title: Sun Salutation

text: The yoga scholar-practitioner Norman Sjoman suggested that Krishnamacharya, "the father of modern yoga", used the traditional and "very old" Indian wrestlers' exercises called "dandas" (Sanskrit: दण्ड "daṇḍa", a staff), described in the 1896 "Vyayama Dipika", as the basis for the sequence and for his transitioning vinyasas. Different "dandas" closely resemble the Sun Salutation asanas Tadasana, Padahastasana, Caturanga Dandasana, and Bhujangasana. Krishnamacharya was aware of the Sun Salutation, since regular classes were held in the hall adjacent to his Yogasala in the Rajah of Mysore's palace. The yoga scholar Mark Singleton states that "Krishnamacharya was to make the flowing movements of "sūryanamaskār" the basis of his Mysore yoga style". His students, K. Pattabhi Jois, who created modern day Ashtanga Vinyasa Yoga, and B. K. S. Iyengar, who created Iyengar Yoga, both learned Sun Salutation and flowing vinyasa movements between asanas from Krishnamacharya and used them in their styles of yoga.


title: Sun Salutation

text: The historian of modern yoga Elliott Goldberg writes that Vishnudevananda's 1960 book "The Complete Illustrated Book of Yoga" "proclaimed in print" a "new utilitarian conception of Surya Namaskara" which his guru Sivananda had originally promoted as a health cure through sunlight. Goldberg notes that Vishnudevananda modelled the positions of the Sun Salutation for photographs in the book, and that he recognised the sequence "for what it mainly is: not treatment for a host of diseases but fitness exercise."


title: Sun Salutation

text: Sun Salutation is a sequence of around twelve yoga asanas connected by jumping or stretching movements, varying somewhat between schools. In Iyengar Yoga, the basic sequence is Tadasana, Urdhva Hastasana, Uttanasana, Uttanasana with head up, Adho Mukha Svanasana (Downward Dog), Urdhva Mukha Svanasana (Upward Dog), Chaturanga Dandasana, and then reversing the sequence to return to Tadasana; other poses can be inserted into the sequence.


title: Sun Salutation

text: In Ashtanga Vinyasa Yoga, there are two Sun Salutation sequences, types A and B. The type A sequence of asanas is Pranamasana, Urdhva Hastasana, Uttanasana, Phalakasana (high plank), Chaturanga Dandasana, Urdhva Mukha Svanasana, Adho Mukha Svanasana, Uttanasana and back to Pranamasana. The type B sequence of asanas (differences marked in italics) is Pranamasana, "Utkatasana", Uttanasana, "Ardha Uttanasana", Phalakasana, Chaturanga Dandasana, Urdhva Mukha Svanasana, Adho Mukha Svanasana, "Virabhadrasana I", repeat from Phalakasana onwards with Virabhadrasana I on the other side, then repeat Phalakasana through to Adho Mukha Svanasana (a third time), Ardha Uttanasana, Uttanasana, Utkatasana, and back to Pranamasana.


title: Sun Salutation

text: In some yoga traditions, each step of the sequence is associated with a mantra. In traditions including Sivananda Yoga, the steps are linked with twelve names of the God Surya, the Sun:


title: Sun Salutation

text: Indian tradition associates the steps with Bījā ("seed" sound) mantras and with five chakras (focal points of the subtle body).


title: Sun Salutation

text: Many variations are possible. For example, in Iyengar Yoga the sequence may intentionally be varied to run Tadasana, Urdhva Hastasana, Uttanasana, Adho Mukha Svanasana, Lolasana, Janusirsasana (one side, then the other), and reversing the sequence from Adho Mukha Svanasana to return to Tadasana. Other asanas that may be inserted into the sequence include Navasana (or Ardha Navasana), Paschimottanasana and its variations, and Marichyasana I.


title: Sun Salutation

text: Variant sequences named Chandra Namaskar, the Moon Salutation, are sometimes practised; these were created late in the 20th century. One such sequence consists of the asanas Tadasana, Urdhva Hastasana, Anjaneyasana (sometimes called Half Moon Pose), a kneeling lunge, Adho Mukha Svanasana, Bitilasana, Balasana, kneeling with thighs, body, and arms pointing straight up, Balasana with elbows on ground, hands together in Anjali Mudra behind the head, Urdhva Mukha Svanasana, Adho Mukha Svanasana, Uttanasana, Urdhva Hastasana, Pranamasana, and Tadasana. Other Moon Salutations with different asanas have been published.


title: Sun Salutation

text: The energy cost of exercise is measured in units of metabolic equivalent of task (MET). Less than 3 METs counts as light exercise; 3 to 6 METs is moderate; 6 or over is vigorous. American College of Sports Medicine and American Heart Association guidelines count periods of at least 10 minutes of moderate MET level activity towards their recommended daily amounts of exercise. For healthy adults aged 18 to 65, the guidelines recommend moderate exercise for 30 minutes five days a week, or vigorous aerobic exercise for 20 minutes three days a week.


title: Sun Salutation

text: The Sun Salutation's energy cost ranges widely according to how energetically it is practised, from a light 2.9 to a vigorous 7.4 METs. The higher end of the range requires transition jumps between the poses.


title: Sun Salutation

text: A 2014 study indicated that the muscle groups activated by specific asanas varied with the skill of the practitioners, from beginner to instructor. The eleven asanas in the Sun Salutation sequences A and B of Ashtanga Vinyasa Yoga were performed by beginners, advanced practitioners and instructors. The activation of 14 groups of muscles was measured with electrode on the skin over the muscles. Among the findings, beginners used pectoral muscles more than instructors, whereas instructors used deltoid muscles more than other practitioners, as well as the vastus medialis (which stabilises the knee). The yoga instructor Grace Bullock writes that such patterns of activation suggest that asana practice increases awareness of the body and the patterns in which muscles are engaged, making exercise more beneficial and safer.


title: Sun Salutation

text: The founder of Ashtanga Vinyasa Yoga, K. Pattabhi Jois, stated that "There is no Ashtanga yoga without Surya Namaskara, which is the ultimate salutation to the Sun god."


title: Sun Salutation

text: In 2019, a team of mountaineering instructors from Darjeeling climbed to the summit of Mount Elbrus and completed a Sun Salutation there at , claimed as a world record.


title: Fractional-reserve banking

text: Fractional-reserve banking is the system of banking operating in almost all countries worldwide, under which banks that take deposits from the public are required to hold a proportion of their deposit liabilities in liquid assets as a reserve, and are at liberty to lend the remainder to borrowers. Bank reserves are held as cash in the bank or as balances in the bank's account at the central bank. The country's central bank determines the minimum amount that banks must hold in liquid assets, called the "reserve requirement" or "reserve ratio". Most commercial banks hold more than this minimum amount as excess reserves.


title: Fractional-reserve banking

text: Bank deposits are usually of a relatively short-term duration, and may be "at call", while loans made by banks tend to be longer-term, resulting in a risk that customers may at any time collectively wish to withdraw cash out of their accounts in excess of the bank reserves. The reserves only provide liquidity to cover withdrawals within the normal pattern. Banks and the central bank expect that in normal circumstances only a proportion of deposits will be withdrawn at the same time, and that reserves will be sufficient to meet the demand for cash. However, banks may find themselves in a shortfall situation when depositors wish to withdraw more funds than the reserves held by the bank. In that event, the bank experiencing the liquidity shortfall may borrow short-term funds in the interbank lending market from banks with a surplus. In exceptional situations, such as during an unexpected bank run, the central bank may provide funds to cover the short-term shortfall as lender of last resort.


title: Fractional-reserve banking

text: Because banks hold in reserve less than the amount of their deposit liabilities, and because the deposit liabilities are considered money in their own right (see commercial bank money), fractional-reserve banking permits the money supply to grow beyond the amount of the underlying base money originally created by the central bank. In most countries, the central bank (or other monetary policy authority) regulates bank-credit creation, imposing reserve requirements and capital adequacy ratios. This helps ensure that banks remain solvent and have enough funds to meet demand for withdrawals, and can be used to influence the process of money creation in the banking system. However, rather than directly controlling the money supply, central banks usually pursue an interest-rate target to control bank issuance of credit and the rate of inflation.


title: Fractional-reserve banking

text: Fractional-reserve banking predates the existence of governmental monetary authorities and originated with bankers' realization that generally not all depositors demand payment at the same time. In the past, savers looking to keep their coins and valuables in safekeeping depositories deposited gold and silver at goldsmiths, receiving in exchange a note for their deposit ("see Bank of Amsterdam"). These notes gained acceptance as a medium of exchange for commercial transactions and thus became an early form of circulating paper money. As the notes were used directly in trade, the goldsmiths observed that people would not usually redeem all their notes at the same time, and they saw the opportunity to invest their coin reserves in interest-bearing loans and bills. This generated income for the goldsmiths but left them with more notes on issue than reserves with which to pay them. A process was started that altered the role of the goldsmiths from passive guardians of bullion, charging fees for safe storage, to interest-paying and interest-earning banks. Thus fractional-reserve banking was born.


title: Fractional-reserve banking

text: If creditors (note holders of gold originally deposited) lost faith in the ability of a bank to pay their notes, however, many would try to redeem their notes at the same time. If, in response, a bank could not raise enough funds by calling in loans or selling bills, the bank would either go into insolvency or default on its notes. Such a situation is called a bank run and caused the demise of many early banks.


title: Fractional-reserve banking

text: These early financial crises led to the creation of central banks. The Swedish Riksbank was the world's first central bank, created in 1668. Many nations followed suit in the late 1600s to establish central banks which were given the legal power to set the reserve requirement, and to specify the form in which such assets (called the monetary base) are required to be held. In order to mitigate the impact of bank failures and financial crises, central banks were also granted the authority to centralize banks' storage of precious metal reserves, thereby facilitating transfer of gold in the event of bank runs, to regulate commercial banks, to impose reserve requirements, and to act as lender-of-last-resort if any bank faced a bank run. The emergence of central banks reduced the risk of bank runs which is inherent in fractional-reserve banking, and it allowed the practice to continue as it does today.


title: Fractional-reserve banking

text: During the twentieth century, the role of the central bank grew to include influencing or managing various macroeconomic policy variables, including measures of inflation, unemployment, and the international balance of payments. In the course of enacting such policy, central banks have from time to time attempted to manage interest rates, reserve requirements, and various measures of the money supply and monetary base.


title: Fractional-reserve banking

text: In most legal systems, a bank deposit is not a bailment. In other words, the funds deposited are no longer the property of the customer. The funds become the property of the bank, and the customer in turn receives an asset called a deposit account (a checking or savings account). That deposit account is a "liability" on the balance sheet of the bank.


title: Fractional-reserve banking

text: Each bank is legally authorized to issue credit up to a specified multiple of its reserves, so reserves available to satisfy payment of deposit liabilities are less than the total amount which the bank is obligated to pay in satisfaction of demand deposits. Largely, fractional-reserve banking functions smoothly, as relatively few depositors demand payment at any given time, and banks maintain enough of a buffer of reserves to cover depositors' cash withdrawals and other demands for funds. However, during a bank run or a generalized financial crisis, demands for withdrawal can exceed the bank's funding buffer, and the bank will be forced to raise additional reserves to avoid defaulting on its obligations. A bank can raise funds from additional borrowings (e.g., by borrowing in the interbank lending market or from the central bank), by selling assets, or by calling in short-term loans. If creditors are afraid that the bank is running out of reserves or is insolvent, they have an incentive to redeem their deposits as soon as possible before other depositors access the remaining reserves. Thus the fear of a bank run can actually precipitate the crisis.


title: Fractional-reserve banking

text: Many of the practices of contemporary bank regulation and central banking—including centralized clearing of payments, central bank lending to member banks, regulatory auditing, and government-administered deposit insurance—are designed to prevent the occurrence of such bank runs.


title: Fractional-reserve banking

text: Fractional-reserve banking allows banks to provide credit, which represent immediate liquidity to borrowers. The banks also provide longer-term loans, and act as financial intermediaries for those funds. Less liquid forms of deposit (such as time deposits) or riskier classes of financial assets (such as equities or long-term bonds) may lock up a depositor's wealth for a period of time, making it unavailable for use on demand. This "borrowing short, lending long" or maturity transformation function of fractional-reserve banking is a role that, according to many economists, can be considered to be an important function of the commercial banking system.


title: Fractional-reserve banking

text: The process of fractional-reserve banking expands the money supply of the economy but also increases the risk that a bank cannot meet its depositor withdrawals. Modern central banking allows banks to practice fractional-reserve banking with inter-bank business transactions with a reduced risk of bankruptcy.


title: Fractional-reserve banking

text: Additionally, according to macroeconomic theory, a well-regulated fractional-reserve bank system also benefits the economy by providing regulators with powerful tools for influencing the money supply and interest rates. Many economists believe that these should be adjusted by the government to promote macroeconomic stability.


title: Fractional-reserve banking

text: When a loan is made by the commercial bank, the bank creates new demand deposits and the money supply expands by the size of the loan.


title: Fractional-reserve banking

text: The proceeds of most bank loans are not in the form of currency. Banks typically make loans by accepting promissory notes in exchange for credits they make to the borrowers' deposit accounts. Deposits created in this way are sometimes called derivative deposits and are part of the process of creation of money by commercial banks. Issuing loan proceeds in the form of paper currency and current coins is considered to be a weakness in internal control.


title: Fractional-reserve banking

text: The money creation process is also affected by the currency drain ratio (the propensity of the public to hold banknotes rather than deposit them with a commercial bank), and the safety reserve ratio (excess reserves beyond the legal requirement that commercial banks voluntarily hold). Data for "excess" reserves and vault cash are published regularly by the Federal Reserve in the United States.


title: Fractional-reserve banking

text: Just as taking out a new loan expands the money supply, the repayment of bank loans reduces the money supply.


title: Fractional-reserve banking

text: There are two types of money created in a fractional-reserve banking system operating with a central bank:


title: Fractional-reserve banking

text: When a deposit of central bank money is made at a commercial bank, the central bank money is removed from circulation and added to the commercial banks' reserves (it is no longer counted as part of M1 money supply). Simultaneously, an equal amount of new commercial bank money is created in the form of bank deposits.


title: Fractional-reserve banking

text: The money multiplier is a heuristic used to demonstrate the maximum amount of broad money that could be created by commercial banks for a given fixed amount of base money and reserve ratio. This theoretical maximum is never reached, because some eligible reserves are held as cash outside of banks. Rather than holding the quantity of base money fixed, central banks have recently pursued an interest rate target to control bank issuance of credit indirectly so the ceiling implied by the money multiplier does not impose a limit on money creation in practice.


title: Fractional-reserve banking

text: In countries with fractional-reserve banking, commercial bank money usually forms the majority of the money supply. The acceptance and value of commercial bank money is based on the fact that it can be exchanged freely at a commercial bank for central bank money.


title: Fractional-reserve banking

text: The actual increase in the money supply through this process may be lower, as (at each step) banks may choose to hold reserves in excess of the statutory minimum, borrowers may let some funds sit idle, and some members of the public may choose to hold cash, and there also may be delays or frictions in the lending process. Government regulations may also limit the money creation process by preventing banks from giving out loans even when the reserve requirements have been fulfilled.


title: Fractional-reserve banking

text: Because the nature of fractional-reserve banking involves the possibility of bank runs, central banks have been created throughout the world to address these problems.


title: Fractional-reserve banking

text: Government controls and bank regulations related to fractional-reserve banking have generally been used to impose restrictive requirements on note issue and deposit taking on the one hand, and to provide relief from bankruptcy and creditor claims, and/or protect creditors with government funds, when banks defaulted on the other hand. Such measures have included:


title: Fractional-reserve banking

text: The currently prevailing view of reserve requirements is that they are intended to prevent banks from:


title: Fractional-reserve banking

text: In some jurisdictions (such as the European Union), the central bank does not require reserves to be held during the day. Reserve requirements are intended to ensure that the banks have sufficient supplies of highly liquid assets, so that the system operates in an orderly fashion and maintains public confidence.


title: Fractional-reserve banking

text: In other jurisdictions (such as the United States), the central bank does not require reserves to be held at any time – that is, it does not impose reserve requirements.


title: Fractional-reserve banking

text: In addition to reserve requirements, there are other required financial ratios that affect the amount of loans that a bank can fund. The capital requirement ratio is perhaps the most important of these other required ratios. When there are no mandatory reserve requirements, which are considered by some economists to restrict lending, the capital requirement ratio acts to prevent an infinite amount of bank lending.


title: Fractional-reserve banking

text: To avoid defaulting on its obligations, the bank must maintain a minimal reserve ratio that it fixes in accordance with regulations and its liabilities. In practice this means that the bank sets a reserve ratio target and responds when the actual ratio falls below the target. Such response can be, for instance:


title: Fractional-reserve banking

text: Because different funding options have different costs, and differ in reliability, banks maintain a stock of low cost and reliable sources of liquidity such as:


title: Fractional-reserve banking

text: The ability of the bank to borrow money reliably and economically is crucial, which is why confidence in the bank's creditworthiness is important to its liquidity. This means that the bank needs to maintain adequate capitalisation and to effectively control its exposures to risk in order to continue its operations. If creditors doubt the bank's assets are worth more than its liabilities, all demand creditors have an incentive to demand payment immediately, causing a bank run to occur.


title: Fractional-reserve banking

text: Contemporary bank management methods for liquidity are based on maturity analysis of all the bank's assets and liabilities (off balance sheet exposures may also be included). Assets and liabilities are put into residual contractual maturity buckets such as 'on demand', 'less than 1 month', '2–3 months' etc. These residual contractual maturities may be adjusted to account for expected counterparty behaviour such as early loan repayments due to borrowers refinancing and expected renewals of term deposits to give forecast cash flows. This analysis highlights any large future net outflows of cash and enables the bank to respond before they occur. Scenario analysis may also be conducted, depicting scenarios including stress scenarios such as a bank-specific crisis.


title: Fractional-reserve banking

text: An example of fractional-reserve banking, and the calculation of the "reserve ratio" is shown in the balance sheet below:


title: Fractional-reserve banking

text: In this example the cash reserves held by the bank is NZ$3,010m (NZ$201m cash + NZ$2,809m balance at Central Bank) and the demand deposits (liabilities) of the bank are NZ$25,482m, for a cash reserve ratio of 11.81%.


title: Fractional-reserve banking

text: The key financial ratio used to analyze fractional-reserve banks is the cash reserve ratio, which is the ratio of cash reserves to demand deposits. However, other important financial ratios are also used to analyze the bank's liquidity, financial strength, profitability etc.


title: Fractional-reserve banking

text: It is important how the term "reserves" is defined for calculating the reserve ratio, as different definitions give different results. Other important financial ratios may require analysis of disclosures in other parts of the bank's financial statements. In particular, for liquidity risk, disclosures are incorporated into a note to the financial statements that provides maturity analysis of the bank's assets and liabilities and an explanation of how the bank manages its liquidity.


title: Fractional-reserve banking

text: In 1935, economist Irving Fisher proposed a system of full-reserve banking, where banks would not lend on demand deposits but would only lend from time deposits. It was proposed as a method of reversing the deflation of the Great Depression, as it would give the central bank (the Federal Reserve in the US) more direct control of the money supply.


title: Fractional-reserve banking

text: Austrian School economists such as Jesús Huerta de Soto and Murray Rothbard have strongly criticized fractional-reserve banking, calling for it to be outlawed and criminalized. According to them, not only does money creation cause macroeconomic instability (based on the Austrian Business Cycle Theory), but it is a form of embezzlement or financial fraud, legalized only due to the influence of powerful rich bankers on corrupt governments around the world. US Politician Ron Paul has also criticized fractional-reserve banking based on Austrian School arguments.


title: Fractional-reserve banking

text: Adair Turner, former chief financial regulator of the United Kingdom, stated that banks "create credit and money "ex nihilo" extending a loan to the borrower and simultaneously crediting the borrower's money account".


title: Doolittle (album)

text: Doolittle is the second studio album by the American alternative rock band Pixies, released in April 1989 on 4AD. "Doolittle" was the Pixies' first international release, with Elektra Records as the album's distributor in the United States and PolyGram in Canada.


title: Doolittle (album)

text: Pixies released two singles from "Doolittle": "Here Comes Your Man" and "Monkey Gone to Heaven", both of which were chart successes on the "Billboard" Modern Rock Tracks chart in the US, while tracks such as "Debaser" and "Hey" have also received praise. The album itself reached number eight on the UK Albums Chart, an unexpected success for the band.


title: Doolittle (album)

text: Although it is considered the most accessible Pixies album, "Doolittle" is often regarded as the band's strongest and greatest work, and has continued to sell consistently well in the years since its release, being certified Gold in 1995 and Platinum in 2018 by the Recording Industry Association of America. The album has been cited as inspirational by many alternative artists, while numerous music publications have ranked it as one of the most influential albums ever. A 2003 poll of "NME" writers ranked "Doolittle" as the second-greatest album of all time, "Rolling Stone" placed the album at 141 on its 2020 list of "The 500 Greatest Albums of All Time" and "Pitchfork" ranked it as the fourth best album of the 1980s.


title: Doolittle (album)

text: The album's offbeat and dark subject matter features references to surrealism, Biblical violence, torture and death.


title: Doolittle (album)

text: Following their highly regarded but commercially unsuccessful 1988 album "Surfer Rosa", the band embarked on a European tour with fellow Bostonians Throwing Muses, before beginning a tour of North American states. During this time, Black Francis, the group's frontman and principal songwriter, began to write new material for a future album, with songs such as "Dead", "Hey", "Tame", and "There Goes My Gun" emerging through the course of the year. Versions of the newly composed songs were recorded during several sessions for John Peel's radio show in 1988, while a live recording of "Hey" appeared on a free EP circulated with a 1988 edition of "Sounds".


title: Doolittle (album)

text: In mid-1988, the Pixies began to record demo sessions while on breaks from touring. The band headed to the Boston recording studio Eden Sound, which at the time comprised a small room in the basement of a hair salon. They recorded at the studio for a week, in circumstances similar to the previous year's Purple Tape sessions. Francis gave the demo tape and upcoming album the provisional title of "Whore", though he later claimed his natural father had originally suggested the name. Francis has clarified that he was thinking of the word "in the more traditional sense ... the operatic, biblical sense, ... as in the great whore of Babylon". After completing the demo tape, band manager Ken Goes suggested two producers for the album: Liverpudlian Gil Norton and American Ed Stasium. The band had previously worked with Norton while recording the single version of "Gigantic" in May 1988. Francis had no preference, although Ivo Watts-Russell, head of the band's label 4AD, wanted Norton to produce the next album. Norton was hired as producer, with Stasium not even approached for the position.


title: Doolittle (album)

text: Norton arrived in Boston on October 31, 1988, and first visited Francis' apartment to review the album's demos. The two talked about arrangements, and spent two days intensively analyzing the album's songs. Norton learned to gauge Francis's reaction to changing arrangements, and later observed that the frontman "doesn't like to do anything twice". Norton spent a further two weeks in pre-production to familiarize himself with the Pixies' sound.


title: Doolittle (album)

text: Recording sessions for the album began on October 31, 1988, at Downtown Recorders in Boston, Massachusetts, which was at the time a professional 24-track studio. 4AD allotted the Pixies a budget of $40,000, excluding producer's fees. This was a modest sum for a 1980s major label album; however, it quadrupled the amount spent on the band's previous album, "Surfer Rosa". Along with Norton, two assistant recording engineers and two second assistants were assigned to the project. The sessions lasted three weeks, concluding on November 23, with "nearly a song a day" being recorded.


title: Doolittle (album)

text: Production and mixing began on November 28. The band relocated to Carriage House Studios, a residential studio in Stamford, Connecticut, to oversee production and record further tracks. Norton recruited Steven Haigler as mixing engineer, whom he had worked with at Fort Apache Studios. During production, Haigler and Norton added layers of guitars and vocals to songs, including overdubbed guitars on "Debaser" and double tracked vocals on "Wave of Mutilation". During the recordings, Norton advised Francis to alter several songs; a noted example being "There Goes My Gun", which was originally intended as a much faster, Hüsker Dü-style song. However, at Norton's advice, Francis slowed down the tempo.


title: Doolittle (album)

text: Norton's suggestions were not always welcome, and several instances of advice to add verses and increase track length contributed to the frontman's building frustration. Eventually, Francis took Norton to a record store, where he handed him a copy of a Buddy Holly greatest hits album, in which most of the songs are around two minutes long. He told Norton, "If it's good enough for Buddy Holly ..." In a "Rolling Stone" interview, Francis later recalled that "this record is him trying to make us, shall I say, commercial, and us trying to remain somewhat grungy". Production continued until December 12, 1988, with Norton and Haigler adding extra effects, including gated reverb to the mix. The master tapes were then sent for final post-production later that month.


title: Doolittle (album)

text: During the recording of "Doolittle", tensions between Francis and Deal became visible to band members and the production team. Bickering and standoffs between the two marred the recording sessions and led to increased stress among the band members. John Murphy, Deal's husband at the time, later recalled that, with "Doolittle", the band dynamic "went from just all fun to work". Exhaustion from touring and from releasing three records in two years contributed to the friction. This culminated at the end of the US post-"Doolittle" "Fuck or Fight" tour, where they were too tired to attend the end-of-tour party. Soon afterwards, the band announced that they were taking a break.


title: Doolittle (album)

text: "Doolittle" features an eclectic mix of musical styles. While tracks such as "Tame" and "Crackity Jones" are fast and aggressive, and incorporate the band's trademark loud–quiet dynamic, other songs such as "Silver", "I Bleed", and "Here Comes Your Man" reveal a quieter, slower and more melodic temperament. With "Doolittle", the band began to incorporate further instruments into their sound; for instance, "Monkey Gone to Heaven" features two violins and two cellos.


title: Doolittle (album)

text: "Tame" is based on a three chord formula, including Joey Santiago playing a "Hendrix chord" over the main bass progression. "I Bleed" is melodically simple, and is formed around a single rhythmical repetition. Some songs are influenced by other genres of music; while "Crackity Jones" has a distinctly Spanish sound, and incorporates G and A triads over a C pedal, the song's rhythm guitar, played by Francis, starts with an eighth-note downstroke typical of punk rock music.


title: Doolittle (album)

text: The lyrical themes explored on "Doolittle" range from the surrealism of "Debaser", to the environmental catastrophe of "Monkey Gone to Heaven". The prostitutes of "Mr. Grieves", "Tame", and "Hey" share space with the Biblical analogies of "Dead" and "Gouge Away". Black Francis often claimed that "Doolittle"'s lyrics were words which just "fit together nicely", and that "the point [of the album] is to experience it, to enjoy it, to be entertained by it". Francis wrote all the material for the album with the exception of "Silver", which he co-wrote with Kim Deal.


title: Doolittle (album)

text: The album's opening track, "Debaser", references surrealism, a theme that runs throughout the album. "Debaser" alludes to Luis Buñuel and Salvador Dalí's 1929 surrealist film "Un Chien Andalou", and the lyric "slicing up eyeballs" refers to an early scene in the film. Surrealism heavily influenced Francis in his college years and throughout his career with the Pixies. In 1989, Francis expressed his interest in surrealism and its influence on his songwriting method to "The New York Times" by stating "I got into avant-garde movies and Surrealism as an escape from reality. ... To me, Surrealism is totally artificial. I recently read an interview with the director David Lynch who said he had ideas and images but that he didn't know exactly what they meant. That's how I write."


title: Doolittle (album)

text: Another of the album's main themes is environmental catastrophe. "Monkey Gone to Heaven" deals with man's destruction of the ocean and "confusion of man's place in the universe". As Francis put it: "On one hand, it's this big organic toilet. Things get flushed and repurified or decomposed and it's this big, dark, mysterious place. It's also a very mythological place where there are octopus's gardens, the Bermuda Triangle, Atlantis, and mermaids." "Monkey Gone to Heaven" is concerned with man's relationship to the divine, a theme shared with "Mr. Grieves".


title: Doolittle (album)

text: Two songs on "Doolittle" are fashioned after Biblical stories: the story of David and Bathsheba in "Dead", and Samson and Delilah in "Gouge Away". Francis' fascination with Biblical themes can be traced back to his teenage years; when he was twelve, he and his parents joined an evangelical church linked to the Assemblies of God. This background was to be an influence on "Doolittle", where he referred to the Devil being "six" and God being "seven" in "Monkey Gone to Heaven".


title: Doolittle (album)

text: Other songs explored eccentric subjects, such as "Wave of Mutilation", which Francis described as being about "Japanese businessmen doing murder-suicides with their families because they'd failed in business, and they're driving off a pier into the ocean."


title: Doolittle (album)

text: The sea and underwater themes of "Wave of Mutilation", which also feature in "Mr. Grieves" and "Monkey Gone to Heaven", are explorations of one arena for man's death and destruction. Ben Sisario points out that the album begins ("Debaser") and ends ("Gouge Away") with songs about violence being done to eyes. "Crackity Jones" covers another offbeat subject: Francis' roommate in his student exchange trip to San Juan, Puerto Rico, whom he described as a "weird psycho gay roommate".


title: Doolittle (album)

text: "Doolittle" also references more ostensibly conventional subjects. "La La Love You", sung by the band's drummer, David Lovering, is a love song; although its "first base, second base, third base, home run" break has led to it being described as "a dig at the very idea of a love song". Francis gave it to Lovering to sing, "like a Ringo thing". Lovering initially refused to sing it, but Norton said that he was soon unable to "get him away from the microphone". As well as lead vocals on "La La Love You", Lovering played bass guitar on "Silver", with Deal playing slide guitar; this arrangement did not occur again.


title: Doolittle (album)

text: "Doolittle" was the first album where Simon Larbalestier, the Pixies' cover photographer, and Vaughan Oliver, the band's cover artist, had access to the lyrics. According to Larbalestier, this "made a fundamental difference".


title: Doolittle (album)

text: The surrealist and abstract images throughout the album booklet are linked to the album's content. "Gouge Away" is represented by a picture of a spoon containing hair, laid across a woman's torso; a direct pictorial representation of heroin, with the spoon and the hair being horses. The image "As Loud As Hell" shows "a ringing bell", with a set of teeth; this alludes to the line "it shakes my teeth" in the song "I Bleed". "Walking with the Crustaceans" is a visual representation of the lyrics to "Wave of Mutilation". Larbalestier later commented that he was interested in "early Surrealist stuff" at this time.


title: Doolittle (album)

text: During the recording sessions, "Whore" was discarded as a potential album title, after Oliver changed the cover artwork idea to a monkey and halo cover. Francis later explained his rationale for the move:


title: Doolittle (album)

text: Francis then named the album "Doolittle", from the "Mr. Grieves" lyric "Pray for a man in the middle / One that talks like Doolittle".


title: Doolittle (album)

text: In the months following the release of "Surfer Rosa", Pixies' management fielded calls from a number of labels. Elektra Records A&R scout Peter Lubin first saw the band in October 1988, when they opened for the Jesus and Mary Chain, and immediately sought to convince the band to sign to his label. Pixies signed to Elektra Records during a UK spring tour in 1989. Elektra followed by releasing a live promotional album, which contained two songs from their forthcoming album—"Debaser" and "Gouge Away"—along with a selection of earlier material.


title: Doolittle (album)

text: However, Elektra had not yet attained distribution rights to the band's forthcoming album. 4AD, then a small British independent record label, held worldwide distribution rights to Pixies, but did not have access to distribution outside of the United Kingdom; the band had had to import all its previous records from Europe. Pixies' management sought international distribution, and while negotiations with Elektra and other record companies began in the third quarter of 1988, they were only completed just two weeks before "Doolittle"'s release, on April 2, 1989. PolyGram had already secured Canadian distribution rights by that time.


title: Doolittle (album)

text: "Doolittle" was released in the United Kingdom on April 17, 1989, and in the United States the following day. Throughout the States, helped by Elektra's major label status, retail displays were constructed for the record, and "Monkey Gone to Heaven", the first single from the album, was released to radio stations for inclusion on playlists.


title: Doolittle (album)

text: To celebrate the 25th anniversary of the album, 4AD announced that a deluxe edition of the album, titled "Doolittle 25", was to be released January 12, 2015, containing unreleased B-sides, demos, and two full Peel sessions.


title: Doolittle (album)

text: On December 9, 2016, a limited Pure Audio Blu-Ray version of the album was released containing a 5.1 surround sound mix of the album by Kevin Vanbergen and a high definition stereo mix by Mobile Fidelity Sound Lab.


title: Doolittle (album)

text: "Doolittle"s chart performance in the United States was unremarkable, as the album entered the "Billboard" 200 at number 171. However, with the help of college radio play of "Monkey Gone to Heaven", "Doolittle" eventually rose to number 98 and spent two weeks in the top 100. In Britain, the record reached number eight on the UK Albums Chart. This chart placing was an unexpected success for the band as their previous two records, "Come On Pilgrim" and "Surfer Rosa", had failed to reach as high on the British charts.


title: Doolittle (album)

text: In June 1989, 4AD released "Here Comes Your Man" as the album's second single. It reached number three on the US Modern Rock Tracks chart and number 56 in the UK Singles Chart. It was not the last single from the album: in 1997, "Debaser" was released as a single to promote the "Death to the Pixies" compilation.


title: Doolittle (album)

text: Following its release, "Doolittle" sold steadily in America, and broke sales of 100,000 after six months. By early 1992, while the band were supporting U2 on their Zoo TV Tour, the album was selling 1,500 copies per week. By the middle of 1993—two years after the release of the band's last album before their initial breakup, "Trompe le Monde"—"Doolittle" saw sales average 1,200 copies per week. "Doolittle" was certified Gold by the Recording Industry Association of America in 1995 and Platinum in 2018.


title: Doolittle (album)

text: Ten years after the breakup, "Doolittle" was still selling between 500 and 1,000 copies a week, and their 2004 reunion tour saw sales creep back up to 1,200 copies per week. At the end of 2005, best estimates put total sales in America at between 800,000 and one million copies. As of 2015, sales in the United States have exceeded 834,000 copies, according to Nielsen SoundScan.


title: Doolittle (album)

text: On May 6, 2019, "Here Comes Your Man" was certified Gold in Canada. On September 20, 2021, "Hey" was certified Gold in Canada.


title: Doolittle (album)

text: Reaction to "Doolittle" was positive in general, with the album garnering praise from several major music publications. "NME" writer Edwin Pouncey commented that "the songs on "Doolittle" have the power to make you literally jump out of your skin with excitement". "Q" critic Peter Kane said that "Doolittle"s "carefully structured noise and straightforward rhythmic insistence makes perfect sense". Tim Rolston of "The Daily Telegraph" praised "Doolittle" as "a scintillating rock'n'roll album" and the Pixies' "finest half-hour so far". Several other publications ran positive reviews of the album, including the British music weekly "Record Mirror", "The Philadelphia Inquirer", the "Los Angeles Times", and the "Chicago Tribune". Robert Christgau of "The Village Voice" wrote, "They're in love and they don't know why—with rock and roll, which is heartening in a time when so many college dropouts have lost touch with the verities". However, he concluded that "getting famous too fast could ruin them", while suggesting the lyrics reflect somewhat of a disconnection with "the outside world".


title: Doolittle (album)

text: Some reviewers were more critical. "Time Out" said that "Gil Norton's toy theatre production makes a drama out of what should have been a crisis". "Spin" ran a hundred-word review of the album, with critic Joe Levy finding "the insanity less surreal and more silly, and the songs themselves more like songs and less like adventures". "Rolling Stone" published "a tentative endorsement" of "Doolittle", rating it three and a half stars; reviewer Chris Mundy concluded, "The emphasis on more textured production has in no way taken away from the band's intensity. Francis is at all times in command of the album, quietly stringing us along before turning on us and screaming for attention. It's about time everyone started taking notice." "Doolittle" appeared on several end-of-year "Best Album" lists; both "Rolling Stone" and "The Village Voice" placed the album tenth, and independent music magazines "Sounds" and "Melody Maker" both ranked the album as the second-best of the year. "NME" also ranked the album highly, placing it fourth in their end-of-year list.


title: Doolittle (album)

text: The sudden loud to quiet dynamic present on "Doolittle", most notably in "Tame", has been very influential on alternative rock. After writing "Smells Like Teen Spirit", both Kurt Cobain and Krist Novoselic of Nirvana thought: "this really sounds like the Pixies. People are really going to nail us for this." Producer Gil Norton usually receives much credit for the album's dynamic, and is sought by bands seeking a similar sound. The Smashing Pumpkins guitarist James Iha described "Doolittle" as less raw than "Surfer Rosa" but "more listenable" and "Here Comes Your Man" as a "classic pop record". Fellow alternative musician PJ Harvey was "in awe" of "I Bleed" and "Tame", and described Francis's writing as "amazing". The album was also included in the book "1001 Albums You Must Hear Before You Die". "PopMatters" included it in their list of the "12 Essential 1980s Alternative Rock Albums" saying, ""Doolittle", captured the musicians at the top of their game when it was released in 1989."


title: Doolittle (album)

text: A range of music magazines have since acclaimed "Doolittle" as one of the quintessential alternative rock albums of the 1980s. "Rolling Stone", reviewing "Doolittle" again in 2002, gave the album a maximum score of five stars, remarking that it laid the "groundwork for Nineties rock". "Doolittle" has received a number of international accolades and is consistently noted as one of the best albums of the 1980s in any genre.


title: The Wayans Bros.

text: The Wayans Bros. is an American sitcom television series that aired on The WB from January 11, 1995, to May 20, 1999. The series starred real life brothers Shawn and Marlon Wayans. The series also starred John Witherspoon and Anna Maria Horsford (season 2 onward).


title: The Wayans Bros.

text: Shawn and Marlon Williams (Shawn Wayans and Marlon Wayans) are brothers who live in an apartment on 117th street in Harlem. Shawn owns a local newsstand, where he and his brother Marlon work on a daily basis.


title: The Wayans Bros.

text: In the show's second season (in 1995), the newsstand and Pops' Joint, the restaurant owned by their father, John "Pops" Williams (John Witherspoon) were moved downtown into the fictional Neidermeyer Building, in Rockefeller Center, where Dee Baxter (Anna Maria Horsford (onwards from Season 2) works as a security guard.


title: The Wayans Bros.

text: "The Wayans Bros." was the first of the four sitcoms that aired as part of the original Wednesday night two hour lineup that helped launch the network (along with "Unhappily Ever After", "The Parent 'Hood" and the short-lived "Muscle"). While in development, the series' working title was initially supposed to have been "Brother to Brother", before the name of the series changed to "The Wayans Bros."


title: The Wayans Bros.

text: In the show's second season, in 1995 Pops' Joint (the restaurant owned by Shawn and Marlon's father, John "Pops" Williams) was moved into the Neidermeyer Building, where the location was changed from Harlem to Rockefeller Center, Manhattan.


title: The Wayans Bros.

text: While the series at least did not end on a cliffhanger ending, in the film "Scary Movie" (2000), Shawn Wayans' character says: "And "The Wayans Bros". was a good show, man. It was a good-ass show, and we didn't even get a final episode."


title: The Wayans Bros.

text: The show's official opening title began with Shawn and Marlon on the steps of a brownstone apartment building, donning afros and wearing 1970s preppy attire, moving in rhythm to an accompanying satirical music piece that's supposed to have a 1970s style "urban" sitcom theme song feel. Marlon forcefully smacks the camera, and then segues into "the real opening" of "The Wayans Bros."


title: The Wayans Bros.

text: The scene then cuts to them with their normal clothes and trying to help an old woman who gets hit by a bus. The camera then shows the brothers inside the bus with the title of the show underneath them. The "second half" part of "The Wayans Bros." theme song was changed twice throughout its four-year run (1995–1999). In the first two seasons, the show's theme song was A Tribe Called Quest's "Electric Relaxation".


title: The Wayans Bros.

text: In the third season, the theme song changed to a four-second hip hop beat. In the final two seasons, the show's theme song was changed again to a regular hip hop instrumental beat (which was produced by the Wayans Bros. & Omar Epps). In Brazilian reruns of seasons one and two episodes that have aired in SBT in 2015, this version replaced the seasons one and two sequence with the season three sequence.


title: The Wayans Bros.

text: Warner Bros. Domestic Television Distribution handles syndication distribution of the series. In September 1999, after the series was cancelled by The WB, the series began airing in off network syndication nationwide.


title: The Wayans Bros.

text: At that same time, Chicago based national cable superstation WGN began airing reruns of the series, airing the series until 2002 (when its broadcast syndication run also ended); WGN (both the local Chicago feed and the national superstation feed) aired "The Wayans Bros." in first run form from 1995 to 1999, when WGN (whose local Chicago feed was an affiliate of the network) carried WB programming nationally to make The WB available to markets where a local affiliate did not exist ("The Wayans Bros." is one of three WB series to have aired on WGN in both first run and syndication form; "The Parent 'Hood", "7th Heaven" and "Sister, Sister" being the others).


title: The Wayans Bros.

text: In 2006, reruns began airing on BET, after a four-year absence, where it ran until 2007. In 2007, reruns of the series aired on Ion Television, where it ran until 2008. Since then, several Viacom networks, including MTV2, VH1 and BET Her have run the series in continuous rotation. As of 2021 all five seasons of the show air on HBO Max and BET+.


title: The Wayans Bros.

text: Warner Home Video released Season 1 of "The Wayans Bros." on DVD in Region 1. Warner Archive subsequently released Seasons 2 to 5 on DVD in Region 1.


title: Joël Robuchon

text: Joël Robuchon (, 7 April 1945 – 6 August 2018) was a French chef and restaurateur. He was named "Chef of the Century" by the guide Gault Millau in 1989, and awarded the Meilleur Ouvrier de France (France's best worker) in cuisine in 1976. He published several cookbooks, two of which have been translated into English, chaired the committee for the "Larousse Gastronomique", and hosted culinary television shows in France. He operated more than a dozen restaurants across Bangkok, Bordeaux, Hong Kong, Las Vegas, London, Macau, Monaco, Montreal, Paris, Shanghai, Singapore, Taipei, Tokyo, and New York City. His restaurants have been acclaimed, and in 2016 he held 32 "Michelin Guide" stars among them, the most any restaurateur has ever held.


title: Joël Robuchon

text: Robuchon was born in 1945 in Poitiers, France, one of four children of a bricklayer. He attended the seminary in Châtillon-sur-Sèvre (now Mauléon), Deux-Sèvres, briefly considering a clerical career. In 1960, at the age of 15, he became an apprentice chef at the Relais de Poitiers hotel, starting as a pastry chef.


title: Joël Robuchon

text: After he turned 21, he joined the apprenticeship "Compagnon du Tour de France", enabling him to travel throughout the country, learning a variety of regional techniques. At the age of 29, Robuchon was appointed head chef at the Hôtel Concorde La Fayette, where he managed 90 cooks. In 1976 he won the Meilleur Ouvrier de France for his craftsmanship in culinary arts. While working as an Executive Chef and Food and Beverage manager of the Nikko hotel in Paris he gained two Michelin stars.


title: Joël Robuchon

text: In 1981 he opened his own restaurant, Jamin, which holds the rare distinction of receiving three Michelin stars in the first three years of existence. In 1984, Jamin was named "Best Restaurant in the World" by International Herald Tribune. Between 1987 and 1990, he became a regular of cooking shows on French television.


title: Joël Robuchon

text: In 1989, prestigious restaurant guide "Gault Millau" named Robuchon the "Chef of the Century". He mentored many famous chefs, including Gordon Ramsay, Eric Ripert, and Michael Caines.


title: Joël Robuchon

text: In 1995, seeing many of his peers die of stress and heart attacks, Robuchon retired at the age of 50. He subsequently staged a comeback, opening several restaurants bearing his name around the world. He hosted "Cuisinez comme un grand chef" on TF1 from 1996 to 1999; in 2000, he hosted "Bon appétit bien sûr" on France 3. Through his various restaurants, including the newly awarded 3-star rating for his restaurant in Singapore, he accumulated a total of 32 "Michelin Guide" stars – the most of any chef in the world.


title: Joël Robuchon

text: In June 2018, Resorts World Singapore stated that both the three-Michelin-starred Joel Robuchon Restaurant and the two-starred L'Atelier de Joel Robuchon would close at the end of the month.


title: Joël Robuchon

text: Robuchon was a Freemason of the Grande Loge Nationale Française, but claimed it did not affect his career.


title: Joël Robuchon

text: Robuchon died from cancer on 6 August 2018, a year after receiving treatment for a pancreatic tumour. He was 73.


title: Joël Robuchon

text: Robuchon and his wife Jeanine, whom he married in 1966, had two children, son Eric Robuchon, a pedicurist and podiatrist based in Paris, and daughter Sophie Kartheiser, who manages a restaurant named La Cour d'Eymet in Dordogne with her husband, chef François Kartheiser. He also has a son Louis Robuchon-Abe (born 1988) with a Japanese woman. Louis is a wine import company's owner in Japan. Robuchon was survived by his wife, his three children and four grandchildren.


title: Joël Robuchon

text: Robuchon has been the most influential French chef of the post-nouvelle cuisine era. Since the mid-1980s, he has been called the "primus inter pares" of Paris' three star chefs for his work both at Jamin and at his eponymous restaurant.


title: Joël Robuchon

text: Robuchon has been known for the relentless perfectionism of his cuisine; he said there is no such thing as the perfect meal – one can always do better. He was instrumental in leading French cuisine forward from the excessive reductionism of "nouvelle cuisine" toward a post-modern amalgam of the "nouvelle", international influences – especially Japanese cuisine – and even select traditions of "haute cuisine". In particular, his style of cooking was often seen as of celebrating the intrinsic qualities of the best, seasonal ingredients (dubbed ""cuisine actuelle"" by Patricia Wells in her book, "Simply French"). Drawing his inspiration firstly from the simplicity of Japanese cuisine, he led the way in creating a more delicate style respectful of natural food ingredients.


title: Rashmi Rocket

text: Rashmi Rocket is a 2021 Indian Hindi language sports drama film directed by Akarsh Khurana and produced by Ronnie Screwvala. It stars Taapsee Pannu as the titular character alongside Abhishek Banerjee and Priyanshu Painyuli. The film premiered on 15 October 2021 on ZEE5.


title: Rashmi Rocket

text: The principal photography began in November 2020 at FLAME University in Pune. The film was wrapped up on 26 January 2021 in Gujarat. Shooting locations included Bhuj and the Rann of Kutch in Gujarat as well as Ranchi in Jharkhand.


title: Rashmi Rocket

text: Anna M. M. Vetticad of Firstpost said “Here for a change is a Hindi film that knows how to portray male allies without allowing them to cross the line into male saviour territory. Here for a change is a Hindi film featuring female adversaries sans the all-women-are-enemies-of-women stereotype, and spotting female allies in unexpected places.”


title: Rashmi Rocket

text: Writing for Scroll, Nandini Ramnath said, “Light on its feet and often as fleet as Rashmi, the movie cruises along on the strength of several heart-warming scenes (many of them involving Rashmi’s tough-loving mother Bhanu), a foot-tapping folksy score by Amit Trivedi, and basic insights into the debate over hyperandrogenism that continues to rage in all manner of sport.”


title: Rashmi Rocket

text: Ronak Kotecha of The Times of India gave the film four stars and said, “Nanda Periyasamy’s riveting story, Aniruddha Guha’s sharp screenplay and Akarsh Khurana’s able direction, holds your attention right from the beginning until the end, where the race for justice is played out in a court.” About lead actor Taapsee Pannu, the publication said, “Taapsee Pannu once again proves her mettle, embodying Rashmi’s persona, physically and mentally. Her effort to celebrate Rashmi’s victory and endure her pain, is as real as it gets and the actress doesn’t miss the beat when it comes to making us root for her character.”


title: Rashmi Rocket

text: Shubhra Gupta, in her review of the film in Indian Express, wrote: "When you see Taapsee Pannu’s Rashmi fighting the good fight, for herself and for other athletes who have been done against in similar fashion, you want to cheer. For keeping sporting women on top, and for the very worthy cause."


title: Rashmi Rocket

text: In his review for Cinema Express, critic Avinash Ramachandran wrote: "It is brave of Taapsee to do a film where the battle against the system takes paramount importance, and rightly so."


title: Rashmi Rocket

text: Zee News said in its review that "Akarsh Khurana's Rashmi Rocket has an unconventional storyline that can greatly contribute to conversations around gender equality."


title: Rashmi Rocket

text: In her review for Mashable, Sushri Saha writes, "With strong performances led by Pannu and a well-written screenplay, the film does justice to the issues it raises and challenges."


title: Rashmi Rocket

text: Critic Shomini Sen, in her review for WIONews, wrote that Rashmi Rocket “is an important film. It treads on an unknown track and it shines because of its important message.”


title: Apollo 7

text: Apollo 7 (October 1122, 1968) was the first crewed flight in NASA's Apollo program, and saw the resumption of human spaceflight by the agency after the fire that killed the three Apollo 1 astronauts during a launch rehearsal test on January 27, 1967. The Apollo7 crew was commanded by Walter M. Schirra, with command module pilot Donn F. Eisele and lunar module pilot R. Walter Cunningham (so designated even though Apollo7 did not carry a Lunar Module).


title: Apollo 7

text: The three astronauts were originally designated for the second crewed Apollo flight, and then as backups for Apollo1. After the Apollo1 fire, crewed flights were suspended while the cause of the accident was investigated and improvements made to the spacecraft and safety procedures, and uncrewed test flights made. Determined to prevent a repetition of the fire, the crew spent long periods monitoring the construction of their Apollo command and service modules (CSM). Training continued over much of the pause that followed the Apollo1 disaster.


title: Apollo 7

text: Apollo 7 was launched on October 11, 1968, from Cape Kennedy Air Force Station, Florida, and splashed down in the Atlantic Ocean eleven days later. Extensive testing of the CSM took place, and also the first live television broadcast from an American spacecraft. Despite tension between the crew and ground controllers, the mission was a complete technical success, giving NASA the confidence to send Apollo 8 into orbit around the Moon two months later. In part because of these tensions, none of the crew flew in space again, though Schirra had already announced he would retire from NASA after the flight. Apollo7 fulfilled Apollo1's mission of testing the CSM in low Earth orbit, and was a significant step towards NASA's goal of landing astronauts on the Moon.


title: Apollo 7

text: Schirra, one of the original "Mercury Seven" astronauts, graduated from the United States Naval Academy in 1945. He flew Mercury-Atlas 8 in 1962, the fifth crewed flight of Project Mercury and the third to reach orbit, and in 1965 was the command pilot for Gemini 6A. He was a 45-year-old captain in the Navy at the time of Apollo7. Eisele graduated from the Naval Academy in 1952 with a B.S. in aeronautics. He elected to be commissioned in the Air Force, and was a 38-year-old major at the time of Apollo7. Cunningham joined the U.S. Navy in 1951, began flight training the following year, and served in a Marine flight squadron from 1953 to 1956, and was a civilian, aged 36, serving in the Marine Corps reserves with a rank of major, at the time of Apollo7. He received degrees in physics from UCLA, a B.A. in 1960 and an M.A. in 1961. Both Eisele and Cunningham were selected as part of the third group of astronauts in 1963.


title: Apollo 7

text: Eisele was originally slotted for a position on Gus Grissom's Apollo 1 crew along with Ed White, but days prior to the official announcement on March 25, 1966, Eisele sustained a shoulder injury that would require surgery. Instead, Roger Chaffee was given the position and Eisele was reassigned to Schirra's crew.


title: Apollo 7

text: Schirra, Eisele, and Cunningham were first named as an Apollo crew on September 29, 1966. They were to fly a second Earth orbital test of the Apollo Command Module (CM). Although delighted as a rookie to be assigned to a prime crew without having served as a backup, Cunningham was troubled by the fact that a second Earth orbital test flight, dubbed Apollo2, seemed unnecessary if Apollo1 was successful. He learned later that Director of Flight Crew Operations Deke Slayton, another of the Mercury Seven who had been grounded for medical reasons and supervised the astronauts, planned, with Schirra's support, to command the mission if he gained medical clearance. When this was not forthcoming, Schirra remained in command of the crew, and in November 1966, Apollo2 was cancelled and Schirra's crew assigned as backup to Grissom's. Thomas P. Stafford—assigned at that point as the backup commander of the second orbital test—stated that the cancellation followed Schirra and his crew submitting a list of demands to NASA management (Schirra wanted the mission to include a lunar module and a CM capable of docking with it), and that the assignment as backups left Schirra complaining that Slayton and Chief Astronaut Alan Shepard had destroyed his career.


title: Apollo 7

text: On January 27, 1967, Grissom's crew was conducting a launch-pad test for their planned February 21 mission, when a fire broke out in the cabin, killing all three men. A complete safety review of the Apollo program followed. Soon after the fire, Slayton asked Schirra, Eisele and Cunningham to fly the first mission after the pause. Apollo 7 would use the BlockII spacecraft designed for the lunar missions, as opposed to the Block I CSM used for Apollo 1, which was intended only to be used for the early Earth-orbit missions, as it lacked the capability of docking with a lunar module. The CM and astronauts' spacesuits had been extensively redesigned, to reduce any chance of a repeat of the accident which killed the first crew. Schirra's crew would test the life support, propulsion, guidance and control systems during this "open-ended" mission (meaning it would be extended as it passed each test). The duration was limited to 11 days, reduced from the original 14-day limit for Apollo1.


title: Apollo 7

text: The backup crew consisted of Stafford as commander, John W. Young as command module pilot, and Eugene A. Cernan as lunar module pilot. They became the prime crew of Apollo 10. Ronald E. Evans, John L. 'Jack' Swigert, and Edward G. Givens were assigned to the support crew for the mission. Givens died in a car accident on June 6, 1967, and William R. Pogue was assigned as his replacement. Evans was involved in hardware testing at Kennedy Space Center (KSC). Swigert was the launch capsule communicator (CAPCOM) and worked on the mission's operational aspects. Pogue spent time modifying procedures. The support crew also filled in when the primary and backup crews were unavailable.


title: Apollo 7

text: CAPCOMs, the person in Mission Control responsible for communicating with the spacecraft (then always an astronaut) were Evans, Pogue, Stafford, Swigert, Young and Cernan. Flight directors were Glynn Lunney, Gene Kranz and Gerry Griffin.


title: Apollo 7

text: According to Cunningham, Schirra originally had limited interest in making a third spaceflight, beginning to focus on his post-NASA career. Flying the first mission after the fire changed things, "Wally Schirra was being pictured as the man chosen to rescue the manned space program. And that was a task worthy of Wally's interest." Eisele noted, "coming on the heels of the fire, we knew the fate and future of the entire manned space program—not to mention our own skins—was riding on the success or failure of Apollo7."


title: Apollo 7

text: Given the circumstances of the fire, the crew initially had little confidence in the staff at North American Aviation's plant at Downey, California, who built the Apollo command modules, and they were determined to follow their craft every step of the way through construction and testing. This interfered with training, but the simulators of the CM were not yet ready, and they knew it would be a long time until they launched. They spent long periods at Downey. Simulators were constructed at Houston's Manned Spacecraft Center and at KSC in Florida. Once these were available for use, the crew had difficulty finding enough time to do everything, even with the help of the backup and support crews; the crew often worked 12 or 14 hours per day. After the CM was completed and shipped to KSC, the focus of the crew's training shifted to Florida, though they went to Houston for planning and technical meetings. Rather than return to their Houston homes for the weekend, they often had to remain at KSC in order to participate in training or spacecraft testing. According to former astronaut Tom Jones in a 2018 article, Schirra, "with indisputable evidence of the risks his crew would be taking, now had immense leverage with management at NASA and North American, and he used it. In conference rooms or on the spacecraft assembly line, Schirra got his way."


title: Apollo 7

text: The Apollo 7 crew spent five hours in training for every hour they could expect to remain aboard if the mission went its full eleven days. In addition, they attended technical briefings and pilots' meetings, and studied on their own. They undertook launch pad evacuation training, water egress training to exit the vehicle after splashdown, and learned to use firefighting equipment. They trained on the Apollo Guidance Computer at MIT. Each crew member spent 160 hours in CM simulations, in some of which Mission Control in Houston participated live. The "plugs out" test—the test that had killed the Apollo1 crew—was conducted with the prime crew in the spacecraft, but with the hatch open. One reason the Apollo1 crew had died was because it was impossible to open the inward-opening hatch before the fire raced through the cabin; this was changed for Apollo7.


title: Apollo 7

text: Command modules similar to that used on Apollo7 were subjected to tests in the run-up to the mission. A three-astronaut crew (Joseph P. Kerwin, Vance D. Brand and Joe H. Engle) was inside a CM that was placed in a vacuum chamber at the Manned Spaceflight Center in Houston for eight days in June 1968 to test spacecraft systems. Another crew (James Lovell, Stuart Roosa and Charles M. Duke) spent 48 hours at sea aboard a CM lowered into the Gulf of Mexico from a naval vessel in April 1968, to test how systems would respond to seawater. Further tests were conducted the following month in a tank at Houston. Fires were set aboard a boilerplate CM using various atmospheric compositions and pressures. The results led to the decision to use 60 percent oxygen and 40 percent nitrogen within the CM at launch, which would be replaced with a lower pressure of pure oxygen within four hours, as providing adequate fire protection. Other boilerplate spacecraft were subjected to drops to test parachutes, and to simulate the likely damage if a CM came down on land. All results were satisfactory.


title: Apollo 7

text: During the run-up to the mission, the Soviets sent uncrewed probes Zond 4 and Zond 5 (Zond 5 carried two tortoises) around the Moon, seeming to foreshadow a circumlunar crewed mission. NASA's Lunar Module (LM) was suffering delays, and Apollo Program Spacecraft Manager George Low proposed that if Apollo7 was a success, that Apollo 8 go to lunar orbit without a LM. The acceptance of Low's proposal raised the stakes for Apollo7. According to Stafford, Schirra "clearly felt the full weight of the program riding on a successful mission and as a result became more openly critical and more sarcastic."


title: Apollo 7

text: Throughout the Mercury and Gemini programs, McDonnell Aircraft engineer Guenter Wendt led the spacecraft launch pad teams, with ultimate responsibility for condition of the spacecraft at launch. He earned the astronauts' respect and admiration, including Schirra's. However, the spacecraft contractor had changed from McDonnell (Mercury and Gemini) to North American (Apollo), so Wendt was not the pad leader for Apollo1. So adamant was Schirra in his desire to have Wendt back as pad leader for his Apollo flight, that he got his boss Slayton to persuade North American management to hire Wendt away from McDonnell, and Schirra personally lobbied North American's launch operations manager to change Wendt's shift from midnight to day so he could be pad leader for Apollo7. Wendt remained as pad leader for the entire Apollo program. When he departed the spacecraft area as the pad was evacuated prior to launch, after Cunningham said, "I think Guenter's going", Eisele responded "Yes, I think Guenter went."


title: Apollo 7

text: The Apollo 7 spacecraft included Command and Service Module 101 (CSM-101) the first BlockII CSM to be flown. The BlockII craft had the capability of docking with a LM, though none was flown on Apollo7. The spacecraft also included the launch escape system and a spacecraft-lunar module adapter (SLA, numbered as SLA-5), though the latter included no LM and instead provided a mating structure between the SM and the S-IVB's Instrument Unit, with a structural stiffener substituted for the LM. The launch escape system was jettisoned after S-IVB ignition, while the SLA was left behind on the spent S-IVB when the CSM separated from it in orbit.


title: Apollo 7

text: Following the Apollo 1 fire, the BlockII CSM was extensively redesigned—more than 1,800 changes were recommended, of which 1,300 were implemented for Apollo7. Prominent among these was the new aluminum and fiberglass outward-opening hatch, which the crew could open in seven seconds from within, and the pad crew in ten seconds from outside. Other changes included replacement of aluminum tubing in the high-pressure oxygen system with stainless steel, replacement of flammable materials with non-flammable (including changing plastic switches for metal ones) and, for crew protection in the event of a fire, an emergency oxygen system to shield them from toxic fumes, as well as firefighting equipment.


title: Apollo 7

text: After the Gemini 3 craft was dubbed "Molly Brown" by Grissom, NASA forbade naming spacecraft. Despite this prohibition, Schirra wanted to name his ship "Phoenix", but NASA refused him permission. The first CM to be given a call sign other than the mission designation would be that of Apollo 9, which carried an LM that would separate from it and then re-dock, necessitating distinct call signs for the two vehicles.


title: Apollo 7

text: Since it flew in low Earth orbit and did not include a LM, Apollo7 was launched with the Saturn IB booster rather than the much larger and more powerful Saturn V. That Saturn IB was designated SA-205, and was the fifth Saturn IB to be flown—the earlier ones did not carry crews into space. It differed from its predecessors in that stronger propellant lines to the augmented spark igniter in the J-2 engines had been installed, so as to prevent a repetition of the early shutdown that had occurred on the uncrewed Apollo 6 flight; postflight analysis had shown that the propellant lines to the J-2 engines, also used in the Saturn V tested on Apollo6, had leaked.


title: Apollo 7

text: The Saturn IB was a two-stage rocket, with the second stage an S-IVB similar to the third stage of the Saturn V, the rocket used by all later Apollo missions. The Saturn IB was used after the close of the Apollo Program to bring crews in Apollo CSMs to Skylab, and for the Apollo–Soyuz Test Project.


title: Apollo 7

text: Apollo 7 was the only crewed Apollo mission to launch from Cape Kennedy Air Force Station's Launch Complex 34. All subsequent Apollo and Skylab spacecraft flights (including Apollo–Soyuz) were launched from Launch Complex 39 at the nearby Kennedy Space Center. Launch Complex 34 was declared redundant and decommissioned in 1969, making Apollo7 the last human spaceflight mission to launch from the Cape Air Force Station in the 20th century.


title: Apollo 7

text: The main purposes of the Apollo7 flight were to show that the Block II CM would be habitable and reliable over the length of time required for a lunar mission, to show that the service propulsion system (SPS, the spacecraft's main engine) and the CM's guidance systems could perform a rendezvous in orbit, and later make a precision reentry and splashdown. In addition, there were a number of specific objectives, including evaluating the communications systems and the accuracy of onboard systems such as the propellant tank gauges. Many of the activities aimed at gathering these data were scheduled for early in the mission, so that if the mission was terminated prematurely, they would already have been completed, allowing for fixes to be made prior to the next Apollo flight.


title: Apollo 7

text: Apollo 7, the first crewed American space flight in 22 months, launched from Launch Complex 34 at 11:02:45am EDT (15:02:45UTC) on Friday, October 11, 1968.


title: Apollo 7

text: During the countdown, the wind was blowing in from the east. Launching under these weather conditions was in violation of safety rules, since in the event of a launch vehicle malfunction and abort, the CM might be blown back over land instead of making the usual water landing. Apollo7 was equipped with the old Apollo1-style crew couches, which provided less protection than later ones. Schirra later related that he felt the launch should have been scrubbed, but managers waived the rule and he yielded under pressure.


title: Apollo 7

text: Liftoff proceeded flawlessly; the Saturn IB performed well on its first crewed launch and there were no significant anomalies during the boost phase. The astronauts described it as very smooth. The ascent made the 45-year-old Schirra the oldest person to that point to enter space, and, as it proved, the only astronaut to fly Mercury, Gemini and Apollo missions.


title: Apollo 7

text: Within the first three hours of flight, the astronauts performed two actions which simulated what would be required on a lunar mission. First, they maneuvered the craft with the S-IVB still attached, as would be required for the burn that would take lunar missions to the Moon. Then, after separation from the S-IVB, Schirra turned the CSM around and approached a docking target painted on the S-IVB, simulating the docking maneuver with the lunar module on Moon-bound missions prior to extracting the combined craft.


title: Apollo 7

text: After station keeping with the S-IVB for 20 minutes, Schirra let it drift away, putting between the CSM and it in preparation for the following day's rendezvous attempt.


title: Apollo 7

text: The astronauts also enjoyed a hot lunch, the first hot meal prepared on an American spacecraft. Schirra had brought instant coffee along over the opposition of NASA doctors, who argued it added nothing nutritionally. Five hours after launch, he reported having, and enjoying, his first plastic bag full of coffee.


title: Apollo 7

text: The purpose of the rendezvous was to demonstrate the CSM's ability to match orbits with and rescue a LM after an aborted lunar landing attempt, or following liftoff from the lunar surface. This was to occur on the second day; but by the end of the first, Schirra had reported he had a cold, and, despite Slayton coming on the loop to argue in favor, declined Mission Control's request that the crew power up and test the onboard television camera prior to the rendezvous, citing the cold, that the crew had not eaten, and that there was already a very full schedule.


title: Apollo 7

text: The rendezvous was complicated by the fact that the Apollo7 spacecraft lacked a rendezvous radar, something the Moon-bound missions would have. The SPS, the engine that would be needed to send later Apollo CSMs into and out of lunar orbit, had been fired only on a test stand. Although the astronauts were confident it would work, they were concerned it might fire in an unexpected manner, necessitating an early end to the mission. The burns would be computed from the ground but the final work in maneuvering up to the S-IVB would require Eisele to use the telescope and sextant to compute the final burns, with Schirra applying the ship's reaction control system (RCS) thrusters. Eisele was startled by the violent jolt caused by activating the SPS. The thrust caused Schirra to yell, "Yabba dabba doo!" in reference to "The Flintstones" cartoon. Schirra eased the craft close to the S-IVB, which was tumbling out of control, successfully completing the rendezvous.


title: Apollo 7

text: The first television broadcast took place on October 14. It began with a view of a card reading "From the Lovely Apollo Room high atop everything", recalling tag lines used by band leaders on 1930s radio broadcasts. Cunningham served as camera operator with Eisele as emcee. During the seven-minute broadcast, the crew showed off the spacecraft and gave the audience views of the southern United States. Before the close, Schirra held another sign, "Keep those cards and letters coming in folks", another old-time radio tag line that had been used recently by Dean Martin. This was the first live television broadcast from an American spacecraft (Gordon Cooper had transmitted slow scan television pictures from "Faith7" in 1963, but the pictures were of poor quality and were never broadcast). According to Jones, "these apparently amiable astronauts delivered to NASA a solid public relations coup." Daily television broadcasts of about 10 minutes each followed, during which the crew held up more signs and educated their audience about spaceflight; after the return to Earth, they were awarded a special Emmy for the telecasts.


title: Apollo 7

text: Later on October 14, the craft's onboard radar receiver was able to lock onto a ground-based transmitter, again showing a CSM in lunar orbit could keep contact with a LM returning from the Moon's surface. Throughout the remainder of the mission, the crew continued to run tests on the CSM, including of the propulsion, navigation, environmental, electrical and thermal control systems. All checked out well; according to authors Francis French and Colin Burgess, "The redesigned Apollo spacecraft was better than anyone had dared to hope." Eisele found that navigation was not as easy as anticipated; he found it difficult to use Earth's horizon in sighting stars due to the fuzziness of the atmosphere, and water dumps made it difficult to discern which glistening points were stars and which ice particles. By the end of the mission, the SPS engine had been fired eight times without any problems.


title: Apollo 7

text: One difficulty that was encountered was with the sleep schedule, which called for one crew member to remain awake at all times; Eisele was to remain awake while the others slept, and sleep during part of the time the others were awake. This did not work well, as it was hard for crew members to work without making a disturbance. Cunningham later remembered waking up to find Eisele dozing.


title: Apollo 7

text: Schirra was angered by NASA managers allowing the launch to proceed despite the winds, saying "The mission pushed us to the wall in terms of risk." Jones said, "This prelaunch dispute was the prelude to a tug of war over command decisions for the rest of the mission." Lack of sleep and Schirra's cold probably contributed to the conflict between the astronauts and Mission Control that surfaced from time to time during the flight.


title: Apollo 7

text: The testing of the television resulted in a disagreement between the crew and Houston. Schirra stated at the time, "You've added two burns to this flight schedule, and you've added a urine water dump; and we have a new vehicle up here, and I can tell you at this point, TV will be delayed without any further discussion until after the rendezvous." Schirra later wrote, "we'd resist anything that interfered with our main mission objectives. On this particular Saturday morning a TV program clearly interfered." Eisele agreed in his memoirs, "We were preoccupied with preparations for that critical exercise and didn't want to divert our attention with what seemed to be trivialities at the time... Evidently the earth people felt differently; there was a real stink about the hotheaded, recalcitrant Apollo7 crew who wouldn't take orders." French and Burgess wrote, "When this point is considered objectively—that in a front-loaded mission the rendezvous, alignment, and engine tests should be done before television shows—it is hard to argue with him [Schirra]." Although Slayton gave in to Schirra, the commander's attitude surprised flight controllers.


title: Apollo 7

text: On Day 8, after being asked to follow a new procedure passed up from the ground that caused the computer to freeze, Eisele radioed, "We didn't get the results that you were after. We didn't get a damn thing, in fact... you bet your ass... as far as we're concerned, somebody down there screwed up royally when he laid that one on us." Schirra later stated his belief that this was the one main occasion when Eisele upset Mission Control. The next day saw more conflict, with Schirra telling Mission Control after having to make repeated firings of the RCS system to keep the spacecraft stable during a test, "I wish you would find out the idiot's name who thought up this test. I want to find out, and I want to talk to him personally when I get back down." Eisele joined in, "While you are at it, find out who dreamed up 'P22 horizon test'; that is a beauty also."


title: Apollo 7

text: A further source of tension between Mission Control and the crew was that Schirra repeatedly expressed the view that the reentry should be conducted with their helmets off. He perceived a risk that their eardrums might burst due to the sinus pressure from their colds, and they wanted to be able to pinch their noses and blow to equalize the pressure as it increased during reentry. This would have been impossible wearing the helmets. Over several days, Schirra refused advice from the ground that the helmets should be worn, stating it was his prerogative as commander to decide this, though Slayton warned him he would have to answer for it after the flight. Schirra stated in 1994, "In this case I had a cold, and I'd had enough discussion with the ground, and I didn't have much more time to talk about whether we would put the helmet on or off. I said, essentially, I'm on board, I'm commanding. They could wear all the black armbands they wanted if I was lost or if I lost my hearing. But I had the responsibility for getting through the mission." No helmets were worn during the entry. Director of Flight Operations Christopher C. Kraft demanded an explanation for what he believed was Schirra's insubordination from the CAPCOM, Stafford. Kraft later said, "Schirra was exercising his commander’s right to have the last word, and that was that."


title: Apollo 7

text: Apollo 7 splashed down without incident at 11:11:48 UTC on October 22, 1968, SSW of Bermuda and north of the recovery ship USS "Essex". The mission's duration was 10days, 20hours, 9minutes and 3seconds.


title: Apollo 7

text: After the mission, NASA awarded Schirra, Eisele and Cunningham its Exceptional Service Medal in recognition of their success. On November 2, 1968, President Lyndon Johnson held a ceremony at the LBJ Ranch in Johnson City, Texas, to present the astronauts with the medals. He also presented NASA's highest honor, the Distinguished Service Medal, to recently retired NASA administrator James E. Webb, for his "outstanding leadership of America's space program" since the beginning of Apollo. Johnson also invited the crew to the White House, and they went there in December 1968.


title: Apollo 7

text: Despite the difficulties between the crew and Mission Control, the mission successfully met its objectives to verify the Apollo command and service module's flightworthiness, allowing Apollo8's flight to the Moon to proceed just two months later. John T. McQuiston wrote in "The New York Times" after Eisele's death in 1987 that Apollo7's success brought renewed confidence to NASA's space program. According to Jones, "Three weeks after the Apollo7 crew returned, NASA administrator Thomas Paine green-lighted Apollo8 to launch in late December and orbit the Moon. Apollo7 had delivered NASA from its trial by fire—it was the first small step down a path that would lead another crew, nine months later, to the Sea of Tranquility."


title: Apollo 7

text: General Sam Phillips, the Apollo Program Manager, said at the time, "Apollo7 goes into my book as a perfect mission. We accomplished 101 percent of our objectives." Kraft wrote, "Schirra and his crew did it all—or at least all of it that counted... [T]hey proved to everyone's satisfaction that the SPS engine was one of the most reliable we'd ever sent into space. They operated the Command and Service Modules with true professionalism." Eisele wrote, "We were insolent, high-handed, and Machiavellian at times. Call it paranoia, call it smart—it got the job done. We had a great flight."


title: Apollo 7

text: Kranz stated in 1998, "we all look back now with a longer perspective. Schirra really wasn't on us as bad as it seemed at the time... Bottom line was, even with a grumpy commander, we got the job done as a team."


title: Apollo 7

text: None of the Apollo 7 crew members flew in space again. According to Jim Lovell, "Apollo7 was a very successful flight—they did an excellent job—but it was a very contentious flight. They all teed off the ground people quite considerably, and I think that kind of put a stop on future flights [for them]." Schirra had announced, before the flight, his retirement from NASA and the Navy, effective July 1, 1969. The other two crew members had their spaceflight careers stunted by their involvement in Apollo7; by some accounts, Kraft told Slayton he was unwilling to work in future with any member of the crew. Cunningham heard the rumors that Kraft had said this and confronted him in early 1969; Kraft denied making the statement "but his reaction wasn't exactly outraged innocence." Eisele's career may also have been affected by becoming the first active astronaut to divorce, followed by a quick remarriage, and an indifferent performance as backup CMP for Apollo10. He resigned from the Astronaut Office in 1970 though he remained with NASA at the Langley Research Center in Virginia until 1972, when he was eligible for retirement. Cunningham was made the leader of the Astronaut Office's Skylab division. He related that he was informally offered command of the first Skylab crew, but when this instead went to Apollo 12 commander Pete Conrad, with Cunningham offered the position of backup commander, he resigned as an astronaut in 1971.


title: Apollo 7

text: Schirra, Eisele and Cunningham were the only crew, of all the Apollo, Skylab and Apollo–Soyuz missions, who had not been awarded the Distinguished Service Medal immediately following their missions (though Schirra had received the medal twice before, for his Mercury and Gemini missions). Therefore, NASA administrator Michael D. Griffin decided to belatedly award the medals to the crew in October 2008, "[f]or exemplary performance in meeting all the Apollo7 mission objectives and more on the first crewed Apollo mission, paving the way for the first flight to the Moon on Apollo8 and the first crewed lunar landing on Apollo11." Only Cunningham was still alive at the time as Eisele had died in 1987 and Schirra in 2007. Eisele's widow accepted his medal, and Apollo 8 crew member Bill Anders accepted Schirra's. Other Apollo astronauts, including Neil Armstrong, Buzz Aldrin, and Alan Bean, were present at the award ceremony. Kraft, who had been in conflict with the crew during the mission, sent a conciliatory video message of congratulations, saying: "We gave you a hard time once but you certainly survived that and have done extremely well since... I am frankly, very proud to call you a friend."


title: Apollo 7

text: The insignia for the flight shows a command and service module with its SPS engine firing, the trail from that fire encircling a globe and extending past the edges of the patch symbolizing the Earth-orbital nature of the mission. The Roman numeralVII appears in the South Pacific Ocean and the crew's names appear on a wide black arc at the bottom. The patch was designed by Allen Stevens of Rockwell International.


title: Apollo 7

text: In January 1969, the Apollo7 command module was displayed on a NASA float in the inauguration parade of President Richard M. Nixon, as were the Apollo7 astronauts. After being transferred to the Smithsonian Institution in 1970, the spacecraft was loaned to the National Museum of Science and Technology, in Ottawa, Ontario. It was returned to the United States in 2004. Currently, the Apollo7 CM is on loan to the Frontiers of Flight Museum at Love Field in Dallas, Texas.


title: Apollo 7

text: On November 6, 1968, comedian Bob Hope broadcast one of his variety television specials from NASA's Manned Spacecraft Center in Houston to honor the Apollo7 crew. Barbara Eden, star of the popular comedy series "I Dream of Jeannie", which featured fictional astronauts among its regular characters, appeared with Schirra, Eisele and Cunningham.


title: Apollo 7

text: Schirra parlayed the head cold he contracted during Apollo7 into a television advertising contract as a spokesman for Actifed, an over-the-counter version of the medicine he took in space.


title: Apollo 7

text: The Apollo 7 mission is dramatized in the 1998 miniseries "From the Earth to the Moon" episode "We Have Cleared the Tower", with Mark Harmon as Schirra, John Mese as Eisele, Fredric Lehne as Cunningham and Nick Searcy as Slayton.


title: Hell in Christianity

text: In Christian theology, Hell is the place or state into which, by God's definitive judgment, unrepentant sinners pass in the general judgment, or, as some Christians believe, immediately after death (particular judgment). Its character is inferred from teaching in the biblical texts, some of which, interpreted literally, have given rise to the popular idea of Hell. Theologians today generally see Hell as the logical consequence of rejecting union with God and with God's justice and mercy.


title: Hell in Christianity

text: Different Hebrew and Greek words are translated as "Hell" in most English-language Bibles. These words include:


title: Hell in Christianity

text: In ancient Jewish belief, the dead were consigned to "Sheol", a place to which all were sent indiscriminately (cf. ; ; ; ). "Sheol" was thought of as a place situated below the ground (cf. ), a place of darkness, silence and forgetfulness (cf. Job 10:21). By the third to second century BC, the idea had grown to encompass separate divisions in "sheol" for the righteous and wicked (cf. the Book of Enoch), and by the time of Jesus, some Jews had come to believe that those in Sheol awaited the resurrection of the dead either in comfort (in the bosom of Abraham) or in torment.


title: Hell in Christianity

text: By at least the late or saboraic rabbinical period (500–640 AD), "Gehinnom" was viewed as the place of ultimate punishment, exemplified by the rabbinical statement "the best of physicians are destined to Gehinnom." (M. Kiddushin 4:14); also described in Assumption of Moses and 2 Esdras.


title: Hell in Christianity

text: The most common New Testament term translated as "Hell" is ("gehenna"), a direct loan of Hebrew גהנום/גהנם ("ge-hinnom"). Apart from one use in , this term is found exclusively in the synoptic gospels. "Gehenna" is most frequently described as a place of punishment (e.g., , ; ); other passages mention darkness and "weeping and gnashing of teeth" (e.g., ; ).


title: Hell in Christianity

text: Apart from the use of the term "gehenna" (translated as "Hell" or "Hell fire" in most English translations of the Bible; sometimes transliterated, or translated differently) the Johannine writings refer to the destiny of the wicked in terms of "perishing", "death" and "condemnation" or "judgment". Paul speaks of "wrath" and "everlasting destruction" (cf. ; ), while the general epistles use a range of terms and images including "raging fire" (), "destruction" (), "eternal fire" () and "blackest darkness" (). The Book of Revelation contains the image of a "lake of fire" and "burning sulphur" where "the devil, the beast, and false prophet" will be "tormented day and night for ever and ever" () along with those who worship the beast or receive its mark ().


title: Hell in Christianity

text: The New Testament also uses the Greek word "hades", usually to refer to the abode of the dead (e.g., ; ). Only one passage describes "hades" as a place of torment, the parable of Lazarus and Dives (). Jesus here depicts a wicked man suffering fiery torment in "hades", which is contrasted with the bosom of Abraham, and explains that it is impossible to cross over from one to the other. Some scholars believe that this parable reflects the intertestamental Jewish view of "hades" (or "sheol") as containing separate divisions for the wicked and righteous. In "hades" is itself thrown into the "lake of fire" after being emptied of the dead.


title: Hell in Christianity

text: In the eschatological discourse of , Jesus says that, when the Son of Man comes in his glory, he will separate people from one another as a shepherd separates sheep from goats, and will consign to everlasting fire those who failed to aid "the least of his brothers". This separation is stark, with no explicit provision made for fine gradations of merit or guilt:


title: Hell in Christianity

text: In a parable about "The Rich Man and Lazarus" in , the poor man Lazarus enjoys a blissful repose in the "bosom of Abraham" (), while the rich man who was happy in life is tormented by fire in Hades (), the two realms being separated by a great chasm ().


title: Hell in Christianity

text: Some Eastern Orthodox Christians believe that Heaven and Hell are relations to or experiences of God's just and loving presence. There is no created place of divine absence, nor is hell an ontological separation from God. One expression of the Eastern teaching is that hell and heaven are dimensions of God's intensifying presence, as this presence is experienced either as torment or as paradise depending on the spiritual state of a person dwelling with God. For one who hates God and by extension hates himself as God's image-bearer, to be encompassed by the divine presence could only result in unspeakable anguish. Aristotle Papanikolaou and Elizabeth H. Prodromou write in their book "Thinking Through Faith: New Perspectives from Orthodox Christian Scholars" that for the Eastern Orthodox: "Those theological symbols, heaven and hell, are not crudely understood as spatial destinations but rather refer to the experience of God's presence according to two different modes." Several Eastern Orthodox theologians do describe hell as separation from God, in the sense of being out of fellowship or loving communion. Archimandrite Sophrony (Sakharov) spoke of "the hell of separation from God". Paul Evdokimov stated: "Hell is nothing else but separation of man from God, his autonomy excluding him from the place where God is present." According to Theodore Stylianopoulos, "Hell is a spiritual state of separation from God and inability to experience the love of God, while being conscious of the ultimate deprivation of it as punishment." Michel Quenot stated: "Hell is none other than the state of separation from God, a condition into which humanity was plunged for having preferred the creature to the Creator. It is the human creature, therefore, and not God, who engenders hell. Created free for the sake of love, man possesses the incredible power to reject this love, to say 'no' to God. By refusing communion with God, he becomes a predator, condemning himself to a spiritual death (hell) more dreadful than the physical death that derives from it." Another writer declared: "The circumstances that rise before us, the problems we encounter, the relationships we form, the choices we make, all ultimately concern our eternal union with or separation from God."


title: Hell in Christianity

text: The Eastern Orthodox Church rejects what is presented as the Roman Catholic doctrine of purgatory as a place where believers suffer as their "venial sins" are purged before gaining admittance to heaven.


title: Hell in Christianity

text: Contrary to Western Christianity, both Roman and Protestant varieties, the Christians of the East emphasize the mystery of God in his pre-eternal transcendence and maintain a tradition of apophatic theology, while the technical, cataphatic theology of scholasticism tends to be downplayed or viewed as subordinate. Thus, there is no single "official" teaching of the church apart from apostolic doctrine received and, when necessary, defined by Ecumenical Councils. The Eastern Orthodox positions on hell are derived from the sayings of the saints and the consensus views of the Church Fathers. They are not in agreement on all points, and no council universally recognized by the Eastern Orthodox Churches has formulated doctrine on hell, so there is no official doctrine to which all the faithful are bound. Beliefs concerning the nature and duration of hell are considered "theologoumena", or theological opinions, rather than dogmas of the Church.


title: Hell in Christianity

text: John Chrysostom pictured Hell as associated with "unquenchable" fire and "various kinds of torments and torrents of punishment".