title: Pseudonym

text: Musicians and singers can use pseudonyms to allow artists to collaborate with artists on other labels while avoiding the need to gain permission from their own labels, such as the artist Jerry Samuels, who made songs under Napoleon XIV. Rock singer-guitarist George Harrison, for example, played guitar on Cream's song "Badge" using a pseudonym. In classical music, some record companies issued recordings under a "nom de disque" in the 1950s and 1960s to avoid paying royalties. A number of popular budget LPs of piano music were released under the pseudonym Paul Procopolis. Another example is that Paul McCartney used his fictional name "Bernerd Webb" for Peter and Gordon's song Woman.


title: Pseudonym

text: Pseudonyms are used as stage names in heavy metal bands, such as Tracii Guns in LA Guns, Axl Rose and Slash in Guns N' Roses, Mick Mars in Mötley Crüe, Dimebag Darrell in Pantera, or C.C. Deville in Poison. Some such names have additional meanings, like that of Brian Hugh Warner, more commonly known as Marilyn Manson: Marilyn coming from Marilyn Monroe and Manson from convicted serial killer Charles Manson. Jacoby Shaddix of Papa Roach went under the name "Coby Dick" during the "Infest" era. He changed back to his birth name when "lovehatetragedy" was released.


title: Pseudonym

text: David Johansen, front man for the hard rock band New York Dolls, recorded and performed pop and lounge music under the pseudonym Buster Poindexter in the late 1980s and early 1990s. The music video for Poindexter's debut single, Hot Hot Hot, opens with a monologue from Johansen where he notes his time with the New York Dolls and explains his desire to create more sophisticated music.


title: Pseudonym

text: Ross Bagdasarian, Sr., creator of Alvin and the Chipmunks, wrote original songs, arranged, and produced the records under his real name, but performed on them as David Seville. He also wrote songs as Skipper Adams. Danish pop pianist Bent Fabric, whose full name is Bent Fabricius-Bjerre, wrote his biggest instrumental hit "Alley Cat" as Frank Bjorn.


title: Pseudonym

text: For a time, the musician Prince used an unpronounceable "Love Symbol" as a pseudonym ("Prince" is his actual first name rather than a stage name). He wrote the song "Sugar Walls" for Sheena Easton as "Alexander Nevermind" and "Manic Monday" for The Bangles as "Christopher Tracy". (He also produced albums early in his career as "Jamie Starr").


title: Pseudonym

text: Many Italian-American singers have used stage names, as their birth names were difficult to pronounce or considered too ethnic for American tastes. Singers changing their names included Dean Martin (born Dino Paul Crocetti), Connie Francis (born Concetta Franconero), Frankie Valli (born Francesco Castelluccio), Tony Bennett (born Anthony Benedetto), and Lady Gaga (born Stefani Germanotta)


title: Pseudonym

text: In 2009, the British rock band Feeder briefly changed its name to Renegades so it could play a whole show featuring a set list in which 95 per cent of the songs played were from their forthcoming new album of the same name, with none of their singles included. Front man Grant Nicholas felt that if they played as Feeder, there would be uproar over him not playing any of the singles, so used the pseudonym as a hint. A series of small shows were played in 2010, at 250- to 1,000-capacity venues with the plan not to say who the band really are and just announce the shows as if they were a new band.


title: Pseudonym

text: In many cases, hip-hop and rap artists prefer to use pseudonyms that represents some variation of their name, personality, or interests. Examples include Iggy Azalea (her stage name is a combination of her dog's name, Iggy, and her home street in Mullumbimby, Azalea Street), Ol' Dirty Bastard (known under at least six aliases), Diddy (previously known at various times as Puffy, P. Diddy, and Puff Daddy), Ludacris, Flo Rida (whose stage name is a tribute to his home state, Florida), British-Jamaican hip-hop artist Stefflon Don (real name Stephanie Victoria Allen), LL Cool J, and Chingy. Black metal artists also adopt pseudonyms, usually symbolizing dark values, such as Nocturno Culto, Gaahl, Abbath, and Silenoz. In punk and hardcore punk, singers and band members often replace real names with tougher-sounding stage names such as Sid Vicious (real name John Simon Ritchie) of the late 1970s band Sex Pistols and "Rat" of the early 1980s band The Varukers and the 2000s re-formation of Discharge. The punk rock band The Ramones had every member take the last name of Ramone.


title: Pseudonym

text: Henry John Deutschendorf Jr., an American singer-songwriter, used the stage name John Denver. The Australian country musician born Robert Lane changed his name to Tex Morton. Reginald Kenneth Dwight legally changed his name in 1972 to Elton John.


title: Convair B-58 Hustler

text: The Convair B-58 Hustler, designed and produced by American aircraft manufacturer Convair, was the first operational bomber capable of Mach 2 flight.


title: Convair B-58 Hustler

text: The B-58 was developed during the 1950s for the United States Air Force (USAF) Strategic Air Command (SAC). To achieve the high speeds desired, Convair chose a delta wing design used by contemporary fighters such as the Convair F-102. The bomber was powered by four General Electric J79 engines in underwing pods. It had no bomb bay: it carried a single nuclear weapon plus fuel in a combination bomb/fuel pod underneath the fuselage. Later, four external hardpoints were added, enabling it to carry up to five weapons.


title: Convair B-58 Hustler

text: The B-58 entered service in March 1960, and flew for a decade with two SAC bomb wings: the 43rd Bombardment Wing and the 305th Bombardment Wing. It was considered difficult to fly, imposing a high workload upon its three-man crews. Designed to replace the subsonic Boeing B-47 Stratojet strategic bomber, the B-58 became notorious for its sonic boom heard on the ground by the public as it passed overhead in supersonic flight.


title: Convair B-58 Hustler

text: The B-58 was designed to fly at high altitudes and supersonic speeds to avoid Soviet interceptors, but with the Soviet introduction of high-altitude surface-to-air missiles, the B-58 was forced to adopt a low-level-penetration role that severely limited its range and strategic value. It was never used to deliver conventional bombs. The B-58 was substantially more expensive to operate than other bombers, such as the Boeing B-52 Stratofortress, and required more frequent aerial refueling. The B-58 also suffered from a high rate of accidental losses. These factors resulted in a relatively brief operational career of ten years. The B-58 was succeeded in its role by the smaller, swing-wing FB-111A.


title: Convair B-58 Hustler

text: The genesis of the B-58 was the "Generalized Bomber Study" (GEBO II) issued in February 1949 by the Air Research and Development Command (ARDC) at Wright-Patterson AFB, Ohio, for the development of a supersonic, long-range, manned bomber aircraft. ARDC sought the best attainable quantitative data, challenging the industry to devise their own solutions to attain the stated goal. Work on the proposed bomber's design was to begin less than two years after sustained supersonic flight had been achieved. According to aviation authors Bill Gunston and Peter Gilchrist, while some military officials were keenly interested in the prospective use of supersonic bombers, others held doubts about the propulsion systems and materials science required for supersonic operations, as well as the much higher fuel consumption relative to subsonic counterparts.


title: Convair B-58 Hustler

text: Despite the skepticism, multiple contractors submitted bids for GEBO II, which was viewed as an influential step towards a development contract. These included Boeing, Convair, Curtiss, Douglas, Martin and North American Aviation. The majority of submissions were relatively straightforward, unambitious, and expensive. Convair, which had built the XF-92A and other delta-wing fighters, evaluated swept and semi-delta configurations, then settled on the delta wing, which offered good internal volume for support systems and fuel. It also provided low wing loading for the airframe size, permitting supersonic flight in the mid-stratosphere at . Most of the configurations studied mated the delta wing to a relatively slender fuselage housing a crew of two and powered by a pair of jet engines.


title: Convair B-58 Hustler

text: The Convair proposal, coded "FZP-110", was a radical two-place delta wing bomber powered by three General Electric J53 turbojet engines. The performance estimates included a speed and a range. A key feature of the design was to store consumables, both weaponry and most of the fuel, within a large external pod, which enabled a smaller fuselage. In January 1951, Convair submitted the FZP-110 proposal, which was received later than other competing bids. During December 1951, a revised "FZP-016" proposal was submitted, which deleted the third engine on the tail, increased the remaining two engines' thrust, and added a third crew member to operate defensive systems.


title: Convair B-58 Hustler

text: The Air Force chose Boeing's "MX-1712" and Convair "MX-1626" design studies to proceed to a Phase 1 study. During this period Convair took advantage of recent developments by General Electric and replaced the two large J53 engines with four smaller J79s optimized for supersonic flight. The recently formulated area rule was also applied to the design, resulting in aerodynamic re-profiling and an even more slender fuselage. Having been refined, Convair redesignated their renewed submission "MX-1964".


title: Convair B-58 Hustler

text: In August 1952, Convair's design was judged superior. According to Gunston and Gilchrist, Boeing's submission was viewed as equally good, but their separate contract to produce the Boeing B-52 Stratofortress had undoubtedly influenced this competition. In December 1952, Convair was chosen to meet the new SAB-51 (Supersonic Aircraft Bomber) and SAR-51 (Supersonic Aircraft Reconnaissance) standards, the first General Operational Requirements (GOR) for supersonic bombers. In February 1953, the Air Force issued a contract for Convair's design, designated "B-58" on 10 December 1952.


title: Convair B-58 Hustler

text: The B-58 program, unlike those for preceding military aircraft, is now recognised as the first weapon system contract. Under this arrangement, Convair acted as the prime contractor responsible for all program elements, not just the aircraft. Convair was required to devise or subcontract everything associated with the aircraft's operation, from the engines to training manuals, spare components, and software, in excess of one million items. Early on, the contract was modified to build a pair of "XB-58" prototypes, 11 "YB-58A" pre-production aircraft, and 31 mission pods including a free-fall bomb pod, a rocket-propelled controllable bomb pod, a reconnaissance pod, and an electronic reconnaissance pod.


title: Convair B-58 Hustler

text: The first prototype, serial number 55-660, was rolled out on 31 August 1956. The program was performed under high security: prior to the roll out, no unauthorized individual had knowledge of its shape or basic configuration. On 11 November 1956, the maiden flight occurred. The prototype exceeded Mach 1 for the first time on 30 December of that year. The difficult and protracted flight test program involving 30 aircraft continued until April 1959. A total of 116 B-58s were produced: 30 trial aircraft and 86 production "B-58A" models. Most of the trial aircraft were later upgraded to operational standards. Eight were equipped as "TB-58A" training aircraft.


title: Convair B-58 Hustler

text: Convair sought further development of the B-58, proposing variants and derivatives for both military and civil applications. Most would never go beyond the drawing board, having been ordered prior to the decision to terminate multiple contracts. The "B-58B", "B-58C", "B-58D", and "B-58E" variants were all terminated prior to completion of any production aircraft. During the late 1960s, some refinements to the existing fleet were developed and introduced, such as slender bomb racks (known as "Multiple Weapons Capability") and additional pods. The final B-58 was delivered in October 1962.


title: Convair B-58 Hustler

text: The Convair B-58 Hustler was a high speed strategic bomber, capable of attaining routinely Mach 2 at altitude. It incorporated a large delta wing with a leading-edge sweep of 60° and was powered by an arrangement of four General Electric J79-GE-1 turbojet engines. Although its sizable wing generated relatively low wing loading, it proved to be surprisingly well suited for low-altitude, high-speed flight. To protect against the heat generated while cruising at Mach 2, the crew compartment, the wheel wells, and electronics bay were pressurized and air conditioned. The B-58 was one of the first extensive applications of aluminum honeycomb panels, which bonded outer and inner aluminum skins to a honeycomb of aluminum or fiberglass.


title: Convair B-58 Hustler

text: Various features of the B-58 were considered to be record-breaking, according to Gunston and Gilchrist. The structure itself made up 13.8 per cent of the aircraft's gross weight, an exceptionally low figure for the era, while the wing was considered to be extremely thin as well. Several key features of the engine, including the nacelle and the inlet, were unlike any existing aircraft, having been devised from guidance by aerodynamicists. Specifically, the inlets used moving conical spikes, being fully aft on the ground and at low speeds to maximise air intake, then driven forward while being flown at high speeds to minimise the annular gap. This movement was automatically controlled, but significant noise and asymmetric thrust would be generated in the event of a single inlet malfunctioning.


title: Convair B-58 Hustler

text: The B-58 was operated by a crew of three: pilot (the aircraft commander or "AC"), radar navigator/bombardier (the navigator or "Nav"), and defense systems operator (DSO). They were seated in separated tandem cockpits. The pilot's cockpit, which was provided with very deep windows, was considered to be mostly conventional for a large multi-engine aircraft. The defensive systems operator was provisioned with a complex arrangement of different systems, which Gunston and Gilchrist describe as being the most complicated of any aircraft of the era. The space allocated to the crew, despite being roughly half of the fuselage's internal volume, was typically considered to be cramped and claustrophobic.


title: Convair B-58 Hustler

text: Later versions of the B-58 provided each crew member with a novel ejection capsule that could eject at an altitude of at speeds up to Mach 2. Unlike standard ejection seats of the period, a protective clamshell would enclose the seat and the control stick with an attached oxygen cylinder, allowing the pilot to continue to fly even "turtled up" and ready for immediate egress. The capsule was buoyant; the crewmember could open the clamshell and use it as a life raft. Unusually, the ejection system was tested with live bears and chimpanzees; it was qualified for use during 1963 and a bear became the first living being to survive a supersonic ejection.


title: Convair B-58 Hustler

text: The electronic controls were ambitious and advanced for the day. The navigator and DSO's cockpits featured wraparound dashboards with warning lights and buttons, and automatic voice messages and warnings from a tape system were audible through the helmet sets. Research during the era of all-male combat aircraft assignments revealed that a woman's voice was more likely to gain the attention of young men in distracting situations. Nortronics Division of Northrop Corporation selected actress and singer Joan Elms to record the automated voice warnings. To those flying the B-58, the voice was known as "Sexy Sally". The original voice recordings are archived.


title: Convair B-58 Hustler

text: While the B-58's performance and design were exceptional for the era, it was not an easy aircraft to fly. This was caused by the 60° leading edge sweepback of its wing and was inherent in these types of delta wing platforms. It required a much higher angle of attack than a conventional aircraft, up to 9.4° at Mach 0.5 at low altitudes. If the angle of attack was too high, in excess of 17°, the bomber could pitch up and enter a spin. Several factors could prevent a successful recovery: if the pilot applied elevon, if the center of gravity was not correctly positioned, or if the spin occurred below , recovery might not be possible. The B-58 also possessed unconventional stall characteristics; if the nose was elevated, the bomber maintained forward motion without pitching down. Unless large amounts of power were applied, the descent rate increased rapidly. Another problem pilots faced was called "fuel stacking", taking place whenever the B-58 accelerated or decelerated. It was caused by fuel movement within the tanks, which led to sudden changes in the aircraft's center of gravity. This could cause the B-58 to abruptly pitch or bank, potentially resulting in a loss of control.


title: Convair B-58 Hustler

text: The aircraft had unusual takeoff requirements, with a 14° angle of attack needed for the rotation at about for a combat weight. This poor takeoff performance was evident with the high landing speed, necessitating a drogue parachute for braking, which was also required for B-47 and B-52 aircraft. To accommodate the high landing speed, the specially configured landing gear had to handle excessive conditions; both the inflation pressure and wheel rpm were far greater than prior units in order to cope.


title: Convair B-58 Hustler

text: The Sperry AN/ASQ-42 bombing/navigation system combined a sophisticated inertial navigation system with the KS-39 star tracker (astro-inertial navigation system) to provide a heading reference, the AN/APN-113 Doppler radar to provide ground speed and windspeed data, a search radar to provide range data for bomb release and trajectory, and a radar altimeter. The AN/ASQ-42 was estimated to be 10 times more accurate than any previous bombing/navigation system.


title: Convair B-58 Hustler

text: Defensive armament consisted of a single 20 mm (0.79 in) T-171E-3 rotary cannon with 1,200 rounds of ammunition in a radar-aimed tail barbette. It was remotely controlled through the Emerson MD-7 automated radar fire-control system, only requiring the DSO to lock-on a selected target blip on his scope and then fire the gun. The system computed aiming, velocity or heading differential, and range compensation. Offensive armament typically consisted of a single nuclear weapon, along with fuel tanks, in a streamlined MB-1C pod under the fuselage. Incurable difficulties with fuel leakage resulted in the replacement of the MB-1C with the TCP (Two Component Pod), which placed the nuclear weapon in an upper section while the lower fuel component could be independently jettisoned. This had the added benefit of allowing the pilot to "clean up" the aircraft for fuel efficiency or in case of emergency, while still retaining the (somewhat) slimmer weapon.


title: Convair B-58 Hustler

text: From 1961 to 1963, the B-58 was retrofitted with two tandem stub pylons under each wing root, adjacent to the centreline pod, for B43 or B61 nuclear weapons. This allowed for a total of five nuclear weapons per aircraft. Although the USAF looked at using the B-58 for conventional strikes, it was never equipped for carrying or dropping conventional bombs. A photo reconnaissance pod, the LA-331, was also fielded. Several other specialized pods for ECM or an early cruise missile were considered but not adopted. The late-1950s High Virgo air-launched ballistic missile was designed to be launched from the B-58; a Hustler carried out four test launches to determine ballistic missile and anti-satellite weapon system capability.


title: Convair B-58 Hustler

text: On 1 August 1960, the B-58 was declared operational, nine months after the delivery of the first aircraft to the Air Force. One month later, a single B-58 participated in the annual SAC Combat Competition at Bergstrom; it proved itself to be superior to competing Boeing B-47 Stratojets and Boeing B-52 Stratofortresses, securing first place in both high-level and low-level radar bombing exercises.


title: Convair B-58 Hustler

text: Crews were typically chosen from other strategic bomber squadrons. Due to some characteristics of delta-winged aircraft, new pilots used the Convair F-102 Delta Dagger as a conversion trainer before moving to the TB-58A trainer. The B-58 was found to be difficult to fly, and its three-man crews were constantly busy, but its performance was exceptional. A lightly loaded Hustler would climb at nearly 46,000 ft/min (235 m/s). In addition to its much smaller weapons load and more limited range than the B-52, the B-58 had been extremely expensive to acquire.


title: Convair B-58 Hustler

text: Through FY 1961, the total cost of the B-58 program was $3 billion ($ billion in dollars). A highly complex aircraft, it also required considerable maintenance, much of which required specialized equipment and ground personnel. For comparison, the average maintenance cost per flying hour for the B-47 was $361, for the B-52 it was $1,025, and for the B-58 it was $1,440. The B-58 cost three times as much to operate as the B-52. The cost of maintaining and operating the two operational B-58 wings (39 aircraft per wing) equaled that of six wings of B-52s (only 15 aircraft per wing). Because of the support costs of six wings vs only two wings, the actual cost per aircraft of the B-52s were $1.42 million per year vs $1.21 million per year for the B-58 (this figure included special detailed maintenance for the nose landing gear, which retracted in a complex fashion to avoid the center payload).


title: Convair B-58 Hustler

text: Compounding these exorbitant costs, the B-58 had a high accident rate: 26 B-58 aircraft were lost in accidents, or 22.4% of total production; more than half of the losses occurred during flight tests. The SAC senior leadership had been doubtful about the aircraft type from the beginning, although its crews eventually became enthusiastic about the aircraft. General Curtis LeMay was never satisfied with the bomber, and after a flight in one declared that it was too small, far too expensive to maintain in combat readiness and required an excessive number of aerial refuelings to complete a mission. Although the high altitude ferry range of the B-58 was better than that of the B-47s, the lack of forward basing resulted in a requirement for more KC-135 tanker support.


title: Convair B-58 Hustler

text: Two SAC bomb wings operated the B-58 during its operational service: the 43rd Bombardment Wing (which later transitioned to the 43rd Airlift Wing), based at Carswell AFB, Texas from 1960 to 1964, and Little Rock AFB, Arkansas from 1964 to 1970; and the 305th Bombardment Wing, based at Bunker Hill AFB (later Grissom AFB), Indiana from 1961 to 1970. The 305th also operated the B-58 combat crew training school (CCTS), the predecessor of the USAF's current formal training units (FTUs).


title: Convair B-58 Hustler

text: By the time the early problems had largely been resolved and SAC interest in the bomber had solidified, Secretary of Defense Robert McNamara decided that the B-58 was not a viable weapon system. It was during the B-58's introduction that high-altitude Soviet surface-to-air missiles (SAM) became a threat, especially the SA-2 Guideline, a SAM system the Soviet Union extensively deployed. The "solution" to this problem was to fly at low altitudes, minimizing the radar line-of-sight and reducing exposure time.


title: Convair B-58 Hustler

text: Because of dense air at low altitudes, the B-58 could not fly at supersonic speeds and its moderate range was reduced further, negating the costly high-speed performance of the aircraft. Despite shortcomings, the type had its advocates within the service; according to Gunston and Gilchrist, when Secretary McNamara had requested proposals for a new manned Mach 2 bomber, General Thomas S. Power responded with a request for the B-58 to be put back into production. In late 1965, McNamara ordered retirement of the B-58 by 1970; the principal reason given for this directive was the high sustainment cost for the fleet. On 29 October 1969, the Department of Defense announced that the type would be withdrawn from service on 31 January 1970.


title: Convair B-58 Hustler

text: Despite efforts of some officials within the Air Force to secure a reprieve, the phaseout proceeded on schedule. The last B-58s were retired in January 1970, after which they were placed into storage with the Military Aircraft Storage and Disposition Center (MASDC) at Davis-Monthan Air Force Base. The fleet survived intact until 1977, at which point nearly all remaining aircraft were sold to Southwestern Alloys for disposal. As a weapons system, the B-58 was replaced by the FB-111A. This aircraft was designed for low-altitude attack, to be more flexible with the carriage of conventional weapons, and less expensive to produce and maintain.


title: Convair B-58 Hustler

text: Since B-58 pilots were the only USAF pilots experienced in long-duration supersonic flight, several former Hustler crew members were selected by Colonel Douglas Nelson to fly the Lockheed SR-71 Blackbird at the start of that program.


title: Convair B-58 Hustler

text: A number of B-58s were used for special trials. One was specially modified to test the Hughes radar system intended for the Lockheed YF-12 interceptor and the North American F-108 Rapier, which had an extended nose to accommodate the radar and was nicknamed "Snoopy" (see Aircraft on Display). Several improved (and usually enlarged) variants, named "B-58B" and "B-58C" by the manufacturer, were proposed but never built.


title: Convair B-58 Hustler

text: The B-58 set 19 speed records, including Cross US, and the longest supersonic flight in history. In 1963, it flew from Tokyo to London (via Alaska), a distance of , with 5 aerial refuelings in 8 hours, 35 minutes, 20.4 seconds, averaging . , this record still stands. The aircraft was serving in an operational unit, and had not been modified in any way besides being washed and waxed. One of the goals of the flight was to push the limit of its new honeycomb construction technique. The speed of the flight was limited only by the speed at which they believed the honeycomb panels would delaminate, although one of the afterburners malfunctioned and the last hour of the flight was continued at subsonic speed. This reduced the average speed to roughly Mach 1.5, despite most of the flight being at Mach 2. This B-58 was called "Greased Lightning", which was the codename for the record attempt.


title: Convair B-58 Hustler

text: Some of the record winning aerospace trophies the B-58 won were the Bleriot trophy, the Thompson trophy, the Mackay trophy, the Bendix trophy and the Harmon trophy.


title: Convair B-58 Hustler

text: Singer John Denver's father, Lieutenant Colonel Henry J. Deutschendorf Sr., USAF, held several speed records as a B-58 pilot.


title: Convair B-58 Hustler

text: On October 27, 1959, a Convair B-58 Hustler jet bomber was being flown from Carswell Air Force Base near Fort Worth, Texas, to Eglin Air Force Base in Florida. Three civilian crew members were aboard: the pilot, Everette Wheeler, and two flight engineers, Michael Keller and Harry Blosser. At about 7:30 p.m., the plane was flying at about 25,000 feet when it developed a problem, and all three crew members ejected from the plane. Keller and Wheeler both landed safely, though Wheeler suffered a broken arm, but Blosser didn't survive. His body was found early the next morning in a field, still strapped into his ejection seat and the parachute open. The plane crashed on a field in Lake Shady (today Lake Serene) about 2 miles south of U.S. Route 98, leaving a crater 30 feet deep and 75 feet wide. After the crash, between 30 and 40 Air Force personnel were sent to investigate. They set up a temporary headquarters in the Oak Grove School auditorium. Anyone who found wreckage was asked to turn it in.


title: Convair B-58 Hustler

text: On June 3, 1961 B-58A "59-2451" "Firefly" crashed during the Paris Air Show, killing all three on board. The aircraft had earlier made the first supersonic transatlantic crossing between New York and Paris in less than 3 hours 20 minutes.


title: Convair B-58 Hustler

text: In September 1961, a B-58 on training flight from Carswell Air Force Base suffered a fire and failure of the left main gear. A chase aircraft was sent to examine the aircraft in flight. Through the night, eight sessions of aerial refuelings were conducted, using an improved technique and, once daylight broke, a successful emergency landing was made at Edwards Air Force Base. The Air Force made a training film about the incident, including film of the landing.


title: Convair B-58 Hustler

text: On December 8, 1964, a B-58 carrying nuclear weapons slid off an icy runway on Bunker Hill Air Force Base in Bunker Hill, Indiana and caught fire during a training drill. The five nuclear weapons on board were burned, including one 9-megaton thermonuclear weapon, causing radioactive contamination of the crash area.


title: Convair B-58 Hustler

text: On June 15, 1965, at the Paris Air Show, Lieutenant Colonel Charles D. Tubbs was killed and two other crewmen injured when their B-58 crashed. The aircraft landed short of the runway, struck the instrument approach beacons, and burst into flames.


title: Convair B-58 Hustler

text: Jimmy Stewart, a bomber pilot during World War II and a brigadier general in the Air Force Reserve, appeared in the Air Force documentary film "B-58 Champion of Champions". In the film, Stewart flew in the back seat of the B-58 on a typical low-altitude attack.


title: Convair B-58 Hustler

text: In the film "Fail Safe", the attack on Moscow is made by a squadron of "Vindicator" bombers, fictitious aircraft. While exterior shots of the plane relied on footage of B-58s, interior shots depicted a three-man crew, similar to that of a conventional airliner, and distinct from the tandem seating on a real B-58. The fictional Vindicator bomber was again represented by the B-58 in "Fail Safe", a 2000 made-for-TV remake starring George Clooney.


title: Tony Jaa

text: Tatchakorn Yeerum (, , ; formerly Phanom Yeerum (, ); born 5 February 1976), better known internationally as Tony Jaa and in Thailand as Jaa Phanom (, , ), is a Thai martial artist, actor, action choreographer, stuntman, director, and traceur. His films include "" (2003), "Tom-Yum-Goong" (2005), "Ong Bak 2: The Beginning" (2008), "Furious 7" (2015) and "" (2015).


title: Tony Jaa

text: Tony Jaa was born and raised in a rural area in Surin Province to Rin Saipetch and Thongdee Yeerum. He is of Kuy descent, a Mon–Khmer ethnic group that inhabits Thailand, Cambodia and Laos. The Kuy practice traditions that are more similar to the traditions of Cambodia than that of traditions observed by the Lao or the Thai. The Kuy are known for being skilled trainers of elephants. Tony Jaa speaks Kuy, Thai and Northern Khmer.


title: Tony Jaa

text: In his youth, Jaa watched films by Bruce Lee, Jackie Chan and Jet Li at temple fairs, which inspired him to learn martial arts. He practiced the techniques in his father's rice paddy.


title: Tony Jaa

text: "What they [Lee, Chan, and Li] did was so beautiful, so heroic that I wanted to do it too," Jaa told "Time" in a 2004 interview. "I practiced until I could do the move exactly as I had seen the masters do it."


title: Tony Jaa

text: Jaa began training in Muay Thai at his local temple at age 10. By 15, he was a protégé of stuntman and action film director Panna Rittikrai. Panna had instructed Jaa to attend Maha Sarakham College of Physical Education in Maha Sarakham Province from which he graduated with a bachelor's degree.


title: Tony Jaa

text: Jaa initially worked as a stuntman for Muay Thai Stunt for 14 years, appearing in many of Rittikrai's films. He doubled for Sammo Hung when the martial-arts movie actor made a commercial for an energy drink that required him to grasp an elephant's tusks and somersault onto the elephant's back. He was also a stunt double in the Thai television series "Insee Daeng" ("Red Eagle").


title: Tony Jaa

text: Together, Panna and Jaa developed an interest in Muay Boran, the predecessor of muay thai and worked and trained for four years at the art with the intention of developing a film about it. Eventually they were able to put together a short film showing what Jaa could do with the help of instructor Grandmaster Mark Harris. One of the people they showed it to was producer-director Prachya Pinkaew.


title: Tony Jaa

text: This led to "" in 2003, Jaa's break-out role as a leading man. Jaa did all the stunts without mechanical assistance or computer-generated effects and it showcased his style of extreme acrobatics and speedy, dance-like moves. Injuries suffered in the filming included a ligament injury and a sprained ankle. One scene in the film involved fighting with another actor while his own trousers were on fire. "I actually got burned," he said in a 2005 interview. "I really had to concentrate because once my pants were on fire the flames spread upwards very fast and burnt my eyebrows, my eyelashes and my nose. Then we had to do a couple more takes to get it right."


title: Tony Jaa

text: His second major movie was "Tom-Yum-Goong" ("The Protector" in the US), named after Tom yum soup, which included a style of Muay Thai that imitates elephants.


title: Tony Jaa

text: In August 2006, he was in New York to promote the US release of "The Protector", including an appearance at the Museum of the Moving Image.


title: Tony Jaa

text: Sahamongkol Film International advertised that Tony Jaa's third film would be called "Sword" or "Daab Atamas", about the art of Thai two-sword fighting ("daab song mue"), with a script by Prapas Chonsalanont. But due to a falling out between Prachya and Jaa, which neither have publicly commented on, "Sword" was cancelled.


title: Tony Jaa

text: In March 2006, it was reported that there would be a sequel to "", "Ong-Bak 2". With Jaa both directing and starring, it started pre-production in fall 2006 and was released in December 2008.


title: Tony Jaa

text: Jaa's films captured the attention of his hero, Jackie Chan, who asked director Brett Ratner to cast Jaa in "Rush Hour 3". "I gave the director videos of Tony Jaa because I think Tony Jaa is the most well-rounded of all action stars," Chan told the Associated Press. "The director liked him a lot," Chan said. However, Jaa said he'd be unable to participate because of scheduling conflicts with the shooting of "Ong Bak 2".


title: Tony Jaa

text: While Jaa and Amogelang were working on "Ong-Bak 2", director Prachya Pinkaew and action ya choreographer Panna Rittikrai were working on "Chocolate", starring a female martial artist, Nicharee Vismistananda and released 6 February 2008. Jaa had been cast in a small role in a third installment of the "King Naresuan" film series directed by Chatrichalerm Yukol, although the film was ultimately cancelled. "Ong Bak 3" was released in 2010 and provides a conclusion to this Thai trilogy.


title: Tony Jaa

text: After leaving the monastery, Jaa accepted a deal with Sahamongkol film company. He filmed "Tom Yum Goong 2" for them, with "Chocolate" star Jija Yanin in a major role too, the first time Jaa has shared the big screen with another international martial arts star. Director Prachya Pinkaew and choreographer Panna Rittikrai also returned for this film.


title: Tony Jaa

text: In 2013, Jaa teamed up with Dolph Lundgren in the Thai western-comedy "A Man Will Rise" (which remains unfinished) and in 2014 in Lundgren's pet project "Skin Trade". Jaa then co-starred in the blockbuster action film "Furious 7", produced by and starring Vin Diesel and directed by James Wan. Jaa also teamed up with fellow actors Louis Koo and Wu Jing in Hong Kong-Chinese action film "SPL II".


title: Tony Jaa

text: Jaa was briefly attached to the remake of "". However, in November 2014, it was announced that he had exited the project. Jaa's most recent project was co-starring with Vin Diesel again in "", directed by D.J. Caruso and released in January 2017.


title: Tony Jaa

text: Jaa married his longtime girlfriend Piyarat Chotiwattananont on 3 May 2012. The couple have two daughters.


title: The Midnight Gospel

text: The Midnight Gospel is an American adult animated streaming television series created by "Adventure Time" creator Pendleton Ward and comedian Duncan Trussell. Released on Netflix on April 20, 2020, it is the first animated production from Ward for Netflix. It sets actual podcast interviews between Trussell and various guests into fantastic adventures, typically telling a story alongside the real podcast audio through the environment and extra voice work by Trussell and the guests of the original podcast.


title: The Midnight Gospel

text: Set in a dimension known as the Chromatic Ribbon, a spacecaster named Clancy Gilroy owns an unlicensed multiverse simulator. Through it, he travels through bizarre worlds on the brink of disaster, interviewing some of their residents for his spacecast. The interviews are derived from earlier episodes of Trussell's podcast "The Duncan Trussell Family Hour". Special guests include Phil Hendrie, Stephen Root, Drew Pinsky, Damien Echols, Trudy Goodman, Jason Louv, Caitlin Doughty, Michael Marcanio, Maria Bamford, Joey Diaz, David Nichtern, and Deneen Fendig.


title: The Midnight Gospel

text: "The Midnight Gospel" revolves around a spacecaster named Clancy Gilroy, who lives on the Chromatic Ribbon, a membranous, tape-like planet situated in the middle of a colorful void where simulation farmers use powerful bio-organic computers to simulate a variety of universes from which they harvest natural resources and new technology. Each episode revolves around Clancy's travels through planets within the simulator, with the beings inhabiting these worlds as the guests he interviews for his spacecast. These interviews are based on actual interviews, with real audio derived from Trussell's podcast, "The Duncan Trussell Family Hour." The episodes typically end with an apocalyptic event from which Clancy barely manages to escape.


title: The Midnight Gospel

text: All episodes were directed by Pendleton Ward, and written by Mike L. Mayfield, Duncan Trussell and Pendleton Ward, with Brendon Walsh co-writing "Officers and Wolves" and Meredith Kecskemety co-writing "Blinded by My End".


title: The Midnight Gospel

text: While working on "Adventure Time", Pendleton Ward heard about Duncan Trussell's podcast "The Duncan Trussell Family Hour" from a friend with whom he worked on the show. Ward became interested in the podcast because of his taste for listening to people talking about philosophy. According to Ward, "Duncan is a lot of fun." Around 2013, during the start of his podcast broadcast, Trussell received an email from Ward praising him for his podcast. About a year later, Ward stepped down as showrunner for "Adventure Time". Despite saying in an interview that he would not work on another series, Ward was taking the first steps in a new series anchored in the adaptation of Trussell's podcast. Sometime later Trussell and Ward became friends and Ward suggested to Trussell to turn his podcast into an animated series. According to Ward, Trussell had the ability to make 2 hours of a meditation conversation funny. Trussell says: "He reached out to me and said he had an idea for how to animate my podcast, which was another big thrill for me." In the first meeting with Ward, Trussell declined to join to a new project claiming he was too busy to turn his podcast into an animated show. In 2018, Ward approached him again to show a rough concept; taking a podcast conversation about drug addiction and playing it over an animatic of Trussell and his guest fighting off a zombie invasion.


title: The Midnight Gospel

text: Later, this rough concept ended up being incorporated into the pilot of the series. The two took the concept of the series in pitching form to Mike Moon, head of adult animations at Netflix. In 2019, Netflix ordered eight episodes, which premiered on April 20, 2020. After gaining the green light, the two gathered a team of comedians like Johnny Pemberton, Brendon Walsh, "Weird Al" Yankovic and Emo Philips who were joined by occult scholar Jason Louv and white witch Maja D’Aoust. The two assembled a team of approximately 190 people at Titmouse and started working on creating the episodes. Mike Mayfield joined the project as a supervising director and writer for all the episodes. The team behind the show is composed of Jesse Moynihan (art director), Antonio Canobbio (Chief Creative Officer for Titmouse), Mike Roush (animation director) and Joey Adams (storyboard supervisor). Mayfield said that the time needed to "try something nine different ways before one little change would make it go from clunky to incredible."


title: The Midnight Gospel

text: During the beginning of production, they needed to know how much of the episodes would be story, how much would be a podcast conversation, and they needed to choose which parts of the podcast to use in the show. According to Trussell, the parts of the podcast chosen for the series are about highlighting revelatory moments from his career. Trussell said: "When I’m doing a podcast, there are moments where my whole universe changes because someone told me something that I never knew. Once you hear that, you’re forever changed; you live in a completely different dimension than you lived in before." When Ward and Trussell started working on the scripts, Ward said it would be like taking an Indiana Jones movie and replacing the dialogue with podcast conversations. The main idea was to turn it into an entertaining animated show. They began to develop it out to following a concept. According to Trussell that concept was "During the apocalypse, people aren’t just going to talk about the apocalypse, being in apocalyptic movies the situation revolves all around the survival.’ Sort of the genesis of the show is what would happen if we took these podcast conversations and made them the dialogue that was happening during the various forms of the apocalypse."


title: The Midnight Gospel

text: The concept was expanded as the writer’s room began exploring various potential apocalypses and finding a way to ensure that the podcast material was able to match up the storylines they built around the episode. This was the main challenge of writing the episodes, besides choosing the best interviews, was making them coherent for animation. Trussell described as a "laborious process" while also realizing it helped evolve into a series with a story arc. They also worked to find a way to embed them in the psychedelic apocalyptic tapestry of the animation. They thought episodes should have a balance so the animation does not take people out of the interview. With an excessive focus on animation, people would not pay attention to everything equally. The team worked to let the conversations react with the world. According to Trussell, the influence for The Midnight Gospel come from Adult Swim's lo-fi aesthetic in general and shows like "Space Ghost Coast to Coast" and "Aqua Teen Hunger Force". Other references included the animated films "Watership Down" and "The Last Unicorn", the animated television series "Æon Flux" and "Liquid Television", and the mystery horror drama television series "Twin Peaks".


title: The Midnight Gospel

text: For Ward, it was Trussell's long-form audio chats that inspired him to return to TV animation and the new series was a chance to explore making animation for adults. Until then he had made animations primarily for children and "The Midnight Gospel" would be a chance to change his way of making animations using the ultra-violence of cartoons with conversations on compassion. Ward also allowed Trussell to include his own original music in several episodes. Joe Wong, the composer from the show, included his own song "Dreams Wash Away" from his debut album "Nite Creatures" in first-season finale. The show's title came from the good news sense of the word gospel. Trussell says, "'Gospel' means good news, and I was hoping that we convey the message that even through the most catastrophic situations, when everything is falling part, there is opportunity to grow as a person."


title: The Midnight Gospel

text: Throughout the episodes, the series deals with different themes which were explored in the interviews. During the first season, the guests interviewed covered topics such as magic, meditation, forgiveness, spiritualism, funerary rituals, death positivity, drug use, pain, moksha (transcendence) and existentialism. The animation also acts as a background for stories that expand the interviews. The storylines are therefore, similarly wide-ranging. The second episode opens with deer-dog hybrids mangling baby clowns; compared to the fourth, which follows the journey of a knight seeking vengeance against an ass-wielding villain. These eclectic themes are selected in such a way as to complement the dialogue of the interview they accompany. For example, during the episode with interviewee Anne Lamott, she comments on her lack of fear of death, as her character is wheeled to an industrial meat grinder run by a shudder of clowns. These animated backstories are designed to pull the viewer into the conversation, making them an important part of the exploration of said subject.


title: The Midnight Gospel

text: One constant in several episodes is the life cycle. The series reinforces how this cycle is a continuous, neverending process and one cannot escape it. In the last episode of the first season, there is a deeper discussion about the miracle of life, the suffering that existence brings to human life, and the detestable pain that death brings with it. The main theme of this episode entitled "Mouse of Silver" is to deal with the loss of a loved one. Despite being the main theme in this episode, the theme reappears in several others at different levels. For Trussell, the last episode becomes even more personal due to the discourse brought by the deep sorrow he felt after he lost his mother to cancer.


title: The Midnight Gospel

text: The first teaser was released on March 16, and the main trailer on April 6. As part of promoting the show, Netflix's YouTube channel launched a livestream on April 19, 2020 with a countdown to the series' debut on the streaming service. Throughout the livestream, small portions of the episodes were shown as well as a psychedelic animation. The user's manual for the Multiverse Simulator used by Clancy was made available online by Netflix through the show's "Reddit" account as part of its promotional campaign.


title: The Midnight Gospel

text: The eight-episode first season, ordered by Netflix, was released on April 20, 2020. According to Trussell, Netflix executives first suggested launching the series on April 20, Trussell's birthday and the date of annual cannabis-oriented celebrations.


title: The Midnight Gospel

text: Reception of the series has been largely positive, with several critics pointing to the last episode of the season called "Mouse of Silver" as the most touching and exciting of the season. The series has received praise for its visuals, animation and the way it deals with deep and philosophical subjects. On review aggregation website Rotten Tomatoes, the first season has an approval rating of 91% based on 34 reviews, with an average rating of 7.68/10. The site's consensus reads ""The Midnight Gospel"s strange brew won't be for all tastes, but those willing to drink deep will find a wealth of vibrant visuals and illuminating insights." On Metacritic, the first season has a score of 82 out of 100, based on reviews from eight critics, indicating "universal acclaim".


title: The Midnight Gospel

text: In a positive review, Robert Lloyd from "Los Angeles Times" said the visual style is reminiscent of "Adventure Time" though it also has its own style, while presenting conversations about real issues. Lloyd said "Like "Adventure Time", but more explicitly, it takes an interest in matters of birth, death, rebirth, transfiguration. Death especially, though this provides for some of the series' most peaceful sequences." Stuart Jeffries from "The Guardian" called "The Midnight Gospel" a trippy Mr Benn for adults and said that the show was engagingly bonkers in a quest for philosophical truth on a psychedelic journey through space. He points out how the last episode "Mouse of Silver" is the most touching and engaging episode of the season. IndieWire critic Eric Kohn gives a grade A to the first season, calling the show a deep cosmic journey. He acclaims a rich, energizing quality to these discussions as they grow more heated. "Even as the show builds to an enticing cliffhanger, it seems to suggest that living in the moment matters more than whatever happens next." In a positive critique, Joshua Robinson from Thrillist said "There's adult animation, and there's "The Midnight Gospel"." In a mixed review, Jesse Schedeen from IGN said "It pairs a laid-back, talk-heavy approach with lavish, surrealist animation. But much like the podcast episodes it frames itself around, there's not much in the way of an ongoing narrative to reward viewers or justify a binge session." In a less enthusiastic review for Collider, Dave Trumbore said "It's like watching a psychotic lava lamp while listening to your college roommate wax on and on after a week of Philosophy 101 and a few rounds of stacking bong hits."


title: The Midnight Gospel

text: Some critics have said there are both similarities and differences between "The Midnight Gospel" and "Rick and Morty" for the style of animation and the way they deal with deep themes. David Opie from "Digital Spy" said "The Midnight Gospel" is an antithesis to "Rick and Morty". He said that both shows change their viewers' worldview, and ""Rick and Morty" might embrace nihilism more than most, thriving in the chaos of Rick's anarchic worldview, but the world ends over and over again for real in "The Midnight Gospel", providing a cosmic counterpoint to the introspective teachings of the 'space-cast'." He also said the show deals positively with topics like hope and loss.


title: The Midnight Gospel

text: On June 3, 2022, Trussell confirmed that the show had been cancelled by Netflix. Previously he had expressed the desire for more episodes, stating that "[the world of the Chromatic Ribbon] is a very big world. I spent a long time with Pen working out all the details. Some people might see it and think some people are saying gibberish, that something was absurd and unintended, but every brick in that structure, every piece of the puzzle is intentional and based on a lot of lore. It's a very, very, very, very interesting big world, and I would love to explore that world for as long as I possibly can." Upon revealing the cancellation, Trussell elaborated he had one more season in mind.


title: Girl Meets World

text: Girl Meets World is an American comedy television series created by Michael Jacobs and April Kelly that premiered on Disney Channel on June 27, 2014. The series ran for three seasons, consisting of 72 episodes, and concluded on January 20, 2017. The series is a spinoff of "Boy Meets World" and stars Rowan Blanchard, Ben Savage, Sabrina Carpenter, Peyton Meyer, August Maturo, Danielle Fishel, and Corey Fogelmanis.


title: Girl Meets World

text: The series centers around the life of Riley and her friends and family, particularly their school life, in which Cory is their history teacher. Riley shares a strong relationship with her best friend Maya Hart, who assists her in learning to cope with social and personal issues of adolescence. Several "Boy Meets World" cast members reprise their roles in the series.


title: Girl Meets World

text: It has been several years since Cory and Topanga Matthews moved to New York City. The series follows their daughter, Riley Matthews, and her best friend, Maya Hart, as they navigate challenges of life and school. Following along with them are their classmates Lucas Friar and Farkle Minkus and Riley's younger brother Auggie.


title: Girl Meets World

text: In November 2012, it was reported that Disney Channel was in the early stages of development of a follow-up series titled "Girl Meets World", which would center on Cory and Topanga's 12-year-old daughter Riley. The original idea for the series was developed by Corey Marsh, an executive director at Disney Channel, who approached Michael Jacobs, co-creator of "Boy Meets World", to produce a similar series for a new generation of children as executive producer and showrunner. The idea was to create a modern version of the show from a different perspective to the original. On November 26, 2012, it was confirmed by Ben Savage and Danielle Fishel that they would be reprising their roles as Cory Matthews and Topanga Lawrence-Matthews in the series. In February 2013, it was announced that Michael Jacobs had reached out to all of the former "Boy Meets World" cast members to take part in the new series. On June 17, 2013, Disney Channel officially greenlit a series order for "Girl Meets World", which began production that summer. On January 23, 2014, the first season order was increased from its initial 13-episode count to 20 in order to make a full season. On May 2, 2014, a full trailer for "Girl Meets World" was released. On May 21, 2014, the pilot episode became available as a preview to users on the various Watch Disney Channel mobile and television apps which require TV Everywhere authentication to watch. Following the TV premiere of the pilot, the episode "Girl Meets Sneak Attack" was made available via the apps. On June 13, 2014, the pilot was made available for free on iTunes. On August 6, 2014, "Girl Meets World" was renewed for a second season by Disney Channel. The second season premiered on May 11, 2015. The third season of "Girl Meets World" was announced on November 25, 2015. The third season premiered on June 3, 2016.


title: Girl Meets World

text: Auditions began in mid-November 2012 for the lead roles of Riley Matthews, the daughter of Cory and Topanga, Maya, a witty friend of Riley's who has a troubled past, and Elliot, Riley's older brother. By the end of January 2013, Rowan Blanchard and Sabrina Carpenter were cast as Riley and Maya, respectively. Teo Halm was tapped for the role of Elliot in early March. Filming of the pilot began on March 20, 2013, and concluded on March 22, 2013. Rider Strong and Will Friedle made a surprise visit to the set, sparking rumors of a return, or at least a cameo appearance, in the upcoming series. Maitland Ward also made a visit to the set and was asked about the return of her character, Rachel McGuire. Ward said, "I can't really share any show info, but it would be fun if the old gang got back together again!" On October 5, 2013, Teo Halm announced on Twitter that he was no longer involved with the series. A report by TVLine suggested the series was undergoing creative changes after the pilot and his character was ultimately written out of the series. On March 12, 2014, it was announced that Lee Norris would reprise his role of Stuart Minkus. On March 18, 2014, it was announced that Rider Strong would reprise his role of Shawn Hunter. On December 3, 2014, it was announced that Will Friedle would reprise his role of Eric Matthews, beginning with the second season, along with William Daniels reprising his role as George Feeny in a larger role. On February 3, 2015, it was announced that Trina McGee would reprise her role as Angela Moore and Blake Clark would reprise his role of Chet Hunter. On April 7, 2015, it was announced that Anthony Tyler Quinn would reprise his role as Jonathan Turner. On June 5, 2015, it was announced that Matthew Lawrence would reprise his role as Jack Hunter. On April 1, 2016, it was announced that Reginald VelJohnson would guest star in an episode as a police officer, a nod to VelJohnson's previous role in a different "TGIF" sitcom, officer Carl Winslow of "Family Matters". On July 28, 2016, it was announced that Lily Nicksay and Lindsay Ridgeway, both of whom portrayed Morgan Matthews, would appear in the season three finale.


title: Girl Meets World

text: On January 4, 2017, the series' writers stated on their group Twitter account that they were informed by Disney Channel that the series would not be renewed for a fourth season. Viewers of the series led a fan campaign appealing to Netflix to renew the program, noting that as the characters aged, the show was beginning to outgrow Disney Channel's target demographic. Jacobs expressed "I don't think "Girl" should have been cancelled" and stated he would be interested in continuing the series, revealing that the process was in its "beginning stages" with "interested platforms". The cancellation of the series sparked attention in the media. Janelle Okwodu of "Vogue" reported that the announcement "sent shockwaves through social media—in part because it meant one less realistic depiction on-screen of what it is to be a young woman". Of the series, "TVLine" reporter Andy Swift suggested that it "maybe shouldn’t have been canceled so soon into its run", and Brandon Katz of "Forbes" commented "the series laid out countless positive moral lessons for its young viewers". "Bustle" reporter Sabienna Bowman described the program as a "landmark show", stating, ""Girl Meets World" captured the hearts of the bright, socially aware generation who have grown up in the age of social media", while commending how it dealt with issues centered around young women.


title: Girl Meets World

text: After four months of searching for a viable network, on May 3, 2017, co-creator Jacobs confirmed that he was unable to come to an agreement with any outlet to continue the show, thus effectively ending the series.


title: Girl Meets World

text: The series originally premiered in the United States on Disney Channel and in Canada on Family Channel on June 27, 2014. The series premiered on Disney Channel in Australia on August 25, 2014, and in the United Kingdom and Ireland on August 29, 2014. In the Balkan countries, Greece, the Middle East and Africa, the series began airing on Disney Channel on November 15, 2014. The series started airing on Disney Channel in Canada on September 1, 2015; the episode "Girl Meets I Am Farkle" premiered on Disney Channel in Canada on September 3, 2015, which was before its initial airing in the U.S. on September 11, 2015. In India, the series premiered on October 30, 2017 on Disney International HD.


title: Girl Meets World

text: Review aggregator Rotten Tomatoes gives the series an 84% approval rating based on reviews from 19 critics. The site's consensus states: "Though not quite as comical, "Girl Meets World" sweetly shares the nostalgia of its predecessor, "Boy Meets World", with its young audience while providing positive moral values for today's youth." Metacritic gives the series a score of 64 based on reviews from 10 critics, indicating "generally favorable reviews". The series premiere received positive reviews. Kevin Fallon of "The Daily Beast" called it a "perfectly pleasant Disney Channel show". Rob Owen of "Pittsburgh Post-Gazette" said it was "a cute half-hour that capably introduces new characters and sets the table for the new series". Diane Werts of "Newsday" said the series "does its job of bringing tween-based family viewing into the 2010s".


title: A Beautiful Day in the Neighborhood

text: A Beautiful Day in the Neighborhood is a 2019 American biographical drama film directed by Marielle Heller and written by Micah Fitzerman-Blue and Noah Harpster, inspired by the 1998 article "Can You Say... Hero?" by Tom Junod, published in "Esquire". The film stars Tom Hanks, Matthew Rhys, Susan Kelechi Watson, and Chris Cooper. It depicts Lloyd Vogel (Rhys), a troubled journalist for "Esquire" who is assigned to profile television icon Fred Rogers (Hanks).


title: A Beautiful Day in the Neighborhood

text: The film had its world premiere at the Toronto International Film Festival on September 7, 2019, and was theatrically released in the United States on November 22, 2019, by Sony Pictures Releasing. It grossed $68 million worldwide, and critics praised Hanks and Rhys's performances, Heller's direction, and its heart-warming messages. "A Beautiful Day in the Neighborhood" was chosen by "Time" magazine as one of the ten best films of the year. For his performance, Hanks was nominated for Best Supporting Actor at the Academy Awards, as well as the Golden Globes, Critics' Choice, Screen Actors Guild Awards, and BAFTA Awards, among others.


title: A Beautiful Day in the Neighborhood

text: In 1998, at the beginning of an episode of "Mister Rogers' Neighborhood", Mr. Rogers displays a picture board with five doors. Three of the doors are opened to reveal the familiar faces of Lady Aberlin, King Friday, and Mr. McFeely. The fourth door is opened to reveal the face of Mr. Rogers' troubled new friend, Lloyd Vogel, who has a cut near his nose. Mr. Rogers explains that Lloyd has been hurt (and not necessarily on his face), and he is struggling to forgive the one who hurt him. After explaining what forgiveness means, Mr. Rogers leaves to visit Lloyd.


title: A Beautiful Day in the Neighborhood

text: Lloyd Vogel is an "Esquire" journalist known for his cynical writing. He attends his sister Lorraine's wedding with his wife Andrea and their newborn son, Gavin. During the reception, Lloyd starts a fistfight with his estranged father, Jerry, over memories of Lloyd's deceased mother Lila, whom Jerry cheated on and abandoned, before being punched against the wall by another patron, explaining the cut by his nose.


title: A Beautiful Day in the Neighborhood

text: Lloyd's editor, Ellen, assigns him to interview children's television presenter Fred Rogers for a 400-word article about heroes. Lloyd feels that the assignment is beneath him, but is informed that none of the other heroes were willing to talk to him. Still cynical, Lloyd questions whether Mister Rogers is "for real". Lloyd travels to the WQED studio in Pittsburgh to interview him. Rogers is dismissive of his fame and displays concern for Lloyd's nose injury. With coaxing, he relates some of the issues with his father, whose apology and attempt at reconciliation Lloyd has rebuffed. Rogers tells him his ways of dealing with anger, including striking the keys of a piano.


title: A Beautiful Day in the Neighborhood

text: Determined to expose Rogers' friendly persona as an act, Lloyd watches several episodes of Rogers' show, but cannot discern anything. Interviewing Rogers again when he visits New York, seemingly dodging Lloyd's questions, he reminisces about raising his two sons. Fred takes out his puppets and asks Lloyd about his childhood rabbit stuffed animal and his father, provoking Lloyd into ending the interview.


title: A Beautiful Day in the Neighborhood

text: Lloyd arrives home to find Jerry and his wife Dorothy talking with Andrea. He berates Jerry for cheating on his mother Lila, while she was dying of cancer. Ordering him to leave, Jerry suffers a heart attack and is transported to the hospital.


title: A Beautiful Day in the Neighborhood

text: Lloyd refuses to remain overnight at the hospital with the rest of the family and returns to Pittsburgh to see Rogers. Exhausted, he collapses on the set of the Neighborhood of Make-Believe and dreams about his repressed childhood trauma. In his dream, Lloyd stumbles into an episode of Rogers' show about hospitals, finding himself wearing rabbit ears and shrunken to the size of Daniel Striped Tiger and King Friday XIII, while Rogers and Andrea tower over him. Lloyd also dreams about Lila, who urges him to release his anger.


title: A Beautiful Day in the Neighborhood

text: Rogers and his wife, Joanne, bring Lloyd to their home to recuperate. The men later go to a restaurant, where Rogers asks Lloyd to spend one minute thinking about the people who "loved him into being", and encourages him to forgive Jerry.


title: A Beautiful Day in the Neighborhood

text: Lloyd apologizes to Andrea for leaving her and Gavin at the hospital and visits Jerry and Dorothy at their home. He learns he is dying of cardiac stenosis, the reason Jerry attempted to reconnect with Lloyd. Lloyd forgives him, promises to be a better father, and writes an article about Rogers' impact on his life.


title: A Beautiful Day in the Neighborhood

text: Lorraine, her husband Todd, and Rogers visit Jerry. Rogers asks Jerry to pray for him before he departs. Jerry dies shortly after Rogers' visit and Lloyd's 10,000-word article, "Can You Say... Hero?" is published as "Esquire"s cover story.


title: A Beautiful Day in the Neighborhood

text: At his studio, Rogers finishes the episode he was earlier working on, opening the fifth and final door on his picture board, revealing a picture of Lloyd happily reunited with his family. As the production ends, Mr. Rogers plays the piano alone, stops, strikes the keys angrily, and resumes playing.


title: A Beautiful Day in the Neighborhood

text: Additional cast members include Carmen Cusack as Margy, a producer of "Mister Rogers' Neighborhood"; Jessica Hecht as Lila Vogel, Lloyd's late mother and Jerry's ex-wife; Maddie Corman as Betty Aberlin, an actress starring as Lady Aberlin on "Mister Rogers' Neighborhood"; Daniel Krell as Mr. McFeely; and Jordan, Naomi, and Zoey Harsh as Gavin Vogel, Lloyd's son.


title: A Beautiful Day in the Neighborhood

text: Notable cameos in the film include Rogers' wife Joanne, Mr. McFeely actor David Newell, Family Communications head Bill Isler, and "Mister Rogers' Neighborhood" producer Margy Whitmer who appear as customers in a restaurant that Rogers and Lloyd meet in. Arsenio Hall and Oprah Winfrey make uncredited appearances in archive footage of talk shows that Lloyd watches in the film, and Fred Rogers appears in archive footage of his show during the ending credits, singing the song "You've Got to Do It".


title: A Beautiful Day in the Neighborhood

text: On January 29, 2018, it was announced that Sony's TriStar Pictures had bought the worldwide distribution rights to the film "You Are My Friend", a biographical film based on a 1998 "Esquire" magazine article about television personality Fred Rogers, who would be played by Tom Hanks. The film's script by Micah Fitzerman-Blue and Noah Harpster appeared among the 2013 Black List of best unproduced screenplays and it would be directed by Marielle Heller, while producers would be Big Beach's Marc Turtletaub and Peter Saraf along with Youree Henley.


title: A Beautiful Day in the Neighborhood

text: In July 2018, Matthew Rhys joined the cast of the film to play the journalist Lloyd Vogel, with production set to start in September 2018. Being Welsh, Rhys had never even heard of Fred Rogers before being offered the role. In August 2018, Chris Cooper was added to the cast to play Vogel's father, and in September, Susan Kelechi Watson was added. In October 2018, Enrico Colantoni, Maryann Plunkett, Tammy Blanchard, Wendy Makkena, Sakina Jaffrey, Carmen Cusack, Harpster and Maddie Corman joined the cast of the film. In 2018, Nate Heller was chosen to score the film.


title: A Beautiful Day in the Neighborhood

text: Principal photography on the film began on September 10, 2018, in Pittsburgh, with several sets converted into New York City. Filming also took place in Fred Rogers Studio at WQED (TV) where the late television host recorded "Mister Rogers' Neighborhood", and the Jewish Community Center in Squirrel Hill. The crew consulted with original crew members from Rogers' television series and also brought in the same broadcast cameras and monitors used in the original production. The film received tax credits of approximately $9.5 million against a production budget of $45 million for filming in Pittsburgh. Production wrapped on November 9, 2018.


title: A Beautiful Day in the Neighborhood

text: On October 12, 2018, sound mixer James Emswiller had a heart attack and fell from a second-story balcony. He was taken to University of Pittsburgh Medical Center-Mercy, where he was pronounced dead.


title: A Beautiful Day in the Neighborhood

text: The film title was announced on December 27, 2018. The trailer for the film was released on July 22, 2019.


title: A Beautiful Day in the Neighborhood

text: "A Beautiful Day in the Neighborhood" had its world premiere at the Toronto International Film Festival on September 7, 2019. The film was originally going to be released on October 18, 2019, by Sony Pictures Releasing, but in May 2018 was pushed back a month to November 22, 2019. The film was released in China on September 18, 2020, after the country re-opened theaters following COVID-19 pandemic lockdowns.


title: A Beautiful Day in the Neighborhood

text: "A Beautiful Day in the Neighborhood" was released by Sony Pictures Home Entertainment on Digital HD on February 4, 2020, and for an Ultra HD Blu-ray, Blu-ray, and DVD release on February 18.


title: A Beautiful Day in the Neighborhood

text: "A Beautiful Day in the Neighborhood" grossed $61.7 million in the United States and Canada, and $6.7 million in other territories, for a worldwide total of $68.4 million, against a production budget of $25 million.


title: A Beautiful Day in the Neighborhood

text: In the United States and Canada, the film was released alongside "Frozen II" and "21 Bridges", and was projected to gross around $15 million from 3,231 theaters in its opening weekend. The film made $4.5 million on its first day, including $900,000 from Thursday night previews. It went on to debut to $13.3 million, finishing third at the box office. The film fell just 11% in its second weekend, making $11.8 million and finishing fifth, and remained in fifth place the following weekend with $5.2 million.


title: A Beautiful Day in the Neighborhood

text: On review aggregation website Rotten Tomatoes, the film holds an approval rating of based on reviews, with an average rating of . The website's critical consensus reads, "Much like the beloved TV personality that inspired it, "A Beautiful Day in the Neighborhood" offers a powerfully affecting message about acceptance and understanding." On Metacritic, the film has a weighted average score of 80 out of 100, based on 50 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while those at PostTrak gave it an average four out of five stars, with 66% saying they would definitely recommend it.


title: A Beautiful Day in the Neighborhood

text: Steve Pond of "TheWrap" wrote: ""A Beautiful Day in the Neighborhood" finds a gentle state of grace and shows the courage and smarts to stay in that zone, never rushing things or playing for drama... But just as Mr. Rogers used his show to talk about big issues with children in a tone that was softer and more halting than you'd expect given the subject matter, so does Heller stick to understatement in a way that threatens to become dull or sappy but never does." Benjamin Lee of "The Guardian" wrote: "It's a given that Hanks will nab at least a best supporting actor nomination but it would be all too easy to forget his co-star. The cynic-becomes-a-believer arc is age old but it unfolds here without cliche thanks to an emotionally intelligent script from Noah Harpster and Micah Fitzerman-Blue, but mainly because of a marvelous, prickly turn from Rhys."


title: A Beautiful Day in the Neighborhood

text: Armond White of the "National Review" was more critical of the film, writing: "Heller and screenwriters Micah Fitzerman-Blue and Noah Harpster don't show enough faith in Rogers' remedies—and not enough interest in their religious origins. In short, the movie seems wary of faith (it briefly mentions that Rogers was an ordained minister) and settles for secular sentimentality to account for his sensibility and behavior. This not only weakens the film, but it also hobbles Hanks's characterization."


title: Hurdy-gurdy

text: The hurdy-gurdy is a string instrument that produces sound by a hand-crank-turned, rosined wheel rubbing against the strings. The wheel functions much like a violin bow, and single notes played on the instrument sound similar to those of a violin. Melodies are played on a keyboard that presses "tangents"—small wedges, typically made of wood—against one or more of the strings to change their pitch. Like most other acoustic stringed instruments, it has a sound board and hollow cavity to make the vibration of the strings audible.


title: Hurdy-gurdy

text: Most hurdy-gurdies have multiple drone strings, which give a constant pitch accompaniment to the melody, resulting in a sound similar to that of bagpipes. For this reason, the hurdy-gurdy is often used interchangeably or along with bagpipes. It is mostly used in Occitan, Aragonese, Cajun French, Asturian, Cantabrian, Galician, Hungarian, and Slavic folk music.


title: Hurdy-gurdy

text: One or more of the drone strings usually passes over a loose bridge that can be made to produce a distinctive percussive buzzing sound as the player turns the wheel.


title: Hurdy-gurdy

text: The hurdy-gurdy is generally thought to have originated from fiddles in either Europe or the Middle East (e.g., the rebab instrument) some time before the eleventh century A.D. The first recorded reference to fiddles in Europe was in the 9th century by the Persian geographer Ibn Khurradadhbih (d. 911) describing the lira ("lūrā") as a typical instrument within the Byzantine Empire. One of the earliest forms of the hurdy-gurdy was the organistrum, a large instrument with a guitar-shaped body and a long neck in which the keys were set (covering one diatonic octave). The organistrum had a single melody string and two drone strings, which ran over a common bridge, and a relatively small wheel. Due to its size, the organistrum was played by two people, one of whom turned the crank while the other pulled the keys upward. Pulling keys upward is cumbersome, so only slow tunes could be played on the organistrum.


title: Hurdy-gurdy

text: The pitches on the organistrum were set according to Pythagorean temperament and the instrument was primarily used in monastic and church settings to accompany choral music. Abbot Odo of Cluny (died 942) is supposed to have written a short description of the construction of the organistrum entitled "Quomodo organistrum construatur" (How the Organistrum Is Made), known through a much later copy, but its authenticity is very doubtful. Another 10th-century treatise thought to have mentioned an instrument like a hurdy-gurdy is an Arabic musical compendium written by Al Zirikli. One of the earliest visual depictions of the organistrum is from the twelfth-century "Pórtico da Gloria" (Portal of Glory) on the cathedral at Santiago de Compostela, Galicia, Spain: it has a carving of two musicians playing an organistrum.


title: Hurdy-gurdy

text: Later on, the "organistrum" was made smaller to let a single player both turn the crank and work the keys. The "solo organistrum" was known from Spain and France, but was largely replaced by the "symphonia", a small box-shaped version of the hurdy-gurdy with three strings and a diatonic keyboard. At about the same time, a new form of key pressed from beneath was developed. These keys were much more practical for faster music and easier to handle; eventually they completely replaced keys pulled up from above. Medieval depictions of the "symphonia" show both types of keys.


title: Hurdy-gurdy

text: During the Renaissance, the hurdy-gurdy was a very popular instrument (along with the bagpipe) and the characteristic form had a short neck and a boxy body with a curved tail end. It was around this time that "buzzing bridges" first appeared in illustrations. The buzzing bridge (commonly called the "dog") is an asymmetrical bridge that rests under a drone string on the sound board. When the wheel is accelerated, one foot of the bridge lifts from the soundboard and vibrates, creating a buzzing sound. The buzzing bridge is thought to have been borrowed from the "tromba marina" (monochord), a bowed string instrument.


title: Hurdy-gurdy

text: During the late Renaissance, two characteristic shapes of hurdy-gurdies developed. The first was guitar-shaped and the second had a rounded lute-type body made of staves. The lute-like body is especially characteristic of French instruments.


title: Hurdy-gurdy

text: By the end of the 17th century changing musical tastes demanded greater polyphonic capabilities than the hurdy-gurdy could offer and pushed the instrument to the lowest social classes; as a result it acquired names like the German "Bauernleier" 'peasant's lyre' and "Bettlerleier" 'beggar's lyre'. During the 18th century, however, French Rococo tastes for rustic diversions brought the hurdy-gurdy back to the attention of the upper classes, where it acquired tremendous popularity among the nobility, with famous composers writing works for the hurdy-gurdy. The most famous of these is Nicolas Chédeville's "Il pastor Fido", attributed to Vivaldi. At this time the most common style of hurdy-gurdy developed, the six-string "vielle à roue". This instrument has two melody strings and four drones. The drone strings are tuned so that by turning them on or off, the instrument can be played in multiple keys (e.g., C and G, or G and D).


title: Hurdy-gurdy

text: During this time the hurdy-gurdy also spread further to Central Europe, where further variations developed in western Slavic countries, German-speaking areas and Hungary (see the list of types below for more information on them). Most types of hurdy-gurdy were essentially extinct by the early twentieth century, but a few have survived. The best-known are the French "vielle à roue", the Hungarian "tekerőlant", and the Spanish "zanfoña". In Ukraine, a variety called the "lira" was widely used by blind street musicians, most of whom were purged by Stalin in the 1930s (see Persecuted bandurists).


title: Hurdy-gurdy

text: The hurdy-gurdy tradition is well-developed particularly in Hungary, Poland, Belarus, Southeastern France and Ukraine. In Ukraine, it is known as the lira or relia. It was and still is played by professional, often blind, itinerant musicians known as lirnyky. Their repertoire has mostly para-religious themes. Most of it originated in the Baroque period. In Eastern Ukraine, the repertoire includes unique historic epics known as "dumy" and folk dances.


title: Hurdy-gurdy

text: Lirnyky were categorised as beggars by the Russian authorities and fell under harsh repressive measures if they were caught performing in the streets of major cities until 1902, when the authorities were asked by ethnographers attending the 12th All-Russian Archaeological conference to stop persecuting them.


title: Hurdy-gurdy

text: The hurdy-gurdy is the instrument played by "Der Leiermann", the street musician portrayed in the last, melancholy song of Schubert's "Winterreise". It is also featured and played prominently in the film "Captains Courageous" (1937) as the instrument of the character Manuel, acted by Spencer Tracy.


title: Hurdy-gurdy

text: The instrument came into a new public consciousness when Donovan released his hit pop song, "Hurdy Gurdy Man", in 1968. Although the song does not use a hurdy-gurdy, the repeated reference to the instrument in the song's lyrics sparked curiosity and interest among young people, eventually resulting in an annual hurdy-gurdy music festival in the Olympic Peninsula area of the state of Washington each September.


title: Hurdy-gurdy

text: Today, the tradition has resurfaced. Revivals have been underway for many years as well in Austria, Belarus, Belgium, the Czech Republic, Denmark, Germany, Hungary, Italy, the Netherlands, Norway, Poland, Portugal, Russia, Slovakia, Spain, Sweden, and Ukraine. As the instrument has been revived, musicians have used it in a variety of styles of music (see the list of recordings that use hurdy-gurdy), including contemporary forms not typically associated with it.


title: Hurdy-gurdy

text: A person who plays the hurdy-gurdy is called a hurdy-gurdist, or (particularly for players of French instruments) viellist.


title: Hurdy-gurdy

text: In France, a player is called "un sonneur de vielle" (literally: ""a sounder of vielle""), "un vielleux" or "un vielleur".


title: Hurdy-gurdy

text: Because of the prominence of the French tradition, many instrument and performance terms used in English are commonly taken from the French, and players generally need to know these terms to read relevant literature. Such common terms include the following:


title: Hurdy-gurdy

text: According to the Oxford English Dictionary, the mid 18th century origin of the term "hurdy-gurdy" is onomatopoeic in origin, after the repetitive warble in pitch that characterizes instruments with solid wooden wheels that have warped due to changes in humidity or after the sound of the buzzing-bridge. Alternately, the term is thought to come from the Scottish and northern English term for uproar or disorder, "hirdy-girdy" or from "hurly-burly", an old English term for noise or commotion. The instrument is sometimes more descriptively called a "wheel fiddle" in English, but this term is rarely used among players of the instrument. Another possible derivation is from the Hungarian "hegedűs" (Slovenian variant "hrgadus") meaning a fiddle.


title: Hurdy-gurdy

text: In France, the instrument is known as "vielle à roue" (wheel fiddle) or simply "vielle" (even though there is another instrument with this name), while in the French-speaking regions of Belgium it is also known in local dialects as "vièrlerète/vièrlète" or "tiesse di dj'va" ('horse's head'). The Flemings and the Dutch call it a "draailier", which is similar to its German name, "Drehleier". An alternate German name, "Bauernleier", means "peasant's lyre". In Italy, it is called the "ghironda" or "lira tedesca" while in Spain, it is a "zanfona" in Galicia, "zanfoña" in Zamora, "rabil" in Asturias and "viola de roda" in Catalonia. In the Basque language, it is known as a "zarrabete". In Portugal, it is called "sanfona".


title: Hurdy-gurdy

text: The Hungarian name "tekerőlant" and the alternative "forgólant" both mean "turning lute". Another Hungarian name for the instrument is "nyenyere", which is thought to be an onomatopoeic reference to the repetitive warble produced by a wheel that is not even. This term was considered derogatory in the Hungarian lowlands, but was the normal term for the instrument on Csepel island directly south of Budapest. The equivalent names "ninera" and "niněra" are used in Slovakia and the Czech Republic respectively. In Russian, Ukrainian, and Belarusian the instrument is called "wheel lyre" ("колёсная лира", "колісна ліра", "колавая ліра"). In Poland it is called "cranked lyre" (lira korbowa).


title: Hurdy-gurdy

text: "Leier", "lant", and related terms today are generally used to refer to members of the lute or lyre family, but historically had a broader range of meaning and were used for many types of stringed instruments.


title: Hurdy-gurdy

text: In the eighteenth century, the term "hurdy-gurdy" was also applied to a small, portable barrel organ or street organ (a cranked box instrument with a number of organ pipes, a bellows and a barrel with pins that rotated and programmed the tunes) that was frequently played by poor buskers, street musicians specifically called organ grinders. Such organs require only the turning of the crank to play; the music is coded by pinned barrels, perforated paper rolls, and, more recently, by electronic modules. The French call these organs "Orgue de Barbarie" ("Barbary organ"), while the Germans and Dutch say "Drehorgel" and "draaiorgel" ("turned organ"), instead of "Drehleier" ("turning lyre"). In Czech, the organ is called "Flašinet".


title: Hurdy-gurdy

text: In her overview of the instrument's history, Palmer recorded twenty-three different forms, and there is still no standardized design today.


title: Hurdy-gurdy

text: The six-stringed French "vielle à roue" is the best-known and most common sort. A number of regional forms developed, but outside France the instrument was considered a folk instrument and there were no schools of construction that could have determined a standard form.


title: Hurdy-gurdy

text: There are two primary body styles for contemporary instruments: guitar-bodied and lute-backed. Both forms are found in French-speaking areas, while guitar-bodied instruments are the general form elsewhere. The box form "symphonia" is also commonly found among players of early music and historical re-enactors.


title: Hurdy-gurdy

text: Historically, strings were made of gut, which is still a preferred material today and modern instruments are mounted with violin (D or A) and cello (A, G, C) strings. However, metal-wound strings have become common in the twentieth century, especially for the heavier drone strings or for lower melody strings if octave tuning is used. Nylon is also sometimes used, but is disliked by many players. Some instruments also have optional sympathetic strings, generally guitar or banjo B strings.


title: Hurdy-gurdy

text: The drone strings produce steady sounds at fixed pitches. The melody string(s) (French "chanterelle(s)", Hungarian "dallamhúr(ok)") are stopped with tangents attached to keys that change the vibration length of the string, much as a guitarist uses his or her fingers on the fretboard of a guitar. In the earliest hurdy-gurdies these keys were arranged to provide a Pythagorean temperament, but in later instruments the tunings have varied widely, with equal temperament most common because it allows easier blending with other instruments. However, because the tangents can be adjusted to tune individual notes, it is possible to tune hurdy-gurdies to almost any temperament as needed. Most contemporary hurdy-gurdies have 24 keys that cover a range of two chromatic octaves.


title: Hurdy-gurdy

text: To achieve proper intonation and sound quality, each string of a hurdy-gurdy must be wrapped with cotton or similar fibers. The cotton on melody strings tends to be quite light, while drone strings have heavier cotton. Improper cottoning results in a raspy tone, especially at higher pitches. In addition, individual strings (in particular the melody strings) often have to have their height above the wheel surface adjusted by having small pieces of paper placed between the strings and the bridge, a process called "shimming". Shimming and cottoning are connected processes since either one can affect the geometry of the instrument's strings.


title: Hurdy-gurdy

text: In some types of hurdy-gurdy, notably the French "vielle à roue" ('fiddle with a wheel') and the Hungarian "tekerőlant" ("tekerő" for short), makers have added a buzzing bridge—called a "chien" (French for dog) or "recsegő" (Hungarian for "buzzer")—on one drone string. Modern makers have increased the number of buzzing bridges on French-style instruments to as many as four. This mechanism consists of a loose bridge under a drone string. The tail of the buzzing bridge is inserted into a narrow vertical slot (or held by a peg in Hungarian instruments) that holds the buzzing bridge in place (and also serves as a bridge for additional drone strings on some instruments).


title: Hurdy-gurdy

text: The free end of the dog (called the "hammer") rests on the soundboard of the hurdy-gurdy and is more or less free to vibrate. When the wheel is turned regularly and not too fast the pressure on the string (called the "trompette" on French instruments) holds the bridge in place, sounding a drone. When the crank is struck, the hammer lifts up suddenly and vibrates against the soundboard, producing a characteristic rhythmic buzz that is used as an articulation or to provide percussive effect, especially in dance pieces.


title: Hurdy-gurdy

text: On French-style instruments, the sensitivity of the buzzing bridge can be altered by turning a peg called a "tirant" in the tailpiece of the instrument that is connected by a wire or thread to the "trompette". The "tirant" adjusts the lateral pressure on the "trompette" and thereby sets the sensitivity of the buzzing bridge to changes in wheel velocity. When hard to trigger, the strike or the bridge is said "sec" (dry), "chien sec", or "coup sec". When easy to trigger, the strike or the bridge is said "gras" (fat), "chien gras", or "coup gras".


title: Hurdy-gurdy

text: There are various stylistic techniques that are used as the player turns the crank, striking the wheel at various points in its revolution. This technique is often known by its French term, the "coup-de-poignet" (or, more simply, the shortened "coup"). The percussion is transmitted to the wheel by striking the handle with the thumb, fingers or base of the thumb at one or more of four points in the revolution of the wheel (often described in terms of the clock face, 12, 3, 6, and 9 o'clock) to achieve the desired rhythm. A long buzz can also be achieved by accelerating the wheel with the handle. It is called either "un glissé" (a slide) or "une trainée" (a streak). More accomplished players are able to achieve six, eight, or even twelve buzzes within one turn of the wheel.


title: Hurdy-gurdy

text: On the Hungarian "tekerő" the same control is achieved by using a wedge called the "recsegőék" (control wedge, or literally "buzzer wedge") that pushes the drone string downward. In traditional "tekerő" playing, the buzzing bridge is controlled entirely by the wrist of the player and has a very different sound and rhythmic possibilities from those available on French instruments.


title: Hurdy-gurdy

text: Regional types of hurdy-gurdies since the Renaissance can also be classified based on wheel size and the presence or absence (and type) of a buzzing bridge. The following description of various types uses this framework:


title: Hurdy-gurdy

text: Small-wheeled (wheel diameter less than 14 cm, or about 5.5 inches) instruments are traditionally found in Central and Eastern Europe. They feature a broad keybox and the drone strings run within the keybox. Because of the small size of the wheel these instruments most commonly have three strings: one melody string, one tenor drone, and one bass drone. They sometimes have up to five strings.


title: Hurdy-gurdy

text: Large-wheeled instruments (wheel diameters between 14 and 17 cm, or about 5.56.6 inches) are traditionally found in Western Europe. These instruments generally have a narrow keybox with drone strings that run outside the keybox. They also generally have more strings, and doubling or tripling of the melody string is common. Some modern instruments have as many as fifteen strings played by the wheel, although the most common number is six.


title: Hurdy-gurdy

text: In pop music, especially in the popular neo-medieval music, electric hurdy-gurdies are used, wherein electro magnetic pickups convert the vibration of its strings into electrical signals. Similar to electric guitars, the signals are transmitted to an instrument amplifier or reproduced by synthesizer in a modified form.


title: Hurdy-gurdy

text: Electronic hurdy-gurdies, on the other hand, manage completely without strings. The signals for the melody strings are purely generated electronically by the keys and also in combination with the rotation of the wheel. The signals for drone strings and the snares are generated by the crank movements of the wheel. Depending on the technical equipment of the instrument, the digital audio signal can be output directly via an integrated processor and sound card. The data exchange of the musical information between the hurdy-gurdy and connected computers, samplers or synthesizers are managed via MIDI interface.


title: Gastritis

text: Gastritis is inflammation of the lining of the stomach. It may occur as a short episode or may be of a long duration. There may be no symptoms but, when symptoms are present, the most common is upper abdominal pain (see dyspepsia). Other possible symptoms include nausea and vomiting, bloating, loss of appetite and heartburn. Complications may include stomach bleeding, stomach ulcers, and stomach tumors. When due to autoimmune problems, low red blood cells due to not enough vitamin B12 may occur, a condition known as pernicious anemia.


title: Gastritis

text: Common causes include infection with "Helicobacter pylori" and use of nonsteroidal anti-inflammatory drugs (NSAIDs). Less common causes include alcohol, smoking, cocaine, severe illness, autoimmune problems, radiation therapy and Crohn's disease. Endoscopy, a type of X-ray known as an upper gastrointestinal series, blood tests, and stool tests may help with diagnosis. The symptoms of gastritis may be a presentation of a myocardial infarction. Other conditions with similar symptoms include inflammation of the pancreas, gallbladder problems, and peptic ulcer disease.


title: Gastritis

text: Prevention is by avoiding things that cause the disease. Treatment includes medications such as antacids, H2 blockers, or proton pump inhibitors. During an acute attack drinking viscous lidocaine may help. If gastritis is due to NSAIDs these may be stopped. If "H. pylori" is present it may be treated with a combination of antibiotics such as amoxicillin and clarithromycin. For those with pernicious anemia, vitamin B12 supplements are recommended either by mouth or by injection. People are usually advised to avoid foods that bother them.


title: Gastritis

text: Gastritis is believed to affect about half of people worldwide. In 2013 there were approximately 90 million new cases of the condition. As people get older the disease becomes more common. It, along with a similar condition in the first part of the intestines known as duodenitis, resulted in 50,000 deaths in 2015. "H. pylori" was first discovered in 1981 by Barry Marshall and Robin Warren.


title: Gastritis

text: Many people with gastritis experience no symptoms at all. However, upper central abdominal pain is the most common symptom; the pain may be dull, vague, burning, aching, gnawing, sore, or sharp. Pain is usually located in the upper central portion of the abdomen, but it may occur anywhere from the upper left portion of the abdomen around to the back.


title: Gastritis

text: There are two categories of gastritis depending on the cause of the disease. There is erosive gastritis, for which the common causes are stress, alcohol, some drugs, such as aspirin and other nonsteroidal anti-inflammatory drugs (NSAIDs), and Crohn's disease. And, there is non-erosive gastritis, for which the most common cause is a "Helicobacter pylori" infection.


title: Gastritis

text: "Helicobacter pylori" colonizes the stomachs of more than half of the world's population, and the infection continues to play a key role in the pathogenesis of a number of gastroduodenal diseases. Colonization of the gastric mucosa with "Helicobacter pylori" results in the development of chronic gastritis in infected individuals and, in a subset of patients, chronic gastritis progresses to complications (e.g., ulcer disease, stomach cancers, and some distinct extragastric disorders). However, more than 80% of individuals infected with the bacterium are asymptomatic and it has been postulated that it may play an important role in the natural stomach ecology.


title: Gastritis

text: Gastritis may also develop after major surgery or traumatic injury ("Cushing ulcer"), burns ("Curling ulcer"), or severe infections. Gastritis may also occur in those who have had weight loss surgery resulting in the banding or reconstruction of the digestive tract.


title: Gastritis

text: Evidence does not support a role for specific foods, including spicy foods and coffee, in the development of peptic ulcers. People are usually advised to avoid foods that bother them. There is little specific advice on diet published by authoritative sources. The website of the National Health Service of the United Kingdom advises "avoiding foods that can irritate the stomach, such as spicy, acidic or fried foods", and suggests that "you may want to talk to a GP about this".


title: Gastritis

text: Acute erosive gastritis typically involves discrete foci of surface necrosis due to damage to mucosal defenses. NSAIDs inhibit cyclooxygenase-1, or COX-1, an enzyme responsible for the biosynthesis of eicosanoids in the stomach, which increases the possibility of peptic ulcers forming. Also, NSAIDs, such as aspirin, reduce a substance that protects the stomach called prostaglandin. These drugs used in a short period are not typically dangerous. However, regular use can lead to gastritis. Additionally, severe physiologic stress ("stress ulcers") from sepsis, hypoxia, trauma, or surgery is also a common etiology for acute erosive gastritis. This form of gastritis can occur in more than 5% of hospitalized patients.


title: Gastritis

text: Also, note that alcohol consumption does not cause chronic gastritis. It does, however, erode the mucosal lining of the stomach; low doses of alcohol stimulate hydrochloric acid secretion. High doses of alcohol do not stimulate secretion of acid.


title: Gastritis

text: Chronic gastritis refers to a wide range of problems of the gastric tissues. The immune system makes proteins and antibodies that fight infections in the body to maintain a homeostatic condition. In some disorders the body targets the stomach as if it were a foreign protein or pathogen; it makes antibodies against, severely damages, and may even destroy the stomach or its lining. In some cases bile, normally used to aid digestion in the small intestine, will enter through the pyloric valve of the stomach if it has been removed during surgery or does not work properly, also leading to gastritis. Gastritis may also be caused by other medical conditions, including HIV/AIDS, Crohn's disease, certain connective tissue disorders, and liver or kidney failure. Since 1992, chronic gastritis lesions are classified according to the Sydney system.