title: Younger Than Yesterday

text: McGuinn and Crosby's songs, written both separately and together, represented an expansion of the jazz influences and psychedelia that had been featured heavily on the band's previous album. The song "C.T.A.-102", named after the CTA-102 quasar and written by McGuinn and his science-fiction-minded friend Bob Hippard, was a whimsical, but ultimately serious song that speculated on the existence of intelligent extraterrestrial life. McGuinn explained the inspiration for the song in a 1973 interview with "ZigZag" magazine: "At the time we wrote it I thought it might be possible to make contact with quasars, but later I found out that they were stars which are imploding at a tremendous velocity. They're condensing and spinning at the same time, and the nucleus is sending out tremendous amounts of radiation, some of which is audible as an electronic impulse on a computerized radio telescope. It comes out in a rhythmic pattern... and originally, the radio astronomers who received these impulses thought they were from a life-form in space." Although the band's earlier song "Mr. Spaceman" had been thematically similar, "C.T.A.-102" was a slightly more serious attempt at tackling the subject matter, highlighted by the extensive use of studio sound effects, simulated alien voices, and the sound of an electronic oscillator.


title: Younger Than Yesterday

text: Crosby's songwriting skills had also developed rapidly, with Fricke citing "Renaissance Fair" (co-written with McGuinn) as an example of his increasingly wistful lyricism and writing style. The song was inspired by a visit to the Renaissance Pleasure Faire of Southern California and Connors has described its dream-like medieval ambiance as being a thematic precursor to Crosby's later song "Guinnevere". Fricke has also praised the instrumental interplay between the "church bell peal" of Crosby and McGuinn's guitars, and Hillman's melodic, loping bass, while describing the song as "a radiant evocation of a medieval festival, and by extension the sensual idealism of the hippie dream". Writing for the AllMusic website, critic Bruce Eder attempted to sum up the song's contemporary relevance by suggesting that it was "a topical song every bit as tied to real events as Buffalo Springfield's 'For What It's Worth. In addition, Eder also described "Renaissance Fair" as "a perfect synthesis of the group's original electric-folk sound evolved into a new, more contemporary form of music and songwriting, almost hippie-folk music".


title: Younger Than Yesterday

text: Another of Crosby's songwriting contributions to the album was the moody, jazz-influenced "Everybody's Been Burned", a somber meditation on the need to find a balance between disillusionment and resolute perseverance in a relationship. Although the song was regarded by many critics as a leap forward in terms of musical sophistication upon its release, it was actually written in 1962, two years before the formation of the Byrds. Originally written as a nightclub torch song, Crosby had recorded demos of "Everybody's Been Burned" as early as 1963. An acoustic recording of the song by Crosby, dating from this pre-Byrds period, was eventually released on the archival album "Preflyte Plus" in 2012. Author Johnny Rogan has stated that the Byrds' recording of the song features one of Crosby's best vocal performances and one of McGuinn's most moving guitar solos, while critic Thomas Ward described it as "one of the most haunting songs in the Byrds' catalogue, and one of David Crosby's finest compositions". "Cash Box" called it "a slow-moving, blues-drenched soft-rocker."


title: Younger Than Yesterday

text: Crosby's ambitions for artistic control within the band were expanding along with his compositional skill, and the resulting turmoil would ultimately lead to his dismissal from the group during recording sessions for the Byrds' next album, "The Notorious Byrd Brothers". One source of discontent for Crosby during the recording of "Younger Than Yesterday" was related to the Bob Dylan cover "My Back Pages". The song had been suggested as a suitable vehicle for the Byrds by their manager, Jim Dickson, but since it was the fourth song from Dylan's "Another Side of Bob Dylan" album that the band had covered, Crosby felt that recording "My Back Pages" was formulaic and a step backwards artistically. However, since the album's release, critics have praised the song as one of the Byrds' strongest Dylan interpretations.


title: Younger Than Yesterday

text: Meanwhile, Crosby insisted upon the inclusion of the contentious track "Mind Gardens", which was disliked by the other band members and derided by McGuinn as having no "rhythm, meter, or rhyme". In conversation with Byrds biographer Johnny Rogan in 1980, Crosby defended the song by stating, "it was unusual and not everybody could understand it because they'd never heard anything like it before. At that time everything was supposed to have rhyme and have rhythm. And it neither rhymed nor had rhythm, so it was outside of their experience. It was just a little story and what it said was true... if you build walls around your mind to keep out the abuse and harshness of life and the pain, then you also shut out the joy and the love." Although "Mind Gardens" is often dismissed by critics and fans for being self-indulgent, Rogan has commented that its raga rock ambiance, symbolic lyrics and attractive backwards guitar effects capture the Byrds at their most creatively ambitious.


title: Younger Than Yesterday

text: Crosby also fought to have the song "Why" (co-written with McGuinn) included on the album, despite it having already been issued as the B-side of the band's "Eight Miles High" single, some eleven months earlier. However, the version of "Why" included on "Younger Than Yesterday" was recorded during sessions for that album and is a totally different take from the previously released B-side version. Exactly why Crosby insisted on resurrecting the song, when there was newer original material in reserve, remains a mystery, although the Byrds' roadie, Jimmi Seiter, has speculated that it was an attempt to increase Crosby's share of the songwriting on the album. Author Peter Lavezzoli has remarked that "Why" features verses with a chord structure reminiscent of "(Love Is Like a) Heat Wave" by Martha and the Vandellas and a raga-flavored lead guitar solo inspired by the music of sitarist Ravi Shankar. However, Rogan has described the song's Indian classical music influences as being considerably watered down on the re-recording, when compared to the earlier B-side version.


title: Younger Than Yesterday

text: "Younger Than Yesterday" was released on February 6, 1967 in the United States (catalogue item CL 2642 in mono, CS 9442 in stereo) and April 7, 1967 in the UK (catalogue item BPG 62988 in mono, SBPG 62988 in stereo). It peaked at number 24 on the "Billboard" Top LPs chart, during a stay of 24 weeks, and reached number 37 in the United Kingdom, spending a total of 4 weeks on the UK chart. The album's front cover featured a composite multiple exposure photograph of the band, taken by Frank Bez.


title: Younger Than Yesterday

text: The album was preceded by the "So You Want to Be a Rock 'n' Roll Star" single, which was released on January 9, 1967 and reached number 29 on the "Billboard" Hot 100, but failed to chart in the UK. Two additional singles taken from the album, "My Back Pages" and "Have You Seen Her Face", reached number 30 and number 74 on the "Billboard" chart respectively, but again missed the UK chart. The "My Back Pages" single was the last single release by the Byrds to reach the Top 40 of the "Billboard" Hot 100.


title: Younger Than Yesterday

text: Upon release, the album received mostly positive reviews from the music press, with "Billboard" magazine predicting that "the Byrds will be riding high on the LP charts again with this top rock package." Pete Johnson in the "Los Angeles Times" was more cautious, noting that "the album is a good one, but it would be sad if it served as a monument, marking the end of the Byrds' development. There is little to distinguish it from their previous LPs in terms of creativity." A resoundingly positive review came from the pen of Peter Reilly, writing in "Hi-Fi/Stereo Review", who described the record as "an enjoyable and well-made album which, if listened to closely enough, explains a good deal about what is going on around us".


title: Younger Than Yesterday

text: However, the burgeoning underground press in the U.S. was less complimentary, with Richard Goldstein of "The Village Voice" writing that "There is nothing new or startling on "Younger Than Yesterday"." A slightly more favorable review by Sandy Pearlman in "Crawdaddy!" expressed some reservations, but praised the album's musical eclecticism, while noting "This sound is dense, but not obviously and impressively complicated. That is, it is very coherent. It works because of its unity, not out of an accumulation of contrasting effects such as volume changes and syncopations."


title: Younger Than Yesterday

text: In the UK, journalist Penny Valentine, writing in "Disc" magazine, described the album as a return to form for the Byrds, before declaring that the band were "back where they belong with a sound as fresh as cream and sunflowers". "Melody Maker" was also enthusiastic about the album, commenting, "if you ignore this album you are not only foolish – but deaf!" "Record Mirror" awarded the album four stars out of five, while Allen Evans of the "NME" enthused: "This is an exciting album, at times brash and noisy ('So You Want to Be a Rock 'n' Roll Star', 'Have You Seen Her Face'), spooky (the science-fiction outer-space sounds on 'C.T.A.-102'), folksy ('Everybody's Been Burned'), weird (the irritating, monotonous backing to 'Mind Gardens'), and pleasant (the soft swinging of 'The Girl with No Name'). A lot of thought has gone into this album and it's good because of it."


title: Younger Than Yesterday

text: Author Peter Buckley attempted to evaluate "Younger Than Yesterday"s contemporary impact more than 30 years after the fact in his 1999 book "The Rough Guide to Rock": "The album had room for everything from Hugh Masekela's trumpet to droning sitar-like riffs, a brew that may've been too rich for the Byrds' rapidly shrinking teen audience, but was perfectly in tune with a new underground following who disdained hit singles but were coming to regard albums as major artistic statements."


title: Younger Than Yesterday

text: Although "Younger Than Yesterday" was somewhat overlooked by the record-buying public at the time of its release, achieving only moderate chart success as a result, its critical stature has grown substantially over the years. In his 2003 book "Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock", Richie Unterberger states that "Younger Than Yesterday" "was [the Byrds'] best album besides "Mr. Tambourine Man", and more progressive in many ways". The author goes on to say that the album and its follow-up are "now revered as two of the great 1960s albums by historians and fans", while also acknowledging that "at the time, though, the Byrds were considered by many to be waning." Unterberger also praised the album in his review for the AllMusic website, describing it as one of "the most durable of the Byrds' albums".


title: Younger Than Yesterday

text: Rock critic Robert Christgau, writing for "Rolling Stone" magazine in 2007, called "Younger Than Yesterday" "the Byrds' first mature album, a blend of space-flight twang and electric hoedown infused with the imminent glow of 1967 yet underlined with crackling realism". Critic John Nork gave the album a glowing review on the Analogue Planet website, calling it "a scrumptious smorgasbord of eclectic musical styles and groundbreaking innovation", before concluding that "in every sense, Younger Than Yesterday is an utterly brilliant album, arguably the Byrds' best." Alan Bisbort, writing in the book "Rhino's Psychedelic Trip", described "Younger Than Yesterday" as "an essential snapshot of an incense-scented, acid-drenched world in motion: a kaleidoscope whose every turn yielded some fantastic window on the age".


title: Younger Than Yesterday

text: In 2003, the album was ranked at number 124 on "Rolling Stone" magazine's list of "The 500 Greatest Albums of All Time". When the list was revised in 2012, to accommodate a number of albums released since 2003, "Younger Than Yesterday" was repositioned at number 127. It was voted number 197 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000).


title: Younger Than Yesterday

text: "Younger Than Yesterday" was issued on Compact Disc for the first time by Edsel Records in 1987. It was later reissued by Columbia in the U.S. in 1989 and in the UK in 1993. It was then remastered at 20-bit resolution and reissued (with three of its tracks remixed) in an expanded form on April 30, 1996, as part of the Columbia/Legacy Byrds series. The Columbia/Legacy reissue featured six bonus tracks, including "Lady Friend" and "Old John Robertson", which had both been issued on a non-album single in July 1967. The remastered CD also included the David Crosby-penned track "It Happens Each Day", which had been omitted from the original album, and "Don't Make Waves", a song that had been written and recorded by the Byrds for the 1967 Alexander Mackendrick film "Don't Make Waves". The final track on the Columbia/Legacy CD extends to include a hidden track featuring the guitar parts from "Mind Gardens", which were heard on the album playing backwards, but are presented here playing forwards, as they were recorded.


title: Younger Than Yesterday

text: In 2011, the audiophile record label Audio Fidelity released the original mono mix of "Younger Than Yesterday" on CD for the first time, remastered by audio engineer Steve Hoffman. The mono version of the album was reissued again, along with its stereo counterpart and three bonus tracks, on a single Blu-spec CD in Japan in 2012.


title: Younger Than Yesterday

text: Adapted from "So You Want to Be a Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973)", "The Byrds: Timeless Flight Revisited", the compact disc liner notes, and other online sources:


title: Younger Than Yesterday

text: "Younger Than Yesterday" was one of four Byrds albums that were remixed as part of their re-release on Columbia/Legacy. The reason for these remixes was explained by Bob Irwin (who produced these re-issues for compact disc) during an interview with "ICE" magazine in 1996:


title: Farewell of Slavianka

text: "Farewell of Slavianka" () is a Russian patriotic march, written by the composer Vasily Agapkin in honour of Slavic women accompanying their husbands in the First Balkan War. The march was written and premiered in Tambov in the end of 1912. In summer of 1915 it was released as a gramophone single in Kyiv. "Slavianka" means "Slavic woman".


title: Farewell of Slavianka

text: The melody gained popularity in Russia and adjoining countries during the First World War, when the Russian soldiers left their homes and were accompanied by the music of the march. It was performed also during parade of 7 November 1941 on the Red Square after which soldiers went straight to fight in the Battle of Moscow. This march was also used as an unofficial anthem of Admiral Kolchak's White Army.


title: Farewell of Slavianka

text: Western sources alleged that the song was banned prior to its use in the award-winning 1957 film "The Cranes Are Flying", because of its lyrics about supposedly banned subjects. However, there are multiple documentations of the song being performed prior to this, many conducted by Agapkin himself. The earliest recorded publication of Farewell to Slavianka in the Soviet era was in 1929, and its earliest known performance by communist troops was in 1918. Most famously, it was one of four marching tunes performed during the iconic 1941 October Revolution Parade in Red Square. The song was originally published by Zimmerman Production Association around 1912. The march was published in an official collection of music for Red Army orchestras, and it was recorded in the early 1940s by a military orchestra under the conductor Ivan Petrov (1906–1975), but different lyrics were then used. Other lyrics are now usually sung by the Red Army choir.


title: Farewell of Slavianka

text: Subsequently, several Russian and Polish composers have written lyrics for the music. During the Second World War in German-occupied Poland, an adapted "underground" version of the song, "Rozszumiały się wierzby płaczące" ("Weeping Willows Began to Hum"), became popular in the Polish resistance and was based on lyrics by Roman Ślęzak.


title: Farewell of Slavianka

text: In the 1990s, the political party Yabloko lobbied unsuccessfully for the march to be adopted as the Russian national anthem.


title: Farewell of Slavianka

text: "Farewell of Slavianka" was used in movies like "The Cranes Are Flying" and "Charlie Wilson's War", which is about the Soviet–Afghan War, and in the Russian movies "72 Meters" (72 метра) and "Prisoner of the Mountains" (Кавказский пленник, "Kavkazskiy plennik"). An instrumental version of the song was also featured in the 1990 Ukrainian film "Raspad" ("Decay") during the Pripyat evacuation scene.


title: Farewell of Slavianka

text: A Hebrew version was written in 1945 by the singer/songwriter Haim Hefer for the Palmach. In his version of the song, ("Between Borders"), Hefer coined the phrase (We are here a defensive wall), which was used by Israel Defense Forces to call Operation Defensive Shield (literally "Operation Defensive Wall") in 2002.


title: Farewell of Slavianka

text: The Farewell of Slavianka first received official lyrics under the Soviet leadership that were appropriate for the time's political climate, but references to Russian culture, religion and patriotism were changed. The new version by A. Fedotov.


title: Farewell of Slavianka

text: The first version under the Soviet Union (1941) did not mention the Battle of Berlin, unlike the later version (1967).


title: Farewell of Slavianka

text: Another version of the lyrics was written by Vladimir Lazarev in 1984 and has gained the popularity since the dissolution of the Soviet Union in 1991 because of the slower tempo and the added human fragility factor ("Farewell, fatherland, remember us, … … not all of us will come back. ...").


title: Farewell of Slavianka

text: A White Army version of the march, written by Andrei Mingalyov, was created after the dissolution of the Soviet Union.


title: Farewell of Slavianka

text: The Farewell of Slavianka melody was used for the Tambov Oblast anthem, whose lyrics were written on 22 May 2002 by A. Mitrofanov.


title: Farewell of Slavianka

text: The melody of the song is also used for the poem "My Comrade in Death Throes". Here is a sample verse:


title: Farewell of Slavianka

text: Another version of the song is "Vapaa Venäjä", which was composed by the Finnish Red Guards to serve as a marching song for them.


title: Gharshana

text: Gharshana () is a 2004 Indian Telugu-language action thriller film produced by G. Sivaraju, C. Venkatraju, and Kalaipuli S. Thanu. It is directed by Gautham Vasudev Menon, in his Telugu debut. It is the remake of the 2003 Tamil blockbuster, "Kaakha Kaakha". Venkatesh and Asin played the lead roles in the film, while the music was composed by Harris Jayaraj, who also composed for the original.


title: Gharshana

text: Ramachandra alias Ram, is an honest and daring IPS officer, with the Hyderabad City Police, as the Deputy Commisioner of Police (DCP), in the crime branch. As he has no family or relatives, he lives with no fear. Ram and his IPS friends, who include: Srikanth, Rajesh, and Jagan, are recruited into a special unit of police officers, to battle the organized crime in Hyderabad. Violent and laconic, Ram has little time and patience, for his personal life. The special unit is ruthless in its confrontation with criminals, going as far as assassinating gang members; the unit is finally disbanded after 5 encounters in 3 months, by human rights authorities; Ram is posted to Control Room Duties.


title: Gharshana

text: One day, a school teacher named, Maya, rebuffs Ram's routine questions regarding safety, not knowing that he is a police officer. He meets her again, when she and her friend are questioned for driving, without a license. However, Ram lets them off with a warning. When one of Maya's students has a problem with the local kids, who threatened to throw acid on her face, she asks Ram for help. He resolves this problem and a mutual respect grows between them. They begin seeing one another. When Maya gets into a road accident, Ram helps her recover, and they fall in love. Srikanth and his wife, Sandhya, become good friends with Maya.


title: Gharshana

text: Dass, a gangster, who escaped the encounter operations, meets his estranged brother Panda, who returns to Hyderabad after fourteen years of crime life, in Mumbai, Maharashtra. Panda has a peculiar tactic: he kills a family member of his opponent, but leaves the opponent alive to rot in failure and depression on the loss of his family member. Dass' gang, aided by Panda's planning, commit major kidnappings in the city and become very powerful in a period of six months.


title: Gharshana

text: The 10-year-old son of an influential movie producer is kidnapped and killed, and later his daughter is also kidnapped for ransom. The special unit is reassembled by the commissioner, with all four back in the crime branch. The unit tracks down and kill Dass in a railyard, as the others escape. Panda takes over the gang, promising grave revenge over his brother's death. Panda and his gang members target the families of the men in the special unit, but the police close in, and a badly injured Panda barely escapes Ram. Afterwards, Panda and his men brutally shoot and kill Jagan, the same night, and escape. The entire department is mobilised, and all family members of the remaining three in the unit, are sent into hiding.


title: Gharshana

text: Maya and Ram get married in a hurry and leave for Pulicherla, but the next day, Panda and his men enter the cottage that the couple is honeymooning in and shoot Ram into the Nagarjuna Sagar, leaving him for dead, and kidnapping Maya. Drowned and battling for life, Ram only thinks about rescuing Maya. Srikanth and Rajesh arrive at the cottage, discover Ram, and take him to the local hospital. Srikanth reveals that Sandhya was kidnapped earlier at the airport and confesses that it was he who gave away Ram's location to Panda and also emptied the magazine in his gun, for Sandhya's safe return.


title: Gharshana

text: Srikanth feels extreme remorse over what has happened. Whilst in the hospital, they receive a call from Panda, to meet him at Zaherabad, 100 kilometers away from Hyderabad, located on the National Highway 9. Ram, Srikanth, and Rajesh leave to meet him, along with Constable Ansari, driving them. When they go there, two packages are thrown to them from an oncoming train, one containing Sandhya's severed head and the other one containing Maya's arm flesh. Ram, along with everybody else, is extremely distraught, with Srikanth being hysterical upon seeing his wife's head. In agony of being responsible for the sudden turn of events, Srikanth shoots himself dead.


title: Gharshana

text: Ram and Rajesh track down Panda before he can escape from Andhra Pradesh. They engage in a shoot-out with the entire gang. Ram aims to shoot Panda, but ends up accidentally shooting Maya, whom Panda used as a shield, and she seemingly dies in Ram's arms after Panda escapes. An enraged Ram, tracks down Panda and the remaining members of his gang, to a dock. He brutally finishes them off, avenging Maya and his friends' deaths.


title: Gharshana

text: A few months later, Ram, after the death of his fellow squadmates and friends, still continues his job as an IPS officer. The ending scene features Ram calling out to Maya, who is shown to have survived Panda's attack.


title: Gharshana

text: Music composed by Harris Jayaraj. The music was released by ADITYA Music Company. (The soundtrack of "Kaakha Kaakha" was retained in the Telugu remake except "Andagaada" and "Ye Chilipi".)


title: Gharshana

text: Gautham Menon subsequently remade the film in the Telugu language for producer Venkata Raju.Jyothika was the initial choice for the Heroine role, however the delay of shoot start made jyothika to opt out and Asin replaced her.


title: Gharshana

text: Idlebrain wrote: "The second half starts in an interesting style and it loses the steam as the climax approaches. The plus points of this film are music, Venkatesh, photography and stylish taking. The negative points are slow narration, lack of Telugu commercial elements, dry scenes and lack of substance. This film has got more style and less substance". Indiaglitz wrote: "the film redeems itself due to the technical excellence and masterful craft of Gowtham. In that, he has married the best of Ram Gopal Varma and Manirathnam (urban finesse, short, crisp and natural dialogues and getting the best out of his music director)". Fullhyderabad wrote: "The action fans will love this movie. The encounters are sadistically gory! And that forms half of the movie". Sify wrote: "Speed, style and sparkle are the essence of Gharshana"..Despite the mixed reviews from critics the film had completed of running 50 days in 70 centers


title: Cleat (shoe)

text: Cleats or studs are protrusions on the sole of a shoe or on an external attachment to a shoe that provide additional traction on a soft or slippery surface. They can be conical or blade-like in shape and can be made of plastic, rubber or metal. The type worn depends on the environment of play: grass, ice, artificial turf, or other grounds.


title: Cleat (shoe)

text: In American English, the term "cleats" is used synecdochically to refer to shoes featuring such protrusions.


title: Cleat (shoe)

text: It is thought that during the Roman Empire, Roman legionaries wore studded sandals that resembled cleats. The caligae (as they were called) were heavy-soled hobnailed military sandal-boots known for being issued to legionary soldiers and auxiliaries throughout the Roman Republic and Empire.


title: Cleat (shoe)

text: Athletes have worn cleats since at least the 1500s. Although there are no images or surviving examples of cleats from that time period, the first written documentation of cleats comes from 1526, when "football boots" were listed in King Henry VIII's Great Wardrobe. According to researchers, the English monarch ordered the royal cordwainer (shoemaker), Cornelius Johnson, to make him a pair of hand-stitched boots "to play football". The shoes cost four shillings (about $200 today) and were probably made of especially strong leather.


title: Cleat (shoe)

text: Football remained a popular sport in England throughout the ensuing centuries, but it wasn't until the emergence of The Football Association in 1863 that the sport of football emerged as an actual organized game in England. With this, the sport took off in popularity, and understandably a demand for equipment began to emerge to ensure player safety and comfort. More importantly, technological innovations during this time period played a key role in new methods and materials used for production of cleats. In the 1840s, a method of hardening rubber and stopping it from decaying, called vulcanization, was developed in both England and the United States.


title: Cleat (shoe)

text: Vulcanized rubber is used in the production of all types of shoes, but is especially beneficial in the production of cleats, in that one of the primary purposes of football cleats is to protect the player's feet. Technology continued to improve in the coming decades, and by the 1890s studs are first used to make football cleats. The concept of spiked and studded shoes for other sports began to emerge as well in the late 19th century. In the 1890s, a British Company (now known as Reebok), developed the earliest known spiked leather running shoes.


title: Cleat (shoe)

text: Cleats began to be used in the United States in the 1860s when metal spikes were first used on baseball shoes. A baseball shoe, as defined by the Dickson Baseball Dictionary (3rd Ed), is "a special type of shoe designed and worn by baseball players that features cleats for traction and a full set of laces for support." The first official baseball shoe was invented and produced by Waldo M. Claflin, of Philadelphia in 1882. The use of cleats gained further notoriety in the United States with the birth of American football in the early 20th century. The original football shoes were actually baseball shoes, but innovations quickly emerged. In the 1920s, detachable cleats were first introduced. As the game continued to grow, cleats had to adapt to technological advances in playing surfaces, most notably artificial turf. By the 1970s, players were wearing footwear with short, rubber cleats for use on artificial turf.


title: Cleat (shoe)

text: Innovations in cleat technology continued to take place throughout the mid to late 20th century. In 1954, the first modern football boots were made by Adidas. They were lighter, had a non-leather sole, an upper portion made from kangaroo leather, and included replaceable rubber or plastic studs, which could be screwed in at different lengths. Later, in the 1990s, Adidas introduced another innovation in the form of rubber blades instead of studs, which faced different directions and allowed for better grip. Today, different types of cleats exist for different surfaces: replaceable aluminum cleats which are worn in wet dirt, firm plastic cleats which are for regular surfaces, and short, plastic or rubber cleats for very hard surfaces.


title: Cleat (shoe)

text: Firm Ground cleats are defined as cleats that are made typically for use on natural surfaces such as dirt and grass. These cleats are equipped with large studs on the bottom of the shoe to assist in gripping the surface and preventing sliding and assisting in rapid directional changes. These studs are permanently attached to the cleats (i.e. they are not removable). The stud itself is often called a cleat. There are three main types of football boots: round, hard ground, and bladed. Active outdoorsman and philanthropist Erik Van Till is credited as a creator of the round cleat. While the studs are sometimes made out of metal, this is less common, as they are illegal in some sports for safety reasons.


title: Cleat (shoe)

text: In association football, where the shoes themselves are known as football boots, there are three different cleat types. There are soft ground cleats which are made for wet weather. The soft ground cleats are always replaceable, and are almost always metal, so when they wear down they are easy to replace. There are firm ground cleats which are made for firm natural surfaces. In the UK, 'cleats' are universally known as studs. The term "sliding tackle" is considered a dangerous tackle made with the feet raised and the potentially damaging metal studs hitting the legs or feet of the opponent.


title: Cleat (shoe)

text: In the United States of America, college football coach Joseph Pipal has been credited as one of the creators of "mud cleats" for football shoes. Some of the first manufacturers of football cleats were Gola in 1905, Valsport in 1920 and Hummel in 1923 and are still in business today. in the year 1925 two brothers named Adolf and Rudolf Dassler developed a football cleat with replaceable metal studs for American football. The two brothers who created the first replaceable metal cleats had a falling out after WWII and they both went on to create two major football cleat manufacturers in Puma and Adidas. In 1929 the company Riddell made huge strides in the football cleat industry. They modeled the cleats differently featuring an "action last", meaning its sole had a steeper angle for "snug fit, proper support and maximum traction." In today's game more players prefer to wear molded cleats because they are more comfortable, but don't allow for changing during certain field conditions. Depending on the type of field, grass or artificial turf, players may opt to wear molded or removable stud cleats, since studs can vary in length and give more traction on grass than molded cleats do. There are different Protective equipment in gridiron football, cleats being a major aspect. Some of the major brands that players wear today are Nike, Adidas, and Under Armour.


title: Cleat (shoe)

text: In Australia, the studs on Australian rules football boots are traditionally referred to as "stops". Prior to modern molded plastic soles, these were often replaceable screw-in wooden studs.


title: Cleat (shoe)

text: Update 2018: There is a photo of the Carlton Football Club team taken in 1884 and three or four stops/studs can be clearly seen on the soles of the boots.


title: Cleat (shoe)

text: In 1889 there were at least two types of stops used. One had a screw in the centre of stop/stud which was made up of conical shaped and layered leather strips. It was screwed into the boot sole. The other was the same as the other type, but fixed on to the boot sole by two nails.


title: Cleat (shoe)

text: In baseball, in laymen's terms, they are referred to as "cleats" or "spikes". The spikes are rectangular in shape, and can be made of rubber, plastic, or metal. Rubber cleats may feature grooves and smaller protrusions in the middle of the sole, while soft rubber spikes would be around the edges of the sole and at the heel. Plastic cleats are similar to rubber spikes. However, they feature a hard bottom and thick hard plastic spikes, with few to no grooves at all, and instead of the edge of the sole, the spikes compose the outsole of the shoe where the toes and ball of the foot would hit the ground during running, similar to track spikes and football cleats. Metal spikes are similar to plastic spikes, but instead of being thick pieces of plastic as spikes, they are thin pieces of metal, to make it easier to dig into grass and sand, and thereby increase traction.


title: Cleat (shoe)

text: Rubber and plastic cleats are used in youth baseball, with metal cleats typically prohibited. Metal spikes are almost exclusively used in the upper levels of the sport, including high school, college, and professional baseball. The use of metal spikes in American high school baseball was banned by the National Federation of State High School Associations in 1984 due to the risk of spike wounds, although some states received waivers nullifying the ban. The ban was lifted in 1989. There has also been increasing use of plastic spikes among professional players including those in Major League Baseball (MLB), due to the lighter weight of cleats and improved weight distribution leading to less wear and tear during the season.


title: Cleat (shoe)

text: Lacrosse cleats are characterized by having a high support for the ankle, and appear most similar to American Football cleats. A raised platform material surrounding the ankles is specific to the motions of players in the game. These motions include stopping and starting, and quick changes of direction as the game of play can rapidly change directions to either end of the field, necessitating ankle stability for such direction change. Lacrosse cleats contain a typical, standard toe cleat in the front and beneath the toes, for gaining traction off the toe. This is utilized for forward running, as well as potential pivot movement from the toe. Lacrosse cleats again differ from American Football cleats in that their cleats are placed to the edges of the foot sole whereas for Football the cleat spikes are found beneath the sole of the foot.


title: Cleat (shoe)

text: Detachable cleats are defined as those in which the studs are removable, typically through attaching or detaching a metal or plastic piece to the bottom of the shoe.


title: Cleat (shoe)

text: A specially shaped metal or plastic piece that attaches to the bottom of a cycling shoe to positively and securely attach it to a clipless pedal system is called a cleat. The cleat engages with the pedal such that the cyclist's shoe remains mechanically attached to the pedal during pedalling. Typically the cleat and shoe are engaged with the pedal by pressing down against a spring loaded retention mechanism, and released by twisting the shoe and cleat sideways.


title: Cleat (shoe)

text: Ice cleats or crampons are a type of spikes that usually are attachable under the soles of shoes (in such cases also called "shoe chains") to prevent slipping, especially on ice. There are several variations on the way they are mounted, sometimes with rubber bands or a fixed mount in front of the heel, making them easy to remove when not in use.


title: Cleat (shoe)

text: On soft (wet, muddy) ground, players often opt for removable studs. These are usual metal cones that vary in length, but are generally longer than traditional football studs. Added to the rubber or plastic studs already on the boot, these create more opportunities for the player to get a good foothold. The increased length and more aggressive shape help players gain traction in slippery conditions.


title: Cleat (shoe)

text: Spiked shoes are worn by many golfers. Initially, metal spikes were used. Metal spikes have been outlawed by many Golf Courses which now require soft spikes. Soft spikes are generally made of some type of thermoplastic material.


title: Cleat (shoe)

text: Logging boots have several spikes attached to the soles of the boot. In general, these spikes are still mostly made of metal.


title: Cleat (shoe)

text: Artificial Ground cleats are cleats that are made primarily for use on man-made surfaces, such as artificial turf or running tracks.


title: Cleat (shoe)

text: Although conventional cleats can be used on turf surfaces, specialized baseball and softball turf shoes are also manufactured. These shoes typically have numerous rubber studs along the soles as opposed to spikes.


title: Cleat (shoe)

text: While many cleats manufactured today for football can be used on artificial turf or natural surfaces, many molded cleats are designed and better served for use on artificial turf. The molded cleats tend to provide better traction on artificial surfaces, whereas detachable studs on cleats tend to be too thick for artificial turf and do not provide adequate grip on such a surface.


title: Cleat (shoe)

text: Turf shoes have identical uppers to traditional football boots, but the outsoles differ in that they make up the "cleat" portion. Small rubber studs or patterns are like raised bumps that provide just enough of a difference in height to aid in traction on flat artificial turf. They are extremely durable, as they are more of an extension of the rubber outsole than a completely new addition to the shoe.


title: Cleat (shoe)

text: Track spikes are placed at the bottom of shoes in order to increase traction and speed. While removable spikes are available, most runners opt for fixed spikes. These spikes come in a variety of different materials. Originally, spikes were made out of metal due to their strength and hardness. However, German engineers began experimenting with canvas and rubber spikes during the World War, in part to help find a more lightweight material. Finally, in the modern era, the most common type of track spike is made of plastic, due being both cheap and easily molded. This second aspect of plastic is especially important, as spikes need to be made in a variety of different shapes in order to accommodate runners on all different types of surfaces. Needle spikes (3/16") are used on all-weather tracks, Christmas tree spikes (1/4") are especially common on any surface, pyramid spikes are used for cross country runners, and tartan spikes (1/4") are used mostly on rubber tracks.


title: 2022 Pennsylvania House of Representatives election

text: The 2022 elections for the Pennsylvania House of Representatives were held on November 8, 2022, with all districts currently being decided. The term of office for those elected in 2022 will begin when the House of Representatives convenes in January 2023. Pennsylvania State Representatives are elected for two-year terms, with all 203 seats up for election every two years. Democrats won a majority of seats in the chamber over the Republicans for the first time since 2010. However, as of , partisan control of the chamber is claimed by both parties due to vacancies, with 3 Democrats not being able to take their seats due to death or resignation.


text: Democrat Aerion Abney was elected to finish the term of Jake Wheatley, who resigned to become the chief of staff to Pittsburgh Mayor Ed Gainey.


text: Democrat Martell Covington was elected to finish the term of Ed Gainey, who resigned to become the mayor of Pittsburgh.


text: Republican Robert Schnee was elected to finish the term of Tarah Toohil, who resigned to become a judge on the Luzerne County Court of Common Pleas.


text: Due to redistricting after the 2020 United States census, several representatives have been drawn into new districts, and some districts have no incumbent.


title: Daimaou Kosaka

text: , better known by his stage names and , is a Japanese comedian, television personality and entertainer. Kosaka insists that Pikotaro is another personality promoted by him, but they are considered the same person. He is currently signed with Avex Management Inc. under Avex Group.


title: Daimaou Kosaka

text: During US President Donald Trump's Fall 2017 trip to Asia, Kosaka was chosen to sing at the official state reception, reportedly due to Japanese Prime Minister Shinzō Abe's wish to keep the mood "upbeat".


title: Daimaou Kosaka

text: Daimaou Kosaka married Hitomi Yasueda, a gravure model, on 3 August 2017. On 17 June 2018, Yasueda gave birth to their first daughter.


title: Daimaou Kosaka

text: Kosaka portrays Muruyo Hakataminami (The owner of Carat, Mentor to the Kiramagers, and Younger Brother to Kiramei Silver) on Mashin Sentai Kiramager. His role as Pikotaro (Most notably making PPAP) has been poked at many times, including (but not limited to):


title: Fifty-move rule

text: The fifty-move rule in chess states that a player can claim a draw if no has been made and no pawn has been moved in the last fifty moves (for this purpose a "move" consists of a player completing a turn followed by the opponent completing a turn). The purpose of this rule is to prevent a player with no chance of winning from obstinately continuing to play indefinitely or seeking to win by tiring the opponent.


title: Fifty-move rule

text: Chess positions with only a few pieces can be "solved", that is, the outcome of best play for both sides can be determined by exhaustive analysis; and if the outcome is a win for one side or the other (rather than a draw), it is of interest to know whether the defending side can hold out long enough to invoke the fifty-move rule. The simplest common endings, called the basic checkmates, such as king and queen versus king, can all be won in well under 50 moves.


title: Fifty-move rule

text: However, in the 20th century it was discovered that certain endgame positions are winnable but require more than 50 moves (without a capture or a pawn move). The rule was therefore changed to allow certain exceptions in which 100 moves were allowed with particular material combinations. However, winnable positions that required even more moves were later discovered, and in 1992, FIDE abolished all such exceptions and reinstated the strict 50-move rule over the board. In correspondence chess, a rule similar to these endgame exceptions still applies, in that a player can claim a win or draw based on seven-piece endgame tablebases (which do not consider the 50-move rule).


title: Fifty-move rule

text: A claim does not have to be made at the first opportunity; it can be made any time when there have been no captures or pawn moves in the last fifty moves.


title: Fifty-move rule

text: A game is not automatically declared a draw under the fifty-move rule; the draw must be claimed by the player whose turn it is to move. Therefore, a game can continue beyond a point where a draw could be claimed under the rule. When a draw under the fifty-move rule can be claimed, one of the players is usually happy to claim it.


title: Fifty-move rule

text: Games drawn under the fifty-move rule before the endgame are rare. One example was the game Filipowicz versus Smederevac, Polanica Zdrój 1966, where no captures had been made in the whole game. Filipowicz claimed the draw after move 70 by Smederevac, the last pawn having been moved on move 20 by Smederevac.


title: Fifty-move rule

text: In correspondence chess under ICCF rules, the fifty-move rule only applies when more than seven pieces remain on the board; when seven pieces or fewer remain, a win or draw may be claimed with reference to endgame tablebases. Tablebases do not consider the 50- or 75-move rules, so a position that is a theoretical win according to the tablebases may be a draw in over-the-board chess. Such a position is sometimes termed a "cursed win" (where mate can be forced, but it runs afoul of the 50-move rule), or a "blessed loss" from the perspective of the other player.


title: Fifty-move rule

text: If seventy-five moves are made without a pawn move or capture being made, the game is drawn unless the seventy-fifth move delivers a checkmate. No claim needs to be made by either player, as the draw is mandatorily applied by the arbiter.


title: Fifty-move rule

text: In this 1995 game between Jan Timman and Christopher Lutz, an endgame with a rook and bishop versus a rook occurred. White is striving for the winning Philidor position while Black is employing the drawing Cochrane Defense and the "second-rank defense" (see rook and bishop versus rook endgame). Black was defending well in the difficult defense and could have claimed a draw on the 119th move. Lutz notes that he claimed a draw on move 121, ironically making a move that enters what would have been a losing position.


title: Fifty-move rule

text: A draw by the fifty-move rule could have been claimed after Black's 112th move in a 1991 game between Anatoly Karpov and Garry Kasparov, but neither player claimed it. The last capture occurred on White's 63rd move (and the last pawn move occurred before that). White could have written his 113th move (which wouldn't have been a capture or pawn move) on his scoresheet and claimed a draw. After White's 113th move, either player could have claimed a draw on his turn to move, without having to write down his next move. Instead, the game continued for several more moves:


title: Fifty-move rule

text: The players agreed to a draw at this point because after 115.Kxf6 the position is a stalemate. If 115.Ke8, then 115...Rxf5 116.Nxf5, and the position is clearly drawn because the two knights cannot force checkmate (see two knights endgame).


title: Fifty-move rule

text: An unusual event occurred in a game in the 2001 Armenian Championship between Smbat Lputian (who won the championship) and Gevorg Haroutjunian. The last pawn move was on White's 86th move and no captures occurred after it. (The game was a theoretical draw from before here until Black's 141st move.) Black could have claimed a draw after White's 136th move (or at any of the subsequent moves). Instead, the game continued and Black resigned on his 142nd move after White had achieved a forced winning position even though the right to claim a draw was still in effect.


title: Fifty-move rule

text: Another unusual event occurred in the Aeroflot Open of 2008 in a game between Nguyễn Ngọc Trường Sơn and Maxime Vachier-Lagrave. The last capture was on move 71, creating a rook and bishop versus rook endgame. The game was a theoretical draw until Black blundered on his 113th move. White managed to find the win, but could not secure checkmate before the fifty-move rule came into effect, and Black claimed a draw.


title: Fifty-move rule

text: The rule has a long history. The purpose of the rule is to prevent someone from playing on indefinitely in a position that cannot be won. A precursor to chess, shatranj, had a seventy-move rule. The fifty-move rule was introduced into chess by Ruy López in his 1561 book. Pietro Carrera (15731647) thought that twenty-four moves was the right number but Bourdonnais (17951840) argued for sixty moves.


title: Fifty-move rule

text: By 1800, a claim under the rule could be made only in certain specified types of endgame, which varied from one set of rules to another. The move-count started when the request to implement the rule was made (instead of going back to the last capture or pawn move) and a capture or a pawn move did not reset the count. The rules used at the 1883 London tournament reset the count if there was a capture or pawn move, but still started the count when the claim to apply the rule was made instead of going back to the last capture or pawn move.


title: Fifty-move rule

text: At one time, it was believed that all winnable endgames could be won within fifty moves. However, in the early 20th century, some exceptions were found, including A. A. Troitsky's (1866-1942) analysis of the two knights endgame as well as the endgame of a rook and bishop versus a rook. The rules of chess were revised several times to admit exceptions to the fifty-move rule for certain specific situations. Early on, the fifty-move rule applied to games but not to games.


title: Fifty-move rule

text: During the time periods when the fifty-move rule admitted exceptions, there were a number of revisions. In 1928 FIDE enacted rules that if an endgame theoretically requires more than 50 moves to force checkmate, twice that number of moves were allowed. For instance, in the rook and bishop versus rook endgame, 132 moves were allowed, since it was twice the 66 moves that were thought to be required at that time. (The actual maximum number of moves needed is 59.) In 1952 FIDE revised the law, allowing for 100 moves in such positions but requiring that players agree to an extension for these positions before the first move is made. This was still in effect in 1960. The positions were not specified in the rules, to allow for the possibility of more positions requiring more than 50 moves to be discovered (which is what happened). The following positions were understood to require more than 50 moves:


title: Fifty-move rule

text: Article 12.4 of the 1965 FIDE rules states: The number of moves can be increased for certain positions, provided that this increase in number and these positions have been clearly established before the commencement of the game. Harkness notes that "Some of these unusual positions have been established and accepted by FIDE", including two knights versus a pawn. The 1975 and 1977 versions of the rules included the same wording (not specifying the positions or the number of moves).


title: Fifty-move rule

text: In 1984, the rule was modified and it became Article 10.9. Now 100 moves were explicitly specified and the positions above were listed in the rule. (The wording about the positions and number of moves having to be specified in advance of the game was dropped.) Ken Thompson's investigations in the 1980s using the Belle chess computer discovered numerous endgames winnable in more than 50 moves. However, these often involved seemingly random moves that defied human comprehension or analysis, in situations that would hardly ever occur in real gameplay. In 1989 the rule (still Article 10.9) was changed to 75 moves, and the listed positions were:


title: Fifty-move rule

text: The rule was then changed to allow just 50 moves in all positions. Some sources say that the 1989 rule was in effect for only a "year or so" or a "few years". but one source of the 1992 rules gives the pre-1984 wording: "...increased for certain positions if it was announced in advance". By 2001 the rule was Article 9.3 and allowed 50 moves for all positions.


title: Fifty-move rule

text: Research into how many moves are required to win certain endgames continued. Exhaustive retrograde analysis using faster computers to build endgame tablebases has uncovered many more such endgames, often of previously unsuspected length. In 2008, the record was 517 moves (assuming optimal play by both sides) to make a piece capture or exchange that achieves a simpler and more obviously winnable sub-endgame, for a particular position involving a queen and knight versus a rook, bishop, and knight. In 2013, this record was improved to 545 moves.


title: Fifty-move rule

text: Many of the longest games on record involve the rook and bishop versus rook endgame, when the rule for more moves was in effect. (See pawnless chess endgame and rook and bishop versus rook endgame.)


title: Year of the Cat (song)

text: "Year of the Cat" is a song by Scottish singer-songwriter Al Stewart, released as a single in July 1976 in the UK (October 1976 in the U.S.). The song is the title track of his 1976 album "Year of the Cat", and was recorded at Abbey Road Studios, London, in January 1976 by engineer Alan Parsons. The song reached number 8 on the "Billboard" Hot 100 in March 1977. Although Stewart's highest placed single on that chart was 1978's "Time Passages", "Year of the Cat" has remained Stewart's signature recording, receiving regular airplay on both classic rock and folk rock stations.


title: Year of the Cat (song)

text: Co-written by Peter White, "Year of the Cat" is a narrative song written in the second person whose protagonist, a tourist, is visiting an exotic market when a mysterious silk-clad woman appears and takes him away for a gauzy romantic adventure. On waking the next day beside her, the tourist notes that his tour bus has left without him, and decides to stay where he is for the time being.


title: Year of the Cat (song)

text: In the Vietnamese zodiac, the Cat is one of the twelve signs, corresponding to the Rabbit in the Chinese zodiac. At the time of the song's release, the most recent Year of the Rabbit had been 11 February 1975 to 30 January 1976; thus, the song was written and recorded in the Vietnamese Year of the Cat.


title: Year of the Cat (song)

text: The song began as "Foot of the Stage", a song written by Stewart in 1966 after seeing a performance by comedian Tony Hancock whose patter about "being a complete loser" who might as well "end it all right here" drew laughs from the audience: Stewart's intuitive response that Hancock was in genuine despair led to the writing of "Foot of the Stage". It was the melody for this never-recorded song to which Stewart set the lyrics of "Year of the Cat" in 1975. Pianist Peter White was given a co-writing credit on the song. Stewart explained White’s involvement in the creation of "Year of the Cat" during a concert in Edmonds, Washington in November 2017. He recalled that he was opening for Linda Ronstadt during a 1975 tour of the United States and receiving a decidedly mixed reaction from audiences when he noticed the pianist (presumably White) using a catchy chord progression during soundchecks. Stewart asked if he could add words to the notes, but the pianist said no. Stewart incorporated the notes into the melodic line of "The Year of the Cat" anyway.


title: Year of the Cat (song)

text: The track is noted for its lengthy instrumental sections—over four minutes of the 6:40 album version is instrumental, including a long, melodic series of solos that encompass cello, violin, piano, acoustic guitar, distorted electric guitar, synthesizer and saxophone. Tim Renwick plays both the acoustic lead and electric lead and George Ford plays bass. Parsons had Phil Kenzie add the alto saxophone part of the song—and by doing so transformed the original folk concept into the jazz-influenced ballad that put Al Stewart onto the charts.


title: Year of the Cat (song)

text: According to Stewart on an episode of "In the Studio with Redbeard" (which devoted an episode to the making of the "Year of the Cat" album), Phil Kenzie was watching a movie and didn't want to be bothered with going to do session work; but as a favour to Alan Parsons he went to Abbey Road, and the sax solos were recorded in one or two takes, after which Kenzie left the studio to go back home and watch the rest of his movie. Stewart also told Redbeard that he didn't like the sax solos at first but grew to like them.


title: Year of the Cat (song)

text: Shorter versions of the track can be found on some European 7" single formats. Though both of the discs carry the same label and catalogue number (RCA PB 5007), the French single features the A-side track clocking in at 4:30, while the Italian one features an even shorter mix of just 3:30 so that the lengthy instrumental intro is completely missing.


title: Year of the Cat (song)

text: Subsequent to the entry of the single on the US charts, the track afforded Stewart a major hit in Australia (no. 13), Belgium/Flemish Region (no. 7), Canada (no. 3), Italy (no. 5), the Netherlands (no. 6) and New Zealand (no. 15). In the UK, where the single had been overlooked on its original July 1976 release, it gained renewed interest which was evident in a Top 40 chart entry although interest levelled off outside the Top 30 with a number 31 peak in January 1977. "Year of the Cat" would remain Stewart's sole chart single in his native UK.


title: Year of the Cat (song)

text: The song is mainly written in E minor/G major, with the electric guitar solo in the bridge in D major.


title: Year of the Cat (song)

text: recorded the song with his own Finnish lyrics as "Kissojen Yö" on his 1978 album "Kadonneet Lapset". The Spanish rendering "El año del gato" was recorded by Érica García for her 2001 album release "El cerebro".


title: Year of the Cat (song)

text: The experimental band Psapp recorded a version for the compilation "Take It Easy: 15 Soft Rock Anthems" in 2006, which contained cat sound effects.


title: Year of the Cat (song)

text: Another version of the song, also performed by Stewart, appears on Volume 1 of the "Cities 97 Sampler".


title: Year of the Cat (song)

text: The song appears in the film version of "Running with Scissors" (2006) and in the film "Radiofreccia" (1998), the directorial debut of Italian rock star Luciano Ligabue.


title: Year of the Cat (song)

text: In 2013, the song was used during the end credits of "The Dinner" episode of HBO show "Hello Ladies".


title: Chuck Missler

text: Charles W. Missler (May 28, 1934 – May 1, 2018) was an American author, evangelical Christian, Bible teacher, engineer, and businessman.


title: Chuck Missler

text: Missler graduated from the U.S. Naval Academy in 1956 and received a Master's degree in Engineering from UCLA. He worked for several years in the aerospace and computer industries. He joined the Ford Motor Company in 1963. Missler joined Western Digital as chairman and chief executive in June 1977 and became the largest shareholder of Western Digital.


title: Chuck Missler

text: In 1983, Missler became the chairman and chief executive of Helionetics, Inc., another technology company. He left Helionetics in 1984 "to pursue other opportunities in the high-technology field." In August 1985, Helionetics sued Missler, alleging a conflict of interest, claiming that after Missler and other Helionetics executives had decided not to purchase a small defense electronics maker, that same company was purchased by an investment corporation in which Missler held a controlling interest. The suit was settled when Missler's firm agreed to pay Helionetics $1.6 million.


title: Chuck Missler

text: In 1989, he headed the Phoenix Group International, a former Colorado real estate company that entered the high-tech industry to sell personal computers to Russian schools. Phoenix filed for bankruptcy protection in 1990 when the deal did not develop as anticipated.


title: Chuck Missler

text: A "Los Angeles Times" article reported that Missler and co-author Hal Lindsey had plagiarized a portion of Miami University Professor Edwin Yamauchi's 1982 book "Foes from the Northern Frontier" in their own 1992 book "The Magog Factor". Hal Lindsey's manager Paul Krikac said Missler had written the passages in question, but conceded that Lindsey is responsible for the overall manuscript: "His (Lindsey's) butt is on the line." After the missed attribution was acknowledged by Missler, book shipments to bookstores were discontinued and all of the authors' proceeds donated to a ministry.


title: Chuck Missler

text: Missler has also been accused of plagiarism of New Age writer Michael Talbot's 1992 book "The Holographic Universe" in his 1999 book "Cosmic Codes: Messages from the Edge of Eternity". Missler also acknowledged this as missed attribution and apologized publicly. He said a correction would be inserted in all unsold copies and the book itself updated in subsequent printings. Missler donated all of the author's proceeds from the book to a ministry.


title: Chuck Missler

text: Due to his experience with technology, Missler was a figurehead in bringing the "Year Two Thousand Bug" (a.k.a. "Y2K bug") to the attention of the Christian community. In 1998, he coauthored a book with John Ankerberg investigating whether America would survive the crises to be caused, he claimed, by embedded computer chips that would malfunction on what they would calculate as year zero.


title: Chuck Missler

text: Richard Abanes wrote that through his newsletters Missler became a conduit between conservative evangelicals and anti-government, militia activists, some of whom were white supremacist.


title: Chuck Missler

text: Missler was married to Nancy Missler. They had two sons and two daughters. Nancy died of cancer on November 11, 2015. Missler was a Christian Zionist and a prominent speaker on the subject of Bible prophecy.


title: Árpád dynasty

text: The Árpád dynasty, consisted of the members of the royal House of Árpád (), also known as Árpáds (, ). They were the ruling dynasty of the Principality of Hungary in the 9th and 10th centuries and of the Kingdom of Hungary from 1000 to 1301. The dynasty was named after the Hungarian Grand Prince Árpád who was the head of the Hungarian tribal federation during the conquest of the Carpathian Basin, c. 895. Previously, it was referred to as the Turul dynasty or kindred.


title: Árpád dynasty

text: Both the first Grand Prince of the Hungarians (Álmos) and the first king of Hungary (Saint Stephen) were members of the dynasty.


title: Árpád dynasty

text: Eight members of the dynasty were canonized or beatified by the Catholic Church; therefore, since the 13th century the dynasty has often been referred to as the "Kindred of the Holy Kings". Two Árpáds were recognized as Saints by the Eastern Orthodox Church.


title: Árpád dynasty

text: The dynasty came to end in 1301 with the death of King Andrew III of Hungary, while the last member of the House of Árpád, Andrew's daughter, Blessed Elizabeth of Töss, died in 1336 or 1338. All of the subsequent kings of Hungary (with the exception of King Matthias Corvinus) were cognatic descendants of the Árpád dynasty. The House of Croÿ and the Drummond family of Scotland claim to descend from Géza and George, sons of medieval Hungarian kings: Géza II and Andrew I, respectively.


title: Árpád dynasty

text: According to recent Y-STR and Y-SNP archaeogenetic studies of the skeletal remains of dynasty descendant and King Béla III of Hungary and unknown Árpád member named as "II/52" / "HU52" from the Royal Basilica of Székesfehérvár, it was established that the male lineage belonged to the Y-haplogroup R1a rare subclade R-Z2125 > R-Z2123 > R-Y2632 > R-Y2633 > R1a-SUR51. The subclade was also found in nearest contemporary matches of 48 Bashkirs from the Burzyansky and Abzelilovsky districts of the Republic of Bashkortostan in the Volga-Ural region, and 1 individual from the region of Vojvodina, Serbia. The Árpád members and one individual from Serbia share additional private SNPs making a novel subclade R1a-SUR51 > R-ARP, and as the mentioned individual has additional private SNPs it branches from the medieval Árpáds forming R-ARP > R-UVD.


title: Árpád dynasty

text: Based on the data of the distribution, appearance and coalescence estimation of R-Y2633 the dynasty traces ancient origin near Northern Afghanistan about 4500 years ago, with a separation date of R-ARP from the closest kin Bashkirs from the Volga-Ural region to 2000 years ago, while the individual from Serbia (R-UVD) derives from the Árpáds about 900 years ago. As also the separation of haplogroup N-B539 between the Hungarians and Bashkirs is estimated to have occurred 2000 years ago, it implies that the ancestors of Hungarians left the Volga Ural region about 2000 years ago and started a migration that eventually culminated in settlement in the Carpathian Basin.


title: Árpád dynasty

text: Medieval chroniclers stated that the Árpáds' forefather was Ügyek, whose name derived from the ancient Hungarian word for "holy" ("igy"). The "Gesta Hunnorum et Hungarorum" ("The Deeds of the Huns and Hungarians") mentioned that the Árpáds descended from the "gens" (clan) Turul, and the "Gesta Hungarorum" ("The Deeds of the Hungarians") recorded that the Árpáds' totemic ancestor was a "turul" (a large bird, probably a falcon).


title: Árpád dynasty

text: Medieval chroniclers also referred to a tradition that the Árpáds descended from Attila the Hun – the anonymous author of the "Gesta Hungarorum", for example, has Árpád say:


title: Árpád dynasty

text: The first member of the dynasty mentioned by a nearly contemporary written source was Álmos. The Byzantine Emperor Constantine VII recorded in his "De Administrando Imperio" that Álmos was the first Grand Prince of the federation of the seven Magyar tribes ("megas Turkias arkhon"). Álmos probably accepted the supremacy of the Khagan of the Khazars in the beginning of his rule, but, by 862, the Magyar tribal federation broke free from the Khazar Khaganate. Álmos was either the spiritual leader of the tribal federation ("kende") or its military commander ("gyula").


title: Árpád dynasty

text: The Hungarians took possession of the Carpathian Basin in a pre-planned manner, with a long move-in between 862–895. Prince Álmos, the sacred leader of the Hungarian Great Principality died before he could reach Pannonia, he was sacrificed in Transylvania.


title: Árpád dynasty

text: Between 899 and 970, the Magyars frequently conducted raids into the territories of present-day Italy, Germany, France and Spain and into the lands of the Byzantine Empire. Such activities continued westwards until the Battle of Lechfeld (955), when Otto, King of the Germans destroyed their troops; their raids against the Byzantine Empire ended in 970.


title: Árpád dynasty

text: From 917, the Magyars made raids into several territories at the same time, which may have led to the disintegration of their tribal federation. The sources prove the existence of at least three and possibly five groups of tribes within the tribal federation, and only one of them was led directly by the Árpáds.


title: Árpád dynasty

text: The list of the Grand Princes of the Magyars in the first half of the 10th century is incomplete, which may also prove a lack of central government within their tribal federation. The medieval chronicles mention that Grand Prince Árpád was followed by his son, Zoltán, but contemporary sources only refer to Grand Prince Fajsz (around 950). After the defeat at the Battle of Lechfeld, Grand Prince Taksony (in or after 955 – before 972) adopted the policy of isolation from the Western countries – in contrast to his son, Grand Prince Géza (before 972–997) who may have sent envoys to Otto I, Holy Roman Emperor in 973.


title: Árpád dynasty

text: Géza was baptised in 972, and although he never became a convinced Christian, the new faith started to spread among the Hungarians during his reign. He managed to expand his rule over the territories west of the Danube and the Garam (today "Hron" in Slovakia), but significant parts of the Carpathian Basin still remained under the rule of local tribal leaders.


title: Árpád dynasty

text: Géza was followed by his son Stephen (originally called Vajk), who had been a convinced follower of Christianity. Stephen had to face the rebellion of his relative, Koppány, who claimed Géza's inheritance based on the Magyar tradition of agnatic seniority. He was able to defeat Koppány with the assistance of the German retinue of his wife, Giselle of Bavaria.


title: Árpád dynasty

text: The Grand Prince Stephen was crowned on 25 December 1000 or 1 January 1001, becoming the first King of Hungary (1000–1038) and founder of the state. He unified the Carpathian Basin under his rule by 1030, subjugating the territories of the Black Magyars and the domains that had been ruled by (semi-)independent local chieftains ("e.g.", by the "Gyula" Prokuj, Ajtony). He introduced the administrative system of the kingdom, based on counties "(comitatus)", and founded an ecclesiastic organization with two archbishoprics and several bishoprics. Following the death of his son, Emeric (2 September 1031), King Stephen I assigned his sister's son, the Venetian Peter Orseolo as his heir which resulted in a conspiracy led by his cousin, Vazul, who had been living imprisoned in Nyitra (today "Nitra" in Slovakia). Vazul was blinded on King Stephen's order and his three sons (Levente, Andrew and Béla) were exiled.


title: Árpád dynasty

text: When King Stephen I died on 15 August 1038, Peter Orseolo ascended to the throne, but he had to struggle with King Stephen's brother-in-law, Samuel Aba (1041–1044). King Peter's rule ended in 1046 when an extensive revolt of the pagan Hungarians broke out and he was captured by them.


title: Árpád dynasty

text: With the assistance of the pagans, Duke Vazul's son, Andrew, who had been living in exile in the Kievan Rus' and had been baptized there, seized power and was crowned; thus, a member of a collateral branch of the dynasty seized the crown. King Andrew I (1046–1060) managed to pacify the pagan rebels and restore the position of Christianity in the kingdom. In 1048, King Andrew invited his younger brother, Béla to the kingdom and conceded one-third of the counties of the kingdom "(Tercia pars regni)" in appanage to him. This dynastic division of the kingdom, mentioned as the first one in the "Chronicon Pictum" "(prima regni huius divisio)", was followed by several similar divisions during the 11th through 13th centuries, when parts of the kingdom were governed by members of the Árpád dynasty. In the 11th century, the counties entrusted to the members of the ruling dynasty did not form a separate province within the kingdom, but they were organized around two or three centers. The dukes governing the "Tercia pars regni" accepted the supremacy of the kings of Hungary, but some of them (Béla, Géza and Álmos) rebelled against the king in order to acquire the crown and allied themselves with the rulers of the neighboring countries.


title: Árpád dynasty

text: King Andrew I was the first king who had his son, Solomon crowned during his life in order to ensure his son's succession (1057). However, the principle of agnatic primogeniture was not able to overcome the tradition of seniority, and following King Andrew I, his brother, King Béla I (1060–1063) acquired the throne despite the claims of the young Solomon. From 1063 until 1080 there were frequent conflicts between King Solomon (1057–1080) and his cousins, Géza, Ladislaus and Lampert who governed the "Tercia pars regni". Duke Géza rebelled against his cousin in 1074 and was proclaimed king by his partisans in accordance with the principle of seniority. When King Géza I died (25 April 1077) his partisans, disregarding his young sons, proclaimed his brother Ladislaus king.


title: Árpád dynasty

text: King Ladislaus I (1077–1095) managed to persuade King Solomon, who had been ruling in some western counties, to abdicate the throne. During his reign, the Kingdom of Hungary strengthened and Ladislaus I was able to expand his rule over neighboring Kingdom of Croatia (1091). He entrusted the government of the newly occupied territories to his younger nephew, Álmos.


title: Árpád dynasty

text: On 20 August 1083, two members of the dynasty, King Stephen I and his son, Duke Emeric, were canonized in Székesfehérvár upon the initiative of King Ladislaus I. His daughter Eirene, the wife of the Byzantine Emperor John II Komnenos, is venerated by the Eastern Orthodox Church.


title: Árpád dynasty

text: When King Ladislaus I died, his elder nephew Coloman was proclaimed king (1095–1116), but he had to concede the "Tercia pars regni" in appanage to his brother Álmos. King Coloman defeated Croatian army led by Petar Snačić in Battle of Gvozd Mountain (1097) and was crowned King of Croatia and Dalmatia in 1102 in Biograd.


title: Árpád dynasty

text: King Coloman deprived his brother Álmos of his duchy (the "Tercia pars regni") in 1107. He caught his second wife, Eufemia of Kiev, in adultery; she was divorced and sent back to Kiev around 1114. Eufemia bore a son, named Boris in Kiev, but King Coloman refused to accept him as his son. Around 1115, the king had Duke Álmos and his son, King Béla, blinded in order to ensure the succession of his own son, King Stephen II (1116–1131).


title: Árpád dynasty

text: King Stephen II did not father any sons, and his sister's son Saul was proclaimed heir to his throne instead of the blind Duke Béla. When King Stephen II died on 1 March 1131, his blind cousin managed nevertheless to acquire the throne. King Béla II (1131–1141) strengthened his rule by defeating King Coloman's alleged son, Boris, who endeavoured to deprive him of the throne with foreign military assistance. King Béla II occupied some territories in Bosnia, and he conceded the new territory in appanage to his younger son, Ladislaus. Henceforward, members of the Árpád dynasty governed southern or eastern provinces ("i.e.", Slavonia, and Transylvania) of the kingdom instead of the "Tercia pars regni".


title: Árpád dynasty

text: During the reign of King Géza II (1141–1162), the Bishop Otto of Freising recorded that all the Hungarians "are so obedient to the monarch that not only irritating him by open opposition but even offending him by concealed whispers would be considered a felony by them". His son, King Stephen III (1162–1172) had to struggle for his throne against his uncles, Kings Ladislaus II (1162–1163) and Stephen IV (1163–1165), who rebelled against him with the assistance of the Byzantine Empire. During his reign, the Emperor Manuel I Komnenos occupied the southern provinces of the kingdom on the pretext that the king's brother, Béla (the "Despotes" Alexius) lived in his court. As the fiancé of the Emperor's only daughter, "Despotes" Alexius was the heir presumptive to the Emperor for a short period (1165–1169).


title: Árpád dynasty

text: Following the death of King Stephen III, King Béla III (1173–1196) ascended the throne, but he had imprisoned his brother Géza in order to secure his rule. King Béla III, who had been educated in the Byzantine Empire, was the first king who used the "double cross" as the symbol of the Kingdom of Hungary.


title: Árpád dynasty

text: In 1188, Béla occupied Halych, whose prince had been dethroned by his boyars, and granted the principality to his second son Andrew, but his rule became unpopular and the Hungarian troops were expelled from Halych in 1189.


title: Árpád dynasty

text: On 27 June 1192 the third member of the dynasty, King Ladislaus I was canonized in Várad (today "Oradea" in Romania).


title: Árpád dynasty

text: King Béla III bequeathed his kingdom intact to his elder son, King Emeric (1196–1204), but the new king had to concede Croatia and Dalmatia in appanage to his brother Andrew, who had rebelled against him.


title: Árpád dynasty

text: King Emeric married Constance of Aragon, from the house of Barcelona, and he may have followed Barcelonese (Catalan) patterns when he chose his coat-of-arms that would become the Árpáds' familiar badge (an escutcheon barry of eight Gules and Argent). His son and successor, King Ladislaus III (1204–1205) died in childhood and was followed by his uncle, King Andrew II (1205–1235).


title: Árpád dynasty

text: His reign was characterized by permanent internal conflicts: a group of conspirators murdered his queen, Gertrude of Merania (1213); discontent noblemen obliged him to issue the Golden Bull of 1222 establishing their rights (including the right to disobey the king); and he quarreled with his eldest son, Béla who endeavoured to take back the royal domains his father had granted to his followers. King Andrew II, who had been Prince of Halych (1188–1189), intervened regularly in the internal struggles of the principality and made several efforts to ensure the rule of his younger sons (Coloman or Andrew) in the neighboring country. One of his daughters, Elizabeth was canonized during his lifetime (1 July 1235) and thus became the fourth saint of the Árpáds. King Andrew's elder sons disowned his posthumous son, Stephen, who would be educated in Ferrara.


title: Árpád dynasty

text: Members of the family reigned occasionally in the Principality (later Kingdom) of Halych (1188–1189, 1208–1209, 1214–1219, 1227–1229, 1231–1234) and in the Duchy of Styria (1254–1260).


title: Árpád dynasty

text: King Béla IV (1235–1270) restored the royal power, but his kingdom became devastated during the Mongol invasion (1241–1242). Following the withdrawal of the Mongol troops, several fortresses were built or enstrengthened on his order. He also granted town privileges to several settlements in his kingdom, "e.g.", Buda, Nagyszombat (today "Trnava" in Slovakia), Selmecbánya (now "Banská Štiavnica" in Slovakia) and Pest received their privileges from him. King Béla IV managed to occupy the Duchy of Styria for a short period (1254–1260), but later he had to abandon it in favour of King Ottokar II of Bohemia. During his last years, he was struggling with his son, Stephen who was crowned during his lifetime and obliged his father to concede the eastern parts of the kingdom to him. Two of his daughters, Margaret and Kinga were canonized (in 1943 and 1999 respectively) and a third daughter of his, Yolanda was beatified (in 1827). His fourth daughter, Constance was also venerated in Lviv.


title: Árpád dynasty

text: When King Stephen V (1270–1272) ascended the throne, many of his father's followers left for Bohemia. They returned during the reign of his son, King Ladislaus IV the Cuman (1272–1290) whose reign was characterized by internal conflicts among the members of different aristocratic groups. King Ladislaus IV, whose mother was of Cuman origin, preferred the companion of the nomadic and semi-pagan Cumans; therefore, he was excommunicated several times, but he was murdered by Cuman assassins. The disintegration of the kingdom started during his reign when several aristocrats endeavoured to acquire possessions on the account of the royal domains.


title: Árpád dynasty

text: When King Ladislaus IV died, most of his contemporaries thought that the dynasty of the Árpáds had come to an end, because the only patrilineal descendant of the family, Andrew, was the son of Duke Stephen, the posthumous son of King Andrew II who had been disowned by his brothers. Nevertheless, Duke Andrew "the Venetian" was crowned with the Holy Crown of Hungary and most of the barons accepted his rule. During his reign, King Andrew III (1290–1301) had to struggle with the powerful barons ("e.g.", with members of the Csák and Kőszegi families). The male line of the Árpáds ended with his death (14 January 1301); one of his contemporaries mentioned him as ""the last golden twig"". His daughter, Elizabeth, the last member of the family, died on 6 May 1338; she is venerated by the Roman Catholic Church.


title: Árpád dynasty

text: Following the death of King Andrew III, several claimants started to struggle for the throne; finally, King Charles I (the grandson of King Stephen V's daughter) managed to strengthen his position around 1310. Henceforward, all the kings of Hungary (with the exception of King Matthias Corvinus) were matrilineal or cognate descendants of the Árpáds. Although the agnatic Árpáds have died out, their cognatic descendants live everywhere in the aristocratic families of Europe.


title: Árpád dynasty

text: Several members of the dynasty were canonized or beatified by the Catholic Church or by Eastern Orthodox Church, therefore, since the medieval times the dynasty has often been referred to as the "Lineage of the Holy Kings".


title: Billy Gould

text: William David Gould (born April 24, 1963 in Los Angeles, California) is an American musician and producer. He is best known as the bassist of Faith No More.


title: Billy Gould

text: Gould started playing the bass while he was at Loyola High School in Los Angeles with future Faith No More keyboardist Roddy Bottum. His first band during these early years was named "The Animated," a genre-bending new wave outfit that sounded something like a cross between The Buzzcocks, XTC and Michael Jackson. That band also featured future FNM vocalist Chuck Mosley on keyboards, and Mark Stewart (aka Stew) on guitar, of Negro Problem fame. In the early 1980s he moved to San Francisco to begin his studies and got involved with several underground bands. At this time, he met drummer Mike Bordin and guitarist Jim Martin. Soon after that Gould formed a band with Bordin, keyboardist Wade Worthington (quickly replaced with Roddy Bottum), and guitarist/vocalist Mike 'The Man' Morris named Faith No Man, which eventually became Faith No More once Morris was out of the band.


title: Billy Gould

text: In the mid-nineties, Gould began to work as producer and in 1997 he co-produced Faith No More's "Album of the Year" with the former Swans drummer Roli Mosimann. Since then, he has become the CEO of Koolarrow Records and worked on various projects as a producer or guest musician.


title: Billy Gould

text: In February 2009, it was announced that Faith No More would reform for a tour and possibly recording.


title: Billy Gould

text: In 2015, after their longest gap between albums, Faith No More released their seventh studio album Sol Invictus. The album received a positive reception from professional critics and fans alike.


title: Billy Gould

text: In the 1990s Gould was in the original line-up of the Mexican grindcore band Brujeria. He was also involved in several supergroups, such as Shandi's Addiction (with Maynard Keenan, Brad Wilk and Tom Morello) as well as Black Diamond Brigade (with Norwegian rock musicians Euroboy, Torgny Amdam, Tarjei Strøm and Sigurd Wongraven). Furthermore, he played with Wayne Kramer, and Fear Factory, and produced CMX's "Vainajala" album. His guest appearances include recordings for Romanian band Coma, and the production of "Living Targets" by German group Beatsteaks, Slovenia's Elvis Jackson, and the album "7" for the German rock band Harmful, in which he also toured with them the whole year 2007 as guitar player.


title: Billy Gould

text: In 2007, Gould joined up with the all star band Fear and the Nervous System, formed by Korn guitarist James "Munky" Shaffer. The band also features Bad Religion drummer Brooks Wackerman.


title: Billy Gould

text: During the same year, Gould joined as bassist in Jello Biafra's new band The Axis of Evildoers along with Ralph Spight (Victim's Family) on guitar, and Jon Weiss on drums. They made their debut at Jello Biafra's 50th-birthday celebration June 16 and 17, 2008 at the Great American Music Hall in San Francisco. The band has since been renamed Jello Biafra and the Guantanamo School of Medicine and an album "Audacity of Hype" was released on October 20, 2009.


title: Billy Gould

text: In 2011, he released an experimental album called "The Talking Book", a collaboration between himself and sound artist Jared Blum, known for his various projects on the Gigante Sound label.


title: Billy Gould

text: In 2012, he collaborated with Charles Hayward of This Heat and Mads Heldtberg on a project and release entitled House of Hayduk. Also in 2011, Billy contributed to the production of the soundtrack for the documentary "The Sequential Art" , by Norwegian director Espen J. Jörgensen.


title: Billy Gould

text: In 2013, he reunited with Espen J. Jörgensen to provide synth, edits, recomposing and beats for a 'groovy and experimental EP' titled Fugly.


title: Billy Gould

text: In 2018, Gould joined Wayne Kramer (guitarist)'s MC50 band, celebrating the 50th anniversary of the release of the MC5 album, Kick Out The Jams. This band also featured: Kim Thayil of Soundgarden, Brendan Canty of Fugazi, and Marcus Durant of Zen Guerilla.


title: Billy Gould

text: Since 1999, Gould has run an independent record label Koolarrow Records that has specialized in international acts and challenging artists such as LA's Flattbush, Seattle's Kultur Shock, Brujeria, Hog Molly (featuring Tad Doyle), Bosnian's Dubioza Kolektiv, San Francisco's La Plebe, German rock band Harmful, Alexander Hacke (of Einsturzende Neubauten), Como Asesinar a Felipes from Chile, former Danish experimental outfit Durefursog, and Mexican Dubwiser.


title: Billy Gould

text: For most of Faith No More's career, he has used a Zon bass, but started with a Gibson Grabber bass and used that for the first two Faith No More records up until early 1988 when he got his full endorsement deal with Aria basses which he was endorsed until late 1992. He used his prototype 1986 Aria Pro II SB-Integra bass which he received in 1986 on 1989's The Real Thing. And he used his 1990 Aria Pro II IGB-DLX bass from summer 1990 to late 1992 on 1992's Angel Dust. Even though he did have his SB Integra bass by 1986 he still used the Gibson for most of touring and recording from 1986 to early 1988 when the Grabber had according to Gould from a Q&A for the 30th anniversary of The Real Thing album, "was being literally held together with duct tape and the Aria was a better bass overall". In the music video for their song "Evidence", he is seen using a Fender Jazz. He began with Peavey amplifiers, he used the Peavey Mark III Bass Head on "We Care a Lot", and "Introduce Yourself" and used the Peavey Mark IV Bass Head on "The Real Thing" and "Angel Dust". And he has used them his entire career, mainly for the way he loved that the speakers in their amps broke up easily. He also at times used Ampeg SVT heads and cabinets too off and on at select shows, mainly during the first part of the Second Coming tour. He stated that he used a Fender Bassman 300 for the recording of 2015's "Sol Invictus", saying that "it sounded like a tractor going through a supercharger". He also in the 90's used a Peavey TB Raxx rack preamp recommended to him by Lee Sklar at the 1990 MTV VMA's, and a Tech 21 Sansamp PSA-1. Starting around 2014 was endorsed by and began using Aguilar pedals, amps & cabinets, but later used Darkglass amps, cabs & effects. He is known for employing a wide variety of playing styles, alternating between using a plectrum, slapping, and fingerstyle. He also used an Ibanez Tube Screamer and a DOD Stereo Bass Flanger on The Real Thing album and the following tour for that album. Here is a list of the strings he has used over the years: Rotosound Swing Bass 66 (Early years-Early 1989) Dean Markley Blue Steels (Mid 1989) D'Addario Pro Steels/Nickel Bass Strings (Late 1989-1997) Dunlop Nickel Bass Strings (1997-Present Day).


title: Matt Pike

text: Matthew Pike (born June 3, 1972) is an American musician best known as the guitarist of stoner metal/doom metal band Sleep and the frontman of High on Fire. With High on Fire, Pike won the 2019 Grammy Award for Best Metal Performance for the song "Electric Messiah".


title: Matt Pike

text: As a guest star, Pike provided the voices of Pickles' father and a Klokateer in "Metalocalypse" on late-night block Adult Swim.


title: Matt Pike

text: Pike was born in Southfield, Michigan. He moved to California after spending time in military school while living with his mother in Golden, Colorado. Arriving in San Jose, he realized the hardcore punk and heavy metal scenes were more active than the ones in Colorado. He made friends, attended shows, and eventually joined the sludge metal band Asbestosdeath. When playing around the Bay Area they developed a much heavier and slower sound more akin to doom metal. The quartet soon gained a following and changed their name to Sleep.


title: Matt Pike

text: When fellow Sleep guitarist Justin Marler quit the band, Sleep became a power trio. The band's second album, "Sleep's Holy Mountain", illustrated Pike as a young Tony Iommi, playing Black Sabbath-styled riffs.


title: Matt Pike

text: As a result of the increased press, the band's demographic and following widened greatly, and major label deals soon began surfacing. However, instead of following a path to mainstream exposure, the band fled further underground, turning down countless major label deals and submitting the one-song, full-length record "Jerusalem" in mid-1996. In 1997, the band called it quits after London Records refused to release the "Dopesmoker/Jerusalem" recordings and the pressure the members were experiencing became unbearable. Pike couldn't come to terms with the break-up and became depressed. He soon realized that his career as a musician was far from over, and began inviting people to jam in his garage. Deciding to work in a power trio again, he brought in Desmond Kensel (drums) and an old friend George Rice (bass) to play in his new band. Within six months, the jams were headed to fruition and High on Fire was developing from a simple need to play guitar again.


title: Matt Pike

text: From the ashes of Sleep rose Pike's new band, High on Fire, and while his guitar tone remained largely the same, he began playing faster and more aggressively than Sleep. Pike handles both guitar and vocal duties in the band, as well as writing a bulk of the material. High on Fire have toured constantly since their inception.


title: Matt Pike

text: Pike was the frontman of the Bay Area psychedelic-metal band Kalas (formerly Scum Angel) that featured members of Econochrist, Samiam, and Cruevo. Pike set aside the guitar for Kalas, as they already featured two guitarists; his vocals were surprisingly melodic, especially compared to his snarling growls in High on Fire. After only releasing a self-titled album, Kalas split by October 2006.


title: Matt Pike

text: In 2012, Pike made his problems with addiction public as he dropped off the Rockstar Mayhem Festival during the summer and went into rehab. He cited health problems caused by his heavy consumption of alcohol as the reason. He admitted to having "fallen off the wagon" a few times since. In addition to this, he has admitted to suffering from bipolar disorder, and has sustained bodily injuries from relentless years of touring.


title: Matt Pike

text: In 2018, Pike's band High on Fire announced they would be cancelling their upcoming tour due to Pike needing a partial amputation of one of his toes. Again on January 7, 2019, they announced via their Instagram that High on Fire would be cancelling their 2019 Electric Messiah tour because of Pike's risk of losing his big toe or part of his foot, due to complications from diabetes.


title: Voyage to the Bottom of the Sea

text: Voyage to the Bottom of the Sea is a 1961 American science fiction disaster film, produced and directed by Irwin Allen, and starring Walter Pidgeon and Robert Sterling. The supporting cast includes Peter Lorre, Joan Fontaine, Barbara Eden, Michael Ansara, and Frankie Avalon. The film's storyline was written by Irwin Allen and Charles Bennett. The opening title credits theme song was sung by Avalon. The film was distributed by 20th Century Fox.


title: Voyage to the Bottom of the Sea

text: The new, state-of-the-art nuclear submarine, "Seaview", is on diving trials in the Arctic Ocean. "Seaview" is designed and built by scientist and engineering genius Admiral Harriman Nelson (USN-Ret). Captain Lee Crane is the submarine's Commanding Officer. One of the on-board observers is Dr. Susan Hiller, studying crew-related stress. The mission includes being out of radio contact for 96 hours while under the Arctic ice cap. The polar ice suddenly begins to crack and melt, with boulder-size pieces crashing into the ocean around the submerged submarine; surfacing, they discover the sky is on fire. After rescuing scientist Miguel Alvarez and his dog at Ice Floe Delta, "Seaview" receives a radio message from Mission Director Inspector Bergan at the Bureau of Marine Exploration. He reports that a meteor shower has pierced the Van Allen radiation belt, causing it to catch on fire, resulting in a deadly increase in the global temperature. Nelson's on-board friend and scientist, retired Commodore Lucius Emery, concurs it is possible.


title: Voyage to the Bottom of the Sea

text: The President summons Admiral Nelson to a UN Emergency Scientific meeting. Nelson and Commodore Emery have devised a plan to end the catastrophe. "Seaview" arrives in New York Harbor two days later. Nelson informs the UN that, according to their calculations, if the increasing temperature is not stopped, it will become irreversible and the Earth will die in about three weeks. The Admiral and the Commander propose extinguishing the fire by launching a nuclear missile at the burning belt from the Mariana Islands. A nuclear explosion should overwhelm and extinguish the flames, "amputating" the belt from the Earth. "Seaview" has the capability of firing the missile. The chief scientist and head delegate, Vienna's Emilio Zucco rejects the Admiral's plan as too risky. He believes the composition of the belt's gasses will cause the fire to soon burn itself out when reaching 173 degrees. Nelson disagrees with Zucco's theory, claiming that his estimated burn-out point is incorrect. Nelson and Emery's plan is rejected. The Admiral and the Commodore quickly leave the proceedings intending to get authorization directly from the President himself.


title: Voyage to the Bottom of the Sea

text: The "Seaview" races to reach the optimal firing position above the Pacific Ocean's Marianas trench in time for the needed angle of trajectory. Nelson and Crane attempt tapping the Rio-to-London telephone cable in an attempt to reach the President. During the cable tapping attempt, Crane and Alvarez battle a giant squid. They can only tap into the London cable, and Nelson learns there has been no contact with the U.S. for 35 hours.


title: Voyage to the Bottom of the Sea

text: An unsuccessful attempt on the Admiral's life indicates a saboteur is aboard. The rescued scientist, Miguel Alvarez, a religious zealot regarding the catastrophe, is the suspected saboteur. Dr. Hiller, who privately supports Dr Zucco's plan, is another suspect.


title: Voyage to the Bottom of the Sea

text: Other obstacles present themselves. The "Seaview's" main generator is sabotaged by a crew member who lost his mind, forcing Nelson to order Crane to proceed while repairs are made despite the risk of proceeding without power for the sonar and radar. As a result, the sub narrowly escapes a minefield left over from World War II. The crew are near-mutiny, to the point that when the "Seaview" encounters a motor ship whose crew is dead, Captain Crane and the Admiral allow any crew members who wish to leave rather than continue the mission to leave the sub and sail the derelict home.


title: Voyage to the Bottom of the Sea

text: Crane begins doubting the Admiral's tactics and reasoning. A hostile, unidentified submarine pursues them, diving deep into the Mariana Trench, exceeding its crush depth; the sub implodes before it can destroy "Seaview".


title: Voyage to the Bottom of the Sea

text: The saboteur has shut down the sub's power. Crane encounters Dr Hiller, the saboteur, atop the shark tank, as she exits the restricted nuclear reactor core. Her radiation detector badge has turned red, showing she has been exposed to a fatal dose. When asked why, she says to prevent the sub from reaching its target. Suddenly an explosion rocks the sub, throwing Dr. Hiller into the shark tank. She is killed by the sharks.


title: Voyage to the Bottom of the Sea

text: "Seaview" reaches the Mariana Islands in time to carry out the Admiral's plan. He learns that temperatures are rising faster than projected, proving Zucco's theory is incorrect. Alvarez, believing it is God's will for the Earth to be destroyed, attempts to sabotage the mission by threatening to explode a bomb. The nuclear missile is launched toward the belt by Captain Crane, who launches the nuclear missile from outside the sub before Alvarez is aware. It explodes in the Van Allen Belt as intended, driving the burning flames away from the Earth and saving humanity.


title: Voyage to the Bottom of the Sea

text: The name of the film is an inversion of a phrase in common use at the time, concerning the exploration of the Arctic Ocean by nuclear submarines, namely, "a voyage to the top of the world".


title: Voyage to the Bottom of the Sea

text: From August 1, 1958, through August 5, 1958, (the first nuclear-powered submarine), under the command of Commander (later Captain) William R. Anderson, steamed under the Arctic ice cap to make the first crossing from the Pacific to the Atlantic via the North Pole. On August 3, 1958, she became the first vessel to reach the North Pole.


title: Voyage to the Bottom of the Sea

text: For this accomplishment, "Nautilus" and her crew were awarded the Presidential Unit Citation, the first Presidential Unit Citation awarded in peacetime. The citation began with the words, "For outstanding achievement in completing the first voyage in history across the top of the world, by cruising under the Arctic ice cap from the Bering Strait to the Greenland Sea".


title: Voyage to the Bottom of the Sea

text: "Nautilus 90 North" (1959, with Clay Blair) was the first book Anderson wrote about the Arctic missions of USS "Nautilus". It was named for the radio message he sent to the Chief of Naval Operations to announce that "Nautilus" had reached the pole. His second book about these missions, "The Ice Diaries: The Untold Story of the Cold War's Most Daring Mission" (with Don Keith), was completed shortly before Anderson's death. This second book includes many previously classified details.


title: Voyage to the Bottom of the Sea

text: On March 17, 1959, the nuclear submarine , under the command of Commander (later Vice Admiral) James F. Calvert, became the first submarine to surface at the North Pole. While there, her crew scattered the ashes of Arctic explorer Sir Hubert Wilkins. Calvert wrote the book "Surface at the Pole" about this and the other Arctic missions of USS "Skate."