title: Meat Puppets

text: On August 17, 2017, original drummer Derrick Bostrom posted an update on his website derrickbostrom.net. He performed with Cris, Curt and Elmo Kirkwood at a concert honoring the Meat Puppets. It appears that, while Bostrom enjoyed himself, this was a one-off performance.


title: Meat Puppets

text: On July 8, 2018, it was confirmed that Bostrom had replaced Sahm as the drummer for the band, and that keyboardist Ron Stabinsky had joined, as well.


title: Meat Puppets

text: Meat Puppets have influenced a number of rock bands, including Nirvana, Soundgarden, Dinosaur Jr, Sebadoh, Pavement, and Jawbreaker.


title: Meat Puppets

text: Lou Barlow has said "Meat Puppets are the singularly most influential band on both Dinosaur Jr. and Sebadoh. I kick myself for not ever emphasizing this enough." J Mascis also noted "People thought we were a Meat Puppets rip-off at first."


title: Meat Puppets

text: In 2014, "Phoenix New Times" named "Meat Puppets" one of "The Most Influential Arizona Punk Records."


title: Candy Spelling

text: Carole Gene "Candy" Spelling (née Marer; born September 20, 1945) is an American author, theater producer, and philanthropist. She was married to Aaron Spelling from 1968 until his death in 2006.


title: Candy Spelling

text: Carole Gene Marer was born in Beverly Hills, California, to Augusta (née Rosen) and Merritt Marer, and grew up in a Jewish home. She has an elder brother, Anthony Marer (born July 24, 1942). Her father was a salesman who founded a chain of furniture stores. Although initially successful, the chain failed as a result of overexpansion. She attended Beverly Hills High School and Chouinard Art Institute in Los Angeles.


title: Candy Spelling

text: Spelling's autobiography, "Stories from Candyland", released in March 2009, hit "The New York Times" best seller list two weeks after publication. Her memoir, "Candy at Last", was published by Wiley in May 2014. She has written for TMZ and the "Huffington Post," among others.


title: Candy Spelling

text: In December 2011 and January 2012, Spelling produced and starred in "Selling Spelling Manor," a two-episode special for HGTV that documented the process of moving from and selling her 123-room, 56,500 square foot home. In 2013, she produced and starred in "Beyond Spelling Manor", a three-episode series about the construction of her subsequent residence, a $35m condominium, and her search for an apartment in New York City. The series also aired on HGTV.


title: Candy Spelling

text: Spelling began producing theater on Broadway in 2010. Her first co-production, "Promises, Promises", starred Sean Hayes and Kristin Chenoweth and was nominated for four Tony Awards. Her second Broadway show, "How to Succeed in Business Without Really Trying" opened with Daniel Radcliffe in the lead role. In 2012, she produced "Nice Work If You Can Get It", which was nominated for 10 Tony Awards and won for Featured Actor (Michael McGrath) and Featured Actress (Judy Kaye). 2013's "After Midnight", based on Duke Ellington's years at the Cotton Club, was nominated for seven Tony Awards with Warren Carlyle winning for Outstanding Choreography.


title: Candy Spelling

text: Spelling went on to produce "The Color Purple", the winner of the 2016 Tony Award for Best Revival of a Musical. Cynthia Erivo, who portrayed the character Celie, won the Tony for Best Performance by an Actress in a Leading Role in a Musical. In 2018, her production credits included "The Iceman Cometh", which starred Denzel Washington and received eight Tony Award nominations; the revival of the Rodgers and Hammerstein musical, "Carousel", which received Tony Awards for Best Featured Actress in a Musical (Lindsay Mendez) and Best Choreography (Justin Peck); and "Three Tall Women" by Edward Albee, which earned Tony Awards for Laurie Metcalf (Featured Actress) and Glenda Jackson (Lead Actress).


title: Candy Spelling

text: In 2012 Spelling was named to the board of directors of American Humane, an animal welfare organization. She was named vice chair of the board in 2015. She is a member of the UCLA Health System Board, a member of the board of the Los Angeles World Affairs Council, and a founding board member of the Los Angeles Parks Foundation. She helped to expand Centro De Niños, downtown Los Angeles daycare center for underprivileged families, and served for 10 years as a Board of Governors Member of LA's Best, an after-school enrichment program for children in need. She was honored for her public service by the President's Council of Service and Civic Participation.


title: Candy Spelling

text: She married producer and screenwriter Aaron Spelling in 1968. The couple had two children: daughter Victoria Davey ("Tori") (born 1973) and son Randy Gene Spelling (born 1978). They appeared in several of Aaron's productions, most notably in "Beverly Hills, 90210". She has seven grandchildren, five from Tori and two from Randy.


title: Candy Spelling

text: In 2009, three years after her husband's death, Spelling put their Holmby Hills mansion on the market for $150 million. It was the most expensive residential listing in the United States at the time. It was sold to Petra Ecclestone for $85 million in 2011.


title: Nancy Wilson (jazz singer)

text: Nancy Sue Wilson (February 20, 1937 – December 13, 2018) was an American singer and actress whose career spanned over five decades, from the mid-1950s until her retirement in the early 2010s. She was especially notable for her single "(You Don't Know) How Glad I Am" and her version of the standard "Guess Who I Saw Today". Wilson recorded more than 70 albums and won three Grammy Awards for her work. During her performing career, Wilson was labeled a singer of blues, jazz, R&B, pop, and soul; a "consummate actress"; and "the complete entertainer". The title she preferred, however, was "song stylist". She received many nicknames including "Sweet Nancy", "The Baby", "Fancy Miss Nancy" and "The Girl With the Honey-Coated Voice".


title: Nancy Wilson (jazz singer)

text: Nancy Wilson was born on February 20, 1937 in Chillicothe, Ohio, to Olden Wilson, an iron foundry worker, and Lillian Ryan. Wilson attended Burnside Heights Elementary School and developed her singing skills by participating in church choirs. She attended West High School in Columbus, Ohio where she won a talent contest and was rewarded with a role as a host for a local television show. She then went on to attend Ohio’s Central State University where she pursued her B.A. degree in education.


title: Nancy Wilson (jazz singer)

text: When Wilson met Julian "Cannonball" Adderley, he suggested she move to New York City for career opportunities. In 1959, she moved to New York to try to hire Adderley's manager and get a contract with Capitol Records. Within four weeks of her arrival in New York she got her first big break, a call to fill in for Irene Reid at "The Blue Morocco". The club booked Wilson on a permanent basis; she was singing four nights a week and working as a secretary for the New York Institute of Technology during the day. John Levy sent demos of "Guess Who I Saw Today", "Sometimes I'm Happy", and two other songs to Capitol. Capitol Records signed her in 1960.


title: Nancy Wilson (jazz singer)

text: Wilson's debut single, "Guess Who I Saw Today", was so successful that between April 1960 and July 1962 Capitol Records released five Nancy Wilson albums. Her first album, "Like in Love," displayed her talent in Rhythm and Blues. Adderley suggested that she should steer away from her original pop style and gear her music toward jazz and ballads. In 1962, they collaborated, producing the album "Nancy Wilson and Cannonball Adderley", which propelled her to national prominence with the hit R&B song, "Save Your Love For Me", and Wilson would later appear on Adderley's live album "In Person" (1968). Between March 1964 and June 1965, four of Wilson's albums hit the Top 10 on "Billboard"s Top LPs chart. In 1963, "Tell Me The Truth" became her first truly major hit, leading up to her performance at the Coconut Grove in 1964 – the turning point of her career, garnering critical acclaim from coast to coast. "TIME" said of her, "She is, all at once, both cool and sweet, both singer and storyteller." In 1964 Wilson released what became her most successful hit on the "Billboard" Hot 100 with "(You Don't Know) How Glad I Am", which peaked at No. 11. From 1963 to 1971 Wilson logged 11 songs on the Hot 100, including two Christmas singles. However, "Face It Girl, It's Over" was the only remaining non-Christmas song to crack the Top 40 for Wilson (No. 29, in 1968).


title: Nancy Wilson (jazz singer)

text: After making numerous television guest appearances, Wilson eventually got her own series on NBC, "The Nancy Wilson Show" (1967–1968), which won an Emmy. Over the years she appeared on many popular television shows from "I Spy" (more or less playing herself as a Las Vegas singer in the 1966 episode "Lori", and a similar character in the 1973 episode "The Confession" of "The F.B.I."), "Room 222, Hawaii Five-O, Police Story, The Jack Paar Program, The Sammy Davis Jr. Show (1966), The Danny Kaye Show, The Smothers Brothers Comedy Hour, Kraft Music Hall, The Sinbad Show," "The Cosby Show, The Andy Williams Show, The Carol Burnett Show, Soul Food, New York Undercover," and recently "Moesha", and "The Parkers." She also appeared on "The Ed Sullivan Show," "The Merv Griffin Show," "The Tonight Show," "The Arsenio Hall Show" and "The Flip Wilson Show." She was in the 1993 Robert Townsend's "The Meteor Man" and in the film, "The Big Score." She also appeared on "The Lou Rawls Parade of Stars" and the "March of Dimes Telethon".


title: Nancy Wilson (jazz singer)

text: She was signed by Capitol Records in the late 1970s and in an attempt to broaden her appeal she cut the album "Life, Love and Harmony", an album of soulful, funky dance cuts that included the track "Sunshine", which was to become one of her most sought-after recordings (albeit among supporters of the rare soul scene with whom she would not usually register). In 1977 she recorded the theme song for "The Last Dinosaur", a made-for-TV movie which opened in theaters in Japan.


title: Nancy Wilson (jazz singer)

text: In 1982, Wilson recorded with Hank Jones and the Great Jazz Trio. In that same year she recorded with the whose members included Chick Corea and Joe Henderson. In 1987 she participated in a PBS show entitled "Newport Jazz '87" as the singer of a jazz trio with John Williams and Roy McCurdy. In 1982, she also signed with CBS, her albums here including "The Two of Us" (1984), duets with Ramsey Lewis produced by Stanley Clarke; "Forbidden Lover" (1987), including the title-track duet with Carl Anderson; and "A Lady with a Song", which became her 52nd album release in 1989. In 1989, "Nancy Wilson in Concert" played as a television special. In the early 1990s, Wilson recorded an album paying tribute to Johnny Mercer with co-producer Barry Manilow entitled "With My Lover Beside Me". In this decade she also recorded two other albums, "Love, Nancy" and her sixtieth album "If I Had My Way". In the late 1990s, she teamed up with MCG Jazz, a youth-education program of the Manchester Craftsmen's Guild, nonprofit, minority-directed, arts and learning organization located in Pittsburgh, Pennsylvania.


title: Nancy Wilson (jazz singer)

text: In 1995, Wilson performed at the New Orleans Jazz & Heritage Festival and the San Francisco Jazz Festival in 1997. In 1999, she hosted a show in honor of Ella Fitzgerald entitled "Forever Ella" on the A & E Network. All the proceeds from 2001's "A Nancy Wilson Christmas" went to support the work of MCG Jazz. Wilson was the host on NPR's "Jazz Profiles", from 1996 to 2005. This series profiled the legends and legacy of jazz through music, interviews and commentary. Wilson and the program were the recipients of the George Foster Peabody Award in 2001. Wilson's second and third album with MCG Jazz, "R.S.V.P. (Rare Songs, Very Personal)" (2005), and "Turned to Blue" (2007), both won the Grammy Award for Best Jazz Vocal Album. On September 10, 2011, she performed on a public stage for the last time at Ohio University in Athens, Ohio. According to Wilson, "I'm not going to be doing it anymore, and what better place to end it than where I started – in Ohio."


title: Nancy Wilson (jazz singer)

text: In 1964, Wilson won her first Grammy Award for the best rhythm and blues recording for the album "How Glad I Am". She was featured as a "grand diva" of jazz in a 1992 edition of "Essence". In the same year, she also received the Whitney Young Jr. Award from the Urban League. In 1998, she was a recipient of the "Playboy" Reader Poll Award for best jazz vocalist.


title: Nancy Wilson (jazz singer)

text: In 1986, she was dubbed the Global Entertainer of the Year by the World Conference of Mayors. She received an award from the Martin Luther King Jr. Center for Nonviolent Social Change in 1993; the NAACP Image Award – Hall of Fame Award in 1998, and was inducted into the Big Band and Jazz Hall of Fame in 1999. She received the Trumpet Award for Outstanding Achievement in 1994. Wilson received a Star on the Hollywood Walk of Fame in 1990, at 6541 Hollywood Blvd. She received honorary degrees from Berklee College of Music in Boston, MA and Central State University in Wilberforce, Ohio. She is also a member of Delta Sigma Theta sorority. Wilson has a street named after her in her hometown of Chillicothe, Ohio. She co-founded the Nancy Wilson Foundation, which exposes inner-city children to the country. Wilson was the recipient of the National Endowment for the Arts (NEA), NEA Jazz Masters Fellowships award in 2004, the highest honors that the United States government bestows upon jazz musicians. In 2005 she received the NAACP Image Awards for Best Recording Jazz Artist. She received the 2005 UNCF Trumpet Award celebrating African-American achievement, a Lifetime Achievement Award from the NAACP in Chicago, and Oprah Winfrey's Legends Award.


title: Nancy Wilson (jazz singer)

text: In September 2005, Wilson was inducted into the International Civil Rights Walk of Fame at the Martin Luther King Jr. National Historic Site. Wilson was a major figure in Civil Rights Movement. Wilson noted that the ceremony gave her "one of the best ceremonies that I've ever had in my life." Times.com, August 20, 2006: "It's been a long career for the polished Wilson, whose first albums appeared in the 1960s, and she faces that truth head-on in such numbers as 'These Golden Years' and 'I Don't Remember Ever Growing Up'. Shorter breathed these days, she can still summon a warm, rich sound and vividly tell a song's story. With a big band behind her in 'Taking a Chance on Love', she also shows there's plenty of fire in her autumnal mood". At the Hollywood Bowl, August 29, 2007, Wilson celebrated her 70th birthday with an all-star event hosted by Arsenio Hall. Ramsey Lewis and his trio performed "To Know Her Is To Love Her".


title: Nancy Wilson (jazz singer)

text: Wilson married her first husband, drummer Kenny Dennis, in 1960. They had a son Kenneth ("Kacy") Dennis Jr., but by 1970 they divorced. On May 22, 1973, Wilson married a Presbyterian minister, Reverend Wiley Burton, within a month of meeting. She gave birth to Samantha Burton in 1975, and the couple adopted Sheryl Burton in 1976. As a result of her marriage, she abstained from performing in various venues, such as supper clubs. For the following two decades, she successfully juggled her personal life and her career. In November 1998, both of her parents died; she called this year the most difficult of her life.


title: Nancy Wilson (jazz singer)

text: In August 2006, Wilson was hospitalized with anemia and potassium deficiency, and was on I.V. sustenance while undergoing a complete battery of tests. She was unable to attend the UNCF Evening of Stars Tribute to Aretha Franklin and had to cancel the engagement. All of her other engagements were on hold pending doctors' reports.


title: Nancy Wilson (jazz singer)

text: In March 2008, she was hospitalized for lung complications, recovered, and reported to be doing well. In the same year, her husband, Wiley Burton, died after suffering from renal cancer. On December 13, 2018, Wilson died of a long illness at her home in Pioneertown, California. She was 81 years old.


title: The Tenderloins

text: The Tenderloins are an American comedy troupe composed of James "Murr" Murray, Brian "Q" Quinn, and Sal Vulcano. The group stars in the television series "Impractical Jokers", which premiered on December 15, 2011. The program airs on truTV in the U.S. and on Comedy Central in the UK, Ireland, and India.


title: The Tenderloins

text: The comedians met in religion class during their freshman year at Monsignor Farrell High School on Staten Island in 1990. After discovering their mutual interests in drama and improv, the group joined an improv club because "It was the only way to meet girls", since they attended an all-boys school. To come up with a name for their comedy troupe, the friends referenced a list of words kept by member Sal Vulcano that he would find embarrassing to say, such as "cullottes," "gargoyles," and "nougat." The group would eventually settle on "The Tenderloins" as their troupe name.


title: The Tenderloins

text: After finishing college, James Murray worked for the Staten Island Ferry where he ran into his friend Sal. They reminisced about their enjoyment doing improv. After reuniting with Joe and another friend, Mike Boccio, they practiced improv at Joe's house three days a week, for six months. The Tenderloins began in 1999 as a live improv comedy and sketch comedy troupe.


title: The Tenderloins

text: By 2002, the troupe consisted of five members: Mike Boccio, Joe Gatto, Gideon Horowitz, James Murray and Sal Vulcano. After the success of "Impractical Jokers", the Tenderloins have also taken part in several American and international tours. They have performed in New York, Los Angeles, and Chicago, and participated in the San Francisco Sketch Comedy Festival and the Miami Improv Festival.


title: The Tenderloins

text: Following years of live shows, the Tenderloins redirected their talents to filmed comedic sketches. Horowitz had already left the group, and Boccio left in 2006. Former classmate Brian Quinn subsequently joined, replacing Boccio as the troupe's fourth member.


title: The Tenderloins

text: The Tenderloins' comedic sketches have accumulated millions of views on YouTube, MySpace, Metacafe, and other websites. In 2007, the troupe won the $100,000 grand prize in the NBC "It's Your Show" competition for the sketch "Time Thugs".


title: The Tenderloins

text: Following the troupe's online successes, the four were signed to develop a scripted comedy pilot for Spike TV based on their own lives. The pilot was shot on location in 2008 on Staten Island, as well as at other locations around New York City. Spike TV ultimately passed on the series. A second pilot starring the Tenderloins was officially selected for the 2009 New York Television Festival.


title: The Tenderloins

text: On April 12, 2011, truTV announced a new series to star the Tenderloins. "Impractical Jokers" premiered on December 15, 2011, executive-produced by the troupe themselves. Season 1 consisted of 16 episodes. The first season was watched by over 32 million viewers.


title: The Tenderloins

text: The show's second season premiered on December 13, 2012, and consisted of 28 episodes. Its third season had 31 episodes and premiered on January 2, 2014. On April 21, 2014, truTV announced that the series would be renewed for a 26-episode fourth season. With the fourth season renewal, a 6-episode spinoff series, "Jokers Wild!", was also announced. The show was renewed for a fifth season, which began in February 2016. On July 22, 2016, a sixth season was announced, which began on February 9, 2017. After another successful season, "Impractical Jokers" was renewed for a seventh season that began on February 1, 2018. In March 2018 TruTV announced Impractical Jokers was renewed for an eighth season, which consists of 26 episodes and premiered on March 28, 2019. A feature-length movie, "", was released theatrically on February 21, 2020.


title: The Tenderloins

text: In 2019, the troupe starred in the TBS game show series, "Misery Index", based on the card game "Shit Happens" created by Andy Breckman, who created and wrote the popular TV series "Monk" and the Netflix series "The Good Cop".


title: The Tenderloins

text: The Troupe has toured steadily over the last four years with its highly-successful, "Where's Larry?", "Santiago Sent Us," & "Cranjis McBasketball" tours playing to hundreds of thousands of fans in the US and UK, including three sold-out nights at Radio City Music Hall, a sold-out Madison Square Garden, and five sold-out shows at London's O2 Arena.


title: The Tenderloins

text: In February 2017, Murr tweeted that he and the group had recorded the first episode of an upcoming limited-run show for SiriusXM Radio. On August 17, 2017, "The Tenderloins Radio Show" made its debut on SiriusXM Radio channel 94 (Comedy Greats). In the hour-long broadcast, the comedy troupe pranks friends and acquaintances, takes calls, answers emails from fans, and does sketches in a segment called "Tenderloins Theatre".


title: The Tenderloins

text: "What Say You?", an occasional podcast hosted by Sal and Q, was named Best New Show at the 2013 Stitcher Awards. The increased popularity of "What Say You" sparked a friendly competition among the friends, spurring Joe and Murr to release their own Tenderloins podcast without the other two members. In 2015, "What Say You?" was nominated for the Comedy, Entertainment, and Best Produced Podcast Awards at the 10th Annual Podcast Awards. Sal and Q have stated that the podcast is their own side project, not a replacement of "The Tenderloins Podcast". The group explained that it was difficult to coordinate the schedules of all four members outside of work, making it challenging to produce their troupe's official podcast with any regularity.


title: Annie Wilkes

text: Annie Wilkes is the main antagonist in the 1987 novel "Misery", by Stephen King. In the 1990 film adaptation of the novel, Wilkes was portrayed by Kathy Bates, who won the Academy Award for Best Actress for her portrayal.


title: Annie Wilkes

text: A nurse by training, she has become one of the stereotypes of the nurse as a torturer and angel of mercy.


title: Annie Wilkes

text: The novel provides Wilkes' backstory, stating that she was born in Bakersfield, California, on April 1, 1943, and graduated from the University of Southern California's nursing school with honors in 1966. After several years of working in hospitals across the country, she settled in a remote portion of Colorado's Western Slope.


title: Annie Wilkes

text: In both the book and film, Wilkes rescues protagonist Paul Sheldon after he breaks both of his legs in a car accident, and takes him to her home to convalesce. She fawns over Sheldon, a writer of romance novels starring her favorite literary character, Misery Chastain; she professes to be his "number one fan" and says that she loves him. She also implies that she has visited the hotel where Sheldon finishes his novels as he was staying there. These statements, and the fact that she is not in a hurry to take him to a hospital, make Sheldon uneasy. He has studied psychological disorders as part of his research for the "Misery" series, and suspects early on that Wilkes is mentally unstable.


title: Annie Wilkes

text: Wilkes is furious when she discovers Sheldon killed off Misery at the end of his latest novel. She tells him she has not called a hospital or told anybody about him and makes a veiled threat on his life. She holds him captive in her home and subjects him to a series of physical and psychological tortures. She also forces him to burn the only copy of a novel he felt would put him back on track as a mainstream author, and then makes him write a new novel bringing Misery back to life. Sheldon writes the book as Wilkes wants, but bridles at her treatment of him and manages to sneak out of his room several times while she's away.


title: Annie Wilkes

text: On one of his trips out of his room, Sheldon finds Wilkes' old scrapbook and learns from the newspaper clippings inside that she is a serial killer whose spree dates back to her childhood in Bakersfield. Among her victims were a neighboring family, her own father, her college roommate, and a hitchhiker with whom she had a brief fling. Sheldon also learns that she killed several patients at other hospitals where she worked, but no one suspected foul play because the victims were either elderly or gravely injured. However, while serving as head maternity nurse at a hospital in Boulder, eleven infants in her care died under mysterious circumstances. She was tried for their deaths, but acquitted due to lack of evidence. Sheldon also finds that Wilkes was formerly married to a physical therapist named Ralph Dugan, who later divorced her, citing "mental cruelty". The last picture is an article about Sheldon's own disappearance, leading him to fear that he is Wilkes' next victim.


title: Annie Wilkes

text: Sheldon doesn't know it, but Wilkes has known all along that he has been sneaking around her house. This sets off one of the film's most infamous scenes, in which she breaks his ankles with a sledgehammer to stop him from escaping. In the book, she chops off his foot with an axe and cauterizes it with a blowtorch and later cuts off one of his thumbs with an electric knife when he complains about a missing letter on his typewriter (neither of these things happen in the film).


title: Annie Wilkes

text: In the book, Wilkes brutally murders a Colorado state trooper who sees Sheldon in her house by stabbing him with a wooden cross and running him over with a lawnmower. In the film, the local sheriff comes to Wilkes' farm to investigate Sheldon's disappearance. Wilkes drugs Sheldon and hides him in her basement before subsequently killing the officer by shooting him in the back with a double-barreled shotgun when he hears Sheldon's cries for help.


title: Annie Wilkes

text: Wilkes then says they should "celebrate" the new novel in a murder–suicide. Sheldon pretends to go along with it, telling her he needs a bottle of Dom Pérignon champagne and a cigarette, as per his usual practice after finishing a book. He soaks the manuscript with lighter fluid he picked up in the basement and sets it ablaze. While Wilkes tries to put the fire out, Sheldon overpowers her by cracking her over the head with his typewriter and choking her. In the film, he chokes her with pages of the burnt novel. In the book, he chokes her with blank pages which she believes to be the book; the real novel is hidden from sight and was later published.


title: Annie Wilkes

text: She ultimately dies of a fractured skull; Sheldon is then rescued by police. In the book, she fractures her skull when she slips and falls against the mantle of the guest room bed. When the police go in to search the bedroom where Wilkes is believed to have died, they find it empty. It is later revealed that, despite being mortally wounded, she managed to escape the bedroom and died in her barn with her hands on a chainsaw, which she presumably intended to use on Sheldon. In the movie, Sheldon trips her up so she falls and cracks her head on the corner of the typewriter she forced him to use; she recovers from this and attacks him, but he kills her by ramming a metal statue of her pet sow pig – named Misery after his stories – into her head.


title: Annie Wilkes

text: King characterizes Annie Wilkes as a cunning, brutal and devious woman who hides her malice behind a cheery façade. Both the novel and the film portray her as extremely paranoid, and also suggest that she may have borderline personality disorder. In the novel, she has day-long bouts with depression, during which she is seen maiming herself; Sheldon also finds evidence that she gorges herself on vast quantities of food. She has an unhealthy obsession with romance novels, particularly Sheldon's "Misery" series.


title: Annie Wilkes

text: She abhors profanity, to the point that she will fly into fits of rage if it is used in front of her. She instead expresses anger with childishly strange words and phrases like "cockadoodie", "mister man", "dirty bird", "dirty birdy", "oogie", "fiddely-foof" and "rooty-patooties". In the novel, however, she lets more conventional profanities slip on occasion. And in both the book and the film adaptation, she refers to Sheldon as a "cocksucker" while promising to kill him during the final fight scene. She has violent tantrums over insignificant matters. For instance, when Sheldon complains that the packet of Eaton's Corrasable Bond paper she bought for him is smudge-prone, she smashes his still-healing knee; in the book, when he mentions that her typewriter is missing a key, she cuts off his thumb.


title: Annie Wilkes

text: King has noted that Wilkes "may seem psychopathic to us, but it's important to remember that she seems perfectly sane and reasonable to herself – heroic, in fact, a beleaguered woman trying to survive in a hostile world filled with cockadoodie brats".


title: Annie Wilkes

text: In a special feature on the collectors' edition DVD, forensic psychologist Reid Meloy said that Wilkes' personality (as portrayed by Kathy Bates) is a virtual catalog of mental illness. According to Meloy, Wilkes has bipolar disorder, where someone can have manic psychoses as well as depressions. He also believes her profile is typical of people who stalk celebrities, although she more accurately depicts borderline personality disorder, often confused for bipolar disorder.


title: Annie Wilkes

text: In his commentary on the film available on the DVD, director Rob Reiner notes that Wilkes is loosely based on that of Genene Jones, a nurse who is believed to have killed as many as 50 children who were in her care over a two-year period.


title: Annie Wilkes

text: Annie Wilkes is mentioned in Kim Newman's novella, "The Other Side of Midnight". In the novel, which is set in Newman's alternate history crossover "Anno Dracula" series, Wilkes is the murderer of John Lennon. When she is arrested for the crime, she tells the press that she loved Lennon, but that he had to die for splitting up the Beatles.


title: Annie Wilkes

text: Kathy Bates reprises her role as Annie Wilkes in a 2008 commercial for DirecTV, with the setting being the infamous scene where she breaks Paul Sheldon's ankles.


title: Annie Wilkes

text: The Tamil film "Julie Ganapathi" (2003), directed by Balu Mahendra, is based loosely on the novel. South Indian actress Saritha plays the film's title character, who is based on the Annie Wilkes character.


title: Annie Wilkes

text: The novel was later adapted into a play, which ran on Broadway from November 2015 to February 2016. Annie was played by Laurie Metcalf. At the 70th Annual Tony Awards, Metcalf was nominated for Best Actress in a Play for her performance.


title: Annie Wilkes

text: There are also two Finnish play adaptations called "Piina" based on the 1990 film adaptation's screenplay by William Goldman. In one of them, Annie Wilkes is played by Mari Turunen and in another, by Henna Haverinen.


title: Annie Wilkes

text: A version of a young Annie Wilkes appears in the TV series "Castle Rock", and is portrayed by Lizzy Caplan.


title: Annie Wilkes

text: In the first series of "", contestant Baga Chipz portrayed Kathy Bates as Annie Wilkes for the show’s signature Snatch Game celebrity impersonation challenge, for which she was named one of the two challenge winners.


title: Annie Wilkes

text: A line from the 1990 adaptation, wherein Wilkes claims that she is Sheldon's "Number One Fan" is sampled in the 2022 song "You Make Me Feel Like It's Halloween" by English rock band Muse.


title: Annie Wilkes

text: The American Film Institute included Wilkes (as played by Bates) in their "100 Heroes and Villains" list, ranking her as the 17th most iconic villain (and sixth most iconic villainess) in film history.


title: Annie Wilkes

text: During an interview in April 2022, King selected Wilkes as his top pick character, just saying that "she [Wilkes] was fun".


title: Radial engine

text: The radial engine is a reciprocating type internal combustion engine configuration in which the cylinders "radiate" outward from a central crankcase like the spokes of a wheel. It resembles a stylized star when viewed from the front, and is called a "star engine" in some other languages.


title: Radial engine

text: The radial configuration was commonly used for aircraft engines before gas turbine engines became predominant.


title: Radial engine

text: Since the axes of the cylinders are coplanar, the connecting rods cannot all be directly attached to the crankshaft unless mechanically complex forked connecting rods are used, none of which have been successful. Instead, the pistons are connected to the crankshaft with a master-and-articulating-rod assembly. One piston, the uppermost one in the animation, has a master rod with a direct attachment to the crankshaft. The remaining pistons pin their connecting rods' attachments to rings around the edge of the master rod. Extra "rows" of radial cylinders can be added in order to increase the capacity of the engine without adding to its diameter.


title: Radial engine

text: Four-stroke radials have an odd number of cylinders per row, so that a consistent every-other-piston firing order can be maintained, providing smooth operation. For example, on a five-cylinder engine the firing order is 1, 3, 5, 2, 4, and back to cylinder 1. Moreover, this always leaves a one-piston gap between the piston on its combustion stroke and the piston on compression. The active stroke directly helps compress the next cylinder to fire, making the motion more uniform. If an even number of cylinders were used, an equally timed firing cycle would not be feasible. The prototype radial Zoche aero-diesels (below) have an even number of cylinders, either four or eight; but this is not problematic, because they are two-stroke engines, with twice the number of power strokes as a four-stroke engine per crankshaft rotation.


title: Radial engine

text: As with most four-strokes, the crankshaft takes two revolutions to complete the four strokes of each piston (intake, compression, combustion, exhaust). The camshaft ring is geared to spin slower and in the opposite direction to the crankshaft. Its cam lobes are placed in two rows; one for the intake valves and one for the exhaust valves. The radial engine normally uses fewer cam lobes than other types. For example, in the engine in the animated illustration, four cam lobes serve all 10 valves across the five cylinders, whereas 10 would be required for a typical inline engine with the same number of cylinders and valves.


title: Radial engine

text: Most radial engines use overhead poppet valves driven by pushrods and lifters on a cam plate which is concentric with the crankshaft, with a few smaller radials, like the Kinner B-5 and Russian Shvetsov M-11, using individual camshafts within the crankcase for each cylinder. A few engines use sleeve valves such as the 14-cylinder Bristol Hercules and the 18-cylinder Bristol Centaurus, which are quieter and smoother running but require much tighter manufacturing tolerances.


title: Radial engine

text: C. M. Manly constructed a water-cooled five-cylinder radial engine in 1901, a conversion of one of Stephen Balzer's rotary engines, for Langley's "Aerodrome" aircraft. Manly's engine produced at 950 rpm.


title: Radial engine

text: In 1903–1904 Jacob Ellehammer used his experience constructing motorcycles to build the world's first air-cooled radial engine, a three-cylinder engine which he used as the basis for a more powerful five-cylinder model in 1907. This was installed in his triplane and made a number of short free-flight hops.


title: Radial engine

text: Another early radial engine was the three-cylinder Anzani, originally built as a W3 "fan" configuration, one of which powered Louis Blériot's Blériot XI across the English Channel. Before 1914, Alessandro Anzani had developed radial engines ranging from 3 cylinders (spaced 120° apart) — early enough to have been used on a few French-built examples of the famous Blériot XI from the original Blériot factory — to a massive 20-cylinder engine of , with its cylinders arranged in four rows of five cylinders apiece.


title: Radial engine

text: Most radial engines are air-cooled, but one of the most successful of the early radial engines (and the earliest "stationary" design produced for World War I combat aircraft) was the Salmson 9Z series of nine-cylinder water-cooled radial engines that were produced in large numbers. Georges Canton and Pierre Unné patented the original engine design in 1909, offering it to the Salmson company; the engine was often known as the Canton-Unné.


title: Radial engine

text: From 1909 to 1919 the radial engine was overshadowed by its close relative, the rotary engine, which differed from the so-called "stationary" radial in that the crankcase and cylinders revolved with the propeller. It was similar in concept to the later radial, the main difference being that the propeller was bolted to the engine, and the crankshaft to the airframe. The problem of the cooling of the cylinders, a major factor with the early "stationary" radials, was alleviated by the engine generating its own cooling airflow.


title: Radial engine

text: In World War I many French and other Allied aircraft flew with Gnome, Le Rhône, Clerget, and Bentley rotary engines, the ultimate examples of which reached although none of those over were successful. By 1917 rotary engine development was lagging behind new inline and V-type engines, which by 1918 were producing as much as , and were powering almost all of the new French and British combat aircraft.


title: Radial engine

text: Most German aircraft of the time used water-cooled inline 6-cylinder engines. Motorenfabrik Oberursel made licensed copies of the Gnome and Le Rhône rotary powerplants, and Siemens-Halske built their own designs, including the Siemens-Halske Sh.III eleven-cylinder rotary engine, which was unusual for the period in being geared through a bevel geartrain in the rear end of the crankcase "without" the crankshaft being firmly mounted to the aircraft's airframe, so that the engine's internal working components (fully internal crankshaft "floating" in its crankcase bearings, with its conrods and pistons) were spun in the opposing direction to the crankcase and cylinders, which still rotated as the propeller itself did since it was still firmly fastened to the crankcase's frontside, as with regular "umlaufmotor" German rotaries.


title: Radial engine

text: By the end of the war the rotary engine had reached the limits of the design, particularly in regard to the amount of fuel and air that could be drawn into the cylinders through the hollow crankshaft, while advances in both metallurgy and cylinder cooling finally allowed stationary radial engines to supersede rotary engines. In the early 1920s Le Rhône converted a number of their rotary engines into stationary radial engines.


title: Radial engine

text: By 1918 the potential advantages of air-cooled radials over the water-cooled inline engine and air-cooled rotary engine that had powered World War I aircraft were appreciated but were unrealized. British designers had produced the ABC Dragonfly radial in 1917, but were unable to resolve the cooling problems, and it was not until the 1920s that Bristol and Armstrong Siddeley produced reliable air-cooled radials such as the Bristol Jupiter and the Armstrong Siddeley Jaguar.


title: Radial engine

text: In the United States the National Advisory Committee for Aeronautics (NACA) noted in 1920 that air-cooled radials could offer an increase in power-to-weight ratio and reliability; by 1921 the U.S. Navy had announced it would only order aircraft fitted with air-cooled radials and other naval air arms followed suit. Charles Lawrance's J-1 engine was developed in 1922 with Navy funding, and using aluminum cylinders with steel liners ran for an unprecedented 300 hours, at a time when 50 hours endurance was normal. At the urging of the Army and Navy the Wright Aeronautical Corporation bought Lawrance's company, and subsequent engines were built under the Wright name. The radial engines gave confidence to Navy pilots performing long-range overwater flights.


title: Radial engine

text: Wright's J-5 Whirlwind radial engine of 1925 was widely claimed as "the first truly reliable aircraft engine". Wright employed Giuseppe Mario Bellanca to design an aircraft to showcase it, and the result was the Wright-Bellanca WB-1, which first flew later that year. The J-5 was used on many advanced aircraft of the day, including Charles Lindbergh's Spirit of St. Louis, in which he made the first solo trans-Atlantic flight.


title: Radial engine

text: In 1925 the American Pratt & Whitney company was founded, competing with Wright's radial engines. Pratt & Whitney's initial offering, the R-1340 Wasp, was test run later that year, beginning a line of engines over the next 25 years that included the 14-cylinder, twin-row Pratt & Whitney R-1830 Twin Wasp. More Twin Wasps were produced than any other aviation piston engine in the history of aviation; nearly 175,000 were built.


title: Radial engine

text: In the United Kingdom the Bristol Aeroplane Company was concentrating on developing radials such as the Jupiter, Mercury, and sleeve valve Hercules radials. Germany, Japan, and the Soviet Union started with building licensed versions of the Armstrong Siddeley, Bristol, Wright, or Pratt & Whitney radials before producing their own improved versions. France continued its development of various rotary engines but also produced engines derived from Bristol designs, especially the Jupiter.


title: Radial engine

text: Although other piston configurations and turboprops have taken over in modern propeller-driven aircraft, Rare Bear, which is a Grumman F8F Bearcat equipped with a Wright R-3350 Duplex-Cyclone radial engine, is still the fastest piston-powered aircraft.


title: Radial engine

text: 125,334 of the American twin-row, 18-cylinder Pratt & Whitney R-2800 Double Wasp, with a displacement of 2,800 in³ (46 L) and between 2,000 and 2,400 hp (1,500-1,800 kW), powered the American single-engine Vought F4U Corsair, Grumman F6F Hellcat, Republic P-47 Thunderbolt, twin-engine Martin B-26 Marauder, Douglas A-26 Invader, Northrop P-61 Black Widow, etc. The same firm's aforementioned smaller-displacement (at 30 litres), "Twin Wasp" 14-cylinder twin-row radial was used as the main engine design for the B-24 Liberator, PBY Catalina, and Douglas C-47, each design being among the production leaders in all-time production numbers for each type of airframe design.


title: Radial engine

text: The American Wright Cyclone series twin-row radials powered American warplanes: the nearly-43 litre displacement, 14-cylinder "Twin Cyclone" powered the single-engine Grumman TBF Avenger, twin-engine North American B-25 Mitchell, and some versions of the Douglas A-20 Havoc, with the massive twin-row, nearly 55-litre displacement, 18-cylinder "Duplex-Cyclone" powering the four-engine Boeing B-29 Superfortress and others.


title: Radial engine

text: The Soviet Shvetsov "OKB-19" design bureau was the sole source of design for all of the Soviet government factory-produced radial engines used in its World War II aircraft, starting with the Shvetsov M-25 (itself based on the American Wright "Cyclone 9"'s design) and going on to design the 41-litre displacement Shvetsov ASh-82 fourteen cylinder radial for fighters, and the massive, 58-litre displacement Shvetsov ASh-73 eighteen-cylinder radial in 1946 - the smallest-displacement radial design from the Shvetsov OKB during the war was the indigenously designed, 8.6 litre displacement Shvetsov M-11 five cylinder radial.


title: Radial engine

text: Over 28,000 of the German 42-litre displacement, 14-cylinder, two-row BMW 801, with between 1,560 and 2,000 PS (1,540-1,970 hp, or 1,150-1,470 kW), powered the German single-seat, single-engine Focke-Wulf Fw 190 "Würger", and twin-engine Junkers Ju 88.


title: Radial engine

text: In Japan, most airplanes were powered by air-cooled radial engines like the 14-cylinder Mitsubishi Zuisei (11,903 units, e.g. Kawasaki Ki-45), Mitsubishi Kinsei (12,228 units, e.g. Aichi D3A), Mitsubishi Kasei (16,486 units, e.g. Kawanishi H8K), Nakajima Sakae (30,233 units, e.g. Mitsubishi A6M and Nakajima Ki-43), and 18-cylinder Nakajima Homare (9,089 units, e.g. Nakajima Ki-84). The Kawasaki Ki-61 and Yokosuka D4Y were rare examples of Japanese liquid-cooled inline engine aircraft at that time but later, they were also redesigned to fit radial engines as the Kawasaki Ki-100 and Yokosuka D4Y3.


title: Radial engine

text: In Britain, Bristol produced both sleeve valved and conventional poppet valved radials: of the sleeve valved designs, more than 57,400 Hercules engines powered the Vickers Wellington, Short Stirling, Handley Page Halifax, and some versions of the Avro Lancaster, over 8,000 of the pioneering sleeve-valved Bristol Perseus were used in various types, and more than 2,500 of the largest-displacement production British radial from the Bristol firm to use sleeve valving, the Bristol Centaurus were used to power the Hawker Tempest II and Sea Fury. The same firm's poppet-valved radials included: around 32,000 of Bristol Pegasus used in the Short Sunderland, Handley Page Hampden, and Fairey Swordfish and over 20,000 examples of the firm's 1925-origin nine-cylinder Mercury were used to power the Westland Lysander, Bristol Blenheim, and Blackburn Skua.


title: Radial engine

text: In the years leading up to World War II, as the need for armored vehicles was realized, designers were faced with the problem of how to power the vehicles, and turned to using aircraft engines, among them radial types. The radial aircraft engines provided greater power-to-weight ratios and were more reliable than conventional inline vehicle engines available at the time. This reliance had a downside though: if the engines were mounted vertically, as in the M3 Lee and M4 Sherman, their comparatively large diameter gave the tank a higher silhouette than designs using inline engines.


title: Radial engine

text: The Continental R-670, a 7-cylinder radial aero engine which first flew in 1931, became a widely used tank powerplant, being installed in the M1 Combat Car, M2 Light Tank, M3 Stuart, M3 Lee, and LVT-2 Water Buffalo.


title: Radial engine

text: The Guiberson T-1020, a 9-cylinder radial diesel aero engine, was used in the M1A1E1, while the Continental R975 saw service in the M4 Sherman, M7 Priest, M18 Hellcat tank destroyer, and the M44 self propelled howitzer.


title: Radial engine

text: A number of companies continue to build radials today. Vedeneyev produces the M-14P radial of as used on Yakovlev and Sukhoi aerobatic aircraft. The M-14P is also used by builders of homebuilt aircraft, such as the Culp Special, and Culp Sopwith Pup, Pitts S12 "Monster" and the Murphy "Moose". 7-cylinder and 9-cylinder engines are available from Australia's Rotec Aerosport. HCI Aviation offers the R180 5-cylinder () and R220 7-cylinder (), available "ready to fly" and as a build-it-yourself kit. Verner Motor of the Czech Republic builds several radial engines ranging in power from . Miniature radial engines for model airplanes are available from O. S. Engines, Saito Seisakusho of Japan, and Shijiazhuang of China, and Evolution (designed by Wolfgang Seidel of Germany, and made in India) and Technopower in the US.


title: Radial engine

text: Liquid cooling systems are generally more vulnerable to battle damage. Even minor shrapnel damage can easily result in a loss of coolant and consequent engine overheating, while an air-cooled radial engine may be largely unaffected by minor damage. Radials have shorter and stiffer crankshafts, a single-bank radial engine needing only two crankshaft bearings as opposed to the seven required for a liquid-cooled, six-cylinder, inline engine of similar stiffness.


title: Radial engine

text: While a single-bank radial permits all cylinders to be cooled equally, the same is not true for multi-row engines where the rear cylinders can be affected by the heat coming off the front row, and air flow being masked.


title: Radial engine

text: A potential disadvantage of radial engines is that having the cylinders exposed to the airflow increases drag considerably. The answer was the addition of specially designed cowlings with baffles to force the air between the cylinders. The first effective drag-reducing cowling that didn't impair engine cooling was the British Townend ring or "drag ring" which formed a narrow band around the engine covering the cylinder heads, reducing drag. The National Advisory Committee for Aeronautics studied the problem, developing the NACA cowling which further reduced drag and improved cooling. Nearly all aircraft radial engines since have used NACA-type cowlings.


title: Radial engine

text: While inline liquid-cooled engines continued to be common in new designs until late in World War II, radial engines dominated afterwards until overtaken by jet engines, with the late-war Hawker Sea Fury and Grumman F8F Bearcat, two of the fastest production piston-engined aircraft ever built, using radial engines.


title: Radial engine

text: Whenever a radial engine remains shut down for more than a few minutes, oil or fuel may drain into the combustion chambers of the lower cylinders or accumulate in the lower intake pipes, ready to be drawn into the cylinders when the engine starts. As the piston approaches TDC of the compression stroke, this liquid, being incompressible, stops piston movement. Starting or attempting to start the engine in such condition may result in a bent or broken connecting rod.


title: Radial engine

text: Originally radial engines had one row of cylinders, but as engine sizes increased it became necessary to add extra rows. The first radial-configuration engine known to use a twin-row design was the 160 hp Gnôme "Double Lambda" rotary engine of 1912, designed as a 14-cylinder twin-row version of the firm's 80 hp Lambda single-row seven-cylinder rotary, however reliability and cooling problems limited its success.


title: Radial engine

text: Two-row designs began to appear in large numbers during the 1930s, when aircraft size and weight grew to the point where single-row engines of the required power were simply too large to be practical. Two-row designs often had cooling problems with the rear bank of cylinders, but a variety of baffles and fins were introduced that largely eliminated these problems. The downside was a relatively large frontal area that had to be left open to provide enough airflow, which increased drag. This led to significant arguments in the industry in the late 1930s about the possibility of using radials for high-speed aircraft like modern fighters.


title: Radial engine

text: The solution was introduced with the BMW 801 14-cylinder twin-row radial. Kurt Tank designed a new cooling system for this engine that used a high-speed fan to blow compressed air into channels that carry air to the middle of the banks, where a series of baffles directed the air over all of the cylinders. This allowed the cowling to be tightly fitted around the engine, reducing drag, while still providing (after a number of experiments and modifications) enough cooling air to the rear. This basic concept was soon copied by many other manufacturers, and many late-WWII aircraft returned to the radial design as newer and much larger designs began to be introduced. Examples include the Bristol Centaurus in the Hawker Sea Fury, and the Shvetsov ASh-82 in the Lavochkin La-7.


title: Radial engine

text: For even greater power, adding further rows was not considered viable due to the difficulty of providing the required airflow to the rear banks. Larger engines were designed, mostly using water cooling although this greatly increased complexity and eliminated some of the advantages of the radial air-cooled design. One example of this concept is the BMW 803, which never entered service.


title: Radial engine

text: A major study into the airflow around radials using wind tunnels and other systems was carried out in the US, and demonstrated that ample airflow was available with careful design. This led to the R-4360, which has 28 cylinders arranged in a 4 row "corncob" configuration. The R-4360 saw service on large American aircraft in the post-World War II period. The US and Soviet Union continued experiments with larger radials, but the UK abandoned such designs in favour of newer versions of the Centaurus and rapid movement to the use of turboprops such as the Armstrong Siddeley Python and Bristol Proteus, which easily produced more power than radials without the weight or complexity.


title: Radial engine

text: Large radials continued to be built for other uses, although they are no longer common. An example is the 5-ton Zvezda M503 diesel engine with 42 cylinders in 6 rows of 7, displacing and producing . Three of these were used on the fast Osa class missile boats. Another one was the Lycoming XR-7755 which was the largest piston aircraft engine ever built in the United States with 36 cylinders totaling about 7,750 in³ (127 L) of displacement and a power output of 5,000 horsepower (3,700 kilowatts).


title: Radial engine

text: While most radial engines have been produced for gasoline, there have been diesel radial engines. Two major advantages favour diesel engines — lower fuel consumption and reduced fire risk.


title: Radial engine

text: Packard designed and built a 9-cylinder 980 cubic inch (16.06 litre) displacement diesel radial aircraft engine, the DR-980, in 1928. On 28 May 1931, a DR-980 powered Bellanca CH-300, with 481 gallons of fuel, piloted by Walter Edwin Lees and Frederick Brossy set a record for staying aloft for 84 hours and 32 minutes without being refueled. This record stood for 55 years until broken by the Rutan Voyager.


title: Radial engine

text: The experimental Bristol Phoenix of 1928–1932 was successfully flight tested in a Westland Wapiti and set altitude records in 1934 that lasted until World War II.


title: Radial engine

text: In 1932 the French company Clerget developed the 14D, a 14-cylinder two-stroke diesel radial engine. After a series of improvements, in 1938 the 14F2 model produced at 1910 rpm cruise power, with a power-to-weight ratio near that of contemporary gasoline engines and a specific fuel consumption of roughly 80% that for an equivalent gasoline engine. During WWII the research continued, but no mass-production occurred because of the Nazi occupation. By 1943 the engine had grown to produce over with a turbocharger. After the war, the Clerget company was integrated in the SNECMA company and had plans for a 32-cylinder diesel engine of , but in 1947 the company abandoned piston engine development in favour of the emerging turbine engines.


title: Radial engine

text: The Nordberg Manufacturing Company of the United States developed and produced a series of large two-stroke radial diesel engines from the late 1940s for electrical production, primarily at aluminum smelters and for pumping water. They differed from most radials in that they had an even number of cylinders in a single bank (or row) and an unusual double master connecting rod. Variants were built that could be run on either diesel oil or gasoline or mixtures of both. A number of powerhouse installations utilising large numbers of these engines were made in the U.S.


title: Radial engine

text: A number of radial motors operating on compressed air have been designed, mostly for use in model airplanes and in gas compressors.


title: Radial engine

text: A number of multi-cylinder 4-stroke model engines have been commercially available in a radial configuration, beginning with the Japanese O.S. Max firm's FR5-300 five-cylinder, 3.0 cu.in. (50 cm) displacement "Sirius" radial in 1986. The American "Technopower" firm had made smaller-displacement five- and seven-cylinder model radial engines as early as 1976, but the OS firm's engine was the first mass-produced radial engine design in aeromodelling history. The rival Saito Seisakusho firm in Japan has since produced a similarly sized five-cylinder radial four-stroke model engine of their own as a direct rival to the OS design, with Saito also creating a series of three-cylinder methanol and gasoline-fueled model radial engines ranging from 0.90 cu.in. (15 cm) to 4.50 cu.in. (75 cm) in displacement, also all now available in spark-ignition format up to 84 cm displacement for use with gasoline. The German Seidel firm formerly made both seven- and nine-cylinder "large" (starting at 35 cm displacement) radio control model radial engines, mostly for glow plug ignition, with an experimental fourteen-cylinder twin-row radial being tried out - the American Evolution firm now sells the Seidel-designed radials, with their manufacturing being done in India.


title: Sexploitation film

text: A sexploitation film (or sex-exploitation film) is a class of independently produced, low-budget feature film that is generally associated with the 1960s and early 1970s, and that serves largely as a vehicle for the exhibition of non-explicit sexual situations and gratuitous nudity. The genre is a subgenre of exploitation films. The term "sexploitation" has been used since the 1940s. Sexploitation films were generally exhibited in urban grindhouse theatres, the precursor to the adult movie theaters of the 1970s and 1980s that featured hardcore pornography content. The term soft-core is often used to designate non-explicit sexploitation films after the general legalisation of hardcore content. Nudist films are often considered to be subgenres of the sex-exploitation genre as well. "Nudie" films and "Nudie-cuties" are associated genres.


title: Sexploitation film

text: After a series of United States Supreme Court rulings in the late 1950s and 1960s, increasingly explicit sex films were distributed. In 1957, "Roth v. United States" established that sex and obscenity were not synonymous. The genre first emerged in the U.S. around 1960.


title: Sexploitation film

text: There were initially three broad types: "nudie cuties" such as "The Immoral Mr. Teas" (1959), films set in nudist camps like "Daughter of the Sun" (1962) and somewhat more "artistic" foreign pictures, such as "The Twilight Girls" (1961). Nudie cuties were popular in the early 1960s, and were a progression from the nudist camp films of the 1950s. The Supreme Court had previously ruled that films set in nudist camps were exempt from the general ban on film nudity, as they were deemed to be educational. In the early 1960s, films that purported to be documentaries and were thus "educational" enabled sexploitation producers to evade the censors.


title: Sexploitation film

text: Nudie cuties were soon supplanted by "roughies," which commonly featured male violence against women, including kidnapping, rape and murder. "Lorna" (1964) by Russ Meyer is widely considered to be the first roughie. Herschell Gordon Lewis and David F. Friedman's "Scum of the Earth!" (1963) is another film that is cited as among the first in this genre. Other notable roughie directors include Doris Wishman.


title: Sexploitation film

text: In the United States, exploitation films initially played in grindhouse theatres, as well as struggling independent theaters; however, by the end of the decade they were playing in established cinema chains. As the genre developed during the 1960s films began showing scenes of simulated sex. The films were opposed by religious groups and by the MPAA, which was concerned that sexploitation films were cutting into the profits of major film distributors. Customers who attended screenings of sexploitation films were often characterised by the mainstream media as deviant, "dirty old men" and "raincoaters."


title: Sexploitation film

text: In the mid-1960s some newspapers began banning advertisements for the films. By the late 1960s the films were attracting a larger and broader audience, however, including couples rather than the single males who originally made up the vast majority of patrons. The genre rapidly declined in the early 1970s due to advertising bans, the closure of many grindhouses and drive-in theaters and the growth of hardcore pornography in the "Golden Age of Porn." Many theaters which had screened sexploitation films either switched to hardcore pornographic films or closed down.


title: Sexploitation film

text: In the late 1960s, American obscenity laws were tested by the Swedish film "I Am Curious (Yellow)". After the 1969 ruling by the Supreme Court that the film was not obscene because of its educational context, the late 1960s and early 1970s saw a number of sexploitation films produced following this same format. These were widely referred to as "white coaters," because, in these films, a doctor dressed in a white coat would give an introduction to the graphic content that followed, qualifying the film as "educational." The ruling led to a surge in the production of sex films. "Language of Love" and other Swedish and American films capitalised on this idea until the laws were relaxed.


title: Sexploitation film

text: In the 1960s Argentine sexploitation films were made within a regular basis. The biggest national stars in that genre were Isabel Sarli and Libertad Leblanc. The genre rapidly declined during the 1980s, particularly with the advent of democracy in Argentina since 1983 onwards, and it disappeared completely in the 1990s, except for some low budget direct-to-video productions.


title: Sexploitation film

text: Although these movies were released in their home country, government censorship at the time (Argentina alternated between democracy and dictatorship for most of the 60s and 70s) was prone to -or had the steady habit of- heavily editing the films before their release, threatening with a full ban if the studio or the director did not comply. Armando Bó, who made several sexploitation and erotic films with his romantic partner and muse Isabel Sarli, is one of the most well-known cases in Argentina of having disputes with the censors who wanted to either put him in jail for making "obscene material" or ban his films, which were released mostly in a truncated form, and with many scenes excised from his movies at the time of their release.


title: Sexploitation film

text: One of the most notorious agents of government censorship during that period was , who worked during "de jure" and "de facto" administrations as the director of the Argentine "Ente de Calificación Cinematográfica" (Film Rating Organization). In that capacity, Tato censored -banned or heavily edited- dozens of erotic or sexploitation films (from Argentina and from all over the world) during the 1960s and 1970s; he also banned or cut hundreds of domestic/international films of any kind and genre during the same era, always using the pretext of a righteous and moral fight against either "Marxism", "anti-catholic" or "subversive" movies who were, in his view, trying to "contaminate" the country's values and national identity. Although he exercised a mostly bureaucratic role, Tato was keen on giving interviews to the media describing his far-right authoritarian views and even boasting about being "a nazi" on several occasions. He was also -and proudly- a racist, and quite famously said on television, at the time of the Argentinian premiere of "Shaft in Africa" (1973): "Negros go back to Africa!" ("¡Negros, al Africa!").


title: Sexploitation film

text: Libertad Leblanc's rivalry with Isabel Sarli -who was, and probably still is, the greatest sex symbol in Argentine cinema- was very conspicuous in the 1960s. They were the two greatest figures of erotic cinema in their home country, competing for the headlines as well as the box office success, and at the same time the contrast between the two, in appearance and in personality (on screen and off as well) couldn't be bigger: Isabel Sarli was a flashy brunette, with generous shapes and natural attributes. Libertad Leblanc was instead rather slim, reportedly had breast implants, dyed her hair platinum blonde, and maintained her distinctive white skin by constantly avoiding exposure to the sun. Sarli had a shy and somewhat innocent personality, and she always exuded a "homely and easy-going" public image; her movies were usually melodramas and comedies with a lot of nudity. In contrast, Leblanc was uninhibited and cunning, and gave a public image of a vamp or a seductress; she was dubbed as "The White Goddess" (La diosa blanca) by the media, and her filmography includes police movies and thrillers.


title: Sexploitation film

text: "La Sarli", as they used to call her, was, as an actress, a product entirely created by Armando Bó, since the Argentine director was not only her longtime lover -they were never legally married, but lived together until his death-, her manager, her film producer and director, and even an authority figure, simultaneously. "La Leblanc", as they also used to call her, had a different background and was already used -from a young age, actually- to make her way on her own, and she was a true "self-made woman" of her time: she had disputes and argued as equals with producers, directors and distributors; she was her own manager and she co-produced almost all of her films -at a time when no woman did so-, as well as being almost always in charge of the distribution and promotion of her films. In this regard, a Mexican producer, with whom Leblanc made eight films, once told the media that "Libertad Leblanc, when talking about business, has a mustache".


title: Sexploitation film

text: In fact, it was Libertad Leblanc herself who installed the rivalry between her and Sarli in the media, as well as the popular conscience. In order to promote her first film, "La Flor de Irupé" (1962), Leblanc suggested a promotional poster with a black and white nude and a caption that read: "Libertad Leblanc, rival of Isabel Sarli". Although Isabel Sarli did not say anything at the time, Armando Bó, in a wrathful rapture, accused Leblanc of deviously using Sarli's international fame. Some time later, in a 2004 interview, Leblanc was sincere about the whole affair: “And [Bó] was right; but hey: we didn't spend a dime [on publicity] and everything came out perfectly"; in that same interview, when asked if she really believed there was a true rivalry between Sarli and her, Leblanc replied: "Not in any way. With Armando [Bó] we did have our run-ins because that fame [the publicity controversy] also circulated around the world. But she is divine, very naïve, yes, but she is a gorgeous woman...".


title: France Gall

text: Isabelle Geneviève Marie Anne Gall (9 October 1947 – 7 January 2018), known professionally as France Gall, was a French "yé-yé" singer. In 1965, aged 17, she won the Eurovision Song Contest for Luxembourg. Between 1973 and 1992, she collaborated with singer-songwriter Michel Berger.


title: France Gall

text: Gall was born in Paris on 9 October 1947, to a highly musical family. Her father, the lyricist Robert Gall, wrote songs for Édith Piaf and Charles Aznavour. Her mother, Cécile Berthier, was a singer as well and the daughter of Paul Berthier, the co-founder of Les Petits Chanteurs à la Croix de Bois. The only daughter of her family, France had two brothers: Patrice and Philippe. In spring 1963, Robert Gall encouraged his daughter to record songs and send the demos to the music publisher Denis Bourgeois. That July, she auditioned for Bourgeois at the Théâtre des Champs-Élysées in Paris, after which Bourgeois wanted to sign her immediately. France was subsequently signed to Philips.


title: France Gall

text: At the time, Bourgeois was working for the label as artistic director for Serge Gainsbourg and assumed this role for Gall as well. He encouraged her to record four tracks with the French jazz musician, arranger and composer Alain Goraguer.


title: France Gall

text: The first airplay of France's first single, ""Ne sois pas si bête"" ("Don't Be So Stupid"), occurred on her 16th birthday. It was released in November and became a hit, selling 200,000 copies. Gainsbourg, who had released several albums and written songs for singers including Michèle Arnaud and Juliette Gréco, was asked by Bourgeois to write songs for Gall. Gainsbourg's ""N'écoute pas les idoles"" ("Don't listen to the idols") was Gall's second single; it reached the top of the French charts in March 1964 and stayed there for three weeks.


title: France Gall

text: At the same time, Gall made her live debut, opening for Sacha Distel in Belgium. She teamed up with Distel's business manager, Maurice Tézé, a lyricist, which allowed her to create an original repertoire, unlike the majority of her contemporaries who sang adaptations of Anglophone hits. Elaborate orchestrations by Alain Goraguer blended styles, permitting her to navigate between jazz, children's songs, and anything in between. Examples of this mixed-genre style included "Jazz à gogo" (by Alain Goraguer and Robert Gall) and "Mes premières vraies vacances" (by Jacques Datin and Maurice Vidalin). Gall and Gainsbourg's association produced many popular singles, continuing through the summer of 1964 with the hit song ""Laisse tomber les filles"" ("Leave the girls alone") followed by ""Christiansen"" by Datin-Vidalin. Gainsbourg also secretly recorded Gall's laughter to use on "", a track on his 1964 album "Gainsbourg Percussions".


title: France Gall

text: Having previously resisted, Gall gave in to her managers at the end of 1964 and recorded a single intended for children. The song ""Sacré Charlemagne"", written by her father, and set to the music of George Liferman, was a hit in 1965, peaking at number one in France and number five in Turkey.


title: France Gall

text: Gall was then selected to represent Luxembourg in the Eurovision Song Contest 1965. From the ten songs proposed to her, she chose Gainsbourg's ""Poupée de cire, poupée de son"". On 20 March 1965, Gainsbourg, Gall, and Goraguer attended the finals of the song contest in Naples, where the song was "allegedly booed in rehearsals for straying so far from the sort of song usually heard in the Contest at this point."


title: France Gall

text: Although the delivery during the live show may not have been Gall's strongest performance — one critic wrote that Gall's performance was "far from perfect," another noted that her voice was out of tune and her complexion pale, and when Gall called Claude François, her lover at the time, immediately after the performance, he shouted at her, "You sang off key. You were terrible!" — the song impressed the jury and it took the Grand Prix. Success at Eurovision ensured that Gall became even more known outside Europe and she recorded "Poupée de cire, poupée de son" in French, German, Italian and Japanese. There appears to be no English version released by France Gall, although there was an English cover version by the English 1960s star Twinkle.


title: France Gall

text: In 1965, Gall toured France for several months with ""Le Grand Cirque de France"" ("The Great Circus of France"), a combination of radio show and live circus. Her singles continued to chart successfully, including the Gainsbourg-penned ""Attends ou va-t'en"" ("Wait for me, or go away") and ""Nous ne sommes pas des anges"" ("We are not angels"). She also had a hit with the song ""L'Amérique"" ("America") by Eddy Marnay and Guy Magenta.


title: France Gall

text: Stewart Mason sums up this early period of Gall's career, culminating in the Eurovision win:[A]lthough many dismissed Gall as a Francophone Lesley Gore, making fluffy and ultra-commercial pop hits with little substance, Gall's hits from this era stand up far better than most. Only Françoise Hardy was consistently making records up to these standards during this era. Though Gall's high, breathy voice was admittedly somewhat limited, she made the most of it. Even dopey hits like "Sacré Charlemagne", a duet with a pair of puppets who were the stars of a children's show on French TV, have an infectious, zesty charm; meatier tunes, like the sultry jazz-tinged ballad ""Pense a Moi"" and the brilliant rocker ""Laisse tomber les filles"", were as good as any single produced in the U.S. or Great Britain at the time.


title: France Gall

text: After a TV film directed by Jean-Christophe Averty and dedicated to the songs of Gall was distributed in the United States in 1965, Gall was sought by Walt Disney to appear as Alice in a musical film version of "Alice in Wonderland", after having already made " Alice" into a cartoon in 1951. Although Gall had insisted she did not want to become involved in film work, this was the only project which appealed to her. The project was cancelled after Disney's death in 1966.


title: France Gall

text: In 1966, Gall appeared in the television film "Viva Morandi", made in the same psychoanalytical mould as the (1965) Federico Fellini film "Giulietta degli Spiriti" ("Juliet of the Spirits"). She played "La Grâce" alongside Christine Lebail, who played "La Pureté", both singing "Les Sucettes" in a segment which was prominently labelled "Fantasy", in a clear reference to the song's sexual undertones.


title: France Gall

text: In 1993, she considered appearing on screen for a cinematographic collaboration with her best friend, screenwriter Telsche Boorman. This planned project was never completed due to Boorman's death in 1996.


title: France Gall

text: In January 2010, Gall was portrayed by Sara Forestier in a feature film released in France, "Gainsbourg (Vie héroïque)", based on the graphic novel by writer-director Joann Sfar.


title: France Gall

text: In 1966, her children's song "Les Leçons particulières" ("Private lessons") was the subject of public notoriety and displeasure; the same occurred when Jean-Christophe Averty choreographed a troupe of men on all fours to illustrate another of her children's songs, "J'ai retrouvé mon chien" ("I've found my dog"), on his television programme, "Les Raisins verts".


title: France Gall

text: Also in 1966, Gall released another successful song written by Gainsbourg called “Les sucettes” (Lollipops). Though the song was superficially about a young girl, Annie, who likes aniseed flavoured lollipops, plays on words within the song revealed it to be about oral sex. Gall was only 18 at the time the song was released and maintained that she was ignorant about the song's double entendre. She said she had sung “with an innocence of which I’m proud” and later said that her humiliation led her to avoid going out in public after being “betrayed by the adults around me”. She then refused to sing the song afterwards. She left France for a tour in Japan shortly after the song was released and was reportedly not able to trust another producer again until meeting Michel Berger.


title: France Gall

text: At the beginning of 1967, Gall sang a duet with Maurice Biraud, "La Petite", which describes a young girl coveted by a friend of her father. The controversy over this performance overshadowed her release that year of Gainsbourg's poetic "Néfertiti". Her next single was recorded with the orchestration of the English composer David Whitaker. New authors Frank Thomas and were brought on board. They wrote "Bébé requin" ("Baby Shark"), a song which was a success for Gall at the end of 1967, her last one for 6 years .


title: France Gall

text: This was followed by "Teenie Weenie Boppie", an anti-LSD song by Gainsbourg, which has been described as "a bizarre tune about a deadly LSD trip that somehow involves Mick Jagger". Gainsbourg then sang an anti-capital punishment song with Gall, "Qui se souvient de Caryl Chessman?" ("Anyone remember Caryl Chessman?"), about the death row prisoner.


title: France Gall

text: Stewart Mason wrote about this period, "The psychedelic era found Gall, under Gainsbourg's guidance, singing increasingly strange songs ... set to some of Gainsbourg's most out-there arrangements."


title: France Gall

text: Her next record "C'est toi que je veux", again with Whitaker, also failed to make an impact. With this string of recordings in the late 1960s, none of them an unmitigated success, and making the transition from teen-age to adult performer, Gall faced some challenges in this period through the early 1970s. Mason wrote,No longer a teenager, but without a new persona to redefine herself with, (and without the help of Gainsbourg, whose time was taken by his own albums and those of his wife Jane Birkin), Gall floundered both commercially and artistically. A label change from Philips to BASF in 1972 didn't help matters ..."


title: France Gall

text: Although struggling in her home country, Gall regularly recorded in Germany from 1966 to 1972, in particular with the composer and orchestrator Werner Müller. She had a successful German career with songs by Horst Buchholz and Giorgio Moroder: "Love, l'amour und Liebe" (1967), "Hippie, hippie" (1968), "Ich liebe dich, so wie du bist" ("I love you the way you are") (1969) and "Mein Herz kann man nicht kaufen" ("My heart is not for sale") (1970). Her other German hits included "Haifischbaby (Bébé requin)", "Die schönste Musik, die es gibt" ("The most beautiful music there is"/"Music To Watch Girls By"), "Was will ein Boy" ("What does a boy want?") (1967), "Ja, ich sing" ("Yes, I sing"), "A Banda (Zwei Apfelsinen im Haar)" ("Two oranges in my hair"), "Der Computer Nr. 3" (1968), "Ein bisschen Goethe, ein bisschen Bonaparte" ("A bit of Goethe, a bit of Bonaparte"), "I like Mozart" (1969), "Dann schon eher der Piano player" ("I prefer the piano player") (1970), "Ali Baba Und Die 40 Räuber" ("Ali Baba and the 40 Thieves") (1971), "Komm mit mir nach Bahia, Miguel" ("Come with me to Bahia, Miguel") (1972).


title: France Gall

text: Gall had several other releases in France in 1968, none of which aroused any great interest. At the end of 1968, on reaching the age of 21, Gall separated from Denis Bourgeois and spread her wings upon the expiration of her contract with Philips. She moved to a new record label, La Compagnie, in 1969, with whom her father Robert signed a contract, where she made a number of recordings, but did not succeed in finding a coherent style with Norbert Saada as artistic director.


title: France Gall

text: She went her own way in 1969 with two adaptations: one Italian and the other British: "L'Orage/La Pioggia)" ("The Storm") which she sang with Gigliola Cinquetti at the 1969 Sanremo Music Festival, and "Les Années folles" ("Gentlemen Please"), created by Barbara Ruskin. Her songs "Des gens bien élevés", "La Manille et la révolution", "Zozoï" and "Éléphants" were largely ignored. La Compagnie went bankrupt within three years of its creation, co-founder and singer Hugues Aufray blaming the failure entirely on Norbert Saada.


title: France Gall

text: The early seventies continued to be a barren period for Gall. Although she was the first artist to be recorded in France for Atlantic Records in 1971, her singles "C'est cela l'amour" (1971) and "Chasse neige" (1971), faltered in the charts. In 1972, Gall, for the last time, recorded songs by Gainsbourg, "Frankenstein" and "Les Petits ballons", but these also failed to chart. The results of her collaboration with Jean-Michel Rivat as artistic director, "La Quatrieme chose" (1972), "Par plaisir" and "Plus haut que moi" (1973) all failed to meet with commercial success.


title: France Gall

text: From the 1970s onwards, Gall started regularly visiting Senegal. She bought a hideaway there on the island of N'Gor, close to Dakar in 1990.


title: France Gall

text: Gall was enthralled by Michel Berger's music when she heard his song "Attends-moi" ("Wait for Me") one day in 1973. During a later radio broadcast, she asked him for his opinion on songs which her then producer wanted her to record. Although he was disconcerted by the quality of the songs, there would be no question of collaboration.


title: France Gall

text: Only six months later, in 1974, after she sang vocals on the song "Mon fils rira du rock'n'roll" on Berger's new album, Gall's publisher asked him, at her behest, to write for her. Gall had already made her mind up that "It will be him and nobody else". In 1974, "La Déclaration d'amour" was to be the first in a long line of hits which marked a turning point in Gall's career. Meanwhile, the two artists had fallen in love and married on 22 June 1976, the only marriage for both. After they married, Gall only sang songs written by Berger until his death in 1992.


title: France Gall

text: In 1978, pushed by Berger, she once again trod the boards of the Théâtre des Champs-Élysées where she had auditioned 15 years earlier, starring in a show titled "Made in France". The most novel aspect of this show was that, except for the Brazilian drag act Les Étoiles, the members of the orchestra, choir and the dance troupe were exclusively female. In this show, France sang "Maria vai com as outras" the original, Brazilian (Portuguese) version of "Plus haut que moi".


title: France Gall

text: In 1979, Gall took part in a new show which remains memorable for many. Composed by Michel Berger and written by the Québécois author Luc Plamondon, the rock opera "Starmania" enjoyed a success not usual for musicals in France. The show played for one month at Palais des congrès de Paris. In 1982, Gall rehearsed in the Palais des Sports of Paris to present "Tout pour la musique", an innovative spectacle marked by its use of electronic music. The songs "Résiste" and "Il jouait du piano debout" ("He played the piano standing") quickly became French pop standards.


title: France Gall

text: In 1985, Gall joined Chanteurs Sans Frontières, on the initiative of Valérie Lagrange. She also worked for S.O.S Ethiopie for the benefit of Ethiopia under the aegis of Renaud. At the same time, she gave a successful series of concerts lasting three weeks at the new venue Le Zénith in Paris, where she performed new songs like "Débranche" ("Loosen-up"), "Hong-Kong Star", and gave solid acoustic performances of "Plus haut", "Diego libre dans sa tête" and "Cézanne peint".


title: France Gall

text: In 1985 and 1986, Gall worked with Berger, Richard Berry, Daniel Balavoine and for the benefit of Action Écoles, an organisation of schoolboy volunteers which collects essential food products in France for African countries where famine and drought prevail. On 14 January 1986, during a trip to Africa, Balavoine tragically perished in a helicopter crash. In 1987, the song "Évidemment", written by Berger and sung by Gall, was a moving homage to their lost friend. The song appeared on the album "Babacar".


title: France Gall

text: On the same album, the song "Babacar" was about a child Gall and Berger had thought to adopt from Dakar, Senegal after meeting a mother who had begged Gall to take her child. Instead of adopting the child Berger and Gall decided to help financially by writing a song about the dilemma and donating the proceeds of the song to the child. The costs covered an apartment for the family and paid study costs for both the mother and child.


title: France Gall

text: Gall topped the pop charts in many countries in 1987 and 1988 with another song from the "Babacar" album, "Ella, elle l'a" ("Ella′s got it"), a Berger tribute to Ella Fitzgerald. Following the release of "Babacar", Gall launched a new show produced by Berger. Opening at Le Zénith, the successful production toured throughout Europe, and gave rise to the live album "Le Tour de France '88".


title: France Gall

text: Gall took a break from singing in the early 1990s and did not record any more for several years to come. She did, however, make an album called "Double Jeu" with Berger released 12 June 1992. Following the release of "Double Jeu", Gall and Berger announced a series of concerts in various Parisian venues; this project was nearly cancelled by Berger's death from a heart attack on 2 August 1992. Although Gall was strongly affected by Berger's death, she wanted to complete the project they had planned. She decided to commit to the performances at Bercy and promoted the songs that she and Berger created together.


title: France Gall

text: She finally performed at the Bercy in September. All the songs she performed were written by Michel Berger from "Double Jeu", and from their discographies. A year later, she went back on stage and performed in a new show in the Salle Pleyel in Paris featuring new musicians. The repertoire featured songs written exclusively by Berger though Gall included her own versions of songs originally performed by others.


title: France Gall

text: In 1996, Gall asked Jean-Luc Godard to produce the video clip of her song "Plus haut", taken from her album "France". Godard initially refused, but later agreed, and directed a dreamy, picturesque video titled ""Plus Oh!"" near his residence in Rolle, Switzerland. It was given its first and only airing (due to copyright issues) on 20 April 1996 on the French television channel M6.


title: France Gall

text: After a year in Los Angeles, she released her eighth studio album, "France", in 1996. That same year, she decided to headline at the Paris Olympia. The next year, in 1997, she announced her retirement and recorded an unplugged show for French television showcasing songs from her final album.


title: France Gall

text: Gall married her collaborator and songwriter, Michel Berger, on 22 June 1976. They had two children together, Pauline and Raphaël.


title: France Gall

text: Her daughter Pauline was diagnosed with cystic fibrosis soon after she was born. She and Berger had decided to focus their hopes on the progress of medical research and to keep details of Pauline's condition a secret from the public. She entered into a pact with her husband to alternate their professional projects to take care of their daughter in the hope that a cure would be found.


title: France Gall

text: Michel Berger died of a heart attack in 1992, at age 44. Gall was diagnosed with breast cancer in April 1993, which was successfully treated.


title: France Gall

text: Pauline died in December 1997. Following the death of her daughter, Gall made only occasional public appearances.


title: France Gall

text: She was a patron of the French charity Cœurs de Femmes and a regular poker player up until her death.


title: France Gall

text: As a farewell to her career, a documentary movie was shot in 2001, "France Gall par France Gall" and millions watched the documentary when it was broadcast on French television that year.


title: France Gall

text: Gall staged and appeared in the 2007 France 2 documentary, "Tous pour la musique", marking the 15th anniversary of Michel Berger's death.


title: France Gall

text: A long-term breast cancer survivor, Gall died, aged 70, of an infection after a two-year battle with a cancer of undisclosed primary origin, at the American Hospital of Paris in Neuilly-sur-Seine on 7 January 2018. She was buried with her husband and daughter on 20 Avenue Rachel (division 29) at Montmartre Cemetery in Paris.


title: Francis Rossi

text: Francis Dominic Nicholas Michael Rossi, (born 29 May 1949) is an English musician, singer and songwriter. He is the co-founder, lead singer, lead guitarist and the sole continuous member of the rock band Status Quo.


title: Francis Rossi

text: Rossi was born on 29 May 1949 in Forest Hill, London. His father's side of the family were Italian ice cream merchants and had an ice cream business in South London, and his mother was a Northern Irish Roman Catholic from Liverpool. He grew up in a household with his parents, grandmother, and "lots of aunts and uncles" and was given a Roman Catholic upbringing, having been named after Saint Francis of Assisi. He spent his summer holidays as a child with an aunt in Waterloo, Merseyside. He attended Our Lady and St Philip Neri Roman Catholic Primary School in Sydenham, and then Sedgehill Comprehensive School, from which he was expelled on his last day. His desire to become a musician began after seeing The Everly Brothers live on television at a young age, after which he asked his parents to buy him a guitar for Christmas.


title: Francis Rossi

text: In 1962, while attending Sedgehill Comprehensive School, Rossi became close friends with future Status Quo bassist Alan Lancaster while playing trumpet in the school orchestra. The two, along with other classmates Alan Key (drums) and Jess Jaworski (keyboards), formed a band called the Scorpions, who played their first gig at the Samuel Jones Sports Club in Dulwich. Key was later replaced by Air Cadets drummer and future Quo member John Coghlan, and the band was renamed the Spectres. The Spectres wrote their own material and played live shows; the line-up soon included Redhill-based keyboard player Roy Lynes, whom they had seen performing with a band called the Echoes who were also based in Redhill. In 1965, the Spectres played at a Butlins holiday camp in Minehead. There Rossi met his future long-time Status Quo partner Rick Parfitt, who was playing as part of another band, the Highlights. The two became close friends and agreed to continue working together. In 1966, the Spectres signed a five-year deal with Piccadilly Records, releasing three singles that failed to chart. The group again changed their name, this time to Traffic Jam, after embracing psychedelia.


title: Francis Rossi

text: In 1967, Traffic Jam changed its name to The Status Quo, but eventually dropped the definite article. Shortly afterward Parfitt joined the band, completing the original line-up, and beginning an almost 50-year partnership with Rossi until Parfitt's death in 2016. Rossi had written a song called "Pictures of Matchstick Men", which hit the charts in both the UK and the US in 1968, launching their hit-making career. After some years of minor success, the band reached #5 in the album charts in 1972 with "Piledriver". Released on Vertigo Records, it included "Paper Plane", a song penned by Rossi and Bob Young, which was released as a single. Status Quo continued to enjoy major success in the UK, Europe, Japan, Australia and New Zealand through the 1970s and 1980s. They were the opening act of 1985's Live Aid, and Rossi wrote and co-wrote some of their biggest hits, including "Caroline" and the band's only number one single, "Down Down".


title: Francis Rossi

text: Rossi and Parfitt were the only remaining original members in the band until Parfitt's death in 2016. In 2013 and 2014, Rossi and Parfitt reunited with original Quo bandmates Lancaster and Coghlan for a series of reunion concerts. Over their career, Status Quo have sold over 128 million albums worldwide.


title: Francis Rossi

text: In 1984, the year before Quo opened Live Aid, Rossi and Parfitt appeared on the Band Aid charity single, "Do They Know It's Christmas?" Rossi has also pursued solo projects outside Status Quo. In 1985 when the band was on hold, he recorded two singles with his longtime writing partner Bernie Frost. The single releases were "Modern Romance (I Want to Fall in Love Again)" (UK No. 54), and "Jealousy". In 1996 he issued a solo album, "King of the Doghouse", which was not a commercial success, although it produced a UK No. 42 single, "Give Myself to Love". Some years earlier, in 1976, he had appeared on the soundtrack album and film "All This and World War II" comprising cover versions of songs by the Beatles. Although the album sleeve credits the performance of "Getting Better" to Status Quo, the track featured Rossi's vocals and the London Symphony Orchestra. In 1977, he produced and played guitar on John Du Cann's solo album "The World's Not Big Enough". 3 May 2010 saw the release of his second solo album, "One Step at a Time", including a re-recording of Quo's 1973 single "Caroline".


title: Francis Rossi

text: In 2013, Rossi starred as himself alongside Quo bandmate Parfitt in the adventure comedy film "Bula Quo!", which followed the duo on an adventure in Fiji, getting involved in local Mafia operations on the island.


title: Francis Rossi

text: In 2019, Rossi released a joint album with UK singer and violinist Hannah Rickard, entitled "We Talk Too Much" on the earMusic label. The same year, he released his autobiography "I Talk Too Much" (published by Little, Brown), as well as announcing a spoken word tour of the UK of the same name.


title: Francis Rossi

text: Rossi's guitar of choice is the Fender Telecaster, and he has used several over the years including his trademark green 1957 model with a maple fretboard, which he purchased in 1968. It was originally sunburst, but was painted green in 1970. Through the years several parts had been replaced with G&L parts, and a third pickup had been installed in a configuration much like a Stratocaster.


title: Francis Rossi

text: He also owns two other green Fender Telecasters that are both brighter in colour and feature rosewood fretboards. One is used for the song "Down Down" and the other for "Whatever You Want". Like his main guitar they are both in a three-pickup configuration.


title: Francis Rossi

text: In December 2014, Rossi was said to be "heartbroken" when his green 1957 Telecaster, after 46 years of use, became worn beyond use—the wood having become too soft to be able to properly tune the instrument. The guitar was sold at auction in 2019 for £118,813.


title: Francis Rossi

text: For amplification Rossi uses Marshall JCM800 or JCM900 Lead series amplifiers with 4x12 cabinets and a Roland GP8 to boost his signal. The sound from his Marshall rig is blended with Vox AC30 amplifiers that are kept behind his Marshall setup. He also uses software like Amplitube in the studio.


title: Francis Rossi

text: Rossi, along with the rest of Status Quo, has often been described as "uncool", including by Rossi himself; in March 2013, he called the Status Quo of 1974 "the most uncool band in the world". On stage, Rossi normally sported a black waistcoat, blue jeans and a pair of white trainers. In a December 2000 review of a Status Quo concert at Wembley Arena, Andrew Gilchrist writing for "The Guardian" called the white trainers "the only "visual" [the band] really have", referencing their simplistic stage show.


title: Francis Rossi

text: Interviewed by Simon Hattenstone for "The Guardian" in 2007, Rossi said that he had idolised Little Richard, saying: "I think that's where we got the energy. To me it's synonymous with doing rock'n'roll. If you don't commit physically, rock'n'roll doesn't really work."


title: Francis Rossi

text: Early Status Quo albums, up to 1971's "Dog of Two Head", credited him as Mike Rossi. Interviewed in 1996, he explained that his own name was deemed "too poncey" by the band's original manager, "so I had to change it to Mike, a real man's name, apparently". Within the band, he is known as "Frame" or "The Gomorr" (The Grand Old Man of Rock and Roll).


title: Francis Rossi

text: Rossi is now teetotal and stays away from drugs, but in the past had an archetypical "rock and roll lifestyle" of alcohol and drug habits, which made him and Parfitt notorious at the height of the band's fame. Rossi has claimed to have spent £1.7 million on cocaine in the 1980s. This heavy cocaine use resulted in a piece of his nasal septum falling out, leaving a hole inside his nose which he once "pushed a cotton bud through during a TV interview" in order to demonstrate the dangers of drug addiction to young people. In October 2014, Rossi told BBC's "HARDtalk" that alcohol was the gateway that led to his cocaine habit.


title: Francis Rossi

text: Despite his teetotalism, in 2010 Rossi became chairman of the Glen Rossie brand of whisky, which the band used to drink whilst on tour.


title: Francis Rossi

text: Rossi was estranged from his daughter Bernadette for seventeen years after his relationship with rock publicist Elizabeth Gernon broke up. They reunited in 2007, and Bernadette and The North supported Status Quo on that year's tour.


title: Francis Rossi

text: Rossi was appointed Officer of the Order of the British Empire (OBE) in the 2010 New Year Honours for services to music and charity, along with Parfitt. Rossi said "It's one thing going out to play in front of 50,000 people but talking to the Queen - well that's quite another. We were both so humbled by the experience. I mean, this is the Queen after all. She is England, isn't she? We have grown up with her as our figurehead since we were tiny children and she's still going strong at 83. Not a very rock and roll thing to say I know, but she is simply amazing."


title: Francis Rossi

text: Rossi married his second wife Eileen in 1989 and has eight children from his two marriages. Interviewed in 2011, he said that all of his children played music professionally.


title: Samsung Galaxy A12

text: The Samsung Galaxy A12 is an Android smartphone manufactured by Samsung Electronics. The phone was announced in November 2020 as a successor to the Samsung Galaxy A11. The phone has a quad-camera setup with a 48 MP main camera and a HD+ Infinity-V display. The Li-Po battery has 5000 mAh, which is 62% bigger than the battery of the iPhone 13 Pro. It ships with Android 10 and now can be updated to Android 12


title: Samsung Galaxy A12

text: The Samsung Galaxy A12 was not available in the United States until April 2021. The Galaxy A12 available in the U.S. has 3 GB RAM and a 16 MP main camera rather than the 48 MP unit.


title: Samsung Galaxy A12

text: Samsung launched Galaxy A12 at €179 for the 3 GB RAM + 32 GB internal storage variant and goes up to €199 for the 6 GB RAM + 128 GB internal storage variant. It is available four colour variants which are Black, White, Blue, and Red.


title: Samsung Galaxy A12

text: Samsung launched Galaxy A12 smartphone in India on February 16, 2021, at a price of Rs. 12,999 for the 4 GB RAM + 64 GB internal storage model, while the 4 GB RAM + 128 GB internal storage variant carries a price tag of Rs. 13,999. On 12 August 2021, Samsung relaunched the phone with Exynos 850 SoC in India. This variant can be purchased with 4 GB RAM + 64 GB internal storage and 6 GB RAM + 128 GB internal storage configurations; 4 GB model costs Rs. 13.999 and 6 GB model costs Rs. 16.499.


title: Samsung Galaxy A12

text: On 9 August 2021, a new variant of the phone named as Samsung Galaxy A12 Nacho was announced. This variant of the phone is powered by Samsung's in-house Exynos 850 SoC with octa-core CPU and 8 nm process instead of MediaTek Helio P35 SoC and runs on Android 11 out of the box. Aside from these differences, both Galaxy A12 and Galaxy A12 Nacho have almost identical specifications.