoulders in contribution to dispersion" (for a given amount of dispersion, higher kurtosis corresponds to thicker tails, while lower kurtosis corresponds to broader shoulders), the 5th-order moment can be interpreted as measuring "relative importance of tails as compared to center (mode and shoulders) in contribution to skewness" (for a given amount of skewness, higher 5th moment corresponds to higher skewness in the tail portions and little skewness of mode, while lower 5th moment corresponds to more skewness in shoulders).


title: Moment (mathematics)

text: The value formula_12 is called the moment of order formula_13 (moments are also defined for non-integral formula_13). The moments of the joint distribution of random variables formula_15 are defined similarly. For any integers formula_16, the mathematical expectation formula_17 is called a mixed moment of order formula_13 (where formula_19), and formula_20 is called a central mixed moment of order formula_13. The mixed moment formula_22 is called the covariance and is one of the basic characteristics of dependency between random variables.


title: Moment (mathematics)

text: Some examples are covariance, coskewness and cokurtosis. While there is a unique covariance, there are multiple co-skewnesses and co-kurtoses.


title: Moment (mathematics)

text: where formula_24 is the binomial coefficient, it follows that the moments about "b" can be calculated from the moments about "a" by:


title: Moment (mathematics)

text: where formula_28 denotes the formula_29-th moment of the function given in the brackets. This identity follows by the convolution theorem for moment generating function and applying the chain rule for differentiating a product.


title: Moment (mathematics)

text: The first raw moment and the second and third "unnormalized central" moments are additive in the sense that if "X" and "Y" are independent random variables then


title: Moment (mathematics)

text: (These can also hold for variables that satisfy weaker conditions than independence. The first always holds; if the second holds, the variables are called uncorrelated).


title: Moment (mathematics)

text: It can be shown that the expected value of the raw sample moment is equal to the -th raw moment of the population, if that moment exists, for any sample size . It is thus an unbiased estimator. This contrasts with the situation for central moments, whose computation uses up a degree of freedom by using the sample mean. So for example an unbiased estimate of the population variance (the second central moment) is given by


title: Moment (mathematics)

text: in which the previous denominator has been replaced by the degrees of freedom , and in which formula_33 refers to the sample mean. This estimate of the population moment is greater than the unadjusted observed sample moment by a factor of formula_34 and it is referred to as the "adjusted sample variance" or sometimes simply the "sample variance".


title: Moment (mathematics)

text: Problems of determining a probability distribution from its sequence of moments are called "problem of moments". Such problems were first discussed by P.L. Chebyshev (1874) in connection with research on limit theorems. In order that the probability distribution of a random variable formula_35 be uniquely defined by its moments formula_36 it is sufficient, for example, that Carleman's condition be satisfied:


title: Moment (mathematics)

text: A similar result even holds for moments of random vectors. The "problem of moments" seeks characterizations of sequences formula_38


title: Moment (mathematics)

text: and "X" has finite -th central moment if the -th central moment of "X" about "x" is finite for some .


title: Garth Jennings

text: Garth Jennings (born 9 July 1972) is an English director, screenwriter and actor. Films he has directed include "The Hitchhiker's Guide to the Galaxy", "Son of Rambow", "Sing", and "Sing 2". He co-founded the production company Hammer & Tongs.


title: Garth Jennings

text: In 1993, Garth Jennings co-founded the production company Hammer & Tongs alongside Dominic Leung and Nick Goldsmith. The production company was primarily responsible for directing and writing music videos. Their music video for Radiohead's song "Lotus Flower" earned Jennings a nomination at the 54th Annual Grammy Awards.


title: Garth Jennings

text: Garth Jennings directed a number of films including the 2005 science fiction comedy film "The Hitchhiker's Guide to the Galaxy", based upon previous works in the media franchise of the same name, created by Douglas Adams. It stars Martin Freeman, Sam Rockwell, Mos Def, Zooey Deschanel and the voices of Stephen Fry, Helen Mirren and Alan Rickman.


title: Garth Jennings

text: Set over a summer during the dawn of Thatcher's Britain, "Son of Rambow" is a coming of age story about two schoolboys and their attempts to make an amateur film inspired by "First Blood". The film premiered on 22 January 2007 at the Sundance Film Festival. It was later shown at the Newport Beach Film Festival, Seattle International Film Festival, Toronto International Film Festival and Glasgow Film Festival. The film was also shown at the 51st BFI London Film Festival. "Son of Rambow" was released in the United Kingdom on 4 April 2008 and opened in limited release in the United States on 2 May 2008.


title: Garth Jennings

text: In January 2014, it was announced that Garth Jennings would write and direct an animated comedy film for Universal Pictures and Illumination Entertainment. The resulting film, "Sing", was released in December 2016. He also provided the voice for Miss Crawly, an elderly iguana employed as an administrative assistant to Buster Moon. A sequel, titled "Sing 2", was released on 22 December 2021.


title: Garth Jennings

text: Garth Jennings directed, wrote and co-produced a short film titled "Madame" that was released in 2019. This film takes place inside a grand Parisian apartment where lives an elegant elderly lady. And inside this lady lives a monster.


title: Columbus nightclub shooting

text: On December 8, 2004, four people were murdered and three others were wounded in a mass shooting at the Alrosa Villa nightclub in Columbus, Ohio. The main target of the attack was "Dimebag" Darrell Abbott, who was on stage performing with his band Damageplan at the time of the shooting. Three minutes after opening fire, the perpetrator, 25-year-old Nathan Gale, was shot and killed by police officer James Niggemeyer.


title: Columbus nightclub shooting

text: Abbott sustained multiple gunshot wounds to the head and was pronounced dead at the scene. The other fatalities were Jeffrey "Mayhem" Thompson, Damageplan's head of security who tackled Gale; Erin Halk, an Alrosa employee who tried to restrain Gale; and Damageplan fan Nathan Bray, who had jumped onto the stage to aid Abbott and Thompson. Damageplan's tour manager Chris Paluksa and drum technician John Brooks suffered non-fatal gunshot wounds and were taken to Riverside Methodist Hospital, while road crew member Travis Burnett was treated at the scene.


title: Columbus nightclub shooting

text: The motive for the shooting is still unknown. Gale, a former member of the United States Marine Corps, had told his mother and employer that he had been discharged due to paranoid schizophrenia, and many of his friends observed erratic behavior from Gale in the months leading up to the shooting. Some news outlets claimed that Gale was angry with Abbott for the dissolution of his previous band Pantera, while others believed that Gale was operating under the delusion that Pantera had plagiarized his lyrics and were attempting to steal his identity.


title: Columbus nightclub shooting

text: A number of heavy metal artists released tributes to Abbott after his death, while others pushed for increased security at concerts to prevent another such incident. Niggemeyer was valorized for his action, but retired from the police department in 2011 with post-traumatic stress disorder. Abbott's brother and Pantera drummer Vinnie Paul resented singer Phil Anselmo for his perceived role in influencing the shooter, and remained distant from the other members of the band until his death in 2018.


title: Columbus nightclub shooting

text: Guitarist Darrell Abbott, better known by his stage name of Dimebag Darrell, founded the American heavy metal band Pantera in 1981 alongside his brother Vincent Abbott, better known as Vinnie Paul. After the release of their album "Reinventing the Steel" in 2000, tensions rose between the Abbott brothers and lead singer Phil Anselmo, and although Pantera never officially broke up, by 2003, the band members had moved on to other projects. The Abbott brothers recruited Patrick Lachman, former guitarist for Halford, to form the heavy metal band Damageplan. Damageplan released their first album, "New Found Power", in February 2004, and spent most of the year on tour to promote the title.


title: Columbus nightclub shooting

text: On April 8, 2004, a Pantera fan named Nathan Gale interrupted a Damageplan performance at Bogart's nightclub in Cincinnati, Ohio, jumping onto the stage and causing $1,800 of damage to lighting and other stage equipment during an ensuing police struggle. While officers responding to a 9-1-1 call about the incident noted Gale's actions as criminal endangerment and destruction of property, Damageplan elected not to press charges, as they did not want to return to Cincinnati for court proceedings. The band was unfazed by the incident. An attendee later stated that, after Gale had been removed from the venue, Lachman had joked, "I'd like to introduce you to the fifth member of the [expletive] band."


title: Columbus nightclub shooting

text: On December 8, 2004, Damageplan was headlining a concert at the Alrosa Villa nightclub in Columbus, Ohio. The venue had a capacity of 600 and had sold 250 tickets for the evening's show. Club manager Rick Cautela and other concertgoers noticed Nathan Gale loitering in the parking lot during the opening acts, Volume Dealer and 12 Gauge, and asked why he was outside, to which he responded, "I don't want to see no shitty local bands [...] I'm gonna wait for Damageplan." By the time that Damageplan took the stage at 10:15 p.m. EST, the crowd had grown to about 400. Gale entered the venue by scaling a wooden fence on the north side of the venue and entering through a patio door.


title: Columbus nightclub shooting

text: At 10:20 p.m., partway into the opening song of Damageplan's set, Gale, dressed in a Columbus Blue Jackets hockey jersey and a hooded sweatshirt, jumped onto the stage and drew his Beretta 92FS 9mm semi-automatic pistol. He moved directly towards Abbott and shot him four times at point-blank range: one time each in the right cheek, the left ear, the back of the head, and the right hand. Joe Dameron, the bassist for Volume Dealer, said that Gale shouted something, but did not know what. Later reports claimed that Gale had shouted, "You broke up Pantera". Some attendees did not realize that a shooting had taken place, with security guard Ryan Melchiore stating, "People were pumping their fists, thinking it was a hoax."


title: Columbus nightclub shooting

text: After shooting Abbott, Gale began firing on other attendees, beginning with tour manager Chris Paluska, who was shot once in the chest before Damageplan security chief Jeffrey "Mayhem" Thompson tackled him from behind. Thompson was fatally shot in the chest, back, and upper thigh in the ensuing struggle. Nathan Bray, a 23-year-old Damageplan fan, leapt onto the stage and was fatally shot in the chest while attempting to resuscitate Abbott and Thompson. Erin "Stoney" Halk, a 29-year-old Alrosa Villa employee and former marine who had either assisted Thompson or had charged Gale while he was reloading, was fatally shot six times: four in the chest, once in the hand, and once in the leg.


title: Columbus nightclub shooting

text: Travis Burnett, a member of Volume Dealer's road crew, attempted to disarm Gale and was grazed by a bullet on his left forearm. Burnett fled the scene when subsequent gunshots were aimed at his head. Drum technician John "Kat" Brooks attempted to subdue Gale. He was shot twice in the leg and was taken as a hostage. Responding within three minutes to a 9-1-1 dispatch call, Columbus police officer James Niggemeyer entered the club through a backstage door and shot Gale once in the head with a 12-gauge Remington Model 870 shotgun, killing him. At the time of his death, Gale had a half-full magazine in his Beretta and another 30 rounds of ammunition on his person.


title: Columbus nightclub shooting

text: Fans removed Abbott from the stage and attempted cardiopulmonary resuscitation until paramedics arrived at the scene, where Abbott was pronounced dead. He was 38 years old. Thompson and Halk were also pronounced dead at the scene, while Bray was transported to the Riverside Methodist Hospital and was declared dead at 11:10 p.m. Paluska and Brooks were also transported to Riverside, where they ultimately survived and recovered from their injuries. Burnett received treatment at the scene and declined transport to the hospital.


title: Columbus nightclub shooting

text: Nathan Gale was born on September 11, 1979, in Marysville, Ohio. He initially attended Benjamin Logan High School, where he briefly wrestled, but transferred to Marysville High partway through his junior year. He enrolled in a vocational program at the Ohio Hi-Point Career Center, where he studied construction and electrical work, and graduated in 1998. He lived with his mother after graduation, working a variety of minimum wage jobs and developing a substance abuse problem. Gale often complained of being watched, which his mother Mary Clark attributed to his drug use. When a violent confrontation with Clark led to a police visit, Gale was thrown out of the house and became homeless. He supported himself through panhandling and theft until he agreed to enter a drug rehabilitation program, after which his mother allowed him to return. His encounters with law enforcement at this time were minor: some trespassing charges from skateboarding, as well as one instance where he was accused of stealing from work.


title: Columbus nightclub shooting

text: In February 2002, inspired by the September 11 attacks, Gale enlisted in the United States Marine Corps. Proud of her son's military service, Clark purchased the Beretta pistol as a Christmas present for Gale after he completed basic training. He was stationed at Camp Lejeune in North Carolina with the 2nd Marine Division until November 2003, less than halfway through the typical four-year enlistment period. A Marine Corps spokeswoman declined to explain the reason behind Gale's military discharge. Gale told his mother that he had been discharged due to a paranoid schizophrenia diagnosis, and he had returned with medication, but he declined additional treatment after returning home. After his discharge, the Department of Veteran Affairs found Gale a job as a mechanic, and he informed his employer, Rich Cencula, of his condition. An autopsy performed by the Franklin County coroner's office found no trace of drugs in Gale's system, prescription or otherwise.


title: Columbus nightclub shooting

text: Standing and weighing over , Gale decided to take up boxing and American football after his military discharge. He joined the Lima Thunder, a semi-professional football team in northwest Ohio, as an offensive lineman, and would listen to Pantera before games. Gale, a lifelong fan of heavy metal, became obsessed with Pantera while he was in high school, and remained fixated on the band even after their 2003 separation. Gale's former friend Dave Johnson told reporters that Gale had shown up at a mutual friend's house with Pantera lyrics that he had claimed were his own, and that Gale asserted that Pantera had stolen lyrics from him and were attempting to steal his identity. Many of Gale's friends began to distance themselves from him as his behavior became increasingly erratic; once, he told his former friend Mark Break that God was asking him to kill Marilyn Manson. Others noted that he would talk and laugh to himself, would pretend to hold an imaginary dog, and that he would bother patrons at the tattoo parlor across the street from his apartment, staring at clients and engaging them in conversations about heavy metal music.


title: Columbus nightclub shooting

text: Gale was relatively unknown in Marysville, a town of about 16,000. His neighbors remembered him as quiet and aloof, and many noted the thick, dark-rimmed eyeglasses that he wore. He had been stopped multiple times for traffic citations, and had been charged with criminal trespassing for both skateboarding and sleeping outside. At the time of the shooting, Gale lived alone in an apartment above an abandoned storefront. After the shooting, police officers found two handwritten notes inside his apartment. One read, "You'll see come alive. I'll take your life and make it mine. This is my life I'm gone. Git me." The other read, "You'll see the sky fall. I'll makes Pig fly. Come on and give me some, Come on give me some. Do it and Die, Do it and Die."


title: Columbus nightclub shooting

text: After the shooting took place, it was speculated that Gale had been motivated by Pantera's breakup, with initial reports claiming that he had shouted, "You broke up Pantera", or "This is for breaking up Pantera" before opening fire, statements never corroborated by Alrosa Villa attendees. Others cited a "Metal Hammer" interview with Anselmo that had been published shortly before the shooting, where Anselmo said that Abbott "deserves to be beaten severely". Investigators found no evidence that Gale had been motivated either by Pantera's split or by the dispute between Abbott and Anselmo, and were unable to find evidence that Gale had read the interview. The fact that the shooting occurred exactly 24 years after the murder of John Lennon was also deemed coincidental. After listening to the recording of the "Metal Hammer" interview, Vinnie Paul concluded that Anselmo had not been joking about the "severe beating" comment, and from that point he declined to speak with Anselmo or Pantera bassist Rex Brown. Although plans for a Pantera reunion tour had been discussed, with Zakk Wylde filling in for Abbott, the rift with Vinnie remained until his death in 2018.


title: Columbus nightclub shooting

text: Niggemeyer, an on-duty police officer who had engaged in deadly force, was brought before a grand jury as standard procedure to determine if there had been any wrongdoing. At no point did prosecutor Ron O'Brien expect Niggemeyer to be charged, and he was cleared of wrongdoing on May 23, 2005. Niggemeyer received a number of awards for his actions during the shooting: he was a finalist for a bravery award given by "America's Most Wanted", was given the Distinguished Law Enforcement Valor Award from Ohio attorney general Jim Petro, and was named the Law Enforcement Officer of the Year in 2005 by the National Rifle Association. Clark referred to Niggemeyer as a "hero", and told reporters, "I give that man credit. You'll never know how many lives he saved." Niggemeyer remained a first responder for three years before becoming a robbery detective on the advice of his doctors, who had diagnosed him with post-traumatic stress disorder and a severe anxiety disorder. He left the Columbus Police Department in 2011 to take a different job with the city, and remains friends with both Cautela and with Halk's brother Andy.


title: Columbus nightclub shooting

text: The shooting raised concerns within the music community over concert security and the prevalence of fans leaping onto the stage. Anthrax guitarist Scott Ian said that his view of stage rushers changed after Abbott's murder, and that, "I don't give a fuck how much fun you're having. Stay the fuck off the stage." Immediately after the shooting, many concert venues tightened their security standards by hiring off-duty policemen as guards, checking attendees' pockets and bags more thoroughly, and in some cases studying setlists to anticipate when fans may become troublesome. By 2014, however, Cannibal Corpse drummer Paul Mazurkiewicz and We Are Harlot guitarist Jeff George noted that many venues had relaxed their security protocols due to the associated costs. When Christina Grimmie was fatally shot by an obsessed fan in Florida during a 2016 meet and greet event outside The Plaza Live, a venue without metal detectors, the Pantera Facebook account called on venues and promoters to improve their security to protect artists.


title: Columbus nightclub shooting

text: The Alrosa Villa nightclub was listed for sale in late 2019, following the death of its founders, Al and Rosa Cautela. Their children continued operating the venue until 2020, when the COVID-19 pandemic forced music venues and bars to close indefinitely. In June 2021, the city of Columbus announced that the venue would be demolished to make way for an affordable housing project. The Alrosa Villa was demolished in December 2021.


title: Columbus nightclub shooting

text: Abbott was a popular figure in the heavy metal community, and his death created a mass outpouring of grief among other bands and artists of the time. One of the first artists to create a musical tribute to Abbott was Black Label Society, whose music video for "In This River" depicts Wylde and Abbott as children attempting to swim across a river; while Wylde survives, Abbott does not. Type O Negative, who were close friends with Abbott, waited until 2007 to release the track "Halloween in Heaven", off of the album "Dead Again". Frontman Peter Steele told MTV, "I didn't want to exploit [Abbott's] name because it was so soon after his death." Vinnie Paul donated an unreleased 24-second guitar solo to Nickelback that they incorporated into the 2005 track "Side of a Bullet", which describes the shooting from the point of view of the killer. Other tribute songs include "Dimes in Heaven" by Brides of Destruction and "Dimebag" by Cross Canadian Ragweed, while the 2005 albums "Ten Thousand Fists" by Disturbed, "Lifesblood for the Downtrodden" by Crowbar, and "Start a War" by Static-X were all dedicated to Abbott's memory.


title: Columbus nightclub shooting

text: Although he never met Abbott, M. Shadows of Avenged Sevenfold was affected by the death of one of his two "greatest guitar heroes", the other being Slash, and the track "Betrayed" on "City of Evil", written from multiple points of view, was Shadows's "way of dealing with the whole thing after it happened". Machine Head, meanwhile, was inspired to write "Aesthetics of Hate" after frontman Robb Flynn read an article praising Gale for the murder of "a semi-human barbarian". The song was nominated for Best Metal Performance at the 50th Grammy Awards.


title: Rio Bravo (film)

text: Rio Bravo is a 1959 American Western film directed and produced by Howard Hawks and starring John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson, Walter Brennan, and Ward Bond. Written by Jules Furthman and Leigh Brackett, based on the short story "Rio Bravo" by B. H. McCampbell, the film stars Wayne as a Texan sheriff who arrests the brother of a powerful local rancher for murder and then has to hold the man in jail until a U.S. Marshal can arrive. With the help of a cripple, a drunk and a young gunfighter, they hold off the rancher's gang. "Rio Bravo" was filmed on location at Old Tucson Studios outside Tucson, Arizona, in Technicolor.


title: Rio Bravo (film)

text: In 2014, "Rio Bravo" was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the National Film Registry.


title: Rio Bravo (film)

text: Joe Burdette, the spoiled younger brother of wealthy land baron Nathan Burdette, taunts town drunk Dude by tossing money into a spittoon. The sheriff, John T. Chance, stops Dude from reaching into the spittoon, prompting Dude to lash out and knock Chance unconscious. Joe starts to beat Dude for fun, shooting and killing an unarmed bystander who attempts to stop him. Chance recovers, follows Joe into Nathan's personal saloon, and, with help from a penitent Dude, overcomes Nathan's men and arrests Joe for murder.


title: Rio Bravo (film)

text: Chance's friend Pat Wheeler attempts to enter town with a wagon train of supplies and dynamite, but has to force his way through Nathan Burdette's men. Chance reveals that he, Dude (who used to be a deputy before he became a drunk), and his old crippled deputy Stumpy are all that stand between Nathan's small army and Joe, whom they wish to free. Chance notices young gunslinger Colorado Ryan in Wheeler's wagon train, but Colorado promises he doesn't want to start any trouble.


title: Rio Bravo (film)

text: That night, Carlos Robante, the owner of the local hotel, warns Chance that Wheeler is trying to recruit fighters. Chance tries to stop Wheeler, not wanting anyone to get hurt on his account. Wheeler asks if Colorado could help, but Colorado declines, feeling that it's not his fight. Chance then notices a rigged card game at the hotel. Recognizing one of the players as a wanted woman, "Feathers", the widow of a cheating gambler, he confronts her. However, Colorado reveals that another player is the cheater.


title: Rio Bravo (film)

text: Out in the street, Wheeler is gunned down. Chance and Dude pursue the killer into Nathan's saloon, and Chance allows Dude to prove himself and confront the killer, earning the respect of Nathan's men. Colorado and the rest of Wheeler's men are forced to stay in town to await a court order releasing Wheeler's possessions, and the wagons are left behind the Burdette warehouse. After Feathers secretly stays up all night with a shotgun to guard Chance, an irritated Chance orders Feathers to leave town for her safety. She refuses, and the two begin to bond.


title: Rio Bravo (film)

text: Nathan himself rides into town. Stumpy, having old grudges against Nathan for taking his land, threatens to shoot Joe if any trouble starts around the jail. In response, Nathan has his saloon musicians repeatedly play "El Degüello", "The Cutthroat Song". Colorado realizes the song means Nathan will show no mercy, and warns Chance.


title: Rio Bravo (film)

text: Chance gives Dude back his old guns and some clothes and a black hat he left behind when he became a drunkard, and Dude gets a shave, trying to start afresh. Unfortunately, Stumpy doesn't recognize Dude when he returns, and shoots at him, shattering Dude's nerves. The next day, Dude is still shaky and finds himself ambushed by Burdette's men, who threaten to kill him unless Chance lets Joe go. Colorado and Feathers distract the men long enough for Chance to get his rifle, and he and Colorado shoot down the men and free Dude. Dude thinks about quitting and letting Colorado take his place, but when he hears "El Degüello" being played, he resolves to see the thing through to the end.


title: Rio Bravo (film)

text: Dude and Chance return to the hotel so Dude can take a bath, but Burdette's men capture Carlos' wife Consuelo and use her to lure Chance into a trap. Dude tells Chance to take the men to the jail, under pretext that Stumpy would let Joe out. However, Stumpy opens fire, as Dude secretly predicted. In the chaos, some men drag Dude off to Nathan, who demands a tradeDude for Joe. Chance agrees, but brings Colorado as backup. Dude and Joe brawl during the trade, and a firefight ensues. Stumpy throws some sticks of dynamite from the wagons into the warehouse where Burdette and his men are holed up, and Chance detonates them with his rifle, abruptly ending the fight.


title: Rio Bravo (film)

text: With both Burdettes and their few surviving gunmen in jail, Chance is able to finally spend some time with Feathers and admit his feelings for her. Colorado volunteers to guard the jail, allowing Stumpy and Dude to enjoy a night out in the town.


title: Rio Bravo (film)

text: Malcolm Atterbury and Harry Carey Jr. also receive screen credits in the film's opening, but their scenes were deleted from the final film.


title: Rio Bravo (film)

text: Exteriors for the film were shot at Old Tucson Studios, just outside Tucson. Filming took place in the summer of 1958, and the movie's credits gave 1958 for the copyright; the film was released in March 1959.


title: Rio Bravo (film)

text: "Rio Bravo" is generally regarded as one of Hawks' best, and is known for its long opening scene which contains no dialogue. The film received favorable reviews, and was successful, taking in over US$5.5 million.


title: Rio Bravo (film)

text: A brief clip from "Rio Bravo" was among the archive footage later incorporated into the opening sequence of Wayne's last film, "The Shootist," to illustrate the backstory of Wayne's character.


title: Rio Bravo (film)

text: As was often the case in a John Wayne Western, Wayne wore his "Red River D" belt buckle in the movie. It can be clearly seen in the scene when Nathan Burdette comes to visit his brother Joe in the jail where he is being held for the U.S. Marshal, about 60 minutes into the film.


title: Rio Bravo (film)

text: The story was credited to "B.H. McCampbell." According to Todd McCarthy's 1997 biography, "Howard Hawks: The Grey Fox of Hollywood", this was actually Hawks' eldest daughter, Barbara Hawks McCampbell (McCampbell being her married name). Her contribution was the idea of using dynamite in the final shootout.


title: Rio Bravo (film)

text: The musical score was composed by Dimitri Tiomkin. His score includes the hauntingly ominous ""El Degüello"" theme, which is heard several times. The Colorado character identifies the tune as "The Cutthroat Song". He relates that the song was played on the orders of General Antonio López de Santa Anna to the Texans holed up in the Alamo, to signify that no quarter would be given to them. The tune was used in Wayne's film "The Alamo" (1960). Composer Ennio Morricone recalled that director Sergio Leone asked him to write "Dimitri Tiomkin music" for "A Fistful of Dollars". The trumpet theme is similar to Tiomkin's ""Degüello"" (the Italian title of "Rio Bravo" was "Un dollaro d'onore", "A Dollar of Honor").


title: Rio Bravo (film)

text: Because the film starred a crooner, Martin, and a teen idol, Nelson, Hawks included three songs in the soundtrack. Before the big showdown, in the jail house, Martin sings "My Rifle, My Pony, and Me" (which contains new lyrics by Webster to a Tiomkin tune that appeared in "Red River"), accompanied by Nelson, after which Nelson sings a brief version of "Get Along Home, Cindy", accompanied by Martin and Brennan. Over the closing credits, Martin, backed by the Nelson Riddle Orchestra, sings a specially composed song, "Rio Bravo", written by Tiomkin with lyrics by Paul Francis Webster. Nelson later paid homage to both the film and his character, Colorado, by including the song "Restless Kid" on his 1959 LP, "Ricky Sings Again".


title: Rio Bravo (film)

text: Members of the Western Writers of America chose "My Rifle, My Pony, and Me" as one of the Top 100 Western songs of all time.


title: Rio Bravo (film)

text: The film was made as a response to "High Noon", which is sometimes thought to be an allegory for blacklisting in Hollywood, as well as a critique of McCarthyism. Wayne would later call "High Noon" "un-American" and say he did not regret helping run the writer, Carl Foreman, out of the country. Director Howard Hawks went on the record to criticize "High Noon" by saying, "I didn't think a good sheriff was going to go running around town like a chicken with his head cut off asking for help, and finally his Quaker wife had to save him." According to film historian Emanuel Levy, Wayne and Hawks teamed up deliberately to rebut "High Noon" by telling a somewhat similar story their own way: portraying a hero who does not show fear or inner conflict and who never repudiates his commitment to public duty, while only allying himself with capable people, despite offers of help from many other characters. Chance also cites concerns for the safety of those that offer to help and his fears are confirmed when the first such offer results in the character being quickly killed. In "Rio Bravo", Chance is surrounded by allies—a deputy who is brave and good with a gun, despite recovering from alcoholism (Dude), a young untried but self-assured gunfighter (Colorado), a limping, crippled old man who is doggedly loyal (Stumpy), a Mexican innkeeper (Carlos), his wife (Consuelo), and an attractive young woman (Feathers)—and repeatedly turns down aid from anyone he does not think is capable of helping him, though in the final shootout they come to help him anyway. "Who'll turn up next?" Wayne asks amid the gunfire, to which Colorado replies: "Maybe the girl with another flower pot."


title: Rio Bravo (film)

text: In the United Kingdom, "Rio Bravo" was not originally even reviewed for "Sight & Sound"; Leslie Halliwell gave the film two out of four stars in his "Film Guide", describing it as a "cheerfully overlong and slow-moving Western" that was nevertheless "very watchable for those with time to spare". The film was taken more seriously by British critics such as Robin Wood, who rated it as his top film of all time and wrote a book on it in 2003 for the British Film Institute, publishers of "Sight & Sound". Pauline Kael called the film "silly, but with zest; there are some fine action sequences, and the performers seem to be enjoying their roles." "Rio Bravo" was the second highest-ranking Western (63rd overall) in the 2012 "Sight & Sound" critics' poll of the greatest films ever made. In 2008, the American Film Institute nominated this film for its Top 10 Western Films list.


title: Rio Bravo (film)

text: Director Quentin Tarantino called "Rio Bravo" his "favorite 'hangout' movie". He once said that if his date doesn't like the film, there will be no relationship.


title: Rio Bravo (film)

text: Howard Hawks went on to direct two loose variations of "Rio Bravo" with the idea of a sheriff defending his office against belligerent outlaws. John Wayne starred in both films, released as "El Dorado" in 1966 with Robert Mitchum playing a variation of Dean Martin's original role, and "Rio Lobo" in 1970.


title: Rio Bravo (film)

text: The 1976 film "Assault on Precinct 13" directed by John Carpenter was inspired by the story and setting of "Rio Bravo".


title: Aguirre, the Wrath of God

text: Aguirre, the Wrath of God (; ; ) is a 1972 West German epic historical drama film produced, written and directed by Werner Herzog. Klaus Kinski stars in the title role of Spanish soldier Lope de Aguirre, who leads a group of conquistadores down the Amazon River in South America in search of the legendary city of gold, El Dorado. The soundtrack was composed and performed by kosmische band Popol Vuh.


title: Aguirre, the Wrath of God

text: Using a minimalist approach to story and dialogue, the film creates a vision of madness and folly, counterpointed by the lush but unforgiving Amazonian jungle. Although loosely based on what is known of the historical figure of Aguirre, Herzog acknowledged years after the film's release that its storyline is a work of fiction. Some of the people and situations may have been inspired by Gaspar de Carvajal's account of an earlier Amazonian expedition, although Carvajal was not on the historical voyage represented in the film.


title: Aguirre, the Wrath of God

text: "Aguirre" was the first of five collaborations between Herzog and Kinski. They had differing views as to how the role should be played, and they clashed throughout filming; Kinski's rages terrorized both the crew and the locals who were assisting the production. Shooting was entirely on location, and was fraught with difficulties. Filming took place in the Peruvian rainforest on the Amazon River during an arduous five-week period, shooting on tributaries of the Ucayali region. The cast and crew climbed mountains, cut through heavy vines to open routes to the various jungle locations, and rode treacherous river rapids on rafts built by local craftworkers.


title: Aguirre, the Wrath of God

text: "Aguirre" opened to widespread critical acclaim, and quickly developed a large international cult film following. It was given an extensive arthouse theatrical release in the United States in 1977, and remains one of the director's best-known films. Several critics have declared the film a masterpiece, and it has appeared on "Time" magazine's list of "All Time 100 Best Films".


title: Aguirre, the Wrath of God

text: In 1560, several scores of Spanish conquistadors, and a hundred native slaves, march down from the newly conquered Inca Empire in the Andes mountains into the jungles to the east, in search of the fabled country of El Dorado. Under the command of Gonzalo Pizarro, the men, clad in half armor, pull cannons down narrow mountain paths and through dense, muddy jungle. On New Year's Eve, reaching the end of his supplies and unable to go on without more information, Pizarro orders a group of forty men to scout ahead by raft down river. If they do not return to the main party within one week with news of what lies beyond, they will be considered lost. Pizarro chooses Don Pedro de Ursúa as the commander of the expedition, Don Lope de Aguirre as his second-in-command, fat nobleman Don Fernando de Guzmán to represent the Royal House of Spain, and Brother Gaspar de Carvajal to bring the word of God. Also accompanying the expedition, against Pizarro's better judgment, are Ursúa's mistress, Doña Inés and Aguirre's teenage daughter, Flores.


title: Aguirre, the Wrath of God

text: Traveling through rapids, one of the four rafts gets caught in an eddy, and the others are unable to help free it. That night, gunfire erupts on the trapped raft; in the morning the men on board are found dead, with three missing. Ursúa wants the bodies to be brought back to camp for proper burial. Knowing this would slow down the expedition, Aguirre suggests that Perucho fire the cannon to clean the rust from it. He fires at the raft, destroying it and throwing the bodies into the river.


title: Aguirre, the Wrath of God

text: During the night, the remaining rafts are swept away by the rising river. Time has run out for the scouting mission, and Ursúa decides to return to Pizarro's group despite the danger from hostile Indians. Aguirre leads a mutiny against Ursúa, telling the men that untold riches await them ahead, and reminding them that Hernán Cortés won an empire in Mexico by disobeying orders. Ursúa orders Aguirre arrested, but he and a soldier loyal to him are shot. Aguirre nominates Guzmán as the new leader of the expedition and rebels against the Spanish Crown, proclaiming Guzmán the emperor of El Dorado. A farcical trial of Ursúa results in his being sentenced to death, but Guzmán surprises Aguirre by granting Ursúa clemency.


title: Aguirre, the Wrath of God

text: Aguirre remains the true leader of the mutiny, so oppressive and terrifying that few protest his leadership. Only Inés has the courage to speak out against him. Knowing that some of the soldiers are still loyal to Ursúa, Aguirre simply ignores her.


title: Aguirre, the Wrath of God

text: The expedition continues on a single, newly built, large raft. An indigenous couple approaching peacefully by canoe are captured by the explorers, and when the man expresses confusion when presented with a Bible, Brother Carvajal kills them for blasphemy. Guzmán dines on the low food supplies while the men starve, and has the expedition's only remaining horse pushed off the raft because it annoys him. Soon afterwards he is found dead near the raft's privy. After Guzmán's death, Aguirre proclaims himself leader. Ursúa is then taken ashore and hanged in the jungle. The group attacks an indigenous village, where several soldiers are killed by spears and arrows. The distraught Inés walks into the jungle and disappears.


title: Aguirre, the Wrath of God

text: On the raft again, the group of slowly starving, feverish men begin disbelieving everything they see, even when shot with arrows. The group stares in disbelief at a wooden ship perched in the highest branches of a tall tree, which Aguirre orders be brought down and refurbished, but Brother Carvajal refuses. In a series of final attacks by unseen assailants, the remaining survivors including Aguirre's daughter are killed by arrows. Monkeys overrun the raft as Aguirre imagines conquering all of America and founding an incestuous dynasty to rule over it.


title: Aguirre, the Wrath of God

text: The idea for the film began when Herzog borrowed a book on historical adventurers from a friend. After reading a half-page devoted to Lope de Aguirre, the filmmaker became inspired and immediately devised the story. He fabricated most of the plot details and characters, although he did use some historical figures in purely fictitious ways.


title: Aguirre, the Wrath of God

text: Herzog wrote the screenplay "in a frenzy", and completed it in two-and-a-half days. Much of the script was written during a bus trip with Herzog's football team. His teammates got drunk after winning a game and one vomited on several pages of Herzog's manuscript, which he immediately threw out the window. Herzog claims he cannot remember all of what he wrote on these pages.


title: Aguirre, the Wrath of God

text: The screenplay was mostly shot as written, with only minor differences. In an early scene in which Pizarro instructs Ursúa to lead the scouting team down the river, in the script, Pizarro mentions that in the course of the expedition Ursúa could possibly discover what happened to Francisco de Orellana's expedition, which had vanished without a trace years before (see "Historical Accuracy" section). Later in the screenplay, Aguirre and his men find a boat and the long-dead remains of Orellana's soldiers. Further down the river, they discover another ship lodged in some tree tops. In the screenplay, Aguirre and others explore the boat but find no sign of Orellana or his men. Herzog ultimately eliminated any such references to Orellana's expedition from the film. The sequence with the boat caught in the upper branches of a tree remains, but as filmed it seems to be simply a hallucinatory vision.


title: Aguirre, the Wrath of God

text: The finale is significantly different from Herzog's original script. The director recalled, "I only remember that the end of the film was totally different. The end was actually the raft going out into the open ocean and being swept back inland, because for many miles you have a counter-current, the Amazon actually goes backwards. And it was tossed to and fro. And a parrot would scream: 'El Dorado, El Dorado. (This ending was eventually used for Cobra Verde.)


title: Aguirre, the Wrath of God

text: Herzog's first choice for the role of Aguirre was actor Klaus Kinski. The two had met many years earlier when the then-struggling young actor rented a room in Herzog's family apartment, and Kinski's often terrifying and deranged antics during the three months he lived there left a lasting impression on the director. Years later, Herzog remembered the volatile actor and knew that he was the only possible man who could play the mad Aguirre, and he sent Kinski a copy of the screenplay. "Between three and four in the morning, the phone rang", Herzog recalled. "It took me at least a couple of minutes before I realized that it was Kinski who was the source of this inarticulate screaming. And after an hour of this, it dawned on me that he found it the most fascinating screenplay and wanted to be Aguirre."


title: Aguirre, the Wrath of God

text: From the beginning of the production, Herzog and Kinski argued about the proper manner to portray Aguirre. Kinski wanted to play a "wild, ranting madman", but Herzog wanted something "quieter, more menacing". In order to get the performance he desired, before each shot Herzog would deliberately infuriate Kinski. After waiting for the hot-tempered actor's anger to "burn itself out", Herzog would then roll the camera.


title: Aguirre, the Wrath of God

text: On one occasion, irritated by the noise from a hut where cast and crew were playing cards, the explosive Kinski fired three gunshots at it, blowing the tip off one extra's finger. Subsequently, Kinski decided to leave the jungle location (over Herzog's refusal to fire a sound assistant), only changing his mind after Herzog threatened to shoot first Kinski and then himself. The latter incident has given rise to the legend that Herzog made Kinski act for him at gunpoint. However, Herzog has repeatedly denied the claim during interviews, saying he only verbally threatened Kinski in the heat of the moment, in a desperate attempt to keep him from leaving the set. The incident is parodied in "Incident at Loch Ness", which Herzog co-wrote.


title: Aguirre, the Wrath of God

text: The film was made for US$370,000, with one-third of the budget paying for Kinski's salary. It was filmed on location in the Peruvian rainforest, Machu Picchu (the stone steps of Huayna Picchu), and on the Amazon River tributaries of the Ucayali region. "Aguirre" was shot in five weeks, following nine months of pre-production planning. The film was shot in chronological order, because Herzog believed the film crew's progress on the river directly mirrored that of the explorers' journey in the story. The director and his cast and crew floated in rafts down the Huallaga and Nanay rivers through the Urubamba Valley in Peru.


title: Aguirre, the Wrath of God

text: All of the actors spoke their dialogue in English. The members of the cast and crew came from sixteen countries, and English was the only common language among them. In addition, Herzog felt that shooting "Aguirre" in English would improve the film's chances for international distribution. However, the small amount of money that had been set aside for post-synchronization "left Peru with the man in charge of the process; both absconded "en route"". The English-language track was ultimately replaced by a higher-quality German language version, which was post-synched after production was completed. Herzog claims that Kinski requested too much money for the dubbing session, and so his lines were performed by another actor.


title: Aguirre, the Wrath of God

text: The low budget precluded the use of stunt men or elaborate special effects. Cinematography in many scenes was done in order to accommodate the inclement weather and terrain of the region, with the camera lens often being obscured by rainwater and mud when the cast moved through thicker regions of the jungle. The cast and crew climbed up mountains, experienced the adverse conditions of the jungle, and rode ferocious Amazonian river rapids on rafts built by locals. At one point, a storm caused a river to flood, covering the film sets in several feet of water and destroying all the rafts built for the film. This flooding was immediately incorporated into the story, as a sequence including a flood and subsequent rebuilding of rafts was shot.


title: Aguirre, the Wrath of God

text: The camera used to shoot the film was stolen by Herzog from the Munich Film School. Years later, Herzog recalled:


title: Aguirre, the Wrath of God

text: It was a very simple 35mm camera, one I used on many other films, so I do not consider it a theft. For me, it was truly a necessity. I wanted to make films and needed a camera. I had some sort of natural right to this tool. If you need air to breathe, and you are locked in a room, you have to take a chisel and hammer and break down a wall. It is your absolute right.


title: Aguirre, the Wrath of God

text: To obtain the monkeys used in the climactic sequence, Herzog paid several locals to trap 400 monkeys; he paid them half in advance and was to pay the other half upon receipt. The trappers sold the monkeys to someone in Los Angeles or Miami, and Herzog came to the airport just as the monkeys were being loaded to be shipped out of the country. He pretended to be a veterinarian and claimed that the monkeys needed vaccinations before leaving the country. Abashed, the handlers handed the monkeys over to Herzog, who used them in the shot they were required for, then released them afterwards into the jungle.


title: Aguirre, the Wrath of God

text: "Aguirre" musical score was performed by Popol Vuh, a West German progressive/Krautrock band. The band was formed in 1970 by keyboardist Florian Fricke, who had known Herzog for several years prior to the formation of the band.


title: Aguirre, the Wrath of God

text: He had appeared as an actor in the director's first full-length film, "Signs of Life" (1968), playing a pianist. "Aguirre" was only the first of many collaborations between the band and the director.


title: Aguirre, the Wrath of God

text: Popol Vuh's "hypnotic music" for "Aguirre" met with considerable acclaim. Roger Ebert wrote, "The music sets the tone. It is haunting, ecclesiastical, human and yet something else ... [T]he music is crucial to "Aguirre, the Wrath of God"". AllMusic noted, "The film's central motif blends pulsing Moog and spectral voices conjured from Florian Fricke's Mellotron-related 'choir organ' to achieve something sublime, in the truest sense of the word: it's hard not to find the music's awe-inspiring, overwhelming beauty simultaneously unsettling. The power of the legendary opening sequence of Herzog's film ... owes as much to Popol Vuh's music as it does to the director's mise-en-scène."


title: Aguirre, the Wrath of God

text: Herzog explained how the choir-like sound was created, "We used a strange instrument, which we called a 'choir-organ.' It has inside it three dozen different tapes running parallel to each other in loops. ... All these tapes are running at the same time, and there is a keyboard on which you can play them like an organ so that [it will] sound just like a human choir but yet, at the same time, very artificial and really quite eerie."


title: Aguirre, the Wrath of God

text: In 1975 Popol Vuh released an album entitled "Aguirre". Although ostensibly a soundtrack album to Herzog's film, the six-track LP included only two songs ("Aguirre I (L'Acrime Di Rei)" and "Aguirre II") taken from "Aguirre, the Wrath of God". The four remaining tracks were derived from various recordings made by the group between about 1972 and 1974. At the time of "Aguirre" the band members were Fricke (piano, Mellotron), Fichelscher (electric guitar, acoustic guitar, drums), Djong Yun (vocals), and Robert Eliscu (oboe, pan pipe).


title: Aguirre, the Wrath of God

text: The film was produced in part by West German television station Hessischer Rundfunk, which televised the film on the same day it opened in theatres. Herzog has blamed this for the relatively poor commercial reception of the film in Germany. However, outside Germany the film became an "enormous cult favorite" in "such places as Mexico, Venezuela, and Algiers". The film had a theatrical run of fifteen months in Paris. "Aguirre" received a theatrical release in the United States in 1977 by New Yorker Films. It immediately became a cult film, and New Yorker Films reported four years after its initial release that it was the only film in its catalog that never went out of circulation.


title: Aguirre, the Wrath of God

text: In Germany, the "Süddeutsche Zeitung" described the film as "a colour-drenched, violently physical moving painting". The "Frankfurter Allgemeine Zeitung" described Kinski's acting as "too theatrical" to embody God's wrath.


title: Aguirre, the Wrath of God

text: In the US and the UK the film received mostly positive critical notices upon release. Vincent Canby, writing in "The New York Times", called it "[A]bsolutely stunning ... Mr. Herzog views all the proceedings with fixed detachment. He remains cool. He takes no sides. He may even be slightly amused. Mainly he is a poet who constantly surprises us with unexpected juxtapositions ... This is a splendid and haunting work." In "Time", Richard Schickel opined that "[Herzog] does the audience the honor of allowing it to discover the blindnesses and obsessions, the sober lunacies he quietly lays out on the screen. Well acted, most notably by Klaus Kinski in the title role, gloriously photographed by Thomas Mauch, "Aguirre" is, not to put too fine a point on it, a movie that makes a convincing claim to greatness." "Time Out's" Tony Rayns noted, "each scene and each detail is honed down to its salient features. On this level, the film effectively pre-empts analysis by analysing itself as it proceeds, admitting no ambiguity. Yet at the same time, Herzog's flair for charged explosive imagery has never had freer rein, and the film is rich in oneiric moments."


title: Aguirre, the Wrath of God

text: The film's reputation through the years has continued to grow. On the review aggregator website Rotten Tomatoes, 96% of 50 critics gave the film a positive review, with an average rating of 9/10. The site's critics consensus reads, "A haunting journey of natural wonder and tangible danger, "Aguirre" transcends epic genre trappings and becomes mythological by its own right."