title: Rubber Soul

text: Author Mark Prendergast recognises "Rubber Soul" as "the first Beatles record which was noticeably drug-influenced". Lennon called it "the pot album". Marijuana appealed to the band's bohemian ideal. Paul McCartney, who was the only Beatle still living in central London, said it was typical of a move away from alcohol and into "more of a beatnik scene, like jazz".


title: Rubber Soul

text: Recording for "Rubber Soul" began on 12 October 1965 at EMI Studios (now Abbey Road Studios) in London; final production and mix down took place on 15 November. During the sessions, the Beatles typically focused on fine-tuning the musical arrangement for each song, an approach that reflected the growing division between the band as a live act and their ambitions as recording artists. The album was one of the first projects that Martin undertook after leaving EMI's staff and co-founding Associated Independent Recording (AIR). Martin later described "Rubber Soul" as "the first album to present a new, growing Beatles to the world", adding: "For the first time we began to think of albums as art on their own, as complete entities." It was the final Beatles album that recording engineer Norman Smith worked on before being promoted by EMI to record producer. The sessions were held over thirteen days and totalled 113 hours, with a further seventeen hours (spread over six days) allowed for mixing.


title: Rubber Soul

text: The band were forced to work to a tight deadline to ensure the album was completed in time for a pre-Christmas release. They were nevertheless in the unfamiliar position of being able to dedicate themselves solely to a recording project, free of touring, filming and radio engagements. The Beatles ceded to two interruptions during this time. They received their MBEs at Buckingham Palace on 26 October, from Queen Elizabeth II, and on 1–2 November, the band filmed their segments for "The Music of Lennon & McCartney", a Granada Television tribute to the Lennon–McCartney songwriting partnership. According to author Christopher Bray, this intensive recording made "Rubber Soul" not just unusual in the Beatles' career but "emphatically unlike those LPs made by other bands". From 4 November – by which point only around half the required number of songs were near completion – the Beatles' sessions were routinely booked to finish at 3 am each day.


title: Rubber Soul

text: After "A Hard Day's Night" in 1964, "Rubber Soul" was the second Beatles album to contain only original material. As the band's main writers, Lennon and McCartney struggled to complete enough songs for the project. After a session on 27 October was cancelled due to a lack of new material, Martin told a reporter that he and the group "hope to resume next week" but would not consider recording songs by any other composers. The Beatles completed "Wait" for the album, having taped its rhythm track during the sessions for "Help!" in June 1965. They also recorded the instrumental "12-Bar Original", a twelve-bar blues in the style of Booker T. & the M.G.'s. Credited to Lennon, McCartney, Harrison and Starr, it remained unreleased until 1996.


title: Rubber Soul

text: The group recorded "Day Tripper" and "We Can Work It Out" during the "Rubber Soul" sessions for release as a single accompanying the album. To avoid having to promote the single with numerous television appearances, the Beatles chose to produce film clips for the two songs, the first time they had done so for a single. Directed by Joe McGrath, the clips were filmed at Twickenham Film Studios in south-west London on 23 November.


title: Rubber Soul

text: Lennon recalled that "Rubber Soul" was the first album over which the Beatles took control in the studio and made demands rather than accept standard recording practices. According to Riley, the album reflects "a new affection for recording" over live performance. Author Philip Norman similarly writes that, with the Beatles increasingly drawn towards EMI's large cache of "exotic" musical instruments, combined with their readiness to incorporate "every possible resource of the studio itself" and Martin's skills as a classical arranger, "Implicitly, from the very start, this [music] was not stuff intended to be played live on stage."


title: Rubber Soul

text: According to Barry Miles, a leading figure in the UK underground whom Lennon and McCartney befriended at this time, "Rubber Soul" and its 1966 follow-up, "Revolver", were "when [the Beatles] got away from George Martin, and became a creative entity unto themselves". In 1995, Harrison said that "Rubber Soul" was his favourite Beatles album, adding: "we certainly knew we were making a good album. We did spend more time on it and tried new things. But the most important thing about it was that we were suddenly hearing sounds that we weren't able to hear before."


title: Rubber Soul

text: During the sessions, McCartney played a solid-body Rickenbacker 4001 bass guitar, which produced a fuller sound than his hollow-body Hofner. The Rickenbacker's design allowed for greater melodic precision, a characteristic that led McCartney to contribute more intricate bass lines. Harrison used a Fender Stratocaster for the first time, most notably in his lead guitar part on "Nowhere Man". The variety in guitar tones throughout the album was also aided by Harrison and Lennon's use of capos, such as in the high-register parts on "If I Needed Someone" and "Girl".


title: Rubber Soul

text: On "Rubber Soul", the Beatles departed from standard rock and roll instrumentation, particularly in Harrison's use of the Indian sitar on "Norwegian Wood". Having been introduced to the string instrument on the set of the 1965 film "Help!", Harrison's interest was fuelled by fellow Indian music fans Roger McGuinn and David Crosby of the Byrds, partway through the Beatles' US tour. Music journalist Paul Du Noyer describes the sitar part as "simply a sign of the whole band's hunger for new musical colours", but also "the pivotal moment of "Rubber Soul"". The Beatles also made use of harmonium during the sessions, marking that instrument's introduction into rock music.


title: Rubber Soul

text: The band's willingness to experiment with sound was further demonstrated in McCartney playing fuzz bass on "Think for Yourself" over his standard bass part, and their employing a piano made to sound like a baroque harpsichord on "In My Life".<ref name="Easlea/BBC"></ref> The latter effect came about when, in response to Lennon suggesting he play something "like Bach", Martin recorded the piano solo with the tape running at half-speed; when played back at normal speed, the sped-up sound gave the illusion of a harpsichord. In this way, the Beatles used the recording studio as a musical instrument, an approach that they and Martin developed further with "Revolver". In Prendergast's description, "bright ethnic percussion" was among the other "great sounds" that filled the album.


title: Rubber Soul

text: Lennon, McCartney and Harrison's three-part harmony singing was another musical detail that came to typify the "Rubber Soul" sound. According to musicologist Walter Everett, some of the vocal arrangements feature the same "pantonal planing of three-part root-position triads" adopted by the Byrds, who had initially based their harmonies on the style used by the Beatles and other British Invasion bands. Riley says that the Beatles softened their music on "Rubber Soul", yet by reverting to slower tempos they "draw attention to how much rhythm can do". Wide separation in the stereo image ensured that subtleties in the musical arrangements were heard; in Riley's description, this quality emphasised the "richly textured" arrangements over "everything being stirred together into one high-velocity mass".


title: Rubber Soul

text: McCartney said that as part of their increased involvement in the album's production, the band members attended the mixing sessions rather than let Martin work in their absence. Until late in their career, the "primary" version of the Beatles' albums was always the monophonic mix. According to Beatles historian Bruce Spizer, Martin and the EMI engineers devoted most of their time and attention to the mono mixdowns, and generally regarded stereo as a gimmick. The band were not usually present for the stereo mixing sessions.


title: Rubber Soul

text: While Martin recalled the sessions as having been "a very joyful time", Smith felt "something had happened between "Help!" and "Rubber Soul"", and the family atmosphere that had once characterised the relationship between the Beatles and their production team was absent. He said the project revealed the first signs of artistic conflict between Lennon and McCartney, and friction within the band as more effort was spent on perfecting each song. This also manifested in a struggle over which song should be the A-side of their next single, with Lennon insisting on "Day Tripper" (of which he was the primary writer) and publicly contradicting EMI's announcement about the upcoming release.


title: Rubber Soul

text: In addition, a rift was growing between McCartney and his bandmates as he continued to abstain from taking LSD. The revelations provided by the drug had drawn Lennon and Harrison closer, and were then shared by Starr when, during the band's stay in Los Angeles that August, he had agreed to try LSD for the first time.


title: Rubber Soul

text: Pop historian Andrew Grant Jackson describes "Rubber Soul" as a "synthesis of folk, rock, soul, baroque, proto-psychedelia, and the sitar". According to author Joe Harrington, the album contained the Beatles' first "psychedelic experiments", heralding the transformational effect of LSD on many of the original British Invasion acts. Author Bernard Gendron dismisses the commonly held view that "Rubber Soul" is a folk rock album; he cites its incorporation of baroque and Eastern sounds as examples of the Beatles' "nascent experimentalism and eclectic power of appropriation", aspects that he says suggest an artistic approach that transcends the genre. According to "The Encyclopedia of Country Music", building on the Beatles' 1964 track "I Don't Want to Spoil the Party", the album can be seen in retrospect as an early example of country rock, anticipating the Byrds' "Sweetheart of the Rodeo" album.


title: Rubber Soul

text: Further to Lennon's more introspective outlook in 1964, particularly on "Beatles for Sale", the lyrics on "Rubber Soul" represent a pronounced development in sophistication, thoughtfulness and ambiguity. According to music critic Greil Marcus, "the Beatles were still writing about love, but this was a new kind of love: contingent, scary and vital", and so, while the music was "seduction, not assault", the "emotional touch" was tougher than before. Author James Decker considers it significant that "Rubber Soul" "took its narrative cues more from folk crossovers such as Bob Dylan and the Byrds than from the Beatles' pop cohorts". In particular, the relationships between the sexes moved from simpler boy-girl love songs to more nuanced and negative portrayals. In this way, Lennon and McCartney offered candid insights into their respective personal lives.


title: Rubber Soul

text: The album opens with a pair of lead guitar parts that are soon rendered off-metre by the arrival of McCartney's bass. "Drive My Car" is a McCartney composition with substantial contribution from Lennon with the lyrics. Harrison, as the Beatles' most knowledgeable soul-music enthusiast, contributed heavily to the recording by suggesting they arrange the song with a dual guitar–bass riff in the style of Otis Redding's contemporary single "Respect". In their joint lead vocals, McCartney and Lennon sing dissonant harmonies, a quality that is furthered by Harrison's entrance and signifies what Everett terms a "new jazzy sophistication … in the vocal arrangement".


title: Rubber Soul

text: The lyrics convey an actress's desire to become a film star and her promise to the narrator that he can be her chauffeur. According to Riley, the song satirises the "ethics of materialism" and serves as a "parody of the Beatles' celebrity status and the status-seekers they meet". Author and critic Kenneth Womack describes the lyrics as being "loaded with sexual innuendo", and he says that the female protagonist challenged the gendered expectations of a mid-1960s pop audience, as an "everywoman" with ego and a clear agenda.


title: Rubber Soul

text: Lennon said he wrote "Norwegian Wood" about an extramarital affair and that he worded the narrative to hide the truth from his wife, Cynthia. The lyrics sketch a failed meeting between the singer and a mysterious girl, where she goes to bed and he sleeps in the bath;<ref name="Unterberger/NW"></ref> in retaliation at the girl's aloofness, the singer decides to burn down her pine-panelled home. Arranged in 12/8 time, and in the English folk style, the song has a Mixolydian melody that results in a drone effect in the acoustic guitars, complementing the sitar part, though switches to parallel scale of E Dorian during its middle eight. The narrative draws heavily on Dylan's style through its use of ambiguity. In author Jonathan Gould's description, the song is an "emotional black comedy", while Decker recognises it as a continuation of the "interrogation of sexual ambiguities" and "muddled sense of power" displayed in "Drive My Car".


title: Rubber Soul

text: Written by McCartney, "You Won't See Me" reflects the difficulties he was experiencing in his relationship with actress Jane Asher due to her refusal to put her acting career second to his needs. Gould identifies the song as the third consecutive track in which the narrative conveys miscommunication. McCartney described its music as "very Motown-flavored", with a "feel" inspired by Motown bassist James Jamerson. The verses use the same chord sequence as the Four Tops' hit "It's the Same Old Song", which was titled by its writers, the Holland–Dozier–Holland team, in acknowledgement that they had already used the same pattern in their composition "I Can't Help Myself".


title: Rubber Soul

text: Lennon recalled that "Nowhere Man" came to him fully formed one night at his home in Surrey, after he had struggled to write anything for several hours. The song reflects the existential concerns raised by his experiences with LSD, and, like "I'm a Loser" and "Help!", his self-loathing during a time he later called his "fat Elvis period". It was the first Beatles song to completely avoid boy–girl relationships, and through Lennon conveying his feelings of inadequacy in the third person, the first example of a literary character in the Beatles' work. Riley views the message as a precursor to the "I'd love to turn you on" theme of "A Day in the Life" and, aided by the band's performance, optimistic in tone as Lennon "sings for the unsung, the people who have shut themselves off from life".


title: Rubber Soul

text: Heavy equalisation was applied to the electric guitar parts through a series of faders, giving them a treble-rich texture that, as with the harmony vocals, recalls the Byrds' sound. In Prendergast's description, the track "burst[s] forth with all the gusto of newly discovered psychedelia", as Lennon's lead vocal "luxuriates in an opiated haze of production and Harrison's Fender Stratocaster solo fuzzes with all the right hallucinatory sparkle".


title: Rubber Soul

text: Harrison's lyrics to "Think for Yourself" suggest the influence of Dylan's September 1965 single "Positively 4th Street", as Harrison appears to rebuke a friend or lover. The song's accusatory message was unprecedented in the Beatles' work; Jackson identifies it as the band's contribution to a "subgenre" of protest songs that emerged in 1965, in which artists railed against "oppressive conformity itself" rather than political issues. Everett describes the composition as "a tour de force of altered scale degrees". He adds that, such is the ambiguity throughout, "its tonal quality forms the perfect conspirator with the text's and the rhythm's hesitations and unexpected turns." Gould writes that, in its dialogue with Harrison's vocal, McCartney's fuzz bass suggests "the snarls of an enraged schnauzer, snapping and striking at its lead".


title: Rubber Soul

text: In his book "1965: The Year Modern Britain Was Born", Bray recognises "The Word" as marking the start of the Beatles' "high psychedelic period". Lennon's exhortation that "The word is love" anticipates the ethos behind the counterculture's 1967 Summer of Love. The lyrics focus on the concept of universal love as a path to spiritual enlightenment, with what Decker terms "proselytizing zeal" on the narrator's part. Author Ian MacDonald recognises the "distant influence" of Wilson Pickett's "In the Midnight Hour" and James Brown's "Papa's Got a Brand New Bag" on the song's rhythm, and highlights Starr's drumming (for its "feast of eccentric 'backwards fills) and McCartney's dextrous bass playing. The arrangement also includes seven vocal parts and Martin playing suspended chords on harmonium.


title: Rubber Soul

text: "Michelle" was conceived by McCartney in the late 1950s. During a writing session for "Rubber Soul", Lennon added a new middle eight, part of which was taken from Nina Simone's recent cover of "I Put a Spell on You".<ref name="Halpin/Louder"></ref> MacDonald identifies the song as another example of the Beatles' "comedy song" approach, which, in a contemporary interview, McCartney had suggested was a possible new direction for the group. In Womack's view, the French phrases in the lyrics accentuate the premise whereby a language barrier separates two lovers, and the narrative conveys an acceptance that their relationship is doomed to fail, such that the singer is already looking back nostalgically at what could have been. Gould describes the performance as "sentimental … French cabaret" which, following McCartney's declaration of "I love you", leads into a guitar solo by Harrison that represents "one of Jean-Paul Sartre's existential café workers".


title: Rubber Soul

text: The Beatles had attempted to record an early version of Lennon's "What Goes On" in 1963. With little time to complete "Rubber Soul", the song was reworked by Lennon and McCartney as a vocal spot for Starr, who also received his first songwriting credit, as co-composer. The song is in the country style favoured by Starr, and in its lyrics the singer laments his lover's deceit. In Everett's description, the arrangement includes Harrison's rockabilly-inflected lead guitar, played on his Gretsch Tennessean, contrasting with Lennon's "Steve Cropper-styled Memphis 'chick' rhythm part".


title: Rubber Soul

text: Lennon said he wrote "Girl" about an archetypal woman he had been searching for and would finally find in Yoko Ono, the Japanese artist he met in November 1966. In the lyrics, he also expresses his disdain for Christian moral values. The song was the final track recorded for the album. The composition incorporates aspects of Greek folk music, while the arrangement includes an instrumental passage set as a German two-step and an acoustic guitar part played to sound like a Greek bouzouki. High equalisation was applied to Lennon's vocal over the choruses to capture the hissing sound as he drew breath – an effect that also suggested he was inhaling on a marijuana joint. McCartney recalled that he and Harrison sang "Tit-tit-tit" on the middle eights to capture the "innocence" of the Beach Boys singing "La-la-la" on one of their recent songs. Riley likens the musical arrangement to a "scene from the old world" and he concludes of the song: "The old-fashioned atmosphere conveys desire and deception, and Lennon sings it as much to console himself as to make sense of its bewildering proportions ('And she promises the earth to me and I believe her/After all this time I don't know why'). It's the sympathetic side of the anger in 'Norwegian Wood.


title: Rubber Soul

text: Like "You Won't See Me" and "We Can Work It Out", "I'm Looking Through You" focuses on McCartney's troubled relationship with Asher. Gould describes it as the "disillusioned sequel" to McCartney's other 1965 songs centring on "a face-to-face (if not necessarily eye-to-eye) encounter between two lovers". Decker likens the lyrics to a less philosophical version of "Think for Yourself" in which "the narrator has grown, yet the woman has failed to keep up." The composition contrasts acoustic-based verses with harsher, R&B-style instrumental sections, suggesting a combination of the folk rock and soul styles. The Beatles had taped two versions of the song before achieving the final version, which they recorded during the last, frantic day of the "Rubber Soul" sessions. In its final form, the song gained a middle eight where previously there had been a twelve-bar blues jam.


title: Rubber Soul

text: Lennon credited a remark made by BBC journalist Kenneth Allsop, who had asked why his songs appeared to lack the wordplay and childhood focus evident in his 1964 book "In His Own Write", as the catalyst for "In My Life". Lennon considered the song to be his "first real major piece of work". The lyrics evoke his youth in Liverpool and reflect his nostalgia for a time before the onset of international fame. McCartney recalled writing the melody on his own and said that the song's musical inspiration came from Smokey Robinson and the Miracles; according to Lennon, McCartney merely assisted in writing what he called "the middle-eight melody". In Gould's description, "In My Life" "owed a conscious debt" to the Miracles' contemporary hit "The Tracks of My Tears" and thereby served as "the most recent installment in the lively cultural exchange between Motown's Hitsville Studios and EMI's Abbey Road".


title: Rubber Soul

text: Martin's Bach-inspired piano solo was overdubbed in the Beatles' absence, over a section that they had left empty. Womack says that the baroque aspect of this contribution furthers the song's nostalgic qualities, a point also made by Gould, who adds that, by revisiting the past and presenting emotional themes that are resolved in the narrative, "In My Life" serves as the album's only song that "sounds the Beatles' original ground theme of happiness-in-relationship".


title: Rubber Soul

text: "Wait" was a Lennon composition to which McCartney contributed a middle eight. Gould includes the song among a category of Beatles coming home' songs", while Riley pairs it with "It Won't Be Long" but adds that, relative to that 1963 song, in "Wait" "the lovers' reunion has more anxiety than euphoria goading the beat." The band completed the track on the final day of recording for the album, overdubbing tone-pedal lead guitar, percussion and a new vocal by McCartney onto the June 1965 rhythm track. MacDonald writes that, although Lennon and McCartney would most likely have viewed the subject matter as dated even in June, the group's performance gives the song the required "drive and character" for "Rubber Soul", particularly Starr's approach to the rhythm changes between its contrasting sections.


title: Rubber Soul

text: Harrison wrote "If I Needed Someone" as a love song to Pattie Boyd, the English model to whom he became engaged in December 1965 and married the following month. In the song's Rickenbacker 12-string guitar riff, the Beatles returned the compliment paid to them earlier in 1965 by the Byrds, whose jangly guitar-based sound McGuinn had sourced from Harrison's playing the previous year. In MacDonald's view, the song is influenced "far more" by Indian classical music than by the Byrds, through Harrison's partly Mixolydian melody and the presence of drone. The latter aspect is furthered by McCartney's arpeggiated bass line in A major continuing over the chord change to a VII triad.


title: Rubber Soul

text: The detached, dispassionate tone in the lyrics has invited alternative interpretations. Gould refers to it as "a rueful rain check of a love song" directed to the "right person at the wrong time"; according to Jackson, "the lyrics address all the women of the world, saying that had he met them earlier [before committing to Boyd], it might have worked out, but now he was too much in love (but give me your number just in case)."


title: Rubber Soul

text: Lennon wrote "Run for Your Life" based on "Baby Let's Play House", which was one of Presley's early singles on the Sun record label. Lennon retained a line from the Presley track – "I'd rather see you dead, little girl, than to be with another man". The lyrical theme is jealousy, betraying an overtly misogynistic quality that Decker finds at odds with the Beatles' approach to making the album. Performed in the country style, it was the first track recorded for the album and features a descending guitar riff played by Harrison and slide guitar parts.


title: Rubber Soul

text: Adhering to the company's policy for the Beatles' albums in the United States, Capitol Records altered the content of "Rubber Soul" for its release there. They removed "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone", all of which were instead issued on the Beatles' next North American album, "Yesterday and Today", in June 1966. The four songs were replaced with "I've Just Seen a Face" and "It's Only Love", which had been cut from "Help!" as part of Capitol's reconfiguring of that LP to serve as a true soundtrack album, consisting of Beatles songs and orchestral music from the film.


title: Rubber Soul

text: Through the mix of predominantly acoustic-based songs, according to Womack, the North American release "takes on a decidedly folk-ish orientation". Capitol sequenced "I've Just Seen a Face" as the opening track, reflecting the company's attempt to present "Rubber Soul" as a folk-rock album, and "It's Only Love" opened side two. Gould writes that the omission of songs such as "Drive My Car" provided a "misleading idea" of the Beatles' musical direction and "turned the album title into an even more obscure joke", since the result was the band's least soul- or R&B-influenced album up to this point. The stereo mixes used by Capitol contained two false starts at the beginning of "I'm Looking Through You", while "The Word" also differed from the UK version due to the double-tracking of Lennon's lead vocal, the addition of an extra falsetto harmony, and the panning treatment given to one of the percussion parts.


title: Rubber Soul

text: The album title was intended as a pun combining the falseness intrinsic to pop music and rubber-soled shoes. Lennon said the title was McCartney's idea and referred to "English soul". In a 1966 press conference, Starr said they called the album "Rubber Soul" to acknowledge that, in comparison to American soul artists, "we are white and haven't got what they've got", and he added that this was true of all the British acts who attempted to play soul music. McCartney recalled that he conceived the title after overhearing an American musician describing Mick Jagger's singing style as "plastic soul". In Phillip Norman's view, the title served as "a sly dig at their archrivals (and private best mates) the Rolling Stones", with the added implication that the Beatles' "variety" of soul music "at least was stamped out by a good strong northern [English] Wellington boot".


title: Rubber Soul

text: "Rubber Soul" was the group's first album not to feature their name on the cover, an omission that reflected the level of control they had over their releases and the extent of their international fame. The cover photo of the Beatles was taken by photographer Robert Freeman in the garden at Lennon's house. The idea for the "stretched" effect of the image came about by accident when Freeman was projecting the photo onto an LP-size piece of cardboard for the Beatles' benefit, and the board fell slightly backwards, elongating the projected image. Harrison said the effect was appropriate since it allowed the group to lose "the 'little innocents' tag, the naivety" and it was in keeping with their emergence as "fully fledged potheads". Author Peter Doggett highlights the cover as an example of the Beatles, like Dylan and the Stones, "continu[ing] to test the limits of the portrait" in their LP designs.


title: Rubber Soul

text: The distinctive lettering was created by illustrator Charles Front, who recalled that his inspiration was the album's title: "If you tap into a rubber tree then you get a sort of globule, so I started thinking of creating a shape that represented that, starting narrow and filling out." The rounded letters used on the sleeve established a style that became ubiquitous in psychedelic designs and, according to journalist Lisa Bachelor, "a staple of poster art for the flower power generation".<ref name="Bachelor/Guardian"></ref>


title: Rubber Soul

text: EMI's Parlophone label issued "Rubber Soul" on 3 December 1965. The "Day Tripper" / "We Can Work It Out" single was also released that day and was the first example of a double A-side single in Britain.<ref name="White/OCC"></ref> EMI announced that it had pressed 750,000 copies of the LP to cater to local demand. Its advance orders of 500,000 almost equalled the total sales for the new single and were described by the "Daily Mirror"s show business reporter as marking a new record for pre-release orders for an LP.


title: Rubber Soul

text: On the day of the album's release, the Beatles performed at the Odeon Cinema in Glasgow, marking the start of what would be their final UK tour. Weary of Beatlemania, the group had conceded to do a short tour, although they refused to reprise their Christmas Show from the 1963–64 and 1964–65 holiday seasons. They performed both sides of the single throughout the tour, but only "If I Needed Someone" and "Nowhere Man" from the new album. In the United States, "Rubber Soul" was their tenth album and their first to consist entirely of original songs. The release took place there on 6 December.


title: Rubber Soul

text: In an interview following the album's release, McCartney said that although people had "always wanted us to stay the same", he saw no reason for the Beatles to pander to such limitations, adding, ""Rubber Soul" for me is the beginning of my adult life." Lennon commented, "You don't know us if you don’t know "Rubber Soul"."


title: Rubber Soul

text: According to Beatles biographer Nicholas Schaffner, Freeman's cover photo was viewed as "daringly surreal" and led some fans to write to the band's official fanzine, "Beatles Monthly", alarmed that the image "made their heroes look like corpses". In her study of the Beatles' contemporary audience, sociologist Candy Leonard writes that some young listeners were challenged by the band's new musical direction, but "With "Rubber Soul", the Beatles came to occupy a role in fans' lives and a place in their psyches that was different from any previous fan–performer relationship." Singer-songwriter Elvis Costello, who was an eleven-year-old fan at the time, later recalled thinking that the band had "lost their minds". He added: "I didn't understand a word, I didn't think it was any good, and then six weeks later you couldn't live without the record. And that's good – that's when you trust the people who make music to take you somewhere you haven't been before."


title: Rubber Soul

text: "Rubber Soul" began its 42-week run on the "Record Retailer" LPs chart (subsequently adopted as the UK Albums Chart) on 12 December 1965. The following week it replaced the "Sound of Music" soundtrack at the top of the chart, where it remained for eight weeks in total. On the national chart compiled by "Melody Maker", "Rubber Soul" entered at number 1 and held the position for thirteen weeks; it remained in the top ten until mid July 1966. In the United States, "Rubber Soul" topped the "Billboard" Top LPs chart on 8 January 1966, having sold 1.2 million copies there within nine days of release. These initial sales were unprecedented for an LP and were cited by "Billboard" magazine as evidence of a new market trend in the US in which pop albums started to match the numbers of singles sold. The album was number 1 for six weeks in total; it remained in the top twenty until the start of July, before leaving the chart in mid December. As the more popular of the joint A-sides, "We Can Work It Out" became the Beatles' sixth consecutive number 1 on the "Billboard" Hot 100 chart, all of which were achieved over a twelve-month period from January 1965.


title: Rubber Soul

text: While British albums typically avoided including previously released songs, the lack of a hit single on the North American version of "Rubber Soul" added to the album's identity there as a self-contained artistic statement. Everett writes that in the US the album's "hit" was "Michelle", through its popularity on radio playlists. After their inclusion on the EMI-format LP, "Norwegian Wood", "Nowhere Man" and "Michelle" were each issued as singles in various markets outside Britain and America, with "Norwegian Wood" topping the Australian chart in May 1966. "Nowhere Mans first release in North America was as a single A-side, backed by "What Goes On", in February, before both tracks appeared on "Yesterday and Today". "Nowhere Man" topped "Record World"s singles chart in the US and Canada's "RPM" 100 chart, but peaked at number 3 on the "Billboard" Hot 100. In July, Parlophone released an EP titled "Nowhere Man", which contained "Nowhere Man", "Michelle" and two other songs from "Rubber Soul".


title: Rubber Soul

text: The album was also the source of hit songs for several other contemporary artists. "Michelle" became one of the most widely recorded of all the Beatles' songs. Cover versions of "Girl", "If I Needed Someone" and "Nowhere Man" similarly placed on UK or US singles charts in 1966.


title: Rubber Soul

text: In the UK, "Rubber Soul" was the third highest-selling album of 1965, behind "The Sound of Music" and "Beatles for Sale",<ref name="Mawer/1965"></ref> and the third highest-selling album of 1966, behind "The Sound of Music" and "Revolver".<ref name="Mawer/1966"></ref> The extent of its commercial success there surprised the music industry, which had sought to re-establish the LP market as the domain of adult record-buyers. From early 1966, record companies in the UK ceased their policy of promoting adult-oriented entertainers over rock acts, and embraced budget albums for their lower-selling artists to cater to the increased demand for LPs. In the US, "Rubber Soul" was the fourth highest-selling album of 1966, as reported in "Billboard".<ref name="BB/TopOf66"></ref> According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in "MuseWire" magazine, "Rubber Soul" sold 1,800,376 copies in America by the end of 1965 and 2,766,862 by the close of the decade. As of 1997, it had shipped over 6 million copies there. In 2013, after the British Phonographic Industry altered its sales award protocol, the album was certified Platinum based on UK sales since 1994.


title: Rubber Soul

text: Critical response to "Rubber Soul" was highly favourable. Allen Evans of the "NME" wrote that the band were "still finding different ways to make us enjoy listening to them" and described the LP as "a fine piece of recording artistry and adventure in group sound". While outlining to American readers the differences in the UK-format release, "KRLA Beat" said "Rubber Soul" was an "unbelievably sensational" work on which the Beatles were "once again ... setting trends in this world of pop". "Newsweek" lauded the Beatles as "the Bards of Pop", saying that the album's combination of "gospel, country, baroque counterpoint and even French popular ballads" lent the band a unique style in which their songs were "as brilliantly original as any written today". Like "Newsweek", "The New York Times" had belittled the group when they first performed in America in February 1964, but following the release of "Rubber Soul", entertainment critic Jack Gould wrote an effusive tribute in the newspaper's Sunday magazine. In "HiFi/Stereo Review", Morgan Ames wrote that, like other supportive professional musicians, he recognised the devices the band employed as "they tromp on the art of music", and while he viewed their formal musicality as limited, he expressed joy at its effectiveness. Having opened the review by saying, "The Beatles sound more and more like music", he concluded of the album: "Their blend is excellent, their performance smooth, and their charm, wit and excitement run high."


title: Rubber Soul

text: The writers of "Record Mirror"s initial review found the LP lacking some of the variety of the group's previous releases but also said: "one marvels and wonders at the constant stream of melodic ingenuity stemming from the boys, both as performers and composers. Keeping up their pace of creativeness is quite fantastic." By contrast, Richard Green wrote in the same magazine that most of the album "if recorded by anyone the Beatles, would not be worthy of release", with many of the tracks devoid of "the old Beatles excitement and compulsiveness". Green acknowledged that his was an unpopular opinion, before stating: "Judging LPs strictly on their merits, recent albums from Manfred Mann, the Beach Boys and Jerry Lee Lewis rank high above "Rubber Soul"."


title: Rubber Soul

text: In another review that Richard Williams later cited as an example of the British pop press not being "quite ready" for the album, "Melody Maker" found the Beatles' new sound "a little subdued" and said that tracks such as "You Won't See Me" and "Nowhere Man" "almost get monotonous – an un-Beatle-like feature if ever there was one". Author Steve Turner also highlights the comments made by the "Melody Maker" and "Record Mirror" reviewers, who were typically aged over 30, as indicative of how UK pop journalists lacked "the critical vocabulary" and "the broad musical perspective" to recognise or engage with progressive music. Turner adds that "Rubber Soul" "may have perplexed the old guard of entertainment correspondents, but it was a beacon for fledgling rock critics (as they would soon be called)".


title: Rubber Soul

text: In a September 1966 review of "Revolver", "KRLA Beat" said that the title of "Rubber Soul" had "become a standard phrase used to describe a creation of exceptional excellence in the field of music", such that several highly regarded releases had since earned the description "a "Rubber Soul" in its field. Writing in "Esquire" in 1967, Robert Christgau called it "an album that for innovation, tightness, and lyrical intelligence was about twice as good as anything they or anyone else (except maybe the Stones) had done previously".


title: Rubber Soul

text: According to Decker, notwithstanding the band's advances in 1964, music critics generally view "Rubber Soul" as the Beatles' transitional' album … from successful pop act to unparalleled masters of the studio". It is frequently cited by commentators as the first of their "classic" albums. Greil Marcus described it as the best of all the band's LPs. In his 1979 essay on the Beatles in "The Rolling Stone Illustrated History of Rock & Roll", Marcus wrote: ""Rubber Soul" was an album "made" as an album; with the exception of 'Michelle' (which, to be fair, paid the bills for years to come), every cut was an inspiration, something new and remarkable in and of itself."


title: Rubber Soul

text: Neil McCormick of "The Daily Telegraph" wrote in 2009: "this is where things start to get very interesting ... "Rubber Soul" is the result of their first extended period in the studio. The production is open and spacious, adorned but not yet overcrowded with new instruments and ideas. The songs themselves are like little Pop Art vignettes, where the lyrics are starting to match the quality of the melodies and arrangements." Scott Plagenhoef of "Pitchfork" describes the album as "the most important artistic leap in the Beatles' career – the signpost that signaled a shift away from Beatlemania and the heavy demands of teen pop, toward more introspective, adult subject matter". Paul Du Noyer wrote in his review for "Blender" in 2004: "Their talent was already a source of wonder, but now the songs themselves were turning mysterious. Under the influence of Bob Dylan – and, it might be said, marijuana – the Fab Four laced their tunefulness with new introspection, wordplay and social comment. University professors and newspaper columnists started taking note."


title: Rubber Soul

text: Writing in "Paste", Mark Kemp says that the influence of Dylan and the Byrds seems overt at times but the album marks the start of the Beatles' peak in creativity and, in the context of 1965, offered "an unprecedented synthesis of elements


title: Rubber Soul

text: from folk-rock and beyond".<ref name="Kemp/Paste"></ref> According to Richie Unterberger of AllMusic, the album's lyrics represented "a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities", while the music was similarly progressive in its use of sounds beyond "the conventional instrumental parameters of the rock group". He adds that "Rubber Soul" is "full of great tunes" from Lennon and McCartney notwithstanding their divergence from a common style, and demonstrates that Harrison "was also developing into a fine songwriter". Writing in the "Encyclopedia of Popular Music", Colin Larkin describes it as "not a collection of would-be hits or favourite cover versions … but a startlingly diverse collection, ranging from the pointed satire of 'Nowhere Man' to the intensely reflective 'In My Life'." In the 2004 edition of "The Rolling Stone Album Guide", Rob Sheffield recognises "Help!" as "the first chapter in the [Beatles'] astounding creative takeoff", after which the band "grew up with an album of bittersweet romance, singing adult love ballads that feel worldly but not jaded".


title: Rubber Soul

text: In an article coinciding with the 50th anniversary of its release, for "The Guardian", Bob Stanley lamented that "Rubber Soul" was often overlooked in appraisals of the Beatles' recording career, whereas "Revolver" and "The Beatles" had each gained in stature to surpass "Sgt. Pepper". Stanley highlighted "Rubber Soul" as having been "a good 18 months ahead of its time" and "the first album of the rock era that "sounded" like an album". Also writing in December 2015, in "Rolling Stone", Sheffield especially admired the singing and the modern qualities of the female characters depicted in the lyrics. He said that the album was "way ahead of what anyone had done before" and, given the short period in which they had to record, he called it the Beatles' "accidental masterpiece".<ref name="Sheffield/RS"></ref>


title: Rubber Soul

text: Conversely, Jon Friedman of "Esquire" finds the work vastly overrated, with only the Lennon-dominated songs "Norwegian Wood", "Nowhere Man", "In My Life" and "Girl" worthy of praise, and he dismisses it as "dull" and "the Beatles' most inconsequential album". Although he considers that McCartney "comes off third-string" to Lennon and Harrison, Plagenhoef defends the album's subtle mood; highlighting the influence of cannabis on the Beatles throughout 1965, he writes: "With its patient pace and languid tones, "Rubber Soul" is an altogether much more mellow record than anything the Beatles had done before, or would do again. It's a fitting product from a quartet just beginning to explore their inner selves on record." In his review for Rough Guides, Chris Ingham highlights the musical arrangements, three-part harmonies and judicious use of new sounds, in addition to the band's improved musicianship and songwriting. He says that "Rubber Soul" usually trails the Beatles' next four albums in critics' assessments of their work, yet "it's undoubtedly their pre-acid, pre-antagonism masterpiece: beat music as high art".


title: Rubber Soul

text: Music historian Bill Martin says that the release of "Rubber Soul" was a "turning point" for pop music, in that for the first time "the "album" rather than the song became the basic unit of artistic production." In author David Howard's description, "pop's stakes had been raised into the stratosphere" by "Rubber Soul", resulting in a shift in focus from singles to creating albums without the usual filler tracks. The release marked the start of a period when other artists, in an attempt to emulate the Beatles' achievement, sought to create albums as works of artistic merit and with increasingly novel sounds. According to Steve Turner, by galvanising the Beatles' most ambitious rivals in Britain and America, "Rubber Soul" launched "the pop equivalent of an arms race".


title: Rubber Soul

text: Brian Wilson of the Beach Boys described "Rubber Soul" as "the first album I listened to where every song was a gas" and planned his band's next project, "Pet Sounds", as an attempt to surpass it. "Rubber Soul" similarly inspired Pete Townshend of the Who and the Kinks' Ray Davies, as well as Jagger and Keith Richards of the Rolling Stones, who issued their first album of all-original material, "Aftermath", in April 1966. The album was also an influence on Dylan, Stevie Wonder and the Byrds. John Cale recalled that "Rubber Soul" was an inspiration as he and Lou Reed developed their band the Velvet Underground. He said it was the first time "you were forced to deal with them as something other than a flash in the pan" and especially admired Harrison's introduction of Indian sounds.<ref name="Alexander/Mojo"></ref>


title: Rubber Soul

text: In his chapter on "Rubber Soul" in the Cambridge Companion to Music's volume on the Beatles, James Decker credits the album with effecting the "transformation" of 1960s pop. In addition to citing it as the precedent for early experimental works by bands including Love and Jefferson Airplane, Decker writes that "Rubber Soul" presented "a variety of techniques hitherto unexplored in popular music" while encouraging listeners "to be cognizant of more flexible dimensions of pop music and to "desire" and "expect" them as well". Music historian Simon Philo also sees it as heralding the experimentation that characterised late-1960s rock. He describes it as an album-length confirmation of the "transformation of pop's range and reach" that the Beatles had first achieved when "Yesterday", McCartney's introspective and classically orchestrated ballad, topped US singles charts in late 1965. In a 1968 article on the Beach Boys, Gene Sculatti of "Jazz & Pop" recognised "Rubber Soul" as the model for "Pet Sounds" and "Aftermath", as well as "the necessary prototype that no major rock group has been able to ignore".


title: Rubber Soul

text: "Rubber Soul" is widely viewed as the first pop album to make an artistic statement through the quality of its songs, a point that was reinforced by its artsy cover photo. The belated acceptance of the Beatles by the editors of "Newsweek" was indicative of the magazine's recognition of the band's popularity among American intellectuals and the cultural elite. This in turn was reflected in "The Village Voice"s appointment of Richard Goldstein, a recent graduate and New Journalism writer, to the new position of rock critic, in June 1966, and the Beatles' central role in achieving cultural legitimisation for pop music over 1966–67. Referring to the praise afforded the band, particularly the Lennon–McCartney parternship, by "Newsweek" in early 1966, Michael Frontani writes: "The Beatles had a foothold in the world of art; in the months that followed, their efforts would lead to the full acceptance and legitimization of rock and roll as an art form."


title: Rubber Soul

text: Paul Williams launched "Crawdaddy!" in February 1966 with the aim of reflecting the sophistication brought to the genre by "Rubber Soul" and Dylan's "Bringing It All Back Home" – the two albums that, in music journalist Barney Hoskyns' description, "arguably gave birth to 'rock' as a more solid concept than 'pop. According to Sculatti, "Rubber Soul" was "the definitive 'rock as art' album, revolutionary in that it was a completely successful creative endeavor integrating with precision all aspects of the creative (rock) process – composition of individual tracks done with extreme care, each track arranged appropriately to fit beside each other track, the symmetrical rock 'n' roll album". Christopher Bray describes it as "the album that proved that rock and roll could be suitable for adult audiences", "the first long-playing pop record to really merit the term 'album and the LP that "turned pop music into high art". Historian Marc Myers similarly credits it with "mark[ing] rock's shift from formulaic pop to studio experimentation and high art".


title: Rubber Soul

text: According to Du Noyer, through "Rubber Soul" blurring of the traditionally distinct dividing line between pop and high culture, and the perceived inferiority of singles, "a rift occurred [in the UK] between pop and rock". He quotes writer Nik Cohn's complaints that the "danger signs" for pop music's loss of innocence were apparent on "Rubber Soul", and poet Philip Larkin's comment that "[The Beatles'] fans stayed with them, and the nuttier intelligentsia, but they lost the typists in the Cavern." Du Noyer says the album started a process that grew to become a "gulf between albums and singles, between rock or pop" that "shape[d] British music for decades".


title: Rubber Soul

text: The album coincided with rock 'n' roll's development into a variety of new styles, a process in which the Beatles' influence ensured them a pre-eminent role. Andrew Loog Oldham, the Rolling Stones' manager and producer at the time, has described "Rubber Soul" as "the album that changed the musical world we lived in then to the one we still live in today". "Norwegian Wood" launched what Indian classical musician Ravi Shankar called "the great sitar explosion", as the Indian string instrument became a popular feature in raga rock and for many pop artists seeking to add an exotic quality to their music. The harpsichord-like solo on "In My Life" led to a wave of baroque rock recordings. "Rubber Soul" was also the release that encouraged many folk-music aficionados to embrace pop. Folk singer Roy Harper recalled: "They'd come onto my turf, got there before me, and they were kings of it, overnight. We'd all been outflanked..."


title: Rubber Soul

text: Author George Case, writing in his book "Out of Our Heads", identifies "Rubber Soul" as "the authentic beginning of the psychedelic era". Music journalist Mark Ellen similarly credits the album with having "sow[ed] the seeds of psychedelia",<ref name="Kubernik/RBP"></ref> while Christgau says that "psychedelia starts here." Writing in "The Sydney Morning Herald" in July 1966, Lillian Roxon reported on the new trend for psychedelia-themed clubs and events in the US and said that "Rubber Soul" was "the classic psychedelic album now played at all the psychedelic discotheques". She attributed pop's recent embrace of psychedelia and "many of the strange new sounds now in records" to the LP's influence.


title: Rubber Soul

text: In Myers' view, the Capitol release "changed the direction of American rock".<ref name="Mochari/Inc"></ref> In the ongoing process of reciprocal influence between the band and US folk rock acts, the Beatles went on to inspire the San Francisco music scene. Recalling the album's popularity in the Haight-Ashbury district of San Francisco, where Jefferson Airplane were based, journalist Charles Perry said: "You could party hop all night and hear nothing but "Rubber Soul"." Perry also wrote that "More than ever the Beatles were the soundtrack of the Haight-Ashbury, Berkeley and the whole circuit", where pre-hippie students suspected that the album was inspired by drugs.


title: Rubber Soul

text: Citing a quantitative study of tempos in music from the 1960s, Walter Everett identifies "Rubber Soul" as a work that was "made more to be thought about than danced to", and an album that "began a far-reaching trend" in its slowing-down of the tempos typically used in pop and rock music. While music historians typically credit "Sgt. Pepper" as the birth of progressive rock, Everett and Bill Martin recognise "Rubber Soul" as the inspiration for many of the bands working in that genre from the early 1970s.


title: Rubber Soul

text: "Rubber Soul" was voted fifth in Paul Gambaccini's 1978 book "", based on submissions from a panel of 47 critics and broadcasters including Richard Williams, Christgau and Marcus. In the first edition of Colin Larkin's book "All Time Top 1000 Albums", in 1994, it was ranked at number 10, and in 1998 it was voted the 39th greatest album of all time in the first "Music of the Millennium" poll, conducted by HMV and Channel 4. It was listed at number 34 in the third edition of Larkin's "All Time Top 1000 Albums", published in 2000.


title: Rubber Soul

text: Since 2001, "Rubber Soul" has appeared in critics' best-albums-of-all-time lists compiled by VH1 (at number 6), "Mojo" (number 27) and "Rolling Stone" (number 5). It was among "Time" magazine's selection of the "All-Time 100 Albums" in 2006 and was favoured over "Revolver" in Chris Smith's book "101 Albums That Changed Popular Music" three years later. In 2012, "Rolling Stone" again placed it at number 5 on the magazine's revised list of the "500 Greatest Albums of All Time". In September 2020, "Rubber Soul" was ranked at number 35 on the same publication's new list. Based on the album's appearances in professional rankings and listings, the aggregate website Acclaimed Music lists "Rubber Soul" as the second most acclaimed album of 1965, the 12th most acclaimed album of the 1960s and the 32nd most acclaimed album of all time.


title: Rubber Soul

text: "Rubber Soul" appeared in "Rolling Stone"s 2014 list of the "40 Most Groundbreaking Albums of All Time", where the editors concluded: "You can say this represents 'maturity,' call it 'art' or credit it for moving rock away from singles to album-length statements – but regardless "Rubber Soul" accelerated popular music's creative arms race, driving competitors like the Stones, the Beach Boys and Dylan to dismantle expectations and create new ones." Three years later, "Pitchfork" ranked it at number 46 on the website's "200 Best Albums of the 1960s". In his commentary with the entry, Ian Cohen wrote: "Every Beatles album fundamentally shaped how pop music is understood, so "Rubber Soul" is one of the most important records ever made, by default... Even in 2017, whenever a pop singer makes a serious turn, or an anointed serious band says they've learned to embrace pop, "Rubber Soul" can't help but enter the conversation."


title: Rubber Soul

text: In 2000, "Rubber Soul" was inducted into the Grammy Hall of Fame, an award bestowed by the American Recording Academy "to honor recordings of lasting qualitative or historical significance that are at least 25 years old". The album has been the subject of multi-artist tribute albums such as "This Bird Has Flown" and "Rubber Folk". Writing in December 2015, Ilan Mochari of "Inc." magazine commented on the unusual aspect of a pop album's 50th anniversary being celebrated, and added: "Over the next several years, you can bet you'll read about the 50th anniversary of many other albums – thematic volumes composed by bands or songwriters in the tradition "Rubber Soul" established. All of which is to say: "Rubber Soul", the Beatles' sixth studio album, was the record that launched a thousand ships."


title: Rubber Soul

text: "Rubber Soul" was released on compact disc on 30 April 1987, with the fourteen-song track line-up now the international standard. As with "Help!", the album featured a contemporary stereo digital remix prepared by George Martin. Martin had expressed concern to EMI over the original 1965 stereo mix, claiming it sounded "very woolly, and not at all what I thought should be a good issue". He went back to the original four-track tapes and remixed them for stereo.


title: Rubber Soul

text: A newly remastered version of "Rubber Soul", again using the 1987 Martin remix, was released worldwide as part of the reissue of the entire Beatles catalogue on 9 September 2009. The album was available both as an individual CD release and as part of the "Beatles (The Original Studio Recordings)" box set. The accompanying "Beatles in Mono" box set contained two versions of the album: the original mono mix and the 1965 stereo mix.


title: Rubber Soul

text: The Capitol version was relaunched in 2006, for the "Capitol Albums, Volume 2" box set, using original mixes of the Capitol album, and then in 2014, individually and on the box set "The U.S. Albums".


title: John Doe

text: John Doe (male) and Jane Doe (female) are multiple-use placeholder names that are used when the true name of a person is unknown or is being intentionally concealed. In the context of law enforcement in the United States, such names are often used to refer to a corpse whose identity is unknown or unconfirmed. These names are also often used to refer to a hypothetical "everyman" in other contexts, in a manner similar to John Q. Public or "Joe Public". There are many variants to the above names, including John Roe, Richard Roe, Jane Roe, Baby Doe, and Janie Doe/Johnny Doe (for children).


title: John Doe

text: In other English-speaking countries, unique placeholder names, numbers or codenames have become more often used in the context of police investigations. This has included the United Kingdom, where usage of "John Doe" originated during the Middle Ages. However, the legal term "John Doe injunction" or "John Doe order" has survived in English law and other legal systems influenced by it. Other names, such as "Joe Bloggs" or "John Smith", have sometimes been informally used as placeholders for an everyman in the UK, Australia and New Zealand; however such names are seldom used in legal or police circles in the same sense as John Doe.


title: John Doe

text: Under the legal terminology of Ancient Rome, the names ""Numerius Negidius"" and ""Aulus Agerius"" were used in relation to hypothetical defendants and plaintiffs.


title: John Doe

text: The names "John Doe" (or "John Do") and "Richard Roe" (along with "John Roe") were regularly invoked in English legal instruments to satisfy technical requirements governing standing and jurisdiction, beginning perhaps as early as the reign of England's King Edward III (1327–1377). Though the rationale behind the choices of Doe and Roe is unknown, there are many suggested folk etymologies. Other fictitious names for a person involved in litigation in medieval English law were "John Noakes" (or "Nokes") and "John-a-Stiles" (or "John Stiles"). The "Oxford English Dictionary" states that John Doe is "the name given to the fictitious lessee of the plaintiff, in the (now obsolete in the UK) mixed action of ejectment, the fictitious defendant being called Richard Roe".


title: John Doe

text: In the UK, usage of "John Doe" survives mainly in the form of John Doe injunction or John Doe order (see above).


title: John Doe

text: Unlike the United States, the name "John Doe" does not actually appear in the formal name of the case, for example: "X & Y v Persons Unknown" [2007] HRLR 4.


title: John Doe

text: Well-known cases of unidentified decedents include "Caledonia Jane Doe" (1979) and "Princess Doe" (1982), both of whom have been identified. The baby victim in a 2001 murder case in Kansas City, Missouri, was referred to as Precious Doe.


title: John Doe

text: In 2009, the "New York Times" reported the difficulties and unwanted attention experienced by a man actually named John Doe, who had often been suspected of using a pseudonym. He had been questioned repeatedly by airport security staff. Another man named John Doe was often suspected of being an incognito celebrity.


title: John Doe

text: In cases where a large number of unidentified individuals are mentioned, numbers may be appended, such as "Doe #2" or "Doe II". Operation Delego (2009), which targeted an international child sexual abuse ring, cited 21 numbered "John Does", as well as other people known by the surnames "Doe", "Roe", and "Poe".


title: John Doe

text: "John Stiles", "Richard Miles" have been used for the third and fourth participants in an action. "Mary Major" has been used in some federal cases in the US. "James Doe" and "Judy Doe" are among other common variants.


title: John Doe

text: Less often, other surnames ending in "-oe" have been used when more than two unknown or unidentified persons are named in U.S. court proceedings, "e.g.", "Poe v. Snyder", 834 F.Supp.2d 721 (W. D. Mich. 2011), whose full style is


title: John Doe

text: In Massachusetts, "Mary Moe" is used to refer to pregnant women under the age of 18 petitioning the Superior Court for a judicial bypass exception to the parental consent requirement for abortion.


title: John Doe

text: "Mary Moe" is also used to refer to such cases generally, i.e. "Mary Moe cases". Sometimes "Mary Doe" may be used for the individuals.


title: John Doe

text: In 1997, New York City police discovered a decapitated body and were not able to find the killer. The body was named Peaches (murder victim) and also Jane Doe 3.


title: John Doe

text: The use and selection of pseudonyms is not standardized in U.S. courts. The practice was rare prior to 1969, and is sometimes objected to on legal grounds.


title: 2021 FIFA Club World Cup

text: The 2021 FIFA Club World Cup (officially known as the FIFA Club World Cup UAE 2021 presented by Alibaba Cloud for sponsorship reasons) was the 18th edition of the FIFA Club World Cup, a FIFA-organised international club football tournament between the winners of the six continental confederations, as well as the host nation's league champions. The tournament was held from 3 to 12 February 2022 in the United Arab Emirates.


title: 2021 FIFA Club World Cup

text: Defending champions Bayern Munich did not qualify as they were eliminated in the quarter-finals of the 2020–21 UEFA Champions League. The eventual winners of that competition, Chelsea, won the Club World Cup for the first time, beating Al-Hilal of Saudi Arabia 1–0 in the semi-finals before requiring extra time to claim a 2–1 win over Brazilian side Palmeiras in the final.


title: 2021 FIFA Club World Cup

text: An expanded Club World Cup in China was planned to be held in June and July 2021. However, due to fixture congestion caused by the postponement of the 2020 Summer Olympics and the impact of the COVID-19 pandemic on football, the Tokyo Olympics, UEFA European Championship and Copa América were postponed from mid-2020 to mid-2021. As a result, FIFA announced in March 2020 that they would postpone the expanded Club World Cup to later in 2021, 2022 or 2023, before cancelling it entirely.


title: 2021 FIFA Club World Cup

text: On 4 December 2020, the FIFA Council announced that the Club World Cup, using the previous format, would be held in late 2021 and hosted by Japan. However, on 8 September 2021, the Japan Football Association dropped its commitment to host the tournament, owing to the possibility of restrictions on fan attendance due to the COVID-19 pandemic in Japan. Numerous countries expressed interest in hosting the tournament as bidding was reopened, including Brazil, Egypt, Qatar, Saudi Arabia, South Africa, and the United Arab Emirates. On 20 October 2021, the FIFA Council announced the United Arab Emirates as the host of the tournament, and postponed the event from late 2021 to early 2022.


title: 2021 FIFA Club World Cup

text: The matches were played at two venues in the city of Abu Dhabi, both of which hosted matches at the 2019 AFC Asian Cup.


title: 2021 FIFA Club World Cup

text: Five referees, ten assistant referees, and seven video assistant referees were appointed for the tournament.


title: 2021 FIFA Club World Cup

text: Each team named a 23-man squad (three of whom had to be goalkeepers). Injury replacements were allowed until 24 hours before the team's first match.


title: 2021 FIFA Club World Cup

text: The draw of the tournament was held on 29 November 2021, 17:00 CET (), at the FIFA headquarters in Zürich, Switzerland, to decide the matchups of the second round (between the first round winner and teams from AFC, CAF and CONCACAF), and the opponents of the two second round winners in the semi-finals (against teams from CONMEBOL and UEFA).


title: 2021 FIFA Club World Cup

text: The following awards were given at the conclusion of the tournament. Thiago Silva of Chelsea won the Golden Ball award, sponsored by Adidas, which is jointly awarded with the Alibaba Cloud Award to recognise the player of the tournament.


title: Tomahawk (missile)

text: The Tomahawk () Land Attack Missile (TLAM) is a long-range, all-weather, jet-powered, subsonic cruise missile that is primarily used by the United States Navy and Royal Navy in ship and submarine-based land-attack operations.


title: Tomahawk (missile)

text: Under contract from the U.S. Navy, the Tomahawk was designed at the APL/JHU in a project led by James Walker near Laurel, Maryland, and was first manufactured by General Dynamics in the 1970s. It was intended to fill the role of a medium- to long-range, low-altitude missile that could be launched from a naval surface warfare platform, and featured a modular design accommodating a wide variety of warhead, guidance, and range capabilities. At least six variants and multiple upgraded versions of the TLAM have been added since the original design was introduced, including air-, sub-, and ground-launched variants with conventional and nuclear armaments. In 1992–1994, McDonnell Douglas Corporation was the sole supplier of Tomahawk Missiles and produced Block II and Block III Tomahawk missiles and remanufactured many Tomahawks to Block III specifications. In 1994, Hughes outbid McDonnell Douglas Aerospace to become the sole supplier of Tomahawk missiles. By 2019, the only variants in service were non-nuclear, sea-launched variants manufactured by Raytheon. In 2016, the U.S. Department of Defense purchased 149 Tomahawk Block IV missiles for $202.3 million.


title: Tomahawk (missile)

text: The Tomahawk was most recently used by the U.S. Navy in the 2018 missile strikes against Syria, when 66 missiles were launched targeting alleged Syrian chemical weapons facilities.


title: Tomahawk (missile)

text: Ground-launched cruise missiles (GLCM) and their truck-like launch vehicles were employed at bases in Europe; they were withdrawn from service to comply with the 1987 Intermediate-Range Nuclear Forces Treaty. Many of the anti-ship versions were converted into TLAMs at the end of the Cold War. The Block III TLAMs that entered service in 1993 can fly 3 percent farther using their new turbofan engines and use Global Positioning System (GPS) receivers to strike more precisely. Block III TLAM-Cs retain the Digital Scene Matching Area Correlation (DSMAC) II navigation system, allowing three kinds of navigation: GPS-only, which allow for rapid mission planning, with some reduced accuracy, DSMAC-only, which take longer to plan but terminal accuracy is somewhat better; and GPS-aided missions that combine DSMAC II and GPS navigation for greatest accuracy. Block IV TLAMs have an improved turbofan engine that allows them to get better fuel economy and change speeds in flight. The Block IV TLAMs can loiter better and have electro-optical sensors that allow real-time battle damage assessment. The Block IVs can be given a new target in flight and can transmit an image, via satcom, immediately before impact to help determine whether the missile is on target and the likely damage from the attack.


title: Tomahawk (missile)

text: A major improvement to the Tomahawk is network-centric warfare-capabilities, using data from multiple sensors (aircraft, UAVs, satellites, foot soldiers, tanks, ships) to find its target. It will also be able to send data from its sensors to these platforms.


title: Tomahawk (missile)

text: "Tomahawk Block II" variants were all tested during January 1981 to October 1983. Deployed in 1984, some of the improvements included: an improved booster rocket, cruise missile radar altimeter, and navigation through the Digital Scene Matching Area Corellator (DSMAC). DSMAC was a highly accurate rudimentary AI which allowed early low power computers to navigate and precisely target objectives using cameras on board the missile. With its ability to visually identify and aim directly at a target, it was more accurate than weapons using estimated GPS coordinates. Due to the very limited computer power of the day, DSMAC did not directly evaluate the maps, but instead would compute contrast maps and then combine multiple maps into a buffer, then compare the average of those combined images to determine if it was similar to the data in its small memory system. The data for the flight path was very low resolution in order to free up memory to be used for high resolution data about the target area. The guidance data was computed by a mainframe computer which took spy satellite photos and estimated what the terrain would appear like during low level flight. Since this data would not match the real terrain exactly, and since terrain changes seasonally and with changes in light quality, DSMAC would filter out differences between maps and use the remaining similar sections in order to find its location regardless of changes in how the ground appeared. It also had an extremely bright strobe light it could use to illuminate the ground for fractions of a second in order to find its position at night, and was able to take the difference in ground appearance into account.


title: Tomahawk (missile)

text: "Tomahawk Block III" introduced in 1993 added time-of-arrival control and improved accuracy for Digital Scene Matching Area Correlator (DSMAC) and jam-resistant GPS, smaller, lighter WDU-36 warhead, engine improvements and extended missile's range.


title: Tomahawk (missile)

text: "Tactical Tomahawk Weapons Control System (TTWCS)" takes advantage of a loitering feature in the missile's flight path and allows commanders to redirect the missile to an alternative target, if required. It can be reprogrammed in-flight to attack predesignated targets with GPS coordinates stored in its memory or to any other GPS coordinates. Also, the missile can send data about its status back to the commander. It entered service with the US Navy in late 2004. The Tactical Tomahawk Weapons Control System (TTWCS) added the capability for limited mission planning on board the firing unit (FRU).


title: Tomahawk (missile)

text: "Tomahawk Block IV" introduced in 2006 adds the strike controller which can change the missile in flight to one of 15 preprogrammed alternate targets or redirect it to a new target. This targeting flexibility includes the capability to loiter over the battlefield awaiting a more critical target. The missile can also transmit battle damage indication imagery and missile health and status messages via the two-way satellite data link. Firing platforms now have the capability to plan and execute GPS-only missions. Block IV also has an improved anti-jam GPS receiver for enhanced mission performance.


title: Tomahawk (missile)

text: Block IV includes Tomahawk Weapons Control System (TTWCS), and Tomahawk Command and Control System (TC2S).


title: Tomahawk (missile)

text: On 16 August 2010, the Navy completed the first live test of the Joint Multi-Effects Warhead System (JMEWS), a new warhead designed to give the Tomahawk the same blast-fragmentation capabilities while introducing enhanced penetration capabilities in a single warhead. In the static test, the warhead detonated and created a hole large enough for the follow-through element to completely penetrate the concrete target. In February 2014, U.S. Central Command sponsored development and testing of the JMEWS, analyzing the ability of the programmable warhead to integrate onto the Block IV Tomahawk, giving the missile bunker buster effects to better penetrate hardened structures.


title: Tomahawk (missile)

text: In 2012, the USN studied applying Advanced Anti-Radiation Guided Missile (AARGM) technology into the Tactical Tomahawk.


title: Tomahawk (missile)

text: In 2014, Raytheon began testing Block IV improvements to attack sea and moving land targets. The new passive radar seeker will pick up the electromagnetic radar signature of a target and follow it, and actively send out a signal to bounce off potential targets before impact to discriminate its legitimacy before impact. Mounting the multi-mode sensor on the missile's nose would remove fuel space, but company officials believe the Navy would be willing to give up space for the sensor's new technologies. The previous Tomahawk Anti-Ship Missile, retired over a decade earlier, was equipped with inertial guidance and the seeker of the Harpoon missile and there was concern with its ability to clearly discriminate between targets from a long distance, since at the time Navy sensors did not have as much range as the missile itself, which would be more reliable with the new seeker's passive detection and millimeter-wave active radar homing. Raytheon estimates adding the new seeker would cost $250,000 per missile. Other upgrades include a sea-skimming flight path. The first Block IV TLAMs modified with a maritime attack capability will enter service in 2021.


title: Tomahawk (missile)

text: A supersonic version of the Tomahawk is under consideration for development with a ramjet to increase its speed to Mach 3. A limiting factor to this is the dimensions of shipboard launch tubes. Instead of modifying every ship able to carry cruise missiles, the ramjet-powered Tomahawk would still have to fit within a -diameter and -long tube.


title: Tomahawk (missile)

text: In October 2015, Raytheon announced the Tomahawk had demonstrated new capabilities in a test launch, using its onboard camera to take a reconnaissance photo and transmit it to fleet headquarters. It then entered a loitering pattern until given new targeting coordinates to strike.


title: Tomahawk (missile)

text: By January 2016, Los Alamos National Laboratory was working on a project to turn unburned fuel left over when a Tomahawk reaches its target into an additional explosive force. To do this, the missile's JP-10 fuel is turned into a fuel air explosive to combine with oxygen in the air and burn rapidly. The thermobaric explosion of the burning fuel acts, in effect, as an additional warhead and can even be more powerful than the main warhead itself when there is sufficient fuel left in the case of a short-range target.


title: Tomahawk (missile)

text: Tomahawk Block V was introduced in 2021 with improvements to navigation and in-flight targeting. Block Va, the Maritime Strike Tomahawk (MST) which allows the missile to engage a moving target at sea, and Block Vb outfitted with the JMEWS warhead for hard-target penetration, will be released after the initial batch of Block V is delivered in March 2021. All Block IV Tomahawks will be converted to Block V standard, while the remaining Block III missiles will be retired and demilitarized.


title: Tomahawk (missile)

text: Tomahawk Block V have longer range and dynamic targeting with the capability to hit vessels at sea (maritime strike role). Raytheon is recertifying and modernizing the missile, extending its service life by 15 years, and resulting in the new Tomahawk Block V series:


title: Tomahawk (missile)

text: In 2020, Los Alamos National Laboratory reported that it would use corn ethanol to produce domestic fuel for Tomahawk missiles, which also does not require harsh acids to manufacture, compared to petroleum-based JP-10.


title: Tomahawk (missile)

text: Each missile is stored and launched from a pressurized canister that protects it during transportation and storage, and also serves as a launch tube. These canisters were racked in Armored Box Launchers (ABL), which were installed on the four reactivated "Iowa"-class battleships , , , and . The ABLs were also installed on eight s, the four s, and the nuclear cruiser . These canisters are also in vertical launching systems (VLS) in other surface ships, capsule launch systems (CLS) in the later and s, and in submarines' torpedo tubes.


title: Tomahawk (missile)

text: For submarine-launched missiles (called UGM-109s), after being ejected by gas pressure (vertically via the VLS) or by water impulse (horizontally via the torpedo tube), a solid-fuel booster is ignited to propel the missile and guide it out of the water.


title: Tomahawk (missile)

text: After achieving flight, the missile's wings are unfolded for lift, the airscoop is exposed and the turbofan engine is employed for cruise flight. Over water, the Tomahawk uses inertial guidance or GPS to follow a preset course; once over land, the missile's guidance system is aided by terrain contour matching (TERCOM). Terminal guidance is provided by the Digital Scene Matching Area Correlation (DSMAC) system or GPS, producing a claimed circular error probable of about 10 meters.


title: Tomahawk (missile)

text: The Tomahawk Weapon System consists of the missile, Theater Mission Planning Center (TMPC)/Afloat Planning System, and either the Tomahawk Weapon Control System (on surface ships) or Combat Control System (for submarines).


title: Tomahawk (missile)

text: On August 18, 2019, the United States Navy conducted a test flight of a Tomahawk missile launched from a ground-based version of the Mark 41 Vertical Launch System. It was the United States' first acknowledged launch of a missile that would have violated the 1987 Intermediate-Range Nuclear Forces Treaty, from which the Trump administration withdrew on August 2 after Russia broke it.


title: Tomahawk (missile)

text: The TLAM-D contains 166 sub-munitions in 24 canisters: 22 canisters of seven each, and two canisters of six each to conform to the dimensions of the airframe. The sub-munitions are the same type of Combined Effects Munition bomblet used in large quantities by the U.S. Air Force with the CBU-87 Combined Effects Munition. The sub-munitions canisters are dispensed two at a time, one per side. The missile can perform up to five separate target segments which enables it to attack multiple targets. However, in order to achieve a sufficient density of coverage typically all 24 canisters are dispensed sequentially from back to front.


title: Tomahawk (missile)

text: TERCOM – Terrain Contour Matching. A digital representation of an area of terrain is mapped based on digital terrain elevation data or stereo imagery. This map is then inserted into a TLAM mission which is then loaded onto the missile. When the missile is in flight it compares the stored map data with radar altimeter data collected as the missile overflies the map. Based on comparison results the missile's inertial navigation system is updated and the missile corrects its course. TERCOM was based on, and was a significant improvement on, "Fingerprint," a technology developed in 1964 for the SLAM.


title: Tomahawk (missile)

text: DSMAC – Digital Scene Matching Area Correlation. A digitized image of an area is mapped and then inserted into a TLAM mission. During the flight the missile will verify that the images that it has stored correlates with the image it sees below itself. Based on comparison results the missile's inertial navigation system is updated and the missile corrects its course.


title: Tomahawk (missile)

text: In the 1991 Gulf War, 288 Tomahawks were launched, 12 from submarines and 276 from surface ships. The first salvo was fired by the destroyer on January 17, 1991. The attack submarines and followed.


title: Tomahawk (missile)

text: On 17 January 1993, 46 Tomahawks were fired at the Zafraniyah Nuclear Fabrication Facility outside Baghdad, in response to Iraq's refusal to cooperate with UN disarmament inspectors. One missile crashed into the side of the Al Rasheed Hotel, killing two civilians.


title: Tomahawk (missile)

text: On 26 June 1993, 23 Tomahawks were fired at the Iraqi Intelligence Service's command and control center.


title: Tomahawk (missile)

text: On 10 September 1995, launched 13 Tomahawk missiles from the central Adriatic Sea against a key air defense radio relay tower in Bosnian Serb territory during Operation Deliberate Force.


title: Tomahawk (missile)

text: On 3 September 1996, 44 ship-launched UGM-109 and B-52-launched AGM-86 cruise missiles were fired at air defense targets in southern Iraq.


title: Tomahawk (missile)

text: On 20 August 1998, 79 Tomahawk missiles were fired simultaneously at two targets in Afghanistan and Sudan in retaliation for the bombings of American embassies by Al-Qaeda.


title: Tomahawk (missile)

text: On 16 December 1998, 325 Tomahawk missiles were fired at key Iraqi targets during Operation Desert Fox.


title: Tomahawk (missile)

text: In early 1999, 218 Tomahawk missiles were fired by U.S. ships and a British submarine during the 1999 NATO bombing of Yugoslavia against targets in the Federal Republic of Yugoslavia.


title: Tomahawk (missile)

text: In October 2001, about 50 Tomahawk missiles struck targets in Afghanistan in the opening hours of Operation Enduring Freedom.


title: Tomahawk (missile)

text: On 3 March 2008, two Tomahawk missiles were fired at a target in Somalia by a US vessel during the Dobley airstrike, reportedly in an attempt to kill Saleh Ali Saleh Nabhan, an al Qaeda militant.


title: Tomahawk (missile)

text: On 17 December 2009, two Tomahawk missiles were fired at targets in Yemen. One TLAM-D struck an alleged Al-Qaeda training camp in al-Ma’jalah in al-Mahfad, a region of the Abyan governorate of Yemen. Amnesty International reported that 55 people were killed in the attack, including 41 civilians (21 children, 14 women, and six men). The US and Yemen governments refused to confirm or deny involvement, but diplomatic cables released as part of United States diplomatic cables leak later confirmed the missile was fired by a U.S. Navy ship.


title: Tomahawk (missile)

text: On 19 March 2011, 124 Tomahawk missiles were fired by U.S. and British forces (112 US, 12 British) against at least 20 Libyan targets around Tripoli and Misrata. As of 22 March 2011, 159 UGM-109 were fired by US and UK ships against Libyan targets.


title: Tomahawk (missile)

text: On 23 September 2014, 47 Tomahawk missiles were fired by the United States from and , which were operating from international waters in the Red Sea and Persian Gulf, against ISIL targets in Syria in the vicinity of Raqqa, Deir ez-Zor, Al-Hasakah and Abu Kamal, and against Khorasan group targets in Syria west of Aleppo.


title: Tomahawk (missile)

text: On 13 October 2016, five Tomahawk cruise missiles were launched by at three radar sites in Yemen held by Houthi rebels in response to anti-ship missiles fired at US Navy ships the day before.


title: Tomahawk (missile)

text: On 6 April 2017, 59 Tomahawk missiles were launched from and , targeting Shayrat Airbase near Homs, in Syria. The strike was in response to a chemical weapons attack, an act allegedly carried out by Syrian President Bashar Al-Assad. U.S. Central Command stated in a press release that Tomahawk missiles hit "aircraft, hardened aircraft shelters, petroleum and logistical storage, ammunition supply bunkers, defense systems, and radars". Initial U.S. reports claimed "approximately 20 planes" were destroyed, and that 58 out of the 59 cruise missiles launched had "severely degraded or destroyed" their intended target. A later report by US Secretary of Defense James Mattis claimed that the strike destroyed about 20% of the Syrian government's operational aircraft. Syrian state-run media claimed that nine civilians, including four children living in nearby villages were killed and another seven wounded as a result of the strike after missiles fell on their homes, The Pentagon would later state civilians were not intentionally targeted. According to the satellite images the runways and the taxiways have been undamaged and combat flights from the attacked airbase resumed on 7 April a few hours after the attack, although U.S. officials did not state that the runway was a target.


title: Tomahawk (missile)

text: An independent bomb damage assessment conducted by ImageSat International counted hits on 44 targets, with some targets being hit by more than one missile; these figures were determined using satellite images of the airbase 10 hours after the strike. However, the Russian defense ministry contends that the combat effectiveness of the attack was "extremely low"; only 23 missiles hit the base destroying six aircraft, and it did not know where the other 36 landed. Russian television news, citing a Syrian source at the airfield, said that nine planes were destroyed by the strikes (5 Su-22M3s, 1 Su-22M4, and 3 Mig-23ML) and that all planes were thought to have been out of action at the time. Al-Masdar News reported that 15 fighter jets were damaged or destroyed and that the destruction of fuel tankers caused several explosions and a large fire. Some observers conclude that the Russian government—and therefore also the Syrian government—was warned and Syria had enough time to move most of the planes to another base. The Syrian Observatory for Human Rights said the strike damaged over a dozen hangars, a fuel depot, and an air defense base.


title: Tomahawk (missile)

text: On April 14, 2018, the US launched 66 Tomahawk cruise missiles at Syrian targets near Damascus and Homs, as part of the 2018 bombing of Damascus and Homs. These strikes were done in retaliation for alleged Douma chemical attack. The United States Department of Defense said Syria fired 40 defensive missiles at the allied weapons but did not hit any targets. The Russian military said that Syrian air defenses shot down 71 of the 103 missiles launched by the US and its allies, but it was not possible to verify the claims.


title: Tomahawk (missile)

text: In 1995, the US agreed to sell 65 Tomahawks to the UK for torpedo-launch from their nuclear attack submarines. The first missiles were acquired and test-fired in November 1998; all Royal Navy fleet submarines are now Tomahawk capable, including the "Astute"-class. The Kosovo War in 1999 saw the Swiftsure-class HMS "Splendid" become the first British submarine to fire the Tomahawk in combat. The UK subsequently bought 20 more Block III to replenish stocks. The Royal Navy has since fired Tomahawks during the 2000s Afghanistan War, in Operation Telic as the British contribution to the 2003 Iraq War, and during Operation Ellamy in Libya in 2011.


title: Tomahawk (missile)

text: In April 2004, the UK and US governments reached an agreement for the British to buy 64 of the new generation of Tomahawk missile—the Block IV or TacTom missile. It entered service with the Royal Navy on 27 March 2008, three months ahead of schedule. In July 2014 the US approved the sale to the UK of a further 65 submarine-launched Block IV's at a cost of US$140m including spares and support; the Block III missiles were on British books at £1.1m and the Block IV at £0.87m including VAT.


title: Tomahawk (missile)

text: The Sylver Vertical Launching System on the new Type 45 destroyer is claimed by its manufacturers to have the capability to fire the Tomahawk, although the A50 launcher carried by the Type 45 is too short for the weapon (the longer A70 silo would be required). Nevertheless, the Type 45 has been designed with weight and space margin for a strike-length Mk41 or Sylver A70 silo to be retrofitted, allowing Type 45 to use the TLAM Block IV if required. The new Type 26 frigates will have a strike-length Mk41 VLS and the Type 31 frigate will also be fitted for but not with the system.


title: Tomahawk (missile)

text: In June 2022, the UK announced it would be upgrading its Tomahawk cruise missiles to Block V standard through a £265 million contract with the US government. The missiles will be upgraded from 2024.


title: Tomahawk (missile)

text: The Air Force is a former operator of the nuclear-armed version of the Tomahawk, the BGM-109G Gryphon.


title: Tomahawk (missile)

text: In November 2020, the U.S. Army selected the Tomahawk to fulfill its Mid-Range Capability (MRC), giving it a land-based long-range missile capable of striking ground and sea targets. The Army plans to use the Tomahawk alongside a ground-based SM-6 and field them by late 2023.


title: Tomahawk (missile)

text: According to infographics released by Royal Canadian Navy, their new frigates (CSC) will be equipped with the missile.


title: Tomahawk (missile)

text: In September 2021, Australian Prime Minister Scott Morrison announced that Australia would acquire Tomahawks for the Royal Australian Navy's "Hobart"-class air warfare destroyers.


title: Tomahawk (missile)

text: Japanese government is approaching the U.S. government to purchase the U.S.-made Tomahawk cruise missile for attacking enemy base, counterattack. The Japanese government decided to purchase the Tomahawk cruise missile before their domestic improved range "Type 12 Surface-to-Ship Missile" start full-scale operation.


title: Tomahawk (missile)

text: The Netherlands (2005) and Spain (2002 and 2005) were interested in acquiring the Tomahawk system, but the orders were later cancelled in 2007 and 2009 respectively.


title: Tomahawk (missile)

text: In 2009, the Congressional Commission on the Strategic Posture of the United States stated that Japan would be concerned if the TLAM-N were retired, but the government of Japan has denied that it had expressed any such view.


title: Tomahawk (missile)

text: The SLCM version of the Popeye was developed by Israel after the US Clinton administration refused an Israeli request in 2000 to purchase Tomahawk SLCM's because of international Missile Technology Control Regime proliferation rules.


title: Tomahawk (missile)

text: As of March 12, 2015, Poland has expressed interest in purchasing long-range Tomahawk missiles for its future submarines.


title: Tomahawk (missile)

text: In 2022 plans for acquiring long-range and precision-guided weapon systems for the s and submarines of The Royal Netherlands Navy are announced as part of the Strategic Defence Review 2022, Tomahawk is considered a serious contender.


title: Scott Foley

text: Scott Kellerman Foley (born July 15, 1972) is an American actor and director. Foley is known for roles in television shows such as "The Unit", "Scrubs", "Felicity", and "Scandal", and in films such as "Scream 3". He has also guest starred in series including "Grey's Anatomy", "Dawson's Creek", and "House".


title: Scott Foley

text: Foley was born in Kansas City, Kansas, the first of three boys of Constance and Hugh Foley. His father was an international banker, and the family lived in Japan and Australia during Foley's childhood. The family settled in St. Louis, Missouri when Scott was 15 years old. His mother died from ovarian cancer when he was 15 years old. Foley attended Ladue High School, before graduating from Clayton High School. His ancestry is Northern European: English, German, Irish and Scottish.


title: Scott Foley

text: Foley's breakthrough role was playing Noel Crane on "Felicity". Foley has had recurring guest appearances on "Scrubs" as Elliot Reid's boyfriend, Sean Kelly, and on "Dawson's Creek" as Cliff.


title: Scott Foley

text: Foley was nominated for a Teen Choice Award for Choice Movie Villain for his role in "Scream 3". Aside from acting, Foley directed one episode of "Felicity" (called "The Graduate") and three episodes of "Scandal". In addition, he had a starring role as Sergeant First Class Bob Brown in the CBS military drama "The Unit", during its four-season run, and directed one episode. He guest-starred as a drug-addicted baseball pitcher on "House". He also produced the sitcom "A.U.S.A.", on which he appeared.


title: Scott Foley

text: Foley appeared in three episodes of ABC's comedy "Cougar Town". He signed on to play a businessman being shown houses by the show's resident real estate agent, Jules, played by Courteney Cox, reuniting with her nine years after "Scream 3". Foley and Cox's characters began dating, but it ended quickly.


title: Scott Foley

text: After appearing on Shonda Rhimes' "Grey's Anatomy", Foley appeared as a guest star on the second season of her hit show "Scandal" as Captain Jake Ballard. Later that year he was added as a regular to the cast.


title: Scott Foley

text: Foley portrays the lead character in ABC's drama "Whiskey Cavalier", which premiered on February 27, 2019, and has been announced he will guest star in ABC police drama "The Rookie" in 2020.


title: Scott Foley

text: Foley made his feature film writing and directing debut in 2013 with "Let's Kill Ward's Wife". Foley's wife, Marika Domińczyk, his sister-in-law Dagmara Domińczyk, and brother-in-law Patrick Wilson star in the film, along with Donald Faison, Amy Acker and Nicollette Sheridan.


title: Scott Foley

text: On October 19, 2000, Foley married actress Jennifer Garner, whom he met when she guest-starred on "Felicity". Foley and Garner separated in March 2003 and Garner filed for divorce in May 2003.


title: Scott Foley

text: Foley became engaged to Polish-born actress Marika Dominczyk in 2006, and in June 2007, the two wed in a private ceremony in Hawaii. They have three children: daughter Malina (b. November 2009) and sons Keller (b. April 2012) and Konrad (b. November 13, 2014).


title: Scott Foley

text: Through the marriage, his sister-in-law is actress Dagmara Dominczyk, who is married to the actor Patrick Wilson.


title: Scott Foley

text: In the seventh season's second episode of the genealogy reality program "Who Do You Think You Are?", it was revealed that Foley had an ancestor, Samuel Wardwell, who was a defendant in the Salem witch trials. Another ancestor, Simon Wardwell, was a member of then General George Washington's "Life Guard" during the Revolutionary War.


title: Western Roman Empire

text: The Western Roman Empire comprised the western provinces of the Roman Empire at any time during which they were administered by a separate independent Imperial court; in particular, this term is used in historiography to describe the period from 395 to 476, where there were separate coequal courts dividing the governance of the empire in the Western and the Eastern provinces, with a distinct imperial succession in the separate courts. The terms Western Roman Empire and Eastern Roman Empire were coined in modern times to describe political entities that were "de facto" independent; contemporary Romans did not consider the Empire to have been split into two empires but viewed it as a single polity governed by two imperial courts as an administrative expediency. The Western Roman Empire collapsed in 476, and the Western imperial court in Ravenna was formally dissolved by Justinian in 554. The Eastern imperial court survived until 1453.


title: Western Roman Empire

text: Though the Empire had seen periods with more than one emperor ruling jointly before, the view that it was impossible for a single emperor to govern the entire Empire was institutionalised to reforms to Roman law by emperor Diocletian following the disastrous civil wars and disintegrations of the Crisis of the Third Century. He introduced the system of the tetrarchy in 286, with two senior emperors titled "Augustus", one in the East and one in the West, each with an appointed "Caesar" (junior emperor and designated successor). Though the tetrarchic system would collapse in a matter of years, the East–West administrative division would endure in one form or another over the coming centuries. As such, the Western Roman Empire would exist intermittently in several periods between the 3rd and 5th centuries. Some emperors, such as Constantine I and Theodosius I, governed as the sole "Augustus" across the Roman Empire. On the death of Theodosius I in 395, he divided the empire between his two sons, with Honorius as his successor in the West, governing briefly from Mediolanum and then from Ravenna, and Arcadius as his successor in the East, governing from Constantinople.


title: Western Roman Empire

text: In 476, after the Battle of Ravenna, the Roman Army in the West suffered defeat at the hands of Odoacer and his Germanic "foederati". Odoacer forced the deposition of emperor Romulus Augustulus and became the first King of Italy. In 480, following the assassination of the previous Western emperor Julius Nepos, the Eastern emperor Zeno dissolved the Western court and proclaimed himself the sole emperor of the Roman Empire. The date of 476 was popularized by the 18th-century British historian Edward Gibbon as a demarcating event for the end of the Western Empire and is sometimes used to mark the transition from Antiquity to the Middle Ages. Odoacer's Italy, and other barbarian kingdoms, many of them representing former Western Roman allies that had been granted lands in return for military assistance, would maintain a pretense of Roman continuity through the continued use of the old Roman administrative systems and nominal subservience to the Eastern Roman court.


title: Western Roman Empire

text: In the 6th century, emperor Justinian I re-imposed direct Imperial rule on large parts of the former Western Roman Empire, including the prosperous regions of North Africa, the ancient Roman heartland of Italy and parts of Hispania. Political instability in the Eastern heartlands, combined with foreign invasions and religious differences, made efforts to retain control of these territories difficult and they were gradually lost for good. Though the Eastern Empire retained territories in the south of Italy until the eleventh century, the influence that the Empire had over Western Europe had diminished significantly. The papal coronation of the Frankish King Charlemagne as Roman Emperor in 800 marked a new imperial line that would evolve into the Holy Roman Empire, which presented a revival of the Imperial title in Western Europe but was in no meaningful sense an extension of Roman traditions or institutions. The Great Schism of 1054 between the churches of Rome and Constantinople further diminished any authority the emperor in Constantinople could hope to exert in the west.


title: Western Roman Empire

text: As the Roman Republic expanded, it reached a point where the central government in Rome could not effectively rule the distant provinces. Communications and transportation were especially problematic given the vast extent of the Empire. News of invasion, revolt, natural disasters, or epidemic outbreak was carried by ship or mounted postal service, often requiring much time to reach Rome and for Rome's orders to be returned and acted upon. Therefore, provincial governors had de facto autonomy in the name of the Roman Republic. Governors had several duties, including the command of armies, handling the taxes of the province and serving as the province's chief judges.