title: Royal Observatory, Greenwich

text: In 2018 the Annie Maunder Astrographic Telescope (AMAT) was installed at the ROG in Greenwich. AMAT is a cluster of four separate instruments, to be used for astronomical research; it had achieved first light by June 2018, and contains:


title: Royal Observatory, Greenwich

text: The telescopes and the works at the site required to operate them cost about £150,000, from grants, museum members and patrons, and public donations.


title: Royal Observatory, Greenwich

text: The telescope was installed in the Altazimuth Pavilion, from which the multi-purpose telescope is controlled by a computer system.


title: Royal Observatory, Greenwich

text: The first magnetic observation was taken in 1680 by the first Astronomer Royal, John Flamsteed, using a magnetic needle from the Royal Society. The second and third Astronomers Royal, Edmond Halley and then James Bradley, also took some magnetic measurements during their tenure.


title: Royal Observatory, Greenwich

text: The first Magnetic House was built next to the observatory but by 1900 a second, about 300–400 metres from the main observatory, was built to reduce magnetic interference. Both houses were made of non-magnetic materials. The older building was called the Magnet House, but iron added to buildings in the 1890s at the observatory was throwing off measurements, so the instruments were moved to the Magnetic Pavilion. A new Magnetograph House was also completed by 1914.


title: Royal Observatory, Greenwich

text: One of the special events that occurred in the study of magnetism was when François Arago and Alexander von Humboldt took magnetic observations at Greenwich in 1822. In 1825 Arago won the Copley Gold Medal for this research (see also Arago's rotations).


title: Royal Observatory, Greenwich

text: The observatory buildings at Greenwich became a museum of astronomical and navigational tools, which is part of the Royal Museums Greenwich. Notable exhibits include John Harrison's pioneering chronometer, known as H4, for which he received a large reward from the Board of Longitude, and his three earlier marine timekeepers; all four are the property of the Ministry of Defence. Many additional horological artefacts are displayed, documenting the history of precision timekeeping for navigational and astronomical purposes, including the mid-20th-century Russian-made F.M. Fedchenko clock (the most accurate pendulum clock ever built in multiple copies). It also houses the astronomical instruments used to make meridian observations and the 28-inch equatorial Grubb refracting telescope of 1893, the largest of its kind in the UK. The Shepherd Clock outside the observatory gate is an early example of an electric slave clock.


title: Royal Observatory, Greenwich

text: In February 2005 a £16 million redevelopment comprising a new planetarium and additional display galleries and educational facilities was started; the ROG reopened on 25 May 2007 with the new 120-seat Peter Harrison Planetarium.


title: Super Why!

text: Super Why! (stylized as Super WHY!) is a CGI-animated superhero preschool television series created by Angela C. Santomero (who also created "Blue's Clues") for PBS Kids and aimed for preschoolers ages 3 to 6. Produced by New York City-based Out of the Blue Enterprises, and Toronto-based C.O.R.E. Toons (animation for season 1 only, being the company's final show produced before their closure on March 15, 2010) and DHX Media (originally through its Decode Entertainment division for seasons one and two), it was distributed by PBS in the United States, Decode Enterprises for seasons 1 and 2, and DHX Distribution for season 3. Originally created as a stop motion pilot in 1999 by Cuppa Coffee Animation that was pitched to Nickelodeon/Nick Jr. but later shown at the 2000 Annecy Film Festival, the show was eventually picked up by PBS Kids, changing the animation to CGI and debuted on September 3, 2007, ending on May 12, 2016 after nearly a decade with a total of 103 episodes across three seasons.


title: Super Why!

text: The show is set in Storybrook Village, where the titular character, Whyatt Beanstalk, lives with his friends Woofster (first appearing in season 2), Littlest Pig, Red Riding Hood, and Princess Pea. In each of the episodes, one of the main characters (sometimes two characters, or even all five) has a "super big problem", a "super big question", or a "super big mystery". The main characters then discuss their situation at the Book Club, agreeing to look and fly in a book of a famous story to resolve it.


title: Super Why!

text: The goal of the Super Readers is to follow the storyline of the book. As they progress through the events of the story, they encounter various obstacles, which can be solved by applying their literacy skills to change the story. As they overcome each of these obstacles, they are rewarded with red glittery "Super Letters" that form the solution to whatever scenario they're investigating.


title: Super Why!

text: At the conclusion of the adventure, the Super Readers fly back to the Book Club. The Super Letters are put onto the giant computer screen and are spelled out to show the "Super Story Answer". Then, one of the Super Readers gives the reason why that particular word or phrase serves as the solution to their issue or mystery.


title: Super Why!

text: "Super Why!" was received very positively on Common Sense Media, where reviewer Emily Ashby rates the show 4/5 in the categories positive messages, positive role models, and educational value. Ashby's review additionally states while extremely mild sequences of suspense and peril do occur and how the show partnered with Post Consumer Brands for a branded cereal, there are very low amounts of violence/scariness and consumerism, as well as no "sexy stuff", profanity, or drinking, drugs, and smoking at all. Ashby additionally credits the merit of the show to its usage of classic children's fairy tales and the usage of characters from them, specifically the Three Little Pigs.


title: Super Why!

text: Susan Stewart, a reviewer for "The New York Times", criticized the show for taking classic fairy tales with traditionally dark lessons, specifically the Three Little Pigs and Hansel and Gretel, and morph them into etiquette lessons. Stewart also criticized the use of interactive questions for viewers to answer and their length, specifically questions like "what comes after the letter E?". Despite its flaws, Stewart does state that the show is brilliant in educational value.


title: Super Why!

text: In 2012, a live show was launched across the United States, titled "Super WHY Live: You've Got the Power". Produced by SB2N entertainment, "Super WHY Live" was promoted for having aerial stunts and "cutting-edge technology", and due to its high levels of audience engagement, was jokingly referred to by Santomero as “‘the Rocky Horror Picture Show’ for preschoolers”. The show, which follows Super Why, Alpha Pig, Wonder Red, Princess Presto, and Woofster, premiered in Monroe, Louisiana and toured into spring 2013, where the tour concluded in Albany, New York on May 10.


title: Super Why!

text: The live show's soundtrack was produced by Jack Antonoff, who consulted his preschool daughter for her reaction to the series and how to compose for it. Antonoff noted that being natively skilled in indie rock, writing for the show was not very different, though the lyrics needed to be much less open to interpretation and easy to understand when composing for a young audience.


title: Hurricane Camille

text: Hurricane Camille was the second most intense tropical cyclone on record to strike the United States, behind the 1935 Labor Day hurricane. The most intense storm of the 1969 Atlantic hurricane season, Camille originated as a tropical depression on August 14, south of Cuba, from a long-tracked tropical wave. Located in a favorable environment for strengthening, the storm quickly intensified into a Category 2 hurricane before striking the western part of Cuba on August 15. Emerging into the Gulf of Mexico, Camille underwent another period of rapid intensification and became a Category 5 hurricane the next day as it moved northward towards the Louisiana–Mississippi region. Despite weakening slightly on August 17, the hurricane quickly re-intensified back into a Category 5 hurricane before it made landfall a half-hour before midnight in Bay St. Louis, Mississippi. At peak intensity, the hurricane had peak 1-minute sustained winds of 175 mph (280 km/h) and a minimum pressure of . This was the second-lowest pressure recorded for a U.S. landfall, and is one of just four hurricanes to make landfall in the U.S at Category 5 status. Only the 1935 Labor Day hurricane had a lower pressure at landfall. As Camille pushed inland, it quickly weakened and was a tropical depression by the time it was over the Ohio Valley. Once it emerged offshore, Camille was able to restrengthen to a strong tropical storm, before it became extratropical on August 22. Camille was absorbed by a frontal storm over the North Atlantic later that day.


title: Hurricane Camille

text: Camille caused tremendous damage in its wake, and produced a peak official storm surge of . The hurricane flattened nearly everything along the coast of the U.S. state of Mississippi, and caused additional flooding and deaths inland while crossing the Appalachian Mountains of Virginia. In the U.S., Camille killed more than 259 people and caused $1.42 billion in damages (equivalent to $ billion in ).


title: Hurricane Camille

text: Hurricane Camille originated from a tropical wave that moved off the western coast of Africa on August 5, 1969. It tracked quickly westward along the 15th parallel north; several days later, a tropical disturbance became clearly identifiable on satellite imagery on August 9. By that time, the thunderstorm activity in the disturbance concentrated into a circular area of convection. On the next day, the storm moved through the Lesser Antilles, although there was no evidence of a closed circulation. On August 13, the wave passed near or over the southern coast of Jamaica as its convection spread northeastward through the Bahamas. Subsequently, it began a slower motion to the northwest. It is believed that the tropical wave organized into a tropical depression shortly thereafter, early on August 14, and it became a tropical storm a few hours later. On the morning of August 14, the Hurricane Hunters flew to investigate for a closed circulation near the Bahamas and near the Cayman Islands. The crew observed a developing center in the western Caribbean, and winds had reached tropical storm status. By then, the storm had strengthened into a strong tropical storm with winds of 60 mph (95 km/h), about west-northwest of Grand Cayman.


title: Hurricane Camille

text: Upon first being classified as a tropical storm, Camille was located in an area favorable for further strengthening, although initially it slowly intensified. It was located within an area of very light wind shear and an overall warm environment. Additionally, the storm developed strong low-level inflow from the deep southern Caribbean, which continuously brought moisture into the storm. Throughout its duration, it was a small tropical cyclone, although with a radius of gale-force winds spreading to the north, the storm's thunderstorm area quickly spread over Cuba. As the storm approached the western coast of Cuba, it began rapid deepening, reaching hurricane status and less than 12 hours later attained winds of 110 mph (175 km/h). Prior to landfall, its eye was tracked by radar from Havana; it is estimated the hurricane moved ashore between Cape San Antonio and Guane late on August 15 as a strong Category 2 hurricane. Camille was a small hurricane as it crossed western Cuba, and its winds decreased slightly to 105 mph (165 km/h) over land before it emerged into the Gulf of Mexico.


title: Hurricane Camille

text: Initially, Hurricane Camille was forecast to turn northeastward toward the Florida panhandle. Instead, it continued northwestward and resumed its rapid intensification trend after leaving Cuba. Its eye contracted to a diameter of less than , and strong rainbands developed around the entire hurricane. Due to the small eye, Hurricane Hunters at first had difficulties in determining the strength; however a flight late on August 16 found a strong Category 5 hurricane on the Saffir–Simpson scale and recorded a very low pressure of 908 mbar (hPa; 26.82 inHg), with winds estimated at 175 mph (280 km/h). At the time, it was not expected to intensify further. However, a subsequent Hurricane Hunters flight early on August 17 recorded a slightly deeper central pressure of 905 mbar (hPa; 26.73 inHg), at the time the lowest pressure recorded by reconnaissance aircraft. That made Camille the most intense hurricane since the 1935 Labor Day hurricane; currently it is the sixth-most intense Atlantic hurricane, as ranked by lowest pressure. There was little change in the wind speed as such levelled out at 175 mph (280 km/h) during that time.


title: Hurricane Camille

text: As it continued toward the Gulf Coast of the United States, Camille maintained its small eye, and forecasters continued to anticipate a turn toward Florida. Late on August 17, Camille briefly weakened to a Category 4 storm due to an eyewall replacement cycle; a reconnaissance flight was forced to end its mission early due to a damaged engine. Before they left the storm, the crew recorded a pressure of 919 mbar (hPa; 27.14 inHg) and estimated surface winds at 155 mph (250 km/h), while Camille was located about southeast of the Mississippi River Delta. There were no subsequent Hurricane Hunter flights, but surface observations recorded later suggested that Camille quickly re-strengthened and regained Category 5 intensity. After passing very close to southeastern Louisiana, Hurricane Camille made landfall at 11:30 CDT in Bay St. Louis, Mississippi. Maximum sustained wind speeds near the coastline were estimated to have been about 175 mph (280 km/h), with a minimum central pressure of 900 mbar (hPa; 26.58 inHg) as analyzed by surface data.


title: Hurricane Camille

text: The hurricane weakened as it progressed inland, and within 14 hours of moving ashore, Camille weakened to tropical storm status. About 12 hours later, it weakened to tropical depression status, by which time it began a turn to the north and northeast. On August 20, Tropical Depression Camille turned eastward through Kentucky, dropping heavy rainfall in West Virginia and Virginia. Later that day, it emerged into the Atlantic Ocean east of Norfolk, and by that afternoon, as Camille was emerging offshore it regained tropical storm status. Camille accelerated east-northeastward, attaining peak winds of 70 mph (110 km/h) as it interacted with larger Hurricane Debbie to its southeast (although the poor sampling of the region means that it is possible that the storm may have regained hurricane intensity in a location where measurements of wind speed were not taken). Subsequently, Camille began to interact with a frontal storm, causing it to gradually transition into an extratropical cyclone as it entrained cooler air. On August 22, Camille was absorbed by the frontal system to the south of Atlantic Canada.


title: Hurricane Camille

text: Shortly after Camille formed, the National Hurricane Center advised residents on the Isle of Pines and in western Cuba to prepare for gale-force winds, heavy rains, and rising tides. The agency also recommended small boats to remain in harbor. The threat of the storm prompted officials to evacuate thousands along the western coast of Cuba and on the Isle of Pines; on the island, 10,000 cattle and 6,000 turkeys were moved to safer areas.


title: Hurricane Camille

text: As Camille impacted Cuba, small craft were advised not to venture out too far from the coasts of Florida.


title: Hurricane Camille

text: On August 15, the National Hurricane Center issued a hurricane watch for a stretch of land in Florida, between Apalachicola and Fort Walton Beach. The next day, as these hurricane watches were upgraded to a hurricane warning, thousands of people boarded up their homes and evacuated inland. During the afternoon of August 16, the weather bureau ordered that a hurricane watch should be placed in force for the coastline from Biloxi to St Marks, Florida. Later that day, the hurricane watches were upgraded to a hurricane warning for the northwestern Florida coast, from Fort Walton to St Marks.


title: Hurricane Camille

text: By Saturday morning, a hurricane watch was issued for the coast from Biloxi eastward. Civil defense organizations in coastal counties went on alert. Keesler Air Force Base and the Naval Construction Battalion Center prepared for the storm. By 5 p.m. on Sunday, a hurricane warning was issued for the coast. This activated the National Guard units. Many refused to believe the reports concerning Camille's intensity that afternoon. Many people living at elevations of above sea level refused to believe they were going to be submerged. The mayor of Gulfport ordered the release of prisoners from the city jail as winds increased at 9 p.m. on Sunday evening, but none would leave.


title: Hurricane Camille

text: Making landfall in Waveland, Mississippi, as a Category 5 hurricane, Camille caused damage and destruction across much of the Gulf Coast of the United States. Because it moved quickly through the region, Hurricane Camille dropped only moderate precipitation in most areas. Areas in and around Pass Christian, its point of landfall, reported from . The area of total destruction in Harrison County, Mississippi was . The total U.S. estimated cost of damage was $1.42 billion (1969 USD). This made Camille tied (with Hurricane Betsy) as the most expensive hurricane in the United States, up to that point. The storm directly killed 143 people along Alabama, Mississippi, and Louisiana. An additional 153 people perished as a result of catastrophic flooding in Nelson County, Virginia and other areas nearby. In all, 8,931 people were injured, 5,662 homes were destroyed, and 13,915 homes experienced major damage, with many of the fatalities being coastal residents who had refused to evacuate.


title: Hurricane Camille

text: As a developing tropical storm, Camille brought rain showers to Grand Cayman, although there were no reports of damage. Stations in Cuba on the outer fringes of the storm reported winds of . East of where it moved ashore, the city of Guane recorded winds of , although no wind reports were taken in the landfall location. The hurricane produced up to near Guane, as well as on the Isle of Pines. On the Isle of Pines, the storm inflicted damage to about 100 houses. Throughout Pinar del Río Province, Camille caused heavy damage, primarily from river flooding; about 20,000 people were left homeless in the province. Strong winds downed trees and power lines, which caused power outages eastward through the capital city of Havana. Initially, the government reported no casualties from the storm. Subsequent research indicated the hurricane killed five people in the country during its passage, and damage was estimated at $5 million (1969 USD).


title: Hurricane Camille

text: In the days after the storm struck Cuba, the government deployed medical teams to affected regions to provide typhoid vaccine shots. Officials noted the potential for the spread of disease, due to flooding from Camille as well as previously wet conditions.


title: Hurricane Camille

text: Shell Oil Company. Along the ocean floor, the storm created mudslides which lowered the ocean floor; its combination with strong waves and winds destroyed three oil platforms, including one that at the time was the deepest oil well. Property damages to the offshore oil industry were initially estimated at $100 million (1969 USD).


title: Hurricane Camille

text: The pressure fell to at Garden Island. Winds gusted to at Slidell as their pressure sank to on August 19. Almost total destruction was seen from Venice to Buras. Ostrica Lock measured a storm surge of . Water overwashed U.S. Highway 90 to a depth of . The highest rainfall report from the state was from Slidell. Camille caused about $322 million (1969 dollars) of damage in Louisiana. The storm turned just in time to avoid a direct hit to the City of New Orleans, which was devastated just four years prior by Hurricane Betsy. The worst effects in New Orleans proper were flooding from some levees, particularly in the lowest lying areas, including the Lower Ninth Ward, which suffered the most severe flooding during Betsy.


title: Hurricane Camille

text: In Mississippi, Camille was significantly worse than Hurricane Betsy and a September 1947 hurricane. Electricity went out during Camille's approach to the Mississippi coastline. United States Highway 90 flooded as a large storm surge overtopped seawalls, leaving a barge along the highway in Gulfport. Fires consumed coastal communities, with the exceptions of Bay St. Louis and Waveland. Camille destroyed the antebellum Trinity Episcopal church in Pass Christian, taking 15 lives. The Dixie White House, where President Woodrow Wilson and his family once stayed, was badly damaged. In Biloxi, Mississippi, the storm surge reached the second floor of the structure. The highest rainfall total recorded was at the Mississippi Test Facility. Mississippi received the worst of the damage. Upon making landfall, Camille produced a storm surge. Along Mississippi's entire shore and for some three to four blocks inland, the destruction was nearly complete. The worst-hit areas were Clermont Harbor, Lakeshore, Waveland, Bay St. Louis, Pass Christian, Long Beach, and the beachfront of Gulfport, Mississippi City, and Biloxi. One of Frank Lloyd Wright's waterfront houses for W. L. Fuller, in Pass Christian, was completely destroyed.


title: Hurricane Camille

text: More than of rain occurred in Hancock County, and most low-lying areas were flooded with up to of water. U.S. Highway 90, which is close to the shore, was broken up in many areas, and sand and debris blocked much of it. Totals say that 3,800 homes and businesses were completely destroyed. As Camille came ashore, it passed over Ship Island, off the coast of Mississippi; Camille's strong storm surge and torrential rains literally split the island in two: the body of water between West Ship Island and East Ship Island is now called "Camille's Cut". Camille had significant ecological effects in the Gulf Coast region. A barrier island chain off the coast of Mississippi and 70% of Dauphin Island were completely inundated by the storm's surge. Camille caused about $950 million (1969 dollars) of damage in Mississippi.


title: Hurricane Camille

text: One persistent account about Camille states that 24 people held a "hurricane party" on the third floor of the Richelieu Manor Apartments in Pass Christian, Mississippi, in the path of the eyewall as it made landfall. The high storm surge flooded and destroyed the building, killing all but one person. Who the survivor is, how many party guests there were, and just how far away the sole survivor was swept by the storm varies with the recounting.


title: Hurricane Camille

text: News footage from Hurricane Camille was used in the 1974 ABC made-for-TV movie titled "Hurricane", which also features a plotline based on the Richelieu Manor hurricane party that never happened. Well-known stars in the film included Will Geer and Michael Learned as NWS meteorologists tracking the storm; Larry Hagman and Jessica Walter as a vacationing couple who get caught in the storm on their boat, and are actually drawn into the eye of the hurricane; and Martin Milner as the Air Force Major who flies over the storm and reports their location (so they can be rescued by a Navy submarine). One of the plotlines does feature a group of people holding a hurricane party in the home of Bert Pearson, played by Frank Sutton (best known for playing Sergeant Carter on "Gomer Pyle USMC"). Only Jim, played by Patrick Duffy, and his wife refuse to join the party. Pearson and his guests turn out the lights and hide when a Highway Patrolman checks whether the building has been entirely evacuated. Afterward, the party resumes and the guests are oblivious to any danger, until the storm strikes, knocking in the wall and causing other major damage. When Pearson awakes the next morning after the storm has passed, he discovers his wife has been killed.


title: Hurricane Camille

text: The 1991 episode "Hurricane", of the sci-fi drama series "Quantum Leap", also incorporated the apocryphal party into a story set in a town when it is struck by Hurricane Camille.


title: Hurricane Camille

text: Twenty-three people are known to have stayed in the Richelieu Manor Apartments during the hurricane, eight of whom died despite taking all precautions they knew in order to secure the building. The tale of the non-existent party, and the lone survivor when there were 15, apparently originated with survivor Mary Ann Gerlach, who also told her story in the NOVA episode Hurricane! (Nova). Another survivor, Ben Duckworth, has expressed irritation at the story. "There was no hurricane party," Duckworth reiterated in 2001. "We were exhausted from boarding up windows and helping the police move cars. We were too tired to party. I can't tell you why that story persists, or why people didn't put two and two together. I guess the hurricane party makes a good story."


title: Hurricane Camille

text: The site of the Richelieu Apartments, the corner of Henderson Avenue and U.S. 90 in Pass Christian, later became a shopping center. The shopping center was later destroyed by Hurricane Katrina.


title: Hurricane Camille

text: Alabama also experienced damage along U.S. Highway 90: 26,000 homes and over 1,000 businesses were wiped out completely across the state of Alabama. Camille's large circulation also resulted in a storm surge in Apalachicola, Florida. The highest rainfall report received within Alabama was two miles northeast of Fairhope. Camille caused about $8 million (1969 dollars) of damage in Alabama. Places farther east across the western Florida panhandle saw lesser rains, as was measured at Pensacola Naval Air Station.


title: Hurricane Camille

text: Camille caused moderate rainfall in Tennessee and Kentucky of between 3 and , helping to relieve a drought in the area, yet in West Virginia, there was flash flooding which destroyed 36 houses and 12 trailers, a total of three quarters of a million dollars in damage.


title: Hurricane Camille

text: Because the hurricane was expected to quickly dissipate over land, few were prepared for the flash flooding. Arriving in Virginia on the evening of August 19, Camille was no longer a hurricane, but it carried high amounts of moisture and contained sufficient strength and low pressure to pull in additional moisture.


title: Hurricane Camille

text: A widespread area of western and central Virginia received over of rain from Camille's remains, leading to significant flooding across the state. A total of 153 people lost their lives from blunt trauma sustained during mountain slides, related to the flash flooding, not drowning. More than 123 of these deaths, including 21 members of one family, the Huffmans, were in Nelson County. Seven victims of the hurricane in Nelson County remain unidentified, as well as one in Albemarle County. Avalanches occurred on hillsides with a slope greater than 35 percent. In Nelson County, the number of deaths amounted to over one percent of the county's population. The worst of the damage was reported in Massies Mill, Woods Mill, Roseland, Bryant, Tyro, Montebello, Lovingston, Norwood, Rockfish, and along the Davis and Muddy creeks. The James and Tye rivers crested well above flood stage in many areas, including a record high of at Columbia. Hurricane Camille caused more than $140 million of damage (1969 dollars) in Virginia. Camille was considered one of the worst natural disasters in central Virginia's recorded history.


title: Hurricane Camille

text: The storm dropped torrential rainfall of , with a maximum of . Most of the rainfall occurred in Virginia during a 3–5 hour period on August 19–20. More than five inches of rain fell near the North Fork of the Tye River in only half an hour with the grounds already saturated from previous rains. Many rivers flooded across the state, with the worst being the James River in Richmond with a peak crest of . Many rivers in Virginia and West Virginia set records for peak flood stages, causing numerous mudslides along mountainsides. In the mountain slopes between Charlottesville and Lynchburg, more than of rain fell in 12 hours, but the worst was in Nelson County where fell. There, rainfall was so heavy that reports were received of birds drowning in trees, cows floating down the Hatt Creek and of survivors having to cup hands around their mouth and nose in order to breathe through the deluge. Though the official rainfall was recorded as 27 inches, unofficial estimates are much greater. Some estimate that more than 40 inches of rain fell at Davis Creek. Most gauges were washed away; however, it was reported that an empty 55-gallon drum that was not even in the center of the heaviest rainfall had 31 inches of water in it after Camille passed. "So much rain fell in such a short time in Nelson County that, according to the National Weather Service at the time, it was 'the probable maximum rainfall which meteorologists compute to be theoretically possible.'"


title: Hurricane Camille

text: The ensuing flash floods and mudslides killed 153 people. In Nelson County alone, 133 bridges washed out, while in some places entire communities were under water.


title: Hurricane Camille

text: The major flooding that occurred downstream cut off all communication between Richmond and the Shenandoah Valley. Waynesboro on the South River saw eight feet of water downtown, and Buena Vista had more than five feet.


title: Hurricane Camille

text: Throughout Virginia, Camille destroyed 313 houses, 71 trailers, and 430 farm buildings. 3,765 families were affected by the hurricane in the area, and total damage in the state amounted to $140.8 million (1969 USD, $747 million 2005 USD).


title: Hurricane Camille

text: Camille produced the sixth lowest official sea level pressure ever recorded in the Atlantic basin, at . This was also its landfalling pressure; the only hurricane to hit the United States with a lower pressure at landfall was the Labor Day Hurricane of 1935. A reconnaissance flight indicated a pressure of , but this pressure was later corrected in 1969 by researchers to . The wind speed of Camille can only be approximated, as no meteorological equipment survived the extreme conditions at landfall, but Camille is estimated to have had sustained winds of 190 mph (305 km/h) at landfall, with gusts exceeding 230 mph (370 km/h), although a reanalysis in April 2014 concluded that Camille had maximum winds of 175 mph (280 km/h) rather than the 190 mph reading used previously. Before Hurricane Katrina in 2005, Camille likely had the highest storm surge measured in the United States, at over .


title: Hurricane Camille

text: The storm surge quoted by the Army Corps of Engineers was based on high-water marks inside surviving buildings, of which there were but three. Prior to the collapse of the Richelieu Apartments, Ben Duckworth shone a flashlight down a stairwell and found the water within one step of the third-story floor; this establishes a surge height of at that spot at that time. About 15 minutes later, the building collapsed and the evidence vanished with it.


title: Hurricane Camille

text: In addition, Camille forced the Mississippi River to flow backwards for a river-distance of 125 miles (from its mouth to a point north of New Orleans). The river further backed up for an additional , to a point north of Baton Rouge.


title: Hurricane Camille

text: The response after the storm involved many federal, state, and local agencies and volunteer organizations. The main organization for coordinating the federal response to the disaster was the Office of Emergency Preparedness, which provided $76 million (1969 USD, $403 million 2005 USD) to administer and coordinate disaster relief programs. Food and shelter were available the day after the storm. On August 19, parts of Mississippi and Louisiana were declared major disaster areas and became eligible for federal disaster relief funds. President Richard Nixon ordered 1450 regular troops and 800 United States Army Engineers into the area to bring tons of food, vehicles, and aircraft. Large organizations contributing to the relief effort included the Federal Power Commission, which helped fully return power to affected areas by November 25, 1969. The Coast Guard (then under the Department of Transportation), Air Force, Army, Army Corps of Engineers, Navy Seabees, and Marine Corps all helped with evacuations, search and rescue, clearing debris, and distribution of food. The Department of Defense contributed $34 million (1969 USD, $180 million 2005 USD) and 16,500 military troops overall to the recovery. The Department of Health provided


title: Hurricane Camille

text: On Monday, the Air National Guard and those at Keesler Air Force Base airlifted patients to Jackson and other more inland locations. Volunteers searched for those injured and dead, as well as helping refugees. When many of the evacuees returned by Tuesday, Governor John Bell Williams declared martial law, blocking highways into the area and leading to a 6 p.m. to 6 a.m. curfew. The governor also opened Camp Shelby, dormitories within the University of Southern Mississippi, and the Robert E. Lee Hotel to serve as shelters for those who lost homes. Sections of Bay St. Louis and Pass Christian were evacuated. Survivors were found for days after the storm, with 35 trapped by high water north of Bay St. Louis rescued on Thursday. Army engineers disposed of 25 tons of dead animals, mostly cows, during the week following Camille. One week after the storm, Keesler-based airplanes sprayed malathion at low altitudes to kill the thriving insect population. Martial law would be lifted on August 27. The federal and state military presence would continue for several weeks. During the evening of September 8, President Nixon visited the Biloxi-Gulfport Regional Airport and gave a speech to elevate the spirits of local residents struggling with the storm's aftermath. During the rebuilding process, stricter building codes were enforced by local governments. In 1973, hurricane hunters and their associated reconnaissance aircraft relocated to Keesler Air Force Base when their previous headquarters at Ramey, Puerto Rico, closed.


title: Hurricane Camille

text: Long-term redevelopment was overseen by the Department of Commerce, which contributed $30 million (1969 USD, $159 million 2005 USD) towards planned and coordinated redevelopment of affected areas. NOAA Weather Radio was expanded to coastal locations during the 1970s in the wake of Camille based upon recommendations made by the Department of Commerce in September 1969.


title: Hurricane Camille

text: The devastation of Camille inspired the implementation of the Saffir–Simpson scale. After the storm, many Gulf Coast residents commented that hurricane warnings were not clear enough in conveying the expected intensity of the coming storm. The Saffir–Simpson scale offered a much more concise statement of storm intensity than barometric pressure and wind-speed measurements, and veterans of previous hurricanes could analogize the power of the approaching storm to those they had experienced.


title: Hurricane Camille

text: In a 1999 report on Hurricane Camille sponsored by the NOAA Coastal Services Center, the authors concluded: "With Camille, the preparations for the event and the response were based on processes put in place long before the storm made landfall. Coordination between government agencies as well as with state and local officials was enhanced because of preexisting plans."


title: Hurricane Camille

text: One small compensation was that recovery from flood damage in Nelson County, Virginia led to the discovery of the Ginger Gold apple in the orchards of Clyde Harvey.


title: Hurricane Camille

text: Due to the major destruction and death in much of the Southern United States, the name "Camille" was retired after the 1969 season, and will never again be used for an Atlantic or Gulf hurricane or tropical storm. The name Cindy was scheduled to replace the name in 1973, although a new ten-year list of names was created for the 1972–1980 Atlantic hurricane seasons.


title: Hurricane Camille

text: Although Hurricane Camille and Hurricane Katrina took different paths, both reached the same section of the coast of Mississippi with similar destructive effects. Camille intensified more rapidly than Katrina, and unlike Katrina, Camille re-intensified a second time and maintained status as a Category 5 hurricane until landfall. Both hurricanes shared the common aspect of undergoing periods of rapid intensification. The size of Camille's radius of maximum wind was less than one-third that of Katrina, more similar to the intense but small Hurricane Andrew. Also unlike Katrina, Camille caused little damage in New Orleans, Louisiana, though Camille itself just barely missed the city. The area of hurricane-force winds within Camille was just over two-thirds the size of Hurricane Katrina. Both storms were moving at a similar forward motion at the time of landfall. Although Camille's wind speed at landfall was higher, Katrina's storm surge exceeded Camille's storm surge at all known locations due to its greater size. Both hurricanes' names were retired.


title: Hurricane Camille

text: In the 1960s, Atlantic hurricane names consisted of women's names which were reused every fourth year. The practice of retiring hurricane names was meant to be temporary, with the guideline that a name be retired for ten years. When the name Carla was retired in 1961 it was replaced on the 1965 list with Carol, a name retired in 1954 when its namesake devastated New England. Since over a decade had passed, Carol was eligible for reuse. Carol entered the 1969 list, but scientists from the National Hurricane Research Laboratory (NHRL) asked the naming committee in January 1969 to permanently retire Carol, Edna, and Hazel since papers were still being written about the storms. The committee agreed but needed a replacement "C" name. John Hope's daughter Camille was involved in an advanced science and math program in high school and had carried out a required independent research project. John Hope asked Banner Miller to mentor her in her investigation of hurricanes and long-term atmospheric trends. Miller was impressed by her project and suggested her name for the list. "We kept it quiet for many years," Camille said in a phone interview circa 2014.


title: Eurasian jay

text: The Eurasian jay (Garrulus glandarius) is a species of passerine bird in the crow family Corvidae. It has pinkish brown plumage with a black stripe on each side of a whitish throat, a bright blue panel on the upper wing and a black tail. The Eurasian jay is a woodland bird that occurs over a vast region from western Europe and north-west Africa to the Indian subcontinent and further to the eastern seaboard of Asia and down into south-east Asia. Across this vast range, several distinct racial forms have evolved which look different from each other, especially when comparing forms at the extremes of its range.


title: Eurasian jay

text: The Eurasian jay was formally described by the Swedish naturalist Carl Linnaeus in 1758 in the tenth edition of his "Systema Naturae" under the binomial name "Corvus glandarius". Linnaeus specified the locality as "Europa" but this was restricted to Sweden by Ernst Hartert in 1903. The Eurasian jay is now one of three species placed in the genus "Garrulus" that was established in 1760 by the French zoologist Mathurin Jacques Brisson. The genus name "Garrulus" is a Latin word meaning "chattering", "babbling" or "noisy". The specific epithet "glandarius" is Latin meaning "of acorns".


title: Eurasian jay

text: The International Union for Conservation of Nature (IUCN) and Birdlife International split the Eurasian jay into three species. The subspecies "G. g. leucotis" becomes the white-face jay ("Garrulus leucotis") and the "bispecularis" group containing six subspecies becomes the plain-crowned jay ("Garrulus bispecularis").


title: Eurasian jay

text: The Eurasian jay is a relatively small corvid, similar in size to a western jackdaw ("Coloeus monedula") with a length of and a wingspan of . The nominate race has light rufous brown to a pinkish brown body plumage. The whitish throat is bordered on each side by a prominent black moustache stripe. The forehead and crown are whitish with black stripes. The rump is white. The complex colouring on the upper surface of the wing includes black and white bars and a prominent bright blue patch with fine black bars. The tail is mainly black.


title: Eurasian jay

text: The most characteristic call is a harsh, rasping screech that is used upon sighting various predators and as a advertising call. The jay is well known for its mimicry, often sounding so like a different species that it is difficult to distinguish its true identity unless the bird is seen. It will imitate the calls of birds of prey such as the mew of the common buzzard and the cackle of the northern goshawk.


title: Eurasian jay

text: A member of the widespread jay group, it inhabits mixed woodland, particularly with oaks, and is a habitual acorn hoarder. In recent years, the bird has begun to migrate into urban areas, possibly as a result of continued erosion of its woodland habitat. Before humans began planting the trees commercially on a wide scale, Eurasian jays were the main source of movement and propagation for the European oak ("Q. robur"), each bird having the ability to spread more than a thousand acorns each year. Eurasian jays will also bury the acorns of other oak species, and have been cited by the National Trust as a major propagator of the largest population of holm oak ("Q. ilex") in Northern Europe, situated in Ventnor on the Isle of Wight. Jays have been recorded carrying single acorns as far as 20 km, and are credited with the rapid northward spread of oaks following the last ice age.


title: Eurasian jay

text: Eurasian jays normally first breed when two years of age, although they occasionally breed when only one year. Both sexes build the nest which is usually placed in a fork or on a branch of a tree close to the main trunk at a height of above the ground. Very occasionally the nest is located on a building. The nest has a base of twigs in diameter and a lining of thinner twigs, roots, grass, moss and leaves. The eggs are laid daily, normally early in the morning. The clutch is 3–6 eggs which are pale green to pale olive brown and are covered with fine darker speckles. They sometimes have brown or black streaks concentrated at the broader end. The eggs are and weigh around . They are incubated by the female and hatch after 16–19 days. While the female is on the nest the male brings her food. Both parents feed and care for the young which fledge after 19–23 days. The parents continue to feed the fledgelings until they are 6–8 weeks of age. Only a single brood is raised each year.


title: Eurasian jay

text: The maximum recorded age is 16 years and 9 months for a bird in Skelton, York, United Kingdom, that was ringed in 1966 and found dead in 1983.


title: Eurasian jay

text: Feeding in both trees and on the ground, it takes a wide range of invertebrates including many pest insects, acorns (oak seeds, which it buries for use during winter), beech and other seeds, fruits such as blackberries and rowan berries, young birds and eggs, bats, and small rodents. Like most species, the jay's diet changes with the seasons but is noteworthy for its prolific caching of food—especially oak acorns and beechnuts—for winter and spring. While caching occurs throughout the year, it is most intense in the autumn.


title: Eurasian jay

text: In order to keep its plumage free from parasites, it lies on top of anthills with spread wings and lets its feathers be sprayed with formic acid.


title: Eurasian jay

text: Similar to other corvids, Eurasian jays have been reported to plan for future needs. Male Eurasian jays also take into account the desires of their partner when sharing food with her as a courtship ritual and when protecting food items from stealing conspecifics.


title: Bandwagon effect

text: The bandwagon effect is the term used to describe the tendency for people to adopt certain behaviors, styles, or attitudes simply because others are doing so.


title: Bandwagon effect

text: More specifically, it is a cognitive bias by which public opinion or behaviours can alter due to particular actions and beliefs rallying amongst the public. It is a psychological phenomenon whereby the rate of uptake of beliefs, ideas, fads and trends increases with respect to the proportion of others who have already done so. As more people come to believe in something, others also "hop on the bandwagon" regardless of the underlying evidence.


title: Bandwagon effect

text: Following the actions or beliefs of others can occur because individuals prefer to conform, or because individuals derive information from others. Much of the influence of the bandwagon effect comes from the desire to 'fit in' with peers; by making similar selections as other people, this is seen as a way to gain access to a particular social group. An example of this is fashion trends wherein the increasing popularity of a certain garment or style encourages more people to "get on the bandwagon."


title: Bandwagon effect

text: When individuals make rational choices based on the information they receive from others, economists have proposed that information cascades can quickly form in which people decide to ignore their personal information signals and follow the behaviour of others. Cascades explain why behaviour is fragile as people understand that their behaviour is based on a very limited amount of information. As a result, fads form easily but are also easily dislodged.


title: Bandwagon effect

text: The phenomenon is observed in various fields, such as economics, political science, medicine, and psychology. In social psychology, this tendency of people to align their beliefs and behaviors with those of a group is also known as 'herd mentality' or 'groupthink'.


title: Bandwagon effect

text: The reverse bandwagon effect (also known as the snob effect in certain contexts) is a cognitive bias that causes people to avoid doing something, because they believe that other people are doing it.


title: Bandwagon effect

text: The phenomenon where ideas become adopted as result of their popularity has been apparent for some time. However, the metaphorical use of the term "bandwagon" in reference to this phenomenon began in 1848. A literal "bandwagon" is a wagon that carries a musical ensemble, or band, during the course of a parade, circus, or other entertainment event.


title: Bandwagon effect

text: The phrase "jump on the bandwagon" first appeared in American politics in 1848 during the presidential campaign of Zachary Taylor. Dan Rice, a famous and popular circus clown of the time, invited Taylor to join his circus bandwagon. As Taylor gained more recognition and his campaign became more successful, people began saying that Taylor's political opponents ought to "jump on the bandwagon" themselves if they want to be associated with such success.


title: Bandwagon effect

text: Later, during the time of William Jennings Bryan's 1900 presidential campaign, bandwagons had become standard in campaigns, and the phrase "jump on the bandwagon" was used as a derogatory term, implying that people were associating themselves with success without considering that with which they associated themselves.


title: Bandwagon effect

text: Despite its emergence in the late 19th century, it was only rather recently that the theoretical background of bandwagon effects has been understood. One of the best-known experiments on the topic is the 1950s' Asch conformity experiment, which illustrates individual variation in the bandwagon effect. Academic study of the bandwagon effect especially gained interest in the 1980s, as scholars studied the effect of public opinion polls on voter opinions.


title: Bandwagon effect

text: Individuals are highly influenced by the pressure and norms exerted by groups. As an idea or belief increases in popularity, people are more likely to adopt it; when seemingly everyone is doing something, there is an incredible pressure to conform. Individuals' impressions of public opinion or preference can originate from several sources.


title: Bandwagon effect

text: The bandwagon effect works through a self-reinforcing mechanism, and can spread quickly and on a large-scale through a positive feedback loop, whereby the more who are affected by it, the more likely other people are to be affected by it too.


title: Bandwagon effect

text: A new concept that is originally promoted by only a single advocate or a minimal group of advocates can quickly grow and become widely popular, even when sufficient supporting evidence is lacking. What happens is that a new concept gains a small following, which grows until it reaches a critical mass, until for example it begins being covered by mainstream media, at which point a large-scale bandwagon effect begins, which causes more people to support this concept, in increasingly large numbers. This can be seen as a result of the availability cascade, a self-reinforcing process through which a certain belief gains increasing prominence in public discourse.


title: Bandwagon effect

text: The bandwagon effect can take place in voting: it occurs on an individual scale where a voters opinion on vote preference can be altered due to the rising popularity of a candidate or a policy position. The aim for the change in preference is for the voter to end up picking the "winner's side" in the end. Voters are more so persuaded to do so in elections that are non-private or when the vote is highly publicised.


title: Bandwagon effect

text: The bandwagon effect has been applied to situations involving majority opinion, such as political outcomes, where people alter their opinions to the majority view. Such a shift in opinion can occur because individuals from the decisions of others, as in an informational cascade.


title: Bandwagon effect

text: Perceptions of popular support may affect the choice of activists about which parties or candidates to support by donations or voluntary work in campaigns. They may strategically funnel these resources to contenders perceived as well supported and thus electorally viable, thereby enabling them to run more powerful, and thus more influential campaigns.


title: Bandwagon effect

text: American economist Gary Becker has argued that the bandwagon effect is powerful enough to flip the demand curve to be upward sloping. A typical demand curve is downward sloping—as prices rise, demand falls. However, according to Becker, an upward sloping would imply that even as prices rise, the demand rises.


title: Bandwagon effect

text: First, through price bubbles: these bubbles often happen in financial markets in which the price for a particularly popular security keeps on rising. This occurs when many investors line up to buy a security bidding up the price, which in return attracts more investors. The price can rise beyond a certain point, causing the security to be highly overvalued.


title: Bandwagon effect

text: Second is liquidity holes: when unexpected news or events occur, market participants will typically stop trading activity until the situation becomes clear. This reduces the number of buyers and sellers in the market, causing liquidity to decrease significantly. The lack of liquidity leaves price discovery distorted and causes massive shifts in asset prices, which can lead to increased panic, which further increases uncertainty, and the cycle continues.


title: Bandwagon effect

text: In microeconomics, bandwagon effects may play out in interactions of demand and preference. The bandwagon effect arises when people's preference for a commodity increases as the number of people buying it increases. Consumers may choose their product based on others' preferences believing that it is the superior product. This selection choice can be a result of directly observing the purchase choice of others or by observing the scarcity of a product compared to its competition as a result of the choice previous consumers have made. This scenario can also be seen in restaurants where the number of customers in a restaurant can persuade potential diners to eat there based on the perception that the food must be better than the competition due to its popularity. This interaction potentially disturbs the normal results of the theory of supply and demand, which assumes that consumers make buying decisions exclusively based on price and their own personal preference.


title: Bandwagon effect

text: Decisions made by medical professionals can also be influenced by the bandwagon effect. Particularly, the widespread use and support of now-disproven medical procedures throughout history can be attributed to their popularity at the time. Layton F. Rikkers (2002), professor emeritus of surgery at the University of Wisconsin–Madison, calls these prevailing practices medical bandwagons, which he defines as "the overwhelming acceptance of unproved but popular [medical] ideas."


title: Bandwagon effect

text: Medical bandwagons have led to inappropriate therapies for numerous patients, and have impeded the development of more appropriate treatment.


title: Bandwagon effect

text: One paper from 1979 on the topic of bandwagons of medicine describes how a new medical concept or treatment can gain momentum and become mainstream, as a result of a large-scale bandwagon effect:


title: Bandwagon effect

text: One who supports a particular sports team, despite having shown no interest in that team until it started gaining success, can be considered a "bandwagon fan."


title: Bandwagon effect

text: As an increasing number of people begin to use a specific social networking site or application, people are more likely to begin using those sites or applications. The bandwagon effect also


title: Bandwagon effect

text: The bandwagon effect can also affect the way the masses dress and can be responsible for clothing trends. People tend to want to dress in a manner that suites the current trend and will be influenced by those who they see often – normally celebrities. Such publicised figures will normally act as the catalyst for the style of the current period. Once a small group of consumers attempt to emulate a particular celebrity's dress choice more people tend to copy the style due to the pressure or want to fit in and be liked by their peers.


title: William Tell Overture

text: The "William Tell" Overture is the overture to the opera "William Tell" (original French title "Guillaume Tell"), whose music was composed by Gioachino Rossini. "William Tell" premiered in 1829 and was the last of Rossini's 39 operas, after which he went into semi-retirement (he continued to compose cantatas, sacred music and secular vocal music). The overture is in four parts, each following without pause.


title: William Tell Overture

text: There has been repeated use (and sometimes parody) of parts of this overture in both classical music and popular media. It was the theme music for "The Lone Ranger" in radio, television and film, and has become widely associated with horseback riding since then. Two different parts were also used as theme music for the British television series "The Adventures of William Tell", the fourth part (popularly identified in the US with "The Lone Ranger") in the UK, and the third part, rearranged as a stirring march, in the US.


title: William Tell Overture

text: Franz Liszt prepared a piano transcription of the overture in 1838 (S.552) which became a staple of his concert repertoire. There are also transcriptions by other composers, including versions by Louis Gottschalk for two and four pianos and a duet for piano and violin.


title: William Tell Overture

text: The overture is scored for: a piccolo, a flute, two oboes (first or second oboe doubles a cor anglais), two clarinets in A, two bassoons, four natural horns in G and E, two trumpets in E, three trombones, timpani, triangle, bass drum and cymbals, and strings.


title: William Tell Overture

text: The overture, which lasts for approximately 12 minutes, paints a musical picture of life in the Swiss Alps, the setting of the opera. It was described by Hector Berlioz, who usually loathed Rossini's works, as "a symphony in four parts". But unlike an actual symphony with its distinct movements, the overture's parts transition from one to the next without a break.


title: William Tell Overture

text: The prelude is a slow section in E major and in an A-B-A-Coda structure, scored for five solo cellos accompanied by double basses. It begins in E minor with a solo cello which is in turn 'answered' by the remaining cellos and the double basses. An impending storm is hinted at by two very quiet timpani rolls (1st on E, 2nd on B) resembling distant thunder. The section ends with a very high sustained note played by the first cello. Its duration is about three minutes.


title: William Tell Overture

text: This dynamic section in E minor and in an A-B-A structure, is played by the full orchestra. It begins with the violins and violas. Their phrases are punctuated by short wind instrument interventions of three notes each, first by the piccolo, flute and oboes, then by the clarinets and bassoons. The storm breaks out in full with the entrance of the French horns, trumpets, trombones, and bass drum. The volume and number of instruments gradually decreases as the storm subsides. The section ends with the flute playing alone. It also lasts for about three minutes.


title: William Tell Overture

text: This pastorale section in G major and in an A-B-A-Coda form, signifying the calm after the storm, begins with a "Ranz des vaches" or "Call to the Cows", featuring the cor anglais (English horn). The English horn then plays in alternating phrases with the flute, culminating in a duet with the triangle accompanying them in the background. The melody appears several times in the opera, including the final act, and takes on the character of a leitmotif. Its duration is a little more than two minutes.


title: William Tell Overture

text: This segment is often used in animated cartoons to signify daybreak or bucolic beauty, most notably in Walt Disney's "The Old Mill" and Marv Newland's "Bambi Meets Godzilla", which uses the tune as its main musical score before Godzilla stomps on Bambi.


title: William Tell Overture

text: The finale, often called the "March of the Swiss Soldiers" in English, is in E major like the prelude, but it is an ultra-dynamic galop heralded by trumpets and played by the full orchestra. It alludes to the final act, which recounts the Swiss soldiers' victorious battle to liberate their homeland from Austrian repression. The segment, in an Intro-A-B-A-Coda form, lasts for about three minutes.


title: William Tell Overture

text: Although there are no horses or cavalry charges in the opera, this segment is often used in popular media to denote galloping horses, a race, or a hero riding to the rescue. Its most famous use in that respect is as the theme music for "The Lone Ranger"; that usage has become so famous that the term "intellectual" has been defined as "a man who can listen to the "William Tell" Overture without thinking of the Lone Ranger". The Finale is quoted by Johann Strauss Sr. in his "William Tell Galop" (Op. 29b), published and premiered a matter of months after the Paris premiere of the original, and by Dmitri Shostakovich in the first movement of his Symphony No. 15.


title: William Tell Overture

text: Described by David Wondrich as a "frequent target of plunder by brass bands in the years during which they dominated the American musical landscape", the overture features prominently in Walt Disney's Mickey Mouse cartoon "The Band Concert". It has also been used in cartoons parodying classical music (e.g. "Bugs Bunny's Overtures to Disaster" in which the overture's finale is performed by Daffy Duck and Porky Pig) or Westerns (e.g. "Bugs Bunny Rides Again"). The finale has also been sung with specially written lyrics by Daffy Duck in "Yankee Doodle Daffy" and by a quartet of singing policemen (as "Happy Anniversary") in "The Flintstones" episode "The Hot Piano". "The Presidents Song" from the animated children's series "Animaniacs" is to the tune of William Tell Overture's finale, as is a duet between Shari Lewis and Charlie Horse from "Lamb Chop's Play Along" in which Shari Lewis tires to sing the story of William Tell while Charlie Horse keeps talking about The Lone Ranger.


title: William Tell Overture

text: One of the most frequently used pieces of classical music in American advertising, the overture (especially its finale) appears in numerous ads, with psychologist Joan Meyers-Levy suggesting that it is particularly suitable for those targeting male consumers. It was used in a hip-hop version by DJ Shadow to accompany the 2001 "Defy Convention" advertisement campaign for Reebok athletic shoes and in an electronic version for a 2008 Honda Civic campaign. Stan Freberg created a famous commercial for Jeno's Pizza Rolls built around the association of the Finale in the public mind with the Lone Ranger. At the time, Lark cigarettes was using the theme in a campaign called "Show us your Lark pack!" and the Jeno's ad parodied this as well. Kentucky Fried Chicken also used the tune for its "What-A-Lunch" promotion in the early '80's.


title: William Tell Overture

text: Amongst the films which feature the overture prominently is Stanley Kubrick's "A Clockwork Orange", where an electronic rearrangement by Wendy Carlos of the finale is played during a fast motion orgy scene. The less frequently heard introductory portion of the overture is used as somber mood music later in the film. The opening phrase of the Finale was used in "The Princess Diaries" when Security Chief Joe rescued Mia Thermopolis after her Mustang stalled out in a driving rainstorm. The tune was also musically clucked by a group of Muppet chickens in "The Muppets Take Manhattan".


title: William Tell Overture

text: The overture, especially its finale, also features in several sporting events. It has been used by the Hong Kong Jockey Club for many years. During the third television time-out of every second half at Indiana University basketball games, the Indiana pep band and cheerleading squad perform the overture with cheerleaders racing around the court carrying eighteen flags. Indiana public address announcer Chuck Crabb said the tradition began in about 1979 or 1980. Sportscaster Billy Packer called it "the greatest college timeout in the country".


title: William Tell Overture

text: The "Noddy" episode "Lost and Found" uses the tune for a song of the same name that the toy characters sing when looking for Rusty, a toy clown.


title: William Tell Overture

text: It was used as the theme song for the Canadian television show "Camp Cariboo", "I've got a head like a ping-pong ball"—a variation on a campfire song popular among Girl Guides and Boy Scouts.


title: William Tell Overture

text: A somewhat jazzy version of the tune was used as the theme music for the children's sketch comedy show, "You Can't Do That on Television".


title: Albert Park Circuit

text: The Albert Park Circuit is a motorsport street circuit around Albert Park Lake, three kilometres south of central Melbourne. It is used annually as a circuit for the Formula One Australian Grand Prix, the supporting Supercars Championship Melbourne 400 and other associated support races. The circuit has an FIA Grade 1 license.


title: Albert Park Circuit

text: Although the entire track consists of normally public roads, each sector includes medium to high-speed characteristics more commonly associated with dedicated racetracks facilitated by grass and gravel run-off safety zones that are reconstructed annually. However, the circuit also has characteristics of a street circuit's enclosed nature due to concrete barriers annually built along the Lakeside Drive curve, in particular, where run-off is not available due to the proximity of the lake shore.


title: Albert Park Circuit

text: The circuit uses everyday sections of road that circle Albert Park Lake, a small man-altered lake (originally a large lagoon formed as part of the ancient Yarra River course) just south of the Central Business District of Melbourne. The road sections that are used were rebuilt before the inaugural event in 1996 to ensure consistency and smoothness. As a result, compared to other circuits that are held on public roads, the Albert Park track has quite a smooth surface. Before 2007 there existed only a few other places on the Formula 1 calendar with a body of water close to the track. Many of the new tracks, such as Valencia, Singapore and Abu Dhabi are close to a body of water.


title: Albert Park Circuit

text: The course is considered to be quite fast and relatively easy to drive, drivers having commented that the consistent placement of corners allows them to easily learn the circuit and achieve competitive times. However, the flat terrain around the lake, coupled with a track design that features few true straights, means that the track is not conducive to overtaking or easy spectating unless in possession of a grandstand seat.


title: Albert Park Circuit

text: Each year, most of the trackside fencing, pedestrian overpasses, grandstands, and other motorsport infrastructure are erected approximately two months before the Grand Prix weekend and removed within 6 weeks after the event. The land around the circuit (including a large aquatic centre, a golf course, a Lakeside Stadium, some restaurants, and rowing boathouses) has restricted access during that entire period. Dissent is still prevalent among nearby residents and users of those other facilities, and some still maintain a silent protest against the event. Nevertheless, the event is reasonably popular in Melbourne and Australia (with a large European population and a general interest in motorsport). Middle Park, the home of South Melbourne FC was demolished in 1994 due to expansion at Albert Park.


title: Albert Park Circuit

text: The Grand Prix regularly draws crowds of over 270,000 spectators, with the 2022 drawing a record crowd of 419,114, including 128,294 on the main raceday. There has never been a night race at Albert Park, although the 2009 and 2010 events both started at 5:00 p.m. local time. The current contract for the Grand Prix at the circuit concludes in 2035.


title: Albert Park Circuit

text: Following the postponement of the Australian Grand Prix in 2021, due to the COVID-19 pandemic, the track underwent layout changes, the most notable part was the modification of the turn 9–10 complex from a heavy right-left corner to a fast-sweeping right-left corner into turns 11 and 12. Further modifications included the widening of the pit lane by and the reprofiling of turn 13. Also, some corners were widened such as turn 1, turn 3, turn 6, turn 7, and turn 15; and it is expected that these modifications will reduce qualifying lap times by as much as five seconds.


title: Albert Park Circuit

text: During the nine months of the year when the track is not required for Grand Prix preparation or the race weekend, most of the track can be driven by ordinary street-registered vehicles either clockwise or anti-clockwise.


title: Albert Park Circuit

text: Only the sections between turns 3, 4, and 5, then 5 and 6, differ significantly from the race track configuration. Turn 4 is replaced by a car park access road running directly from turns 3 to 5. Between turns 5 and 6, the road is blocked. It is possible to drive from turn 5 on to Albert Road and back on to the track at turn 7 though three sets of lights control the flow of this option. The only set of lights on the actual track is halfway between turns 12 and 13, where drivers using Queens Road are catered for. The chicanes at turns 11 and 12 are considerably more open than that used in the Grand Prix, using the escape roads. Turn 9 is also a car park and traffic is directed down another escape road.


title: Albert Park Circuit

text: The speed limit is generally , while some short sections have a speed limit of , which is still slower than an F1 car under pit lane speed restrictions. The back of the track, turns 7 to 13 inclusive, is known as Lakeside Drive. Double lines separate the two-way traffic along most of Lakeside Drive with short road islands approximately every which means overtaking is illegal here. Black Swans live and breed in Albert Park, and frequently cross the road causing traffic delays, sometimes with up to five cygnets (young swans).


title: Albert Park Circuit

text: Approximately 80% of the track edge is lined with short parkland-style chain-linked fencing leaving normal drivers less room for error than F1 drivers have during race weekend. There is however substantial shoulder room between the outside of each lane and the fencing, which is used as parking along Aughtie Drive during the other nine months.


title: Albert Park Circuit

text: Prior to World War II, attempts were made to use Albert Park for motor racing. The first was in 1934 but failed due to opposition, and a second attempt for a motorcycle race in 1937 similarly failed. Finally in 1953 the Light Car Club of Australia were able to secure use of the circuit for that year's Australian Grand Prix.


title: Albert Park Circuit

text: Albert Park is the only venue to host the Australian Grand Prix in both World Championship and non-World Championship formats with an earlier configuration of the current circuit used for the race on two occasions during the 1950s. During this time racing was conducted in an anti-clockwise direction as opposed to the current circuit which runs clockwise.


title: Albert Park Circuit

text: The November 1958 meeting was the last on the original incarnation of the circuit, as it closed shortly after.


title: Chino Darín

text: Ricardo Mario Darín (born 14 January 1989), known professionally as Chino Darín, is an Argentine actor and film producer.


title: Chino Darín

text: Ricardo Mario Darín was born on 14 January 1989 in San Nicolás de los Arroyos, Buenos Aires Province, to actor Ricardo Darín and Florencia Bas.


title: Chino Darín

text: In June 2016, he announced that he was in a relationship with Spanish actress Úrsula Corberó, whom he met on the set of the TV show "La embajada".


title: Metropolitan Opera

text: The Metropolitan Opera (commonly known as the Met) is an American opera company based in New York City, resident at the Metropolitan Opera House at Lincoln Center, currently situated on the Upper West Side of Manhattan. The company is operated by the non-profit Metropolitan Opera Association, with Peter Gelb as general manager. As of 2018, the company's current music director is Yannick Nézet-Séguin.


title: Metropolitan Opera

text: The Met was founded in 1883 as an alternative to the previously established Academy of Music opera house, and debuted the same year in a new building on 39th and Broadway (now known as the "Old Met"). It moved to the new Lincoln Center location in 1966.


title: Metropolitan Opera

text: The Metropolitan Opera is the largest classical music organization in North America. Until 2019, it presented about 27 different operas each year from late September through May. The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.


title: Metropolitan Opera

text: The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th and 21st century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.


title: Metropolitan Opera

text: The Met's performing company consists of a large symphony orchestra, a chorus, children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others maintain a close long-standing association with the Met, appearing many times each season until they retire.


title: Metropolitan Opera

text: The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.


title: Metropolitan Opera

text: In its early decades the Met did not produce the opera performances itself but hired prominent manager/impresarios to stage a season of opera at the new Metropolitan Opera House. Henry Abbey served as manager for the inaugural season, 1883–84, which opened with a performance of Charles Gounod's "Faust" starring the brilliant Swedish soprano Christina Nilsson. Abbey's company that first season featured an ensemble of artists led by sopranos Nilsson and Marcella Sembrich; mezzo-soprano Sofia Scalchi; tenors Italo Campanini and Roberto Stagno; baritone Giuseppe Del Puente; and bass Franco Novara. They gave 150 performances of 20 different operas by Gounod, Meyerbeer, Bellini, Donizetti, Verdi, Wagner, Mozart, Thomas, Bizet, Flotow, and Ponchielli. All performances were sung in Italian and were conducted either by music director Auguste Vianesi or Cleofonte Campanini (the tenor Italo's brother).


title: Metropolitan Opera

text: The company performed not only in the new Manhattan opera house, but also started a long tradition of touring throughout the country. In the winter and spring of 1884 the Met presented opera in theaters in Brooklyn, Boston, Philadelphia (see below), Chicago, St. Louis, Cincinnati, Washington D.C., and Baltimore. Back in New York, the last night of the season featured a long gala performance to benefit Mr. Abbey. The special program consisted not only of various scenes from opera, but also offered Marcella Sembrich playing the violin and the piano, as well as the famed stage actors Henry Irving and Ellen Terry in a scene from Shakespeare's "The Merchant of Venice". Abbey's inaugural season resulted in very large financial deficits.


title: Metropolitan Opera

text: The Metropolitan Opera began a long history of performing in Philadelphia during its first season, presenting its entire repertoire in the city during January and April 1884. The company's first Philadelphia performance was of "Faust" (with Christina Nilsson) on January 14, 1884, at the Chestnut Street Opera House. The Met continued to perform annually in Philadelphia for nearly eighty years, taking the entire company to the city on selected Tuesday nights throughout the opera season. Performances were usually held at Philadelphia's Academy of Music, with the company presenting close to 900 performances in the city by 1961 when the Met's regular visits ceased.


title: Metropolitan Opera

text: On April 26, 1910, the Met purchased the Philadelphia Opera House from Oscar Hammerstein I. The company renamed the house the Metropolitan Opera House and performed all of their Philadelphia performances there until 1920, when the company sold the theater and resumed performing at the Academy of Music.


title: Metropolitan Opera

text: During the Met's early years, the company annually presented a dozen or more opera performances in Philadelphia throughout the season. Over the years the number of performances was gradually reduced until the final Philadelphia season in 1961 consisted of only four operas. The final performance of that last season was on March 21, 1961, with Birgit Nilsson and Franco Corelli in "Turandot". After the Tuesday night visits were ended, the Met still returned to Philadelphia on its spring tours in 1967, 1968, 1978, and 1979.


title: Metropolitan Opera

text: For its second season, the Met's directors turned to Leopold Damrosch as general manager. The revered conductor of the New York Symphony Orchestra was engaged to lead the opera company in an all German language repertory and serve as its chief conductor. Under Damrosch, the company consisted of some the most celebrated singers from Europe's German-language opera houses. The new German Met found great popular and critical success in the works of Wagner and other German composers as well as in Italian and French operas sung in German. Damrosch died only months into his first season at the Met. Edmund Stanton replaced Damrosch the following year and served as general manager through the 1890–91 season. The Met's six German seasons were especially noted for performances by the celebrated conductor Anton Seidl whose Wagner interpretations were noted for their almost mystical intensity. The conductor Walter Damrosch, Leopold's son, also initiated a long relationship with the Met during this period.


title: Metropolitan Opera

text: From 1900 to 1904, Lionel Mapleson (1865–1937) made a series of sound recordings at the Met. Mapleson, the nephew of the opera impresario James Henry Mapleson, was employed by the Met as a violinist and music librarian. He used an Edison cylinder phonograph set-up near the stage to capture short, one- to five-minute recordings of the soloists, chorus and orchestra during performances. These unique acoustic documents, known as the Mapleson Cylinders, preserve an audio picture of the early Met, and are the only known extant recordings of some performers, including the tenor Jean de Reszke and the dramatic soprano Milka Ternina. The recordings were later issued on a series of LPs and, in 2002, were included in the National Recording Registry.


title: Metropolitan Opera

text: Beginning in 1898, the Metropolitan Opera company of singers and musicians undertook a six-week tour of American cities following its season in New York. These annual spring tours brought the company and its stars to cities throughout the U.S., most of which had no opera company of their own. The Met's national tours continued until 1986.


title: Metropolitan Opera

text: Italian opera returned to the Met in 1891 in a glittering season of stars organized by the returning Henry E. Abbey, John B. Schoeffel and Maurice Grau as Abbey, Schoeffel and Grau. After missing a season to rebuild the opera house following a fire in August 1892 which destroyed most of the theater, Abbey and Grau continued as co-managers along with John Schoeffel as the business partner, initiating the so-called "Golden Age of Opera". Most of the greatest operatic artists in the world then graced the stage of the Metropolitan Opera House in Italian as well as German and French repertory. Notable among them were the brothers Jean and Édouard de Reszke, Lilli Lehmann, Emma Calvé, Lillian Nordica, Nellie Melba, Marcella Sembrich, Milka Ternina, Emma Eames, Sofia Scalchi, Ernestine Schumann-Heink, Francesco Tamagno, Francesc Viñas, Jean Lassalle, Mario Ancona, Victor Maurel, Antonio Scotti and Pol Plançon. Henry Abbey died in 1896, and Maurice Grau continued as sole manager of the Met from 1896 to 1903.


title: Metropolitan Opera

text: The early 1900s saw the development of distinct Italian, German and later French "wings" within the Met's roster of artists including separate German and Italian choruses. This division of the company's forces faded after World War II when solo artists spent less time engaged at any one company.


title: Metropolitan Opera

text: The administration of Heinrich Conried in 1903–08 was distinguished especially by the arrival of the Neapolitan tenor Enrico Caruso, the most celebrated singer who ever appeared at the old Metropolitan. He was also instrumental in hiring conductor Arturo Vigna.


title: Metropolitan Opera

text: Conried was followed by Giulio Gatti-Casazza, who held a 27-year tenure from 1908 to 1935. Gatti-Casazza had been lured by the Met from a celebrated tenure as director of Milan's La Scala Opera House. His model planning, authoritative organizational skills and brilliant casts raised the Metropolitan Opera to a prolonged era of artistic innovation and musical excellence. He brought with him the fiery and brilliant conductor Arturo Toscanini, the music director from his seasons at La Scala.


title: Metropolitan Opera

text: Many of the most noted singers of the era appeared at the Met under Gatti-Casazza's leadership, including sopranos Rosa Ponselle, Elisabeth Rethberg, Maria Jeritza, Emmy Destinn, Frances Alda, Frida Leider, Amelita Galli-Curci, Bernice de Pasquali, and Lily Pons; tenors Jacques Urlus, Giovanni Martinelli, Beniamino Gigli, Giacomo Lauri-Volpi, and Lauritz Melchior; baritones Titta Ruffo, Giuseppe De Luca, Pasquale Amato, and Lawrence Tibbett; and basses Friedrich Schorr, Feodor Chaliapin, Jose Mardones, Tancredi Pasero and Ezio Pinza—among many others.


title: Metropolitan Opera

text: Toscanini served as the Met's principal conductor (but with no official title) from 1908 to 1915, leading the company in performances of Verdi, Wagner and others that set standards for the company for decades to come. The Viennese composer Gustav Mahler also was a Met conductor during Gatti-Casazza's first two seasons and in later years conductors Tullio Serafin and Artur Bodanzky led the company in the Italian and German repertories respectively.


title: Metropolitan Opera

text: Following Toscanini's departure, Gatti-Casazza successfully guided the company through the years of World War I into another decade of premieres, new productions and popular success in the 1920s. The 1930s, however, brought new financial and organizational challenges for the company. In 1931, Otto Kahn, the noted financier, resigned as head of the Met's board of directors and president of the Metropolitan Opera Company. He had been responsible for engaging Gatti-Casazza and had held the position of president since the beginning of Gatti-Casazza's term as manager. The new chair, prominent lawyer Paul Cravath, had served as the board's legal counsel. Retaining Gatti-Casazza as manager, Cravath focused his attention on managing the business affairs of the company.


title: Metropolitan Opera

text: In 1926, as part of the construction of Rockefeller Center, a plan was floated to move the opera from the building on 39th Street to the new Rockefeller Center. The plan was dropped in 1929 when it became apparent that it would produce no savings, and because the Met did not have enough money to move to a new opera house. It soon became apparent that the Wall Street Crash of 1929 and subsequent depression had resulted in a dangerously large deficit in the company's accounts. Between 1929 and 1931 ticket sales remained robust, but subsidies from the Met's wealthy supporters had significantly declined.


title: Metropolitan Opera

text: Soon after his appointment, Cravath obtained new revenue through a contract with the National Broadcasting Company for weekly radio broadcasts of Met performances. The first national broadcast took place December 25, 1931, when "Hansel and Gretel" was aired. With Gatti's support, Cravath also obtained a ten percent reduction in the pay of all salaried employees beginning with the opera season of 1931/32. Cravath also engineered a reorganization of the management company by which it was transformed from a corporation, in which all participants were stockholders, to an association, whose members need not have a financial interest in operations. Apart from this change, the new Metropolitan Opera Association was virtually identical to the old Metropolitan Opera Company. It was hoped the association would be able to save money as it renegotiated contracts which the company had made.


title: Metropolitan Opera

text: During this period there was no change in the organization of the Metropolitan Real Estate Opera Company which owned the opera house. It remained in the hands of the society families who owned its stock, yet the subsidies that the house and its owners had given the producing company fell off. In March 1932, Cravath found that income resulting from the broadcasts and savings from both salary cuts and reorganization were not sufficient to cover the company's deficits. Representatives of the opera house, the producing company, and the artists formed a committee for fundraising among the public at large. Mainly though appeals made to radio audiences during the weekly broadcasts, the committee was able to obtain enough money to assure continuation of opera for the 1933–34 season. Called the committee to Save Metropolitan Opera, the group was headed by the well-loved leading soprano, Lucrezia Bori. Bori not only led the committee, but also personally carried out much of its work and within a few months her fundraising efforts produced the $300,000 that were needed for the coming season.


title: Metropolitan Opera

text: In April 1935, Gatti stepped down after 27 years as general manager. His immediate successor, the former Met bass Herbert Witherspoon, died of a heart attack barely six weeks into his term of office. This opened the way for the Canadian tenor and former Met artist Edward Johnson to be appointed general manager. Johnson served the company for the next 15 years, guiding the Met through the remaining years of the depression and the World War II era.


title: Metropolitan Opera

text: The producing company's financial difficulties continued in the years immediately following the desperate season of 1933–34. To meet budget shortfalls, fundraising continued and the number of performances was curtailed. Still, on given nights the brilliant Wagner pairing of the Norwegian soprano Kirsten Flagstad with the great heldentenor Lauritz Melchior proved irresistible to audiences even in such troubled times. To expand the Met's support among its national radio audience, the Met board's Eleanor Robson Belmont, the former actress and wife to industrialist August Belmont, was appointed head of a new organization—the Metropolitan Opera Guild—as successor to a women's club Belmont had set up. The Guild supported the producing company through subscriptions to its magazine, Opera News, and through Mrs. Belmont's weekly appeals on the Met's radio broadcasts. In 1940 ownership of the performing company and the opera house was transferred to the non-profit Metropolitan Opera Association from the company's original partnership of New York society families.


title: Metropolitan Opera

text: Zinka Milanov, Jussi Björling, and Alexander Kipnis were first heard at the Met under Johnson's management. During World War II when many European artists were unavailable, the Met recruited American singers as never before. Eleanor Steber, Dorothy Kirsten, Helen Traubel (Flagstad's successor as Wagner's heroines), Jan Peerce, Richard Tucker, Leonard Warren and Robert Merrill were among the many home grown artists to become stars at the Met in the 1940s. Ettore Panizza, Sir Thomas Beecham, George Szell and Bruno Walter were among the leading conductors engaged during Johnson's tenure. Kurt Adler began his long tenure as chorus master and staff conductor in 1943.


title: Metropolitan Opera

text: Succeeding Johnson in 1950 was the Austrian-born Rudolf Bing who had most recently created and served as director of the Edinburgh Festival. Serving from 1950 to 1972, Bing became one of the Met's most influential and reformist leaders. Bing modernized the administration of the company, ended an archaic ticket sales system, and brought an end to the company's Tuesday night performances in Philadelphia. He presided over an era of fine singing and glittering new productions, while guiding the company's move to a new home in Lincoln Center. While many outstanding singers debuted at the Met under Bing's guiding hand, music critics complained of a lack of great conducting during his regime, even though such eminent conductors as Fritz Stiedry, Dimitri Mitropoulos, Erich Leinsdorf, Fritz Reiner, and Karl Böhm appeared frequently in the 1950s and '60s.


title: Metropolitan Opera

text: Among the most significant achievements of Bing's tenure was the opening of the Met's artistic roster to include singers of color. Marian Anderson's historic 1955 debut was followed by the introduction of a gifted generation of African American artists led by Leontyne Price (who inaugurated the new house at Lincoln Center), Reri Grist, Grace Bumbry, Shirley Verrett, Martina Arroyo, George Shirley, Robert McFerrin, and many others. Other celebrated singers who debuted at the Met during Bing's tenure include: Roberta Peters, Victoria de los Ángeles, Renata Tebaldi, Maria Callas, who had a bitter falling out with Bing over repertoire, Birgit Nilsson, Joan Sutherland, Régine Crespin, Mirella Freni, Renata Scotto, Montserrat Caballé, Elisabeth Schwarzkopf, Anna Moffo, James McCracken, Carlo Bergonzi, Franco Corelli, Alfredo Kraus, Plácido Domingo, Nicolai Gedda, Luciano Pavarotti, Jon Vickers, Tito Gobbi, Sherrill Milnes, and Cesare Siepi.


title: Metropolitan Opera

text: The Met's 1961 production of "Turandot", with Leopold Stokowski conducting, Birgit Nilsson in the title role, and Franco Corelli as Calàf, was by May called the Met's "Biggest hit in 10 years." For the 1962/1963 season, Renata Tebaldi, popular with Met audiences, convinced a reluctant Bing to stage a revival of Adriana Lecouvreur, an opera last presented at the Met in 1907.


title: Metropolitan Opera

text: In 1963 Anthony Bliss, a prominent New York lawyer and president of the Metropolitan Opera Association (MOA), convinced the MOA to create the Metropolitan Opera National Company (MONC); a second touring company that would present operas nationally with young operatic talent. Supported by President John F. Kennedy and funded largely by donations given by philanthropist and publisher Lila Acheson Wallace, the company presented two seasons of operas in 1965-1966 and 1966–1967 in which hundreds of performances were given in hundreds of cities throughout the United States. Bing publicly supported the organization, but privately detested the idea and actively worked to dismantle the company which he ultimately achieved in a vote of the board in December 1966. The MONC's directors were mezzo-soprano Risë Stevens and Michael Manuel, a long time stage manager and director at the Met. Several well known opera singers performed with the MONC, including sopranos Clarice Carson, Maralin Niska, Mary Beth Peil, Francesca Roberto, and Marilyn Zschau; mezzo-sopranos Joy Davidson, Sylvia Friederich, Dorothy Krebill, and Huguette Tourangeau; tenors Enrico Di Giuseppe, Chris Lachona, Nicholas di Virgilio, and Harry Theyard; baritones Ron Bottcher, John Fiorito, Thomas Jamerson, Julian Patrick, and Vern Shinall; bass-baritones Andrij Dobriansky, Ronald Hedlund, and Arnold Voketaitis; and bass Paul Plishka.


title: Metropolitan Opera

text: During Bing's tenure, the officers of the Met joined forces with the officers of the New York Philharmonic to build the Lincoln Center for the Performing Arts, where the new Metropolitan Opera House building opened in 1966.


title: Metropolitan Opera

text: The Met's first season at Lincoln Center featured nine new productions, including the world premiere of Marvin David Levy’s "Mourning Becomes Electra". However, the company would not premiere any new operas for decades afterwards, until 1991's "The Ghosts of Versailles" by John Corigliano. One critic described the period as "a quarter-century in which the notion of commissioned work reminded Met administrators of the emblematic failure of Samuel Barber's "Antony and Cleopatra" and the lukewarm reception of Marvin David Levy's "Mourning Becomes Electra"."


title: Metropolitan Opera

text: Following Bing's retirement in 1972, the Met's management was overseen by a succession of executives and artists in shared authority. Bing's intended successor, the Swedish opera manager Göran Gentele, died in an auto accident before the start of his first season. Following Gentele's tragic loss came Schuyler Chapin, who served as general manager for three seasons. The greatest achievement of his tenure was the Met's first tour to Japan for three weeks in May–June 1975 which was the brainchild of impresario Kazuko Hillyer. The tour played a significant role in popularizing opera in Japan, and boasted an impressive line-up of artists in productions of "La traviata", "Carmen", and "La bohème"; including Marilyn Horne as Carmen, Joan Sutherland as Violetta, and tenors Franco Corelli and Luciano Pavarotti alternating as Rodolfo. Soprano Renata Tebaldi retired from the Met in 1973 as Desdemona in Verdi's "Otello", the same role she debuted there in 1955.


title: Metropolitan Opera

text: From 1975 to 1981 the Met was guided by a triumvirate of directors: the General Manager (Anthony A. Bliss), Artistic Director (James Levine), and Director of Production (English stage director John Dexter). Bliss was followed by Bruce Crawford and Hugh Southern. Through this period the constant figure was James Levine. Engaged by Bing in 1971, Levine became Principal Conductor in 1973 and emerged as the Met's principal artistic leader through the last third of the 20th century.


title: Metropolitan Opera

text: During the 1983–84 season the Met celebrated its 100th anniversary with an opening night revival of Berlioz's mammoth opera "Les Troyens", with soprano Jessye Norman making her Met debut in the roles of both Cassandra and Dido. An eight-hour Centennial Gala concert in two parts followed on October 22, 1983, broadcast on PBS. The gala featured all of the Met's current stars as well as appearances by 26 veteran stars of the Met's the past. Among the artists, Leonard Bernstein and Birgit Nilsson gave their last performances with the company at the concert.


title: Metropolitan Opera

text: The immediate post-Bing era saw a continuing addition of African-Americans to the roster of leading artists. Kathleen Battle, who in 1977 made her Met debut as the Shepherd in Wagner's "Tannhäuser", became an important star in lyric soprano roles. Bass-baritone Simon Estes began a prominent Met career with his 1982 debut as Hermann, also in "Tannhäuser".


title: Metropolitan Opera

text: The model of General Manager as the leading authority in the company returned in 1990 when the company appointed Joseph Volpe. He was the Met's third-longest serving manager, and was the first head of the Met to advance from within the ranks of the company after having started his career there as a carpenter in 1964. During his tenure the Met's international touring activities were expanded and Levine focused on expanding and building the Met's orchestra into a world-class symphonic ensemble with its own Carnegie Hall concert series. Under Volpe the Met considerably expanded its repertory, offering four world premiers and 22 Met premiers, more new works than under any manager since Gatti-Casazza. Volpe chose Valery Gergiev, who was then the chief conductor and artistic director of the Mariinsky Theatre, as Principal Guest Conductor in 1997 and broadened the Met's Russian repertory. Marcelo Álvarez, Gabriela Beňačková, Diana Damrau, Natalie Dessay, Renée Fleming, Juan Diego Flórez, Marcello Giordani, Angela Gheorghiu, Susan Graham, Ben Heppner, Dmitri Hvorostovsky, Salvatore Licitra, Anna Netrebko, René Pape, Neil Rosenshein, Bryn Terfel, and Deborah Voigt were among the artists first heard at the Met under his management. He retired as general manager in 2006.


title: Metropolitan Opera

text: Joseph Volpe's post was given to Peter Gelb, formerly a record producer. Gelb began outlining his plans in April 2006; these included more new productions each year, ideas for shaving staging costs, and attracting new audiences without deterring existing opera-lovers. Gelb saw these issues as crucial for an organization which is dependent on private financing.


title: Metropolitan Opera

text: Gelb began his tenure by opening the 2006–07 season with a production of "Madama Butterfly" by the English director Anthony Minghella originally staged for English National Opera. Minghella's highly theatrical concept featured vividly colored banners on a spare stage, allowing the focus to be on the detailed acting of the singers. The abstract concept included casting the son of Cio-Cio San as a bunraku-style puppet, operated in plain sight by three puppeteers clothed in black.