title: Military uniform

text: Traditional coloured uniforms have long since given way to clothing more suited for actual combat in modern conditions. Bright colours are now usually reserved for wear by units having ceremonial functions, some bands and officers attending formal occasions. Elite units normally contrive to having some distinctive features. The United States Marine Corps are well known for their traditional midnight blue tunics and sky blue trousers (trimmed in red for NCO and above). These "dress blues" are worn for formal occasions such as the Marine Corps Birthday Ball in November. The British Household Cavalry and Foot Guards wear uniforms largely unchanged from 1914 for "public duties" i.e. ceremonial.


title: Military uniform

text: The military of many countries have adopted the economical expedient of smartening up combat uniforms for parade by adding medals, neck scarves and coloured berets to the terrain coloured camouflage uniforms intended for combat. As an interesting example of the combining of old and new features of uniform the French Spahis and the Spanish Regulares still wear the flowing cloaks, fezzes, turbans and sashes of the North African colonial regiments from which they are descended with modern khaki or camouflage clothing, on appropriate occasions.


title: Military uniform

text: The battle dress of the French Armed Forces is the FÉLIN system combined with SPECTRA helmets. France has adopted a light beige dress uniform which is worn with coloured kepis, sashes, fringed epaulettes, fourragères and other traditional items on appropriate occasions. As an alternative parade dress, camouflage uniforms can be worn with the dress items noted above. The legionnaires of the Foreign Legion wear white kepis, blue sashes and green and red epaulettes as dress uniform, while the sappers wear the basic legionnaire uniform but with leather aprons and gloves. Troupes de marine wear blue and red kepis and yellow epaulettes. The Chasseurs alpins wear a large beret, known as the "tarte" (the "pie"), and mountain outfits. The single remaining regiment of Spahis retains the white cloak and red sash of the days when this corps consisted of Algerian and Moroccan cavalry. Sailors of the French Navy and Fusiliers Marins wear a dress uniform dating from the 19th century with a distinctive red pompon on the round cap.


title: Military uniform

text: The infantry and cavalry of the Republican Guard retain their late 19th-century dress uniforms, as do the military cadets of Saint-Cyr and the École Polytechnique. A dark blue/black evening dress is authorized for officers and individual branches or regiments may parade bands or "fanfares" in historic dress dating as far back as the Napoleonic period.


title: Military uniform

text: The German Army has retained a form of field grey for dress wear though of modern cut and worn with berets. Some senior officers still wear peaked caps. The collar braid stripes ("Litzen"), that distinguished regiments of the Prussian Guard prior to 1918, have become a general feature of modern German uniforms. The Mountain infantry troops retain a more traditional dress uniform. The Nationale Volksarmee of the former German Democratic Republic also maintained a stone grey uniform, following the Imperial German tradition. Both the West and East German militaries still retained Prussian-style dress uniform respectively, with the West abandoning the "Stiefelhosen" (bootcut trousers).


title: Military uniform

text: Until 1945 "Waffenrock" – was the generic term for military uniform. This included dress uniforms, parade uniforms, and also epaulettes or shoulder boards with rank insignia, as well as uniform cuffs, badges and other insignia.


title: Military uniform

text: During the Indian Rebellion of 1857 the forces of the East India Company in India dyed their white summer tunics to neutral tones; initially a tan called khaki (from the Hindi word for "dusty"). This was a temporary measure which became standard in the Indian service in the 1880s. Only during the Second Boer War in 1902, did the entire British Army standardise on dun for Service Dress including the British Indian Army. The modern Indian Army uniform standardises on dun for khaki.


title: Military uniform

text: The Indian Army camouflage uniform consists of shirts, trousers, and cap of a synthetic material. Shirts are buttoned up with two chest pockets with buttoned flaps. Trousers have two pockets, two thigh box pockets, and a back pocket. The Indian Army Jungle camouflage dress features a jungle camouflage pattern and is designed for use in woodland environments. The Indian Army Desert camouflage, which features a desert camouflage pattern, is used by artillery and infantry posted in dusty, semi-desert, and desert areas of Rajasthan and its vicinity.


title: Military uniform

text: Parade dress for the modern Indian Army normally involve the addition of pagris (turbans), cravats and cummerbunds in regimental colours to olive green uniforms. Gurkha, Kumaoni, Naga, Garhwali and Assam units wear wide brimmed felt hats.


title: Military uniform

text: The Indonesian National Armed Forces have different types of uniforms worn by its personnel for certain occasions. The uniforms are basically regulated into several categories including "PDU" (), which is the full dress uniform worn for attending formal state occasions; "PDH" (), which is the service dress uniform worn during everyday-indoor duties; "PDL" (), which is the combat dress uniform worn during outdoor duties; and "PDP" (), which is the parade dress uniform worn during military parades and other ceremonial occasions.


title: Military uniform

text: Each uniform category consists of different types which usually consists of type I until type IV (four types). The uniform regulations are basically different for men and women. The Army, Navy, and Air Force basically have the same regulations for the uniform, but differ in terms of color and certain designs which represent their respective branches.


title: Military uniform

text: The Italian Armed Forces use a range of different uniforms and uniform variations for each of their four branches: the Italian Army, the Italian Air Force, the Italian Navy and the Carabinieri Corps.


title: Military uniform

text: The traditional headdresses of the Bersaglieri, Horse Artillery and Alpini are still worn by the Italian Army, the Bersaglieri even wearing their flowing feathers on steel helmets as part of their combat dress. Officers of all branches have a dark blue dress uniform of modern cut while the Corazzieri (Cuirassiers of the Presidential Guard), Mounted Carabinieri and cadets of the Military Academy of Modena wear ceremonial uniforms which date back to the 19th century. Individual regiments with a long history, such as the "Lancieri di Montebello" and the "Granatieri di Sardegna" occasionally parade honour guards or other detachments in their pre-1915 dark blue uniforms.


title: Military uniform

text: The military of Iran uses a variety of military uniforms, including a solid olive-green pattern. Several other uniforms have also been reserved for parade use, such as a slate grey, a black and white, a beige, a beige on beige, a beige on brown, a beige on green, and an eggshell white-coloured uniform – paired with a matching beret and balaclava.


title: Military uniform

text: The Iranian military uses several types of camouflage patterns. Three distinct desert camouflage patterns with slightly differing colour palettes and blotch densities have been issued; one for the Islamic Republic of Iran Army, one for the Islamic Revolutionary Guard Corps, and a third pattern used by the "tarabaris" personnel who repair military cars and trucks. A green and brown forest camouflage pattern was also issued to the Islamic Republic of Iran Air Defense Force. The Islamic Republic of Iran Air Force was issued an arctic blue camouflage pattern. A pixelated grey and green camouflage pattern was issued to the Islamic Republic of Iran Navy.


title: Military uniform

text: The Russian Army has retained a number of features, such as officers' epaulettes, high boots and long greatcoats with collar patches for all ranks, which can be traced back to Tsarist days. The dress uniform for officers is of the same distinctive blue/green colour as "Tsar's green", worn until 1914. The Kremlin Regiment has in recent years been issued with a special ceremonial uniform which closely resembles that of the infantry regiments of the Imperial Guard immediately prior to the First World War. Women's uniforms in the Russian Army feature a skirt instead of trousers and a garrison cap instead of a beret or peaked cap. Since 1994 the uniform (or its main details) has undergone a series of changes in 1999, 2005, 2010, 2013 and 2017.


title: Military uniform

text: The Spanish Army has reintroduced a number of dress uniforms dating back to the pre-1931 Monarchy. These include a variety of parade uniforms worn by various units of the recreated Royal Guard as well as the traditional dark blue and white uniforms of the Guardia Civil and the blue tunics and red trousers of the 1st Infantry Regiment. While only worn by limited numbers of personnel on special occasions, these uniforms include such distinctively Spanish features as the "Ros" shako of the infantry and the Royal Guard, and the Tricorn of the Civil Guard. Officers of all branches wear dark blue or white gala uniforms for social and ceremonial occasions.


title: Military uniform

text: The British Army generally retains its traditional full dress uniforms only for bands and units performing ceremonial functions (notably the Household Brigade). An attempt dating from the early 1950s to provide other British soldiers with a plainer (and cheaper) dark blue or green No.1 dress did not meet with much enthusiasm; indeed, most soldiers are not issued with their own No.1 dress, and the most common occasion when it is now worn is for a wedding. Parade dress for most British regiments is khaki No. 2 dress with No 1 Dress coloured peaked caps, berets or Glengarry bonnets. Following the introduction of the Combat Soldier 95 (CS95) clothing system of Disruptive Pattern Material (DPM) and later Multi Terrain Pattern (MTP) this is worn for most day-to-day business replacing the old 'working' uniform of green Lightweight Trousers and Shirt/Jersey, albeit that these are still used as 'Barrack Dress' by some office based personnel. However, the proposed Future Army Dress (FAD), which is currently being developed by the British Army, includes a return to Barrack Dress for all arms, including 'non-iron' shirts and trousers in a similar pattern to that of the current No.2 Dress uniform. Tradition is however still strong in British military culture and there are many regimental distinctions added to some uniforms. One example is the King's Royal Hussars who wear their historic crimson trousers with all orders other than fatigue or combat dress. The "trews" or tartan trousers of Lowland regiments have been retained for certain orders of dress in the amalgamated Royal Regiment of Scotland, although the kilt of the Highland regiments is the parade dress. Mess dress in traditional scarlet, blue or green is worn by officers and senior NCOs of all regiments for formal evening dress.


title: Military uniform

text: In recent decades, many militaries around the world have gradually simplified the range of uniforms issued. For example, most U.S. servicemen now wear camouflage utilities for daily duty and all but the most formal occasions-whereas in the past the service uniform would be worn unless a soldier was engaged in a dirty or physical task. As an example of modern practice, the United States Marine Corps has a distinct blue dress uniform, but other uniforms include khaki button-up shirts, forest-green coats, and combat camouflage. In other services where camouflage is normally a non-issue, such as navies, coloured uniforms are still issued, e.g. the United States Navy's white officer uniform for warm weather. The United States Armed Forces allows every branch to develop and use their own uniforms. In recent years, many Battle Dress Uniforms with famous US Woodland pattern were replaced. The marine Corps developed new digital MARPAT pattern, while the United States Army developed Universal Pattern (ACU) for its standard combat uniforms, though a special camouflage pattern (multicam) more appropriate for use in Afghanistan was fielded in 2010. Popular disdain among US troops for the beret headgear as part of the "default" headgear for wear with the ACU uniform led to a regulation revision in 2011, with the standard "default" headgear for wear with ACUs now being the ACU patrol cap, which provides a much better degree of sun protection for the eyes). The U.S. Army has since developed the OCP uniform (starting in 2016), going back to a green camo pattern, with coyote brown undershirts, boots, and belt. The U.S. Army is still in transition between the old ACU pattern and the new OCP pattern. The U.S. Military uses different camo patterns when deployed in different combat zones (in theater). U.S. Army mostly uses the Multi-Cam pattern in Iraq and Afghanistan, but is subject to change due to the new OCP uniform being issued.


title: Military uniform

text: Based on recommendations made during a comprehensive briefing by Task Force Uniform on 24 Feb. 2006, CNO Michael G. Mullen agreed to production of both a BDU-style working uniform for all Sailors E-1 to O-10 and a more practical, year-round service uniform to withstand day-to-day classroom and office-like environments where the service uniform is typically worn. The new Navy Working Uniform (NWU) is now worn by naval sailors and officers. On 6 June 2006 the US Army announced that its green and white uniforms would be superseded by the Army Blue Uniform as a universal service uniform in the historic colours of dark blue (for tunics) and light blue (for trousers). The new service dress was introduced in 2007 and became obligatory for all ranks by 2011.


title: Military uniform

text: As of 1 April 2021, the Air Force makes use of the Operational Camouflage Pattern (OCP) as a common daily uniform. This is the same uniform worn by the US Army with the exception of distinctive name patches with copper lettering. The footwear worn with ABUs are coyote brown suede boots and head covering is the OCP pattern Patrol Cap or ball cap, or the beret of the relevant career field (Security Forces, Special Operations Weather Team, SERE Instructor, Pararescue, and Combat Controller). Aside from OCPs, the most common uniform to be worn would be dress blues, which incorporate a light navy blue for bottoms, and the same shade to match the top jacket. Underneath the top jacket either a long sleeve or short sleeve sky blue shirt may be worn with a tie or neck tab whenever wearing the top jacket. The jacket is reserved for more formal events. Placed on the outermost tunic, Airmen may pin their ribbons and career badge as optional with their name plate as the only mandatory item. For headgear a flight cap of matching shade to the pants and similar in appearance to the former Army green garrison cap and the shoes are a black high polished dress shoe. Other, but not standard, headgear includes the flat top mess dress cap and the appropriate beret career field beret. Blues, though the second most used uniform, receive far less service than OCPs. Those performing duties not suited for the formal dress uniform may wear OCPs instead. The Mess Uniform uses the same pants and jacket as dress blues, but with a white under-shirt, bow tie and cummerbund, and the same black dress shoes (DAFI 26-2903).


title: Military uniform

text: One purpose of military uniforms is to clearly distinguish combatants who are protected by the laws of war from other persons carrying weapons, who do not always enjoy such protection.


title: Military uniform

text: Another purpose in historical times was to make it difficult for deserters to avoid detection; military uniforms were so distinctive with many metal buttons and unique colours that they could not be modified into unrecognisable clothing. If the commander raised and equipped the troops out of his own pocket, the appearance of the soldiers was also designed to impress his superiors.


title: Military uniform

text: Attractive or distinctive uniforms could make a military career desirable to young men (the "peacock" factor). As late as 1914 the British Army found that regiments with particularly striking off-duty or parade uniforms found it easier to attract recruits. Thus the four Rifle regiments in their sombre dark green had a higher public profile than the great mass of line infantry in scarlet.


title: Military uniform

text: During the Boxer Rebellion, the Muslim Gansu Braves under General Dong Fuxiang used traditional Chinese clothing instead of western-style uniforms, reflecting the opposition of the movement to foreign influences.


title: Military uniform

text: The patched "jibba", a garment traditionally worn by followers of Sufi religious orders, was adopted as military dress in the 1880s by the Sudanese anṣār () (followers of the religious leader Muhammad Ahmad al-Mahdi). The Anṣār rebelled against the Turkish Ottoman rule of Sudan, due, among other reasons, to the lax religious standards of the occupation. The "jibba" was a ragged, patched garment which symbolised a rejection of material wealth by its wearer and a commitment to a religious way of life. Muhammad Ahmad al-Mahdi decreed that this garment should be worn by all his soldiers in battle. The decision to adopt the religious garment as military dress, enforced unity and cohesion among his forces, and eliminated traditional visual markers differentiating potentially fractious tribes. During the years of conflict between Mahdist and Anglo-Egyptian forces at the end of the 19th century, the Mahdist military "jibba" became increasingly stylised and were specifically colour-coded to denote the rank and military division of the wearer.


title: Military uniform

text: Throughout the 18th and 19th centuries, the typical colour scheme included bright and highly contrasting colour arrangements which made it easier to distinguish units in battle. Coloured uniforms were useful in enabling commanders to spot troop locations on battlefields that were often completely obscured by smoke from the black gunpowder used in both muskets and cannons. Large flags were another aid to co-ordination and location for commanders.


title: Military uniform

text: However, with the growing prevalence of accurate rifles and other ranged firearms as standard weapons for infantry, it was found, from about the 1880s on, that these colours made soldiers easy targets for enemies to shoot at a distance. These weapons used a new smokeless powder that generated far less smoke leaving the battlefield un-obscured by smoke and making brightly coloured troops into highly visible targets. In reaction, the various militaries, beginning with the British Army, changed the colours, predominantly to such ones that blended in more with the terrain, such as khaki, grey or olive drab for the purposes of camouflage. In addition, this idea was followed with uniforms suitable for particular climates and seasons such as white for snowy regions and tan for sandy ones. Now most armies have some form of camouflaged uniform, such as the British Disruptive Pattern Material.


title: Military uniform

text: Many modern military forces now use a system of combat uniforms that not only break up the outline of the soldier for use on the battlefield during the daytime, but also employ a distinctive appearance that makes them difficult to detect with light amplification devices, such as night-vision goggles (NVGs). These modern "digital" print uniforms present a somewhat splotched appearance, generally of somewhat muted colours, that provide visual concealment in a variety of surroundings. The US Army now issues, for all theatres of operations, the Army Combat Uniform, which replaces the Battle Dress Uniform and the Desert Combat Uniform. The colour scheme on these ACUs is a faded green/grey/tan pattern of random-appearing rectangular shapes. Pocket outlines on the front of the jackets are offset from vertical, so as to present a less distinctive straight line for the eye to follow while using NVGs. The U.S. Marine Corps also issues similar uniforms with their MARPAT pattern, the U.S. Marines considered adopting CADPAT for their new pattern, however, the Canadian government owns the copyright for the pattern which it had been developing since 1988. The Canadian government supplied information and manufacturers to help the Marines with the development of their own computer-generated digital pattern pixelated uniform. Though their uniforms are not designed to replace both woodland pattern uniforms and desert pattern, since both woodland digital and desert digital patterns are available. Similarly the US Air Force has begun fielding digital pattern uniforms to their service members, with those uniforms featuring a blue/grey/tan pattern).


title: Military uniform

text: The "uniform of the day," when referred to in a military sense, is the designated uniform all military personnel are required to wear on that particular day. It is often designated by the senior officer on the base. Normally the uniform is determined by the seasons (e.g. winter blues or summer whites for Navy) however, special occasions (e.g. visiting dignitaries) or weather changes may dictate changes to the uniform of the day. The uniform of the day instruction is broadcast over the 1MC at reveille on board U.S. Navy ships.


title: Military uniform

text: Mass-produced uniforms are a good way to equip thousands of soldiers quickly and efficiently. Uniforms in standard sizes and designs are also easier to replace on campaign. As an example, English levies raised for service in Ireland or the Continent during the 17th century came to be provided with clothing purchased in bulk and often of a standard colour or cut. This was however only a temporary wartime expedient and the development of uniforms as such had to wait on the formulation of a system of permanent regiments, notably by the French Monarchy (see above).


title: Military uniform

text: The appearance of the troops was often enhanced in some way to intimidate the enemy. The tall, mitre-shaped caps worn by grenadiers in the 18th century made their wearers appear bigger and more impressive. King Frederick William I of Prussia had a guard unit of especially tall men with tall mitre hats, the Potsdam Giants. Prussian hussars wore the "skull and crossbones" ("Totenkopf") on their hats from 1740 to 1918. This tradition continues into the present day with nose art and fin flash on combat aircraft.


title: Military uniform

text: The warriors of ancient Sparta, normally known for their austere lifestyle, wore expensive red cloaks. Reportedly this was adopted as the only colour on which the spilled blood of their enemies would not leave stains. There is a popular myth that the historic red coat of the English soldier was adopted for the same reason (in fact, blood does show as a dark stain on red clothing and the British red coat originated as a historical accident, possibly as a result of the relative cheapness of madder red dyes at the time of the English Civil War in the mid-17th century).


title: Military uniform

text: Hair styles in military organisations usually follow civilian fashions, but sometimes certain features are associated with soldiers. In the late 19th century, the ornate beards and moustaches worn by the officers of the day, which complemented their rank and age, were also worn by socially equivalent civilians. In the 20th and 21st centuries, the "high and tight" haircut often distinguished low-ranking soldiers, particularly infantrymen, or, in the United States, Marines and Soldiers of all ranks. The principal purpose, however, of the "high and tight" is to prevent lice and promote general hygiene. Modern regulations against beards also ensure a good seal is made around the face when using a gas mask.


title: Chewy (company)

text: Chewy, Inc. is an American online retailer of pet food and other pet-related products based in Dania Beach, Florida. In 2017, Chewy was acquired by PetSmart for $3.35 billion, which was the largest ever acquisition of an e-commerce business at the time.


title: Chewy (company)

text: Chewy was founded under the name "Mr. Chewy" in June 2011 by Ryan Cohen and Michael Day. The company hired former employees and executives from Amazon, PetSmart, Whole Foods Market, and Wayfair. In March 2012, the company estimated a total yearly revenue of $26 million, despite losing money in its first half year. From 2014 to 2015, sales grew from $205 million to $423 million.


title: Chewy (company)

text: By 2017, the company had revenue of approximately $2 billion and 51% of online pet food sales in the US. At that time, Ryan Cohen prepared to take Chewy public as both Petco and PetSmart approached with merger offers. Petco's offer would be paid for in part using stock, whereas PetSmart offered an all-cash bid that would also allow Chewy to remain a completely separate business. Chewy was acquired by PetSmart in May 2017 for $3.35 billion, which at the time was the largest ever acquisition of an e-commerce business. PetSmart later transferred 20% of its ownership stake in Chewy to private equity firm BC Partners, which has owned PetSmart since 2014, and also spun off an additional 16.5% of Chewy to an unrestricted subsidiary in 2018.


title: Chewy (company)

text: Following the acquisition, Cohen remained CEO and operated the business largely as an independent unit of PetSmart. Between 2017 and 2018, Chewy’s sales increased from $2.1 billion to $3.5 billion, with 66% of sales coming from customers signed up for automatic recurring shipments. In 2018, Chewy created Chewy Pharmacy, an online pharmacy providing pet-targeted prescription medications. Orders placed through the business are completed in coordination with a team of in-house veterinarians.


title: Chewy (company)

text: On April 29, 2019, Chewy filed an S-1 for an initial public offering, intending to trade under the ticker symbol CHWY. In its filing, Chewy reported a net loss of $268 million on total sales of $3.5 billion for its 2018 fiscal year. Chewy went public on June 14, 2019, at $22 per share. In the 2019 fiscal year, Chewy earned net sales of $4.85 billion, a 40 percent year-over-year increase on a 52-week to 52-week basis. The company saw increased demand from millions of existing and new customers as the business sustained growth throughout the economic disruption of the COVID-19 era.


title: Chewy (company)

text: Chewy launched a free tele-triage service called Connect With a Vet in October 2020. In November 2020, Chewy announced that it would produce and fulfill orders of customized prescription medications, commonly referred to as compounding, for instances where commercial alternatives are absent. In 2020, it was announced that PetSmart and Chewy would be separated by private equity firm BC Partners Inc. in a recapitalization plan; the process began in early 2021. In 2020, total yearly net sales increased 47% to $7.15 billion from 2019 sales.


title: Chewy (company)

text: In March 2021, Chewy reported revenue of $2.04 billion for Q4 of 2020, making it Chewy's first quarter of net profitability, and net sales of $7.15 billion for the fiscal year. In March 2022, Chewy reported net sales of $8.89 billion for the 2021 fiscal year.


title: Chewy (company)

text: In December 2021, Chewy announced its expansion into medical insurance for pets. CarePlus, launched in 2022, will offer pet health insurance and wellness plans to more than 20 million Chewy customers.


title: Chewy (company)

text: Chewy was named a "Top 10 Employer Brand" in Boston in both 2019 and 2020. The company also received recognition from "Newsweek" for "America's Best Customer Service" for three consecutive years from 2019 through 2021, as well as "Ad Age's" distinction as one of "America’s 20 Hottest Brands 2020," and "Comparably's" 2020 top rankings for Best Company Culture and Best Companies for Women. Chewy was also recognized in "Comparably's" 2021 top rankings for Best Company Outlook, Best Product & Design and Best Engineering teams. In 2021, Chewy made its debut on the "Fortune" 500, "Fortune" magazine's annual ranking of 500 of the largest U.S. companies by revenue.


title: Chewy (company)

text: The company's founder and first CEO, Ryan Cohen, stated that he used Jeff Bezos's 1997 letter to shareholders as a roadmap for how to grow Chewy by using Amazon's guidelines on the convenience of shopping online and customer service. Cohen stepped down in March 2018, and Sumit Singh was named the company's CEO in March 2018 after working as its COO since 2017 and previously as an executive at Dell and Amazon. Singh led the company through its IPO; Chewy grew to a market capitalization of $40 billion. The company reported to have employed around 7,000 people in the United States in 2018 and more than 12,000 by 2019. The company has more than 18,000 employees in the United States as of 2021.


title: Chewy (company)

text: Chewy was founded in Dania Beach, Florida, and has additional corporate headquarters offices in Boston, Massachusetts, as of 2021. Chewy has 13 fulfillment centers In October 2020, the company launched its first fully automated distribution center.


title: Chewy (company)

text: In 2016, Chewy received $236 million in venture capital financing over five rounds. As of 2019 the company was valued at $10.2 billion.


title: AngularJS

text: AngularJS is a discontinued free and open-source JavaScript-based web framework for developing single-page applications. It was maintained mainly by Google and a community of individuals and corporations. It aimed to simplify both the development and the testing of such applications by providing a framework for client-side model–view–controller (MVC) and model–view–viewmodel (MVVM) architectures, along with components commonly used in web applications and progressive web applications.


title: AngularJS

text: AngularJS was used as the frontend of the MEAN stack, that consisted of MongoDB database, Express.js web application server framework, AngularJS itself (or Angular), and Node.js server runtime environment.


title: AngularJS

text: As of January 1, 2022, Google no longer updates AngularJS to fix security, browser compatibility, or jQuery issues. The Angular team recommends upgrading to Angular (v2+) as the best path forward, but they also provided some other options.


title: AngularJS

text: The AngularJS framework worked by first reading the Hypertext Markup Language (HTML) page, which had additional custom HTML attributes embedded into it. Angular interpreted those attributes as directives to bind input or output parts of the page to a model that is represented by standard JavaScript variables. The values of those JavaScript variables could be manually set within the code or retrieved from static or dynamic JSON resources.


title: AngularJS

text: AngularJS was built on the belief that declarative programming should be used to create user interfaces and connect software components, while imperative programming was better suited to defining an application's business logic. The framework adapted and extended traditional HTML to present dynamic content through two-way data-binding that allowed for the automatic synchronization of models and views. As a result, AngularJS de-emphasized explicit Document Object Model (DOM) manipulation with the goal of improving testability and performance.


title: AngularJS

text: AngularJS implemented the MVC pattern to separate presentation, data, and logic components. Using dependency injection, Angular brought traditionally server-side services, such as view-dependent controllers, to client-side web applications. Consequently, much of the burden on the server could be reduced.


title: AngularJS

text: Scope in computer science describes when in the program a particular binding is valid. The ECMA-262 specification defines scope as: a lexical environment in which a Function object is executed in client-side web scripts; akin to how scope is defined in lambda calculus.


title: AngularJS

text: As a part of the "MVC" architecture, the scope forms the "Model", and all variables defined in the scope can be accessed by the "View" as well as the "Controller". The scope behaves as a glue and binds the "View" and the "Controller".


title: AngularJS

text: The task performed by the AngularJS bootstrapper occurred in three phases after the DOM has been loaded:


title: AngularJS

text: AngularJS directives allowed the developer to specify custom and reusable HTML-like elements and attributes that define data bindings and the behavior of presentation components. Some of the most commonly used directives were:


title: AngularJS

text: Since codice_2 attributes are not valid in HTML specifications, codice_3 can also be used as a prefix. For example, both codice_4 and codice_5 are valid in AngularJS.


title: AngularJS

text: AngularJS two-way data binding had its most notable feature, largely relieving the server backend of templating responsibilities. Instead, templates were rendered in plain HTML according to data contained in a scope defined in the model. The codice_22 service in Angular detected changes to the model section and modified HTML expressions in the view via a controller. Likewise, any alterations to the view were reflected in the model. This circumvented the need to actively manipulate the DOM and encouraged bootstrapping and rapid prototyping of web applications.


title: AngularJS

text: AngularJS detected changes in models by comparing the current values with values stored earlier in a process of dirty-checking, unlike Ember.js and Backbone.js that triggered listeners when the model values are changed.


title: AngularJS

text: AngularJS was originally developed in 2009 by Miško Hevery at Brat Tech LLC as the software behind an online JSON storage service, that would have been priced by the megabyte, for easy-to-make applications for the enterprise. This venture was located at the web domain "GetAngular.com", and had a few subscribers, before the two decided to abandon the business idea and release Angular as an open-source library.


title: AngularJS

text: The 1.6 release added many of the concepts of Angular to AngularJS, including the concept of a component-based application architecture. This release among others removed the Sandbox, which many developers believed provided additional security, despite numerous vulnerabilities that had been discovered that bypassed the sandbox. The current (as of March 2020) stable release of AngularJS is 1.7.9


title: AngularJS

text: In January 2018, a schedule was announced for phasing-out AngularJS: after releasing 1.7.0, the active development on AngularJS would continue till June 30, 2018. Afterwards, 1.7 was supported till December 31, 2021 as long-term support.


title: AngularJS

text: Versions 1.3 and later of AngularJS did not support Internet Explorer 8 or earlier. While AngularJS 1.2 supported IE8, its team does not.


title: AngularJS

text: Subsequent versions of AngularJS are simply called Angular. Angular is an incompatible TypeScript-based rewrite of AngularJS. Angular 4 was announced on 13 December 2016, skipping 3 to avoid a confusion due to the misalignment of the router package's version which was already distributed as v3.3.0.


title: AngularJS

text: AngularDart works on Dart, which is an object-oriented, class defined, single inheritance programming language using C style syntax, that is different from Angular JS (which uses JavaScript) and Angular 2/ Angular 4 (which uses TypeScript). Angular 4 released in March 2017, with the framework's version aligned with the version number of the router it used. Angular 5 was released on November 1, 2017. Key improvements in Angular 5 include support for progressive Web apps, a build optimizer and improvements related to Material Design. Angular 6 was released on 3 May 2018, Angular 7 was released on 18 October 2018, and Angular 8 was released on May 28, 2019.


title: AngularJS

text: Angular follows Semantic Versioning standards, with each major version number indicating potentially breaking changes. Angular has pledged to provide 6 months of active support for each major version followed by 12 months of long term support. Major releases are bi-yearly with 1 to 3 minor releases for every major release.


title: AngularJS

text: A normal Angular application executes in the browser, while Angular Universal generates static application pages on the server through server-side rendering (SSR).


title: AngularJS

text: AngularJS Material was a UI component library that implemented Material Design in AngularJS. The library provided a set of reusable, well-tested, and accessible UI components. In January 2022, the library was closed, as announced on their official website.


title: AngularJS

text: In July 2012, the Angular team built an extension for the Google Chrome browser called Batarang, that improved the debugging experience for web applications built with Angular. The extension aimed to allow for easy detection of performance bottlenecks and offered a GUI for debugging applications. For a time during late 2014 and early 2015, the extension was not compatible with recent releases (after v1.2.x) of Angular. The last update made to this extension was on April 4, 2017.


title: AngularJS

text: AngularJS set out the paradigm of a "digest cycle". This cycle could be considered a loop, during which AngularJS checked if there were any changes to all the variables watched by all the codice_29. If codice_30 is defined in a controller and this variable was marked for watching, Angular would monitor the changes on myVar in each loop iteration.


title: AngularJS

text: This approach potentially led to slow rendering when AngularJS checked on too many variables in the codice_22 every cycle. Miško Hevery suggested keeping fewer than 2000 watchers on any page.


title: Serbian Armed Forces

text: The President of Serbia acts as commander-in-chief of the armed forces, while administration and defence policy is carried out by the Government through the Ministry of Defence. The highest operational authority, in-charge of the deployment and preparation of the armed forces in peace and war, is the General Staff.


title: Serbian Armed Forces

text: Military service is voluntary, though conscription may occur in wartime. As of 2022, Serbia is ranked 61 of 140 out of the countries considered for the annual GFP review.


title: Serbian Armed Forces

text: The Serbian Armed Forces consists of two branches: Serbian Army and Serbian Air Force and Air Defence.


title: Serbian Armed Forces

text: Serbia has a long military tradition dating to early medieval period. The modern Serbian military dates back to the Serbian Revolution which started in 1804 with the First Serbian Uprising against the Ottoman occupation of Serbia. The victories in the battles of Ivankovac (1805), Mišar (August 1806), Deligrad (December 1806) and Belgrade (November–December 1806), led to the establishment of the Principality of Serbia in 1817. The subsequent Second Serbian Uprising of 1815–1817 led to full independence and recognition of the Kingdom of Serbia and weakened the Ottoman dominance in the Balkans. In November 1885 the Serbo-Bulgarian War occurred following Bulgarian unification and resulted in a Bulgarian victory. In 1912 the First Balkan War (1912–1913) erupted between the Ottoman Empire and the Balkan League (Serbia, Greece, Montenegro and Bulgaria). Balkan League victories in the Battle of Kumanovo (October 1912), the Battle of Prilep (November 1912), the Battle of Monastir (November 1912), the Battle of Adrianople (November 1912 to March 1913), and the Siege of Scutari (October 1912 to April 1913) resulted in the defeat of the Ottoman Empire, which lost most of its remaining Balkan territories per the Treaty of London (May 1913). Shortly after, the Second Balkan War (June to August, 1913) broke out when Bulgaria, dissatisfied with the division of territory, declared war against its former allies, Serbia and Greece. Following a string of defeats, Bulgaria requested an armistice and signed the 1913 Treaty of Bucharest, formally ending the war.


title: Serbian Armed Forces

text: Serbia's independence and growing influence threatened neighboring Austria-Hungary which led to the Bosnian crisis of 1908–09. Consequently, from 1901, all Serbian males between the ages of 21 to 46 became liable for general mobilization. Following the assassination of Archduke Franz Ferdinand of Austria in June 1914, Austria-Hungary implicated Serbians and declared war on Serbia (July 1914), which marked the beginning of the First World War of 1914–1918. Serbian forces repelled three consecutive invasions by Austria in 1914, securing the first major victories of the war for the Allies, but were eventually overwhelmed by the combined forces of the Central Powers (October–November 1915) and forced to retreat through Albania (1915–1916) to the Greek island of Corfu (1915–1916).


title: Serbian Armed Forces

text: Serbian military activity after World War I took place in the context of various Yugoslav armies until the break-up of Yugoslavia in the 1990s and the restoration of Serbia as an independent state in 2006.


title: Serbian Armed Forces

text: The Serbian Armed Forces are commanded by the General Staff corp of senior officers. The general staff is led by the Chief of the General Staff. The chief of the general staff is appointed by the President who is the Commander-in-Chief. The current Chief of the General Staff is General Milan Mojsilović.


title: Serbian Armed Forces

text: The Serbian Army ("Kopnena vojska Srbije" - "KoV") is the land-based and the largest component of the armed forces consisting of: infantry, armoured, artillery, engineering units as well as River Flotilla. It is responsible for defending the sovereignty and territorial integrity of Serbia; participating in peacekeeping operations; and providing humanitarian aid and disaster relief.


title: Serbian Armed Forces

text: The Serbian Air Force and Air Defence ("Ratno vazduhoplovstvo i protivvazduhoplovna odbrana Vojske Srbije" - "RViPVO") is the aviation and anti-aircraft defence based component of the armed forces consisting of: aviation, anti-aircraft, surveillance and reconnaissance units. Its mission is to guard and protect the sovereignty of Serbian airspace, and jointly with the Army, to protect territorial integrity.


title: Serbian Armed Forces

text: Command structure of the Serbian Armed Forces is centered around General Staff as the highest command authority, and three separate commands: one for each of the branches (Army Command and Air Force and Air Defence Command) and one responsible for training (Training Command).


title: Serbian Armed Forces

text: The Serbian General Staff ("Generalštab Vojske Srbije") makes strategic and tactical preparations and procedures for use during peacetime and war. Special forces (63rd Parachute Brigade and 72nd Brigade for Special Operations) are under direct command of the Chief of the General Staff. Organizational units of the Armed Forces subordinated to the General Staff are: Guard, Signal Brigade, Central Logistics Base, 224th Center for Electronic Action, Technical Testing Center, Peacekeeping Operations Center, as well as the Directorate of Military Police (which includes Criminal Investigative Group and Detachment of the Military Police for Special Operations "Cobras").


title: Serbian Armed Forces

text: Army Command ("Komanda Kopnene vojske") is responsible for unitary, administrative and operational control of the Army. Army Command headquarters is in Niš.


title: Serbian Armed Forces

text: Air Force and Air Defence Command ("Komanda Ratnog vazduhoplovstva i protivvazduhoplovne odbrane") is responsible for unitary, administrative and operational control of the Air Force and Air Defence. Its headquarters is in Zemun.


title: Serbian Armed Forces

text: The Training Command ("Komanda za obuku") is responsible for providing basic and specialist training for soldiers, non-commissioned officers and officers of Serbian Armed Forces as well the members of foreign armies.


title: Serbian Armed Forces

text: The Serbian Armed Forces has a wide variety of equipment, mix of older Yugoslav and Soviet products (dating back to the 1980s and even 1970s) and new equipment, either domestically-produced from Serbian defence contractors or acquired from foreign producers (main suppliers being Russia, France, China, and to a lesser extent Germany).


title: Serbian Armed Forces

text: Inventory of Serbian Army includes: 232 tanks (30 Russian T-72 B1MS and 212 Yugoslav-made M-84), 90 self-propelled howitzers (18 domestically-produced Nora B-52 and 72 Soviet-made Gvozdika), 60 Yugoslav-made M-77 Oganj MRLs, 320 Yugoslav-made BVP M-80 infantry fighting vehicles, 36 domestically-produced Lazar armoured personnel carriers, over 100 MRAPs and other armoured vehicles (including 30 domestically-produced Miloš) as well as 18 pieces of domestically-produced PASARS-16 short-range air-defence missile system (armed with total of 50 French Mistral 3 missiles).


title: Serbian Armed Forces

text: Serbian Air Force and Air Defense has in operational use the following equipment: 14 Soviet-made MiG-29 fighter aircraft (11 of which are modernized to SM standard and armed with R-77 missiles), 12 Yugoslav-made J-22 attack aircraft, 1 Soviet-made An-26 transport aircraft, 4 (and 4 more on order) Russian Mi-35 attack helicopter (armed with Ataka missiles), 13 Russian Mi-17 utility helicopters, 5 (and 10 more on order) German H145M utility helicopters, 6 Chinese CH-92 combat drones, 4 batteries of Chinese HQ-22 long-range air-defence missile system, one battery (and 2 more on order) of Russian Pantsir medium-range air-defence missile system.


title: Serbian Armed Forces

text: In last several years Serbia has embarked on ambitious programme of equipment modernisation and acquisition. Whenever possible, the Serbian Ministry of Defence favors products that are manufactured in Serbia such as: Lazar armoured personnel carriers, Miloš light armored infantry vehicles, Nora B-52 artillery systems, Lasta 95 training aircraft. Largest procurement of foreign equipment recently included: Chinese HQ-22 air-defence missile system, Airbus H145M utility helicopters, Russian Mi-35 attack helicopters as well as various missile acquisitions (French surface-to-air Mistral for PASARS vehicles; Russian R-77 air-to-air BVR missiles for MiG-29 fighter aircraft, Ataka air-to-surface missiles for Mi-35 attack helicopters and Kornet man-portable anti-tank guided missiles).


title: Serbian Armed Forces

text: Significant acquisitions of military equipment are also planned in the near future: 2 Airbus C-295 transport aircraft (due to be delivered by the end of 2023), French Thales long-range Ground Master 400 and short-range Ground Master 200 air defence mobile radar systems (to be delivered in 2022 and 2023) and Russian long-range Krasukha and short-range Repellent Patrol mobile electronic warfare systems. Recently it was also announced the intention of purchase of 12 new French Rafale multirole fighter aircraft with the aim of replacing MiG-29 which will be in service until the end of the 2020s.


title: Serbian Armed Forces

text: The Serbian Armed Forces are composed entirely of professionals and volunteers following the suspension of mandatory military service in 2011.


title: Serbian Armed Forces

text: There are 22,500 active members: 4,200 officers, 6,500 non-commissioned officers, 8,200 active-duty soldiers and 3,500 civilians in volunteer military service. It breaks down as follows:


title: Serbian Armed Forces

text: The reserve force is composed of an active reserve and passive (i.e. war-time) reserve. The active reserve forces have 2,000 members and they are generally required to perform 45 days of military service per year. They are assigned to one of four reserve territorial brigades (Banat Brigade, Belgrade Brigade, Timok Brigade and Rasina Brigade), each having active HQ, command company and logistics company predicted for rapid deployment in case of war. The passive reserve totals about 600,000 citizens of age 18–49 with past military training or experience and is activated only in the events of war.


title: Serbian Armed Forces

text: Motto of the Serbian Armed Forces is "For Freedom and Honour of the Fatherland" ("Za slobodu i čast Otadžbine") and is found on uniforms as well as on brigade flags.


title: Serbian Armed Forces

text: Serbian Armed Forces Day ("Dan Vojske Srbije") is marked on 23 April, the anniversary of the Second Serbian Uprising. On that day in 1815, in Takovo, prominent elders met and decided to start the fight for liberation of Serbia from the Turkish authorities, which eventually led to the free and independent Serbia.


title: Serbian Armed Forces

text: The Serbian military was the first to pioneer the high-step as a military step. It is similar to the goose step, with the difference being that the knee is bent at the top of the arc. It was used by the Royal Yugoslav Army and at the time was called the "male step". The Yugoslav People's Army abandoned it after World War II, being in use for over two decades before being replaced by high-stepping in the 1975 Victory Day Parade, to assert itself as independent from Soviet influence. High-stepping is still used today by Serbian Armed Forces, and is also utilized by the militaries of North Macedonia and Bosnia and Herzegovina.


title: Serbian Armed Forces

text: There are several marches in use in Serbian Armed Forces. The standard one is Parade March ("Paradni marš"), while the Guard uses its own Guard March ("Gardijski marš") as standard march music. Also frequently used and the most popular and recognizable by the general public in Serbia is famous Drina March ("Marš na Drinu"). Other frequently used march is Vojvoda Stepa Stepanović March ("Marš vojvode Stepe Stepanovića").


title: Sunjong of Korea

text: Sunjong, the Emperor Yunghui (; 25 March 1874 – 24 April 1926), was the second and the last Emperor of Korea, of the Yi dynasty, ruling from 1907 until 1910.


title: Sunjong of Korea

text: Sunjong was the second son of Emperor Gojong and Empress Myeongseong. When he became two years old in 1876, Sunjong was proclaimed the Crown Prince of Joseon. In 1882, he married a daughter of the Yeoheung Min clan, who later became Empress Sunmyeonghyo (). She later died at the age of 31 on 5 November 1904 due to the severe depression, after trying to protect her mother-in-law (Empress Myeongseong, also a member of the Yeoheung Min clan) from her assassination on 8 October 1895 by the Japanese military.


title: Sunjong of Korea

text: When his father proclaimed Korean Empire in 1897, Sunjong was appointed as Crown Prince of Imperial Korea on 12 October 1897. On 29 June 1898, he was appointed as Field Marshal of Imperial Korean Army. Sunjong Sunjong remarried again 3 years later to daughter of Yoon Taek-young, Yun Jeung-sun of the Haepyeong Yun clan, who was 20 years his junior, on 11 December 1906, and became Crown Princess Consort Yun (later Empress Sunjeong).


title: Sunjong of Korea

text: On 19 July 1907, Gojong was deposed as a result of Japanese coercion, and Sunjong was made Emperor of Korea. His coronation was proceeded in Don-doek-jeon. He was proclaimed heir to the throne of Prince Imperial Yeong (), the younger half-brother of Sunjong, and moved from Deoksugung Palace to the imperial residence at Changdeokgung Palace.


title: Sunjong of Korea

text: Sunjong's reign was limited by the gradually increasing armed intervention of the Japanese government in Korea. In July 1907, he was proclaimed emperor of Korea but was immediately forced to enter into the Japan–Korea Treaty of 1907 (). This treaty allowed the Japanese government to supervise and intervene in the administration and governance of Korea, which also allowed for the appointment of Japanese ministers within the government.


title: Sunjong of Korea

text: While under Japanese supervision, the Korean army was dismissed on the pretext of lack of public finance regulations. In 1909, Japan implemented the Japan–Korea Protocol () which effectively removed Korea's judicial power. Meanwhile, Japan dispatched Itō Hirobumi, Japanese Resident-General of Korea, to negotiate with Russia over problems involving Korea and Manchuria. However, Itō was assassinated by Ahn Jung-geun at Harbin, which led to the Japanese annexation of Korea in 1910. Pro-Japanese politicians, such as Song Byung-jun and Lee Wan-yong, defected, merging Korea with Japan by fabricating Korea's willingness and establishing the Japan–Korea Annexation Treaty on 29 August 1910.


title: Sunjong of Korea

text: Although still existent on paper, the intervention by the Japanese government effectively ended Sunjong's reign over the Korean Empire and he became essentially powerless within three years of ruling. Japan, in effect, abolished the Korean Empire on 29 August 1910, ending 519 years of the Joseon dynasty.


title: Sunjong of Korea

text: After the annexation treaty, the former Emperor Sunjong and his wife, Empress Sunjeong, lived the rest of their lives virtually imprisoned in Changdeokgung Palace in Keijō. Sunjong could not exercise any power as emperor because there were only pro-Japanese politicians in government. After the Korean Empire collapsed, Sunjong was demoted from emperor to king. Japan allowed him the title of "King Yi of Changdeok Palace" () and allowed for the title to be inherited.


title: Sunjong of Korea

text: Sunjong died on 24 April 1926, in Changdeokgung and is buried with his two wives at the imperial tomb of Yureung (유릉, 裕陵) in the city of Nanyōshū. His state funeral on 10 June 1926, was a catalyst for the June 10th Movement against Japanese rule. He had no children.


title: Boulevard of Broken Dreams (Green Day song)

text: "Boulevard of Broken Dreams" is a song by American rock band Green Day. It is the fourth track from their seventh studio album "American Idiot" (2004). Reprise Records released "Boulevard of Broken Dreams" as the second single from "American Idiot" on November 29, 2004. The song's lyrics were written by lead singer Billie Joe Armstrong, and the music was composed by the band. Production was handled by Rob Cavallo and Green Day.


text: The song speaks from the point of view of "American Idiot"s main character, "Jesus of Suburbia", and is a moderate midtempo song characterized by somber and bleak lyrics. This is in contrast to the previous track on the album, "Holiday", which illustrates Jesus of Suburbia's high of being in The City. MTV's "Green Day Makes a Video" described "Holiday" as a party, and "Boulevard of Broken Dreams" as the subsequent hangover.


text: The song was ranked number one on "Rolling Stone"s Reader's Choice: Singles of the Decade list in 2009 and number 65 on the 100 Best Songs of the Decade list in the same year. It has sold over 2 million copies in the United States as of 2010. The single peaked at number two on the "Billboard" Hot 100, behind "Candy Shop" by 50 Cent and Olivia, making it Green Day's most successful song in the United States. The song was the ninth-highest-selling single of the 2000–2009 decade with worldwide sales exceeding 5 million copies. As of 2021, "Boulevard of Broken Dreams" is the only song to win both the Grammy Award for Record of the Year and MTV Video Music Award for Video of the Year. It remains one of Green Day's signature songs.


text: "Boulevard of Broken Dreams" was written during a respite from pre-production on what would eventually become the band's seventh album, "American Idiot". Hoping to clear his head and develop new ideas for songs, Green Day frontman Billie Joe Armstrong traveled to New York City alone for a few weeks, renting a small loft in the East Village of Manhattan. He spent much of this time taking long walks and participating in jam sessions in the basement of Hi-Fi, a bar in Alphabet City. He began socializing with songwriters Ryan Adams and Jesse Malin.


text: Armstrong wrote the song about his time in New York City, about "feeling alone" and trying to take power from that fact. Armstrong felt the song fit nicely with the album's storyline, which is about "going away and getting the hell out, while at the same time fighting their own inner demons." The song's concept is from a Gottfried Helnwein painting of James Dean, Humphrey Bogart, Marilyn Monroe and Elvis Presley sitting in an all-night diner. In the 2005 VH1 "Storytellers" program featuring Green Day, Billie Joe Armstrong stated that the title of the song was "nicked" from the painting of James Dean walking alone.


text: "Boulevard of Broken Dreams" is set in common time and composed in the key of F minor, like "Holiday", its prelude. The opening features an electric guitar with tremolo playing the verse progression, which is a i–♭III–♭VII–IV progression (Fm–A♭–E♭–B♭). The song's distinct tremolo effect on the opening guitar was achieved by digitally manipulating the recording in ProTools. It was difficult to produce, as it needed to remain in sync with the song's tempo. Armstrong added tracks of acoustic guitar-playing to augment his electric guitar rhythms and Cool's drumming. Billie Joe's vocals begin, accompanied by acoustic guitar. The bass and drums enter after the first two lines. The pre chorus features a memorable lead guitar melody before seguing into the distorted chorus. The chorus contains a ♭VI–♭III–♭VII–i progression (D♭–A♭–E♭–Fm), ending on a C major vamp. The solo following the second chorus follows the verse progression while the outro follows a heavily distorted i–♭VI–♭VII–♮vi-♭III-♮VII power chord progression (F5–D♭5–E♭5–D5–A♭5–E5).


text: Noel Gallagher of Oasis criticized Green Day in late 2006, saying, "They should have the decency to wait until I am dead [before stealing my songs]. I, at least, pay the people I steal from that courtesy," referencing the fact that "Boulevard of Broken Dreams" uses the same chord progression as Oasis's hit single "Wonderwall". Gallagher's reaction may have partly been due to the emergence of "Boulevard of Broken Songs", a popular mash-up mixed by San Francisco DJ and producer Party Ben in late 2004. The mix consisted of elements from "Boulevard of Broken Dreams", "Wonderwall", Travis' "Writing to Reach You" and Eminem's "Sing for the Moment", which itself has samples from Aerosmith's "Dream On".


text: "Boulevard of Broken Dreams" was named Record of the Year at the Grammy Awards of 2006. The song's broad appeal was demonstrated by its performance on several "Billboard" singles charts: it spent 14 weeks at number one on the Mainstream Rock Tracks chart staying there for 38 weeks, 16 weeks at number one on the Modern Rock Tracks chart staying for 32 weeks, 11 weeks at number one on the Adult Top 40 chart staying at 44 weeks, and four weeks at number one on the Mainstream Top 40 staying there for 26 weeks. This was the first song to top the four charts altogether making this song a multi-chart success. It reached number two on the "Billboard" Hot 100 (the highest a Green Day song has ever charted on the Billboard Hot 100), staying there for five weeks behind 50 Cent's "Candy Shop". This was also the first Green Day song to reach the Adult Contemporary chart, peaking at number 30 and though "Good Riddance (Time of Your Life)" didn't chart on the Adult Contemporary, it did chart on its recurrent chart.


text: Outside the United States, "Boulevard of Broken Dreams" charted strongly on many international charts. The song debuted and peaked at number five on the UK Singles Chart on the chart dated December 5, 2004, giving the band their third top 10 single in that country. It stayed in the UK top 100 for 29 weeks, becoming their longest-charting single at the time, but "Wake Me Up When September Ends" would log 32 weeks in the UK top 100 nearly a year later; it remains their second-longest stay on the UK chart. In 2021, the British Phonographic Industry awarded the song a Platinum certification for sales and streams exceeding 600,000 units. The single was successful in Ireland, reaching number two in January 2005 on two occasions and totaling 23 weeks in the top 50. It was their highest-peaking single there until "The Saints Are Coming" topped the Irish Singles Chart in 2006. Elsewhere in Europe, the song reached number one in the Czech Republic, number two in Sweden, and the top 10 in Austria, Denmark, and Norway. In Australasia, the song reached number five in both Australia and New Zealand. It stayed on the latter country's chart longer, remaining on the RIANZ chart for 25 weeks compared to 17 weeks on the ARIA Singles Chart. Despite this, the song was overall more popular in Australia, finishing 2005 as the 31st best-selling single and earning a Platinum certification from the ARIA for sales exceeding 70,000 copies.


text: In response to Hurricane Katrina and the popularity of "Boulevard of Broken Dreams", Green Day donated all of the iTunes proceeds from this song for the year to the American Red Cross for Katrina aid efforts.


text: The award-winning music video for "Boulevard of Broken Dreams" was directed by Samuel Bayer. The music videos for "Holiday" and "Boulevard of Broken Dreams" were filmed with a single, continuous storyline—the video for "Boulevard of Broken Dreams" picks up where "Holiday" has left off, with the last few seconds of "Holiday" audible at the start of the "Boulevard of Broken Dreams" video. Both videos were also shot back-to-back. The video depicts the band members after their car has stalled in the desert, and they begin a melancholy walk down a dusty road. Scenes are interspersed with film footage, taken from around Los Angeles, of homeless people and other miserable sights. The video also features performance footage of the band playing the song in an abandoned warehouse.


text: The video features a 1968 green Mercury Monterey convertible that was modified for filming in the "Holiday" and "Boulevard of Broken Dreams" videos. The car features a hood ornament in the shape of the hand and heart grenade image from the "American Idiot" album cover, which was also used in the video for "Holiday". But the "iron fist" was actually used in the video for "Walking Contradiction", when the band members meet at a car towards the end of the video. The band's name is also on the front of the hood in silver letters. The band rode this car to the 2005 MTV Video Music Awards ceremony. As shown in an MTV "Making the Video" special, Bayer used unorthodox techniques to achieve the aged film look of the "Boulevard of Broken Dreams" video, including using rear projection (as opposed to green screen) and physically damaging the negative: scratching the film with razor blades, pouring coffee on it, and smudging cigarettes on it.


text: The video won six awards at the MTV Video Music Awards in 2005, most notably for Video of the Year. It also won Best Group Video, Best Rock Video, Best Direction, Best Editing, and Best Cinematography.


title: Antonio Stradivari

text: Antonio Stradivari (, , ; – 18 December 1737) was an Italian luthier and a craftsman of string instruments such as violins, cellos, guitars, violas and harps. The Latinized form of his surname, "Stradivarius", as well as the colloquial "Strad" are terms often used to refer to his instruments. It is estimated that Stradivari produced 1,116 instruments, of which 960 were violins. Around 650 instruments survive, including 450 to 512 violins. His instruments are considered some of the finest ever made, and are extremely valuable collector's items.


title: Antonio Stradivari

text: Antonio Stradivari's birthdate, presumably between 1644 and 1649, has been debated amongst historians due to the numerous inconsistencies in the evidence of the latter. The 1668 and 1678 censuses report him actually growing younger, a fact explained by the probable loss of statistics from 1647 to 1649, when renewed belligerency between France's Modenese and Spain's Milanese proxies led to a flow of refugees that included Stradivari's mother.


title: Antonio Stradivari

text: Stradivari's ancestry consisted of notable citizens of Cremona, dating back to at least the 12th or 13th century. The earliest mention of the family name, or a variation upon it, is in a land grant dating from 1188. The origin of the name itself has several possible explanations; some sources say it is the plural of "stradivare", essentially meaning "toll-man" in Lombard, while others say that the form "de Strataverta" derives from , which in Cremonese dialect means "open road".


title: Antonio Stradivari

text: Antonio's parents were Alessandro Stradivari, son of Giulio Cesare Stradivari, and Anna Moroni, daughter of Leonardo Moroni. They married on 30 August 1622, and had at least three children between 1623 and 1628: Giuseppe Giulia Cesare, Carlo Felice, and Giovanni Battista. The baptismal records of the parish of S. Prospero then stop, and it is unknown whether they had any children from 1628 to 1644. This gap in the records may be due to the family leaving Cremona in response to war, famine, and plague in the city from 1628 to 1630, or the records may have been lost due to clerical reforms imposed by Joseph II of Austria in 1788. The latter explanation is supported by the word "Cremonensis" (of Cremona) on many of Stradivari's labels, which suggests that he was born in the city instead of merely moving back there to work. Antonio was born in 1644, a fact deducible from later violins. However, there are no records or information available on his early childhood, and the first evidence of his presence in Cremona is the label of his oldest surviving violin from 1666.


title: Antonio Stradivari

text: Stradivari likely began an apprenticeship with Nicola Amati between the ages of 12 and 14, although a minor debate surrounds this fact. One of the few pieces of evidence supporting this is the label of his 1666 violin, which reads, "Alumnus Nicolai Amati, faciebat anno 1666". However, Stradivari did not repeatedly put Amati's name on his labels, unlike many of Amati's other students. Stradivari's early violins actually bear less resemblance to Amati's than his later instruments do. M. Chanot-Chardon, a well-known French luthier, asserted that his father had a label of Stradivari's stating, "Made at the age of thirteen, in the workshop of Nicolò Amati". This label has never been found or confirmed. Amati would also have been a logical choice for Antonio's parents, as he represented an old family of violin makers in Cremona, and was far superior to most other luthiers in Italy.


title: Antonio Stradivari

text: Some researchers believe there is a closer educational association between Antonio Stradivari and Francesco Rugeri than has previously been recognized. Despite the long-held belief that Antonio Stradivari was the pupil of Nicolò Amati, there are important discrepancies between their work. Some researchers believe early instruments by Stradivari bear a stronger resemblance to Francesco Rugeri's work than Amati's. Additionally, the utilization of a small dorsal pin or small hole, invariably used not just by Nicolò Amati but all of his recognized pupils—with the exception of Antonio Stradivari, adds further evidence that Stradivari may have learnt his craft apart from Amati. This pin or hole was fundamental in the graduation of the thickness of the plates and was obviously a technique passed on through generations of pupils of the Amati. This dorsal pin is also not found in any of the instruments of the Rugeri family, suggesting Antonio Stradivari may have actually learnt his craft from Francesco Rugeri, although both being influenced by Amati. W.E. Hill & Sons concede that they fail to find the hand of Stradivari in any of Nicolo Amati's work, although the unmistakable hands of Andrea Guarneri and Francesco Rugeri are evident.


title: Antonio Stradivari

text: An alternative theory is that Stradivari started out as a woodworker: the house he lived in from 1667 to 1680 was owned by Francesco Pescaroli, a woodcarver and inlayer. Stradivari may even have been employed to decorate some of Amati's instruments, without being a true apprentice. This theory is supported by some of Stradivari's later violins, which have elaborate decorations and purfling.


title: Antonio Stradivari

text: Assuming that Stradivari was a student of Amati, he would have begun his apprenticeship in 1656–58 and produced his first decent instruments in 1660, at the age of 16. His first labels were printed from 1660 to 1665, which indicates that his work had sufficient quality to be offered directly to his patrons. However, he probably stayed in Amati's workshop until about 1684, using his master's reputation as a launching point for his career.


title: Antonio Stradivari

text: Stradivari married his first wife, Francesca Ferraboschi, on 4 July 1667. A clue to how they would have met lies in the 1659 Easter census, which lists the Ferraboschi family four houses away from the Amati residence. Francesca was the young widow of the burgher Giacomo Capra, with whom she had two children. Francesca's brother had shot Giacomo with a crossbow on the Piazza Garibaldi (formerly the Piazza Santa Agata) in 1664. He was later exiled, though allowed to return to Cremona many years later. After their marriage, Stradivari moved into a house known as the Casa del Pescatore, or the Casa Nuziale, in his wife's parish. The couple had a daughter, Giulia Maria, three to four months later. They remained in the house until 1680, during which time they had five more children, starting with an infant son who lived for only a week, and then Francesco, Catterina, Alessandro, and Omobono Stradivari.


title: Antonio Stradivari

text: Stradivari purchased a house now known as No. 1 Piazza Roma (formerly No. 2 Piazza San Domenico) around 1680 for the sum of 7000 lire, 2000 of which he paid at the time of the purchase. The totality of the house was paid for by 1684. The residence was just doors away from those of several other violin-making families of Cremona, including the Amatis and Guarneris. Stradivari probably worked in the loft and attic, and he stayed in this house for the rest of his life.


title: Antonio Stradivari

text: Stradivari married his second wife, Antonia Maria Zambelli, on 24 August 1699. She was 35 at the time of the marriage. They had five children from 1700 to 1708—Francesca Maria, Giovanni Battista Giuseppe, Giovanni Battista Martino, Giuseppe Antonio, and Paolo.


title: Antonio Stradivari

text: Stradivari died in Cremona on 18 December 1737, aged 93, after roughly 75 years of crafting instruments. He is buried in the Church of San Domenico. The tomb was acquired eight years prior to his death, having been bought from a Cremonese family, substituting his name for theirs in the tombstone.


title: Antonio Stradivari

text: Stradivari generated substantial wealth in his lifetime. His will, dated 1729, counted eight living heirs, including his wife. Zambelli was left with her clothing, bed linens, household items, and half of her jewelry. Antonia would become the responsibility of his two eldest sons. Annunciata Caterina was left her jewelry, clothing, linens, and income on loans. Paolo, the youngest child, would get six finished violins—valued at 1,000 lire—as well as some household effects and cash. Three other children who had joined religious orders were left with their share of inheritance: Maria, a nun, would get an annuity; Alessandro, a priest, would get fixed income on a home mortgage loan; and Giuseppe, another priest, would get some income on half a share from a pastry shop. There were also annual payments to his two sons of 150 and 300 lire each and 170 lire for Annunciata and 100 for Francesca.


title: Antonio Stradivari

text: His remaining two sons from his first marriage had both worked in the family shop. Omobono, who had left the dwelling aged eighteen in search of new employment possibilities in Naples, would inherit six violins, and Francesco, who was named his father's successor, would inherit the rest of the estate, including all of the tools, stencils, finished violins, patterns, and—ostensibly—his father's reputation. In 1733, he had bought his youngest son a partnership in a local textile firm for the large amount of 25,000 lire.


title: Antonio Stradivari

text: Stradivari probably developed his own style slowly. Some of his early violins were smaller, with notable exception to this is the 1679 "Hellier" violin, which had much larger proportions. Stradivari's early (pre-1684) violins are in strong contrast to Amati's instruments from the same time period; Stradivari's have a stronger build; less rounded curves, with the purfling set farther in.


title: Antonio Stradivari

text: By 1680, Stradivari had acquired at least a small, yet growing, reputation. In 1682, a Venetian banker ordered a complete set of instruments, which he planned to present to King James II of England. The fate of these instruments is unknown. Cosimo III de' Medici bought another five years later. Amati died in 1684, an event followed by a noticeable increase in Stradivari's production. The years 1684 and 1685 also marked an important development in his style—the dimensions he used generally increased, and his instruments were more in the style of Amati's work of the 1640s and 1650s. Stradivari's instruments underwent no major change in the next five years, although in 1688 he began cutting a more distinct bevel and began outlining the heads of instruments in black, a quite original improvement.


title: Antonio Stradivari

text: Stradivari's relatively early success in his career may have allowed him to use a more experimental approach to violin building. In fact, Stradivari's early career is marked by wide experimentation, and his instruments during this period are generally considered of a lesser quality than his later work. However, the precision with which he carved the heads and inserted the purfling quickly marked him as one of the most dextrous craftsmen in the world, a prime example of this being the 1690 "Tuscan" violin. Pre-1690 instruments are sometimes termed "Amatisé" but this is not completely accurate; it is largely because Stradivari created many more instruments later on that people try to connect his early work with Amati's style.


title: Antonio Stradivari

text: By 1680 Stradivari moved to No. 1 Piazza Roma (formerly No. 2 Piazza San Domenico). The house was just doors away from those of several other violin-making families of Cremona, including the Amatis and Guarneris. Stradivari probably worked in the loft and attic, and he lived in this house for the rest of his life.


title: Antonio Stradivari

text: In the early 1690s, Stradivari made a pronounced departure from this earlier style of instrument-making, changing two key elements of his instruments. First, he began to make violins with a larger pattern than previous instruments; these larger violins usually are known as "Long Strads". He also switched to using a darker, richer varnish, as opposed to a yellower varnish similar to that used by Amati. He continued to use this pattern until 1698, with few exceptions. After 1698, he abandoned the Long Strad model and returned to a slightly shorter model, which he used until his death. The period from 1700 to 1725 is often termed the "Golden Period" of his production. Instruments made during this time are usually considered of a higher quality than his earlier instruments. Late-period instruments made from the late 1720s until his death in 1737 show signs of Stradivari's advancing age. These late instruments may be a bit less beautiful than the Golden Period instruments, but many nonetheless possess a fine tone. Heavier and looser craftsmanship of the late Stradivari output can be seen in the 1734 'Habeneck'.


title: Antonio Stradivari

text: The Stradivari parish, San Matteo, and the Amati parish, San Faustino, comprised the center of Cremonese violin making. They exerted influence on one another's shape, varnish and sound of instruments, but also on many of their contemporaries'; they defined violin making standards for the next 300 years.


title: Antonio Stradivari

text: Even at the beginning of the 18th century, Stradivari's influence could be seen not only in the work of Cremonese makers, but also international ones, such as Barak Norman's, one of the first important British makers. In the 1720s Daniel Parker, a very important British luthier, produced fine violins after Stradivari's work selling anywhere from £30,000 to £60,000 in recent auctions. Parker based his best instruments on Stradivari's "long pattern", having the opportunity to study one or more of the instruments. Well into the 19th century, Jean-Baptiste Vuillaume, the leading French luthier of his time, also made many important copies of Strads and Guarneris.


title: Antonio Stradivari

text: In the 18th century, Cremonese luthiers were the suppliers and local players on the demand side. After Stradivari's death, this drastically changed. Although the Cremonese luthiers remained the suppliers, the demand side now consisted mainly of collectors, researchers, imitators, profiteers, and speculators. Many local players could no longer afford the sought-out instruments and most of the purchased instruments would be hidden in private collections, put in museums, or simply put back in their cases, hoping that they would gain value over time. This is when the Stradivari "fever" really took off. The violin collector Count Ignazio Alessandro Cozio di Salabue, Vuillaume, and later Tarisio Auctions have all contributed to this frenzy that would extend well into the 21st century. Also, most of the other major Cremonese luthiers died soon after Stradivari, putting an end to the golden period of Cremona's violin making, which lasted more than 150 years, starting with the Amatis and ending with the Cerutis.


title: Antonio Stradivari

text: The Cremonese maker Vincenzo Rugeri (1663–1719), while staying true to the Grand Amati Pattern by Nicolo Amati, was influenced by Stradivari in that he adopted a somewhat lower arch consistent with Stradivarian ideals.


title: Antonio Stradivari

text: Members of the Gagliano family such as Gennaro and Nicolo made excellent copies of the instruments in the 1740s, though the only similarity to Stradivari's instruments was the execution of the form and arching as well as consistently fine and detailed varnish. Nicolo would usually use the "forma" B model for his cellos and as the quality of the output steadily declined within the family, the Stradivari models were almost abandoned in Naples.


title: Antonio Stradivari

text: Having acquired many Strads from Paolo Stradivari, Count Cozio commissioned Giovanni Battista Guadagnini to make some replicas of the instruments. Although many features of Strads are present in the copies, they still remain heavily influenced by Guadagnini's workshop principles and represent well the maker's Turin period.


title: Antonio Stradivari

text: Vincenzo Panormo was also one of the many luthiers who based many of his violins on Strads. He learned about them in Paris between 1779 and 1789 when he worked closely with Léopold Renaudin, another one of Strad's followers. Stradivari's influence could also be seen in Spain with the outstanding work of José Contreras of Granada and Madrid. Having the privilege to be exposed to Stradivari's instruments through the Spanish court, he was experienced enough to replace the scroll of a 1717 Stradivari cello and possibly even make its back and ribs. He had a great ability to imitate the original varnish and intricacy of the instrument.


title: Antonio Stradivari

text: The 19th century was not as eventful in comparison to the previous centuries. Some of the most important luthiers from this part of history include Giovanni Rota, as well as the two non-Italian makers François Chanot in France and the artist, inventor and musician William Sidney Mount in the US, who both created experimental violins.


title: Antonio Stradivari

text: The 20th century was the so-called rebirth of Cremonese making, when luthiers such as Giuseppe Antonio Rocca, Giovanni Battista Morassi, Beltrami, and the Antoniazzi family emerged from a seemingly uneventful and experimental period. These makers, sometimes basing their early violins on Strads, would later on make their own models and would inspire each other's work.


title: Antonio Stradivari

text: Even though Antonio had a very long working life, it is impossible for him to have crafted more than 1,000 instruments entirely by himself, meaning that his sons, Francesco and Omobono, as well as possibly a third son, must have been working on and off in his shop. It is known that having left the workshop at eighteen, Omobono made a few instruments on his own, such as the 'Blagrove' and another violin dating from 1732. On his side, Francesco made very few violins independently, such as the 1742 'Salabue' and 'Oliveira', spending his lifetime in his father's shop. This was one of the main reasons that Francesco had a large part in Antonio's will, and Omobono a lesser one. One of the major differences between Antonio and his sons' craftsmanship was the quality of the purfling on their instruments, which in the case of Francesco and Omobono has been referred to as "startlingly poor".


title: Antonio Stradivari

text: "Only a handful of instruments are reliably attributed to Francesco alone. ... [There are only] two authentic labels known: 'Franciscus Stradivarius Cremonensis / Filius Antonii faciebat Anno 1742' ... Notably it omits the A+S stamp that occurs on Antonio's labels. Another label states 'Sotto la Disciplina d'Antonio / Stradivari F. in Cremona 1737'. This is of course the year of his father's death, and the phrase 'sotto la disciplina' ('under the discipline'), although it appears in a few other instruments, may here be a particular sign of his respect."


title: Antonio Stradivari

text: The Hills Violin Shop estimates that Stradivari produced 1,116 instruments, of which 960 were violins. It is also estimated that around 650 of these instruments survive, including 450 to 512 violins.


title: Antonio Stradivari

text: Stradivari's instruments are regarded as amongst the finest bowed stringed instruments ever created, are highly prized, and are still played by professionals today. His violins are desired more than those of any other luthier except his contemporary, Giuseppe Guarneri del Gesù, who commands a similar respect among violinists. However, neither blind listening tests nor acoustic analysis have ever demonstrated that Stradivarius instruments are better than other high-quality instruments or even reliably distinguishable from them.


title: Antonio Stradivari

text: While the usual label for a Stradivarius instrument, whether genuine or false, uses the traditional Latin inscription, after the McKinley Tariff Act of 1890, copies were also inscribed with the country of origin. Since thousands of instruments are based on Stradivari's models and bear the same name as his models, many unwary people are deceived into purchasing forged Stradivarius instruments, which can be avoided by authenticating the instrument.


title: Antonio Stradivari

text: Some violinists and cellists use Stradivari instruments in their work. Yo-Yo Ma uses the "Davidov Stradivarius", Julian Lloyd Webber employs the "Barjansky Stradivarius", and, until his death in 2007, Mstislav Rostropovich played on the "Duport Stradivarius". The "Soil" of 1714 is owned by virtuoso Itzhak Perlman. The "Countess Polignac" is currently played by Gil Shaham. The Vienna Philharmonic uses several Stradivari instruments that were purchased by Austria's central bank Oesterreichische Nationalbank and other sponsors: "Chaconne", 1725; "ex-Hämmerle", 1709; "ex-Smith-Quersin", 1714; "ex-Arnold Rosé", "ex-Viotti", 1718; and "ex-Halphen", 1727. Viktoria Mullova owns and plays the "Jules Falk". Joshua Bell owns and plays the Gibson ex-Huberman.


title: Antonio Stradivari

text: The London sales of "The Mendelssohn" at £902,000 ($1,776,940) in 1990 and "The Kreutzer" for £947,500 in 1998 constitute two top-selling Stradivari. A record price paid at a public auction for a Stradivari was $2,032,000 for the "Lady Tennant" at Christie's in New York, April 2005. On 16 May 2006, Christie's auctioned Stradivari's 1707 "Hammer" for a new record of US$3,544,000. On 2 April 2007, Christie's sold a Stradivari violin, the 1729 "Solomon, Ex-Lambert", for more than $2.7 million to an anonymous bidder in the auction house's fine musical instruments sale. Its price, US$2,728,000 including Christie's commission, far outdid its estimated value: $1 million to $1.5 million. On 14 October 2010, a 1697 Stradivari violin known as "The Molitor" was sold online by Tarisio Auctions for a world-record price of $3,600,000 to violinist Anne Akiko Meyers: at the time its price was the highest for any musical instrument sold at auction. On 21 June 2011, the Lady Blunt Stradivarius, a 1721 violin, was auctioned by Tarisio to an anonymous bidder for almost £10 million, with all proceeds going to help the victims of the 2011 Tōhoku earthquake and tsunami. This was over four times the previous auction record for a Stradivari violin. The Baron von der Leyen Strad was auctioned by Tarisio on 26 April 2012, for $2.6 million.


title: Antonio Stradivari

text: The collection of the New Jersey Symphony Orchestra had the largest number of Stradivari in its string section, purchased in 2003 from the collection of Herbert R. Axelrod, until it decided to sell them in 2007. A collection assembled by Rodman Wanamaker in the 1920s contained as many as 65 stringed instruments by such masters as Stradivari, Gofriller, Baptiste and Giuseppe Guarneri. Included was "The Swan", the last violin made by Stradivari, and soloist instrument of the great Cuban 19th-century virtuoso Joseph White. The collection, known as The Cappella, was used in concerts with the Philadelphia Orchestra and Leopold Stokowski before being dispersed after Wanamaker's death. The Vienna Philharmonic uses four violins and one cello. The Metropolitan Museum of Art has three Stradivari violins dated 1693, 1694 and 1717. The National Music Museum, in Vermillion, South Dakota, has in its collection one of two known Stradivari guitars, one of eleven known violas da gamba, later modified into a cello form, one of two known choral mandolins, and one of six Stradivari violins that still retain their original neck. In the interests of conservation, the "Messiah Stradivarius" violin—on display in the Ashmolean Museum in Oxford, England—has not been played at all in recent years.


title: Happy Together (song)

text: "Happy Together" is a song written by Garry Bonner and Alan Gordon and recorded by American rock band the Turtles. It was released as a single, b/w "Like the Seasons", in January 1967, and peaked at number one on the US "Billboard" Hot 100, becoming the band's first and only chart-topper there. The song also reached the top 20 in diverse countries, including number 2 in Canada and number 12 in the UK. It was later included on their third studio album, "Happy Together" (1967).


title: Happy Together (song)

text: Bonner and Gordon composed the song while still members of The Magicians. The lyrics, despite the joyous sound of the music, express an unrequited, imagined love. They recorded a demo consisting of a simple arrangement of acoustic guitar and hand claps. The demo was offered to and rejected by a dozen artists, due to its primitive sound. The Turtles, who had come from commercial and personal problems, found the demo and, thinking the song a potential hit, initially rehearsed it in live performances. They recorded their version in the Sunset Sound studio, with the newly-arrived bassist Chip Douglas arranging the horns and backing vocals.


title: Happy Together (song)

text: After the song's successful release, the band were called to perform on several TV shows like "The Ed Sullivan Show" and "The Smothers Brothers Show". Music critics have continued to praise the Turtles version for its pop qualities. It was covered by several acts, with the most successful cover being from the soft rock duo Captain & Tennille, and featured on numerous movies and TV shows. Thus, the song is inducted in the list of the most-performed songs in the United States of the 20th century by BMI in 1999, and the Grammy Hall of Fame in 2007. Howard Kaylan and Mark Volman, singers of the Turtles, were involved on various legal battles due their attempts to copyright "Happy Together" against unauthorized broadcasts, notably with Sirius XM Radio.


title: Happy Together (song)

text: Alan Gordon had served as the drummer and one of the primary songwriters of the Magicians since its conception from Tex & the Chex. He wrote and co-wrote a number of songs for the band, most famously "An Invitation to Cry" (with Jimmy Woods). Gordon already had many of the lyrics in mind for "Happy Together" but the chorus of the song came to him at the Park Street Diner in Ayer, Massachusetts, after visiting his father. The melody was based on the constant tuning of guitarist Allan "Jake" Jacobs during the band's concerts. After a failed attempt to convince Jacobs to write the song with him, Gordon finished it with vocalist Garry Bonner.


title: Happy Together (song)

text: In 1965, Bonner and Gordon started to work with publishers Charles Koppelman and Don Rubin from the Koppelman/Rubin Associates, writing songs for artists selected by them. The songwriters cut a demo of "Happy Together" and offered it to several artists including the Happenings, the Vogues and the Tokens, but it was rejected by all of them.


title: Happy Together (song)

text: Around the same time, California band the Turtles had been struggling with financial and personal problems. After scoring three Top 40 hits in 1965 and 1966, including Bob Dylan's "It Ain't Me Babe" and "You Baby", their next five singles had not charted well. Chip Douglas and John Barbata had stepped in as replacements for the original members. As an act focused on singles, member Mark Volman explained that their lack of success almost led the Turtles to breaking up.


title: Happy Together (song)

text: As the Turtles didn't write most of the A-sides of their singles, lead vocalist Howard Kaylan mentions in his autobiography and also in the Turtles' documentary that they found "Happy Together" after spending some time to listen to submitted demos by publishing companies. Volman remembers it in a slightly different way, saying that Bonner and Gordon themselves between the sets of a Manhattan gig asked the band if they needed material and then subsequently sent some demos that included "Happy Together". Because of its circulation with many other artists, the demo acetate was worn out and, according to Fred Bronson, "practically unlistenable" with Kaylan describing the acetate as "scratchy and sticky".


title: Happy Together (song)

text: While interviewed by Grammy Awards, Howard Kaylan said that when he heard it the first time he considered the recording to be "terrible" and later understood that the rejects by other artists were due to the performance. Kaylan recalled that the demo consisted of "one guy (Gary Bonner) strumming an acoustic guitar while the other (Alan Gordon) sings in a bizarre falsetto to get a semblance of rhythm going. Their voices were abysmal". Volman agreed with Kaylan, calling the demo "amateurish, lacking any kind of professional performance".


title: Happy Together (song)

text: Conversely, Brill Building session guitarist Ralph Casale, in an interview with Songfacts (and probably unaware of Kaylan and Volman's statements) affirmed that he had played on the demo and that other session musicians were involved. The performance was in a "Lovin' Spoonful feel" and praised it as much like a "finished product".


title: Happy Together (song)

text: Stereogum critic Tom Breihan comments that the Turtles were "hungry" for a hit and with Bonner and Gordon's song "it all fit". Volman observed:


title: Happy Together (song)

text: Wanting to record the song, the Turtles had the writers travel from New York to California where Garry Bonner and Alan Gordon performed for them live at the Beverly Hills Hotel. According to Kaylan, "they sounded even worse than the demo, but it didn't matter. We wanted this song, and they and their publishers [Koppelman-Rubin] certainly wanted us to have it. The group rehearsed "Happy Together" in live performances for eight months, although music author Wayne Wadhams states the rehearsals lasted only two weeks. With the audience's response becoming very positive, the band members decided to record it in January 1967.


title: Happy Together (song)

text: Koppelman/Rubin, as the publishers of Bonner and Gordon songs, chose how the "Happy Together" was going to be recorded, substituting the original producer Bones Howe with Joe Wissert and the Turtles' familiar United Western studios with Sunset Sound, that had been the studio for emerging artists like the Doors. "Happy Together"'s session was engineered by Sunset Sound regular Bruce Botnick.


title: Happy Together (song)

text: Like all their records, the band – Kaylan, Volman, guitarists Al Nichol and Jim Tucker, bassist Chip Douglas and drummer John Barbata – played on the recording of "Happy Together" (their independent label, White Whale, could not afford LA session musicians to augment or replace them like other artists on bigger labels), while being accompanied by an orchestra of horns and woodwinds.


title: Happy Together (song)

text: According to engineer Botnick, the Turtles benefited from an eight-track recorder, with that the first three tracks were for the basic track, the other three were for the vocals and the seventh was for the orchestra overdubs. Barbata recalled that they recorded the basic track (drums, bass and guitars) in the same time, and then overdubbed the vocals and the orchestra. Volman said that the band usually didn't experiment in the studio, and, for him, the process of recording was unremarkable. Botnick agreed with him, stating that the session was short, and he would be surprised if it lasted more than three hours, "maybe another three hours to do vocals, and it was basically done". Kaylan wrote that he recorded his lead vocals in one take. The basic track was cut in 15 takes according to Fred Bronson's book "The Billboard Book of Number One Hits", but Barbata presumed that they had achieved a satisfying sound in only two takes.


title: Happy Together (song)

text: Although some members of the band contributed to the record's arrangements, probably the most cited is from Chip Douglas. With only nine months in the group, Douglas proved to be important for the record by arranging the horns and the backing vocals. Both Kaylan and Volman praised his arrangements, with the former stating that "Chip knew what he wanted to hear and he actually heard in his head the blend of horns and voices. He wanted to have the flutes echo the high voices and the horns be the middle voices". John Barbata credited himself for creating "those drum parts that helped make it [the record] magical".


title: Happy Together (song)

text: After the orchestra was overdubbed, Kaylan stated that he remembered that he took mono acetate to his home and started to hear it numerous times. "I just couldn’t believe how well the orchestra sat with the track, and how well the vocals blended, and just the overall mysterious sound we got. We knew it was gonna be a No.1 record". He noted that the song's production had sparse instrumentation in some portions while other segments were described as being "so 'Wall of Sound'", referring to the production methods of record producer Phil Spector consisting of heavily layered instrumentation optimized for mono, indicating his influence on Wissert.


title: Happy Together (song)

text: "Happy Together" was originally published in the key of E minor, but Wadhams and music teacher Emily Langerholc observed that the Turtles' recording is in F minor during the verses and F major on the chorus. The song is in common time with a tempo of 120 beats per minute. It starts with an electric guitar, followed by drums and electric bass, then Kaylan starts to sing the first two verses, reinforced by another guitar and reverberated vocal harmonies in the second verse, before the chorus begins (consisting of double-tracked lead vocals are backed by four part "ah" singing and trumpets). The switch of minor key verses to the major key chorus is called by Langerholc as "one of the most effective minor to major switcharoos of all time", citing that the change is preceded by a C chord (V) at the end of the verse and is in Common Tone Modulation. This structure accompanies Kaylan in the third verse, the second chorus, the first repeat of the third verse (harmonizing with Volman), the "baa, baa" chorus and the outro: the second repeat of the third with the coda, that consists of another "baa, baa" section with the joining of the orchestra and the band, before the reverb fades the song. Langerholc stated that the outro (F minor key verse with the F major key coda) is possibly a Picardy Third.


title: Happy Together (song)

text: Many listeners (like Langerholc) thought that the lyrics of "Happy Together" were about a couple in love with each other due to its cheery chorus and the title, but, according to historian James E. Perone, a closer reading in the lyrics ("imagine me and you", "if i should call you") reveals that the love expressed by the narrator is not reciprocated by the other person, with Perone stating that the relationship "is only in dreams, wishes, desires and the mind of the singer". O'Rourke felt that the song "stretches the contrast between the loneliness of being apart and the thrill of being together to bipolar extremes". Joe Viglione compared "Happy Together"'s lyrics to Tommy James's hit "Mirage", but while "Mirage" was about an ex-girlfriend, "the Turtles never even get to first base in their laments". O'Rourke observed that is the listener's option to determine if in the final line "We're happy together", the narrator conquered his beloved, "or if he’s just retreated into his fantasy world for good".