title: Amphoterism

text: Another possibility is the molecular autoionization reaction between two water molecules, in which one water molecule acts as an acid and another as a base.


title: Amphoterism

text: Note: in dilute aqueous solution the formation of the hydronium ion, , is effectively complete, so that hydration of the proton can be ignored in relation to the equilibria.


title: Amphoterism

text: Other examples of inorganic polyprotic acids include anions of sulfuric acid, phosphoric acid, EDTA, and hydrogen sulfide that have lost one or more protons. In organic chemistry and biochemistry, important examples include amino acids and derivatives of citric acid.


title: Amphoterism

text: Although an amphiprotic species must be amphoteric, the converse is not true. For example, a metal oxide such as zinc oxide, ZnO, contains no hydrogen and so cannot donate a proton. Nevertheless, it can act as an acid by reacting with the hydroxide ion, a base:


title: Amphoterism

text: This reaction is not covered by the Brønsted–Lowry acid–base theory. Because zinc oxide can also act as a base:


title: Amphoterism

text: This reactivity can be used to separate different cations, for instance zinc(II), which dissolves in base, from manganese(II), which does not dissolve in base.


title: Amphoterism

text: Some other elements which form amphoteric oxides are gallium, indium, scandium, titanium, zirconium, chromium, iron, cobalt, copper, silver, gold, germanium, antimony, bismuth, beryllium, and tellurium.


title: Infidels (Bob Dylan album)

text: Infidels is the 22nd studio album by American singer-songwriter Bob Dylan, released on October 27, 1983 by Columbia Records.


title: Infidels (Bob Dylan album)

text: Produced by Mark Knopfler and Dylan himself, "Infidels" is seen as his return to secular music, following a conversion to Christianity, three evangelical records and a subsequent return to a less religious lifestyle. Though he has never entirely abandoned religious imagery, "Infidels" gained much attention for its focus on more personal themes of love and loss, in addition to commentary on the environment and geopolitics. Christopher Connelly of "Rolling Stone" called those gospel albums just prior to "Infidels" "lifeless", and saw "Infidels" as making Bob Dylan's career viable again. According to Connelly, at the time of its release, "Infidels" was considered to be Dylan's best poetic and melodic work since "Blood on the Tracks".


title: Infidels (Bob Dylan album)

text: The critical reaction was the strongest for Dylan in years, almost universally hailed for its songwriting and performances. The album also fared well commercially, reaching in the US and going gold, and in the UK. Fans and critics were disappointed that several songs were inexplicably cut from the album just prior to mastering—primarily "Blind Willie McTell", considered a career highlight by many critics, and not officially released until it appeared on "The Bootleg Series Volume III" eight years later. The album was recorded and mixed entirely on digital recording equipment.


title: Infidels (Bob Dylan album)

text: "Infidels" was produced by Mark Knopfler, best known as the frontman of the band Dire Straits, and who had previously played guitar on Dylan's Slow Train Coming. Dylan initially wanted to produce the album himself, but feeling that technology had passed him by, he approached a number of contemporary artists who were more at home in a modern recording studio. David Bowie, Frank Zappa and Elvis Costello were all approached before Dylan hired Knopfler.


title: Infidels (Bob Dylan album)

text: Knopfler later admitted it was difficult to produce Dylan. "You see people working in different ways, and it's good for you. You have to learn to adapt to the way different people work. Yes, it was strange at times with Bob. One of the great parts about production is that it demonstrates to you that you have to be flexible. Each song has its own secret that's different from another song, and each has its own life. Sometimes it has to be teased out, whereas other times it might come fast. There are no laws about songwriting or producing. It depends on what you're doing, not just who you're doing. You have to be sensitive and flexible, and it's fun. I'd say I was more disciplined. But I think Bob is much more disciplined as a writer of lyrics, as a poet. He's an absolute genius. As a singer—absolute genius. But musically, I think it’s a lot more basic. The music just tends to be a vehicle for that poetry."


title: Infidels (Bob Dylan album)

text: Once Knopfler was aboard, the two quickly assembled a team of accomplished musicians. Knopfler's own guitar playing was paired with that of Mick Taylor, a former lead guitarist of the Rolling Stones. Having been introduced to Taylor the previous summer, Dylan had developed a friendship with him that resulted in the guitarist hearing the "Infidels" material first during the months leading up to the April sessions. In addition, the sessions benefited as well from Taylor's ability as a slide guitarist.


title: Infidels (Bob Dylan album)

text: Knopfler said about the instrument he plays on "Infidels": "I still haven't got a flat-top wooden acoustic, because I've never found one that was as good as the two best flat tops I ever played. One … was a hand-built Greco that Rudy Pensa of Rudy's Music Stop lent me. I used … the Greco on "Infidels"."


title: Infidels (Bob Dylan album)

text: Knopfler suggested Alan Clark for keyboards as well as engineer Neil Dorfsman, both of whom were hired. According to Knopfler, it was Dylan's idea to recruit Robbie Shakespeare and Sly Dunbar as the rhythm section. Best known as Sly & Robbie, Shakespeare and Dunbar were famed reggae producers as well as recording artists signed to Island Records.


title: Infidels (Bob Dylan album)

text: "Bob's musical ability is limited, in terms of being able to play a guitar or a piano," said Knopfler. "It's rudimentary, but it doesn't affect his variety, his sense of melody, his singing. It's all there. In fact, some of the things he plays on piano while he's singing are lovely, even though they're rudimentary. That all demonstrates the fact that you don't have to be a great technician. It's the same old story: If something is played with soul, that's what's important."


title: Infidels (Bob Dylan album)

text: Beginning with "Infidels", Dylan ceased to preach a specific religion, revealing little about his personal religious beliefs in his lyrics. In 1997, after recovering from a serious heart condition, Dylan said in an interview for "Newsweek", "Here's the thing with me and the religious thing. This is the flat-out truth: I find the religiosity and philosophy in the music. I don't find it anywhere else … I don't adhere to rabbis, preachers, evangelists, all of that. I've learned more from the songs than I've learned from any of this kind of entity."


title: Infidels (Bob Dylan album)

text: Though "Infidels" is often cited as a return to secular work (following a trio of albums heavily influenced by born-again Christianity), many of the songs recorded during the "Infidels" sessions retain Dylan's penchant for biblical references and religious imagery. An example of this is the opening track, "Jokerman". Along with biblical references, the song's lyrics reference populists who are overly concerned with the superficial ("Michelangelo indeed could've carved out your features") and more about action than thinking through the complexities ("fools rush in where angels fear to tread"). A number of critics have called "Jokerman" a sly political protest, addressed to an antichrist-like figure, a "manipulator of crowds … a dream twister".


title: Infidels (Bob Dylan album)

text: The second track, "Sweetheart Like You", is sung to a fictitious woman. Oliver Trager's book "Keys to the Rain: The Definitive Bob Dylan Encyclopedia" mentions that some have criticized this song as sexist. Indeed, music critic Tim Riley makes that accusation in his book "Hard Rain: A Dylan Commentary", singling out lyrics like "a woman like you should be at home/That's where you belong/Taking care of somebody nice/Who don't know how to do you wrong." However, Trager also cites other interpretations that dispute this claim. Some have argued that "Sweetheart Like You" is being sung to the Christian church ("what's a sweetheart like you doing in a dump like this?"), claiming that Dylan is mourning the church's deviation from scriptural truth. The song was later covered by Rod Stewart on his 1995 album "A Spanner in the Works" and translated and sung by the Italian songwriter Francesco De Gregori in his 2015 album "De Gregori sings Bob Dylan".


title: Infidels (Bob Dylan album)

text: The song "Neighborhood Bully" is a song from the point of view of someone using sarcasm to defend Israel's right to exist; the title bemoans Israel's and the Jewish people's historic treatment in the popular press. Events in the history of the State of Israel are referenced, such as the Six-Day War and Operation Opera, Israel's bombing of the Osirak nuclear reactor near Baghdad on June 7, 1981, or previous bomb making sites bombed by Israeli soldiers. Events in the history of the Israelites as a whole are mentioned, such as being enslaved by Rome (commemorated on the Arch of Titus, and extensively in the Jewish Talmud), Egypt (remembered on the Jewish holiday Passover, and in the Book of Exodus) and Babylon (commemorated on the Jewish holiday Tisha B'Av and the Book of Lamentations). Events in modern Jewish secular history are noted as well, such as the ridiculing of holy books by anti-semitic groups like the Nazis and the Soviet Union, and Jews' historic role in the advancement of medicine ("took sickness and disease and turned them into health"). Historic restrictions on Jewish commerce are mentioned as well. In 1983, Dylan visited Israel again, but for the first time allowed himself to be photographed there, including a shot at Jerusalem's open-air synagogue wearing a yarmulkah and Jewish phylacteries, and tallith. Dylan made some comments on the song in a 1984 interview with "Rolling Stone". In 2001, the "Jerusalem Post" described the song as "a favorite among Dylan-loving residents of the territories". Israeli singer Ariel Zilber covered "Neighborhood Bully" in 2005 in a version translated to Hebrew.


title: Infidels (Bob Dylan album)

text: A few critics like Robert Christgau and Bill Wyman claimed that "Infidels" betrayed a strong, strange dislike for space travel, and that it can be heard on the first few lines of "License to Kill". ("Man has invented his doom/First step was touching the moon.") A harsh indictment accusing mankind of imperialism and a predilection for violence, the song deals specifically with humanity's relationship to the environment, either on a political scale or a scientific one, beginning with the first line: "Man thinks because he rules the Earth/He can do with it as he please." A skeptical opinion toward the American space program was shared among evangelicals of Dylan's generation.


title: Infidels (Bob Dylan album)

text: "Man of Peace" is the fifth track, and deals with the concept that Satan, or evil generally, may disguise himself to mislead humanity.


title: Infidels (Bob Dylan album)

text: "Union Sundown" is a political protest song against imported consumer goods and offshoring. In the song, Dylan examines the subject from several different angles, discussing the greed and power of unions and corporations ("You know capitalism is above the law/It don't count unless it sells/When it costs too much to build it at home you just build it cheaper someplace else...Democracy don't rule this world/You better get that through your head/This world is ruled by violence/Though I guess that's better left unsaid"), the hypocrisy of Americans who complain about the lack of American jobs while not paying more for American-made products ("Lots of people complainin' that there is no work/I say, 'Why you say that for? When nothin' you got is U.S.-made? They don't make nothin' here no more"), the collaboration of the unions themselves ("The unions are big business, friend/And they’re goin’ out like a dinosaur"), and the desperate conditions of the foreign workers who make the goods ("All the furniture, it says “Made in Brazil”/Where a woman, she slaved for sure/Bringin’ home thirty cents a day to a family of twelve/You know, that's a lot of money to her...And a man's going to do what he has to do/When he's got a hungry mouth to feed").


title: Infidels (Bob Dylan album)

text: "I and I", according to author/critic Tim Riley, "updates the Dylan mythos. Even though it substitutes self-pity for the [pessimism found throughout "Infidels"], you can't ignore it as a Dylan spyglass: 'Someone else is speakin' with my mouth, but I'm listening only to my heart/I've made shoes for everyone, even you, while I still go barefoot.'" Riley sees the song as an exploration of the distance between Dylan's "inner identity and the public face he wears".


title: Infidels (Bob Dylan album)

text: "Infidels"' closer, "Don't Fall Apart on Me Tonight", stands out on the album as a pure love song. On past albums like "John Wesley Harding" and "Nashville Skyline", Dylan closed with love songs sung to the narrator's partner, and that tradition is continued with "Don't Fall Apart On Me Tonight", with a chorus that asks "Don't fall apart on me tonight/I just don't think that I could handle it/Don't fall apart on me tonight/Yesterday's just a memory/Tomorrow is never what it's supposed to be/And I need you, yeah, you tonight."


title: Infidels (Bob Dylan album)

text: While Dylan was known to be prolific and had numerous outtakes for most of his albums, "Infidels" in particular garnered considerable controversy over the years regarding its final selection of songs. By June 1983, Dylan and Knopfler had set a preliminary sequence of nine songs, including two songs that were ultimately omitted: "Foot of Pride" and "Blind Willie McTell". Other notable outtakes like "Someone's Got a Hold of My Heart" (later re-written and re-recorded for "Empire Burlesque" as "Tight Connection to My Heart (Has Anybody Seen My Love)") were recorded during these sessions, but only "Foot of Pride" and "Blind Willie McTell" received serious consideration for possible inclusion.


title: Infidels (Bob Dylan album)

text: "Blind Willie McTell" is perhaps the most heatedly discussed outtake in Dylan's catalog. "On the surface, 'Blind Willie McTell' is about the landscape of the blues," writes Tim Riley, "and the figures Dylan pays respects to on his 1962 debut. But it's also about the landscape of pop, and how an aging persona like Dylan might feel as he casts his experienced gaze over the road he's walked. Always skeptical about the quality of his own voice, he didn't release 'Blind Willie McTell' at first because he didn't feel his tribute lived up to its sources. The irony here is that his own insecurity about living up to his imagined blues ideal becomes a subject in itself. 'Nobody sings the blues like Blind Willie McTell' becomes a way of saying how Dylan feels displaced not just by the industry … but by the music he calls home." Clinton Heylin gives "Blind Willie McTell" a more ambitious interpretation, describing it as "the world's eulogy, sung by an old bluesman recast as St. John the Divine".


title: Infidels (Bob Dylan album)

text: Both "Foot of Pride" and "Blind Willie McTell" were dropped from consideration soon after Mark Knopfler ended his involvement with the album. In later years, Knopfler claimed that ""Infidels" would have been a better record if I had mixed the thing, but I had to go on tour in Germany, and then Bob had a weird thing with CBS, where he had to deliver records to them at a certain time and I was away in Europe … Some of ["Infidels"] is like listening to roughs. Maybe Bob thought I'd rushed things because I was in a hurry to leave, but I offered to finish it after our tour. Instead, he got the engineer to do the final mix."


title: Infidels (Bob Dylan album)

text: Dylan spent roughly a month on remixing and overdubbing, holding a number of sessions in June re-recording vocal tracks using newly rewritten lyrics. During this time, he decided to cast aside "Foot of Pride" and "Blind Willie McTell", replacing them with "Union Sundown".


title: Infidels (Bob Dylan album)

text: As with most Dylan albums, outtakes and rough mixes from "Infidels" were eventually bootlegged. This is a partial listing of known outtakes. All titles in parentheses are "working titles".


title: Infidels (Bob Dylan album)

text: Also, alternate versions of every song on "Infidels" are in circulation as well. None of these alternate takes has been commercially released.


title: Infidels (Bob Dylan album)

text: While "Infidels" was better received than its predecessor, "Shot of Love", Graham Lock of "New Musical Express" still referred to Dylan as "culturally a spent force … a confused man trying to rekindle old fires." "Rolling Stone" and "The Village Voice" critic Robert Christgau was not impressed either, writing that Dylan had "turned into a hateful crackpot". Greil Marcus dismissed it many years later as another "bad [album] that made no sense, didn't hang together, had no point, and did not need to exist".


title: Infidels (Bob Dylan album)

text: But even some of the skeptics found some merit in "Infidels". In the same review, Christgau wrote, "All the wonted care Dylan has put into this album shows." Indeed, critics were unanimous in praising the overall sound, "one case where the streamlined production doesn't seem to work against the rugged authority he can still command as a singer," wrote Tim Riley. Music critic Bill Wyman conceded that "the songs are mature and complex" even though "melodically they are similar sounding and the affair as a whole still has echoes of his crackpot Christian days."


title: Infidels (Bob Dylan album)

text: "Infidels" would place tenth on "The Village Voice"'s Pazz & Jop Critics Poll for 1983, Dylan's highest placement since 1975 when "The Basement Tapes" placed #1 and "Blood on the Tracks" placed #4. Years later, when outtakes like "Someone's Got a Hold of My Heart", "Blind Willie McTell" and "Foot of Pride" began to circulate, the album's stature would in some ways grow, becoming a missed opportunity at a potential masterpiece to some critics like Rob Bowman and Clinton Heylin.


title: Infidels (Bob Dylan album)

text: Without a tour in 1983, "Infidels" still generated modest sales, selling consistently through the Christmas shopping season. CBS even produced a music video for "Sweetheart Like You", Dylan's first in the MTV era. Steve Ripley from Dylan's "Shot of Love" band was one of the guitarists in the video. The female guitar player featured who mimed Mick Taylor's guitar solo is Carla Olson. This appearance led to her recording a live album with Taylor as well as numerous studio sessions with him. And Dylan gave her the unreleased song "Clean Cut Kid" for her debut album "Midnight Mission" (A&M Records). "Sweetheart Like You" was followed by a second video for "Jokerman", which CBS issued as a single in February 1984.


title: Infidels (Bob Dylan album)

text: Dylan spent the fall of 1983 recording demos and various songs at his home in Malibu, California. Rather than work alone, Dylan brought in a number of young musicians, including Charlie Sexton, drummer Charlie Quintana and guitarist JJ Holiday. As Heylin notes, "this was Dylan's first real dalliance with third-generation American rock & rollers." These informal sessions set the stage for Dylan's first public performances since 1982.


title: Infidels (Bob Dylan album)

text: Dylan appeared on "Late Night with David Letterman" on March 22, 1984. He performed with Quintana, Holiday (introduced by Letterman as "Justin Jesting"), and bassist Tony Marsico. Performing three songs with his band of post-punk musicians, the Plugz, Dylan delivered what many consider to be his most entertaining television performance ever. The combo first performed an unrehearsed version of Sonny Boy Williamson's "Don't Start Me to Talking", then a radically different arrangement of "License To Kill". The final song was a peppy, somewhat new-wave version of "Jokerman" that ended with a harmonica solo. At the end of the performance, Letterman walked onstage and congratulated Dylan, asking him if he could come back and play every Thursday. Dylan smiled and jokingly agreed.


title: Infidels (Bob Dylan album)

text: In 2020, Daniel Romano's Outfit released an album, "Daniel Romano's Outfit Do (What Could Have Been) Infidels By Bob Dylan & the Plugz," that covered "Infidels" in its entirety in the style of Dylan's performance on "Letterman" with The Plugz.


title: Neon lighting

text: Neon lighting consists of brightly glowing, electrified glass tubes or bulbs that contain rarefied neon or other gases. Neon lights are a type of cold cathode gas-discharge light. A neon tube is a sealed glass tube with a metal electrode at each end, filled with one of a number of gases at low pressure. A high potential of several thousand volts applied to the electrodes ionizes the gas in the tube, causing it to emit colored light. The color of the light depends on the gas in the tube. Neon lights were named for neon, a noble gas which gives off a popular orange light, but other gases and chemicals are used to produce other colors, such as hydrogen (red), helium (yellow), carbon dioxide (white), and mercury (blue). Neon tubes can be fabricated in curving artistic shapes, to form letters or pictures. They are mainly used to make dramatic, multicolored glowing signage for advertising, called neon signs, which were popular from the 1920s to 1960s and again in the 1980s.


title: Neon lighting

text: The term can also refer to the miniature neon glow lamp, developed in 1917, about seven years after neon tube lighting. While neon tube lights are typically meters long, the neon lamps can be less than one centimeter in length and glow much more dimly than the tube lights. They are still in use as small indicator lights. Through the 1970s, neon glow lamps were widely used for numerical displays in electronics, for small decorative lamps, and as signal processing devices in circuitry. While these lamps are now antiques, the technology of the neon glow lamp developed into contemporary plasma displays and televisions.


title: Neon lighting

text: Neon was discovered in 1898 by the British scientists William Ramsay and Morris W. Travers. After obtaining pure neon from the atmosphere, they explored its properties using an "electrical gas-discharge" tube that was similar to the tubes used for neon signs today. Georges Claude, a French engineer and inventor, presented neon tube lighting in essentially its modern form at the Paris Motor Show, December 3–18, 1910. Claude, sometimes called "the Edison of France", had a near monopoly on the new technology, which became very popular for signage and displays in the period 1920-1940. Neon lighting was an important cultural phenomenon in the United States in that era; by 1940, the downtowns of nearly every city in the US were bright with neon signage, and Times Square in New York City was known worldwide for its neon extravagances. There were 2,000 shops nationwide designing and fabricating neon signs. The popularity, intricacy, and scale of neon signage for advertising declined in the U.S. following the Second World War (1939–1945), but development continued vigorously in Japan, Iran, and some other countries. In recent decades architects and artists, in addition to sign designers, have again adopted neon tube lighting as a component in their works.


title: Neon lighting

text: Neon lighting is closely related to fluorescent lighting, which developed about 25 years after neon tube lighting. In fluorescent lights, the light emitted by rarefied gases within a tube is used exclusively to excite fluorescent materials that coat the tube, which then shine with their own colors that become the tube's visible, usually white, glow. Fluorescent coatings and glasses are also an option for neon tube lighting, but are usually selected to obtain bright colors.


title: Neon lighting

text: Neon is a noble gas chemical element and an inert gas that is a minor component of the Earth's atmosphere. It was discovered in 1898 by the British scientists William Ramsay and Morris W. Travers. When Ramsay and Travers had succeeded in obtaining pure neon from the atmosphere, they explored its properties using an "electrical gas-discharge" tube that was similar to the tubes used today for neon signs. Travers later wrote, "the blaze of crimson light from the tube told its own story and was a sight to dwell upon and never forget." The procedure of examining the colors of the light emitted from gas-discharge (or "Geissler" tubes) was well known at the time, since the colors of light (the "spectral lines") emitted by a gas discharge tube are, essentially, fingerprints that identify the gases inside.


title: Neon lighting

text: Immediately following neon's discovery, neon tubes were used as scientific instruments and novelties. However, the scarcity of purified neon gas precluded its prompt application for electrical gas-discharge lighting along the lines of Moore tubes, which used more common nitrogen or carbon dioxide as the working gas, and enjoyed some commercial success in the US in the early 1900s. After 1902, Georges Claude's company in France, Air Liquide, began producing industrial quantities of neon as a byproduct of the air liquefaction business. From December 3 to 18, 1910, Claude demonstrated two large ( long), bright red neon tubes at the Paris Motor Show.


title: Neon lighting

text: These neon tubes were essentially in their contemporary form. The outer diameters for the glass tubing used in neon lighting ranges from 9 to 25 mm; with standard electrical equipment, the tubes can be as long as . The pressure of the gas inside ranges from 3 to 20 Torr (0.4–3 kPa), which corresponds to a partial vacuum in the tubing. Claude had also solved two technical problems that substantially shortened the working life of neon and some other gas discharge tubes, and effectively gave birth to a neon lighting industry. In 1915, a US patent was issued to Claude covering the design of the electrodes for gas-discharge lighting; this patent became the basis for the monopoly held in the US by his company, Claude Neon Lights, for neon signs through the early 1930s.


title: Neon lighting

text: Claude's patents envisioned the use of gases such as argon and mercury vapor to create different colors beyond those produced by neon. For instance, mixing metallic mercury with neon gas creates blue. Green can then be achieved using uranium (yellow) glass. White and gold can also be created by adding argon and helium. In the 1920s, fluorescent glasses and coatings were developed to further expand the range of colors and effects for tubes with argon gas or argon-neon mixtures; generally, the fluorescent coatings are used with an argon/mercury-vapor mixture, which emits ultraviolet light that activates the fluorescent coatings. By the 1930s, the colors from combinations of neon tube lights had become satisfactory for some general interior lighting applications, and achieved some success in Europe, but not in the US. Since the 1950s, the development of phosphors for color televisions has created nearly 100 new colors for neon tube lighting.


title: Neon lighting

text: Around 1917, Daniel McFarlan Moore, then working at the General Electric Company, developed the miniature neon lamp. The glow lamp has a very different design than the much larger neon tubes used for signage; the difference was sufficient that a separate US patent was issued for the lamp in 1919. A Smithsonian Institution website notes, "These small, low power devices use a physical principle called 'coronal discharge'." Moore mounted two electrodes close together in a bulb and added neon or argon gas. The electrodes would glow brightly in red or blue, depending on the gas, and the lamps lasted for years. Since the electrodes could take almost any shape imaginable, a popular application has been fanciful decorative lamps. Glow lamps found practical use as electronic components, and as indicators in instrument panels and in many home appliances until the acceptance of light-emitting diodes (LEDs) starting in the 1970s."


title: Neon lighting

text: Although some neon lamps themselves are now antiques, and their use in electronics has declined markedly, the technology has continued to develop in artistic and entertainment contexts. Neon lighting technology has been reshaped from long tubes into thin flat panels used for plasma displays and plasma television sets.


title: Neon lighting

text: When Georges Claude demonstrated an impressive, practical form of neon tube lighting in 1910, he apparently envisioned that it would be used as a form of lighting, which had been the application of the earlier Moore tubes that were based on nitrogen and carbon dioxide discharges. Claude's 1910 demonstration of neon lighting at the "Grand Palais" (Grand Palace) in Paris lit a peristyle of this large exhibition space. Claude's associate, Jacques Fonseque, realized the possibilities for a business based on signage and advertising. By 1913 a large sign for the vermouth Cinzano illuminated the night sky in Paris, and by 1919 the entrance to the Paris Opera was adorned with neon tube lighting.


title: Neon lighting

text: Neon signage was received with particular enthusiasm in the United States. In 1923, Earle C. Anthony purchased two neon signs from Claude for his Packard car dealership in Los Angeles, California; these literally stopped traffic. Claude's US patents had secured him a monopoly on neon signage, and following Anthony's success with neon signs, many companies arranged franchises with Claude to manufacture neon signs. In many cases companies were given exclusive licenses for the production of neon signs in a given geographical area; by 1931, the value of the neon sign business was $16.9 million, of which a significant percentage was paid to Claude Neon Lights, Inc. by the franchising arrangements. Claude's principal patent expired in 1932, which led to a great expansion in the production of neon signage. The industry's sales in 1939 were about $22.0 million; the expansion in volume from 1931 to 1939 was much larger than the ratio of sales in the two years suggests.


title: Neon lighting

text: Rudi Stern has written, "The 1930s were years of great creativity for neon, a period when many design and animation techniques were developed. ... Men like O. J. Gude and, in particular, Douglas Leigh took neon advertising further than Georges Claude and his associates had ever envisioned. Leigh, who conceived and created the archetypal Times Square spectacular, experimented with displays that incorporated smells, fog, and sounds as part of their total effect. ... Much of the visual excitement of Times Square in the thirties was a result of Leigh's genius as a kinetic and luminal artist." Major cities throughout the United States and in several other countries also had elaborate displays of neon signs. Events such as the Chicago Century of Progress Exposition (1933–34), the Paris World's Fair (1937) and New York World's Fair (1939) were remarkable for their extensive use of neon tubes as architectural features. Stern has argued that the creation of "glorious" neon displays for movie theaters led to an association of the two, "One's joy in going to the movies became inseparably associated with neon."


title: Neon lighting

text: The Second World War (1939–1945) arrested new sign installations around most of the world. Following the war, the industry resumed. Marcus Thielen writes of this era, "...after World War II, government programs were established to help re-educate soldiers. The Egani Institute (New York City) was one of few schools in the country that taught neon-trade secrets. The American streamlined design from the 1950s would be unimaginable without the use of neon." The development of Las Vegas, Nevada as a resort city is inextricably linked with neon signage; Tom Wolfe wrote in 1965, "Las Vegas is the only city in the world whose skyline is made neither of buildings, like New York, nor of trees, like Wilbraham, Massachusetts, but signs. One can look at Las Vegas from a mile away on route 91 and see no buildings, no trees, only signs. But such signs! They tower. They revolve, they oscillate, they soar in shapes before which the existing vocabulary of art history is helpless."


title: Neon lighting

text: Overall, however, neon displays became less fashionable, and some cities discouraged their construction with ordinances. Nelson Algren titled his 1947 collection of short stories "The Neon Wilderness" (as a synonym of "urban jungle" for Chicago). Margalit Fox has written, "... after World War II, as neon signs were replaced increasingly by fluorescent-lighted plastic, the art of bending colored tubes into sinuous, gas-filled forms began to wane." A dark age persisted at least through the 1970s, when artists adopted neon with enthusiasm; in 1979 Rudi Stern published his manifesto, "Let There Be Neon". Marcus Thielen wrote in 2005, on the 90th anniversary of the US patent issued to Georges Claude, "The demand for the use of neon and cold cathode in architectural applications is growing, and the introduction of new techniques like fiber optics and LED—into the sign market have strengthened, rather than replaced, neon technology. The evolution of the 'waste' product neon tube remains incomplete 90 years after the patent was filed."


title: Neon lighting

text: In neon glow lamps, the luminous region of the gas is a thin, "negative glow" region immediately adjacent to a negatively charged electrode (or "cathode"); the positively charged electrode ("anode") is quite close to the cathode. These features distinguish glow lamps from the much longer and brighter "positive column" luminous regions in neon tube lighting. The energy dissipation in the lamps when they are glowing is very low (about 0.1 W), hence the distinguishing term cold-cathode lighting.


title: Neon lighting

text: The small size of the negative glow region of a neon lamp, and the flexible electronic properties that were exploited in electronic circuits, led to the adoption of this technology for the earliest plasma panel displays. The first monochrome dot-matrix plasma panel displays were developed in 1964 at the University of Illinois for the PLATO educational computing system. They had the characteristic color of the neon lamp; their inventors, Donald L. Bitzer, H. Gene Slottow, and Robert H. Wilson, had achieved a working computer display that remembered its own state, and did not require constant refreshing from the central computer system. The relationship between these early monochrome displays and contemporary, color plasma displays and televisions was described by Larry F. Weber in 2006, "All plasma TVs on the market today have the same features that were demonstrated in the first plasma display which was a device with only a single cell. These features include alternating sustain voltage, dielectric layer, wall charge, and a neon-based gas mixture." As in colored neon lamps, plasma displays use a gas mixture that emits ultraviolet light. Each pixel has a phosphor that emits one of the display's base colors.


title: Neon lighting

text: The mid to late 1980s was a period of resurgence in neon production. Sign companies developed a new type of signage called channel lettering, in which individual letters were fashioned from sheet metal.


title: Neon lighting

text: While the market for neon lighting in outdoor advertising signage has declined since the mid twentieth century, in recent decades neon lighting has been used consciously in art, both in individual objects and integrated into architecture. Frank Popper traces the use of neon lighting as the principal element in artworks to Gyula Košice's late 1940s work in Argentina. Among the later artists whom Popper notes in a brief history of neon lighting in art are Stephen Antonakos, the conceptual artists Billy Apple, Joseph Kosuth, Bruce Nauman, Martial Raysse, Chryssa, Piotr Kowalski, Maurizio Nannucci and François Morellet in addition to Lucio Fontana or Mario Merz.


title: Neon lighting

text: Several museums in the United States are now devoted to neon lighting and art, including the Museum of Neon Art (founded by neon artist Lili Lakich, Los Angeles, 1981), the Neon Museum (Las Vegas, founded 1996), the American Sign Museum (Cincinnati, founded 1999). These museums restore and display historical signage that was originally designed as advertising, in addition to presenting exhibits of neon art. Several books of photographs have also been published to draw attention to neon lighting as art. In 1994, Christian Schiess has published an anthology of photographs and interviews devoted to fifteen "light artists".


title: Love Goes

text: Love Goes is the third studio album by English singer and songwriter Sam Smith. It was released on 30 October 2020 through Capitol Records. The album serves as a follow up to Smith's second studio album "The Thrill of It All" (2017). The album was originally planned to be titled "To Die For" and was due for release on May 1, 2020 but was delayed amid the COVID-19 pandemic. Smith also felt it was insensitive to use the word "die" due to what many people were going through. The album won a GLAAD Media Award in the Outstanding Music Artist category in April 2021.


title: Love Goes

text: In an interview with Zach Sang in October 2019, Smith confirmed that their third album would be released in 2020, and said it would feature "fewer ballads and plenty of poppier tracks" than their previous albums, which they called an "acoustic-y, soulful version of pop music". Smith went on to explain that the reception to their recent songs had "almost given me permission to kinda do what I've always dreamed of doing but I was always scared to do, which is pop music." Smith described the album as their "first proper heartbreak album". In an interview with Apple Music's Zane Lowe, Smith said


title: Love Goes

text: Smith opened a pop-up store in Soho, London named after the album in February 2020 before the release of the single "To Die For".


title: Love Goes

text: On 15 July 2021, the title track of the album was featured in the final episode of season 2 of the Netflix series "Never Have I Ever".


title: Love Goes

text: Originally planned to be titled "To Die For", Smith's third album was due to be released on 1 May 2020, but was then pushed back to 5 June 2020. By the end of March, Smith had confirmed that they had decided to delay the album till later in the year amid the COVID-19 pandemic. On their social media account, they posted the following message: "I have done a lot of thinking the last few weeks and feel that the title of my album and imminent release doesn't feel right ... I have to come to the decision to continue working on the album and make some important changes and additions. I will be renaming the album and pushing back the release date—both of which are to be confirmed at this time".


title: Love Goes

text: On Friday 17 April, Smith explained the reasons for changing the album during an interview with Zoe Ball on BBC Radio 2, stating that the "album had the word 'die' in the title, which I just felt really uncomfortable with, with what's happening [coronavirus] and it's so important for me to be sensitive to my fans and to people listening to my music. This has been a really sad and awful time for us, so I've changed the album title, I'm going to change the album cover." The original cover art depicted Smith facing head-on with hands all around them. The hands on the album cover belong to Smith's "chosen family", Shea Diamond, Alok Menon, Jeff Hova, and Madison Phillips. Upon postponing the album, Smith announced that a new cover art would be produced.


title: Love Goes

text: Before its delay, Smith had released a number of singles in promotion of the album. "Promises" with Calvin Harris, "Fire on Fire" from the miniseries "Watership Down", "Dancing with a Stranger" with Normani, "How Do You Sleep?", "I Feel Love" (Smith's cover of Donna Summer's 1977 single), "To Die For", and "I'm Ready" with Demi Lovato were all included on the album's original preorder, but are now all included as bonus tracks on the album, with the exception of "I Feel Love".


title: Love Goes

text: "My Oasis" featuring Burna Boy was released as the lead single from the album on 30 July 2020, followed by the second single "Diamonds" on 18 September 2020. With the release of the album, the music video for "Kids Again" was released. It serves as the third single.


title: Love Goes

text: On Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, "Love Goes" received an average score of 64 based on 13 reviews, indicating "generally favorable reviews". Alexis Petridis's review for "The Guardian" described "Love Goes" as a "heartbreak album [that] plays it safe in hard times", noting that "Smith attempts to mix despair with euphoria on an album that delivers plenty of gloom but not much glitter". In terms of production, Petridis said the album did differ from Smith's previous work in that it swapped "retro-soul afflictions" for "misty pop-facing electronics, gentle tropical house shadings and Auto-Tuned backing vocals". Robin Murray of "Clash" awarded the album six out of ten, calling it "a tale of heartbreak that could benefit from focus", noting that the track listing contained 17 songs and although there were some "exemplary pop moments", "it struggles to maintain momentum". Similarly, "The Independent"s Fiona Sturges referred to "Love Goes" as one of the "reasonable break-up albums you're likely to hear" and that you would "long for it to land a few punches". Elsewhere in the review, Sturges said "For the most part, the mood here is pensive, the ballads plentiful and the pace glacial, with little evidence of the wild abandon that the singer supposedly longs for. It's to Smith's credit, but also their undoing, that they are just too damned nice." In her review for "NME", Ilana Kaplan said that although Smith said the album would have "fewer ballads and plenty of poppier tracks", "at its core its Smith's knack for sap and soul – and their singular, chilling vocals – that forms the base of the record. When it comes to songwriting, Smith oscillates towards what they know."


title: Love Goes

text: In writing a review for "The New York Times", Jon Pareles was more complimentary, focussing on Smith's voice, calling it "a prodigious instrument: a pearly, androgynous croon, at once powerful and defenseless." Noting Smith's work with familiar collaborators (Jimmy Napes, Guy Lawrence and Stargate, amongst others), Pareles said "they built neatly structured, immediately legible pop tracks that open up arena-sized reverberations and sometimes beckon toward the dance floor. Many of Smith's new songs also stir in a strong new emotion: the resentment of a lover betrayed. The bile and the beat cut through the self-pity, though it wouldn’t be a Sam Smith album without a good wallow or five.". "Entertainment Weekly"s Leah Greenblatt was also complimentary of the album, saying "the record remains rooted in a sort of open-vein vulnerability; the bruised, tender manifesto of a Kid Who Cares Too Much." She praised the album's ballads: "it's the prettily composed ballads — wounded, swooning, steeped in regret — that tend to lead", particularly picking out "For the Lover That I Lost" and "Breaking Hearts".


title: Love Goes

text: "Love Goes" debuted at number five on the US "Billboard" 200 chart, earning 41,000 album-equivalent units (including 18,000 copies as pure album sales) in its first week. This became Smith's third US top-ten album. The album's songs also accumulated a total of 29.66 million on-demand streams that week. In May 2021, Universal Music UK has stated that Love Goes has reached 4.5 million in global units.


title: Love Goes

text: Love Goes: Live at Abbey Road Studios is the third live album by English singer songwriter Sam Smith, and was released on 19 March 2021 by Capitol Records. The album was recorded at Abbey Road Studios and features song's from Smith's third album "Love Goes" (2020), as well as previous singles "Stay with Me" and "Lay Me Down" from debut album "In the Lonely Hour" (2014) and "Too Good at Goodbyes" from 2017's "The Thrill of It All". For the live album, Smith also covered Cyndi Lauper's 1984 song "Time After Time".


title: Love Goes

text: In a weekly round-up of LGBT+/queer releases for "Billboard" that week, Stephen Daw said "regardless of what's being sung, "Love Goes: Live at Abbey Road Studios" shows off Smith's phenomenal vocal talent yet again." Smith's cover of "Time After Time" was called "faithful" by "Rolling Stone"s Jon Blistein.


title: Advanced Tactical Fighter

text: The Advanced Tactical Fighter (ATF) was a demonstration and validation program undertaken by the United States Air Force to develop a next-generation air superiority fighter to counter emerging worldwide threats, including Soviet Sukhoi Su-27 and Mikoyan MiG-29 fighters under development in the 1980s. Lockheed and Northrop were selected in 1986 to develop the YF-22 and the YF-23 technology demonstrator aircraft. These aircraft were evaluated in 1991 and the Lockheed YF-22 was selected and later developed into the F-22 Raptor.


title: Advanced Tactical Fighter

text: In 1981, USAF began forming requirements for a new air superiority fighter intended to replace the capability of the F-15 Eagle. In June 1981 a request for information (RFI) for the Advanced Tactical Fighter (ATF) was published by the Air Force. Design concepts were provided by defense contractors. The common areas among the concepts were stealth, STOL and supercruise. It was envisioned that the ATF would incorporate emerging technologies including advanced alloys and composite material, advanced fly-by-wire flight control systems, higher power propulsion systems, and low-observable, or stealth technology.


title: Advanced Tactical Fighter

text: In September 1983, study contracts were awarded to seven airframe manufacturers for further definition of their designs. By late 1984, ATF requirements had settled on a fighter with a maximum takeoff weight of , a mission radius of , supercruise speed of Mach 1.4–1.5 and the ability to use a runway. A request for proposals (RFP) for the fighter's engine, called the Joint Advanced Fighter Engine (JAFE), was released in May 1983. Pratt & Whitney and General Electric received contracts for the development and production of prototype engines in September 1983.


title: Advanced Tactical Fighter

text: A request for proposals (RFP) for the fighter was issued in September 1985. In May 1986, the Air Force changed the RFP so that final selection would involve flying prototypes. In July 1986, proposals were provided by Boeing, General Dynamics, Lockheed, Northrop, and McDonnell Douglas. Two contractors, Lockheed and Northrop were selected in October 1986 to undertake a 50-month demonstration/validation phase, culminating in the flight test of two technology demonstrator prototypes, the YF-22 and the YF-23. Under terms of agreements between Lockheed, General Dynamics, and Boeing, the companies agreed to participate in the development jointly if only one company's design was selected. Northrop and McDonnell Douglas had a similar agreement.


title: Advanced Tactical Fighter

text: During development, both contractor teams conducted performance and cost trade studies and presented them in system requirement reviews (SRRs) with the USAF. This enabled the USAF to adjust ATF requirements and delete ones that were significant weight and cost drivers while having marginal operational value. Because of the added weight for thrust vectoring/reversing nozzles and related systems on the F-15 S/MTD research aircraft, the Air Force changed the runway length requirement to and removed the thrust reversers on the ATF in late 1987. As avionics was a significant cost driver, side-looking radars were deleted, and the dedicated infrared search and track (IRST) system was downgraded from requirement to goal. The ejection seat requirement was downgraded from a fresh design to the existing McDonnell Douglas ACES II. Despite efforts by the contractor teams to rein in weight, the takeoff gross weight estimate was increased from to , resulting in engine thrust requirement increasing from to class.


title: Advanced Tactical Fighter

text: Two examples of each prototype were built for the Demonstration-Validation phase: one with General Electric YF120 engines, the other with Pratt & Whitney YF119 engines. The first YF-23 made its maiden flight on 27 August 1990 and the first YF-22 first flew on 29 September 1990. Flight testing began afterwards and added the second aircraft for each competitor in late October 1990. The first YF-23 with P&W engines supercruised at Mach 1.43 on 18 September 1990 and the second YF-23 with GE engines reached Mach 1.6 on 29 November 1990. The YF-22 with GE engines achieved Mach 1.58 in supercruise. Flight testing continued until December 1990. Following flight testing, the contractor teams submitted proposals for ATF production.


title: Advanced Tactical Fighter

text: Following a review of the flight test results and proposals, the Air Force announced the Lockheed YF-22 with Pratt & Whitney engines as the competition winner on 23 April 1991. The YF-23 design was stealthier and faster, but the YF-22 was more agile. The US Navy had begun considering a version of the ATF called Navy Advanced Tactical Fighter (NATF) in 1986. It has been speculated in the aviation press that the YF-22 was also seen as more adaptable to the NATF. The Navy abandoned NATF by 1992.


title: Advanced Tactical Fighter

text: The Lockheed team was awarded the contract to develop and build the Advanced Tactical Fighter in August 1991. The YF-22 was modified into the production F-22 Raptor version. The Northrop YF-23 design was later considered by the company for modification as a bomber, but the proposals have not come to fruition.


title: Coriolanus (film)

text: Coriolanus is a 2011 British film adaptation of William Shakespeare's tragedy "Coriolanus." It is directed by and stars Ralph Fiennes as the title character, with Gerard Butler as Tullus Aufidius, Vanessa Redgrave as Volumnia, and Brian Cox as Menenius. This is Fiennes' directorial debut. It places Shakespeare's original text and plot into a contemporary, pseudo-Balkan setting (filmed in Serbia and Montenegro), reminiscent of the Yugoslav Wars.


title: Coriolanus (film)

text: In Rome, riots are in progress after stores of grain are withheld from citizens and civil liberties are reduced due to a war between Rome and neighbouring Volsci. The rioters are particularly angry at Caius Martius, a brilliant Roman general whom they blame for the city's problems. During a march, the rioters encounter Martius, who is openly contemptuous and does not hide his low opinion of the regular citizens. The commander of the Volscian army, Tullus Aufidius, who has fought Martius on several occasions and considers him a mortal enemy, swears that the next time they meet in battle will be the last. Martius leads a raid against the Volscian city of Corioles and during the siege, with much of Martius's unit being killed, Martius gathers reinforcements and the Romans take the city. After the battle, Martius and Aufidius meet in single combat, which results in both men being wounded but ends when Aufidius' soldiers drag him away from the fight.


title: Coriolanus (film)

text: Martius returns to Rome victorious and in recognition of his great courage, General Cominius gives him the agnomen of "Coriolanus". Coriolanus's mother Volumnia encourages her son to run for consul within the Roman Senate. Coriolanus is reluctant but he eventually agrees to his mother's wishes. He easily wins the Roman Senate and seems at first to have won over the commoners as well due to his military victories. Two tribunes, Brutus and Sicinius, are critical of his entrance into politics, fearing that his popularity would lead to Coriolanus taking power away from the Senate for himself. They scheme to undo Coriolanus and so stir up another riot in opposition to him becoming consul. When they call Coriolanus a traitor, Coriolanus bursts into rage and openly attacks the concept of popular rule as well as the citizens of Rome, demonstrating that he still holds the plebeians in contempt. He compares allowing citizens to have power over the senators as to allowing "crows to peck the eagles". The tribunes term Coriolanus a traitor for his words and order him banished. Coriolanus retorts that it is he who will banish Rome from his presence: "There is a world elsewhere".


title: Coriolanus (film)

text: After being exiled from Rome, Coriolanus seeks out Aufidius in the Volscian capital of Antium and offers to let Aufidius kill him, to spite the country that banished him. Moved by his plight and honoured to fight alongside the great general, Aufidius and his superiors embrace Coriolanus and allow him to lead a new assault on the city, so that he can claim vengeance on the city which he feels betrayed him. Coriolanus and Aufidius lead a Volscian attack on Rome. Panicked, Rome sends General Titus to persuade Coriolanus to halt his crusade for vengeance; when Titus reports his failure, Senator Menenius follows but is also shunned. In response, Menenius, who has seemingly lost all hope in Coriolanus and Rome, commits suicide by a river bank. Finally, Volumnia is sent to meet with her son, along with Coriolanus' wife Virgilia and his son. Volumnia succeeds in dissuading her son from destroying Rome and Coriolanus makes peace between the Volscians and the Romans alongside General Cominius. When Coriolanus returns to the Volscian border, he is confronted by Aufidius and his men, who now also brand him as a traitor. They call him Martius and refuse to call him by his "stolen name" of Coriolanus. Aufidius explains to Coriolanus how he put aside his hatred so that they could conquer Rome but now that Coriolanus has prevented this, he has betrayed the promise between them. For this betrayal, Aufidius and his men attack and kill Coriolanus.


title: Coriolanus (film)

text: The film was produced on a budget of US $7.7 million. It was filmed in Belgrade and other areas of Serbia using many locals as extras, as well as Montenegro and the UK.


title: Coriolanus (film)

text: The film premiered in Competition at the 61st Berlin International Film Festival on 14 February 2011 and it opened the 2011 Belgrade International Film Festival. On 2 December of that year, it opened in New York City and Los Angeles. As of February 2012, it has not yet received a wide U.S. release. However, the film has been shown on a limited basis in other large US cities, such as Chicago. It received a full UK cinema release on 20 January 2012 after premiering at London's Curzon Mayfair cinema on 5 January.


title: Coriolanus (film)

text: "Coriolanus" received positive reviews. It holds an approval rating of 92% on Rotten Tomatoes based on 151 reviews, with an average rating of 7.38/10. The website's critical consensus states: "Visceral and visually striking, Ralph Fiennes' "Coriolanus" proves Shakespeare can still be both electrifying and relevant in a modern context." On Metacritic, the film has a weighted average score of 79 out of 100, based on 32 critics, indicating "generally favorable reviews".


title: Coriolanus (film)

text: Katherine Monk of "The Vancouver Sun" gave the film a rating of 3.5 out of 5, stating that "Coriolanus not only finds all the contemporary parallels, it reiterates the tragedy of the endlessly exploited patriot who hopes to earn love at the end of a barrel". Manohla Dargis of "The New York Times" wrote in her review, "Mr. Fiennes has made smart choices here, notably by surrounding himself with a strong secondary cast".


title: Coriolanus (film)

text: The film was nominated for Golden Berlin Bear award at the 61st Berlin International Film Festival. Ralph Fiennes was nominated for the BAFTA Award for Outstanding Debut by a British Writer, Director or Producer at the 65th British Academy Film Awards.


title: Coriolanus (film)

text: "Coriolanus" was released by Anchor Bay Home Entertainment on DVD and Blu-ray in the United States on 29 May 2012. Both home media formats of the film contain director commentary with Ralph Fiennes and a behind-the-scenes featurette entitled "The Making of Coriolanus". The film was later released on DVD and Blu-ray in the United Kingdom by Lionsgate Films on 4 June 2012, containing the same director commentary audio track but replacing the "Making of…" featurette with "Behind The Scenes of Coriolanus with Will Young".


title: Wild Mountain Thyme

text: "Wild Mountain Thyme" (also known as "Purple Heather" and "Will Ye Go, Lassie, Go?") is a Scottish/Irish folk song. The lyrics and melody are a variant of the song "The Braes of Balquhither" by Scottish poet Robert Tannahill (1774–1810) and Scottish composer Robert Archibald Smith (1780–1829), but were adapted by Belfast musician Francis McPeake (1885–1971) into "Wild Mountain Thyme" and first recorded by his family in the 1950s.


title: Wild Mountain Thyme

text: Tannahill's original song, first published in Robert Archibald Smith's "Scottish Minstrel" (1821–24), is about the hills ("braes") around Balquhidder near Lochearnhead. Tannahill collected and adapted traditional songs, and "The Braes of Balquhither" may have been based on the traditional song "The Braes o' Bowhether".


title: Wild Mountain Thyme

text: The existing tune of "Wild Mountain Thyme" is significantly different from Tannahill's "The Braes of Balquhither", which was most likely based on a traditional air. In an 1854 publication, George Farquhar Graham notes that Tannahill's song was set to the air "Bochuiddar" (Balquidder), as found in Captain Simon Fraser's "Collection of Melodies of the Highlands and Islands of Scotland" (1816). Other scholars suggest the melody is based on an old Scottish traditional tune "The Three Carls o' Buchanan".


title: Wild Mountain Thyme

text: McPeake is said to have dedicated the song to his first wife, but his son wrote an additional verse in order to celebrate his father's remarriage. "Wild Mountain Thyme" was first recorded by McPeake's nephew, also named Francis McPeake, in 1957 for the BBC series "As I Roved Out".


title: Wild Mountain Thyme

text: While Francis McPeake holds the copyright to the song, it is generally believed that rather than writing the song, he arranged an existing travelling folk version and popularised the song as his father's. When interviewed on radio, Francis McPeake said it was based on a song he heard whilst travelling in Scotland, and he rewrote it later. Bob Dylan's recording of the song cited it as traditional, with the arranger unknown, though Dylan's copyright records indicate that the song is sometimes "attributed to" McPeake.


title: Wild Mountain Thyme

text: The original version of the song, published in 1957, closely paraphrases the Tannahill version, which was published posthumously in 1822. Tannahill's original lyrics include a number of phrases that McPeake carried over into his song, including the lines "Let us go, lassie, go" and "And the wild mountain thyme" as he rewrote the song.


title: Wild Mountain Thyme

text: In her book "Fragrance and Wellbeing: Plant Aromatics and Their Influence on the Psyche", author Jennifer Peace Rhind describes "Wild Mountain Thyme" as essentially a love song, with the line, "Wild Mountain Thyme grows among the Scottish heather" perhaps being an indirect reference to the old custom of young women wearing a sprig of thyme, mint or lavender to attract a suitor. Rhind also notes that, in British folklore, the thyme plant was the fairies' playground and often the herb would be left undisturbed for their use.


title: Suraj Mal

text: Suraj Mal (13 February 1707 – 25 December 1763) was a Jat ruler of Bharatpur in present-day state of Rajasthan. Under him, the Jat rule covered the present-day districts of Agra, Aligarh, Bharatpur, Dholpur, Etawa, Hathras, Mainpuri, Mathura, and Rohtak.


title: Suraj Mal

text: A contemporary historian had described him as "the Plato of the Jat tribe" and by a modern writer as the "Jat Ulysses", because of his "political sagacity, steady intellect and clear vision." The people, under Suraj Mal, overran the Mughal garrison at Agra. Suraj Mal was killed in an ambush by the Rohilla troops on the night of 25 December 1763 near the Hindon River, Shahadra, Delhi. In addition to the troops stationed at his forts, he had an army of 25,000 infantry and 15,000 cavalry when he died.


title: Suraj Mal

text: Suraj Mal was born on 13 February 1707, to Badan Singh and Rani Devki into a Hindu Jat family of Sinsinwar clan in Bharatpur, Mughal India (present-day Rajasthan, India). Suraj Mal was the founder of the Kingdom of Bharatpur. The Hindu Kingdom reached its zenith under Suraj Mal.


title: Suraj Mal

text: Suraj Mal conquered the site of Bharatpur from Khemkaran Sogaria, the son of Rustam, in 1733 and established Bharatpur town in 1743. He fortified the city by building a massive wall around the city and started living in Bharatpur from 1753.


title: Suraj Mal

text: Lohagarh Fort was considered an impregnable fort, it was built in 18th century by Suraj Mal. It remains the only fort in India that was never militarily subdued, even the British failed to capture it despite trying during several attacks under the command of British General Lake. The siege in 1805 lasted for six weeks but the British failed to conquer the fort. Suraj Mal built many other forts and palaces. The fort has three royal palaces inside built between 1730 and 1850.


title: Suraj Mal

text: The attack on the fort by General Lake was done as he wanted to create enmity between Rajput and Marathas so he reminded Ranjit Singh of Bharatpur of the treaty. At that time Holkar was in his protection and the Raja refused to hand him to the British. The British then laid a siege to the fort but were defeated badly. Many of their soldiers and officers were killed. After two days, the British managed to break a section of fort's wall and Suraj Mal attacked them with artillery.


title: Suraj Mal

text: In the third attack, the British successfully crossed the moat but the attack of maharaj filled the moat with the bodies of soldiers. General Lake was asked to secure a peace treaty but he refused, as he reasoned that reinforcement were arriving. The combined forces of Holkar, Amir Khan and Ranjit Singh of Bharatpur then attacked the British.


title: Suraj Mal

text: When the British forces was reinforced from the troops that came from Mumbai and Chennai, they renewed the attack. The British soldiers were attacked by boulders but some of them succeeded to enter the fort, the British however suffered heavy losses. Around 3,000 were killed and several thousand were injured. After this General Lake entered into a peace treaty with the Rajputs.


title: Suraj Mal

text: Jawahar Burj and the Fateh Burj were built to celebrate the victory over the Mughals and the British. The fort is surrounded by deep moats. There is a legend which states that the fort will fall down if a crocodile takes up all the water of the moats. Another legend states that a gate of the fort was brought from Delhi which Alauddin Khilji brought from the fort of Chittorgarh. The gate was brought and fixed in the fort in the 17th century.


title: Suraj Mal

text: The Mughal emperor had taken back the domain of Awadh and Allahabad from Safdar Jang, wazir of Oudh State , and to avenge his humiliation, Safdar Jang rebelled and attacked Delhi. Surajmal also fought under Safdar Jang against the Mughals.


title: Suraj Mal

text: On Suraj's advice, Safdar Jang reacted by appointing Akbar Ādilshāh as emperor. On 14 May the supporters of Surajmal sacked Chārbāg, Bāg-e-kultāt and Hakīm Munīm Bridge, and the next day Jaisinghpura, burning several areas. On 16 May Surajmal under Safdar Jang attacked Delhi and defeated Sādil Khan and Raja Devidatta in a battle.


title: Suraj Mal

text: Mughal Emperor Alamgir II and his rebellious courtier Siraj ud-Daulah were having a factional feud. Suraj Mal had sided with Siraj. Alamgir sought the help of the Holkar Marathas of Indore. Khanderao Holkar, son of the Maharaja of Indore, Malhar Rao Holkar, laid a siege on Suraj Mal's Kumher in 1754. While inspecting the troops on an open palanquin in the battle of Kumher, Khanderao was hit and killed by a cannonball from the Bharatpur army. The siege was lifted and a treaty was signed between maharaj Suraj Mal and Marathas, which later proved helpful for Suraj Mal in consolidating his rule.


title: Suraj Mal

text: It was fought between army of bharatpur and Afghans on 12 February 1757. Ruler Ahmad Shah Durrani of the Afghan Durrani empire, attacked on Bharatpur. Durrani dared not proceed to attack on Deeg. Suraj Mal's troops fought against him in Ballabgarh, Chaumunha, Gokul, Kumher and in Bharatpur. the army stopped Afghan army. Surajmal's forces defeat the Abdali's forces. At last Abdali had to leave the war and retreat. During this he ruined and looted the holy places of Mathura and Vrindavan.


title: Suraj Mal

text: After his victory over Dattaji on 10 January 1760, Ahmad Shah came to Delhi, and called upon Suraj Mal to pay him tribute and join his camp. On such occasions Suraj Mal invariably played a humble role, pleading that he was a petty zamindar. He informed the Shah that he would readily pay his share to the lawful Government of Delhi at the fixed time of payment. If the Durrani stayed in India and assumed sovereignty, he would obey him as his legal master. At the time of demand he possessed no money as his country had been ruined by the constant movements and pillage of Marathas and Afghans. It was not in Durrani's nature to tolerate such defiance. He besieged Surajmal's fort of Dig on 6 February 1760*. After a short while he realized that it would require a very long period to reduce a strongly fortified, largely garrisoned and heavily provisioned fortress. In such cases he did not make it a matter of prestige. He quietly raised the siege, and marched in pursuit of Malhar Rao Holkar.


title: Suraj Mal

text: Having routed the Maratha chief at Sikandarabad on 4 March 1760, Ahmad Shah Durrani marched upon Koil (modern Aligarh) which belonged to Suraj Mal, and invested the fort of Ramgarh. It was commanded by Durjansal. The fort was well-garrisoned and fortified, and large stocks of provisions had been stored therein. The fort could have resisted for long; but the qiladar was disheartened at the occupation of the entire upper Ganga Doab by the Afghans, and to save himself from massacre he capitulated in a fortnight or so.


title: Suraj Mal

text: Agra was the richest town during that period. Suraj Mal decided to capture Agra fort to re-establish his influence in doab region. On 3 May 1761 the army of Suraj Mal with 4000 soldiers reached Agra under the command of Balram and gave the message of Suraj Mal to the (in charge) of Agra fort that the army wanted to cross the Yamuna and needed camping place. The gave the sanction for camping. Meanwhile, the army started entering the fort, which was resisted by the guards in which 200 people died. The army started war from Jama masjid. During this period Maharaja Suraj Mal stayed at Mathura to observe the situations. On 24 May 1761 Suraj Mal along with Imād and Gangadhar Tantya moved from Mathura, crossed Jamuna and reached Aligarh. From Aligarh his army moved and captured the areas of ruler koīl and Jalesar. They reached Agra to help his army at Agra in the first week of June. Suraj Mal arrested the family members of the guards staying in Agra town and pressurized the guards of fort for surrender. At last the agreed to surrender by receiving a bribe of Rs 1 lakh and jagir of five villages. Thus after a seize of one month Maharaja Suraj Mal captured Agra Fort on 12 June 1761.


title: Suraj Mal

text: Fight with Surajmal and Najib. The Rohilla under Najib-ud-daula had now been encircled and the war was inevitable. Ruhella alongside Baloch Sayyidu Muhammad Khan, Afzal Khan, Zaibita Khan had mobilized the troops which was still weaker in number and weaponry against King Surajmal Military. Suraj Mal's army foray on to the enemy was mobilized from both front and rear end and it was potent enough to have decimated the combined Rohilla and Baloch in two days, but a deceitful ambush by Sayyidu near the Hindon river base took Suraj Mal with surprise. Outnumbered and suddenly Suraj Mal attained Martyrdom on the night of 25 December 1763.


title: Suraj Mal

text: His large cenotaph is at Kusum Sarovar, Govardhan, Uttar Pradesh. His imposing chattri is flanked on either side by two smaller chattris of his two wives, ""Hansiya"" and ""Kishori"". These memorial chattris were built by his son and successor Jawahar Singh. The architecture and carving is in the pierced stone style and the ceiling of cenotaphs are adorned with paintings of the life of Krishna and Suraj Mal. His court poet Sūdan recorded his biography in "Sujān Charitra".


title: Suraj Mal

text: Notable institutes named after him include Maharaja Surajmal Institute of Technology, Maharaja Surajmal Brij University, Bharatpur and Surajmal Stadium metro station.


title: De Havilland Venom

text: The de Havilland DH 112 Venom is a British post-war single-engined jet aircraft developed and manufactured by the de Havilland Aircraft Company. Much of its design was derived from the de Havilland Vampire, the firm's first jet-powered combat aircraft.


title: De Havilland Venom

text: The Venom entered service with the Royal Air Force (RAF), where it was used as a single-seat fighter-bomber and two-seat night fighter. A dedicated model for aerial reconnaissance was also operated by the Swiss Air Force. The Venom functioned as an interim stage between the first generation of British jet fighters – straight-wing aircraft powered by centrifugal flow engines such as the Gloster Meteor and the Vampire – and later swept wing, axial flow-engined combat aircraft, such as the Hawker Hunter and de Havilland Sea Vixen. Accordingly, the type had a relatively short service life in the RAF, being withdrawn from frontline operations by the service in 1962 as a result of the introduction of more capable designs. However, it was used in combat during the Suez Crisis, the Malayan Emergency, and the Aden Emergency.


title: De Havilland Venom

text: The Venom proved to be popular on the export market, being sold in substantial numbers to Iraq, New Zealand, Sweden, Switzerland and Venezuela. The Swiss Air Force was the last active military operator of the Venom, retiring their last examples during 1983. Large numbers of ex-military Venoms have since been acquired by private entities and several have continued to fly, performing aerial displays at various air shows, while many examples have been preserved in static display conditions in museums and as gate guardians. A specialised derivative, the Sea Venom, was produced as a navalised version of the aircraft suitable for carrier operations.


title: De Havilland Venom

text: In 1948, de Havilland proposed a development of the Vampire, furnished with a thinner wing and a more powerful engine, to serve as a high altitude fighter, designated as the Vampire FB 8. The design gradually shifted, becoming the DH 112 Venom, in order to fill an Air Ministry requirement, Specification F.15/49, which sought a fast, manoeuvrable and capable fighter-bomber to replace the Royal Air Force's (RAF) existing Vampires in that capacity. From the onset, the envisioned role had been intended as an interim fighter-bomber, while the development of aircraft capable of even greater performance had already been anticipated by the service.


title: De Havilland Venom

text: Although generally similar in appearance to the preceding Vampire, sharing the distinctive twin-boom tail and composite wood/metal structure, the Venom was a completely new design. As originally designed, it was powered by the de Havilland Ghost 103 turbojet engine, which was capable of generating 4,850lb of thrust, considerably more powerful than the earlier de Havilland Goblin that had been used on the Vampire. The Venom adopted a wing designed with a leading edge sweepback of 17.6 degrees, a minimised thickness/chord ratio reduced from 14 per cent to 10 per cent, while the trailing edge was straight; a pair of optionally-fitted wing tip tanks were also designed to be fitted without any negative impact on the aircraft's overall combat maneuvering capability.


title: De Havilland Venom

text: In order to test elements of the new design, a single Vampire F 1 was converted and outfitting with the new Ghost engine. On 2 September 1949, the first Venom prototype, "VV612", performed its maiden flight at Hatfield, Hertfordshire, piloted by John Derry. In May 1950, following the end of company trials, the prototype was delivered to RAF Boscombe Down for official trials by the Aeroplane and Armament Experimental Establishment (A&AEE). In the course of these trials, the aircraft proved capable of satisfactory performance, including the besting of some contemporary fighters during mock combat, while some minor faults were also uncovered. On 23 May 1950, the second prototype, "VV613", officially joined the development programme; it was delivered to the A&AEE for further trials on 3 April 1951.


title: De Havilland Venom

text: The first six production Venom also participated in trials performed by both de Havilland and the A&AEE. On 21 April 1952, the first delivery of a production-standard Venom, a single-seat fighter-bomber, occurred to the Central Fighter Establishment, where it was used for a full service evaluation prior to the type being cleared for active service. During 1952, the initial production model entered operational service with the RAF as the Venom FB 1. A total of 375 of this initial model were constructed.


title: De Havilland Venom

text: On 22 August 1950, an improved Venom, the NF.2 night fighter, performed its first flight, piloted by John Derry. de Havilland had developed it from the single seat ground attack-oriented Venom to serve as a replacement for the Vampire NF 10. For this variant, the fuselage was redesigned to accommodate a two-man crew, (pilot and navigator/radar operator), seated in a side-by-side configuration, and an airborne interception radar installed in the extended nose. During late 1953, the Venom NF.2 entered squadron service, after being delayed to resolve minor problems that had been discovered. Specifically, preliminary handling trials had revealed unsatisfactory performance in poor weather conditions.


title: De Havilland Venom

text: The Venom NF.2 was modified after being involved in several accidents in which pilots had difficulty making night-time approaches. Changes included the adoption of jettisonable clear canopies and alterations to the flight control surfaces, and the altered aircraft were re-designated "NF.2A"s. The Venom NF.2 was soon followed by the NF 3, which was the ultimate night fighter variant of the Venom. It incorporated further improvements, including power-actuated ailerons and an improved air interception radar. In 1953, the Venom NF 3 performed its first flight; it entered operational service with the RAF during June 1955.


title: De Havilland Venom

text: The final Venom for the RAF was the single-seat FB.4 which first flew on 29 December 1953. It entered service in 1955 and 250 were built. It was powered by a single 4,850 lbf (21.6 kN) thrust de Havilland Ghost 103 turbojet engine. It was the first Venom to be fitted with an ejector seat, as well as being furnished with redesigned tail surfaces and hydraulically-powered ailerons. The new rudder design prevented excessive yaw and eliminated incidents of rudder locking at low speeds. The FB 4 variant was the first to be compatible with the underwing fuel tanks.


title: De Havilland Venom

text: The majority of the type's production was conducted by de Havilland themselves. Following the completion of an initial batch of 15 production Venoms, manufacturing was transferred from de Havilland's Hatfield facility to their larger production plant at Hawarden Airport. On 26 July 1952, the first Hawarden-built Venom was delivered to the RAF. In addition, the construction effort was augmented by numbers of Venom FB.1, FB.4 and NF.51 aircraft that were produced by Fairey Aviation at Manchester (Ringway) Airport. At one point, the production of further Venoms at the Bristol Aeroplane Company's Filton facility was considered but was ultimately not pursued. During the early 1950s, the prospects for Italian aircraft manufacturer Fiat Aviazione producing the type under license were explored; these did not materialise however.


title: De Havilland Venom

text: Due to substantial demand from the Swiss Air Force, a license production arrangement was established with a consortium of Swiss aviation manufacturers in 1953, who did produce large numbers of Venoms. In the early 1970s Swiss Venoms were equipped with a new extended nose to add space for the addition of a ultra high frequency (UHF) radio, an Identification friend or foe (IFF) transponder and a SAAB BT-9K ballistic computer for its ground attack ordnance.


title: De Havilland Venom

text: The de Havilland Venom was a jet-propelled combat aircraft, featuring a distinctive twin-boom tail and composite wood/metal structure. Originally developed as a ground-attack fighter, it served as an interceptor as well. It possessed a favourable rate of climb and other positive characteristics that lent itself well to combat operations, and represented a significant advance over the preceding Vampire. It was a sound ground attack aircraft, possessing good maneuverability, steadiness, endurance, handling, and a range of compatible stores. The Venom's manoeuvrability even gave it an edge against many dogfighters of the era, although its limited top speed proved to be a weakness in this role. Early issues, such as a rear spar weakness and flash fires due to the ingestion of vented fuel by the engine air intakes under some conditions, were quickly identified and overcome.


title: De Havilland Venom

text: The Venom FB 1 was armed with four nose-mounted 20 mm (.79 in) Hispano Mk V autocannons and could carry either two 1,000 lb (approx 450 kg) bombs or eight RP-3 60 lb (27 kg) air-to-ground rocket projectiles – the heavier bombs being an improvement over the Vampire FB 5. For additional range, each of the wing tips could accommodate the installation of a 75gal tip tank, freeing up the underwing stores positions for other stores and munitions, these were not jettisonable during flight. When installed, the tip tanks had the effect of improving the aircraft's roll rate, which was lower than many of its contemporaries. Early production Venoms commonly suffered from weaknesses within the wing structure, leading to flight limitations and warning markings being applied to distinguish them from typical aircraft.


title: De Havilland Venom

text: The Venom FB 1 was powered by a single 4,850 lbf (21.6 kN) thrust Ghost 48 Mk.1 turbojet engine; later marks were equipped with increasingly powerful models. The engine was ignited using explosive cartridges, known as Coffman engine starters; at the time, many operators were not previously familiar with such means of start up. Early production models lacked ejection seats, which was subject to official criticism; in response, later production models were furnished with them. The airframe itself had a relatively short life due to having been designed for its role as a short term interim aircraft pending development of what would become the Hawker Hunter; in Swiss service, where the type was subject to a lengthy service life, several strengthening modifications were performed to more than double its viable lifespan. It was known for its simplicity in construction and relative cost-effectiveness, which contributed to its popularity to export customers.


title: De Havilland Venom

text: In August 1952, No. 11 Squadron become the first overseas squadron to convert to the Venom in exchange for their existing Vampires inventory; No. 11 was responsible for conducting the type's operational service trials for the service. Upon their introduction to service, none of the single-seat fighter-bomber Venoms were deployed to home-based squadrons; priority was given to overseas forces, such as the Second Tactical Air Force stationed in Germany as well as those stationed in hotter climates where the benefits of the more powerful engine were most felt, such as Cyprus, the Middle East, Africa, and Asia.


title: De Havilland Venom

text: During September 1952, the Venom participated in its first NATO training operation, Exercise Mainbrace. In mid-1953, a second Venom wing, consisting of Nos. 14, 98 and 118 Squadrons, was formed at RAF Fassberg, Lower Saxony; a third wing, comprising No.s 16, 94, and 145 Squadrons, was also formed at RAF Celle, Lower Saxony, during the following year. In this capacity, the Venom was only operated for a short time, those squadrons stationed at RAF Faßberg transitioned to the Hawker Hunter in 1955, while those at RAF Celle were disbanded in 1957.


title: De Havilland Venom

text: Throughout the mid-1950s, Venoms were dispatched to the furthest corners of the British Empire, being typically used to replace the Vampire in the fighter-bomber role. In August 1955, a flight of four Venoms conducted a 10,000 flight from RAF Habbaniya, Iraq to Wingfield Aerodrome, South Africa and back; while on the return leg of this journey, a speed record was set on the Cape Town-Pretoria route, covering the 807-mile distance in 1 hour 23 minutes.


title: De Havilland Venom

text: On 6 May 1953, the first of the Venom night fighters was delivered to the RAF. From 1955 onwards, an improved model of the night fighter, the Venom NF.3, was introduced to squadron service. However, the night fighter Venom had only a relatively brief career with the RAF, having been procured to serve as an interim solution while more capable designs were developed. Accordingly, in 1957, the RAF's night fighter Venoms began to be withdrawn in favour of the newly introduced Gloster Javelin twin-engined all-weather fighter. In the night fighter role, the Venom was also adopted by export customers; the Swedish Air Force adopted the type as their principal night fighter in 1955 and operated three squadrons in this capacity.


title: De Havilland Venom

text: RAF Venoms saw action during the Malayan Emergency, which took place between 1948 and 1960, although these aircraft did not commence operations until the mid-1950s with Nos. 45 and 60 Squadrons. While there, the Venom supported counterinsurgency operations against Communist guerrillas as part of Operation Firedog, the codename for RAF operations in Malaya. By 15 November 1957, the day on which the Venom was withdrawn from combat in the theatre, the type had conducted more than 300 strikes against guerillas. Several Venoms were lent to the Royal New Zealand Air Force (RNZAF) for use during the same conflict, being operated by No. 14 Squadron RNZAF.


title: De Havilland Venom

text: The Venom also saw combat service during the Suez Crisis during late 1956. The type was operated by Nos. 6, 8 and 249 Squadrons, flying from RAF Akrotiri, Cyprus. The Anglo-French invasion, codenamed Operation Musketeer, took place in response to the nationalisation of the Suez Canal by Egypt's leader, General Nasser. The air war began on 31 October 1956. The Venoms attacked a variety of military installations on the ground; only a single RAF Venom was lost throughout the crisis.


title: De Havilland Venom

text: From 1956 onwards, Middle Eastern-based RAF squadrons progressively received the improved Venom FB 4. Starting in 1956, RAF Venoms were deployed during the Aden Emergency, where they were used in support of counterinsurgency operations against terrorists and rebel tribesmen in Aden and Oman. In 1957, British RAF Venoms participated heavily during Jebel Akhdar War in Oman to expand the territory of the Sultanate, which was a "de facto" British colony, in order to gain access to oil wells in the interior parts of Oman. The RAF made 1,635 raids, dropping 1,094 tons and firing 900 rockets at the interior of Oman between July and December 1958 targeting insurgents, mountain top villages, water channels and crops in a war that remained under low profile. As the conflict progressed, squadrons equipped with the Venom were reequipped, mainly by the English Electric Canberra; in 1960, the final squadron in the region that used the type was reequipped with the Hawker Hunter.


title: De Havilland Venom

text: Outside of the RAF, the Swiss Air Force were the most prolific user of the Venom. In addition to the domestic production of 136 ground attack-orientated models and its Ghost engine to power them, Switzerland also produced a dedicated aerial reconnaissance variant of the aircraft, which were outfitted with specially modified underwing fuel tanks that had automated cameras installed in the forward section. Swiss Venoms were also subject to multiple improvement and upgrade programmes, including life extension modifications, the addition of ultra high frequency (UHF) radio sets, and an improved license-built bombsight.


title: De Havilland Venom

text: In 1962, all of the remaining Venoms in RAF service were withdrawn from first-line duties, having proven their worth in a variety of locations across the world, in peace and war, and in some of the most difficult climates the RAF has ever faced. The last non-RAF Venoms to leave active service were the aircraft in service with the Swiss Air Force, the last of which being retired from combat duties during the latter part of 1983.


title: De Havilland Venom

text: The Venom has been preserved in significant numbers, mainly due to its longevity with the Swiss Air Force. In the UK, a number of Sea Venoms are preserved, along with examples of the NF 3 and Swiss-built FB.50 and 54. In Sweden, two examples of the NF.51 are preserved. There are many survivors in Switzerland, and other Swiss aircraft are scattered throughout Europe. One such aircraft is preserved in the Israeli Air Force Museum in Hatzerim, although in the colours of the Iraqi Air Force. In Australia, a number of Sea Venom FAW.53s have also survived. Venezuela has the only complete surviving British-built single-seat Venom.


title: De Havilland Venom

text: Polish Aviation Museum (PAL) has British-built Sea Venom, which was used for experiments at de Havilland and Aeroplane and Armament Experimental Establishment, and then was transferred to Imperial War Museum, which sold it to PAL in 2013.


title: De Havilland Venom

text: Although the Venom was for a time a popular and cheap warbird there is only one airworthy aircraft: J-1630/ZK-VNM in New Zealand, however J-1643/HB-RVY in Switzerland is under going work to return it to airworthy status.


title: Sonia Manzano

text: Sonia Manzano (born 1950) is an American actress, screenwriter, author, singer and songwriter. She is best known for playing Maria on "Sesame Street" from 1971 to 2015. She received a Lifetime Achievement Daytime Emmy Award in 2016.


title: Sonia Manzano

text: Her memoir, "Becoming Maria: Love and Chaos in the South Bronx" was published in 2015, and her works include the novel "The Revolution of Evelyn Serrano" as well as several children's books. She is the creator of the animated children's television series "Alma's Way", from Fred Rogers Productions, and serves as an executive producer, writer and voice actor for the show.


title: Sonia Manzano

text: Manzano was born and raised in the South Bronx in New York City. Her parents came from Puerto Rico. Manzano attended the High School of Performing Arts, where she began her acting career. She attended Carnegie Mellon University in Pittsburgh on a scholarship. In her junior year, she came to New York to star in the original production of the off-Broadway show "Godspell".


title: Sonia Manzano

text: Manzano joined the production of "Sesame Street" in 1971, where she eventually began writing scripts for the series. On June 29, 2015, it was announced that Manzano would be retiring from the show after 44 years. Manzano did, however, later reprise the role of Maria in the 2019 television special "Sesame Street's 50th Anniversary Celebration".


title: Sonia Manzano

text: She has performed on the New York stage, in "The Vagina Monologues" and "The Exonerated". She has written for the Peabody Award-winning children's series "Little Bill", and has written a parenting column for the Sesame Workshop web site called "Talking Outloud". She has also appeared in multiple films and television programs, including "Death Wish", "Law & Order", "", "Godmothered", "", and "The Muppets Take Manhattan".


title: Sonia Manzano

text: Manzano is the author of a novel, children's books, and a memoir. Her children's book "No Dogs Allowed", was published by Simon & Schuster Children's Publishing in 2004. The book has been adapted as a stage play. She is also the author of the novel "The Revolution of Evelyn Serrano" (2014). In 2015, her memoir, "Becoming Maria: Love and Chaos in the South Bronx", was published. In 2022, her novel for children "Coming Up Cuban" was published, as part of a contract with Scholastic to publish two novels and two picture books for children.


title: Sonia Manzano

text: She has served on the March of Dimes Board; the board of the George Foster Peabody Awards; and the board of a New York City theatrical institution, Symphony Space. She is a member of the board of advisors of the Project Sunshine Book Club. She was featured in the Learning Leaders (volunteers helping students succeed) poster, designed to encourage reading in NYC public schools.


title: Sonia Manzano

text: In several episodes of the animated Nickelodeon series "The Loud House", Manzano provides the voice of Bobby and Ronnie Anne Santiago's grandmother, Rosa Casagrande, a role she reprises in the spinoff "The Casagrandes". She also portrays Judge Gloria Pepitone in "". She also provided the voice-over narration in several animated segments in the English version of the Swedish television show "Fem myror är fler än fyra elefanter".


title: Sonia Manzano

text: On December 3, 2020, "Deadline" reported that Manzano would return to PBS to create a new animated children's television series titled "Alma's Way". In "Alma's Way", which was launched by PBS in October 2021, she is the creator, as well as an executive producer, writer, and voice actor.


title: Sonia Manzano

text: Manzano was nominated twice for an Emmy Award as Outstanding Performer in a Children's Series. As a writer for "Sesame Street", Manzano won 15 Emmy Awards.


title: Sonia Manzano

text: In 1979, the Supersisters trading card set was produced and distributed; one of the cards featured Manzano's name and picture. In 2004, she was added to the Bronx Walk of Fame.


title: Sonia Manzano

text: Manzano has received awards from the Association of Hispanic Arts, the Congressional Hispanic Caucus, the Committee for Hispanic Children and Families, the Hispanic Heritage Award for Education in 2003, and the "Groundbreaking Latina Lifetime Achievement" award from the National Association of Latina Leaders in 2005. In 2005, she was awarded an Honorary Doctorate from University of Notre Dame. The Dream Big Initiative of the Bronx Children's Museum honored Manzano in 2014.


title: Sonia Manzano

text: On May 1, 2016, she received the Lifetime Achievement Emmy Award from the National Academy of Television Arts and Sciences presented to her by Rita Moreno and Mario Lopez, with a special introduction by Lin-Manuel Miranda and a retrospective of her career on "Sesame Street" featuring a montage of clips of her most iconic moments including Maria's classic Charlie Chaplin routine, her marriage to Luis, the birth of her daughter Gabi, coping with the death of Mr. Hooper, and appearances by fellow cast and guests including Emilio Delgado, Bob McGrath, Alan Muraoka, Loretta Long, Big Bird, Rosita, Elmo, and Sonia's real life friend Supreme Court Justice Sonia Sotomayor.


title: Pierre Boulez

text: Pierre Louis Joseph Boulez (; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war Western classical music.


title: Pierre Boulez

text: Born in Montbrison in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism (in the 1950s), controlled chance music (in the 1960s) and the electronic transformation of instrumental music in real time (from the 1970s onwards). His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces regarded by many as landmarks of twentieth-century music, such as "Le Marteau sans maître", "Pli selon pli" and "Répons". His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.


title: Pierre Boulez

text: Alongside his activities as a composer, Boulez was one of the most prominent conductors of his generation. In a career lasting more than sixty years, he was music director of the New York Philharmonic and the Ensemble intercontemporain, chief conductor of the BBC Symphony Orchestra and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent appearances with many other orchestras, including the Vienna Philharmonic, the Berlin Philharmonic and the London Symphony Orchestra. He was known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the "Jahrhundertring"—the production of Wagner's "Ring" cycle for the centenary of the Bayreuth Festival—and the world premiere of the three-act version of Alban Berg's "Lulu". His recorded legacy is extensive.


title: Pierre Boulez

text: He founded several musical institutions: the Domaine musical, Institut de recherche et coordination acoustique/musique (IRCAM), Ensemble intercontemporain and Cité de la Musique in Paris, and the Lucerne Festival Academy in Switzerland.


title: Pierre Boulez

text: in the Loire department of east-central France, to Léon and Marcelle ("née" Calabre) Boulez. He was the third of four children: an older sister, Jeanne (1922–2018) and younger brother, Roger (b. 1936) were preceded by a first child, also called Pierre (b. 1920), who died in infancy. Léon (1891–1969), an engineer and technical director of a steel factory, is described by biographers as an authoritarian figure, but with a strong sense of fairness; Marcelle (1897–1985) as an outgoing, good-humoured woman, who deferred to her husband's strict Catholic beliefs, while not necessarily sharing them. The family prospered, moving in 1929 from the apartment above a pharmacy, where Boulez was born, to a comfortable detached house, where he spent most of his childhood.


title: Pierre Boulez

text: From the age of seven Boulez went to school at the Institut Victor de Laprade, a Catholic seminary where the thirteen-hour school day was filled with study and prayer. By the age of eighteen he had repudiated Catholicism although later in life he described himself as an agnostic.


title: Pierre Boulez

text: As a child, Boulez took piano lessons, played chamber music with local amateurs and sang in the school choir. After completing the first part of his baccalaureate a year early, he spent the academic year of 1940–41 at the Pensionnat St. Louis, a boarding school in nearby Saint-Étienne. The following year he took classes in advanced mathematics at the Cours Sogno in Lyon (a school established by the Lazaristes) with a view to gaining admission to the École Polytechnique in Paris. His father hoped this would lead to a career in engineering. He was in Lyon when the Vichy government fell, the Germans took over and the city became a centre of the resistance.


title: Pierre Boulez

text: In Lyon, Boulez first heard an orchestra, saw his first operas ("Boris Godunov" and "Die Meistersinger von Nürnberg") and met the well-known soprano Ninon Vallin, who asked him to play for her. Impressed by his ability, she persuaded his father to allow him to apply to the Conservatoire de Lyon. He was rejected but was determined to pursue a career in music. The following year, with his sister's support in the face of opposition from his father, he studied the piano and harmony privately with Lionel de Pachmann (son of the pianist Vladimir). "Our parents were strong, but finally we were stronger than they", Boulez later said. In fact, when he moved to Paris in the autumn of 1943, hoping to enrol at the Conservatoire de Paris, Léon accompanied him, helped him to find a room (in the 7th arrondissement) and subsidised him until he could earn a living.


title: Pierre Boulez

text: In October 1943, he auditioned unsuccessfully for the advanced piano class at the Conservatoire, but he was admitted in January 1944 to the preparatory harmony class of Georges Dandelot. He made such fast progress that, by May 1944, Dandelot described him as "the best of the class".


title: Pierre Boulez

text: Around the same time he was introduced to Andrée Vaurabourg, wife of the composer Arthur Honegger. Between April 1944 and May 1946 he studied counterpoint privately with her. He greatly enjoyed working with her and she remembered him as an exceptional student, using his exercises as models until the end of her teaching career. In June 1944 he approached Olivier Messiaen, who wrote in his diary: 'Likes modern music. Wants to study harmony with me from now on.' Boulez began to attend the private seminars which Messiaen gave to selected students; in January 1945, he joined Messiaen's advanced harmony class at the Conservatoire.