title: Mohammedan SC (Kolkata)

text: Historically to host their home games, the club has used several grounds in Kolkata, Howrah, Barasat and Kalyani, including Eden Gardens, which has been reserved for cricket since Vivekananda Yuba Bharati Krirangan opened in 1984.


title: Mohammedan SC (Kolkata)

text: Mohammedan plays most of its major fixtures at Vivekananda Yuba Bharati Krirangan, commonly called Salt Lake Stadium, located in the suburb of Bidhannagar in Kolkata. A multi-purpose stadium owned by the Government of West Bengal under Youth Affairs and Sports Department, the VYKB primarily hosts football matches, apart from occasional track and field events. The stadium was built in 1984, predominately for matches like Kolkata Derby that featured attendance too huge for the grounds in Maidan to accommodate. Before its renovation in 2011, it was the largest football stadium in the world by capacity of 120,000. Prior to the construction and opening of Rungrado 1st of May Stadium in 1989, it was the largest football stadium in the world. It is currently the fourth largest sports stadium in Asia by capacity. The gigantic stadium features three tiers of concrete galleries with nine entry gates, including a VIP gate, and 30 ramps for the spectators to reach the viewing blocks. The stadium has been mostly used to host major home games like in National Football League and I-League.


title: Mohammedan SC (Kolkata)

text: The Mohammedan Sporting Ground is operated by Mohammedan, which is located in Maidan on the northern side of Fort William and adjacent to the club tent. The ground has natural grass turf with a capacity of 25,000. After the renovations in 2017, the ground was installed with floodlights, an air-conditioned press room and a gymnasium named after "The Greatest" Muhammad Ali to honour his visit to the club in December 1990. Yet the stadium is not upto the standards required to host top-tier league matches and currently the stadium mostly hosts matches for Calcutta Football League, lower division leagues and youth tournaments.


title: Mohammedan SC (Kolkata)

text: Mohammedan previously had a significant rivalry against the neighbouring clubs – Mohun Bagan (now ATK Mohun Bagan) and East Bengal. The initiation of the feuds goes back to the early 30s, when Mohammedan came out as a dominant contender for Calcutta Football League by winning seven out of eight titles from 1934 to 1941. Since then until 1958, all the CFL titles were won among these three rival clubs, often referred as the "Big Three of Maidan" (Bengali: ময়দানের তিন প্রধান), and even in other major tournaments like Durand Cup, Rover's Cup and IFA Shield, the three clubs contended against each other for the honours. The rivalry initially had a communal background since Mohammedan being a Muslim-only club representing the Muslim population of Kolkata, thereby forcing the Hindus in the city to compete via their support for Mohun Bagan and East Bengal even though they weren't communal clubs themselves. By the 1960s, communal tension involved in the feud became insignificant as the club began to regularly sign non-Muslim players as well. But the club also lost their dominance in Indian football and after the inception of national tournaments like Federation Cup and National Football League, Mohammedan was no more a top club and mostly playing in the lower tiers. Thus, the club rarely met Mohun Bagan and East Bengal at major tournaments due to them being in the top tier. Unlike the ever fierce East Bengal-Mohun Bagan feud termed as Kolkata Derby, the matches including Mohammedan and Mohun Bagan or East Bengal is commonly termed as Mini Kolkata Derby.


title: Mohammedan SC (Kolkata)

text: The players below had senior international cap(s) for their respective countries. Players whose name is listed, represented their countries before or after playing for Mohammedan SC.


title: Mohammedan SC (Kolkata)

text: The name of Bangladeshi club based in Dhaka – Mohammedan Sporting Club — is derived from Mohammedan Sporting Club of Kolkata. Members of the Nawab family of Dhaka established Muslim Sports Club as a local club for the youth. A few years later, the family renamed the club as "Mohammedan Sporting Club", after its more renowned predecessor Mohammedan SC of Kolkata.


title: Mohammedan SC (Kolkata)

text: "Shaan-e-Mohammedan" () is the lifetime achievement award presented by the club annually since 2015, to respect and laud footballing personalities for their indispensable contribution to the club during their career. The award is usually presented either on the foundation day of the club or on the occasion of Iftar when the club organises "Dawat-e-Iftar" () for the current and former players and coaches along with other distinct personalities.


title: Mohammedan SC (Kolkata)

text: The cricket section of Mohammedan Sporting is situated at the Tent Maidan, and they practice at both Kolkata Maidan fields and Mohammedan Sporting Ground. The men's cricket team primarily competes in the Cricket Association of Bengal (CAB) First Division tournament and also participate in JC Mukherjee T-20 Trophy, A. N. Ghosh Memorial Trophy, CAB One Day League and P. Sen Trophy.


title: Mohammedan SC (Kolkata)

text: The women's cricket team of Mohammedan participates in the CAB run Bengal Women's T20 League. On 24 February 2022, they emerged champions in the league, defeating Rajasthan Club at Kalyani Stadium.


title: Mohammedan SC (Kolkata)

text: Mohammedan SC participates in Futsal Club Championship, highest level of club futsal competition in India. It is currently the only club from West Bengal to participate in the competition.


title: Mohammedan SC (Kolkata)

text: The club has an athletics divisions for numerous track and field sports and the athletes represent the club in the annual athletics meet hosted all across the state, including the ones hosted by the neighbouring sports club like Mohun Bagan and East Bengal.


title: Mohammedan SC (Kolkata)

text: Club's hockey team was affiliated with Bengal Hockey Association and is currently defunct. Since the British rule in India, the club participated in prestigious tournaments like Beighton Cup and Calcutta Hockey League. Mohammedan won the 1945 and 1959 editions of Calcutta Hockey League. They also achieved runner-up position in Beighton Cup thrice in 1945, 1957 and 1981.


title: The Notorious Byrd Brothers

text: The Notorious Byrd Brothers is the fifth album by the American rock band the Byrds, and was released in January 1968, on Columbia Records. The album represents the pinnacle of the Byrds' late-‘60s musical experimentation, with the band blending together elements of psychedelia, folk rock, country, electronic music, baroque pop, and jazz. With producer Gary Usher, they made extensive use of a number of studio effects and production techniques, including phasing, flanging, and spatial panning. The Byrds also introduced the sound of the pedal steel guitar and the Moog modular synthesizer into their music, making it one of the first LP releases on which the Moog appears.


title: The Notorious Byrd Brothers

text: Recording sessions for "The Notorious Byrd Brothers" took place throughout the latter half of 1967 and were fraught with tension, resulting in the loss of two members of the band. Rhythm guitarist David Crosby was fired in October 1967 and drummer Michael Clarke left the sessions midway through recording, returning briefly before finally being dismissed after completion of the album. Additionally, original band member Gene Clark, who had left the group in early 1966, rejoined for three weeks during the making of the album, before leaving again. Author Ric Menck has commented that in spite of these changes in personnel and the conflict surrounding its creation, "The Notorious Byrd Brothers" is the band's most cohesive and ethereal-sounding album statement.


title: The Notorious Byrd Brothers

text: "The Notorious Byrd Brothers" reached number 47 on the "Billboard" Top LPs chart and number 12 on the UK Album Chart. A cover of the Gerry Goffin and Carole King song "Goin' Back" was released in October 1967 as the lead single from the album to mild chart success. Although "The Notorious Byrd Brothers" was critically praised at the time of its release, it was only moderately successful commercially, particularly in the United States. The album later came to be widely regarded as one of the Byrds' best album releases, as well as their most experimental and progressive. Byrds expert Tim Connors has described the album's title as evoking a gang of outlaws from the American Old West.


title: The Notorious Byrd Brothers

text: The recording of "The Notorious Byrd Brothers", during the latter half of 1967, was marked by severe internal dissolution and acrimony. The Byrds began the recording sessions as a four-piece band, consisting of Roger McGuinn, David Crosby, Chris Hillman, and Michael Clarke—the same line-up that had recorded their two previous albums. By the time of the album's release, however, only McGuinn and Hillman remained in the group. The first line-up change occurred when drummer Michael Clarke quit the sessions after having played on several songs, over disputes with Crosby and the other band members over his playing ability and his apparent dissatisfaction with the material the three songwriting members of the band were providing. He was temporarily replaced in the studio by noted session drummers Jim Gordon and Hal Blaine.


title: The Notorious Byrd Brothers

text: David Crosby was then fired by McGuinn and Hillman and replaced by a former member of the Byrds, Gene Clark, who stayed on board for just three weeks before leaving again. Prior to finishing the album, Michael Clarke also returned from his self-imposed exile to co-write and play on the track "Artificial Energy", only to be informed by McGuinn and Hillman that he was an ex-Byrd after the album was completed. Amid so many changes in band personnel, McGuinn and Hillman needed to rely upon outside musicians to complete the album. Among these hired musicians was Clarence White, who had also played on the group's previous LP. His contributions to this and the Byrds' "Younger Than Yesterday" and "Sweetheart of the Rodeo" albums, along with his friendship with Hillman, eventually led to his being hired as a full-time member of the band.


title: The Notorious Byrd Brothers

text: David Crosby was fired by McGuinn and Hillman in October 1967, partly as a result of friction arising from Crosby's displeasure at the band's wish to record the Goffin–King composition "Goin' Back". Crosby felt that recording the song was a step backwards artistically, especially when the band contained three active songwriters. Another factor that contributed to Crosby's dismissal was his controversial song "Triad", a risqué composition about a ménage à trois that was in direct competition with "Goin' Back" for a place on the album. He later gave the tune to Jefferson Airplane, who included a version of the song on their 1968 album "Crown of Creation". Although the Byrds did record "Triad", the song's subject matter compelled McGuinn and Hillman to prevent it from being released at the time. The track was first issued on the band's 1987 archival compilation album, "Never Before", and was later added to "The Notorious Byrd Brothers" as a bonus track on the 1997 Columbia/Legacy reissue.


title: The Notorious Byrd Brothers

text: Crosby had also annoyed the other members of the Byrds during their performance at the Monterey Pop Festival when he gave lengthy in-between-song speeches on several controversial subjects, including the JFK assassination and the benefits of giving LSD to "all the statesmen and politicians in the world". He further irritated his bandmates at Monterey by performing with rival group Buffalo Springfield, filling in for ex-member Neil Young.


title: The Notorious Byrd Brothers

text: His stock within the band deteriorated still further following the commercial failure of his song "Lady Friend", when it was released as the A-side of a Byrds single in July 1967. His absence from many of the recording sessions for "The Notorious Byrd Brothers" was the final straw for McGuinn and Hillman. Crosby received a generous severance package and began to collaborate with his new musical partner, Stephen Stills. It has been suggested that the horse on the cover of the album was unkindly intended to represent Crosby, although this has been denied by both McGuinn and Hillman.


title: The Notorious Byrd Brothers

text: Much to Crosby's chagrin, McGuinn and Hillman reworked his unfinished song "Draft Morning" following his departure and included it in the final running order for the album, giving themselves a co-writing credit. Crosby ended up playing on around half of "The Notorious Byrd Brothers": on his own three songs, along with "Change Is Now" and "Old John Robertson". He also appears on several bonus tracks on the 1997 reissue, including "Triad", "Universal Mind Decoder" and an early version of "Goin' Back".


title: The Notorious Byrd Brothers

text: Following Crosby's departure, Gene Clark was asked to rejoin the band. Clark had originally left the Byrds in early 1966 due to his fear of flying and his tendency towards anxiety and paranoia. His debut solo album (co-produced by the Byrds' then current producer, Gary Usher, with both Clarke and Hillman playing on it) had been a critical success, but a commercial failure and Clark was currently inactive. Clark rejoined the Byrds in October 1967 for three weeks, during which time he and the band performed on "The Smothers Brothers Comedy Hour" television program, lip-syncing "Goin' Back" and "Mr. Spaceman". The Byrds also played several live dates with Clark during a tour of the Midwest. Following the final concert of the tour, Clark's fear of flying again became a problem when it prevented him from taking a flight to New York with his bandmates and, as a result, he left the band soon after.


title: The Notorious Byrd Brothers

text: It has been debated by biographers and band historians just how involved Clark was in the recording of "The Notorious Byrd Brothers". Clark himself claimed during a 1988 interview for radio station KBSG 97 that he was involved in the recording of "Goin' Back" and some other songs from the same period, although he didn't specify what his contributions might have been. There is also studio documentation and eyewitness accounts to suggest that Clark contributed backing vocals to "Goin' Back" and "Space Odyssey". One of those eyewitnesses, John Noreen of the L.A. folk rock band the Rose Garden, has stated in an interview that he clearly remembers being at Columbia Recording Studios during sessions for the album and seeing Clark record his backing vocals. This has been corroborated by the Rose Garden's drummer, Bruce Bowdin, who has claimed that Clark's voice can be heard most clearly on the mono mix of "Goin' Back" which was released as a single. Conversely, the Rose Garden's bass player William Fleming, who was also there, recalled that although Clark was in the studio he didn't participate in any recording. Author and musician Ric Menck has remarked that if Clark is present on either "Space Odyssey" or "Goin' Back", his contributions are not obvious and must have been buried very low in the mix by producer Gary Usher.


title: The Notorious Byrd Brothers

text: The Byrds' lead guitarist, Roger McGuinn, cannot remember whether Clark contributed to the album or not, but he has admitted that it is possible. McGuinn has, however, gone on record as stating that he wrote the song "Get to You" with Clark, and that the writing credits on the album are mistaken; they should have read McGuinn/Clark, rather than McGuinn/Hillman. However, in an interview published in the November 2012 edition of "Uncut" magazine, Hillman stated that he definitely had a hand in writing the song with McGuinn, although he was unsure whether Clark also contributed to it or not.


title: The Notorious Byrd Brothers

text: Despite its troubled genesis, the album contains some of the band's most gentle and ethereal music, as well as some of its most progressive and experimental. In a 2002 interview, McGuinn said it was "kind of Beatles-inspired" and cited their album "Revolver" as an influence. Lyrically, it attempted to deal with many contemporary themes such as peace, ecology, freedom, drug use, alienation and mankind's place in the universe. The album, as a whole, represented the apex of the McGuinn–Crosby–Hillman songwriting partnership, and took the musical experimentation of the original Byrds to its farthest logical extreme, mixing folk rock, country, psychedelia and jazz, often within a single song. The band and producer Gary Usher also used a number of innovative studio-based production techniques on the album, in particular making heavy use of phasing, spatial panning, and rotary speaker effects.


title: The Notorious Byrd Brothers

text: The band also began experimenting with the Moog modular synthesizer on a number of tracks, making "The Notorious Byrd Brothers" one of the first rock albums to feature the instrument. McGuinn had first discovered the Moog during the Monterey Pop Festival, where the instrument's inventor, Robert Moog, had set up a booth to demonstrate his new creation to the musicians who were performing at the festival. Being something of an electronics buff, McGuinn was eager to experiment with the synthesizer in the recording studio, although reportedly, Hillman failed to share his enthusiasm for the instrument. Although McGuinn and Usher played the Moog parts on the song "Space Odyssey" themselves, they ceded the instrument's other appearances on the album to electronic music pioneer and session musician Paul Beaver.


title: The Notorious Byrd Brothers

text: The album also featured the pedal steel guitar playing of session musician Red Rhodes, which represented the first use of the instrument on a Byrds' recording. This use of pedal steel, along with Clarence White's countrified guitar playing, foreshadowed the country rock direction that the band would explore on their next album, "Sweetheart of the Rodeo".


title: The Notorious Byrd Brothers

text: The album's opening track, "Artificial Energy", features a prominent horn section and, as such, can be seen as a stylistic relative of "Lady Friend" and "So You Want to Be a Rock 'n' Roll Star", two earlier Byrds' songs that made use of brass. The song deals with the dark side of amphetamine use and it was Chris Hillman who initially suggested that the band should "write a song about speed". The title was suggested by drummer Michael Clarke, and his input in the creation of the song was sufficient to afford him a rare writing credit. Although the song's lyrics initially seem to be extolling the virtues of amphetamines, the tale turns darker in the final verse when it becomes apparent that the drug taker has been imprisoned for murdering a homosexual man, as evidenced by the song's final couplet: "I'm coming down off amphetamine/And I'm in jail 'cause I killed a queen." Although the press had accused the Byrds of writing songs about drugs in the past, specifically with "Eight Miles High" and "5D (Fifth Dimension)", when the band finally did record a song unequivocally dealing with drugs it was largely ignored by journalists.


title: The Notorious Byrd Brothers

text: "Artificial Energy" is followed on the album by the poignant and nostalgic Goffin–King song "Goin' Back". With its chiming 12-string Rickenbacker guitar and polished harmony singing, band biographer Johnny Rogan has described the song as providing a sharp contrast to the negativity and violence of the opening track. The song's lyrics describe an attempt on the part of the singer to reject the cynicism that comes with being an adult in favor of the innocence of childhood. Thematically, the song recalled the title of the Byrds' previous album, "Younger Than Yesterday", and the understated pedal steel guitar playing of Red Rhodes gives the track a subtle country flavor.


title: The Notorious Byrd Brothers

text: A second Goffin–King composition, "Wasn't Born to Follow", also displays country and western influences, albeit filtered through the band's psychedelic and garage rock tendencies. The song's country leanings are underscored by the criss-crossing musical dialogue between the electric guitar and pedal steel. The rural ambiance is further heightened by the striking imagery of the lyrics which outline the need for escape and independence: a subject perfectly in keeping with the hippie ethos of the day.


title: The Notorious Byrd Brothers

text: Another song on the album that deals with the need to escape the confines of society is David Crosby's "Dolphin's Smile". The song was an early example of Crosby's penchant for using nautical imagery in his songs, a thematic trait he would utilize in future compositions, including "Wooden Ships" and "The Lee Shore". The theme of unfettered idyllic bliss is further explored in the Hillman-penned "Natural Harmony". Like "Goin' Back", "Natural Harmony" conveys a sense of longing for the innocence of youth, albeit filtered through the awareness-raising properties of psychedelic drugs. It has been suggested by some commentators that the song exhibits the strong influence of Crosby's writing style, with its laid-back, jazzy feel and dreamy, high tenor vocal part.


title: The Notorious Byrd Brothers

text: The McGuinn and Hillman composition "Change Is Now", with its lyrics advising the listener to live life to the full, represents a celebration of the philosophy of "carpe diem" (popularly translated as "seize the day"). Within this context, the song's lyrics explored a number of other themes, including epiphenomenalism, communalism, and human ecology. The quasi-philosophical nature of the song prompted McGuinn to flippantly describe it in a 1969 interview as "another one of those guru-spiritual-mystic songs that no-one understood". An early instrumental recording of the song, listed under its original working title of "Universal Mind Decoder", was included as a bonus track on the 1997 reissue of "The Notorious Byrd Brothers". "Change Is Now" is notable for being the only song on the album to feature both Crosby and future Byrd Clarence White together on the same track.


title: The Notorious Byrd Brothers

text: "Draft Morning" is a song about the horrors of the Vietnam War, as well as a protest against the conscription of men into the military during the conflict. The song was initially written by Crosby, but he was fired from the Byrds shortly after he had introduced it to the rest of the band. However, work had already begun on the song's instrumental backing track by the time of Crosby's departure. Controversially, McGuinn and Hillman decided to continue working on the song, despite its author no longer being a member of the band. Having only heard the song's lyrics in their original incarnation a few times, McGuinn and Hillman couldn't remember all of the words when they came to record the vocals and so decided to rewrite the song with their own lyrical additions, giving themselves a co-writing credit in the process. This angered Crosby considerably, since he felt, with some justification, that McGuinn and Hillman had stolen his song. Despite its troubled evolution, "Draft Morning" is often considered one of Crosby's best songs from his tenure with the Byrds. Lyrically, it follows a newly recruited soldier from the morning of his induction into the military through to his experiences of combat and as such, illustrates the predicament faced by many young American men during the 1960s. The song also makes extensive use of battlefield sound effects, provided for the band by the Los Angeles comedy troupe the Firesign Theatre.


title: The Notorious Byrd Brothers

text: Another of Crosby's songwriting contributions to the album, "Tribal Gathering", was, for many years, assumed to have been inspired by the Human Be-In: A Gathering Of Tribes, a counter-culture happening held in San Francisco's Golden Gate Park on January 12, 1967. However, in the 2000s, Crosby revealed that the song was actually inspired by another hippie gathering held at Elysian Park near Los Angeles on March 26, 1967. Played in a jazzy, 5/4 time signature, the song's vocal arrangement was greatly influenced by the music of the Four Freshmen, a vocal group that Crosby had admired as a youngster.


title: The Notorious Byrd Brothers

text: Another song on the album that uses a 5/4 time signature, albeit with occasional shifts into 3/4 time, is "Get to You". The song recounts a plane trip to London, England, just prior to the advent of autumn, but the identity of the enigmatic "you" mentioned in the song's title is not specified in the lyrics and thus, can be interpreted as either a waiting lover or as the city of London itself. Although it has been claimed by McGuinn that Clark co-wrote the song, he had left the Byrds again by the time it was recorded and therefore does not appear on the track.


title: The Notorious Byrd Brothers

text: "Old John Robertson", which had already been issued some six months earlier as the B-side of the "Lady Friend" single, was another country-tinged song that looked forward to the band's future country rock experimentation. The song was inspired by a retired film director who lived in the small town near San Diego where Hillman grew up. According to Hillman, John S. Robertson was something of an eccentric figure around the town, regularly wearing a Stetson hat and sporting a white handlebar moustache, which gave him the appearance of a character out of the old American West. In the song, Hillman recalls the children of the town and their cruel laughter at this colorful figure, as well as the combination of awe and fear that he elicited in the townsfolk. During the recording of the song, Crosby switched instruments with Hillman to play bass instead of his usual rhythm guitar. The track also makes liberal use of the studio effects known as phasing and flanging, particularly during the song's orchestral middle section and subsequent verse. The version of "Old John Robertson" found on the B-side of the "Lady Friend" single is a substantially different mix from the version that appears on "The Notorious Byrd Brothers" album.


title: The Notorious Byrd Brothers

text: The final track on the album, "Space Odyssey", is a musical retelling of Arthur C. Clarke's short story "The Sentinel", which was also the inspiration for Stanley Kubrick's 1968 film, "". The song makes extensive use of the Moog modular synthesizer and features a droning, dirge-like melody reminiscent of a sea shanty. Since "Space Odyssey" predates the release of "2001: A Space Odyssey", McGuinn and his co-writer, Robert J. Hippard, composed lyrics that referred to a pyramid being found on the Moon, as was the case in "The Sentinel". However, the pyramid was replaced by a rectangular monolith in both the film and the accompanying novelization.


title: The Notorious Byrd Brothers

text: "The Notorious Byrd Brothers" was released on January 15, 1968, in the United States (catalogue item CL 2775 in mono, CS 9575 in stereo) and on April 12, 1968, in the UK (catalogue item 63169 in mono, S 63169 in stereo). However, there is some debate about the U.S. release date, with some sources suggesting that it may have been brought forward to January 3, 1968. Regardless, the album's appearance during the first month of 1968 surprised many fans of the band, who had been led to believe by contemporary press reports that the album was still in the planning stages.


title: The Notorious Byrd Brothers

text: It peaked at number 47 on the "Billboard" Top LPs chart, during a chart stay of 19 weeks, but fared better in the United Kingdom where it reached number 12, spending a total of 11 weeks on the UK chart. The album's front cover photograph was taken by Guy Webster, who had also been responsible for the cover of the Byrds' "Turn! Turn! Turn!" album. The "Goin' Back" single was released ahead of the album on October 20, 1967, and reached number 89 on the "Billboard" Hot 100, but failed to chart in the UK. The album is notable for being the last Byrds LP to be commercially issued in mono in the United States, although subsequent albums continued to be released in both mono and stereo variations overseas.


title: The Notorious Byrd Brothers

text: The album was almost universally well received by the music press upon release, with Jon Landau in the newly launched "Rolling Stone" magazine noting that "When the Byrds get it together on record they are consistently brilliant." Landau went on to praise the Byrds' musical eclecticism, before stating: "Their music is possessed by a never-ending circularity and a rich, child-like quality. It has a timelessness to it, not in the sense that you think their music will always be valid, but in the sense that it is capable of forcing you to suspend consciousness of time altogether." "Crawdaddy!" magazine was also enthusiastic in its praise of the album, with Sandy Pearlman describing it as "enchantingly beautiful". Pete Johnson, in his review for the "Los Angeles Times", summed up the album as "11 good songs spiked with electronic music, strings, brass, natural and supernatural voices, and the familiar thick texture of McGuinn's guitar playing".


title: The Notorious Byrd Brothers

text: In a contemporary review published in "Esquire", music critic Robert Christgau described "The Notorious Byrd Brothers" as "simply the best album the Byrds have ever recorded". Christgau grouped it with contemporary releases by Love ("Forever Changes") and The Beach Boys ("Wild Honey"), remarking: "[i]t's hard to believe that so much good can come out of one place [i.e. Los Angeles]." In the UK, "Record Mirror" gave the album a rare five-star rating, commenting "Hard though it was for the Byrds to follow up their near-perfect "Younger Than Yesterday" album, they've done it with this fantastic disc." "Melody Maker" was also complimentary about the album, describing it as "A beautiful selection, representing US pop at its finest." "Beat Instrumental" concluded their review by stating "It's true to say that the Byrds are one of the two best groups in the world. Nobody can say any different with the proof of this album."


title: The Notorious Byrd Brothers

text: In 1997, "Rolling Stone" senior editor David Fricke described the album as the Byrds' "finest hour" and "the work of a great rock & roll "band", in every special sense of the word". On his official website, Robert Christgau again commented on the album, declaring that "The Notorious Byrd Brothers" (along with its follow-up, "Sweetheart of the Rodeo") is "[one] of the most convincing arguments for artistic freedom ever to come out of American rock". Parke Puterbaugh, writing for the "Rolling Stone" website in 1999, remarked on the presence of "burbling Moog synthesizers and purring steel guitars" on the album, which he ultimately described as "a brilliant window onto an unforgettable place and time".


title: The Notorious Byrd Brothers

text: Over the years, "The Notorious Byrd Brothers" has gained in reputation and is often considered the group's best work, while the contentious incidents surrounding its making have been largely forgotten. The album managed to capture the band at the height of their creative powers, as they pushed ahead lyrically, musically and technically into new sonic territory. Band biographer Johnny Rogan has written that the Byrds' greatest accomplishment on the album was in creating a seamless mood piece from a variety of different sources, bound together by innovative studio experimentation. Although the album is widely regarded as the band's most experimental, its running time of a little under 29 minutes also makes it their briefest.


title: The Notorious Byrd Brothers

text: The album was voted the fourth-best album ever in a 1971 "ZigZag" magazine readers' poll and the 1977 edition of the "Critic's Choice: Top 200 Albums" book ranked it at number 154 in a list of the "Greatest Rock Albums of All-Time". A subsequent edition of the book, published in 1988, ranked the album at number 75. The album was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings, published in "" (1981). In 1995, "Mojo" magazine placed the album at number 36 in their list of "The 100 Greatest Albums Ever Made". In 2003, the album was ranked at number 171 on "Rolling Stone" magazine's list of "The 500 Greatest Albums of All Time", maintaining the rating in a 2012 revised list. It also ranked number 32 on the "NME"s list of the "100 Best Albums". In 2004, "Q" magazine included the album in its list of "The Music that Changed the World". It was voted number 158 in the third edition of Colin Larkin's "All Time Top 1000 Albums" (2000).


title: The Notorious Byrd Brothers

text: "The Notorious Byrd Brothers" was remastered at 20-bit resolution as part of the Columbia/Legacy Byrds series. It was reissued in an expanded form on March 25, 1997, with six bonus tracks, including Crosby's controversial ballad "Triad", the Indian-influenced "Moog Raga", and an instrumental backing track for the outtake "Bound to Fall". The final track on the CD extends to include a hidden track featuring a radio advertisement by producer Gary Usher for the album, as well as a recording of an in-studio altercation between the band members.


title: The Notorious Byrd Brothers

text: Following the release of the album, the Byrds' recording of "Wasn't Born to Follow" was used in the 1969 film "Easy Rider" and included on the accompanying "Easy Rider" soundtrack album. In addition, the song "Change Is Now" has been covered by the progressive bluegrass band The Dixie Bee-Liners, on the tribute album "Timeless Flyte: A Tribute to The Byrds — Full Circle", and by rock band Giant Sand, on "Time Between – A Tribute to The Byrds". Ric Menck, best known for being a member of the band Velvet Crush, has written a book about the album for Continuum Publishing's "33⅓" series.


title: The Notorious Byrd Brothers

text: Adapted from "So You Want to Be a Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973)", "The Notorious Byrd Brothers (33⅓ series)", and the compact disc liner notes.


title: La Femme (band)

text: La Femme is a French psych-punk rock band established by guitarist Sacha Got and keyboard player Marlon Magnée in 2010 in Biarritz. Several members joined later, including bass player Sam Lefevre, drummer Noé Delmas, and Lucas Nunez. Other members include Clara Luciani, Jane Peynot and Marilou Chollet.


title: La Femme (band)

text: The band's music has been described as synthetic and hypnotic. It mixes elements of cold wave, punk, and yéyé, with musical influence from artists such as Sparks, The Velvet Underground, and Kraftwerk.


title: La Femme (band)

text: La Femme released three EPs from 2010 to 2013, titled "La Femme EP", "La Podium #1", and "La Femme". Their debut full-length, "Psycho Tropical Berlin", was released on April 8, 2013. La Femme earned the French award Victoires de la Musique in the category "Album revelation" in February 2014. On April 2, 2021 the group released their highly anticipated third album, "Paradigmes", featuring several previously released tracks.


title: Randers FC

text: Randers FC () is a professional football club based in Randers, East Jutland, Denmark, that plays in the Danish Superliga, the top flight of the Danish football league system. Founded on 1 January 2003, the club builds upon the license of Randers Freja, a former three-time Danish Cup winning team. the club had won the Danish Cup twice in its history. Randers plays its matches at the 10,300-capacity Cepheus Park Randers.


title: Randers FC

text: The club was formed on 1 January 2003, as a collaboration between six local Randers-clubs; Dronningborg Boldklub (founded 1928), Hornbæk Sportsforening (founded 1945), Kristrup Boldklub (founded 1908), Randers Freja (founded 1898), Randers KFUM (founded 1920) and Vorup Frederiksberg Boldklub (founded 1930), continuing Randers Freja's (at the time) 1st division-team.


title: Randers FC

text: In the first season as a newly created club, Randers ended in fourth place in the Viasat Sport Division with 51 points. The captain of the Denmark national team which won UEFA Euro 1992, Lars Olsen, was coach of the team. The following year, the team ended in second place with 66 points and was promoted to the country's best league, the SAS Liga.


title: Randers FC

text: With only 24 points in 2004–05 season in the SAS Liga, Randers finished in last place. In the 2005–06 season, however, Randers redeemed itself, securing promotion back to the SAS League with 61 points while also winning the Danish Cup with a 1–0 victory over Esbjerg in the final at Parken Stadium on 11 May 2006. Randers was the first team since 1974 who managed to win the Danish Cup although playing in the second-highest league in Denmark.


title: Randers FC

text: In mid-2005, the club brought in former Denmark national team midfielder Stig Tøfting on a free transfer, after AGF, his childhood-club, refused to let him play (even for free) due to his violent background with several sentences.


title: Randers FC

text: In the 2006–07 season, Randers finished in eighth place with 38 points, as well as participation in the UEFA Cup the season before, where the club met ÍA of Iceland, FBK Kaunas of Lithuania and major club Fenerbahçe from Turkey.


title: Randers FC

text: Before the start of the 2007–08 season, Randers signed former England national team player Colin Todd as its new manager. Randers started the season in great fashion, winning its first four matches (most notably a 5–0 win against Aalborg BK).


title: Randers FC

text: In the second half of the 2007–08 season, Randers continued to improve in the Danish league. With new signings Marc Nygaard and Søren Berg, expectations grew as the season progressed, and Randers ultimately finished in sixth place following a 2–1 win against Brøndby IF in the final matchday of the season.


title: Randers FC

text: The 2008–09 season started in promising fashion for the club, recording a 3–1 win against the local rivals AGF. Randers continued its solid start with a 1–1 a draw with Copenhagen. In the third round, Randers was to play Brøndby away; the club had never defeated Brøndby away before. Randers won 0–3 following goals from Carsten Fredgaard, Bedi Buval and Tidiane Sane. After the five first rounds, Randers was still undefeated, though at the winter break Randers was placed mid-table.


title: Randers FC

text: On 4 November 2008 Randers announced that former Danish international John "Faxe" Jensen would become its new manager from 1 July following the ending of Colin Todd's contract. Todd, however, expressed his frustration about how Randers had dealt with the situation and openly criticised the club for putting him in a difficult situation.


title: Randers FC

text: Jensen ended up taking the place as manager six months before schedule due to the club having reached an agreement with the then present manager Todd. Jensen was officially announced new manager on 5 January. He started his time in Randers in great fashion, winning the first league game of the season against local rivals AGF 2–1. However, the club failed to sustain the winning form when they went to draw against Vejle BK and thereafter lost the following three games to the top three sides OB, Copenhagen and BIF. The team's losing streak culminated in a 1–6 to Nordsjælland.


title: Randers FC

text: The club, however, responded well to the losing streak and won the next five games, ironically setting a new club winning streak. The season ended with a 3–3 draw away against Danish champions Copenhagen and a fifth-place finish, it highest league rank in club history. Marc Nygaard claimed the golden boot for 16 goals during the season. Morten Nordstrand was later credited for a goal on penalty in the final match, and also had a goal tally of 16, but Nygaard was awarded the title as he was the first to reach the 16 goals.


title: Randers FC

text: Randers and Faxe decided that Tøfting was not the right choice as assistant manager, and, on 1 May 2009, the club announced that Tøfting's contract would not be extended. On 2 June, the club announced that two of Jensen's colleagues from the Euro 1992-winning Danish side – Henrik Larsen and Flemming Povlsen – as its new assistant managers; Larsen was named first assistant manager while Povlsen as assistant focused on the club's attack. However, after a catastrophic start to the 2009–10 season with only 2 points earned from 11 league games, Jensen and his assistants were released from their contracts.


title: Randers FC

text: Ove Christensen was appointed new head coach for Randers for the remainder of the 2009–10 season. He was given the objective to save Randers from relegation, although Randers was projected to be relegated at the winter break by the media and experts. However, a historic comeback with 16 games without defeat meant that its topflight status was to be decided on the final day of the season. A loss to Brøndby would mean that if AGF won its game against OB, the best team of the spring season would be relegated. OB won 0–3 and Randers lost its first match in the second half of the season 1–3, ensuring Randers kept their top-flight status. Yura Movsisyan was arguably the key in Randers' survival, as he scored 7 goals in 13 games.


title: Randers FC

text: When Ove Christensen arrived, he gave the squad an overhaul and nine players were released or sold in the winter break of 2009–10 season. He also made several signings: Anders Egholm from SønderjyskE, Morten Karlsen from Nordsjælland and Søren Jensen on loan from Odd Grenland. Christensen signed a new one-year contract as head coach on 17 May 2010.


title: Randers FC

text: In the following season, however, Christensen could not follow up on the success and was fired after a loss to Brøndby. Peter Elstrup and Allan Kuhn were Brough in as caretakers but could not prevent Randers' relegation at the end of the season. Michael Hemmingsen was named new head coach with the first task to bring Randers back to the Superliga. With Hemmingsen as head coach, Randers ended the 2011–12 season in second place in the Danish 1st division, thereby earning promotion back to the Superliga.


title: Randers FC

text: Despite having earned promotion to the Danish Superliga, Hemmingsen was replaced as head coach by former Randers coach Colin Todd, who returned to the club following his coaching spell from 2007 to 2009. Randers did well in its first season after being promoted, ending its 2012–13 league campaign in third place, the club's best ever league finish. The team also reached the final in the Danish Cup, but lost 0–1 to Esbjerg. Nonetheless, the league result meant that Randers was to participate in the UEFA Europa League. It entered the tournament in the third round of qualifying, where it met Rubin Kazan. Randers, however, lost the home match 1–2 and the away match 0–2, thus failing to qualify for the group stage.


title: Randers FC

text: During the 2006–07 season, Randers managed to qualify for the UEFA Cup as Danish Cup winners. During the 2009–10 season, the club was invited to participate in the Europa League due to its second place in the Danish league Fair Play ranking – behind 2008–09 champions Copenhagen, which claimed Denmark's UEFA Champions League spot. During the 2010–11 season, the club participated in the Europa League due to its second-place finish in the Danish league Fair Play ranking – behind 2009–10 champions Copenhagen, which again claimed the Champions League spot.


title: Randers FC

text: Randers Stadium was founded in 1961. It was built to hold 18,000 spectators and in 1969 a record of 16,500 people attended the UEFA Cup loss against 1. FC Köln.


title: Randers FC

text: The stadium was rebuilt in 2012 and renamed AutoC Park with a capacity of 10,300 spectators. It was built by C. F. Møller Architects and is established on the former Randers Stadium site. On 22 September 2015, it was announced that local company BioNutria had bought the name rights of the stadium until 31 October 2018. On 14 November 2018, it was announced that Cepheus group had bought the name rights of the stadium for 3 years.


title: Randers FC

text: The new stadium attendance record after the stadium was rebuilt, is 9,947, set against Aarhus GF on 6 October 2019


title: Randers FC

text: The largest supporter group is Nordtribunen (i.e. "The North Tribune"), however there are more factions within the fandom of Randers.


title: Twentieth Amendment to the United States Constitution

text: The Twentieth Amendment (Amendment XX) to the United States Constitution moved the beginning and ending of the terms of the president and vice president from March4 to January 20, and of members of Congress from March4 to January 3. It also has provisions that determine what is to be done when there is no president-elect. The Twentieth Amendment was adopted on January 23, 1933.


text: The amendment reduced the presidential transition and the "lame duck" period, by which members of Congress and the president serve the remainder of their terms after an election. The amendment established congressional terms to begin before presidential terms and that the incoming Congress, rather than the outgoing one, would hold a contingent election if the Electoral College deadlocked regarding either the presidential or vice presidential elections.


text: of the Constitution states that Congress must meet at least once a year. The default date specified is the first Monday in December, though Congress is empowered to set another date and the president can summon special sessions.


text: The original text of the Constitution set a duration for the terms of federal elected officials, but not the specific dates on which those terms would begin or end. In September 1788, after the necessary nine states had ratified the Constitution, the Congress of the Confederation set March 4, 1789, as the date "for commencing proceedings" of the newly reorganized government. Despite the fact that the new Congress and presidential administration did not begin operation until April, March4 was deemed to be the beginning of the newly elected officials' terms of office, and thus of the terms of their successors. The Constitution did not specify a date for federal elections, but by the time of the second presidential election in 1792, Congress had passed a law requiring presidential electors to be chosen during November or early December. By 1845, this was narrowed to a single day, in early November. Congressional elections were generally held on the same day.


text: The result of these scheduling decisions was that there was a long, four-month lame duck period between the election and inauguration of the new president. For Congress, the situation was perhaps even more awkward. Because Article I, Section 4, Clause2 mandated a Congressional meeting every December, after the election but before Congressional terms of office had expired, a lame-duck session was required by the Constitution in even-numbered years; the next session was not required until the "next" December, meaning new members of Congress might not begin their work until more than a year after they had been elected. Special sessions sometimes met earlier in the year, but this never became a regular practice, despite the Constitution allowing for it. In practice, Congress usually met in a long session beginning in Decembers of odd-numbered years, and in a short lame-duck session in December of even-numbered years.


text: The long lame-duck period might have been a practical necessity at the end of the 18th century, when any newly elected official might require several months to put his affairs in order and then undertake an arduous journey from his home to the national capital, but it eventually had the effect of impeding the functioning of government in the modern age. From the early 19th century, it also meant a lame-duck Congress and presidential administration would fail to adequately respond to a significant national crisis in a timely manner. Each institution could do this on the theory that, at best, a lame-duck Congress or administration had neither the time nor the mandate to tackle problems, whereas the incoming administration or Congress would have both the time and a fresh electoral mandate, to examine and address the problems the nation faced. These problems very likely would have been at the center of the debate of the just-completed election cycle.


text: This dilemma was seen most notably in 1861 and 1933, after the elections of Abraham Lincoln and Franklin D. Roosevelt, respectively, plus the newly elected Senators and Representatives. Under the Constitution at the time, these presidents had to wait four months before they and the incoming Congresses could deal with the secession of Southern states and the Great Depression respectively.


text: In 1916, during World War I, President Woodrow Wilson devised an unorthodox plan to avoid a lame-duck presidency and allow his Republican opponent Charles Evans Hughes to assume presidential powers immediately if Hughes had won the election. In that case, Wilson planned to appoint Hughes as Secretary of State, who under the Presidential Succession Act of 1886 was second in the presidential line of succession. President Wilson and Vice President Thomas R. Marshall would have then both resigned, leaving Hughes to become acting president. The plan was never implemented because Wilson was narrowly re-elected.


text: The 72nd Congress proposed the Twentieth Amendment on March 2, 1932, and the amendment was ratified by the following states. The Amendment was adopted on January 23, 1933 after 36 states, being three-fourths of the then-existing 48 states, ratified the Amendment.


text: Section 1 of the Twentieth Amendment prescribes that the start and end of the four-year term of both the president and vice president shall be at noon on January 20. The change superseded the Twelfth Amendment's reference to March4 as the date by which the House of Representatives must—under circumstances where no candidate won an absolute majority of votes for president in the Electoral College—conduct a contingent presidential election. The new date reduced the period between election day in November and Inauguration Day, the presidential transition, by about six weeks. Section1 also specifies noon January 3 as the start and end of the terms of members of the Senate and the House of Representatives; the previous date had also been March 4.


text: Section 2 moves the yearly start date of congressional sessions from the first Monday in December, as mandated by Article I, Section 4, Clause 2, to noon on January3 of the same year, though Congress still can by law set another date and the president can summon special sessions. This change eliminated the extended lame duck congressional sessions. As a result of this change, if the Electoral College vote has not resulted in the election of either a president or vice president, the incoming Congress, as opposed to the outgoing one, would conduct a contingent election, following the process set out in the Twelfth Amendment.


text: Section 3 further refines the Twelfth Amendment by declaring that if the president-elect dies before Inauguration Day, the vice president-elect will be sworn in as president on that day and serve for the full four-year term to which that person was elected. It further states that if, on Inauguration Day, a president-elect has not yet been chosen, or if the president-elect fails to qualify, the vice president-elect would become acting president on Inauguration Day until a president-elect is chosen or the president-elect qualifies; previously, the Constitution did not stipulate what was to be done if the Electoral College attempted to elect a constitutionally unqualified person as president.


text: Section3 also authorizes Congress to determine who should be acting president if a new president and vice president have not been chosen by Inauguration Day. Acting on this authority, Congress added "failure to qualify" as a possible condition for presidential succession in the Presidential Succession Act of 1947. The constitution had previously been silent on this point, and this lack of guidance nearly caused constitutional crises on two occasions: when the House of Representatives seemed unable to break the deadlocked election of 1800, and when Congress seemed unable to resolve the disputed election of 1876.


text: Section 4 permits Congress to statutorily clarify what should occur if either the House of Representatives must elect the president, and one of the candidates from whom it may choose dies, or if the Senate must elect the vice president and one of the candidates from whom it may choose dies. Congress has never enacted such a statute.


text: On February 15, 1933, 23 days after the amendment was adopted, President-elect Roosevelt was the target of an assassination attempt by Giuseppe Zangara. While Roosevelt was not injured, had the attempt been successful, then Vice President-elect John Nance Garner would have become president on March 4, 1933 pursuant to Section 3.


text: Section 5 delayed Sections 1 and 2 taking effect until the first October 15 following the amendment's ratification. As it was adopted on January 23, 1933, Section 1 shortened the terms of representatives elected to the 73rd Congress (1933–35), as well as those of senators elected for terms ending in 1935, 1937, and 1939, by 60 days, by ending those terms on January 3 of each odd-numbered year rather than the March 4 date on which those terms originally were due to expire. Section 5 also resulted in the 73rd Congress not being required to meet until January 3, 1934.


text: The first Congress to open its first session and begin its members' terms on the new date was the 74th Congress in 1935. The first presidential and vice presidential terms to begin on the date appointed by the Twentieth Amendment were the second terms of President Roosevelt and Vice President Garner, on January 20, 1937. As Section 1 had shortened the first term of both (1933–37) by 43 days, Garner thus served as vice-president for two full terms, but he did not serve a full eight years: his vice presidency spanned from March 4, 1933, to January 20, 1941.


title: Learjet 70/75

text: The Learjet 70/75 is a mid-sized business jet airplane manufactured by the Learjet division of Canadian aircraft manufacturer Bombardier Aerospace. With the end of production in 2022 it is the last Learjet model.


title: Learjet 70/75

text: The Learjet 40/45 light jet is updated with touchscreen-controlled Garmin G5000 avionics and a modern interior. The combination of aerodynamic improvements, which lowered the design's drag by 2%, and 200 lbs less weight in the nose section resulted in an increased range of 4%.


title: Learjet 70/75

text: Both variants are powered by Honeywell TFE731-40BR turbofans with thrust reversers, have a MTOW of and a fuel capacity of for a maximum range of with four passengers.


title: Learjet 70/75

text: Typical cruise is Mach .76 and high-speed cruise is Mach .79, the ceiling is FL510 where the cabin altitude is .


title: Learjet 70/75

text: Their flat-floor cabin width is high, the Learjet 70's seven-seat cabin length is for the nine-seat, double-club Learjet 75.


title: Learjet 70/75

text: The forward galley facing the entry door is isolated by a pocket door from the seating area with a Lufthansa Technik cabin management, and the aft lavatory has a belted seat.


title: Learjet 70/75

text: Certified to the stricter FAR Part 25, the $13.8 million Learjet 75 competes with the Embraer Phenom 300 and the Citation CJ4, beating them in cabin volume, with against respectively, the Phenom having the same cross-section, larger than the CJ4.


title: Learjet 70/75

text: The Mach .81 capable Learjet is faster than the Mach .80 Phenom 300E and the Mach .77 CJ4, and the Phenom can fly while the CJ4 can fly .


title: Learjet 70/75

text: This delay in certification caused order cancellations, and Bombardier's overall deliveries fell below expectations. By 2015, the unit cost of the Learjet 70 was US$11.3 million, and US$13.8 million for the Learjet 75. By 2016, production of Learjet 70 has been temporarily discontinued due to lack of orders (with Learjet 75 still being produced).


title: Learjet 70/75

text: By January 2019, Bombardier has delivered 132 Learjet 40/40XRs, 454 45/45XRs, and nearly 130 70/75s, including 24 in 2016 and 14 in 2017.


title: Learjet 70/75

text: In June, Bombardier launched the sub-$10 million Learjet 75 Liberty to compete with the Cessna CitationJet and Embraer Phenom 300 from 2020, with six seats down from eight, no standard APU or lavatory sink, but still Part 25 and not FAR Part 23 certified, with a maximum payload of and a range of .


title: Learjet 70/75

text: Bombardier announced the end of the production of Learjet aircraft by the end of 2021. The final Learjet 75 was manufactured in January 2022.


title: Black knight

text: The black knight is a literary stock character who masks his identity and that of his liege by not displaying heraldry. Black knights are usually portrayed as villainous figures who use this anonymity for misdeeds. They are often contrasted with the knight-errant (white knight). The character appeared in Arthurian literature and has been adapted and adopted by various authors, in cinema and popular culture. The character is sometimes associated with death or darkness.


title: Black knight

text: British composer Edward Elgar composed a cantata titled "The Black Knight" (op. 25, 1889–93). Its libretto is a translation of Ludwig Uhland's ballad "Der schwarze Ritter" by Henry Wadsworth Longfellow. The Uhland poem (in german language) was set to music also by Heinrich von Herzogenberg.


title: Black knight

text: In business, a white knight is a friendly investor or savior, while a black knight functions as a destroyer. Typically, a black knight will enter a business or company as an influential person such as a major investor or as a member of the board of directors and will dismantle a profitable or asset-rich business to enrich themselves, which typically leaves the previously profitable company in a weaker financial position.


title: Black knight

text: Occasionally, the term "black knight" describes an investor who acquires a firm in opposition to the will of its management, as in a hostile takeover. The label may not be accurate if the ultimate intention of the acquirer is unknown. It could be for commercial reasons (rather than personal reasons), such as merging the entity with another entity owned by the acquirer to promote synergy.


title: Soo Catwoman

text: Susan Lucas, better known as Soo Catwoman (often written incorrectly as Sue Catwoman), was associated with the London punk subculture that sprang up around the mid-1970s.


title: Soo Catwoman

text: In "The Filth and the Fury", Johnny Rotten singles her out among the early London punks, citing her "skill, style, and bravery".


title: Soo Catwoman

text: Soo created her trademark Catwoman haircut in an Ealing barber shop in 1976. The hair around the sides and back was severely cropped close to the head with the two sides flared up to suggest the ears of a cat. Portions of the hairstyle were dyed different colours – the flared "ears" being black and the cropped parts being bleached.


title: Soo Catwoman

text: Soo was pictured by Ray Stevenson posing with members of the original fans of the Sex Pistols known as the Bromley Contingent such as Siouxsie Sioux, Steven Severin and Billy Idol. While she was also associated with the Bromley Contingent by all the journalists, she later claimed not to have been a member.


title: Soo Catwoman

text: Photos and likenesses of Soo Catwoman were, and remain, popular in punk rock media. She appeared in several punk documentaries and concert films. She declined to appear in Julien Temple's "The Great Rock 'n' Roll Swindle" and was portrayed by actress Judy Croll. She now lives in London with her son and daughter.


title: MasterChef Canada (season 5)

text: The fifth season of MasterChef Canada originally aired on April 3, 2018, on CTV and concluded on June 19. Filming began in September 2017 and ended in November 2017. Sherwood Park resident Beccy Stables (originally from Grimsby, England) won the trophy, title, and $100,000 prize money. At the age of 19, Stables is currently the youngest champion in the history of MasterChef Canada, as well as the youngest contestant to appear and compete on the show. Following her victory, Stables moved to Kelowna, British Columbia, and currently runs a baking website called dessertclub. Stables also guest starred in an episode of Season 6.


title: MasterChef Canada (season 5)

text: Runner-up Andrew "Andy" Hay, who finish second, Marissa Leon-John, who finish seventh and Jennifer "Jen" Jenkins, who finished eighth place, all returned to "MasterChef Canada: Back to Win". Jen placed tenth, Marissa placed eighth, and Andy placed the same placement from season 5.


title: James F. Blake

text: James Frederick Blake (April 14, 1912 – March 21, 2002) was an American bus driver in Montgomery, Alabama, whom Rosa Parks defied in 1955, prompting the Montgomery bus boycott.


title: James F. Blake

text: Born on April 14, 1912, Blake was drafted into the Army on December 23, 1943, at Fort McClellan in Anniston, Alabama.


title: James F. Blake

text: He worked as a bus driver for Montgomery City Bus Lines until 1974. After he retired, he became a member of the Morningview Baptist Church.


title: James F. Blake

text: On June 15, 1955, while driving a bus in Montgomery, Blake tried to run off the road a car driven by a black woman, Lucille Times. When she stopped to run an errand in Montgomery, he parked his bus across the street and proceeded to yell at her and they exchanged epithets and started fighting. Furious, Ms. Times contacted the National Association for the Advancement of Colored People (NAACP) and the bus company but received no response. She also sent unpublished letters to newspapers in Montgomery and Atlanta. For the next six months, Ms. Times retaliated against the bus company by driving by bus stops to offer free rides to waiting black passengers. In effect, Times began a boycott of the bus company six months before the NAACP and Rosa Parks began the better-known boycott of that company.


title: James F. Blake

text: In 1955, Montgomery's black leaders were preparing to make a legal case against racial discrimination on the city bus system. Rosa Parks was selected to be the central figure in a challenge to the Jim Crow laws which supported segregation.


title: James F. Blake

text: Years before, in 1943, Parks had boarded a bus driven by Blake. She entered the front door of that bus and paid her fare—as she continued on to take a seat, Blake told her to disembark and enter the bus again from the back door, a rule imposed by some drivers. She got off to re-enter through the back but Blake took off. Parks vowed to herself she would never ride with Blake again.


title: James F. Blake

text: Blake and Parks encountered each other again on December 1, 1955 (Parks having forgotten to check who was driving the bus on this occasion), when Blake ordered Parks and three other black people to move to the back of his Cleveland Avenue bus (number 2857) in order to make room for a white passenger. By Parks' account, Blake said, "Y'all better make it light on yourselves and let me have those seats." When she refused, Blake first contacted the bus company and called his boss remarking, "I called the company first, just like I was supposed to do," Blake recalled in a later interview with the "Washington Post". "I got my supervisor on the line. He said, 'Did you warn her, Jim?' I said, 'I warned her.' And he said, and I remember it just like I'm standing here, 'Well then, Jim, you do it, you got to exercise your powers and put her off, hear?' And that's just what I did."


title: James F. Blake

text: Parks, after being arrested, was fined $10 plus $4 in court fees (a total of $138 in 2021 money). Later, Blake contacted the police and signed the warrant for her arrest (Chapter 6, Section 11, of the city code gave drivers police powers for the racial assignment of seats.) The arrest sparked the Montgomery bus boycott and led to "Browder v. Gayle", the 1956 court case on the basis of which a United States District Court abolished segregation in transportation for the jurisdiction in which Montgomery, Alabama, is located.


title: James F. Blake

text: Commenting on the event afterwards, Blake stated, "I wasn't trying to do anything to that Parks woman except do my job. She was in violation of the city codes, so what was I supposed to do? That damn bus was full and she wouldn't move back. I had my orders. I had police powers—any driver for the city did. So the bus filled up and a white man got on, and she had his seat and I told her to move back, and she wouldn't do it."


title: James F. Blake

text: Blake continued working at the bus company (the Montgomery City Lines became the Montgomery Area Transit System in 1974) for another 19 years. He died of a heart attack in his Montgomery home in 2002, less than a month before his 90th birthday. He and his wife had been married for 68 years.


title: The Climb (song)

text: "The Climb" is a song recorded by American singer Miley Cyrus, for the 2009 film "". The song was written by Jessi Alexander and Jon Mabe, and produced by John Shanks. It was released on March 5, 2009, as the lead single from the by Walt Disney Records, and is also included as a bonus track on the international release of "The Time of Our Lives". The song is a power ballad with lyrics that describe life as a difficult but rewarding journey. It is styled as a country pop ballad, and was Cyrus' first solo song to be released to country radio. The instrumentation includes piano, guitar, and violins. The song is considered both a modern classic and a signature song for Cyrus.


title: The Climb (song)

text: The song was nominated for Best Song Written for a Motion Picture, Television, or Other Visual Media at the 52nd Annual Grammy Awards; however, the song was withdrawn from consideration by Walt Disney Records because it had not been written specifically for a film as the category's eligibility rules required. The song became a top-ten single on charts in Australia, Canada, Norway, and the United States. In the United States, it peaked at number four on the "Billboard" Hot 100 and became the eighth-best selling digital single of 2009. Five months after its release, the single was certified triple platinum by the Recording Industry Association of America.


title: The Climb (song)

text: The song's accompanying music video was directed by Matthew Rolston, and depicts scenes of Cyrus climbing a mountain or singing, intercut with clips of "Hannah Montana: The Movie". Cyrus promoted the song with several live performances. Cyrus performed the song as the closing number of her Wonder World Tour. The song was also performed during her Gypsy Heart Tour. "The Climb" has been covered by several artists and was the most popular choice of song among auditioners for the ninth season of the American singing contest, "American Idol", with Hollie Cavanagh performing it in the top six of the eleventh season. Simon Cowell, creator of the British television talent show "The X Factor", chose "The Climb" to be the debut single of the winner of the competition's sixth series. Winner Joe McElderry's cover, released on December 14, 2009, by Syco Music, was produced by Quiz & Larossi and topped the Irish Singles Chart and the UK Singles Chart.


title: The Climb (song)

text: "The Climb" was not intentionally written for the 2009 musical film "Hannah Montana: The Movie". Co-writer Jessi Alexander conceived the song's melody while driving to the home of songwriting partner Jon Mabe. Once she arrived, Mabe and she developed a song about overcoming life's obstacles inspired by their personal struggles in the music industry. Alexander referred to the process as a form of "therapy" and recalled,


title: The Climb (song)

text: The song they created was titled "It's the Climb" and was written in the third person. Alexander described the original song as "more spiritual" than the version that was released, and said it contained lines about prayer. However, she claimed she knew it was pop and suitable for the Walt Disney Company.


title: The Climb (song)

text: Before reaching Cyrus, the song had been rejected by several country artists. It was eventually picked up by Peter Chelsom, director of "Hannah Montana: The Movie", who gave it to Cyrus to record for the film. Chelsom found what would become "The Climb" while visiting Nashville, Tennessee, during a quest to find 11 new songs for the movie. After hearing Alexander's music, Chelsom asked her to submit songs for consideration. Alexander recorded "It's the Climb" on a CD and gave it to him. Several weeks later, Chelsom called to say, "the song was gonna be an integral part of the movie". However, he wanted Mabe and Alexander to rework some of the song's content and to change the song from third person to first person. Alexander felt the changes amounted to a "substantial amount of the song" and commented, "For me, when you change something from third person to first person, it can change the whole meaning of a line." Mabe and she "wrestl[ed] over taking words out" and how much they could change while maintaining the song's integrity. After a number of drafts, Mabe and Alexander finally created a version they felt was "perfect for the movie".


title: The Climb (song)

text: Upon receiving the final draft, filmmakers told the songwriters, "This is perfect for Miley, it’s gonna change her life, gonna change your life." Chelsom commented that the song "turned up" the film's music level by tapping into Cyrus's newfound vocal range. As with the other songs featured in "Hannah Montana: The Movie", the song is "tightly woven into the fabric of the story and the characters". In the film, Cyrus plays Miley Stewart, a character with a secret double life as superstar Hannah Montana. Keeping this secret causes trouble between Miley and many of the other characters in the film, and leaves Miley confused and contrite. She expresses her emotions by writing "The Climb". According to film producer Alfred Gough, "The song is her journey, the lessons she's learned in the movie. It's an epic [...] power ballad that encapsulates Miley's journey and the message of the film."


title: The Climb (song)

text: "The Climb" was chosen as the lead single from the soundtrack due to its country elements, which introduced Cyrus to listeners beyond her usual pop audience. The song is Cyrus's first solo effort marketed directly to country radio, though she had previously recorded and released a country duet with her father, Billy Ray Cyrus, which was titled "Ready, Set, Don't Go", in 2007. Warren Truitt of About.com referred to the song as "Miley's serious attempt to break into the contemporary country world." The song became available as a digital download on March 5, 2009. It was released to US country radio, and adult contemporary radio on March 10. In October 2009, it was re-released to countries outside the United States in the international version of Cyrus' extended play, "The Time of Our Lives".


title: The Climb (song)

text: "The Climb" is a country pop power ballad that incorporates soft rock and pop rock styles and lasts 3 minutes and 55 seconds. However, at two minutes and forty-five seconds, a "sudden, spiky burst of violins" enters the song, and the song switches to full power. Todd Martens, co-editor of the "Los Angeles Times" music column, says Cyrus uses "a raspy voice [that] brings a bit of country grit" to the song. "The Climb" is set in common time at a moderate tempo of 80 beats per minute. The song is sung in the key of E major and Cyrus's vocals span one and a half octaves, from E to C♯. The song uses a standard-issue ballad arrangement with the chord progression, E5–Asus2–F♯7sus.


title: The Climb (song)

text: According to music reviewer Fraser McAlpine of the BBC, the song's lyrics assert that life should be viewed as "a journey which is difficult but rewarding". Both Martens and McAlpine took special interest in the line "It's always gonna be an uphill battle/Sometimes I'm gonna have to lose". Martens interpreted the line as an acknowledgment by the singer of her own mistakes in life, while McAlpine wrote, "In this song which is about plugging away at things, the writers have slipped in [...] that the occasional setback isn't the end of the world." Others have suggested that Cyrus is also borrowing from Albert Camus' "The Myth of Sisyphus", highlighting the absurdity of life.


title: The Climb (song)

text: Critical reception for the song was generally positive. Fraser McAlpine of the BBC felt the song's lyrics were generic, but complimented Cyrus vocals: "Miley acquits herself well vocally—there are moments where her voice sounds a tad strained, but it's good to hear her on a track that's a little more subdued and with less frantic production than the uptempo, sassy pop songs we're used to." Michael Menachem of "Billboard" magazine called the song "one of the year's strongest ballads". Wesley Morris of "The Boston Globe" praised "The Climb" for being a "pretty liberation anthem". Leah Greenblatt of "Entertainment Weekly" said, "On tunes like [...] 'The Climb', the 16-year-old Tennessee native turns up her homegrown inflections, but a few elongated r's won't exactly shut out her huge pop audience." Todd Martens of "The Los Angeles Times" believed that "The Climb" was "buried in cheese" and described it as "pre-Valentine's Day gooeyness". However, Martens said, "'The Climb' is the rare Miley ballad that's on par with some of her more spunky teen pop."


title: The Climb (song)

text: Heather Phares of AllMusic said, "the best songs that Cyrus sings on the soundtrack have her own name on them". She also made musical comparisons to Shania Twain and described the song as "natural, [...] down to earth and grown-up". While reviewing "The Time of Our Lives", Michael Hann of "The Guardian" called "The Climb" a "one rather superior ballad", compared to "When I Look at You" and "Obsessed". Hann said the song was added to the extended play to "add some ballast since this collection's US release." Jon Caraminica of "The New York Times" described "The Climb" as an "appealing new single [that] is just the sort of demure, inspirational country-rock that could easily be mistaken for self-reckoning." While reviewing a concert performance, James Reed of "The Boston Globe" called the song "bland but inspirational fare".


title: The Climb (song)

text: "The Climb" won "Best Song from a Movie" at the 2009 MTV Movie Awards and "Music Choice: Single" at the 2009 Teen Choice Awards. At the 52nd Grammy Awards, "The Climb" received a nomination for the Best Song Written for a Motion Picture, Television or Other Visual Media, a songwriter's award. However, Walt Disney Records withdrew the song from consideration because the song was not "written specifically for a motion picture, television or other visual media", as the Grammy eligibility rules dictated. According to "Rolling Stone", "The Climb" was submitted for consideration by mistake. The National Academy of Recording Arts and Sciences (NARAS), the presenters of the Grammy Awards, released a statement stating, "Walt Disney Records was proactive and forthcoming to our awards department and verified that the song was not written specifically for the film "Hannah Montana: The Movie". Based on this information, the Academy has complied with the label's request." NARAS replaced the nomination with the song with the next highest initial vote count, "All is Love", which was written by Karen O and Nick Zinner for the film "Where the Wild Things Are". Dan Milliken of "Country Universe" gave the song a D+. His review consisted solely of two motivational posters: one reading "Life: Its not about the destination, but the journey" to describe the song's content, and a mock poster reading "Success: Everything is easy when you're cute" for his actual review. He later expanded his review, calling it "a soulless rephrasing of an extremely famous philosophical message (so famous it borders on cliche) that doesn't provide an emotionally coherent context or justification". Milliken gave the song a higher grade because "she's a pretty good singer for someone her age".


title: The Climb (song)

text: On the week ending March 7, 2009, "The Climb" debuted at number 48 on "Billboard"'s Hot Country Songs. It was, incidentally, the same week that "Back to Tennessee", by Cyrus's father, Billy Ray Cyrus, debuted at number 59, the first time a father and daughter had separate charting songs on the chart since Johnny and Rosanne Cash charted in 1990 with "Silver Stallion" and "One Step Over the Line", respectively. "The Climb" eventually peaked at number 25 on the country-genre chart. For the week ending March 21, 2009, the song debuted at number six on the "Billboard" Hot 100 due to sales of 166,000 digital downloads, thus making "The Climb" Cyrus's highest-charting effort at the time, surpassing her previous best-charting effort "7 Things", which peaked at number nine in July 2008. For the week ending May 2, 2009, the song reached its peak at number four on the Hot 100. "The Climb" also peaked at number seven on the Pop 100 chart, 42 on Hot Christian Songs, and at number one for 15 consecutive weeks on Hot Adult Contemporary Tracks. Cyrus became the youngest artist to top Adult Contemporary since LeAnn Rimes entered the chart in 1997 with "How Do I Live". According to "Billboard", "The Climb" was the eighth best selling digital single of 2009. The single was certified triple platinum by the Recording Industry Association of America (RIAA) for the sales of over two million copies. As of January 2014, "The Climb" has sold 3,709,000 copies in the United States. In Canada, "The Climb" entered at number 17 and eventually peaked at number five. The single was certified triple platinum by Music Canada for the sales of 240,000 digital downloads.


title: The Climb (song)

text: "The Climb" was also a success in Australia and New Zealand. The song made its debut on the Australian Singles Chart at number 46 on April 19, 2009. After 10 weeks on the chart, "The Climb" reached number five on the chart, where it stayed for two consecutive weeks. "The Climb" was placed at number 84 on the decade-end Australian Singles Chart. The song has been certified platinum by the Australian Recording Industry Association for sales above 70,000. "The Climb" debuted in the New Zealand Singles Chart at number 25 on April 13, 2009, and reached its peak at number 12 on June 15, 2009.


title: The Climb (song)

text: In the UK Singles Chart, "The Climb" made its entry at number 82 on March 28, 2009, and reached its peak at number 11 on June 16, 2009. With its peak at number 11, it tied for Cyrus's best-charting effort on the chart with "See You Again" from October 2008. The single was certified silver by the British Phonographic Industry (BPI) for the shipment of over 200,000 copies. In Ireland, the song also peaked at number 11. In mainland Europe, the song peaked at number 23 on Eurochart Hot 100 Singles, number 11 on Belgian Tip Singles Chart (Flanders), and number five on Norwegian Singles Chart. The song experienced similar commercial outcomes throughout the rest of Europe; it appeared within the top 30 of charts in Austria, Belgium (Wallonia), and France.


title: The Climb (song)

text: The music video for "The Climb" premiered on Cyrus's Myspace page on February 11, 2009. The video commences with a shot of Cyrus holding a guitar and a suitcase as she begins to walk down a long path extending through a valley. At the end of the valley, the sun breaks out over a distant mountain. The entire scene is enhanced with computer-generated imagery. Cyrus has her hair tied in a bun and wears a traveling jacket, a gray tank top, and cowboy boots. In a separate setting, Cyrus, wearing a gray short-sleeved shirt and her hair loose, begins to sing "The Climb" beneath a blue spotlight in a purple room. The two settings alternate throughout the video. A vignetted scene from "Hannah Montana: The Movie" appears in front of Cyrus as she walks on the path. The video zooms into the scene and a montage of film clips plays, featuring Cyrus's character and her love interest, Travis Brody (played by Lucas Till) horseback riding. The video returns to Cyrus walking; she picks up a rose fallen on the path, then throws it behind her. As the video progresses, she also sees things such as a herd of horses and a shooting star cross her path. A new setting enters the video in which Cyrus dances in a purple room with a countdown, or occasionally, film clips projected on the wall behind her. Rain begins to pour in the path setting. Cyrus puts down her jacket, guitar case, suitcase, and boots, and continues onwards with only her guitar strapped to her shoulder. More film clip montages play in the same manner as the first. As the last montage ends, Cyrus finally reaches the summit of a reddish, CGI mountain and triumphantly looks over the cliff's edge to watch the sun shining over a shimmering lake. An alternate version of the music video excluding the "Hannah Montana: The Movie" clips exists and was sent to several channels, including VH1.


title: The Climb (song)

text: Todd Martens of "the Los Angeles Times" wrote that while he enjoyed the song, he was unsure about the video. He commented that while the video was an improvement since Cyrus's video for "7 Things" (2008), the settings in "The Climb" music video looked as though they had been painted by Thomas Kinkade and Cyrus's dancing appeared off-beat. Travis of MTV described the video as "beautifully shot (although heavily digitized)". Lyndsey Parker of Yahoo! Music remarked that the summit setting was similar to that of the music video for Britney Spears' "I'm Not a Girl, Not Yet a Woman". Parker also felt the scene in which Cyrus looks out over the cliff, shot using large sweeps with an aerial camera, had been "lifted straight out of an '80s Bon Jovi video". In 2009, the video received a MuchMusic Video nomination for Best International Artist Video, but lost to Lady Gaga's music video for "Poker Face".


title: The Climb (song)

text: Cyrus opened the Kids' Inaugural: "We Are the Future" event with the premiere of "The Climb". The event was held on January 19, 2009, in Washington DC, at the Verizon Center to celebrate the inauguration of Barack Obama as President of the United States. Cyrus, dressed in an embroidered red ball gown made by Reem Acra, dedicated the song to Obama's daughters, Sasha and Malia Obama. Following the song's official release in March 2009, Cyrus resumed promotion for "The Climb", performing live for shows including "American Idol", "The Tonight Show with Jay Leno", the 44th annual Academy of Country Music Awards, "Good Morning America", and "Live with Regis and Kelly" throughout April. On April 13, Cyrus performed "The Climb" as part of her set for the Sessions@AOL. On April 24, Cyrus sang "The Climb" and other songs in a London Apple Store. The performances were recorded and sold exclusively by the United Kingdom iTunes Store as a live extended play titled "iTunes Live from London". On June 7, 2009, Cyrus performed the song at the 20th annual A Time for Heroes Celebrity Carnival, an outdoor carnival supporting the Elizabeth Glaser Pediatric AIDS Foundation. Cyrus also sang "The Climb" on "The Today Show" on August 28 and at the first D23 Expo on September 11, 2009.


title: The Climb (song)

text: To promote the "Hannah Montana: The Movie" soundtrack, Cyrus performed "The Climb" on a six-day, five-city acoustic radio promotional tour that reached over 250 radio shows. The song was also used as the closing number of Cyrus' 2009 Wonder World Tour, her first world tour. During the tour performances, Cyrus performed in a white tank top and shorts, boots, and a metallic vest, while giant overhead video screens displayed sunsets. After finishing, Cyrus exited through a passageway in the stage while the images of shooting stars and the earth in space appeared on the screen. Melinda M. Thompson of "the Oregonian" described the performance as "really a moment to remember—Miley's soulful and touching rendition of 'The Climb'", while Jim Harrington of "The Oakland Tribune" said the performance was a "tender closer" that drew a large response at the September 18 concert in Oakland, California, at the Oracle Arena.


title: The Climb (song)

text: Cyrus performed the song during the Gypsy Heart Tour. She also performed this song on CNN Heroes on December 11, 2011. Six years later, in 2017, she performed the song on" The Tonight Show Starring Jimmy Fallon", followed by an acoustic version on "The Howard Stern Show", and on March 24, 2018, Cyrus performed it before a massive outdoor crowd protesting gun violence at the March For Our Lives in Washington, DC. On May 15, 2020, Cyrus performed the song for "#Graduation 2020: Facebook and Instagram Celebrate the Class of 2020".


title: The Climb (song)

text: "The Climb" has been covered several times. At auditions for the ninth season of the television singing competition "American Idol", "The Climb" was the most popular choice of song amongst contestants.


title: The Climb (song)

text: In the same year of "The Climb"'s original release, British executive Simon Cowell chose for Joe McElderry, Olly Murs, and Stacey Solomon, the three finalists of the sixth series of the British television talent contest "The X Factor", to record the song in preparation for a single release as soon as the winner was announced. After Solomon's elimination, Murs and McElderry sang the song on December 13, 2009, as their final performance in the competition. Upon winning the competition, McElderry's version of "The Climb", produced by Quiz & Larossi, was released as a single on December 14, 2009, by Syco Music.


title: The Climb (song)

text: McElderry said that the lyrics to "The Climb" meant a lot to him: "It's an emotional song because it's what's been happening in the last few months. It all feels very, very surreal." According to Peter Robinson of "The Guardian", the cover has a "plinky" piano in its introduction. In regards to lyrics, Robinson interpreted, "lines about 'uphill battles' and 'having to lose' do seem to talk of Joe's probable future."


title: The Climb (song)

text: Peter Robinson of "The Guardian" described "The Climb" as a "controversially uncontroversial choice" for a cover and continued, "While 'The Climb' might be a suitable choice for a winner's single, the fact that it's a cover of such a recent song means that it's still slightly odd."


title: The Climb (song)

text: On the week ending 26 December 2009, "The Climb" debuted at number two on the UK Singles Chart; its debut position was influenced by a campaign composed of Facebook group members, aimed at getting Rage Against the Machine's 1992 single "Killing in the Name" to the top position during Christmas week. In the following week, the song reached number one, becoming the final number one of the 2000s decade, where it maintained for a week. It became 2009’s New Years number one. The single was certified Platinum by the British Phonographic Industry (BPI) for shipments exceeding 600,000 copies. The song has sold 810,000 copies in the UK as of January 2015.


title: The Climb (song)

text: "The Climb" debuted at number one on the Irish Singles Chart on the week ending December 17, 2009, where it maintained in the top position for four consecutive weeks. In mainland Europe, the song charted in the Eurochart Hot 100 Singles at number four on the week ending January 9, 2010.


title: The Climb (song)

text: The video was shot on December 16, 2009, in London, England. The video begins with footage from "The X Factor" and then transitions to a close-up shot of McElderry in the main setting, a flooded cityscape—the scene was shot in a flooded set with a cityscape backdrop. McElderry is clothed by a grey vest and a grey shirt, as he stands in the setting and performs. Throughout the entire video, scenes alternate between the flooded cityscape setting and recycled footage from "The X Factor", which are in black and white until it shows him in the live shows in colour. The video concludes with McElderry being informed he won the competition, hugging his peers.


title: Hank Henshaw

text: Henry "Hank" Henshaw is a supervillain appearing in American comic books published by DC Comics, and normally goes by the name Cyborg Superman. While originally featured primarily as an enemy of Superman, he has in recent years also been an enemy of the Green Lantern Corps.


title: Hank Henshaw

text: At times, he is also referred to as "The Cyborg" (not to be confused with Victor Stone a.k.a. Cyborg)


title: Hank Henshaw

text: While the character debuted in "The Adventures of Superman" #465 (May 1990) and was created by Dan Jurgens, he was reintroduced as the original Cyborg Superman during the "Reign of the Supermen" storyline following Superman's death.


title: Hank Henshaw

text: Hank Henshaw first appeared as a crew member on board the doomed NASA Space Shuttle "Excalibur" in "Superman" (vol. 2) #42, and Henshaw and the other crew members were next seen in "The Adventures of Superman" #465.


title: Hank Henshaw

text: Hank and the other three members of the "Excalibur" crew, including his wife Terri, are part of a radiation experiment designed by LexCorp that is affected by a solar flare, causing their shuttle to crash. As a result of their radiation exposure, the human bodies of two crew members were destroyed. However, their minds survived and they were able to construct new bodies out of cosmic radiation and bits of earth and wreckage from the shuttle, respectively. Initially, Henshaw and his wife suffer no ill effects from the radiation (though Hank's hair turns white), and the crew travels to Metropolis in the hopes of using LexCorp facilities to cure their mutated crewmates. During a brief battle with Superman, one crew member, now composed of radiation, becomes unhinged and flies into the Sun, destroying himself. By this time, Henshaw's body has started to rapidly decay, while his wife is beginning to phase into an alternate dimension. With Superman's help, Henshaw is able to use the LexCorp facilities to save Terri. The remaining member of the shuttle crew commits suicide, using an MRI booth to tear apart the metallic components of his body.


title: Hank Henshaw

text: Though Henshaw's physical body expired, he was able to transfer his consciousness into the LexCorp mainframe. Now able to control technology, Henshaw appears to his wife in a robotic body. The shock of this bizarre rebirth is too much for Terri to bear and in a fit of insanity, she jumps to her death. By this point, Henshaw's electronic consciousness has begun to disrupt Earth's communications networks. Using NASA communications equipment, Henshaw beams his mind into the birthing matrix which had carried Superman from Krypton to Earth as an infant. He creates a small exploration craft from the birthing matrix and departs into outer space alone.


title: Hank Henshaw

text: Henshaw spends some time traveling between planets, bonding with local lifeforms to learn about the culture and history of various worlds. Henshaw comes to believe that Superman was responsible for the tragedy of the "Excalibur" after learning that around the time of the accident, the Man of Steel had thrown a rogue Kryptonian artificial intelligence (the Eradicator) into the Sun. Henshaw believes that this created the solar flare that resulted in the "Excalibur" crew's transformations (although Superman had shared this concern with Terri after he had saved her life and she had confirmed that the flares would have been triggered "before" Superman disposed of the Eradicator). Over time, Henshaw becomes delusional and paranoid, believing that the Man of Steel had intentionally caused the deaths of himself, his wife, and his crew, then driven him from Earth. Arriving on a planet controlled by alien overlord and Superman foe Mongul, Henshaw learns of Warworld and forcibly recruits Mongul as part of a plan for revenge against Superman.


title: Hank Henshaw

text: With Superman apparently dead after his battle with Doomsday, Henshaw decides to pose as him in order to destroy his reputation. To that end, the Cyborg claims to be Superman reborn, the result of the hero's body being pieced together and revived with technology. The Cyborg then uses knowledge obtained from Superman's birthing matrix to construct a body that is genetically identical to Superman's. When analyzed closely by Professor Hamilton, the Cyborg passes for the real thing, due to components within himself that include Kryptonian alloys, combined with the fact that the replaced body parts correspond with those parts of the original Superman's body that were most severely injured in his fight with Doomsday.


title: Hank Henshaw

text: After destroying a Superman memorial plaque in front of the "Daily Planet", the Cyborg exiles Doomsday into space, prevents a nuclear meltdown, and saves the President of the United States from an assassination attempt. The White House then endorses the Cyborg as the 'true' Superman. When confronted by Lois Lane, the Cyborg claims his memory is "blurry", but he can see a "spaceship on a farm and the name Kent", suggesting that Henshaw may be aware of Superman's secret identity.


title: Hank Henshaw

text: Henshaw's arrival as Superman is simultaneous with that of three others: John Henry Irons (the self-styled Man of Steel), the Eradicator (the self-styled Last Son of Krypton), and the modern Superboy. The endorsement of the President ensures that the Cyborg eclipses the rest of the heroes claiming to be Superman's heir. During this time, two cults spring up in anticipation of Superman's return from the dead: one that deifies the Eradicator and another that venerates the Cyborg. Supporters of both eventually come to blows over which is the real Superman.


title: Hank Henshaw

text: When an alien ship appears over Coast City, the Cyborg attacks and severely injures the Eradicator, allowing Mongul's craft to destroy the city. The Cyborg also murders an entire family of vacationers trying to find a way out of the devastated area. The Cyborg was then able to convince the White House and the public that the Eradicator was responsible. After tricking and defeating Superboy, Henshaw prepares to launch a nuclear warhead intended to convert Metropolis into a second Engine City.


title: Hank Henshaw

text: Superboy is able to escape and warn John Henry Irons, Supergirl, and the resurrected (but powerless) original Superman of the Cyborg's plans. The quartet travels to the site of the former Coast City, and Superman (whose powers are slowly returning), Supergirl, and Steel confront Mongul and the Cyborg, while Superboy stops the missile from hitting Metropolis. While Green Lantern defeats Mongul, the Cyborg lures Superman and the Eradicator to the Engine City main reactor and attempts to kill Superman with the kryptonite that powers the engine. When Henshaw tries to kill Superman with a concentrated blast of kryptonite radiation, the Eradicator intercepts the blast at the expense of his own life. As the kryptonite energy passes through the Eradicator, the radiation is altered and acts to fully restore Superman's powers. Superman is then able to easily defeat the already weakened Cyborg by sticking his arm through Henshaw's chest, killing him and shattering his body. When Henshaw panics and states that he will "somehow" find a way to come back, a doubting Superman simply says that if Henshaw does, he will be waiting.


title: Hank Henshaw

text: It was later revealed that Henshaw chose to attack Coast City first because he and his late wife were former residents. This was part of an effort to erase his former life.


title: Hank Henshaw

text: Before exiling Doomsday into space, Henshaw had installed a device on the monster to allow him to detect if Doomsday were to ever escape. After the destruction of his Cyborg Superman form, Henshaw transfers his consciousness into this device as Doomsday is "the safest place in the galaxy" for the Cyborg to hide. Doomsday is brought on board a space cruiser and, despite frantic efforts of the crew to jettison him, kills the crew, and upon landing on Apokolips, proceeds to pillage the planet.


title: Hank Henshaw

text: When Superman, his power now boosted by being repowered by "purple kryptonite", arrives, Henshaw emerges by reconfiguring an armored Apokoliptian trooper, brutally murdered by Doomsday, into a new body (which, by all accounts, had its DNA overwritten with the Kryptonian DNA Henshaw had obtained while in Superman's birthing matrix, and thus still retains a portion of Superman's abilities and still looks the way the Cyborg Superman looked, except for a change in the color of the Cyborg's metallic components) and proceeds to lay siege to the planet alongside Doomsday. The Cyborg successfully takes over most of Apokolips but is captured by Darkseid's Omega Beams during a battle with Superman.


title: Hank Henshaw

text: Darkseid did not kill the Cyborg; rather, the Omega Effect captured Henshaw in a small orb, with Darkseid planning to use the Cyborg against Superman at a later date. Darkseid eventually frees Henshaw with the understanding that Henshaw is to leave Apokolips and never return.


title: Hank Henshaw

text: The Cyborg eventually aligns himself with an intergalactic Tribunal which is seeking to bring Superman to trial for the crimes of his ancestors. Henshaw assists the Tribunal in capturing the Eradicator, Superboy, Supergirl, Steel, and Alpha Centurion, who had intended to rescue Superman. However, the Cyborg betrayed the Tribunal and attempted to conquer their planet for conversion into a new Warworld. Superman and his allies stop the Cyborg's plan and, when Henshaw's involvement in the destruction of Coast City is brought to the attention of the Tribunal, they find him guilty of genocide and sentence him to death. As an electronic consciousness, Henshaw cannot be killed by normal means and is transported beyond the event horizon of a black hole, where not even light can escape from the gravity.