title: West Coast Eagles

text: The club's current logo features the head of a wedge-tailed eagle in the royal blue and gold colours of the club with the words "West Coast Eagles" written underneath. It was introduced prior to the 2018 season and aimed to present a more realistic portrayal of an eagle than the previous logo. The previous logo, in use between 2000 and 2017, featured a more heavily stylised wedge-tailed eagle. The club's current and former logos have all incorporated a stylised eagle's head, always facing east (i.e. towards the right, where east appears on most maps) to represent the eagle eyeing off its prey in the eastern states.


title: West Coast Eagles

text: As part of the AFL's Mascot Manor program, a bald eagle club mascot, Rick "The Rock", was created in 2003 to promote the club to junior players. The mascot is in part named after the song. A real wedge-tailed eagle, Auzzie, has flown around the field before matches at West Coast home games since 2007.


title: West Coast Eagles

text: In 2018, the Eagles' home guernsey saw a return of the club's former 'royal blue' design used prior to 1999, updated to feature the club's new logo. The club's away strip, which already used a variation of the design with the royal blue and gold colours swapped around, as updated to feature the new logo but otherwise remained relatively unchanged. Between 2000 and 2015, the club's home jumper design featured a stylised eagle on a tricolour of navy blue, white and gold. This jumper was introduced during the 2000 season along with a much-criticised ochre away jumper as part of a rebrand of the club to coincide with the new millennium. The ochre jumper was later dropped at the end of 2002 in favour of an updated version of the club's former royal blue jumper, which was worn during their 1992 and 1994 premierships. Starting in 2010, the Eagles also wore a third, predominantly white guernsey in order to avoid visual clashes with teams who used similar colours. It was dropped as the club's designated clash jumper at the end of 2016, in favour of an updated version of their original 1987 guernsey. During October 2015, the club announced a navy version of the royal blue jumper would replace the tricolour guernsey as the club's home uniform from 2016, and was used until the introduction of the current design. The Eagles rebranded to its current brand on 1 November 2017, ahead of the club's move to Perth Stadium from 2018.


title: West Coast Eagles

text: As part of West Coast's (and the AFL's in general) efforts to develop the game outside of Australia, the club partners with a number of internationally based football clubs, providing them with guernseys and other equipment. There are currently Eagles-affiliated clubs (also referred to as "sister clubs") in Cambodia (the Cambodian Eagles), Canada (the Toronto Eagles), China (the Shanghai Eagles), Italy (the Milano Eagles), and Sweden (the Karlstad Eagles). West Coast is also responsible for sponsoring FootyWILD, a program similar to Auskick held in KwaZulu-Natal, a province of South Africa.


title: West Coast Eagles

text: The club's official team song is "We're the Eagles", composed by Kevin Peek, a former member of the progressive rock band Sky, and initially recorded at Peek's studio in Roleystone. The current version of the song goes as follows:


title: West Coast Eagles

text: The original 1987 version, which was played after the 1992 and 1994 grand final victories, featured anti-Victorian verses ("For years, they took the best of us and claimed them for their own... So watch out, all you know-alls, all you wise men from the East") and a different musical structure. It was eventually altered in the late-1990s. The re-recorded version had new verses added by Ken Walther, who also composed Fremantle's 1995 team song. A modified version of the late-1990s song has been used from 2018 to 2019. Ahead of the Eagles' appearance in the 2015 Grand Final, the West Australian Symphony Orchestra created an orchestral version of the song. In 2020, the club announced an updated version of the song, composed by Ian Berney and with vocals from Ian Kenny, both of Perth band Birds of Tokyo. "Eagle Rock", a 1971 song recorded by Daddy Cool, is also traditionally played at home games after wins.


title: West Coast Eagles

text: The West Coast Eagles had its original primary training and administration base at Subiaco Oval from 1987 until 2019, the club then moved its primary training and administration base to Mineral Resources Park in 2019.


title: West Coast Eagles

text: Players who have played 150 games for the club are automatically inducted as life members of the club. Other players, administrators and coaches that have made an outstanding contribution to the club have also been inducted. No life members were inducted in 2001. The following players, coaches and administrators are life members of the club:


title: West Coast Eagles

text: In 1996 as part of the AFL's centenary celebrations, and the club's 10-year celebrations, the Eagles named a team of the decade.


title: West Coast Eagles

text: In 2006 the West Coast Eagles named a greatest team of the past twenty years as part of the club's twentieth anniversary celebrations:


title: West Coast Eagles

text: In 2011 the West Coast Eagles named a greatest team of the past twenty five years as part of the club's twenty fifth anniversary celebrations:


title: West Coast Eagles

text: "The Brownlow Medal is awarded to the best player in the competition during the home-and-away season as voted by the umpires:"


title: West Coast Eagles

text: "The Leigh Matthews Trophy is awarded to the best player in the competition as voted by the AFL Players Association:"


title: West Coast Eagles

text: "The Best First-Year Player Award is awarded to the best first-year player as voted by the AFL Players Association:"


title: West Coast Eagles

text: "The Coleman Medal is awarded to the player who kicks the most goals in the AFL competition during the home-and-away season:"


title: West Coast Eagles

text: "The AFL Rising Star is awarded to the best rookie player in the competition during a particular season:"


title: West Coast Eagles

text: "The Goal of the Year is awarded to the player judged to have kicked the best goal during a particular season:"


title: West Coast Eagles

text: "The Mark of the Year is awarded to the player judged to have taken the best mark during a particular season:"


title: West Coast Eagles

text: The All-Australian team is a representative team consisting of the best players during a particular season. Prior to 1991 it was awarded to the best players in each interstate football carnival.


title: West Coast Eagles

text: Prior to 1991 the "VFL Team of the Year" was announced each year, consisting of the best players during that season in the Victorian Football League.


title: West Coast Eagles

text: For the 2022 season, in the event an AFL club has less than 28 players available due to Covid related reasons, each club can select from a list of 20 state league players who can be called up to AFL level. West Coast has selected 20 players from the WAFL. In Round 2 of the AFL season, West Coast became the first AFL team to need to call on this top-up list, when 12 players who played in Round 1 were unable to play due to Covid-19 health and safety protocols.


title: West Coast Eagles

text: The club's strongest rivalry is with the Fremantle Football Club, the only other AFL club based in Western Australia. The two teams play off in the Western Derby twice each home-and-away season. Overall, 52 derbies have been played, with the Eagles winning 32 and Fremantle winning 20. West Coast currently hold the record for the most consecutive derby wins after winning their 11th in a row in round 7 of the 2021 AFL season. Derbies usually incorporate a near sold-out crowd. From 1995 to 2017, when the club played at Subiaco Oval, the average crowd was 39,910 people per game, out of a total capacity of 43,600 people. From 2018 to 2021, the average crowd at Optus Stadium was 56,033 (excluding two games in 2020 and 2021 played with reduced or no crowd due to COVID-19 restrictions), out of a total capacity of 60,000 people.


title: West Coast Eagles

text: The club's earliest rivalry was with VFL powerhouse the Hawthorn Hawks. This rivalry stemmed from a series of memorable matches in the early 1990s, most notably the 1991 Grand Final. It was considered the first ever interstate rivalry in the competition, although it had fallen into irrelevance in later years. 24 years later in 2015, the two clubs met again in another grand Final, which Hawthorn won in convincing fashion.


title: West Coast Eagles

text: Other rivalries include with , and a rivalry with the Sydney Swans, which stems from a series of six matches between 2005 and 2007, including both the 2005 and 2006 Grand Finals, in which the total points difference was 13, the lowest of all-time. This sequence included three one-point matches between the 2006 qualifying final and round one of the 2007 season.


title: West Coast Eagles

text: In September 2017, West Coast Eagles were granted a license by the AFL to compete in the AFL Women's league from the start of the 2020 season. The club shares home games between Lathlain Park, Perth Stadium and Leederville Oval.


title: GTK

text: GTK (formerly GIMP ToolKit and GTK+) is a free and open-source cross-platform widget toolkit for creating graphical user interfaces (GUIs). It is licensed under the terms of the GNU Lesser General Public License, allowing both free and proprietary software to use it. It is one of the most popular toolkits for the Wayland and X11 windowing systems.


title: GTK

text: The GTK team releases new versions on a regular basis. GTK 4 and GTK 3 are maintained, while GTK 2 is end-of-life.


title: GTK

text: The GTK library contains a set of graphical control elements (widgets); version 3.22.16 contains 186 active and 36 deprecated widgets. GTK is an object-oriented widget toolkit written in the programming language C; it uses GObject, that is the GLib object system, for the object orientation. While GTK is mainly for windowing systems based on X11 and Wayland, it works on other platforms, including Microsoft Windows (interfaced with the Windows API), and macOS (interfaced with Quartz). There is also an HTML5 back-end named "Broadway".


title: GTK

text: GTK can be configured to change the look of the widgets drawn; this is done using different display engines. Several display engines exist which try to emulate the look of the native widgets on the platform in use.


title: GTK

text: Starting with version 2.8, released in 2005, GTK began the transition to using Cairo to render most of its graphical control elements widgets. Since GTK version 3.0, all rendering is done using Cairo.


title: GTK

text: On 26 January 2018 at DevConf.cz, Matthias Clasen gave an overview of the current state of GTK 4 development, including a high-level explanation of how rendering and input worked in GTK 3, what changes are being made in GTK 4 (>3.90), and why. On 6 February 2019 it was announced that GTK 4 will drop the “+” from the project's name.


title: GTK

text: GDK acts as a wrapper around the low-level functions provided by the underlying windowing and graphics systems.


title: GTK

text: GSK is the rendering and scene graph API for GTK. GSK lies between the graphical control elements (widgets) and the rendering. GSK was finally merged into GTK version 3.90 released March 2017.


title: GTK

text: GtkBuilder allows user interfaces to be designed without writing code. The interface is described in an Extensible Markup Language (XML) file, which is then loaded at runtime and the objects created automatically. The Glade Interface Designer allows creation of the user interface in a "what you see is what you get" (WYSIWYG) manner. The description of the user interface is independent from the programming language being used.


title: GTK

text: Language bindings are available for using GTK from languages other than C, including C++, Genie, JavaScript, Perl, Python, Vala, and others.


title: GTK

text: Gtk# is a set of .NET Framework bindings for the GTK graphical user interface (GUI) toolkit and assorted GNOME libraries. The library facilitates building graphical GNOME applications using Mono or any other compliant Common Language Runtime (CLR). Gtk# is an event-driven system like any other modern windowing library where every widget allows associating handler methods, which get called when certain events occur.


title: GTK

text: Applications built using Gtk# will run on many platforms including Linux, Windows and macOS. The Mono packages for Windows include GTK, Gtk# and a native theme to make applications look like native Windows applications. Starting with Mono 1.9, running Gtk# applications on macOS no longer requires running an X11 server.


title: GTK

text: Glade Interface Designer can be used with the Glade# bindings to easily design GUI applications. A GUI designer named Stetic is integrated with the MonoDevelop integrated development environment (IDE).


title: GTK

text: In addition to support the standard GTK/GNOME stack of development tools, the assembly provides a bridge to consume functionality available on the .NET stack. At this point this includes the functionality to use System.Drawing to draw on a widget.


title: GTK

text: , Gtk# support for Gtk3 remains in the preview phase and forked projects, such as GtkSharp, have been founded to provide full Gtk3 support for C# and other CLI languages. The lack of a released version of Gtk# with support for Gtk3 was cited as a reason to remove the Banshee media player in Ubuntu 12.04.


title: GTK

text: GTK is mainly developed by The GNOME Project, which also develops the GNOME Development Platform and the GNOME Desktop Environment.


title: GTK

text: GTK development is loosely managed. Discussion chiefly occurs on several public mailing lists. GNOME developers and users gather at an annual "GNOME Users And Developers European Conference" GUADEC meeting to discuss GNOME's current state and future direction. GNOME incorporates standards and programs from freedesktop.org to better interoperate with other desktops.


title: GTK

text: On 1 September 2016 a post on the GTK development blog denoted, among other things, the future numbering scheme of GTK. GTK version 3.22, released in Autumn 2016, was planned to be the last 3.x release, although version 3.24 followed in Fall 2018 with the delay of GTK 4.


title: GTK

text: The development of GTK 4 used version names 3.90, 3.92, etc. until the first GTK 4.0 stable release was launched in December 2020. Despite the first stable GTK 4 release, some still rely on GTK 2. For example, as of January 2022, GIMP is still being ported to GTK 3.


title: GTK

text: GTK (and GNOME, GLib, etc.) formerly utilized the GNU Build System (named Autotools) as the build automation system of choice.


title: GTK

text: Since 14 Aug 2017, the master branch of GTK has been built with Meson, and the Autotools build system files have been dropped.


title: GTK

text: The most common criticism of GTK is the lack of backward-compatibility in major updates, most notably in the application programming interface (API) and theming.


title: GTK

text: The compatibility breaks between minor releases during the GTK 3.x development cycle was explained by Benjamin Otte as due to strong pressures to innovate, such as providing the features modern users expect and supporting the increasingly influential Wayland display server protocol. With the release of GTK 4, the pressure from the need to innovate will have been released and the balance between stability and innovation will tip toward stability. Similarly, recent changes to theming are specifically intended to improve and stabilise that part of the API, meaning some investment now should be rewarded later.


title: GTK

text: GTK programs can be run on desktop environments based on X11 and Wayland, or window managers even those "not" made with GTK, provided the needed libraries are installed; this includes macOS if X11.app is installed. GTK can be also run on Microsoft Windows, where it is used by some popular cross-platform applications like Pidgin and GIMP. wxWidgets, a cross-platform GUI tool-kit, uses GTK on Linux by default. Other ports include DirectFB (used by the Debian installer, for example) and ncurses.


title: GTK

text: For syntax highlighting there is GtkSourceView, "source code editing widget". GtkSourceView is maintained by GNOME separately from GTK as a library: gtksourceview. There are plans to rename to gsv.


title: GTK

text: GtkSpell is a library separate from GTK. GtkSpell depends on GTK and Enchant. Enchant is a wrapper for ispell, hunspell, etc., the actual spell checker engine/software. GtkSpell uses GTK's GtkTextView widget, to highlight misspelled words and offer replacement.


title: GTK

text: The following code presents a graphical GTK hello-world program in the C programming language. This program has a window with the title "Hello, world!" and a label with similar text.


title: GTK

text: GTK was originally designed and used in the GNU Image Manipulation Program (GIMP) as a replacement of the Motif toolkit; at some point Peter Mattis became disenchanted with Motif and began to write his own GUI toolkit named the GIMP toolkit and had successfully replaced Motif by the 0.60 release of GIMP. Finally GTK was re-written to be object-oriented and was renamed GTK+. This was first used in the 0.99 release of GIMP. GTK was subsequently adopted for maintenance by the GNOME Foundation, which uses it in the GNOME desktop environment.


title: GTK

text: The GTK 2.0.0 release series introduced new features which include improved text rendering using Pango, a new theme engine, improved accessibility using the Accessibility Toolkit, transition to Unicode using UTF-8 strings, and a more flexible API. Starting with version 2.8, GTK 2 depends on the Cairo graphics library for rendering vector graphics.


title: GTK

text: GTK version 3.0.0 included revised input device handling, support for themes written with CSS-like syntax, and the ability to receive information about other opened GTK applications.


title: GTK

text: HP stated that their goal was to merge the needed OpenVMS changes into the GTK Version 1.3 development stream, however this never materialised. The latest version of GTK for OpenVMS is version 1.2.10.


title: GTK

text: One of the cardinal novelties implemented during the GTK 4 development cycle (i.e. GTK 3.92, etc.) has been the delegation of functionality to ancillary objects instead of encoding it into the base classes provided by GTK.


title: GTK

text: In 2018-Jan-26 at DevConf.cz Matthias Clasen gave an overview of the then current state of GTK 4 development, including a high-level explanation of how rendering and input worked in GTK 3, what changes were being made to GTK 4, and the reasons for those changes. Examples of things that have become possible with GTK 4 were given as well.


title: Integration testing

text: Integration testing (sometimes called integration and testing, abbreviated I&T) is the phase in software testing in which individual software modules are combined and tested as a group. Integration testing is conducted to evaluate the compliance of a system or component with specified functional requirements. It occurs after unit testing and before system testing. Integration testing takes as its input modules that have been unit tested, groups them in larger aggregates, applies tests defined in an integration test plan to those aggregates, and delivers as its output the integrated system ready for system testing.


title: Integration testing

text: Some different types of integration testing are big-bang, mixed (sandwich), risky-hardest, top-down, and bottom-up. Other Integration Patterns are: collaboration integration, backbone integration, layer integration, client-server integration, distributed services integration and high-frequency integration.


title: Integration testing

text: In big-bang, most of the developed modules are coupled together to form a complete software system or major part of the system and then used for integration testing. This method is very effective for saving time in the integration testing process. However, if the test cases and their results are not recorded properly, the entire integration process will be more complicated and may prevent the testing team from achieving the goal of integration testing.


title: Integration testing

text: The lowest level components are tested first in bottom-up testing. They are then used to facilitate the testing of higher level components. The process is repeated until the component at the top of the hierarchy is tested. All the bottom or low-level modules, procedures or functions are integrated and then tested. After the integration testing of lower level integrated modules, the next level of modules will be formed and can be used for integration testing. This approach is helpful only when all or most of the modules of the same development level are ready. This method also helps to determine the levels of software developed and makes it easier to report testing progress in the form of a percentage.


title: Integration testing

text: The top integrated modules are tested first in top-down testing and the branch of the module is tested step by step until the end of the related module.


title: Integration testing

text: Sandwich testing combines top-down testing with bottom up testing. One limitation to this sort of testing is that any conditions not stated in specified integration tests, outside of the confirmation of the execution of design items, will generally not be tested.


title: Fashion week

text: A fashion week is a fashion industry event, lasting approximately one week, where fashion designers, brands or "houses" display their latest collections in runway fashion shows to buyers and the media. These events influence the upcoming fashion trends for the current and approaching seasons.


title: Fashion week

text: The most prominent fashion weeks are held in the fashion capitals of the world— in chronological order, New York, London, Milan, and Paris, or the "Big Four", with exquisite fashion heritage, structured organization, and the most vaunted fashion designers of the last century, the four cities considered the main fashion capitals of the 21st century, and which receive the majority of press coverage.


title: Fashion week

text: One of history's first signs of a fashion week, or seasonal collection, can be traced back to fashion designer Charles Frederick Worth. The concept of fashion week began in Paris, when marketers used to hire women to wear couture items in public places, from racetracks to beauty salons. These parades gradually became social events of their own. In France, runway shows are still called "défilés de mode" which when translated literally means "fashion parades." A style show is an occasion placed on by a style planner to exhibit their forthcoming line of dress as well as embellishments during Fashion Week. Style shows debut each season, especially the Spring/Summer and Fall/Winter seasons. In 1903, a Manhattan shop called Ehrich Brothers put on what is thought to have been the country's first fashion show to lure middle-class women into the store. By 1910, many big department stores were holding shows of their own. It is likely that American retailers saw the "fashion parades" in couture salons, and decided to use the idea. These "parades" were an effective way to promote stores, and improve their status. By the 1920s, the "fashion show" had been used by retailers across the country. They were staged, and often held in the shop's restaurant during lunch or teatime. These shows were usually more theatrical than those of today, heavily based upon a single theme, and accompanied with a narrative commentary. The shows were hugely popular, enticing crowds in their thousands – crowds so large, that stores in New York in the 1950s had to obtain a license to have live models.


title: Fashion week

text: On July 19, 1943, the first-ever "fashion week," New York Fashion Week, was held, with one main purpose: to give fashion buyers alternatives to French fashion during World War II, when workers in the fashion industry were unable to travel to Paris.


title: Fashion week

text: Until 1994, shows were held in different locations, such as hotels, or lofts. From 1994 to 2009, the event was held in a tent at Bryant Park, behind the New York Public Library. Lincoln Center was the Fashion Week venue from 2010 to 2015, after which it moved to Clarkson Square, an events venue in SoHo in Manhattan.


title: Fashion week

text: In many fashion shows worldwide, celebrities notoriously throw tantrums, which steal the show from the fashion itself. These displays are now famously known as "show stealers".


title: Fashion week

text: Although there are many notable fashion weeks around the world, only four are known as the "Big Four": in chronological order, New York, London, Milan, and Paris. Paris began holding couture shows in 1945, Milan Fashion Week was founded by the Italian Chamber of Commerce in 1958, Paris Fashion Week was further organized in 1973 under the French Fashion Federation, and London Fashion Week was founded by the British Fashion Council in 1984. Although these key organizations still organize the main shows, there are independent events and producers in all cities, as well.


title: Fashion week

text: There are primarily two kinds of shows, those of womenswear and menswear. There are also shows particular to each location. For example, most haute couture shows are held in Paris, while most business and sales-oriented shows and some haute couture shows take place in New York.


title: Fashion week

text: Paris' haute couture shows take place in January and July. Due to rules set down by the Chambre Syndicale de la Haute Couture, haute couture shows in France can only be held in Paris.


title: Fashion week

text: Recent designers have increasingly shown inter-seasonal collections between the traditional Autumn/Winter and Spring/Summer seasons. These collections are usually more commercial than the main season collections and help shorten the customer's wait for new season clothes. The inter-seasonal collections are Resort/Cruise (before Spring/Summer) and Pre-Fall (before Autumn/Winter). There is no fixed schedule for these shows in any of the major fashion capitals, but they typically happen three months after the main season shows. Some designers show their inter-seasonal collections outside their home city. For example, Karl Lagerfeld has shown his Resort and Pre-Fall collections for Chanel in cities such as Moscow, Los Angeles, and Monte Carlo instead of Paris. Many designers also put on presentations as opposed to traditional shows during Resort and Pre-Fall either to cut down costs or because they feel the clothes can be better understood in this medium.


title: Fashion week

text: Some fashion weeks can be genre-specific, such as Rio Summer fashion week, which focuses on swimwear. Miami has a week dedicated to swimwear which is called Miami swim week and it happens separately to Miami Fashion Week, the haute couture shows in Paris which display one-of-a-kind designer originals, and Indonesia Islamic Fashion Week for Muslim fashion. Bangalore Fashion Week displays festive wear and Bridal Fashion Week, while Portland (Oregon, USA) Fashion Week showcases some eco-friendly designers. Bread and Butter Berlin hosts the leading fashion show for everyday fashion.


title: Fashion week

text: In recent years, shows have begun to feature garments that are available for sale immediately, online or in stores.


title: Fashion week

text: The other move has been to "see now, buy now" shows, often featuring clickable video, where looks are available online immediately following, or even during the show. "See now, buy now" experiences have included shows from Tom Ford, Nicole Miller, Moschino and Tommy Hilfiger. For example, in 2019 at the Tommy x Zendaya show, Hilfiger commented on the innovation of the "see now, buy now" concept.


title: Fashion week

text: The advent of "see now, buy now" shopping has also come about in response to so-called "fast fashion" retailers, who copy designs from the runway and bring them to retail faster than traditional design houses.


title: Fashion week

text: In spite of the call to rethink the runways with the idea "see now, buy now," as of 2017, the French Federation of Fashion has opposed the change.


title: Fashion week

text: Fashion week happens twice a year in the major fashion capitals of the world; New York (February 7–15), London (February 15–19), Milan (February 19–25), and Paris (February 25-March 5).


title: Fashion week

text: Traditionally, fashion weeks were held several months in advance of the season to allow the press and buyers a chance to preview fashion designs for the following season. In February and March, designers showcased their autumn and winter collections. In September and October, designers showcased their spring and summer collections.


title: Fashion week

text: This timing was largely created to follow the then slower "retail cycle." In other words, it allowed time for retailers to purchase and incorporate the designers into their retail marketing. However, as customer expectations have increased, the retail cycle has increased. As a result, in 2016, designers started moving to "in-season shows."


title: Who Made Who

text: Who Made Who is a soundtrack album by Australian hard rock band AC/DC. Released on 26 May 1986, the album is the soundtrack to the Stephen King film "Maximum Overdrive". The album was re-released in 2003 as part of the "AC/DC Remasters" series.


title: Who Made Who

text: Three tracks on the album – "Who Made Who" and the instrumentals "D.T." and "Chase the Ace" – were newly written and recorded by AC/DC for the album. The remaining tracks were previously released by the band. Only one song, "Ride On", features previous lead vocalist Bon Scott, who died in 1980. All others feature his replacement, Brian Johnson.


title: Who Made Who

text: Along with the album, the band released a 73-minute videotape, which contained music videos for the songs "Who Made Who", "You Shook Me All Night Long", "Shake Your Foundations" (remixed), "Hells Bells", and footage from a live performance of "For Those About to Rock (We Salute You)", which was filmed in Detroit in 1983.


title: Who Made Who

text: The video for the title track, directed by David Mallet, was recorded at the Brixton Academy in London and features a theme of countless clones of AC/DC guitarist Angus Young. According to the book "AC/DC: Maximum Rock & Roll", these clones consisted of hundreds of fans who came from all over the UK, many of whom slept in the freezing cold in front of Brixton Academy for the opportunity to take part. This group was made up of approximately 300 members of the band's British fan club as well as others who had simply heard about the event on the radio.


title: Who Made Who

text: The song "Who Made Who" was written for the Stephen King movie "Maximum Overdrive", where the theme was around machines that came alive and begin killing people. The lyrics follow the idea of the gadgets and devices created by mankind coming to rule over human beings instead of the other way around; the irony where humans become subservient to the technology they created.


title: Who Made Who

text: The song "Who Made Who" became the band's most successful single in years, reaching No. 16 in the UK and No. 33 in the US. It was also voted second best track of 1986 by the readers of "Hit Parader" magazine. Following this, a re-issue of "You Shook Me All Night Long" was released from the album, peaking at #46 in the UK. The album has sold five million copies in the US. Stephen Thomas Erlewine of AllMusic calls the album "a ripping AC/DC retrospective" and applauds the band "rescuing songs like 'Sink the Pink' from otherwise mediocre albums."


title: Epistle of Jude

text: The Epistle of Jude is the penultimate book of the New Testament as well as the Christian Bible. It is traditionally attributed to Jude, brother of James the Just, and thus possibly brother of Jesus as well.


title: Epistle of Jude

text: Jude is a short epistle written in Koine Greek. It condemns in fierce terms certain people the author sees as a threat to the early Christian community, but describes these opponents only vaguely. According to Jude, these opponents are within the Christian community, but are not true Christians: they are scoffers, false teachers, malcontents, given to their lusts, and so on. The epistle reassures its readers that these people will soon be judged by God. It is possible that the group being referred to would have been obvious to the original recipients of the letter, but if a specific group was being referred to, knowledge of the details has since been lost. The one bit of their potential ideology discussed in the letter is that these opponents denigrate angels and their role. If this was indeed a part of the ideology of this group the author opposed, then the epistle is possibly a counterpoint to the Epistle to the Colossians. Colossians condemns those who give angels undue prominence and worship them; this implies the two letters might be part of an early Christian debate on Christian angelology.


title: Epistle of Jude

text: The epistle introduces itself with a simple claim of authorship: "Jude, a servant of Jesus Christ and brother of James" (NRSV). "James" is generally taken to mean James, brother of Jesus, a prominent leader in the early church. Introductions would typically refer to a father in the era, so the use of a brother suggests that this would only be done if the brother was famous within the community. Little is known about Jude himself. As the brother of James, it has traditionally meant Jude was also a brother of Jesus, since James is described as being the brother of Jesus. This is why Clement of Alexandria (c. 150–215 AD) wrote in his work "Comments on the Epistle of Jude" that Jude, the author, was a son of Joseph and a brother of Jesus. However, there is a dispute as to whether "brother" means someone who has the same father and mother, or a half-brother, cousin, or more distant familial relationship. This dispute over the true meaning of "brother" grew as the doctrine of the Virgin Birth evolved. For example, Saint Jerome believed that not only Mary but also Joseph were virgins their entire lives, and thus James and by extension Jude were cousins.


title: Epistle of Jude

text: Outside the book of Jude, a "Jude" is mentioned five times in the New Testament: three times as Jude the Apostle, and twice as Jude the brother of Jesus (aside from references to Judas Iscariot and Judah (son of Jacob)). Debate continues as to whether the author of the epistle is the apostle, the brother of Jesus, both, or neither. Scholars have argued that since the author of the letter has not identified himself as an apostle and also refers to the apostles as a third party, and thus cannot be identified with Jude the Apostle. Other scholars have drawn the opposite conclusion, which is that, as an apostle, he would not have made a claim of apostleship on his own behalf.


title: Epistle of Jude

text: A reason to doubt that a relative of Jesus wrote the book is that they are unlikely to have been literate. Jesus's family were common laborers from Aramaic-speaking Galilee, and literary composition skills were overwhelmingly concentrated in the elite in antiquity. Few knew how to read, fewer how to write, and fewer still how to write complicated literary treatises. Jesus himself may have been able to read, presumably in Hebrew, but he was also exceptional and the star of the family. Even if somehow Jude had learned a little of how to read Hebrew, the epistle is written in excellent, complicated Koine Greek, with knowledge of common forms of rhetoric and argument of the era, as well as seeming knowledge of the scriptures in Hebrew. All this would be exceptional for a countryside Galilean. Scholars who support the authorship of Jude generally assume that he must have embarked upon extensive travel and missionary work among Hellenized Jews to master Greek as the author did. Ultimately, it is impossible to know more details of Jude's life for sure. One early Christian tradition states that Jude's grandchildren were brought before Emperor Domitian and interrogated; in the story, they defended themselves as not rebels and mere poor laborers eking out what they could from a single patch of land. While the story is clearly apocryphal – Roman emperors did not generally interrogate Galilean peasants – it does suggest that early Christians remembered Jude's family as lower-class laborers, not literate elites.


title: Epistle of Jude

text: If the Jude writing the letter was not Jude the Apostle mentioned in the gospels, then he was possibly an unknown Christian who happened to share the name and coincidentally also had a brother named James. A final possibility is that the epistle is pseudepigrapha – that the author intentionally hinted to readers that it was from the more famous Jude, but only as a false attribution to give the letter more authority.


title: Epistle of Jude

text: The date of composition is not known, but is loosely speculated to be between the years 50 and 110. Among those who favor the authorship of the Jude mentioned in the gospels, the letter is generally placed before the destruction of the Temple in Jerusalem in 70 AD. Among those who favor the authorship of an unknown Christian, it is assumed to be a work of the early second century. Scholars who consider the letter a pseudonymous work generally favor the later dates due to the letter's references to the apostles (as if they lived in the past) and to tradition and because of its competent Greek style. Bo Reicke suggests around 90 AD; Heikki Räisänen concurs and believes that it may have been written at the end of the first century. Bart Ehrman suggests an even later date, in the second half of the second century, due to use of certain terminology in ways similar to the pastoral epistles that was uncommon in the first century.


title: Epistle of Jude

text: Jude urges his readers to "contend for the faith" against "certain intruders [who] have stolen in among you." He warns about false teachers who twist the grace of Christ as a pretext for wantonness. Jude asks the reader to recall how even after the Lord saved his own people out of the land of Egypt, he did not hesitate to destroy those who fell into unbelief, much as he punished the angels who fell from their original exalted status and the inhabitants of Sodom and Gomorrah. He also paraphrases (verse 9) an incident apparently from the Testament of Moses that has since been lost about Satan and Michael the Archangel quarreling over the body of Moses.


title: Epistle of Jude

text: Continuing the analogy from Israel's history, he says that the false teachers have followed in the way of Cain, have rushed after reward into the error of Balaam, and have perished in the rebellion of Korach. He describes in vivid terms the opponents he warns of, calling them "clouds without rain", "trees without fruit", "foaming waves of the sea", and "wandering stars". He exhorts believers to remember the words spoken by the Apostles, using language similar to the second epistle of Peter to answer concerns that the Lord seemed to tarry: "In the last time there will be scoffers, indulging their own ungodly lusts," and to keep themselves in God's love, before delivering a doxology to God.


title: Epistle of Jude

text: Jude quotes directly from 1 Enoch, a widely distributed work among the Old Testament Pseudepigrapha, citing a section of 1 Enoch 1:8 that is based on Deuteronomy 33:2.


title: Epistle of Jude

text: The Epistle of Jude is a brief book. It is one of the shortest books of the New Testament, consisting of just 1 chapter of 25 verses, and almost the shortest book in the Bible, with the shortest the Book of Obadiah. It may have been composed as an encyclical letter—that is, one not directed to the members of one church in particular, but intended rather to be circulated and read in all churches. While addressed to the Christian Church as a whole, the reference to the Old Testament figures such as Michael, Cain, and Korah's sons; the Book of Enoch quotation; and the invocation of James, the head of the church of Jerusalem, suggests a Jewish Christian main audience that would be familiar with Enochian literature and revere James.


title: Epistle of Jude

text: The wording and syntax of this epistle in its original Greek demonstrates that the author was capable and fluent. The epistle's style is combative, impassioned, and rushed. Many examples of evildoers and warnings about their fates are given in rapid succession.


title: Epistle of Jude

text: The epistle concludes with a doxology, which is considered by Peter H. Davids to be one of the highest in quality contained in the Bible.


title: Epistle of Jude

text: The letter of Jude was one of the disputed books of the biblical canon of the New Testament. Despite some opposition, it seems to have been accepted by most churches around the end of the second century. Clement of Alexandria, Tertullian, and the Muratorian canon considered the letter canonical. The letter was eventually accepted as part of the canon by later Church Fathers such as Athanasius of Alexandria. The canon list at the Council of Carthage (c. 397) included the epistle of Jude.


title: Epistle of Jude

text: The first historical record of doubts as to authorship are found in the writings of Origen of Alexandria, who spoke of the doubts held by some in the early third century. Eusebius classified it with the "disputed writings, the "antilegomena"" in the early fourth century. Eusebius doubted its authenticity partially because it was rarely quoted among ancient sources, although he acknowledges it was read in many churches. The links between the Epistle and 2 Peter and its use of the biblical apocrypha raised concern: Saint Jerome wrote in 392 AD that the book was "rejected by many" since it quotes the Book of Enoch.


title: Epistle of Jude

text: The epistle fiercely condemns the opponents it warns of and declares that God will judge and punish them, despite them being a part of the Christian community. However, the exact nature of these opponents has been a continuing interest for both theologians and historians, as the epistle does not describe them in any more detail than calling them corrupt and ungodly. Several theories have been proposed. The most specific verse describing the opponents is verse 8:


title: Epistle of Jude

text: Reject "authority" (κυριοτητα, "kyriotēta"; alternate translations include "dominion" or "lordship") could mean several things. The most direct would be rejection of civil or ecclesiastical authority: the opponents were ignoring guidance from leaders. Martin Luther and Jean Calvin agreed with this interpretation, and it is the most common one. Another possibility is that this specifically referred to rejecting the authority of Jesus or God, which would agree with verse 4 and be reinforcing the claim that these opponents are not true Christians. A third possibility is that this is the singular of "kyriotētes" (Dominions), a class of angels. This would fit with the final part of the sentence of "heap abuse on celestial beings", but it is unusual that the singular is used. Versions of Jude vary, and some manuscripts such as the Codex Sinaiticus indeed use the plural form, though.


title: Epistle of Jude

text: "Heap abuse on celestial beings" is also a relevant statement, as it stands in some tension with the works of Paul the Apostle as well as the Epistle to the Hebrews. Paul's undisputed works indicate that believers are already on the same level as angels, that all existing powers are subject to Christ, and believers are the future judges of angels. Later writings attributed to Paul such as Colossians and Ephesians go even further, with Colossians decrying the alleged worship of angels. A hypothesis is thus that the author may have been attacking forms of Pauline Christianity that were not suitably deferential to angels in their opinion. "Rejecting authority" may be a reference to Paul's preaching that gentiles did not need to comply with Jewish Law. As James was known to be a major figure among Jewish Christians, this might indicate tension between the more Jewish strands of early Christianity represented by James and Jude set against Paul's message to the gentiles. However, the line about "heap abuse on celestial beings" might have essentially been just another insult, in which case this entire line of thought is rendered moot.


title: Epistle of Jude

text: The inherent vagueness of the epistle means that the identities of these opponents may well never be known.


title: Epistle of Jude

text: Part of Jude is very similar to 2 Peter (mainly 2 Peter chapter 2); so much so that most scholars agree that either one letter used the other directly, or they both drew on a common source. Comparing the Greek text portions of 2 Peter 2:1–3:3 (426 words) to Jude 4–18 (311 words) results in 80 words in common and 7 words of substituted synonyms.


title: Epistle of Jude

text: Because this epistle is much shorter than 2 Peter, and due to various stylistic details, some scholars consider Jude the source for the similar passages of 2 Peter. However, other writers, arguing that Jude 18 quotes as past tense, consider Jude to have come after 2 Peter.


title: Epistle of Jude

text: Some scholars who consider Jude to predate 2 Peter note that the latter appears to quote the former but omits the reference to the non-canonical book of Enoch.


title: Epistle of Jude

text: The Epistle of Jude references at least three other books, with two (Book of Zechariah & 2 Peter) being canonical in all churches and the other (Book of Enoch) non-canonical in most churches.


title: Epistle of Jude

text: Verse 9 refers to a dispute between Michael the Archangel and the devil about the body of Moses. Some interpreters understand this reference to be an allusion to the events described in Zechariah 3:1–2. The classical theologian Origen, as well as Clement of Alexandria, Didymus the Blind, and others, attributes this reference to the non-canonical Assumption of Moses. However, no extant copies of the Assumption of Moses contain this story, leading most scholars to conclude the section covering this dispute has been lost – perhaps a lost ending, since a story involving Moses's body would logically occur at the end. Some scholars disagree; James Charlesworth argues that the Assumption of Moses never contained any such content, and other ancient Church writers supported a different origin.


title: Epistle of Jude

text: Verses 14–15 contain a direct quotation of a prophecy from 1 Enoch 1:9. The title "Enoch, the seventh from Adam" is also sourced from 1 En. 60:1. Most commentators assume that this indicates that Jude accepts the antediluvian patriarch Enoch as the author of the Book of Enoch which contains the same quotation. An alternative explanation is that Jude quotes the Book of Enoch aware that verses 14–15 are an expansion of the words of Moses from Deuteronomy 33:2.


title: Epistle of Jude

text: The Book of Enoch is not considered canonical by most churches, although it is by the Ethiopian Orthodox church. According to Western scholars, the older sections of the Book of Enoch (mainly in the "Book of the Watchers") date from about 300 BC and the latest part ("Book of Parables") probably was composed at the end of the 1st century BC. 1 Enoch 1:9, mentioned above, is part of the pseudepigrapha and is among the Dead Sea Scrolls [4Q Enoch (4Q204[4QENAR]) COL I 16–18]. It is largely accepted by scholars that the author of the Epistle of Jude was familiar with the Book of Enoch and was influenced by it in thought and diction.


title: Epistle of Jude

text: The epistle also closely mirrors the Epistle of James, with many similar sentences and borrowed phrases.


An International Securities Identification Number (ISIN) uniquely identifies a security. Its structure is defined in ISO 6166. The ISIN code is a 12-character alphanumeric code that serves for uniform identification of a security through normalization of the assigned National Number, where one exists, at trading and settlement.


title: International Securities Identification Number

text: ISINs were first used in 1981, but did not reach wide acceptance until 1989, when the G30 countries recommended adoption. The ISIN was endorsed a year later by ISO with the ISO 6166 standard.


text: Initially information was distributed via CD-ROMs and this was later replaced by distribution over the internet.


text: In 2004 the European Union mandated the use of instrument identifiers in some of its regulatory reporting, which included ISIN as one of the valid identifiers.


text: "ISO 6166" (or ISO6166:2013 as of the 2013 revision) defines the structure of an International Securities Identification Number (ISIN). An ISIN uniquely identifies a fungible security.


text: ISINs consist of two alphabetic characters, which are the ISO 3166-1 alpha-2 code for the issuing country, nine alpha-numeric characters (the National Securities Identifying Number, or NSIN, which identifies the security, padded as necessary with leading zeros), and one numerical check digit. They are thus always 12 characters in length. When the NSIN changes due to corporate actions or other reasons, the ISIN will also change. Issuance of ISINs is decentralized to individual national numbering agencies (NNAs). Since existing national numbering schemes administered by the various NNAs form the basis for ISINs, the methodology for assignment is not consistent across agencies globally.


text: An ISIN cannot specify a particular trading location. Another identifier, typically a MIC (Market Identifier Code) or the three-letter exchange code, will have to be specified in addition to the ISIN for this. The currency of the trade will also be required to uniquely identify the instrument using this method.


text: ISINs are being introduced worldwide and are the most popular global securities identifier. Trading, clearing and settlement systems in many countries have adopted ISINs as a secondary measure of identifying securities. Some countries, mainly in Europe, have moved to using the ISIN as their primary means of identifying securities. In addition new European regulations such as Solvency II increasingly require the ISIN to be reported.


text: The ISIN is generally included in services sold by financial data vendors and intermediaries. These services are normally paid services as more value added data is included with the information. In general, the issuer of a security will include the ISIN in issuance papers or other documentation for identification purposes.


text: In 2009, Standard & Poor's was charged by the European Commission (EC) with abusing its position in licensing international securities identification codes for United States securities by requiring European financial firms and data vendors to pay licensing fees for their use. "This behaviour amounts to unfair pricing," the EC said in its statement of objections which lays the groundwork for an adverse finding against S&P. "The (numbers) are indispensable for a number of operations that financial institutions carry out – for instance, reporting to authorities or clearing and settlement – and cannot be substituted".


text: In 2011, Standard and Poor's provided six undertakings to the European Commission to remedy the situation. The agreement is applicable to all consuming companies in the European Economic Area. These expired at the end of 2016.


text: The examples below describes one approach for applying the Luhn algorithm on two different ISINs. The difference in the two examples has to do with if there are an odd or even number of digits after converting letters to number. Since the NSIN element can be any alpha numeric sequence (9 characters), an odd number of letters will result in an even number of digits and an even number of letters will result in an odd number of digits. For an odd number of digits, the approach in the first example is used. For an even number of digits, the approach in the second example is used. The Luhn algorithm can also be applied in the same manner for both types or lengths (alternating multiply the string of digits by 1 and 2, starting from the end of the string), being more generic.


text: The main body of the ISIN is the original CUSIP, assigned in the 1970s. The country code "US" has been added on the front, and an additional check digit at the end. The country code indicates the country of issue. The check digit is calculated using the Luhn algorithm.


text: Take the 10s modulus of the result (this final step is important in the instance where the modulus of the sum is 0, as the resulting check digit would be 10).


text: The main body is the SEDOL, padded on the front with the addition of two zeros. The country code "GB" is then added on the front, and the check digit on the end as in the example above.


text: The Treasury Corporation of Victoria ISIN illustrates a flaw in ISIN's check digit algorithm which allows transposed letters: Suppose the ISIN was mis-typed as AU0000VXGZA3 (instead of AU0000XVGZA3)


text: Such flaw against a single transposed pair of letters or digits would have been avoided using two check digits instead of just one (i.e., a 97 modulus instead of the 10 modulus, like in IBAN numbers which may also mix letters and digits). Some protocols require the transmission of additional check digits added to the full ISIN number.


title: Morecambe and Wise

text: Eric Morecambe (John Eric Bartholomew, 14 May 1926 – 28 May 1984) and Ernie Wise (Ernest Wiseman, 27 November 1925 – 21 March 1999), known as Morecambe and Wise (and sometimes as Eric and Ernie), were an English comic double act, working in variety, radio, film and most successfully in television. Their partnership lasted from 1941 until Morecambe's death in 1984. They have been described as "the most illustrious, and the best-loved, double-act that Britain has ever produced".


title: Morecambe and Wise

text: In a list of the 100 Greatest British Television Programmes drawn up by the British Film Institute in 2000, voted for by industry professionals, "The Morecambe and Wise Show" was placed 14th. In September 2006, they were voted by the general public as number 2 in a poll of TV's 50 Greatest Stars. Their early career was the subject of the 2011 television biopic "Eric and Ernie", and their 1970s career was the subject of the television biopic "Eric, Ernie and Me" in 2017.


title: Morecambe and Wise

text: In 1976, Morecambe and Wise were both awarded the OBE. In 1999, they were posthumously awarded the BAFTA Fellowship. In 2013, they were honoured with a blue plaque at Teddington Studios, where their last four series of "The Morecambe and Wise Show" were recorded.


title: Morecambe and Wise

text: Morecambe and Wise's friendship began in 1940 when they were each booked separately to appear in Jack Hylton's revue "Youth Takes a Bow" at the Nottingham Empire Theatre. At the suggestion of Eric's mother, Sadie, they worked on a double act. They made their double act debut in August 1941 at the Liverpool Empire. War service broke up the act but they reunited by chance at the Swansea Empire Theatre in 1946 when they joined forces again. They made their name in variety, appearing in a variety circus, the Windmill Theatre, the Glasgow Empire and many venues around Britain. After this they made their name in radio, first in "Variety Fanfare" (Ronnie Taylor, Hulme Hippodrome) made by the BBC in Manchester, and then their own radio show, "You're Only Young Once". With national fame they transferred to television in 1954. Their debut TV show, "Running Wild", was not well received and led to a damning newspaper review: "Definition of the week: TV set — the box in which they buried Morecambe and Wise." Eric apparently carried a copy of this review around with him ever afterward, and from then on the duo kept a tight control over their material. In 1956 they were offered a spot in the Winifred Atwell show with material written by Johnny Speight and this was a success. In 1959 they topped the bill in BBC TV's long-running variety show "The Good Old Days" in a Boxing Day edition of the programme. In later years the pair would become a Christmas TV institution in their own right.


title: Morecambe and Wise

text: They had a series of shows that spanned over twenty years, during which time they developed and honed their act, most notably after moving to the BBC in 1968, where they were to be teamed with their long-term writer Eddie Braben. It is this period of their careers that is widely regarded as their "glory days". Their shows were:


title: Morecambe and Wise

text: The pair starred in three feature films during the 1960s — "The Intelligence Men" (1965), "That Riviera Touch" (1966), and "The Magnificent Two" (1967). In 1983 they made their last film, "Night Train To Murder". They were also guests on many television variety series; however, it was in a US series that they appeared as guests most frequently, featuring twelve times on "The Ed Sullivan Show" between 1963 and 1968 - more than any other British entertainers. The duo were featured in a comic book in 1977.


title: Morecambe and Wise

text: Morecambe and Wise started as a song-and-dance comedic team, with Morecambe playing the more bumbling comic role and Wise the affable straight man, but over time (and with new writers) the nature of the act changed. By the 1960s, the characters were more complex, with both Morecambe and Wise playing comedic characters who could set up each other for laughs, as well as garner big laughs with their many catchphrases, character bits and reactions. In essence, the straight man/wacky comic dynamic shifted, so that both men were equally capable of fulfilling either role. In the later and most successful part of their career, which spanned the 1970s, Morecambe and Wise were joined behind the scenes by Eddie Braben, a script writer who generated almost all their material (Morecambe and Wise were also sometimes credited as supplying "additional material") and defined what is now thought of as typical Morecambe and Wise humour. Together Morecambe, Wise and Braben were known as "The Golden Triangle", becoming one of the UK's all-time favourite comedy acts.


title: Morecambe and Wise

text: John Ammonds was also central to the duo's most successful period in the 1970s. As the producer of the BBC TV shows, it was his idea to involve celebrity guests. He also perfected the duo's familiar dance, which was based on a dance performed by Groucho Marx in the film "Horse Feathers".


title: Morecambe and Wise

text: Ernest Maxin started choreographing the musical numbers in 1970, and succeeded John Ammonds as producer of the BBC TV shows in 1974. Maxin, who won a BAFTA for the Best Light Entertainment Show for the Morecambe and Wise 1977 Christmas Show, was also responsible for devising and choreographing many of their great musical comedy routines including "The Breakfast Sketch", "Singin' in the Rain", and the homage to South Pacific, "There is Nothing Like a Dame" featuring BBC newsreaders in an acrobatic dance routine.


title: Morecambe and Wise

text: Much of the material of the Morecambe and Wise shows consisted of their well-worn catch phrases that recurred like motifs throughout their career. Barely a show would go by without Eric referring to Ernie's "short, fat, hairy legs", or pointing out that "you can't see the join", where Ernie's supposed wig was attached. The wig sometimes appeared in the credits, with variations on "Mr Wise appears by kind permission of Rentawig". Eric never seemed to tire of offering his partner some "Tea, Ern?". This was a pun on "tea urn", a vessel for serving hot drinks used in workplaces. If anyone fluffed their line, Eric would usually say, "That's easy for you to say!" or "You can say that again". When Ernie disagreed with him, Eric would say, "Just watch it, that's all!"; often said by Eric when grabbing Ernie by the lapels. If someone said a line whilst he was looking at somebody else, Eric would say, "You said that without moving your lips"; as if the non-speaker were a ventriloquist throwing his or her voice. Another ventriloquial allusion (probably quoting Arthur Worsley) was made when Eric said, should his intended listener be looking away, "Look at me when I'm talking to you!".


title: Morecambe and Wise

text: Some catch phrases developed from earlier sketches. When Eric played an incompetent 'Mr Memory', unable to remember anything without unsubtle prompting from Ernie, Ernie prompted Eric with "Arsenal!" disguised very badly as a cough. Later, whenever Ernie, or anyone else, coughed or sneezed, Eric would shout "Arsenal!".


title: Morecambe and Wise

text: The catchphrase "Hello folks, and what about the workers?" was developed by Eric from a similar saying by Harry Secombe in The Goon Show. For Secombe this was a simple greeting, while for Eric it expressed his great sexual interest in some pretty girl or female guest. It was often accompanied by him slapping the back of his own neck to recover his concentration.


title: Morecambe and Wise

text: Their treatment of their guest stars was terrible for effect. Eric and sometimes Ernie would often call an invited guest by the wrong name. So André Previn was "Andrew Preview", Ian Carmichael was Hoagy Carmichael, Elton John was Elephant John, Vanessa Redgrave was "Vanilla Redgrave" and when The Beatles appeared, Ringo Starr was "Bongo". Alternatively, one or both would seem not to recognise the famous guest artist at all. The pair would frequently make fun of their old friend, the singer and entertainer Des O'Connor in various disparaging ways. A rhyming example was: "If you want me to be a goner, get me an LP by Des O'Connor". Another typical example was "There's only one thing wrong with Des O'Connor records. The hole in the middle isn't big enough". O'Connor actually appeared in the 1975 Christmas special and eavesdropped on these insults before Eric and Ernie noticed him. In reality some of these put-downs were suggested by Des himself.


title: Morecambe and Wise

text: Many of their catch phrases entered the language. Particularly when they were at their peak, people could be heard using them for humorous effect. The question: "What do you think of it so far?", said by Eric, who would use a prop—such as a statue or stuffed toy—to answer: "Rubbish!", was frequently heard. Morecambe said later that whenever Luton Town were playing away and he happened to be in the director's box, if Luton were behind at half-time the home fans would shout, "What do you think of it so far?". Other examples were: "There's no answer to that!", which was said by Eric after anything which could be construed as innuendo. He would also say "Pardon?" for a similar effect.


title: Morecambe and Wise

text: Schoolboys could be seen holding an open hand underneath a friend's chin while saying, "Get out of that!". When Eric did this to Ernie, it was meant to be a karate move that incapacitated the victim. It was often followed by "You can't, can you?". Also common was, "They can't touch you for it" (i.e., it is not illegal); a comment following a slightly obscure word, turning it into a double entendre. In addition, Eric would say "Be honest" directly to the audience if they had carried out what he thought was a particularly successful routine. If Ernie received a little applause for something, Eric would say "I see your fan's in", and whenever the doorbell rang in their shared flat, Eric would say to Ernie, "How do you do that?"


title: Morecambe and Wise

text: Another long-running - usually incomplete - gag was when Eric begins a story, ‘There were two old men sitting in deckchairs. One turns to the other and says, “It’s nice out today”’. Ernie usually closed down the gag at that point as it was obviously heading for a rude punchline. Occasionally, however, he would close it with "Well, put it away, there's a Policeman coming!" In a Christmas special when the duo were being interviewed by Sir David Frost, Eric concluded the story with "You're right, I think I'll get mine out".


title: Morecambe and Wise

text: During the shows in which Ernie's execrable plays were shown, a catch phrase for Ernie was developed. This was, "The play what I wrote", which also was used commonly elsewhere. Guest stars were conned into taking part in these plays and made to utter such grammatical monstrosities as when Glenda Jackson (at the time a noted Shakespearean actress) had to say, "All men are fools and what makes them so is having beauty, like what I have got", to the obvious smug satisfaction of the words' supposed author.


title: Morecambe and Wise

text: Very frequently used, and copied by the public, was Eric slapping the shoulders and then both sides of Ernie's face. A particular affectation of Eric was him putting his glasses askew or waggling them up and down on his nose. As with André Previn, if they appeared uncooperative, Eric would grab a guest by the lapels and pull them to his face in a threatening manner. He would also grimace like Humphrey Bogart (or so he thought) if Ernie or a guest was particularly challenging.


title: Morecambe and Wise

text: Eric would often hold an empty paper bag in one hand, throw an imaginary coin, or other small object, into the air, watch it during its flight and then flick the bag with his finger giving the impression that the item had landed in the bag. Again, he would hold a paper cup in his mouth and over his nose to perform a brief impersonation of Jimmy Durante, singing, 'Sitting at my pianna the udder day...'


title: Morecambe and Wise

text: Ernie would appear on a curtained stage expecting Eric to join him from behind the curtain, but Eric would be unable to find the opening and have to fight his way on. This gag could be reversed with Eric trying to fight his way off, often asking Ernie if he had a key to unlock the curtain. Another curtain gag would have Eric standing in front of the stage curtains or at the side of the stage and pretending that an arm (his own) comes out from behind the curtain and seizes him by the throat. If Eric had his back to a guest, he would jerk his body as if the guest had goosed him.


title: Morecambe and Wise

text: Often, Eric would suddenly notice the camera and put on a fixed, cheesy grin. Ernie would frequently notice him doing this, stand behind Eric and grin a similar grin into the camera, over Eric's shoulder. Eric and Ernie would introduce the special guest facing stage-left with their arms out. However, the guest would enter from stage-right. Also, at the end of several shows, the duo would exit the stage by skipping while putting alternate hands behind their heads and backs.


title: Morecambe and Wise

text: Typical Morecambe and Wise programmes were effectively sketch shows crossed with a sitcom. The duo would usually open the show as themselves on a mock stage in front of curtains emblazoned with an M and W logo. Morecambe and Wise's comic style varied subtly throughout their career, depending on their writers. Their writers during most of the 1960s, Dick Hills and Sid Green, took a relatively straightforward approach, depicting Eric as an aggressive, knockabout comedian and Ernie as an essentially conventional and somewhat disapproving straight man. When Eddie Braben took over as writer, he made the relationship considerably deeper and more complex. The critic Kenneth Tynan noted that, with Braben as writer, Morecambe and Wise had a unique dynamic—Ernie was a comedian who wasn't funny, while Eric was a straight man who was funny. The Ernie persona became simultaneously more egotistical and more naïve. Morecambe pointed out that Braben wrote him as "tougher, less gormless, harder towards Ern." Wise's contribution to the humour is a subject of an ongoing debate. To the end of his life he would always reject interviewers' suggestions that he was the straight man, preferring to call himself the song-and-dance man. However, Wise's skill and dedication was essential to their joint success, and Tynan praised Wise's performance as "unselfish, ebullient and indispensable".


title: Morecambe and Wise

text: A central concept was that the duo lived together as close, long-term friends (there were many references to a childhood friendship) who shared not merely a flat but also a bed—although their relationship was purely platonic and merely continued a tradition of comic partners sleeping in the same bed that had begun with Laurel and Hardy. Morecambe was initially uncomfortable with the bed-sharing sketches, but changed his mind upon being reminded of the Laurel and Hardy precedent; however, he still insisted on smoking his pipe in the bed scenes "for the masculinity". The front room of the flat and also the bedroom were used frequently throughout the show episodes, although Braben would also transplant the duo into various external situations, such as a health food shop or a bank. Many references were made to Ernie's supposed meanness with money and drink.


title: Morecambe and Wise

text: Another concept of the shows during the Braben era was Ernie's utterly confident presentation of amateurishly inept plays "wot I wrote". This allowed for another kind of sketch: the staged historical drama, which usually parodied genuine historical television plays or films (such as "Stalag 17", "Antony and Cleopatra", or Napoleon and Josephine). Wise's character would write a play, complete with cheap props, shaky scenery and appallingly clumsy writing ("the play what I wrote" became a catchphrase), which would then be acted out by Morecambe, Wise and the show's guest star. Guests who participated included many big names of the 1970s and 1980s, such as Dame Flora Robson, Penelope Keith, Laurence Olivier, Sir John Mills, Vanessa Redgrave, Eric Porter, Peter Cushing (who in a running gag would keep turning up to complain that he had not been paid for an earlier appearance) and Frank Finlay—as well as Glenda Jackson (as Cleopatra: "All men are fools. And what makes them so is having beauty like what I have got..."). Jackson had not previously been known as a comedian and this appearance led to her Oscar-winning role in "A Touch of Class". Morecambe and Wise would often pretend not to have heard of their guest, or would appear to confuse them with someone else (former UK Prime Minister Harold Wilson returned the favour, when appearing as a guest at the duo's flat, by referring to Morecambe as "Mor-e-cam-by"). Also noteworthy was the occasion when the respected BBC newsreader Angela Rippon was induced to show her legs in a dance number (she had trained as a ballet dancer before she became a journalist and TV presenter). Braben later said that a large amount of the duo's humour was based on irreverence. A running gag in a number of shows was a short sequence showing a well-known artist in close-up saying "I appeared in an Ernie Wise play, and look what happened to me!". The camera would then pull back and show the artist doing some low-status job such as newspaper seller (Ian Carmichael), Underground guard (Fenella Fielding), dustman (Eric Porter), bus conductor (André Previn), or some other ill-paid employment. However, celebrities felt they had received the highest accolade in showbusiness by being invited to appear in "an Ernest Wide play" as Ernie once mispronounced it during a show's introduction involving "Vanilla" (Vanessa) Redgrave.


title: Morecambe and Wise

text: As a carry-over from their music hall days, Eric and Ernie sang and danced at the end of each show, although they were forced to abandon this practice when Morecambe's heart condition prevented him from dancing. The solution was that Eric would walk across the stage with coat and bag, ostensibly to wait for his bus, while Ernie danced by himself. Their peculiar skipping dance, devised by their BBC producer John Ammonds, was a modified form of a dance used by Groucho Marx. Their signature tune was "Bring Me Sunshine". They either sang this at the end of each show or it was used as a theme tune during the credits (although in their BBC shows they used other songs as well, notably "Following You Around", "Positive Thinking" "Don't You Agree" and "Just Around the Corner"). A standard gag at the end of each show was for Janet Webb to appear behind the pair, walk to the front of the stage and push them out of her way. She would then recite:


title: Morecambe and Wise

text: Webb was never announced, and seldom appeared in their shows in any other role. According to a BBC documentary, this was a parody of George Formby's wife who used to come on stage to take the bows with him at the end of a show.


title: Morecambe and Wise

text: Another running gag involved an old colleague from their music hall days, harmonica player Arthur Tolcher. Arthur would keep appearing on the stage in evening wear and would play the opening bars of "España cañí" on his harmonica, only to be told "Not now, Arthur!" At the very end of the show, following the final credit, Arthur would sneak on stage and begin to play, only for the screen to cut to black.


title: Morecambe and Wise

text: In June 2007, the BBC released a DVD of surviving material from their first series in 1968, and the complete second series from 1969. In November 2011, Network DVD released the complete, uncut 13 episodes of the second ATV series of "Two of a Kind" from 1962. It was advertised as the first series due to the fact the original first series is completely missing from television archives.


title: Morecambe and Wise

text: In 2020, a black and white copy of an episode from October 1970, believed lost, was found in the attic of Morecambe's widow. It was restored for re-broadcast at Christmas 2021.


title: Morecambe and Wise

text: With the exception of 1974, the show had end-of-year Christmas specials, which became some of the highest-rated TV programmes of the era. Braben has said that people judged the quality of their Christmas experience on the quality of the "Morecambe and Wise Christmas Special". From 1969 until 1980, except 1974, the shows were always broadcast on Christmas Day. Due to Eric Morecambe's heart attack, Christmas Day 1974 featured a highlights package of clips from previous shows rather than a new programme, introduced by Michael Parkinson, including a newly recorded interview with Morecambe & Wise.


title: Morecambe and Wise

text: The Morecambe and Wise Christmas Show on BBC in 1977 scored one of the highest ever audiences in British television history with more than 20 million viewers (the cited figure varies between 21 and 28 million, depending on the source). The duo remain among the most consistently high-rating performers of all time on British television, regularly topping the in-week charts during their heyday in the 1970s and early 1980s.


title: Morecambe and Wise

text: Classic sketches from such shows often revolved around the guest stars. One example is the 1971 appearance of André Previn, who was introduced onstage by Ernie as Andrew Preview. Previn's schedule was extremely tight, and Morecambe and Wise were worried that he had very little time to rehearse: popular myth holds that Previn had to learn his lines in the taxi on the way from the airport, but in reality he had taken part in two days of rehearsals (out of a planned five) before having to fly to America to see his mother, who had been taken ill. The final result was described by their biographer as "probably their finest moment".


title: Morecambe and Wise

text: One of the famous Morecambe and Wise routines was their 1976 Christmas Show parody of the scene from the film "Singin' in the Rain" in which Gene Kelly dances in the rain and sings the song "Singin' in the Rain". This recreation featured Ernie exactly copying Gene Kelly's dance routine, on a set which exactly copied the set used in the movie, and Eric performed the role of the policeman. The difference from the original was that in the Morecambe and Wise version, there is no water, except for some downpours onto Eric's head (through a drain, or dumped out of a window, "etc."). This lack of water was initially because of practical considerations (the floor of the studio had many electrical cables on it, and such quantities of water would be dangerous)—but Morecambe and Wise found a way to turn the lack of water into a comic asset. The sketch was devised and choreographed by Ernest Maxin.


title: Morecambe and Wise

text: This 1976 sketch has become one of the duo's most familiar, and is a parody of a stripper routine where Eric and Ernie are seen listening to the radio at breakfast time. This sketch was not an original but was adapted from an earlier one Benny Hill performed on his own show during the mid-1960s. David Rose's tune "The Stripper" comes on and the duo perform a dance using various kitchen utensils and food items, including Ernie catching slices of toast as they popped out of the toaster, and finally opening the fridge door to be bathed in light, as if on stage, while they pull out strings of sausages which they whirl around to the music. The sketch was choreographed and produced by Ernest Maxin.


title: Morecambe and Wise

text: Eric and Ernie often cited the earlier comedy team Flanagan and Allen as influences on their own work; although Morecambe and Wise never imitated or copied Flanagan and Allen, they did sometimes work explicit references to the earlier team into their own cross-talk routines and sketches. In 1971 they recorded a tribute album, "Morecambe and Wise Sing Flanagan and Allen" (Phillips 6382 095), in which they performed some of the earlier team's more popular songs in their own style, without attempting to imitate the originals.


title: Neu!

text: Neu! (; German for "New!"; styled in block capitals) were a West German krautrock band formed in Düsseldorf in 1971 by Klaus Dinger and Michael Rother following their departure from Kraftwerk. The group's albums were produced by Conny Plank, who has been regarded as the group's "hidden member". They released three albums in their initial incarnation—"Neu!" (1972), "Neu! 2" (1973), and "Neu! 75" (1975)—before disbanding in 1975. They briefly reunited in the mid-1980s.


title: Neu!

text: Though Neu! had minimal commercial success during their existence, the band are retrospectively considered a central act of West Germany's 1970s krautrock movement. They are known for pioneering the "motorik" beat, a minimalist 4/4 rhythm associated with krautrock artists. Their work has exerted a widespread influence on genres such as electronica and punk.


title: Neu!

text: Neu! was formed in 1971 in Düsseldorf as an offshoot from an early line-up of another seminal krautrock band, Kraftwerk, whose early works were also produced by Conny Plank. Drummer Klaus Dinger had joined Kraftwerk midway through sessions for their eponymous debut album. Guitarist Michael Rother was then recruited to the Kraftwerk line-up on completion of the album. (Rother had been playing in a local band called "The Spirits of Sound", the line-up of which also included drummer Wolfgang Flür, who would himself go on to join Kraftwerk two years later.)


title: Neu!

text: Kraftwerk founder Ralf Hütter left the band at this point to complete his studies and, for six months, Kraftwerk consisted of a trio of Rother, Dinger and Florian Schneider. This line-up played sporadic gigs and made a live appearance on German TV programme Beat Club. Recording sessions at Conny Plank's Windrose studio were unsuccessful (Rother later attributed the failure to "a difference of temperament"). Dinger and Rother parted company from Schneider and began Neu! with Plank. Hütter rejoined Schneider and the pair continued recording the second Kraftwerk album with Plank.


title: Neu!

text: The band name NEU! ("new!") was inspired by the prevalence of the advertising business in Düsseldorf at the time, according to Dinger, who described it as "the strongest word in advertising" and even owned a pro forma advertising agency himself for the purpose of booking studios. The band's eponymous first album sold just 30,000 records, yet is today considered a masterpiece by many, including influential artists such as David Bowie, Brian Eno, Iggy Pop and Thom Yorke of Radiohead. It included the Motorik benchmark tracks "Hallogallo" and "Negativland" (the band Negativland took their name from this track), and bizarre "songs" like "Sonderangebot".


title: Neu!

text: Their second album, "Neu! 2", features some of the earliest examples of musical remixes. The duo, excited about recording another album, decided to expand their horizons by purchasing several new instruments. With the money they had left as an advance from the record company, they could only record half an album's worth of material. The company would not increase their advance because the first album did not sell well enough and the label did not see a reason to further finance what was most likely to become a flop. To rectify the lack of material, the band filled the second side with manipulated versions of their already-released single "Neuschnee"/"Super", playing back each song at different speeds and sometimes warbling the music by messing with the tape machine or placing the record off center on the turntable. The songs "Super 16" and "Super 78" (slowed down and sped up versions of the proto-punk song "Super," respectively) unwittingly became the theme songs to the 1976 martial arts cult classic "Master of the Flying Guillotine" by Jimmy Wang Yu. This film was later referenced by Quentin Tarantino in Kill Bill Volume 1 by also featuring the track "Super 16".


title: Neu!

text: Dinger and Rother were both very different when left to their own devices, and this led to their final album of the 1970s, "Neu! '75" being two solo half-albums. Side One was Rother's more ambient productions which were similar to the first album, albeit more keyboard-driven. Side Two (particularly the song "Hero") was acknowledged as important influence by many later involved in the UK's punk rock scene, with Dinger's sneering, barely intelligible vocals searing across a distorted Motorik beat with aggressive single chord guitar pounding.


title: Neu!

text: To aid with performing on the album (and more importantly, live), Hans Lampe and brother Thomas Dinger were enlisted to help execute more music than was possible by two men. Upon its release, and arguably to this day, "Neu! '75" is the most diverse record available from the krautrock scene. While this can be seen as a positive point, the differences in musical direction (as well as personal issues) not only isolated the Dinger/Rother duo, it isolated their already small fan base. Neu! broke up after the release of "Neu! '75".


title: Neu!

text: Neu! are highly praised in Julian Cope's "Krautrocksampler", along with other krautrock artists such as Kraftwerk and Can, and Cope has also written a song called "Michael Rother" which appears on CD2 of the Deluxe edition of the album "Jehovahkill".


title: Neu!

text: In 1974, Rother had already collaborated with German electronic duo Cluster, recording as Harmonia an album titled "Musik Von Harmonia". In 1975, he recorded a second Harmonia album, "Deluxe", and further sessions followed with Brian Eno, which were not released until 1997 as "Tracks and Traces". In 1977, Rother started recording as a solo artist. His first three albums; "Flammende Herzen" (1977), "Sterntaler" (1978), and "Katzenmusik" (1979) were recorded with Neu! producer Conny Plank.


title: Neu!

text: Klaus Dinger, his brother Thomas and Hans Lampe formed La Düsseldorf, cited by David Bowie as "the soundtrack of the eighties". The band released three successful albums; "La Düsseldorf" (1976), "Viva" (1978) and "Individuellos" (1981).


title: Neu!

text: Between October 1985 and April 1986, Dinger and Rother tried to rekindle the flame that was Neu!: by adding more synthesizers and a slightly more commercial aspect to some compositions, the band sounded like a cross between their old selves and the recent new wave groups. Then they were torn apart again by personal and musical issues.


title: Neu!

text: An example of the sharp contrast between Dinger and Rother was evidenced by such tracks as "Crazy", Rother's attempt at pop, and "'86 Commercial Trash", a Dingerian collage of dialogue and sound effects from Germany's television commercials of that year. The work that took place in these sessions would later resurface as "Neu! 4" in late 1995.


title: Neu!

text: Dinger and Rother did not work together during the 1990s, and indeed some degree of bitterness existed between them, not least because Dinger had released a couple of old substandard Neu! recordings on the Japanese Captain Trip label without Rother's knowledge or consent. In late 1995, this label released the previously mentioned "Neu! 4" recordings from the 1985–1986 sessions. It also released "Neu! '72 Live in Düsseldorf" (recorded on 6 May 1972), which comprised poorly recorded rehearsals for some abortive live shows, but notable for the inclusion of Eberhard Kranemann, who had briefly been in Kraftwerk with Dinger.


title: Neu!

text: A 1999 tribute album, entitled "A Homage to Neu!" (Cleopatra Records), features covers from artists including the Legendary Pink Dots, Download, Autechre, Dead Voices on Air, Khan, System 7, and James Plotkin, as well as an original track from Rother entitled "Neutronics 98 (A Tribute to Conny Plank)". Plank had died in 1987.


title: Neu!

text: For many years the acrimony and legal wrangling between Rother and Dinger prevented their reaching agreement over licensing arrangements to make Neu!'s music available on CD. In the ensuing vacuum, illegal and inferior-quality bootleg CDs (mastered from old vinyl records) were distributed by an outfit called Germanofon.


title: Neu!

text: This situation was finally resolved in 2001, when Rother and Dinger put aside their differences and entered a studio to transfer the three Neu! albums to CD, from the original master tapes (reportedly mastering each album three times). These were produced and released by Grönland Records (licensed to the Astralwerks label in the US), packaged with stickers featuring rave reviews by notable artists, including Thom Yorke. Following the release of the first three albums, Dinger and Rother tried but failed to agree on a legal release of "Neu! 4". Rother called the failure of those negotiations "unfortunate".


title: Neu!

text: Rother has said that he and Dinger had been considering recording a fifth Neu album, but the idea was aborted after personal disagreements resurfaced between them. Dinger died of heart failure on 21 March 2008. Rother said that he was unaware of Dinger's illness until just before he died.


title: Neu!

text: Rother writes and produces solo albums. Before his death, Dinger was a member of the band La! Neu? - whose name also irritated Rother - as well as collaborating with Miki Yui and band sub-tle. in a project that is unreleased to this date.


title: Neu!

text: On 25 May 2009, the new record label Feraltone released a compilation CD called "Brand Neu!" containing tracks by many modern artists who credit Neu! as an influence. Most notably, it featured a track from Michael Rother from the previous Neu! homage album ("A Homage to Neu!") and a new track by La Duesseldorf.de, one of Klaus Dinger's final recordings before he died. The compilation features both new and established artists from all around the world including Oasis, Primal Scream, Kasabian, School of Seven Bells, Ciccone Youth (Sonic Youth), Holy Fuck and the young band Pets With Pets from Australia. This was to outline the enormous influence of Neu! which spans multiple decades and countries.


title: Neu!

text: The rights to the Neu! back catalogue are jointly owned by Rother, Dinger's estate and Plank's widow, Christa Fast. Rother worked with them to produce a box set that included all of Neu!'s recordings including material that appeared on the "Neu! 4" album (now officially released as "Neu! '86"). "Neu! Vinyl Box" was released in May 2010 and "Neu! '86" followed as a standalone release later that year. The box set included some of the 'live' recordings from 1972 on a maxi single.


title: Neu!

text: In 2010 Rother teamed up with Steve Shelley (of Sonic Youth) and Aaron Mullan (of Tall Firs) for Hallogallo 2010, a live project to present Neu! music and some new pieces. He has since toured sporadically with the German trio Camera, performing the work of Neu!, Harmonia and his own solo music, occasionally with Dieter Möbius of Cluster. Since 2014 he has toured with Hans Lampe and former Camera guitarist Franz Bargmann.


title: Neu!

text: To celebrate the 50th anniversary of the Neu! debut album, Rother will play two concerts, Michael Rother & Friends: Celebrate 50 years NEU!. The first in Berlin, on 26 October 2022, and a second concert in London on 3 November 2022.


title: Neu!

text: Neu!'s rhythms and sparse atmospherics have been widely influential on genres such as electronica and punk. Their sound was described as "a droning, hypnotic style made up of Mr. Dinger’s simple, perpetual-motion rhythms and Mr. Rother’s fluid guitar effects" by "New York Times" critic Ben Sisario. Sisario called their first three albums "landmarks of German experimental rock, a genre that was quickly labeled Krautrock by journalists and fans." AllMusic noted their penchant for "minimalist melodies and lock-groove rhythms."


title: Neu!

text: The band pioneered the "motorik" beat, a minimalist 4/4 beat often used by drummers associated with krautrock. It is characterised by a kick drum-heavy, pulsating groove, that created a forward-flowing feel. It was probably first used by the group on their debut album and was later adopted by other krautrock bands. Dinger himself later referred to it as the "Apache beat".


title: Neu!

text: Artists such as David Bowie, the Sex Pistols, Sonic Youth, Stereolab, and Tortoise have drawn on the work of Neu! in their music. Siouxsie and the Banshees cited the band in their influences. Japanese experimental group Boredoms cite Neu! as a prominent influence on their later sound, evident in their unique application of tape manipulation remix techniques and driving 4/4 rhythms pioneered by Rother and Dinger.


title: Neu!

text: All Neu! albums on Brain Records were reissued in 2001 by Astralwerks and Grönland Records. All Neu! albums on Captain Trip Records have at least in part been re-released as part of the 2010 Grönland Records "Vinyl Box".


title: Tooth

text: A tooth (: teeth) is a hard, calcified structure found in the jaws (or mouths) of many vertebrates and used to break down food. Some animals, particularly carnivores and omnivores, also use teeth to help with capturing or wounding prey, tearing food, for defensive purposes, to intimidate other animals often including their own, or to carry prey or their young. The roots of teeth are covered by gums. Teeth are not made of bone, but rather of multiple tissues of varying density and hardness that originate from the embryonic germ layer, the ectoderm.


title: Tooth

text: The general structure of teeth is similar across the vertebrates, although there is considerable variation in their form and position. The teeth of mammals have deep roots, and this pattern is also found in some fish, and in crocodilians. In most teleost fish, however, the teeth are attached to the outer surface of the bone, while in lizards they are attached to the inner surface of the jaw by one side. In cartilaginous fish, such as sharks, the teeth are attached by tough ligaments to the hoops of cartilage that form the jaw.


title: Tooth

text: Some animals develop only one set of teeth (monophyodonts) while others are diphyodonts, i.e. they have an early set of deciduous teeth and a later set of permanent or "adult" teeth. Still others develop many sets (polyphyodonts). Sharks, for example, grow a new set of teeth every two weeks to replace worn teeth. Most extant mammals including humans are diphyodonts, but there are exceptions including elephants, kangaroos, and manatees, all of which are polyphyodonts.


title: Tooth

text: Rodent incisors grow and wear away continually through gnawing, which helps maintain relatively constant length. The industry of the beaver is due in part to this qualification. Many rodents such as voles and guinea pigs, but not mice, as well as leporidae like rabbits, have continuously growing molars in addition to incisors. Also, tusks (in tusked mammals) grow almost throughout life.


title: Tooth

text: Teeth are not always attached to the jaw, as they are in mammals. In many reptiles and fish, teeth are attached to the palate or to the floor of the mouth, forming additional rows inside those on the jaws proper. Some teleosts even have teeth in the pharynx. While not true teeth in the usual sense, the dermal denticles of sharks are almost identical in structure and are likely to have the same evolutionary origin. Indeed, teeth appear to have first evolved in sharks, and are not found in the more primitive jawless fish – while lampreys do have tooth-like structures on the tongue, these are in fact, composed of keratin, not of dentine or enamel, and bear no relationship to true teeth. Though "modern" teeth-like structures with dentine and enamel have been found in late conodonts, they are now supposed to have evolved independently of later vertebrates' teeth.


title: Tooth

text: Living amphibians typically have small teeth, or none at all, since they commonly feed only on soft foods. In reptiles, teeth are generally simple and conical in shape, although there is some variation between species, most notably the venom-injecting fangs of snakes. The pattern of incisors, canines, premolars and molars is found only in mammals, and to varying extents, in their evolutionary ancestors. The numbers of these types of teeth vary greatly between species; zoologists use a standardised dental formula to describe the precise pattern in any given group.


title: Tooth

text: The word "tooth" comes from Proto-Germanic *"tanthu"- which in turn comes from Proto-Indo-European *"h₁dent"-, which was composed of the root *"h₁ed"- ("to eat") plus the active participle suffix -"nt", therefore it literally meant "that which eats". Cognate with Latin "dēns", Greek ὀδούς "odous", and Sanskrit "dát".


title: Tooth

text: Teeth are assumed to have evolved either from ectoderm denticles (scales, much like those on the skin of sharks) that folded and integrated into the mouth (called the "outside–in" theory), or from endoderm pharyngeal teeth (primarily formed in the pharynx of jawless vertebrates) (the "inside–out" theory). In addition, there is another theory stating that neural crest gene regulatory network, and neural crest-derived ectomesenchyme are the key to generate teeth (with any epithelium, either ectoderm or endoderm).


title: Tooth

text: The genes governing tooth development in mammals are homologous to those involved in the development of fish scales. Study of a tooth plate of a fossil of the extinct fish "Romundina stellina" showed that the teeth and scales were made of the same tissues, also found in mammal teeth, lending support to the theory that teeth evolved as a modification of scales.


title: Tooth

text: Teeth are among the most distinctive (and long-lasting) features of mammal species. Paleontologists use teeth to identify fossil species and determine their relationships. The shape of the animal's teeth are related to its diet. For example, plant matter is hard to digest, so herbivores have many molars for chewing and grinding. Carnivores, on the other hand, have canine teeth to kill prey and to tear meat.


title: Tooth

text: Mammals, in general, are diphyodont, meaning that they develop two sets of teeth. In humans, the first set (the "baby," "milk," "primary" or "deciduous" set) normally starts to appear at about six months of age, although some babies are born with one or more visible teeth, known as neonatal teeth. Normal tooth eruption at about six months is known as teething and can be painful. Kangaroos, elephants, and manatees are unusual among mammals because they are polyphyodonts.


title: Tooth

text: In aardvarks, teeth lack enamel and have many pulp tubules, hence the name of the order Tubulidentata.


title: Tooth

text: In dogs, the teeth are less likely than humans to form dental cavities because of the very high pH of dog saliva, which prevents enamel from demineralizing. Sometimes called cuspids, these teeth are shaped like points (cusps) and are used for tearing and grasping food.


title: Tooth

text: Like human teeth, whale teeth have polyp-like protrusions located on the root surface of the tooth. These polyps are made of cementum in both species, but in human teeth, the protrusions are located on the outside of the root, while in whales the nodule is located on the inside of the pulp chamber. While the roots of human teeth are made of cementum on the outer surface, whales have cementum on the entire surface of the tooth with a very small layer of enamel at the tip. This small enamel layer is only seen in older whales where the cementum has been worn away to show the underlying enamel.


title: Tooth

text: The toothed whale is a suborder of the cetaceans characterized by having teeth. The teeth differ considerably among the species. They may be numerous, with some dolphins bearing over 100 teeth in their jaws. On the other hand, the narwhals have a giant unicorn-like tusk, which is a tooth containing millions of sensory pathways and used for sensing during feeding, navigation, and mating. It is the most neurologically complex tooth known. Beaked whales are almost toothless, with only bizarre teeth found in males. These teeth may be used for feeding but also for demonstrating aggression and showmanship.


title: Tooth

text: In humans (and most other primates) there are usually 20 primary (also "baby" or "milk") teeth, and later up to 32 permanent teeth. Four of these 32 may be third molars or wisdom teeth, although these are not present in all adults, and may be removed surgically later in life.


title: Tooth

text: Among primary teeth, 10 of them are usually found in the maxilla (i.e. upper jaw) and the other 10 in the mandible (i.e. lower jaw). Among permanent teeth, 16 are found in the maxilla and the other 16 in the mandible. Most of the teeth have uniquely distinguishing features.