title: Rainbow (Mariah Carey album)

text: It is a great outlet for me to go into the studio and write a song like 'Petals', which is one of my most personal songs and remains one of my favorites. I think [it had the most] honest lyrics I've ever written. The song chronicles a lot of past emotions I've felt to certain people close to me, and the way I feel towards them and how their actions have impacted me personally. For that reason, I sang in my lower registers, trying to add that breathy effect to go hand in hand with the song's composition.


title: Rainbow (Mariah Carey album)

text: "After Tonight" was a song Carey wrote with David Foster and Diane Warren. Carey had strong feelings about the song, as she wrote it about her relationship with Luis Miguel. The song was compared instrumentally to "My All" from "Butterfly", which features traces of Latin and guitar instrumentation. In the lyrics, the protagonist asks her lover if he will still love her and come back to her "after tonight." Carey's cover of the Phil Collins song "Against All Odds (Take a Look at Me Now)" was originally intended to be a solo ballad. The song was re-done after the album was released, with music by the Irish band Westlife replacing the song's instrumental bridge. "Can't Take That Away (Mariah's Theme)" was one of the album's most uplifting ballads, lyrically serving as an anthem for fans and listeners. The message, Carey said, was a personal theme of hers growing up, of not letting others "bring her down" and not allowing them to take away the light inside her.


title: Rainbow (Mariah Carey album)

text: As with "Butterfly" two years earlier, "Rainbow" became the center of conflict between Carey and her label. After her divorce from Sony record official and Columbia CEO Tommy Mottola, Carey's working relationship with the label deteriorated. She intended for "Can't Take That Away (Mariah's Theme)" to be the third single from "Rainbow", as it held very personal lyrical content. However, Sony made it clear that they intended the third single should be a more upbeat and urban track. The difference in opinion led to a very public feud, as Carey began posting messages on her webpage in early and mid-2000, telling fans inside information on the dispute, as well as instructing them to request "Can't Take That Away (Mariah's Theme)" on radio stations. One of the messages Carey left on her page read:


title: Rainbow (Mariah Carey album)

text: Basically, a lot of you know the political situation in my professional career is not positive. It's been really, really hard. I don't even know if this message is going to get to you because I don't know if they want you to hear this. I'm getting a lot of negative feedback from certain corporate people. But I am not willing to give up.


title: Rainbow (Mariah Carey album)

text: Carey's actions were given mixed reception, with critics and executives commending her bold actions regarding a song she felt needed to be heard, while others criticized her for publicizing the dispute further. Soon after, Sony stripped Carey's webpage of messages and began negotiations. Fearing to lose their label's highest seller and the best-selling artist of the decade, Sony chose to release the song. Carey, initially content with the agreement, soon found out that the song had only been given a very limited and low-promotion release, which meant the song failed to chart on the official US chart, and made international charting extremely difficult and unlikely.


title: Rainbow (Mariah Carey album)

text: Prior to the album's release, Carey made an appearance on "Pavarotti & Friends for Guatemala and Kosovo", performing "My All" and "Hero" alongside Luciano Pavarotti in a live duet. The concert benefit was filmed live in Modena, Italy, during the summer of 1999 and was released for sale on September 21, with funds being donated to relief efforts for natural disasters in Guatemala and Kosovo. Carey made several live television and award show appearances at this time, and recorded her own Fox Broadcasting Company special, titled "The Mariah Carey Homecoming Special". A mini-concert filmed at Carey's old high school in Huntington, New York, the special aired on Fox on December 21, 1999. Carey performed "Heartbreaker" and its accompanying remix at the MTV European Music Awards, held on November 11, 1999, in Dublin, Ireland. Additionally, the song was performed on "The Oprah Winfrey Show", the British music chart program "Top of the Pops", and "The Today Show", which included a performance of "Can't Take That Away (Mariah's Theme)" and "Hero." "Thank God I Found You was performed live at the 2000 American Music Awards as well as on several European programs, including "Top of the Pops" and "Friday Night's All Wright" in the United Kingdom, NRJ and "Soulier d'Or" in France, "Wetten, dass..?" in Germany, and "Quelli che... il Calcio" in Italy. The album's final two releases, "Can't Take That Away (Mariah's Theme)" and "Against All Odds (Take a Look at Me Now)," were performed on "The View" and at the 2000 Blockbuster Entertainment Awards.


title: Rainbow (Mariah Carey album)

text: In order to promote "Rainbow", Carey embarked of her fourth headlining and third worldwide tour. Titled the Rainbow World Tour, it included nineteen shows: six in Europe, four in Asia, eight in the United States, and one in Canada. For Carey's previous two tours, she had only visited Europe and Asia, due to the mixed reception of her debut stateside tour in 1993. However, after achieving record-breaking ticket sales throughout Asia and instant sellouts in Europe, Carey felt secure enough to once again tour her native country. The set list featured songs from most of Carey's previous studio albums, as well as some tracks from "Rainbow". Missy Elliott and Da Brat served as opening acts for the US leg of the tour. Ticket sales were very strong; the entire US leg sold out in a matter of days. The Asian and European leg mirrored the commercial success of her previous two tours. Reviews for the tour varied from positive to mixed. Some critics and fans reproached her of having a "tired and hoarse voice," while others commented on Carey's choice of wardrobe. Several critics and many concert-goers praised the tour, calling it an intense celebration of Carey's career.


title: Rainbow (Mariah Carey album)

text: Five singles were released from "Rainbow"; two were worldwide international releases and three were more limited releases. "Heartbreaker," the album's first worldwide release, became Carey's fourteenth chart topper in the United States. Aside from staying atop the US chart for two weeks, the song reached the chart's summit in Canada and New Zealand. Elsewhere, "Heartbreaker" achieved high charting, peaking within the top five in France and the United Kingdom and within the top ten in Australia, Belgium, the Netherlands, Germany, and Switzerland. The song received mixed reviews from critics. Arion Berger from "Rolling Stone" called the song Carey's "most insinuating: nasal, silken, declarative, riding the percolating beat." However, while dismissing some of the song's vocals and the incorporation of the hook, he complimented its marriage of pop and hip hop through Jay-Z's verses. The song's music video became one of the most expensive music videos of all time, costing an estimated $2.5 million. The video features Carey visiting a movie theater with her friends, where she finds her lover with another woman. "Thank God I Found You" was released as the second worldwide single from the album. While becoming Carey's fifteenth chart topper in the US, the song achieved moderate chart success in Europe and other territories. Berger called it a "gospel soar" and complimented Carey's vocals, as well as the harmonies by 98 Degrees. The music video features footage from a live concert with Carey and the band performing the song.


title: Rainbow (Mariah Carey album)

text: "Crybaby" and "Can't Take That Away (Mariah's Theme)" were released simultaneously as a double A-side, with very limited promotion from Sony. These two songs, especially the latter, became the center of a very public controversy between Carey and her label, due to their alleged low promotion of the album. Carey and Snoop Dogg were featured in the music video for "Crybaby," with Carey playing an anxious woman who can't sleep at night due to her lover's infidelity. A music video for "Can't Take That Away" was released around the same time, which features Carey on a rooftop garden. Carey sings during a rain storm, and towards the video's conclusion, the sun arises, bring forth a "new day." The final single from "Rainbow", "Against All Odds (Take a Look at Me Now)," was given a limited release as well. After performing moderately around the world, a new version of the song, featuring Westlife, was released in Ireland and the United Kingdom. It became successful there, peaking at number one in both territories, and became Carey's second UK chart topper. The song's video features Carey and Westlife on a boat in Capri. Scenes of the group exploring the island are cut with scenes of them in the studio, though Carey never re-recorded her vocals from the original version.


title: Rainbow (Mariah Carey album)

text: "Rainbow" received mixed to positive reviews from critics, many of whom noted the new direction in Carey's music. In "Entertainment Weekly", Danyel Smith wrote that "what began on "Butterfly" as a departure ends up on "Rainbow" a progression – perhaps the first compelling proof of Carey's true colors as an artist." Arion Berger from "Rolling Stone" viewed it as a genuine R&B and hip hop album, a "sterling chronicle of the state of accessible hip-hop balladeering at the close of 1999." Aside from calling some of the ballads "banal," Berger concluded his review that ""Rainbow" is at its best—and Carey at her most comfortable—when urbane hip-hop stylings and faux R&B coexist in smooth middle-of-the-road harmony." Elysa Gardner from the "Los Angeles Times" wrote in her review: "Exhibiting an emotional authority to match her technical prowess, Carey gives us a vision of love that's dynamic without being ostentatious." Steve Jones from "USA Today" deemed the record "colorful" and "some of her most compelling work." "Village Voice" critic Robert Christgau gave the album a two-star honorable mention, indicating a "likable effort consumers attuned to its overriding aesthetic or individual vision may well enjoy." He cited "Heartbreaker" and "Crybaby" as highlights while writing that Carey was "not a 'real' r&b thrush, but good enough to fake it."


title: Rainbow (Mariah Carey album)

text: Amy Linden from "Vibe" was less impressed by the album, particularly the songs on which Carey sings over hip hop samples or alongside guest rappers, deeming it a commonplace formula--"pairing a singing thrush with a rhyming thug." Stephen Thomas Erlewine from AllMusic said it was "the first Carey album where she's written personal lyrics, and allusions to her separation from Mottola." He called the lyrics "true" and "deep," but found the songs "ballad-heavy" and "repetitious," adding that the album followed the formula of Carey's previous records too precisely. In his opinion, "it would have been a more effective album if the heartbreak, sorrow, and joy that bubbles underneath the music were brought to the surface."


title: Rainbow (Mariah Carey album)

text: "Rainbow" debuted at number two on the "Billboard" 200 chart with 323,000 units sold, the highest first-week sales of Carey's career at that time. In its first week, it was barred from the top by Rage Against the Machine's "The Battle of Los Angeles". In its second week, the album stayed at number two, selling an additional 228,000 copies, barred from the top by Faith Hill's "Breathe". In its eighth week, "Rainbow" experienced its highest weekly sales—during the Christmas week of 1999—selling 369,000 copies, while placing at number nine. It became Carey's first studio album since "Merry Christmas" (1994) to not reach the top position in the United States. In total, "Rainbow" stayed in the top twenty for ten weeks and on the chart for thirty-five, making one re-entry. It was certified triple-Platinum by the Recording Industry Association of America (RIAA), denoting shipments of three million copies throughout the United States. According to Nielsen SoundScan, the album's sales in the US are estimated at 2,968,000 copies. In Canada, "Rainbow" debuted at number two on the Canadian Albums Chart, and was certified triple-Platinum by the Canadian Recording Industry Association (CRIA). Sales in Canada are estimated at 300,000 units.


title: Rainbow (Mariah Carey album)

text: "Rainbow" debuted at number three on the Australian Albums Chart, staying within the chart for seven weeks. The album was Platinum by the Australian Recording Industry Association (ARIA), denoting shipments of 70,000 copies. In France, the album experienced strong success, debuting at number four on the albums chart, rising to number one the following week, and remaining inside the top forty for thirty-four weeks. The album was certified Platinum by the Syndicat National de l'Édition Phonographique (SNEP), for sales of over 300,000 copies. In Germany, "Rainbow" peaked at number three, and received a Platinum certification from the Bundesverband Musikindustrie (BVMI), denoting shipments of 300,000 units. in the United Kingdom Rainbow debuted at number eight and stayed within the top 100 for 20 weeks. "Rainbow" was certified Platinum by the British Phonographic Industry (BPI), denoting shipments of 300,000 units. Additionally, "Rainbow" received Platinum certification in Brazil, with 250,000 copies, Platinum in New Zealand, triple-Platinum in Spain, Platinum in Argentina,<ref name="Argentina's Gold/Platinum Certifications for Mariah Carey"></ref> Gold in Belgium, Platinum in the Netherlands, and Gold in Switzerland. The album has sold an estimated eight million copies worldwide.


title: Alexandre Cabanel

text: Alexandre Cabanel (; 28 September 1823 – 23 January 1889) was a French painter. He painted historical, classical and religious subjects in the academic style. He was also well known as a portrait painter. According to "Diccionario Enciclopedico Salvat", Cabanel is the best representative of "L'art pompier", and was Napoleon III's preferred painter.


title: Alexandre Cabanel

text: and studied with François-Édouard Picot. He exhibited at the Paris Salon for the first time in 1844, and won the Prix de Rome scholarship in 1845 at the age of 22. Cabanel was elected a member of the Institute in 1863. He was appointed professor at the École des Beaux-Arts in 1864 and taught there until his death.


title: Alexandre Cabanel

text: He was closely connected to the Paris Salon: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred at the Salons. Through them, Cabanel did more than any other artist of his generation to form the character of "belle époque" French painting". His refusal together with William-Adolphe Bouguereau to allow the impressionist painter Édouard Manet and many other painters to exhibit their work in the Salon of 1863 led to the establishment of the Salon des Refusés by the French government. Cabanel won the Grande Médaille d'Honneur at the Salons of 1865, 1867, and 1878.


title: Alexandre Cabanel

text: A successful academic painter, his 1863 painting "The Birth of Venus" is one of the best-known examples of 19th-century academic painting. The picture was bought by the emperor Napoleon III; there is also a smaller replica (painted in 1875 for a banker, John Wolf) at the Metropolitan Museum of Art in New York City. It was given to them by Wolf in 1893. The composition embodies ideals of Academic art: mythological subject, graceful modeling, silky brushwork, and perfected form. This style was perennially popular with collectors, even as it was challenged by artists seeking a more personal interpretation of truth to nature, such as Courbet.


title: Freddie Hubbard

text: Frederick Dewayne Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He played bebop, hard bop, and post-bop styles from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.


title: Freddie Hubbard

text: Hubbard started playing the mellophone and trumpet in his school band at Arsenal Technical High School in Indianapolis, Indiana. Trumpeter Lee Katzman, former sideman with Stan Kenton, recommended that he begin studying at the Arthur Jordan Conservatory of Music (now the Jordan College of the Arts at Butler University) with Max Woodbury, the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens, Hubbard worked locally with brothers Wes and Monk Montgomery, and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. On June 19, 1960, Hubbard made his first record as a leader, "Open Sesame", at the beginning of his contract with Blue Note Records, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis. Six days later he returned the favor to Brooks and recorded with him on "True Blue".


title: Freddie Hubbard

text: In December 1960, Hubbard was invited to play on Ornette Coleman's "", after Coleman had heard him performing with Don Cherry.


title: Freddie Hubbard

text: Then in May 1961, Hubbard played on "Olé Coltrane", John Coltrane's final recording session for Atlantic Records. Coltrane also hired Hubbard, Eric Dolphy and Art Davis, who all appeared "Olé", to record "Africa/Brass", Coltrane's first album with Impulse!, which was begun just after "Olé". In August 1961, Hubbard recorded "Ready for Freddie" (Blue Note), which was also his first collaboration with saxophonist Wayne Shorter. Hubbard became Shorter's bandmate when he replaced Lee Morgan in Art Blakey's Jazz Messengers later in 1961. He played on more than 10 live and studio recordings with Blakey during one of the most acclaimed eras of the Jazz Messengers, including "Caravan", "Ugetsu", "Mosaic", and "Free for All". In all, during the 1960s, he recorded eight studio albums as a bandleader for Blue Note, and more than two dozen as a sideman. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, his Blue note associate James Spaulding, pianist Kenny Barron and drummer Louis Hayes. This group recorded for Atlantic.


title: Freddie Hubbard

text: It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the "DownBeat" jazz magazine "New Star" award on trumpet.


title: Freddie Hubbard

text: Throughout the 1960s, Hubbard played as a sideman on some of the most important albums from that era, including Oliver Nelson's "The Blues and the Abstract Truth", Eric Dolphy's "Out to Lunch!", Herbie Hancock's "Maiden Voyage", and Wayne Shorter's "Speak No Evil". Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the 1960s, he appeared on two of its landmark albums: Coleman's "" and Coltrane's "Ascension", as well as on Sonny Rollins' "new thing" track, "East Broadway Run Down" (on the 1966 album of the same name), with Elvin Jones and Jimmy Garrison.


title: Freddie Hubbard

text: Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson. Although his early 1970s jazz albums "Red Clay", "First Light", "Straight Life", and "Sky Dive" were particularly well received and considered among his best work, the albums he recorded later in the decade were attacked by critics for their commercialism. "First Light" won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Hubbard, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of "First Light".


title: Freddie Hubbard

text: In 1977, Hubbard joined the all-star V.S.O.P. band, which also featured Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter. All of the band's members except Hubbard were members of the mid-1960s Miles Davis Quintet. Several live recordings of this group were released as "V.S.O.P", "V.S.O.P. The Quintet", "V.S.O.P. Tempest in the Colosseum" (all 1977) and "V.S.O.P. Live Under the Sky" (1979).


title: Freddie Hubbard

text: Hubbard's trumpet playing was featured on the track "Zanzibar" from the 1978 Billy Joel album "52nd Street" (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An unfaded version was released on the 2004 Billy Joel boxed set "My Lives".


title: Freddie Hubbard

text: In the 1980s Hubbard was again leading his own jazz group – this time with Billy Childs and Larry Klein, among others, as members – attracting favorable reviews, playing at concerts and festivals in the US and Europe, often in the company of Joe Henderson, playing a repertory of hard bop and modal jazz pieces. Hubbard played at the Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson). He and Woody Shaw recorded two albums as co-leaders for Blue Note and played live concerts together from 1985 to 1987. In 1987, he was a co-leader with Benny Golson on the "Stardust" album. In 1988, he teamed up once more with Blakey at an engagement in the Netherlands, from which came "Feel the Wind". In 1988, Hubbard played with Elton John, contributing trumpet and flugelhorn and trumpet solos on the track "Mona Lisas and Mad Hatters (Part Two)" for John's "Reg Strikes Back" album. In 1990, he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, and Rufus Reid, with jazz vocalist Salena Jones. He also performed at the Warsaw Jazz Festival, at which "Live at the Warsaw Jazz Festival" (Jazzmen 1992) was recorded.


title: Freddie Hubbard

text: Following a long setback of health problems and a serious lip injury in 1992 where he ruptured his upper lip and subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the high level that he set for himself during his earlier career. His best records ranked with the finest in his field.


title: Freddie Hubbard

text: In 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award.


title: Freddie Hubbard

text: On December 29, 2008, Hubbard died in Sherman Oaks, California from complications caused by a heart attack he suffered on November 26.


title: Freddie Hubbard

text: Hubbard had close ties to the Jazz Foundation of America in his later years. He is quoted as saying, "When I had congestive heart failure and couldn't work, The Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people." The Jazz Foundation of America's Musicians' Emergency Fund took care of him during times of illness. After his death, Hubbard's estate requested that tax-deductible donations be made in his name to the Jazz Foundation of America.


The Russians Are Coming, the Russians Are Coming is a 1966 American comedy film directed and produced by Norman Jewison for the United Artists. It is based on the 1961 Nathaniel Benchley novel "The Off-Islanders", and was adapted for the screen by William Rose.


title: The Russians Are Coming, the Russians Are Coming

text: The film depicts the chaos following the grounding of the Soviet submarine "Спрут" (pronounced "sproot" and meaning "octopus") off a small New England island during the Cold War. It stars Carl Reiner, Eva Marie Saint, Alan Arkin in his first major film role, Brian Keith, Theodore Bikel, Jonathan Winters, John Phillip Law, Tessie O'Shea, and Paul Ford. It was shot by cinematographer Joseph F. Biroc in DeLuxe Color and Panavision.


text: The film was released by United Artists on May 25, 1966, to critical acclaim. At the 24th Golden Globe Awards, the film won in two categories (Best Motion Picture – Musical or Comedy and Best Actor – Motion Picture Musical or Comedy for Arkin), and was nominated for four Academy Awards (Best Picture, Best Actor for Arkin, Best Adapted Screenplay, and Best Editing).


text: A Soviet Navy submarine called "Спрут" ("Octopus") draws too close to the New England coast one September morning when its captain wants to take a good look at America and runs aground on a sandbar near the fictional Gloucester Island, off the New England coast, with a population of about 200 local residents. Rather than radio for help and risk an embarrassing international incident, the captain sends a nine-man landing party, headed by his "zampolit" (Political officer) Lieutenant Yuri Rozanov, to find a motor launch to help free the submarine from the bar. The men arrive at the house of Walt Whittaker, a vacationing playwright from New York City. Whittaker is eager to get his wife Elspeth and two children, obnoxious but precocious -year-old Pete and 3-year-old Annie, off the island now that summer is over.


text: Pete tells his disbelieving dad that "nine Russians with tommy guns" dressed in black uniforms are near the house, but Walt is soon met by Rozanov and one of his men, Alexei Kolchin, who identify themselves as strangers on the island and ask if there are any boats available. Walt is skeptical and asks if they are "Russians with machine guns," which startles Rozanov into admitting that they are Russians, and pulling a gun on Walt. Walt provides information on the lack of military and the small police forces of their island, and Rozanov promises no harm to the Whittakers if they hand over their station wagon. Elspeth provides the car keys, but before the Russians depart, Rozanov orders Alexei to prevent the Whittakers from fleeing. When Alison Palmer, an attractive 18-year-old neighbor who works as Annie's babysitter, arrives for work that day, they take her captive, as well.


text: The Whittakers' station wagon quickly runs out of gasoline, forcing the Russians to walk. They steal an old sedan from Muriel Everett, the postmistress; she calls Alice Foss, the gossipy telephone switchboard operator, and before long, wild rumors about Russian parachutists and an air assault on the airport throw the entire island into confusion. Level-headed Police Chief Link Mattocks and his bumbling assistant Norman Jonas try to squelch an inept citizens' militia led by the blustering Fendall Hawkins.


text: Meanwhile, Walt, accompanied by Elspeth and Pete, manages to overpower Alexei, because the Russian is reluctant to hurt anyone. Alexei flees during the commotion, but when Walt, Elspeth, and Pete leave to find help, he returns to retrieve his weapon from the house, where only Alison and Annie remain. Alexei says that although he wants no fighting, he must obey his superiors in guarding the residence. He promises he will harm nobody and offers to surrender his gun as proof. Alison tells him that she trusts him and does not want his firearm. Alexei and Alison become attracted to each other, take a walk along the beach with Annie, and find commonality despite their different cultures and the Cold War hostility between their countries.


text: Trying to find the Russians himself, Walt is recaptured by them in the telephone central office. After subduing Mrs. Foss and tying Walt and her together, and disabling the island's telephone switchboard, seven of the Russians appropriate civilian clothes from a dry cleaner's, manage to steal a cabin cruiser, and head to the submarine, which is still aground. Back at the Whittaker house, Alexei and Alison have kissed and fallen in love. At the phone exchange, Walt and Mrs. Foss manage to hop outside the office, but fall down the stairs to the sidewalk below. They are discovered there by Elspeth and Pete, who untie them. They return to their house, and Walt shoots at and almost kills Rozanov, who had reached there just ahead of them. With the misunderstandings cleared up, the Whittakers, Rozanov, and Alexei decide to head into town together to explain to everyone just what is going on.


text: As the tide rises, the sub floats off the sandbar before the cabin cruiser arrives, and it proceeds on the surface to the island's main harbor. Chief Mattocks, having investigated and debunked the rumor of an aerial assault, arrives back in town with the civilian militia. With Rozanov acting as translator, the Russian captain threatens to open fire on the town with his deck gun and machine guns unless the seven missing sailors are returned to him; his crew faces upwards of 100 armed, apprehensive, but determined townspeople. As the situation nears the breaking point, two small boys climb up to the church steeple to see better and one slips and falls from the steeple, but his belt catches on a gutter, leaving him precariously hanging 40 feet in the air. The American islanders and the Russian submariners immediately unite to form a human pyramid to rescue the boy.


text: Peace and harmony are established between the two parties, but unfortunately, the overeager Hawkins has contacted the Air Force by radio. In a joint decision, the submarine heads out of the harbor with a convoy of villagers in small boats protecting it. Alexei says goodbye to Alison, the stolen boat with the missing Russian sailors meets its sub shortly thereafter, and the seven board the submarine, just before two Air Force F-101B Voodoo jets arrive. The jets break off after seeing the escorting flotilla of small craft, and to the cheers of the islanders, the "Octopus" is free to proceed to deep water and safety.


text: Luther Grilk, the town drunk, who had been trying to mount his horse, finally succeeds and rides heroically to the outer parts of the island shouting "The Russians are coming! The Russians are coming!", not knowing that they have already left.


text: Although set on the fictional "Gloucester Island" off the coast of Massachusetts, the movie was filmed on the coast of Northern California, mainly in Mendocino. The harbor scenes were filmed in Noyo Harbor in Fort Bragg, California, about 7 miles north of Mendocino. Because of the filming location on the West Coast, the dawn scene at the beginning of the film was actually filmed at dusk through a pink filter.


text: The submarine used was a fabrication. The United States Navy refused to lend one for the production, so they asked the Russian Embassy for a Soviet submarine, which was similarly refused. The Mirisch Company rented a mockup of a submarine that had been used in the 1965 film "Morituri".


text: The planes used were actual F-101 Voodoo jets from the 84th Fighter-Interceptor Squadron, located at the nearby Hamilton Air Force Base. They were the only Air Force planes that were based near the location of the supposed island.


text: The title alludes to Paul Revere's midnight ride, as does the subplot in which the town drunk (Ben Blue) rides his horse to warn people of the "invasion".


text: Pablo Ferro created the main title sequence, using the American flag's red, white, and blue colors and the Soviet hammer and sickle as transitional elements, zooming into each to create a montage, which ultimately worked to establish the tone of the film. The music in the sequence alternates between the American "Yankee Doodle" march and a combination of the Russian songs "Polyushko Pole" (Полюшко Поле, usually "Meadowlands" in English) and the "Song of the Volga Boatmen".


text: Much of the dialog was spoken by the Russian characters, played by American actors at a time when few American actors were adept at Russian accents. Musician and character actor Leon Belascowho was born in Russia, spoke fluent Russian and specialized in foreign accents during his 60-year careerwas the dialog director. Alan Arkin, a Russian speaker raised in a Russian Jewish household, did so well as Rozanov that he would later in his career be sought to play both American and ethnic characters. Theodore Bikel was able to pronounce Russian so well (he had taken a few classes, but was not at all fluent in the language) that he won the role of the submarine captain. Alex Hassilev, of The Limelighters, also spoke fluent Russian and played the sailor Hrushevsky. John Phillip Law's incorrect pronunciation of difficult English phonemes, most notably in Alison Palmer's name ("ah-LYEE-sown PAHL-myerr"), was unusually authentic by the standards of the day. Brian Keith, who also spoke fluent Russian, did not do so in the film.


text: The film score was composed, arranged and conducted by Johnny Mandel and the soundtrack album was released on the United Artists label in 1966. "Film Score Monthly" reviewed Mandel's soundtrack in their liner notes for their reissue of the score, noting the presence of Russian folk songs, writing that "These pre-existing melodies mix with original Mandel compositions, including a Russian choral anthem, a humorous march theme for the island residents' quasi-military response to the Soviet incursion, and a tender love theme...". "The Shining Sea" was sung on the soundtrack by Irene Kral, although it had featured as an instrumental in the film itself. The lyrics to "The Shining Sea" were written by Peggy Lee, who was contractually bound to Capitol Records, and so unable to appear on the soundtrack album. The line "His hands, his strong brown hands" was believed by Lee's friends to be a reference to Quincy Jones with whom she had a brief affair. Lee herself later recorded "The Shining Sea" with her lyrics on May 21, 1966. Mandel had played the music for "The Shining Sea" to Lee, and had asked her to "paint a word picture" of what she had heard. Lee's lyrics, by coincidence, exactly matched the action on the screen of the two lovers on the beach, which astonished Mandel, who had not shown her the film.


text: Robert Alden of "The New York Times" called it "a rousingly funny – and perceptive – motion picture about a desperately unfunny world situation." Arthur D. Murphy of "Variety" declared it "an outstanding cold-war comedy," adding that Jewison "has made expert use of all types of comedy technique, scripted and acted in excellent fashion by both pros and some talented newcomers to pix."


text: Philip K. Scheuer of the "Los Angeles Times" wrote, "Considering that it is made up of variations on a single theme, the picture is astonishingly inventive. And considering that it was never done as a play on the stage (where laughs can be pre-tested and rough spots ironed out) it racks up a high average indeed, though it has its lapses and some of its points are forced—over-milked, as they say in the trade." Richard L. Coe of "The Washington Post" called it "a refreshingly witty topical comedy ... Some exceptionally skilled comics, familiar and unfamiliar, are extremely amusing." "The Monthly Film Bulletin" wrote that the film "almost falls flat when it indulges in sententious philosophising about the need for Russians and Americans to live peacefully together," but is "considerably helped by an amiable script (by former Ealing writer William Rose) which often manages to invest the film with the high farce of the best of the Ealing comedies." Brendan Gill of "The New Yorker" called it "an unfunny big farce ... The heavy-handed producer and director of the picture, Norman Jewison, has permitted nearly every moment of it to become twice as brightly colored, twice as noisy, and twice as frantic as it needed to be; this is all the more a pity because the cast includes a number of excellent comic actors."


text: According to Norman Jewison, the filmreleased at the height of the Cold Warhad considerable impact in both Washington and Moscow. It was one of the few American films of the time to portray the Russians in a positive light. Senator Ernest Gruening mentioned the film in a speech in Congress, and a copy of it was screened in the Kremlin. According to Jewison, when screened at the Soviet film writers' union, Sergei Bondarchuk was moved to tears. Jewison, in an interview, also stated that not only were the Russians thrilled with the movie, they were a little disappointed they hadn't thought of the plot first.


title: Ford Galaxy

text: The Ford Galaxy is a seven-seater car produced by Ford of Europe from June 1995 to April 2023. Considered in the motor industry to be a large multi-purpose vehicle (MPV), it was the first Ford-brand MPV produced and marketed outside of North America, the model line is currently in its third generation. Sharing its platform architecture with the Ford Mondeo, the Galaxy was developed alongside the Ford S-Max; the model line is slotted between the Connect and Custom variants of the Ford Tourneo/Transit model family.


title: Ford Galaxy

text: In contrast to the American-designed Ford Aerostar and Chrysler Voyager (both imported to Europe), the Galaxy is configured with four sedan-style doors (in line with the Renault Espace).


title: Ford Galaxy

text: The first Galaxy was designed as a joint venture product between Ford and the Volkswagen Group. Produced at the joint-venture AutoEuropa plant in Palmela, Portugal, the vehicle was badge-engineered to create three vehicles: the Ford Galaxy; by Volkswagen as the Volkswagen Sharan; and by SEAT as the Alhambra. Production started in May 1995.


title: Ford Galaxy

text: The Galaxy used predominantly Volkswagen Group mechanicals, most notably the 2.8 litre VR6 petrol engine from the top versions of the Volkswagen Golf, as well as Volkswagen Group's 1.9 litre Turbocharged Direct Injection (TDI) turbodiesel unit. Initially only the 2.0 litre inline-four petrol version used a Ford powerplant – this derived from the Ford I4 DOHC engine. In later years, this unit was supplemented by a 2.3 litre 16 valve version first seen in the facelifted Ford Scorpio. This engine was transversely mounted as opposed to longitudinal mounting like in the Scorpio.


title: Ford Galaxy

text: The 2.8 litre VR6 model was also available with an optional four-wheel-drive system, however this did not reappear on the second generation.


title: Ford Galaxy

text: All of the VW Group sourced engines were supplied with "Ford" badges on the rocker covers, despite being VW Group designs. All automatic transmissions were VW Group AG4 boxes, but manual gearboxes on all engines were VXT75 five speeds (modified versions of the trusted Ford MTX-75 five speed set-up to suit the transverse engine layout).


title: Ford Galaxy

text: The original interior used a mix of both Ford and VW Group components, using a Volkswagen Golf-derived instrument pack, and most of the switchgear, while the curved fascia moulding was of Ford design, heavily reminiscent of that used in the Ford Mondeo.


title: Ford Galaxy

text: In 1999, the MkI Ford Galaxy was rated in a "Top Gear" magazine survey as the least satisfying car in the United Kingdom, though 12,233 people bought a Galaxy in the previous year, which was twice the market share of its nearest rival, according to a Ford's spokesman. In the UK, Ford Galaxy sold more than Volkswagen Sharan and was the best selling MPV.


title: Ford Galaxy

text: When the car was launched in 1995, there were two trim levels; the Aspen and the GLX, as well as the Ghia which launched a few months later. In 1996, the 4x4 powertrain was available, the Aspen was updated with body coloured bumpers and updated hubcaps, as well as the launch of the Ghia X which was powered by the 2.3 petrol as standard instead of the 2.0 like that on the standard Ghia - and it had a few more standard features like air conditioning and front fog lights. In early 1997, the Ultima was also launched, designed to be more luxurious than the Ghia. It had 6 leather captains chairs, as well as a front passenger airbag, traction control and different alloy wheels (all as standard features). However, it never sold very well and approximately only around 125 were on the road at its peak. Then, in 1999, Ford introduced the new LX and Zetec trim styles which replaced the Aspen and GLX models.


title: Ford Galaxy

text: In August 2000, the Galaxy received a facelift with new exterior (incorporating New Edge) and interior styling including a new dashboard. The updated trims included the LX, the Zetec and Ghia. Contrary to the name, the Zetec was not available with a Zetec engine, but with the 1.9 TDI engine which was supplied by Volkswagen, as well as Ford's own 2.3 petrol. In 2004, the Galaxy received a very minor facelift with new taillights, a new lower front grille and a few differences to some trims. As well as this, the Silver special edition was launched alongside the Mondeo Silver, both having alloy wheels and only being available in 3 different silver colours.


title: Ford Galaxy

text: The second generation Galaxy was introduced at the 2006 Geneva Motor Show, and went on sale alongside the Ford S-Max (which had a lower rear roofline, external cosmetic differences and only child seats in the third row) in June 2006.


title: Ford Galaxy

text: The new Galaxy is larger than its predecessor, and is a four pillar vehicle of Ford design, with no Volkswagen Group content (Ford sold its stake in AutoEuropa back to the Volkswagen Group the year before). No longer produced at the AutoEuropa plant in Portugal, Europe's replacement Galaxy is assembled at a newly re equipped plant alongside the Mondeo in Genk, Belgium. With the S-Max catering to customers who require a sport-oriented multi-purpose vehicle (MPV), Ford was able to expand the Galaxy in every dimension without losing sales in size conscious Europe.


title: Ford Galaxy

text: Due to its size, Ford was unable to design the Galaxy using a full Kinetic Design format. However, Ford states that the Mk II Galaxy has 'elements' of Kinetic Design, such as its trapezoidal grille, large wheelarches and angular headlights. The vehicle has no spare wheel; instead an aerosol foam sealant is provided to seal punctures until a new tyre can be purchased.


title: Ford Galaxy

text: Only Ford's own engines are used, all diesels being from the Duratorq family of engines in and 1.8-litre format, and also and 2.0 TDCi versions, with 2.2 TDCi for more power. Two petrol engines are now offered, there is the "1.6T 160PS EcoBoost Start/Stop" and the "2.0 203 PS EcoBoost


title: Ford Galaxy

text: However the 1.6l Ecoboost engine has been criticized by the Independent writer Jamie Merrill. He describes the engine as not powerful enough and should have been left in the smaller cars.


title: Ford Galaxy

text: In the United Kingdom, the Mk II Galaxy was available in Edge, Zetec, and Ghia trim levels. In February 2008, Ford added the Titanium high level trim in common with the Focus, C-MAX, Kuga, Mondeo and S-MAX ranges. The Titanium model is specified to the same level as the Ghia but adds a 'techno' feel. At the same time, the availability of a 2.2 TDCi engine option (joint design with PSA) was announced. The current trim levels available in the United Kingdom (November 2011) are Zetec, Titanium and Titanium X.


title: Ford Galaxy

text: The Ford Galaxy also comes with many features such as Home Safe Lighting, Quickclear heated windscreen and a cooled passenger glove box.


title: Ford Galaxy

text: One major selling point of the Galaxy and S-MAX is the "FoldFlatSystem". This design allows the second and third row seats to fold flat into the floor, although this change in seating design reduces the load carrying capacity of the vehicle.


title: Ford Galaxy

text: This model of car is known as the main vehicle on the British television series "Outnumbered", which replaces the Vauxhall Zafira the family had in the older series.


title: Ford Galaxy

text: After its sibling, the Ford S-Max, was presented at the 2014 Paris Motor Show, the all-new Galaxy went on sale in mid-2015.


title: Ford Galaxy

text: The Galaxy is available with the same range of engines as the S-Max, namely one diesel (in four states of tune) and two petrol variants. The petrol 1.5 SCTi Ecoboost has 160 hp, and the larger 2.0 SCTi has 240 hp, but can only be mated to Ford's Powershift automatic gearbox. At launch, Ford expected only two percent of United Kingdom sales to be petrol models.


title: Ford Galaxy

text: All the diesels average over 50 mpg – the most economical being the 2.0 TDCi Duratorq 120, which manages 57mpg. Both the 2.0 TDCi 150 and 180 versions come with either a six-speed manual gearbox or the Powershift auto – the 180 hp version can also be specced with AWD. The range topping Bi-Turbo 2.0 TDCi 210 comes with the Powershift gearbox only, and can accelerate from 0 to 60 in under nine seconds.


title: Ford Galaxy

text: The trim levels, mirroring those available in the S-Max, Mondeo and Edge, include Zetec, Titanium and Titanium X.


title: Ford Galaxy

text: Ford updated the Galaxy for the 2020 model year. It received a new front grille and bumpers with a similar design as the Mondeo, Focus, Fiesta, Puma and Kuga. The Galaxy also received the Vignale version, a new automatic transmission and an updated infotainment system with Apple CarPlay and Android Auto.


title: Ford Galaxy

text: In late autumn, 2021, Ford stopped selling the standard petrol and diesel models, only selling it with one engine choice, a 2.5 litre hybrid Duratec - producing 190PS with a Durashift CVT transmission.


title: Ford Galaxy

text: In January 2022, Ford announced plans to discontinue Galaxy after 27 years of production, stopping accepting orders for minivan in favour of realisation of existing ones. Afterwards cars will be axed from European lineup without direct successor.


title: Ford Galaxy

text: The 2012 Ford Galaxy was reviewed by "What Car?", and was given 4 out of 5 stars. They added that the Galaxy was more fun to drive than most MPVs.


title: Chynna Rogers

text: Chynna Marie Rogers (August 19, 1994 – April 8, 2020), known mononymously as Chynna, was an American rapper, disc jockey, and model who was signed by Ford Modeling Agency at the age of 14 and affiliated with the ASAP Mob.


title: Chynna Rogers

text: Throughout middle school, Chynna developed an interest in writing, and toyed with the idea of writing a book. In high school, this developed into the writing of full songs. She recorded her first song, "Selfie" in a friend's basement, soon after leaving high school.


title: Chynna Rogers

text: Rogers was signed as a model at the age of 14 and modeled until the age of 16. Her modeling career was short, with her true passion lying in music.


title: Chynna Rogers

text: Failing to attain scholarships, she discarded the idea of going to college and began taking music more seriously.


title: Chynna Rogers

text: Rogers became connected to ASAP Mob through ASAP Yams, whom she had approached on Twitter. After hanging outside music studios she became his intern. She struggled with addiction throughout her career. Her mentor, Yams, died in 2015 of an accidental drug overdose. Her mother, Wendy Payne, died in 2017. In an interview with Pitchfork Media in January 2018, she described how the pressures of the music industry had played a part in her addiction: 'I felt that I hadn’t gone through enough terrible stuff to deserve to have this as a career. I didn’t feel like I deserved to be making a living off talking about my life yet because I just couldn’t relate to enough people.'


title: Chynna Rogers

text: Rogers released the singles "Selfie" (2013) and "Glen Coco" (2014). These were followed by her first EP, "I'm Not Here, This Isn't Happening" in 2015. On August 19, 2016, she released the EP "Ninety", celebrating her 90 days of sobriety. The following year, she released the EP "Music 2 Die 2". Her final EP, "In Case I Die First" was released in 2019.


title: Chynna Rogers

text: Her song "stupkid", was released posthumously on what would have been her 26th birthday, August 19, 2020.


title: Chynna Rogers

text: Her first full-length album, "Drug Opera", was released posthumously on August 20, 2021. The album includes features from Junglepussy, Kur, and A$AP ANT.


title: Chynna Rogers

text: Rogers was influenced and inspired by a variety of genres, and was exposed to hip-hop since her childhood.


title: Chynna Rogers

text: One of her more notable influences were emo-rock bands such as Fall Out Boy, Panic! at the Disco, and Paramore, as well as rock and metal bands such as Alesana or Meshuggah.


title: Chynna Rogers

text: Rogers often explored the darker side of the human experience, diving into the depths of drug addiction, darkness, and pain.


title: Chynna Rogers

text: She adhered to Buddhism as a philosophy and way of living, and believed in the power of crystals and transforming energies.


title: Chynna Rogers

text: Rogers was found unresponsive on April 8, 2020 in her Philadelphia home. Her cause of death was later ruled an accidental drug overdose. Her death in the peak of her career gained attention from mainstream media.


title: Soldier (1998 Indian film)

text: Soldier is a 1998 Indian Hindi-language action thriller film directed by Abbas–Mustan starring Bobby Deol, Preity Zinta and Raakhee Gulzar. This was the first of several films where Deol collaborated with Abbas–Mustan.


title: Soldier (1998 Indian film)

text: Although "Soldier" was Preity Zinta's first film, Mani Ratnam's "Dil Se.." ended up being released before "Soldier" and was thus Zinta's film debut. "Soldier" was the first film in Abbas–Mustan career, which was not a Hollywood remake or adaptation.


title: Soldier (1998 Indian film)

text: According to film writer Shyam Goel, it was inspired by a real incident that happened in Punjab where a woman's forehead was branded with the message that her husband was a traitor. Her husband, a soldier, was accused of treachery, and she was thrown out of her village. The story was already made as a movie in Tamil in 1989 titled "Thaai Naadu", starring Sathyaraj in dual roles.


title: Soldier (1998 Indian film)

text: "Soldier" released on 20 November 1998 and was declared as a superhit by "Box Office India", becoming the 2nd highest-grossing film of the year in India after "Kuch Kuch Hota Hai".


title: Soldier (1998 Indian film)

text: At the 44th Filmfare Awards, "Soldier" received 5 nominations, including Best Director (Abbas–Mustan) and Best Supporting Actress (Raakhee), and won 2 awards, including Best Female Debut (Zinta, also for "Dil Se..").


title: Soldier (1998 Indian film)

text: The film was remade in Dhallywood as "Jamin Nai" by "Syed Harun" starring Shabnur, Shakti Kapoor & Mizu Ahmed in lead roles in 2000 and Tamil as "Villu "by "Prabhu Deva "starring Vijay & Nayanthara in lead roles in 2009.


title: Soldier (1998 Indian film)

text: In Barmer, 1978, corrupt Indian army officials Pratap Singh, Virender Sinha, Baldev Sinha and Jaswant Dalal have been stealing arms and ammunition led by a mysterious man known only as DK. Major Vijay Malhotra, a competent and high-ranking soldier, catches them in the act but is murdered by DK.


title: Soldier (1998 Indian film)

text: 20 years later, the Mumbai Police get a fax from the Australian Interpol branch regarding Jaswant, now a wanted illegal arms supplier. An operation to capture him is handed over to ACP Dinesh Kapoor, an old friend of the late Major Vijay Malhotra, who informs a mysterious man known as Vicky. He wants Vicky to intercept Jaswant and not let the police capture him. Vicky succeeds but when Jaswant tries to kill him, Vicky shoots him.


title: Soldier (1998 Indian film)

text: Vicky travels to Sydney using information from Dinesh and woos Pratap Singh's daughter, Preeti. After all these years, Pratap, Virender, and Baldev have become high-profile arms dealers and live in Australia. After hearing of Jaswant's death and DK's involvement, they worry about betrayal from one another as each of them have secret files that incriminates the entire group.


title: Soldier (1998 Indian film)

text: Vicky meets with Pratap, who identifies him as Jaswant's killer and proposes a way to help make him more powerful. Baldev and his son Jojo realize that Vicky's mother is none other than Virender's wife, Shanti. Vicky is welcomed into Virender's gang. Virender is ecstatic to reunite with his son and happier to learn that he is in love with Pratap's daughter. He wants to use this to his advantage and have Vicky retrieve Pratap's secret file. Vicky instead shoots his father dead and retrieves his secret file, with which he discovers who DK actually is. Vicky convinces Baldev that Pratap betrayed them and killed Virender. Baldev rallies all his henchmen to launch an attack on Pratap but they are killed by Pratap's men. It is revealed that Vicky was working with Pratap to eliminate Virender's gang.


title: Soldier (1998 Indian film)

text: Vicky then reveals to Pratap that he is not actually Virender's son. He used Shanti to get closer to Virender and did the same for Pratap by using Preeti. The reason for all this is because DK gave him a contract to kill not just Jaswant but all the other partners so that he can own 100% of their crime organization. Vicky says that because of Preeti, he will instead kill DK and make Pratap the king. Pratap agrees to go to India with Vicky to kill DK.


title: Soldier (1998 Indian film)

text: After overhearing this, Preeti reveals it to Shanti. Shanti acknowledges that Vicky is not her son and that she had masterminded the plan to kill her husband and his business partners, whose weapons had accidentally killed her own son, unbeknownst to Virender. She reveals that Vicky is actually Raju, the son of Vijay. After Vijay's death, he had been framed for the gang's crimes and labeled a traitor. He was stripped of all medals, and their community ostracized his wife, Geeta, and son Raju. The villagers prevented Vijay's body from being cremated and threw it in the desert, where it became lost in a sandstorm. Raju separated from his mother, who stayed at a temple while he was raised with Shanti. Raju had been seeking revenge and justice for his father, and upon learning everything, Preeti agrees to assist him.


title: Soldier (1998 Indian film)

text: Dinesh releases Jaswant, who is revealed to be alive and had been helping Raju to finish off Virender's gang. Raju arrives in Barmer with Pratap and takes him to his mother's temple. He reveals to a shocked Pratap that he is Vijay Malhotra's son. DK is revealed to be none other than Jaswant in disguise. Jaswant's henchmen overpower Raju and Dinesh. A sandstorm ensues and gives Raju an advantage to kill the henchmen. Pratap and Jaswant confess their crimes to the villagers brought by Preeti. The two are then left to be eaten alive by vultures. With his name cleared, Major Vijay Malhotra is declared a martyr and given an honorable memorial ceremony.


title: Soldier (1998 Indian film)

text: The soundtrack was composed by Anu Malik and was very hit amongst the audience. It was a key point in the success of the film. The songs "Tera Rang Bale Bale", "Soldier Soldier", "Hum To Dil Chahen", "Mere Dil Jigar Se" and " Mere Khwabon Mein Jo Aye" were chartbusters and the album was the third best selling album of 1998 after "Kuch Kuch Hota Hai" and "Dil Se..".. Lyrics were penned by Sameer. The song "Mere Khwabon Mein Jo Aaye" can easily be confused with a song of the same name from Dilwale Dulhania Le Jayenge despite not sounding similar to that song.


title: Soldier (1998 Indian film)

text: Khalid Mohamed gave "Soldier" 2 out of 5 stars, writing that it "leaves you feeling ever so much older and colder." Madhur Mittal of "The Tribune" noted that it "boasts of terrific production and technical values", calling it a "a taut thriller".


title: Control chart

text: Control charts is a graph used in production control to determine whether quality and manufacturing processes are being controlled under stable conditions. (ISO 7870-1)


title: Control chart

text: The hourly status is arranged on the graph, and the occurrence of abnormalities is judged based on the presence of data that differs from the conventional trend or deviates from the control limit line.


title: Control chart

text: Control charts are classified into Shewhart individuals control chart (ISO 7870-2) and CUSUM(CUsUM)(or cumulative sum control chart)(ISO 7870-4).


title: Control chart

text: Control charts, also known as Shewhart charts (after Walter A. Shewhart) or process-behavior charts, are a statistical process control tool used to determine if a manufacturing or business process is in a state of control. It is more appropriate to say that the control charts are the graphical device for Statistical Process Monitoring (SPM). Traditional control charts are mostly designed to monitor process parameters when underlying form of the process distributions are known. However, more advanced techniques are available in the 21st century where incoming data streaming can-be monitored even without any knowledge of the underlying process distributions. Distribution-free control charts are becoming increasingly popular.


title: Control chart

text: If analysis of the control chart indicates that the process is currently under control (i.e., is stable, with variation only coming from sources common to the process), then no corrections or changes to process control parameters are needed or desired. In addition, data from the process can be used to predict the future performance of the process. If the chart indicates that the monitored process is not in control, analysis of the chart can help determine the sources of variation, as this will result in degraded process performance. A process that is stable but operating outside desired (specification) limits (e.g., scrap rates may be in statistical control but above desired limits) needs to be improved through a deliberate effort to understand the causes of current performance and fundamentally improve the process.


title: Control chart

text: The control chart is one of the seven basic tools of quality control. Typically control charts are used for time-series data, also known as continuous data or variable data. Although they can also be used for data that has logical comparability (i.e. you want to compare samples that were taken all at the same time, or the performance of different individuals); however the type of chart used to do this requires consideration.


title: Control chart

text: The control chart was invented by Walter A. Shewhart working for Bell Labs in the 1920s. The company's engineers had been seeking to improve the reliability of their telephony transmission systems. Because amplifiers and other equipment had to be buried underground, there was a stronger business need to reduce the frequency of failures and repairs. By 1920, the engineers had already realized the importance of reducing variation in a manufacturing process. Moreover, they had realized that continual process-adjustment in reaction to non-conformance actually increased variation and degraded quality. Shewhart framed the problem in terms of Common- and special-causes of variation and, on May 16, 1924, wrote an internal memo introducing the control chart as a tool for distinguishing between the two. Shewhart's boss, George Edwards, recalled: "Dr. Shewhart prepared a little memorandum only about a page in length. About a third of that page was given over to a simple diagram which we would all recognize today as a schematic control chart. That diagram, and the short text which preceded and followed it set forth all of the essential principles and considerations which are involved in what we know today as process quality control." Shewhart stressed that bringing a production process into a state of statistical control, where there is only common-cause variation, and keeping it in control, is necessary to predict future output and to manage a process economically.


title: Control chart

text: Shewhart created the basis for the control chart and the concept of a state of statistical control by carefully designed experiments. While Shewhart drew from pure mathematical statistical theories, he understood that data from physical processes typically produce a "normal distribution curve" (a Gaussian distribution, also commonly referred to as a "bell curve"). He discovered that observed variation in manufacturing data did not always behave the same way as data in nature (Brownian motion of particles). Shewhart concluded that while every process displays variation, some processes display controlled variation that is natural to the process, while others display uncontrolled variation that is not present in the process causal system at all times.


title: Control chart

text: In 1924, or 1925, Shewhart's innovation came to the attention of W. Edwards Deming, then working at the Hawthorne facility. Deming later worked at the United States Department of Agriculture and became the mathematical advisor to the United States Census Bureau. Over the next half a century, Deming became the foremost champion and proponent of Shewhart's work. After the defeat of Japan at the close of World War II, Deming served as statistical consultant to the Supreme Commander for the Allied Powers. His ensuing involvement in Japanese life, and long career as an industrial consultant there, spread Shewhart's thinking, and the use of the control chart, widely in Japanese manufacturing industry throughout the 1950s and 1960s.


title: Control chart

text: (n.b., there are several rule sets for detection of signal; this is just one set. The rule set should be clearly stated.)


title: Control chart

text: If the process is in control (and the process statistic is normal), 99.7300% of all the points will fall between the control limits. Any observations outside the limits, or systematic patterns within, suggest the introduction of a new (and likely unanticipated) source of variation, known as a special-cause variation. Since increased variation means increased quality costs, a control chart "signaling" the presence of a special-cause requires immediate investigation.


title: Control chart

text: This makes the control limits very important decision aids. The control limits provide information about the process behavior and have no intrinsic relationship to any specification targets or engineering tolerance. In practice, the process mean (and hence the centre line) may not coincide with the specified value (or target) of the quality characteristic because the process design simply cannot deliver the process characteristic at the desired level.


title: Control chart

text: Control charts limit specification limits or targets because of the tendency of those involved with the process (e.g., machine operators) to focus on performing to specification when in fact the least-cost course of action is to keep process variation as low as possible. Attempting to make a process whose natural centre is not the same as the target perform to target specification increases process variability and increases costs significantly and is the cause of much inefficiency in operations. Process capability studies do examine the relationship between the natural process limits (the control limits) and specifications, however.


title: Control chart

text: The purpose of control charts is to allow simple detection of events that are indicative of an increase in process variability. This simple decision can be difficult where the process characteristic is continuously varying; the control chart provides statistically objective criteria of change. When change is detected and considered good its cause should be identified and possibly become the new way of working, where the change is bad then its cause should be identified and eliminated.


title: Control chart

text: The purpose in adding warning limits or subdividing the control chart into zones is to provide early notification if something is amiss. Instead of immediately launching a process improvement effort to determine whether special causes are present, the Quality Engineer may temporarily increase the rate at which samples are taken from the process output until it is clear that the process is truly in control. Note that with three-sigma limits, common-cause variations result in signals less than once out of every twenty-two points for skewed processes and about once out of every three hundred seventy (1/370.4) points for normally distributed processes. The two-sigma warning levels will be reached about once for every twenty-two (1/21.98) plotted points in normally distributed data. (For example, the means of sufficiently large samples drawn from practically any underlying distribution whose variance exists are normally distributed, according to the Central Limit Theorem.)


title: Control chart

text: "... the fact that the criterion which we happen to use has a fine ancestry in highbrow statistical theorems does not justify its use. Such justification must come from empirical evidence that it works. As the practical engineer might say, the proof of the pudding is in the eating."


title: Control chart

text: Although he initially experimented with limits based on probability distributions, Shewhart ultimately wrote:


title: Control chart

text: "Some of the earliest attempts to characterize a state of statistical control were inspired by the belief that there existed a special form of frequency function" f "and it was early argued that the normal law characterized such a state. When the normal law was found to be inadequate, then generalized functional forms were tried. Today, however, all hopes of finding a unique functional form" f "are blasted."


title: Control chart

text: The control chart is intended as a heuristic. Deming insisted that it is not a hypothesis test and is not motivated by the Neyman–Pearson lemma. He contended that the disjoint nature of population and sampling frame in most industrial situations compromised the use of conventional statistical techniques. Deming's intention was to seek insights into the cause system of a process "...under a wide range of unknowable circumstances, future and past..." He claimed that, under such conditions, "3-sigma" limits provided "... a rational and economic guide to minimum economic loss..." from the two errors:


title: Control chart

text: As for the calculation of control limits, the standard deviation (error) required is that of the common-cause variation in the process. Hence, the usual estimator, in terms of sample variance, is not used as this estimates the total squared-error loss from both common- and special-causes of variation.


title: Control chart

text: An alternative method is to use the relationship between the range of a sample and its standard deviation derived by Leonard H. C. Tippett, as an estimator which tends to be less influenced by the extreme observations which typify special-causes.


title: Control chart

text: There has been particular controversy as to how long a run of observations, all on the same side of the centre line, should count as a signal, with 6, 7, 8 and 9 all being advocated by various writers.


title: Control chart

text: The most important principle for choosing a set of rules is that the choice be made before the data is inspected. Choosing rules once the data have been seen tends to increase the Type I error rate owing to testing effects suggested by the data.


title: Control chart

text: In 1935, the British Standards Institution, under the influence of Egon Pearson and against Shewhart's spirit, adopted control charts, replacing "3-sigma" limits with limits based on percentiles of the normal distribution. This move continues to be represented by John Oakland and others but has been widely deprecated by writers in the Shewhart–Deming tradition.


title: Control chart

text: When a point falls outside the limits established for a given control chart, those responsible for the underlying process are expected to determine whether a special cause has occurred. If one has, it is appropriate to determine if the results with the special cause are better than or worse than results from common causes alone. If worse, then that cause should be eliminated if possible. If better, it may be appropriate to intentionally retain the special cause within the system producing the results.


title: Control chart

text: Even when a process is "in control" (that is, no special causes are present in the system), there is approximately a 0.27% probability of a point exceeding "3-sigma" control limits. So, even an in control process plotted on a properly constructed control chart will eventually signal the possible presence of a special cause, even though one may not have actually occurred. For a Shewhart control chart using "3-sigma" limits, this "false alarm" occurs on average once every 1/0.0027 or 370.4 observations. Therefore, the "in-control average run length" (or in-control ARL) of a Shewhart chart is 370.4.


title: Control chart

text: Meanwhile, if a special cause does occur, it may not be of sufficient magnitude for the chart to produce an immediate "alarm condition". If a special cause occurs, one can describe that cause by measuring the change in the mean and/or variance of the process in question. When those changes are quantified, it is possible to determine the out-of-control ARL for the chart.


title: Control chart

text: It turns out that Shewhart charts are quite good at detecting large changes in the process mean or variance, as their out-of-control ARLs are fairly short in these cases. However, for smaller changes (such as a "1-" or "2-sigma" change in the mean), the Shewhart chart does not detect these changes efficiently. Other types of control charts have been developed, such as the EWMA chart, the CUSUM chart and the real-time contrasts chart, which detect smaller changes more efficiently by making use of information from observations collected prior to the most recent data point.


title: Control chart

text: Many control charts work best for numeric data with Gaussian assumptions. The real-time contrasts chart was proposed to monitor process with complex characteristics, e.g. high-dimensional, mix numerical and categorical, missing-valued, non-Gaussian, non-linear relationship.


title: Control chart

text: Several authors have criticised the control chart on the grounds that it violates the likelihood principle. However, the principle is itself controversial and supporters of control charts further argue that, in general, it is impossible to specify a likelihood function for a process not in statistical control, especially where knowledge about the cause system of the process is weak.


title: Control chart

text: Some authors have criticised the use of average run lengths (ARLs) for comparing control chart performance, because that average usually follows a geometric distribution, which has high variability and difficulties.


title: Control chart

text: Some authors have criticized that most control charts focus on numeric data. Nowadays, process data can be much more complex, e.g. non-Gaussian, mix numerical and categorical, or be missing-valued.


title: Control chart

text: Some practitioners also recommend the use of Individuals charts for attribute data, particularly when the assumptions of either binomially distributed data (p- and np-charts) or Poisson-distributed data (u- and c-charts) are violated. Two primary justifications are given for this practice. First, normality is not necessary for statistical control, so the Individuals chart may be used with non-normal data. Second, attribute charts derive the measure of dispersion directly from the mean proportion (by assuming a probability distribution), while Individuals charts derive the measure of dispersion from the data, independent of the mean, making Individuals charts more robust than attributes charts to violations of the assumptions about the distribution of the underlying population. It is sometimes noted that the substitution of the Individuals chart works best for large counts, when the binomial and Poisson distributions approximate a normal distribution. i.e. when the number of trials for p- and np-charts or for u- and c-charts.


title: Control chart

text: Critics of this approach argue that control charts should not be used when their underlying assumptions are violated, such as when process data is neither normally distributed nor binomially (or Poisson) distributed. Such processes are not in control and should be improved before the application of control charts. Additionally, application of the charts in the presence of such deviations increases the type I and type II error rates of the control charts, and may make the chart of little practical use.


title: Special reconnaissance

text: Special reconnaissance (SR) or Recon Team is conducted by small units of highly trained military personnel, usually from special forces units or military intelligence organizations, who operate behind enemy lines, avoiding direct combat and detection by the enemy. As a role, SR is distinct from commando operations, but both are often carried out by the same units. The SR role frequently includes covert direction of airstrikes and indirect fires, in areas deep behind enemy lines, placement of remotely monitored sensors, and preparations for other special forces. Like other special forces, SR units may also carry out direct action and unconventional warfare, including guerrilla operations.


title: Special reconnaissance

text: In intelligence terms, SR is a human intelligence (HUMINT) collection discipline. Its operational control is likely to be inside a compartmented cell of the HUMINT, or possibly the operations, staff functions. Since such personnel are trained for intelligence collection as well as other missions, they will usually maintain clandestine communications to the HUMINT organization and will be systematically prepared for debriefing. They operate significantly farther forward than even the most forward friendly scouting and surveillance units.


title: Special reconnaissance

text: In international law, SR is not regarded as espionage if combatants are in proper uniforms, regardless of formation, according to the Hague Convention of 1907, or the Fourth Geneva Convention of 1949. However, some countries do not honor these legal protections, as was the case with the Nazi "Commando Order" of World War II, which was held to be illegal at the Nuremberg Trials.


title: Special reconnaissance

text: While SR has been a function of armies since ancient times, specialized units with this task date from the lead-up to World War II.


title: Special reconnaissance

text: In 1938, the British Secret Intelligence Service (MI6) and the War Office both set up special research departments: Section D and "Military Intelligence (Research)" to investigate possible sabotage and other ways to attack the enemy. These later merged in 1940 with the propaganda unit Department EH to form the basis of the Special Operations Executive (SOE), which would conduct irregular warfare operations in occupied Europe.


title: Special reconnaissance

text: In 1941, during the North African Campaign volunteers from Allies formed, under the auspices of the British Army, the Long Range Desert Group for reconnaissance and raiding behind Italian lines and the Special Air Service a commando group.


title: Special reconnaissance

text: In 1942, following the onset of the Pacific Theater of World War II, the Allied Intelligence Bureau, was set up in Australia. Drawing on personnel from Australian, British, New Zealand and other Allied forces, it included Coastwatchers and "special units" that undertook reconnaissance behind enemy lines.


title: Special reconnaissance

text: During the Winter War (1939–40) and the Continuation War, which was the name of the Finnish theater of World War II active between 1941 and 1944, Finland employed several "kaukopartio" ("long range patrol") units.


title: Special reconnaissance

text: The US Government established the Office of Strategic Services (OSS), modeled on the British SOE, in June 1942. Following the end of the war OSS became the basis for the CIA.


title: Special reconnaissance

text: During the Vietnam War, respective division and brigades in-country trained their Long Range Reconnaissance Patrol members (now known as the Long Range Surveillance units). However, the US Army's 5th Special Forces Group with support from seconded Australian SASR and AATTV instructors, held an advanced course in the art of patrolling for potential Army and Marine team leaders at their Recondo School in Nha Trang, Vietnam, for the purpose of locating enemy guerrilla and main force North Vietnamese Army units, as well as artillery spotting, intelligence gathering, forward air control, and bomb damage assessment.


title: Special reconnaissance

text: During the War on Terror, the US Army began to develop a limited number of special reconnaissance platoons at the battalion level of conventional infantry units. These platoons were most often composed of Ranger-qualified soldiers and given selection of advanced training in order to allow them to work in close conjunction with Special Forces and US Government Agencies.


title: Special reconnaissance

text: Conventional infantry formations have long had dedicated reconnaissance units, such as scout platoons, that can operate forward of a main line of troops. For example, reorganized US Army brigade combat teams – now the army's "unit of action" – have or will gain reconnaissance squadrons (i.e., "light battalion"-sized units). US Army Battlefield Surveillance Brigades (BfSB) have specialized Long Range Surveillance (LRS) companies.


title: Special reconnaissance

text: Long range surveillance teams operate behind enemy lines, deep within enemy territory, forward of battalion reconnaissance teams and cavalry scouts in their assigned area of interest. The duration of an LRS mission depends on equipment and supplies the team must carry, movement distance to the objective area, and resupply availability. LRS teams normally operate up to seven days without resupply depending on terrain and weather.


title: Special reconnaissance

text: SR units are well armed, since they may have to defend themselves if they are detected and their exfiltration support will need time to reach them. During the 1991 Gulf War, British SAS and United States Army and Air Force Special Operations Forces (AFSOC) units were originally sent behind enemy lines to find mobile Iraqi Scud tactical ballistic missile launchers and direct airstrikes onto them. When air support was delayed, however, the patrols might attack key Scud system elements with their own weapons and explosives.


title: Special reconnaissance

text: While there are obvious risks to doing so, SR-trained units can operate out of uniform. They may use motorcycles, four-wheel-drive vehicles, or multiple helicopter lifts in their area of operations, or have mountaineering or combat swimming capability. Most SR units are trained in advanced helicopter movement and at least basic parachuting; some SR will have HAHO and HALO advanced parachute capability.


title: Special reconnaissance

text: SR will have more organic support capabilities, including long-range communications, possibly signals intelligence, and other means of collecting technical intelligence, and usually at least one skilled medical technician whose proficiency is greater than basic first aid.


title: Special reconnaissance

text: All these organizations have special operations roles, with SR often being performed by specialists within an organization. Certain organizations are tasked for a response involving areas contaminated by chemical weapons, biological agents, or radioactivity.


title: Special reconnaissance

text: Since reconnaissance is a basic military skill, "special" reconnaissance refers to the means of operating in the desired area, and the nature of the mission. In US Army doctrine, there are five basic factors:


title: Special reconnaissance

text: Special forces units that perform SR are usually polyvalent, so SR missions may be intelligence gathering in support of another function, such as counter-insurgency, foreign internal defense (FID), guerrilla/unconventional warfare (UW), or direct action (DA).


title: Special reconnaissance

text: Other missions may deal with locating targets and planning, guiding, and evaluating attacks against them.


title: Special reconnaissance

text: Target analysis could go in either place. If air or missile strikes are delivered after the SR team leaves the AO, the SR aspect is intelligence, but if the strikes are to be delivered and possibly corrected and evaluated by the SR team, the SR mission is fires-related.


title: Special reconnaissance

text: Every SR mission will collect intelligence, even incidentally. Before a mission, SR teams will usually study all available and relevant information on the area of operations (AO). On their mission, they then confirm, amplify, correct, or refute this information.


title: Special reconnaissance

text: Assessment, whether by clandestine SR or overt study teams, is a prerequisite for other special operations missions, such as UW or FID. DA or counter-terror (CT), usually implies clandestine SR.


title: Special reconnaissance

text: Mission planners may not know if a given force can move over a specific route. These variables may be hydrographic, meteorological, or geographic. SR teams can resolve trafficability or fordability, or locate obstacles or barriers.


title: Special reconnaissance

text: MASINT (measurement and signature intelligence) sensors exist for most of these requirements. The SR team can emplace remotely operated weather instrumentation. Portable devices to determine the depth and bottom characteristics of waters are readily available as commercial fishing equipment or more sophisticated devices specific to military naval operations.


title: Special reconnaissance

text: Remote-viewing MASINT sensors to determine the trafficability of a beach are experimental. Sometimes, simple observation or use of a penetrometer or weighted cone that measures how deeply weights will sink into the surface are needed. These however have to be done at the actual site. Beach measurements are often assigned to naval SR units like the United States Navy SEALs or UK Special Boat Service.


title: Special reconnaissance

text: Beach and shallow water reconnaissance, immediately before an amphibious landing is considered direct support to the invasion, not SR. SR would determine if a given beach is suitable for any landing, well before the operational decision to invade.


title: Special reconnaissance

text: There is a blurred line between SR and direct action in support of amphibious operations when an outlying island is captured, with the primary goal of using it as a base for surveillance and support functions. Despite being a large scale operation by SR standards, an early example is the attack by elements of the 77th Infantry Division on Kerama Retto before the main battle. Operation Trudy Jackson, which involved the capture of Yeongheungdo, an island in the mouth of the harbor before the Battle of Inchon, by a joint CIA/military team led by Navy LT Eugene Clark is much more in the SR/DA realm. Clark apparently led numerous SR and DA operations during the Korean War, some of which may still be classified.


title: Special reconnaissance

text: Basic photography and sketching is usually a skill for any individual performing an SR mission. More advanced photographic technique may require additional training or attaching specialists to a team.


title: Special reconnaissance

text: Lightweight unmanned aerial vehicles with imagery and other intelligence collection capabilities are potentially useful for SR, since small UAVs have low observability. SR team members can be trained to use them, or specialists can be attached to a team. The UAV may transmit what it sees, using one or more sensors, either to the SR team or a monitoring headquarters. Potential sensors include stabilized and highly magnified photography, low-light television, thermal imagers and imaging radar. Larger UAVs, which could be under the operational control of the SR team, could use additional sensors including portable acoustic and electro-optical systems.


title: Special reconnaissance

text: If there is a ground SIGINT requirement deep behind enemy lines, an appropriate technical detachment may be attached to the SR element. For SIGINT operations, the basic augmentation to United States Marine Corps Force Reconnaissance (Force Recon) is a 6-man detachment from a Radio Reconnaissance Platoon. There is a SIGINT platoon within the Intelligence Company of the new Marine Special Operations Support Group.


title: Special reconnaissance

text: Army Special Forces (SF) have Special Operations Team-Alpha that can operate with an SF team, or independently. This low-level collection team typically has four men. Their primary equipment is the AN/PRD-13 SOF SIGINT Manpack System (SSMS), with capabilities including direction-finding capability from 2 MHz to 2 GHz, and monitoring from 1 to 1400 MHz. SOT-As also are able to exploit computer networks, and sophisticated communications systems.


title: Special reconnaissance

text: The British 18 (UKSF) Signal Regiment provides SIGINT personnel, including from the 264 (SAS) Signals Squadron and SBS Signals Squadron to provide specialist SIGINT, secure communications, and information technology augmentation to operational units. They may be operating in counterterror roles in Iraq in the joint UK/US Task Force Black.


title: Special reconnaissance

text: If the unit needs to conduct offensive clandestine electronic warfare, any electronic countermeasures (ECM) devices are usually operated remotely, either by the SR force or, preferably, by remote electronic warfare personnel after the SR team leaves the area.


title: Special reconnaissance

text: Passive MASINT sensors can be used tactically by the SR mission. SR personnel also may place unmanned MASINT sensors like seismic, magnetic, and other personnel or vehicle detectors for subsequent remote use. Remote sensing is generally understood to have begun with US operations against the Laotian section of the Ho Chi Minh trail, in 1961. Under CIA direction, Lao nationals were trained to observe and photograph traffic on the Trail. This produced quite limited results, and, in 1964, Project LEAPING LENA parachuted in teams of Vietnamese Montagnards led by Vietnamese Special Forces.


title: Special reconnaissance

text: The very limited results from LEAPING LENA led to two changes. First, Project DELTA (LEAPING LENA's replacement), used US-led SR teams. Second, these Army teams worked closely with Forward Air Controllers (FAC) which were instrumental in directing US air attacks by fighter-bombers as well as strategic bombing via BARREL ROLL in northern Laos and Operation STEEL TIGER in southern Laos. While the FACs immediately helped, air-ground cooperation improved significantly with the use of remote geophysical MASINT sensors, although MASINT had not yet been coined as a term.


title: Special reconnaissance

text: The original sensors, a dim ancestor of today's technologies, started with air-delivered sensors under Operation Igloo White, such as air-delivered Acoubuoy and Spikebuoy acoustic sensors. These cued monitoring aircraft, which sent the data to a processing center in Thailand, from which target information was sent to the DELTA teams.


title: Special reconnaissance

text: Closer to today's SR-emplaced sensors was the Mini-Seismic Intrusion Detector (MINISID). Unlike other sensors employed along the trail, it was specifically designed to be hand delivered and implanted. The MINISID and its smaller version the MICROSID were personnel detection devices often used in combination with the magnetic intrusion detector (MAGID). Combining sensors in this way improved the ability of individual sensors to detect targets and reduced false alarms. Today's AN/GSQ-187 Improved Remote Battlefield Sensor System (I-REMBASS) is a passive acoustic sensor which, with other MASINT sensors, detects vehicles and humans on a battlefield. It is routine for SR units to emplace such sensors both for regional monitoring by higher headquarters' remote sensing centers, as well as for tactical intelligence during the mission, as they are an improvement over tripwires and other improvised warnings.


title: Special reconnaissance

text: Passive acoustic sensors provide additional measurements that can be compared with signatures and used to complement other sensors. For example, a ground search radar may not be able to differentiate between a tank and a truck moving at the same speed but adding acoustic information may quickly help differentiate them.


title: Special reconnaissance

text: Capture of enemy equipment for TECHINT analysis is a standard SR mission. Capture of enemy equipment for examination by TECHINT specialists may be a principal part of SR patrols and larger raids, such as the World War II Operation Biting raid on Saint-Jouin-Bruneval, France which captured a German Würzburg radar and a German radar technician. Not uncommon for such operations, a technical specialist (radar engineer Flight Sergeant C.W.H. Cox) was attached to this SR unit. Sometimes technical specialists without SR training have taken their first parachute jump on TECHINT-oriented SR missions. Cox instructed the team in what to take and, if it could not be moved, what to photograph. Cox had significant knowledge of British radar, and conflicting reports say that the force was under orders to kill him rather than let him be captured. This likely was an after-the-action rumor, as Cox was a technician. The true radar expert, Don Preist, could not be captured as he stayed offshore but was in communications with the raiders. Preist also had ELINT equipment to gain information on the radar.


title: Special reconnaissance

text: A mixture of SR, DA, and seizing opportunities characterized the Sayeret Matkal's Operation Rooster 53, originally planned as a mission to locate and disable a radar. It turned into an opportunity to capture the radar and, despite overloading the helicopter on its return trip, they were able to bring the entire radar back for TECHINT analysis.


title: Special reconnaissance

text: SR teams may be assigned to observe and measure specific information at a site or enemy facility for future operations. Regular ground forces, for example, might need a road and bridge surveyed to know whether heavy vehicles can cross it. The SR may be able to confirm this. An engineering specialist, preferably from a special operations organization may need to augment the team.


title: Special reconnaissance

text: SR commanders need to ensure such missions cannot be performed by organic reconnaissance elements of a maneuver force commander supported by the SR organization or other supporting reconnaissance services such as IMINT.


title: Special reconnaissance

text: For example, during the Falklands War of 1982, UK Special Air Service delivered eight 4-man patrols via helicopter deep into enemy-held territory up to from their hide sites several weeks before the main conventional force landings. Each man carried equipment needed for up to 25 days due to resupply limitations (cf. the 7-day limits of conventional LRS patrols discussed above). These patrols surveyed major centers of enemy activity. The patrols reconnoitered Argentinian positions at night, and then due to the lack of cover moved to distant observation posts (OPs). Information gathered was relayed to the fleet by secure radio which was still vulnerable to SIGINT which could locate their OPs. No common understanding of the threat of Argentine direction finding existed, and different teams developed individual solutions. The value of the information and the stress on the SR teams were tremendous. Their activities helped the force, limited in its sensors, develop an accurate operational picture of the opposition.


title: Special reconnaissance

text: SR units can engage targets of opportunity, but current doctrine emphasizes avoiding direct engagement, concentrating instead on directing air (e.g., GAPS (Ground-Aided Precision Strikes) and CAS (Close Air Support)), artillery, and other heavy fire support onto targets. The doctrine of bringing increasingly more accurate and potent firepower has evolved significantly since the early days of Vietnam.


title: Special reconnaissance

text: SR units are trained in target analysis which combines both engineer reconnaissance and special forces assessment to identify targets for subsequent attack by fire support, conventional units, or special operations (i.e., direct action or unconventional warfare behind enemy lines). They evaluate targets using the "CARVER" mnemonic:


title: Special reconnaissance

text: There are some differences between general and SR processes of target acquisition: conventional units typically identify targets that directly affect the performance of their mission, while SR target acquisition may be of a much wider scope and include identifying enemy locations or resources of strategic significance. Examples of difficult strategic targets included Ho Chi Minh trail infrastructures and logistic concentrations, and the Scud hunt during Operation Desert Storm.


title: Special reconnaissance

text: SR units detect, identify, and locate targets to be engaged by lethal or nonlethal attack systems under the control of higher headquarters. SR also provides information on weather, obscuring factors such as terrain masking and camouflage, friendly or civilian presence in the target area, and other information that will be needed in targeting by independent attack systems.


title: Special reconnaissance

text: During Operation Desert Storm, the US senior commanders, Colin Powell and Norman Schwarzkopf were opposed to using SOF ground troops to search for Iraqi mobile SCUD launchers. However, the senior British officer of the Coalition, Peter de la Billière, himself a former SAS commander, was well-disposed to use the SAS for such SR and did so. With additional Israeli pressure to send its own SOF teams into western Iraq, US Secretary of Defense Dick Cheney proposed using US SR teams to complement the SAS efforts.


title: Special reconnaissance

text: On February 7, US SR teams joined British teams in the hunt for mobile Scud launchers. Open sources contain relatively little operational information about U.S. SOF activities in western Iraq. Some basic elements have emerged, however. Operating at night, Air Force MH-53J Pave Low and Army MH-47E helicopters would ferry SOF ground teams and their specially equipped four-wheel-drive vehicles from bases in Saudi Arabia to Iraq. The SOF personnel would patrol during the night and hide during the day. When targets were discovered, Air Force Combat Control Teams attached to the SR teams would communicate these targets over secure radios to AWACS.


title: Special reconnaissance

text: SR, going back to Vietnam, was far more potent when it directed external firepower onto the target rather than engaging it with its own weapons. Early coordination between SR and air support in Vietnam depended on visual and voice communications, without any electronics to make the delivery precise. SR teams could throw colored smoke grenades as a visual reference, but they needed to be in dangerously close range to the enemy to do so. A slightly improved method involved their directing a Forward Air Controller aircraft to fire marking rockets onto the target, but the method was fraught with error.


title: Special reconnaissance

text: In Vietnam, the support was usually aircraft-delivered, although in some cases the target might be in range of artillery. Today, the distance to which SR teams penetrate will usually be out of the range of artillery, but ground-launched missiles might support them. In either case, directing any support relies on one of two basic guidance paradigms:


title: Special reconnaissance

text: For close air support, the assumption had been that rapidly changing tactical situations, including sudden changes in geometry between friendly forces and the target, GOT was preferred. If the attack was to be guided from the ground, the target would be directly targeted in some manner, such as a laser designator.


title: Special reconnaissance

text: Post-strike reconnaissance, also called bomb damage assessment (BDA) is the visual, photographic, and/or electronic surveillance of a target that has been attacked to measure results. SR units carry out these missions when no other capabilities, such as conventional ground forces, local scouts and aviation, UAVs and other systems under the control of higher headquarters, or national-level intelligence collection capabilities can obtain the needed information.


title: Special reconnaissance

text: An SR team's mission is not to engage in direct combat. It may be to observe and report, or it may include directing air or artillery attacks on enemy positions. If the latter is the case, the patrol still tries to stay covert; ideally, the enemy will know they are being attacked, but not know who is directing the fires.


title: Special reconnaissance

text: While it is rare for a single man to do a special reconnaissance mission, it does happen. More commonly, the smallest unit is a two-man sniper team. Snipers are skilled in concealment and observation, and can carry out pure reconnaissance missions. The US Marine Corps often detaches sniper teams organic to combat units, to establish clandestine observation posts.


title: Special reconnaissance

text: Marine Force Recon Greenside Operations are those in which combat is not expected. US Army Special Forces SR operations commonly are built around 12-man "A detachments" or 6-man "split A detachments" and US Army Long Range Surveillance Teams are 6-man teams. UK Special Air Service operations utilize four-man units.


title: Special reconnaissance

text: Special reconnaissance teams, depending on training and resources, may enter the area of operations in many ways. They may stay behind, where the unit deliberately stays hidden in an area that is expected to be overrun by advancing enemy forces. They may infiltrate by foot if the enemy does not have full view of his own lines and skilled soldiers may penetrate those front lines. Such movement is most often by night.