title: Wesleyan theology

text: Penance, including the practice of confessing sins, is defined by the Articles of Religion as one those "Commonly called Sacraments but not to be counted for Sacraments of the Gospel", also known as the "five lesser sacraments". John Wesley held "the validity of Anglican practice in his day as reflected in the 1662 "Book of Common Prayer"", stating that "We grant confession to men to be in many cases of use: public, in case of public scandal; private, to a spiritual guide for disburdening of the conscience, and as a help to repentance." Additionally, per the recommendation of Wesley, Methodist class meetings, as well as penitent bands, traditionally met weekly in order to confess sins to one another.


title: Wesleyan theology

text: Lovefeasts (in which bread and the loving-cup is shared between members of the congregation) are a means of grace, a "converting ordinance" that John Wesley believed to be an apostolic institution. One account from July 1776 expounded on the fact that people experienced entire sanctification at a Lovefeast:


title: Wesleyan theology

text: In certain Methodist connexions, such as the Missionary Methodist Church and the New Congregational Methodist Church, footwashing is practiced at the time that the Lord's Supper is celebrated. The Missionary Methodist Church states in its Book of Discipline:


title: Wesleyan theology

text: In other connexions such as the United Methodist Church, footwashing is practiced especially on Maundy Thursday.


title: Wesleyan theology

text: John Wesley held that the offices of bishop and presbyter constituted one order, citing an ancient opinion from the Church of Alexandria; Jerome, a Church Father, wrote: "For even at Alexandria from the time of Mark the Evangelist until the episcopates of Heraclas and Dionysius the presbyters always named as bishop one of their own number chosen by themselves and set in a more exalted position, just as an army elects a general, or as deacons appoint one of themselves whom they know to be diligent and call him archdeacon. For what function, excepting ordination, belongs to a bishop that does not also belong to a presbyter?" (Letter CXLVI). John Wesley thus argued that for two centuries the succession of bishops in the Church of Alexandria, which was founded by Mark the Evangelist, was preserved through ordination by presbyters alone and was considered valid by that ancient Church.


title: Wesleyan theology

text: Since the Bishop of London refused to ordain ministers in the British American colonies, this constituted an emergency and as a result, on 2 September 1784, Wesley, along with a priest from the Anglican Church and two other elders, operating under the ancient Alexandrian habitude, ordained Thomas Coke a superintendent, although Coke embraced the title bishop.


title: Wesleyan theology

text: Today, the United Methodist Church follows this ancient Alexandrian practice as bishops are elected from the presbyterate: the "Discipline of the Methodist Church", in ¶303, affirms that "ordination to this ministry is a gift from God to the Church. In ordination, the Church affirms and continues the apostolic ministry through persons empowered by the Holy Spirit." It also cites Scripture in support of this practice, namely, 1 Timothy 4:14, which states:


title: Wesleyan theology

text: The Methodist Church also buttresses this argument with the leg of sacred tradition of the Wesleyan Quadrilateral by citing the Church Fathers, many of whom concur with this view.


title: Wesleyan theology

text: In addition to the aforementioned arguments, in 1937 the annual Conference of the British Methodist Church located the "true continuity" with the Church of past ages in "the continuity of Christian experience, the fellowship in the gift of the one Spirit; in the continuity in the allegiance to one Lord, the continued proclamation of the message; the continued acceptance of the mission;..." [through a long chain which goes back to] "the first disciples in the company of the Lord Himself ... This is our doctrine of apostolic succession" [which neither depends on, nor is secured by,] "an official succession of ministers, whether bishops or presbyters, from apostolic times, but rather by fidelity to apostolic truth".


title: Wesleyan theology

text: Early Methodism was known for its "almost monastic rigors, its living by rule, [and] its canonical hours of prayer". It inherited from its Anglican patrimony the rubrics of reciting the Daily Office, which Methodist Christians were expected to pray. The first prayer book of Methodism, "The Sunday Service of the Methodists with other occasional Services" thus included the canonical hours of both Morning Prayer and Evening Prayer; these two fixed prayer times were observed everyday in early Christianity, individually on weekdays and corporately on the Lord's Day. Later Methodist liturgical books, such as The Methodist Worship Book (1999) provide for Morning Prayer and Evening Prayer to be prayed daily; the United Methodist Church encourages its communicants to pray the canonical hours as "one of the essential practices" of being a disciple of Jesus. Some Methodist religious orders publish the Daily Office to be used for that community, for example, "The Book of Offices and Services of The Order of Saint Luke" contains the canonical hours to be prayed traditionally at seven fixed prayer times: Lauds (6 am), Terce (9 am), Sext (12 pm), None (3 pm), Vespers (6 pm), Compline (9 pm) and Vigil (12 am).


title: Wesleyan theology

text: Early Methodists wore plain dress, with Methodist clergy condemning "high headdresses, ruffles, laces, gold, and 'costly apparel' in general". John Wesley recommended that Methodists annually read his thoughts "On Dress"; in that sermon, John Wesley expressed his desire for Methodists: "Let me see, before I die, a Methodist congregation, full as plain dressed as a Quaker congregation". The 1858 Discipline of the Wesleyan Methodist Connection thus stated that "we would ... enjoin on all who fear God plain dress". Peter Cartwright, a Methodist revivalist, stated that in addition to wearing plain dress, the early Methodists distinguished themselves from other members of society by fasting on Fridays, abstaining from alcohol, and devoutly observing the Sabbath. Methodist circuit riders were known for practicing the spiritual discipline of mortifying the flesh as they "arose well before dawn for solitary prayer; they remained on their knees without food or drink or physical comforts sometimes for hours on end". The early Methodists did not participate in, and condemned, "worldly habits" including "playing cards, racing horses, gambling, attending the theater, dancing (both in frolics and balls), and cockfighting".


title: Wesleyan theology

text: Over time, many of these practices were gradually relaxed in mainline Methodism, although practices such as teetotalism and fasting are still very much encouraged, in addition to the current prohibition of gambling; denominations of the conservative holiness movement, such as the Allegheny Wesleyan Methodist Connection and Evangelical Wesleyan Church, continue to reflect the spirit of the historic Methodist practice of wearing plain dress, encouraging members in "abstaining from the wearing of extravagant hairstyles, jewelry—to include rings, and expensive clothing for any reason". The Fellowship of Independent Methodist Churches, which continues to observe the ordinance of women's headcovering, stipulates "renouncing all vain pomp and glory" and "adorning oneself with modest attire." The General Rules of the Methodist Church in America, which are among the doctrinal standards of many Methodist Churches, promote first-day Sabbatarianism as they require "attending upon all the ordinances of God" including "the public worship of God" and prohibit "profaning the day of the Lord, either by doing ordinary work therein or by buying or selling".


title: Wesleyan theology

text: John Wesley "laid foundations for Methodism's traditional call to abstain from beverage alcohol and its warnings about the use of drugs." Wesley referred to liquors as "certain, though slow, poison" and condemned those who sold it of leading people to hell. Methodist Churches are traditionally aligned with the temperance movement and its call for teetotalism. In Great Britain, both Wesleyan Methodists and Primitive Methodists championed the cause of temperance; the Methodist Board of Temperance, Prohibition, and Public Morals was later established in the United States to further the movement. ¶91 of the 2014 "Discipline" of the Allegheny Wesleyan Methodist Connection summarizes the traditional practice of Methodists regarding their requirement of abstinence from alcohol and other drugs:


title: Wesleyan theology

text: Fasting is considered one of the works of piety. Methodism's principal liturgical book The Sunday Service of the Methodists (put together by John Wesley), as well as The Directions Given to Band Societies (25 December 1744) by John Wesley, mandate fasting and abstinence from meat on all Fridays of the year (in remembrance of the crucifixion of Jesus). Wesley himself also kept the Eucharistic Fast, thus fasting before receiving Holy Communion "for the purpose of focusing his attention on God," and asked other Methodist Christians to do the same.


title: Wesleyan theology

text: Methodism makes a distinction between the ceremonial law and the moral law that is the Ten Commandments given to Moses. In Methodist Christianity, the moral law is the "fundamental ontological principle of the universe" and "is grounded in eternity", being "engraved on human hearts by the finger of God." In contradistinction to the teaching of the Lutheran Churches, the Methodist Churches bring the Law and the Gospel together in a profound sense: "the law is grace and through it we discover the good news of the way life is intended to be lived." John Wesley, the father of the Methodist tradition taught:


title: Wesleyan theology

text: The early Methodists were known for "religiously keeping the Sabbath day". They regarded "keeping the Lord's Day as a duty, a delight, and a means of grace". The General Rules of the Methodist Church require "attending upon all the ordinances of God" including "the public worship of God" and prohibit "profaning the day of the Lord, either by doing ordinary work therein or by buying or selling". The Sunday Sabbatarian practices of the earlier Wesleyan Methodist Church in Great Britain are described by Jonathan Crowther in "A Portraiture of Methodism":


title: Wesleyan theology

text: Methodism began as a reform movement within the Church of England, and, for a while, it remained as such. The movement separated itself from its "mother church" and became known as the Methodist Episcopal Church in America and the Wesleyan Methodist Church in Britain (as distinguished from Calvinistic Methodism). Many divisions occurred within the Methodist Episcopal Church in the 19th century, mostly over attitudes towards slavery (though doctrinally, opposition to slavery is one of the works of mercy). Some of these schisms healed in the early 20th century, and many of the splinter Methodist groups came together by 1939 to form the Methodist Church. In 1968, the Methodist Church joined with the Radical Pietist Evangelical United Brethren Church to form The United Methodist Church, the largest Methodist church in America. Other groups include the African Methodist Episcopal Church, the African Methodist Episcopal Zion Church, Christian Methodist Episcopal Church, the Congregational Methodist Church, the Evangelical Methodist Church, the Free Methodist Church, the Independent Methodist Churches, the Primitive Methodist Church, and the Southern Methodist Church.


title: Wesleyan theology

text: In 19th-century America, a dissension arose over the nature of entire sanctification. Those who believed that entire sanctification could occur both instantaneously or could result from progressive sanctification culminating in Christian perfection, remained within the mainline Methodist Churches; others, however, heavily emphasized the instantaneous nature of entire sanctification. The latter line of thought came to be known as the holiness movement and while many of those who supported it remained in mainline Methodism (e.g. Asbury Theological Seminary), others began the various holiness churches, including the Free Methodist Church, Church of God (Holiness), the Church of God (Anderson), the Churches of Christ in Christian Union, and the Wesleyan Methodist Church, which later merged with the Pilgrim Holiness Church to form the Wesleyan Church, which is present today. Other holiness groups, which also rejected the competing Pentecostal movement, merged to form the Church of the Nazarene. The Salvation Army is another Wesleyan-Holiness group which traces its roots to early Methodism. The Salvation Army's founders Catherine and William Booth founded the organization to stress evangelism and social action when William was a minister in the Methodist Reform Church.


title: Wesleyan theology

text: The conservative holiness movement, including denominations such as the Allegheny Wesleyan Methodist Connection, Bible Methodist Connection of Churches, Evangelical Wesleyan Church and Primitive Methodist Church, emerged in the 19th and 20th centuries to herald many of the strict standards of primitive Methodism, including outward holiness, plain dress, and temperance.


title: Black Dog (Led Zeppelin song)

text: "Black Dog" is a song by English rock band Led Zeppelin, the opening track on the band's untitled fourth album (1971). The song was released as a single and reached the charts in several countries; however, as was their practice, it was not issued in the United Kingdom. The song was included in "Rolling Stone"s (US) "the 500 Greatest Songs of All Time" and ranked No. 1 in "Q" magazine's (UK) "20 Greatest Guitar Tracks".


title: Black Dog (Led Zeppelin song)

text: "Black Dog" is built around a call and response dynamic between the vocalist and band, with its start and stop a cappella verses inspired by Fleetwood Mac's 1969 song "Oh Well", according to biographer Dave Lewis. The title is a reference to a nameless black Labrador Retriever that wandered around the Headley Grange studios during the recording of the album. The song was recorded with recording engineer Andy Johns at Island Studios on Basing Street in London.


title: Black Dog (Led Zeppelin song)

text: Bassist John Paul Jones, who is credited with writing the main riff, was inspired by Muddy Waters' controversial 1968 album "Electric Mud". He added a winding riff and complex rhythm changes, that biographer Keith Shadwick describes as a "clever pattern that turns back on itself more than once, crossing between time signatures as it does." The group had a difficult time with the turnaround, but drummer John Bonham's solution was to play it straight through as if there was no turnaround. In live performances, Bonham eliminated the variation so that Robert Plant could perform his "a cappella" vocal interludes and then have the instruments return at the proper time. For his guitar parts, Jimmy Page used a Gibson Les Paul to record multiple overdubs.


title: Black Dog (Led Zeppelin song)

text: The song was released as a single in the United States on 2 December 1971, in continental Europe (the United Kingdom did not receive the single release), and in Australia with "Misty Mountain Hop" as the B-side.


title: Black Dog (Led Zeppelin song)

text: "Black Dog" became a staple of Led Zeppelin's live concert performances. It was first played live at Belfast's Ulster Hall on 5 March 1971, a concert which also featured the first ever live performance of "Stairway to Heaven". It was retained for each subsequent concert tour until 1973. In 1975 it was used as an encore medley with "Whole Lotta Love", but was hardly used on the band's 1977 US concert tour. It was recalled to the set for the Knebworth Festival 1979 and the 1980 Tour of Europe. For these final 1980 performances, Page introduced the song from stage.


title: Black Dog (Led Zeppelin song)

text: In 2004, the song was first ranked number 294 on "Rolling Stone"s list of the 500 Greatest Songs of All Time before being ranked at number 300 in 2010. Music sociologist Deena Weinstein calls "Black Dog" "one of the most instantly recognisable [Led] Zeppelin tracks".


title: Jyoti Randhawa

text: Jyotinder Singh Randhawa (born 4 May 1972) is an Indian professional golfer. He plays on the Asian Tour where he won eight times between 1998 and 2009. He was ranked in the top 100 of the Official World Golf Ranking several times between 2004 and 2009.


title: Jyoti Randhawa

text: Randhawa turned professional in 1994. He played on the Asian Tour, having played on the European Tour from 2005 to 2010. In 2002, he finished top on the Asian Tour money list. He has finished second on the European Tour three times; the 2002 BMW Asian Open, the 2004 Johnnie Walker Classic and the 2007 Open de España.


title: Jyoti Randhawa

text: Randhawa was married to actress Chitrangada Singh. Their son is named Zorawar Randhawa. The couple divorced in April 2014 and their son's custody has been granted to Chitrangada.


title: Jyoti Randhawa

text: He was arrested in connection with poaching of endangered animals and birds in Katarniaghat wildlife sanctuary on 26 December 2018.


title: Rhomboid muscles

text: The rhomboid muscles (), often simply called the rhomboids, are rhombus-shaped muscles associated with the scapula. There are two rhomboid muscles on each side of the upper back:


title: Rhomboid muscles

text: The large rhombus-shaped muscle, located under the trapezius muscle in the upper part of the thoracic region of the back, and the small muscle, in the same way, participate in the movement of the scapula.


title: Rhomboid muscles

text: The rhomboid major muscle originates from the spinous processes of vertebrae T2–T5, while it inserts to the medial border of the scapula. The rhomboid minor muscle originates from the nuchal ligament and spinous processes of vertebrae C7–T1. Both muscles are innervated by the dorsal scapular nerve, a branch of the brachial plexus. Their functions are the following:


title: Singapore Indoor Stadium

text: The Singapore Indoor Stadium, known exonymously as the Indoor Stadium, is an indoor arena located in Kallang, Singapore. It is within walking distance of the Singapore National Stadium, and collectively form a part of the wider Singapore Sports Hub. It has a maximum total capacity of 15,000 depending on configuration, with an all-seating configuration of 12,000.


title: Singapore Indoor Stadium

text: It regularly hosts events such as music concerts, badminton, basketball, netball, tennis, esports, pro-wrestling, mixed martial arts, kickboxing, and monster truck races. The Singaporean ONE Championship regularly hosts its events here. In 2015, the Singapore Indoor Stadium sold 72,342 tickets for the entire year. In 2022, the stadium is expected to be the venue for The International 2022, the annual "Dota 2" world championship esports tournament and the largest single-tournament prize pool of any esport event.


title: Singapore Indoor Stadium

text: Both the Stadium MRT station on the Circle line and the Tanjong Rhu MRT station on the Thomson–East Coast line enables visitors to commute to the stadium via train service. Kallang MRT station on the East West line is also within reasonable distance, with a direct connection via sheltered walkways.


title: Singapore Indoor Stadium

text: Construction began on 1 January 1985, and it was built at a cost of S$90 million. The arena was designed by Japanese architect Kenzo Tange, and it has a cone shaped roof and a pillarless arena. It was completed on 1 March 1987 and officially opened to public on 1 July 1988.


title: Singapore Indoor Stadium

text: On 31 December 1989, Singapore Indoor Stadium was officially opened in an inaugural ceremony by the Prime Minister of Singapore, Lee Kuan Yew.


title: Singapore Indoor Stadium

text: Due to its flexible stage configuration, the capacity of the stadium varies from 7,306 to 7,968 during concerts to 8,126–10,786 during sporting events. Its full seating capacity is around 12,000, and its full capacity is 15,000.


title: Singapore Indoor Stadium

text: The stadium has hosted major concerts and shows by many famous artists and bands, spanning many different genres.


title: Singapore Indoor Stadium

text: The evangelical Alpha Conference organised by the megachurch Hope Church Singapore was held at the Singapore Indoor Stadium on 28–29 May 2016.


title: Singapore Indoor Stadium

text: In 2013, a service engineer who was trying to service an audio visual projection system died after falling down approximately 9 meters of height. Investigations revealed that the engineer had not properly equipped himself with a safety harness prior to the procedure.


title: Cord (unit)

text: The cord is a unit of measure of dry volume used to measure firewood and pulpwood in the United States and Canada.


title: Cord (unit)

text: A cord is the amount of wood that, when "racked and well stowed" (arranged so pieces are aligned, parallel, touching and compact), occupies a volume of . This corresponds to a well-stacked woodpile high, wide, and deep; or any other arrangement of linear measurements that yields the same volume.


title: Cord (unit)

text: The cord-foot was a US unit of volume for stacked firewood, four feet long, four feet wide and one foot high—equal to one eighth of a cord. Symbol for the unit was cd-ft.


title: Cord (unit)

text: In Canada, the cord is legally defined by Measurement Canada. The cord is one of three legal standards for the sale of firewood in Canada: stacked cubic metre (or stere), cubic foot, and cord. The preferred unit of measurement for firewood is the stacked cubic metre.


title: Cord (unit)

text: In the United States, the cord is defined by statute in most states. The U.S. National Institute of Standards and Technology Handbook 130, section 2.4.1.2, defines a cord and provides uniform regulations for the sale of fireplace and stove wood. In the metric system, wood is usually measured in steres and cubic metres: 1 stere = 1 m ≈ 0.276 cords.


title: Cord (unit)

text: Maine appears unique among U.S. states by also defining a "loose thrown cord" or pile of cut firewood: "A cord of in length shall mean the amount of wood, bark and air contained in a space of ; and a cord of wood in length shall mean the amount of wood, bark and air contained in a space of . [1981, c. 219 (amd).]"


title: Cord (unit)

text: Other non-official terms for firewood volume include "standing cord", "kitchen cord", "running cord", "face cord", "fencing cord", "country cord", "long cord", and "rick", all subject to local variation. These are usually taken to mean a well-stacked pile of wood in which the logs are shorter or longer than in a legal cord, to accommodate various burners. For example, a face cord commonly consists of wood that is long. The volume of a face cord therefore is typically 1/3 of the volume of a full cord even though it is long and high. A face cord is also called a "rick" in Midwestern United States.


title: Cord (unit)

text: The term is used in other English-speaking countries, such as New Zealand, but may not have a legal definition.


title: Cord (unit)

text: The "corde" was a unit of volume used before metrication in several French-speaking countries (France, Belgium and Luxembourg). Its value varied from 6 to 13.50 m depending on the region, corresponding approximately 2 to 5 steres.


title: Cord (unit)

text: One seasoned (dry) cord of Northern red oak with a heating value of has the heating equivalent of of fuel oil with a heating value of .


title: Armed Forces of Transnistria

text: The Armed Forces of the Pridnestrovian Moldavian Republic (, Moldovan Cyrillic: Форцеле армате але Републичий Молдовенешть Нистрене; ; ) are the military forces of the unrecognized state of Transnistria. The Armed Forces fall under the leadership of the Ministry of Defence. The Armed Forces were created on 6 September 1991 to maintain the sovereignty and independence of the Pridnestrovian Moldavian Republic, in accordance with Article 11 of the Republic's Constitution.


title: Armed Forces of Transnistria

text: On 6 September 1991, the Supreme Soviet of Transnistria adopted a resolution which called for the formation of a Transnistrian military unit. As a result, the Transnistria Republican Guard () was formed. It was the direct counterpart to the Republic of Moldova's Republican Guard (). Both were the predecessors to their respective countries armed forces. In its first major conflict, the guard repelled Moldovan troops from the city Dubăsari in December 1991. By the end of 1991, the organizational formation of the Transnistrian armed forces was generally completed. Shortly after the outbreak of Transnistrian War in March 1992, the People's Militia was created, having been supported and armed by the Russian Armed Forces 14th Guards Army. By the end of 1992, all main structures of the Ministry of Defence and the General Staff were formed, including individual military units, government agencies, and specialized services. On 14 March 1993, personnel of the new armed forces took the military oath of allegiance to the country. As of 2021 Transnistria is equipped mainly with Soviet-Era equipment including the T-64BV tank which is still quite capable given Moldova does not own any tanks. Infantry fighting vehicles are the BMP-1 and BMP-2 with at least 15 in service as of 2021. APCs include the BTR family of APCs as well as over 70 MT-LBs, GT-MU, and BTRG-127 vehicles. Trucks are typically post-Soviet, Ural-375, GAZ-66, and Zil-131 trucks make up the logistics backbone. Rocket artillery is very important for the Armed Forces given the limited number of conventional artillery Transnistria has. Rocket launchers include the Grad system, some of which were placed on ZIL-131 trucks. Transnistria also has a domestic rocket launcher industry which has built the Pribor-1 and Pribor-2 rocket launchers with 20 tubes and 48 tubes respectively, both systems are of 122mm caliber. Transnistria does have a small domestic drone industry which has been producing reconnaissance drones for the military since at least 2019. These have been jointly used with the Pribor-2 rocket launch systems in exercises to increase accuracy of the rockets via drone targeting.


title: Armed Forces of Transnistria

text: The armed forces are composed of 4,500 to 5,500 active duty soldiers, (with 15,000 - 20,000 personnel in the reserve).


title: Armed Forces of Transnistria

text: Additional support is provided by the Operational Group of Russian Forces of the Russian Army, based in the Transnistrian city of Cobasna.


title: Armed Forces of Transnistria

text: On Republic Day and Victory Day, two-hour military parades of the Armed Forces of Transnistria is annually held on Suvorov Square, usually featuring over 15 military contingents overseen by the president, the Prime Minister and members of the Supreme Council. A historical mechanized convoy is usually assembled at the parade. In 2020, due to the COVID-19 pandemic, the two jubilee celebrations were merged on 2 September.


title: Armed Forces of Transnistria

text: The official armed forces holiday is Defender of the Fatherland Day on 23 February, which celebrated similarly to Russia and the Commonwealth of Independent States. Other military holidays include:


title: Armed Forces of Transnistria

text: The Military History Museum of the Armed Forces was opened on 13 November 1999 by President Smirnov together with Defense Minister Stanislav Hazheev. It has been visited by more than 20,000 servicemen, students, and tourists. The main attraction is the diorama "Storming the bridge over the Dniester", which depicts an episode of the battle on 20 June 1992. The museum is conventionally divided into two parts: exhibits and archival photographs. The central area is occupied by a ring in memory of fallen guardsmen.


title: Armed Forces of Transnistria

text: The Army Sports Club in Transnistria is a sports movement in the army that has the involvement of not only active military personnel, but also retired ones, as well as their family members, and pre-conscription youth. Almost anyone who wants to compete under the SKA banner are able to join the club. It was created as part of a return to the traditions of Soviet sports.


title: Armed Forces of Transnistria

text: Previous aircraft operated were the Antonov An-26, Antonov An-2, Yakovlev Yak-52, and the Mil Mi-2 helicopter.


title: Las Américas International Airport

text: Las Américas International Airport (, or AILA) is an international airport located in Punta Caucedo, near Santo Domingo and Boca Chica in the Dominican Republic. The airport is run by Aeropuertos Dominicanos Siglo XXI (AERODOM), a private corporation based in the Dominican Republic, under a 25-year concession to build, operate, and transfer (BOT) six of the country's airports. Las Américas usually receives a wide variety of long-, mid-, and short-haul aircraft. Santo Domingo's other airport, La Isabela, is much smaller and used by light aircraft only.


title: Las Américas International Airport

text: The airport is the second-busiest in the country, after Punta Cana International Airport, and one of the largest in the Caribbean, handling 3.5 million passengers in 2015. It is also the busiest cargo hub in the Caribbean and Central America, with 355,000,000 lbs of cargo transported in 2019.


title: Las Américas International Airport

text: Las Américas Airport opened in 1959 as the official airport of Ciudad Trujillo, the capital of the Dominican Republic with the city subsequently changing its name to Santo Domingo. The official name of the airport was changed in 2002 to "Aeropuerto Internacional Las Américas- José Francisco Peña Gómez (AIJFPG)" but is known as "Las Américas International Airport", or locally, "Las Américas Airport, AILA or "El Aeropuerto".


title: Las Américas International Airport

text: In 1954, U.S. based Delta Air Lines (which was known as "Delta C&S" at the time following its acquisition and merger with Chicago and Southern Air Lines) was serving the Dominican Republic on a daily basis via the then-named General Andrews Airport in Ciudad Trujillo with nonstop flights to San Juan, Puerto Rico and Port au Prince, Haiti operated with Convair 340 twin prop aircraft. The eastbound Delta flights operated a daily routing of Houston - New Orleans - Havana, Cuba - Port au Prince - Ciudad Trujillo - San Juan and the westbound Delta flights operated a daily routing of San Juan - Ciudad Trujillo - Port au Prince - Havana - New Orleans. Also during the mid 1950s, U.S. based Pan American World Airways (Pan Am) was serving Ciudad Trujillo with nonstop flights to New York City, Miami and Port au Prince operated with Douglas DC-6 four engine propliners (which the airline called the "Super-6 Clipper"). In 1960, locally-based Dominicana de Aviacion, the former flag carrier of the Dominican Republic, was operating scheduled international passenger service nonstop between the airport and Miami with Douglas DC-4 four engine propliners and also nonstop between the airport and San Juan, Puerto Rico with Douglas DC-3 and Curtiss C-46 twin prop aircraft.


title: Las Américas International Airport

text: By the early and mid 1960s, several airlines were operating international jet service from the airport including Pan Am with Boeing 707 service nonstop to New York City, Miami, San Juan, Puerto Rico, Kingston, Jamaica and Curacao as well as direct, no change of plane 707 service to Montego Bay, Caracas, Port of Spain, Georgetown, Guyana and Paramaribo while Brazil-based VARIG was operating Sud Aviation Caravelle and Convair 990 jetliner flights nonstop to New York City and Miami as well as direct, no change of plane jet service to Port of Spain, Belem, Fortaleza, Recife, Rio de Janeiro, Sao Paulo and Porto Alegre.


title: Las Américas International Airport

text: By 1976, the airport was being served by American Airlines with nonstop Boeing 707 and Boeing 747 flights from New York City, Dominicana de Aviacion with nonstop Boeing 727-100, Boeing 727-200, Boeing 707-399C, Boeing 747 and McDonnell Douglas DC-10 (leased aircraft) service from New York City, Miami and San Juan, Puerto Rico, Eastern Airlines with nonstop Boeing 727-100 service from San Juan, Puerto Rico as well as direct, no change of plane 727 flights from Cleveland and Miami, Pan Am with nonstop Boeing 707 service from Port au Prince as well as direct, one stop 707 service from Miami, ALM Antillean Airlines with nonstop and direct one stop McDonnell Douglas DC-9-30 service from Curacao, Viasa with nonstop Douglas DC-8 service from Curacao and direct one stop DC-8 flights from Caracas, and locally-based Aerovias Quisqueyana with nonstop Boeing 707 and Douglas DC-8 service from Miami and San Juan, Puerto Rico. Also in 1976, Aerovias Quisqueyana was operating nonstop Boeing 707 transatlantic service from the airport to Madrid with this flight also providing direct one stop service to Rome.


title: Las Américas International Airport

text: According to the Official Airline Guide (OAG), in 1996 a number of European based airlines were operating transatlantic flights from the airport including Air France with nonstop Boeing 747 service to Paris, Alitalia with nonstop Boeing 767-300 service to Rome, Condor Airlines with nonstop Boeing 767-300 service to both Cologne/Bonn and Frankfurt, Iberia Airlines with nonstop McDonnell Douglas DC-10 service to Madrid, LTU International Airways with nonstop McDonnell Douglas MD-11 service to Dusseldorf, Martinair with nonstop Boeing 767-300 service to Amsterdam, and TAP Air Portugal with direct one stop Airbus A310 service to Lisbon. Airline service from the airport to South America in 1996 included nonstop Boeing 727-200 flights to Bogota operated by ACES Colombia as well as nonstop McDonnell Douglas DC-10 flights to Lima operated by Iberia Airlines in addition to direct, no change of plane Boeing 737-200 flights also to Lima operated by Copa Airlines via a stop at this air carrier's hub in Panama City, Panama.


title: Las Américas International Airport

text: Also according to the OAG, other airlines operating flights into the airport in 1996 included American Airlines with nonstop Airbus A300-600R, McDonnell Douglas DC-10 and McDonnell Douglas MD-11 service from New York City as well as nonstop Airbus A300-600R and Boeing 727-200 service from Miami in addition to direct one stop Airbus A300-600R service from both Boston and Orlando, Continental Airlines with nonstop Boeing 727-200 service from Newark, Trans World Airlines (TWA) with nonstop Boeing 767-200 and Lockheed L-1011 service from New York City, and locally-based APA International Air with nonstop Airbus A300 service from both New York City and Miami.


title: Las Américas International Airport

text: "Las Américas" was the hub for Dominicana de Aviación, APA International Air, PAWA Dominicana, and a number of other, smaller airlines. Currently SAP Air is based there.


title: Las Américas International Airport

text: Las Américas also has served as a hub for airlines such as Aeromar Líneas Aéreas Dominicanas, Aero Continente Dominicana and Queen Air.


title: Las Américas International Airport

text: Recently, the expressway leading from Santo Domingo to the airport (roughly 20 km east of the city center) was expanded and modernised. The airport was also modernised, and two more terminals were added, including 20 more gates. The new expressway crosses a new suspension bridge which spans the Ozama River, connecting traffic into the city's Elevated Freeway and Tunnel system onto the city's main street, Av. 27 de Febrero. A more scenic route following the coastal shore provides beautiful views of the Caribbean Sea and of the city. This secondary road crosses the Ozama River by means of a floating bridge, connecting traffic onto the Av. George Washington (el Malecón) which leads into the heart of the colonial city.


title: Las Américas International Airport

text: On 18 April 2007, a new terminal was completed and opened for operations. It can accommodate four Boeing 747s simultaneously. This new terminal has four gates with boarding bridges, an air-conditioning system, and maintenance facilities for aircraft.


title: Las Américas International Airport

text: Las Américas Airport's runway direction is north–south (designated 17–35). This runway is the largest in the country, and one of the largest in the Caribbean. With a length of 3,355 m, it is able to support a Boeing 747. The runway of SDQ was last renovated in June 2008. The old taxi-way was also renovated and converted into a full runway while the old runway was being renovated, then it was converted back into a taxiway after the normal runway was finished. The runway accommodated the Antonov An-225 to supply goods after the 2010 Haiti earthquake.


title: Las Américas International Airport

text: Las Américas has five gates on the main satellite concourse (A), A2 through A6. Other gate facilities are for the flights departing from a parking in the taxiway. back in the 1960s and 70s the airport used to be much smaller, The original building was half the size of today's newest structure but with a still modern look.


title: Las Américas International Airport

text: Concourse B has four gates (B1 through B4) and remote stand (P8). Terminal B now features a co-branded Copa Club operated jointly by United Airlines and Copa Airlines, and a Private Lounge exclusive to members and business people.


title: Las Américas International Airport

text: The average number of daily flights in and out of Las Américas ranges between 68 and 84 flights. JetBlue is the largest airline operating at Las Américas.


title: Ignacy Jan Paderewski

text: Ignacy Jan Paderewski (;  – 29 June 1941) was a Polish pianist and composer who became a spokesman for Polish independence. In 1919, he was the new nation's Prime Minister and foreign minister during which he signed the Treaty of Versailles, which ended World War I.


title: Ignacy Jan Paderewski

text: A favorite of concert audiences around the world, his musical fame opened access to diplomacy and the media, as possibly did his status as a freemason, and charitable work of his second wife, Helena Paderewska. During World War I, Paderewski advocated an independent Poland, including by touring the United States, where he met with President Woodrow Wilson, who came to support the creation of an independent Poland in his Fourteen Points at the Paris Peace Conference in 1919, which led to the Treaty of Versailles.


title: Ignacy Jan Paderewski

text: Shortly after his resignations from office, Paderewski resumed his concert career to recoup his finances and rarely visited the politically chaotic Poland thereafter, the last time being in 1924.


title: Ignacy Jan Paderewski

text: Paderewski was born to Polish parents in the village of , in the Podolia Governorate of the Russian Empire. The village is now part of the Khmilnyk raion of Vinnytsia Oblast in Ukraine. His father, Jan Paderewski, administered large estates. His mother, Poliksena, "née" Nowicka, died several months after Paderewski was born, and he was raised mostly by distant relatives.


title: Ignacy Jan Paderewski

text: From his early childhood, Paderewski was interested in music. He initially lived at a private estate near Zhytomyr, where he moved with his father. However, soon after his father's arrest in connection with the January Uprising (1863), he was adopted by his aunt. After being released, Paderewski's father married again and moved to the town of Sudylkov, near Shepetovka.


title: Ignacy Jan Paderewski

text: Initially, Paderewski took piano lessons with a private tutor. At the age of 12, in 1872, he went to Warsaw and was admitted to the Warsaw Conservatory. Upon graduating in 1878, he became a tutor of piano classes at his "alma mater". In 1880, Paderewski married a fellow student at the conservatory, Antonina Korsakówna. The next year, their son Alfred was born severely handicapped. Antonina never recovered from childbirth and died several weeks later. Paderewski decided to devote himself to music and left his son in the care of friends, and in 1881, he went to Berlin to study music composition with Friedrich Kiel and Heinrich Urban.


title: Ignacy Jan Paderewski

text: A chance meeting in 1884 with a famous Polish actress, Helena Modrzejewska, he began his career as a virtuoso pianist. Modrzejewska arranged for a public concert and joint appearance in Kraków's Hotel Saski to raise funds for Paderewski's further piano study. The scheme was a tremendous success, and Paderewski soon moved to Vienna, where he studied with Theodor Leschetizky (Teodor Leszetycki). He married his second wife, Helena Paderewska (née von Rosen)(1856–1934), shortly after she received an annulment of a prior marriage, on 31 May 1899. While she had previously cared for his son Alfred (1880–1901), they had no children together.


title: Ignacy Jan Paderewski

text: After three years of diligent study and a teaching appointment in Strasbourg which Leschetizky arranged, Paderewski made his concert debut in Vienna in 1887. He soon gained great popularity and had popular successes in Paris in 1889 and in London in 1890. Audiences responded to his brilliant playing with almost extravagant displays of admiration, and Paderewski also gained access to the halls of power. In 1891, Paderewski repeated his triumphs on an American tour; he would tour the country more than 30 times for the next five decades, and it would become his second home. His stage presence, striking looks, and immense charisma contributed to his stage success, which later proved important in his political and charitable activities. His name became synonymous with the highest level of piano virtuosity. Not everyone was equally impressed, however. After hearing Paderewski for the first time, Moriz Rosenthal quipped, "Yes, he plays well, I suppose, but he's no Paderewski."


title: Ignacy Jan Paderewski

text: Paderewski kept up a furious pace of touring and composition, including many of his own piano compositions in his concerts. He also wrote an opera, "Manru", which is still the only opera by a Polish composer that was ever performed in the Metropolitan Opera's 135-year history. A "lyric drama," "Manru" is an ambitious work that was formally inspired by Wagner's music dramas. It lacks an overture and closed-form arias but uses Wagner's device of "leitmotifs" to represent characters and ideas. The story centres on a doomed love triangle, social inequality, and racial prejudice (Manru is a Gypsy), and it is set in the Tatra Mountains. In addition to the Met, "Manru" was staged in Dresden (a private royal viewing), Lviv (its official premiere in 1901), Prague, Cologne, Zurich, Warsaw, Philadelphia, Boston, Chicago, Pittsburgh and Baltimore, Moscow, and Kiev. In 1904, Paderewski, accompanied by his second wife, entourage, parrot, and Erard piano, gave concerts in Australia and New Zealand in collaboration with Polish-French composer, Henri Kowalski. Paderewski toured tirelessly around the world and was the first to give a solo performance at the new 3,000-seat Carnegie Hall. In 1909 came the premiere of his Symphony in B minor "Polonia", a massive work lasting 75 minutes. Paderewski's compositions were quite popular in his lifetime and, for a time, entered the orchestral repertoire, particularly his "Fantaisie polonaise sur des thèmes originaux" (Polish Fantasy on Original Themes) for piano and orchestra, Piano Concerto in A minor, and "Polonia" symphony. His piano miniatures became especially popular; the Minuet in G major, Op. 14 No. 1, written in the style of Mozart, became one of the most recognized piano tunes of all time. Despite his relentless touring schedule and his political and charitable engagements, Paderewski left a legacy of over 70 orchestral, instrumental, and vocal works.


title: Ignacy Jan Paderewski

text: All of his works evoke a romantic image of Poland. They incorporate references to Polish dances (polonaise, krakowiak, and mazurka) and highlander music (Tatra album [Album tatrzańskie], op. 12, Polish Dances [Tańce polskie], op. 5). Paderewski’s love of his country is reflected in the titles of his compositions (Polish Fantasy [Fantazja polska], op. 19 and Symphony in B Minor “Polonia,” which includes a quote from Dąbrowski’s Mazurka [Mazurek Dąbrowskiego]), themes (Manru), and musical settings of quotes from Polish poets (e.g., Asnyk and Mickiewicz).


title: Ignacy Jan Paderewski

text: In 1896, Paderewski donated US$10,000 to establish a trust fund to encourage American-born composers. The fund underwrote a triennial competition that began in 1901, the Paderewski Prize. Paderewski also launched a similar contest in Leipzig in 1898. He was so popular internationally that the music hall duo "The Two Bobs" had a hit song in 1916 in music halls across Britain with the song "When Paderewski Plays". He was a favorite of concert audiences around the globe; women especially admired his performances.


title: Ignacy Jan Paderewski

text: By the turn of the century, the artist was an extremely wealthy man generously donating to numerous causes and charities and sponsoring monuments, among them the Washington Arch, in New York, in 1892. Paderewski shared his fortune generously with fellow countrymen, as well as with citizens and foundations from around the world. He established a foundation for young American musicians and the students of Stanford University (1896), another at the Parisian Conservatory (1909), yet another scholarship fund at the Ecole Normale (1924), funded students of the Moscow Conservatory and the Petersburg Conservatory (1899) as well as spas in the Alps (1928), for the British Legion. In the Great Depression, Paderewski supported unemployed musicians in the United States (1932) and the unemployed in Switzerland in 1937. Paderewski also publicly supported an insurance fund for musicians in London (1933) and aided Jewish intellectuals in Paris (1933). He also supported orphanages and the Maternity Centre in New York. Only a few of the Paderewski-sponsored concert halls and monuments included Debussy (1931) and Édouard Colonne (1923) monuments in Paris, Liszt Monument in Weimar, Beethoven Monument in Bonn, Chopin Monument in Żelazowa Wola (the composer's birthplace), Kosciuszko Monument in Chicago, and Washington Arch in New York.


title: Ignacy Jan Paderewski

text: In 1913, Paderewski settled in the United States. On the eve of World War I and at the height of his fame, Paderewski bought a 2,000-acre (810-ha) property, Rancho San Ignacio, near Paso Robles, in San Luis Obispo County, in California's Central Coast region. A decade later, he planted Zinfandel vines on the Californian property. When the vines matured, the grapes were processed into wine at the nearby York Mountain Winery, which was, as it still is, one of the best-known wineries between Los Angeles and San Francisco.


title: Ignacy Jan Paderewski

text: In 1910, Paderewski funded the Grunwald Monument in Kraków to commemorate the 500th anniversary of the Battle of Grunwald. The monument's unveiling led to great patriotic demonstrations. In speaking to the gathered throng, Paderewski proved as adept at capturing their hearts and minds for the political cause as he was with his music. His passionate delivery needed no recourse to notes. Paderewski's status as an artist and philanthropist and not as a member of any of the many Polish political factions became one of his greatest assets and so he rose above the quarrels, and he could legitimately appeal to higher ideals of unity, sacrifice, charity, and work for common goals.


title: Ignacy Jan Paderewski

text: In World War I, Paderewski became an active member of the Polish National Committee in Paris, which was soon accepted by the Triple Entente as the representative of the forces trying to create the state of Poland. Paderewski became the committee's spokesman, and soon, he and his wife also formed others, including the Polish Relief Fund, in London, and the White Cross Society, in the United States. Paderewski met the English composer Edward Elgar, who used a theme from Paderewski's "Fantasie Polonaise" in his work "Polonia" written for the Polish Relief Fund concert in London on 6 July 1916 (the title certainly recognises Paderewski's Symphony in B minor).


title: Ignacy Jan Paderewski

text: Paderewski urged fellow Polish immigrants to join the Polish armed forces in France, and he pressed elbows with all the dignitaries and influential men whose salons he could enter. He spoke to Americans directly in public speeches and on the radio by appealing to them to remember the fate of his nation. He kept such a demanding schedule of public appearances, fundraisers, and meetings that he stopped musical touring altogether for a few years, instead dedicating himself to diplomatic activity. On the eve of the American entry into the war, in January 1917, US President Woodrow Wilson's main advisor, Colonel House, turned to Paderewski to prepare a memorandum on the Polish issue. Two weeks later, Wilson spoke before Congress and issued a challenge to the status quo: "I take it for granted that statesmen everywhere are agreed that there should be a united, independent, autonomous Poland." The establishment of "New Poland" became one of Wilson's famous Fourteen Points, the principles that Wilson followed during peace negotiations to end World War I. In April 1918, Paderewski met in New York City with leaders of the American Jewish Committee in an unsuccessful attempt to broker a deal in which organised Jewish groups would support Polish territorial ambitions, in exchange for support for equal rights. However, it soon became clear that no plan would satisfy both Jewish leaders and Roman Dmowski, the head of the Polish National Committee, who was strongly anti-Semitic.


title: Ignacy Jan Paderewski

text: At the end of the war, with the fate of the city of Poznań and the whole region of Greater Poland (Wielkopolska) still undecided, Paderewski visited Poznań. Following his public speech there on 27 December 1918, the Polish inhabitants of the city began a military uprising against Germany, the Greater Poland Uprising.


title: Ignacy Jan Paderewski

text: In 1919, in the newly independent Poland, Piłsudski, who was the Chief of State, appointed Paderewski as the Prime Minister of Poland and the Minister of Foreign Affairs of Poland (January 1919 – December 1919). He and Dmowski represented Poland at the 1919 Paris Peace Conference and dealt with issues regarding territorial claims and minority rights. He signed the Treaty of Versailles, which recognized Polish independence won after World War I. Paderewski's period in government had some achievements during its ten months: democratic elections to Parliament, ratification of the Treaty of Versailles, legislation on protection of ethnic minorities in the new state, and the establishment of a public education system. But Paderewski "proved to be a poor administrator and worse politician" and resigned from the Government in December 1919, having received criticism for his perceived submissiveness to the Western powers. After his resignation, Paderewski continued to represent Poland abroad in 1920 at the request of his successor as Prime Minister, Władysław Grabski, at the Spa Conference, when Poland was threatened by the Polish-Soviet War; however Piłsudski's success at the Battle of Warsaw later that year made these negotiatons redundant, and put to an end Paderewski's hopes of regaining office.


title: Ignacy Jan Paderewski

text: In 1922, Paderewski retired from politics and returned to his musical life. His first concert after a long break, held at Carnegie Hall, was a significant success. He also filled Madison Square Garden (20,000 seats) and toured the United States in a private railway car.


title: Ignacy Jan Paderewski

text: In 1897, Paderewski had bought the manor house of the former Duchess of Otrante near Morges, Switzerland, where he rested between concert tours. After Piłsudski's coup d'état in 1926, Paderewski became an active member of the opposition to Sanacja rule. In 1936, two years after his second wife's death at their Swiss home, a coalition of members of the opposition met in the mansion and was nicknamed the Front Morges after the village.


title: Ignacy Jan Paderewski

text: By 1936, Paderewski agreed to appear in a film that presented his talent and art. Although the proposal had come while the mourning Paderewski avoided public appearances, the film project went ahead. It became notable, primarily, for its rare footage of his piano performance. The exiled German-born director Lothar Mendes directed the feature, which was released in Britain as "Moonlight Sonata" in 1937 and re-titled "The Charmer" for US distribution in 1943.


title: Ignacy Jan Paderewski

text: In November 1937, Paderewski agreed to take on one last piano student. The musician was Witold Małcużyński, who had won third place at the International Chopin Piano Competition.


title: Ignacy Jan Paderewski

text: After the invasion of Poland in 1939, Paderewski returned to public life. In 1940, he became the head of the National Council of Poland, a Polish sejm (parliament) in exile in London. He again turned to America for help and his broadcast was carried by over 100 radio stations in the United States and Canada. He advocated in person for European aid and to defeat Nazism. In 1941, Paderewski witnessed a touching tribute to his artistry and humanitarianism as US cities celebrated the 50th anniversary of his first American tour by putting on a Paderewski Week, with over 6000 concerts in his honour. The 80-year-old artist also restarted his Polish Relief Fund and gave several concerts to gather money for it. However, his mind was not what it had once been, and scheduled again to play Madison Square Garden, he refused to appear and insisted that he had already played the concert; he was presumably remembering the concert he had played there in the 1920s.


title: Ignacy Jan Paderewski

text: Paderewski fell ill on tour on 27 June 1941. Sylwin Strakacz bypassed his secretary and other tour personnel to summon physicians, who diagnosed pneumonia. Despite signs of improving health and recovery, Paderewski died in New York at 11:00 p.m., 29 June, at 80. He was temporarily laid in repose in the crypt of the "USS Maine" Mast Memorial at Arlington National Cemetery, in Arlington, Virginia, near Washington, DC, despite anecdotal accounts that he wished to be buried near his second wife and son in France. In 1992, after the end of communism in Poland, his remains were transferred to Warsaw and placed in St. John's Archcathedral. His heart is encased in a bronze sculpture in the National Shrine of Our Lady of Czestochowa near Doylestown, Pennsylvania.


title: Ignacy Jan Paderewski

text: In early 1941, the music publisher Boosey & Hawkes had commissioned 17 prominent composers to contribute a solo piano piece each for an album to commemorate the 50th anniversary of Paderewski's American debut in 1891. It became a posthumous tribute to Paderewski's entire life and work, "Homage to Paderewski" (1942). Also, Helena Paderewska had prepared a memoir of her husband's political activities between 1910 and 1920, whose typescript was not published in either of their lifetimes but was discovered by an archivist at the Hoover Institution in 2015 and then published.


title: Ignacy Jan Paderewski

text: The Polish Museum of America in Chicago received a donation of his personal possessions after his death in June 1941. Both Ignacy Paderewski and his sister, Antonina Paderewska Wilkonska were enthusiastic supporters and generous sponsors of the Museum. Antonina, executor of Ignacy's will, decided to donate the personal possessions to the Museum, as well as artifacts from his apartment in New York. The space was officially opened on 3 November 1941. Another museum in his honour exists at Morges, Switzerland, although Paderewski's mansion was razed in 1965.


title: Ignacy Jan Paderewski

text: In 1948, the Ignacy Paderewski Foundation was established in New York City, on the initiative of the Polish community there with the goal of promoting Polish culture in the United States. Two other Polish-American organizations are also named in his honour and are dedicated to promoting the legacy of the maestro: the Paderewski Association in Chicago as well as the Paderewski Music Society in Southern California.


title: Ignacy Jan Paderewski

text: "And with the pedal, I love to meddle/When Paderewski comes this way./I'm so delighted, when I'm invited/To hear that long-haired genius play."


title: Ignacy Jan Paderewski

text: His unusual combination of being a world-class pianist and successful politician made Saul Kripke use Paderewski in a famous philosophical example in his article "A Puzzle about Belief." Paderewski was so famous that in the 1953 motion picture "The 5,000 Fingers of Dr. T", written by Theodor Seuss Geisel, better known as Dr. Seuss, piano teacher Terwilliker tells his pupils that he will "make a Paderewski" out of them.


title: Ignacy Jan Paderewski

text: Two music festivals honouring Paderewski are celebrated in the United States, both in November. The first Paderewski Festival has been held each year since 1993, in Paso Robles, California. The second Paderewski Festival – Raleigh has been held since 2014 in Raleigh, North Carolina.


title: Ignacy Jan Paderewski

text: The facade of White Eagle Hall, in Jersey City, New Jersey, is adorned with busts of Polish heroes Ignacy Jan Paderewski, Casimir Pulaski, Tadeusz Kosciuszko and Henryk Sienkiewicz.


title: Ignacy Jan Paderewski

text: The Academy of Music in Poznań is named after Paderewski, and many major cities in Poland have streets and schools named after Paderewski. Streets are also named after him in Perth Amboy, New Jersey, and Buffalo, New York. In addition, since 1960 Paderewski has a star on the Hollywood Walk of Fame in Los Angeles.


title: Ignacy Jan Paderewski

text: On 8 October 1960, the United States Post Office Department released two stamps commemorating Ignacy Jan Paderewski. Poland also honored him with postage stamps on at least three occasions.


title: Double eagle

text: A double eagle is a gold coin of the United States with a denomination of $20. (Its gold content of 0.9675 troy oz (30.0926 grams) was worth $20 at the 1849 official price of $20.67/oz.) The coins are 34 mm x 2 mm and are made from a 90% gold (0.900 fine = 21.6 kt) and 10% copper alloy and have a total weight of 1.0750 troy ounces (33.4362 grams).


title: Double eagle

text: The eagle, half eagle, and quarter eagle were defined by name in the Act of Congress originally authorizing them. Likewise, the double eagle was created by the Coinage Act of 1849. Since the $20 gold piece had twice the value of the eagle, these coins were designated "double eagles". Before, the most valuable American coin was the $10 gold eagle, first produced in 1795, two years after the United States Mint opened.


title: Double eagle

text: The production of the first double eagle coincided with the 1849 California Gold Rush. In that year, the mint produced two pieces in proof. The first now resides in the Smithsonian Institution in Washington, D.C. The second was presented to Treasury Secretary William M. Meredith and was later sold as part of his estate—the present location of this coin remains unknown.


title: Double eagle

text: In 1904, President Theodore Roosevelt sought to beautify American coinage, and proposed Augustus Saint-Gaudens as an artist capable of the task. Although the sculptor had poor experiences with the Mint and its chief engraver, Charles E. Barber, Saint-Gaudens accepted Roosevelt's call. The work was subject to considerable delays, due to Saint-Gaudens's declining health and difficulties because of the high relief of his design. Saint-Gaudens died in 1907, after designing the eagle and double eagle, but before the designs were finalized for production. The new coin became known as the Saint-Gaudens double eagle.


title: Double eagle

text: Regular production continued until 1933, when the official price of gold was changed to $35/oz by the Gold Reserve Act. The 1933 double eagle is among the most valuable of U.S. coins, with the sole example – the King Farouk specimen, which was purchased by King Farouk of Egypt in 1944 – currently known to be in private hands, selling in 2002 for $7,590,020 and resold to an unknown buyer in 2021 for $18.8 million. Twelve other specimens exist, two of which are held in the National Numismatic Collection and the United States Bullion Depository at Fort Knox.


title: Double eagle

text: Due to the less desirable artwork and therefore lower demand, Liberty Head (Coronet) $20 gold pieces are less often encountered, and the common subtype commands less than the Saint-Gaudens type. In 1866, the motto "In God We Trust" was added to the double eagle, creating a second subtype. In 1877, the coin's denomination design on the reverse was changed from "TWENTY D." to "TWENTY DOLLARS" creating a third and final subtype for the series. A 1879 pattern coin was made for the quintuple stella using a design combining features of the Liberty Head double eagle and stella pattern coin and using the same alloy as the stella (90 parts gold, three parts silver, and seven parts copper); this coin was stolen in July 2008.


title: Double eagle

text: The Saint-Gaudens double eagle is named for the designer, Augustus Saint-Gaudens, one of the premier sculptors in American history. Theodore Roosevelt imposed upon him in his last few years to redesign the nation's coinage at the beginning of the 20th century. Saint-Gaudens' work on the high-relief $20 gold piece is considered to be one of the most extraordinary pieces of art on any American coin. The mint eventually insisted on a low-relief version, as the high-relief coin took up to eleven strikes to bring up the details and did not stack correctly for banking purposes. Only 12,367 of these coins were struck in 1907. These coins easily top the $10,000 price in circulated grades, but can reach nearly a half million dollars in the best states of preservation.


title: Double eagle

text: There were several changes in the early years of this design. The first coins issued in 1907 design featured a date in Roman numerals, but this was changed later that year to the more convenient Arabic numerals. The motto "In God We Trust" was omitted from the initial design, as Roosevelt felt that putting the name of God on money that could be used for immoral purposes was inappropriate. By act of Congress, the motto was added in mid-1908.


title: Double eagle

text: The design of the Saint-Gaudens coin was slightly changed once more when New Mexico and Arizona became states in 1912, and the number of stars along the rim was accordingly increased from 46 to 48.


title: Double eagle

text: Double eagles were routinely minted through 1933, although few of the very last years' coinages were released before the gold recall legislation of that year. Accordingly, these issues (when the U.S. Treasury permits individuals to own them) bring very high prices.


title: Double eagle

text: The Saint-Gaudens obverse design was reused in the American eagle gold bullion coins that were instituted in 1986. The early 1907 double eagles and the 1986-1991 gold American eagles are the only instances of Roman numerals denoting the date on American coinage. The 2009 ultra-high relief American Eagle also used Roman numerals.


title: Double eagle

text: On January 22, 2009, the U.S. Mint released ultra-high relief double eagles using the deep design that Saint-Gaudens envisioned, so that the U.S. Mint could, as its web site states "fulfill Augustus Saint-Gaudens' vision of an ultra high relief coin that could not be realized in 1907 with his legendary Double Eagle liberty design." Despite that claim, however, the mint actually reaffirmed just what doomed the first attempts in 1907. The coin's highly abradable 0.9999 fine gold composition and the multiple strikes required to bring up the design are not practical for business strikes. Because of their higher gold content, and greater striking pressure, the coins are 27 mm wide and 4 mm deep (the same diameter as a gold eagle), rather than the 34 mm x 2 mm that had been established for U.S. $20 gold coins. The initial selling price was $1239. With the rising price of gold by June it had climbed to $1339, and by December to $1489. There was no limit on the coinage of these one time uncirculated issues, which bear the date "MMIX". In September, the one coin per person ordering restriction was removed. The final mintage was 115,178. These coins were minted at the West Point Mint, but none of them bear the "W" mint mark, making them particularly unusual.


title: Double eagle

text: In 1933, President Franklin D. Roosevelt stopped the coinage of gold and made it illegal to own the metal (although coin collectors could retain their pieces). With one exception, no 1933 double eagles were ever legally released, although some were stolen from the government, and over the years several were recovered.


title: Double eagle

text: In the summer of 2002, a 1933 double eagle was auctioned off for US$7,590,020 which shattered the old record of $4,140,000 paid at a public auction for an 1804 silver dollar. This piece is unique as the only 1933 double eagle the U.S. government has deemed legal for its citizens to own (having been negotiated as such through terms of a U.S. treaty with a foreign government). Even illegal instances of the 1933 double eagle could be worth hundreds of thousands of dollars, but it would be illegal for a U.S. coin dealer to broker a deal with one of these coins. There is no other date of Saint-Gaudens double eagle that is worth a significant fraction of this extraordinary coin. A complete uncirculated set of all other Saint-Gaudens double eagles could be put together for just over three million dollars (less than half the price paid for the 1933), including the extremely rare, ultra-high relief, proof pattern. Without the rare pattern, the set would be less than $750,000.


title: Double eagle

text: In August 2005, the United States Mint recovered ten 1933 double eagle coins from a private collector who had contacted the United States Mint to ascertain their authenticity. Joan S. Langbord claimed that she inherited the coins from her father, a suspect in their original theft in 1933, and had found them in a safe deposit box in 2003. The Mint announced that it would consider saving the coins for display. Meanwhile, Langbord filed a federal suit to recover the coins after her hopes of receiving monetary compensation from the federal government were not realized. In September 2009, a federal judge ruled that the government had until the end of the month to return the confiscated coins to the Langbord family, or to prove that they had indeed been stolen. On July 20, 2011, a civil-court jury awarded ownership of the ten coins to the U.S. government on grounds that the coins were stolen from the mint. However, on April 17, 2015, the United States Court of Appeals for the Third Circuit in Philadelphia overturned the jury's decision and ruled that the ten 1933 double eagles did indeed belong to Joan S. Langbord and that they must be returned to her family by the U.S. Mint. The appeals court returned the coins to the Langbords because U.S. officials had not responded within a 90-day limit to the family's seized-property claim. On August 1, 2016, the full appeals court reversed its earlier ruling and allowed the government to keep the coins.


title: Double eagle

text: In response to international monetary conferences held in Europe, the United States Mint struck patterns of various gold coins for use as an international currency in the late 1870s and early 1880s. The double eagle was one such coin, struck with a modified Liberty Head design featuring "★30★G★1.5★S★3.5★C★35★G★R★A★M★S★" on the obverse in 1879, similar to the Stella pattern. Five of the resulting "Quintuple Stella" coins are known to exist in gold, plus about a dozen in copper, some of which have been plated in gold. The period in the "3.5" was omitted in error on the first copper coin struck.


title: Set Fire to the Rain

text: "Set Fire to the Rain" is a song recorded by English singer-songwriter Adele for her second studio album, "21" (2011). The song was written by Adele and Fraser T. Smith while the production was handled by the latter. It became Adele's third consecutive US number-one single from "21" and reached the top ten in most of other foreign markets. It is a power pop ballad with lush instrumentation and a swelling string arrangement, in contrast to the understated production of most songs on the album. The song has received acclaim from various critics with many complimenting on Adele's vocals. "Set Fire to the Rain" was voted by readers of "Billboard" as their favorite number one hit of 2012. Though no official music video was released for the song, a live performance from the DVD "Live at the Royal Albert Hall" was uploaded to video-sharing website YouTube. This rendition won the Grammy Award for Best Pop Solo Performance at the 55th Annual Grammy Awards.


title: Set Fire to the Rain

text: "Set Fire to the Rain" was written by Adele and Fraser T. Smith while the production was handled by Smith. "Set Fire to the Rain" was released as the third US single from the "21" album on 21 November 2011.


title: Set Fire to the Rain

text: "Set Fire to the Rain" is written in the key of D minor with a tempo of 108 beats per minute, following three chord progressions. Adele's voice spans A-D. The song describes the contradictory elements of a relationship, and the impossibility of letting go which is displayed in the lyrics "You and me together, nothing gets better / But there’s a side to you that I never knew, never knew / All the things you'd say, they were never true, never true / And the games you play, you would always win." One of the most pop-influenced of the album, the song is characterised by John Murphy of "musicOMH" as a "power ballad". In contrast to the understated production of most songs on the album, the song features lush instrumentation and a swelling string arrangement over a mid-tempo rhythm, creating a wall of sound for the singer's mourning vocals. Dave Simpson of "The Guardian" in an article revealed that Adele got inspiration for the song "when mah lightah stopped workin' [sic]" in the wet.


title: Set Fire to the Rain

text: The song has received acclaim from various critics with many complimenting on Adele's vocals but received comparisons to Bruno Mars's song "Grenade" due to the similar tempo, vocal range and scale. A writer for the magazine "URB" said that the song had "Starbucks-friendlier content" and further called it "melodramatic". Leah Greenblatt of "Entertainment Weekly" concluded that the song had "scorned-woman balladry" and it "surge[s] on the pure force of her titanic wail." "The New York Times" said "the vocal effects on 'Set Fire to the Rain,' produced by Fraser T Smith, the most pop-minded of the assembled team, are superfluous." John Murphy of MusicOMH gave a mixed review towards the song calling it "real misfire" and "overproduced". However he added, "it's a decent enough song, but Adele's always sounded best when it's just a piano and a voice." Writing for the newspaper "Herald Sun", Camreon Adams called the song a "triumphant radio-hit-in-waiting of next single" and concluded that "once the chorus kicks in, you're a goner." Gary McGinley of No Ripcord highlighted "Set Fire to the Rain" calling it "the catchiest song" on "21". Another writer of "Daily Herald" said that Adele sounds "epic" on the song.


title: Set Fire to the Rain

text: Allison Stewart of "The Washington Post" found the song to be "galloping, out-of-place synth-rock number" and added that "even Adele can't save" the song. Nick Freed of Consequence of Sound said that "Set Fire to the Rain" finds Adele at "her strongest and most open." He further called the song "one of "21"s angrier tracks" and concluded: "The chorus' hooks are crazy catchy, and by the final one Adele releases and her hurt slips through the anger to give you a damn real and forward show of emotion. I’d imagine seeing this song live or in a stripped down setting would make one bawl like a child. You’ll want to pump your fist and pound your chest. That’s a guarantee." Robert Copsey of Digital Spy praised the song saying, "'It was dark and I was over/ Until you kissed my lips and saved me,' she admits over a gloomy piano riff, before launching into a ballsy, hands-in-the-air chorus. 'I set fire to the rain/ and I threw us into the flames,' she belts with growly vocals against cinematic strings. Rounding out with a suitably breathtaking blast from her impressive pipes and the result sounds like classic, though it's anything but camp."


title: Set Fire to the Rain

text: "Set Fire to the Rain" was very popular in Europe, where the song charted within the top 10 of Austria, Denmark, Finland, France, Germany, Ireland, Italy, Norway, and Switzerland and topping the charts in South Africa, New Zealand, Belgium, Poland, Slovakia and the Netherlands. The song debuted at number 79 on the UK Singles Chart and it moved to number 44 the next week selling 6,286 copies. It later peaked at number 11 on the chart on the week ending 16 July 2011 and it stayed on the same position for two weeks selling another 24,978 copies.


title: Set Fire to the Rain

text: Before being released as a single, the song charted on the "Billboard" Hot 100 for 6 weeks and re-entered 3 times, peaking at number 72 on 13 September. On the issue dated 4 February 2012, "Set Fire to the Rain" peaked at number one on the "Billboard" Hot 100 and became Adele's third consecutive number one single from the album "21". With "21" also at number 1 on the "Billboard" 200, the song makes the set the first by a single artist to have led the "Billboard" 200 concurrently with three Hot 100 number one singles. It took 21 non-consecutive weeks for the song to reach the top spot in the United States. As of April 2020, it has sold 5,200,000 digital downloads in the United States. With this achievement, 21 became one of only six albums to yield at least three number one singles during the decade; sharing the honour with Katy Perry's "Teenage Dream" (5), Rihanna's "Loud" (3), Taylor Swift's "1989" (3), Justin Bieber's "Purpose" (3) and Drake's "Scorpion" (3).


title: Set Fire to the Rain

text: No proper music video was shot for "Set Fire to the Rain" (as well as other singles from "21", "Rumour Has It" and "Turning Tables") as Adele had recently undergone vocal surgery. Instead, a live performance video was uploaded on YouTube to her Vevo account and has received more than 705 million views as of June 2022.


title: Set Fire to the Rain

text: Adele performed the song live for the first time on 29 April on "The Graham Norton Show". She also performed the track on 3 May at Jools Holland along with the selections "Rolling in the Deep", "Don't You Remember" and "Take It All". Adele also added the song to the set list of her second worldwide tour.


title: Music of the Harry Potter films

text: The music of the "Harry Potter" film series was recorded and released in conjunction with the post-production and releases of each of the eight corresponding films. The scores were composed by John Williams, Patrick Doyle, Nicholas Hooper, and Alexandre Desplat. Though Williams only scored the first three films, several motifs that he created have been reprised and incorporated into later scores; in particular "Hedwig's Theme", which can be heard in all eight films. Other musicians credited with writing source music include Jarvis Cocker, The Ordinary Boys, and Nick Cave and the Bad Seeds. Jeremy Soule and James Hannigan wrote the music for the "Harry Potter" video games.


title: Music of the Harry Potter films

text: Throughout the series, each composer created themes for particular characters, items, locations, and ideas. Several themes can be heard in films subsequent to the one they were written for, although very few lasted for the entire film series.


There Is a Hell Believe Me I've Seen It. There Is a Heaven Let's Keep It a Secret. (sometimes abbreviated to There Is a Hell...) is the third studio album by British rock band Bring Me the Horizon. It was released on 4 October 2010 by Visible Noise. The album was produced by Fredrik Nordström and Henrick Udd at IF Studios in Gothenburg, Sweden, with additional work at Sunset Lodge Studios in Los Angeles, California. It features guest vocals from Canadian singer Lights, British singer Josh Franceschi, and American vocalist Josh Scogin.


title: There Is a Hell Believe Me I've Seen It. There Is a Heaven Let's Keep It a Secret.

text: The album was recorded between March and June 2010. It expands on the band's previous material, drawing from the metalcore genre and incorporating a wide variety of experimentation, symphonic, industrial and electronic influences, clean vocals, and choral vocal samples. The band described Oliver Sykes' lyric writing as "personal" and "darker and moodier than music on the previous albums". The title is taken from the opening track, which is repeated multiple times throughout the song.


text: "There Is a Hell..." received mostly favourable reviews from music critics, who praised the album's musicianship, lyrical content, experimentation, and maturity compared with the band's previous material. It is the only Bring Me the Horizon album with rhythm guitarist Jona Weinhofen before his departure in January 2013. The album charted in several countries, including Canada, Germany, Sweden, the United Kingdom and the United States, and topped the charts in Australia. Two tracks were released as singles and five as music videos; "It Never Ends" charted on the UK Rock Chart, the UK Independent Chart and the UK Singles Chart.


text: After completing most of their writing in rural Scotland, the band went to IF Studios in Sweden in March and worked with producer Fredrik Nordström to finish recording most of the album by June. At that time, the band were influenced by many other musical genres beside metal and considered changing their approach to songwriting.


text: Delays caused the band to fall behind their planned recording schedule at IF Studios. Just before the band embarked on their Warped Tour, they recorded six of the vocal tracks for the album during three days in Los Angeles. They initially wanted Lucy Conroy of the indie pop band Lucy and the Caterpillar to sing on the album, but her contribution was not included. While the band was in Los Angeles, they became aware that electronic musician Lights was in the same city and asked her to record with them, which she did.


text: Much like the band's previous work, "There Is a Hell..." is primarily considered metalcore. Bring Me the Horizon commonly use technical guitar riffs, dark lyrics, heavy breakdowns, and gang vocals in their music. The album develops Bring Me the Horizon's experimental, electronic tendencies, taking their original sound and infusing it with female vocals, choral vocals, orchestral sounds, emotive guitars, and "jarring" electronics. The album also blends aesthetics from electronica, classical, pop, classic rock, psychedelia, hardcore punk and progressive metal genres. In its review of the album, "Metal Hammer" wrote that the album was influenced by the works of The Red Chord, Killswitch Engage, and Pink Floyd.


text: The album's opening track, "Crucify Me", has vocals by Lights and an acoustic ending. "It Never Ends" is a combination of "". "Don't Go" starts with delicate string instruments and guitars, and is noted for its emotional vulnerability. "Home Sweet Hole" and "Alligator Blood" are reminiscent of the sound of the band's earlier album "Suicide Season". "Visions" is "the spacious reverberating guitar-spaces of post-hardcore experimentalist Isis" mixed with breakdowns and a catchy chorus. Electronic artist Skrillex is featured on Visions, singing clean backup vocals during the chorus. "Blacklist" and "Memorial" provide respite from the album's rage. While the former possesses a punk rock influence, the latter is an instrumental keyboard intermission. According to the reviewer Drew Beringer, the songs "It Never Ends" and "Blessed with a Curse" sonically pay homage to the album's title and show a contrast between Heaven and Hell. "Blessed with a Curse" has a sound that has been called "restrained post-rock".


text: The lyrics of "There Is a Hell..." are about man battling his self-perpetuated inner turmoil. It has been described as almost conceptual for Sykes; the album's announcement from Epitaph said it "vividly explores humanity's collective good nature". The band have regarded the album's lyrical themes as repercussions of those of the band's second album. Matt Nicholls described Sykes' lyrics as darker and moodier than the music on previous albums. When asked about the truth of the lyrics, Sykes said, "It's all about me. Everything I write is personal. And it's all very true ... It's stuff I don't talk to people about. But when I put pen to paper, it's a lot easier." When Sykes commented on people's interpretation of the record's lyrics he said, "people might think they know what I'm singing about, but they don't. They did not do the things I did. But I want people to be able to apply it to themselves."


text: The entire album began streaming on the band's Myspace page on 28 September 2010, before its release. The album was released in the United Kingdom on 4 October 2010 by Visible Noise, and by Epitaph Records the next day in the United States and Canada.


text: "There Is a Hell..." was accompanied by a preview trailer for the album, which was published on the Epitaph Records YouTube channel. A 30-second sample of the first single "It Never Ends" was released on 20 August. A music video directed by Jakob Printzlau was released in conjunction with the single's release. The single reached number 3 on the UK Rock Chart, number 11 on the UK Indie Chart, and number 103 on the mainstream UK Singles Chart, all within its first week of sales. On 14 September, the song "Fuck" was released through the band's Myspace, PureVolume and Facebook pages, and on the Visible Noise YouTube channel and Epitaph Records' SoundCloud page. Shortly after the release of the album on 7 December, the band released a music video for "Anthem".


text: In 2011, the band continued promoting the album using music videos. In late March, they released a video for the single "Blessed with a Curse", which failed to chart anywhere. The music video was filmed in Oslo, Norway. "NME" described it as "a series of artistic portraits shots of the band mixed in with a disturbing narrative". In late August, the fourth music video, "Visions", was released, and the final music video from the album, "Alligator Blood", was released on 31 October the same year.


text: In December 2010, Bring Me the Horizon were the main support band for Bullet for My Valentine, alongside Atreyu, in a five-date arena tour of the United Kingdom. To cope with high demand, the tour's promoters Live Nation released extra standing tickets for all dates. Rumours about why Bring Me the Horizon's sets were cut short circulated; this was because the shows became more violent and uncontrollable. When asked about the shows, Matt Nicholls said the band was told they were not allowed to climb on the stage equipment or set pieces, nor to interact with the crowd. The band opposed these rules by initiating walls of death.


text: Bring Me the Horizon embarked on a full European headline tour to support the album in April 2011, starting in the United Kingdom. They toured with Parkway Drive and Architects as their main support bands, while their opening acts consisted of The Devil Wears Prada in the UK and the dubstep group Tek-one for the continental Europe leg. The tour received much positive press and was considered their biggest headline tour ever; "Rock Sound" called it the "tour of the year". The tour was not problem-free. On 28 April, Matt Nicholls broke his arm while playing football with members of Bring Me the Horizon, Parkway Drive, and Architects; instead of cancelling the tour, Architects' drummer Dan Searle filled in, causing the length of Bring Me the Horizon's set list to be halved. The tour was extended with a North American leg from 31 August to 4 October, retaining Parkway Drive and Architects, while adding Deez Nuts as an opening band.


text: A few months later, in December 2011, Bring Me the Horizon accompanied Machine Head's European arena tour as the main support band alongside DevilDriver and Darkest Hour. Oliver Sykes said those would be Bring Me the Horizon's last European dates before recording their fourth album. Bring Me the Horizon's presence on the tour received a mixed reception from fans; Dave Bowes of "The Fly", with a live review of their performance at SECC in Glasgow, said their performance was "simply in the wrong place at the wrong time but they choose to be the better men ... "


text: At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, "There Is a Hell..." received an average score of 80 based on nine reviews, which indicates "favorable reviews". Reviewers praised the album for its combination of Sykes' cathartic and introspective lyrics, and its string section. "Big Cheese" noted the variety on the album and said it crossed " ... the youthful energy and passion of 2006's "Count Your Blessings", the rawness and anthemic nature of 2008's "Suicide Season" and with more experimentation and savageness than ever before, this is the sound of Bring Me the Horizon going for the throat".


text: The British publication "Rock Sound" gave the album significant critical acclaim. Upon its release, "Rock Sound" writer Pete Withers praised its lyrical content and musical diversity as " ... a bold and unrestrained body of work which is unafraid to push their more experimental, electronic tendencies to the fore and feature lyrics of a highly personal, bluntly confessional nature". "Rock Sound" named "There Is a Hell..." their "Album of the Year", as well as rating it at number 8 out of 101 "Modern Classics". Mike Diver, writing for BBC Music, gave the album a positive review, particularly praising the band's bold ambition to progress from "Suicide Season". He said, "They've not done everything the easy way, but Bring Me the Horizon today stand at the very vanguard of the UK metal scene. This third album takes risks with confidence, and the end results are never less than startling." "Metal Hammer"s review of the album summarised it as " ... one of the heaviest, most aggressive and best metal releases this year". "Kerrang!" was also positive in reviewing the album's dark themes, saying, " ... while bleakness is certainly prominent throughout, this album has many different shades and it is these contrasts that make it so vital. It's an album that bursts with ambition, and that Bring Me the Horizon pull it off so powerfully further confirms their greatness."


text: "Exclaim!" critic Travis Persaud gave the album a positive review, praising the sonic diversity and Sykes' screaming, as there was " ... desperation in his voice, very reminiscent of Spencer Chamberlain from Underoath". "AbsolutePunk" said the album would " ... destroy any and all preconceived notions about the band". AllMusic writer Gregory Heaney praised the lack of "over indulgent" production on the record, by incorporating studio trickery yet still being intense. However, not all reviews were positive; "Spin" magazine gave the album a lukewarm review, saying, "Is this bizarre smash-up the future of metal or just Generation Y's Pitchshifter?"


text: According to Dayal Patterson of "Metal Hammer", "There Is a Hell..." is seen as a significant turning point in altering the public perception of the band. Simon Neil of Biffy Clyro chose the album as his choice in an article on the "Best Sounds of 2010", writing " ... it is one of the best metal records I have heard in years: jam-packed with ideas and energy, and, most importantly for a metal record, the vocals don't make you cringe".


text: In the United Kingdom, "There Is a Hell..." charted at number 13 on the album chart and number one on both the rock and independent charts with 8,916 units sold in the first week. The album has sold 54,105 copies in the UK by September 2015. It had success in Australia, where it debuted at number one with sales of 3,600 units, setting a record for the smallest number of sales in a week for a number one album. It later had the second-largest weekly decline for a number one album in ARIA chart history when it dropped from one to 20. Only "Psycho Circus" by Kiss had a more precipitous drop, from one to 32. "There Is a Hell..." sold 20,200 copies in the US in its first week, making it the fastest-selling album released by the band.


title: The Fabulous Furry Freak Brothers

text: The Fabulous Furry Freak Brothers is an underground comic about a fictional trio of stoner characters, created by the American artist Gilbert Shelton. The Freak Brothers first appeared in "The Rag", an underground newspaper published in Austin, Texas, beginning in May 1968, and were regularly reprinted in underground papers around the United States and in other parts of the world. Later their adventures were published in a series of comic books.


title: The Fabulous Furry Freak Brothers

text: The lives of the Freak Brothers revolve around the procurement and enjoyment of recreational drugs, particularly marijuana. The comics present a critique of the establishment while satirizing counterculture.


title: The Fabulous Furry Freak Brothers

text: Fat Freddy's Cat appears in many of the stories, spinning off his own cartoon strip (which appeared as part of the Freak Brothers comic page, in the manner of older comic strip double features) and later some full-length episodes.


title: The Fabulous Furry Freak Brothers

text: The Freak Brothers first appeared in "The Rag", an underground newspaper published in Austin, Texas, beginning in May 1968. Their debut was in an advertising flyer for a winter 1968 film short called "The Texas Hippies March on the Capitol". Freak Brothers strips soon became popular and, thanks to the Underground Press Syndicate, were regularly reprinted in underground papers around the United States and in other parts of the world.


title: The Fabulous Furry Freak Brothers

text: The Freak Brothers' first comic book appearance was in "Feds 'n' Heads", self-published by Shelton in the spring of 1968 (and later re-issued in multiple printings by Berkeley's the Print Mint). They also appeared in the first two issues of Jay Lynch's "Bijou Funnies". In 1969 Shelton and three friends from Texas founded Rip Off Press in San Francisco, which took over publication of all subsequent Freak Brothers comics. The first compilation of their adventures, "The Collected Adventures of the Fabulous Furry Freak Brothers", had its first printing in 1971 and has been continually in print ever since.


title: The Fabulous Furry Freak Brothers

text: A weekly "Freak Brothers" comic strip was syndicated by Rip Off Press to underground and student publications in the 1970s, along with the related strip "Fat Freddy's Cat". In addition to those strips, new adventures appeared in magazines such as "Playboy", "High Times", and "Rip Off Comix"; these too were collected in comic book form. Shelton continued to write and draw the series until 1992, in collaboration with Dave Sheridan (1974–1982, his death) and Paul Mavrides (1978-1992).


title: The Fabulous Furry Freak Brothers

text: The majority of the comic books consist of one or more multi-page stories together with a number of one-page strips; many of the latter have a one-row skit featuring Fat Freddy's Cat at the bottom of the page. Issues #8-10 contained only the long-form story "The Idiots Abroad", which "The Comics Journal" listed as #44 of the "100 Greatest Comics of the Century." The UK newspaper "The Guardian" said of a 2003 reprint of the story that, "The graphic quality is, even in slightly muddy reproduction, astonishing. Depictions of various European cities recall Hergé in their accuracy and detail ... As for the subject matter, considering the dates of composition, it has hardly dated."


title: The Fabulous Furry Freak Brothers

text: The Freak Brothers are not siblings. They are a threesome of freaks (similar to, but distinct from, hippies) from San Francisco.


title: The Fabulous Furry Freak Brothers

text: Drug use is the predominant theme that runs throughout all volumes of this title. The protagonists "live in a state of blissful torpor relieved only by bursts of paranoia or stimulant-induced frenzy." Marijuana is the most frequently mentioned, but numerous other stimulants and hallucinogens are mentioned as well. Heroin is usually missing from the list. In one adventure, Franklin is shown to turn down an offer of "smack" when hitching a ride.


title: The Fabulous Furry Freak Brothers

text: Food is a recurring subject. These stories most often involve Fat Freddy and his marijuana-induced "munchies" (increased appetite). The squalor engendered by the Brothers' indolence is often highlighted; several strips feature the household's cockroach population, ruled over by a fascist monarchy. Several stories satirize governments, particularly the U.S. government. These stories invariably show politicians and their agents as corrupt, incompetent, or both. The theme of foreign travel is sometimes explored, most notably in the three-part "Idiots Abroad" series.


title: The Fabulous Furry Freak Brothers

text: It is common for the story-lines to begin with an air of realism, but rapidly descend into comic pantomime.


title: The Fabulous Furry Freak Brothers

text: In 1978, without permission from Gilbert Shelton, the Fabulous Furry Freak Brothers appeared in the full-length pornographic film "Up in Flames". The story involves the brothers' attempts to raise cash to make their rent deadline (the trio being in danger of being evicted from their apartment). Fat Freddy gains employment at a local food store run by graphic artist Robert Crumb's character Mr. Natural (also used without permission).


title: The Fabulous Furry Freak Brothers

text: In 1979, Universal Studios paid Shelton and Rip Off Press $250,000 for the rights to make a live-action "Fabulous Furry Freak Brothers" film. Shelton received the bulk of the money, which enabled him to live part-time in Europe. Meanwhile, the Universal-produced "Freak Brothers" film never made it to the production stage.


title: The Fabulous Furry Freak Brothers

text: In 2006, the company Grass Roots Films began production on a feature-length clay animation film based on the series, called "Grass Roots", co-produced by German distribution company X Filme. In 2013, work on the film stopped.


title: The Fabulous Furry Freak Brothers

text: An animated television series adaptation titled "The Freak Brothers", based on the characters and set in modern San Francisco, was released on Tubi on November 14, 2021. The series was preceded on May 6, 2020, by a mini-episode titled "Kentucky Fried Freaks". The series features Woody Harrelson, Pete Davidson, John Goodman, and Tiffany Haddish as voice actors for the three Freaks and the cat respectively. Courtney Solomon and Mark Canton serve as executive producers, with Jeffrey Scott Edell serving as Co-Executive Producer, alongside Adam DeVine and Blake Anderson who also provide voice acting. The series is animated by Starburns Industries studio, which also worked on "Rick and Morty". In May 2022 the series was renewed for a second season.


title: The Fabulous Furry Freak Brothers

text: Fat Freddy's Drop, formed in the late 1990s, is a Wellington, New Zealand, band that took its name from the "Freak Brothers" comics. According to the band, individual doses of a certain type of LSD popular in Wellington at that time had the image of Fat Freddy's Cat printed on it. Dropping — common slang for taking LSD — Fat Freddies became the inspiration for the band's name.


title: The Fabulous Furry Freak Brothers

text: Director Paul Thomas Anderson said the look of Joaquin Phoenix's lead character, Larry "Doc" Sportello, in Anderson's 2014 adaptation of the Thomas Pynchon novel "Inherent Vice", was based in part on Freewheelin' Franklin Freek:


title: The Fabulous Furry Freak Brothers

text: The ultra supporters of Serie B Italian football (soccer) team Ternana Calcio, from the Italian Umbrian city of Terni are called "The Freak Brothers". Like many Italians ultras, they are linked with the political left.


title: The Fabulous Furry Freak Brothers

text: Fat Freddy's Restaurant, in Galway, Ireland, has arcana and other memorabilia relating to the Fabulous Furry Freak Brothers and Fat Freddy's Cat. There is also an inn in Olongapo, Philippines, called "The Fabulous Furry Freak Brothers Stagger Inn".


title: The Fabulous Furry Freak Brothers

text: Almost all of the titles in the series have a title in words. Issues #0–7 and #12–13 are in black and white; issues #8–11 were produced in both color and black-and-white editions.


title: The Fabulous Furry Freak Brothers

text: Several compilation titles have been published that merge several of the original titles into one book.


title: Wicket-keeper

text: The wicket-keeper in the sport of cricket is the player on the fielding side who stands behind the wicket or stumps being watchful of the batsman and ready to take a catch, stump the batsman out and run out a batsman when occasion arises. The wicket-keeper is the only member of the fielding side permitted to wear gloves and external leg guards. The role of the keeper is governed by Law 27 of the Laws of Cricket.


title: Wicket-keeper

text: Initially, during the bowling of the ball the wicket-keeper crouches in a full squatting position but partly stands up as the ball is received. Australian wicket-keeper Sammy Carter (1878 to 1948) was the first to squat on his haunches rather than bend over from the waist (stooping).


title: Wicket-keeper

text: The keeper's major function is to stop deliveries that pass the batsman (in order to prevent runs being scored as 'byes'), but he can also attempt to dismiss the batsman in various ways: