title: Human spaceflight

text: Astronauts experiencing weightlessness will often lose their orientation, get motion sickness, and lose their sense of direction as their bodies try to get used to a weightless environment. When they get back to Earth, they have to readjust and may have problems standing up, focusing their gaze, walking, and turning. Importantly, those motor disturbances only get worse the longer the exposure to weightlessness. These changes can affect the ability to perform tasks required for approach and landing, docking, remote manipulation, and emergencies that may occur while landing.


title: Human spaceflight

text: In addition, after long space flight missions, male astronauts may experience severe eyesight problems, which may be a major concern for future deep space flight missions, including a crewed mission to the planet Mars. Long space flights can also alter a space traveler's eye movements.


title: Human spaceflight

text: Without proper shielding, the crews of missions beyond low Earth orbit might be at risk from high-energy protons emitted by solar particle events (SPEs) associated with solar flares. If estimated correctly, the amount of radiation that astronauts would be exposed to from a solar storm similar to that of the most powerful in recorded history, the Carrington Event, would result in acute radiation sickness at least, and could even be fatal "in a poorly shielded spacecraft". Another storm that could have inflicted a potentially lethal dose of radiation on astronauts outside Earth's protective magnetosphere occurred during the Space Age, shortly after Apollo 16 landed and before Apollo 17 launched. This solar storm, which occurred in August 1972, could potentially have caused any astronauts who were exposed to it to suffer from acute radiation sickness, and may even have been lethal for those engaged in extravehicular activity or on the lunar surface.


title: Human spaceflight

text: Another type of radiation, galactic cosmic rays, presents further challenges to human spaceflight beyond low Earth orbit.


title: Human spaceflight

text: There is also some scientific concern that extended spaceflight might slow down the body's ability to protect itself against diseases, resulting in a weakened immune system and the activation of dormant viruses in the body. Radiation can cause both short- and long-term consequences to the bone marrow stem cells from which blood and immune-system cells are created. Because the interior of a spacecraft is so small, a weakened immune system and more active viruses in the body can lead to a fast spread of infection.


title: Human spaceflight

text: During long missions, astronauts are isolated and confined in small spaces. Depression, anxiety, cabin fever, and other psychological problems may occur more than for an average person and could impact the crew's safety and mission success. NASA spends millions of dollars on psychological treatments for astronauts and former astronauts. To date, there is no way to prevent or reduce mental problems caused by extended periods of stay in space.


title: Human spaceflight

text: Due to these mental disorders, the efficiency of astronauts' work is impaired; and sometimes they are brought back to Earth, incurring the expense of their mission being aborted. A Russian expedition to space in 1976 was returned to Earth after the cosmonauts reported a strong odor that resulted in a fear of fluid leakage; but after a thorough investigation, it became clear that there was no leakage or technical malfunction. It was concluded by NASA that the cosmonauts most likely had hallucinated the smell.


title: Human spaceflight

text: It is possible that the mental health of astronauts can be affected by the changes in the sensory systems while in prolonged space travel.


title: Human spaceflight

text: During astronauts' spaceflight, they are in an extreme environment. This, and the fact that little change is taking place in the environment, will result in the weakening of sensory input to the astronauts' seven senses.


title: Human spaceflight

text: Space flight requires much higher velocities than ground or air transportation, and consequently requires the use of high energy density propellants for launch, and the dissipation of large amounts of energy, usually as heat, for safe reentry through the Earth's atmosphere.


title: Human spaceflight

text: Since rockets have the potential for fire or explosive destruction, space capsules generally employ some sort of launch escape system, consisting either of a tower-mounted solid-fuel rocket to quickly carry the capsule away from the launch vehicle (employed on Mercury, Apollo, and Soyuz, the escape tower being discarded at some point after launch, at a point where an abort can be performed using the spacecraft's engines), or else ejection seats (employed on Vostok and Gemini) to carry astronauts out of the capsule and away for individual parachute landings.


title: Human spaceflight

text: Such a launch escape system is not always practical for multiple-crew-member vehicles (particularly spaceplanes), depending on location of egress hatch(es). When the single-hatch Vostok capsule was modified to become the 2 or 3-person Voskhod, the single-cosmonaut ejection seat could not be used, and no escape tower system was added. The two Voskhod flights in 1964 and 1965 avoided launch mishaps. The Space Shuttle carried ejection seats and escape hatches for its pilot and copilot in early flights; but these could not be used for passengers who sat below the flight deck on later flights, and so were discontinued.


title: Human spaceflight

text: There have been only two in-flight launch aborts of a crewed flight. The first occurred on Soyuz 18a on 5 April 1975. The abort occurred after the launch escape system had been jettisoned when the launch vehicle's spent second stage failed to separate before the third stage ignited and the vehicle strayed off course. The crew finally managed to separate the spacecraft, firing its engines to pull it away from the errant rocket, both cosmonauts landing safely. The second occurred on 11 October 2018 with the launch of Soyuz MS-10. Again, both crew members survived.


title: Human spaceflight

text: In the first use of a launch escape system on the launchpad, before the start of a crewed flight, happened during the planned Soyuz T-10a launch on 26 September 1983, which was aborted by a launch vehicle fire 90 seconds before liftoff. Both cosmonauts aboard landed safely.


title: Human spaceflight

text: The only crew fatality during launch occurred on 28 January 1986, when the Space Shuttle "Challenger" broke apart 73 seconds after liftoff, due to failure of a solid rocket booster seal, which caused the failure of the external fuel tank, resulting in explosion of the fuel and separation of the boosters. All seven crew members were killed.


title: Human spaceflight

text: Despite the ever-present risks related to mechanical failures while working in open space, no spacewalking astronaut has ever been lost. There is a requirement for spacewalking astronauts to use tethers and sometimes supplementary anchors. If those fail, a spacewalking astronaut would most probably float away impelled by forces that were acting on the astronaut at the time of breaking loose. Such an astronaut would possibly be spinning, as kicking and flailing would be of no use. At the right angle and velocity, the astronaut might even re-enter the Earth's atmosphere and burn up. NASA has protocols for such situations: astronauts would be wearing an emergency jetpack that would automatically counter any tumbling. NASA's plan states that astronauts should then take manual control of the jetpack and fly back to safety.


title: Human spaceflight

text: However, if the jetpack's of fuel runs out, and if there is no other astronaut in close proximity to help, or if the air lock is irreparably damaged, the outcome would certainly be fatal. At this time, there is no spacecraft to save an astronaut floating in space, as the only one with a rescue-ready air-locked compartment — the Space Shuttle — retired years ago. There is approximately a litre of water available via straw in an astronaut's helmet. The astronaut would wait roughly 7.5 hours for breathable air to run out before dying of suffocation.


title: Human spaceflight

text: The single pilot of Soyuz 1, Vladimir Komarov, was killed when his capsule's parachutes failed during an emergency landing on 24 April 1967, causing the capsule to crash.


title: Human spaceflight

text: On 1 February 2003, the crew of seven aboard the were killed on reentry after completing a successful mission in space. A wing-leading-edge reinforced carbon-carbon heat shield had been damaged by a piece of frozen external tank foam insulation that had broken off and struck the wing during launch. Hot reentry gasses entered and destroyed the wing structure, leading to the breakup of the orbiter vehicle.


title: Human spaceflight

text: There are two basic choices for an artificial atmosphere: either an Earth-like mixture of oxygen and an inert gas such as nitrogen or helium, or pure oxygen, which can be used at lower than standard atmospheric pressure. A nitrogen–oxygen mixture is used in the International Space Station and Soyuz spacecraft, while low-pressure pure oxygen is commonly used in space suits for extravehicular activity.


title: Human spaceflight

text: The use of a gas mixture carries the risk of decompression sickness (commonly known as "the bends") when transitioning to or from the pure oxygen space suit environment. There have been instances of injury and fatalities caused by suffocation in the presence of too much nitrogen and not enough oxygen.


title: Human spaceflight

text: A pure oxygen atmosphere carries the risk of fire. The original design of the Apollo spacecraft used pure oxygen at greater than atmospheric pressure prior to launch. An electrical fire started in the cabin of Apollo 1 during a ground test at Cape Kennedy Air Force Station Launch Complex 34 on 27 January 1967, and spread rapidly. The high pressure, increased by the fire, prevented removal of the plug door hatch cover in time to rescue the crew. All three astronauts—Gus Grissom, Ed White, and Roger Chaffee—were killed. This led NASA to use a nitrogen–oxygen atmosphere before launch, and low pressure pure oxygen only in space.


title: Human spaceflight

text: The March 1966 Gemini 8 mission was aborted in orbit when an attitude control system thruster stuck in the on position, sending the craft into a dangerous spin that threatened the lives of Neil Armstrong and David Scott. Armstrong had to shut the control system off and use the reentry control system to stop the spin. The craft made an emergency reentry and the astronauts landed safely. The most probable cause was determined to be an electrical short due to a static electricity discharge, which caused the thruster to remain powered even when switched off. The control system was modified to put each thruster on its own isolated circuit.


title: Human spaceflight

text: The third lunar landing expedition, Apollo 13, in April 1970, was aborted and the lives of the crew—James Lovell, Jack Swigert, and Fred Haise—were threatened after the failure of a cryogenic liquid oxygen tank en route to the Moon. The tank burst when electrical power was applied to internal stirring fans in the tank, causing the immediate loss of all of its contents, and also damaging the second tank, causing the gradual loss of its remaining oxygen over a period of 130 minutes. This in turn caused loss of electrical power provided by fuel cells to the command spacecraft. The crew managed to return to Earth safely by using the lunar landing craft as a "life boat". The tank failure was determined to be caused by two mistakes: the tank's drain fitting had been damaged when it was dropped during factory testing, necessitating the use of its internal heaters to boil out the oxygen after a pre-launch test; which in turn damaged the fan wiring's electrical insulation because the thermostats on the heaters did not meet the required voltage rating due to a vendor miscommunication.


title: Human spaceflight

text: The crew of Soyuz 11 were killed on 30 June 1971 by a combination of mechanical malfunctions; the crew were asphyxiated due to cabin decompression following separation of their descent capsule from the service module. A cabin ventilation valve had been jolted open at an altitude of by the stronger-than-expected shock of explosive separation bolts, which were designed to fire sequentially, but in fact had fired simultaneously. The loss of pressure became fatal within about 30 seconds.


title: Human spaceflight

text: , 23 crew members have died in accidents aboard spacecraft. Over 100 others have died in accidents during activity directly related to spaceflight or testing.


title: Band of Gypsys

text: Band of Gypsys is a live album by Jimi Hendrix and the first without his original group, the Jimi Hendrix Experience. It was recorded on January 1, 1970, at the Fillmore East in New York City with Billy Cox on bass and Buddy Miles on drums, frequently referred to as the Band of Gypsys. The album mixes funk and rhythm and blues elements with hard rock and jamming, an approach which later became the basis of funk rock. It contains previously unreleased songs and was the last full-length Hendrix album released before his death.


title: Band of Gypsys

text: After his appearance at Woodstock with an interim group that included Cox, Hendrix began developing new songs and recording demos. When Miles became involved, he and Cox agreed to record a live album with Hendrix to be used to settle a contract dispute with a former manager. The new material, influenced by Cox's and Miles' musical approaches, signals a new direction for Hendrix. Songs such as "Power of Soul" and "Message to Love" (originally "Power to Love" and "Message of Love") still maintain the dominant role of Hendrix's guitar, but show funk and R&B influences. Lyrically, they also explore new, more humanistic themes for Hendrix. The two songs written and sung by Miles bear the stylings of soul music. The anti-riot/anti-war "Machine Gun", draws on Hendrix's earlier blues aspirations, but incorporates new approaches to guitar improvisation and tonal effects.


title: Band of Gypsys

text: As the album's producer, Hendrix had a difficult time completing the task. Presented with the sometimes problematic recordings and resigned to turning it over to a different record company, Hendrix expressed his dissatisfaction with the final product. Shortly after its release, "Band of Gypsys" reached the top ten of the album charts in the US and UK as well as appearing in charts in several other countries. Although it was as popular as his albums with the Experience, it received mixed reviews. Some faulted the performances as tentative and underprepared; additionally, Miles' contributions on drums and vocals have been characterized as plodding and obtrusive. However, "Machine Gun" is generally regarded as the album's highlight and one of Hendrix's greatest achievements. The influence of "Band of Gypsys" is heard in the funk rock developments of the 1970s and has been cited as an inspiration by various later rock musicians. Reissues of the album on compact disc included three extra songs recorded during the Fillmore East shows, and additional material has been released on later albums.


title: Band of Gypsys

text: In 1969, Jimi Hendrix was under pressure from his manager and record company to record a follow-up to his hugely successful 1968 album "Electric Ladyland". He was also required to produce an album's worth of new material for Capitol Records in order to satisfy a contract dispute with former manager Ed Chalpin and PPX Enterprises. Capitol had released two misleading Chalpin-produced Curtis Knight albums with Hendrix on guitar, which competed directly with his own Experience albums. Additionally, Hendrix was becoming increasingly dissatisfied with the limitations of bassist Noel Redding and the Experience format. During the recording of "Electric Ladyland", he and producer Chas Chandler parted ways and Hendrix explored recording with new musicians and different musical styles. By the middle of the year, he had not completed any promising new material and Reprise Records resorted to issuing his April 1968 UK compilation album, "Smash Hits", with some new tracks for the North American market. A concert film for which he had performed at the Royal Albert Hall in London in February 1969 was wrapped up in legal disputes and its release was uncertain. In May, while en route to a concert performance in Toronto, Hendrix was detained and charged with illegal possession of narcotics. If convicted of the felony, he faced as many as 20 years in prison. On June 28, 1969, Hendrix announced he planned to work with new musicians, including a new bass player. The next day, after a potentially life-threatening riot following a concert in Denver, Colorado, Redding left the group to return to London and the Jimi Hendrix Experience came to an end.


title: Band of Gypsys

text: Hendrix then began experimenting with an expanded lineup for a limited number of American engagements. In addition to original Experience drummer Mitch Mitchell, he worked with bassist Billy Cox and second guitarist Larry Lee, as well as percussionists Juma Sultan and Gerardo "Jerry" Velez. Cox and Lee were two musicians with whom he had played in R&B bands in Tennessee in 1962, shortly after his stint in the US Army. The aggregation, often referred to as "Gypsy Sun and Rainbows", performed as the final act at the Woodstock Festival on August 18, 1969 (while introducing the group at Woodstock, Hendrix added "It's nothing but a band of gypsies"). After a couple more appearances, including a September 8 episode of the late night American television "The Dick Cavett Show" without Lee and Velez, the ensemble disbanded. Lee returned to Tennessee, Sultan and Velez left to pursue other opportunities, and Mitchell joined Jack Bruce's touring group.


title: Band of Gypsys

text: In October 1969, Hendrix and Cox began jamming and recording demos with drummer Buddy Miles. Miles had played with various R&B and soul musicians, as a member of the Electric Flag and fronting the Buddy Miles Express, both blues rock-R&B fusion groups. Miles was also a frequent jam partner of Hendrix and played the drums the year before on the two-part song "Rainy Day, Dream Away"/"Still Raining, Still Dreaming" for "Electric Ladyland". Cox and Miles expressed an interest in performing and recording a new album with Hendrix. Hendrix's manager, Michael Jeffery, saw the opportunity to record a live album during a New Year's performance at the Fillmore East and the trio began preparing for the upcoming concerts and new album. Between then and the end of December, the trio rehearsed at Juggy Sound Studios and recorded several demos at the Record Plant Studios in New York City, where Hendrix recorded much of "Electric Ladyland". After Hendrix's December 10, 1969, acquittal in his Canadian trial, the trio rehearsed their material at Baggy's Studios up until their first concert appearance on December 31. In an interview, Hendrix explained, "We spent 12 to 18 hours a day practicing this whole last week, straight ahead, and then we went into a funky little club and jammed down there to test it out". Early versions of some of the songs which eventually appeared on "Band of Gypsys" from two of the rehearsal sessions were released as "The Baggy's Rehearsal Sessions" by Dagger Records in 2002.


title: Band of Gypsys

text: As a new group, the Band of Gypsys needed to develop a repertoire. Several songs that had begun as ideas, jams, and demos with the Experience and Gypsy Sun and Rainbows (but unreleased) were carried over to the Band of Gypsys. These included "Lover Man", "Hear My Train A Comin'", "Izabella", "Machine Gun", "Bleeding Heart", "Stepping Stone", and "Message to Love". Three new songs featuring vocals by Buddy Miles were added: "Changes", "We Gotta Live Together" (both Miles compositions) and "Stop", an R&B song written by Jerry Ragovoy and Mort Shuman, which had been recorded by Howard Tate in 1968. Hendrix contributed new material as well, including "Power of Soul", "Ezy Ryder", "Earth Blues", "Burning Desire", and the riff for the jam song "Who Knows". The trio began rehearsing a set of songs for the four upcoming Fillmore shows.


title: Band of Gypsys

text: Many of these songs represent a change in Hendrix's music from his Experience repertoire. Biographer and later Hendrix producer John McDermott elaborates


title: Band of Gypsys

text: Most of the arrangements were developed through extensive jamming, with Cox's and Miles' playing influencing Hendrix's ideas. According to biographer Keith Shadwick, Cox explained in later interviews, "the process was based on building up rhythm patterns and that each pattern dictated the shape and character of a portion of a song in which it appeared". Record producer Alan Douglas witnessed the approach during a jam at the Record Plant and saw it as inefficient. On the other hand, Shadwick feels that it was necessary: "it seemed the only way available, especially as neither Cox nor Miles, in particular, were exactly swift on the musical uptake". Music journalist Charles Shaar Murray noted, "Cox's funky, uncluttered bass style would give Hendrix's new music a more solid, less frenetic underpinning [than Noel Redding's style]. In every way, Cox's function would be to provide the steadiness Hendrix so urgently required". Soft Machine drummer Robert Wyatt described Miles' style as "pleasantly messy ... He wasn't as tight as a Stax drummer [such as Al Jackson Jr. ] ... his rolls would clatter about a bit". However, his often described "fatback grooves" lay down a solid rhythmic foundation and the combination of Cox and Miles adds a "heavy, rolling fluidity which brings out a very different dimension in Hendrix's playing".


title: Band of Gypsys

text: The mix of improvisation and R&B/funk elements is evident in "Who Knows", which was the opening song for the second (after the brief "Auld Lang Syne") and third shows. It is a loose jam rather than a structured composition and during the performance for the second show Hendrix teases the audience with "I hope you don't mind us jamming a little bit, we're just messing around ... seeing what we're gonna play next". Built on Hendrix's guitar figure, "Who Knows" is framed by Cox's economical funk-blues bass line and Miles' steady drum beat, which Murray describes as "a thick, lazy twitch". Hendrix explores guitar phrases using different tones and effects between vocal sections. According to Cox, Hendrix used a new combination of effects for the first time. These included a Uni-Vibe phase shifter, an Octavia (developed for him by Roger Mayer during the recording of his first album), a Fuzz Face distortion box, and a wah-wah pedal. One mixture of them produces a "whistling, shimmering, ring-modulated tone so rich with upper harmonics" in the higher range, while in the lower range "it almost sounds like 'Froggy Went a-Courtin'' ... all these [lower] oct[ave]-intervals give it such a dramatic effect". His use of the wah-wah employs "rapid foot movement and wide sweeps [which] tend to make the melody fade in and out". Also, by using a triplet rhythm with the pedal, a polyrhythm with the prevailing 4/4 beat is created. The lyrics, some which borrow from other R&B songs, are also improvised and show considerable differences between the two renditions. As it unfolds, there is an R&B-style vocal call and response section between Hendrix and Miles, then separate vocal sections for each, which Miles follows with scat singing. During the middle section, most of the instrumentation drops out and returns with more Hendrix guitar tonal explorations before winding down at 8:23 (second show) and 9:32 (third show). While McDermott feels that the jam is underdeveloped and biographer Harry Shapiro criticizes Miles' vocals, Shadwick and writer David Henderson focus on the "easy groove" and "lilting flow". Besides adding a fresh rhythmic element to his music, it also gives Hendrix more room to experiment with different approaches and sounds on guitar.


title: Band of Gypsys

text: Similarly, the Buddy Miles song "We Gotta Live Together" is a jam piece. It forms the second part of a medley with "Voodoo Child (Slight Return)" and had only been performed once before at the Baggy's rehearsal room. The song features Miles attempting to engage the audience in a call and response "testifying" soul music-style vocal section, which was mostly edited out for the album release. Hendrix and Cox back Miles' vocal sections with parallel funk-style lines, before a guitar solo using Hendrix's new combination of effects. Shapiro comments


title: Band of Gypsys

text: "Changes" is another song written and sung by Miles and it benefits from more development and structure. Although it includes a prominent guitar line by Hendrix, it is Miles' showcase piece. The song was performed during each show with little variation, except for Miles' vocal improvisations. With these sections edited out, "Changes" is a relatively concise, soul music radio-friendly track. When Miles re-recorded it as "Them Changes", it became a "Billboard" top 40 Best Selling Soul Singles as well as appearing in the magazine's Hot 100 pop chart.


title: Band of Gypsys

text: The two Hendrix compositions, "Power of Soul" and "Message to Love", are also more structured and rehearsed songs. They represent Hendrix's new blending of funk, R&B, and rock together with a new lyrical approach. According to Shapiro, the lyrics reflect "a Jimi Hendrix who felt an increasing need to impart his compassionate vision of human potentiality [and a] move away from cynicism and bitterness". Cox and Miles provide strong instrumental backing, where the rhythm is "locked-in" or "deep in the pocket", a common feature of funk and R&B. (Nearly all of Hendrix's music, and contemporary rock in general, uses common or 4/4 time; "Manic Depression" (3/4 or 9/8), "Dolly Dagger" (5/4), "Stepping Stone" (8/8), and the slow blues ""Red House" and "Belly Button Window" (both 12/8) are among the exceptions.) Jazz innovator Miles Davis felt that Cox and Miles were the best rhythm section for Hendrix and freed him from the constraints of the Experience. Guitarist Jean-Paul Bourelly, who played with Davis, commented in an interview:


title: Band of Gypsys

text: "Machine Gun" is another song that Hendrix had spent more time developing. By the Fillmore East concerts, it became an extended guitar improvisational piece, which "would completely change the perception of Hendrix's capabilities as an improviser and musician", according to Shadwick. Although based on a "minor drone-blues" in the line of "Voodoo Child (Slight Return)", Hendrix's performance has been compared to jazz saxophonist John Coltrane's approach to improvisation. Miles Davis, with whom Coltrane had recorded several albums in the 1950s, including the influential "Kind of Blue", noted the connection: "Jimi liked what I had done with "Kind of Blue" and some other stuff and wanted to add more jazz elements to what he was doing. He liked the way Coltrane played with all those sheets of sound, and played his guitar in a similar way". From Hendrix's dedication of the song "to all the soldiers that are fighting in Chicago and Milwaukee and New York, oh yes, and all the soldiers fighting in Vietnam", "Machine Gun" is as much about the late 1960s American race riots as the war in Vietnam. Guitarist Vernon Reid describes it as "like a movie about war without the visuals. It had everything—the lyrics, the humanism of it, the drama of it, the violence of it, the eeriness of it, [and] the unpredictability of it". In many commentaries about "Band of Gypsys", "Machine Gun" is singled out as the highlight of the album. Both McDermott and Shadwick call it one of Hendrix's greatest achievements, which sets a standard that the rest of the album does not approach.


title: Band of Gypsys

text: The material for "Band of Gypsys" was recorded over two consecutive nights at the Fillmore East. The group was scheduled for two shows on December 31, 1969, and another two on January 1, 1970 (because the shows went beyond midnight, the actual dates were December 31 – January 1 and January 1–2; for ease of reference, these are referred as the first show, second show, third show, and fourth show). The recording was supervised by Wally Heider, an experienced sound engineer who ran a recording studio and had made several live recordings. He had already recorded Hendrix live several times, including at the Monterey Pop Festival in 1967 and Woodstock in 1969. Portable recording equipment was set up at the venue and the trio performed for a soundcheck in the afternoon.


title: Band of Gypsys

text: Concert promoter Bill Graham billed the performances as "Jimi Hendrix: A Band of Gypsys", but Hendrix's new direction since the breakup of the Experience six months earlier had not been publicized. With a new lineup and material, Cox observed, "We didn't know what to expect from the audience and the audience didn't know what to expect from us". 24 different songs were performed over the four shows, for a total of 47 recorded versions. The group did not prepare set lists or otherwise plan for their performances. McDermott notes, "Hendrix called out tunes to Miles and Cox and would often make time and tempo changes on the fly, alerting his partners with a simple head nod or raising of his guitar neck". Miles also saw improvisation as a key element of their approach. According to Shadwick, the first show was essentially a warm-up set and they performed eleven new songs (it was the only show not to include any familiar Experience songs). There were some microphone problems during the first two songs, which re-appeared for the first two songs of the second show as well. Hendrix also experienced tuning problems with his guitar. His heavy use of the Stratocaster's vibrato arm or "whammy bar" stressed the strings and led to pitch problems, which he was often forced to correct mid-song. For the second show, in addition to new songs, Hendrix added "Stone Free", "Foxey Lady", "Voodoo Child (Slight Return)", and "Purple Haze".


title: Band of Gypsys

text: On the second night, the group performed a mix of new and older material for the third and fourth shows. The contrast between the first and second nights has been noted by Hendrix biographers. Based on interviews with Cox and Miles, concert reviews, and film footage, McDermott and Shadwick conclude that Hendrix was less animated during the third and fourth shows, when he stood mostly in place until the final encores, seemingly concentrating on recording. In frequent interviews and in his autobiography, Bill Graham claimed that his criticism of Hendrix for playing to the audience (although he seems to confuse which shows) spurred him on. However, according to McDermott, Hendrix was already determined to deliver suitable performances to finally settle the bitter legal dispute with Ed Chalpin. All of the six songs that were chosen for "Band of Gypsys" were recorded on the second night during the third and fourth shows. After the main set, Hendrix played for his last encores "Wild Thing", "Hey Joe", and "Purple Haze".


title: Band of Gypsys

text: On January 12, 1970, Hendrix and recording engineer Eddie Kramer began the task of deciding which songs to include on the new album (Cox and Miles did not participate in the process). The review and subsequent audio mixing was undertaken at Juggy Sound Studios in New York, where the trio started rehearsing in October. Excluding Experience and cover songs, there were multiple versions of thirteen new, previously unreleased songs from which to choose. Among those that received Kramer's and Hendrix's attention were "Machine Gun", "Earth Blues", "Burning Desire", "Ezy Ryder", "Who Knows", and "Hear My Train A Comin'". Early on, Hendrix chose to include the Buddy Miles songs "Changes" and "We Gotta Live Together". He also decided on "Power of Soul" and "Message to Love", studio versions of which had been considered for release as a single (these studio recordings were later included on "South Saturn Delta" and ""). Songs with recording problems and those Hendrix wished to complete as studio recordings were withheld (studio versions of "Izabella" and "Stepping Stone" were released as a single in March; "Ezy Ryder" and "Earth Blues" were included on his first posthumous albums).


title: Band of Gypsys

text: By January 21, Hendrix and Kramer narrowed the list to "Message to Love" (fourth show), "Hear My Train A Comin'" (first show), "Power of Soul" (third and fourth shows), and all four recordings of "Machine Gun". Hendrix and Kramer began preparing mixes of the multitrack recordings. During the process, Kramer recalled


title: Band of Gypsys

text: One of Miles' songs, "We Gotta Live Together" was pared down from fifteen to a little over five minutes and another, "Changes", also benefited from trimming, because, as Murray puts it, "a little of [Miles' vamping] goes an extremely long way". This editing also provided some lighter moments. One of Jeffery's assistants recalled, "Hendrix played me a tape and prefaced it by saying it represented the new direction in his music. He had made up this long loop of tape of the portions edited out of 'We Gotta Live Together'. I flipped out and he started cracking up". After several more editing and mixing sessions at Juggy Sound, the material for the album was readied on February 17. The following day, Hendrix and Kramer met with Bob Ludwig, who supervised the final mastering. Hendrix chose to work with his own mastering engineer, because he had been dissatisfied with his record company's results for "Electric Ladyland". The task was completed on February 19, 1970, and the final track listing included two songs from the third show and four from the fourth and last show.


title: Band of Gypsys

text: According to Shadwick, "The process of choosing and mixing the live album was not a pleasant one: Hendrix only fulfilled his legal obligation to PPX/Capitol under duress and with the greatest reluctance". McDermott questions why some superior tracks that Hendrix recorded were not used instead. Kramer sees it as a compromise:


title: Band of Gypsys

text: Early on, Billy Cox believed that the primary goal was to resolve the matter with Chalpin. Later, he commented, "Overall, the feeling was, 'What the heck, the album doesn't belong to us anyway. Let's just move on and forget it'". Already past the 1969 deadline, Hendrix summed it up:


title: Band of Gypsys

text: On February 25, 1970, Michael Jeffery delivered the master tapes for "Band of Gypsys" to Capitol Records executives in Los Angeles. Capitol rush released the album one month later on March 25, and it entered "Billboard" Top LPs chart at number eighteen. It reached number five during a stay of 61 weeks on the chart and, at the time of his death, was Hendrix's best selling album in the US since "Are You Experienced". Due to legal wrangling by Ed Chalpin and PPX, the album was not released in the UK for nearly two more months. When Track Records issued it on June 12, 1970, it quickly entered the British charts, where it remained for 30 weeks and reached number six.


title: Band of Gypsys

text: For the album cover, Capitol Records used a grainy photograph of Hendrix taken during the Fillmore East shows illuminated by the multi-colored liquid light show projected by the Joshua Light Show. However, Track used album cover art which proved controversial, as they had done with "Electric Ladyland". It depicted unflattering puppets or dolls that resembled Hendrix, Brian Jones, Bob Dylan, and John Peel huddled next to a drab, corrugated backdrop. The significance of posing the three with Hendrix was not evident as they had no known association with the Band of Gypsys nor the group's material. Hendrix was an admirer of Dylan and recorded some of his songs; Jones, who died the year before, had participated in a recording session for Hendrix's "All Along the Watchtower" (a Dylan composition); and Peel hosted BBC's "Top Gear" radio show when Hendrix performed there in 1967. Jeffrey remarked, "If ever there is an award for the worst taste album cover it must go to this". Responding to public pressure, Track later replaced it with a photograph of Hendrix performing at the August 1970 Isle of Wight Festival.


title: Band of Gypsys

text: By the time of the album's release, the trio had already broken up. Their first show after the Fillmore East engagement was at the Madison Square Garden on January 28, 1970. There they struggled through "Who Knows" and "Earth Blues" before leaving the stage. Jeffery, who reportedly was never happy with the lineup, fired Buddy Miles on the spot. Gerry Stickells, Hendrix's tour manager, points to "Jimi's own lack of commitment to the Band of Gypsys concept as its fatal flaw". Two songs, "Stepping Stone" and "Izabella", that the trio had recorded, were issued as a single by Reprise Records two weeks after Capitol released "Band of Gypsys". Hendrix was dissatisfied with the mix and it was quickly withdrawn without ever appearing in the charts. Three other songs that were recorded with Cox and Miles were later used for early posthumous Hendrix albums, including "The Cry of Love" and "Rainbow Bridge". Additional studio recordings by the trio in various stages of development were released on "South Saturn Delta", "The Jimi Hendrix Experience" box set, "Burning Desire", "West Coast Seattle Boy", and "People, Hell and Angels".


title: Band of Gypsys

text: "Band of Gypsys" has been viewed by some rock critics less favorably than Hendrix's three studio albums with the Experience. According to writer Jeremy Wells, "critics have usually seen the Band of Gypsys' one album as the least significant of the recordings Hendrix released during his lifetime". Reviewing for "Rolling Stone" in 1970, music journalist Gary von Tersch said that the album is hampered by poorly recorded vocals and Miles' unpleasant drumming, and instead viewed it as a showcase for Hendrix's virtuosic guitar playing: "With just bass and drum support he is able to transfuse and transfix on the strength of his guitar-work alone." The magazine's David Wild was more enthusiastic in a retrospective review and felt that songs such as "Message of Love" and "Machine Gun" still sound powerful in spite of the unclear recording quality.


title: Band of Gypsys

text: According to Sean Westergaard of AllMusic, "Band of Gypsys" is one of the best live albums of all time and an important recording for Hendrix, who played with a remarkable degree of focus and precision on what were "perhaps his finest [live] performances." Sputnikmusic's Hernan M. Campbell believed that it departed from his more psychedelic recordings with the Jimi Hendrix Experience, but still retained their intensity, particular on "Machine Gun", which Campbell called one of Hendrix's most captivating performances. On the other hand, Robert Christgau felt that the "overrated" album is decent by live rock standards, but unexceptional in Hendrix's discography. Christgau also believed that Hendrix is limited by the straighter, simpler rhythm section, but added that "Who Knows" and "Machine Gun" "are as powerful if not complex as anything he's ever put on record". He stated that Hendrix is more reliant on wah-wah guitar lines for the second half of the album, except for the "rapid fire" "Message to Love".


title: Band of Gypsys

text: Writer Rickey Vincent describes "Band of Gypsys" as "a never-heard-before amalgam of punishing guitar riffs over crisp rhythm and blues grooves ... The funk-rock sound would change the face of black music, setting a template for the spectacular glam-funk of the 1970s". Murray sees their influence in the early 1970s radio hits "Freddie's Dead" by Curtis Mayfield and "That Lady" by the Isley Brothers. (Hendrix was influenced by Mayfield early in his career and was a member of the Isley Brothers' touring band before the Experience). George Clinton and Parliament-Funkadelic, who defined funk for the 1970s, were also influenced. P-Funk's "Maggot Brain", a ten-minute guitar opus by Eddie Hazel, draws on "Machine Gun" and bassist Bootsy Collins identified Hendrix as a chief innovator in the liner notes to his "What's Bootsy Doin'?" album. Later funk-influenced artists Larry Blackmon (singer for Cameo) and Nile Rodgers (guitarist for Chic and record producer) also cite the album's importance and influence.


title: Band of Gypsys

text: In addition to funk rock, Murray sees the Band of Gypsys as "tread[ing] an intriguing path along the common border between hard funk and heavy metal; less psychedelic soul than black rock". Vernon Reid (guitarist for Living Colour) and Ice-T (singer for Body Count) have commented on the Band of Gypsys as an early influence. Trey Anastasio, guitarist for Phish, commented that "I remember, like many guitarists, being obsessed with Hendrix’s "Band of Gypsys". It was "the" record. I listened to that solo on 'Machine Gun' a million times". During interviews in the 1999 documentary "Band of Gypsys: Live at the Fillmore East", Reid, Velvert Turner, Slash, and Lenny Kravitz discuss "the inspiration and continuing influence that Band of Gypsys has provided".


title: Band of Gypsys

text: During the Band of Gypsys rehearsals in November 1969, Hendrix and Miles recorded the backing track for "Doriella Du Fontaine", with Lightnin' Rod (later known as Jalal Mansur Nuriddin) of the Last Poets. Although it was not released until 1984, McDermott cited it as " a pristine example of Hendrix's embrace of hip-hop during that music form's infancy". Writer Gene Santoro describes it as "foreshadow[ing] the rap-meets-metal crossover of later artists like Run-DMC". In 1990, the alternative hip hop group Digital Underground extensively sampled "Who Knows", the opening song from "Band of Gypsys", for "The Way We Swing" on the "Sex Packets" album. McDermott concludes that it would be difficult "to accurately measure the lasting impact "Band of Gypsys" has made on rock, funk, R&B, and Hip-Hop".


title: Band of Gypsys

text: On June 23, 2019, the Band of Gypsys were inducted into the Rhythm and Blues Music Hall of Fame, at the Charles H. Wright Museum of African-American History in Detroit, Michigan. Billy Cox, the last surviving member of the group was on hand to accept, along with representatives of the Buddy Miles and Hendrix estates.


title: Band of Gypsys

text: All tracks were written by Jimi Hendrix, except "Changes" and "We Gotta Live Together" by Buddy Miles, and "Stop" by Jerry Ragovoy and Mort Shuman.


title: Band of Gypsys

text: In the US, the Recording Industry Association of America (RIAA) first certified "Band of Gypsys" as a "Gold Record", signifying sales in excess of 500,000 copies, on June 3, 1970, less than two months after its release. On February 5, 1991, it achieved "Platinum Record" status (more than one million copies sold). After Capitol Records re-released the album on CD in 1997, it was given a "Double Platinum" award on January 16, 1998, for sales over two million. Additionally, the 1999 "Live at the Fillmore" documentary DVD has received a platinum award.


title: Band of Gypsys

text: "Band of Gypsys" was re-released on compact disc in 1991 by Polydor Records in Europe and Japan. In addition to the original tracks, it included three extra songs recorded during the Fillmore East shows: "Hear My Train A Comin'" from the first show and "Foxy Lady" and the Jerry Ragovoy and Mort Shuman song "Stop", both from the third show. These had been originally released in the US by Capitol Records in 1986 on the "Band of Gypsys 2" album (despite the title, only half of the album's songs were recorded with Cox and Miles). In 1997, when "Band of Gypsys" was re-released on CD in the US, Capitol only included the original six tracks.


title: Band of Gypsys

text: After Experience Hendrix, a family-run company, assumed control of his recording legacy, more material from the Fillmore shows has been issued. A longer version of "We Gotta Live Together", along with "Hear My Train", "Stop", and other songs are included on the 1999 double CD "Live at the Fillmore East". "Foxy Lady" was added to one version of the 2013 "Somewhere" single. An additional three songs from the second Fillmore show are included on "West Coast Seattle Boy". In 2016, the first show was issued as "". The box set "", released in 2019, contains 43 songs from all four shows. In addition to new recordings, it presents longer versions of "Changes", "Power to Love" (as "Power of Soul"), and "We Gotta Live Together".


title: Band of Gypsys

text: The trio was filmed performing two of the songs that are included on the original album. Black and white footage for part of "Who Knows" was filmed by Woody Vasulka from the hall, while Jan Blom shot "Machine Gun" from the balcony. It was later included on the 1999 DVD documentary "Band of Gypsys: Live at the Fillmore East".


title: Radha (actress)

text: Udaya Chandrika, better known by her screen/stage name Radha (born 3 June 1965), is an Indian actress, who predominantly appears in Tamil and Telugu films in addition to a few Malayalam, Kannada and Hindi films. She was one of the top heroine in the film industry for about a decade; from 1981 to 1991 (dominating the 80s era).


title: Radha (actress)

text: Her elder sister Ambika, was also an actress. Ambika and Radha acted together in a number of films, during the peak of their careers. They also co-owned a movie studio called "ARS Studios" in 1986. She appeared on television as one of the judges in the STAR Vijay Jodi Number One Season 7 and 8 Reality Dance program.


title: Radha (actress)

text: Radha hails from Kallara Village near Kilimanoor in a at Thiruvananthapuram District in Kerala. She was born as Udaya Chandrika on 3 June 1965 and is the third daughter of Karunakaran Nair and Sarassama. Her siblings are Ambika, Mallika, Suresh and Arjun. Her elder sister Ambika is also a popular actor of the Indian Silver Screen. The two sisters dominated the '80s and were an unavoidable factor in the South Indian film industry at the time.


title: Radha (actress)

text: Radha married hotelier Rajasekaran Nair on 10 September 1991. The couple has two daughters Karthika Nair, Thulasi Nair and one son Vignesh Nair. After her marriage in 1991, Radha chose to completely step away from the limelight of acting as she had already established herself as a superstar throughout the 80s era through her abundant work displayed in just a short span. Radha introduced her daughters Karthika Nair and Thulasi Nair. But both of them didn't have much interest in acting. When many fans requested Radha to do movies, she stated that she didn't have time to play in the movies further as Radha had been managing her business in Chennai, Kerala & Mumbai.


title: Radha (actress)

text: In 2021, Radha along with husband Rajasekaran Nair joined Bharatiya Janata Party. Rajasekaran Nair is the party's candidate from Neyyatinkara constituency for the 2021 Kerala Legislative Assembly election. Radha is otherwise active on social media, such as IG (Instagram) and others. She has also been involved with T.V shows as a judge for the following:


title: Radha (actress)

text: Radha started her career in 1981 starring as the protagonist in director Bharathiraja's Tamil film "Alaigal Oivathillai" alongside debutant Karthik. The movie was a runaway hit and is regarded as a cult classic. The on-screen chemistry that she shared with Karthik was highly successful and led to many movies such as "Ilanjodigal", "Pakkathu Veetu Roja", "Valibamey Vaa Vaa" and "Nalla Thambi". Radha played a small role in the movie "Tik Tik Tik", which also starred legendary Tamil actor Kamal Haasan. "Tik Tik Tik" played a significant role in her career. Later, she starred alongside Haasan in many movies such as "Thoongadhey Thambi Thoongadhey" (1983), "Oru Kaidhiyin Diary" (1985), "Japanil Kalyanaraman" (1985) and "Kadhal Parisu" (1987).


title: Radha (actress)

text: She received a Filmfare Award for Best Actress – Tamil in "Muthal Mariyathai" in 1985 .At the 33rd National Film Awards, Radha was a strong contender for the Best Actress category, but was disqualified since her voice was dubbed by a different actress. The film was screened at the Indian Panorama section of the 1985 International Film Festival of India.


title: Radha (actress)

text: Ambika and Radha shared screen space in films such as "Enkeyo Ketta Kural" (1982), "Vellai Roja" (1983), "Idaya Kovil" (1985), "Manakanakku" (1986), "Kadhal Parisu" (1987) and "Annanagar Mudhal Theru" (1988). The two sisters were at the zenith of their fame when they acted in "Kadhal Parisu", in which they played the roles of very glamorous, highly desirable women. Ambika and Radha managed their careers very carefully, and after attaining considerable success, they were very selective about taking up roles in Tamil movies and only performed with top actors and directors. It was very rare to see both the sisters in the same movie after their early years in the Tamil film industry.


title: Radha (actress)

text: She also had commercial successes such as "Amman Kovil Kizhakale" (1986), "Mella Thirandhathu Kadhavu" (1986), "Ninaive Oru Sangeetham" (1987), "Jallikattu" (1987), "Sattam Oru Vilayaattu" (1987), "Uzhavan Magan" (1987) and "Rajadhi Raja" (1989). In Kollywood, she has performed alongside several top heroes such as Sivaji Ganeshan, Sivakumar, Rajinikanth, Kamal Haasan, K. Bhagyaraj, Vijayakanth, Sathyaraj, Mohan, Prabhu, Karthik, T. Rajendar and Arjun.


title: Radha (actress)

text: Her first Telugu film was with Shoban Babu in "Mr. Vijay" (1986). Her notable films in Telugu include "Shakthi" (1983), "Iddaru Dongalu" (1984), "Agni Parvatam" (1985), "Palnati Simham" (1985), "Simhasanam" (1986), "Yamudiki Mogudu" (1988), "Ramudu Bheemudu" (1988) and "State Rowdy" (1989). She acted in 19 films alongside superstar Krishna, 16 films with Chiranjeevi, 6 films with Balakrishna and worked with all major Telugu heroes such as NTR, ANR, Shoban Babu and many more. Her glamour roles and hot navel scenes were brought out by K. Raghavendra Rao and A. Kodandarami Reddy.


title: Radha (actress)

text: She has acted in 6 Kannada films. She acted alongside veteran Vishnuvardhan and actress Lakshmi in "Sowbhagya Lakshmi" (1986), a remake of the Hindi film "Maang Bharo Sajana," which in turn was a remake of a Telugu movie Kartika Deepam. She has done films with Ravichandran. In 1991, she did the action movie "Ranachandi" (1991) in which she played a cop with Sarath Babu as her husband and Mukhyamantri Chandru as the villain. A massive hit in Kannada, it is still remembered by Kannada movie-goers.


title: Radha (actress)

text: Though hailing from Kerala, she did not enjoy much success in Malayalam, unlike her sister Ambika (who had an equally successful career in Tamil, Kannada and Malayalam language films). She has acted only in six Malayalam films. Her most notable role was in K. G. George's state award-winning film "Irakal" in 1985; her portrayal of the character Nirmala is widely regarded as the best in her career. Her other significant role was in Sathyan Anthikad's "Revathikkoru Pavakkutty" (1986), where her costars were Bharat Gopy, Mohanlal and Menaka. She also produced a film "Ayitham" (1987), in which she played one of the lead characters, alongside Ambika (actress), Sukumaran and Mohanlal. "Innathe Program" (1991) was her last movie in Malayalam, which was also a hit.


title: Doug E. Fresh

text: Doug E. Fresh (born September 17, 1966) is a Barbados-born American rapper, record producer, and beatboxer, also known as the "Human Beat Box". The pioneer of 20th-century American beatboxing, Fresh is able to accurately imitate drum machines and various special effects using only his mouth, lips, gums, throat, tongue and a microphone.


title: Doug E. Fresh

text: In the early 1980s he formed the Get Fresh Crew with DJs Chill Will and Barry B and later added rapper Slick Rick. Two of their songs "The Show" and "La Di Da Di" are considered early hip hop classics. "La Di Da Di", in particular, is one of the most sampled songs in music history.


title: Doug E. Fresh

text: Doug E. Fresh was born in Barbados with other family roots in Trinidad and Tobago as well. Fresh's grandfather came to Harlem who raised him alongside his mother. Fresh went to a school with a music program, where he played drums, percussion and the trumpet. The school then cut the budget of the music department and Fresh had to return the trumpet back.


title: Doug E. Fresh

text: Fresh became acquainted with rapping from his brother bringing tapes of Grandmaster Flash and the Furious Five and DJ Hollywood into the house. Locally on the neighbourhood block there was a group called D & D Express with one of the members known as Teddy D, Teddy's nephews were making hip hop in the basement of a store playing on a turntable and experimenting with the echo chamber. It was there that Fresh would join in on the mic and start to rap. While in school he would write rhymes for poetry, as he was a big of fan of Langston Hughes, where he also won the local Langston Hughes award. During this time several local groups popped up including "Ray Von and Johnny Wa", "Harlem World", "Celebrity Club", and "Randy’s Place", the groups would throw parties in cafeterias of surrounding elementary and high schools in which Fresh would attend the parties. In Fresh's personal crew he had Damon and James who were cousins, as a group they were big fans of The Cold Crush Brothers so they named themselves the "Cold Cash Crew". At this time Fresh went by several names including "Dougie Doug", "Dougie D", "Law-D", "Dougie Doug the Prince of Love", and "Christian D and the Criss Cross Crew". The name Doug E. Fresh came from someone at school doing an art piece of his name on the wall and he told them to list him as "Dougie’s Fresh" but the person incorrectly spelled it out as "Doug E. Fresh" instead. With his new name he would go to other schools and rap battle.


title: Doug E. Fresh

text: As for beatboxing, walking home after school every day Fresh would pass by the mom and pop record shop owned by Bobby Robinson where records would play outside of the store to passerby's. He would hear records from artists like Grandmaster Flash, Spoonie Gee, Funky 4 + 1, and practice humming along to the bass-lines of the songs. He was further encouraged at the apartment of his friend DJ Barry Bee who was also a member of the "Get Fresh Crew" later on. One day outside listening to records, Fresh would try beatboxing in between records to which his friends reacted enthusiastically. Word of Fresh’s skills spread further at a party in a park in the "Lincoln Projects" in East Harlem, where he rapped and beatboxed live. Another event came soon after where Kurtis Blow, who produced for The Fat Boys, lacked turntables and needed instrumentals for then so he recruited Fresh to beatbox.


title: Doug E. Fresh

text: Fresh began his recording career as a solo artist; he was among the last artists on Enjoy Records and one of the first on Vintertainment Records (the same New York-based label owned by Vincent Davis that would later make a name for hip-hop artist Joeski Love and bring R&B singer Keith Sweat to ultimate fame). He and a new team of DJs known as the Get Fresh Crew (Barry Bee and Chill Will), along with newcomer MC Ricky D (who would later achieve fame as Slick Rick), came to fledgling New Jersey-based hip-hop label Danya/Reality Records the following year and recorded "The Show", which borrowed the melody of the "Inspector Gadget" theme by Shuki Levy. They also recorded "La Di Da Di", a tune that was completely voiced by MC Ricky D and backed by Doug E. Fresh's beatboxing for the entire duration of the song. The release of these two songs as a 12" single launched Doug E. Fresh (and Slick Rick) into stardom. Both songs are considered among the greatest early hip-hop classics. "The Show" peaked at #7 on the UK Singles Chart in December 1985.


title: Doug E. Fresh

text: Doug E. Fresh was interviewed in the 1986 cult documentary "Big Fun In The Big Town". Slick Rick left the group almost a year after the release of "The Show"/"La Di Da Di" single, reappearing in 1988 as a Def Jam artist and releasing his debut album, "The Great Adventures of Slick Rick". Doug E. Fresh and the Get Fresh Crew continued on, now officially signed to Danya/Reality/Fantasy, by releasing "Oh, My God!" in 1986, which included the hit song "All The Way To Heaven". In 1988, "The World's Greatest Entertainer" was released, featuring the song "Keep Risin' To The Top", which was named after Keni Burke's then-obscure 1981 hit "Rising To The Top" (which has since become Burke's signature song). Doug E. Fresh's "Keep Risin' To The Top" also samples the main chorus of Heatwave's 1976 classic "Ain't No Half Steppin'," which Big Daddy Kane also sampled that same year for his song of the same name.


title: Doug E. Fresh

text: In 1992, after a four-year hiatus, Fresh joined MC Hammer's label Bust It Records and issued the album "Doin' What I Gotta Do", a commercial failure despite some minor acclaim for the single "Bustin' Out (On Funk)", which sampled Rick James's 1979 single "Bustin' Out".


title: Doug E. Fresh

text: In 1993, Fresh found a new home at Island Records-affiliated label Gee Street. However, he only released one single containing three songs: "I-ight (Alright)" (the main track), "Bounce" and "Freaks". Although "I-ight" (which originated the now-famous club chant "Heyyyyyy, YO!... I-iiiiight?") was slated to become the first major hit for Doug E. Fresh in five years, it was almost immediately overshadowed by "Freaks", a dancehall tune beatboxed entirely by Doug E. Fresh and vocalized mainly by his protégé, a Brooklyn-born Jamaican teenage newcomer named Vicious. The song received major radio and club play, followed by video play in early 1994. Vicious would soon ink a deal with Sony Music's Epic Records for three years, although he would only release one album, "Destination Brooklyn".


title: Doug E. Fresh

text: In 1995, Slick Rick and Doug E. Fresh reunited for a track on an album titled "Play", which received positive reviews; Bret Love wrote, "A welcome flashback to the days when guns, drugs, sex, and violence were not the genre's primary lyrical focus." Also on the "Play" album was "Freak It Out", which featured Uncle Luke, was produced by platinum producer Frankie Cutlass and appeared on the "Don't Be a Menace to South Central While Drinking Your Juice in the Hood" soundtrack. "Play" was certified gold by the RIAA.


title: Doug E. Fresh

text: On May 23, 2007, he performed variations on "The Show" with finalist Blake Lewis on the sixth-season finale of "American Idol", the first ever hip-hop performance on the show.


title: Doug E. Fresh

text: In 2010, Fresh resurfaced when rap group Cali Swag District brought back some of his trademark dance moves for their song "Teach Me How to Dougie." Members of Cali Swag District saw Texas college students doing a local dance created in Dallas called the "D-Town Boogie". They recognized it as a modified version of Fresh's dance moves and created a song that would feature the dance and would also give Fresh his due credit.


title: Doug E. Fresh

text: On June 27, 2010, Fresh performed with Cali Swag District on "Teach Me How to Dougie" at the BET Awards pre-show. He also performed a concert called "The Show" at the Paradise Theater on August 12, 2010. On November 8, 2010, Fresh appeared at the Soul Train Awards, where he taught CNN anchor Wolf Blitzer how to Dougie on stage as part of the show. On December 10, 2010, Fresh appeared on "ESPN First Take" to speak about the phenomenon of the Dougie as a sports celebration and voted on the best sports-related Dougie dances, selecting that of host Skip Bayless, though he rated Wolf Blitzer's Dougie at the Soul Train Awards as better but with no sports association.


title: Doug E. Fresh

text: On October 28, 2011, Fresh performed at the Paradise Theater in a concert to benefit New York City's public hospitals; the show was part of "STAT! for NYC's Public Hospitals" to raise funds to reduce gun violence. On July 9, 2012, Fresh served as a celebrity judge on the Apollo Live TV show. Beginning May 25, 2013, Fresh hosted a classic hip-hop and R&B show called "The Show" on New York's 107.5 WBLS, which aired 9:00-11:00 p.m. Saturday nights until the final broadcast on December 31, 2016.


title: Doug E. Fresh

text: Fresh served as a guest mentor to Jeff Dye and Joe Jonas, and performed with them, on the show "I Can Do That" on June 30, 2015.


title: Doug E. Fresh

text: Fresh was awarded the Lifetime Achievement Award at 2019 American Beatbox Championships for his achievements in the music industry, as well as his role as a leading figure in the world of beatboxing. Prior to receiving the award, Fresh presented the Lifetime Achievement Award to Rahzel in 2017.


title: Doug E. Fresh

text: On September 24, 2021, he released his first full-length album since 1995, titled "This One's for Chuck Brown: Doug E. Fresh Salutes The Godfather of Go-Go".


title: Doug E. Fresh

text: Fresh is a member of the Church of Scientology. He performed for a large audience at the Scientology Celebrity Center's Anniversary Gala in 2004. He also performed two tracks on the Scientology music album "The Joy of Creating" (other artists appearing included Isaac Hayes, Chick Corea, Edgar Winter and Carl Anderson).


title: Doug E. Fresh

text: In April 2007, a storefront for "Doug E.'s Chicken and Waffles" appeared at the corner of 132nd Street and Adam Clayton Powell Boulevard in Harlem. Work continued on the location for over three years until the eatery finally opened its doors in November 2010. The inspiration to open came from Sylvia's The location closed permanently in 2015. In 2013 he had plans of opening a 2nd restaurant. Fresh has stated he has a club called Fresh.


title: Doug E. Fresh

text: In 2008 Fresh dealt with foreclosure with $3.5 million in unpaid mortgages on 3 homes, several thousands in credit card debt, and a tax lien issued from the IRS.


title: Doug E. Fresh

text: Fresh has a foundation called "Hip Hop Public Health" and has been the spokesperson for the Hip Hop Public Health Education Center at Harlem Hospital Center.


title: Doug E. Fresh

text: Fresh has six sons and manages Square Off, the hip-hop group of his sons Dayquan "Slim" Davis and Solomon "Trips" Davis. Square Off released their debut CD entitled "Money, Moet & Memories" in June 2011. The digital-only release was orchestrated completely by the brothers with little assistance from their father. "When he is involved in something, that's us coming to him...mainly everything we do is our concepts, our own direction," Slim said to the New York Daily News.


title: Doug E. Fresh

text: In 2019 he filed a $1 million lawsuit with a property developer over a delayed construction project impacting his quality of life as a neighbour.


title: Paula Marshall

text: In 1990, Marshall had a guest role as Iris West, the love interest of Flash (Barry Allen) in the pilot episode on the short-lived "Flash". In 1991, she guest-starred on "Superboy" with a young Clark Kent before he called himself Superman, playing the villainous Christina Riley, a woman who is, in secret, a werewolf. Both series are part of DC Comics media. In 1992, Marshall had a three-episode guest role on "The Wonder Years" and later guest-starred on shows such as "Seinfeld", "Nash Bridges", "Grapevine" and "". Later in 1992, she appeared in the movie "" as Terri. In 1994, she got her first sitcom role on "Wild Oats". In 1995, Marshall starred in the science fiction cult classic "W.E.I.R.D. World", directed by William Maloneas, as Dr. Abby O'Reardon, an evil scientist who rejuvenates her boss (and later becomes his mother) and is bent on turning grown men into babies. After a few years in B movies, Marshall gained a role on 1997's "Chicago Sons". The same year, she landed a recurring role on "Spin City" and starred with Bette Midler and Dennis Farina in the film "That Old Feeling", where her character fell in love with the paparazzo played by Danny Nucci.


title: Paula Marshall

text: Marshall has been cast in several pilots that were not picked up, including the Elizabeth Lackey series "Cooking Lessons" and Rob Thomas's "Sticks".


title: Paula Marshall

text: Marshall was on Rob Thomas's "Cupid", premiering in 1998. It featured her as Dr. Claire Allen, a psychiatrist supervising a man named Trevor (Jeremy Piven) who thinks he is Cupid. Marshall then joined David E. Kelley's "Snoops" about an unconventional detective agency.


title: Paula Marshall

text: In 2000, Marshall returned to television screens: first with a three-episode guest appearance as a porn star and love interest for Jeremy (Joshua Malina) on Aaron Sorkin's "Sports Night", and then in "Cursed" (a.k.a. "The Weber Show"). In 2002, she guest starred on "Just Shoot Me!" as the daughter of Nina Van Horn.


title: Paula Marshall

text: "Hidden Hills" was an offbeat comedy about three families in suburbia. Marshall also had a secondary role in the Steve Martin-Bonnie Hunt remake of "Cheaper by the Dozen" and a cameo appearance in "Break a Leg", which starred her husband Danny Nucci.


title: Paula Marshall

text: In 2004, Marshall appeared in an episode of the tv show "Miss Match", but the series was cancelled before it aired. In October, she had a four-episode role in "Veronica Mars", (created by Rob Thomas), and she reprised the role toward the end of season two. Marshall's next main role came in the sitcom "Out of Practice".


title: Paula Marshall

text: In 2007, Marshall appeared in the Showtime series "Californication". She also was seen in the FX series "Nip/Tuck" as an insecure actress who dated Dr. Sean McNamara.


title: Paula Marshall

text: Marshall starred on the CBS sitcom "Gary Unmarried". She and Jay Mohr played a divorced couple sparring while trying to be loving parents to their two children. The show was her first to be picked up for a second season.


title: Paula Marshall

text: In 2012, Marshall guest starred in an episode of "". She played the role of Kathy Veck, owner of an oil company.


title: Paula Marshall

text: In 2013, Marshall guest starred in two episodes of "Two and a Half Men" as Alan Harper's transgender girlfriend Paula.


title: Paula Marshall

text: Marshall is from Rockville, Maryland. She has been married to actor Danny Nucci since 2003, and the couple have a daughter.


title: Paula Marshall

text: She is the sister of Virginia politician Bob Marshall, who became widely known for proposing a "bathroom bill" (a law that would have limited transgender individuals access to public restrooms of their born sex) before his defeat by transgender candidate Danica Roem in the November 2017 state election. Paula Marshall attributed his defeat to "karma" for his "homophobic" acts.


title: Gerald's Game

text: Gerald's Game is a 1992 suspense novel by American writer Stephen King. The story is about a woman whose husband dies of a heart attack while she is handcuffed to a bed, and, following the subsequent realization that she is trapped with little hope of rescue, begins to let the voices inside her head take over.


title: Gerald's Game

text: The book is dedicated to King's wife Tabitha and her five sisters. Originally, the book was intended to be a companion piece to King's novel "Dolores Claiborne", with the connecting theme of two women in crisis caught in the path of an eclipse, though this aspect was greatly reduced by the time the books were published.


title: Gerald's Game

text: Jessie Angela Mahout Burlingame and her husband Gerald, a successful and aggressive lawyer, travel from Portland to their secluded lake house in western Maine near Kashwakamak Lake for a spontaneous romantic getaway. The titular "game" involves handcuffing Jessie to the bed for lovemaking, a recent addition to their marriage that Jessie only pretends to enjoy, though Gerald finds it exciting. This time, however, Jessie finds herself reluctant after being handcuffed to the bedposts and asks to stop, only to be ignored by Gerald, who pretends her protests are only part of their game. Realizing her husband is deliberately feigning ignorance and that he plans to rape her, Jessie lashes out, kicking Gerald in the chest. The shock causes him to have a fatal heart attack. He dies, leaving Jessie still handcuffed to the bed.


title: Gerald's Game

text: At first, Jessie is only horrified at her husband's death and fears the humiliation of being discovered semi-naked and handcuffed, but she quickly realizes the situation is far more dire: it is unlikely that she or Gerald will be missed for several days, no one will think to look for them at the lake house, and all the usual lake residents have gone for the season. There is a real possibility that Jessie will die if she cannot escape.


title: Gerald's Game

text: While Jessie frantically explores and rejects plans, a combination of panic and thirst causes her to hallucinate voices: "The Goodwife" or "Goody Burlingame," a Puritanical version of herself that undermines her escape attempts by insisting things will be fine and that she should wait to be rescued; "Punkin," a representation of Jessie as a 10-year-old girl; Ruth Neary, a college roommate whom Jessie abandoned after a conversation that strayed dangerously close to uncovering Jessie's childhood; and Nora, Jessie's former psychologist, whom Jessie likewise abandoned when Nora questioned Jessie's relationship with her father. Guided by these voices, Jessie realizes that "Goody's" advice to wait for rescue stems from a subconscious belief that she deserves to be trapped in this situation, even if it means her death. When she probes for the reason behind this self-destructive belief, Jessie is able to recall a long-repressed memory of being sexually abused by her father during a solar eclipse when Jessie was ten. Her father manipulated young Jessie into believing that she was complicit, resulting in lifelong feelings of shame and guilt. Jessie also remembers an inexplicable event in the aftermath of the abuse, during which she experienced a momentary psychic connection with an unknown woman. The memories cause Jessie to acknowledge how unhappy and controlling her marriage to Gerald was, leading her to suspect she gave up her independent and courageous spirit for the security of being Gerald's trophy wife.


title: Gerald's Game

text: Waking from an imaginary confrontation with all these characters to a dark bedroom, Jessie sees a tall, gaunt apparition, whom she initially mistakes for the spirit of her long-dead father and whom she nicknames "Space Cowboy" (after a 1969 Steve Miller song, used again later in "The Joker"). The figure shows her a wicker basket of jewelry mixed with human bones. Unsure if the figure is another hallucination, Jessie dismisses it, saying aloud it is "only made of moonlight," which seems to make it vanish. Her inner voices, however, believe the figure is real and that it will return to harm Jessie if she does not escape by the next night.


title: Gerald's Game

text: The following morning, Jessie manages to secure a drink of water from a glass on the bedside table. Refreshed and encouraged by her own ingenuity in getting the water, she renews her efforts to escape, first by trying to break the headboard, then by trying to slip off the bed and push it to the bureau where the keys are placed. Inspired by her memory of the eclipse, in which her father warned her not to cut herself on the smoked glass panes they used as eclipse viewers, Jessie breaks the water glass and uses a sharp shard to slice her wrist, giving herself a degloving injury to lubricate her skin enough to slide her right hand from the cuff. She is then able to escape the bed, reach the keys, and free her other hand, only to faint from blood loss. When she awakens, it is nearly dark and the Space Cowboy, now undeniably real, has returned. Jessie throws her wedding ring at his box of jewelry and bones, thinking that is what he wanted all along. Still dazed and weak with blood loss, she reaches her car and drives away, only to discover the Space Cowboy hidden in the back seat. Jessie crashes and is knocked unconscious.


title: Gerald's Game

text: Months later, Jessie is still recuperating from her ordeal. An attorney at Gerald's law firm assists her in covering up the incident to protect her and the law firm from scandal, but Jessie feels this is another version of burying her trauma, just as she buried her childhood abuse years before. To free herself, Jessie writes to the real Ruth, with whom she has not spoken in decades, detailing what really happened at the lake house and subsequent events. The "Space Cowboy" had turned out to be a serial killer and necrophile named Raymond Andrew Joubert who had been living in and robbing lake houses in the area. Jessie confronted Joubert at his court hearing, where Joubert mocked her "made of moonlight" statement, confirming that the encounter really occurred and causing Jessie to spit in his face. Being able to directly confront the man who once terrified her allowed her to face the other manipulative men in her life, including her father and Gerald, freeing her of fear and allowing her to deal more honestly with her past. She apologizes for abandoning Ruth, acknowledging that Ruth had confronted her with a truth she could not then face, and hopes they can resume their friendship. After mailing the letter, Jessie is able to sleep without nightmares for the first time since her ordeal at the lake house.


title: Gerald's Game

text: In May 2014, "Deadline Hollywood" reported that Mike Flanagan had been set to direct a film adaptation. In an interview with Rue Morgue in September 2016, Flanagan said that the film adaptation would premiere on Netflix. In October 2016, Deadline reported that Carla Gugino and Bruce Greenwood would star in the film as Jessie and Gerald Burlingame. On October 17, 2016, Flanagan tweeted indicating the first day of production had begun.


title: The Manhattan Transfer

text: The Manhattan Transfer is a Grammy award–winning vocal group founded in 1969 that has explored a cappella, vocalese, swing, standards, Brazilian jazz, rhythm and blues, and pop music.


title: The Manhattan Transfer

text: There have been two editions of the Manhattan Transfer, with Tim Hauser the only person to be part of both. The first group consisted of Hauser, Erin Dickins, Marty Nelson, Pat Rosalia, and Gene Pistilli. The second version of the group, formed in 1972, consisted of Hauser, Alan Paul, Janis Siegel, and Laurel Massé. In 1979, Massé left the group after being badly injured in a car accident and was replaced by Cheryl Bentyne. The group's long-time pianist, Yaron Gershovsky, accompanied the group on tour and served as music director. Trist Curless from the Los Angeles a cappella group m-pact became a permanent member in October 2014 following Hauser's death.


title: The Manhattan Transfer

text: In 1969, Tim Hauser formed a vocal group in New York City called The Manhattan Transfer after the novel by John Dos Passos. The group consisted of Erin Dickins, Marty Nelson, Pat Rosalia, and Gene Pistilli. This group made one album, "Jukin'" (Capitol, 1971), which looked at the jazz music of the past as well as rock and country genres unlike the later incarnations of the group. They were not picked up by Capitol Records for a second album, and the group broke up in 1973.


title: The Manhattan Transfer

text: Shortly thereafter, Hauser met Laurel Massé while he was a cab driver and she was his passenger. Soon after, he met Janis Siegel. During this time, session drummer Roy Markowitz, who had played with Janis Joplin, and recorded with Don McLean, attended a performance of the group and convinced Tim to change the group's direction. Roy was in the Broadway band of "Grease" and introduced one of its cast members, Alan Paul (who played the dual role of bandleader Johnny Casino and the Teen Angel), to Tim. Thus began another version of The Manhattan Transfer. After performing in clubs in New York City, the quartet asked Roy to produce a demo to present to Ahmet Ertegun at Atlantic Records. The demo was a success and Atlantic released its debut album with guest appearances by bona fide jazz musicians Randy Brecker, Jon Faddis, and Zoot Sims. "The Manhattan Transfer" (Atlantic, 1975) lacked the condescension of the previous album, presenting instead serious vocalese renditions of "Java Jive" and "Tuxedo Junction" and scoring a Hot 100 top 25 hit with the gospel-tinged "Operator." During the month of August 1975, the group hosted a four-week variety series on CBS-TV. The hour-long show was simply called "The Manhattan Transfer", aired on Sunday evenings, and for the most part concentrated on showcasing the talents of the group. Their next album, "Coming Out" (1976), produced "Chanson d'Amour," which was a number one hit in The U.K. and Ireland.


title: The Manhattan Transfer

text: In 1978, Laurel Massé was in a car accident and dropped out of the group. She was replaced by Cheryl Bentyne. The group's next album, "Extensions" (Atlantic, 1979), produced the hit "Twilight Zone/Twilight Tone", a song based on the TV series "The Twilight Zone" (including an impersonation of Rod Serling's narration from Alan Paul).


title: The Manhattan Transfer

text: "Extensions" featured a cover version of "Birdland", an instrumental by the jazz fusion group Weather Report, with lyrics by Jon Hendricks of Lambert, Hendricks, and Ross. One of the most popular jazz recordings of 1980, "Birdland" won the Grammy Award for Best Jazz Fusion Performance, while Janis Siegel won the Grammy Award for Best Vocal Arrangement.


title: The Manhattan Transfer

text: In 1981, the Manhattan Transfer made music history by becoming the first group to win Grammy awards for both popular and jazz categories in the same year. "The Boy from New York City", a cover of the 1965 success by The Ad Libs, reached the Top 10 on the Hot 100 and won them the award for Best Pop Performance by a Duo or Group with Vocal, and "Until I Met You (Corner Pocket)" earned them a Grammy Award for Best Jazz Vocal Performance, Duo or Group. Both of these songs appeared on the group's fifth album, "Mecca for Moderns" (Atlantic, 1981). In 1982, the group won another Grammy, for Best Jazz Vocal Performance, Duo or Group, for its rendition of "Route 66". The song was featured on the soundtrack to the Burt Reynolds film "Sharky's Machine".


title: The Manhattan Transfer

text: In September 1983, the group released the album "Bodies and Souls," with an urban-contemporary style which resulted in two R&B chart singles. The first was the No. 2 hit "Spice of Life", which was co-written by former Heatwave member Rod Temperton who had penned several hits for Michael Jackson. The single also reached No. 40 on the US pop chart and No. 19 in the UK. The other single, the ballad "Mystery" (#80 R&B, No. 102 Pop), was later covered by Anita Baker on her 1986 album "Rapture".


title: The Manhattan Transfer

text: In 1985, the group released two albums; the first was "Bop Doo-Wopp", which included both live and studio recordings, and the second was "Vocalese", which received twelve Grammy nominations—at the time making it second only to Michael Jackson's "Thriller" as the most nominated single album ever. The group won in two categories: Best Jazz Vocal Performance, Duo or Group, and Best Arrangement for Voices. This was followed by a live recording of many of these songs titled "Live". This concert, recorded in Japan, was also released on VHS and DVD, later titled "Vocalese Live".


title: The Manhattan Transfer

text: For their next album, "Brasil" (1987), the group headed south to work with Brazilian songwriters and musicians Ivan Lins, Milton Nascimento, Djavan and Gilberto Gil. "Brasil" won a Grammy for Best Pop Performance by a Duo or Group with Vocal.


title: The Manhattan Transfer

text: The group did not release any studio albums again until 1991, when they signed with the Sony Music label and released "The Offbeat of Avenues", featuring original material written or co-written by members of the quartet. Their efforts brought them their 10th Grammy award, for the song "Sassy". This was followed by the release of their first holiday album entitled "The Christmas Album" in 1992.


title: The Manhattan Transfer

text: Switching back to Atlantic Records as their distributor, they released "Tonin'" (a collection of R&B and popular successes from the 1960s), "The Manhattan Transfer Meets Tubby the Tuba" (a children's album), and their 1997 album "Swing" which covered 1930s-era swing music. Their final album for Atlantic was "The Spirit of St. Louis" in 2000, dedicated to the music of Louis Armstrong. The group was inducted into the Vocal Group Hall of Fame in 1998.


title: The Manhattan Transfer

text: The group signed to the Telarc label in 2003 to release "Couldn't Be Hotter", a live performance capturing many of the songs from "The Spirit of St. Louis". In 2004, the group released "Vibrate", another one of their "pastiche" albums, blending original tunes with older ones, pop, jazz and funk. "Vibrate" featured notable musicians such as bassist Will Lee and Steve Hass on drums. They also released, first in Japan, their second holiday album, "An Acapella Christmas", in 2005. The album was released in the U.S. in 2006.


title: The Manhattan Transfer

text: During 2006, the group released "The Symphony Sessions", a collection of some of their best known songs re-recorded with an orchestra, and also "The Definitive Pop Collection", a two-disc collection of the group's material from their time with Atlantic Records. They also recorded their first original title song for a movie, "Trail of the Screaming Forehead"; and, in late 2006, the group released a new concert DVD, "The Christmas Concert", and was broadcast by PBS.


title: The Manhattan Transfer

text: "The Chick Corea Songbook", a tribute to the works of American jazz musician Chick Corea, was released in September 2009. The album features an appearance by Corea himself on the track "Free Samba". Other prominent musicians on this recording are Airto Moreira, Scott Kinsey, Steve Hass, Alex Acuña, Jimmy Earl, John Benitez, and Christian McBride.


title: The Manhattan Transfer

text: In 2011, The Manhattan Transfer worked on an album of previously recorded, but never finished, songs to honor their 40th anniversary. "We are working on a project now that is called "The Vaults". Over the years, there are a lot of different songs that we recorded but never finished. We pull out from the archives a lot of these songs and are finishing them," said Alan Paul in an interview for Jazz FM radio in Bulgaria. One of the highlights of the album was a vocalese version of George and Ira Gershwin's "The Man I Love," based on an Artie Shaw and his orchestra performance of the composition, which had been slated for the "Swing" album.


title: The Manhattan Transfer

text: In 2011, while receiving treatment for Hodgkin's lymphoma, Cheryl Bentyne was replaced on stage for eight months by the soprano Margaret Dorn; Dorn replaced her again December 2013 (followed by Katie Campbell in early 2014) while Bentyne underwent further treatment. Tim Hauser was absent from the stage in 2013 and early 2014 as he recovered from spinal surgery; he was replaced on stage by bass/baritone Trist Curless of the a cappella group m-pact.


title: The Manhattan Transfer

text: In September 2013, one of the original members of the group, Erin Dickins, started a Kickstarter campaign to re-record "Java Jive" with the surviving original members. It featured Tim Hauser's scat musings, as well as a vocal arrangement by Marty Nelson, sung by Dickins, Nelson, Hauser and Gene Pistilli. The project was successfully funded on October 9, 2013 and released on the CD "Java Jive" on Dot Time Records.


title: The Manhattan Transfer

text: Tim Hauser died of cardiac arrest on October 16, 2014. Following Hauser's death, the group announced Curless would replace him.


title: The Manhattan Transfer

text: "Chanson d'Amour" was featured in "Are You Being Served", performed by all the staff of Grace Brothers department store in the final episode of the long running sitcom.


title: Chevrolet C/K (third generation)

text: The third generation of the C/K series is a range of trucks that was manufactured by General Motors. Marketed under the Chevrolet and GMC brands from the 1973 to the 1991 model years, General Motors gave this generation of the model line the "Rounded Line" moniker. Produced across 18 model years, this series is the third-longest produced model of American pickup trucks (behind only the Dodge D/W-series/Ram pickup and the Jeep Gladiator/Pickup).


title: Chevrolet C/K (third generation)

text: Introduced as the successor for the 1967–1972 "Action Line" C/K trucks, the third generation C/K expanded its product range to a four-door crew cab pickup truck for the first time alongside the traditional two-door pickup and chassis cab trucks. As with the previous generation, the model line served as the basis for the Suburban and Blazer/Jimmy full-size SUVs and shared body commonality with GM medium-duty commercial trucks.


title: Chevrolet C/K (third generation)

text: In early 1987, GM began to phase the fourth-generation C/K as a 1988 model on the all-new GMT400 platform. As the company began a multi-year transition between model lines, the Rounded Line generation was renamed from C/K to the Chevrolet/GMC R/V series to avoid model overlap. Serving as the basis for full-size SUVs and heavier-duty pickup trucks, the R/V series ended production after the 1991 model year.


title: Chevrolet C/K (third generation)

text: From 1972 to 1991, General Motors produced the Rounded Line C/K (later R/V) series in multiple facilities across the United States and Canada; the model line was also produced in South America in Argentina and Brazil.


title: Chevrolet C/K (third generation)

text: Development of the third-generation C/K trucks began in 1968; vehicle components underwent simulated testing on computers before the first prototype pickups were even built for real-world testing. The finished product would become revolutionary in appearance, breaking away from typical American pickup truck design of the era (including the cab). The exterior design underwent scrutiny in the wind tunnel to optimize its aerodynamics and fuel economy. While distinguished by its straight-lined and boxy appearance, GM named the third-generation C/K the "Rounded Line" series, succeeding the "Action Line" C/K trucks.


title: Chevrolet C/K (third generation)

text: The largely rectangular front fascia of the Rounded Line trucks (leading to the colloquial ""Square-body"" and ""Box-body"" nicknames from the media and public) led to many departures from previous generations of C/K truck design. As with GM cars, the hoodline of the C/K trucks was faired into the front fenders (replacing the clamshell design). While a wraparound windshield (from the Task Force trucks) was never under consideration, a more widely curved windshield (along with curved windshield glass) was added to the cab. To visually integrate the cab with the pickup truck bed, a shoulder line wrapped from fender to fender around the vehicle (on Fleetside/Wideside beds). To further reduce noise, the mast antenna was removed and was embedded within the windshield glass. The interior of the C/K trucks underwent major functional changes, replacing the completely flat dashboard with a sedan-style design, centering controls and gauges closer to the driver.


title: Chevrolet C/K (third generation)

text: Across its 18-year production, the third-generation C/K model line underwent several minor revisions. For 1981, the trucks underwent a mid-cycle revision. To accommodate the 1987 calendar-year introduction of the fourth-generation C/K for the 1988 model year, GM re-designated the third-generation C/K as the R/V series for 1987. Sold alongside its successor, the R/V series was produced through the 1991 model year.


title: Chevrolet C/K (third generation)

text: For 1973 and 1974, the C/K model line was given a recessed front grille with orange turn signals (GMC grilles were divided in thirds). For 1974, door-mounted drip moldings were added as an option (becoming standard in 1975).


title: Chevrolet C/K (third generation)

text: For 1975, the front fascia underwent a minor revision, with Chevrolet replacing the recessed grille with a flush-mounted design (appearing brighter in color); GMC introduced a six-segment grille (splitting the 1973–1974 grille in half). The trim lines underwent a major realignment, as Chevrolet introduced the Scottsdale and Silverado trims. In response to extended-cab Ford and Dodge pickups, a C20 four-door pickup with no rear seat is introduced, offering additional storage space.


title: Chevrolet C/K (third generation)

text: For 1976, engine displacement decals were removed from the grille; a voltage gauge replaced the ammeter in the instrument panel. In another change, the simulated woodgrain exterior trim is discontinued (woodgrain interior trim remains in use for door panels and the dashboard on upper-trim models). The optional wheelcovers were revised; a flatter design was introduced for both Chevrolet and GMC with black-painted accents.


title: Chevrolet C/K (third generation)

text: For 1977, the front fascia underwent a second revision, with both Chevrolet and GMC receiving larger-segment grille designs. On all trims, the interior received revised door panels (covering a larger portion of the doors). As an option, the C/K offered power windows and power door locks for the first time. The 1978 model year was distinguished by a redesigned fuel-filler door (replacing the exposed fuel cap); woodgrain dash trim (for the Cheyenne and Silverado) was replaced by brushed-aluminum trim.


title: Chevrolet C/K (third generation)

text: For 1979, the front fascia underwent a minor facelift. While sharing the same stamping as before, the vertical bars were painted dark gray; chrome trim incorporated the turn signal lenses, giving chrome to nearly the entire front fascia. In line with Fleetside/Wideside trucks, Stepside/Fenderside and Big Dooley trucks replace exposed fuel caps with fuel-tank doors.


title: Chevrolet C/K (third generation)

text: For 1980, the front fascia underwent an additional update. While GMC trucks carried over the same grille from 1979, Chevrolet trucks received an all-new grille (its first completely new design since 1974). Square headlights made their appearance for the first time on Silverado-trim models; lower-trim vehicles used a combination of the 1980 grille and the 1979 (round) headlight surround.


title: Chevrolet C/K (third generation)

text: The Rounded Line trucks underwent a mid-cycle redesign for the 1981 model year. Largely in response to the 1979 energy crisis, GM engineers again turned to wind tunnels to further reduce areas that hindered air flow and caused drag, along with shedding nearly 300 pounds of curb weight from the model line.


title: Chevrolet C/K (third generation)

text: While design changes were largely evolutionary (to preserve sales of the highly profitable model line), the body of the C/K trucks was completely reshaped forward of the windshield. While retaining a distinct shoulder line wrapping around the body, the front fenders were reshaped to include a lowered hoodline (relocating the side marker lights); the windshield wipers were now exposed.


title: Chevrolet C/K (third generation)

text: As part of the body facelift, the 1981 C/K pickup trucks received new grilles and redesigned front bumpers; Chevrolet grilles were split in the middle by a silver/black bar, with GMC grilles divided into ten squares. Square headlights became standard for the first time; base-trim trucks were fitted with two headlights and upper-trim trucks received four headlights (relocating the turn signal lenses to the front bumper). For the first time since 1975, fender badging was revised, with scripted badging replaced by block lettering (a design that would last through 1987). The interior underwent its own revision, receiving updates to the seats, door panels, and dashboard.


title: Chevrolet C/K (third generation)

text: For 1982, the front fascia underwent a trim revision, with a chrome bumper and a chrome-trim front grille becoming standard equipment. In a functional change, -ton and 1-ton trucks switched from 16.5-inch to 16-inch wheels (to adopt more commercially available tires). To denote the introduction of a 6.2 L diesel V8, vehicles with the diesel engine received fender and tailgate badging denoting the diesel engine.


title: Chevrolet C/K (third generation)

text: For 1983, the front fascia underwent a minor revision. Along with dropping the two-headlight configuration, Chevrolet and GMC received revised grilles (including the turn signals behind them). For 1984, the two-headlamp configuration returned for base-trim vehicles (relocating the turn signals from the grille to the headlamp surround).


title: Chevrolet C/K (third generation)

text: For 1985, the grille was changed for the last time (as the C/K). On two-tone Chevrolet trucks, the center of the grille was painted body-color (in place of silver); for the first time, C/K trucks were offered with optional cast-aluminum wheels.


title: Chevrolet C/K (third generation)

text: For the 1987 model year, GM renamed the C/K series as the R/V series. Largely intended to distinguish the C/K series from its GMT 400 successor (which would be produced alongside it), "R" was used for two-wheel drive and "V" for four-wheel drive; the nomenclature change was also applied to the vehicle identification number (VIN). The 1987 R/V models continued production at Janesville, St. Louis, and Flint; the new 1988 GMT400 trucks entered production December 8, 1986 at Pontiac East, Oshawa, and the new Fort Wayne plant.


title: Chevrolet C/K (third generation)

text: For 1988, in a visible exterior change, the R/V trucks received a fender-mounted radio antenna, deleting the windshield-integrated design used since 1973. In a trim change, GMC dropped its previous four-Sierra trim levels with a SL/SLX/SLE nomenclature; Chevrolet replaced the Custom Deluxe base trim with the return of the Cheyenne trim. To reduce model overlap, the -ton R/V pickup was discontinued (to shift buyers to the all-new fourth-generation C/K).


title: Chevrolet C/K (third generation)

text: For 1989, all R/V pickup trucks (and related SUVs) underwent their most visible facelift since 1981. While retaining the same fenders and hood from 1981 to 1988, the grille was redesigned for a nearly flush appearance, with much of the trim painted black. For both Chevrolet and GMC, two versions were designed; a twin headlight version was offered (for base trims) and a quad headlight version for all upgraded trims (and non-fleet Blazers and Suburbans). In another nomenclature change, the R/V series adopted the 2500/3500 series payload series for both GMC and Chevrolet.


title: Chevrolet C/K (third generation)

text: For 1990, the R/V series was reduced in size for a second time, as the 2500-series -ton trucks were discontinued. 1-ton crew-cab pickups and chassis cabs continued in production by Janesville while full-size SUVs were produced by Flint. GM had sent the tooling for the two-door cab production to Mexico (where it was produced for local markets through 1991). Medium-duty C/K trucks were discontinued, replaced by the GMT530 architecture.


title: Chevrolet C/K (third generation)

text: After an 18-year production run, 1991 marked the final year for the "Rounded Line" truck series. After trailing the rest of the C/K series for nearly five years, one-ton crew cab pickups, the Suburban SUVs, and the K5 Blazer/V-Jimmy all adopted the GMT400 architecture. To end nameplate confusion with its compact SUVs, GMC renamed the Jimmy as the GMC Yukon for 1992, with the Chevrolet K5 Blazer becoming the Chevrolet Tahoe for 1995.


title: Chevrolet C/K (third generation)

text: The third-generation C/K series was marketed by Chevrolet and GMC divisions. Marketed primarily as pickup trucks, the C/K trucks were also offered as chassis cab vehicles. Marketed in -ton, -ton, and 1-ton (nominal) payload series, C/K pickup trucks were offered in two cab designs, three bed configurations, and three wheelbase lengths.


title: Chevrolet C/K (third generation)

text: In response to the introduction of the Ford F-150, the Chevrolet "Big 10" high-GVWR -ton was introduced for 1976.


title: Chevrolet C/K (third generation)

text: Third-generation C/K pickups have a high tensile strength carbon steel ladder type frame with a "drop center" design. The steering system is a variable-ratio recirculating ball steering gear; hydraulic power assist was optional.


title: Chevrolet C/K (third generation)

text: On all pickup trucks, the model line was fitted with front self-adjusting disc brakes and rear finned drum brakes. Power-assisted brakes were optional, with either four-wheel hydraulic Hydra-Boost or Vacuum-Boost power assist.


title: Chevrolet C/K (third generation)

text: C-Series pickups included two-wheel drive and featured an independent front suspension (IFS) system with contoured lower control "A" arms and coil springs. Rear suspension (marketed as "Load Control" by GM) was dual-stage multi-leaf springs supporting a live rear axle, replacing the coil-spring configuration of the previous two generations. To further stabilize the rear axle under loads or acceleration, the rear shock absorbers were placed asymmetrically from one another (on each side of the rear axle).


title: Chevrolet C/K (third generation)

text: The wheelbase length was extended to 117.5 in (2,985 mm) for short wheelbase pickups, and 131.5 in (3,340 mm) for long wheelbase pickups. For 1-ton pickups, a dual rear-wheel option (called "Big Dooley") was introduced, alongside a four-door crew-cab; the latter used a 164.5-inch wheelbase on either single or dual rear wheels.


title: Chevrolet C/K (third generation)

text: Towing and payload capacity ratings for Rounded Line C/K-Series pickups varied (dependent on configuration). Factors such as engine and transmission combination, differential gear ratio, curb weight, and whether the pickup was two-wheel drive or four-wheel drive decided how much the pickup could safely tow or haul.