title: Cray-1

text: The new machine was the first Cray design to use integrated circuits (ICs). Although ICs had been available since the 1960s, it was only in the early 1970s that they reached the performance necessary for high-speed applications. The Cray-1 used only four different IC types, an ECL dual 5-4 NOR gate (one 5-input, and one 4-input, each with differential output), another slower MECL 10K 5-4 NOR gate used for address fanout, a 16×4-bit high speed (6 ns) static RAM (SRAM) used for registers and a 1,024×1-bit 48 ns SRAM used for the main memory. These integrated circuits were supplied by Fairchild Semiconductor and Motorola. In all, the Cray-1 contained about 200,000 gates.


title: Cray-1

text: ICs were mounted on large five-layer printed circuit boards, with up to 144 ICs per board. Boards were then mounted back to back for cooling (see below) and placed in twenty-four racks containing 72 double-boards. The typical module (distinct processing unit) required one or two boards. In all the machine contained 1,662 modules in 113 varieties.


title: Cray-1

text: Each cable between the modules was a twisted pair, cut to a specific length in order to guarantee the signals arrived at precisely the right time and minimize electrical reflection. Each signal produced by the ECL circuitry was a differential pair, so the signals were balanced. This tended to make the demand on the power supply more constant and reduce switching noise. The load on the power supply was so evenly balanced that Cray boasted that the power supply was unregulated. To the power supply, the entire computer system looked like a simple resistor.


title: Cray-1

text: The high-performance ECL circuitry generated considerable heat, and Cray's designers spent as much effort on the design of the refrigeration system as they did on the rest of the mechanical design. In this case, each circuit board was paired with a second, placed back to back with a sheet of copper between them. The copper sheet conducted heat to the edges of the cage, where liquid Freon running in stainless steel pipes drew it away to the cooling unit below the machine. The first Cray-1 was delayed six months due to problems in the cooling system; lubricant that is normally mixed with the Freon to keep the compressor running would leak through the seals and eventually coat the boards with oil until they shorted out. New welding techniques had to be used to properly seal the tubing.


title: Cray-1

text: In order to bring maximum speed out of the machine, the entire chassis was bent into a large C-shape. Speed-dependent portions of the system were placed on the "inside edge" of the chassis, where the wire-lengths were shorter. This allowed the cycle time to be decreased to 12.5 ns (80 MHz), not as fast as the 8 ns 8600 he had given up on, but fast enough to beat CDC 7600 and the STAR. NCAR estimated that the overall throughput on the system was 4.5 times that of the CDC 7600.


title: Cray-1

text: The Cray-1 was built as a 64-bit system, a departure from the 7600/6600, which were 60-bit machines (a change was also planned for the 8600). Addressing was 24-bit, with a maximum of 1,048,576 64-bit words (1 megaword) of main memory, where each word also had eight parity bits for a total of 72 bits per word. There were 64 data bits and eight check bits. Memory was spread across 16 interleaved memory banks, each with a 50 ns cycle time, allowing up to four words to be read per cycle. Smaller configurations could have 0.25 or 0.5 megawords of main memory. Maximum aggregate memory bandwidth was 638 Mbit/s.


title: Cray-1

text: The main register set consisted of eight 64-bit scalar (S) registers and eight 24-bit address (A) registers. These were backed by a set of sixty-four registers each for S and A temporary storage known as T and B respectively, which could not be seen by the functional units. The vector system added another eight 64-element by 64-bit vector (V) registers, as well as a vector length (VL) and vector mask (VM). Finally, the system also included a 64-bit real-time clock register and four 64-bit instruction buffers that held sixty-four 16-bit instructions each. The hardware was set up to allow the vector registers to be fed at one word per cycle, while the address and scalar registers required two cycles. In contrast, the entire 16-word instruction buffer could be filled in four cycles.


title: Cray-1

text: The Cray-1 had twelve pipelined functional units. The 24-bit address arithmetic was performed in an add unit and a multiply unit. The scalar portion of the system consisted of an add unit, a logical unit, a population count, a leading zero count unit and a shift unit. The vector portion consisted of add, logical and shift units. The floating point functional units were shared between the scalar and vector portions, and these consisted of add, multiply and reciprocal approximation units.


title: Cray-1

text: The system had limited parallelism. It could issue one instruction per clock cycle, for a theoretical performance of 80 MIPS, but with vector floating-point multiplication and addition occurring in parallel theoretical performance was 160 MFLOPS. (The reciprocal approximation unit could also operate in parallel, but did not deliver a true floating-point result - two additional multiplications were needed to achieve a full division.)


title: Cray-1

text: Since the machine was designed to operate on large data sets, the design also dedicated considerable circuitry to I/O. Earlier Cray designs at CDC had included separate computers dedicated to this task, but this was no longer needed. Instead the Cray-1 included four six-channel controllers, each of which was given access to main memory once every four cycles. The channels were 16 bits wide and included three control bits and four bits for error correction, so the maximum transfer speed was one word per 100 ns, or 500 thousand words per second for the entire machine.


title: Cray-1

text: The initial model, the Cray-1A, weighed 5.5 tons including the Freon refrigeration system. Configured with 1 million words of main memory, the machine and its power supplies consumed about 115 kW of power; cooling and storage likely more than doubled this figure. A Data General SuperNova S/200 minicomputer served as the maintenance control unit (MCU), which was used to feed the Cray Operating System into the system at boot time, to monitor the CPU during use, and optionally as a front-end computer. Most, if not all, Cray-1As were delivered using the follow-on Data General Eclipse as the MCU.


title: Cray-1

text: The Cray-1S, announced in 1979, was an improved Cray-1 that supported a larger main memory of 1, 2 or 4 million words. The larger main memory was made possible through the use of 4,096 x 1-bit bipolar RAM ICs with a 25 ns access time. The Data General minicomputers were optionally replaced with an in-house 16-bit design running at 80 MIPS. The I/O subsystem was separated from the main machine, connected to the main system via a 6 Mbit/s control channel and a 100 Mbit/s High Speed Data Channel. This separation made the 1S look like two "half Crays" separated by a few feet, which allowed the I/O system to be expanded as needed. Systems could be bought in a variety of configurations from the S/500 with no I/O and 0.5 million words of memory to the S/4400 with four I/O processors and 4 million words of memory.


title: Cray-1

text: The Cray-1M, announced in 1982, replaced the Cray-1S. It had a faster 12 ns cycle time and used less expensive MOS RAM in the main memory. The 1M was supplied in only three versions, the M/1200 with 1 million words in 8 banks, or the M/2200 and M/4200 with 2 or 4 million words in 16 banks. All of these machines included two, three or four I/O processors, and the system added an optional second High Speed Data Channel. Users could add a Solid-state Storage Device with 8 to 32 million words of MOS RAM.


title: Cray-1

text: In 1978 the first standard software package for the Cray-1 was released, consisting of three main products:


title: Cray-1

text: The United States Department of Energy funded sites from Lawrence Livermore National Laboratory, Los Alamos Scientific Laboratory, Sandia National Laboratories and the National Science Foundation supercomputer centers (for high-energy physics) represented the second largest block with LLL's Cray Time Sharing System (CTSS). CTSS was written in a dynamic memory Fortran, first named LRLTRAN, which ran on CDC 7600s, renamed CVC (pronounced "Civic") when vectorization for the Cray-1 was added. Cray Research attempted to support these sites accordingly. These software choices had influences on later minisupercomputers, also known as "crayettes".


title: Cray-1

text: The National Security Agency developed its own operating system (Folklore) and language (IMP with ports of Cray Pascal and C and Fortran 90 later)


title: Cray-1

text: Other operating systems existed, but most languages tended to be Fortran or Fortran-based. Bell Laboratories, as proof of both portability concept and circuit design, moved the first C compiler to their Cray-1 (non-vectorizing). This act would later give CRI a six-month head start on the Cray-2 Unix port to ETA Systems' detriment, and Lucasfilm's first computer generated test film, "The Adventures of André & Wally B.".


title: Cray-1

text: Application software generally tends to be either classified ("e.g." nuclear code, cryptanalytic code) or proprietary ("e.g." petroleum reservoir modeling). This was because little software was shared between customers and university customers. The few exceptions were climatological and meteorological programs until the NSF responded to the Japanese Fifth Generation Computer Systems project and created its supercomputer centers. Even then, little code was shared.


title: Cray-1

text: Partly because Cray were interested in the publicity, they supported the development of Cray Blitz which won the fourth (1983) and fifth (1986) World Computer Chess Championship, as well as the 1983 and 1984 North American Computer Chess Championship. The program, Chess, that dominated in the 1970s ran on Control Data Corporation supercomputers.


title: James Monroe Iglehart

text: Iglehart is perhaps best known for his Tony Award-winning performance as the Genie in the original Broadway production of "Aladdin". Iglehart assumed the role of Marquis de Lafayette/Thomas Jefferson in the Broadway company of "Hamilton" in April 2017 and can be heard as super producer Steve Jones in "As The Curtain Rises", Broadway's first original podcast soap opera.


title: James Monroe Iglehart

text: Iglehart attended Cal State Hayward and started his career in California, performing in "Bat Boy" at TheatreWorks in Palo Alto and as Teen Angel in "Grease" at the American Musical Theatre in San Jose.


title: James Monroe Iglehart

text: In 2005, he directed "" at Ray of Light Theatre. He has played Mitch Mahoney in "The 25th Annual Putnam County Spelling Bee" on Broadway as a replacement starting in April 2007. He originated the role of Bobby in "Memphis" on Broadway in October 2009.


title: James Monroe Iglehart

text: Iglehart performed the role of the Genie in "Aladdin" on Broadway, a performance for which he won the 2014 Tony Award for Best Featured Actor in a Musical and the Drama Desk Award for Outstanding Featured Actor in a Musical for this role. When asked about the role, he said, "It's not as exhausting as you think. I'm kind of an energetic guy in general, so basically I'm kind of being me with the volume turned up." Iglehart departed the company of "Aladdin" in February 2017 to begin rehearsals in the role of Marquis de Lafayette/Thomas Jefferson in the Broadway company of "Hamilton". He also performed in "Freestyle Love Supreme" on Broadway.


title: James Monroe Iglehart

text: Iglehart guest starred in four episodes of "Unbreakable Kimmy Schmidt" as Coriolanus Burt, the rival of male protagonist Titus Andromedon.


title: James Monroe Iglehart

text: Iglehart voices Vortex and Asmodeus in "Helluva Boss", Lance Strongbow in "Tangled: The Series", Captain James Hook in "Cheshire Crossing" by Andy Weir, Bronzino in "Elena of Avalor", Oscar in "Vampirina" and Taurus Bulba in "DuckTales".


title: James Monroe Iglehart

text: He was raised in Hayward, California, with his brother. His mother is a former high school choir teacher. His father James Iglehart is a former minor league baseball player and actor. He met his wife Dawn in the Mt. Eden High School show choir and they married in 2002.


title: Erin Blanchfield

text: Erin Blanchfield (born May 4, 1999) is an American mixed martial artist currently competing in the Flyweight division of the Ultimate Fighting Championship (UFC). She is a former Eddie Bravo Invitational champion. As of November 15, 2022, she is #10 in the UFC women's flyweight rankings.


title: Erin Blanchfield

text: A native of Elmwood Park, New Jersey, Blanchfield started training jiu-jitsu at age of seven and two years later, she started competing in kickboxing and grappling tournaments. By the age of 12, she decided she wanted to be a professional fighter.


title: Erin Blanchfield

text: Blanchfield fought under Fighting Championships and amassed a record of 1–0 prior to being signed by Invicta Fighting Championships.


title: Erin Blanchfield

text: Blanchfield made her Invicta debut on March 17, 2018, against Brittney Cloudy at . She won the fight by split decision.


title: Erin Blanchfield

text: Her next fight came on November 16, 2018, facing Kay Hansen at . She won the fight via majority decision.


title: Erin Blanchfield

text: Blanchfield faced Gabriella Gulfin on June 4, 2019 at Cage Fury Fighting Championships 76. She won the fight via submission in round one.


title: Erin Blanchfield

text: On February 7, 2020, Blanchfield returned to Invicta, facing Victoria Leonardo at . In the second round Blanchfield dropped Leonardo with a head kick, finishing off the technical knockout victory with punches.


title: Erin Blanchfield

text: Blanchfield was expected to make her UFC debut as a short notice replacement for Bea Malecki against Norma Dumont on April 10, 2021 at in a Bantamweight bout. In turn, the bout was pulled from the card by after Dumont missed weight by 3.5lbs.


title: Erin Blanchfield

text: Blanchfield was expected to face Maycee Barber, replacing Montana De La Rosa, on December 11, 2021 at UFC 269. However, Barber withdrew in early November due to undisclosed reasons, and she was replaced by Miranda Maverick. Blanchfield won the fight by unanimous decision. She furthermore set the women’s flyweight single-fight takedown record, with eight total takedowns.


title: Erin Blanchfield

text: Blanchfield faced JJ Aldrich on June 4, 2022 at UFC Fight Night 207. She won the bout via guillotine choke in the second round.


title: Erin Blanchfield

text: Blanchfield faced Molly McCann on November 12, 2022 at UFC 281. She won the fight via a kimura submission in the first round.


title: Erin Blanchfield

text: As of 2021 Blanchfield is studying Television and Digital Media with a concentration in sports media at Montclair State University, with an aim to becoming a commentator. Blanchfield is the daughter of George and Betsy Blanchfield, and has one brother, Brendan.


title: Mike Smith (broadcaster)

text: Michael George Smith (23 April 1955 – 1 August 2014), also known by the on-air nickname of Smitty, was an English television and radio presenter, racing driver, pilot and businessman. He died on 1 August 2014 from complications of heart failure following major heart surgery. During the 1980s, he co-hosted BBC TV's "Breakfast Time" and was among rotating presenters of the music show "Top of the Pops", broadcast on BBC One.


title: Mike Smith (broadcaster)

text: Smith began his broadcasting career at Chelmsford Hospital Radio, before joining BBC Radio 1 in 1975 as a freelance producer and presenter. His work included promotions and production work for the "Radio 1 Roadshow", "Quiz Kid" and most daytime network shows. As a standby DJ, Smith occasionally broadcast when live outside broadcasts failed. He joined London's Capital Radio in June 1978 and presented a variety of shows until July 1980, when he became the breakfast show presenter. He moved back to BBC Radio 1 in 1982, presenting the weekday early show from 6 to 7 am and a Saturday-morning show.


title: Mike Smith (broadcaster)

text: In 1983, Smith took over the weekday lunchtime show (11.30 am to 2 pm) until March 1984, when he briefly left to present "BBC Breakfast Time". He returned to Radio 1 in May 1986, taking over from Mike Read on "The Radio 1 Breakfast Show" from 7.00 to 9.30 am, where he remained until almost exactly two years later when he left Radio 1 for good in 1988. Smith admitted to Chris Moyles in a BBC documentary aired in May 2010, "When Moyles met The Radio 1 Breakfast DJs", he really missed being on the radio, but not television.


title: Mike Smith (broadcaster)

text: Smith's career as a television presenter included Thames TV's "CBTV", BBC1 entertainment magazine and music chart shows "Top of the Pops" (1982-1988) "Show Business" (1983) and "Friday's People" (1985–87), Noel Edmonds' "The Late, Late Breakfast Show" (1984–86), "That's Showbusiness" (1989–96), and Julian Clary's "Trick or Treat" for ITV.


title: Mike Smith (broadcaster)

text: Smith was one of BBC TV's presenters at Live Aid in 1985. He helped found Comic Relief and presented several of the charity's TV shows.


title: Mike Smith (broadcaster)

text: Smith presented BBC TV's "Railwatch", which was broadcast live for five days in February 1989. Other large outside broadcasts included "Hospital Watch", "Airport Watch" and the BBC coverage of the Royal Tournament.


title: Mike Smith (broadcaster)

text: Smith decided not to sign the licence extension that would allow the BBC to repeat the "Top of the Pops" episodes that he presented, with the BBC continuing to respect his wishes following his death. As a result, episodes featuring Smith have been omitted from the repeat run on BBC Four.


title: Mike Smith (broadcaster)

text: Smith was a qualified helicopter pilot. He and his partner (later his wife) Sarah Greene were injured on 10 September 1988 when the Robinson R22 Beta helicopter he was piloting (bearing the personal registration G-SMIF) crashed in Gloucestershire. Smith reported apparent unrecoverable loss of engine power whilst circling to reconnoitre an unfamiliar landing site. Both passengers survived, although Greene broke both legs and an arm, and Smith suffered a broken back and ankle.


title: Mike Smith (broadcaster)

text: The Air Accidents Investigation Branch neither criticised nor exonerated Smith in relation to the crash (it being beyond its remit to do so), concluding simply that "examination of the helicopter [including flight control, fuel, engine control, dynamic systems and the engine itself] revealed no failure or unserviceability that could have resulted in a loss of rotor speed."


title: Mike Smith (broadcaster)

text: In 2004 Smith founded Flying TV, a company providing aerial filming services to broadcasters. As well as being managing director, Smith often acted as an aerial cameraman.


title: Mike Smith (broadcaster)

text: Driving from the age of 8, Smith raced at the age of 14 in grasstrack events, building his own cars. In 1972, aged 17, he passed his test and took up motorsports in racing, rallying and rallycross. In 1976, he progressed to Formula Ford 2000 with the Patrick Head-designed Sark. Smith was also a motorsport commentator, mainly at Brands Hatch where he also, age 21, ran the marketing operation. It was through that during this time he became interested in broadcasting.


title: Mike Smith (broadcaster)

text: While still broadcasting Smith raced in several British Touring Car Championship races, driving a newly homologated Sierra Cosworth in 1987, and then alongside Frank Sytner in 1988 with whom he often clashed in a BMW M3. He also won the Willhire 24 Hour at Snetterton in 1986, driving a Ford Escort RS Turbo. Veteran commentator Murray Walker remarked that Smith "guaranteed action by the bucket-load".


title: Mike Smith (broadcaster)

text: In 1989, Smith established a BTCC team known as Trakstar with Robb Gravett and Malcolm Swetnam. They ran two Sierra Cosworths, which had been imported from the Australian Touring Car stable of Dick Johnson.


title: Mike Smith (broadcaster)

text: Gravett went on to become runner up in Group A, but Smith struggled with his recovery from the helicopter crash. However, loss of a major sponsor in 1990 meant that only one car could be run, which was raced by Robb Gravett who became champion. Smith never raced competitively again.


title: Mike Smith (broadcaster)

text: Smith attended Ballyholme Primary School in Bangor, Northern Ireland during the early 1960s due to his father being relocated to Belfast by his employer, the Ford Motor Company.


title: Mike Smith (broadcaster)

text: Having spent a short period at Bangor Grammar School, Smith attended King Edward VI Grammar School, Chelmsford, where he was the resident DJ at the school Friday night sixth form disco. He married Sarah Greene in 1989, soon after their 1988 helicopter crash.


title: Mike Smith (broadcaster)

text: Smith died on 1 August 2014 from complications following major heart surgery. His wife of 25 years, TV presenter Sarah Greene, survives him.


title: Rampjaar

text: In Dutch history, the year 1672 is referred to as the (Disaster Year). In May 1672, following the outbreak of the Franco-Dutch War and its peripheral conflict the Third Anglo-Dutch War, France, supported by Münster and Cologne, invaded and nearly overran the Dutch Republic. At the same time, it faced the threat of an English naval blockade in support of the French endeavor, though that attempt was abandoned following the Battle of Solebay. A Dutch saying coined that year describes the Dutch people as ("irrational"), its government as ("distraught"), and the country as ("beyond salvation"). The cities of the coastal provinces of Holland, Zealand and Frisia underwent a political transition: the city governments were taken over by Orangists, opposed to the republican regime of the Grand Pensionary Johan de Witt, ending the First Stadtholderless Period.


title: Rampjaar

text: By late July however, the Dutch position had stabilised, with support from Holy Roman Emperor Leopold I, Brandenburg-Prussia and Spain; this was formalised in the August 1673 Treaty of the Hague, which Denmark joined in January 1674. Following further defeats at sea at the hands of the Dutch navy, the English, whose parliament was suspicious of King Charles's motives in his alliance with France, and with Charles himself wary of French domination of the Spanish Netherlands, settled a peace with the Dutch republic in the Treaty of Westminster in 1674. With England, Cologne and Münster having made peace with the Dutch and with the war expanding into the Rhineland and Spain, French troops withdrew from the Dutch Republic, retaining only Grave and Maastricht. To offset these setbacks, Swedish forces in Swedish Pomerania attacked Brandenburg-Prussia in December 1674 after Louis threatened to withhold their subsidies; this sparked Swedish involvement in the 1675–1679 Scanian War and the Swedish-Brandenburg War whereby the Swedish army tied up the armies of Brandenburg and some minor German principalities plus the Danish Army in the north.


title: Rampjaar

text: From 1674 to 1678, the French armies managed to advance steadily in the southern Spanish Netherlands and along the Rhine, defeating the badly coordinated forces of the Grand Alliance with regularity. Eventually the heavy financial burdens of the war, along with the imminent prospect of England's reentry into the conflict on the side of the Dutch and their allies, convinced Louis XIV of France to make peace despite his advantageous military position. The resulting Peace of Nijmegen between France and the Grand Alliance left the Dutch Republic intact and France generously aggrandized in the Spanish Netherlands.


title: Rampjaar

text: During the Eighty Years' War there had been tension in the provinces between adherents of a government ruled by the burgher oligarchy, called regents, and those who favoured a government led by the Prince of Orange. These tensions had escalated in 1650 when William II, Prince of Orange had tried to conquer Amsterdam, the main bastion of the Regents of the De Graeff and Bicker clans. After negotiations, he succeeded in removing a number of his adversaries from office.


title: Rampjaar

text: When William died from smallpox later that year, the republican party came back into power. The Act of Seclusion declared that they would not appoint his son, William III of Orange, or anybody else to the office of Stadholder, stating that a supreme head of government would be harmful to 'True Liberty'. Johan de Witt was appointed Grand Pensionary of Holland and led the States of Holland, the most important province within the Union.


title: Rampjaar

text: The takeover by the regents did not go without protest from the Orangists, but with the economy booming and peace on the Union's borders they had little opportunity to remove the government from office. To appease the Orangists, and because of their own business interests, the Dutch Regents tried to keep the peace within Europe.


title: Rampjaar

text: When the Republic fought for its independence from Spain, it had allied with France and England. In 1648, as part of the Peace of Westphalia, the Republic made peace with Austria and Spain. France had only made peace with Austria and continued fighting Spain until the Treaty of the Pyrenees in 1659. A condition of that peace was that Louis XIV would marry Maria Theresa, daughter of Philip IV of Spain. Maria Theresa would also renounce her share of the inheritance in exchange for a large dowry. The dowry, however, was never paid by the Spanish.


title: Rampjaar

text: During the 1650s and 1660s the existing tensions between Dutch trade interests and English trade interests grew. The First Anglo-Dutch War was fought between the republics, resulting in a victory for the English. In a secret appendix to the Treaty of Westminster, the Act of Seclusion, Holland declared that it abolished the office of Stadholder and would never allow the States-General of the Netherlands to appoint a member of the House of Orange to the office of Captain-General. Oliver Cromwell, who was Lord Protector of England at that time, insisted on this condition because William II had assisted Charles I (his father-in-law) during the English Civil War. While supporters of the Dutch Regent favoured diminishing the influence of the House of Orange, by agreeing to the English conditions they intermingled internal and foreign affairs and infuriated the pro-Orange faction.


title: Rampjaar

text: When Charles II was crowned king of England in 1660 during the English Restoration, the Act of Seclusion was declared void, but to the dismay of Holland, Charles affirmed those clauses of the peace which negatively impacted Dutch trade interests.


title: Rampjaar

text: An English attempt to take over Dutch trade and colonies led to the Second Anglo-Dutch War. After the previous war Johan de Witt had supervised the expansion and improvement of the Dutch navy at the cost of neglecting the Dutch army. With the new fleet and the help of France, with whom they had allied again, the Dutch ultimately defeated the English at sea through the Raid on the Medway and put pressure on the English ally Münster. First Münster and then England were forced to make peace. While France had helped to put pressure on England and Münster they had not committed a major part of their army or fleet. After the death of Philip IV, Louis XIV claimed part of the inheritance for his wife. According to local law in parts of the Spanish Netherlands daughters of an earlier marriage took precedence before the sons of a later marriage. The way Louis XIV explained this, Maria Theresa, daughter of the first marriage of Philip IV, should inherit the Spanish Netherlands because Philip's son, Charles II was from Philip's second marriage. This went against the interests of the Dutch Republic, who preferred having a weak state as their neighbour to the south.


title: Rampjaar

text: Because of this, Johan de Witt allied with the defeated English and Sweden, who had an army nearby in Germany, forming the Triple Alliance. In secret clauses of the treaty they agreed to use force if Louis XIV would not come to terms with Spain.


title: Rampjaar

text: France made peace with Spain, but because the secret clauses of the Triple Alliance were soon made public, Louis XIV felt insulted by the "perfidious" Dutch, who according to him had broken faith. Immediately after the peace agreement, France took steps to isolate the Republic. Sweden and Münster were quickly bribed, but the English public distrusted Louis XIV. The English king, on the other hand, saw war with the Dutch as being in his best interests. He hoped that a defeat of the Republic would lead to the fall of the republican government so that his nephew, William III of Orange, could take power. A war would also be a good opportunity to crush the Dutch competition in trade and colonies. Additionally, Louis promised Charles a notable sum of money, so enabling him to rule without having to consult the English parliament.


title: Rampjaar

text: In 1670, after the mediation of Charles' sister Henrietta Anne Stuart, wife of Louis's brother the Duc d'Orléans, France and England signed the secret Treaty of Dover.


title: Rampjaar

text: The Dutch were aware that negotiations between England and France were going on, but specific details were not known. Johan de Witt counted on the unpopularity among the English public of a war with a fellow Protestant nation and tried to improve relations with the French. The discussion on the issue of the Spanish Netherlands, however, yielded no consensus between the two countries. France saw the Rhine as its natural border and between France and the Rhine lay the Spanish Netherlands and the Dutch Generality Lands. The Dutch felt threatened by the French ambitions. According to the French ambassador, the Dutch acted from the motto: "Gallicus amicus, non vicinus", or "The Frenchman is a good friend, but a bad neighbour". The Dutch again reinforced their fleet, but made insufficient preparations for their army because of a shortage of money. The Regents also distrusted an army that had often been an instrument of the Orange party. With war becoming more and more likely, pressure increased on the Dutch government to appoint William III, who had not yet come of age, to the office of Stadtholder and Captain-General. In February 1672, Johan de Witt finally agreed to appoint William as Captain-General for the duration of a single war campaign.


title: Rampjaar

text: On 12 March 1672 Robert Holmes attacked a Dutch trade convoy, the Smyrna fleet. France, the Electorate of Cologne and the Bishopric of Münster declared war in April. In June, Louis XIV's army, led by Louis II de Bourbon, Prince de Condé and Turenne bypassed the Dutch southern defence through the Spanish Netherlands, the possessions of Münster and Cologne and other French allies and invaded the Dutch from the east.


title: Rampjaar

text: At the IJssel, a short battle was easily won by the French and Groenlo was taken. The whole of the Republic lay open to the French. Panic broke out in the cities in Holland, Zeeland and Utrecht. Lower and middle-class people revolted against the government and demanded the appointment of the Prince along with the punishment of those responsible for the war and the state of the army. Johan de Witt and several others resigned and the government of the Regents fell. Partisans of William III took over. One of William's first acts was to strike out the word 'honourably' from Johan de Witt's letter of resignation.


title: Rampjaar

text: Popular sentiment remained unsatisfied and frustrations with the hopeless military situation led to the search for scapegoats. In August, Cornelis de Witt, the less gifted and less popular brother of Johan de Witt, was imprisoned in The Hague on suspicion of treason and plotting to assassinate William. When Johan de Witt visited his brother, the small cavalry security detail present was sent away on the pretext of stopping a group of marauding peasants. Around the prison a crowd had gathered, demanding the punishment of the brothers. The prison was stormed — according to some contemporary accounts, after Orangist Cornelis Tromp, an enemy of Johan de Witt, had given the sign — by civil militia. The brothers were taken and murdered by the militia members and their bodies mutilated and partly eaten by the crowd. The names of a few of the murderers became known but they were protected and, in some cases, even rewarded by Prince William. Many modern historians suspect that the murders were the result of a conspiracy involving, among others, William himself, although direct evidence for his involvement has not been found.


title: Rampjaar

text: The French had advanced from the IJssel to Utrecht. By that time, negotiations had begun. Louis XIV and Charles II of England had intended that William become Sovereign Prince at the head of a Hollandic rump state principality, a joint protectorate (with the British occupying key Hollandic cities and the isle of Walcheren). Louis halted his army to allow the Orangists to take over Holland and come to an arrangement with him. He offered the Dutch peace in exchange for either the southern fortresses, religious freedom for Catholics and six million guilders, or the retention of his present conquests and sixteen million guilders. These demands, especially the financial portions, led to a renewed public outrage and the Dutch mood abruptly changed from defeatism to a dogged determination to resist the French.


title: Rampjaar

text: While negotiations took place, the French failed to prevent the Dutch from inundating the Dutch Water Line. Before the French understood the nature and importance of this defence system, William III's small army withdrew behind it and further French advance was blocked by an impassable barrier of water and mud. This small success for the Dutch was followed by others. The Dutch fleet under admiral Michiel de Ruyter had already defeated the Anglo-French fleet at the Battle of Solebay, and on 28 August 1672 the German Bishop of Münster, Bernhard von Galen, withdrew from the siege of Groningen – an event still celebrated annually in Groningen.


title: Rampjaar

text: On the diplomatic front, the Holy Roman Empire and Spain took the side of the Netherlands. In 1673, Bonn fell to a Dutch army. This forced the French to retreat from most of the Republic. England, Münster and Cologne made peace in 1674; the French fought on until 1678. (For the rest of the war, see Franco-Dutch War.)


title: Rampjaar

text: The experience of the Rampjaar had considerable influence on the direction of Dutch foreign policy. William III saw it as his life's work to defend both the Republic and Europe against French hegemony. In all the wars of Louis XIV, the Dutch would support his adversaries. In 1688, when faced with an English king who again seemed to side with the French, the Dutch mobilised their full resources in order to invade Britain and overthrow the Catholic Stuart Dynasty (the Glorious Revolution)—an event of immense historical importance. Although a gamble, it was considered worthwhile, since after the Rampjaar, the possibility of a Catholic and French-dominated Britain was regarded as a mortal threat to the Netherlands. In England, public opinion was already turning against the French but was accelerated by the war of 1672. While Charles II and his successor James II of England still had French sympathies, they had to take into account the English public's distrust of France.


title: Rampjaar

text: The Dutch economy never fully recovered from the severe crisis, although the Dutch Golden Age is sometimes said to have continued until the end of the century. The art market was as severely affected as other trades. A famous comment by Jan Vermeer's widow described how he was unable to sell work thereafter. The leading maritime artists, Willem van de Velde the Elder and his son Willem II, both emigrated to London, never to return.


title: Music for the Requiem Mass

text: The Music for the Requiem Mass is any music that accompanies the Requiem, a Mass in the Catholic Church for the deceased. It has inspired a large number of compositions, including settings by Mozart, Berlioz, Donizetti, Verdi, Bruckner, Dvořák, Fauré and Duruflé. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works.


title: Music for the Requiem Mass

text: The following are the texts that have been set to music. Note that the "Libera Me" and the "In Paradisum" are not part of the text of the Catholic Mass for the Dead itself, but a part of the burial rite that immediately follows. "In Paradisum" was traditionally said or sung as the body left the church, and the "Libera Me" is said/sung at the burial site before interment. These became included in musical settings of the Requiem in the 19th century as composers began to treat the form more liberally.


title: Music for the Requiem Mass

text: This is Greek (Κύριε ἐλέησον, Χριστὲ ἐλέησον, Κύριε ἐλέησον). Each utterance is sung three times, though sometimes that is not the case when sung polyphonically.


title: Music for the Requiem Mass

text: A sequence is a liturgical poem sung, when used, after the Tract (or Alleluia, if present). The sequence employed in the Requiem, "Dies irae", attributed to Thomas of Celano (c. 1200 – c. 1260–1270), has been called "the greatest of hymns", worthy of "supreme admiration". The Latin text is included in the Requiem Mass in the 1962 Roman Missal. An early English version was translated by William Josiah Irons in 1849.


title: Music for the Requiem Mass

text: This is as the "Agnus Dei" in the Ordinary of the Mass, but with the petitions "miserere nobis" changed to "dona eis requiem", and "dona nobis pacem" to "dona eis requiem sempiternam":


title: Music for the Requiem Mass

text: Some extracts too have been set independently to music, such as "Pie Jesu" in the settings of Dvořák, Fauré, Duruflé and John Rutter.


title: Music for the Requiem Mass

text: The "Pie Jesu" consists of the final words of the "Dies irae" followed by the final words of the "Agnus Dei".


title: Music for the Requiem Mass

text: Musical Requiem settings sometimes include passages from the "Absolution at the bier" ("Absolutio ad feretrum") or "Commendation of the dead person" (referred to also as the Absolution of the dead), which in the case of a funeral, follows the conclusion of the Mass.


title: Music for the Requiem Mass

text: For many centuries the texts of the requiem were sung to Gregorian melodies. The Requiem by Johannes Ockeghem, written sometime in the later half of the 15th century, is the earliest surviving polyphonic setting. There was a setting by the elder composer Dufay, possibly earlier, which is now lost: Ockeghem's may have been modelled on it. Many early compositions employ different texts that were in use in different liturgies around Europe before the Council of Trent set down the texts given above. The requiem of Brumel, circa 1500, is the first to include the "Dies Iræ". In the early polyphonic settings of the Requiem, there is considerable textural contrast within the compositions themselves: simple chordal or fauxbourdon-like passages are contrasted with other sections of contrapuntal complexity, such as in the Offertory of Ockeghem's Requiem.


title: Music for the Requiem Mass

text: In the 16th century, more and more composers set the Requiem mass. In contrast to practice in setting the Mass Ordinary, many of these settings used a cantus-firmus technique, something which had become quite archaic by mid-century. In addition, these settings used less textural contrast than the early settings by Ockeghem and Brumel, although the vocal scoring was often richer, for example in the six-voice Requiem by Jean Richafort which he wrote for the death of Josquin des Prez. Other composers before 1550 include Pedro de Escobar, Antoine de Févin, Cristóbal Morales, and Pierre de La Rue; that by La Rue is probably the second oldest, after Ockeghem's.


title: Music for the Requiem Mass

text: Over 2,000 Requiem compositions have been composed to the present day. Typically the Renaissance settings, especially those not written on the Iberian Peninsula, may be performed "a cappella" (i.e. without necessary accompanying instrumental parts), whereas beginning around 1600 composers more often preferred to use instruments to accompany a choir, and also include vocal soloists. There is great variation between compositions in how much of liturgical text is set to music.


title: Music for the Requiem Mass

text: Most composers omit sections of the liturgical prescription, most frequently the Gradual and the Tract. Fauré omits the "Dies iræ", while the very same text had often been set by French composers in previous centuries as a stand-alone work.


title: Music for the Requiem Mass

text: Sometimes composers divide an item of the liturgical text into two or more movements; because of the length of its text, the "Dies iræ" is the most frequently divided section of the text (as with Mozart, for instance). The "Introit" and "Kyrie", being immediately adjacent in the actual Roman Catholic liturgy, are often composed as one movement.


title: Music for the Requiem Mass

text: Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentially dramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.


title: Music for the Requiem Mass

text: Many composers have composed a Requiem. Some of the most notable include the following (in chronological order):


title: Music for the Requiem Mass

text: In the 20th century the requiem evolved in several new directions. One offshoot consists of compositions dedicated to the memory of people killed in wartime. These often include extra-liturgical poems of a pacifist or non-liturgical nature; for example, the "War Requiem" of Benjamin Britten juxtaposes the Latin text with the poetry of Wilfred Owen, Krzysztof Penderecki's "Polish Requiem" includes a traditional Polish hymn within the sequence, and Robert Steadman's "Mass in Black" intersperses environmental poetry and prophecies of Nostradamus. Holocaust Requiem may be regarded as a specific subset of this type. The "World Requiem" of John Foulds was written in the aftermath of the First World War and initiated the Royal British Legion's annual festival of remembrance. Recent requiem works by Taiwanese composers Tyzen Hsiao and Fan-Long Ko follow in this tradition, honouring victims of the February 28 Incident and subsequent White Terror.


title: Music for the Requiem Mass

text: Lastly, the 20th century saw the development of the secular Requiem, written for public performance without specific religious observance, such as Frederick Delius's "Requiem", completed in 1916 and dedicated to "the memory of all young Artists fallen in the war", and Dmitry Kabalevsky's "Requiem" (Op. 72 – 1962), a setting of a poem written by Robert Rozhdestvensky especially for the composition. Herbert Howells's unaccompanied "Requiem" uses Psalm 23 ("The Lord is my shepherd"), Psalm 121 ("I will lift up mine eyes"), "Salvator mundi" ("O Saviour of the world," in English), "Requiem aeternam" (two different settings), and "I heard a voice from heaven." Some composers have written purely instrumental works bearing the title of "requiem", as famously exemplified by Britten's "Sinfonia da Requiem". Hans Werner Henze's "Das Floß der Medusa", written in 1968 as a requiem for Che Guevara, is properly speaking an oratorio; Henze's Requiem is instrumental but retains the traditional Latin titles for the movements. Igor Stravinsky's "Requiem Canticles" mixes instrumental movements with segments of the "Introit," "Dies irae," "Pie Jesu," and "Libera me."


title: Goal II: Living the Dream

text: Goal II: Living the Dream (also known simply as Goal II) is a 2007 sports drama film directed by Jaume Collet-Serra from a screenplay by Mike Jefferies, Adrian Butchart, and Terry Loane. The sequel to "Goal!" (2005) and the second installment in the "Goal!" trilogy, it stars Kuno Becker, Alessandro Nivola, Anna Friel, Stephen Dillane, and Rutger Hauer. In the film, Santiago Muñez (Becker) faces difficulties as he tries to manage his sudden increased profile after moving to Real Madrid.


title: Goal II: Living the Dream

text: "Goal II: Living the Dream" was theatrically released in the United Kingdom by Buena Vista International on 9 February 2007. The film received mixed to negative reviews from critics, with some praise for its comedy but criticism for its screenplay, which many called predictable and melodramatic; it received better reception by audiences, and is considered a cult film. "Goal II: Living the Dream" underperformed at the box office, grossing an estimated $7.8 million worldwide. The sequel and final installment, "", was released in June 2009.


title: Goal II: Living the Dream

text: Santiago Muñez, the star player for Newcastle United, joins Real Madrid. His fiancée, Roz Harmison, is only able to see him intermittingly, needing to stay in Newcastle to complete her nursing training. His move to Real Madrid reunites Santiago with Gavin Harris, his former teammate at Newcastle. In his debut, Gavin is substituted for Santiago, who leads Real Madrid to victory. Over the following weeks, Santiago becomes the club's star player and buys a home for him and Roz.


title: Goal II: Living the Dream

text: While travelling to a commercial shoot, Enrique, Santiago's long-lost half-brother, ambushes him with a picture of their mother, Rosa María, who walked out on Santiago as a child. While on the phone to Mercedes, his grandmother, Santiago learns Mercedes knew Rosa lived in Madrid. In the following game against Valencia, his first start for the team (replacing Gavin in the lineup), Santiago is given a red card for a tackle on Vicente Rodríguez.


title: Goal II: Living the Dream

text: In a bar after the game, Santiago is approached by sports television personality Jordana García. Santiago and Jordana get drunk and share a kiss, causing him to miss the team plane to Trondheim for a game in the UEFA Champions League against Rosenborg. Arriving alone, Santiago is disciplined by club manager Rudi Van Der Merwe by being left out the team. After the match, an angry Santiago fires Glen Foy as his agent.


title: Goal II: Living the Dream

text: Gavin moves in with Santiago after being evicted when his agent, Barry, defaults on rental payments. After playing football at home with Gavin, Santiago injures his knee. Rudi orders Santiago begin strict injury rehabilitation, which cancels his plans to spend Christmas with Roz in Newcastle; this marks another in a stretch of recent disagreements between the couple borne out of their logistical difference. At Gavin's New Year's Eve party, Santiago and Jordana share another kiss, which is leaked to the press; Roz then calls off their relationship.


title: Goal II: Living the Dream

text: Santiago meets Enrique, who, after an argument, steals Santiago's gear bag and escapes to his parents' diner. Rosa forbids him from seeing Santiago. Meanwhile, Gavin re-establishes himself in the Real Madrid first team. At a club event, Santiago's Lamborghini is stolen by Enrique, who crashes and is badly injured. At the hospital, Santiago takes responsibility for the crash to the police; when a reporter sneaks a picture, Santiago assaults him. While being arrested, Santiago sees Rosa arrive at the hospital.


title: Goal II: Living the Dream

text: After leading Real Madrid to the Champions League final by scoring the winner against Lyon, Santiago visits Rosa. She tells him she went to Madrid when he was a child as she feared for her safety after being attacked by two men, one of which was Santiago's uncle. When Rosa returned to Mexico three weeks later, she found her family had left for the United States. Santiago then reunites with a healed Enrique.


title: Goal II: Living the Dream

text: Prior to the final against Arsenal, Santiago asks Rudi to start Gavin ahead of him to increase Gavin's chances at securing an extension to his contract and a place in the England squad for the upcoming FIFA World Cup. Santiago also calls and apologizes to Roz. In the match, Gavin starts but concedes a penalty to Arsenal for a tackle on T.J. Harper in the first minute; Arsenal take the lead and gain control of the game.


title: Goal II: Living the Dream

text: Santiago is brought on in the second half to play alongside Gavin. Arsenal eventually go 2–0 up and are denied a bigger lead when Iker Casillas saves Arsenal's second penalty. Santiago combines with Harris, who scores to make it 2–1. In the final few minutes, Santiago scores to equalize; with a few seconds to go, David Beckham scores a direct free kick to win the Champions League.


title: Joe Quesada

text: Joseph Quesada (; born January 12, 1962) is an American comic book artist, writer, editor, and television producer. He became known in the 1990s for his work on various Valiant Comics books, such as "Ninjak" and "Solar, Man of the Atom". He later worked on numerous books for DC Comics and Marvel Comics, such as "" and "X-Factor", before forming his own company, Event Comics, where he published his creator-owned character, Ash.


title: Joe Quesada

text: In 1998 he became an editor of Marvel Comics' Marvel Knights line, before becoming editor-in-chief of the company in 2000. He was named Chief Creative Officer of Marvel Entertainment in 2010 and left his editor-in-chief role in January 2011, being replaced by Axel Alonso. His position was re-titled as executive vice president and creative director in October 2019 before leaving in 2022.


title: Joe Quesada

text: Quesada was born in New York City to Cuban-born parents, and grew up in the Jackson Heights neighborhood of Queens, 15 blocks from Shea Stadium, which his father help build as part of the construction crew. The first comic book he became an ardent fan of was "The Amazing Spider-Man", which he began reading around issue #98, the last issue of a historic anti-drug storyline, which garnered his father's approval. As the character resonated with him (in part because both grew up in Queens), Spider-Man remains a character he particularly enjoys drawing.


title: Joe Quesada

text: Quesada majored in illustration at the School of Visual Arts, from which he graduated with a BFA in 1984. Though he had drifted away from comics, having come to think of them as a child's medium, his interest in them was renewed at age 25 when a friend who learned of his interest in art showed him Frank Miller's "The Dark Knight Returns".


title: Joe Quesada

text: Quesada's comics career began in 1990 when he was hired by DC Comics on the basis of his 12-page portfolio, which was composed of three three-page sequences, plus a cover for each. These included a Superman story intended to show reviewers from DC Comics that he could handle their characters; an X-Men sequence to display both his ability to depict the characters of Marvel Comics and his ability to handle groups of characters; and a vignette of two people having coffee, which Quesada included to show his ability to illustrate non-superhero stories.


title: Joe Quesada

text: Among Quesada's earliest widely distributed work was for Valiant Comics, specifically penciled interiors and covers for "Ninjak", "Solar, Man of the Atom" and others. His art was heavily influenced by Alex Toth, Mike Mignola, and Alphonse Mucha. At DC Comics, he and writer Jack C. Harris co-created an updated version of the Golden Age character The Ray. Quesada co-created the character Azrael with writer Dennis O'Neil for the 1992 "Batman: Sword of Azrael" miniseries.


title: Joe Quesada

text: Later, Quesada and his inking partner Jimmy Palmiotti, formed a publishing company, Event Comics, and co-created Ash, a firefighter with superpowers. Quesada cites his editorial experience with Event, and the creators he formed relationships with during that period as that which best prepared him for the later role of Marvel's editor in chief.


title: Joe Quesada

text: In 1998, Marvel Comics, which had just filed for Chapter 11 bankruptcy, asked Quesada to work for Marvel in a more exclusive capacity, and contracted him and his partners to produce a line of Marvel books dubbed "Marvel Knights". As editor of Marvel Knights, Quesada worked on a number of low-profile characters such as "Daredevil", "Punisher", "The Inhumans," and "Black Panther", encouraging experimentation and using his contacts in the independent comics world to bring in creators such as David W. Mack, Mike Oeming, Brian Michael Bendis, Garth Ennis, and Steve Dillon. Quesada also illustrated a "Daredevil" story written by film director Kevin Smith.


title: Joe Quesada

text: Two and a half years after starting Marvel Knights, Joe Quesada became editor-in-chief of Marvel Comics in 2000, following Bob Harras's departure from the company. At the same time, Bill Jemas succeeded to the presidency of the company. The relationship culminated in the establishment of the Ultimate line of Marvel titles, which were aimed at new readers and took place outside of the restrictive continuity of the Marvel Universe.


title: Joe Quesada

text: In the mid-2000s, Quesada imposed a moratorium on the practice of creatively bringing back characters thought to be dead, known as "dead is dead." In a January 2008 interview in which he was questioned about numerous characters that had since been resurrected, Quesada clarified that the policy was for writers to exercise forethought and caution before killing off characters or resurrecting them, so that such plots were not produced too frequently or without gravitas, and not that it be entirely prohibited.


title: Joe Quesada

text: Joe Quesada's predecessor as Marvel editor-in-chief, Bob Harras, canceled and restarted all of Marvel's titles that were not either X-Men-related or at fewer than 100 issues already. This was an effort to shore up sagging sales with a new #1 issue for each of Marvel's popular titles, issued at a time shortly after the 1990s bust of the comic book collecting market, and when Marvel was in the throes of bankruptcy. Quesada reversed this policy first by showing the "old", combined issue numbers beside the "new" numbers on covers (the difference between the two issue numbers shown on the cover would always be the number of issues that the series had before Harras restarted it), and then definitively restoring the "old" numbers for "Fantastic Four", "Amazing Spider-Man" and "Avengers" when they each passed the 500 mark.


title: Joe Quesada

text: Critics of Quesada's policy of emphasizing trade paperbacks charge that they cannibalize monthly comic book sales, because readers may opt to forgo monthly series in order to wait for the cheaper collections, not realizing that monthly sales are an indicator to publishers of interest in such collections.


title: Joe Quesada

text: When confronted with a backlash by fans due to his decision to dictate a controversial retcon of Peter Parker's marriage to Mary Jane Watson in the "" storyline, Quesada participated in a series of interviews on the subject to address the issue of the marriage, comparing it to real life marriages. He also promoted and praised the MC2 title "Spider-Girl" for continuing to provide fans with a stable marriage and an expanded family, although that title was later canceled and relaunched multiple times, eventually being cancelled for good in 2010.


title: Joe Quesada

text: In June 2009 Quesada began writing a weekly column for Comic Book Resources called "Cup O' Joe", in which he answers questions every Friday from readers or provides information on Marvel projects.


title: Joe Quesada

text: On February 10, 2010, Quesada issued a public apology for the content of "Captain America" #602, which had drawn condemnation from national Tea Party leaders, for its depiction of an apparent Tea Party protest, and the black superhero Falcon, reacting to it by saying that he would not be welcomed by a crowd of "angry white folks." Also at issue was the slogans on some of the signs held by the protestors. Quesada stated that future reprints of that story would have the offending material omitted.


title: Joe Quesada

text: On June 2, 2010, Marvel announced that it promoted Joe Quesada to Chief Creative Officer of Marvel Entertainment. In this position Quesada will help ensure that all portrayals of Marvel's characters and stories remain true to the essence of Marvel history. He will also oversee the creative aspects of media adaptations of Marvel properties, which include participating in story and script development.


title: Joe Quesada

text: On January 4, 2011, Quesada stepped down as editor-in-chief, and was replaced by Axel Alonso. After being given the additional job of CCO, in 2010, Quesada explained to Comic Book Resources, "With my increased travel schedule over the last year plus, I've only been able to work with the publishing division in a more macro sense, or as you put it, a more, "big picture," sense. During this time, Tom and Axel have been handling the more detailed functions of the stories within our comics. My role has been one in which I work on the larger stories and the overall flavor and feel of our books and universe."


title: Joe Quesada

text: Quesada later elaborated on this decision in a 2011 interview with "Visual Arts Journal", a publication of his alma mater, the School of Visual Arts, by saying that he always viewed the editor in chief position as a finite one that he would leave after he accomplished what he had set out to, and that the then-recent purchase of Marvel by Disney opened up opportunities he wanted to explore. Quesada contrasted his former editor in chief role as one in which he was solely focused on rebuilding Marvel's editorial division and overseeing its comics content, with his Chief Creative Officer role as one in which he would be involved creatively with several divisions.


title: Joe Quesada

text: With the October 2019 Marvel reorganization that named Kevin Feige as chief creative officer across Marvel Entertainment and Marvel Studios, he would continue to work for Marvel Entertainment with his position re-titled as executive vice president and creative director for Marvel Entertainment. On May 31, 2022, Quesada announced he would part ways with Marvel.


title: Joe Quesada

text: When illustrating, Quesada begins with sketches much smaller than the actual size at which he will render the final drawing. He employs a Cintiq drawing tablet when he desires to do a "tighter" digital layout of an illustration. When sketching figures, he will sometimes use photographic reference, and incorporate the photos directly into his sketches during the process of finalizing a layout. Once he makes a final decision on a layout, he will then print it out at full size, and use a light box to pencil it, sometimes altering elements in the design such as lighting or other details.


title: Joe Quesada

text: In Kevin Smith's 1995 film "Mallrats" Quesada is credited as an artist for the opening sequence featuring fictional comic books covers. He appears in the closing scene of "Chasing Amy", alongside frequent collaborator and inker Jimmy Palmiotti, signing comic books at a convention. He later appeared as a pizza delivery man in Smith's 2001 film "Jay and Silent Bob Strike Back".


title: Joe Quesada

text: Quesada was one of a number of comics creators that appeared in "Once Upon A Time The Super Heroes", a 2002 documentary about the creation and evolution of comic book superheroes.


title: Joe Quesada

text: Quesada voices Joe, the owner of the "Q's Cup O' Joe" coffee shop, in the 2017 "Spider-Man" animated series. The character is modeled after Quesada.


title: Elly Griffiths

text: Elly Griffiths is the pen name of Domenica de Rosa (born 17 August 1963, in London), a British crime novelist. She has written three series as Griffiths, one featuring Ruth Galloway, one featuring Detective Inspector Edgar Stephens and Max Mephisto, and the Harbinder Kaur series.


title: Elly Griffiths

text: Griffiths' first series features as a main character forensic archaeologist Ruth Galloway, who lives in a remote seaside cottage near King's Lynn in Norfolk and teaches at the University of North Norfolk. This character was inspired by Griffiths' husband, who gave up a city job to train as an archaeologist, and her aunt, "who lives on the Norfolk coast and filled her niece's head with the myths and legends of that area". Griffiths released the first book in this series, "The Crossing Places" (Ruth Galloway, #1), in 2009.


title: Elly Griffiths

text: Griffiths' second series, set in 1950s Brighton, focuses on the duo of Detective Inspector Edgar Stephens and magician Max Mephisto. Griffiths released the first book in this series, "The Zig Zag Girl", in 2014.


title: Elly Griffiths

text: In 2017 Griffiths was the Programming Chair for the Theakstons Old Peculier Crime Writing Festival, part of the Harrogate International Festivals portfolio.


title: Elly Griffiths

text: Griffiths won the 2020 Edgar Allan Poe Award for best novel for "The Stranger Diaries." In 2021, "The Postscript Murders" was shortlisted in the Gold Dagger category at the Crime Writer's Association Awards, with the result to be announced in July 2021.


title: International Institute of Information Technology, Hyderabad

text: International Institute of Information Technology Hyderabad (IIITH, pronounced Triple-Eye-T), formerly Indian Institute of Information Technology, is a higher-education institute deemed-to-be-university, founded as a not-for-profit public private partnership (N-PPP), located in Telangana, India. It is the first IIIT in India under this model.


text: IIITH is a residential institute spread over 66 acres right in the center of the Gachibowli IT hub. The institute has 101 faculty, 1896 students and 115 administrative and supporting staff.


text: IIIT Hyderabad was set up in 1998 under the public private partnership model by Ministry of Human Resource Development of the Government of Andhra Pradesh and NASSCOM, with the state government supplying a grant of land and buildings. As special officer for IIIT Hyderabad and Secretary IT for the state government, Ajay Prakash Sawhney was responsible for shaping the conceptual model and overseeing initial development of the institute. Rajeev Sangal, former director of Indian Institute of Technology (BHU) Varanasi designed the syllabus and served as the first director of the institute until 10 April 2013.


text: The institution was founded under the name Indian Institute of Information Technology Hyderabad as a foundation for the 20 Indian Institutes of Information Technology under same model which was later renamed to International Institute of Information Technology Hyderabad in 2001 when it attained a status of Deemed University.


text: Government of Andhra Pradesh allotted 66 acres of land to IIIT Hyderabad in 1998 located on the main Gachibowli road, also known as the old Bombay highway. The institute is surrounded by many academic and research institutions like the University of Hyderabad (UOH), Indian School of Business (ISB), Indian Immunologicals and Jawaharlal Nehru Institute of Development Banking (JNIDB), Tata Consultancy Services (TCS) and many more. It also lies in close proximity to the bustling HiTech City Center and Lingampally railway station.


text: The institute has 30 research centers. In addition to this, the academic buildings have lecture halls, workspaces, teaching labs, computer and electronics labs and also offices of the administration and faculty. Building complexes are named after the mountain ranges Nilgiri, Vindhya and Himalaya. IIITH also houses Kohli Center on Intelligent Systems (KCIS), a state-of-the-art research center, established in 2015 with funding from Tata Consultancy Services (TCS) foundation to give a fillip to research, teaching and entrepreneurship in the broad area of intelligent systems. Campus also has incubators, research centers, library, auditorium and an amphitheatre which hosts multiple cultural events and college festivals. IIITH’s Centre for Innovation and Entrepreneurship also hosts many companies and startups on campus.


text: Due to its proximity to the Sports Authority of Telangana State (SATS) , Gopichand Badminton Academy and G M C Balayogi Athletic Stadium, the campus has access to various sports facilities. Apart from this, the campus has football, hockey, and cricket grounds, tennis, badminton, basketball, and volleyball courts, as well as indoor and outdoor gyms.


text: On-campus facilities include a SBI bank and ATM, canteens, clinic, canteens, gym, laundry services and more.


text: IIITH is a residential institute and it is compulsory for all students to stay on-campus. First year and second year students who have enrolled in bachelor's or dual-degree programs are required to share rooms (double occupancy) whereas, from the third year onward, students have single occupancy. An optical fiber network connects all campus buildings including the hostels. IIITH has five hostels - three for boys and two for girls.


text: The institute provides housing facilities for faculty and staff spread across 100 apartments on campus in C & D Block, as well as Anand and Budh Nivas. There’s also a guest house with four air-conditioned suites for visitors to campus.


text: The institute is supervised by a governing council, which is currently headed by Turing Award laureate Raj Reddy. Day-to-day operations are managed by the Director, P. J. Narayanan who is assisted by the dean of research and dean of academics.


text: Admission to undergraduate programs is based on one of five acceptance modes: Joint Entrance Examination (Main) (JEE (Main)), the institute's own Undergraduate Engineering Entrance Examination (UGEE) and interview, representing India in the International Olympiads during class XI and XII (including International Olympiad in Informatics (IOI), International Physics Olympiad (IPhO), International Chemistry Olympiad (IChO), International Biology Olympiad (IBO), International Astronomy Olympiad (IAO), International Mathematical Olympiad (IMO) and International Linguistics Olympiad (IOL) / Paninian Linguistics Olympiad (PLO), Direct Admissions for Students Abroad (DASA) and lateral entry admissions to dual-degree programs through Lateral Entry Entrance Examination (LEEE) and interview.


text: Admissions for postgraduate studies are on the basis of the Postgraduate Entrance Exam (PGEE) conducted by IIIT Hyderabad. Admissions to the MSIT programme run at this institute are based on a test conducted every year from April to May.


text: Internationally, IIIT Hyderabad is ranked among 451-500 for Computer Science and Information Systems subject in "QS World University Rankings" for 2021. It was ranked among top 10 universities in South Asia by "Cybermetrics Lab", Spain's largest public research institution. It was ranked 147 in the world and 34 in Asia for "Computer Science" and research publications in the period 2005–2020.


text: It was ranked 78th among universities in India by the "National Institutional Ranking Framework" (NIRF) in 2020, 43rd among engineering colleges and in the 101–150 band overall.


text: Among engineering colleges, IIIT Hyderabad ranked 16th by "Outlook India" in 2019. It was ranked 4th among engineering colleges by "Dataquest India" in 2019. The same rankings ranked it 3rd in government engineering colleges in 2019.


title: Jessie Wallace

text: Karen Jane Wallace (born 25 September 1971), known professionally as Jessie Wallace, is an English actress. She is known for portraying the role of Kat Slater on the BBC soap opera "EastEnders" since 2000. Her role as Kat won her the National Television Awards for Most Popular Newcomer (2001), as well as the British Soap Award for Best Newcomer (2001), Most Popular Actress (2003) and the British Soap Award for Best Actress (2011). She was also nominated for the 2011 BAFTA TV Award for Best Supporting Actress for her role as Pat Phoenix in the BBC Four television film "The Road to Coronation Street".


title: Jessie Wallace

text: Wallace was born in Enfield, North London, to James, a telecommunications engineer, and Annette, a secretary. Wallace is of Irish ancestry, by way of Cork and Dublin. Her parents divorced when she was aged three and she and her sister were raised by their father (however, she did see her mother at weekends). She adopted her stage name after her late grandmother.


title: Jessie Wallace

text: After schooling, Wallace trained as a make-up artist at the College of North East London in Tottenham and worked at the Royal Shakespeare Company for two years. She met and became friends with actor Iain Glen, who helped her apply for London drama college The Poor School, from which she graduated in 1999. While undertaking auditions – including for Andrew Lloyd Webber's "Sunset Boulevard", she worked as a barmaid at her local pub, The Royal Oak in Loughton, Essex. Her first television appearance was in an episode of the ITV police drama series "The Bill" in 1999.


title: Jessie Wallace

text: Wallace is known for playing the role of Kat Slater in BBC One soap opera "EastEnders" between 2000 and 2005. In Summer 2008, Wallace said she hadn't ruled out a return to "EastEnders". In February 2010, it was announced that Shane Richie was returning to play Alfie Moon, leading to large amounts of speculation as to whether Wallace would also be returning. On 9 February 2010, the BBC confirmed that Jessie would be returning to "EastEnders", reprising her role as Kat Slater. She and Alfie returned to screens in the Autumn of 2010. On 4 April 2015, the BBC announced that Wallace and Richie will depart from the show temporarily to appear in a six-part BBC One drama series, "Redwater". In the series, Kat and Alfie will visit Ireland in the "search for answers to some very big questions". Speaking about the show, Wallace commented: "I have always loved working on "EastEnders" so when I heard of this new drama to take Kat and Alfie outside of Walford, I couldn’t believe our luck. To be exploring the next chapter for Kat as well as working alongside my best mate, Shane, is a dream come true and a huge compliment." However, Wallace and Richie revealed on "This Morning" on 20 January 2016 that Kat and Alfie will not be returning to "EastEnders" after the six-part drama. In December 2017 it was announced that Wallace would reprise the role of Kat from Spring 2018.


title: Jessie Wallace

text: During her break from "EastEnders", Wallace made television guest appearances, including once as Kat Slater, in the 2005 "French & Saunders" Christmas special. On 17 February 2006, Wallace was the guest host of an edition of the Channel 4 programme "The Friday Night Project". In 2007, she appeared in the one-off BBC One television dramas "A Class Apart" opposite Nathaniel Parker, and "The Dinner Party" with Lee Evans and Alison Steadman. After visiting Hat Trick Productions with her agent, and singing an impromptu version of Marie Lloyd's song "The Boy I Love is Up in the Gallery", she was offered the lead role in "Miss Marie Lloyd – Queen of The Music Hall" for BBC Four.


title: Jessie Wallace

text: Wallace made her West End theatre debut, replacing Denise van Outen in the role of "Maureen" in "Rent remixed" at the Duke of York's Theatre from 27 December 2007 until 2 February 2008. Wallace played "Amy Kriel" in the third series of ITV's "Wild at Heart", and starred in a run of the play "Haunted" at the Arts Theatre from 24 May.


title: Jessie Wallace

text: Wallace competed with partner Darren Bennett in the sixth series of "Strictly Come Dancing" which began on 20 September 2008. She was eliminated in week 4.


title: Jessie Wallace

text: Wallace toured the UK in the 25th Anniversary production of "Stepping Out" by Richard Harris, playing the role of Sylvia.


title: Jessie Wallace

text: Wallace appeared as Pat Phoenix in "The Road to Coronation Street", a one-off drama exploring the origins and conception of "Coronation Street", to mark the show's 50th anniversary in December 2010.


title: Jessie Wallace

text: In 2014, Wallace reprised her role as Marie Lloyd in the music video for Tim Arnold's single "The Piccadilly Trot". She later appeared on Arnold's album "The Soho Hobo" on a duet that he wrote called "Soho Sunset".


title: Jessie Wallace

text: In May 2015, Wallace performed a duet at Soho Theatre with singer-songwriter Tim Arnold to mark the release of his album "The Soho Hobo". The song marks her first recording on a pop album and was written especially for her by Arnold.


title: Jessie Wallace

text: In July 2015 it was announced that Wallace would appear alongside Richie in a stage adaptation of "The Perfect Murder" by Peter James at the Theatre Royal in February 2016.


title: Jessie Wallace

text: After coming to fame in "EastEnders", her personal life became the focus of many tabloid newspapers. She entered the soap cast in the later stages of a three-year relationship with Majorca based ex-criminal, Paul Whitworth. After being warned by BBC executives, she split with Whitworth, and had a holiday romance with 25-year-old American, Andy Burton, who immediately sold his story.


title: Jessie Wallace

text: In 2003, Wallace was suspended from "EastEnders" by the BBC for excess drinking, partying and adverse publicity; she returned to the soap, but was then stopped by police and arrested for drink driving, being one and half times over the limit. The BBC offered her counselling and while attending county court for sentencing, she was accompanied by a policeman, Dave Morgan, in case she was accosted by fans. The couple started dating, and then moved in together after Wallace confirmed she was pregnant. Wallace gave birth to daughter Tallulah Lilac on 2 November 2004, but the couple split up shortly afterwards, with Wallace's lawyers placing a gag order on Morgan.


title: Jessie Wallace

text: In a later tabloid story in late 2007, whilst Wallace was filming "Wild at Heart" in Johannesburg with her cousin Jonathan and daughter Tallulah, her best friend, Stefan, suggested she still regularly took ketamine. Wallace admitted, at one point, taking drugs, but denied taking them since the birth of her daughter.


title: Jessie Wallace

text: In early 2020, Wallace was suspended from "EastEnders" again by the BBC, with a two-month suspension incurred due to an "incident while filming".


title: Jessie Wallace

text: In June 2022, Wallace was arrested after she assaulted a police officer outside a nightclub in Bury St Edmunds. She was released without charge but received a conditional caution. In response, Wallace was issued a warning for "unacceptable behaviour" by "EastEnders" bosses.


title: Neil Young (album)

text: Neil Young is the debut studio album by Canadian / American musician Neil Young following his departure from Buffalo Springfield in 1968, issued on Reprise Records, catalogue number RS 6317. The album was first released on November 12th 1968 in the so-called 'CSG mix'. It was then partially remixed and re-released in late summer 1969, but at no time has the album ever charted on the Billboard 200.


title: Neil Young (album)

text: The first release of the album used the Haeco-CSG encoding system. This technology was intended to make stereo records compatible with mono record players, but had the unfortunate side effect of degrading the sound. Young was unhappy with the first release. "The first mix was awful", he was reported as saying in Cash Box of September 6, 1969. "I was trying to bury my voice, because I didn't like the way it sounded".


title: Neil Young (album)

text: The album was therefore partially remixed and re-released without Haeco-CSG processing. Most of the songs from the original album were re-released as-is, only without the Haeco-CSG processing. Only three were remixed, which were replaced on the master tapes: "If I Could Have Her Tonight", "Here We Are in the Years", and "What Did You Do to My Life?". The words "Neil Young" were added to the top of the album cover after what was left of the original stock had been used up, so copies of both mixes exist in the original sleeve. Copies of the original mix on vinyl are now rare and much sought-after by Neil Young fans who believe that the remix diminished the songs, especially "Here We Are in the Years".


title: Neil Young (album)

text: "Neil Young" was remastered and released on HDCD-encoded compact discs and digital download on July 14, 2009, as part of the Neil Young Archives Original Release Series. It was released on audiophile vinyl in December 2009, both individually and as part of a box-set of Neil's first four LPs available via his official website. This box set was limited to 1000 copies. The remaster was also released on CD, individually and as Disc 1 of a 4-CD box set "Official Release Series Discs 1-4", released in the US in 2009 and Europe in 2012. High resolution digital files of both the CSG and non-CSG albums are available to subscribers on the Neil Young Archives website.


title: Neil Young (album)

text: "Rolling Stone" wrote "in many ways, a delightful reprise of that Springfield sound done a new way". In its retrospective review, AllMusic described it as "an uneven, low-key introduction to Young's solo career".


title: Neil Young (album)

text: All tracks are written by Neil Young, except where noted. Arrangements on "The Old Laughing Lady", "String Quartet from Whiskey Boot Hill" and "I've Loved Her So Long" by Young, Jack Nitzsche and Ry Cooder. Track timings are from the original 1969 vinyl release, catalogue number RS 6317.


title: AGM-45 Shrike

text: AGM-45 Shrike is an American anti-radiation missile designed to home in on hostile anti-aircraft radar. The Shrike was developed by the Naval Weapons Center at China Lake in 1963 by mating a seeker head to the rocket body of an AIM-7 Sparrow. It was phased out by U.S. in 1992 and at an unknown time by the Israeli Air Force (the only other major user), and has been superseded by the AGM-88 HARM missile. The Israel Defense Forces developed a version of the Shrike that could be ground-launched with a booster rocket, and mounted it on an M4 Sherman chassis as the Kilshon (Hebrew for "Trident").


title: AGM-45 Shrike

text: The Shrike was first employed during the Vietnam War by the Navy in 1965 using A-4 aircraft. The Air Force adopted the weapon the following year using F-105F and G Thunderchief Wild Weasel SEAD aircraft, and later the F-4 Phantom II in the same role. The range was nominally shorter than the SA-2 Guideline missiles that the system was used against, although it was a great improvement over the early method of attacking SAM sites with rockets and bombs from F-100F Super Sabres. A Shrike was typically lofted about 30 degrees above the horizon at a Fan Song radar some 15 miles (25 km) away for a flight time of 50 seconds. Tactics changed incrementally over the campaigns of 1966 and 1967 until the advent of the AGM-78 Standard ARM. That new weapon allowed launches from significantly longer range with a much easier attack profile, as the Standard could be launched up to 180 degrees off target and still expect a hit and its speed allowed it to travel faster than the SA-2. Even after the Standard missile entered service, the Weasels still carried the Shrike because the Standard cost about $200,000, while a Shrike cost only $7,000. If USAF pilots expended a Standard they would have to fill out a lengthy form during debriefing. A somewhat standard load for the F-105G was a 650 US gal (2,500 L) centerline fuel tank, two Standards on inboard pylons and two Shrikes on the outboard pylons. The mix varied slightly for jamming pods and the occasional AIM-9 Sidewinder but this was the baseline.


title: AGM-45 Shrike

text: The Shrike was involved in a friendly fire incident during an airstrike on Haiphong on 15 April 1972. Two missiles struck killing one crewman and injuring nine more. An American pilot apparently interpreted the PIRAZ cruiser's AN/SPG-55 radar as a North Vietnamese SAM site. "Worden" required ten days shipyard work at the Subic Bay Naval Base to repair the damage.


title: AGM-45 Shrike

text: Although the Shrike missile did not enter regular service with the United Kingdom, it was covertly supplied by the United States to the RAF for use in the Falklands War of 1982. RAF Shrikes were fitted to modified Vulcan bombers in order to attack Argentine radar installations during Operation Black Buck. The main target was a Westinghouse AN/TPS-43 long range 3D radar that the Argentine Air Force deployed during April to guard Falklands' airspace. The Argentine operators were aware of the anti-radiation missiles and would simply turn it off during the Vulcan's approaches. This radar remained intact during the whole conflict. However, air defences remained operational during the attacks and the Shrikes hit two of the less valuable and rapidly replaced secondary fire control radars. After one Vulcan made an emergency landing at Rio de Janeiro, Brazilian authorities confiscated a Shrike which was not returned.


title: AGM-45 Shrike

text: There are many subvariants, each tuned to a different radar band. Angle gating, used to prioritize targets, was included in every subvariant of the AGM-45A and B after the A-2 and B-2. It was also slow and the lack of punch in the warhead made it difficult for bomb damage assessment, as well as inflicting any damage to the Fan Song Radar vans beyond a shattered radar dish, an easy item to replace or repair. The short range, combined with its lack of speed (compared to the SA-2 SAM) made for a difficult attack. The missile had to be well within the range of the SAM radar and if a SAM was fired the SAM would get to the aircraft first. Also the missile had few tolerances and had to be launched no more than + or − 3 degrees from the target. Many pilots in Vietnam did not like the Shrike because of its limitations and its success rate of around 25%.


title: AGM-45 Shrike

text: The differences between the AGM-45A and B are in the rocket motor used, and in the warheads capable of being fitted. The AGM-45A used the Rocketdyne Mk 39 Mod 0 (or apparently in some cases the Aerojet Mk 53 Mod 1) motor, while the AGM-45B used Aerojet Mk 78 Mod 0 which greatly increased the range of the missile. As for warheads, the Mk 5 Mod 0, Mk 86 Mod 0, and WAU-8/B could all be fitted to the AGM-45A and were all blast-fragmentation in nature. The AGM-45B made use of the improved Mk 5 Mod 1 and Mk 86 Mod 1 warheads, as well as, the WAU-9/B, again all blast-fragmentation in type.


title: AGM-45 Shrike

text: The following table provides information on what radar bands were associated with certain guidance sections, and the subvariant designation.


title: AGM-45 Shrike

text: The -5 (targeted at Fan Song and M-11 Shtorm ("Head Lights") and -8 (targeted at P-18 radar "Spoon Rest" and P-14 radar ("Tall King") weapons never left development.


title: Chevrolet Celebrity

text: The Chevrolet Celebrity is a mid-size automobile that was produced by the Chevrolet division of General Motors from the 1982 to 1990 model years. Replacing the Malibu, the Celebrity was initially slotted between the Citation and the Impala within the Chevrolet model line, eventually marketed between the Corsica and Caprice sedans.


title: Chevrolet Celebrity

text: The Celebrity marked the transition of the GM A platform to front-wheel drive and was among a quartet of GM mid-size vehicles produced on the architecture. Sharing its roofline with the Buick Century, the Celebrity also shared design commonality with the Oldsmobile Cutlass Ciera/Cutlass Cruiser, and the Pontiac 6000.


title: Chevrolet Celebrity

text: After a single generation of the model line was produced, the Celebrity sedan was discontinued after the 1989 model year and replaced by the Lumina; the Celebrity station wagon was replaced by the Lumina APV minivan after 1990.


title: Chevrolet Celebrity

text: Introduced in January 1982, the Chevrolet Celebrity was offered in two-door and four-door notchback sedan body styles. Chevrolet was the first GM division to transition its mid-size sedans to front-wheel drive, producing the Celebrity alongside its Malibu predecessor for both 1982 and 1983.


title: Chevrolet Celebrity

text: The Celebrity nameplate was first used by General Motors in the early 1960s for a pillared sedan version of the Oldsmobile 88.


title: Chevrolet Celebrity

text: The Celebrity is based on the GM A-body platform. Introduced for 1982 as the successor of the previous rear-wheel drive A-body platform (renamed as the G-body for 1982), the new architecture marked the expansion of front-wheel drive from the compact segment into mid-size vehicles. To lower development and production costs, the A platform shares design commonality with the compact-car X platform, with the Celebrity sharing its 104.9 inch wheelbase with the Chevrolet Citation. While not as extensive as a reduction as a downsizing as the 1977 Impala/Caprice, the 1978 Malibu, or the 1980 Citation, the Celebrity lost approximately 4 inches in length and 2 inches of width over the Malibu.


title: Chevrolet Celebrity

text: While derived from the X-body chassis, the A-body platform would not share entirely in its controversial recall issues. There were driveability problems with the computerized engine control system in 1982 models, and deterioration of the upper engine mount (also called a dogbone) caused engine/transaxle vibration.


title: Chevrolet Celebrity

text: The Celebrity was available with 2 different bolt patterns on the wheel hub, either 100mm (JA1 code) or 115mm (JA2 code); the transaxles and brakes were different on these two patterns. The smaller of the bolt pattern was used in the standard models and used a non-vented disc brake while the larger bolt pattern was to house the heavy duty vented disc brakes. A misconception is that all Eurosport models came with the larger bolt pattern, but this was not the case. Most examples equipped with heavy-duty braking systems were base model vehicles intended for fleet and taxi use.


title: Chevrolet Celebrity

text: For its 1982 launch, the Celebrity was offered with three engines, carrying over a 2.5L inline-four and a 2.8L V6 from the Citation. A 4.3L diesel V6 (effectively, of the Oldsmobile diesel V8) served as an additional option; a three-speed automatic was paired with all three engines.


title: Chevrolet Celebrity

text: For 1984, Chevrolet introduced the 130 hp "H.O." version of the 2.8L engine (from the Citation X-11); a 4-speed manual was introduced alongside a 4-speed automatic (for 2.8L engines). For 1985, the 2.8L HO V6 received fuel injection; the 2.5L engine followed suit for 1986 (branded Tech IV). In another change, the diesel V6 was quietly removed from the model line.


title: Chevrolet Celebrity

text: For 1987, the engine line was pared to two, as the fuel-injected HO V6 became the only V6 engine offering. The Celebrity now came was offered with three transmissions: a three-speed automatic (standard), a four-speed automatic (optional for V6), and a 5-speed Getrag-supplied manual (optional for V6).


title: Chevrolet Celebrity

text: For 1988, the 2.5L engine received additional balance shafts; the 5-speed transmission was dropped for 1989. For 1990 (station wagons only), an optional 3.1L V6 replaced the 2.8L engine, paired to either a 3 or 4-speed automatic.


title: Chevrolet Celebrity

text: The Celebrity shares its roofline with the 1982-1988 Buick Century and is distinguished from other A-platform vehicles by its coved rear fascia. For 1984, Chevrolet introduced a five-door Celebrity station wagon with a liftgate and hatchback rear window; for the first time since 1977, a mid-size Chevrolet station wagon was available with a third-row seat.


title: Chevrolet Celebrity

text: Throughout its production, Chevrolet introduced few updates to the model line, with minor exterior updates in 1984, 1986, and 1987. For 1987, the hoodline was lowered slightly, distinguished by the introduction of composite headlamp lenses and a smaller grille design. In 1986, the rear fascia was revised, adding wraparound taillamp lenses and a center-mount brake lamp (CHMSL). To comply with passive-restraint regulations, the model line received door-mounted seatbelts for 1990 (in place of airbags).


title: Chevrolet Celebrity

text: During its nine-year run, the Celebrity was available with various trim/option packages including CS, CL, Estate (which added exterior simulated woodgrain applique on wagons), Eurosport, and Eurosport VR.


title: Chevrolet Celebrity

text: One of the most popular versions of the Chevrolet Celebrity is the Celebrity Eurosport. Introduced in 1984 as an option package, the Eurosport is both a cosmetic and performance option package for the Chevrolet Celebrity. Distinguished by its black window trim and red emblems, the Eurosport was offered with the 2.8L HO V6 from the Citation X-11 as an option (along with any Celebrity powertrain). Other parts of the Eurosport package include a heavy-duty F41 suspension, black steering wheel and 14" Sport Rallye wheels (which became an option for all Celebrity sedans/wagons). The interior was given model-specific red emblems on the door panels and dashboard.


title: Chevrolet Celebrity

text: For the 1988 model year, the Olympic Eurosport edition was offered in Canada as a tie-in to the Calgary Winter Olympics. Offered only in monochrome white, with all blackout trim exterior painted white to match the body. The only interior colour trim was saddle, with an Olympic logo mounted on the B pillar.


title: Chevrolet Celebrity

text: Based on the 1986 Chevrolet Eurosport RS concept car, Chevrolet offered the Celebrity Eurosport VR limited edition option package for 1987 and 1988. Converted by Autostyle Cars, near Oklahoma City Assembly, the Eurosport VR was fitted with ground effects, body decals, a blacked-out grille, and aluminum wheels. The Eurosport VR was produced in only four colors: red, silver, black, and white.


title: Chevrolet Celebrity

text: For 1987, the VR was offered for the four-door sedan and station wagon and are distinguished by their interior, which includes red carpeting, special tri-color door panels, bucket seats with thigh bolsters, and a rear seat cup holder. For 1988, two-door versions were produced as well and were produced with interiors from a standard Celebrity or Celebrity CL.


title: Chevrolet Celebrity

text: Following the 1987 model year, General Motors ended regular updates to the Celebrity, concentrating on development of the Chevrolet Lumina. Coinciding with declining sales of sedan-based coupes, the two-door Celebrity was dropped after the 1988 model year; outliving the Caprice two-door by a year, the body style gave way to the Beretta and Lumina two-doors (the latter, marketed as the successor to the Monte Carlo).


title: Chevrolet Celebrity

text: The four-door Celebrity sedan ended sales after the 1989 model year (marketed alongside its 1990 Lumina successor). For 1990, Chevrolet only offered the Celebrity as a station wagon. As of current production, it remains the final mid-size wagon offered by Chevrolet in North America.


title: Chevrolet Celebrity

text: Following the 1991 discontinuation of the Pontiac 6000, the A-body Buick Century and Oldsmobile Cutlass Ciera were produced nearly unchanged until the end of the 1996 model year.


title: Chevrolet Celebrity

text: During the 1980s, within Chevrolet, the Celebrity competed with the Cavalier as the highest-selling car of the brand, overtaking the Cavalier in sales for 1986 and 1987. For 1986, the Celebrity was the highest-selling car in the United States; as of current production, it remains the final time a Chevrolet vehicle (or any GM-brand vehicle) has done so.


title: Vanishing on 7th Street

text: Vanishing on 7th Street is a 2010 American post-apocalyptic thriller film directed by Brad Anderson and starring Hayden Christensen, Thandiwe Newton and John Leguizamo.


title: Vanishing on 7th Street

text: Paul, a projectionist in a Detroit theater, is reading about the 16th century disappearance of the Roanoke Colony when the lights suddenly go out. He finds that all the staff and patrons have vanished, leaving only their clothes behind. He comes across a security guard holding a flashlight; as Paul had a headlamp on for his reading, they deduce that people holding sources of light are protected against whatever dwells in the darkness. Upon hearing a sound in a department store the guard goes to investigate when his flashlight goes out, and he vanishes. As Paul hears the guard cry out, his headlamp goes out as well. The scene changes to a hospital where a woman in scrubs, Rosemary, frantically looks for anyone left alive and continuously screams for a child named Manny.


title: Vanishing on 7th Street

text: The following morning, television reporter Luke Ryder wakes to find that the power is out. Leaving his apartment, the downtown streets are empty except for abandoned cars and piles of clothing. He reaches his television station, also abandoned, and finds a recording which shows his girlfriend vanishing on air when the lights go out. A live feed from Chicago shows a newscaster telling people to keep a light on themselves at all times.


title: Vanishing on 7th Street

text: Three days pass, and Luke is alone in the darkness, trying to scavenge flashlight batteries and checking cars. He finds a bar powered by a portable generator, where the bartender's young son, James Leary, waits alone. James believes his mother is at a church down the street and will soon return. Luke explains that it is eleven in the morning but it is dark out, implying that the sun is no longer providing light.


title: Vanishing on 7th Street

text: Luke and James are later joined by Rosemary, who made her way to the bar thinking her son Manny might have been brought there by his father. On the third day of darkness, Paul appears in the street, suffering from a severe concussion. He reveals that he had been taken by the darkness, but his headlamp had re-activated and he reappeared. Paul tells them about the mystery of the Roanoke Colony, where over a hundred settlers disappeared overnight, and they seem to be experiencing the same thing. He tells them that the word "CROATOAN" was found carved into a fence post at the site of the empty colony.


title: Vanishing on 7th Street

text: With the generator failing and Paul needing medical help, Luke suggests going to Chicago, having seen the live video feed. He and Rosemary go into the street to retrieve one of the abandoned trucks. After their flashlights begin losing power they are forced to go back into the hospital looking for matches and batteries. In the street, Rosemary ignores Luke's warnings that the sound of a baby crying is just the darkness trying to trick her. She is lured under a solitary street light, and disappears when the light goes out. Back at the bar, the generator suffers of short circuits causing the lights to flicker. Having lost sight of James, Paul searches for him in the bunker tunnels below the bar. When the lights fail James, wearing a glow-stick necklace, is safe, but Paul vanishes.


title: Vanishing on 7th Street

text: Luke manages to push a truck back to the bar, and he escapes with James using the generator to get the truck started. As they pass the church up the block, James gets out to find his mother. Luke leaves, but returns after seeing the word "CROATOAN" carved into the side of a sign. When Luke gets out of the truck at the church, the car battery dies, its lights go out and Luke disappears. James cowers in the church under the glow of candles which slowly start to burn out.


title: Vanishing on 7th Street

text: James wakes to daylight and sees the last candle had been burning all night. A little girl, Briana, appears and urges James to stay with her. She has survived thanks to a solar-powered flashlight, although James is aware that eventually the sun will no longer provide light and the flashlight will die.


title: Vanishing on 7th Street

text: As they leave the church, they encounter a police horse eating spilled apples on the ground and decide to take it to Chicago. As the sun sets on the children leaving the city, the camera pans to the bar, casting the shadows of Luke, Paul and Rosemary watching the two leave as the darkness falls. As it gets dark, Briana's light comes on, ensuring their protection against the darkness as they begin their journey.


title: Vanishing on 7th Street

text: "Vanishing on 7th Street" is based on a screenplay by Anthony Jaswinski and is produced from Herrick Entertainment. The film is the eighth from director Brad Anderson and features Hayden Christensen, Thandiwe Newton and John Leguizamo in the lead roles. The shooting began on October 12, 2009 in Detroit.


title: Vanishing on 7th Street

text: The score is composed by Spanish song writer and composer Lucas Vidal and is his first theatrical feature film soundtrack, with songs written and executively produced by Howard Herrick.


title: Vanishing on 7th Street

text: The film was initially released for the Zune and Xbox Live members prior to its theatrical release. Shown in only six theaters across the United States, "Vanishing on 7th Street" was a total theatrical flop. The film grossed $22,197, roughly 1/450 of its estimated budget of $10,000,000. However, it made $1,045,953 outside of the United States, with over a quarter of this total coming from South Korea.