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Aliens (film)

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Not to be confused with Alien (film).
Aliens poster.jpg
Theatrical release poster
Directed by James Cameron
Produced by Gale Anne Hurd
Screenplay by James Cameron
Story by
Based on Characters created
by Dan O'Bannon
Ronald Shusett
Music by James Horner
Cinematography Adrian Biddle
Edited by Ray Lovejoy
Distributed by 20th Century Fox
Release dates
  • July 18, 1986 (1986-07-18)
Running time
137 minutes[1]
Country United States[2][3]
Language English
Budget $17–18 million[4][5]
Box office $131.1–183.3 million[4][6]

Aliens is a 1986 American science-fiction action horror film written and directed by James Cameron, produced by his then-wife Gale Anne Hurd, and starring Sigourney Weaver, Carrie Henn, Michael Biehn, Paul Reiser, Lance Henriksen, William Hope, and Bill Paxton. It is the sequel to the 1979 film Alien and the second installment in the Alien franchise. The film follows Weaver's character Ellen Ripley as she returns to the planet where her crew encountered the hostile Alien creature, this time accompanied by a unit of space marines.

Gordon Carroll, David Giler and Walter Hill of Brandywine Productions, who produced the first film and the later sequels, were executive producers of Aliens. They were interested in a follow-up to Alien as soon as its 1979 release, but the new management at 20th Century Fox postponed those plans until 1983. That year Brandywine picked Cameron to write after reading his script for The Terminator; when that film became a hit in 1984, Fox greenlit Aliens with Cameron as director and a budget of approximately $18 million. The script was written with a war film tone influenced by the Vietnam War to contrast the horror motifs of the original Alien. It was filmed in England at Pinewood Studios and at a decommissioned power plant in Acton, London.

Aliens grossed $180 million worldwide. It was nominated for seven Academy Awards, including a Best Actress nomination for Sigourney Weaver, winning both Sound Effects Editing and Visual Effects. It won eight Saturn Awards, including Best Science Fiction Film, Best Actress for Weaver and Best Direction and Best Writing for Cameron. Aliens is considered one of the greatest films of all time.

Ellen Ripley (Sigourney Weaver) is rescued after drifting through space in stasis for 57 years. She is debriefed by her employers at the Weyland-Yutani Corporation over the destruction of her ship, the Nostromo; they are skeptical of her claims that an Alien killed the ship's crew and forced her to destroy the ship.

LV-426, the planet where the Nostromo encountered the Alien eggs, is now home to a human terraforming colony, Hadley's Hope. When contact is lost with Hadley's Hope, Weyland-Yutani representative Carter Burke and Colonial Marine Lieutenant Gorman ask Ripley to accompany Burke and a Colonial Marine unit to investigate the disturbance. Traumatized by her encounter with the Alien, Ripley refuses, but relents after experiencing recurring nightmares about the creature; she makes Burke promise to destroy the Aliens. Aboard the spaceship U.S.S. Sulaco, she is introduced to the Colonial Marines and the android Bishop, toward whom Ripley is initially hostile following her experience with the homicidal android Ash aboard the Nostromo.

A dropship delivers the expedition to the surface of LV-426, where they find the colony deserted. Inside, they find makeshift barricades and signs of a struggle, but no bodies; two live facehuggers in containment tanks in the medical lab; and a survivor, a traumatized young girl nicknamed Newt who used the ventilation system to evade death. The crew uses the colony's computer to locate the colonists grouped beneath the fusion powered atmosphere processing station. They head to the location, descending into corridors covered in Alien secretions.

At the center of the station, the marines find the colonists cocooned, serving as incubators for the Aliens' offspring. When the marines kill a newborn Alien, the Aliens are roused and attack the marines, killing and capturing several. When the inexperienced Gorman panics, Ripley takes control of their vehicle and rams it through the nest to rescue marines Hicks, Hudson, and Vasquez. Hicks orders the dropship to recover the survivors, but a stowaway Alien kills the pilots, causing it to crash. Ripley, Newt, Burke and the remaining marines barricade themselves inside the colony.

Ripley discovers that Burke deliberately sent the colonists to investigate the derelict spaceship where the Nostromo crew first encountered the Alien eggs, believing he could become wealthy by recovering Alien specimens for use as biological weapons. She threatens to expose him, but Bishop informs the group of a greater danger: the power plant was damaged during the battle, and will soon detonate with the force of a 40-megaton thermonuclear weapon. He volunteers to crawl through several hundred meters of piping conduits to reach the colony's transmitter and remotely pilot the Sulaco 's remaining dropship to the surface.

Ellen Ripley in the Power Loader she uses to battle the Alien Queen.

Ripley and Newt fall asleep in the medical laboratory, awakening to find themselves locked in the room with the two facehuggers, which have been released from their tanks. Ripley triggers a fire alarm to alert the marines, who rescue them and kill the creatures. Ripley accuses Burke of releasing the facehuggers so that they would impregnate her and Newt, allowing him to smuggle the Alien embryos past Earth's quarantine, and of planning to kill the rest of the marines in hypersleep during the return trip so that no one could contradict his version of events. Before the marines can kill Burke, the electricity is cut and Aliens attack through the ceiling. Burke, Vasquez and Gorman are killed, while Newt and Hudson are captured.

Ripley and an injured Hicks reach Bishop and the second dropship, but Ripley refuses to abandon Newt. She hastily assembles a weapon and rescues Newt from the hive in the processing station, where the two encounter the Alien queen in her egg chamber. Ripley destroys the eggs, enraging the queen, who tears free from her ovipositor. Pursued by the queen, Ripley and Newt rendezvous with Bishop and Hicks on the dropship and escape moments before the colony is consumed by the nuclear blast.

On the Sulaco, Ripley and Bishop's relief at their escape is interrupted when the Alien queen, stowed away on the dropship's landing gear, tears Bishop in two. The queen advances on Newt, but Ripley intercepts her using an exosuit cargo-loader and expels it through an airlock. Ripley, Newt, Hicks and the badly damaged Bishop enter hypersleep for the return to Earth.

David Giler declared that back in 1979 Brandywine Productions were intent on "immediately making a sequel" to Alien, having the full support of 20th Century Fox president Alan Ladd, Jr.. However, that year Ladd left amidst Fox's transition to new owners Marc Rich and Marvin Davis, and the new studio management had no interest in the sequel.[7] Giler accused new president Norman Levy of being the one that held the film's production, but Levy would later declare that "It was a movie I wanted to make," but he felt another Alien would prove too costly. In the meantime, Giler and partners Walter Hill and Gordon Carroll sued Fox regarding the disbursement of the Alien profits. By the time the lawsuit was settled, in 1983, Fox had new executives that got interested in continuing Alien.[8] Giler pitched the project to one of the executives as a cross between Hill's Southern Comfort and The Magnificent Seven.[7]

While the producers and development executive Larry Wilson sought a writer for Alien II, Wilson came across James Cameron's screenplay for The Terminator, and passed the script to Giler feeling Cameron was apt for the job.[8] Giler then approached Cameron, who was completing pre-production of The Terminator. A fan of the original Alien, Cameron was interested in crafting a sequel and entered a self-imposed seclusion to brainstorm a concept for Alien II.[9] After four days Cameron produced an initial 45-page treatment, although the Fox management put the film on hiatus, as some disliked the pitch and they felt that Alien had not generated enough profit to warrant a sequel.[8][9] A scheduling conflict with actor Arnold Schwarzenegger caused filming of The Terminator to be delayed by nine months (as Schwarzenegger was filming Conan the Destroyer), allowing Cameron additional time to write a script for Aliens. While filming The Terminator, Cameron wrote 90 pages for Aliens, and although the script was not finished, Fox's new president Larry Gordon was impressed and told him that if The Terminator was a success, he would be able to direct Aliens.[7][8] Cameron even declared that he spent production of The Terminator thinking on which elements of that film could "make a good dry run" for the Alien sequel.[10]

Following the success of The Terminator, Cameron and producing partner Gale Anne Hurd were given approval to direct and produce the sequel to Alien, scheduled for a 1986 release. Cameron was enticed by the opportunity to create a new world and opted not to follow the same formula as Alien, but to create a worthy combat sequel focusing "more on terror, less on horror".[11] Sigourney Weaver, who played Ellen Ripley in Alien, had doubts about the project, but after meeting Cameron she expressed interest in revisiting her character. 20th Century Fox, however, refused to sign a contract with Weaver over a payment dispute and asked Cameron to write a story excluding Ellen Ripley.[7] He refused on the grounds that Fox had indicated that Weaver had signed on when he began writing the script. With Cameron's persistence, Fox signed the contract and Weaver obtained a salary of $1 million, a sum 30 times what she was paid for the first film[12] (and equivalent to $2,200,000 in present-day terms). Weaver nicknamed her role in the Alien sequel "Rambolina", referring to John Rambo of the Rambo series, and stated that she approached the role as akin to the titular role in Henry V or women warriors in Chinese classical literature.[12]

Cameron drew inspiration for the Aliens story from the Vietnam War, a situation in which a technologically superior force was mired in a hostile foreign environment: "Their training and technology are inappropriate for the specifics, and that can be seen as analogous to the inability of superior American firepower to conquer the unseen enemy in Vietnam: a lot of firepower and very little wisdom, and it didn't work."[9][13] The attitude of the space marines was influenced by the Vietnam War; they are portrayed as cocky and confident of their inevitable victory, but when they find themselves facing a less technologically advanced but more determined enemy, the outcome is not what they expect.[11] Cameron listed Robert A. Heinlein's novel Starship Troopers as a major influence that lead to the incorporation of various themes and phrases, such as the terms "the drop" and "bug hunt", as well as the cargo-loader exoskeleton.[14]

Top to bottom: Paul Reiser (who played Carter Burke), Lance Henriksen (android Bishop) and Bill Paxton (Colonal Marine Hudson)
For more details on individual characters, see List of Alien characters.

Cameron opted to hire actors who had, or could imitate, American accents. After over 3,000 individuals in the United Kingdom were unsuccessfully auditioned, American actors were chosen instead, including three who had previously worked with Cameron on The Terminator: Lance Henriksen, Bill Paxton, and Michael Biehn. Actors who played Marines were asked to read Starship Troopers and undergo military training, which included running, lifting weights, learning salutes, marches, deployments, and maneuvers, for two weeks. Cameron wanted the Marines to train together so that they would form bonds that would show on-screen. Sigourney Weaver, William Hope, and Paul Reiser were absent from training because of other obligations, but Cameron felt that this suited their characters as "outsiders" in the film.[15]

The principal cast members of Aliens are:

A former warrant officer, and the sole survivor of an Alien attack on her ship, the Nostromo. Weaver reprised her role from Alien. She received a Saturn Award for best actress for her performance and was nominated for an Academy Award for Best Actress, her first Academy Award nomination.[16]
One of the Colonial Marines' squad leaders; he was hastily cast a week after filming had commenced, and thus was not present for the military training that the other actors playing marines went through[15] James Remar was originally cast as Hicks but left the project over creative differences with Cameron.[17] In an interview on episode #128 of the Sidebar podcast, Remar stated that he was replaced due to being fired after he was busted due to the possession of drugs. [18]
A representative from the Weyland-Yutani Corporation, sent to investigate LV-426.
An android serving as the executive officer aboard the Sulaco.
  • Carrie Henn as Rebecca "Newt" Jorden:
A young girl, who is the only survivor of the colony on LV-426. According to the casting director, Newt was the most difficult role to cast: Schoolchildren were auditioned, but many of them had acted in commercials and were accustomed to smiling after saying their lines. Henn was chosen out of 500 children for the role, although she had no previous acting experience.[11][15] She received a Saturn Award for Best Performance by a Younger Actor,[16] but chose not to pursue an acting career, and became a teacher.[19]
The Marine team's technician. He received a Saturn Award for best supporting actor.[16]
The Marines' inexperienced commanding officer
The Marine team's smart gunner. She received a Saturn Award for best supporting actress.[16]
One of the Marines' commanding officers. Matthews attributed his casting to his military experience.

Also featured are Mark Rolston as Private Drake, Colette Hiller as Corporal Ferro, Daniel Kash as Private Spunkmeyer, Cynthia Dale Scott as Corporal Dietrich, the Marines' corpsman, Ricco Ross as Private Frost, Tip Tipping as Private Crowe, and Trevor Steedman as Private Wierzbowski. Paul Maxwell portrays Van Leuwen, the head of the review board that revokes Ripley's flight license, and Carl Toop portrays the Aliens and Alien Queen.

The producing team behind Aliens, James Cameron and Gale Anne Hurd

Aliens was filmed over ten months on a budget of $18 million at Pinewood Studios in England.[9] Cameron, bound by a low budget and a deadline, found it difficult to adjust to what Paxton called the "really indentured" working practices of the British crew, such as the tea breaks that brought production to a halt. The crew were admirers of Ridley Scott, and many of them believed Cameron was too young and inexperienced to direct, despite Cameron's attempts to show them his previous film, The Terminator, which had not yet been released in the UK.[20] They mocked producer Gale Anne Hurd, insisting that she was only receiving the producer credit because she was married to Cameron. Cameron clashed with the original director of photography, Dick Bush, when Bush started production saying the schedule couldn't be met, and when he insisted on lighting the Alien nest set brightly; Cameron insisted on a dark, foreboding nest, relying on the lights from the Marines' armor. After Bush was fired, the crew walked out. Hurd managed to coax the team back to work and Adrian Biddle was hired as Bush's replacement.[20]

Some scenes of the Alien nest were shot at the decommissioned Acton Lane Power Station in Acton, London. The crew thought it was a perfect place to film because of its grilled walkways and numerous corridors, but had to spend money to remove asbestos from the station.[21] The Alien nest set was not dismantled after filming, and was reused in 1989 as the Axis Chemicals set for Batman (1989).[22]

Main article: Aliens (soundtrack)

Music composer James Horner felt he was not given enough time to create a musical score. Horner arrived in England and expected the film to be "locked" so he could write the score in six weeks, which he thought was a sufficient amount of time. Horner, however, discovered that filming and editing were still taking place, and he was unable to view the film. He visited the sets and editing rooms for three weeks and found that editor Ray Lovejoy was barely keeping up with the workload for reasons of time restrictions. Horner believed Cameron was preoccupied with sound effects, citing that Cameron spent two days with the sound engineer creating the sounds for the pulse rifles. He also complained that he was given an outdated recording studio; the score was recorded with the London Symphony Orchestra at Abbey Road Studios, a 30-year-old studio that was barely able to patch in synthesizers or use the electronic equipment that Horner required.[23]

Six weeks from theatrical release, no dubbing had taken place and the score had not been written, as Horner was unable to view the completed film. The final cue for the scene in which Ripley battles the Alien queen was written overnight. Cameron completely reworked the scene, leaving Horner to rewrite the music. As Gale Hurd did not have much music production experience, she and Cameron denied Horner's request to push the film back four weeks so he could finish the score. Horner felt that, given more time, he could get the score to 100% of his satisfaction, rather than the 80% he estimated he had been able to achieve. The score was recorded in roughly four days.[23] Despite his troubles, Horner received an Academy Award nomination (his first) for Best Original Score.

Horner stated that tensions between himself and Cameron were so high during post-production that he assumed they would never work together again. Horner believed that Cameron's film schedules were too short and stressful. The two parted ways until 1997 when Cameron, impressed with Horner's score for Braveheart, asked him to compose the score for Titanic.[23]

The AH-1 Cobra used in Vietnam served as inspiration for the design of the dropship.

Early concept art was created by Syd Mead, who had previously worked on Blade Runner, 2010 and Tron. One of the original designs for the spaceship Sulaco was spherical, but it was redesigned as the ship would be out of frame due to the film's aspect ratio. Cameron showed Mead his own concept art and the final result was described as "rocket gun that carries stuff". Concept artists were asked to incorporate subliminal acknowledgments to the Vietnam War, which included designing the dropship as a combination of a F-4 Phantom II and AH-1 Cobra.[21]

The APC (armored personnel carrier) was built upon the chassis of a Hunslet ATT 77 Aircraft Towing Tractor.

British Airways was re-equipping several of its aircraft tug tractors, and the crew managed to purchase a 635 hp Hunslet ATT 77[24] tug to use as the armored personnel carrier. It initially weighed 70 short tons (64,000 kg), and although the crew removed 35 short tons (32,000 kg) of lead ballast, the power station floor had to be reinforced to support the weight. The crew used many "junk" items in the set designs, such as Ripley's toilet, which came from a Boeing 707. Lockers, helicopter engines, and vending machines were used as set elements in the opening hypersleep scene. Production designer Peter Lamont was asked to reduce the cost of several scenes, including the not-yet-filmed space marine hypersleep sequence. Gale Hurd wanted to cut the scene altogether, but Lamont and Cameron felt it was important to the sequence of the film. To save on cost, only four hypersleep chambers were created and a mirror was used to create the illusion that there were twelve in the scene. Instead of using hydraulics, the chambers were opened and closed by wires operated by puppeteers.[21]

Weapons used by the space marines were based on real, fully functional weapons. British armorers used guns they found to be the most reliable when firing blanks and those which looked futuristic. The 'pulse rifles' were created from a Thompson SMG, with an attached forend of a Franchi SPAS-12 shotgun and a Remington 12 Gauge Model 870P receiver with barrel. The 'smart guns' carried by Vasquez and Drake were based on the German MG-42 machine gun and were maneuvered with Steadicam-like harnesses created using old motorcycle parts. The crew found flamethrowers the most difficult weapon to create and use, as they were the heaviest and most dangerous.[25]

Aside from the Alien Queen, designed by Cameron himself, the Aliens still took inspiration off H. R. Giger's designs for the original.[26] The only change was removing the translucent dome that gave the creature's head its sleek shape in Alien, exposing the ridged, spined cranium beneath. Cameron felt the dome was too fragile for the practical effects,[27] and also felt that the cranium design was more visually interesting without it.[11]

Ripley meets the Alien Queen. The life-sized Queen mock-up required 14 puppeteers to be operated.

Visual effects[edit]

Brothers Robert and Dennis Skotak were hired to supervise the visual effects, having previously worked with Cameron on several Roger Corman movies. Two stages were used to construct the colony on LV-426, using miniature models that were on average six feet tall and three feet wide.[28] Filming the miniatures was difficult because of the weather; the wind would blow over the props, although it proved helpful to give the effect of weather on the planet. Cameron used these miniatures and several effects to make scenes look larger than they really were, including rear projection, mirrors, beam splitters, camera splits and foreground miniatures. Due to budget limits, Cameron said he had to pay for the robotic arm used to cut into Ripley's shuttle in the opening scene.[28][29] Practical effects supervisor John Richardson declared his biggest challenge was creating the forklift Power Loader exoskeletons, which required only three months of work and had Cameron complaining about visual details during construction. The model could not stand on its own, requiring either wires dangling from the shoulders or a pole through the back attached to a crane. While Sigourney Weaver was inside the power loader model, a stunt man standing behind it would move the arms and legs.[26]

The Alien suits were made more flexible and durable than the ones used in Alien, to expand on the creatures' movements and allow them to crawl and jump. Dancers, gymnasts, and stunt men were hired to portray the Aliens. Various 8 feet (2.4 m) tall mannequins were also created to make Aliens that stood in inhuman poses, and could have their bodies exploded to simulate gunshot wounds. Stan Winston's team created fully articulated Facehuggers that could move their fingers; these were moved by wires hidden on the scenery or the actors' clothing. The one that walked towards Ripley had a mechanism akin to a pull toy, with pulleys that moved the fingers, and its jump combined three models shot separatedly: the walking Facehugger, a stationary model dangling on a table leg, and another model being pulled towards the camera.[27]

Scenes involving the Alien queen were the most difficult to film, according to production staff. A life-sized mock-up was created by Stan Winston's company in the United States to see how it would operate. Once the testing was complete, the crew working on the queen flew to England and began work creating the final version. Standing at 14 feet tall, it was operated using a mixture of puppeteers, control rods, hydraulics, cables, and a crane above to support it. Two puppeteers were inside the suit operating its arms, and sixteen were required to move it. All sequences involving the full size queen were filmed in-camera with no post-production manipulation.[28] Additionally, a miniature alien queen was used for certain shots.[30]

Box office[edit]

Eagerly anticipated by fans following the success of Alien,[31] Aliens was released in North America on July 18, 1986, and August 29 in the United Kingdom. In North America, the film opened in 1,437 theaters with an average opening gross of $6,995 and a weekend gross of $10,052,042. It was number one at the North American box office for four consecutive weeks, grossing $85.1 million. Aliens was the seventh highest-grossing film of 1986 in North America.[32] The film's worldwide total gross has been stated as high as $180 million, making Aliens one of the highest grossing R-rated films at the time.[33]

Critical reception[edit]

Test and pre-screenings were unable to take place for Aliens due to the film not being completed until its week of release.[34] Once it was released in cinemas, critical reaction was generally positive to very positive. Critic Roger Ebert gave the film 3.5 stars out of 4 and called it "painfully and unremittingly intense" and a "superb example of filmmaking craft." He also stated "when I walked out of the theater, there were knots in my stomach from the film's roller-coaster ride of violence."[35] Walter Goodman of The New York Times said it was a "flaming, flashing, crashing, crackling blow-'em-up show that keeps you popping from your seat despite your better instincts and the basically conventional scare tactics."[36] Time magazine featured the film on the cover of its July 28, 1986, issue, calling it the "summer's scariest movie". Time reviewer Richard Schickel declared the film "a sequel that exceeds its predecessor in the reach of its appeal while giving Weaver new emotional dimensions to explore."[9] The selection of Aliens for a Time cover was attributed to the successful reception of the film,[37][38] as well as its novel example of a science fiction action heroine.[39] Echoing Time's assessment, Dave Kehr of The Chicago Reader called the film "one sequel that surpasses the original."[40] Gene Siskel gave the film a negative review, describing Aliens as "one extremely violent, protracted attack on the senses" and that "toward the end, the film resorts to placing a young girl in jeopardy in a pathetic attempt to pander to who knows what audience. Some people have praised the technical excellence of Aliens. Well, the Eiffel Tower is technically impressive, but I wouldn't want to watch it fall apart on people for two hours."[41]

Reviews of the film have remained mostly positive over the years. In a 1997 interview, Weaver stated that Aliens "made the first Alien look like a cucumber sandwich."[42] In a 2000 review, film critic James Berardinelli said "When it comes to the logical marriage of action, adventure, and science fiction, few films are as effective or accomplished as Aliens."[43] Austin Chronicle contributor Marjorie Baumgarten labeled the film in 2002 as "a non-stop action fest."[44] Based on 48 reviews, the film holds a "Certified Fresh" rating of 98% on Rotten Tomatoes with an average critic score of 8.8 out of 10.[45] It also holds a score of 87 out of 100 ("universal acclaim") on the other major review aggregator, Metacritic.[46]

Interpretation and analysis[edit]

Philosopher Stephen Mulhall has remarked that the four Alien films represent an artistic rendering of the difficulties faced by the woman's "voice" to have itself heard in a masculinist society, as Ripley continually encounters males who try to silence her and to force her to submit to their desires. Mulhall sees this depicted in several events in Aliens, particularly the inquest scene in which Ripley's explanation for the deaths and destruction of the Nostromo, as well as her attempts to warn the board members of the Alien danger, are met with officious disdain. However, Mulhall believes that Ripley's relationship with Hicks illustrates that Aliens "is devoted ... to the possibility of modes of masculinity that seek not to stifle but rather to accommodate the female voice, and modes of femininity that can acknowledge and incorporate something more or other of masculinity than our worst nightmares of it."[47]

Several movie academics, including Barbara Creed, have remarked on the color and lighting symbolism in the Alien franchise, which offsets white, strongly lit environments (spaceships, corporate offices) against darker, dirtier, "corrupted" settings (derelict alien ship, abandoned industrial facilities). These black touches contrast or even attempt to take over the purity of the white elements.[48] Others, such as Kile M. Ortigo of Emory University, agree with this interpretation and point to the Sulaco with its "sterilized, white interior" as representing this element in the second film of the franchise.[49]

While some claim that the shape of the Sulaco was based on a submarine,[50] the design has most often been described as a "gun in space" resembling the rifles used in the movie.[51] Author Roz Kaveney called the opening shot of the ship traveling through space "fetishistic" and "shark-like", "an image of brutal strength and ingenious efficiency"—while the militarized interior of the Sulaco (designed by Ron Cobb) is contrasted to the organic interior of the Nostromo in the first movie (also designed by Cobb).[52] David McIntee noted the homage the scene pays to the opening tour through the Nostromo in Alien.[53]

Sigourney Weaver's Academy Award nomination for Best Actress was considered a milestone at the time when the Academy gave little recognition to the science fiction genre.

The android character Bishop has been the subject of literary and philosophical analysis as a high-profile fictional android conforming to science fiction author Isaac Asimov's Three Laws of Robotics and as a model of a compliant, potentially self-aware machine.[54] His portrayal has been studied by writers for the University of Texas Press for its implications relating to how humans deal with the presence of an "Other",[55] as Ripley treats them with fear and suspicion after the android Ash tried to kill her in the original Alien movie, and a form of "hi-tech racism and android apartheid" is present throughout the series.[56] This is seen as part of a larger trend of technophobia in films prior to the 1990s, with Bishop's role being particularly significant as he proves his worth at the end of the film, thus confounding Ripley's expectations.[57]

Aliens was nominated for seven Academy Awards including Best Music, Best Sound, Best Film Editing, and Best Art Direction/Set Decoration. It won two awards for Sound Effects Editing and Visual Effects. Sigourney Weaver received her first Academy Award nomination for Best Actress, and although she did not win, it was considered a landmark nomination for an actress to be considered for a science fiction/horror film, a genre which was given little recognition by the Academy in 1986.[11][34][58]

Aliens received four BAFTA award nominations and won in the category of Visual Effects.[59] It won eight Saturn Awards in the categories of best science fiction film, actress (Sigourney Weaver), supporting actor (Bill Paxton), supporting actress (Jenette Goldstein), performance by a younger actor (Carrie Henn), direction (James Cameron), writing (James Cameron), and special effects (Stan Winston and the L.A. Effects Group).[16]

Time magazine named Aliens in their Best of '86 list calling it a "technically awesome blend of the horror, sci-fi and service-comedy genres."[60] In 2007, Entertainment Weekly named Aliens as the second-best action movie of all time, behind Die Hard.[61] In a Rotten Tomatoes analysis of the top 100 science fiction films, Aliens ranks tenth among the best-reviewed films of the genre.[62] In 2004, Aliens was ranked 35th on Bravo's "100 Scariest Movie Moments" for the scene in which Ripley and Newt are attacked by facehuggers; the original Alien was ranked second for the chestburster scene.[63] IGN ranked it third in its "Top 25 Action Films of All-Time", stating that "there won't be an Alien movie as scary – or exciting – as this one made ever again."[64] Empire voted it the 'Greatest Film Sequel Of All Time'.[65]

Home media[edit]

Star Michael Biehn signing a copy of the film's DVD cover during an August 23, 2012 appearance at Midtown Comics in Manhattan

Aliens was first released on VHS in 1987, finishing as the tenth best-selling title of the year.[66] A "Special Edition" of Aliens was released in 1992 on laserdisc and VHS that restored seventeen minutes of deleted footage. These additions include a segment showing Newt's family first encountering the derelict spacecraft on LV-426, Ripley learning that her daughter died during the years she was in hypersleep, a scene in the operations building in which the Marines use sentry guns against the Aliens, and several extended dialogue scenes between Ripley and the Marines.[11] These scenes had been deleted from the original theatrical release as 20th Century Fox representatives thought the film was showing "too much nothing" and spent an unnecessary amount of time building suspense.[11]

Most of the Special Edition's footage was first seen when the film made its broadcast television debut on CBS in 1989, but two additional sequences concerning Burke's transmission to the colony about the derelict, and the Jorden family's subsequent discovery of the same, were added to the initial Laserdisc release. According to Cameron, the visual effects for the scene were incomplete, so he went back to the Skotak brothers and had them finish the sequences. All currently available versions of the Special Edition contain these scenes.

The special edition was released as part of The Alien Legacy 20th Anniversary Edition DVD box set in 1999 along with Alien, Alien 3, and Alien Resurrection. Both the theatrical version and the special edition were released again in 2003 as part of the Alien Quadrilogy DVD box set along with similar versions of Alien, Alien 3, and Alien Resurrection. A separate two-disc "Special Collector's Edition" DVD of Aliens was released on January 6, 2004, containing the same material as the two Aliens discs in the Quadrilogy set.[67] Additional content in these versions included an audio commentary for the special edition featuring director James Cameron, producer Gale Hurd, special effects artists and crew members. The second disc included special features relating to pre-production, production, and post-production.[68] The film was first made available on Blu-Ray in the 2010 box set Alien Anthology,[69] before receiving a stand-alone release the following year.[70]

Video games[edit]

In 2013, NECA released the first wave of highly detailed human and alien action figures from the respective film. NECA's Reel Toys worked directly with actors from the Alien franchise to release realistic figures based on select characters they portrayed in the films. NECA has released 7-inch figures based on characters such as Corporal Hicks, Private Hudson and Bishop. During winter 2014, it was announced there would be multiple figures of Ripley, Sigourney Weaver’s character from the Alien films. NECA worked directly with Weaver to develop these action figures, which are the first to feature her actual likeness.[71]

See also[edit]

  1. ^ "ALIENS". British Board of Film Classification. Retrieved December 15, 2014.
  2. ^
  3. ^
  4. ^ a b "Aliens - Box Office Data, DVD and Blu-ray Sales, Movie News, Cast and Crew Information". The Numbers. Retrieved December 15, 2014.
  5. ^ Kjolseth, Pablo. "Aliens". Turner Classic Movies. Retrieved December 24, 2014.
  6. ^ "Aliens (1986)". Box Office Mojo. Retrieved December 15, 2008.
  7. ^ a b c d 57 Years Later - Continuing the story, Superior Firepower. Alien Anthology Blu-Ray.
  8. ^ a b c d Friendly, David T. (July 24, 1986). "'Aliens': A Battle-scarred Trek Into Orbit". The Los Angeles Times. Retrieved 18 August 2014.
  9. ^ a b c d e Schickel, Richard (July 28, 1986). "Cinema: Help! They're Back!". Time. Retrieved July 16, 2007.
  10. ^ Mathews, Jack (July 11, 1986). "'Aliens' Into Scary Space Once More". Los Angeles Times. Retrieved September 7, 2014.
  11. ^ a b c d e f g Aliens: Special Edition audio commentary
  12. ^ a b Corliss, Richard (1986-07-28). "The Years of Living Splendidly". Time Magazine. Retrieved 2007-07-16.
  13. ^ Shay, Don. "Aliens." Cinefex. Vol 27. August 1986.
  14. ^ Cameron, James (2001). "Mothers With Guns". In Sammon, Paul M. Aliens: The Illustrated Screenplay. Orion. pp. 10–20. ISBN 0752831933.
  15. ^ a b c Preparing for Battle - Casting and characterization, Superior Firepower
  16. ^ a b c d e "Saturn Award Winners". Saturn Awards. Archived from the original on 7 February 2008. Retrieved 2008-03-03.
  17. ^
  18. ^
  19. ^ Steptoe, Sonja (2001-08-13). "Down to Earth". People. Retrieved 24 November 2013.
  20. ^ a b This Time It's War - Pinewood Studios, 1985, Superior Firepower
  21. ^ a b c Building Better Worlds - From concept to construction, Superior Firepower
  22. ^ Kemble, Gary (2005-12-02). "Movie Minutiae: Aliens". ABC. Archived from the original on 2007-12-22. Retrieved 2008-03-02.
  23. ^ a b c The Final Countdown – Music, editing and sound, Superior Firepower
  24. ^
  25. ^ The Risk Always Lives - Weapons and action, Superior Firepower
  26. ^ a b "Beauty and the Bitch: Power Loader vs. Alien Queen" Featurette. Alien Quadrilogy DVD Set, Disc 4 - Aliens Supplemental. 2003.
  27. ^ a b "Bug Hunt: Creature Design" Featurette. Alien Quadrilogy DVD Set, Disc 4 - Aliens Supplemental. 2003.
  28. ^ a b c The Power of Real Tech - Visual effects, Superior Firepower
  29. ^ "36 Things We Learned From the ‘Aliens’ Commentary" Film School Rejects
  30. ^ Prop Archives website listing for miniature alien queen.
  31. ^ Cosford, Bill. Let 'Aliens' Invade Your Peace of Mind. The Miami Herald, July 18, 1986, pg. 1D.
  32. ^ "Aliens box office results". Box Office Mojo. Retrieved 2008-02-27.
  33. ^ "Titanic Production Notes" (Press release). 20th Century Fox, Paramount Pictures. 1997. Retrieved September 8, 2014.
  34. ^ a b Aliens Unleashed - Reaction to the film, Superior Firepower
  35. ^ Ebert, Roger (1986-07-18). "Aliens (review)". Chicago Sun-Times.
  36. ^ Goodman, Walter (1986-07-18). "Movie Review: Aliens (1986) - Film: Sigourney Weaver in 'Aliens'". The New York Times.
  37. ^ Kjolseth, Pablo. "Aliens - Special Event Archives". Turner Classic Movies. Retrieved 2008-09-16.
  38. ^ Stuever, Hank. (1997-11-28) Ripley knows best - Men in `Alien' films just don't get it. Austin American-Statesman, p. E1
  39. ^ Desjardins, David (2007-03-10). "Movie Review: 300 (Aliens)". Blogcritics magazine. Archived from the original on 6 October 2008. Retrieved 2008-09-16. [dead link]
  40. ^ Kehr, Dave. "Aliens (review)". The Chicago Reader.
  41. ^ Siskel, Gene (August 8, 1986). "Flick Of Week: `Vagabond` One Of Finest Films In Years". Chicago Tribune. Retrieved February 1, 2014.
  42. ^ Hochman, David (1997-12-05). "Beauties and the Beast". Entertainment Weekly. Archived from the original on 6 January 2008. Retrieved 2008-01-31.
  43. ^ Berardinelli, James (2000). "Aliens (review)". Archived from the original on 15 May 2008. Retrieved 2008-04-16.
  44. ^ Baumgarten, Marjorie (2002-06-07). "Aliens (review)". Austin Chronicle.
  45. ^ "Aliens reviews". Rotten Tomatoes. Archived from the original on 24 February 2008. Retrieved 2008-02-27.
  46. ^ "Aliens Reviews, Ratings, and More...". Metacritic. Retrieved 2010-11-02.
  47. ^ Stephen Mulhall, "In Space, No-One Can Hear You Scream: Acknowledging the Human Voice in the Alien Universe," in Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell, editors Read, Rupert and Jerry Goodenough; Palgrave Macmillan, 2005, p. 60
  48. ^ Alien and the Monstrous-Feminine – Creed, Barbara; from Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema, Editor Kuhn, Annette; Verso, 1990, Page 129
  49. ^ Ripley and Alien – Ortigo, Kile M. in "I’m a Stranger Here Myself": Forced Individuation in Alien Resurrection, Department of Psychology, Emory University, Georgia, United States. Accessed 2008-05-20.
  50. ^ Alien[s] (from the '' website. Accessed 2008-05-20.)
  51. ^ Syd Mead's "Sulaco" ship from Aliens just a big gun Boing Boing Accessed 2008-05-18.
  52. ^ Alien to The Matrix: Reading Science Fiction Film – Kaveney, Roz; I.B. Tauris, 2005, Page 159
  53. ^ Beautiful Monsters: The Unofficial and Unauthorized Guide to the Alien and Predator Movies – McIntee, David; Telos Publishing, 2005
  54. ^ Buttazzo, G (May 2000). "Can a Machine Ever Become Self-Aware?". In R. Aurich, W. Jacobsen and G. Jatho. Artificial Humans, an historical retrospective of the Berlin International Film Festival 2000. Goethe Institute, Los Angeles. pp. 45–49.
  55. ^ Nishime, LeiLani (Winter 2005). "The Mulatto Cyborg: Imagining a Multiracial Future". Cinema Journal (University of Texas Press) 44 (2): 34–49. doi:10.1353/cj.2005.0011.
  56. ^ Kozlovic, Anton Karl (Spring 2004). "HAL-o-phobia: Computer Horror in the Pre-1990 Popular Cinema". Sincronía.
  57. ^ Kozlovic, Anton Karl (September 2003). "Technophobic themes in pre-1990 computer films". Science as Culture 12 (3): 341–373. doi:10.1080/09505430309008.
  58. ^ Career of living dangerously: Sigourney Weaver ready for next risk. New York Daily News, Knight Ridder/Tribune News Service. March 21, 2001.
  59. ^ "Film nominations 1986". British Academy of Film and Television Arts. Archived from the original on 2008-02-28. Retrieved 2008-03-03.
  60. ^ "Best of '86". Time magazine. 1987-01-05. Retrieved 2008-03-03.
  61. ^ Bernardin, Marc. "The 25 Greatest Action Films Ever!". Entertainment Weekly. Archived from the original on 21 June 2007. Retrieved 2007-07-16.
  62. ^ "100 Best-Reviewed Sci-Fi Movies". Rotten Tomatoes. Archived from the original on 15 July 2007. Retrieved 2007-07-16.
  63. ^ "The 100 Scariest Movie Moments". Bravo. Archived from the original on 2007-10-30. Retrieved 2010-05-29.  (via Internet Archive)
  64. ^ "The Top 25 Action Films of All-Time". IGN. Archived from the original on 4 April 2008. Retrieved 2008-03-09.
  65. ^ "The 50 Greatest Sequels".
  66. ^ Klain, Jane, ed. (1990). 1989 International Television and Video Almanac. Quigley. p. 25. ISBN 0900610409.
  67. ^ "Aliens (Two-Disc Collector's Edition)". Retrieved 2008-03-03.
  68. ^ Patrizio, Andy. "Aliens - Collector's Widescreen Edition". IGN. Retrieved 2008-03-09.
  69. ^ Shaffer, R.L. (2010-10-27). "Alien Anthology Blu-Ray Review". IGN. Retrieved 2014-03-09.
  70. ^ Shaffer, R.L. (2011-05-10). "ALIENS, NO STRINGS, DIGIBOOKS AND TOP GUN". IGN. Retrieved 2014-03-09.
  71. ^ Action Figure News website article about Aliens figures.

Further reading[edit]

External links[edit]


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Lowboy (trailer)

From Wikipedia, the free encyclopedia
  (Redirected from Low loader)
Jump to: navigation, search
A lowboy trailer carrying a truck
A typical lowboy load configuration

A lowboy (low loader in British English, low-bed in western Canada and South Africa or float in Australia) is a semi-trailer with two drops in deck height: one right after the gooseneck and one right before the wheels. This allows the deck to be extremely low compared with other trailers. It offers the ability to carry legal loads up to 12 ft (3.66 m) tall, which other trailers cannot. Lowboys are used to haul heavy equipment such as bulldozers, industrial equipment etc.

The first lowboy trailer was invented in the 1920s; it featured a riveted gooseneck and solid rubber tires. The first detachable gooseneck trailer, referred to as an RGN (Removable goose neck), was invented in 1958.[1]

The lowboy trailer comes in several types, for a wide range of tasks. Some types are:

  • Fixed gooseneck (FGN): allows a longer deck length and has the lightest weight. These are lower trailers than normal, with low-profile tires, usually with drop ramps in the rear to facilitate loading of equipment, but are not actually considered "lowboys". The neck is arched in such a way, that it when lowered, it becomes a ramp thus allowing the front tires of equipment to be pulled onto the deck.[2]
  • Fixed-neck: the neck is fixed to trailers; offers the lightest weight, but sacrifices the ability to detach and load over the front
  • Hydraulic detachable gooseneck (hydraulic RGN or HRGN)): fastest and easiest to detach, at the expense of weight and deck length. It is the most common and versatile of lowboy trailers; the gooseneck is detached using large hydraulic cylinders to raise and lower the trailer and a small cylinder shores the neck to the truck, removing the neck so a large piece of equipment can be driven over the front onto the deck of the trailer for transport. The hydraulics can be run from the truck auxiliary or from a pony motor mounted in the neck of the trailer.[3]
  • Mechanically-detachable gooseneck (mechanical RGN or MRGN): while usually lighter than the hydraulic detachable gooseneck, users sacrifice ease and speed of detaching. Used for long specialty hauls.[4]
  • Mechanical folding gooseneck (MFGN): The deck folds down to ground level to provide a ramp for from trailer loading.[5]

Lowboy trailer features include:

Suspension types[edit]

Main article: Suspension (vehicle)
  • Spring ride: lowest cost; however, it has a rougher ride and adds more stress to the trailer
  • Air-ride: very smooth ride, adding to the life of the trailer frame. Air rides can also be adjusted for a higher or lower deck height.
  • Hydraulic suspension: an oil-filled system, allowing wide variation of axle movement
  • Independent suspension: a double wishbone, hydraulic suspension, which offers more stability, greater steering angle and more travel

Structural types[edit]

  • Main structural steel type: mill rolled beams save money; although being around 4,000–6,000 lb (1,814–2,722 kg) heavier, they also reverse camber after a few years due to the much-lower strength of the main beams.
  • T1 or A514 beams save weight and allow more versatile engineering of the trailer; they are cut to the highest-strength shape possible and welded together.

See also[edit]

  1. ^ RGN trailers- Accessed 2012-04-06
  2. ^ Fixed goose neck trailer- Retrieved 2012-04-06
  3. ^ [1]- Hydraulic Detachable Gooseneck
  4. ^ Mechanical removable gooseneck- Retrieved 2012-04-06
  5. ^ Mechanical folding gooseneck- Retrieved 2012-04-06

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text:
Outline of energy development

From Wikipedia, the free encyclopedia
Jump to: navigation, search

The following outline is provided as an overview of and topical guide to energy development:

Energy development – the effort to provide sufficient primary energy sources and secondary energy forms for supply, cost, impact on air pollution and water pollution, mitigation of climate change with renewable energy.

Main article: Energy development

Energy sources[edit]

Energy development scholars[edit]

Leaders in energy development[edit]

See also[edit]

List of emerging energy technologies

External links[edit]

  • RECaBS REcalculator Interactive Renewable Energy Calculator - compare renewable energy to conventional energy sources


text:
Pure Hell

From Wikipedia, the free encyclopedia
Jump to: navigation, search

Pure Hell is a punk-rock band,[citation needed] established in Philadelphia, Pennsylvania in 1974,[1] during the high point of punk culture in New York City, London and Los Angeles.[2][3] It has been cited by Bad Brains "as an early influence".

Among the pioneers of the post-garage, acid rock, glam-theatre era of the late 1960s and early 1970s, Pure Hell was among the first of its kind, comparable to the MC5, Sex Pistols, Dead Boys and Germs. Commercially, the band had little success and only released one single ("These Boots are Made for Walking" b/w "No Rules")[4] and one album (Noise Addiction), which was unreleased for 28 years.[1] Pure Hell also has an unreleased album produced in the mid-1990s by former members of L.A. Guns, Nine Inch Nails and Lemmy Kilmister of Motörhead, entitled The Black Box. This album has Kilmister singing background vocals in a rare song titled "The Call". In 2012, Pure Hell reformed to play their first gig since 1979 at the Rebellion Festival at the Empress Ballroom in Blackpool alongside Rancid, Buzzcocks, Public Image Ltd and Social Distortion.

  1. ^ a b http://swindlemagazine.com/issue10/pure-hell/[dead link]
  2. ^ A.D. Amorosi, "Along Came a Spider", Philadelphia City Paper, April 25-May 1, 2002
  3. ^ MTV: "Afro-Punk: Five Years Of Rebellion"
  4. ^ James Porter and Jake Austen, "Black Punk Time: Blacks in Punk, New Wave and Hardcore 1976-1984 (Part 3)", from Roctober #32, 2002

External sources[edit]


text:
Robert Retherford

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Robert Curtis Retherford
Born 1912
Died 1981
Citizenship United States
Fields Physics
Institutions Columbia University
Alma mater Columbia University
Doctoral advisor Willis Lamb
Known for Lamb shift

Robert Curtis Retherford (1912 – 1981) was an American physicist. He was a graduate student of Willis Lamb at Columbia Radiation Laboratory and both performed the famous experiment revealing Lamb shift in the fine structure of hydrogen, a decisive experimental step toward a new understanding of quantum electrodynamics.[1]

  1. ^ Schweber, Silvan (1994). "Chapter 5". QED and the Men Who Did it: Dyson, Feynman, Schwinger, and Tomonaga. Princeton University Press. p. 215. ISBN 978-0691033273.

See also[edit]


text:
Roberta Flack

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Roberta Flack
Roberta Flack43.JPG
Roberta Flack in concert in 1992
Background information
Birth name Roberta Cleopatra Flack
Born (1937-02-10) February 10, 1937 (age 78) or (1939-02-10) February 10, 1939 (age 76) (sources differ)
Black Mountain, North Carolina, United States
Genres Jazz, folk, R&B
Occupation(s) Singer-songwriter, musician
Instruments Vocals, piano
Years active 1969–present
Labels Atlantic (1968–1996)
Angel / Capitol (1997)
RAS / 429 / Sony/ATV (2011–present)
Associated acts Donny Hathaway
Peabo Bryson
Maxi Priest

Roberta Cleopatra Flack (born February 10, 1937[1] or 1939[2]) is an American singer, and musician who is notable for jazz, Pop, R&B, and folk music. She is best known for her classic #1 singles "The First Time Ever I Saw Your Face", "Killing Me Softly with His Song", and "Feel Like Makin' Love"; and for "Where Is the Love" and "The Closer I Get to You", two of her many duets with the late Donny Hathaway.

Flack was the first to win the Grammy Award for Record of the Year two consecutive times. "The First Time Ever I Saw Your Face" won at the 1973 Grammys and "Killing Me Softly with His Song" won at the 1974 Grammys. She remains the only solo artist to have accomplished this feat, and only U2, who did it in 2001 with "Beautiful Day" and in 2002 with "Walk On", has done it since.

Early life[edit]

Flack lived with a musical family, born in Black Mountain, North Carolina to parents Laron LeRoy (October 11, 1911 – July 12, 1959) and Irene Flack (September 28, 1911 – January 17, 1981)[3] a church organist,[4] on February 10 of either 1937 or 1939 (sources differ) and raised in Arlington, Virginia.[5] She first discovered the work of African American musical artists when she heard Mahalia Jackson and Sam Cooke sing in a predominantly African-American Baptist church.

When Flack was 9, she started taking an interest in playing the piano,[3] and during her early teens, Flack so excelled at classical piano that Howard University awarded her a full music scholarship.[6] By age 15, she entered Howard University, making her one of the youngest students ever to enroll there. She eventually changed her major from piano to voice, and became an assistant conductor of the university choir. Her direction of a production of Aida received a standing ovation from the Howard University faculty. Flack is a member of Delta Sigma Theta sorority and was made an honorary member of Tau Beta Sigma by the Eta Delta Chapter at Howard University for her outstanding work in promoting music education.

Roberta Flack became a student teacher at a school near Chevy Chase, Maryland. She graduated from Howard University at 19 and began graduate studies in music, but the sudden death of her father forced her to take a job teaching music and English for $2800 a year in Farmville, North Carolina.[citation needed]

Early career[edit]

Before becoming a professional singer-songwriter, Flack taught school in Washington, D.C. at Browne Junior High and Rabaut Junior High. She also taught private piano lessons out of her home on Euclid St. NW. During this period, her music career began to take shape on evenings and weekends in Washington, D.C. area night spots. At the Tivoli Club, she accompanied opera singers at the piano. During intermissions, she would sing blues, folk, and pop standards in a back room, accompanying herself on the piano. Later, she performed several nights a week at the 1520 Club, again providing her own piano accompaniment. Around this time, her voice teacher, Frederick "Wilkie" Wilkerson, told her that he saw a brighter future for her in pop music than in the classics. She modified her repertoire accordingly and her reputation spread.[citation needed] Flack began singing professionally after being hired to perform regularly at Mr. Henry's Restaurant, on Capitol Hill, Washington, DC in 1968.[7][8]

Roberta Flack with Donny Hathaway.

Les McCann discovered Flack singing and playing jazz in a Washington nightclub.[3] He later said on the liner notes of what would be her first album First Take noted below, "Her voice touched, tapped, trapped, and kicked every emotion I've ever known. I laughed, cried, and screamed for more...she alone had the voice." Very quickly, he arranged an audition for her with Atlantic Records, during which she played 42 songs in 3 hours for producer Joel Dorn. In November 1968, she recorded 39 song demos in less than 10 hours. Three months later, Atlantic reportedly recorded Roberta's debut album, First Take, in a mere 10 hours.[5] Flack later spoke of those studio sessions as a "very naive and beautiful approach... I was comfortable with the music because I had worked on all these songs for all the years I had worked at Mr. Henry's."

Flack's cover version of "Will You Love Me Tomorrow" hit number seventy-six on the Billboard Hot 100 in 1972. Her Atlantic recordings did not sell particularly well, until actor/director Clint Eastwood chose a song from First Take, "The First Time Ever I Saw Your Face", for the sound track of his directorial debut Play Misty for Me; it became the biggest hit of the year for 1972 – spending six consecutive weeks at #1 and earning Flack a million-selling Gold disc.[9] The First Take album also went to #1 and eventually sold 1.9 million copies in the United States. Eastwood, who paid $2,000 for the use of the song in the film,[10] has remained an admirer and friend of Flack's ever since. It was awarded the Grammy Award for Record of the Year in 1973. In 1983, she recorded the end music to the Dirty Harry film Sudden Impact at Eastwood's request.[5]

Roberta Flack soon began recording regularly with Donny Hathaway, scoring hits such as the Grammy-winning "Where Is the Love" (1972) and later "The Closer I Get to You" (1978) – both million-selling gold singles.[9] Flack and Hathaway recorded several duets together, including two LPs, until Hathaway's 1979 death.[citation needed]

On her own, Flack scored her second #1 hit in 1973, "Killing Me Softly with His Song" written by Charles Fox and Norman Gimbel, and originally performed by Lori Lieberman.[11] It was awarded both Record of the Year and Best Pop Vocal Performance, Female at the 1974 Grammy Awards. Its parent album was Flack's biggest-selling disc, eventually earning Double Platinum certification. 1974 also saw Flack sing the lead on a Sherman Brothers song called "Freedom", which featured prominently at the opening and closing of the movie Huckleberry Finn.

Roberta Flack had a 1982 hit single with "Making Love", written by Burt Bacharach (the title track of the 1982 film of the same name), which reached #13. She began working with Peabo Bryson with more limited success, charting as high as #5 on the R&B chart (plus #16 Pop and #4 Adult Contemporary) with "Tonight, I Celebrate My Love" in 1983. Her next two singles with Bryson, "You're Looking Like Love To Me" and "I Just Came Here To Dance," fared better on adult contemporary (AC) radio than on pop or R&B radio.

Flack performing in Boston, Mass., on August 28, 2013

In 1986, Flack sang the theme song entitled "Together Through the Years" for the NBC television series, Valerie later known as The Hogan Family. The song was used throughout the show's six seasons. Oasis was released in 1988 and failed to make an impact with pop audiences, though the title track reached #1 on the R&B chart and a remix of "Uh-Uh Ooh-Ooh Look Out (Here It Comes)" topped the dance chart in 1989. Flack found herself again in the US Top 10 with the hit song "Set the Night to Music", a 1991 duet with Jamaican vocalist Maxi Priest that peaked at #6 on the Billboard Hot 100 charts and #2 AC. Flack's smooth R&B sound lent itself easily to Easy Listening airplay during the 1970s, and she has had four #1 AC hits.

Later career[edit]

In 1999, a star with Flack's name was placed on the Hollywood Walk of Fame.[6] That same year, she gave a concert tour in South Africa; the final performance was attended by President Nelson Mandela. In 2010, she appeared on the 52nd Annual Grammy Awards, singing a duet of "Where Is The Love" with Maxwell.

In February 2012, Flack released Let it Be Roberta, an album of Beatles covers including "Hey Jude" and "Let it Be". It is her first recording in over eight years.[12] Flack knew John Lennon and Yoko Ono, as both households moved in 1975 into the The Dakota apartment building in New York City, and had apartments across the hall from each other. Flack has stated that she has already been asked to do a second album of Beatles covers.[13] She is currently involved in an interpretative album of the Beatles' classics.[14]

Personal life[edit]

Flack is a member of the Artist Empowerment Coalition, which advocates the right of artists to control their creative properties. She is also a spokeswoman for the American Society for the Prevention of Cruelty to Animals; her appearance in commercials for the ASPCA featured "The First Time Ever I Saw Your Face". In the Bronx section of New York City, the Hyde Leadership Chart School's after-school music program is called "The Roberta Flack School of Music" and is in partnership with Flack, who founded the school, which provides free music education to underprivileged students.[15]

Between 1966 to 1972, she was married to Steve Novosel.[3] Flack is the aunt of the professional ice skater Rory Flack Burghart. She is mother to rhythm and blues musician Bernard Wright.[16][17][18]

According to a DNA analysis, she descended, mainly, from people of Cameroon.[19]

Concerns about her health as she passed age 60, drove Flack at age 62, to lose more than 30 pounds. Her method: a weight-loss program that included mesotherapy, a procedure that includes multiple injections into the mesoderm—the middle layer of skin—of drugs that supposedly break down fat. Under treatment by Manhattan Dr. Lionel Bissoon, one of 20 mesotherapy practitioners in the U.S., Flack says, she noticed results immediately. "I saw my chins disappear," she says. "The fat dissolved in front of my eyes. I could feel my ribs! I haven't felt them since I was 15."[20]

In popular culture[edit]

Her collaboration with Donny Hathaway is mentioned in the song "What A Catch, Donnie" on Fall Out Boy's fifth studio album, Folie à Deux.

American experimental producer Flying Lotus had a song named after her ("RobertaFlack") on his Los Angeles album.[21]

In 1991, Hong Kong singer Sandy Lam recorded a covered version of "And So It Goes" called "微涼" in the album 夢了、瘋了、倦了. Although it was not officially promoted by the record company, it was played by many DJs.

In the Red Hot Chili Peppers' song "My Lovely Man", on the album Blood Sugar Sex Magik, Anthony Kiedis sang "I listen to Roberta Flack, but I know you won't come back."

She is a favourite singer of Vic Wilcox, manager of an engineering firm in David Lodge's campus/industrial novel "Nice Work", winner of the Sunday Express Book of the Year award in 1988.

Flack was inducted into the North Carolina Music Hall of Fame in 2009.[22]

Grammy Awards[edit]

The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Flack has received four awards from thirteen nominations.[23]

Year Recipient / Nominated work Award Result
1972 "You've Got a Friend" (with Donny Hathaway) Best R&B Vocal Performance by a Group Nominated
1973 "The First Time Ever I Saw Your Face" Record of the Year Won
Quiet Fire Best Pop Vocal Performance, Female Nominated
"Where Is the Love" (with Donny Hathaway) Best Pop Vocal Performance by a Duo, Group or Chorus Won
1974 Killing Me Softly Album of the Year Nominated
"Killing Me Softly with His Song" Record of the Year Won
Best Pop Vocal Performance, Female Won
1975 "Feel Like Makin' Love" Record of the Year Nominated
Best Pop Vocal Performance, Female Nominated
1979 "The Closer I Get to You" (with Donny Hathaway) Best Pop Vocal Performance by a Duo or Group Nominated
1981 Roberta Flack Featuring Donny Hathaway Best R&B Vocal Performance, Female Nominated
"Back Together Again" (with Donny Hathaway) Best R&B Performance by a Duo or Group with Vocal Nominated
1995 Roberta Best Traditional Pop Vocal Performance Nominated

American Music Awards[edit]

The American Music Awards is an annual awards ceremony created by Dick Clark in 1973. Flack has received one award from six nominations.

Year Recipient / Nominated work Award Result
1974 Favorite Female Artist (Pop/Rock) Nominated
Favorite Female Artist (Soul/R&B) Won
"Killing Me Softly with His Song" Favorite Single (Pop/Rock) Nominated
1975 Favorite Female Artist (Soul/R&B) Nominated
"Feel Like Makin' Love" Favorite Single (Soul/R&B) Nominated
1979 Favorite Female Artist (Soul/R&B) Nominated

  1. ^ "Birthdays today". The Times Newspaper (UK). February 10, 2015. Retrieved February 10, 2014.
  2. ^  Missing or empty |title= (help)
  3. ^ a b c d "Roberta Flack Page". February 10, 1937. Retrieved 2012-11-11.
  4. ^ "Robert Flack profile at". Retrieved August 1, 2012.
  5. ^ a b c Steve Huey (February 10, 1939). "Roberta Flack | Biography". AllMusic. Retrieved 2014-05-23.
  6. ^ a b "Roberta Flack". Roberta Flack. Retrieved 2012-11-11.
  7. ^ "Mr. Henry's Restaurant – History Summary". Retrieved 2014-05-23.
  8. ^ "Mr. Henry's Restaurant – Home". Retrieved 2014-05-23.
  9. ^ a b Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p. 312. ISBN 0-214-20512-6.
  10. ^ McGillagan (1999), p.194
  11. ^ Pond, Steve (June 12, 1997). "Singer's Career Was Softly Killed By Bad Luck And Insecurity". The Deseret News. Retrieved April 10, 2011.
  12. ^ "Roberta Flack Gearing Up for Release of New Album "LET IT BE ROBERTA: ROBERTA FLACK SINGS THE BEATLES," an Album of Beatles' Classics". Yahoo! Finance. January 17, 2012.
  13. ^ "Roberta Flack's Long And Winding Road". NPR. February 18, 2012.
  14. ^ "Roberta Flack Biography". Retrieved 2014-05-23.
  15. ^ "Roberta Flack School of Music". Retrieved 2012-11-11.
  16. ^ Jacobson, Robert. "Roberta Flack – Biography". Retrieved 2015-01-14.
  17. ^ DeCurtis, Anthony. "Two Seasoned Voices, Together Raised for a Cause". New York Times. Retrieved 2015-01-14.
  18. ^ "Roberta Flack". Prabook. Retrieved 2015-01-14.
  19. ^ "Growing Interest in DNA-Based Genetic Testing Among African American with Historic Election of President Elect Barack Obama". Retrieved 2012-11-11.
  20. ^ Adato, A., Stoynoff, N., Nolan, C., & Breu, G. (2003). Scaling Down. People, 59(2), 109
  21. ^ "Flying Lotus – Los Angeles at Discogs". Retrieved 2012-05-13.
  22. ^ "2009 Inductees". North Carolina Music Hall of Fame. Retrieved September 10, 2012.
  23. ^ "Past Winners Search". Retrieved 2012-11-11.

Sarah Bryan and Beverly Patterson, African American Trails of Eastern North Carolina, North Carolina Arts Council 2013, p. 92 Roberta Flack

External links[edit]


text:
Scotland Road

From Wikipedia, the free encyclopedia
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For the local neighbourhood, see Vauxhall, Merseyside.
Photograph of a hotel and shops along a road
Scotland Road, Liverpool

Scotland Road or "Scottie Road" is the A59 and is situated near the docks in the Vauxhall area of north Liverpool, England.

Scotland Road was created in the 1770s as a turnpike road to Preston via Walton and Burscough. It became part of a stagecoach route to Scotland, hence its name. It was partly widened in 1803 and streets of working class housing laid out either side as Liverpool expanded. Many were demolished as slums in the 1930s, to be replaced with corporation flats. In Victorian times the area had over 200 public houses, mostly now closed.

Scotland Road was the centre of working class life for the people of the surrounding areas of Everton, Vauxhall and Islington. Home to most of Liverpool's migrant communities, Scotland Road was almost "a city within a city". Scotland Road was an area dominated by Irish catholic immigration following the massive influx of thousands of starving Irish paupers in the 1840s. It was a place close to both the back end of the city centre and the docks. It could be a place of both romantic nostalgia and brutal hardship. Community was at the centre of Scotland Road and one's faith often dictated which community one belonged to.

The Liverpool Scotland UK Parliament constituency was represented by an Irish Nationalist until 1929.

Scotland Road was often the centre of sectarian divisions in the past, something that has existed since the community formed right up until the war and the re-housing to various parts of the city. With the demolition of slums after the Second World War ended in 1945, families were rehoused to new council houses in areas like Kirkby, Croxteth, Norris Green, Huyton and Stockbridge Village to new modern housing, leaving Scotland Road in a state of steady decline.

Scotland Road Free School[edit]

The Scotland Road Free School was a short-lived example of democratic education established 1970 by two local teachers. It was based at Major Street, just off Scotland Road. A related project, Liverpool Community Transport was established in a disused transport depot in nearby Leeds Street.

Liverpool John Moores University[edit]

At its southern end, Scotland Road becomes Byrom Street, the location of the largest campus of Liverpool John Moores University.[1]

Famous "Scottie Roaders"[edit]

Other uses[edit]

Scotland Road can also be used as a slang reference to a corridor or passageway which allows crew access to the length of a vehicle. On board the RMS Titanic, a lower-deck corridor which ran the length of the ship was referred to as "Scotland Road". There is also a play entitled Scotland Road by Jeffrey Hatcher which refers to the lower-deck corridor of the RMS Titanic.

External links[edit]

Coordinates: 53°25′22″N 2°58′55″W / 53.42281°N 2.98207°W / 53.42281; -2.98207


text:
Serian Division

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  (Redirected from Serian, Sarawak)
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Serian is located in Borneo Topography
Coordinates: 1°10′0″N 110°34′0″E / 1.16667°N 110.56667°E / 1.16667; 110.56667Coordinates: 1°10′0″N 110°34′0″E / 1.16667°N 110.56667°E / 1.16667; 110.56667
Country  Malaysia
State  Sarawak
Population (2010)
 • Total 90,763
Durian, Serian Landmark.

Serian is a town, and the capital of the Serian Division (2,039.9 square kilometres) now separated from Samarahan Division, Sarawak, east Malaysia. It is located about 40 miles (65 km) from Kuching. District sub town is Siburan and Tebedu.

The town is very famous for its durians, which are popularly believed to be the best in Sarawak. This has prompted the Serian District Council to erect a giant monument to this "king of fruits" right in the middle of the market square. However, other monuments such as the tiger and the buffalo statues seem out of place as there are no tigers or buffalos in this district. The town is very well connected to its rich hinterland both by road and by water and thus one can find all sorts of jungle produce available in the jungle produce market but lately, most of these produce were brought in from Kalimantan, Indonesia as the price are cheaper.

The district population (year 2010 census) was 90,763.[1] About 65% of the population are Bidayuh. The other main ethnic groups are Iban, Chinese, and Malay.

There are many waterfalls found in Serian District Sarawak. Ranchan Waterfall is the most famous one, located at about 5 kilometres from Serian town and is accessible easily by road. Simuja Waterfall is another waterfall can be found in Serian but it was damaged badly by logging activities. It is located about 7 kilometres away from town. There is no proper road to the waterfall and visitors have to hike 1-2 kilometres from Serian-Sri Aman trunk road to get there.

Tebedu (which renamed Bandar Mutiara recently), located about 50 kilometres away from Serian town on the Indonesia-Malaysia border, is one of only two official land border crossings between Indonesia and Malaysia. Limestone formations and paddy fields can be seen along the way to Tebedu. Other attraction points of Serian are Gua Tiab Bilanting which is situated at Kampung Pichin and also Bukit Parang which is located at the Borneo-Kalimantan border.

Other Information[edit]

Serian town is one of the busiest towns, especially during fastive seasons. Stores and shops are packed by mainly Bidayuh returning home from Peninsular Malaysia or major towns on Gawai and Christmas holidays.

  1. ^ "Laporan Kiraan Permulaan 2010". Jabatan Perangkaan Malaysia. p. 35. Retrieved 24 January 2011.

External links[edit]

Official web page of Serian District Council


text:
Shenzhou 1

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Shenzhou 1
Mission type Test flight
COSPAR ID 1999-061A
SATCAT № 25956
Mission duration 21 hours 11 minutes
Orbits completed 14
Spacecraft properties
Spacecraft type Shenzhou
Launch mass 7,600 kilograms (16,800 lb)
Start of mission
Launch date November 19, 1999, 22:30 (1999-11-19UTC22:30Z) UTC
Rocket Chang Zheng 2F
Launch site Jiuquan LA-4/SLS-1
End of mission
Landing date November 20, 1999, 19:41 (1999-11-20UTC19:42Z) UTC
Landing site Inner Mongolia
41°N 105°E / 41°N 105°E / 41; 105
Orbital parameters
Reference system Geocentric
Regime Low Earth
Perigee 195 kilometres (121 mi)
Apogee 315 kilometres (196 mi)
Inclination 42.6 degrees
Period 89.6 minutes

Shenzhou missions
Shenzhou 2

Shenzhou 1 (simplified Chinese: 神舟一号; traditional Chinese: 神舟一號; pinyin: Shénzhōu Yīhào) launched on November 19, 1999, was the first unmanned launch of the Shenzhou spacecraft. The spacecraft used was not equipped with a life support system or an emergency escape system. After orbiting the Earth 14 times, the command for retrofire was sent by the Yuanwang 3 tracking ship off the coast of Namibia at 18:49 UTC. After a successful reentry it landed about 415 km east of its launch pad and 110 km north-west of Wuhai, Inner Mongolia.

The first Shenzhou spacecraft was different from those later used. Instead of featuring unfolding solar panels, Shenzhou 1 was equipped with fixed solar cells. During this first flight there were also no orbit changes. According to Qi Faren the chief designer of the spacecraft, only 8 of the 13 sub-systems on board the spacecraft were operational. Shenzhou 1 was designed primarily to test the Long March 2F rocket. The only systems and capabilities tested on the spacecraft were the separation of the modules, attitude control, lifting body reentry, the heat shield, and ground recovery.

The spacecraft is thought to have carried 100 kg of seeds to investigate the effects on them of the space environment. It is also thought that the front of the Orbital Module was equipped with a dummy ELINT package, with Shenzhou 2 onwards equipped with fully functional models.

It was announced in June 1999 that the flight would take place in October of that year. At about the same time images were released on a Chinese military internet forum of the Long March 2F launcher and the Vehicle Assembly Building that would be used. After a reported[who?] propellant explosion at the Jiuquan Satellite Launch Center (though the explosion was denied by Chinese officials) the launch was pushed back.

Mission parameters[edit]

  • Mass: 7,600 kg
  • Perigee: 195 km
  • Apogee: 315 km
  • Inclination: 42.6°
  • Period: 89.6 minutes
  • NSSDC ID: 1999-061A

See also[edit]


text:
Takiji Kobayashi

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Takiji Kobayashi
Takiji Kobayashi.JPG
Takiji Kobayashi
Native name 小林 多喜二
Born (1903-12-01)December 1, 1903[citation needed][1]
Odate, Akita, Japan
Died February 20, 1933(1933-02-20) (aged 29)
Tokyo, Japan
Occupation Writer
Genre novels
Literary movement proletarian literature

Takiji Kobayashi (小林 多喜二 Kobayashi Takiji?, December 1, 1903 – February 20, 1933) was a Japanese author of proletarian literature. He is best known for his short novel Kanikōsen, or Crab Cannery Ship, a short novel published in 1929. It tells the story of several different people and the beginning of organization into unions of fishing workers. The young writer apparently died due to violent torture after arrest by the Tokkō police two years later, at the age of 29.[2]

Kobayashi was born in Odate, Akita, Japan. At the age of four, his family moved to Otaru, Hokkaido. The family was not wealthy, but Kobayashi's uncle paid his schooling expenses and he was able to attend Hokkaido Otaru Commercial High School and Otaru Commercial School of Higher Learning, which is the current Otaru University of Commerce. While studying, he became interested in writing, and submitted essays to literary magazines, served in the editorial committee for his school's alumni association magazine, and also had his own writing published. One of his teachers at school was economist, critic, and poet Nobuyuki Okuma. Around this time, due to financial hardship and the current economic recession of the time, he joined the labour movement.[3]

After graduating from school, he worked in the Otaru branch of the Hokkaido Takushoku Bank. In the 1928 general election, Kobayashi helped with election candidate Kenzo Yamamoto's campaign, and went to Yamamoto's campaign speech in a village at the base of Mount Yōtei. This experience was later incorporated into his book Higashikutchankō (東倶知安行?). In the same year, his story March 15, 1928 (based on the March 15 incident) was published in the literary magazine Senki ("Standard of Battle" in Japanese). The story depicted torture by the Tokkō special higher police, which in turn infuriated government officials, and would become the trigger for Kobayashi's eventual murder.[citation needed]

In 1929, Kobayashi's novel Kanikōsen about a crab-canning ship's crew determined to stand up to a cruel manager under harsh conditions was published in Senki. It quickly gained attention and notoriety, and became a standard-bearer of Marxist proletarian literature. In July of that year, it was adapted into a theatrical performance and was performed at the Imperial Garden Theater under the title North of latitude 50 degrees north (北緯五十度以北?). The full text of Kanikōsen, now the length of a short novel, was not available in Japan until 1948. Kanikōsen was subsequently published three times translated into English as The Cannery Boat (1933), The Factory Ship (1973), and The Crab Cannery Ship (2013).

The police (in particular the Tokkō) marked Kobayashi for surveillance. In the same year, his essay "Absentee Landlord" (不在地主 Fuzaijinushi?) published in Chūōkōron magazine became grounds for his dismissal from his job at the bank.[4]

In the spring of 1930, Kobayashi moved to Tokyo and became the secretary general of the Proletarian Writer's Guild of Japan. On May 23 he was arrested on suspicion of giving financial support to the Japan Communist Party, and was temporarily released on June 7. After returning to Tokyo on June 24, he was again arrested and in July, due to Kanikōsen he was further indicted on charges of Lèse majesté. In August, he was prosecuted under the Public Order and Police Law of 1900 and was imprisoned in Toyotama Penitentiary. On January 22, 1931, he was released on bail. He then secluded himself at the Nanasawa Hot Spring in Kanagawa Prefecture. In October 1931, Kobayashi officially became a member of the outlawed Japan Communist Party.[5]

In November, he visited the house of Naoya Shiga in Nara Prefecture, and in the spring of 1932, he went underground.[2]

On February 20, 1933, Kobayashi went to a meeting spot in Akasaka to meet with a fellow Communist Party member, who turned out to be a Tokkō spy who had infiltrated the party. The Tokkō were lying in wait for him, and although he tried to escape, he was captured and arrested.[5] Kobayashi was taken to Tsukiji Police Station, where he was tortured.[2] Police authorities announced the following day that Kobayashi had died of a heart attack.[6] No hospital would perform an autopsy for fear of the Tokkō.[5]

Memorial monument for Takiji Kobayashi, in front of Shimokawazoi Station in Odate, Akita.
Kobayashi Takiji Literary Monument

2008 bestseller[edit]

In 2008, Kanikōsen became a surprise bestseller thanks to an advertising campaign linking the novel to the working poor.[7][8]

Kobayashi's principal works have been translated into numerous languages, including Russian, Chinese, English, Korean, Spanish, Italian, Portuguese, German, French, Polish, and Norwegian.

In 1933, The Cannery Boat and other Japanese short stories was published by the International Publishers in New York. The anonymous translator was William Maxwell "Max" Bickerton. Because of censorship, the translation of the title text (Kanikōsen) is incomplete, comprising slightly more than half of the original. The full text of the novel did not become available in Japan until 1948.

In 1973, an English translation of Kobayashi's two novels by Frank Motofuji under the titles The Factory Ship (Kanikōsen) and The Absentee Landlord (Fuzai jinushi) was published by the University of Tokyo Press under sponsorship from UNESCO.[9]

In 2013, The Crab Cannery Ship and Other Novels of Struggle was published by the University of Hawaii Press. In addition to a new translation of the title text (Kanikōsen), the book includes Yasuko and Life of a Party Member (Tōseikatsusha). The introduction is by Yōichi Komori, professor of Japanese literature at Tokyo University. The translator was Željko Cipriš.

In 2013, "Kani Kosen: Sebuah Revolusi" was published by the Jalasutra Publisher, Indonesia as an Indonesia version of Takijis work, Kani Kosen.

Takiji Sai[edit]

The Otaru Takiji-sai Jikko Iinkai is a coterie of Takiji Kobayashi's admirers. They organized an 80th anniversary commemorating Takiji Kobayashi's death in Hokkaido. Amongst those who attended the 80th anniversary was Norma Field. Katsuo Terai serves as chairman of the Takiji-sai.[10] The larger Takiji Sai tend to be in locales that were important to Takiji's life like Otaru, Akita, and the Greater Tokyo Suginami-Nakano-Shibuya Memorials. Takiji Sai are evening events, and feature a musical program as well as talks on Takiji's life and works.[11]

Suite Slaughter[edit]

Suite Slaugther (Kumikyoku Gyakusatsu) is a musical written by Inoue Hisashi, and depicts Takiji Kobayashi from the time he was picked up for questioning in Osaka in May 1930 till his death three years later. The play opened on 3 October 2009 at the Galaxy Theater (Ginga Gekijō) at Tennozu Isle, Tokyo. After “Suite Slaughter” closes at the Galaxy Theater on Oct. 25, it plans to travel to the Hyogo Performing Arts Center in Nishinomiya, and the Kawanishicho Friendly Plaza in Yamagata.[12] According to The Japan Times, “Suite Slaughter” premiered successfully in its premiere on October 2009 and picked up several prestigious awards.[13]

See also[edit]

  1. ^ Based on the koseki, his birth date was once generally known as October 13.[citation needed]
  2. ^ a b c [1] Prominent people of Minato City
  3. ^ Ness, Immanuel (2009). Historical The International Encyclopedia of Revolution and Protest. ISBN 9781405184649: Blackwell.
  4. ^ Keene 1998 : 621
  5. ^ a b c Mitchell, Robert H (1992). Janus-Faced Justice: Political Criminals in Imperial Japan. ISBN 082481410X: University of Hawaii Press. page 83
  6. ^ The Japan Press 2003 Feb 9 issue
  7. ^ Japan economy angst boosts sales of Marxist novel, Reuters, Aug. 11, 2008
  8. ^ KOBAYASHI, T. (1933). The cannery boat. New York, International publishers.
  9. ^ "The Factory Ship (Kani kosen. The Absentee Landlord Fuzai jinushi)".
  10. ^ "Norma Field, champion of Japan’s leftist literature, retires — but not from anti-nuclear activism". The Japan Times . Oct 18, 2013.
  11. ^ "Why a Boom in Proletarian Literature in Japan? The Kobayashi Takiji Memorial and The Factory Ship". The Asia-Pacific Journal: Japan Focus. June 29, 2009.
  12. ^ "Suite Slaughter: Inoue Hisashi’s play on the life and death of Kobayashi Takiji by Roger Pulvers". The Asia-Pacific Journal: Japan Focus. October 19, 2009.
  13. ^ "Social awareness takes center stage by Nobuko Tanaka". The Japan Times. Dec 27, 2012.

  • Keene, Donald (1998). Dawn to the West:Japanese Literature of the Modern Era - Fiction. ISBN 9780231114349: Columbia University Press.

External links[edit]


text:
1911 Encyclopædia Britannica/Thibaw

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[ 846 ]

THIBAW, or Hsipaw, one of the Northern Shan States of Burma. It is called by the Shans, and officially, Hsipaw, and also frequently Ông Pawng (the name of an old capital). It includes four states — Thibaw, the main state, and the substates of Möng Lông, Möng Tung and Thonzè (or Hsumhsai). The whole state has an area of 5086 sq. m., and the population in 1901 was 104,700. The main state lies on the geological fault which runs east and west across the Shan States, from the Salween at Kunlông and beyond to nearly the rim of the Shan tableland at Gôkteik. It is therefore broken up into a mass of not very well-defined ridges and spurs, crossing and re-entering. The chief plain land is in the valley of the Nam Tu (Myit-ngè), near Thibaw town, and the valley or strath of the Pyawng Kawng, Nawng Ping neighbourhood. Elsewhere the valleys are insignificant. The hills on the Möng Tung border reach their highest elevations in the peaks Loi Pan (6848 ft.) and Loi Htan (6270 ft.). To the north-west of Thibaw town, on the Tawng Peng border, Loi Lam rises to 6486 ft. The valley of the Nam Tu marks the lowest point in the state at Thibaw town, about 1400 ft., and rises on the east in Möng Tung to a plain level of about 2500 ft., and on the west in Möng Lông to a confused mass of hills with an average height of 4500 ft., broken up by the Nam Yawn and Nam Kaw valleys, which are about 3000 ft. above mean sea-level.

The chief river is the Nam Tu or Myit-ngè, also frequently called by its classical name the Dôktawadi. The main stream rises in the Salween-Irrawaddy watershed, and is enlarged by considerable tributaries. At Thibaw town it is 250 yds. wide and about 8 ft. deep, with a fairly strong current. The Nam Tu is navigable only in local stretches, and between Thonzè and Lawksawk (Yatsauk) it flows through a gorge between cliffs 3000 to 4000 ft. high. At the gorge of Hoküt (Ngôkteik) the Nam Htang and the Nam Pasè unite to form the Nam Küt, which passes into the ground at the natural bridge where the Mandalay-Kunlong railway crosses the gorge, and reappears to join the Nam Tu. The bed of the Nam Küt is about 1500 ft. below the general leyel of the country. Coal is found at various places in the state, but is not of very high quality. Salt-wells are worked by the inhabitants of Mawhkio (Bawgyo) about 7 m. from Thibaw town. The average maximum temperature at the beginning of April is about 96°, and the minimum [ 847 ] about the same period 65°. The rainfall averages about 70 in. for the year. The chief crops are rice, cotton, sesamum, tea in the hills, and thanat, the leaf of a tree used for the wrapper of the Burma, or “green” cheroot. Cotton cloth was formerly much more generally manufactured than it now is, and a coarse country paper is also made. Other industries are merely of articles for local use. The government cart road to Lashio passes through the centre of the state, and from this various unmetalled roads radiate to different parts of the state and the neighbouring states. The Mandalay-Kunlông railway, now open as far as Lashio, also passes through the capital. Teak forests exist along the banks of the Nam Tu and in the Möng Lông states, but both have been practically exhausted, and will have to be closed for many years. Previous to the annexation, and in a general way still, the state is administered by the sawbwa, or chief, aided by a council of six amats or ministers. Under them are a number of nè-baings, who are in charge of circles and townships. Each nè-baing has an asiyin, or clerk, and each village has a headman, or kin-man. The amats supervise the administration of a certain number of districts. The old system is now being assimilated to that followed in Burma. The chief Sao Hkè was for a time in England.

(J. G. Sc.)


text:
Page:United States Statutes at Large Volume 103 Part 2.djvu/1112

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A24 SUBJECT INDEX Page Mortgages. See Housing; Loans. Multilateral Investment Guarantee Agency Act, amendments 2518 Museums, Intrepid Sea-Air-Space Museum, NY, transfer of USS Edson 138 N NATO. See North Atlantic Treaty Organization. Namibia, Dire Emergency Supplemental Appropriations and Transfers, Urgent Supplementals, and Correcting Enrollment Errors Act of 1989 97 Narcotics. See Drugs and Drug Abuse. Narcotics Control Trade Act, amendments 1965 National Aeronautics and Space Administration, Office of Administrator, appointment 136 National Agricultural Research, Extension, and Teaching Policy Act of 1977, amendments 1878 National Childhood Vaccine Iigury Act of 1986, amendments 2293 National Commission on Native American, Alaska Native, and Native Hawaiian Housing, establishment 2052 National Commission on Severely Distressed Public Housing, establishment 2048 National Competitiveness Technology Transfer Act of 1989 1674 National Consumer Cooperative Bank Act, amendments 1832 National Consumer Cooperative Bank Amendments of 1989 1832 National Critical Technologies Panel, establishment 1511 National Defense Authorization Act, Fiscal Year 1989, amendments...l410, 1417, 1439, 1453, 1469, 1501, 1518, 1554, 1563, 1564, 1566, 1601 National Defense Authorization Act for Fiscal Year 1987, amendments 1437, 1463, 1507, 1535 National Defense Authorization Act for Fiscal Years 1988 and 1989, amendments...l385, 1405, 1407, 1413, 1465, 1612 National Defense Authorization Act for Fiscal Years 1990 and 1991 1352 National Defense Authorization Act for Fiscal Years 1990 and 1991, amendments 1152 National Energy Conservation Policy Act, amendments 1868 National Flood Insurance Act of 1968, amendments 824, 825 National Forest System: See also Forests and Forest Products. Interior and related agencies appropriations, fiscal year 1990 701 Roosevelt National Forest, boundary revision 1700 National Guard. See Armed Forces. National Historic Preservation Act of 1966, amendments 180 National Housing Act, amendments...363, 825, 2000, 2003, 2011, 2022, 2024, 2026-2030, 2036-2039, 2043 National Museum of the American Indian, establishment 1337 National Museum of the American Indian Act 1336 National Narcotics Leadership Act of 1988, amendments 1941 National Oceanic and Atmospheric Administration Ocean and Coastal Programs Authorization Act of 1989 1905 National Parks, Monuments, Etc.: Department of Defense Appropriations Act, 1990 1112 Everglades National Park Protection and Expemsion Act of 1989 1946 Fredericksburg and Spotsylvania County Battlefields Memorial National Military Park Expansion Act of 1989 1849 Harpers Ferry National Historic Park, WV, land acquisition 681 Harry S Truman National Historic Site, MO, property acquisition 675 Mississippi National River and Recreation Area, technical corrections 82 Rocky Mountain National Park, CO, boundary revision 1700 Senator Clinton P. Anderson Wilderness Overlook, NM, designation 1334 Ulysses S. Grant National Historic Site, MO, establishment 677 Vietnam women's memorial, DC, location 1350 National School Lunch Act, amendments...878, 879, 882, 883, 885-887, 889, 890, 906-910, 913-916 National Science and Technology Policy, Organization, and Priorities Act of 1976, amendments 1511 National Security. See Defense and National Security. National Security Agency Act of 1959, amendments 1709, 1759 NOTE: Page references are to beginning pages of each law except for acts being amended or repealed and boards or commissions l^ing established which cite to pages where they actually appear.


text:
Page:United States Statutes at Large Volume 44 Part 3.djvu/238

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1670 SIXTY-NINTH CONGRESS. Sass. I. Cs. 732. 1926. °•°•”•°¤'¤'•¤· 'Ihe name f Cecelia `d f James Quin] late ca tain, ' Oeer Company New o‘l·1k(S‘;at2s and lieutenant coronal, New York Volunteer Infantry, andpayherapqionat rate~of$50permonthiai1ieuofthat she is now receiving. _ A _ °¤•¤Bj'**·¤· C0'.Lie of Suan B. Fxdier, §idowJof. Btlrsher, late of _ . » Regiment' V ew e un Infantry and D, Sixth Reggngent v0lKGl‘lIl 8.C0l’%QDd pay; herapensionattherateof permonthinlieuofthat isnow ""““°»w‘““'· of. Wallger, widow tof mgf Com - e Seventy-aecou Re$men ew or un

andpayhe1·apensionat erateof$50permonth inlieni

- , is new receiving. P ·¤¤¤¤¤Bv¤·· 0 The name of Ann Eliza Bgrrgg, widow of Bradford F. Byrne, late of Company F, One hun and tenth Regiment New ork Volunteer One hundred and gxty-fourth Company, Second Battalion,. eteran Reserve Corps, an pay her a pension at the rate of,$§0 §r.month in lieu of that-she is now N'”°"·w°“‘· The name of ancy J. Welch, widow of John H. Welch, ate of Company I, Tmth Regiment New York Volunteer Heavy Artillery, and pay her ap9D¤louat the rate of.$50per month in 'eu of that mm. she is now . _ _ ’°'“‘“·°”‘“"‘°"· The name of Jo M. Chambers, helpless and dependent son of Samuel H; Chambers, late of Com G, Fourteenth Regiment PW! Iowa·Votlhunt;21ag· and pay a. pension at_the rate of $20 rmmmmun. _rmon,,_, _a· ap in guardian. —“°"""“““"l‘· name ,of§lalivin widow of Marshall, late of_

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pay,era,paps;onattherateof$50permonthinhcuofthatshe ram-. is now rece: . · M · ·“°‘“·”°'“"‘· M; widow f E hraim Bowman, lateLof.Company D, One hundred an forty-thii·d`£gi.1nent Pennsyl-

 Infantry, and pay her aopension at the rate of

Pndonamereaaed. 1‘ IIIOD . "‘““""’“"°""""·, '1Z‘§nameofJEl;u.nn' V 'd cfIsraelBomgardne I Com y_ One ¢d’fv§'•:1rt’livRegiment P lvanilal e &1d_ pay her a pension at the r;:‘en?S0 per new. mon m euo a eisnowrecei . nn at Collins Dllléi of Anna widoiivmgf Boéveril late og ` m _ Sixth Bexmen c vania untec an pay hzrni pension at e rate ofllgg per month in lieu hl she °""‘H""““" H The name widow of Inuis Hassmann, late of %°'*"""“°° Ci °°‘*.i"’ S‘i.°°°° ` °ff;E` °;;“&?'1`§“$ V°“‘““Z%‘ __ea.__an_aera on ep on. “°” °'“”“` rhvgensme iykia hlgmugfiaew of n e%€ii, late eommissary sergeant ,Th1rty:seventh Begment linois Volunteer p,,,“,,,,,,,,,,.,,d, Infantry,‘and her apension atthe ra of $30 per month. “•¤"·B*“°’· - The name,0 Bailey, widow of William T. Bailerv, late of Company H, Twenty-second Pennsylvania Vo unteer Cavalry, and. pay her a pension at e rate of $500 per month in lieu ,Q•_‘;_*,,·,,,,,,,,,,, ofthat ahe is,now reeeivisfz Provided, in the event of the ¤••¤=<>¢<=¤¤d· death of William Paul B i 3, helpless and dependent son of said Mary J. and ailey, 21:; additional penh;i,onT£1:1‘;ein r¤a¤¤a»¤¤m¤¤ ggmod Bhd] wg; o1m·m_ wma;. y pm»;mkd‘ rt . m °°'°°°"”°°"' V event of the deaal of Mary J ._ Bailey, the_ namefgf said, William · Paul Bailey _be placed on the pension roll, subject to the provisions and limitations of the pension laws, at the rate of $20 per month from and after the date of death of said Mary J. Bailey.


text:
Definition from Wiktionary, the free dictionary
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Alternative forms[edit]

Wikipedia has an article on:

Wikipedia has an article on:

galliard (countable and uncountable, plural galliards)

  1. A lively dance, popular in 16th- and 17th-century Europe
  2. (music) The triple-time music for this dance
  3. (dated) A brisk, merry person.
    • 1647, John Cleveland, "The Mixt Assembly", The character of a London-diurnall with severall select poems, page 36 1647, keyboarded 1687, scanned:
      Thus every Gibelline hath got his Guelf ;
      But Selden he's a Galliard by himself ;
      And well may be ; there's more Divines in him ,
      Than in all this their Jewish Sanhedrim  ;
    • 1828, Sir Walter Scott, The Fair Maid of Perth[1]:
      I will be answerable that this galliard meant but some St. Valentine's jest.
    • 1953, Saul Bellow, chapter 5, The Adventures of Augie March:
      He was still an old galliard, with white Buffalo Bill vandyke, and he swanked around, still healthy of flesh, in white suits, looking things over with big sex-amused eyes.
  4. (uncountable, Continental printing, dated) An intermediate size of type alternatively equated with brevier (by Didot points) or bourgeois (by Fournier points and by size).

See also[edit]

galliard (comparative more galliard, superlative most galliard)

  1. gay; brisk; active


WARC-Truncated: length

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Sunday, June 12, 2011

Leaving on a Jet Plane . . .

Well, Ladies, I leave tomorrow morning, dark and early. I am so humbled and amazed at the support from all of the sewists out there. I am grateful for your support and prayers. I am excited for this trip and looking forward to whatever God has in store for us and the women of Uganda. We will arrive at night, and will stay with a pastor and his family in Kampala. The next day, Karen and I will go shopping for sewing machines and fabric to set up a couple of village women in their own business. (Of course, I may have to make a few fabric purchases of my own!)

On Thursday, we will be going into the town of Jinja which is right on the equator and the start of the Nile River. Karen and I support a child through an organization called “Compassion.” This child lives close to Jinja, so we are getting to actually meet him for a couple of hours on Thursday morning. After that, we will be working with a group of pastor’s wives and teaching on the topic of forgiveness.
On Sunday, we will be moving out again and this time, going to a town called Kayunga. From here, we will go out into the villages (Busanna and Kasana). This is where we will be doing sewing with the women. I am a little worried because I want to teach them to make school uniforms, but have had difficulty in getting enough patterns for both ladies in all the sizes. I guess I will also be teaching how to size up or down a pattern! I don’t know what materials they have available for tracing over there, but I’m pretty sure I can get ahold of wax paper, so that is what I am planning on getting while I’m there. We will be in the villages through Friday and leave on a late night flight.

I am so looking forward to seeing these dear women again and meeting new ones. And thanks again for all of your support and also to those who linked my blog entry to theirs. What a wonderful group of women we sewists are!

This is the Nile River - - -