title: Terry Southern

text: Southern returned to Europe with Kauffman in October 1956, stopping off in Paris then settling in Geneva, Switzerland, where they lived until 1959. Kauffman took a job with UNESCO, which supported them as Southern continued to write. The years in Geneva were a prolific period during which he prepared "Flash and Filigree" for publication, and worked on "Candy" and "The Magic Christian" as well as TV scripts and short stories. The couple made trips to Paris, where they visited Mason Hoffenberg, Allen Ginsberg, and William S. Burroughs, and to London, where Southern met Henry Green and Kenneth Tynan.


title: Terry Southern

text: During his time in New York, Southern had written a short story "about a girl in Greenwich Village who got involved with a hunchback because she was such a good Samaritan" and this became the core of "Candy", co-written with Mason Hoffenberg. On his return to Paris in late 1956, Southern showed the story to several people, including Hoffenberg, who thought the character should have more adventures. Southern encouraged Hoffenberg to write one; this became the sequence where Candy goes to the hospital to see Dr. Krankheit. The pair began alternately creating chapters, working together regularly on visits to Tourrettes-sur-Loup over the spring and summer of 1957. The book was introduced to publisher Maurice Girodias, probably by Marilyn Meeske, who, according to Southern, thought Girodias would be interested in it as a "dirty book".


title: Terry Southern

text: André Deutsch accepted "Flash and Filigree", Southern's first novel, early in 1957, and the short story "A South Summer Idyll" was published in "Paris Review" No. 15. The Southerns spent some time in Spain with Henry Green during the summer, and Southern interviewed him for the "Paris Review". Several more short stories were published later that year, by which time he was finishing work on "Candy". Southern and Gregory Corso helped convince Girodias to publish the controversial novel "Naked Lunch" by then-little-known author William S. Burroughs.


title: Terry Southern

text: In early 1958, Southern made his first foray into screenwriting, working with Canadian director Ted Kotcheff, who had come to Britain to work for the newly established ABC Weekend TV company. Kotcheff directed Southern's TV adaptation of Eugene O'Neill's "The Emperor Jones", which was broadcast in the UK in March. This coincided with the publication of "Flash and Filigree", which was well reviewed in the UK but coolly received in the U.S.


title: Terry Southern

text: The first major magazine interview with Southern, conducted by Elaine Dundy, was published in UK "Harper's Bazaar" in August 1958. In October Olympia published "Candy" under the pseudonym Maxwell Kenton, and it immediately was banned by the Paris vice squad.


title: Terry Southern

text: "The Magic Christian", Southern's first solo novel, satirically explores the corrupting effects of money. He finished the book in Geneva over the fall and winter of 1958–1959. and it was published by André Deutsch in Spring 1959 to mixed reviews; however, it soon gained an avid cult following. By the time it had been published, the Southerns had decided to return to the U.S.; they left Geneva for New York in April 1959.


title: Terry Southern

text: After moving back to the U.S., the Southerns stayed with friends for several months until they were able to buy their own home. They were looking for a rural retreat close enough to New York to allow Terry to commute there. Southern met and became friendly with jazz musician and bandleader Artie Shaw, and they began looking for properties together. Shaw put down a deposit on a farm in East Canaan, Connecticut, but at the urging of a friend Southern convinced Shaw to let him buy the farm, which he purchased for $23,000.


title: Terry Southern

text: During 1959 and 1960, he continued working on a never-completed novel titled "The Hipsters", which he had begun in Geneva. He became part of the New York artists and writers 'salon' of his old friend Plimpton—who had also moved back to New York— frequenting the Cedar Tavern, rubbing shoulders with writers James Jones, William Styron, Norman Mailer, Philip Roth, "Doc" Humes, Jack Gelber, Jules Feiffer, Blair Fuller, Gore Vidal, Kenneth Tynan, the Aga Khan, the cast of the British comedy stage revue "Beyond The Fringe", Jackie Kennedy, British actress Jean Marsh, and Tynan's first wife, Elaine Dundy, through whom Southern met satirist Lenny Bruce.


title: Terry Southern

text: "Flash and Filigree" had been published in the U.S. by Coward McCann in the fall of 1958. Several fragments from "The Hipsters" were published as short stories during this period, including "Red-Dirt Marijuana" published, in the January–February 1960 edition of "Evergreen Review"; and "Razor Fight", published in "Glamour" magazine. He had an essay on Lotte Lenya published in "Esquire". In early 1960, he began writing book reviews for "The Nation", which were published over the next two years. During the year, he collaborated with his old Paris friends Alex Trocchi and Richard Seaver, compiling "Writers in Revolt," an anthology of modern fiction for the Frederick Fall company. The editing process took much longer than expected: A drug bust led Trocchi to flee to the UK via Canada, leaving Southern and Seaver to finish the book.


title: Terry Southern

text: Terry and Carol's son and only child Nile Southern was born on December 29, 1960. Around this time, Southern began writing for Maurice Girodias' new periodical "Olympia Review". He began negotiations with the Putnam company to reissue "Candy" under his and Hoffenberg's real names, and he hired Sterling Lord as his literary agent, .


title: Terry Southern

text: In the summer of 1962, Southern worked for two months as a relief editor at "Esquire", and during this period, he had several stories published in the magazine, including "The Road to Axotle". Through "Esquire", he interviewed rising filmmaker Stanley Kubrick, who had completed his controversial screen adaptation of Vladimir Nabokov's novel "Lolita". Although Southern knew little about Kubrick, the director was well aware of Southern's work, having been given a copy of "The Magic Christian" by Peter Sellers during the making of "Lolita".


title: Terry Southern

text: Southern's life and career changed irrevocably on November 2, 1962, when he received a telegram inviting him to come to London to work on the screenplay of Kubrick's new film, which was then in pre-production.


title: Terry Southern

text: Partly on the recommendation of Peter Sellers, Stanley Kubrick asked Southern to help revise the screenplay of "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb" (1964). The film was based on the Cold War thriller "Red Alert" (1958) by Peter George, the rights to which Kubrick had secured for $3,000. Kubrick and George's original screenplay (which was to be called "Edge of Doom") was a straight political thriller. They then reworked it into a satirical format (provisionally titled "The Delicate Balance of Terror") in which the plot of "Red Alert" was situated as a film-within-a-film made by an alien intelligence.


title: Terry Southern

text: Southern's work on the project was brief but intense; he officially worked on the script from November 16 to December 28, 1962. Southern began to rely on the amphetamine-barbiturate "diet pill" Dexamyl to keep him going through the frantic rewriting process; in later years, he developed a long-term amphetamine dependency. His amphetamine abuse, combined with his heavy intake of alcohol and other drugs, contributed significantly to health problems in later life.


title: Terry Southern

text: The major change Southern and Kubrick made was to recast the script as a black comedy, jettisoning the "film within a film" structure. Kubrick, George, and Southern shared the screenplay credits, but competing claims about who contributed what led to confusion and some conflict among the three men after the film's release. The credit question was confused by Sellers' numerous ad libbed contributions—he often improvised wildly on set, so Kubrick made sure that Sellers had as much camera 'coverage' as possible during his scenes in order to capture these spontaneous inspirations.


title: Terry Southern

text: In an apparent homage to Southern's birthplace, the movie mentions that the "23rd Airborne Division is stationed seven miles away at Alvarado, Texas". Burpelson Air Force Base, an important setting of the movie, may allude to nearby Burleson, Texas.


title: Terry Southern

text: According to Art Miller, an independent producer who hired Southern to write the screenplay for a never-completed comic film about the bumbling Watergate burglars, Southern told him that the best example of his writing in "Dr. Strangelove" was the scene in which B-52 pilot T.J. "King" Kong, played by Slim Pickens, reads off a list of the contents of a survival kit to his crew, concluding that a man could have "a pretty nice weekend in Vegas" with some of the items. When the scene was shot, Pickens spoke the scripted line ("Dallas"), but the word " Vegas" was overdubbed during post-production because the film was released not long after the assassination of President John F. Kennedy in Dallas in November 1963.


title: Terry Southern

text: According to Miller, Peter Sellers quietly paid Southern tens of thousands of dollars to create some of the best-known comedy bits for Sellers' character Inspector Clouseau in the "Pink Panther" film series.


title: Terry Southern

text: Southern also helped Sellers with dialogue coaching. Originally slated to play four roles, including that of the Texan B-52 bomber pilot Major Kong, the actor had difficulty mastering the accent. Southern, a native Texan, taped himself speaking Kong's lines for Sellers to study. Sellers, who had never been comfortable in the role of Kong, was able to extricate himself from the part after allegedly fracturing his ankle, forcing Kubrick to re-cast. The part eventually went to actor Slim Pickens, who Kubrick met during his brief stint working on Marlon Brando's "One-Eyed Jacks".


title: Terry Southern

text: After the film went into wider release in January 1964, Southern was the subject of considerable media coverage, and erroneously was given primary credit for the screenplay, a misperception he did little to correct. This reportedly angered both Kubrick—who was notorious for his unwillingness to share writing credits—and Peter George, who penned a complaint to "Life" magazine in response to a lavish photo essay on Southern published in the May 8, 1964 edition. Stung by the article's assertion that Southern was responsible for turning the formerly "serious script" into an "original irreverent satirical film", George pointed out that he and Kubrick had been working together on the script for 10 months, whereas Southern was only "briefly employed (November 16–December 28, 1962) to do some additional writing."


title: Terry Southern

text: Toward the end of his work on "Dr. Strangelove", Southern began canvassing for more film work. Jobs he considered included a proposed John Schlesinger screen adaptation of the Iris Murdoch novel "A Severed Head", and a project called "The Marriage Game", to be directed by Peter Yates and produced by the James Bond team of Harry Saltzman and Cubby Broccoli. He also wrote an essay on John Fowles' novel "The Collector", which led to his work as a "script doctor" on the subsequent screen version.


title: Terry Southern

text: Southern's writing career took off during 1963. His essay "Twirlin' at Ole Miss" was published in "Esquire" in February 1963, and this work of satirical reportage is now acknowledged as one of the cornerstone works of New Journalism. This was quickly followed by the publication of several other essays, including the Bay of Pigs-themed "Recruiting for the Big Parade", and one of his best Paris stories, "You're Too Hip, Baby". The fiction anthology "Writers In Revolt" was published in the spring, soon followed by the U.S. publication of "Candy", which became the #2 American fiction best-seller of 1963.


title: Terry Southern

text: The success of "Dr. Strangelove" and the re-published version of "Candy" was the turning point in Southern's career, making him one of the most celebrated writers of his day. In the words of biographer Lee Hill, Southern spent the next six years in "an Olympian realm of glamour, money, constant motion and excitement", mixing and working with international literary, film, music, and TV stars. His work on "Dr. Strangelove" opened the doors to lucrative work as a screenwriter and script doctor, and allowed him to greatly increase his fee, from the reported $2,000 he received for "Dr. Strangelove" to as much as $100,000 thereafter.


title: Terry Southern

text: During the latter half of the 1960s, Southern worked on the screenplays of a string of "cult" films. His credits in this period include "The Loved One" (1965), "The Collector" (1965), "The Cincinnati Kid" (1965), "Casino Royale" (1967), "Barbarella" (1968), "Easy Rider" (1969), "The Magic Christian" (1969), and "End of the Road" (1970).


title: Terry Southern

text: In early 1964, Southern was hired to collaborate with British author Christopher Isherwood on a screen adaptation of Evelyn Waugh's satirical novel "The Loved One", directed by British filmmaker Tony Richardson. When filming was postponed in spring of 1964, Southern returned to East Canaan and continued work on a rewrite of the script for the film version of John Fowles' "The Collector" but he eventually withdrew from the project because he disagreed with the change to the story's ending.


title: Terry Southern

text: In August 1964, the Southerns moved to Los Angeles, where Terry began work on the screenplay of "The Loved One", for which MGM/Filmways paid him $3,000 per month. Southern's work and his networking and socializing brought him into contact with many Hollywood stars, including Ben Gazzara, Jennifer Jones, Janice Rule, George Segal, Richard Benjamin, James Coburn, Peter Fonda, and Dennis Hopper and his wife Brooke Hayward. Hopper, a fan and collector of modern art, later introduced Southern to British gallery owner and art dealer Robert Fraser.


title: Terry Southern

text: Not long after arriving in Los Angeles, Southern met Gail Gerber, a young Canadian-born actress and dancer, on the MGM backlot. Gerber, who used the stage name Gail Gilmore, was working as a dancer on an Elvis Presley movie, and she had a non-speaking role in "The Loved One". Southern and Gerber soon began an affair. The relationship intensified during July/August 1964, and after Southern's wife and son went back to East Canaan, Southern and Gerber moved in together in a suite at the Chateau Marmont hotel.


title: Terry Southern

text: Working with Richardson and Isherwood, Southern turned Waugh's novel into "an all-out attack on Hollywood, consumerism, and the hypocrisies surrounding man's fear of death". Southern also wrote the text for a souvenir book, which featured photos by William Claxton.


title: Terry Southern

text: Work on the film continued through most of 1965, with Southern and Gerber spending much of their leisure time with their newfound film star friends in Malibu, California. "Loved One" co-producer John Calley was a frequent visitor to Southern's Chateau Marmont suite, and he hired Southern to work on several subsequent Filmways projects, including "The Cincinnati Kid" and "Don't Make Waves".


title: Terry Southern

text: Soon after principal shooting on "The Loved One" was concluded, Southern began work on the script of "The Cincinnati Kid", which starred Steve McQueen. He was one of several writers who had worked on versions of the screenplay, including Paddy Chayefsky, George Good, and Ring Lardner Jr. Original director Sam Peckinpah was fired one week into shooting, allegedly because he shot unauthorized nude scenes. (He did not make another film until 1969's "The Wild Bunch".) He was replaced by Norman Jewison, and during his work on this production, Southern formed a close and enduring friendship with cast member Rip Torn.


title: Terry Southern

text: By 1966, the film adaptations of Ian Fleming's James Bond series, produced by Albert R. Broccoli and Harry Saltzman, had become a successful and popular film franchise. However, the rights to Fleming's first Bond novel "Casino Royale" had been secured by rival producer Charles K. Feldman. He had attempted to get "Casino Royale" made as an Eon Productions James Bond film, but Broccoli and Saltzman turned him down. Believing he could not compete with the Eon series, Feldman then decided to shoot the film as a parody, not only of James Bond but of the entire spy fiction genre. The casino segment featuring Peter Sellers and Orson Welles is the only portion based upon the novel.


title: Terry Southern

text: Southern and Gail Gerber moved to London in early 1966, when Southern was hired to work on the screenplay of "Casino Royale". The episodic "quasi-psychedelic burlesque" proved to be a chaotic production, stitched together from segments variously directed or co-directed by a team that included Joseph McGrath, Robert Parrish, Val Guest, John Huston, Richard Talmadge, and Ken Hughes. Many planned scenes could not be filmed due to the feud between Orson Welles and star Peter Sellers, which climaxed with Sellers walking out during the filming of the casino scenes and refusing to return. Many writers contributed to the screenplay, including Southern (who wrote most of the dialogue for Sellers), Woody Allen, Wolf Mankowitz, Michael Sayers, Frank Buxton, Joseph Heller, Ben Hecht, Mickey Rose, and Billy Wilder.


title: Terry Southern

text: Southern had been introduced to Robert Fraser by Dennis Hopper, and when he went to London to work on "Casino Royale" he and Gail became part of Fraser's "jet-set" salon that included the Beatles, the Rolling Stones, photographer Michael Cooper, interior designer Christopher Gibbs, model-actress Anita Pallenberg, filmmaker Nicolas Roeg, painter Francis Bacon, producer Sandy Lieberson, Guinness heir Tara Browne, and model Donyale Luna. Southern became close friends with photographer Michael Cooper, who was part of the Rolling Stones' inner circle and who shot the cover photos for the Beatles' "Sgt Pepper's Lonely Hearts Club Band" LP.


title: Terry Southern

text: Southern attended the Cannes Film Festival in the spring of 1966, where he met Andy Warhol and Gerard Malanga, and he remained in touch with Malanga for many years. On his return to London he continued work on the "Casino Royale" screenplay and a screen adaptation of "The Magic Christian" for Peter Sellers, who was planning his film version. Sandy Lieberson optioned Southern's first novel "Flash and Filigree" and United Artists optioned "Candy". Michael Cooper also introduced Southern to the Anthony Burgess novel "A Clockwork Orange", and Southern later encouraged Stanley Kubrick to make his film version of the book after MGM refused to back Kubrick's planned film on Napoleon. Southern and Cooper then began to plan their own film adaptation of the novel, to star Mick Jagger and The Rolling Stones as Alex and his gang of droogs.


title: Terry Southern

text: Through Si Litvinoff, Southern optioned the book for the bargain price of $1,000 (against a final price of $10,000) and Lieberson and David Puttnam set up a development deal with Paramount, who underwrote a draft by Southern and Cooper. Actor David Hemmings was briefly considered for the role of Alex—much to the chagrin of Cooper and the Stones—and the director's chair was initially offered to Richard Lester, who turned it down. Southern's old friend Ted Kotcheff was then approached, but at this point the project stalled – under the British censorship regulations of the time, the treatment had to be submitted to the Lord Chamberlain, who returned it, unread, with a note attached that said: "I know this book and there is no way you can make a movie of it. It deals with youthful incitement, which is illegal." As a result, Paramount put it into 'turnaround' and it was eventually picked up by Kubrick three years later.


title: Terry Southern

text: During the frequent downtime during the filming of "Casino Royale", Filmways hired Southern to do a "tightening and brightening" job on the screenplay of the occult thriller "Eye of the Devil", which starred David Niven and featured Sharon Tate in her first film role. Through the winter of 1966–67 he also began work on the screenplay for Roger Vadim's "Barbarella", and he contributed to a TV version of "The Desperate Hours" directed by Ted Kotcheff and starring George Segal and Yvette Mimieux.


title: Terry Southern

text: The June 1, 1967, release of "Sgt Pepper's Lonely Hearts Club Band" gave Southern pop-culture immortality, thanks to his photograph being included (on the recommendation of Ringo Starr) on the album's front-cover collage, which was photographed by Cooper. Soon after, a collection of his short writing "Red-Dirt Marijuana and Other Tastes", was published in the US. It received favorable reviews from critics, and the cover blurb featured a highly complimentary quote from Gore Vidal, who described Southern as "the most profoundly witty writer of our generation".


title: Terry Southern

text: Work on "Barbarella" continued through to late 1967, and Southern convinced Vadim to cast his friend Anita Pallenberg in the role of the Black Queen. In December 1967 the film version of "Candy" began shooting in Rome with director Christian Marquand. It starred newcomer Ewa Aulin in the title role and like "Casino Royale" it featured a host of stars in cameo roles, including Richard Burton, Marlon Brando, John Astin, Ringo Starr, Walter Matthau, and Anita Pallenberg.


title: Terry Southern

text: The original screenplay by Southern was rewritten by Buck Henry (who also has an uncredited cameo in the film). Like "Casino Royale", it proved to be a chaotic production and failed to live up to expectations; it was generally panned by critics on its release in December 1968 and its impact was further weakened by the financial collapse of its major backer.


title: Terry Southern

text: As production on "Barbarella" wound down in October 1967, director Roger Vadim began shooting his episode of the omnibus film "Spirits of the Dead", which co-starred Peter Fonda and Vadim's wife Jane Fonda. It was during the making of this film that Peter Fonda told Southern of his desire to make a 'modern Western' in which motorbike riders substituted for cowboys, a concept that had been largely inspired by the success of Roger Corman's influential low-budget "exploitation" biker films "The Wild Angels" (1966) and its follow-ups, in which Fonda and his close friend Dennis Hopper had featured. Fonda pitched his idea to Hopper on his return to America, and Southern added his weight to the project, agreeing to work on the script for scale ($350 per week).


title: Terry Southern

text: Southern, Fonda, and Hopper met in New York City in November 1967 to develop their ideas. These brainstorming sessions formed the basis of the screenplay that Southern then wrote from December 1967 to April 1968. On the basis of Southern's treatment, Raybert Productions, which had produced the TV series "The Monkees" and the Monkees movie "Head", agreed to finance the film with a budget of US$350,000 (in return for one-third of the profits), with Columbia Pictures agreeing to distribute the film.


title: Terry Southern

text: Southern eventually shared the writing credit with Hopper and Fonda, but there has been dispute over their various contributions to the screenplay. Hopper and Fonda later tried to downplay Southern's input, claiming that many sections of the film (such as the graveyard scene and the Mardis Gras sequence) had been improvised, whereas others involved in the production (including Southern himself) have asserted that most of these scenes were fully scripted and primarily written by him.


title: Terry Southern

text: Although the basic concept for the film was Fonda's, the title "Easy Rider" was provided by Southern (it is slang term from the American South for a prostitute's lover who lives off her) and Southern wrote several early drafts of the screenplay. During the production, Southern became concerned at Hopper and Fonda's replacement of his writing by what he described as "dumb-bell dialogue", and more of the material Southern wrote for the main characters was cut out during the editing process. Also Fonda and Hopper mostly improvised a great deal as they filmed.


title: Terry Southern

text: Southern had originally written the character of the small-town lawyer (played by Jack Nicholson) with his friend Rip Torn in mind, but Torn dropped out of the project after an altercation with Hopper in a New York restaurant, in which the two actors almost came to blows.


title: Terry Southern

text: Southern continued to work on other projects while "Easy Rider" began shooting—he completed his next novel "Blue Movie"; began working with the painter Larry Rivers on a book project "The Donkey and The Darling"; he worked on the final drafts of the screenplay for "The Magic Christian", and he began discussions with Aram Avakian about a movie project called "The End of the Road".


title: Terry Southern

text: In summer 1968, he was approached by "Esquire" magazine to cover the 1968 Democratic National Convention in Chicago. Southern attended the event with William S. Burroughs, Jean Genet (a last-minute substitute for Samuel Beckett) and John Sack, and his friend Michael Cooper took photographs; Southern and friends were present when peaceful demonstrations erupted into savage violence after protesters were attacked by police. Southern's essay on the event was his last work published by "Esquire".


title: Terry Southern

text: The editing of "Easy Rider" continued for many months, as Hopper and Fonda argued over the final form. Hopper ditched a planned score by Crosby, Stills, Nash & Young and returned to the group of songs he had used for the rough cut, which included music by The Byrds, Jimi Hendrix, and Steppenwolf. "Easy Rider" caused a sensation when it was screened in Cannes and it went on to become the fourth highest-grossing American film of 1969, taking $19 million, and receiving two Academy Award nominations. Although it brought Hopper and Fonda great financial and artistic rewards and helped to open up the Hollywood 'system' for young independent producers, little of the profit was shared with Southern, and the true extent of his contributions was repeatedly downplayed by the other principals.


title: Terry Southern

text: Southern's next major screenplay was "The End of the Road", adapted from the novel by John Barth and starring Stacy Keach, Dorothy Tristan and James Earl Jones. It was directed by his friend Aram Avakian. The director and the film were the subject of a major spread in "Life" magazine in November 1969, which reportedly led to a critical backlash, and the film was savaged on its release, and was especially criticised because of a graphic scene in which the main female character undergoes an abortion, which led to the film being classified with an "X" rating.


title: Terry Southern

text: "The Magic Christian" was one of Peter Sellers' favorite books—his gift of a copy to Stanley Kubrick led to Southern being hired for "Dr. Strangelove"—and a film version of the book had long been a dream project for the actor, who intended to play the lead role of Guy Grand. In 1968 Southern was hired for the production and he worked on a dozen drafts of the screenplay. Sellers also tinkered with it while Southern was working on "The End of the Road". At Sellers' request, a draft by Southern and director Joseph McGrath was re-written by Graham Chapman and John Cleese, two young British TV comedy writers who soon became famous as members of the Monty Python team. Cleese later described McGrath as having "no idea of comedy structure" and complained that the film ended up as "a series of celebrity walk-ons."


title: Terry Southern

text: The film was shot in London between February and May 1969. The cast was headed by Sellers (as Guy Grand) and Ringo Starr as his son Youngman Grand (a new character created for the movie), with cameo appearances by Spike Milligan, Christopher Lee, Laurence Harvey, Raquel Welch, Roman Polanski and Yul Brynner. As with "Dr. Strangelove", Sellers habitually improvised on the script during filming. During production McGrath and Southern discussed a future project based on the life of gangster Dutch Schultz, to be made in collaboration with William Burroughs and Alexander Trocchi, but nothing came of it.


title: Terry Southern

text: "The Magic Christian" ends with a scene in which Grand fills a huge vat with offal and excrement and then throws money into the fetid mixture to demonstrate how far people will go to get money for nothing. The original plan was to film the climactic scene at the Statue of Liberty in New York, and the US National Park Service agreed to the request. Sellers, McGrath and Southern then traveled to New York on the "Queen Elizabeth 2" (at a reported cost of $10,000 per person) but the studio then refused to pay for the shoot and it had to be relocated to London. The scene was eventually shot on the South Bank, near the site of the new National Theatre building. The film premiered on February 12, 1970, to lukewarm reviews.


title: Terry Southern

text: Southern's pre-eminence waned rapidly in the 1970s—his screen credits decreased, his book and story output dwindled, and he acquired a reputation as an out-of-control substance abuser. He continued to drink heavily and take various drugs; in particular, his dependence on Dexamyl badly affected his health as he aged. Biographer Lee Hill suggests that Southern was a functioning alcoholic and that his image was largely based on his occasional public appearances in New York, partying and socializing; in private, he remained a tireless worker.


title: Terry Southern

text: His later career was complicated by ongoing financial woes. In the late 1960s, Southern's spendthrift ways and lack of financial acumen led him into trouble and he was audited by the IRS on several occasions beginning in 1972, resulting in heavy tax bills and penalties. Tax problems dogged him for the rest of his life. In 1968, he signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.


title: Terry Southern

text: As revealed by documents released under the Freedom of Information Act, Southern and his wife Carol had been put under surveillance by the FBI starting in 1965. In a 2000 article, Burroughs intimate Victor Bockris (who profiled Southern for "Interview") speculated that this surveillance and Southern's "IRS harassment" (a strategy concurrently employed by the Nixon administration against the more fiscally sound Andy Warhol and Robert Rauschenberg) left him effectively blacklisted by Hollywood, although perceived betrayals from such putatively close friends as Hoffenberg and Hopper vis-à-vis his longstanding history of substance abuse and tangible opportunities in other media may have played the catalytic role in eroding Southern's efficacy as a writer.


title: Terry Southern

text: In December 1970, Southern found himself in the position of having to beg Dennis Hopper for a profit point on "Easy Rider"—a request Hopper refused. Southern's tenuous financial position was in contrast to that of his creative partners, who became wealthy thanks to the film's commercial success. For the rest of his life, Southern was repeatedly forced to take on work in order to pay tax bills and penalties, and on many occasions he struggled to keep up the mortgage payments on the East Canaan farm.


title: Terry Southern

text: "Blue Movie" was published in the fall of 1970, with a dedication to Stanley Kubrick. It received only moderate reviews, and sales were hampered by the refusal of the "New York Times" to run ads for the book.


title: Terry Southern

text: Southern worked on a variety of screenplays in the immediate aftermath of "Easy Rider", including "God Is Love", "DJ" (based on a book by Norman Mailer), "Hand-Painted Hearts" (based on a story by Thomas Baum), and "Drift" with Tony Goodstone. While Fonda and Hopper continued to assert that much of "Easy Rider" had been improvised, Southern remained largely silent about his role, although he was prompted to write a letter to the "New York Times" to counter a claim that Jack Nicholson had improvised his speech during the film's campfire scene.


title: Terry Southern

text: Terry and Carol Southern divorced in early 1972 but remained on good terms and Southern continued to support and help raise their son Nile. The IRS investigations had also affected Carol, who had an inheritance from her late father seized as part of Terry's tax settlement. She later became an editor with Crown Publishing, and married critic Alexander Keneas.


title: Terry Southern

text: Southern's other unrealized projects during this period included an adaptation of Nathanael West's "A Cool Million", and a screenplay called "Merlin", based on Arthurian legend, which was written with Mick Jagger in mind for the lead role.


title: Terry Southern

text: Southern covered the Rolling Stones 1972 American Tour, where he met and began a collaboration with Peter Beard, and they worked sporadically on the never-filmed screenplay "The End of the Game" until Southern's death. Southern immersed himself in the bacchanalian atmosphere of the tour, and his essay on the Stones tour, "Riding The Lapping Tongue", was published in the August 12, 1972, edition of "Saturday Review". He also wrote a bawdy anti-Nixon sketch which was performed at a George McGovern fundraiser, and "Twirlin' at Ole Miss" was included in "The New Journalism".


title: Terry Southern

text: Because of his acute money problems (exacerbated by the IRS affair), Southern took an adjunct lectureship in screenwriting at New York University, where he taught from the fall of 1972 to the spring of 1974; although popular among students, he was ultimately dismissed for holding his classes in a local bar. His students included Amy Heckerling (who directed "Fast Times at Ridgemont High" and "Clueless"), literary agent Nancy Nigrosh, and Hollywood biographer Lee Server. Southern began writing for "National Lampoon" in November 1972 and served on the jury at the 1972 New York Erotic Film Festival with William S. Burroughs, Gore Vidal, and Sylvia Miles.


title: Terry Southern

text: In a 1973 "Playboy" profile, Mason Hoffenberg (who had conquered his heroin addiction with methadone maintenance and was living in alcoholic codependency with Richard Manuel of The Band near Woodstock, New York) claimed that "everything went right for Southern... he was ejaculated to fame and screenplays" and "Terry Southern is a good rewriter and he writes some funny shit himself, but he always grabs top billing"; in an ensuing defamation suit between the erstwhile collaborators, Southern alleged that Hoffenberg's representation had cost him several screenwriting jobs.


title: Terry Southern

text: In 1973 Southern wrote a new screenplay called "Double Date", which in some respects anticipated the later David Cronenberg film "Dead Ringers", but he eventually abandoned it. In early 1974 John Calley hired Southern to write a screenplay of "Blue Movie", with Mike Nichols slated to direct, but the deal eventually fell apart due to a protracted dispute between Warners and Ringo Starr, who then owned the screen rights.


title: Terry Southern

text: A new short story, "Fixing Up Ert", was published in the September 1974 edition of "Oui" magazine, and around this time Norwegian director Ingmar Ejve hired Southern to write a screenplay based on the novel "The Hunters of Karin Hall". His friend Ted Kotcheff hired Southern to write the screenplay for the Watergate-themed project "A Piece of Bloody Cake", but he was unable to get the script approved.


title: Terry Southern

text: Southern's only on-screen credit during the 1970s was the teleplay "Stop Thief!", written for the TV miniseries "The American Parade" (based on the life of 19th Century American political cartoonist Thomas Nast). Southern once again accompanied the Rolling Stones on their Tour of the Americas '75 and contributed text to a commemorative 1978 coffee table book ("The Rolling Stones On Tour") featuring photographs by Annie Leibovitz and Christopher Sykes.


title: Terry Southern

text: In the summer of 1976 Southern visited Rip Torn in New Mexico during the making of Nicolas Roeg's film version of "The Man Who Fell to Earth". He made a cameo appearance in the crowd in the scene where Newton is arrested just before he boards his spacecraft. Roeg used an excerpt from "The End of the Road" on one of the TV screens, in the scene in which Newton watches multiple TV sets at the same time.


title: Terry Southern

text: In 1977 and 1978 Southern was embroiled in a lengthy and chaotic attempt to make a film version of William S. Burroughs' novel "Junky", but the project collapsed due to the erratic behavior of its principal backer, Jules Stein. In August 1978 Southern wrote a skit called "Haven Can Wait" that was performed by Jon Voight, Allen Ginsberg, Bobby Seale, and Rip Torn at a benefit for Abbie Hoffman.


title: Terry Southern

text: Another unsuccessful project from this period was his work for Si Litvinoff on the screenplay for the opera drama "Aria". Southern's script was considered 'below par' and was rejected by Fox. At decade's end, a new story was published in the 20th-anniversary issue of the "Paris Review" and "Blue Movie" was optioned once again by Andrew Braunsberg.


title: Terry Southern

text: Southern read from a work in progress ("Vignette of Idealistic Life in South Texas") at the Nova Convention (a symposium in Burroughs' honor organized by academic Sylvere Lotringer at the East Village's Entermedia Theater in November 1978), opening the second night on a bill that included Philip Glass, Brion Gysin, John Giorno, Patti Smith, and Burroughs himself.


title: Terry Southern

text: Although he continued to reside in northern Connecticut "beyond the commuter belt", Southern maintained his social life in New York with diligence; longtime girlfriend Gail Gerber often drove him to Studio 54 (where he cultivated a convivial acquaintance with co-owner Steve Rubell), parties hosted by George Plimpton, and other engagements.


title: Terry Southern

text: Following the critical and commercial success of "Being There" (1979), Peter Sellers had a chance meeting with an arms dealer during an air flight that inspired him to contact Southern and ask him to write a script on the subject of the shady world of the international arms trade. The resulting screenplay, "Grossing Out", was reputed to have been of high quality, and Hal Ashby was provisionally attached as director, but the project went into limbo after Sellers' sudden death from a heart attack on 24 July 1980.


title: Terry Southern

text: Under the pseudonym of Norwood Pratt, Southern co-wrote the 1980 sci fi-themed hardcore pornographic film "Randy: The Electric Lady"; director Philip Schuman had previously adapted "Red Dirt" into an award-winning short.


title: Terry Southern

text: A year later, he was hired by "Saturday Night Live" head writer Michael O'Donoghue (who had solicited contributions from Southern as editor of "National Lampoon" a decade earlier) to write for the 1981–82 series of the NBC show in his efforts to revitalize the then-floundering sketch comedy program. This controversial period, which followed the departure of the last members of the original cast and founding producer Lorne Michaels, is widely regarded as the lowest point of the series' history. According to Carol Southern, it was "the only job he ever held". Despite his longstanding acquaintance with O'Donoghue and his penchant for the alcohol, cocaine and cannabis that flowed liberally backstage, Southern had trouble fitting in stylistically with the younger writers; many of his ideas and sketches were rejected by the staff and new producer Dick Ebersol for being too subtle, sexually gratuitous, or overly political.


title: Terry Southern

text: Nevertheless, Southern facilitated the booking of Miles Davis as musical guest for the October 17 show in support of "The Man with the Horn" (a significant public appearance following the trumpeter's 1975–1980 retirement) and arranged for Burroughs—who read selections from his oeuvre at a desk—to appear as a guest performer during the November 7th episode; it was the writer's first appearance on American national television. Southern was retained as a writer for the remainder of the season after O'Donoghue — who frequently clashed with the network and Ebersol — was fired from the series.


title: Terry Southern

text: Southern's involvement with the show led to a bona fide collaboration with fellow "SNL" alum Nelson Lyon, who had previously added the unproductive Southern's name to his sketches in a gesture of magnanimity. They developed a project set in and around The Cotton Club in the 1930s, but it was eventually abandoned after Francis Ford Coppola and Robert Evans's similarly themed film went into production.


title: Terry Southern

text: During 1982–83 Southern worked with Kubrick's former production partner James B. Harris on a naval drama called "The Gold Crew" (later retitled "Floaters"), but Southern was diverted from this when he began working with close friend Larry Rivers on an independent film project called "At Z Beach".


title: Terry Southern

text: In April 1983, he was approached to work on a planned sequel to "Easy Rider" called "Biker Heaven". He had little to do with the script, but he was paid about $20,000, which was several times more than he had earned from the original. Around this time Stanley Kubrick requested some sample dialogue for a planned film adaptation of Arthur Schnitzler's book "Traumnovelle" which was to star Steve Martin, but Southern's ribald submissions reportedly sabotaged any prospect of further involvement; Kubrick eventually made the film (as "Eyes Wide Shut", with Tom Cruise and Nicole Kidman) shortly before his death in 1999.


title: Terry Southern

text: A new story by Southern was published in "High Times" in May 1983. Shortly thereafter, Hopper invited Southern to work on a planned biographical film of Jim Morrison which was to be backed by publisher Larry Flynt. Because Flynt did not own the screen rights to Morrison's story, the project collapsed; however, Flynt continued to retain Southern as head speechwriter for his ersatz 1984 presidential campaign.


title: Terry Southern

text: Southern turned 60 in 1984, and his career continued to alternate between promise and disappointment. "Flash and Filigree" was reissued by Arbor House with a new introduction by Burroughs, and Sandy Lieberson (now at Fox) hired him to work on a script called "Intensive Heat", based on the life of jewel thief Albie Baker. During this period, Southern ran into problems with his long-overdue new book (a "bildungsroman" inspired by his Texas childhood alternatively known as "Youngblood", "Southern Idyll" and "Behind the Grassy Knoll") when Putnam demanded the return of the $20,000 advance, precipitating his abandonment of the work. In 1985, "Candy" and "The Magic Christian" were reprinted by Penguin and Southern featured prominently in the Howard Brookner documentary "".


title: Terry Southern

text: In October 1985 Southern was appointed as one of the directors of Hawkeye, a production company set up by his friend Harry Nilsson to oversee the various film and multimedia projects in which he was involved. Southern and Nilsson collaborated on several screenplays, including "Obits", a "Citizen Kane"-style story about a journalist investigating the subject of a newspaper obituary, but the script was scathingly reviewed by a studio reader and was never given approval.


title: Terry Southern

text: The only major Hawkeye project to see the light of day was "The Telephone". Essentially a one-handed comedy-drama, it depicted the gradual mental disintegration of an out-of-work actor. It was written with Robin Williams in mind but Williams turned it down. Nilsson and Southern then learned that comedian Whoopi Goldberg was keen to take the part and she asked Nilsson and Southern to rewrite it for her. New World Films agreed to produce it and Rip Torn signed on as director.


title: Terry Southern

text: Production began in January 1987, but New World allowed Goldberg to improvise freely on the screenplay. She also replaced Torn's chosen DOP John Alonzo with then-husband David Claessen. Torn battled with Goldberg and reportedly had to beg her to perform takes that stuck to the script. A year-long struggle then ensued between Hawkeye and New World/Goldberg over the rights to the final cut. Southern and Torn put together their own version, which screened at the Sundance Film Festival in January 1988; New World's version premiered in cinemas later that month to generally poor reviews.


title: Terry Southern

text: The steady salary from Hawkeye was a considerable help to the perennially cash-strapped Southern, but this changed abruptly in late 1989 when Hawkeye folded after Nilsson discovered that secretary-treasurer Cindy Sims had embezzled all the company funds and most of the money Nilsson had earned from his music, leaving him virtually penniless. At this point, Southern still owed the IRS some $30,000 in back taxes and $40,000 in penalties.


title: Terry Southern

text: Apart from "The Telephone", Southern's only published new output in the period 1985–90 was the liner notes for the Marianne Faithfull album "Strange Weather" and a commentary on the Iran-Contra scandal in "The Nation".


title: Terry Southern

text: In February 1989 Southern was admitted to the Memorial Sloan Kettering Hospital, where he underwent surgery for stomach cancer. Soon after the surgery he was interviewed by Mike Golden, and excerpts were published in "Reflex", "Creative Writer", and "Paris Review". After he recovered from his surgery, Southern collaborated with cartoonist R. O. Blechman on a project called "Billionaire's Ball", based on the life of Howard Hughes.


title: Terry Southern

text: Southern landed a job teaching at the Sundance Screenwriters Lab in the summer of 1989. He also assisted with the preparation and publication of "Blinds and Shutters", a book on the photography of his late friend Michael Cooper, edited by Perry Richardson and published in a limited edition of 2000, with copies signed by Paul McCartney, Keith Richards, and Allen Ginsberg.


title: Terry Southern

text: Southern met briefly with Canadian filmmaker David Cronenberg to discuss his forthcoming adaptation of Burroughs' "Naked Lunch", but the meeting was unsuccessful and he had no further involvement in the project, which was ultimately scripted by Cronenberg himself. In November 1989, a conversation with Victor Bockris was published in "Interview". His profile was given another small boost by the re-publication of "Red-Dirt Marijuana and Other Tastes" in 1990.


title: Terry Southern

text: With encouragement from his son Nile, Southern returned to his long-shelved Texas novel. Retitled "Texas Summer", it was published in 1992 by Richard Seaver. Southern's last two major articles were published during 1991; a piece on the Texas band ZZ Top appeared in the February edition of "Spin", and an article on the Gulf War appeared in "The Nation" on July 8. During the year Southern was also invited to teach screenwriting at Columbia University's School of the Arts and School of General Studies as an adjunct professor, where he worked until his death.


title: Terry Southern

text: In 1992, he collaborated with Joseph McGrath on a screenplay "Starlets" (later retitled "Festival"), which satirized the Cannes Film Festival. Peter Fonda reportedly tried to prevail on Southern to give up any claim on "Easy Rider" in exchange for a payment of $30,000, but Southern refused. Southern also assisted Perry Richardson with another book based around Michael Cooper's photography, "The Early Stones", which was published late in the year.


title: Terry Southern

text: Southern's health deteriorated in the last two years of his life, and he suffered a mild stroke in November 1992. In February 1993, he made his last visit home to Texas, where he attended a commemorative screening of "Dr. Strangelove" and "The Magic Christian" at the Dallas Museum of Art. During 1994, he made a series of recordings of readings from his works for a projected tribute project coordinated by producer Hal Willner and Nelson Lyon, but the recording process was complicated by Southern's fragile health and the project remained unreleased until recently.


title: Terry Southern

text: Southern's close friend Harry Nilsson died of a heart attack in January 1994. Later that year, he was commissioned by Little, Brown to write a memoir, but only two chapters were ever completed.


title: Terry Southern

text: In September 1995, Southern received the Gotham Award for lifetime achievement by the Independent Film Producers Association at the age of 71. The "Easy Rider" controversy reared its head again shortly before Southern's death, when Dennis Hopper alleged during an interview on "The Tonight Show with Jay Leno" that Rip Torn had been replaced because he had pulled a knife on Hopper during their argument in New York in 1968. Torn sued Hopper over the remark, and Southern agreed to testify on Torn's behalf. The case brought to light several of Southern's drafts of the "Easy Rider" screenplay, which effectively ended the dispute over his contributions.


title: Terry Southern

text: In 1995, shortly before his death, Southern hired a new agent and began making arrangements for the republication of "Candy" and "The Magic Christian" by Grove. His final project was the text for a 1996 coffee table book about Virgin Records. He appeared at the Yale Summer Writing Program mid-year. Franz Douskey, a creative writer at Yale, told a reporter from the Yale Daily that Southern was giving a non-lecture, trying to gasp through calcified lungs. In October, he made his last media appearance when he was interviewed for a documentary on cult Scottish novelist Alexander Trocchi.


title: Terry Southern

text: On October 25, 1995, Southern collapsed on the steps of Columbia's Dodge Hall while en route to his class. He was taken to the adjacent St. Luke's Hospital, where he died four days later of respiratory failure. According to Bruce Jay Friedman, Southern's final words were "What's the delay?"


title: Terry Southern

text: In early 2003, Southern's archives of manuscripts, correspondence, and photographs were acquired by the New York Public Library. The archives include correspondence and other items from George Plimpton, Allen Ginsberg, Norman Mailer, Frank O'Hara, Larry Rivers, William Styron, V.S. Pritchett, Gore Vidal, Abbie Hoffman, and Edmund Wilson, as well as John Lennon, Ringo Starr, and the Rolling Stones.


title: Terry Southern

text: A film adaptation of Southern's 1970 novel "Blue Movie" was (at some point) "currently" in production from director Michael Dowse and producer Marc Toberoff, to be released by Vertigo Films.


title: Timekeeping on Mars

text: Though no standard exists, numerous calendars and other timekeeping approaches have been proposed for the planet Mars. The most commonly seen in the scientific literature denotes the time of year as the number of degrees from the northern vernal equinox, and increasingly there is use of numbering the Martian years beginning at the equinox that occurred April 11, 1955.


title: Timekeeping on Mars

text: Mars has an axial tilt and a rotation period similar to those of Earth. Thus, it experiences seasons of spring, summer, autumn and winter much like Earth. A sol, or Martian day, is less than an hour longer than an Earth day. A Mars year is almost twice as long as Earth's, though its orbital eccentricity is considerably larger, which causes those seasons to vary significantly in length.


title: Timekeeping on Mars

text: The average length of a Martian sidereal day is (88,642.663 seconds based on SI units), and the length of its solar day is (88,775.244 seconds). The corresponding values for Earth are currently and , respectively, which yields a conversion factor of Earth days/sol: thus, Mars's solar day is only about 2.75% longer than Earth's.


title: Timekeeping on Mars

text: The term "sol" is used by planetary scientists to refer to the duration of a solar day on Mars. The term was adopted during NASA's Viking project (1976) in order to avoid confusion with an Earth "day". By inference, Mars' "solar hour" is of a sol (1 hr 1 min 39 sec), and a "solar minute" of a solar hour (61.65 sec) "solar second" of a solar minute (1.0275 sec).


title: Timekeeping on Mars

text: When accounting solar days on Earth, astronomers often use Julian dates—a simple sequential count of days—for timekeeping purposes. An analogous system for Mars has been proposed "[f]or historical utility with respect to the Earth-based atmospheric, visual mapping, and polar-cap observations of Mars..., a sequential count of sol-numbers". This Mars Sol Date (MSD) starts "prior to the 1877 perihelic opposition." Thus, the MSD is a running count of sols since 29 December 1873 (coincidentally the birth date of astronomer Carl Otto Lampland). Numerically, the Mars Sol Date is defined as MSD = (Julian Date using International Atomic Time - 2451549.5 + "k")/1.02749125 + 44796.0, where "k" is a small correction of approximately d (or 21.6 s) due to uncertainty in the exact geographical position of the prime meridian at Airy-0 crater.


title: Timekeeping on Mars

text: A convention used by spacecraft lander projects to date has been to enumerate local solar time using a 24-hour "Mars clock" on which the hours, minutes and seconds are 2.75% longer than their standard (Earth) durations.


title: Timekeeping on Mars

text: This has the advantage that no handling of times greater 23:59 is needed, so standard tools can be used. The Mars time of noon is 12:00 which is in Earth time 12 hours and 20 minutes after midnight.


title: Timekeeping on Mars

text: For the Mars Pathfinder, Mars Exploration Rover (MER), Phoenix, and Mars Science Laboratory missions, the operations teams have worked on "Mars time", with a work schedule synchronized to the local time at the landing site on Mars, rather than the Earth day. This results in the crew's schedule sliding approximately 40 minutes later in Earth time each day. Wristwatches calibrated in Martian time, rather than Earth time, were used by many of the MER team members.


title: Timekeeping on Mars

text: Local solar time has a significant impact on planning the daily activities of Mars landers. Daylight is needed for the solar panels of landed spacecraft. Its temperature rises and falls rapidly at sunrise and sunset because Mars does not have Earth's thick atmosphere and oceans that soften such fluctuations. Consensus has recently been gained in the scientific community studying Mars to similarly define Martian local hours as 1/24th of a Mars day.


title: Timekeeping on Mars

text: As on Earth, on Mars there is also an equation of time that represents the difference between sundial time and uniform (clock) time. The equation of time is illustrated by an analemma. Because of orbital eccentricity, the length of the solar day is not quite constant. Because its orbital eccentricity is greater than that of Earth, the length of day varies from the average by a greater amount than that of Earth, and hence its equation of time shows greater variation than that of Earth: on Mars, the Sun can run 50 minutes slower or 40 minutes faster than a Martian clock (on Earth, the corresponding figures are slower and faster).


title: Timekeeping on Mars

text: Mars has a prime meridian, defined as passing through the small crater Airy-0. The prime meridian was first proposed by German astronomers Wilhelm Beer and Johann Heinrich Mädler in 1830 as marked by the fork in the albedo feature later named Sinus Meridiani by Italian astronomer Giovanni Schiaparelli. This convention was readily adopted by the astronomical community, the result being that Mars had a universally accepted prime meridian half a century before the International Meridian Conference of 1884 established one for Earth. The definition of the Martian prime meridian has since been refined on the basis of spacecraft imagery as the center of the crater Airy-0 in Terra Meridiani.


title: Timekeeping on Mars

text: However, Mars does not have time zones defined at regular intervals from the prime meridian, as on Earth. Each lander so far has used an approximation of local solar time as its frame of reference, as cities did on Earth before the introduction of standard time in the 19th century. (The two Mars Exploration Rovers happen to be approximately 12 hours and one minute apart.)


title: Timekeeping on Mars

text: Since the late 1990s and arrival of Mars Global Surveyor at Mars, the most widely used system for specifying locations on Mars has been planetocentric coordinates, which measure longitude 0°–360° East and latitude angles from the center of Mars. An alternative system that was used before then is planetographic coordinates, which measure longitudes as 0°–360° West and determined latitudes as mapped onto the surface. However, planetographic coordinates remain in use, such as on the MAVEN orbiter project.


title: Timekeeping on Mars

text: Coordinated Mars Time (MTC) or Martian Coordinated Time is a proposed Mars analog to Universal Time (UT1) on Earth. It is defined as the mean solar time at Mars's prime meridian. The name "MTC" is intended to parallel the Terran Coordinated Universal Time (UTC), but this is somewhat misleading: what distinguishes UTC from other forms of UT is its leap seconds, but MTC does not use any such scheme. MTC is more closely analogous to UT1.


title: Timekeeping on Mars

text: Use of the term "Martian Coordinated Time" as a planetary standard time first appeared in a journal article in 2000. The abbreviation "MTC" was used in some versions of the related Mars24 sunclock coded by the NASA Goddard Institute for Space Studies. That application has also denoted the standard time as "Airy Mean Time" (AMT), in analogy of Greenwich Mean Time (GMT). In an astronomical context, "GMT" is a deprecated name for Universal Time, or sometimes more specifically for UT1.


title: Timekeeping on Mars

text: Neither AMT or MTC has yet been employed in mission timekeeping. This is partially attributable to uncertainty regarding the position of Airy-0 (relative to other longitudes), which meant that AMT could not be realized as accurately as local time at points being studied. At the start of the Mars Exploration Rover missions, the positional uncertainty of Airy-0 corresponded to roughly a 20-second uncertainty in realizing AMT. In order to refine the location of the prime meridian, it has been proposed that it be based on a specification that the Viking Lander 1 is located at 47.95137°W.


title: Timekeeping on Mars

text: When a NASA spacecraft lander begins operations on Mars, the passing Martian days (sols) are tracked using a simple numerical count. The two Viking mission landers, Mars Phoenix, the Mars Science Laboratory rover "Curiosity", "InSight", and Mars 2020 "Perseverance" missions all count the sol on which the lander touched down as "Sol 0". Mars "Pathfinder" and the two Mars Exploration Rovers instead defined touchdown as "Sol 1".


title: Timekeeping on Mars

text: Each successful lander mission so far has used its own "time zone", corresponding to some defined version of local solar time at the landing site location. Of the nine successful NASA Mars landers to date, eight employed offsets from local mean solar time (LMST) for the lander site while the ninth (Mars Pathfinder) used local true solar time (LTST).


title: Timekeeping on Mars

text: Information as to whether China's Zhurong rover project has used a similar timekeeping system of recording the sol number and LMST (or offset) has not been disseminated.


title: Timekeeping on Mars

text: The "local lander time" for the two "Viking" mission landers were offsets from LMST at the respective lander sites. In both cases, the initial clock midnight was set to match local true midnight immediately preceding touchdown.


title: Timekeeping on Mars

text: Mars "Pathfinder" used the local apparent solar time at its location of landing. Its time zone was AAT-02:13:01, where "AAT" is Airy Apparent Time, meaning apparent (true) solar time at Airy-0. The difference between the true and mean solar time (AMT and AAT) is the Martian equation of time.


title: Timekeeping on Mars

text: Pathfinder kept track of the days with a sol count starting on Sol 1 (corresponding to MSD 43905), on which it landed at night at 02:56:55 (mission clock; 4:41 AMT).


title: Timekeeping on Mars

text: The two Mars Exploration Rovers did not use mission clocks matched to the LMST of their landing points. For mission planning purposes, they instead defined a time scale that would approximately match the clock to the apparent solar time about halfway through the nominal 90-sol primary mission. This was referred to in mission planning as "Hybrid Local Solar Time" (HLST) or as the "MER Continuous Time Algorithm". These time scales were uniform in the sense of mean solar time (i.e., they approximate the mean time of some longitude) and were not adjusted as the rovers traveled. (The rovers traveled distances that could make a few seconds difference to local solar time.) The HLST of "Spirit" is AMT+11:00:04 whereas the LMST at its landing site is AMT+11:41:55. The HLST of "Opportunity" is AMT-01:01:06 whereas the LMST at its landing site is AMT-00:22:06. Neither rover was likely to ever reach the longitude at which its mission time scale matches local mean time. However, for atmospheric measurements and other science purposes, Local True Solar Time is recorded.


title: Timekeeping on Mars

text: "Spirit" and "Opportunity" both started their sol counts with Sol 1 on the day of landing, corresponding to MSD 46216 and MSD 46236, respectively.


title: Timekeeping on Mars

text: The "Phoenix" lander project specified a mission clock that matched Local Mean Solar Time at the planned landing longitude of 126.65°W (233.35°E). This corresponds to a mission clock of AMT-08:26:36. The actual landing site was 0.900778° (19.8 km) east of that, corresponding to 3 minutes and 36 seconds later in local solar time. The date is kept using a mission clock sol count with the landing occurring on Sol 0, corresponding to MSD 47776 (mission time zone); the landing occurred around 16:35 LMST, which is MSD 47777 01:02 AMT.


title: Timekeeping on Mars

text: The "Curiosity" rover project specified a mission clock that matched Local Mean Solar Time at its originally planned landing longitude of 137.42°E. This corresponds to a mission clock of AMT+09:09:40.8. The actual landing site was about 0.02° (1.3 km) east of that, a difference of about 5 seconds in solar time. The local mean solar time is also affected by the rover motion; at 4.6°S, this is about 1 second of time difference for every 246 meters of displacement along the east-west direction. The date is kept using a mission clock sol count with the landing occurring on Sol 0, corresponding to MSD 49269 (mission time zone); the landing occurred around 14:53 LMST (05:53 AMT).


title: Timekeeping on Mars

text: The "InSight" lander project specified a mission clock that matched Local Mean Solar Time at its planned landing site of 135.97°E. This corresponds to a mission clock of AMT+09:03:53. The actual landing site was at 135.623447°E, or 0.346553° (20.5 km) west of the reference longitude, so the lander mission clock is 1 minute and 23 seconds ahead of the actual mean local solar time at the lander location. The date is kept using a mission clock sol count with the landing occurring on Sol 0, corresponding to MSD 51511 (mission time zone); landing occurred around 14:23 LMST (05:14 AMT).


title: Timekeeping on Mars

text: The "Perseverance" rover project specified a mission clock that matched Local Mean Solar Time at a planned landing longitude of 77.43°E. This corresponds to a mission clock of AMT+05:09:43. The actual landing site was about 0.02° (1.2 km) east of that, a difference of about 5 seconds in solar time. The local mean solar time is also affected by the rover motion; at 18.4°N, this is about 1 second of time difference for every 234 meters of displacement in the east-west direction. The date is kept using a mission clock sol count with the landing occurring on Sol 0, corresponding to MSD 52304 (mission time zone); landing occurred around 15:54 LMST (10:44 AMT).


title: Timekeeping on Mars

text: The length of time for Mars to complete one orbit around the Sun in respect to the stars, is its sidereal year, and is about 686.98 Earth solar days (≈ 1.88 Earth years), or 668.5991 sols. Because of the eccentricity of Mars' orbit, the seasons are not of equal length. Assuming that seasons run from equinox to solstice or vice versa, the season L 0 to L 90 (northern-hemisphere spring / southern-hemisphere autumn) is the longest season lasting 194 Martian sols, and L 180 to L 270 (northern hemisphere autumn / southern-hemisphere spring) is the shortest season, lasting only 142 Martian sols.


title: Timekeeping on Mars

text: As on Earth, the sidereal year is not the quantity that is needed for calendar purposes. Similarly, the tropical year would likely be used because it gives the best match to the progression of the seasons. It is slightly shorter than the sidereal year due to the precession of Mars' rotational axis. The precession cycle is 93,000 Martian years (175,000 Earth years), much longer than on Earth. Its length in tropical years can be computed by dividing the difference between the sidereal year and tropical year by the length of the tropical year.


title: Timekeeping on Mars

text: Tropical year length depends on the starting point of measurement, due to the effects of Kepler's second law of planetary motion and precession. There are various possible years including the March (northward) equinox year, June (northern) solstice year, the September (southward) equinox year, the December (southern) solstice year, and the tropical year based on the mean sun. (See March equinox year.)


title: Timekeeping on Mars

text: On Earth, the variation in the lengths of the tropical years is small, with the mean time from June solstice to June solstice being about a thousandth of a day shorter than that between two December solstices, but on Mars it is much larger because of the greater eccentricity of its orbit. The northward equinox year is 668.5907 sols, the northern solstice year is 668.5880 sols, the southward equinox year is 668.5940 sols, and the southern solstice year is 668.5958 sols (0.0078 sols more than the northern solstice year). (Since, like Earth, the northern and southern hemispheres of Mars have opposite seasons, equinoxes and solstices must be labelled by hemisphere to remove ambiguity.)


title: Timekeeping on Mars

text: For purposes of enumerating Mars years and facilitating data comparisons, a system increasingly used in the scientific literature, particularly studies of Martian climate, enumerates years relative to the northern spring equinox (L 0) that occurred on April 11, 1955, labeling that date the start of Mars Year 1 (MY1). The system was first described in a paper focused on seasonal temperature variation by R. Todd Clancy of the Space Science Institute. Although Clancy and co-authors described the choice as "arbitrary", the great dust storm of 1956 falls in MY1. This system has been extended by defining Mars Year 0 (MY0) as beginning May 24, 1953, and so allowing for negative year numbers.


title: Timekeeping on Mars

text: Long before mission control teams on Earth began scheduling work shifts according to the Martian sol while operating spacecraft on the surface of Mars, it was recognized that humans probably could adapt to this slightly longer diurnal period. This suggested that a calendar based on the sol and the Martian year might be a useful timekeeping system for astronomers in the short term and for explorers in the future. For most day-to-day activities on Earth, people do not use Julian days, as astronomers do, but the Gregorian calendar, which despite its various complications is quite useful. It allows for easy determination of whether one date is an anniversary of another, whether a date is in winter or spring, and what is the number of years between two dates. This is much less practical with Julian days count. For similar reasons, if it is ever necessary to schedule and co-ordinate activities on a large scale across the surface of Mars it would be necessary to agree on a calendar.


title: Timekeeping on Mars

text: American astronomer Percival Lowell expressed the time of year on Mars in terms of Mars dates that were analogous to Gregorian dates, with 20 March, 21 June, 22 September, and 21 December marking the southward equinox, southern solstice, northward equinox, and northern solstice, respectively; Lowell's focus was on the southern hemisphere of Mars because it is the hemisphere that is more easily observed from Earth during favorable oppositions. Lowell's system was not a true calendar, since a Mars date could span nearly two entire sols; rather it was a convenient device for expressing the time of year in the southern hemisphere in lieu of heliocentric longitude, which would have been less comprehensible to a general readership.


title: Timekeeping on Mars

text: Italian astronomer Mentore Maggini's 1939 book describes a calendar developed years earlier by American astronomers Andrew Ellicott Douglass and William H. Pickering, in which the first nine months contain 56 sols and the last three months contain 55 sols. Their calendar year begins with the northward equinox on 1 March, thus imitating the original Roman calendar. Other dates of astronomical significance are: northern solstice, 27 June; southward equinox, 36 September; southern solstice, 12 December; perihelion, 31 November; and aphelion, 31 May. Pickering's inclusion of Mars dates in a 1916 report of his observations may have been the first use of a Martian calendar in an astronomical publication. Maggini states: "These dates of the Martian calendar are frequently used by observatories..." Despite his claim, this system eventually fell into disuse, and in its place new systems were proposed periodically which likewise did not gain sufficient acceptance to take permanent hold.


title: Timekeeping on Mars

text: In 1936, when the calendar reform movement was at its height, American astronomer Robert G. Aitken published an article outlining a Martian calendar. In each quarter there are three months of 42 sols and a fourth month of 41 sols. The pattern of seven-day weeks repeats over a two-year cycle, i.e., the calendar year always begins on a Sunday in odd-numbered years, thus effecting a perpetual calendar for Mars.


title: Timekeeping on Mars

text: Whereas previous proposals for a Martian calendar had not included an epoch, American astronomer I. M. Levitt developed a more complete system in 1954. In fact, Ralph Mentzer, an acquaintance of Levitt's who was a watchmaker for the Hamilton Watch Company, built several clocks designed by Levitt to keep time on both Earth and Mars. They could also be set to display the date on both planets according to Levitt's calendar and epoch (the Julian day epoch of 4713 BCE).


title: Timekeeping on Mars

text: Charles F. Capen included references to Mars dates in a 1966 Jet Propulsion Laboratory technical report associated with the Mariner 4 flyby of Mars. This system stretches the Gregorian calendar to fit the longer Martian year, much as Lowell had done in 1895, the difference being that 20 March, 21 June, 22 September, and 21 December marks the northward equinox, northern solstice, southward equinox, southern solstice, respectively. Similarly, Conway B. Leovy et al. also expressed time in terms of Mars dates in a 1973 paper describing results from the Mariner 9 Mars orbiter.


title: Timekeeping on Mars

text: British astronomer Sir Patrick Moore described a Martian calendar of his own design in 1977. His idea was to divide up a Martian year into 18 months. Months 6, 12 and 18, have 38 sols, while the rest of the months contain 37 sols.


title: Timekeeping on Mars

text: American aerospace engineer and political scientist Thomas Gangale first published regarding the Darian calendar in 1986, with additional details published in 1998 and 2006. It has 24 months to accommodate the longer Martian year while keeping the notion of a "month" that is reasonably similar to the length of an Earth month. On Mars, a "month" would have no relation to the orbital period of any moon of Mars, since Phobos and Deimos orbit in about 7 hours and 30 hours respectively. However, Earth and Moon would generally be visible to the naked eye when they were above the horizon at night, and the time it takes for the Moon to move from maximum separation in one direction to the other and back as seen from Mars is close to a Lunar month.


title: Timekeeping on Mars

text: Czech astronomer Josef Šurán offered a Martian calendar design in 1997, in which a common year has 672 Martian days distributed into 24 months of 28 days (or 4 weeks of 7 days each); in skip years an entire week at the end of the twelfth month is omitted.


title: Timekeeping on Mars

text: 37 sols is the smallest integer number of sols after which the Mars Sol Date and the Julian date become offset by a full day. Alternatively, it can be viewed as the smallest integer number of sols needed for any Martian time zones to complete a full lap around Earth time zones. Specifically, 37 sols are equal to 38 Earth days plus 24 minutes and 44 seconds.


title: Timekeeping on Mars

text: Remarkably, the 37-sol period also accidentally almost divides several time quantities of interest at the same time. In particular:


title: Timekeeping on Mars

text: This makes the 37-sol period useful both for time synchronization between Earth and Mars timezones, and for Martian calendars, as a small number of leap sols can be straightforwardly added to eliminate calendar drift with respect to either the Martian year, Earth-Mars launch windows, or Earth calendars.


title: Timekeeping on Mars

text: The first known reference to time on Mars appears in Percy Greg's novel "Across the Zodiac" (1880). The primary, secondary, tertiary, and quaternary divisions of the sol are based on the number 12. Sols are numbered 0 through the end of the year, with no additional structure to the calendar. The epoch is "the union of all races and nations in a single State, a union which was formally established 13,218 years ago".


title: Timekeeping on Mars

text: Edgar Rice Burroughs described, in "The Gods of Mars" (1913), the divisions of the sol into zodes, xats, and tals. Although possibly the first to make the mistake of describing the Martian year as lasting 687 Martian days, he was far from the last.


title: Timekeeping on Mars

text: In the Robert A. Heinlein novel "Red Planet" (1949), humans living on Mars use a 24-month calendar, alternating between familiar Earth months and newly created months such as Ceres and Zeus. For example, Ceres comes after March and before April, while Zeus comes after October and before November.


title: Timekeeping on Mars

text: The Arthur C. Clarke novel "The Sands of Mars" (1951) mentions in passing that "Monday followed Sunday in the usual way" and "the months also had the same names, but were fifty to sixty days in length".


title: Timekeeping on Mars

text: In H. Beam Piper's short story "Omnilingual" (1957), the Martian calendar and the periodic table are the keys to archaeologists' deciphering of the records left by the long dead Martian civilization.


title: Timekeeping on Mars

text: Kurt Vonnegut's novel "The Sirens of Titan" (1959) describes a Martian calendar divided into twenty-one months: "twelve with thirty days, and nine with thirty-one", for a total of only 639 sols.


title: Timekeeping on Mars

text: D. G. Compton states in his novel "Farewell, Earth's Bliss" (1966), during the prison ship's journey to Mars: "Nobody on board had any real idea how the people in the settlement would have organised their six-hundred-and-eighty-seven-day year."


title: Timekeeping on Mars

text: In Ian McDonald's "Desolation Road" (1988), set on a terraformed Mars (referred to by the book's characters as "Ares"), characters follow an implied 24-month calendar whose months are portmanteaus of Gregorian months, such as "Julaugust", "Augtember", and "Novodecember".


title: Timekeeping on Mars

text: In both Philip K. Dick's novel "Martian Time-Slip" and Kim Stanley Robinson's "Mars Trilogy" (1992–1996), clocks retain Earth-standard seconds, minutes, and hours, but freeze at midnight for 39.5 minutes. As the fictional colonization of Mars progresses, this "timeslip" becomes a sort of witching hour, a time when inhibitions can be shed, and the emerging identity of Mars as a separate entity from Earth is celebrated. (It is not said explicitly whether this occurs simultaneously all over Mars, or at local midnight in each longitude.) Also in the "Mars Trilogy", the calendar year is divided into twenty-four months. The names of the months are the same as the Gregorian calendar, except for a "1" or "2" in front to indicate the first or second occurrence of that month (for example, 1 January, 2 January, 1 February, 2 February).


title: Timekeeping on Mars

text: In the manga and anime series "Aria" (2001–2002), by Kozue Amano, set on a terraformed Mars, the calendar year is also divided into twenty-four months. Following the modern Japanese calendar, the months are not named but numbered sequentially, running from 1st Month to 24th Month.


title: Timekeeping on Mars

text: In Andy Weir's novel "The Martian" (2011) and its 2015 feature film adaptation, sols are counted and referenced frequently with onscreen title cards, in order to emphasize the amount of time the main character spends on Mars.


title: Timekeeping on Mars

text: Terrestrial time, however, is not as easily available as Coordinated Universal Time (UTC). TT can be computed from UTC by first adding the difference TAI−UTC, which is a positive integer number of seconds occasionally updated by the introduction of leap seconds (see current number of leap seconds), then adding the constant difference TT−TAI = 32.184 s. This leads to the following formula giving MSD from the UTC-referred Julian date:


title: Timekeeping on Mars

text: where the difference TAI−UTC is in seconds. JD can in turn be computed from any epoch-based time stamp, by adding the Julian date of the epoch to the time stamp in days. For example, if is a Unix timestamp in seconds, then


title: Jordan Rodrigues

text: Jordan Rodrigues (born 20 July 1992) is an Australian actor and dancer. He is best known for his role as Trey Emory in the Hulu original series "Light as a Feather". He has starred and appeared in TV series "Dance Academy", "Home and Away", and "The Fosters".


title: Jordan Rodrigues

text: Rodrigues followed his passion for dance and acting after failing to find success as a basketball player.


title: Jordan Rodrigues

text: Rodrigues's first professional acting experience was when he played the role of the young Simba in "The Lion King"'s Australian tour at the Capitol Theatre starting in October 2003. He had no training prior to the audition but still got the role on stage as one of the lead characters. He performed three times per week for two and a half years.


title: Jordan Rodrigues

text: Rodrigues then trained at Brent Street for over ten years, he has studied jazz, ballet, hip hop, drama and singing.


title: Jordan Rodrigues

text: In January 2008, Rodrigues announced he wanted a career in acting and joined an acting agency. He received several commercial roles and auditioned for the part of Jai Fernandez in "Home and Away". He made his debut in March 2008. In 2009, Rodrigues was nominated for a TV Week Silver Logie as Most Popular New Talent after he finished his role as 'Jai Fernandez' on "Home and Away".


title: Jordan Rodrigues

text: In mid-2009, he landed a main role in the ABC series "Dance Academy". He was cast as one of the main characters, Christian Reed. In 2013, he appeared in the Australian 4-part mini-series "Better Man".


title: Jordan Rodrigues

text: From 2014 to 2018, he had a recurring role in the ABC family show "The Fosters" in the second to fifth season. He portrayed Mat, one of Brandon's bandmates and Mariana's boyfriend. In 2015, he guest starred in an episode on "Hawaii Five-0" called "Moʻo ʻolelo Pu". He also starred in film "Breaking Through" as JJ. In 2017 he appeared in the film "Lady Bird" as the titular character's older brother.


title: Jordan Rodrigues

text: From 2018, he played Trey Emory, one of the main characters in the Hulu original series "Light as a Feather".


title: Inca Trail to Machu Picchu

text: The Inca Trail to Machu Picchu (also known as "Camino Inca" or "Camino Inka") is a hiking trail in Peru that terminates at Machu Picchu. It consists of three overlapping trails: "Mollepata", "Classic", and "One Day". "Mollepata" is the longest of the three routes with the highest mountain pass and intersects with the Classic route before crossing Warmiwañusqa ("dead woman"). Located in the Andes mountain range, the trail passes through several types of Andean environments including cloud forest and alpine tundra. Settlements, tunnels, and many Incan ruins are located along the trail before ending the terminus at the Sun Gate on Machu Picchu mountain. The two longer routes require an ascent to beyond above sea level, which can result in altitude sickness.


title: Inca Trail to Machu Picchu

text: Concern about overuse leading to erosion has led the Peruvian government to place a limit on the number of people who may hike this trail per season, and to sharply limit the companies that can provide guides. As a result, advance booking is mandatory. A maximum of 500 people are allowed on the trail each day, of which only 200 are trekkers, the rest being guides and porters. As a result, the high season books out very quickly.


title: Inca Trail to Machu Picchu

text: The trail is closed every February for cleaning. This was originally done informally by organizations such as South American Explorers, but is now managed officially.


title: Inca Trail to Machu Picchu

text: Trekkers normally take four or five days to complete the "Classic Inca Trail" but a two-day trek from Km 104 is also possible.


title: Inca Trail to Machu Picchu

text: It starts from one of two points: 88 km (55 miles) or 82 km (51 miles) from Cusco on the Urubamba River at approximately or elevation, respectively.


title: Inca Trail to Machu Picchu

text: Both of these trail segments meet above the Inca ruins of Patallaqta (sometimes called "Llaqtapata"), a site used for religious and ceremonial functions, crop production, and housing for soldiers from the nearby hilltop site of Willkaraqay, an ancient pre-Inca site first inhabited around 500 BC.


title: Inca Trail to Machu Picchu

text: At the small village Wayllapampa ("grassy plain", "Wayllabamba") the trail intersects with the "Mollepata Trail" at .


title: Inca Trail to Machu Picchu

text: Small, permanent settlements are located adjacent to the trail, and Wayllapampa has approximately 400 inhabitants (130 families) spread along this portion of the trail. Pack animals—horses, mules, donkeys, and llamas—are allowed.


title: Inca Trail to Machu Picchu

text: At Wayllapampa the trail to Machu Picchu turns west and begins ascending along a tributary of the Cusichaka. Because of previous damage caused by hooves, pack animals are not allowed on the remainder of the trail. For the same reason, metal-tipped trekking poles are not allowed on the trail.


title: Inca Trail to Machu Picchu

text: As the trail ascends toward Warmi Wañusqa, or "Dead Woman's Pass", which resembles a supine woman, it passes through differing habitats, one of which is a cloud forest containing "Polylepis" trees. The campsite at Llulluch'apampa "(Llulluchapampa)" is located on this stretch of trail at . The pass itself is located at above sea level, and is the highest point on this, the "Classic" trail.


title: Inca Trail to Machu Picchu

text: After crossing the pass the trail drops steeply into the Pakaymayu drainage. At a distance of 2.1 km and 600 m below the pass is the campground Pakaymayu.


title: Inca Trail to Machu Picchu

text: After passing Pakaymayu the trail begins steeply ascending the other side of the valley. One kilometre along the trail, at an elevation of is the Inca "tampu" Runkuraqay, ruins which overlook the valley. The site was heavily restored in the late 1990s.


title: Inca Trail to Machu Picchu

text: The trail continues to ascend, passing a small lake named Quchapata "(Cochapata)" in an area that is recognized as deer habitat. This site had been used as a camp site. As with other sites that were being degraded due to overuse, camping is no longer allowed. The trail reaches the pass at an elevation of 3950 m.


title: Inca Trail to Machu Picchu

text: The trail continues through high cloud forest, undulating, sometimes steeply while affording increasingly dramatic viewpoints of mountains and dropoffs. Next, the Sayaqmarka ("steep-place town") is reached followed by the "tampu" Qunchamarka. A long Inca tunnel and a viewpoint overlooking two valleys: the Urubamba and Aobamba (a broken word), are passed.


title: Inca Trail to Machu Picchu

text: Another high point at elevation of 3650 m is crossed, followed by a campground, and then after a short descent, a site with extensive ruins. The name Phuyupatamarka ("cloud-level town") (phoo-yoo-patta-marka) is applied to both the campground, and the ruins.


title: Inca Trail to Machu Picchu

text: Hiram Bingham III discovered the site, but left most of it covered with vegetation. The Fejos team named the site, and uncovered the remainder. Design of the site closely follows the natural contours, and includes five fountains and an altar, which was probably used for llama sacrifice.


title: Inca Trail to Machu Picchu

text: The trail then descends approximately 1000 metres including an irregular staircase of approximately 1500 steps, some of which were carved into solid granite. Vegetation becomes more dense, lush, and jungle-like with an accompanying increase in butterflies and birds. A second Inca tunnel is along this section of trail.


title: Inca Trail to Machu Picchu

text: Even before passing through the tunnel there are views down to the Willkanuta River, the first since leaving the river at Patallaqta. The number of these views increases. After the tunnel the town of Machupicchu (Aguas Calientes) can be seen, and trains running along the river can be heard. As the trail nears Intipata, it affords views of the "Two Day" Inca Trail (aka "Camino Real de los Inkas" or "One Day Inca Trail"). A small spur of the trail leads directly to Wiñay Wayna, while the main route continues to Intipata.


title: Inca Trail to Machu Picchu

text: Intipata (aka Yunkapata) is a recently uncovered extensive set of agricultural terraces which follow the convex shape of the terrain. Potatoes, maize, fruit, and sweet potato were grown here.


title: Inca Trail to Machu Picchu

text: The name Wiñay Wayna (forever young) (win-yay-way-na) is used to refer to both a hostel–restaurant–camp site and a set of Inca ruins. Two groups of major architectural structures, a lower and upper, are set among multiple agricultural terraces at this concave mountainside site. A long flight of fountains or ritual baths utilizing as many as 19 springs runs between the two groups of buildings.


title: Inca Trail to Machu Picchu

text: From Wiñay Wayna the trail undulates along below the crest of the east slope of the mountain named Machu Picchu. The steep stairs leading to Inti Punku ("sun gate") are reached after approximately 3 km. Reaching the crest of this ridge reveals the grandeur of the ruins of Machu Picchu, which lie below. A short downhill walk is the final section of the trail.


title: Inca Trail to Machu Picchu

text: Because of its popularity, the Peruvian Government instituted several controls to reduce human impact upon the trail and within the ancient city. The most notable is a quota system, introduced in 2001, whereby only a set number of people (including hikers, porters, and guides) would be allowed to hike along the Inca Trail each day. This system is still in effect; any person wishing to hike the Inca Trail must obtain a permit beforehand. , 500 permits are issued for each day. All of the year's permits are released in October and are sold on a first-come, first-served basis. Permits were previously released in January, however, in 2017 this changed to October. Permits sell out quickly, particularly those for the high season. Most operators advise hikers to purchase permits as soon as possible after they are released. The government also mandated that every trekker on the trail must be accompanied by a guide. Because of this rule, permits can only be obtained through a government registered tour operator. All permits are paired with an individual passport and are not transferable. The government monitors the trail closely; there are several control points along the trail.


title: Inca Trail to Machu Picchu

text: The Inca Trail elevation varies significantly and people often struggle with altitude sickness, especially if they have not spent much time in Cusco before trekking the trail.


title: Inca Trail to Machu Picchu

text: Cusco stands at 3,200 metres and is already significantly higher than Machu Picchu itself, though many sections of the Inca Trail are much higher.


title: Inca Trail to Machu Picchu

text: Starting at 2,600 metres, the trail ascends to 3,300 metres on the first day. The second day ascends over Dead Woman's pass- the highest point on the Inca Trail at 4,200 metres. This is the most dangerous point for altitude sickness, though little time is spent at this elevation and the trail descends again to 3,600 metres.


title: University of Bedfordshire

text: The University of Bedfordshire is a public research university with campuses in Bedfordshire and Buckinghamshire, England. The University has roots from 1882, however, it gained university status in 1993 as the University of Luton. The University changed its name to the University of Bedfordshire in 2006 by the approval of the Privy Council, following the merger of the University of Luton and the Bedford campus of De Montfort University.


title: University of Bedfordshire

text: It is spread across five campuses: there are three in Bedfordshire, in Bedford and Luton; and two in Buckinghamshire, in Aylesbury (for students studying Nursing and Midwifery), and in Milton Keynes. It is also active in London and Birmingham, as well as globally, with a growing portfolio of international partnerships as far afield as Egypt, Vietnam, Oman and Mauritius.


title: University of Bedfordshire

text: The University entered the Research Assessment Exercise in 2014 and achieved an improvement of 22 places in the REF Power Ranking – the fourth largest improvement in the sector with nearly half of its research considered to be world leading or internationally excellent.


title: University of Bedfordshire

text: In 2012, it achieved FairTrade status. The University has also come eighth in the UK in the People and Planet University Green League in 2019 and received the Eco Campus Platinum award in 2020.


title: University of Bedfordshire

text: The University of Bedfordshire has a vibrant and cosmopolitan student population that includes more around 20,000 students from over 100 countries, working collaboratively with around 40 academic partners, both in the UK and overseas, to deliver a range of course from foundation degrees to doctorates.  More than 40% of its student population come from families with no history of participation in higher education. Around 70% are mature returners to education and over half are from black or ethnic minority backgrounds.


title: University of Bedfordshire

text: Appointed in 2020, the current Vice Chancellor is Professor Rebecca Bunting. The most recent Chancellor of the University of Bedfordshire was John Bercow, the former Speaker of the House of Commons.


title: University of Bedfordshire

text: The University of Luton had its roots in the Luton Modern School, which was established in 1908 and the Luton Modern School and Technical Institute which opened in 1937. This became Luton College of Higher Education following the merger of Luton College of Technology and Putteridge Bury College of Education, in 1976. It obtained university status in 1993.


title: University of Bedfordshire

text: The Bedford campus of De Montfort University was originally part of the Bedford College of Higher Education, which stemmed from Bedford Teacher Training College, founded in 1882, and Bedford Physical Training College, founded in 1903. The University was created by the merger of the University of Luton and the Bedford campus of De Montfort University in August 2006 following approval by the Privy Council.


title: University of Bedfordshire

text: The University's two main campuses are in Luton and Bedford.In Buckinghamshire, the dedicated Mary Seacole Aylesbury campus for Healthcare students opened in February 2020 at Stoke Mandeville Hospital, in partnership with Buckinghamshire Healthcare NHS Trust (BHT).


title: University of Bedfordshire

text: A smaller fourth campus at Milton Keynes became part of the university in 2012, offering a variety of degree courses as well as Continuing Professional Development (CPD) programmes.


title: University of Bedfordshire

text: On the outskirts of Luton, is the University’s Putteridge Bury campus. The campus is situated in approximately 30 acres of landscaped gardens. The current building was completed in 1911 and was designed by architects Sir Ernest George and Alfred Yeats in the style of Chequers, having had various redesigns and rebuilds over the years.


title: University of Bedfordshire

text: The site is utilised for University events including graduations, academic research symposia and seminars, The University of Bedfordshire Business School's postgraduate programmes, as well as a wide variety of public and private events including conferences, weddings, funeral receptions and public holiday functions.


title: University of Bedfordshire

text: The University’s Luton campus is located in the town centre and is home to a purpose built STEM building, seven-storey library, a Postgraduate & CPD Centre, as well as an array of modern facilities to support each of the courses on offer.  These include the Media Arts Centre, a Moot Court, Business Pods, Healthcare Simulation Suites, a Campus Gym and a three-storey art studio with designated fashion and photography studios.


title: University of Bedfordshire

text: The University's Campus Centre, at Luton, opened in October 2010. It houses a 240-seat lecture theatre, an exhibition area for displaying student work, a Student Information Desk and Students' Union support services.


title: University of Bedfordshire

text: The Postgraduate and Continuing Professional Development Centre was completed in early 2013 and includes state-of-the-art IT and AV equipment, informal and quiet learning spaces, two "Harvard-style" lecture theatres.


title: University of Bedfordshire

text: The dedicated STEM building opened in 2019 and is set out over four storeys of teaching space including four computer laboratories and workshops for subjects such as automotive engineering, cyber-security and robotics, along with three large teaching labs, and four specialist containment labs.


title: University of Bedfordshire

text: The Bedford campus is close to Bedford town centre and local amenities. The University provides a free bus service running between the town centre and the campus. The campus includes a Physical Education and Sport Science Centre used to train athletes in the 2012 Olympic Games, and a Bedford Campus Centre boasting a 280-seat theatre, dance studios, a restaurant and social spaces for students. Liberty Park, on-site accommodation, offers 500 en-suite study bedrooms.


title: University of Bedfordshire

text: The Library was designed by van Heyningen and Haward Architects as a gateway to the campus. The building was completed in 2001 and provides approximately 360 individual study spaces, teaching space, staff work areas and traditional library services. There is also the Gateway building which offers teaching and informal learning spaces, lecture theatres and a student service centre over three storeys.


title: University of Bedfordshire

text: The University’s Mary Seacole Campus opened in February 2020 at the Stoke Mandeville Hospital in Aylesbury and in partnership with Buckinghamshire Healthcare NHS Trust (BHT).


title: University of Bedfordshire

text: The three-storey building, located on the hospital site, provides a specialist skills lab, set out as a hospital ward with state-of-the-art audio visual technology. There are also a suite of classrooms, a library, social learning spaces and computer study facilities.


title: University of Bedfordshire

text: The Milton Keynes campus was originally established with the long term aim of becoming a new, independent university in Milton Keynes.


title: University of Bedfordshire

text: The institution began as 'the University Centre Milton Keynes' (UCMK), part of Milton Keynes College and supported by the University of Bedfordshire, the University of Northampton and the Open University. It was opened on 29 September 2008, with start-up funding provided by the Milton Keynes Partnership, which purchased the initial building (a former office block) in Central Milton Keynes.


title: University of Bedfordshire

text: In October 2009, the University of Bedfordshire (acting as lead academic partner) made a successful bid to the Higher Education Funding Council for England to expand provision at UCMK, one of just six such centres to have achieved this.


title: University of Bedfordshire

text: In September 2012 the centre ceased to be part of MK College and became a wholly owned subsidiary of the University of Bedfordshire. The university announced plans for a new campus in the city, with the new name of the institution being 'University Campus Milton Keynes', and this was opened at Saxon Court on Avebury Boulevard in September 2013.