title: Cabaret Voltaire (band)

text: By the early 1970s, Chris Watson of Sheffield, England, began experimenting with electronic devices to make "music without musical instruments." Inspired by the tech geekery of Brian Eno of Roxy Music, and helped along by his work as a telephone engineer, Watson's experimentation with tape loops evolved to include custom-built kit oscillators obtained by mail order by the time he met fellow Sheffield local and Eno devotee Richard Kirk. Kirk and Watson began exploring the intersection of technology and music, producing tapes loops to generate sound collages and unusual sound structures. Kirk began to add traditional instrumentation, including clarinet and guitar. In late 1973, they brought in Kirk's friend Stephen Mallinder to provide vocals and bass guitar. Some of these early experiments were first documented on the Industrial Records cassette "1974-1976" (1980), then later on the triple album CD set "Methodology '74/'78: The Attic Tapes" (Mute 2002).


title: Cabaret Voltaire (band)

text: The band eventually turned to live performance, often sharing the bill with Joy Division, though much of their earliest public performance tended more towards being unconventional and provocative stunts rather than conventional shows. The trio would deploy to various parts of Sheffield with their portable tape recorders and play their experimental compositions in places as diverse as public toilets and on the streets from loudspeakers on the top of a friend's van. This raucous and punkish attitude followed the band onstage to great effect; their first live concert in May 1975 ended in a fight between the band and the audience that sent Mallinder to hospital. In another incident, Mallinder was hospitalised with a chipped backbone after objects were thrown at the band. However, the arrival of punk rock brought a more accepting audience for their industrial, electronic sound and they were championed by Sheffield punk fanzine "Gunrubber" edited by Paul Bower of local band 2.3.


title: Cabaret Voltaire (band)

text: In 1977, Watson financed the establishment of the band's own recording studio on the second floor of a building called the Western Works on Portobello Street in Sheffield. The "Western Works" studio served as the band's studio for many years as well as providing a social gathering spot for the local Sheffield scene. Western Works produced some of the earliest recordings of pioneering local bands including Clock DVA, The Human League, and New Order.


title: Cabaret Voltaire (band)

text: In 1978, Cabaret Voltaire signed to Rough Trade Records. Manchester-based Factory Records had offered to sign the band, and Throbbing Gristle was also interested in signing the band to Industrial Records, but it was with an offer of a four-track Revox tape machine (in lieu of an advance) that Rough Trade secured the deal. With Rough Trade they released several acclaimed musically experimental singles and EPs, including "Extended Play" and "Nag Nag Nag", and albums such as "Three Mantras" and "The Voice of America" in 1980, and "Red Mecca" in 1981.


title: Cabaret Voltaire (band)

text: In the 27 June 1978 edition of NME, Andy Gill said: "I firmly believe Cabaret Voltaire will turn out to be one of the most important new bands to achieve wider recognition this year. Wait and see." Subsequently, "Nag Nag Nag" sold ten thousand copies, despite poor reviews, and reached as far afield as France and Belgium, while the debut album "Mix-Up" reached number 12 on the UK Indie charts. Their success continued with "The Voice of America" and "Red Mecca", reaching number three and number one on the UK Indie charts respectively.


title: Cabaret Voltaire (band)

text: Watson left the band in 1981 to work for Tyne Tees Television and went on to found The Hafler Trio with Andrew M. McKenzie before becoming a BBC sound engineer and then a soloist. On 25 June 1981, John Peel broadcast a session on the BBC, recorded previously by the band, which included four songs: "Black Mask", "Greensborough", "Walls of Jericho" and "Jazz the Glass".


title: Cabaret Voltaire (band)

text: During this time, Cabaret Voltaire toured Europe, Japan, and the United States without major record label support, releasing "Hai!", a live album recorded in Japan, in 1982.


title: Cabaret Voltaire (band)

text: In late 1982, Cabaret Voltaire decided consciously to turn in a more commercial direction. Introduced by New Order to the American dance music producer John Robie, Cabaret Voltaire enlisted him to remix "Yashar", a track from their 1982 album "2x45". The 12-inch single was released by Factory Records in May 1983, and received extensive play in dance clubs.


title: Cabaret Voltaire (band)

text: In 1983, Stevo Pearce signed the duo to his Some Bizzare label and leveraged a licensing deal with Virgin. The £50,000 advance from Some Bizzare allowed Kirk and Mallinder to significantly improve their operation at Western Works, but came with the stipulation of having to record their next LP in London and making certain production changes to their music. The relationship with Some Bizzare and Virgin resulted in greater exposure and promotion for the band. In August 1983, the album "The Crackdown" was released and reached number 31 in the UK Albums Chart – over 60 places higher than their previous (and, at the time, only) chart placement. The album's single for "Just Fascination" peaked at number 74.


title: Cabaret Voltaire (band)

text: In 1984, the singles "Sensoria" and "James Brown" from the album "Micro-Phonies" charted on the UK Indie Chart, as well as getting play in the underground dance scene. The 12" mix of "Sensoria", co-produced by Robin Scott of the new wave band M, was a vastly improved melding of two of the albums tracks, "Sensoria" and "Do Right". The video for the single was directed by Peter Care and earned significant air time and acclaim including a Los Angeles Times Best Video award for 1985.


title: Cabaret Voltaire (band)

text: 1985 proved to be a busy year for the band with numerous releases as well as an American tour. "Gasoline in your Eye" was released that year, which was a compendium of singles videos along with prototype footage for the band's unfinished film "Earthshaker" and other band-filmed footage put to unreleased Cabaret Voltaire music. A double 12" release was derived from the video and released as "Drinking Gasoline". The band rounded-out 1985 with a new album, "The Covenant, The Sword and the Arm of the Lord" and its single, "I Want You," which would be the last releases for the band on Virgin.


title: Cabaret Voltaire (band)

text: By 1986, Virgin offered to extend Cabaret Voltaire's record contract, but EMI group signaled an intent to invest more in the group and the lure of increased resources through a major label proved irresistible. One of these resources was access to producer Adrian Sherwood, who produced 1987's "Code" and its singles "Don't Argue" and "Here to Go". "Code" also featured additional musicians including on guitar and Mark Brydon on bass.


title: Cabaret Voltaire (band)

text: While 1987 proved to be a successful year musically, in other respects the band was faltering. The decision was made to abandon the original Western Works studio after a series of break-ins and the emergence of financial issues due to accounting problems from years before threatened to force a sale of their new studio. Additionally, Mallinder moved to London and took on more of a socialite lifestyle while Kirk remained in Sheffield. This formed a schism between the band members characterized by the extroverted Mallinder and the reluctant Kirk that was a mirror of the identity crisis of an experimental/unconventional band on the verge of going pop.


title: Cabaret Voltaire (band)

text: Prior to 1988, each member of Cabaret Voltaire had released several solo recordings under their own names, and Kirk had worked with Peter Hope of The Box on an album and single. The band's physical separation — with Kirk in Sheffield and Mallinder in London — and the burgeoning house and acid house movements opened new opportunities for solo collaborations. In 1988, Mallinder collaborated with Robert Gordon, co-founder of Warp Records, and David Ball of Soft Cell on a one-off house album under the name Love Street, and Kirk produced a solo acid house 12" as Wicky Wacky.


title: Cabaret Voltaire (band)

text: The band's interest in house music created new connections for the band in America. After trying in vain to contact New York producer Todd Terry, an introduction was made by an Atlantic Records executive to Chicago house producer Marshall Jefferson. The introduction led to a cross-Atlantic collaboration, with the members of Cabaret Voltaire spending a month in Chicago to produce material for their 1990 album "Groovy, Laidback and Nasty". Marshall brought numerous guest artists into the album's production including Ten City and Kym Mazelle, and the lead single from the album — "Hypnotised" — featured remix talent from Fon Force (Mark Brydon and Robert Gordon), A Guy Called Gerald, and Daniel Miller.


title: Cabaret Voltaire (band)

text: Despite the newfound energy and direction, the band amassed significant debt under EMI and the label dropped Cabaret Voltaire from their roster. Released from the label, Kirk began a series of projects between 1990 and 1992, including Sweet Exorcist with Richard Barratt, The Technocrats with Ralf Dörper, XON with Robert Gordon, Citrus with Steve Cobby, and solo as Sandoz.


title: Cabaret Voltaire (band)

text: Cabaret Voltaire returned to Les Disques Du Crépuscule to release the "Body and Soul" album in 1991. The album featured a more minimal sound than "Groovy, Laidback and Nasty" and was the last Cabaret Voltaire release to feature Mallinder on vocals. In 1991, the band entered an agreement with Mute Records to release new and past works from the band's own Plastex label imprint in the US. Between 1992 and 1994, the band released a trio of instrumental works.


title: Cabaret Voltaire (band)

text: In 1995, Mallinder moved to Perth, Australia, and effectively left Cabaret Voltaire in order to step away from the commercial and financial pressures of what had become of his music career. Opting instead to make music with less emphasis on product, Mallinder set up his own music company in Perth, OffWorld Sounds, while he pursued an academic career. Eventually Mallinder returned to music collaboration with a number of projects including Sassi & Loco and Kuling-Bros. Mallinder also contributed to synthesizer and programming on Shaun Ryder's solo album "Amateur Night at the Big Top".


title: Cabaret Voltaire (band)

text: Meanwhile, Kirk remained in England and continued in the vein of where Cabaret Voltaire left off through the remainder of the '90s and into the 2000s with more releases under his own name, as Sandoz, and as a new solo project, Electronic Eye.


title: Cabaret Voltaire (band)

text: Hopes of a Cabaret Voltaire reunion were raised when Kirk dropped hints in the late 1990s, the most significant being in the notes of a reissue of "Radiation", but this never happened. In a special 'Depeche Mode/History of Electro-pop' edition of "Q" magazine, Kirk suggested he was still considering resurrecting the Cabaret name, but this time he planned to "Get some young people involved".


title: Cabaret Voltaire (band)

text: In 2009, Kirk resurrected the Cabaret Voltaire name and released an album with New Zealand band Kora called "Kora! Kora! Kora!" and another with Sheffield band The Tivoli called "National Service Rewind". The new material was recorded at Western Works studios.


title: Cabaret Voltaire (band)

text: In July 2014, Berlin Atonal reported that Cabaret Voltaire were to perform at the festival. The performance – the first in twenty years – saw a set list of all new material performed by a line-up "consisting solely of machines, multi-screen projections and Richard H. Kirk", the lone remaining member of the 'group'.


title: Cabaret Voltaire (band)

text: In early August 2016, Cabaret Voltaire performed an hour long set of otherwise unreleased material at the Dekmantel festival in Amsterdam, the Netherlands.


title: Cabaret Voltaire (band)

text: Circa 2017, the Coachella Festival made a significant offer to Kirk to reform the original Cabaret Voltaire for a reunion show. Kirk refused, stating that "Cabaret Voltaire was always about breaking new ground and moving forward. It would be so sad to see it as a nostalgia act."


title: Cabaret Voltaire (band)

text: In August 2020, Cabaret Voltaire announced a new studio album "Shadow of Fear". Backed by the first single "Vasto," the album was released on 20 November 2020. These are the first strictly Cabaret Voltaire recordings with Richard H. Kirk as the group’s sole member. These were followed in 2021 by the release of a new EP, "Shadow of Funk", and two albums, "Dekadrone" and "BN9Drone".


title: Cabaret Voltaire (band)

text: New Order lead singer and guitarist, Bernard Sumner, said that Cabaret Voltaire influenced his songwriting, having helped him understand that one "could make music without guitars". In Alan Cross's 2012 biography of Skinny Puppy, Cabaret Voltaire's "industrial-grade thumping and noise terrorism" was cited as an influence on the band. In 2012, Trent Reznor stated that the Cabaret Voltaire was a major influence when working on his debut album with How To Destroy Angels. Others who have cited Cabaret Voltaire as an influence include Horrid Red, Fluke and Front Line Assembly. Depeche Mode's Martin Gore once listed Cabaret Voltaire among his favourite bands. David J of Bauhaus named the group as one of the "few bands on the [post-punk] scene at the time to whom we related".


title: Cabaret Voltaire (band)

text: As well as helping pioneer industrial music in the 1970s, Cabaret Voltaire have been considered influential on the industrial techno movement of the 1990s. Alain Jourgensen, while working with the band on the Acid Horse project, observed the irony of Cabaret Voltaire's turn towards house music circa 1989 as closing the circle on a genre they helped influence:


title: Cabaret Voltaire (band)

text: Jourgensen's assertion was an echo of Mick Fish's observation in his 1989 book "Cabaret Voltaire: The Art of the Sixth Sense":


title: Cabaret Voltaire (band)

text: Alternative Press included Cabaret Voltaire in their 1996 list of "100 underground inspirations of the past 20 years."


title: Cabaret Voltaire (band)

text: The experimental 'Sensoria Music & Film Festival' is named after the Cabaret Voltaire song, and has become an annual event held in Sheffield since 2008.


title: Samhain (band)

text: Samhain was an American rock band formed by singer Glenn Danzig in 1983, immediately following his departure from Misfits. Glenn Danzig originally planned Samhain as a side project with Eerie Von. After the Misfits' contentious 1983 dissolution, Samhain became Danzig's full-time band.


title: Samhain (band)

text: Samhain catalogs a transitional period in Glenn Danzig's musical career, bridging the gap between the punk rock/horror punk of the Misfits and the dark, heavy metal- and blues-influenced sound of Danzig. Samhain's lyrics were much darker than those of the Misfits, with themes rooted in paganism and the occult and eventually the horrors of reality, as opposed to the sometimes cartoonish ghouls and ghosts of the Misfits.


title: Samhain (band)

text: Both Samhain and its successor, Danzig, use the same horned skull image originally drawn by artist Michael Golden for the cover of the 1984 comic book "The Saga of Crystar" No. 8, published by Marvel Comics. The font often used in the name logo of Samhain, and later Danzig, is taken from the film "The Giant Gila Monster". Danzig took the name of the band from the Gaelic festival Samhain, the origin of the modern Halloween. The band's name is often mispronounced by fans as "sam-hane"; however, the correct Gaelic pronunciation is "sow-win". Glenn Danzig correctly pronounces the word in some of the band's lyrics, but pronounces the name of the band "sam-hane"


title: Samhain (band)

text: Danzig has said that he wrote two songs ("Death Comes Ripping" and "Bloodfeast") with the intention of using them on the first Samhain album, but instead recorded them with the Misfits for the "Earth A.D./Wolfs Blood" album in order to round out that band's final series of recordings and release a full album.


title: Samhain (band)

text: Samhain's debut album, "Initium" was released on lead singer Glenn Danzig's independent record label, Plan 9 in August 1984. In various interviews Danzig states that the album's title, which translates from Latin to English as "beginning", represents his new start after disbanding his prior band, The Misfits, in 1983. Most of the final track, "Archangel", was actually recorded in March 1981, and was originally meant to either be a Misfits song featuring Dave Vanian (who never did vocals for the song) or a track for the band The Damned. The track "Horror Biz" likewise dates to Danzig's Misfits era, as it is a new version of "Horror Business" with different musical arrangements. The album was recorded at Reel Platinum studio in Lodi, New Jersey, excluding the introduction which was recorded at Eerie Von's home on a four track cassette.


title: Samhain (band)

text: In 1985, Samhain released their only EP, "Unholy Passion". That next year, they released their second studio album titled "". The album contains a re-recorded version of the Misfits' "Halloween II". AllMusic wrote that the album "continues to be an influence for both punk and thrash bands". The track "Mother of Mercy" was featured in the 2009 video game "".


title: Samhain (band)

text: Metallica co-founder James Hetfield lists "November-Coming-Fire" as one of his top ten albums of all time.


title: Samhain (band)

text: In 1986, Samhain was signed by Rick Rubin to his Def Jam Recordings label. Rubin at first wished only to sign Danzig. He hoped to assemble a "super-group" with the talented vocalist at the center, but Danzig refused to agree to the deal unless bassist Eerie Von could remain in the new group. Rubin and Danzig agreed, however, that the band's sound should be taken in a different direction, and so guitarist Damien was replaced by John Christ. Sometime in 1987, Danzig decided to change the name of Samhain to match his surname, Danzig, a move that would prevent him from ever again having to start anew, regardless of lineup changes. When London May was replaced with Chuck Biscuits on drums, Samhain officially ceased to exist, and the first Danzig lineup was complete, which then prompted the band to sign to Def American Recordings in 1988.


title: Samhain (band)

text: In 1990, Samhain's final album, "Final Descent", was released. Material for the album was completed in stages from 1986 to 1990, with one song ("Death... in its Arms") recorded by the band Danzig, including drummer Chuck Biscuits (who had never been a member of Samhain) during the sessions for "". On all other tracks, a drum machine was used. As much of the material for "Final Descent" was intended for a planned "Samhain Grim" album, its sound and songwriting bridges the gap between 1986's "November Coming Fire" and 1988's "Danzig". In its first pressings, "Final Descent" also featured new remixed versions of the then out-of-print "Unholy Passion" EP. Possibly to avoid potential legal disputes with former guitarist Damien, Danzig had overdubbed/re-recorded all of the original guitar tracks with his own guitar playing. He also created a new track, a remix of the bass and vocal tracks from "I Am Misery", entitled "Misery Tomb".


title: Samhain (band)

text: When the Samhain box set was released in 2000, these remixes were given a CD of their own, taking the place of the original "Unholy Passion" EP, while the backend of "Final Descent" was filled out with four unreleased "Samhain Grim" era tracks, all featuring London May on drums. Among these were earlier, more abrasive arrangements of the eventual Danzig classics "Twist of Cain" and "Possession", a cover of Elvis Presley's "Trouble" (later re-recorded for the 1993 Danzig EP "Thrall-Demonsweatlive"), and a faster version of "Lords of the Left Hand".


title: Samhain (band)

text: The band briefly reunited in November 1999 to celebrate the release of the Samhain box set. They went on one national tour with the band Danzig headlining. The lineup consisted of Danzig, Zing, May, and then Danzig guitarist Todd Youth. Damien was initially asked to play guitar, but couldn't as he was already on tour with Iggy Pop. In interviews Danzig said that co-founder Eerie Von was not asked to participate because he had slandered former members of the band—notwithstanding Von's stand that he wouldn't have taken part in the reunion without Damien. Danzig had since stated that the band would not tour again.


title: Samhain (band)

text: Samhain would reunite again in October 2011 and 2012 as part of a series of shows called the Danzig Legacy performances. The shows consisted of a set from Danzig, Samhain, and a set of Misfits songs with Doyle Wolfgang von Frankenstein. Both London May and Steve Zing were part of this reunion.


title: Samhain (band)

text: Samhain reunited for the fourth time to play Riot Fest in September 2014. At that show, they played their debut album "Initium" in its entirety. The band also played a series of West Coast and East Coast shows from September to November. Peter Adams of the bands Baroness and Valkyrie handled guitar duties.


title: Samhain (band)

text: A partial reunion took place in 2014 on the "Danzig Legacy" television special during a set of Samhain songs "Samhain", and "To Walk the Night". The lineup remained the same with London May and Steve Zing sharing bass and drum duties, and with Tommy Victor playing guitar.


title: Samhain (band)

text: Samhain's style was described by AllMusic as a fusion of punk and heavy metal with elements of gothic rock.


title: Samhain (band)

text: Sometimes, Glenn Danzig could be seen donning a bizarre horned leather S&M mask, and occasionally he and his bandmates went onstage covered in blood. Danzig would play guitar on live performances of the song "Archangel", while the regular guitarist strapped on a bass guitar to perform a second bassline.


title: LiveJasmin

text: LiveJasmin (company name: JWS Americas S.à r.l.) is an adult website emphasizing live streaming and related services, typically featuring nudity and sexual activity ranging from striptease and dirty talk to masturbation with sex toys and full sexual intercourse. The models are predominantly female, though there are also a fairly large number of male models. Some are cisgender, while others are transgender. Some couples model together.


title: LiveJasmin

text: Founded in 2001 by György Gattyán, the website quickly rose to prominence during the early 2000s. It is one of the largest adult camming websites in the world, competing with American cam site Chaturbate and fellow European camsite BongaCams, based in The Netherlands.


title: LiveJasmin

text: In 2003, the website experienced significant growth and eventually went global with Jasmin Media Group as its holding company.


title: LiveJasmin

text: In 2014, LiveJasmin started to advertise, producing a number of TV commercials. Two of their commercials were submitted to air during the 66th Primetime Emmys but were declined by CBS, allowing them to be posted online as "banned commercials".


title: LiveJasmin

text: In 2016, LiveJasmin created the first studio and model-oriented program, known as Jasmin Certified, in order to have exclusive content.


title: Wireless telegraphy

text: Wireless telegraphy or radiotelegraphy is transmission of text messages by radio waves, analogous to electrical telegraphy using cables. Before about 1910, the term "wireless telegraphy" was also used for other experimental technologies for transmitting telegraph signals without wires. In radiotelegraphy, information is transmitted by pulses of radio waves of two different lengths called "dots" and "dashes", which spell out text messages, usually in Morse code. In a manual system, the sending operator taps on a switch called a telegraph key which turns the transmitter on and off, producing the pulses of radio waves. At the receiver the pulses are audible in the receiver's speaker as beeps, which are translated back to text by an operator who knows Morse code.


title: Wireless telegraphy

text: Radiotelegraphy was the first means of radio communication. The first practical radio transmitters and receivers invented in 1894–1895 by Guglielmo Marconi used radiotelegraphy. It continued to be the only type of radio transmission during the first few decades of radio, called the "wireless telegraphy era" up until World War I, when the development of amplitude modulation (AM) radiotelephony allowed sound (audio) to be transmitted by radio. Beginning about 1908, powerful transoceanic radiotelegraphy stations transmitted commercial telegram traffic between countries at rates up to 200 words per minute.


title: Wireless telegraphy

text: Radiotelegraphy was used for long-distance person-to-person commercial, diplomatic, and military text communication throughout the first half of the 20th century. It became a strategically important capability during the two world wars since a nation without long-distance radiotelegraph stations could be isolated from the rest of the world by an enemy cutting its submarine telegraph cables. Radiotelegraphy remains popular in amateur radio. It is also taught by the military for use in emergency communications. However, commercial radiotelegraphy is obsolete.


title: Wireless telegraphy

text: Wireless telegraphy or radiotelegraphy, commonly called CW (continuous wave), ICW (interrupted continuous wave) transmission, or on-off keying, and designated by the International Telecommunication Union as emission type A1A or A2A, is a radio communication method. It was transmitted by several different modulation methods during its history. The primitive spark-gap transmitters used until 1920 transmitted damped waves, which had very wide bandwidth and tended to interfere with other transmissions. This type of emission was banned by 1934, except for some legacy use on ships. The vacuum tube (valve) transmitters which came into use after 1920 transmitted code by pulses of unmodulated sinusoidal carrier wave called continuous wave (CW), which is still used today. To receive CW transmissions, the receiver requires a circuit called a beat frequency oscillator (BFO). The third type of modulation, frequency-shift keying (FSK) was used mainly by radioteletype networks (RTTY). Morse code radiotelegraphy was gradually replaced by radioteletype in most high volume applications by World War II.


title: Wireless telegraphy

text: In manual radiotelegraphy the sending operator manipulates a switch called a telegraph key, which turns the radio transmitter on and off, producing pulses of unmodulated carrier wave of different lengths called "dots" and "dashes", which encode characters of text in Morse code. At the receiving location, Morse code is audible in the receiver's earphone or speaker as a sequence of buzzes or beeps, which is translated back to text by an operator who knows Morse code. With automatic radiotelegraphy teleprinters at both ends use a code such as the International Telegraph Alphabet No. 2 and produced typed text.


title: Wireless telegraphy

text: Radiotelegraphy is obsolete in commercial radio communication, and its last civilian use, requiring maritime shipping radio operators to use Morse code for emergency communications, ended in 1999 when the International Maritime Organization switched to the satellite-based GMDSS system. However it is still used by amateur radio operators, and military services require signalmen to be trained in Morse code for emergency communication. A CW coastal station, KSM, still exists in California, run primarily as a museum by volunteers, and occasional contacts with ships are made. In a minor legacy use, VHF omnidirectional range (VOR) and NDB radio beacons in the aviation radio navigation service still transmit their one to three letter identifiers in Morse code.


title: Wireless telegraphy

text: Radiotelegraphy is popular amongst radio amateurs world-wide, who commonly refer to it as continuous wave, or just CW. A 2021 analysis of over 700 million communications logged by the Club Log blog, and a similar review of data logged by the American Radio Relay League, both show that wireless telegraphy is the 2nd most popular mode of amateur radio communication, accounting for nearly 20% of contacts. This makes it more popular than voice communication, but not as popular as the FT8 digital mode, which accounted for 60% of amateur radio contacts made in 2021. Since 2003, knowledge of Morse code and wireless telegraphy has no longer been required to obtain an amateur radio license in many countries, it is, however, still required in some countries to obtain a licence of a different class. As of 2021, licence Class A in Belarus and Estonia, or the General class in Monaco, or Class 1 in Ukraine require Morse proficiency to access the full amateur radio spectrum including the high frequency (HF) bands. Further, CEPT Class 1 licence in Ireland, and Class 1 in Russia, both of which require proficiency in wireless telegraphy, offer additional privileges: a shorter and more desirable call sign in both countries, and the right to use a higher transmit power in Russia.


title: Wireless telegraphy

text: Efforts to find a way to transmit telegraph signals without wires grew out of the success of electric telegraph networks, the first instant telecommunication systems. Developed beginning in the 1830s, a telegraph line was a person-to-person text message system consisting of multiple telegraph offices linked by an overhead wire supported on telegraph poles. To send a message, an operator at one office would tap on a switch called a telegraph key, creating pulses of electric current which spelled out a message in Morse code. When the key was pressed, it would connect a battery to the telegraph line, sending current down the wire. At the receiving office, the current pulses would operate a telegraph sounder, a device that would make a "click" sound when it received each pulse of current. The operator at the receiving station who knew Morse code would translate the clicking sounds to text and write down the message. The ground was used as the return path for current in the telegraph circuit, to avoid having to use a second overhead wire.


title: Wireless telegraphy

text: By the 1860s, the telegraph was the standard way to send most urgent commercial, diplomatic and military messages, and industrial nations had built continent-wide telegraph networks, with submarine telegraph cables allowing telegraph messages to bridge oceans. However installing and maintaining a telegraph line linking distant stations was very expensive, and wires could not reach some locations such as ships at sea. Inventors realized if a way could be found to send electrical impulses of Morse code between separate points without a connecting wire, it could revolutionize communications.


title: Wireless telegraphy

text: The successful solution to this problem was the discovery of radio waves in 1887, and the development of practical radiotelegraphy transmitters and receivers by about 1899, described in the next section. However, this was preceded by a 50-year history of ingenious but ultimately unsuccessful experiments by inventors to achieve wireless telegraphy by other means.


title: Wireless telegraphy

text: Several wireless electrical signaling schemes based on the (sometimes erroneous) idea that electric currents could be conducted long-range through water, ground, and air were investigated for telegraphy before practical radio systems became available.


title: Wireless telegraphy

text: The original telegraph lines used two wires between the two stations to form a complete electrical circuit or "loop". In 1837, however, Carl August von Steinheil of Munich, Germany, found that by connecting one leg of the apparatus at each station to metal plates buried in the ground, he could eliminate one wire and use a single wire for telegraphic communication. This led to speculation that it might be possible to eliminate both wires and therefore transmit telegraph signals through the ground without any wires connecting the stations. Other attempts were made to send the electric current through bodies of water, to span rivers, for example. Prominent experimenters along these lines included Samuel F. B. Morse in the United States and James Bowman Lindsay in Great Britain, who in August 1854, was able to demonstrate transmission across a mill dam at a distance of .


title: Wireless telegraphy

text: US inventors William Henry Ward (1871) and Mahlon Loomis (1872) developed electrical conduction systems based on the erroneous belief that there was an electrified atmospheric stratum accessible at low altitude. They thought atmosphere current, connected with a return path using "Earth currents" would allow for wireless telegraphy as well as supply power for the telegraph, doing away with artificial batteries. A more practical demonstration of wireless transmission via conduction came in Amos Dolbear's 1879 magneto electric telephone that used ground conduction to transmit over a distance of a quarter of a mile.


title: Wireless telegraphy

text: In the 1890s inventor Nikola Tesla worked on an air and ground conduction wireless electric power transmission system, similar to Loomis', which he planned to include wireless telegraphy. Tesla's experiments had led him to incorrectly conclude that he could use the entire globe of the Earth to conduct electrical energy and his 1901 large scale application of his ideas, a high-voltage wireless power station, now called Wardenclyffe Tower, lost funding and was abandoned after a few years.


title: Wireless telegraphy

text: Telegraphic communication using earth conductivity was eventually found to be limited to impractically short distances, as was communication conducted through water, or between trenches during World War I.


title: Wireless telegraphy

text: Both electrostatic and electromagnetic induction were used to develop wireless telegraph systems that saw limited commercial application. In the United States, Thomas Edison, in the mid-1880s, patented an electromagnetic induction system he called "grasshopper telegraphy", which allowed telegraphic signals to jump the short distance between a running train and telegraph wires running parallel to the tracks. This system was successful technically but not economically, as there turned out to be little interest by train travelers in the use of an on-board telegraph service. During the Great Blizzard of 1888, this system was used to send and receive wireless messages from trains buried in snowdrifts. The disabled trains were able to maintain communications via their Edison induction wireless telegraph systems, perhaps the first successful use of wireless telegraphy to send distress calls. Edison would also help to patent a ship-to-shore communication system based on electrostatic induction.


title: Wireless telegraphy

text: The most successful creator of an electromagnetic induction telegraph system was William Preece, chief engineer of Post Office Telegraphs of the General Post Office (GPO) in the United Kingdom. Preece first noticed the effect in 1884 when overhead telegraph wires in Grays Inn Road were accidentally carrying messages sent on buried cables. Tests in Newcastle succeeded in sending a quarter of a mile using parallel rectangles of wire. In tests across the Bristol Channel in 1892, Preece was able to telegraph across gaps of about . However, his induction system required extensive lengths of antenna wires, many kilometers long, at both the sending and receiving ends. The length of those sending and receiving wires needed to be about the same length as the width of the water or land to be spanned. For example, for Preece's station to span the English Channel from Dover, England, to the coast of France would require sending and receiving wires of about along the two coasts. These facts made the system impractical on ships, boats, and ordinary islands, which are much smaller than Great Britain or Greenland. Also, the relatively short distances that a practical Preece system could span meant that it had few advantages over underwater telegraph cables.


title: Wireless telegraphy

text: Over several years starting in 1894, the Italian inventor Guglielmo Marconi worked on adapting the newly discovered phenomenon of radio waves to communication, turning what was essentially a laboratory experiment up to that point into a useful communication system, building the first radiotelegraphy system using them. Preece and the GPO in Britain at first supported and gave financial backing to Marconi's experiments conducted on Salisbury Plain from 1896. Preece had become convinced of the idea through his experiments with wireless induction. However, the backing was withdrawn when Marconi formed the Wireless Telegraph & Signal Company. GPO lawyers determined that the system was a telegraph under the meaning of the Telegraph Act and thus fell under the Post Office monopoly. This did not seem to hold back Marconi. After Marconi sent wireless telegraphic signals across the Atlantic Ocean in 1901, the system began being used for regular communication including ship-to-shore and ship-to-ship communication.


title: Wireless telegraphy

text: With this development, wireless telegraphy came to mean "radiotelegraphy", Morse code transmitted by radio waves. The first radio transmitters, primitive spark gap transmitters used until World War I, could not transmit voice (audio signals). Instead, the operator would send the text message on a telegraph key, which turned the transmitter on and off, producing short ("dot") and long ("dash") pulses of radio waves, groups of which comprised the letters and other symbols of the Morse code. At the receiver, the signals could be heard as musical "beeps" in the earphones by the receiving operator, who would translate the code back into text. By 1910, communication by what had been called "Hertzian waves" was being universally referred to as "radio", and the term wireless telegraphy has been largely replaced by the more modern term "radiotelegraphy".


title: Wireless telegraphy

text: The primitive spark-gap transmitters used until 1920 transmitted by a modulation method called damped wave. As long as the telegraph key was pressed, the transmitter would produce a string of transient pulses of radio waves which repeated at an audio rate, usually between 50 and several thousand hertz. In a receiver's earphone, this sounded like a musical tone, rasp or buzz. Thus the Morse code "dots" and "dashes" sounded like beeps. Damped wave had a large frequency bandwidth, meaning that the radio signal was not a single frequency but occupied a wide band of frequencies. Damped wave transmitters had a limited range and interfered with the transmissions of other transmitters on adjacent frequencies.


title: Wireless telegraphy

text: After 1905 new types of radiotelegraph transmitters were invented which transmitted code using a new modulation method: continuous wave (CW) (designated by the International Telecommunication Union as emission type A1A). As long as the telegraph key was pressed, the transmitter produced a continuous sinusoidal wave of constant amplitude. Since all the radio wave's energy was concentrated at a single frequency, CW transmitters could transmit further with a given power, and also caused virtually no interference to transmissions on adjacent frequencies. The first transmitters able to produce continuous wave were the arc converter (Poulsen arc) transmitter, invented by Danish engineer Valdemar Poulsen in 1903, and the Alexanderson alternator, invented 1906-1912 by Reginald Fessenden and Ernst Alexanderson. These slowly replaced the spark transmitters in high power radiotelegraphy stations.


title: Wireless telegraphy

text: However, the radio receivers used for damped wave could not receive continuous wave. Because the CW signal produced while the key was pressed was just an unmodulated carrier wave, it made no sound in a receiver's earphones. To receive a CW signal, some way had to be found to make the Morse code carrier wave pulses audible in a receiver.


title: Wireless telegraphy

text: This problem was solved by Reginald Fessenden in 1901. In his "heterodyne" receiver, the incoming radiotelegraph signal is mixed in the receiver's detector crystal or vacuum tube with a constant sine wave generated by an electronic oscillator in the receiver called a beat frequency oscillator (BFO). The frequency of the oscillator formula_1 is offset from the radio transmitter's frequency formula_2. In the detector the two frequencies subtract, and a beat frequency (heterodyne) at the difference between the two frequencies is produced: formula_3. If the BFO frequency is near enough to the radio station's frequency, the beat frequency is in the audio frequency range and can be heard in the receiver's earphones. During the "dots" and "dashes" of the signal, the beat tone is produced, while between them there is no carrier so no tone is produced. Thus the Morse code is audible as musical "beeps" in the earphones.


title: Wireless telegraphy

text: The BFO was rare until the invention in 1913 of the first practical electronic oscillator, the vacuum tube feedback oscillator by Edwin Armstrong. After this time BFOs were a standard part of radiotelegraphy receivers. Each time the radio was tuned to a different station frequency, the BFO frequency had to be changed also, so the BFO oscillator had to be tunable. In later superheterodyne receivers from the 1930s on, the BFO signal was mixed with the constant intermediate frequency (IF) produced by the superheterodyne's detector. Therefore, the BFO could be a fixed frequency.


title: Wireless telegraphy

text: Continuous-wave vacuum tube transmitters replaced the other types of transmitter with the availability of power tubes after World War I because they were cheap. CW became the standard method of transmitting radiotelegraphy by the 20s, damped wave spark transmitters were banned by 1930 and CW continues to be used today. Even today most communications receivers produced for use in shortwave communication stations have BFOs.


title: Wireless telegraphy

text: The International Radiotelegraph Union was unofficially established at the first International Radiotelegraph Convention in 1906, and was merged into the International Telecommunication Union in 1932. When the United States entered World War I, private radiotelegraphy stations were prohibited, which put an end to several pioneers' work in this field. By the 1920s, there was a worldwide network of commercial and government radiotelegraphic stations, plus extensive use of radiotelegraphy by ships for both commercial purposes and passenger messages. The transmission of sound (radiotelephony) began to displace radiotelegraphy by the 1920s for many applications, making possible radio broadcasting. Wireless telegraphy continued to be used for private person-to-person business, governmental, and military communication, such as telegrams and diplomatic communications, and evolved into radioteletype networks. The ultimate implementation of wireless telegraphy was telex, using radio signals, which was developed in the 1930s and was for many years the only reliable form of communication between many distant countries. The most advanced standard, CCITT R.44, automated both routing and encoding of messages by short wave transmissions.


title: Wireless telegraphy

text: Today, due to more modern text transmission methods, Morse code radiotelegraphy for commercial use has become obsolete. On shipboard, the computer and satellite-linked GMDSS system have largely replaced Morse as a means of communication.


title: Wireless telegraphy

text: Continuous wave (CW) radiotelegraphy is regulated by the International Telecommunication Union (ITU) as emission type A1A.


title: Wireless telegraphy

text: The US Federal Communications Commission issues a lifetime commercial Radiotelegraph Operator License. This requires passing a simple written test on regulations, a more complex written exam on technology, and demonstrating Morse reception at 20 words per minute plain language and 16 wpm code groups. (Credit is given for amateur extra class licenses earned under the old 20 wpm requirement.)


title: Fukushima Prefecture

text: Fukushima Prefecture (; , ) is a prefecture of Japan located in the Tōhoku region of Honshu. Fukushima Prefecture has a population of 1,810,286 () and has a geographic area of . Fukushima Prefecture borders Miyagi Prefecture and Yamagata Prefecture to the north, Niigata Prefecture to the west, Gunma Prefecture to the southwest, and Tochigi Prefecture and Ibaraki Prefecture to the south.


title: Fukushima Prefecture

text: Fukushima is the capital and Iwaki is the largest city of Fukushima Prefecture, with other major cities including Kōriyama, Aizuwakamatsu, and Sukagawa. Fukushima Prefecture is located on Japan's eastern Pacific coast at the southernmost part of the Tōhoku region, and is home to Lake Inawashiro, the fourth-largest lake in Japan. Fukushima Prefecture is the third-largest prefecture of Japan (after Hokkaido and Iwate Prefecture) and divided by mountain ranges into the three regions of Aizu, Nakadōri, and Hamadōri.


title: Fukushima Prefecture

text: The keyhole-shaped Ōyasuba Kofun is the largest kofun in the Tohoku region. The site was designated a National Historic Site of Japan in 2000.


title: Fukushima Prefecture

text: Until the Meiji Restoration, the area of Fukushima prefecture was part of what was known as Mutsu Province.


title: Fukushima Prefecture

text: The Shirakawa Barrier and the Nakoso Barrier were built around the 5th century to protect 'the heathens


title: Fukushima Prefecture

text: ' from the 'barbarians' to the north. Fukushima became a Province of Mutsu after the Taika Reforms were established in 646.


title: Fukushima Prefecture

text: In 718, the provinces of Iwase and Iwaki were created, but these areas reverted to Mutsu some time between 722 and 724.


title: Fukushima Prefecture

text: The Shiramizu Amidadō is a chapel within the Buddhist temple Ganjō-ji in Iwaki. It was built in 1160 and it is a National Treasure. The temple, including the paradise garden is an Historic Site.


title: Fukushima Prefecture

text: The Fukushima Incident, a political tumult, took place in the prefecture after Mishima Michitsune was appointed governor in 1882.


title: Fukushima Prefecture

text: On Friday, March 11, 2011, 14:46 JST, a magnitude 9.0 earthquake occurred off the coast of Miyagi Prefecture. Shindo measurements throughout the prefecture reached as high as 6-upper in isolated regions of Hama-dōri on the eastern coast and as low as a 2 in portions of the Aizu region in the western part of the prefecture. Fukushima City, located in Naka-dōri and the capital of Fukushima Prefecture, measured 6-lower.


title: Fukushima Prefecture

text: Following the earthquake there were isolated reports of major damage to structures, including the failure of Fujinuma Dam as well as damage from landslides. The earthquake also triggered a massive tsunami that hit the eastern coast of the prefecture and caused widespread destruction and loss of life. In the two years following the earthquake, 1,817 residents of Fukushima Prefecture had either been confirmed dead or were missing as a result of the earthquake and tsunami.


title: Fukushima Prefecture

text: In the aftermath of the earthquake and tsunami that followed, the outer housings of two of the six reactors at the Fukushima Daiichi Nuclear Power Plant in Ōkuma exploded followed by a partial meltdown and fires at three of the other units. Many residents were evacuated to nearby localities due to the development of a large evacuation zone around the plant. Radiation levels near the plant peaked at 400 mSv/h (millisieverts per hour) after the earthquake and tsunami, due to damage sustained. This resulted in increased recorded radiation levels across Japan. On April 11, 2011, officials upgraded the disaster to a level 7 out of a possible 7, a rare occurrence not seen since the Chernobyl disaster in 1986.


title: Fukushima Prefecture

text: Several months later, officials announced that although the area nearest the melt down were still off limits, areas near the twenty kilometer radial safe zone could start seeing a return of the close to 47,000 residents that had been evacuated.


title: Fukushima Prefecture

text: Fukushima is both the southernmost prefecture of Tōhoku region and the prefecture of Tōhoku region that is closest to Tokyo. With an area size of it is the third-largest prefecture of Japan, behind Hokkaido and Iwate Prefecture. It is divided by mountain ranges into three regions called (from west to east) Aizu, Nakadōri, and Hamadōri.


title: Fukushima Prefecture

text: Fukushima city is located in the Fukushima Basin's southwest area and nearby mountains. Located on the central eastern seaboard a part of the Pacifim rim. A region with high tectonic activity given its location where the Pacific and Eurasian continental plates collide - a part the Ring of Fire. " Aizuwakamatsu is located in the western part of Fukushima Prefecture, in the southeast part of Aizu basin. Mount Bandai is the highest mountain in the prefecture with an elevation of . Mount Azuma-kofuji is an active stratovolcano that is tall with many onsen nearby. Lake Inawashiro is the 4th largest lake of Japan () in the center of the prefecture.


title: Fukushima Prefecture

text: The coastal Hamadōri region lies on the Pacific Ocean and is the flattest and most temperate region, while the Nakadōri region is the agricultural heart of the prefecture and contains the capital, Fukushima City. The mountainous Aizu region has scenic lakes, lush forests, and snowy winters.


title: Fukushima Prefecture

text: As of April 1, 2012, 13% of the total land area of the prefecture was designated as Natural Parks, namely Bandai-Asahi, Nikkō, and Oze National Parks; Echigo Sanzan-Tadami Quasi-National Park; and eleven Prefectural Natural Parks.


title: Fukushima Prefecture

text: The coastal region traditionally specializes in fishing and seafood industries, and is notable for its electric and particularly nuclear power-generating industry, while the upland regions are more focused on agriculture. Thanks to Fukushima's climate, various fruits are grown throughout the year. These include pears, peaches, cherries, grapes, and apples. the prefecture produced 20.6% of Japan's peaches and 8.7% of cucumbers.


title: Fukushima Prefecture

text: Fukushima also produces rice, that combined with pure water from mountain run-offs, is used to make sake. Some sakes from the region are considered so tasteful that they are served to visiting royalty and world leaders by hosts.


title: Fukushima Prefecture

text: Lacquerware is another popular product from Fukushima. Dating back over four hundred years, the process of making lacquerware involves carving an object out of wood, then putting a lacquer on it and decorating it. Objects made are usually dishes, vases and writing materials.


title: Fukushima Prefecture

text: Legend has it that an ogress, Adachigahara, once roamed the plain after whom it was named. The Adachigahara plain lies close to the city of Fukushima.


title: Fukushima Prefecture

text: Other stories, such as that of a large, strong, red cow that carried wood, influenced toys and superstitions. The Akabeko cow is a small, red papier-mâché cow on a bamboo or wooden frame, and is believed to ease child birth, bring good health, and help children grow up as strong as the cow.


title: Fukushima Prefecture

text: Another superstitious talisman of the region is the "Okiagari-koboshi", or self-righting dharma doll. These dolls are seen as bringers of good luck and prosperity because they stand right back up when knocked down.


title: Fukushima Prefecture

text: "Miharu-goma" are small, wooden, black or white toy horses painted with colorful designs. Depending upon their design, they may be believed to bring things like long life to the owner.


title: Fukushima Prefecture

text: Kokeshi dolls, while less symbolic, are also a popular traditional craft. They are carved wooden dolls, with large round heads and hand painted bodies. Kokeshi dolls are popular throughout many regions of Japan, but Fukushima is credited as their birthplace.


title: Fukushima Prefecture

text: The Nomaoi Festival horse riders dressed in complete samurai attire can be seen racing, chasing wild horses, or having contests that imitate a battle. The history behind the festival and events is over one thousand years old.


title: Fukushima Prefecture

text: During the Waraji Festival, a large (12-meter, 38-ft) straw sandal built by locals is dedicated to a shrine. There is also a traditional Taiwanese dragon dance, or "Ryumai", performed by Taiwanese visitors.


title: Fukushima Prefecture

text: The Aizu festival is a celebration of the time of the samurai. It begins with a display of sword dancing and fighting, and is followed by a procession of around five hundred people. The people in the procession carry flags and tools representing well-known feudal lords of long ago, and some are actually dressed like the lords themselves.


title: Fukushima Prefecture

text: A reflection of a long ago time of war, the Taimatsu Akashi Festival consists of men and women carrying large symbolic torches lit with a sacred fire to the top of Mt. Gorozan. Accompanied by drummers, the torchbearers reach the top and light a wooden frame representing an old local castle and the samurai that lived there. In more recent years the festival has been opened up so that anyone wanting to participate may carry a small symbolic torch along with the procession.


title: Fukushima Prefecture

text: Tsuruga castle, a samurai castle originally built in the late 14th century, was occupied by the region's governor in the mid-19th century, during a time of war and governmental instability. Because of this, Aizuwakamatsu was the site of an important battle in the Boshin War, during which 19 teenage members of the Byakkotai committed ritual seppuku suicide. Their graves on Mt. Iimori are a popular tourist attraction.


title: Fukushima Prefecture

text: Kitakata is well known for its distinctive Kitakata ramen noodles and well-preserved traditional storehouse buildings, while Ōuchi-juku in the town of Shimogo retains numerous thatched buildings from the Edo period.


title: Fukushima Prefecture

text: Mount Bandai, in the Bandai-Asahi National Park, erupted in 1888, creating a large crater and numerous lakes, including the picturesque 'Five Coloured Lakes' (Goshiki-numa). Bird watching crowds are not uncommon during migration season here. The area is popular with hikers and skiers. Guided snowshoe tours are also offered in the winter.


title: Fukushima Prefecture

text: The Inawashiro Lake area of Bandai-Asahi National Park is Inawashiro-ko, where the parental home of Hideyo Noguchi (1876–1928) can still be found. It was preserved along with some of Noguchi's belongings and letters as part of a memorial. Noguchi is famous not only for his research on yellow fever, but also for having his face on the 1,000 yen note.


title: Fukushima Prefecture

text: The Miharu Takizakura is an ancient weeping higan cherry tree in Miharu, Fukushima. It is over 1,000 years old.


title: Fukushima Prefecture

text: Fruits. Fukushima is known as a "Fruit Kingdom" because of its many seasonal fruits, and the fact that there is fruit being harvested every month of the year. While peaches are the most famous, the prefecture also produces large quantities of cherries, nashi (Japanese pears), grapes, persimmons, and apples.


title: Fukushima Prefecture

text: Fukushima-Gyu is the prefecture's signature beef. The Japanese Black type cattle used to make Fukushima-Gyu are fed, raised, and processed within the prefecture. Only beef with a grade of 2 or 3 can be labeled as "Fukushima-Gyu" (福島牛）


title: Fukushima Prefecture

text: Ikaninjin is shredded carrot and dried squid seasoned with soy sauce, cooking sake, mirin, etc. It is a local cuisine from the northern parts of Fukushima Prefecture. It is primarily made from the late autumn to winter in the household.


title: Fukushima Prefecture

text: Kitakata Ramen is one of the Top 3 Ramen of Japan, along with Sapporo and Hakata. The base is a soy-sauce soup, as historically soy sauce was readily available from the many storehouses around the town. Niboshi (sardines), tonkotsu (pig bones) and sometimes chicken and vegetables are boiled to make the stock. This is then topped with chashu (thinly sliced barbeque pork), spring onions, fermented bamboo shoots, and sometimes narutomaki, a pink and white swirl of cured fish cake.


title: Fukushima Prefecture

text: Mamador is the prefecture's most famous confection. The baked good has a milky red bean flavor center wrapped in a buttery dough. The name means “People who drink mothers’ milk" in Spanish. It is produced by the Sanmangoku Company.


title: Fukushima Prefecture

text: Creambox is prefecture's second famous confection. It is a sweet bread with a thick milk bread and white milk-flavored cream. It is sold in Koriyama City at many bakery and school purchases . The selling price is usually around 100 yen, and in some rare cases, the dough is round.


title: Fukushima Prefecture

text: Since it looks simple and does not change much from normal bread when viewed from above, some processing may be performed on the cream, there are things that put almonds or draw the character's face with chocolate


title: Fukushima Prefecture

text: Sake. The Fukushima Prefecture Sake Brewers Cooperative is made up of nearly 60 sake breweries. Additionally, the Annual Japan Sake Awards has awarded the prefecture the most gold prizes of all of Japan for four years running as of 2016.


title: Joe Lewis (martial artist)

text: Joseph Henry Lewis (March 7, 1944 – August 31, 2012) was an American karateka, kickboxer, and actor. As a fighter, Lewis gained fame for his matches in the 1960s and 1970s, and was nicknamed "the Muhammad Ali of karate." He has twice been voted the greatest fighter in karate history, having won innumerable karate tournaments, and has attained the titles of "United States Heavyweight Kickboxing Champion," "World Heavyweight Full Contact Karate Champion," and "United States National Black Belt Kata Champion."


title: Joe Lewis (martial artist)

text: His friend and training partner Bruce Lee coined him "The Greatest Karate Fighter of All Time." He was also named by the STAR System World Kickboxing Ratings as the "STAR Historic Undisputed Heavyweight World Champion" and is credited on their site as the "Father of Modern Kickboxing".


title: Joe Lewis (martial artist)

text: Joseph Henry Lewis was born on March 7, 1944, in Knightdale, North Carolina. In 1962, Lewis enlisted in the US Marine Corps. He was stationed at Marine Corps Air Station Cherry Point in Havelock, North Carolina from July 20, 1962, to April 12, 1964. He studied Shōrin-ryū Karate with , John Korab, Chinsaku Kinjo and Seiyu Oyata while stationed in Okinawa between May 21, 1964, and November 29, 1965, earning his black belt in a mere seven months. He was one of the first Marines stationed in Vietnam, there meeting Anthony (Rocky) Graziano.


title: Joe Lewis (martial artist)

text: From February 7 to July 14, 1966, he was stationed at Marine Corps Base Camp Lejeune, North Carolina, at which time he was released from active duty. Upon returning to the US, he began a winning tournament career. From 1967 to 1968, he studied privately with the influential Wing-Chun kung fu teacher, Jeet Kune Do founder, and Chinese/Hollywood movie legend Bruce Lee.


title: Joe Lewis (martial artist)

text: Hong Kong cinema historian Bey Logan says Lewis was the original pick of Bruce Lee for the villain Colt in "Way of the Dragon", but that Lee and Lewis either had a falling out or Lewis had a scheduling conflict, and thus Chuck Norris was tapped instead.


title: Joe Lewis (martial artist)

text: In 1966, with only 22 months of training, Lewis won the grand championship of the 1st tournament he entered, The U.S. Nationals promoted by Jhoon Rhee. Lewis defeated 7 opponents before defeating Thomas Carroll by a 2–0 decision. Lewis reigned as the U.S. Nationals grand champion from 1966 to 1969. At the 1967 Nationals in Washington, Lewis won the championship by defeating Mitchell Bobrow in the semi-final and beating Frank Hargrove 3–2 in the finals. Previously, Lewis defeated Hargrove in New York City at 'Henry Cho's Karate Tournament'. During that time, he also defeated Chuck Norris .


title: Joe Lewis (martial artist)

text: In 1966, at the Long Beach Internationals, Lewis lost an upset decision to Allen Steen. In 1967, Lewis defeated Wieland Norris (brother of Chuck Norris), Steve LaBounty, Frank Knoll, and Frank Hargrove (for the third time).


title: Joe Lewis (martial artist)

text: In February, 1968, Lewis and five other top-rated fighters (Bob Wall, Skipper Mullins, J. Pat Burleson, David Moon, and Fred Wren) fought in the first World Professional Karate Championships (WPKC) promoted by Jim Harrison. This was the first "professional" tournament in karate history and took place in Harrison's dojo in Kansas City. The rules allowed "heavy contact." Lewis won the tournament and was paid one dollar, thus officially making him the first professional champion in karate history.


title: Joe Lewis (martial artist)

text: At the 1968 'Orient vs. U.S. Tournament', promoted by Aaron Banks, Lewis lost a decision to Japanese-American N. Tanaka. At the 'First Professional Karate Tournament' in Dallas, Texas, Lewis won the championship trophy by decisioning Larry Whitner, Phil Ola, and Skipper Mullins.


title: Joe Lewis (martial artist)

text: In August, 1968, Lewis was defeated by Victor Moore at the second professional karate tournament in history. The event was called the World's Hemisphere Karate Championships and it took place in San Antonio, Texas; promoted by Robert Trias and Atlee Chittim. Moore and Lewis split the championship purse of $1,000. That same year, Lewis defeated Louis Delgado (who had beaten Chuck Norris the year before).


title: Joe Lewis (martial artist)

text: On November 24, 1968, at the Waldorf Astoria Hotel in New York City, Lewis won Aaron Banks', World Professional Karate Championships by defeating Victor Moore to win the World Heavyweight Title. Lewis was paid $600 for his title winning effort.


title: Joe Lewis (martial artist)

text: In 1970, Lewis lost in yet another upset to John Natividad at the All-Star Team Championships in Long Beach, California. However, at the 'Battle of Atlanta' promoted by Joe Corley, Joe Lewis defeated Mitchell Bobrow in a closely contested come-from-behind victory for the Heavyweight Championship, and Joe Hayes for the Grand Championship.


title: Joe Lewis (martial artist)

text: At Ed Parker's 1972 'International Karate Championships', Darnell Garcia scored an upset victory over Lewis.


title: Joe Lewis (martial artist)

text: At the 1972 Grande Nationals in Memphis Tennessee, Joe Lewis beat Jerry Piddington winning his grande title match in a 1 – 0 victory.


title: Joe Lewis (martial artist)

text: Joe Lewis was voted by the top fighters and promoters as the greatest karate fighter of all time in 1983. Chuck Norris and Bill Wallace tied for second place. Gene Lebell has credited Joe as the person who "brought us full-contact karate."


title: Joe Lewis (martial artist)

text: 1974 was to be a busy year for Joe Lewis and it would mark his final year in tournament karate competition. In May, Lewis lost to Charles Curry in New York at the Hidy Ochiai National Karate Tournament. That same month, Lewis won the PAWAK tournament which lasted from May 11 – May 12. Lewis scored victories over Frank Harvey, Smiley Urquidez, Benny Urquidez, and Cecil Peoples in the elimination matches. Joe won the championship with a 4–3 points decision over Steve Sanders. Finally, at Mike Anderson's, 'Top 10 National Professional Karate Tournament', Lewis lost to Everett "Monster Man" Eddy in the finals.


title: Joe Lewis (martial artist)

text: Joe Lewis was a veteran of the Vietnam War where he served in the communications field. His military decorations include: Marine Corps Good Conduct Medal, National Defense Service Medal, Armed Forces Expeditionary Medal, and "Expert" Rifle Badge. He acted in films and on TV, and was briefly married to actress Barbara Leigh. Throughout his life, he continued to give seminars and work in the entertainment industry.


title: Joe Lewis (martial artist)

text: Starting in 1967, Lewis began training privately with Bruce Lee. Lewis also began training with former heavyweight boxing contender Joe Orbillo, enhancing his skills.


title: Joe Lewis (martial artist)

text: In late 1969 promoter Lee Faulkner contacted Joe Lewis to fight in his upcoming United States Karate Championships. Lewis had retired from point fighting at the time but agreed to fight if Faulkner would promote a full-contact karate bout with Lewis and an opponent who would fight to the knockout. Faulkner agreed. As Lewis and Greg Baines entered the ring wearing boxing gloves the announcer identified the fighters as "kickboxers". That night Joe Lewis won the first-ever kickboxing bout in North America on January 17, 1970, with a second-round knockout over Greg Baines.


title: Joe Lewis (martial artist)

text: Previous to this bout, Lewis defeated Chuck Lemmons in point karate at the US Pro Team Karate finals that were held prior to the kickboxing main event.


title: Joe Lewis (martial artist)

text: On June 20, 1970, in Dallas, Texas, Lewis defended his United States Kickboxing Association heavyweight title against "Big" Ed Daniel at the U.S.A. Professional Open Karate Championships promoted by Lee Faulkner and Allen Steen. Daniels had a background in professional wrestling, and amateur boxing, as well as having received his black belt from Lewis' original teacher and being a police officer at the time. He also enjoyed a vast weight and size advantage over Lewis. In a veritable David vs Goliath bout, Lewis knocked out Daniel in 2 rounds. In a later rematch, Lewis KO'd Daniel in 3 rounds.


title: Joe Lewis (martial artist)

text: On January 24, 1971, at the 2nd Annual United Nations Open Karate Championships promoted by Aaron Banks, Lewis knocked out Ronnie Barkoot at 1:25 of the first round. At another Banks promotion; United States Championship Kickboxing Bouts, Lewis scored a 3rd-round knockout over "Atlas" Jesse King.


title: Joe Lewis (martial artist)

text: In total, Lewis defended his United States Heavyweight Kickboxing title with 8 straight knockouts between 1970/71. The 1970–71 rules for US kickboxing included striking, kicking, knees, elbows and footsweeps. Only crescent kicks and round kicks were permitted to the head.


title: Joe Lewis (martial artist)

text: Lewis is the first kickboxer to be featured in both The Ring boxing magazine and Sports Illustrated. Although promoter Lee Faulkner attempted to organize a legitimate "world" title fight between US champ Joe Lewis and a Thai kickboxing champion, a fight never materialized.


title: Joe Lewis (martial artist)

text: By the end of 1971, interest in kickboxing had hit an all-time low, with promoters unable to attract a crowd to a kickboxing event. Lewis retired as undefeated United States Heavyweight Kickboxing champion in 1971. His record as the undisputed United States heavyweight kickboxing champion was a perfect 10–0 with 10 KO's.


title: Joe Lewis (martial artist)

text: September 14, 1974 on "ABC's Wide World of Entertainment" promoter Mike Anderson introduced PKA 'full-contact' karate. In the bouts, competitors wore foam hand and foot protection and fought to the knockout (Kickboxing rules allowed for leg kicks: full-contact karate rules did not permit kicks to the legs). Lewis, the retired US Heavyweight Kickboxing champion was accustomed to full contact fighting. In 1974 he beat his only opponent in the new sport of full contact karate with a 2nd round ridge hand knockout over Yugoslavia's Frank Brodar in Los Angeles, California to win the Professional Karate Association (PKA) Heavyweight full-contact karate title.


title: Joe Lewis (martial artist)

text: The original 1974 PKA world champions, including Joe Lewis (heavyweight), Jeff Smith (light heavyweight) and Bill 'Superfoot' Wallace (middleweight) received so much fanfare from the PKA title wins and resultant publicity in popular martial arts magazines that their status as "legends of the karate world" was guaranteed. Lewis advanced his public persona the next year by appearing on the cover of Playgirl magazine. In 1975 Joe Lewis was inducted into the Black Belt magazine Hall of Fame as the 1974 full contact karate "fighter of the year".


title: Joe Lewis (martial artist)

text: In a 1975 comeback fight in Hawaii Lewis lost a 3-round decision (non title) to Teddy Limoz in Hawaii, and in September, he lost a 7-round decision to Ross Scott after suffering a dislocated shoulder. Lewis was stripped of the PKA World Heavyweight championship title after contract disputes. In 1977, Lewis was the martial arts coordinator of the movie "Circle of Iron", and continued his acting career by starring in "Jaguar Lives" in 1978 and "" in 1981.


title: Joe Lewis (martial artist)

text: At the age of 39, in 1983, Joe Lewis launched a comeback which saw him earn a top-10 PKA world ranking. Neglecting an extended training time to begin his comeback for a title Lewis defeated T. Morrison by KO, decisioned Charleton Young and Curtis Crandall and knocked out Melvin Cole. On April 16, Lewis lost a decision to Mark Georgantas in an upset, in a fight in which Lewis focused on getting a body punch KO and suffered a serious cut. On August 10, Lewis suffered a disappointing 4th round stoppage due to yet another cut to US heavyweight champion Kerry Roop for the PKA US heavyweight title. Lewis retired after the defeat. Joe Lewis's competitive career in kickboxing and PKA full-contact karate ended with a combined record of 17 wins and 4 losses with 15 wins obtained by knockout, a K.O ratio of 71.4% (The PKA World title record was 5 wins 4 losses). In 1990 Lewis (198 lbs) fought one last exhibition kickboxing/karate match with friend Bill Wallace (166 lbs) on pay per view. Both Lewis and Wallace were refused a boxing license because of their age. Though it was only an exhibition, many people believed it was the main event of the night due to the publicity it attracted. The fight was billed "Speed vs Power". The exhibition ended with two judges scoring a tie and one judge giving the fight to Wallace in the exhibition event, however Lewis later recounted that he was warned not to cross the line with Wallace, as Lewis enjoyed a 30-pound advantage on Wallace.


title: Joe Lewis (martial artist)

text: Joe Lewis' seemingly dominating characteristic as a fighter was his phenomenal strength. Thanks to a youth of weight lifting and collegiate wrestling, Lewis was an intimidating adversary and would use his relentless power to see him through. He was considered a very intimidating presence in the Karate tournament scene. However, he was also very fast, which allowed him to score his thunderous signature side kick on his opponents. In later years, Joe would be able to replicate some of Bruce Lee's legendary speed feats, such as asking a volunteer to block his punches, which would prove too fast to be blocked. As a Karate point fighter, Lewis was famous for his lead side kick, particularly his left. At one point he was asked by on-lookers why he only used that technique. He replied: "Why not? They can't block it." He also developed a fast back fist punch, and failing that, he would grab his opponent's dogi and use the reverse punch until the fight was stopped.


title: Joe Lewis (martial artist)

text: After cross-training in Boxing with Sugar Ray Robinson and Joe Orbillio, and then training Jeet Kune Do with Bruce Lee, Lewis would gain a unique view on how to handle distance and closing the gap. His preferred techniques as a full contact Karate and Kickboxing fighter were his trademark side kick, and the hook punch, particularly the left, typically delivered in combinations, he also claimed that it was typical of his style to use low kicks as early as his first kickboxing bout against Greg Baines, and once referred to them as his "main weapon". Thanks to his background as a wrestler, and his studying of Shōrin-ryū Karate (both Shobayashi and Matsubayashi), Okinawan Kenpo, Judo, Jeet Kune Do, Boxing and Tai Chi, Joe Lewis was a very well-rounded fighter.


title: Joe Lewis (martial artist)

text: Joe Lewis as a teacher devoted to instructing martial artists in the Five Angles of Attack and other principles which he learned from Bruce Lee's Kung Fu and then modified through his full contact experience.


title: Joe Lewis (martial artist)

text: In July 2011, he was diagnosed with a malignant brain tumor. Doctors told him that if he did nothing, he'd have six to eight weeks to live. On July 18, surgeons removed the tumor. "He had the best doctors, and they think they did a good job of getting it all out," said Dennis Nackord, Lewis' senior black belt.


title: Joe Lewis (martial artist)

text: Lewis died one year and forty-five days later, on the morning of August 31, 2012, at Coatesville Veterans Affairs Medical Center in Coatesville, Pennsylvania. He was 68 years old. The battle with cancer lasted 13 months, and the cancer spread to his left shoulder and hip before he passed away. He was buried at Knightdale Baptist Church Cemetery, Knightdale, Wake County, North Carolina.


title: Joe Lewis (martial artist)

text: Lewis left behind his own system of martial arts teaching, called the Joe Lewis American Karate Systems which focuses on full-contact fighting. Due to his role in developing and promoting the sport's first event in the American continent, Joe Lewis is considered to be the "Father of Kickboxing" in the western world, and he's also been called "the man who brought us Full Contact Karate." Black Belt Magazine describes his process of solo training in boxing and combining those techniques with his Karate techniques as "the result is the martial sport now known as Kickboxing." His efforts in these fields eventually resulted in the Mixed martial arts competition of today.


title: Joe Lewis (martial artist)

text: In the cover story February 1993 issue of Black Belt magazine, Joe Lewis states that his proteges' John and Jim Graden are his choice to carry the torch of his system after his death. ("The Passing of the Torch Legendary Fighter Joe Lewis Grooms His Successors")


title: Joe Lewis (martial artist)

text: The character from the Street Fighter series of fighting video games, Ken Masters, was based upon Joe Lewis' likeness and trajectory, both being Americans having learned a traditional karate style in Japan, then returning home to become the United States Champion, to worldwide acclaim. Masters' characteristic red uniform and blond hair were patterned after a popular cover in which Joe Lewis appeared, sporting that same look. Lewis, with his personal mixture of Karate, Boxing and Jeet Kune Do, represents the eclectic approach that some of the American martial artists took towards more traditional martial arts. In the same vein, Ken Masters sports a flashier fighting style than his best friend Ryu.


title: Joe Lewis (martial artist)

text: The American kickboxer, Joe, from the Street Fighter's first game, also seems to have been based in Joe Lewis.


title: Joe Lewis (martial artist)

text: Lewis is indirectly referenced in a scene from the 2019 Quentin Tarantino film" Once Upon a Time in Hollywood" when Bruce Lee (played by Mike Moh) refers to him as "[T]hat white kickboxing a--hole." to differentiate him from the black boxer Joe Louis.


title: Jann Arden

text: Jann Arden (born Jann Arden Anne Richards; March 27, 1962) is a Canadian singer-songwriter and actress. She is famous for her signature ballads, "Could I Be Your Girl" and "Insensitive", which is her biggest hit to date.


title: Jann Arden

text: Jann Arden was born in Calgary and moved as a child to Springbank, Alberta, where she attended Springbank Community High School. Her father was a construction contractor and her mother was a dental assistant. She is the middle child of three children.


title: Jann Arden

text: Arden grew up in a troubled family dynamic. Her father was an abusive alcoholic. Her brother was convicted of first-degree murder and was incarcerated in Alberta in 1992.


title: Jann Arden

text: After she graduated high school, Arden settled in Vancouver and sang with a series of bar bands. With these bands, she would sing cover songs of Led Zeppelin, Tina Turner, and Billie Holiday in a variety of locations including lounges, bars and ski resorts. During this time, she had attempted to launch a solo singing career but she was battling a bout of alcoholism which held her back.


title: Jann Arden

text: Arden was discovered in 1985 by Calgary manager Neil MacGonigill, who worked with her from 1985 to 1998, both managing her career and acting as executive producer of her earlier albums. The two subsequently became estranged.


title: Jann Arden

text: Arden released her critically acclaimed debut album, "Time for Mercy", in 1993, and followed with a single "I Would Die For You". Both were credited among the six Alberta Recording Industry Awards won by Arden in 1994.


title: Jann Arden

text: Arden's 1994 album "Living Under June" featured her biggest hit to date outside of Canada, "Insensitive", which was released as a single from the soundtrack to the Christian Slater film "Bed of Roses" (number 12 on the U.S. "Billboard" Hot 100). Another single from that same album, "Could I Be Your Girl", has also had significant, and consistent airplay on Canadian adult contemporary radio since its release, and featured a dance remix version which circulated on pop radio at the time.


title: Jann Arden

text: Subsequent albums include 1997's "Happy?", 2000's "Blood Red Cherry", and 2003's "Love Is the Only Soldier". She also released a greatest hits album, "Greatest Hurts", in 2001, and a live album, "Jann Arden Live with the Vancouver Symphony Orchestra" (2002). In 2005, she released her eighth album (her sixth album of new material); self-titled "Jann Arden".


title: Jann Arden

text: In 1998, respondents to "Chart" magazine's year-end reader's poll named Arden the Canadian celebrity most deserving of her own talk show.


title: Jann Arden

text: Arden revealed that one of her brothers is serving a life sentence in prison, and that her song "Hangin' by a Thread" is dedicated to him. Arden released her ninth album, "Uncover Me," on February 6, 2007. This album was her first comprising cover songs exclusively, except for one original piece, "Counterfeit Heart". This was followed by her "Uncover Me Tour" across Canada during the spring of 2007.


title: Jann Arden

text: On the weekend of March 24, 2007, Arden was admitted to intensive care for heart related concerns, diagnosed as Takotsubo cardiomyopathy, a condition commonly associated with acute stress and exhaustion.


title: Jann Arden

text: She had a 2007 USA summer tour with Michael Bublé. In 2010, they also carried the Olympic torch. She co-wrote his 2013 song "Close Your Eyes".


title: Jann Arden

text: In September 2009, Arden released her tenth album, "Free", and its first single, "A Million Miles Away," in June. She then undertook a cross-country Canadian tour, which began in November 2009. She toured with proceeds going to the "Raise-a-Reader Concert Series".


title: Jann Arden

text: In November 2010, Arden released her first ever live CD and DVD set, entitled "Spotlight". Her latest autobiography, "Falling Backwards", was released on November 1, 2011, along with a second album of cover songs, "Uncover Me 2". Arden's thirteenth album, "Everything Almost", was released April 29, 2014, through Universal Music Canada. In October 2015, Arden released her fourteenth and first Christmas album, "A Jann Arden Christmas".


title: Jann Arden

text: In addition to her music, she is also a writer of memoirs: "If I Knew, Don't You Think I'd Tell You?" (2002), "I'll Tell You One Damn Thing, and That's All I Know!" (2004), "Falling Backwards" (2011) and "Feeding My Mother" (2017).


title: Jann Arden

text: Published in 2017, Arden's book "Feeding My Mother: Comfort and Laughter in the Kitchen as My Mom Lives with Memory Loss", relates her involvement with her mother while the latter was experiencing Alzheimer's. She discussed that era in the book: "I am a mother to my mother. It's a massive learning curve, not only because I didn't have children of my own, but because there isn't a handbook telling me what I should or shouldn't be doing. Alzheimer's is a different disease for every single person it inhabits. Everything is trial by fire."


title: Jann Arden

text: Released in 2018, her album "These are the Days" includes 11 songs about the most difficult time in her life. "My mom and dad both were diagnosed with basically dementia and Alzheimer's and a litany of other things. My health wasn't great. I was floundering," she recalled in a CBC interview.


title: Jann Arden

text: In 2018, she launched "The Business of Life", a lifestyle podcast on topics such as entrepreneurship, motherhood, writing, relationships and navigating life challenges, which she cohosts with Arlene Dickinson.


title: Jann Arden

text: In October 2018, it was announced that Arden had been confirmed as a celebrity judge on CTV's music series, The Launch. While on the show, Arden mentored Winnipeg based singer-songwriter Olivia Lunny.


title: Jann Arden

text: Arden has also worked as an actress, with supporting or guest roles in the television series "Robson Arms", "Corner Gas", "Hell on Wheels", "The Detour", "Workin' Moms" and "Wynonna Earp". She received a Canadian Screen Award nomination for Supporting Actress in a Comedy Series at the 7th Canadian Screen Awards in 2019, for her appearances as Jane Carlson in "Workin' Moms".


title: Jann Arden

text: In June 2018, CTV announced that Arden would star in "Jann", a comedy television series based on a "fictionalized version" of her own life. The series premiered on March 20, 2019. During the promotion of the series, in which the fictionalized version of Arden is depicted as having recently broken up with a long-term female partner, Arden spoke openly to the press for the first time about having been in relationships with both men and women throughout her life. , "Jann" is Canada's most popular comedy TV series, drawing more than one million viewers per episode. At the 8th Canadian Screen Awards in 2020, she received a nomination for Best Actress in a Comedy Series.


title: Jann Arden

text: She has also performed on stage in productions of "The Vagina Monologues", in film as Blanche the snack counter lady in the 2022 film "Vandits", and had a voice role as R0-FL, the robot sidekick of Overlord, in the family sitcom "Overlord and the Underwoods".


title: Jann Arden

text: Arden has received a total of 19 Juno Award nominations to date. She has won eight of them, including solo artist of the year in 1994, Songwriter of the Year in 1995 and 2002, and Female Artist of the Year in 1995 and 2001. She has also won awards at the MuchMusic Video Awards, the Prairie Music Awards, the Western Canadian Music Awards and at the ARIA (Alberta Recording Industry Association) Awards.


title: Jann Arden

text: In November 2006, Arden received the National Achievement Award from the Society of Composers, Authors, and Music Publishers of Canada (SOCAN) for having six singles reach the 100,000 airplay mark on Canadian radio. She was awarded the prize at a gala in Toronto.


title: Jann Arden

text: In November 2007, Arden was inducted into the Canadian Association of Broadcasters Hall of Fame, and was the winner of the International Achievement Award at the 2007 Western Canadian Music Awards.


title: Jann Arden

text: On December 29, 2017, Arden was appointed as a Member of the Order of Canada for her 'achievements as a singer-songwriter and broadcaster, and for her extensive charitable work.'


title: Jann Arden

text: In 2020, Arden was named by the Canadian Academy of Recording Arts and Sciences as its 2020 inductee into the Canadian Music Hall of Fame; however, due to the cancellation of the Juno Awards of 2020 during the COVID-19 pandemic in Canada, she actually received her induction tribute at the Juno Awards of 2021.


title: Jann Arden

text: She won two Canadian Screen Awards at the 9th Canadian Screen Awards in 2021, for Best Host in a Talk Show or Entertainment News Show for her 2019 special "Jann Arden One Night Only", and Best Host of a Live Entertainment Event for her role as host of the 2019 Giller Prize ceremony.


title: Jann Arden

text: She has made a number of charity appearances, including appearances in Africa for World Vision, performing at Live 8 and the MAC Cosmetics Fashion Cares AIDS benefits. She also appeared in the opening segment of an episode from the sitcom "Ellen" starring Ellen DeGeneres, originally aired on January 8, 1997.


title: Jann Arden

text: She toured with Michael Bublé on the US and European legs of his 2005 tour, and again toured with him on his 2007 US tour.


title: Jann Arden

text: She was a judge on season three of Top Chef Canada, episode 13 entitled "Wild Rose Finale", where she was the judge in the elimination portion of the episode.


title: Jann Arden

text: At the 2006 Juno Awards, to counter host Pamela Anderson's on-stage appeal against Maritime seal hunting, Arden generated cheers and controversy when she joked that her bra was "made entirely of seal eyelids".


title: Jann Arden

text: "Run Like Mad" was originally recorded to be the international theme song for "Dawson's Creek", however it was only used for the first season. The song was used again on the DVD sets from seasons 3–6 when Paula Cole's "I Don't Want to Wait" became too expensive to license. Other songs including "Good Mother" and "You Don't Know Me" were also featured on the series.


title: Barfly (film)

text: Barfly is a 1987 American comedy-drama film directed by Barbet Schroeder and starring Mickey Rourke and Faye Dunaway. The film is a semi-autobiography of poet/author Charles Bukowski during the time he spent drinking heavily in Los Angeles, and it presents Bukowski's alter ego Henry Chinaski. The screenplay, written by Bukowski, was commissioned by the Iranian-born Swiss film director Barbet Schroeder, and it was published (with illustrations by the author) in 1984, when film production was still pending.


title: Barfly (film)

text: The Kino Flo light, now a ubiquitous tool in the film industry, was specially created by Robby Müller's electrical crew for the bathroom scene with Henry and Wanda, which would have been difficult to light using the conventional lampheads available at the time.


title: Barfly (film)

text: The film was "presented by" Francis Ford Coppola and features a cameo by Bukowski. It was entered into the 1987 Cannes Film Festival, where it competed for the Palme D'or.


title: Barfly (film)

text: Henry Chinaski is a destitute alcoholic who lives in a rundown apartment in Los Angeles and works menial jobs when he can find them. An intelligent man and keenly aware of his circumstance, he finds solace in expressing his feelings and perceptions of the world through writing poetry and short stories which he submits to magazines and papers for a few extra dollars.


title: Barfly (film)

text: Henry frequents a bar called The Golden Horn, where he drinks, hangs out with other down and out alcoholics, and gets into altercations with the tough guy bartender he hates, Eddie. One night, Henry gets into a fight with Eddie and loses. The next day, he delivers sandwiches to two patrons in the bar. Realizing he needs to eat before fighting (to gain energy) to win, he grabs the sandwich out of one of the patrons' hands and eats it, disgusting the patron and angering the bar owner, Jim, one of Henry's best friends. Jim tells Henry to go lie down in his apartment for a few hours. After an afternoon nap, Henry steals bread, bologna, and wine from another apartment to eat and drink in preparation to fight Eddie.


title: Barfly (film)

text: Henry returns to The Golden Horn later that evening, and antagonizes Eddie until he finally challenges him to another fight. Henry jumps over the bar and drinks beer out of the tap, infuriating Eddie. Jim puts a wager on Henry to beat Eddie. Henry wins the fight, and is then kicked out of the bar. Jim wins his bet, which he then gives to Henry so that he can buy a couple of drinks for the night.


title: Barfly (film)

text: Henry then staggers on to another establishment down the street called the Kenmore, where he continues his imbibement. There, he meets Wanda, a fellow alcoholic and a kept woman. Wanda is initially annoyed with Henry, telling him she "hates people," but is intrigued by his sarcastic and witty responses. The two buy liquor at a store across the street, and Wanda then steals corn from a cornfield, attracting the attention of the police. The two run to her apartment, evading them. Wanda boils the corn but discovers it is green and inedible, and then freaks out, saying that nothing in her life ever works out. Henry comforts her.


title: Barfly (film)

text: The next day, Henry sets out to get a job to finance their booze-soaked life together. Henry then takes Wanda back to The Golden Horn to meet Jim as well as to cash an income tax rebate he received working six months in a toy factory.


title: Barfly (film)

text: However, things become acrimonious between Henry and Wanda when Henry discovers that Wanda has slept with Eddie. After he chastises her for it, Wanda beats Henry with her purse, knocking him unconscious. Later, a detective following Henry sees him covered in blood and calls 911. Two paramedics arrive and are unfazed by Henry's being covered in blood, telling him not to waste their time. Wanda returns later, and the two apologize to one another. Later that night, Wanda claims to be dying in bed, seeing angels. Henry calls 911 and the same two paramedics arrive, much to his surprise, and they claim Wanda is just drunk and "too fat."


title: Barfly (film)

text: After Wanda leaves to look for a job the next morning, Henry is tracked down by Tully Sorenson, a wealthy female book publisher, who has been impressed with his writing and is interested in publishing some of his work. She finds him through the detective she has hired. Knowing Henry is destitute, Tully pays him an "advance" of $500. Henry then breaks into another apartment after hearing a man abusing his wife. After the man threatens to cut his wife's throat, he and Henry get into an altercation which results in the man being stabbed. Henry scrambles out of the apartment building and goes for a drive in L.A. with Tully. At one point, he rams a car where a man and woman are making out while the light is green. Tully tells him he was immature and reckless in his response. She then takes him back to her home where, after drinks, the two sleep together.


title: Barfly (film)

text: At first, Henry is impressed with the promise of wealth and security, including an endless supply of booze that working for Tully could provide. However, he begins to realize that he is uncomfortable being involved with Tully, romantically or professionally, because of class differences, telling her that she is "trapped in a cage with golden bars". Henry determines he must leave, that returning to his life of destitution and alcoholism is the only truth he knows.


title: Barfly (film)

text: After leaving Tully's house, Henry returns to his usual bar and to Wanda. Henry buys drinks for all of his "friends" at the bar. Eddie suspects Henry has no money and is itching for a fight, so he tells Henry that he owes him $40 for the drinks. To Eddie's surprise, Henry pays with some of the advance he received from Tully and sarcastically leaves a tip for Eddie, saying "Buy a drink on me." Tully heads out to see if she can change his mind, and finds him at the bar where a drunken, jealous Wanda proceeds to beat her up. When Henry does not intercede, Tully realizes that Henry does not care about her and does not want her help. So she leaves the bar and gives up on publishing his work, realizing that her pursuit of him was futile.


title: Barfly (film)

text: Eddie calls Henry out, and they go out behind the bar for another fight. As Henry and the other barflies follow Eddie out the door, the camera pans out to the front of the bar to the sound of punches and the crowd cheering the two men.


title: Barfly (film)

text: Charles Bukowski wanted Sean Penn to star as protagonist Henry Chinaski, but Penn insisted that Dennis Hopper direct the film.


title: Barfly (film)

text: Bukowski had written the screenplay for Barbet Schroeder, who had filmed him for French TV years before, but would not surrender the script to Hopper, whom he despised as a gold-chain-wearing Hollywood phony; Bukowski and Penn remained friends for the rest of Bukowski's life.


title: Barfly (film)

text: There is a scene where the camera tilts up over Faye Dunaway's legs. This glamour shot was done at her insistence and was not in the original screenplay.


title: Barfly (film)

text: The apartment building where Wanda's apartment is located was an actual building where Charles Bukowski and his lover Jane Cooney Baker, the real-life counterparts to Henry and Wanda, had lived. No one knew this until Bukowski, who was watching the filming, remembered.


title: Barfly (film)

text: The opening and closing song for the film is the 1967 instrumental "Hip Hug-Her" by Booker T. & the M.G.'s, released in their 1967 album.


title: Barfly (film)

text: Charles Bukowski had mixed reactions about the lead performance by Mickey Rourke. In an interview in the 2003 documentary film "Born into This", Bukowski says that Rourke "didn't get it right... He had it all kind of exaggerated, untrue. He was a little bit showoff about it. So, no, it was kind of misdone.” Yet the original 1987 press kit for the film included a letter by Bukowski apropos the film, titled "A Letter from a Fan", in which the writer stated "Part of my luck was the actor who played Henry Chinaski. Mickey Rourke stayed with the dialogue to the word and the sound intended. What surprised me was that he added another dimension to the character, in spirit. Mickey appeared to really love his role, and yet without exaggeration he added his own flavor, his zest, his madness, his gamble to Henry Chinaski without destroying the intent or the meaning of the character. To add spirit to spirit can be dangerous but not in the hands of a damned good actor. Without distorting, he added, and I was very pleased with the love and understanding he lent to the role of the BARFLY". Bukowski had confided to the film critic Roger Ebert, in an interview conducted on the set of the film, that he thought Rourke was "doing a good acting job. I didn't really expect him to be so good."


title: Barfly (film)

text: "Barfly" received positive reviews from critics, holding a 76% rating on Rotten Tomatoes, based on 25 reviews.


title: Impact play

text: Impact play is a human sexual practice in which one person is struck (usually repeatedly) by another person for the gratification of either or both parties which may or may not be sexual in nature. It is considered a form of BDSM.


title: Impact play

text: In erotic spanking the sub is struck on the buttocks either with the Dominant's open hand, or a rigid implement such as a paddle, cane or riding crop. In the latter case the activity is often referred to as "paddling", "caning" or "cropping".


title: Impact play

text: In erotic flagellation the sub is struck with a flexible implement such a whip or belt. Whips are classified by how many "falls" they have:


title: Impact play

text: For safety, impact play should be done on areas of the human body well protected by fat or muscle; spots to avoid include the kidneys, neck, tailbone, hipbones, the head and all joints. The usual targets for flagellation are the buttocks and the two areas of the upper back below the shoulder blades. With care, the thighs, the backs of the calves and the chest can be targets as well. Breasts are another potential (but high-risk) target, and should only be used with experience.


title: Impact play

text: The use of a whip means that the Dom must take great care to hit the intended target area, and avoid "wrapping"; when a whip or flogger makes contact with the target area somewhere up its length and the remaining length wraps around the sub's body to deliver a sharp, non-erotic, and possibly injurious off-target blow, such as to the hipbones or ribs. The longer the falls, the more skill is required by the Dom to land a safe blow. Advanced flogging techniques use a pair of floggers employed in a martial arts style alternating pattern, a technique commonly referred to as "florentining" or "florentine flogging."


title: Impact play

text: The sensations produced by impact play depend on the area in which the impact is concentrated. Wide implements such as an open hand, paddle or flogger produce a dull "thuddy" sensation. Narrow implements such as a cane, riding crop, belt or single tail produce a sharp "stingy" sensation.


title: Impact play

text: A slapper or smacker may also be used. This consists of a broad (3 to 4 inch wide) semi flexible leather paddle with rounded and tapered edges, designed to minimize the severity of tip strike.


title: Impact play

text: One of the earliest depictions of erotic flagellation is found in the Etruscan Tomb of the Whipping from the fifth century BC, named after its depictions of eroticized flagellation. Another reference related to flagellation is to be found in the sixth book of the "Satires" of the ancient Roman Poet Juvenal (1st–2nd century A.D.) further reference can be found in Petronius's "Satyricon" where a delinquent is whipped for sexual arousal.