title: Brent Hinds

text: Hinds is also lead guitarist/singer for the surfabilly band Fiend Without a Face, and is involved in other projects, including classic rock bands The Blood Vessels, West End Motel, Four Hour Fogger, The Last of the Blue Eyed Devils, Giraffe Tongue Orchestra, and Legend of the Seagullmen.


title: Brent Hinds

text: In Mastodon's early years, Hinds would work as a full-time carpenter when not touring to promote the band.


title: Brent Hinds

text: Hinds left Alabama for Atlanta, Georgia in pursuit of a music career. It was at this time that he met Troy Sanders, a future member of Mastodon. According to Sanders, he "lived in his van for the next five years", becoming a member of Sanders' then band, Four Hour Fogger. The first practice he attended with this band he allegedly "showed up so wasted he couldn't even play".


title: Brent Hinds

text: Once Four Hour Fogger fell apart, the two stuck together, eventually meeting Brann Dailor and Bill Kelliher at a High on Fire concert in "their friend's basement". The four began a new musical venture with then singer Eric Saner, touring the southern US, working 40-hour weeks and committing to the band in their spare time. The band's mainstream success would ensue after Saner left the band, pushing Hinds to the forefront not just as a guitarist, but as a vocalist also, the duties of which he would share with Sanders.


title: Brent Hinds

text: Hinds continues to concentrate on Mastodon, with the majority of his time spent touring or in the studio. He also enjoys promoting his lesser-known psychedelic rockabilly band Fiend Without a Face and his classic rock band the Blood Vessels. Hinds composed the score to "Jonah Hex".


title: Brent Hinds

text: In June 2011, Hinds' projects Fiend Without a Face and West End Motel released a split-double CD debut studio album.


title: Brent Hinds

text: In 2012, Hinds formed the supergroup Giraffe Tongue Orchestra with fellow guitarist Ben Weinman of The Dillinger Escape Plan fame, Jane's Addiction former bassist Eric Avery and The Mars Volta former drummer Thomas Pridgen.


title: Brent Hinds

text: Hinds will be working with psychedelic rock supergroup Legend of the Seagullmen along with Danny Carey of Tool and others. Their eponymous debut album was released in February 2018 on Dine Alone Records.


title: Brent Hinds

text: Hinds favors Gibson Flying V's, typically in silverburst finishes, but also owns a wide variety of guitars including a Goldtop Les Paul, a Les Paul Florentine, a Lucite Flying V built by the Electrical Guitar Company, a Gibson SG, a Gibson SG Custom, Gibson Explorers, an Ampeg Dan Armstrong Plexi Guitar which was used in the video for "Oblivion," and a Michael Kelly Phoenix Hollowbody. He also has two custom First Act guitars: a 6-string used in the video for "Colony of Birchmen" (which has asymmetrical horns such as those seen on a Mosrite guitar, a Bigsby vibrato, silverburst finish, and a Mastodon logo inlaid on the headstock) and a 12-string DC Lola, also with a silverburst finish, used on the Unholy Alliance 3 tour to capture a fuller sound while guitarist Bill Kelliher was too ill to perform. Hinds owns a guitar similar to this one, though his has only nine strings. He also used a 1964 Fender Stratocaster and a 1952 Fender Telecaster while recording "Crack the Skye".


title: Brent Hinds

text: During live performances, Hinds favors his various Silverburst Flying V's. He often performs the solos and more melodic parts, whereas Bill Kelliher takes rhythm duties. As of 2014, Hinds has also added a PRS Starla to his collection, as seen in the Motherload video as well as live performances of the song. As revealed in the "Tune-Ups" section of the October 2007 issue of "Guitar World", the two guitarists use three tunings: D Standard (E standard down one whole step, D G C F A D), Drop C tuning (D Standard tuning with the low D string tuned down an additional whole step, C G C F A D), and a third tuning similar to Drop C, but with the lowest string tuned down to A (A G C F A D).


title: Brent Hinds

text: In April 2016 Epiphone Guitars announced a signature guitar for him based on his Silverburst Flying V Custom and featuring his signature Lace Hammer Claw pickups


title: Brent Hinds

text: Hinds favors vintage style guitar straps with psychedelic prints. As of 2016, Hinds can be seen playing multiple custom "Overdrive Straps" retro and full leather guitar straps live and in the studio recording 'Emperor of Sand'.


title: Brent Hinds

text: Hinds was featured in "Marshall" magazine as a JCM 800 2203 player, though since 2010 has favored Orange's Thunderverb Series Amplifiers. As of 2014, he is using Marshall JMP series amplifiers and a Diezel VH-4.


title: Brent Hinds

text: Hinds uses a Boss Compressor CS-3, Boss Tuner TU-2, Monster Effects Mastortion, Ibanez Tube Screamer TS-9, Line 6 DL4 Delay Modeler, Voodoo Labs Pedal Power, and the Enema FX Mingebox. In 2014, he was seen using a Boss Digital Delay (DD-6), an ISP Technologies Decimator, an MXR Phase 90, MXR GT-OD, an Ernie Ball VP Junior and a Dunlop 105Q bass wah.


title: Brent Hinds

text: Originally playing the banjo, Hinds learned his "signature style" of fast hybrid picking by emulating banjo fingerings on guitar. He frequently utilizes the minor pentatonic, natural minor, and the harmonic minor scales in his playing as well as many hammer-ons, pull-offs, and legato slides. Hinds grew up listening to country, but when he entered his late teens he started listening to Neurosis and Melvins, bands that would have a profound influence on his musicianship. Hinds has also stated that he is a big fan of the progressive and psychedelic rock genres, especially from the '70s.


title: Brent Hinds

text: On June 12, 2007, Hinds and bandmate Bill Kelliher won the Metal Hammer Golden Gods award for best shredders.


title: Brent Hinds

text: Hinds was featured along with Kelliher on the cover of "Guitar World"s 300th issue alongside guitar legends like Jimi Hendrix, Angus Young, and Kirk Hammett.


title: Brent Hinds

text: Hinds performs clean and harsh vocals in Mastodon, where he shares lead vocal duties with Troy Sanders and more recently, Brann Dailor.


title: Brent Hinds

text: Hinds has a strong affinity for smoking marijuana, and places doubt on the narrative that America is a free country. In an online interview, he stated that he smokes marijuana almost every day. Hinds is quoted as follows: "They say that if, you know, terrorists and like the freedom haters wanna blow up America because we're so free but why don't they fucking turn Holland into dust because you guys are the freest people in the world?"


title: HTTP 302

text: The HTTP response status code 302 Found is a common way of performing URL redirection. The HTTP/1.0 specification (RFC 1945) initially defined this code, and gave it the description phrase "Moved Temporarily" rather than "Found".


title: HTTP 302

text: An HTTP response with this status code will additionally provide a URL in the header field Location. This is an invitation to the user agent (e.g. a web browser) to make a second, otherwise identical, request to the new URL specified in the location field. The end result is a redirection to the new URL.


title: HTTP 302

text: Many web browsers implemented this code in a manner that violated this standard, changing the request type of the new request to GET, regardless of the type employed in the original request (e.g. POST). For this reason, HTTP/1.1 (RFC 2616) added the new status codes 303 and 307 to disambiguate between the two behaviours, with 303 mandating the change of request type to GET, and 307 preserving the request type as originally sent. Despite the greater clarity provided by this disambiguation, the 302 code is still employed in web frameworks to preserve compatibility with browsers that do not implement the HTTP/1.1 specification.


title: HTTP 302

text: As a consequence, RFC 7231 (the update of RFC 2616) changes the definition to allow user agents to rewrite POST to GET.


title: The Jack Benny Program

text: The Jack Benny Program, starring Jack Benny, is a radio-TV comedy series that ran for more than three decades and is generally regarded as a high-water mark in 20th century American comedy. He played one role throughout his radio and television careers, a caricature of himself as a minimally talented musician and penny pincher who was the butt of all the jokes. Producer Hilliard Marks was the brother of Benny's wife Mary Livingstone.


title: The Jack Benny Program

text: On both television and radio, "The Jack Benny Program" used a loose show-within-a-show format, wherein the main characters were playing versions of themselves. The show often broke the fourth wall, with the characters interacting with the audience and commenting on the program and its advertisements.


title: The Jack Benny Program

text: In his first years on radio (c. 1932–1935), Jack Benny followed the format of many other radio comedians, standing at the microphone, telling jokes and stories, and introducing band numbers. As the characters of Jack and his cast became more defined, the show took on a "variety show" format, blending sketch comedy and musical interludes.


title: The Jack Benny Program

text: The show usually opened with announcer Don Wilson doing a commercial for the sponsor (e.g. Jell-O or Grape Nuts Flakes), accompanied by a musical number from the orchestra. Wilson would then introduce Jack Benny as the "Master of Ceremonies," and banter with him. Gradually, the rest of the cast members – including Mary Livingstone, bandleader Phil Harris, and tenor Kenny Baker or Dennis Day – would "walk on" to join the conversation. The banter between Benny and the regulars generally covered the news of the day, Jack's latest exchange in his ongoing feud with Fred Allen, or one of the running jokes on the program, such as Jack's stinginess, his age, or his vanity, Phil's habitual drunkenness, egotism, or illiteracy, Don's obesity, Dennis' stupidity, or Mary's letters from her mother.


title: The Jack Benny Program

text: As the show progressed, Jack might be interrupted by a phone call from his valet, Rochester (Eddie Anderson), reporting some problem at Benny's home (e.g. with Jack's pet polar bear, Carmichael, or with his crazy wartime boarder, Mr. Billingsley). Occasionally, Andy Devine or the Jewish character, Schlepperman (Sam Hearn), would make an appearance. At some point, Jack would tell the tenor it was time for their singing number ("Sing, Kenny!" or "Dennis, let's have your song."). Don Wilson would insert another commercial for the sponsor, and the band would do a "Big Band" number (ostensibly led by Phil Harris, although conductor Mahlon Merrick actually led the band).


title: The Jack Benny Program

text: The second half of the show would be devoted to a comedy sketch. Jack might leave the studio and go home to handle some problem (e.g. getting Carmichael to take his medicine). Or there would be a miniplay (e.g. "Buck Benny Rides Again," or a murder mystery starring Jack as Police Captain O'Benny), or a satire of a current movie (e.g. "Snow White and the Seven Gangsters"). In some episodes, Jack closed the show with brief instructions to his band leader ("Play, Phil."), and the band would play a final musical number, as Don Wilson did a final commercial.


title: The Jack Benny Program

text: Over the years, "The Jack Benny Program" evolved into the modern domestic situation comedy form, crafting particular situations and scenarios from the fictionalized life of Jack Benny, the radio star. The sitcom shows often took place in Jack's house in Beverly Hills, with the story revolving around some aspect of Benny's life. For example, an entire show might be devoted to Jack taking a violin lesson, instructed by his harried violin teacher, Professor LeBlanc (played by Mel Blanc). Common situations included hosting parties, income-tax time, nights on the town, "backstage" interactions between Jack and his cast during show rehearsals at the radio studio, contract negotiations, traveling in the Maxwell, or traveling by train or plane to and from Jack's many personal appearances throughout the country (hence the "Train leaving on track five" running gag).


title: The Jack Benny Program

text: The sitcom shows usually opened with Jack handling some common domestic task (e.g. Spring cleaning or organizing the pantry), with help from Rochester. As the show progressed, Jack would receive visits or phone calls from Mary Livingstone, Phil Harris or Bob Crosby (who replaced Harris as the radio show's "band leader" in 1952), and Dennis Day. Following an exchange with Day, Benny would order him to "rehearse" a song ("Let's hear the song that you're going to sing on my show tomorrow night."), and Dennis would sing a number. Don Wilson would bring the Sportsmen Quartet over to Jack's house, to sing a new commercial for the sponsor, Lucky Strike Cigarettes, to Benny's consternation.


title: The Jack Benny Program

text: Later in the show, Jack might step out to handle some common errand, such as going to the dentist, or visiting a store to buy a new suit, where the dentist or store clerk would inevitably turn out to be Frank Nelson. While on these errands, he might encounter Mr. Kitzel (Artie Auerbach), the race track tout (Sheldon Leonard) or John L.C. Sivoney (Frankie Fontaine). In other shows, Jack might fall asleep while reading a book in his study (e.g. "I Stand Condemned" or "The Search for the Elephant's Graveyard"), and dream that he was the star of the story he was reading.


title: The Jack Benny Program

text: In the 1950s, as "The Jack Benny Program" gravitated to television, the "domestic sitcom" became the show's standard format, often with Benny introducing the episode onstage. Scripts and storylines from radio show episodes were re-used and adapted for TV episodes, with the writers using visual gags and settings (e.g. Jack's underground vault) that had previously been described on air and left to the radio listeners' imaginations.


title: The Jack Benny Program

text: Jack Benny first appeared on radio as a guest of Ed Sullivan in March 1932. He was then given his own show later that year, with Canada Dry Ginger Ale as a sponsor – "The Canada Dry Ginger Ale Program", beginning May 2, 1932, on the NBC Blue Network and continuing there for six months until October 26, moving the show to CBS on October 30. With Ted Weems leading the band, Benny stayed on CBS until January 26, 1933.


title: The Jack Benny Program

text: Arriving at NBC on March 3, Benny did "The Chevrolet Program" until April 1, 1934, with Frank Black leading the band. He continued with "The General Tire Revue" for the rest of that season, and in the fall of 1934, for General Foods as "The Jell-O Program Starring Jack Benny" (1934–42), and when sales of Jell-O were affected by sugar rationing during World War II, "The Grape Nuts Flakes Program Starring Jack Benny" (later the "Grape Nuts and Grape Nuts Flakes Program") (1942–44).


title: The Jack Benny Program

text: On October 1, 1944, the show became "The Lucky Strike Program Starring Jack Benny", when American Tobacco's Lucky Strike cigarettes took over as his radio sponsor, through to the mid-1950s. By that time, the practice of using the sponsor's name as the title began to fade.


title: The Jack Benny Program

text: The show returned to CBS on January 2, 1949, as part of CBS president William S. Paley's "raid" of NBC talent in 1948–49. There it stayed for the remainder of its radio run, which ended on May 22, 1955. CBS aired repeats of previous 1953–55 radio episodes from 1956 to 1958 as "The Best of Benny" for State Farm Insurance, which later sponsored his television program from 1960 through 1965.


title: The Jack Benny Program

text: In October, 1934, General Foods agreed to take up sponsorship from the struggling tire-maker, using the show (now airing on the Blue network) to promote its low-selling Jell-O desserts. Beginning from this point, Benny was heard Sunday evenings at 7, at the time seen as a "graveyard slot". However, this was eventually associated with Benny, who appeared in that very time spot for his remaining 21 years on radio (counting his TV shows, he would broadcast on Sundays for a record 28 consecutive years).


title: The Jack Benny Program

text: In the fall of 1935, Don Bestor was replaced by Johnny Green as the maestro, while Parker was replaced by Michael Bartlett, who himself left after 13 weeks, with Kenny Baker taking over. In early 1936, Harry Conn left the program after creative conflicts with Benny, who had to resort to vaudeville writers Al Boasberg and Edmund Beloin through the end of the season.


title: The Jack Benny Program

text: In 1936, after a few years of broadcasting from New York, Benny moved the show to Los Angeles, allowing him to bring in guests from among his show-business friends, including Frank Sinatra, James Stewart, Judy Garland, Barbara Stanwyck, Bing Crosby, Burns and Allen (George Burns was Benny's closest friend), and many others. Burns, Allen, and Orson Welles guest-hosted several episodes in March and April 1943 when Benny was ill with pneumonia, while Ronald Colman and his wife Benita Hume appeared often in the 1940s as Benny's long-suffering neighbors.


title: The Jack Benny Program

text: The 1936–37 season brought many changes instrumental to the development of the show. Aside from having a new writing team (Beloin and Bill Morrow, with script doctoring by Boasberg), Benny returned to the NBC Red Network and established the program in Hollywood. Benny had already done a number of shows on the West Coast for two yearsfeaturing Jimmie Grier as guest conductorwhenever he was doing movie work. Green was replaced by Phil Harris.


title: The Jack Benny Program

text: During this period, the Benny character gradually became that of the vain, miserly, untalented performer for which he would be recognized, while the "ditzy" role went from Mary to Kenny, and Don Wilson would become the target of jokes about his weight. Halfway through the season, the famous "feud" with Fred Allen began, climaxing with a visit to New York, after which Eddie Anderson was cast as a porter. His character was so well received that it was decided to have Anderson join the cast as Rochester, Benny's valet. In 1939, Baker chose to leave the show and was replaced by Dennis Day.


title: The Jack Benny Program

text: In 1941, NBC celebrated Benny's 10th anniversary in radio in an unprecedented manner, broadcasting part of a banquet dedicated to him, in which the network conceded the Sunday 7:00 to 7:30 pm slot to Benny instead of the sponsor, as it was the custom during the Golden Age of Radio.


title: The Jack Benny Program

text: In 1942, General Foods switched the sponsor product from Jell-O to Grape-Nuts. World War II affected the show as Harris joined the Merchant Marines, being absent from the program from December 1942 until March 1943. That fall, Morrow joined the Army and Beloin left the show; they were replaced by Milt Josefsberg, John Tackaberry, George Balzer, and Cy Howard, the latter of whom was soon replaced by Sam Perrin. Day enlisted in the Navy in early 1944, not returning until 1946. The new writers emphasized sitcom situations instead of the film parodies prevalent in earlier years.


title: The Jack Benny Program

text: After 10 years with General Foods, American Tobacco's Lucky Strike became Benny's sponsor from October 1944, an association that lasted until 1959.


title: The Jack Benny Program

text: The show switched networks to CBS on January 2, 1949, as part of CBS president William S. Paley's notorious "raid" on NBC talent in 1948–49. It stayed there for the remainder of its radio run, ending on May 22, 1955. In 1952, Harris was replaced by Bob Crosby. CBS aired repeat episodes from 1956 to 1958 as "The Best of Benny".


title: The Jack Benny Program

text: In the early days of radio and in the early television era, airtime was owned by the sponsor, and Benny incorporated the commercials into the body of the show. Sometimes, the sponsors were the butt of jokes, though Benny did not use this device as frequently as his friend and "rival" Fred Allen did then, or as cast member Phil Harris later did on his successful radio sitcom. Nevertheless, for years, Benny insisted in contract negotiations that his writers pen the sponsor's commercial in the middle of the program (leaving the sponsor to provide the opening and closing spots) and the resulting ads were cleverly and wittily worked into the storyline of the show. For example, on one program, Don Wilson accidentally misread Lucky Strike's slogan ("Be happy, go Lucky") as "Be Lucky, go happy", prompting a story arc over several weeks that had Wilson unable to appear on the show due to being traumatized by the error.


title: The Jack Benny Program

text: In fact, the radio show was generally not announced as "The Jack Benny Program". Instead, the primary name of the show tied to the sponsor. Benny's first sponsor was Canada Dry Ginger Ale from 1932 to 1933. Benny's sponsors included Chevrolet from 1933 to 1934, General Tire in 1934, and Jell-O from 1934 to 1942.


title: The Jack Benny Program

text: "The Jell-O Program Starring Jack Benny" was so successful in selling Jell-O, that General Foods could not manufacture it quickly enough when sugar shortages arose in the early years of World War II, and the company stopped advertising the dessert mix. General Foods switched the Benny program from Jell-O to Grape-Nuts from 1942 to 1944, and it was "The Grape Nuts Program Starring Jack Benny". Benny's longest-running sponsor, was the American Tobacco Company's Lucky Strike cigarettes, from 1944 to 1955, when the show was usually announced as "The Lucky Strike Program starring Jack Benny".


title: The Jack Benny Program

text: Benny employed a small group of writers, most of whom stayed with him for many years. This was in contrast to many successful radio or television comedians, such as Bob Hope, who changed writers frequently. One of Benny's writers, George Balzer, noted: "One of the nice things about writing for Jack Benny was that he never denied your existence. On the contrary, he publicized itnot just in conversations, but in interviews and on the air."


title: The Jack Benny Program

text: Historical accounts like those by longtime Benny writer Milt Josefsberg indicate that Benny's role was essentially as head writer and director of his radio programs, though he was not credited in either capacity. In contrast to Fred Allen, who initially wrote his own radio scripts and extensively rewrote scripts produced in later years by a writing staff, Jack Benny was often described by his writers as a consummate comedy editor rather than a writer "per se". George Burns described Benny as "the greatest editor of material in the business. He's got the knack of cutting out all the weak slush and keeping in only the strong, punchy lines."


title: The Jack Benny Program

text: Jack Benny has a reputation as a master of timing. Since his days in radio, he often explored the limits of timing for comedic purposes, like pausing a disproportionate amount of time before answering a question. Balzer described writing material for Benny as similar to composing music, with one element being the rhythm of delivery as equivalent to musical tempo.


title: The Jack Benny Program

text: During his early radio shows, no recurring theme was used, with the program instead opening each week with a different then-current popular song. Throughout the Jell-O and Grape-Nuts years, announcer Don Wilson would announce the name of the show, some of the cast, then state "The orchestra opens the program with [name of song]." The orchestra number would continue softly as background for Don Wilson's opening commercial.


title: The Jack Benny Program

text: Starting in the Lucky Strike era, Benny adopted a medley of "Yankee Doodle Dandy" and "Love in Bloom" as his theme music, opening every show. "Love in Bloom" was later the theme of his television show. His radio shows often ended with the orchestra playing "Hooray for Hollywood". The TV show ended with one of two bouncy instrumentals written for the show by his musical arranger and conductor, Mahlon Merrick.


title: The Jack Benny Program

text: Benny sometimes joked about the propriety of "Love in Bloom" as his theme song. On a segment often played in "Tonight Show" retrospectives, Benny talks with Johnny Carson about this. Benny says he has no objections to the song in and of itself, only as "his theme." Proving his point, he begins reciting the lyrics slowly and deliberately: "Can it be the "trees." That fill the "breeze". With rare and magic perfume. Now what the hell has that got to do with "me?""


title: The Jack Benny Program

text: Eddie Anderson was the first black man to have a recurring role in a national radio show, which was significant because at the time, black characters were not uncommonly played by white actors in blackface. Although Eddie Anderson's Rochester may be considered a stereotype by some, his attitudes were unusually sardonic for such a role. As was typical at the time in depicting class distinctions, Rochester always used a formal mode of address to the other (White) characters ("Mr. Benny", "Miss Livingstone") and they always used a familiar mode in speaking to him ("Rochester"), but the formal mode when speaking to him about another White character ("Mr. Benny" when speaking to Rochester but "Jack" when speaking to Jack).


title: The Jack Benny Program

text: In many routines, Rochester gets the better of Benny, often pricking his boss' ego, or simply outwitting him. The show's portrayal of black characters could be seen as advanced for its time. In a 1956 episode, African American actor Roy Glenn plays a friend of Rochester's, and he is portrayed as a well-educated, articulate man not as the typical "darkie stereotype" seen in many films of the time.


title: The Jack Benny Program

text: Glenn's role was a recurring one on the series, where he was often portrayed as having to support two people on one unemployment check (i.e., himself and Rochester). Black talent was also showcased, with several guest appearances by The Ink Spots and others. Once, when Benny and his cast and crew were doing a series of shows in New York, the entire cast, including Eddie Anderson, stayed in a prominent New York hotel. Shortly after they decamped at the hotel, a manager told Benny that some White guests from Mississippi had complained to him about Anderson staying in the hotel. He asked Benny to please "do something about it." Benny assured him that he would fix the matter. That evening, Benny moved all his people into another hotel, where Anderson would not be made to feel unwelcome.


title: The Jack Benny Program

text: In the Golden Age of Radio, line flubs were common during live broadcasts, especially on a show like "The Jack Benny Program", which used sophisticated humor and complex, well-written scripts. When they happened, Jack would laugh along with the audience, ad lib a joke or two, and continue on with the show, although the line flubs clearly annoyed him. When Eddie Anderson, who had a habit of missing rehearsals, would flub his lines on the air, Jack would sometimes shout in mock indignation, "Just "one" rehearsal! That's "all" I ask!"


title: The Jack Benny Program

text: As professional as he was, even Jack himself was not immune to flubs. On the November 6, 1949 episode, in a sketch where he was on a yacht cruise, Jack told the boat captain that he had been "on the Navy" during World War I, instead of "in the Navy." The episode featured so many line flubs that the following week's episode, November 13, was built around Jack calling a meeting of his cast to discuss their mistakes in the previous week's episode.


title: The Jack Benny Program

text: Mary Livingstone had several flubs that became notorious running gags for weeks after they happened. On the October 27, 1946 episode, during a lunch counter sketch, Mary mistakenly ordered a "chiss sweeze sandwich," instead of a "Swiss cheese sandwich." On the December 3, 1950 episode, Jack told the story of how he met his valet, Rochester. According to Jack, he was driving his car, made a turn into a garage owned by Amos 'n' Andy, and accidentally hit Rochester's car – while it was up on the grease rack. At the end of the show, Mary asked Jack, "How could you possibly hit a car when it was up on the grass reek?"


title: The Jack Benny Program

text: Unfortunately, these line flubs may have contributed to Mary Livingstone developing a bad case of "mike fright." In the radio show's final years (1952–1955), Mary's character appeared less and less. When the show was transcribed (pre-recorded), Mary's daughter, Joan Benny, would fill in for her mother when the cast recorded the episode in front of a live studio audience, and Mary would later dub in her lines from the safety of her living room at home.


title: The Jack Benny Program

text: On the broadcast of January 8, 1950, journalist Drew Pearson was the subject of a joke gone wrong. Announcer Don Wilson was supposed to say he heard that Jack bought a new suit on Drew Pearson's broadcast, but accidentally said "Dreer Pooson". Later in the show, comedic actor Frank Nelson was asked by Benny if he was the doorman. Changing his original response at the suggestion of the writers, Nelson said, "Well, who do you think I am, Dreer Pooson?" The audience laughed for almost 30 seconds.


title: The Jack Benny Program

text: The line flubs would occasionally cause the show to run overtime. When this happened, Jack would cut the "coda joke" at the end of the episode, and sign off with the customary statement, "We're a little late, so good night, folks."


title: The Jack Benny Program

text: Benny teamed with Fred Allen for the best-remembered running gag in classic radio history, in terms of character dialogue. Benny alone sustained a classic repertoire of running gags in his own right, though, including his skinflint radio and television persona, regular cast members' and guest stars' reference to his "baby blue" eyes, always sure to elicit a self-satisfied smirk or patently false attempt at modesty from Benny, perpetually giving his age as 39, and ineptitude at violin playing, most frequently demonstrated by futile attempts to perform Rodolphe Kreutzer's Étude No. 2 in C major.


title: The Jack Benny Program

text: In fact, Benny was a quite good violinist who achieved the illusion of a bad one, not by deliberately playing poorly, but by striving to play pieces that were too difficult for his skill level. In one of his show's skits, Benny is a USO performer in the Pacific playing his violin when he comes under fire; Benny still plays his violin when two Japanese surrender to himall the other enemy soldiers committed suicide rather than endure listening to Benny's terrible music.


title: The Jack Benny Program

text: A skit heard numerous times on radio, and seen many times on television, had Mel Blanc as a Mexican in a sombrero and serape sitting on a bench. Jack Benny sits down and begins a conversation. To each question asked by Benny, Blanc replies "Sí". When Benny asks his name, Blanc replies "Sy", which would prompt t" for a living ("Sew?", "Sí.").


title: The Jack Benny Program

text: A running gag was Benny age always being 39a guest on the show was Rod Serling who is the mayor of a town where no one recognizes Benny; Jack runs off screaming for help while Serling breaks the fourth wall and remarks to the audience that anyone who has been 39 for as long as Benny has is a resident of this "Zone" (i.e., Twilight Zone).


title: The Jack Benny Program

text: A running gag in Benny's private life concerned George Burns. To Benny's eternal frustration, he could never get Burns to laugh. Burns, though, could crack Benny up with the least effort. An example of this occurred at a party when Benny pulled out a match to light a cigar. Burns announced to all, "Jack Benny will now perform the famous match trick!" Benny had no idea what Burns was talking about, so he proceeded to light up. Burns observed, "Oh, a new ending!" and Benny collapsed in helpless laughter.


title: The Jack Benny Program

text: Benny even had a sound-based running gag of his own: his famous basement vault alarm, allegedly installed by Spike Jones, ringing off with a shattering cacophony of whistles, sirens, bells, and blasts before ending invariably with the sound of a foghorn. The alarm rang even when Benny opened his safe with the correct combination. The vault also featured a guard named Ed (voiced by Joseph Kearns) who had been on post down below, apparently, before the end of the Civil War, the end of the Revolutionary War, the founding of Los Angeles, on Jack's 38th birthday and even the beginning of humanity.


title: The Jack Benny Program

text: In one appearance, Ed asked Benny, "By the way, Mr. Benny ... what's it like on the outside?" Benny responded, "... winter is nearly here, and the leaves are falling." Ed responded, "Hey, that must be exciting," to which Benny replied (in a stunningly risqué joke for the period), "Oh, nopeople are wearing clothes now."


title: The Jack Benny Program

text: In one episode of the Benny radio show, Ed the Guard actually agreed when Benny invited him to take a break and come back to the surface world, only to discover that modern conveniences and transportation, which had not been around the last time he had been to the surface, terrorized and confused him. (Ed thought a crosstown bus was "a red and yellow dragon".) Finally, Ed decides to return to his post fathoms below and stay there. The basement vault gag was also used in the cartoon "The Mouse that Jack Built" and an episode of "The Lucy Show".


title: The Jack Benny Program

text: A separate sound gag involved a song Benny had written, "When You Say I Beg Your Pardon, Then I'll Come Back to You". Its inane lyrics and insipid melody guaranteed that it would never be published or recorded, but Benny continued to try to con, extort, or otherwise inveigle some of his musical guests (including The Smothers Brothers and Peter, Paul and Mary) to perform it. However, none ever made it all the way.


title: The Jack Benny Program

text: In keeping with his "stingy" schtick, on one of his television specials he remarked that, to his way of looking at things, a "special" is when the price of coffee is marked down.


title: The Jack Benny Program

text: Another popular running gag concerned the social habits of Benny's on-air orchestra, who were consistently portrayed as a bunch of drunken ne'er-do-wells. Led first by Phil Harris and later by Bob Crosby, the orchestra, and in particular band member Frank Remley, were jokingly portrayed as often being too drunk to play properly, using an overturned bass drum to play cards on just minutes before a show and so enamored of liquor that the sight of a glass of milk would make them sick. Remley was portrayed in various unflattering situations, such as being thrown into a garbage can by a road sweeper who had found him passed out in the street at 4 am, and on a wanted poster at the Beverly Hills police station.


title: The Jack Benny Program

text: Crosby also got consistent laughs by frequently joking about his more famous brother Bing Crosby's vast wealth.


title: The Jack Benny Program

text: One popular scenario that became a tradition on "The Jack Benny Program" was the annual "Christmas Shopping" episode, in which Benny would go to a local department store to do his shopping. Each year, Benny would buy a ridiculously cheap Christmas gift for Don Wilson, from a harried store clerk played by Mel Blanc. Benny would then drive Blanc to insanity by exchanging the gift countless times throughout the episode.


title: The Jack Benny Program

text: In the 1946 Christmas episode, for example, Benny buys shoelaces for Don, and is unable to make up his mind whether to give Wilson shoelaces with plastic tips or metal tips. After exchanging them repeatedly, Mel Blanc is heard screaming insanely, "Plastic tips! Metal tips! I can't stand it anymore!"


title: The Jack Benny Program

text: A variation in 1948 was with an expensive wallet, but repeatedly changing the greeting card, prompting Blanc to shout, "I haven't run into anyone like you in 20 years! Oh, why did the governor have to give me that pardon!?" Benny then realizes that he should have gotten Don a wallet for $1.98, whereupon the store clerk responds by committing suicide.


title: The Jack Benny Program

text: Over the years, in the Christmas episodes, Benny bought and repeatedly exchanged cuff links, golf tees, a box of dates, a paint set (water colors or oils), and a gopher trap. In later years, Benny would encounter Mel Blanc's wife (played by Jean Vander Pyl or Bea Benaderet) or the clerk's psychiatrist at the store, and drive them crazy, as well.


title: The Jack Benny Program

text: One Christmas program had Crosby agonizing over what to get Remley: Benny: "Well, why don't you get him a cordial; like a bottle of Drambuie?" Crosby: "That's a nice thought, Jack, but Drambuie's an after-dinner drink." Benny: "So?" Crosby: "So Remley never quite makes it 'til after dinner."


title: The Jack Benny Program

text: Starting with the October 24, 1937, radio show, when Jack proudly announced the purchase of his car, a running joke began that Benny drove an old Maxwell automobile, a brand that went out of business in 1925. Although some details such as the car's body style and its exact model year varied over the years, what remained constant was that Benny's old car was so worn out that it would barely run, but the miserly Benny insisted he could get a few more miles out of it.


title: The Jack Benny Program

text: Many of the sound effects for the car's clattering engine came from an actual old motor that the sound-effects shop had salvaged from a Los Angeles junkyard. When a sound-effects man missed a cue for the automobile engine, Mel Blanc quickly improvised a vocal imitation of a sputtering car engine starting up noisily that was so funny, it became a regular feature of the show.


title: The Jack Benny Program

text: The ongoing saga of the Maxwell was initially interrupted after just five years, when on the October 18, 1942, broadcast, Jack took his car to a local junkyard and contributed it to the World War II junk salvage drive, receiving $7.50 in war stamps in exchange. However, much of the radio audience may have remained unaware that the Maxwell was ever gone, because before long Benny was heard traveling around in a decrepit old car again, and by the end of the 1940s, his car was once more specifically identified as a Maxwell.


title: The Jack Benny Program

text: When the "Jack Benny Program" premiered on television in 1950, a 1916 Maxwell Model 25 Tourer became one of the production's standard props. Benny's Maxwell later became a 1923 Tourer. Benny often made public appearances in Maxwells. He drove a Maxwell onto the stage in one of his last television specials.


title: The Jack Benny Program

text: By 1941, Jack Benny's Maxwell had become such a well-known aspect of popular culture that it was referenced in the Billy Mills song "I'm in Love with the Sound Effects Man" as heard on the June 17, 1941, "Fibber McGee and Molly" radio show and later performed on a 1943 recording by Spike Jones. The automobile was also featured in the 1943 Benny film "The Meanest Man in the World". Benny and his archaic auto were featured in a series of television and print ads for Texaco from the 1950s through the 1970s.


title: The Jack Benny Program

text: A series of gags was built around the premise that Benny appreciated the value of Sky Chief brand gasoline in keeping his car running smoothly, but was too cheap to buy more than one gallon at a time. In the classic cartoon "The Mouse that Jack Built", Benny and his wife are driven by Rochester in a sputtering Maxwell car. In another gag Benny comes home and Rochester reports that he has just reported to the Police that the Maxwell was stolen 3 hours after it happened. When Benny asks why he waited so long, Rochester replies that it was when he stopped laughing.


title: The Jack Benny Program

text: Many people believe that Benny appears behind the wheel of his Maxwell in the 1963 film "It's a Mad, Mad, Mad, Mad World", but in fact, it was a 1932 Cadillac. The long shots for the scene were shot months before Benny was castwith a stunt driver at the wheeland the role was intended for Stan Laurel (which is why the character wears a derby, which Benny almost never did). When Laurel ultimately passed on appearing, Jack agreed to play the role. According to the commentary on the Criterion edition of the film, his close-ups were filmed on a rear-projection stage at the Paramount studio.


title: The Jack Benny Program

text: On April 5, 1936, Benny began his famous radio feud with rival Fred Allen when he satirized Allen's show.Allen kicked the feud off on his own show on December 30, 1936, after child violinist Stuart Canin gave a performance of François Schubert's "The Bee" credibly enough that Allen wisecracked about "a certain alleged violinist" who should by comparison be ashamed of himself. Benny, who listened to the Allen show, answered in kind at the end of his January 3, 1937, show, and the two comedians were off and running.


title: The Jack Benny Program

text: For a decade, the two went at it back and forth, so convincingly that fans of either show could have been forgiven for believing they had become blood enemies. In reality, the two men were close friends and mutual admirers. Benny and Allen often appeared on each other's show during the ongoing feud; numerous surviving episodes of both comedians' radio shows feature each other, in both acknowledged guest spots and occasional cameos. On one Christmas program, Allen thanked Benny for sending him a Christmas tree, but then added that the tree had died. "Well, what do you expect," quipped Allen, "when the tree is in Brooklyn and the sap is in Hollywood."


title: The Jack Benny Program

text: Benny in his memoir ("Sunday Nights at Seven") and Allen in his "Treadmill to Oblivion" later revealed that each comedian's writing staff often met together to plot future takes on the mock feud. If Allen zapped Benny with a satirization of Benny's show ("The Pinch Penny Program"), Benny shot back with a parody of Allen's "Town Hall Tonight" called ""Clown" Hall Tonight", and their playful sniping ("Benny was born ignorant, and he's been losing ground ever since") was also advanced in the films "Love Thy Neighbor" and "It's in the Bag!".


title: The Jack Benny Program

text: Perhaps the climax of the feud came during Fred Allen's parody of popular quiz-and-prize show "Queen for a Day". Calling the sketch "King for a Day", Allen played the host and Benny a contestant who sneaked onto the show using the alias Myron Proudfoot. Benny answered the prize-winning question correctly and Allen crowned him "king" and showered him with a passel of almost meaningless prizes.


title: The Jack Benny Program

text: Allen proudly announced, "Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest," to which Benny joyously declared, "I'm "king" for a day!" At this point a professional pressing-iron was wheeled on stage, to press Benny's suit properly. It didn't matter that Benny was still "in" the suit. Allen instructed his aides to remove Benny's suit, one item at a time, ending with his trousers, each garment's removal provoking louder laughter from the studio audience.


title: The Jack Benny Program

text: As his trousers began to come off, Benny howled, "Allen, you haven't seen the "end" of me!" At once Allen shot back, "It won't be long "now!"" The laughter was so loud and chaotic at the chain of events that the Allen show announcer, Kenny Delmar, was cut off the air while trying to read a final commercial and the show's credits. (Allen was notorious for running overtime often enough, largely thanks to his ad-libbing talent, and he overran the clock again this time.)


title: The Jack Benny Program

text: Benny was profoundly shaken when in 1956 Allen suddenly died at age 61 from a heart attack. In a statement released on the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same: You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it." Allen himself wrote, "For years people have been asking me if Jack and I are friendly. I don't think that Jack Benny has an enemy in the world. ... He is my favorite comedian and I hope to be his friend until he is forty. That will be forever."


title: The Jack Benny Program

text: The radio series was one of the most extensively preserved programs of its era, with the archive almost complete from 1936 onward and several episodes existing from before that (including the 1932 premiere).


title: The Jack Benny Program

text: A few episodes from the series' later years remain missing, however, such as the shows from September 30 and October 7, 1951.


title: The Jack Benny Program

text: The March 28, 1948 episode of the radio series was chosen by the Library of Congress as a 2004 selection for preservation in the National Recording Registry.


title: The Jack Benny Program

text: Jack Benny made his TV debut in 1949 with a local appearance on Los Angeles station KTTV, then a CBS affiliate. On October 28, 1950, he made his full network debut over CBS Television. Benny's television shows were occasional broadcasts in his early seasons on TV, as he was still firmly dedicated to radio.


title: The Jack Benny Program

text: The regular and continuing "Jack Benny Program" was telecast on CBS from October 28, 1950, to September 15, 1964. It became a weekly show in the 1960–1961 season, and was on NBC from September 25, 1964, to September 10, 1965.


title: The Jack Benny Program

text: 343 episodes were produced. His TV sponsors included American Tobacco's Lucky Strike (1950–59), Lever Brothers' Lux (1959–60), State Farm Insurance (1960–65), Lipton Tea (1960–62), General Foods' Jell-O (1962–64), and Miles Laboratories (1964–65).


title: The Jack Benny Program

text: The television show was a seamless continuation of Benny's radio program, employing many of the same players, the same approach to situation comedy, and some of the same scripts. The suffix "Program" instead of "Show" was also a carryover from radio, where "program" rather than "show" was used frequently for presentations in the nonvisual medium. Occasionally, in several live episodes, the title card read "The Jack Benny Show".


title: The Jack Benny Program

text: The "Jack Benny Program" appeared infrequently during its first two years on CBS-TV. Benny moved into television slowly. In his first season (1950–1951), he only performed on four shows, but by the 1951–1952 season, he was ready to do one show roughly every six weeks. In the third season (1952–1953), the show was broadcast every four weeks. During the 1953–1954 season, the "Jack Benny Program" aired every three weeks.


title: The Jack Benny Program

text: From 1954 to 1960, the program aired every other week, rotating with such shows as "Private Secretary" and "Bachelor Father". After the radio show ended in 1955, Benny took on another biweekly series, becoming a regular on "Shower of Stars", CBS's hourlong comedy/variety anthology series. He effectively appeared almost every week on one of the two series. On "Shower of Stars", Benny's character finally turned 40, throwing a large birthday party for the occasion.


title: The Jack Benny Program

text: Beginning in the 1960–1961 season, the "Jack Benny Program" began airing every week. The show moved from CBS to NBC prior to the 1964–65 season. During the 1953–54 season, a few episodes were filmed during the summer and the others were live, a schedule that allowed Benny to continue doing his radio show. In the 1953–1954 season, Dennis Day had his own short-lived comedy and variety show on NBC, "The Dennis Day Show".


title: The Jack Benny Program

text: Live episodes (and later live-on-tape episodes) of the "Jack Benny Program" were broadcast from CBS Television City with live audiences. Early filmed episodes were shot by McCadden Productions at Hollywood Center Studios and later by Desilu Productions at Red Studios Hollywood with an audience brought in to watch the finished film for live responses. Benny's opening and closing monologues were filmed in front of a live audience. From the late 1950s until the last season on NBC, though, a laugh track was used to augment audience responses. By this time, all shows were filmed at Universal Television.


title: The Jack Benny Program

text: In Jim Bishop's book "A Day in the Life of President Kennedy", John F. Kennedy said that he was too busy to watch most television, but that he made the time to watch the "Jack Benny Program" each week.


title: The Jack Benny Program

text: Outside of North America (being also one of the most popular shows on the CBC), one episode reportedly aired first in the United Kingdom (where one episode was filmed). Benny had also been a familiar figure in Australia since the mid- to late 1930s with his radio show, and he made a special program for ATN-7 "Jack Benny In Australia" in March 1964, after a successful tour of Sydney and Melbourne.


title: The Jack Benny Program

text: James T. Aubrey, the president of CBS Television and a man known for his abrasive and judgmental decision-making style, infamously told Benny in 1963, "you're through." Benny was further incensed when CBS placed an untested new sitcom, the "Beverly Hillbillies" spinoff "Petticoat Junction", as his lead in. Benny had had a strong ratings surge the previous year when his series was moved to Tuesday nights with the popular "Red Skelton Hour" in the time slot prior to his.


title: The Jack Benny Program

text: He feared a separation of their two programs might prove fatal. Early that fall, he announced his show was moving back to NBC, where he was able to get the network to pick up another season. Benny's fears proved to be unfounded; his ratings for the 1963–64 season remained strong, while "Petticoat Junction" emerged as the most popular new series that fall.


title: The Jack Benny Program

text: In his unpublished autobiography, "I Always Had Shoes" (portions of which were later incorporated by Benny's daughter, Joan, into her memoir of her parents, "Sunday Nights at Seven"), Benny said that he made the decision to end his TV series in 1965. He said that while the ratings were still good (he cited a figure of some 18 million viewers per week, although he qualified that figure by saying he never believed the ratings services were doing anything more than guessing), advertisers complained that commercial time on his show was costing nearly twice as much as what they paid for most other shows, and he had grown tired of what was called the "rat race".


title: The Jack Benny Program

text: As with the radio shows, most of the television series has lapsed into the public domain, although several episodes (particularly those made from 1961 onward, including the entire NBC-TV run) remain under copyright. During his lone NBC season, CBS aired repeats on weekdays and Sunday afternoons. 104 episodes personally selected by Benny and Irving Fein, Benny's associate since 1947, were placed into syndication in 1968 by MCA TV. Telecasts of the shows in the late evening were running as late as 1966.


title: The Jack Benny Program

text: Four early-1960s episodes were rerun on CBS during the summer of 1977. Edited 16mm prints ran on the CBN Cable Network in the mid-1980s. Restored versions first appeared on the short lived HA! network in 1990. As of 2011, the series has run on Antenna TV, part of a long-term official syndication distribution deal. The public domain television episodes have appeared on numerous stations, including PBS, while the radio series episodes have appeared in radio drama anthology series such as "When Radio Was".


title: The Jack Benny Program

text: Public-domain episodes have been available on budget VHS/Beta tapes (and later DVDs) since the late 1970s. MCA Home Video issued a 1960 version of the classic "Christmas Shopping" show in 1982 and a VHS set of 10 filmed episodes in 1990. In 2008, 25 public-domain episodes of the show, long thought lost, were located in a CBS vault. The Jack Benny Fan Club, with the blessing of the Benny estate, offered to fund the digital preservation and release of these sealed episodes. CBS issued a press statement that any release was unlikely.


title: The Jack Benny Program

text: June 2013 had the first official release of 18 rare live Benny programs from 1956 to 1964 by Shout! Factory. This set, part of Benny's private collection at the UCLA film and television library, included guest shots by Jack Paar, John Wayne, Tony Curtis, Gary Cooper, Dick Van Dyke, Rock Hudson, Natalie Wood, and President Harry Truman, and the only TV appearance with longtime radio foe Ronald Colman.


title: Naples International Airport

text: Naples International Airport () is the intercontinental airport serving Naples and the Southern Italian region of Campania. According to 2019 data, the airport is the fifth-busiest airport in Italy and the busiest in Southern Italy. The airport serves as a base for easyJet, Ryanair, Volotea and Wizzair. Located north-northeast of the city in the San Pietro a Patierno quarter of Naples, the airport is officially named "Aeroporto di Napoli-Capodichino Ugo Niutta", after decorated WWI pilot Ugo Niutta.


title: Naples International Airport

text: The district of Capodichino – in the area known as "Campo di Marte" – hosted the first flight exhibitions in Naples in 1910. During the First World War, "Campo di Marte" became a military airport in order to defend the town against Austro-Hungarian and German air attacks.


title: Naples International Airport

text: During World War II, it was used as a combat airfield by the United States Army Air Forces and the Royal Air Force extensively during the Italian Campaign. The airfield was first used by RAF No. 324 Wing with its five squadrons of Supermarine Spitfires in 1943. It was then used by the US Twelfth Air Force which stationed the following units at the airport: 79th Fighter Group (January–May 1944, P-40 Warhawk/P-47 Thunderbolt); 47th Bombardment Group (March–April 1944, A-20 Havoc); 33d Fighter Group (April–May 1944, P-40 Warhawk), 332nd FG (15 Apr 44 - 28 Mar 44, P-39 Airacobra). When the combat units moved out, Air Transport Command used the airport as a major transshipment hub for cargo, transiting aircraft and personnel for the remainder of the war.


title: Naples International Airport

text: Commercial traffic started in 1950. In 1980, GE.S.A.C. ("Gestione Servizi Aeroporto Capodichino") was established to administer the airport; in 1982, it became "Gestione Servizi Aeroporti Campani" and participated in by the City Council, the province of Naples and Alitalia. In 1995 GE.S.A.C. drew up – with BAA assistance – a new master plan, which marked the beginning of a twenty-year development plan. After two years (1997), GE.S.A.C. was the first airport management company in Italy to be privatised: BAA acquires 70% of the share package from the City Council and Province of Naples. In 1998, the "Galleria Napoli" opened, a shopping arcade open 365 days a year inside Terminal 1. In 2002, Prince Charles inaugurated the new departure lounge.


title: Naples International Airport

text: In June 2005, the airport's maiden transatlantic flight took off. Eurofly began a seasonal service to New York City using Airbus A330s. Afterward, the airline merged with Meridiana to create Meridiana Fly, which started operating the route instead. In 2018, the carrier rebranded as Air Italy, and the flight to New York ceased. Nevertheless, United Airlines launched a link to Newark the following May; the service would operate every summer.


title: Naples International Airport

text: The airport is class 4D ICAO and has the classification of military airport opened to commercial air traffic 24 hours/day. The airport management company is fully responsible for managing the airport and coordinating and control activities of all the private operators present in the airport. Capodichino hosts some aeronautical industrial activities like Atitech, Alenia Aeronautica, Aeronavali, Tecnam Costruzioni Aeronautiche.


title: Naples International Airport

text: The airport has one terminal building, Terminal 1 with airside sections A, B and C handling all domestic and international flights. The landside ground level features the check-in and arrivals areas while the upper level features the main departures area A with most shops. The airside ground level contains sections B and C, with the latter being used for non-Schengen departures. As the airport does not feature jet-bridges, buses (or in a few instances walk boarding) are in use. Several areas of the terminal have been refurbished and expanded in recent years.


title: Naples International Airport

text: The airport has a single runway (orientation: 06/24 – – resistance: PCN90/F/B/W/T – assistance: PAPI, ILS) in bituminous conglomerate and concrete, with one taxiway. There is one apron with 29 stands, 9 of which are self-manoeuvring and the remaining are Push Back.


title: Naples International Airport

text: Capodichino is easily accessible from all the city thanks to the exit of the so-called "Tangenziale", an urban highway (A56) connecting the city of Naples to metropolitan area and highways to Rome and Caserta (A1), Salerno (A3) and Bari, Benevento and Avellino (A16). Fixed taxi rates are in use for the main destinations within the city limits of Naples from Airport to: Naples Centre, Molo Beverello (Port), Mergellina (Hydrofoils to Capri and Ischia Islands).


title: Naples International Airport

text: Bus line 3S and Alibus, operated by ANM, connect the airport to Piazza Garibaldi and Piazza Municipio. Distance airport/centre city is about . The airport is also connected to Avellino, Benevento, Caserta, Sorrento, Salerno and Serre.


title: Naples International Airport

text: As of 2021, an extension to the existing Line 1 of Naples Metro is under construction to connect the airport with the current terminus at Naples' central station. After delays, it is expected to be finished by 2024.


title: Naples International Airport

text: On 15 February 1958, a United States Air Force Douglas VC-47A Skytrain, "42-93817", c/n 13771, built as a C-47A-25-DK and upgraded, en route from its home base, Ramstein-Landstuhl Air Base, Germany, to Istanbul, departed Capodichino Airport on a flight to Athens, with 16 servicemen aboard. Following a report 30 minutes after departure when the crew reported en route at 6500 feet and switching to the Rome ATC, nothing further was heard from the flight, which never contacted Rome, nor arrived in Greece. Dense fog over the Ionian Sea and mountainous southern Italy on 17 February greatly impeded search efforts for the missing aircraft. "U.S. authorities did not exclude the possibility the plane might have been forced down in Communist Albania."


title: Naples International Airport

text: On 19 February 1958, the burned and scattered wreckage was found high on the rugged slope of Mount Vesuvius at the 3,800-foot level, about 200 feet below the top of the cone of the volcano. A search plane first spotted the wreckage following "four days of fruitless ground, sea and air search impeded by fog, rain and snow." Patrols of U.S. servicemen, Italian soldiers and carabinieri reached the crash site four hours after it was found, battling though heavy snow, but reported no survivors amongst the 16 on board. They stated that all had been identified. According to a 1958 Associated Press report, "a surgeon said death apparently was instantaneous." There were 15 Air Force officers and men from Ramstein-Landstuhl Air Base, and one seaman of the USS "Tripoli" on board. The report stated that "officials declined to venture a theory on the cause of the crash except that the weather was bad and the pilot, Capt. Martin S. Schwartz of Ashland, Kentucky, had not previously flown from Capodichino field."


title: Naples International Airport

text: Among two other facilities in Naples, Naval Support Activity Naples is a tenant of several buildings in the Northwestern area of the airport. The United States Navy handles military and civilian aircraft on this airport for logistics. It is home to U.S. Naval Forces Europe and the U.S. Sixth Fleet.


title: Side dish

text: A side dish, sometimes referred to as a side order, side item, or simply a side, is a food item that accompanies the entrée or main course at a meal.


title: Side dish

text: Side dishes such as salad, potatoes and bread are commonly used with main courses throughout many countries of the western world. Rice and couscous have grown to be quite popular throughout Europe, especially at formal occasions (with couscous appearing more commonly at dinner parties with Middle Eastern dishes).


title: Side dish

text: When used as an adjective qualifying the name of a dish, the term 'side' usually refers to a smaller portion served as a side dish, rather than a larger, main dish-sized serving. For example, a "side salad" is usually served in a small bowl or salad plate, in contrast to a large dinner-plate-sized entrée salad.


title: Side dish

text: A typical American meal with a meat-based main dish might include one vegetable side dish, sometimes in the form of a salad, and one starch side dish, such as bread, potatoes, rice, pasta, and french fries.


title: Side dish

text: Some restaurants offer a limited selection of side dishes which are included with the price of the entrée as a combination meal. In contrast, sometimes side dishes are ordered separately from an a la carte menu. The term may or may not imply that the dish can only be ordered with other food.


title: Side dish

text: French fries are a common side dish served at fast-food restaurants and other American cuisine restaurants. In response to criticism about the high fat and calorie content of French fries, some fast-food chains offer other side dishes, such as salads, as substitutes for the standard French fries with their combination meals.


title: Side dish

text: The related phrase on the side may be synonymous with "side dish" – as in "French fries on the side" – or may refer to a complimentary sauce or condiment served in a separate dish. For example, a diner may request a salad be served with its dressing "on the side".


title: Brachytherapy

text: Brachytherapy is a form of radiation therapy where a sealed radiation source is placed inside or next to the area requiring treatment. "Brachy" is Greek for short. Brachytherapy is commonly used as an effective treatment for cervical, prostate, breast, esophageal and skin cancer and can also be used to treat tumours in many other body sites. Treatment results have demonstrated that the cancer-cure rates of brachytherapy are either comparable to surgery and external beam radiotherapy (EBRT) or are improved when used in combination with these techniques. Brachytherapy can be used alone or in combination with other therapies such as surgery, EBRT and chemotherapy.


title: Brachytherapy

text: Brachytherapy contrasts with unsealed source radiotherapy, in which a therapeutic radionuclide (radioisotope) is injected into the body to chemically localize to the tissue requiring destruction. It also contrasts to External Beam Radiation Therapy (EBRT), in which high-energy x-rays (or occasionally gamma-rays from a radioisotope like cobalt-60) are directed at the tumour from outside the body. Brachytherapy instead involves the precise placement of short-range radiation-sources (radioisotopes, iodine-125 or cesium-131 for instance) directly at the site of the cancerous tumour. These are enclosed in a protective capsule or wire, which allows the ionizing radiation to escape to treat and kill surrounding tissue but prevents the charge of radioisotope from moving or dissolving in body fluids. The capsule may be removed later, or (with some radioisotopes) it may be allowed to remain in place.


title: Brachytherapy

text: A feature of brachytherapy is that the irradiation affects only a very localized area around the radiation sources. Exposure to radiation of healthy tissues farther away from the sources is therefore reduced. In addition, if the patient moves or if there is any movement of the tumour within the body during treatment, the radiation sources retain their correct position in relation to the tumour. These characteristics of brachytherapy provide advantages over EBRT – the tumour can be treated with very high doses of localised radiation whilst reducing the probability of unnecessary damage to surrounding healthy tissues.


title: Brachytherapy

text: A course of brachytherapy can be completed in less time than other radiotherapy techniques. This can help reduce the chance for surviving cancer-cells to divide and grow in the intervals between each radiotherapy dose. Patients typically have to make fewer visits to the radiotherapy clinic compared with EBRT, and may receive the treatment as outpatients. This makes treatment accessible and convenient for many patients. These features of brachytherapy mean that most patients are able to tolerate the brachytherapy procedure very well.


title: Brachytherapy

text: The global market for brachytherapy reached US$680 million in 2013, of which the high-dose rate (HDR) and LDR segments accounted for 70%. Microspheres and electronic brachytherapy comprised the remaining 30%. One analysis predicts that the brachytherapy market may reach over US$2.4 billion in 2030, growing by 8% annually, mainly driven by the microspheres market as well as electronic brachytherapy, which is gaining significant interest worldwide as a user-friendly technology.


title: Brachytherapy

text: Brachytherapy can also be used in the treatment of tumours of the brain, eye, head and neck region (lip, floor of mouth, tongue, nasopharynx and oropharynx), respiratory tract (trachea and bronchi), digestive tract (oesophagus, gall bladder, bile-ducts, rectum, anus), urinary tract (bladder, urethra, penis), female reproductive tract (uterus, vagina, vulva), and soft tissues.


title: Brachytherapy

text: As the radiation sources can be precisely positioned at the tumour treatment site, brachytherapy enables a high dose of radiation to be applied to a small area. Furthermore, because the radiation sources are placed in or next to the target tumour, the sources maintain their position in relation to the tumour when the patient moves or if there is any movement of the tumour within the body. Therefore, the radiation sources remain accurately targeted. This enables clinicians to achieve a high level of dose conformity – i.e. ensuring the whole of the tumour receives an optimal level of radiation. It also reduces the risk of damage to healthy tissue, organs or structures around the tumour, thus enhancing the chance of cure and preservation of organ function.


title: Brachytherapy

text: Patients receiving brachytherapy generally have to make fewer visits for radiotherapy compared with EBRT, and overall radiotherapy treatment plans can be completed in less time.


title: Brachytherapy

text: Many brachytherapy procedures are performed on an outpatient basis. This convenience may be particularly relevant for patients who have to work, older patients, or patients who live some distance from treatment centres, to ensure that they have access to radiotherapy treatment and adhere to treatment plans. Shorter treatment times and outpatient procedures can also help improve the efficiency of radiotherapy clinics.


title: Brachytherapy

text: Brachytherapy can be used with the aim of curing the cancer in cases of small or locally advanced tumours, provided the cancer has not metastasized (spread to other parts of the body). In appropriately selected cases, brachytherapy for primary tumours often represents a comparable approach to surgery, achieving the same probability of cure and with similar side effects.


title: Brachytherapy

text: However, in locally advanced tumours, surgery may not routinely provide the best chance of cure and is often not technically feasible to perform. In these cases radiotherapy, including brachytherapy, offers the only chance of cure.


title: Brachytherapy

text: In more advanced disease stages, brachytherapy can be used as palliative treatment for symptom relief from pain and bleeding.


title: Brachytherapy

text: In cases where the tumour is not easily accessible or is too large to ensure an optimal distribution of irradiation to the treatment area, brachytherapy can be combined with other treatments, such as EBRT and/or surgery. Combination therapy of brachytherapy exclusively with chemotherapy is rare.


title: Brachytherapy

text: Brachytherapy is commonly used in the treatment of early or locally confined cervical cancer and is a standard of care in many countries.


title: Brachytherapy

text: The precision of brachytherapy enables a high dose of targeted radiation to be delivered to the cervix, while minimising radiation exposure to adjacent tissues and organs.


title: Brachytherapy

text: The chances of staying free of disease (disease-free survival) and of staying alive (overall survival) are similar for LDR, PDR and HDR treatments.


title: Brachytherapy

text: However, a key advantage of HDR treatment is that each dose can be delivered on an outpatient basis with a short administration time providing greater convenience for many patients.


title: Brachytherapy

text: Research shows locally advanced carcinoma of the cervix must be treated with a combination of external beam radiotherapy (EBRT) and intracavity brachytherapy (ICBT).


title: Brachytherapy

text: Brachytherapy to treat prostate cancer can be given either as permanent LDR seed implantation or as temporary HDR brachytherapy.


title: Brachytherapy

text: Permanent seed implantation is suitable for patients with a localised tumour and good prognosis and has been shown to be a highly effective treatment to prevent the cancer from returning. The survival rate is similar to that found with EBRT or surgery (radical prostatectomy), but with fewer side effects such as impotence and incontinence. The procedure can be completed quickly and patients are usually able to go home on the same day of treatment and return to normal activities after 1 to 2 days.


title: Brachytherapy

text: Permanent seed implantation is often a less invasive treatment option compared to the surgical removal of the prostate.


title: Brachytherapy

text: Temporary HDR brachytherapy is a newer approach to treating prostate cancer, but is currently less common than seed implantation. It is predominantly used to provide an extra dose in addition to EBRT (known as "boost" therapy) as it offers an alternative method to deliver a high dose of radiation therapy that conforms to the shape of the tumour within the prostate, while sparing radiation exposure to surrounding tissues.


title: Brachytherapy

text: HDR brachytherapy as a boost for prostate cancer also means that the EBRT course can be shorter than when EBRT is used alone.


title: Brachytherapy

text: Radiation therapy is standard of care for women who have undergone lumpectomy or mastectomy surgery, and is an integral component of breast-conserving therapy.


title: Brachytherapy

text: Brachytherapy can be used after surgery, before chemotherapy or palliatively in the case of advanced disease. Brachytherapy to treat breast cancer is usually performed with HDR temporary brachytherapy. Post surgery, breast brachytherapy can be used as a "boost" following whole breast irradiation (WBI) using EBRT.


title: Brachytherapy

text: More recently, brachytherapy alone is used to deliver APBI (accelerated partial breast irradiation), involving delivery of radiation to only the immediate region surrounding the original tumour.


title: Brachytherapy

text: The main benefit of breast brachytherapy compared to whole breast irradiation is that a high dose of radiation can be precisely applied to the tumour while sparing radiation to healthy breast tissues and underlying structures such as the ribs and lungs. APBI can typically be completed over the course of a week. The option of brachytherapy may be particularly important in ensuring that working women, the elderly or women without easy access to a treatment centre, are able to benefit from breast-conserving therapy due to the short treatment course compared with WBI (which often requires more visits over the course of 1–2 months).


title: Brachytherapy

text: There are five methods that can be used to deliver breast brachytherapy: Interstitial breast brachytherapy, Intracavitary breast brachytherapy, Intraoperative radiation therapy, Permanent Breast Seed Implantation and non-invasive breast brachytherapy using mammography for target localization and an HDR source.


title: Brachytherapy

text: Interstitial breast brachytherapy involves the temporary placement of several flexible plastic catheters in the breast tissue. These are carefully positioned to allow optimal targeting of radiation to the treatment area while sparing the surrounding breast tissue. The catheters are connected to an afterloader, which delivers the planned radiation dose to the treatment area. Interstitial breast brachytherapy can be used as "boost" after EBRT, or as APBI.


title: Brachytherapy

text: Intraoperative radiation therapy (IORT) delivers radiation at the same time as the surgery to remove the tumour (lumpectomy). An applicator is placed in the cavity left after tumour removal and a mobile electronic device generates radiation (either x-rays or electrons) and delivers it via the applicator. Radiation is delivered all at once and the applicator removed before closing the incision.


title: Brachytherapy

text: Intracavitary breast brachytherapy (also known as "balloon brachytherapy") involves the placement of a single catheter into the breast cavity left after the removal of the tumour (lumpectomy). The catheter can be placed at the time of the lumpectomy or postoperatively. Via the catheter, a balloon is then inflated in the cavity. The catheter is then connected to an afterloader, which delivers the radiation dose through the catheter and into the balloon. Currently, intracavitary breast brachytherapy is only routinely used for APBI.


title: Brachytherapy

text: There are also devices that combine the features of interstitial and intracavitary breast brachytherapy (e.g. SAVI). These devices use multiple catheters but are inserted through a single-entry point in the breast. Studies suggest the use of multiple catheters enables physicians to target the radiation more precisely.


title: Brachytherapy

text: Permanent breast seed implantation (PBSI) implants many radioactive "seeds" (small pellets) into the breast in the area surrounding the site of the tumour, similar to permanent seed prostate brachytherapy. The seeds are implanted in a single 1-2 hour procedure and deliver radiation over the following months as the radioactive material inside them decays. Risk of radiation from the implants to others (e.g. partner/spouse) has been studied and found to be safe.


title: Brachytherapy

text: Surgically Targeted Radiation Therapy (STaRT), branded as GammaTile Therapy, is a type of brachytherapy implant specifically designed for use inside the brain. GammaTile is FDA-cleared to treat newly diagnosed, operable malignant intracranial neoplasms (i.e., brain tumors) and operable recurrent intracranial neoplasms, including meningiomas, metastases, high-grade gliomas, and glioblastomas.


title: Brachytherapy

text: In a clinical study, GammaTile Therapy improved local tumor control compared to previous same-site treatments without an increased risk of side effects.


title: Brachytherapy

text: For esophageal cancer radiation treatment, brachytherapy is one option for effective treatment, involves definitive radiotherapy (boost) or palliative treatments. Definitive radiotherapy (boost) can deliver the dose precisely and palliative treatments can be given to relieve dysphagia. The large diameter applicators or balloon type catheter are used with the afterloader to expand the esophagus and facilitate the delivery of radiation dose to tumor with sparing of nearby normal tissue.


title: Brachytherapy

text: Brachytherapy followed EBRT or surgery have been shown to improve the survival rate and local recurrent rate than EBRT or surgery only for esophageal cancer patients.


title: Brachytherapy

text: HDR brachytherapy for nonmelanomatous skin cancer, such as basal cell carcinoma and squamous cell carcinoma, provides an alternative treatment option to surgery. This is especially relevant for cancers on the nose, ears, eyelids or lips, where surgery may cause disfigurement or require extensive reconstruction. Various applicators can be used to ensure close contact between the radiation source(s) and the skin, which conform to the curvature of the skin and help ensure precision delivery of the optimal irradiation dose.


title: Brachytherapy

text: Another type of brachytherapy which has similar advantages as the HDR is provided be the Rhenium-SCT (Skin Cancer Therapy). It makes use of the beta ray emissions of Rhenium-188 to treat basal cell - or squamous cell carcinomas. the radiation source is enclosed in a compound which is applied to a thin protective foil directly over the lesion. This way the radiation source can be applied to complex locations and minimize radiation to healthy tissue.


title: Brachytherapy

text: Brachytherapy for skin cancer provides good cosmetic results and clinical efficacy; studies with up to 5 years follow-up have shown that brachytherapy is highly effective in terms of local control, and is comparable to EBRT. Treatment times are typically short, providing convenience for patients.


title: Brachytherapy

text: It has been suggested that brachytherapy may become a standard of treatment for skin cancer in the near future.


title: Brachytherapy

text: Brachytherapy can be used in the treatment of coronary in-stent restenosis, in which a catheter is placed inside blood vessels, through which sources are inserted and removed.


title: Brachytherapy

text: In treating In-stent restenosis (ISR) Drug Eluting stents (DES) have been found to be superior to Intracoronary Brachytherapy (ICBT).


title: Brachytherapy

text: However, there is continued interest in vascular brachytherapy for persistent restenosis in failed stents and vein grafts.


title: Brachytherapy

text: The therapy has also been investigated for use in the treatment of peripheral vasculature stenosis and considered for the treatment of atrial fibrillation.


title: Brachytherapy

text: The likelihood and nature of potential acute, sub-acute or long-term side-effects associated with brachytherapy depends on the location of the tumour being treated and the type of brachytherapy being used.


title: Brachytherapy

text: Acute side effects associated with brachytherapy include localised bruising, swelling, bleeding, discharge or discomfort within the implanted region. These usually resolve within a few days following completion of treatment.


title: Brachytherapy

text: Brachytherapy treatment for cervical or prostate cancer can cause acute and transient urinary symptoms such as urinary retention, urinary incontinence or painful urination (dysuria).


title: Brachytherapy

text: Transient increased bowel frequency, diarrhoea, constipation or minor rectal bleeding, may also occur. Acute and subacute side effects usually resolve over a matter of days or a few weeks. In the case of permanent (seed) brachytherapy for prostate cancer, there is a small chance that some seeds may migrate out of the treatment region into the bladder or urethra and be passed in the urine.


title: Brachytherapy

text: Brachytherapy for skin cancer may result in a shedding of the outer layers of skin (desquamation) around the area of treatment in the weeks following therapy, which typically heals in 5–8 weeks. If the cancer is located on the lip, ulceration may occur as a result of brachytherapy, but usually resolves after 4–6 weeks.


title: Brachytherapy

text: Most of the acute side effects associated with brachytherapy can be treated with medication or through dietary changes, and usually disappear over time (typically a matter of weeks), once the treatment is completed. The acute side effects of HDR brachytherapy are broadly similar to EBRT.


title: Brachytherapy

text: In a small number of people, brachytherapy may cause long-term side effects due to damage or disruption of adjacent tissues or organs. Long-term side effects are usually mild or moderate in nature. For example, urinary and digestive problems may persist as a result of brachytherapy for cervical or prostate cancer, and may require ongoing management.


title: Brachytherapy

text: Brachytherapy for prostate cancer may cause erectile dysfunction in approximately 15-30% of patients. However, the risk of erectile dysfunction is related to age (older men are at a greater risk than younger men) and also the level of erectile function prior to receiving brachytherapy. In patients who do experience erectile dysfunction, the majority of cases can successfully be treated with drugs such as Viagra. Importantly, the risk of erectile dysfunction after brachytherapy is less than after radical prostatectomy.


title: Brachytherapy

text: Brachytherapy for breast or skin cancer may cause scar tissue to form around the treatment area. In the case of breast brachytherapy, fat necrosis may occur as a result of fatty acids entering the breast tissues. This can cause the breast tissue to become swollen and tender. Fat necrosis is a benign condition and typically occurs 4–12 months after treatment and affects about 2% of patients.


title: Brachytherapy

text: Patients often ask if they need to have special safety precautions around family and friends after receiving brachytherapy. If temporary brachytherapy is used, no radioactive sources remain in the body after treatment. Therefore, there is no radiation risk to friends or family from being in close proximity with them.


title: Brachytherapy

text: If permanent brachytherapy is used, low dose radioactive sources (seeds) are left in the body after treatment – the radiation levels are very low and decrease over time. In addition, the irradiation only affects tissues within a few millimeters of the radioactive sources (i.e. the tumour being treated). As a precaution, some people receiving permanent brachytherapy may be advised to not hold any small children or be too close to pregnant women for a short time after treatment. Radiation oncologists or nurses can provide specific instructions to patients and advise for how long they need to be careful.


title: Brachytherapy

text: Different types of brachytherapy can be defined according to (1) the placement of the radiation sources in the target treatment area, (2) the rate or 'intensity' of the irradiation dose delivered to the tumour, and (3) the duration of dose delivery.


title: Brachytherapy

text: The two main types of brachytherapy treatment in terms of the placement of the radioactive source are interstitial and contact.


title: Brachytherapy

text: In the case of interstitial brachytherapy, the sources are placed directly in the target tissue of the affected site, such as the prostate or breast.


title: Brachytherapy

text: Contact brachytherapy involves placement of the radiation source in a space next to the target tissue. This space may be a body cavity (intracavitary brachytherapy) such as the cervix, uterus or vagina; a body lumen (intraluminal brachytherapy) such as the trachea or oesophagus; or externally (surface brachytherapy) such as the skin. A radiation source can also be placed in blood vessels (intravascular brachytherapy) for the treatment of coronary in-stent restenosis.


title: Brachytherapy

text: The dose rate of brachytherapy refers to the level or 'intensity' with which the radiation is delivered to the surrounding medium and is expressed in Grays per hour (Gy/h).


title: Brachytherapy

text: Low-dose rate (LDR) brachytherapy involves implanting radiation sources that emit radiation at a rate of up to 2 Gy·h. LDR brachytherapy is commonly used for cancers of the oral cavity, oropharynx, sarcomas and prostate cancer


title: Brachytherapy

text: Medium-dose rate (MDR) brachytherapy is characterized by a medium rate of dose delivery, ranging between 2 Gy·h to 12 Gy·h.


title: Brachytherapy

text: High-dose rate (HDR) brachytherapy is when the rate of dose delivery exceeds 12 Gy·h. The most common applications of HDR brachytherapy are in tumours of the cervix, esophagus, lungs, breasts and prostate. Most HDR treatments are performed on an outpatient basis, but this is dependent on the treatment site.


title: Brachytherapy

text: Pulsed-dose rate (PDR) brachytherapy involves short pulses of radiation, typically once an hour, to simulate the overall rate and effectiveness of LDR treatment. Typical tumour sites treated by PDR brachytherapy are gynaecological and head and neck cancers.


title: Brachytherapy

text: Temporary brachytherapy involves placement of radiation sources for a set duration (usually a number of minutes or hours) before being withdrawn. The specific treatment duration will depend on many different factors, including the required rate of dose delivery and the type, size and location of the cancer. In LDR and PDR brachytherapy, the source typically stays in place up to 24 hours before being removed, while in HDR brachytherapy this time is typically a few minutes.


title: Brachytherapy

text: Permanent brachytherapy, also known as seed implantation, involves placing small LDR radioactive seeds or pellets (about the size of a grain of rice) in the tumour or treatment site and leaving them there permanently to gradually decay. Over a period of weeks or months, the level of radiation emitted by the sources will decline to almost zero. The inactive seeds then remain in the treatment site with no lasting effect. Permanent brachytherapy is most commonly used in the treatment of prostate cancer.


title: Brachytherapy

text: To accurately plan the brachytherapy procedure, a thorough clinical examination is performed to understand the characteristics of the tumour. In addition, a range of imaging modalities can be used to visualise the shape and size of the tumour and its relation to surrounding tissues and organs. These include x-ray radiography, ultrasound, computed axial tomography (CT or CAT) scans and magnetic resonance imaging (MRI). The data from many of these sources can be used to create a 3D visualisation of the tumour and the surrounding tissues.


title: Brachytherapy

text: Using this information, a plan of the optimal distribution of the radiation sources can be developed. This includes consideration of how the source carriers (applicators), which are used to deliver the radiation to the treatment site, should be placed and positioned. Applicators are non-radioactive and are typically needles or plastic catheters. The specific type of applicator used will depend on the type of cancer being treated and the characteristics of the target tumour.


title: Brachytherapy

text: This initial planning helps to ensure that 'cold spots' (too little irradiation) and 'hot spots' (too much irradiation) are avoided during treatment, as these can respectively result in treatment failure and side-effects.


title: Brachytherapy

text: Before radioactive sources can be delivered to the tumour site, the applicators have to be inserted and correctly positioned in line with the initial planning.


title: Brachytherapy

text: Imaging techniques, such as x-ray, fluoroscopy and ultrasound are typically used to help guide the placement of the applicators to their correct positions and to further refine the treatment plan. CAT scans and MRI can also be used. Once the applicators are inserted, they are held in place against the skin using sutures or adhesive tape to prevent them from moving. Once the applicators are confirmed as being in the correct position, further imaging can be performed to guide detailed treatment planning.


title: Brachytherapy

text: The images of the patient with the applicators in situ are imported into treatment planning software and the patient is brought into a dedicated shielded room for treatment. The treatment planning software enables multiple 2D images of the treatment site to be translated into a 3D 'virtual patient', within which the position of the applicators can be defined. The spatial relationships between the applicators, the treatment site and the surrounding healthy tissues within this 'virtual patient' are a copy of the relationships in the actual patient.


title: Brachytherapy

text: To identify the optimal spatial and temporal distribution of radiation sources within the applicators of the implanted tissue or cavity, the treatment planning software allows virtual radiation sources to be placed within the virtual patient. The software shows a graphical representation of the distribution of the irradiation. This serves as a guide for the brachytherapy team to refine the distribution of the sources and provide a treatment plan that is optimally tailored to the anatomy of each patient before actual delivery of the irradiation begins. This approach is sometimes called 'dose-painting'.


title: Brachytherapy

text: The radiation sources used for brachytherapy are always enclosed within a non-radioactive capsule. The sources can be delivered manually, but are more commonly delivered through a technique known as 'afterloading'.


title: Brachytherapy

text: Manual delivery of brachytherapy is limited to a few LDR applications, due to risk of radiation exposure to clinical staff.


title: Brachytherapy

text: In contrast, afterloading involves the accurate positioning of non-radioactive applicators in the treatment site, which are subsequently loaded with the radiation sources. In manual afterloading, the source is delivered into the applicator by the operator.


title: Brachytherapy

text: Remote afterloading systems provide protection from radiation exposure to healthcare professionals by securing the radiation source in a shielded safe. Once the applicators are correctly positioned in the patient, they are connected to an 'afterloader' machine (containing the radioactive sources) through a series of connecting guide tubes. The treatment plan is sent to the afterloader, which then controls the delivery of the sources along the guide tubes into the pre-specified positions within the applicator. This process is only engaged once staff are removed from the treatment room. The sources remain in place for a pre-specified length of time, again following the treatment plan, following which they are returned along the tubes to the afterloader.


title: Brachytherapy

text: On completion of delivery of the radioactive sources, the applicators are carefully removed from the body. Patients typically recover quickly from the brachytherapy procedure, enabling it to often be performed on an outpatient basis.


title: Brachytherapy

text: Between 2003 and 2012 in United States community hospitals, the rate of hospital stays with brachytherapy (internal radiation therapy) had a 24.4 percent average annual decrease among adults aged 45–64 years and a 27.3 percent average annual decrease among adults aged 65–84 years. Brachytherapy was the OR procedure with the greatest change in occurrence among hospital stays paid by Medicare and private insurance.


title: Brachytherapy

text: Brachytherapy dates back to 1901 (shortly after the discovery of radioactivity by Henri Becquerel in 1896) when Pierre Curie suggested to Henri-Alexandre Danlos that a radioactive source could be inserted into a tumour.


title: Brachytherapy

text: It was found that the radiation caused the tumour to shrink. Independently, Alexander Graham Bell also suggested the use of radiation in this way. In the early twentieth century, techniques for the application of brachytherapy were pioneered at the Curie institute in Paris by Danlos and at St Luke's and Memorial Hospital in New York by Robert Abbe.


title: Brachytherapy

text: Working with the Curies in their radium research laboratory at the University of Paris, American physicist William Duane refined a technique for extracting radon-222 gas from radium sulfate solutions. Solutions containing 1 gram of radium were "milked" to create radon "seeds" of about 20 millicuries each. These "seeds" were distributed throughout Paris for use in an early form of brachytherapy named endocurietherapy. Duane perfected this "milking" technique during his time in Paris and referred to the device as a "radium cow".


title: Brachytherapy

text: Duane returned to the United States in 1913 and worked in a joint role as assistant professor of physics at Harvard and Research Fellow in Physics of the Harvard Cancer Commission. The Cancer Commission was founded in 1901 and hired Duane to investigate the usage of radium emanations in the treatment of cancer. In 1915 he built Boston's first "radium cow" and thousands of patients were treated with the radon-222 generated from it.


title: Brachytherapy

text: Interstitial radium therapy was common in the 1930s. Gold seeds filled with radon were used as early as 1942 until at least 1958. Gold shells were selected by Gino Failla around 1920 to shield beta rays while passing gamma rays. Cobalt needles were also used briefly after World War II. Radon and cobalt were replaced by radioactive tantalum and gold, before iridium rose in prominence. First used in 1958, iridium is the most commonly used artificial source for brachytherapy today.


title: Brachytherapy

text: Following initial interest in brachytherapy in Europe and the US, its use declined in the middle of the twentieth century due to the problem of radiation exposure to operators from the manual application of the radioactive sources. However, the development of remote afterloading systems, which allow the radiation to be delivered from a shielded safe, and the use of new radioactive sources in the 1950s and 1960s, reduced the risk of unnecessary radiation exposure to the operator and patients. This, together with more recent advancements in three-dimensional imaging modalities, computerised treatment planning systems and delivery equipment has made brachytherapy a safe and effective treatment for many types of cancer today.


title: Brachytherapy

text: The word "brachytherapy" comes from the Greek word βραχύς "brachys", meaning "short-distance" or "short".


title: Brachytherapy

text: Due to the small size of brachytherapy sources and low control in early decades, there is a risk that some of these have escaped into the environment to become orphaned sources. A radium needle was found in a Prague playground in 2011, radiating 500 µSv/h from one metre away.


title: Don Quijote (store)

text: , also known as Don Don Donki, is a Japanese multinational discount store chain. As of 2022, it has over 160 locations throughout Japan, 15 in Singapore, 10 in Hong Kong, 5 in Thailand, 3 in Hawaii and Malaysia, 2 in Taiwan, and 1 in Macau and Guam (coming soon).


title: Don Quijote (store)

text: It carries a wide range of products, from basic groceries to electronics and clothing. The store is well known in Japan and Singapore and is often referred to by its shortened name . Since then, the usage of the "Donki" label for the store has become more commonly used beyond the two countries that have the store. Distinctly, Don Quijote tends to keep very late hours for Japanese retailing (to 3 or 5am, or even 24 hours) and it packs its goods from ceiling to floor in a distinct merchandising strategy.


title: Don Quijote (store)

text: Founded by Takao Yasuda, Don Quijote opened its first store in Suginami, Tokyo in September 1980 under its original name, Just Co. Originally a retail store, Just Co. quickly switched to wholesale in 1982.


title: Don Quijote (store)

text: The company opened its first "Don Quijote" named store in Fuchu, Tokyo in March 1989. With the name change, the store also changed its primary business from wholesale to retail. It was not until 1995, six years later, that Just Co. followed suit and it changed its corporate name to Don Quijote Co., Ltd as well. In June 1998, the company was listed on the Tokyo Stock Exchange.


title: Don Quijote (store)

text: As one of the leading discount stores in Japan, the end of the Japanese economic bubble didn't severely affect the company. Instead, the sudden economic uncertainty caused the Japanese public to become more thrifty and therefore helped to boost sales at its stores during the early 1990s.


title: Don Quijote (store)

text: In 2005, idol group AKB48 opened its theater on the eighth floor of the Don Quijote Akihabara Outlet in Tokyo.


title: Don Quijote (store)

text: In October 2007, Don Quijote purchased the ailing "Nagasakiya" chain for 140 billion yen. This store and 3 other group companies went defunct in Oct 2017 as creditors have pulled the plug on their combined 432 billion yen of debts. Creditors continue to bankroll the rest of the group.


title: Don Quijote (store)

text: On June 28, 2017, PAQ, which operated Honolulu-based Times, Big Save and Shima, under the subsidiary QSI, Inc., announced that it had sold the 24 stores it owns in Hawaii to Honolulu-based Don Quijote (USA), using an executed stock purchase agreement with the sale closing in the 3rd quarter of 2017. The deal will combine Times with three Don Quijote stores and two Marukai stores on Oahu. In a statement from Edwin Sawai, president of Don Quijote (USA) Co., Ltd. and Marukai Hawaii Co. Ltd., he said that “The opportunity to welcome the Times Supermarket family of stores and their employees to our ohana is exciting for us,” and added that “We are confident that we will successfully work together, share ideas and learn from each other’s combined experiences to best serve Hawaii. For more than 68 years, Times Supermarket has been a local favorite and pillar of Hawaii’s retail community. We look forward to continuing their history and success in the islands.”