title: Bubba Wallace

text: Two weeks after the GEICO 500, on July 6, President Donald Trump tweeted that Wallace should apologize for the investigation, branding it a hoax while adding it and NASCAR's Confederate flag ban "has caused lowest ratings EVER!" Trump's ratings claim was refuted by Fox Sports executive vice president Michael Mulvihill, who said the ratings had increased by eight percent since the 2020 season resumed in May, while Wallace received support from figures like Johnson, driver Tyler Reddick, and basketball player LeBron James.


title: Bubba Wallace

text: Wallace founded and runs the Live to be Different Foundation. He was also the National Motorsports Press Association's Pocono Spirit Award winner for the second quarter of 2020, and the recipient of the Comcast Community Champion of the Year award for 2020.


title: Bubba Wallace

text: In May 2020, after the murder of George Floyd by police officers in Minneapolis, Wallace began to speak out about the abuse of African Americans by the police, becoming the face of stock car racing's involvement in the Black Lives Matter movement. On June 8, 2020, he called on NASCAR to prohibit displays of the at NASCAR races. In 2015, after the publication of photographs showing the white man who killed nine black churchgoers in Charleston, South Carolina, posing with the flag, the organization began asking fans not to display the flag at its races. However, many fans in the South continued to hoist the Confederate flag at races. On June 10, 2020, NASCAR officially banned the display of the flag at its events.


title: Bubba Wallace

text: In the 2020 Blue-Emu Maximum Pain Relief 500 NASCAR race at Martinsville Speedway, Wallace's car had a special paint scheme to honor Black Lives Matter. The car featured an illustration of black and white hands interlocking together on the hood of the car, the hashtag #BlackLivesMatter on the side, and the phrase "Compassion, Love, Understanding" on both the hood and the back bumper. Richard Petty, owner of Richard Petty Motorsports, contributed to the livery by adding a peace symbol on the rear quarter-panel of the car that features hands of all colors circling inside the peace symbol. The livery was made after Richard Petty Motorsports failed to secure a primary sponsorship for the race. The team later suggested the idea to Wallace to run an all-black car to honor the movement. Wallace finished 11th after securing top-ten finishes in both stages, his career-best at Martinsville in the Cup Series.


title: Bubba Wallace

text: Wallace was born in Mobile, Alabama, and raised in the city of Concord, North Carolina, where he attended Northwest Cabarrus High School.


title: Bubba Wallace

text: Born to a black mother and a white father, Wallace is the son of Darrell Wallace Sr. and Desiree Wallace. His father is the owner of an industrial cleaning company, and his mother is a social worker who ran track at the University of Tennessee.


title: Bubba Wallace

text: Wallace is best friends with fellow NASCAR Cup Series driver Ryan Blaney. The two had first met when they raced Bandoleros in their youth.


title: Bubba Wallace

text: In 2019, Wallace revealed that he dealt with and continues to deal with depression for most of his racing career. After others reached out to him to thank him for bringing awareness to depression, Wallace said he did not know it was such a widespread problem; for him, being depressed was an honest answer to a media question.


title: Bubba Wallace

text: On July 23, 2019, Wallace posted photos of Richard Petty autographing his left forearm. He vowed to have Petty's signature tattooed if the photos were retweeted 43,000 times. The goal was made by the morning of July 25. Less than a month later, Wallace had Petty's signature tattooed on the back of his right thigh.


title: Bubba Wallace

text: Wallace is a Christian. In an interview with "Esquire" in 2020, Wallace clarified that his criticism of Michael McDowell after an incident at that year's All-Star Race was not meant as an attack on McDowell's Christian faith as some had perceived. "A lot of people took that as attacking his faith and it definitely wasn't that. I have nothing against that. I'm a Christian myself. When you go disrespectful, then that shows the character that you are. That's what I was getting at." Wallace's wrecked front bumper from the incident was put up for auction and raised $20,034 for the Christian non-profit organization Motor Racing Outreach.


title: Bubba Wallace

text: Wallace and 23XI co-owner Denny Hamlin appear in the music video for Post Malone's 2021 song "Motley Crew".


title: Bubba Wallace

text: In 2022, he was the subject of the Netflix docu-series "". The six-episode series follows Wallace's career during the 2020 and 2021 seasons, including his off-track life and activism.


title: Out of Sight

text: Out of Sight is a 1998 American crime comedy film directed by Steven Soderbergh and written by Scott Frank, adapted from Elmore Leonard's 1996 novel of the same name. The first of several collaborations between Soderbergh and actor George Clooney, it was released on June 26, 1998.


title: Out of Sight

text: The film stars Clooney and Jennifer Lopez and co-stars Ving Rhames, Don Cheadle, Dennis Farina, Nancy Allen, Steve Zahn, Catherine Keener, and Albert Brooks. There are also special appearances by Michael Keaton, briefly reprising his role as Ray Nicolette from Quentin Tarantino's "Jackie Brown" the previous year, and Samuel L. Jackson.


title: Out of Sight

text: The film received Academy Award nominations for Best Adapted Screenplay and Best Film Editing. It won the Edgar Award for Best Screenplay and the National Society of Film Critics awards for Best Film, Best Director, and Best Screenplay. The film led to a short-lived spinoff TV series in 2003 titled "Karen Sisco".


title: Out of Sight

text: Career bank robber Jack Foley is caught after a spur-of-the-moment robbery in Miami. Sent to Glades Correctional Institution, he deduces that fellow inmate Chino is orchestrating a breakout. Planning his own escape, Jack calls his ex-wife Adele, an out-of-work magician's assistant, to notify his friend and accomplice Buddy.


title: Out of Sight

text: That night, U.S. Marshal Karen Sisco arrives at the prison, as does Buddy, and spots the escapees tunneling outside. In the confusion, Jack exits the tunnel in a guard's uniform and overpowers Karen. They are forced to share the trunk of her car as Buddy drives them to meet Glenn, an unreliable associate. Karen convinces Glenn to drive off with her, but he crashes the car and flees while she is taken to the hospital.


title: Out of Sight

text: Karen has a dream about tracking Jack down, but instead of arresting him, they have sex. Determined to join the task force hunting the fugitives, she questions Adele and happens to arrest Chino, who arrives seeking revenge on Jack. Karen is forced to wait in the lobby while the task force raids Buddy’s apartment, but she and Jack spot each other as he and Buddy escape.


title: Out of Sight

text: Two years earlier, Jack, Buddy, and Glenn were incarcerated at Lompoc Penitentiary, where wealthy inmate Richard Ripley bragged to Glenn about a cache of uncut diamonds hidden at his home in Detroit. Jack saved Richard from being extorted by vicious criminal Maurice "Snoopy" Miller, leading Richard to promise Jack a job. After his release, Jack balked at the menial position and Richard's disdain for his criminal past. Thrown out of the building, he impulsively robbed the bank across the street and was sent to Glades.


title: Out of Sight

text: In Detroit, Maurice plans to steal the diamonds with his brother-in-law Kenneth, henchman White Boy Bob, and a reluctant Glenn, whom Maurice forces to help kill a rival drug dealer. Jack and Buddy meet Maurice and his crew, agreeing to team up on the robbery. Following Jack to Detroit, Karen questions Maurice's wife Moselle, and defends herself when Kenneth attempts to assault her. Jack finds Karen at her hotel, where they share a romantic interlude at the bar and spend the night together.


title: Out of Sight

text: Glenn gets cold feet and runs into Karen, who lets him escape but continues to tail Jack. The thieves force their way inside Richard's mansion, but the housekeeper Midge tells them Richard is out of town. While Maurice and his crew struggle to shoot open the safe upstairs, Jack and Buddy find Richard hiding in his study, and discover the diamonds hidden in his fish tank. Richard, in love with Midge, refuses to leave without her and is captured by Maurice.


title: Out of Sight

text: Jack sends Buddy away with the diamonds and goes back with Buddy's gun. He is held at gunpoint by White Boy Bob, who trips on the stairs and accidentally shoots himself in the head. Jack shoots Kenneth as he attempts to rape Midge, while Karen enters and shoots Maurice in self-defense. Unwilling to return to prison, Jack confronts Karen with his empty gun, imploring her to kill him. Instead, Karen wounds him in the leg and arrests him.


title: Out of Sight

text: Karen prepares to transport Jack back to Glades, joined by another detainee, Hejira Henry, who mentions having already escaped from prison nine times. Having arranged for him to join Jack, Karen smiles as the van leaves for Florida.


title: Out of Sight

text: The source novel's origins lie in a picture Leonard saw in the "Detroit News" of a beautiful young female federal marshal standing in front of a Miami courthouse with a shotgun resting on her hip. Producer Danny DeVito bought the rights to the book after his success with the 1995 film adaptation of Leonard's novel "Get Shorty". Steven Soderbergh had made two films for Universal Pictures when executive Casey Silver offered him "Out of Sight" with George Clooney attached. However, the filmmaker was close to making another project and hesitated to commit. Silver told him, "These things aren't going to line up very often, you should pay attention."


title: Out of Sight

text: Sandra Bullock was originally considered to play Karen Sisco opposite Clooney. According to Soderbergh, "What happened was I spent some time with [Clooney and Bullock] and they actually did have a great chemistry. But it was for the wrong movie. They really should do a movie together, but it was not Elmore Leonard energy."


title: Out of Sight

text: The character of Foley appealed to Clooney, who as a boy had considered as heroes the bank robbers in movies, citing "the Cagneys and the Bogarts, Steve McQueen and all those guys, the guys who were kind of bad and you still rooted for them. And when I read this, I thought, 'This guy is robbing a bank but you really want him to get away with it.'"


title: Out of Sight

text: Soderbergh cites Nicolas Roeg's 1973 film "Don't Look Now" as the primary influence on how he approached the love scene between Foley and Sisco: "What I wanted to create in our movie was the intimacy of that, the juxtaposition of these two contrasting things ... We had to mix it up and have you feel like you were more in their heads."


title: Out of Sight

text: Danny DeVito and Garry Shandling were considered for the part of Ripley before Albert Brooks was cast.


title: Out of Sight

text: The character Ray Nicolette also appears in Leonard's novel "Rum Punch", which was being filmed as "Jackie Brown" when Universal Pictures was preparing to begin production on "Out of Sight". After Michael Keaton was cast as the detective Nicolette in "Jackie Brown", Universal subsequently cast him for a cameo in the same role in "Out of Sight". While Miramax Films owned the rights to the character, due to the fact that "Jackie Brown" went into production first, director Quentin Tarantino felt it was imperative that Miramax not charge Universal for using the character, allowing the character's appearance without Miramax receiving financial compensation. Nicolette appears in only one brief scene, whereas the character was a much more substantial element of "Jackie Brown".


title: Out of Sight

text: DJ David Holmes was originally hired to write a few sections of the film's theme music. Soderbergh liked what he did so much that he had Holmes score the rest of the film. Holmes spent six weeks working 12- to 17-hour days to finish the score in time for the film's release. He drew upon several influences, including Lalo Schifrin, Quincy Jones, Dean Martin, Miles Davis, Sun Ra, and Willie Bobo.


title: Out of Sight

text: "Out of Sight" was released on June 26, 1998, in 2,106 theaters and grossed USD 12 million on its opening weekend. It went on to gross $37.5 million domestically and $40.2 million in the rest of the world for a worldwide total of $77.7 million.


title: Out of Sight

text: "Out of Sight" received critical acclaim. On Rotten Tomatoes, the film has a 94% approval rating, based on 95 reviews, with an average rating of 7.90/10. The site's critical consensus reads: "Steven Soderbergh's intelligently crafted adaptation of the Elmore Leonard novel is witty, sexy, surprisingly entertaining, and a star-making turn for George Clooney." On Metacritic, the film has a score of 85 out of 100, based on 30 reviews, indicating "universal acclaim."


title: Out of Sight

text: Film critic Roger Ebert gave the film three and a half out of four stars and praised Clooney's performance, stating: "Clooney has never been better. A lot of actors who are handsome when young need to put on some miles before the full flavor emerges ... Here Clooney at last looks like a big screen star; the good-looking leading man from television is over with." Janet Maslin of "The New York Times" praised Lopez's performance, writing, "Ms. Lopez has her best movie role thus far, and she brings it both seductiveness and grit; if it was hard to imagine a hard-working, pistol-packing bombshell on the page, it couldn't be easier here." Andrew Sarris, in his review for "The New York Observer", wrote, "For once in a mainstream production, the narrative machinery works on all cylinders without any wasted motion or fatuous rhetoric. They don't make movies like this anymore, in this overcalculated and overtested era." In his review for the "Los Angeles Times", Kenneth Turan wrote, "As always with the best of Leonard, it's the journey, not the destination, that counts, and director Soderbergh has let it unfold with dry wit and great skill. Making adroit use of complex flashbacks, freeze frames and other stylistic flourishes, he's managed to put his personal stamp on the film while staying faithful to the irreplaceable spirit of the original."


title: Out of Sight

text: "Entertainment Weekly" gave the film a "B+" rating and Owen Gleiberman wrote, "This is Clooney's wiliest, most complex star turn yet. It helps that he's lost the Beverly Hills Caesar cut (he's actually more handsome with his hair swept back), and his performance is slyly two-tiered: Foley is all charming moxie on the surface, a bit clueless underneath." Richard Schickel, in his review for "Time", wrote, "What makes this movie work is the kind of cool that made "Get Shorty" go so nicely: an understanding that life's little adventures rarely come in neat three-act packages, the way most movies now do, and the unruffled presentation of outrageously twisted dialogue, characters and situations as if they were the most natural things in the world." In her review for the "L.A. Weekly", Manohla Dargis wrote, "This isn't a profound film, or even an important one, but then it isn't trying to be; it's so diverting and so full of small, satisfying pleasures, you don't realize how good it is until after it's over."


title: Out of Sight

text: In later years, Soderbergh would see the film as "a very conscious decision on my part to try and climb my way out of the arthouse ghetto which can be as much of a trap as making blockbuster films." He had just turned down directing "Human Nature", written by Charlie Kaufman, to direct "Out of Sight". "And I was very aware that at that point in my career, half the business was off limits to me." Clooney said, ""Out of Sight" was the first time where I had a say, and it was the first good screenplay that I'd read where I just went, 'That's it.' And even though it didn't do really well box office-wise - we sort of tanked again - it was a really good film." Lopez said: "It kind of became a cult classic. It didn't get as much notice when it first came out at the box office but now, years later, so many people told me that was their favorite film. It's crazy."


title: Old Kingdom of Egypt

text: In ancient Egyptian history, the Old Kingdom is the period spanning c. 2700–2200 BC. It is also known as the "Age of the Pyramids" or the "Age of the Pyramid Builders", as it encompasses the reigns of the great pyramid-builders of the Fourth Dynasty, such as King Sneferu, who perfected the art of pyramid-building, and the kings Khufu, Khafre and Menkaure, who constructed the pyramids at Giza. Egypt attained its first sustained peak of civilization during the Old Kingdom, the first of three so-called "Kingdom" periods (followed by the Middle Kingdom and New Kingdom), which mark the high points of civilization in the lower Nile Valley.


title: Old Kingdom of Egypt

text: The concept of an "Old Kingdom" as one of three "golden ages" was coined in 1845 by the German Egyptologist Baron von Bunsen, and its definition would evolve significantly throughout the 19th and the 20th centuries. Not only was the last king of the Early Dynastic Period related to the first two kings of the Old Kingdom, but the "capital", the royal residence, remained at "Ineb-Hedj", the Ancient Egyptian name for Memphis. The basic justification for a separation between the two periods is the revolutionary change in architecture accompanied by the effects on Egyptian society and the economy of large-scale building projects.


title: Old Kingdom of Egypt

text: The Old Kingdom is most commonly regarded as the period from the Third Dynasty to the Sixth Dynasty (2686–2181 BC). Information from the Fourth to the Sixth Dynasties of Egypt is scarce, and historians regard the history of the era as literally "written in stone" and largely architectural in that it is through the monuments and their inscriptions that scholars have been able to construct a history. Egyptologists also include the Memphite Seventh and Eighth Dynasties in the Old Kingdom as a continuation of the administration, centralized at Memphis. While the Old Kingdom was a period of internal security and prosperity, it was followed by a period of disunity and relative cultural decline referred to by Egyptologists as the First Intermediate Period. During the Old Kingdom, the King of Egypt (not called the Pharaoh until the New Kingdom) became a living god who ruled absolutely and could demand the services and wealth of his subjects.


title: Old Kingdom of Egypt

text: Under King Djoser, the first king of the Third Dynasty of the Old Kingdom, the royal capital of Egypt was moved to Memphis, where Djoser established his court. A new era of building was initiated at Saqqara under his reign. King Djoser's architect, Imhotep, is credited with the development of building with stone and with the conception of the new architectural form, the step pyramid. The Old Kingdom is perhaps best known for a large number of pyramids constructed at this time as burial places for Egypt's kings.


title: Old Kingdom of Egypt

text: The first King of the Old Kingdom was Djoser (sometime between 2691 and 2625 BC) of the Third Dynasty, who ordered the construction of a pyramid (the Step Pyramid) in Memphis' necropolis, Saqqara. An important person during the reign of Djoser was his vizier, Imhotep.


title: Old Kingdom of Egypt

text: It was in this era that formerly independent ancient Egyptian states became known as nomes, under the rule of the king. The former rulers were forced to assume the role of governors or otherwise work in tax collection. Egyptians in this era believed the king to be the incarnation of Horus, linking the human and spiritual worlds. Egyptian views on the nature of time during this period held that the universe worked in cycles, and the Pharaoh on earth worked to ensure the stability of those cycles. They also perceived themselves as specially selected people.


title: Old Kingdom of Egypt

text: The Old Kingdom and its royal power reached a zenith under the Fourth Dynasty (2613–2494 BC). King Sneferu, the first king of the Fourth Dynasty, held territory from ancient Libya in the west to the Sinai Peninsula in the east, to Nubia in the south. An Egyptian settlement was founded at Buhen in Nubia which endured for 200 years. After Djoser, Sneferu was the next great pyramid builder. He commissioned the building of not one, but three pyramids. The first is called the Meidum Pyramid, named for its location in Egypt. Sneferu abandoned it after the outside casing fell off of the pyramid. The Meidum pyramid was the first to have an above-ground burial chamber. Using more stones than any other Pharaoh, he built the three pyramids: a now collapsed pyramid in Meidum, the Bent Pyramid at Dahshur, and the Red Pyramid, at North Dahshur. However, the full development of the pyramid style of building was reached not at Saqqara, but during the building of the Great Pyramids at Giza.


title: Old Kingdom of Egypt

text: Sneferu was succeeded by his son, Khufu (2589–2566 BC), who built the Great Pyramid of Giza. After Khufu's death, his sons Djedefre (2566–2558 BC) and Khafre (2558–2532 BC) may have quarrelled. The latter built the second pyramid and (in traditional thinking) the Great Sphinx of Giza. Recent re-examination of evidence has led Egyptologist Vassil Dobrev to propose that the Sphinx was built by Djedefre as a monument to his father Khufu.Alternatively, the Sphinx has been proposed to be the work of Khafre and Khufu himself.


title: Old Kingdom of Egypt

text: There were military expeditions into Canaan and Nubia, with Egyptian influence reaching up the Nile into what is today Sudan. The later kings of the Fourth Dynasty were Menkaure (2532–2504 BC), who built the smallest of the three great pyramids in Giza; Shepseskaf (2504–2498 BC); and, perhaps, Djedefptah (2498–2496 BC).


title: Old Kingdom of Egypt

text: The Fifth Dynasty (2494–2345 BC) began with Userkaf (2494–2487 BC) and was marked by the growing importance of the cult of sun god Ra. Consequently, fewer efforts were devoted to the construction of pyramid complexes than during the Fourth Dynasty and more to the construction of sun temples in Abusir. Userkaf was succeeded by his son Sahure (2487–2475 BC), who commanded an expedition to Punt. Sahure was in turn succeeded by Neferirkare Kakai (2475–2455 BC), who was Sahure's son. Neferirkare introduced the prenomen in the royal titulary. He was followed by two short-lived kings, his son Neferefre (2455–2453 BC) and Shepseskare, the latter of uncertain parentage. Shepseskare may have been deposed by Neferefre's brother Nyuserre Ini (2445–2421 BC), a long-lived pharaoh who built extensively in Abusir and restarted royal activity in Giza.


title: Old Kingdom of Egypt

text: The last pharaohs of the dynasty were Menkauhor Kaiu (2421–2414 BC), Djedkare Isesi (2414–2375 BC), and Unas (2375–2345), the earliest ruler to have the Pyramid Texts inscribed in his pyramid.


title: Old Kingdom of Egypt

text: Egypt's expanding interests in trade goods such as ebony, incense such as myrrh and frankincense, gold, copper, and other useful metals inspired the ancient Egyptians to build suitable ships for navigation of the open sea. They traded with Lebanon for cedar and travelled the length of the Red Sea to the Kingdom of Punt—possibly modern-day Somalia—for ebony, ivory, and aromatic resins. Shipbuilders of that era did not use pegs (treenails) or metal fasteners, but relied on the rope to keep their ships assembled. Planks and the superstructure were tightly tied and bound together.


title: Old Kingdom of Egypt

text: The rulers of the dynasty sent expeditions to the stone quarries and gold mines of Nubia and the mines of Sinai. there are references and depictions of military campaigns in Nubia and Asia.


title: Old Kingdom of Egypt

text: The sixth dynasty peaked during the reigns of Pepi I and Merenre I with flourishing trade, several mining and quarrying expeditions and major military campaigns.


title: Old Kingdom of Egypt

text: Militarily, aggressive expansion into Nubia marked Pepi I's reign. At least five military expeditions were sent into Canaan.


title: Old Kingdom of Egypt

text: There is evidence that Merenre was not only active in Nubia like Pepi I but also sent officials to maintain Egyptian rule over Nubia from the northern border to the area south of the third cataract.


title: Old Kingdom of Egypt

text: During the Sixth Dynasty (2345–2181 BC) the power of the pharaoh gradually weakened in favor of powerful nomarchs (regional governors). These no longer belonged to the royal family and their charge became hereditary, thus creating local dynasties largely independent from the central authority of the Pharaoh. However, Nile flood control was still the subject of very large works, including especially the canal to Lake Moeris around 2300 BC, which was likely also the source of water to the Giza pyramid complex centuries earlier.


title: Old Kingdom of Egypt

text: Internal disorders set in during the incredibly long reign of Pepi II (2278–2184 BC) towards the end of the dynasty. His death, certainly well past that of his intended heirs, might have created succession struggles. The country slipped into civil wars mere decades after the close of Pepi II's reign.


title: Old Kingdom of Egypt

text: The final blow was the 22nd century BC drought in the region that resulted in a drastic drop in precipitation. For at least some years between 2200 and 2150 BC, this prevented the normal flooding of the Nile.


title: Old Kingdom of Egypt

text: Whatever its cause, the collapse of the Old Kingdom was followed by decades of famine and strife. An important inscription on the tomb of Ankhtifi, a nomarch during the early First Intermediate Period, describes the pitiful state of the country when famine stalked the land.


title: Old Kingdom of Egypt

text: The most defining feature of ancient Egyptian art is its function, as that was the entire purpose of creation. Art was not made for enjoyment in the strictest sense, but rather served a role of some kind in Egyptian religion and ideology. This fact manifests itself in the artistic style, even as it evolved over the dynasties. The three primary principles of that style, frontality, composite composition, and hierarchy scale, illustrate this quite well. These characteristics, initiated in the Early Dynastic Period and solidified during the Old Kingdom, persisted with some adaptability throughout the entirety of ancient Egyptian history as the foundation of its art.


title: Old Kingdom of Egypt

text: Frontality, the first principle, indicates that art was viewed directly from the front. One was meant to approach a piece as they would a living individual, for it was meant to be a place of manifestation. The act of interaction would bring forth the divine entity represented in the art. It was therefore imperative that whoever was represented be as identifiable as possible. The guidelines developed in the Old Kingdom and the later grid system developed in the Middle Kingdom ensured that art was axial, symmetrical, proportional, and most importantly reproducible and therefore recognizable. Composite composition, the second principle, also contributes to the goal of identification. Multiple perspectives were used in order to ensure that the onlooker could determine precisely what they saw. Though Egyptian art almost always includes descriptive text, literacy rates were not high, so the art gave another method for communicating the same information. One of the best examples of composite composition is the human form. In most two-dimensional relief, the head, legs, and feet are seen in profile, while the torso faces directly front. Another common example is an aerial view of a building or location. The third principle, the hierarchy of scale, illustrates relative importance in society. The larger the figure, the more important the individual. The king is usually the largest, aside from deities. The similarity in size equated to similarity in position. However, this is not to say that physical differences weren't shown as well. Women, for example, are usually shown as smaller than men. Children retain adult features and proportions but are substantially smaller in size.


title: Old Kingdom of Egypt

text: Aside from the three primary conventions, there are several characteristics that can help date a piece to a particular time frame. Proportions of the human figure are one of the most distinctive, as they vary between kingdoms. Old Kingdom male figures have characteristically broad shoulders and a long torso, with obvious musculature. On the other hand, females are narrower in the shoulders and waist, with longer legs and a shorter torso. However, in the Sixth Dynasty, the male figures lose their muscularity and their shoulders narrow. The eyes also tend to get much larger. In order to help maintain the consistency of these proportions, the Egyptians used a series of eight guidelines to divide the body. They occurred at the following locations: the top of the head, the hairline, the base of the neck, the underarms, the tip of the elbow or the bottom of the ribcage, the top of the thigh at the bottom of the buttocks, the knee, and the middle of the lower leg. From the soles of the feet to the hairline was also divided into thirds, one-third between the soles and the knee, another third between the knee and the elbow, and the final third from the elbow to the hairline. The broad shoulders that appeared in the Fifth Dynasty constituted roughly that one-third length as well. These proportions not only help with the identification of representations and the reproduction of art but also tie into the Egyptian ideal of order, which tied into the solar aspect of their religion and the inundations of the Nile.


title: Old Kingdom of Egypt

text: Though the above concepts apply to most, if not all, figures in Egyptian art, there are additional characteristics that applied to the representations of the king. Their appearance was not an exact rendering of the king's visage, though kings are somewhat identifiable through looks alone. Identification could be supplied by inscriptions or context. A huge, more important part of a king's portrayal was about the idea of the office of kingship, which were dependent on the time period. The Old Kingdom was considered a golden age for Egypt, a grandiose height to which all future kingdoms aspired. As such, the king was portrayed as young vital, with features that agreed with the standards of beauty of the time. The musculature seen in male figures was also applied to kings. A royal rite, the jubilee run which was established during the Old Kingdom, involved the king running around a group of markers that symbolized the geographic borders of Egypt. This was meant to be a demonstration of the king's physical vigor, which determined his capacity to continue his reign. This idea of kingly youth and strength were pervasive in the Old Kingdom and thus shown in the art.


title: Old Kingdom of Egypt

text: The sculpture was a major product of the Old Kingdom. The position of the figures in this period was mostly limited to sitting or standing, either with feet together or in the striding pose. Group statues of the king with either gods or family members, typically his wife and children, were also common.


title: Old Kingdom of Egypt

text: It was not just the subject of sculpture that was important, but also the material: The use of hard stone, such as gneiss, graywacke, schist, and granite, was relatively common in the Old Kingdom. The color of the stone had a great deal of symbolism and was chosen deliberately. Four colors were distinguished in the ancient Egyptian language: black, green, red, and white. Black was associated with Egypt due to the color of the soil after the Nile flood, green with vegetation and rebirth, red with the sun and its regenerative cycle, and white with purity. The statue of Menkaure with Hathor and Anput is an example of a typical Old Kingdom sculpture. The three figures display frontality and axiality, while fitting with the proportions of this time period. The graywacke came from the Eastern Desert in Egypt and is therefore associated with rebirth and the rising of the sun in the east.


title: 1966 24 Hours of Le Mans

text: The 1966 24 Hours of Le Mans was the 34th Grand Prix of Endurance, and took place on 18 and 19 June 1966. It was also the seventh round of the 1966 World Sportscar Championship season. This was the first overall win at Le Mans for the Ford GT40 as well as the first win for an American constructor in a major European race since Jimmy Murphy's triumph with Duesenberg at the 1921 French Grand Prix. It was also the debut Le Mans start for two significant drivers: Henri Pescarolo, who went on to set the record for the most starts at Le Mans; and Jacky Ickx, whose record of six Le Mans victories stood until beaten by Tom Kristensen in 2005.


title: 1966 24 Hours of Le Mans

text: The year 1966 saw the advent of a completely new set of regulations from the CSI (Commission Sportive Internationale – the FIA's regulations body) – the FIA Appendix J, redefining the categories of motorsport in a numerical list. GT cars were now Group 3 and Prototypes were now Group 6, Sports Cars were still Group 4 and Special Touring Cars was a new category defined by Group 5. (Group 1 and 2 covered other Touring Cars, Group 7 led to the Can-Am series, with Group 8 and 9 for single-seaters).


title: 1966 24 Hours of Le Mans

text: As Group 7 were ineligible for FIA championship events, the Automobile Club de l'Ouest (ACO) opened its entry list to Group 3, 4 and 6. The FIA mandated minimum annual production runs of 500 cars for Group 3 (up from 100 previously) and 50 for Group 4, which also had a maximum engine capacity of 5000cc. There were no engine limits on the GTs or Prototypes. As before, the Groups were split up in classes based on engine size, there was a sliding scale of a minimum weight based on the increasing engine size (from 450 to 1000 kg for 500 to 7000cc) as was fuel-tank capacity (60 to 160 litres).


title: 1966 24 Hours of Le Mans

text: Along with the new Appendix J, after four years of focus on GT racing the FIA announced the International Manufacturer's Championship, for Group 6 Prototypes (2L / >2L), and the International Sports Car Championship for Group 4 (1.3L / 2L / 5L).


title: 1966 24 Hours of Le Mans

text: With the new regulations this year the ACO received a huge 103 entry requests. Such was the interest in Group 6 there were 43 prototypes on the starting grid and only 3 GT cars:


title: 1966 24 Hours of Le Mans

text: After 2 years of its 3-year program, Ford had very little to show for its immense investment. Extensive work was done in the wind tunnel, and improving the brakes, handling and engine – not least improving the fuel economy. The 7-litre Ford NASCAR race engine now put out ca. 550 bhp but was registered as "485 hp" as a result of Ford's lowered rev-limit setting for the 24h race. The new year started with promise with Ken Miles and Lloyd Ruby winning both the inaugural 24 Hours of Daytona and then 12 Hours of Sebring. Copying Ferrari's tactic of overwhelming numbers, they put in fifteen Mark II entries; eight were accepted by the ACO. This time six were built and prepared by Holman & Moody. Shelby ran three cars for Americans Dan Gurney and Jerry Grant, Miles was now paired with New Zealander Denny Hulme after Ruby had been injured in a plane crash a month earlier. The third car was the all-Kiwi pairing of Bruce McLaren and Chris Amon. Holman & Moody, the successful Ford NASCAR race team also brought another trio of GT40`s as backups, – for Mark Donohue/Paul Hawkins, Ronnie Bucknum/Dick Hutcherson, and Lucien Bianchi/Mario Andretti. One of the big improvements Holman & Moody brought with them was a quick-change brake pad system to save time in the pits.


title: 1966 24 Hours of Le Mans

text: The British team Alan Mann Racing had two cars prepared by Ford Advanced Vehicles, for Graham Hill/Dick Thompson and John Whitmore/Frank Gardner. Each of the eight cars was painted in a colour from the Mustang road-car range.


title: 1966 24 Hours of Le Mans

text: Ferrari's response to the Mk II was the new Ferrari 330 P3. Shorter and wider than the P2, it kept the same 4-litre engine but with fuel-injection now put out 420 bhp. The works team had a pair of closed-cockpit versions for John Surtees/Ludovico Scarfiotti and former winners Lorenzo Bandini/Jean Guichet. An open-cockpit variant was given to the North American Racing Team (NART) for Pedro Rodriguez/Richie Ginther. But their race preparation had been limited by strike action in Italy.


title: 1966 24 Hours of Le Mans

text: NART also entered a long-tailed P2, rebodied by Piero Drogo and driven by last year's winner Masten Gregory with Bob Bondurant. There were also P2/P3 hybrids for the Ecurie Francorchamps (Dumay/"Beurlys") and Scuderia Filipinetti (Mairesse/Müller. Finally there was a P2 Spyder for Maranello Concessionaires (Attwood/Piper). Fighting on two fronts, the company also took on Porsche in the 2-litre class with its Dino 206 S with a pair from NART and another for Maranello. Nino Vaccarella, race winner in 1964, was furious when he found out he was ‘demoted’ to drive the Dino rather than the P3 and threatened to walk out, but did, in the end run the car.


title: 1966 24 Hours of Le Mans

text: Chevrolet was the other player in the over 2-litre class. Ex-Ferrari engineer Giotto Bizzarrini had fallen out with Renzo Rivolta and with his own company brought his new design, the P538, but still using the 5.3L Chevrolet engine. The other Chevy was in Texan Jim Hall's Chaparral 2D. The 5.3L small block put out 420 bhp and had a semi-automatic transmission. Driven by Phil Hill and Jo Bonnier, they made a big impact winning the Nürburgring round just two weeks earlier.


title: 1966 24 Hours of Le Mans

text: Porsche came with a new model – the 906 designed by the team led by Ferdinand Piëch. With the 2.0L flat-6 engine from the 911, it had recently been homologated for Group 4 with the requisite 50 cars. It was race-proven too, after winning the Targa Florio the month before. However three "langheck" (long-tail) prototypes were also entered by the works team, driven by Hans Herrmann/Herbert Linge, Jo Siffert/Colin Davis and Udo Schütz/Peter de Klerk.


title: 1966 24 Hours of Le Mans

text: Alfa Romeo, and its works team Autodelta, had withdrawn from racing for a year to prepare a new car for 1967. But this year, a significant new manufacturer entered the fray: Matra had bought out Automobiles René Bonnet in 1964, rebadging the Djet. However it was a new design that was entered. The M620 had a 2-litre version of the BRM Formula 1 engine developing 245 bhp that could match the Porsches in speed, making 275 kp/h (170 mph). The three cars were driven by up and coming young French single-seater drivers Jean-Pierre Beltoise/Johnny Servoz-Gavin, Jean-Pierre Jaussaud/Henri Pescarolo and Jo Schlesser with Welshman Alan Rees.


title: 1966 24 Hours of Le Mans

text: Remarkably, given British dominance of the race barely a decade earlier, there were only three British cars in this year's race. Defending class-champions Austin-Healey had two works entries. The other was a Marcos Engineering kit-car based on a Mini Cooper 'S' chassis. Entered by Frenchman Hubert Giraud and driven by Jean-Louis Marnat and Claude Ballot-Lena, the team was able to get a works engine and gearbox from BMC. The spectators laughed at the small car and its apparent resemblance to a flea. But the Mini Marcos would become the 'darling of the crowds' later on in the race.


title: 1966 24 Hours of Le Mans

text: Alpine, after its poor showing in the previous year, returned with 6 cars. The new A210 had a 1.3L Gordini-Renault engine with a Porsche gearbox making it more durable if only a little faster at 245 kp/h (150 mph). This year a new customer team, the Ecurie Savin-Calberson was supported by Alpine, with former Index winner Roger Delageneste.


title: 1966 24 Hours of Le Mans

text: Charles Deutsch (CD) brought his new aerodynamic SP66. The car was powered by a 1130cc Peugeot engine, marking the return of the French company last seen in the 1938 race. Another competitor in the small prototypes was ASA. Originally a Ferrari design by Carlo Chiti and Giotto Bizzarrini before their famous walk-out from Ferrari, it was sold to the new Italian company and uprated with a 1290cc engine giving 125 bhp. Two cars were entered, one by ASA and one by NART.


title: 1966 24 Hours of Le Mans

text: The new Group 4 category started attracting interest as the earlier prototypes were meeting the homologation and production requirements. There were six GT40s entered by customer teams, with the 4.7L engine. Jochen Rindt, the previous year's winner, had moved across from Ferrari to Ford, in the new Canadian Comstock Racing Team. They joined Ford France, Scuderia Filipinetti and new privateers Scuderia Bear and Essex Wire. Joining Skip Scott, team owner of the Essex Wire team, was a 21-year old Jacky Ickx in his Le Mans debut.


title: 1966 24 Hours of Le Mans

text: Up against them was Ed Hugus’ modified Ferrari 275 GTB and the Equipe Nationale Belge ran its 250 LM. Porsche also ran three regular 906s in the Sports category, two works entries as well as one for their Paris importer Toto Veuillet.


title: 1966 24 Hours of Le Mans

text: With Shelby now fully concentrated on the Ford program, the Cobra GTs were abandoned. There were only three GT entries: the Ferrari customer teams Ecurie Francorchamps and Maranello Concessionaires both entered a 275 GTB. The third was a quiet though significant entry: Jacques Dewes, ever the pioneering privateer, brought the first Porsche 911 to Le Mans. Production of what would become the ubiquitous Le Mans car had started in late 1964 and the new 911 S model had its ‘boxer’ 6-cylinder engine tuned to 160 bhp.


title: 1966 24 Hours of Le Mans

text: Finally, in a sub competition of its own, there was the tire race between Firestone, Dunlop, and Goodyear.


title: 1966 24 Hours of Le Mans

text: Once again there was rain at the April testing weekend. And once again there was tragedy with a fatal accident. American Walt Hansgen's Ford hit water on the pit straight and aquaplaned. He aimed for the escape road at the end of the straight, not realising it was blocked by a sandbank, which he hit at about 190 km/h (120 mph). Taken with critical injuries to the American military hospital at Orléans, he died five days later.


title: 1966 24 Hours of Le Mans

text: A notable absentee at the test weekend was the Ferrari works team. Chris Amon was fastest at the test weekend in the experimental Ford J-car with a 3:34.4 lap. But come race-week it was Gurney who put in the fastest qualifying lap of 3:30.6, a second faster than his stablemates Miles, Gardner and McLaren. Ginther was 5th in the fastest Ferrari with a 3:33.0, with Parkes and Bandini in 7th and 8th respectively. Phil Hill, in the Chaparral, broke up the Ford-Ferrari procession in 10th.


title: 1966 24 Hours of Le Mans

text: Jo Siffert put the quickest Porsche 22nd on the grid with 3:51.0, with Nino Vaccarella's Ferrari in 24th (3:53.5) and Jo Schlesser's Matra just behind it (3:53.5). Over the test weekend, Mauro Bianchi had surprised many in the 1-litre Alpine, going as fast as the 1959 Ferrari Testa Rossas.


title: 1966 24 Hours of Le Mans

text: The quickest Alpine in practice was Toivonen/Jansson (4:20.1), well ahead of the best CD (Ogier/Laurent 4:27.5) and the Austin-Healey's (4:45.1) and ASAs (4:49.8).


title: 1966 24 Hours of Le Mans

text: There were also two significant dramas in practice. The biggest news was the walkout of Ferrari's lead driver John Surtees. He and team manager Eugenio Dragoni had decided that he, as the fastest Ferrari driver and driving with Mike Parkes, would act as the hare to bait and break the Fords. He was also still recovering from a big accident the previous year and would hand over to Scarfiotti if he got overly tired. Yet during raceweek, with news that new FIAT chairman Gianni Agnelli would be at the race, Dragoni changed the plan, putting Scarfiotti (Agnelli's nephew) in first. Surtees was furious and stormed off to Maranello to argue his case with Enzo Ferrari. Not listened to, Surtees, Ferrari's 1964 F1 World Champion, quit the team.


title: 1966 24 Hours of Le Mans

text: The second incident was more serious – Dick Thompson in the Alan Mann Ford Mk II collided with Dick Holqvist who was going far slower in the Scuderia Bear Ford GT40 and pulled right in front of him at Maison Blanche. Holqvist spun off with heavy damage, while Thompson was able to get back to the pits. While repairing the damage, officials told the team that they were disqualified for Thompson leaving the scene of a major accident. Thompson was adamant he had advised pit officials, and in the hearing Ford's director of racing Leo Beebe threatened to withdraw all Fords. He was supported by Huschke von Hanstein who was prepared to withdraw the Porsche team as well. In the end, the car was reinstated though Thompson was banned. This still posed a problem for Ford as they were lacking spare drivers, with injuries with A. J. Foyt, Jackie Stewart and Lloyd Ruby. In the end Australian Brian Muir, who was in England was flown over to France. He did his two laps, his first ever at Le Mans on raceday morning to qualify.


title: 1966 24 Hours of Le Mans

text: On a cool and cloudy afternoon, it was Henry Ford II this year who was the honorary starter. Last-minute raindrops caused a flurry of tyre changes and some cars switched from Firestone to Goodyear or Dunlop. At the end of the first lap Ford's cars led – Hill ahead of Gurney then Bucknum, Parkes in the Ferrari, followed by Whitmore's Ford, the Chaparral, then the GT40s of Scott and Rindt. There had been instant excitement when Edgar Berney spun his Bizzarrini on the start-line amongst the crowd of departing cars. Miles had to pit after the first lap to fix his door because earlier, he had slammed the door on his helmet. Also pitting on the first lap was Paul Hawkins whose Ford broke a halfshaft going down the Mulsanne Straight lurching him sideways at nearly 350 km/h. The Holman & Moody crew took 70 minutes to repair it only for Mark Donohue to have the rear boot blow off down the Mulsanne and find the differential had been terminally damaged.


title: 1966 24 Hours of Le Mans

text: On the third lap Gurney took the lead, which he held onto until the first pit-stops. McLaren was being delayed by his tyres going off, so the team quietly changed from Firestones to Goodyears. After only 9 laps, Rindt's Ford blew its engine at the end of the Mulsanne straight, so there would be no consecutive win. At the end of the first hour Fords were 1-2-3, with Gurney leading by 24 seconds from Graham Hill and Bucknum. Fourth, 20 seconds further back, was the first NART Ferrari, of Rodriguez. Meanwhile, Miles had been putting in extremely fast laps, breaking the lap record and getting back up to 5th place. Parkes was 6th ahead of Bonnier in the Chaparral who had already been lapped. Within another hour Miles and Hulme had taken the lead.


title: 1966 24 Hours of Le Mans

text: At 8pm, only the Miles and Gurney Fords and Rodriguez's Ferrari were on the lead lap (#64). At dusk it started to drizzle, reducing the power advantage of the big Fords, and allowing the Ferraris to keep in touch. The Fords were further delayed as a number chose to change brake pads early. By then all three Dinos were out with mechanical issues, removing one threat to Porsche. A major accident occurred when Jean-Claude Ogier's CD got loose on spilt oil at the Mulsanne kink and was hit hard side-on by François Pasquier in the NART ASA. Both cars hit the wall and caught fire, and Ogier was taken to the hospital with two broken arms.


title: 1966 24 Hours of Le Mans

text: After 6 hours, heavy rain was pouring down. Ginther's NART Ferrari was leading from Parkes, chased by the Fords of Miles and Gurney on the same lap, McLaren a lap behind, then Bandini and Andretti two laps back. But Andretti was soon sidelined with a blown headgasket, as was the Hill/Muir Ford which had broken its front suspension coming out of Arnage corner. As the rain eased, the Fords of Miles and Gurney retook the lead. Just before midnight Robert Buchet aquaplaned coming over the crest at the Dunlop Bridge and crashed the French Porsche. The Chaparral had been running well initially, getting as high as 5th, until a broken alternator stopped them also just before midnight while running in 8th.


title: 1966 24 Hours of Le Mans

text: Another heavy downpour at 12.30 contributed to a big accident in the Esses. Guichet had just spun his Ferrari in the rain and got away when Buchet arrived and crashed his Porsche. Then Schlesser's Matra ran into the CD of Georges Heligouin avoiding the accident. As the damage was being cleared, Scarfiotti crashed his P3 into the Matra and all four cars were wrecked, although only Scarfiotti was taken to hospital, with minor bruising.


title: 1966 24 Hours of Le Mans

text: During the night the Ferraris started to suffer from overheating. When the NART P3 retired from 4th with a broken gearbox at 3am, and the Filipinetti car of Mairesse/Müller from 5th an hour later, the Ferrari challenge was spent – there would be no privateer-saviours for the marque this year. At halfway the Ford Mk IIs held the top-4 places (Miles/Hulme, Gurney/Grant, McLaren/Amon, Bucknum/Hutcherson) with GT40s in 5-6-8: Essex, Filipinetti and Ford-France (Revson/Scott, Spoerry/Sutcliffe, Ligier/Grossman). Siffert/Davis were leading a train of Porsches in 7th and the nearest Ferrari was the Bandini/Guichet P3 limping in 12th. Ford told their cars to drop to 4-minute laps, but Gurney and Miles kept racing hard for the lead.


title: 1966 24 Hours of Le Mans

text: What could have been a procession was anything but for Ford. At 8 am, a pit-stop for the Filipinetti Ford running 5th spilled petrol on a rear tyre. On his out-lap Spoerry lost traction and spun at the Esses wrecking the car. The Ford-France and Essex cars had already retired with engine issues during the night.


title: 1966 24 Hours of Le Mans

text: At 9am the Gurney/Grant car, which had been dicing for the lead with Miles & Hulme (against strict team orders), retired from 1st when the car blew a headgasket. That left Ford with only three Mk IIs left (albeit running 1-2-3) as all the GT40s had retired as well. Porsches now held the next five places and the two Ferrari GTs were 9th and 10th chased by the Alpines.


title: 1966 24 Hours of Le Mans

text: With the field covered it was now that Leo Beebe, Ford racing director, contrived to stage a dead heat by having his two lead cars cross the line simultaneously. The ACO told him this would not be possible — given the staggered starting formation, the #2 car would have covered 20 metres further, and thus be the race winner. But Beebe pushed on with his plan anyway.


title: 1966 24 Hours of Le Mans

text: At the last pit stop, the Mark IIs were still in front. Miles/Hulme were leading, followed by McLaren/Amon holding station on the same lap. The gold Bucknum/Hutcherson car was third, but twelve laps behind. Miles was told to ease off to allow McLaren to catch up with him. Just before 4pm, it started to drizzle again. As it turned out McLaren's #2 car crossed the finish line just ahead and was declared the winner. Miles, upset about the team orders, lifted off to allow McLaren to finish a length ahead.


title: 1966 24 Hours of Le Mans

text: At their last pitstop, the 7th-placed Porsche of Peter Gregg and Sten Axelsson was stopped by engine problems. Gregg parked the car waiting for the last lap, but at 3.50pm he could not get it restarted and missed the formation finish. The other Porsches came in 4th to 7th led by Siffert/Davis, who also claimed the Index of Performance. The Stommelen/Klass car in 7th was the first, and only, Sports car to finish. Finally, the new 911 GT ran well and finished 14th starting a long record of success.


title: 1966 24 Hours of Le Mans

text: Four Alpines finished this year, 9-11-12-13, with that of Delageneste/Cheinisse from the Ecurie Savin-Calberson winning the Thermal Efficiency Index. The final finisher was the little Mini Marcos. Formerly the object of laughter, it had become a crowd favourite running like clockwork. As car after car ran into trouble and dropped out, the little Marcos, by this time nicknamed 'la puce bleue' (the blue flea) wailed on. Despite finishing 26 laps behind the rest of the field. the car eventually came home at an incredible 15th overall.


title: 1966 24 Hours of Le Mans

text: It had taken three attempts for Ford to win Indianapolis and the NASCAR Championship, and now it added the Le Mans 24 Hours. Chrysler had first entered in 1925, and after 41 years it was the first win for an American car. The official Ford press release, dated July 5, 1966, claimed:


title: 1966 24 Hours of Le Mans

text: The Ford team's decision was a big disappointment for Ken Miles, who was aiming for the 'Endurance Racing Triple Crown'—winning Daytona-Sebring-Le Mans—as a reward for his investment in the GT40 development. "I'm disappointed, of course, but what are you going to do about it." Beebe also later admitted he had been annoyed with Miles racing Gurney, disregarding team orders by potentially risking the cars' endurance. Two months later, Ken Miles died at Riverside while testing the next generation Ford GT40 J-Car, which became the MkIV that won Le Mans in 1967.


title: 1966 24 Hours of Le Mans

text: In a race of attrition it was fortunate the big teams brought such quantity – only 3 of the 13 Fords finished and only the two GTs finished from the 14 Ferraris entered. By contrast, 5 of the 7 Porsches finished (including their 911 in the GT class) as did four of the six Alpines, showing much better reliability. It was the first time that the 3000 miles/125 mph mark had been exceeded.


title: 1966 24 Hours of Le Mans

text: With the bitter failure of Ferrari's 330 P3 mirroring the failure of the Ford prototypes the previous year (and with salt rubbed into the wound with Ford's formation finish), the "Ford-Ferrari War" moved into its climactic phase. The Le Mans results boosted Ford over Ferrari for the 1966 Manufacturers' Championship. Ford's answer to Ferrari's next weapon, the 330 P4, was delayed by development problems, handing Ferrari a rematch with the Mk IIs that so dominated them at LeMans, at the 1967 Daytona 24 Hours. After a defective batch of transaxle shafts sank Ford's effort, Ferrari took a 1-2-3 finish with their new P4s and returned the favor of Ford's victory formation. Ford's Mark IV was ready in time for the 12 Hours of Sebring, where it won on its maiden outing. Three more examples were produced and prepared for the Le Mans 24 Hours, while Ford's championship hopes rested on the older GT40s and the new GT40-derived Mirages to gain points in the intervening races. After a disappointing showing at Monza and a controversial denial of championship points from a Mirage win at the Spa event, Ford saw limited opportunity for taking the Manufacturers' title again and instead concentrated on a last hurrah at Le Mans, where the leading Mark IV, driven by Dan Gurney and A. J. Foyt, won handily. Ferrari took the Manufacturers' title for 1967, edging up-and-coming Porsche by two points.


title: 1966 24 Hours of Le Mans

text: The Ford-Ferrari War was ended by new rules for 1968 that eliminated the P4s and Mark IVs from eligibility for the Sports Prototype class with a 3-litre engine capacity limit. The GT40s met the production requirement and 5 litre limit for homologation in the new Group 4 class. Ferrari found the production requirement for homologating the P4 under Group 4 daunting and withdrew from competition in the sport-racer classes. Neither Ford nor Ferrari fielded a factory team for the Manufacturers' Championship that year; however, the John Wyer team running the Group 4 GT40s brought home the title for Ford and in 1969 achieved wins with the GT40 at Sebring and Le Mans. When Ferrari was able to enter a homologated car for 1970, the class they competed in was dominated by the Porsche 917.


title: 1966 24 Hours of Le Mans

text: Several cars of the original 24-hours race have survived and have been restored to their former glory. The crowd-pleasing Mini Marcos was club raced, rallied and hill climbed, road registered twice and repainted five times only to be stolen in the night of 30 October 1975 from beneath a flat in Paris. Three days earlier Marcos-boss Harold Dermott had made a deal to buy the car with the intention to restore it and put on museum display. Several people searched for the car ever since, but it was only found back in December 2016 in Portugal by Dutchman Jeroen Booij.


title: 1966 24 Hours of Le Mans

text: The race became the subject of a 2009 book, detailing the race and the famous background rivalry between Enzo Ferrari and Henry Ford II, by A. J. Baime titled "Go Like Hell"—the words shouted by Bruce McLaren to Chris Amon as they drove to their famous victory.


title: 1966 24 Hours of Le Mans

text: Rumors of a movie adaptation of the book, an Amazon best seller, circulated from 2013 to 2015. The book attained a "4.5 star" rating by book review website GoodReads.com.


title: 1966 24 Hours of Le Mans

text: A 2016 documentary film, produced and directed by Americans Nate Adams and comedian Adam Carolla, features the Le Mans rivalry between Ferrari and Ford. The production was well received critically, attaining a "100%" rating on review aggregate website Rotten Tomatoes.


title: 1966 24 Hours of Le Mans

text: "Ford v Ferrari" (known as "Le Mans '66" in the UK and other territories) is a sports drama film distributed by 20th Century Fox, based on the rivalry between Ford and Ferrari for dominance at Le Mans. Directed by James Mangold, starring Matt Damon and Christian Bale in the roles of Carroll Shelby and Ken Miles, respectively. The film was released on 15 November 2019. At the 92nd Academy Awards, the film received four nominations, including Best Picture and Best Sound Mixing, and won for Best Sound Editing and Best Film Editing.


title: 1966 24 Hours of Le Mans

text: Results taken from Quentin Spurring's book, officially licensed by the ACO Class Winners are in Bold text.


title: Alcohol by volume

text: Alcohol by volume (abbreviated as ABV, abv, or alc/vol) is a standard measure of how much alcohol (ethanol) is contained in a given volume of an alcoholic beverage (expressed as a volume percent). It is defined as the number of millilitres (mL) of pure ethanol present in of solution at . The number of millilitres of pure ethanol is the mass of the ethanol divided by its density at , which is . The ABV standard is used worldwide. The International Organization of Legal Metrology has tables of density of water–ethanol mixtures at different concentrations and temperatures.


title: Alcohol by volume

text: In some countries, e.g. France, alcohol by volume is often referred to as degrees Gay-Lussac (after the French chemist Joseph Louis Gay-Lussac), although there is a slight difference since the Gay-Lussac convention uses the International Standard Atmosphere value for temperature, .


title: Alcohol by volume

text: Mixing two solutions of alcohol of different strengths usually causes a change in volume. Mixing pure water with a solution less than 24% by mass causes a slight increase in total volume, whereas the mixing of two solutions above 24% causes a decrease in volume. The phenomenon of volume changes due to mixing dissimilar solutions is called "partial molar volume". Water and ethanol are both polar solvents. When water is added to ethanol, the smaller water molecules are attracted to the ethanol's hydroxyl group, and each molecule alters the polarity field of the other. The attraction allows closer spacing between molecules than is usually found in non-polar mixtures.


title: Alcohol by volume

text: Thus, ABV is not the same as volume fraction expressed as a percentage. Volume fraction, which is widely used in chemistry (commonly denoted as v/v), is defined as the volume of a particular component divided by the sum of all components in the mixture when they are measured separately. For example, to make 100 ml of 50% ABV ethanol solution, water would be added to 50 ml of ethanol to make up exactly 100 ml. Whereas to make a 50% v/v ethanol solution 50 ml of ethanol and 50 ml of water could be mixed but the resulting volume of solution will measure less than 100 ml due to the change of volume on mixing, and will contain a higher concentration of ethanol. The difference is not large, with the maximum difference being less than 2.5%, and less than 0.5% difference for concentrations under 20%.


title: Alcohol by volume

text: Some drinks have requirements of alcoholic content in order to be certified as a certain alcohol brand or label. Some alcoholic drinks may be considered legally as non-alcoholic in spite of having relatively high alcohol levels such as in Finland where products under 3 degrees can be sold legally as alcohol-free.


title: Alcohol by volume

text: Low-alcohol beers (0.5<) are considered in some countries such as Iran as permitted (or "halal" under Muslim vocabulary) despite alcohol being banned. However, the level of alcohol-free beers is typically the lowest commercially sold 0.05.


title: Alcohol by volume

text: It is near impossible for a healthy person to become intoxicated drinking low-alcohol drinks. The low concentration severely limits the rate of intake, which is easily dispatched by human metabolism. Quickly drinking 1.5 L of 0.4% ABV beer in an hour resulted in a maximum of 0.0056% BAC in a study of German volunteers. Healthy human kidneys can only excrete 0.8–1.0 L of water per hour, making water intoxication likely to set in before any alcoholic intoxication.


title: Alcohol by volume

text: The process of ethanol fermentation will slow down and eventually come to a halt as the alcohol produced becomes too concentrated for the yeast to tolerated, defining an upper limit of ABV for non-distilled alcoholic drinks. The typical tolerance for beer yeasts is at 8–12%, while wine yeasts typically range from 14–18%, with speciality ones reaching 20% ABV. Any higher would require distillation, producing liquor.


title: Alcohol by volume

text: Details about typical amounts of alcohol contained in various beverages can be found in the articles about them.


title: Alcohol by volume

text: During the production of wine and beer, yeast is added to a sugary solution. During fermentation, the yeasts consume the sugars and produce alcohol. The density of sugar in water is greater than the density of alcohol in water. A hydrometer is used to measure the change in specific gravity (SG) of the solution before and after fermentation. The volume of alcohol in the solution can then be estimated. There are a number of empirical formulae which brewers and winemakers use to estimate the alcohol content of the liquor made.


title: Alcohol by volume

text: Specific gravity is the density of a liquid relative to that of water, i.e., if the density of the liquid is 1.05 times that of water, it has a specific gravity of 1.05. In UK brewing usage, it is customary to regard the reference value for water to be 1000, so the specific gravity of the same example beer would be quoted as 1050. The formulas here assume that the former definition is used for specific gravity.


title: Alcohol by volume

text: Another way of specifying the amount of alcohol content is alcohol "proof", which in the United States is twice the alcohol-by-volume (ABV) number. This may lead to confusion over similar products bought in varying regions that have different names on country-specific labels. For example, Stroh rum that is 80% ABV is advertised and labeled as "Stroh 80" when sold in Europe, but is named "Stroh 160" when sold in the United States.


title: Alcohol by volume

text: In the United Kingdom proof is 1.75 times the number (expressed as a percentage). For example, 40% ABV is 80 proof in the US and 70 proof in the UK. However, since 1980, alcohol proof in the UK has been replaced by ABV as a measure of alcohol content, avoiding confusion between the UK and US proof standards.


title: Alcohol by volume

text: In the United States and India, a few states regulate and tax alcoholic beverages according to alcohol by weight (ABW), expressed as a percentage of total mass. Some brewers print the ABW (rather than the ABV) on beer containers, particularly on low-point versions of popular domestic beer brands. The ABV value of a beverage is always higher than the ABW.


title: Alcohol by volume

text: Because ABW measures the proportion of the drink's mass which is alcohol, while ABV is the proportion of the drink's volume which is alcohol, the two values are in the same proportion as the drink's density is with the density of alcohol. Therefore, one can use the following equation to convert between ABV and ABW:


title: Alcohol by volume

text: At relatively low ABV, the alcohol percentage by weight is about 4/5 of the ABV (e.g., 3.2% ABW is about 4% ABV). However, because of the miscibility of alcohol and water, the conversion factor is not constant but rather depends upon the concentration of alcohol. At 0% and 100% ABV is equal to ABW, but at values in between ABV is always higher, up to ~13% higher around 60% ABV.


title: Born This Way (album)

text: Born This Way is the second studio album by American singer Lady Gaga, released by Interscope Records on May 23, 2011. It was co-written and co-produced by Gaga with other producers, including Fernando Garibay and RedOne, who had previously worked with her. She also worked with artists such as E Street Band saxophonist Clarence Clemons and Queen guitarist Brian May. Gaga and Garibay are the album's musical directors.


title: Born This Way (album)

text: The music of "Born This Way" stems from the synth-pop and dance-pop styles of her previous material while incorporating different forms of instrumentation from that on her previous releases, such as electronic rock and techno. It features a broader range of genres, such as opera, heavy metal, disco, house, and rock and roll, while its lyrical topics include sexuality, religion, freedom, feminism, and individualism. Despite divided opinions among religious and conservative commentators, the album was well received by music critics, who praised the varying musical styles and Gaga's vocals. Several music publications included the album in their year-end best-of lists. "Born This Way" received three Grammy Award nominations, including Gaga's third consecutive nomination for Album of the Year. In 2020, "Rolling Stone" included it in their updated list of the 500 Greatest Albums of All Time.


title: Born This Way (album)

text: "Born This Way" debuted atop in various major music chart worldwide, including the US "Billboard" 200, where the record sold 1.108 million copies in its first week—the highest first-week album sales in five years; an estimated 440,000 copies were sold on Amazon in two days of its first week at a price of 99 cents. Four of the album's singles—"Born This Way", "Judas", "The Edge of Glory", and "You and I"—charted in the top ten of the "Billboard" Hot 100 in the US, where "Born This Way" became the 1,000th song to reach the number one spot since the inauguration of the chart in 1958. At the time of its release, the title track was the fastest-selling single in iTunes history. A promotional single from the album, "Hair", also managed to chart in sixteen countries, peaking at number 12 in the United States. The album's fifth official single, "Marry the Night", charted within the top-thirty in the United States. According to the International Federation of the Phonographic Industry (IFPI), "Born This Way" was the third global best-selling album of 2011. As of 2021, it has more than 5.8 billion global streams, 5.2 million physical copies sold, and 31 million digital tracks sold.


title: Born This Way (album)

text: Gaga has performed songs from the album on different occasions, such as the 53rd Annual Grammy Awards and the 2011 MTV Video Music Awards, as well as on worldwide television and in other events, including her third headlining concert tour, the Born This Way Ball (2012–2013). In November 2011, "Born This Way", and its remix album, "", were packaged as a compilation album titled "". On May 28, 2021, Gaga announced "Born This Way The Tenth Anniversary", a special anniversary release of the album featuring six renditions of Gaga's songs by artists of the LGBT community.


title: Born This Way (album)

text: Lady Gaga released her first studio album, "The Fame", in August 2008. It received generally favorable reviews from critics and topped the charts in several countries. After its worldwide success, a reissue of the album, titled "The Fame Monster", was released in November 2009, which was also met with critical acclaim. Gaga described them as yin and yang because of their contrasting styles and concepts.


title: Born This Way (album)

text: In March 2010, Gaga disclosed that she was working on a new album, saying that she had written most of the songs for the proposed album. Meanwhile, producer RedOne described it as Gaga's "freedom album" as her then-manager, Troy Carter, felt her public image would begin to change after its release. A few months after, Gaga exclaimed that she had finished writing songs for the album: "It came so quickly. I've been working on it for months, and I feel very strongly that it's finished right now. Some artists take years. I don't. I write music every day." She first alluded to "Born This Way" during a SHOWstudio interview in the same year, answering what she would call the movie of her life. In another interview, she declared the album "the anthem of [this] generation," as she continued, "It includes the greatest music I've ever written. I've already written the first single for the new album and I promise you, that this album is the greatest of my career."


title: Born This Way (album)

text: "Born This Way" was written and recorded while in the midst of The Monster Ball Tour. Besides sessions on tour buses, recording sessions and mixing for the album took place at a variety of studios: Abbey Road Studios in London, England; Germano Studios in New York City, The Mix Room in Burbank, Studio at the Palms in Las Vegas, Henson Studios in Los Angeles, Larrabee in North Hollywood, Setai Recording in Miami Beach, Warehouse Productions in Omaha, all in the United States; Gang Studios in Paris, France; Studios 301 and Paradise in Sydney, Sing Sing Studios in Melbourne, all in Australia; Officine Meccaniche in Milan, Italy; and Livingroom Studios in Oslo, Norway. All mastering happened at Oasis Mastering in Burbank. Brian May, a guitarist of Queen, and Clarence Clemons, a former member of the E Street Band, worked with Gaga on the album.


title: Born This Way (album)

text: In terms of musical composition, "Born This Way" is considered to be a notable departure from Gaga's previous works. It incorporates a broader range of musical genres such as opera, heavy metal, rock and roll, Europop, electro-industrial, disco, and house in addition to featuring a wider variety of instrumentation and musical styles. For example, an organ can be heard as Gaga closes "Born This Way", a Gregorian chant-inspired male vocal choir is a prominent feature in "Bloody Mary", guitars and violins in "Americano", and electric guitars in "Bad Kids". The songs "Hair" and "The Edge of Glory" are distinguishable from the rest of the album, as a saxophone – performed by Clarence Clemons, a prominent member of the E Street Band – can be heard throughout.


title: Born This Way (album)

text: In several interviews, Gaga expressed that she was mostly inspired by Madonna, Whitney Houston, and Bruce Springsteen; other musical influences for the album include Prince, Iron Maiden, Kiss, Queen, TLC, Pat Benatar, and En Vogue. At the 53rd Annual Grammy Awards, while accepting the award for Best Pop Vocal Album for "The Fame Monster" (2009), Gaga thanked Houston, "I wanted to thank Whitney because when I wrote 'Born This Way', I imagined she was singing it because I wasn’t secure enough in myself to imagine I was a superstar. So Whitney I imagined you were singing 'Born This Way' when I wrote it. Thank you." In May 2021, during the 10th anniversary of the album, she revealed that it was inspired by Carl Bean and his song "I Was Born This Way", released in 1977. On her social media, Gaga wrote, ""Born This Way", my song and album, were inspired by Carl Bean, a gay black religious activist who preached, sung and wrote about being Born This Way."


title: Born This Way (album)

text: The album contains mainly moderate-tempo dance songs, described as "anthemic style melodies with really sledge-hammering dance beats." In the months prior to the release of "Born This Way", Gaga characterized her new music as "something so much deeper than a wig or lipstick or a fucking meat dress" and upon hearing it, Akon remarked that she would take music to the "next level." The album includes references to several religious figures of Christianity, notably Judas Iscariot, Mary Magdalene, and Jesus of Nazareth. Several songs on the album give reference to sexuality and feminism. Other themes referenced in the album include individualism, equality, and freedom.


title: Born This Way (album)

text: The standard edition of "Born This Way" includes 14 tracks; the deluxe edition includes eight additional tracks—three original songs, a different version of the title track, and four remixes. Fernando Garibay, one of the producers, revealed that each song on the album was revised "about 50 times", as Gaga wanted to try different genres and sounds. "Born This Way" opens with "Marry the Night", a song written as a homage to New York City. It is a dance-pop record which contains church bells, a thumping four on the floor house beat, a funk rock-influenced breakdown, and has been noted to contain elements of disco, techno, funk and Hi-NRG music. The song's sound has been compared to that of 1980s pop and glam metal artists, including Bon Jovi, Pat Benatar and Bonnie Tyler. The next, "Born This Way" is about how everybody is equal, regardless of skin color, sexuality, or creed, and that every person can fulfill his or her dream. Compared to Madonna's "Express Yourself", the song features Euro disco beats. The third track of the album, "Government Hooker", contains elements of opera music, and a dance melody resembling genres such as techno, trance, industrial and post-disco, as well as a hip hop-influenced beat. The song has been compared to the work of German electronic band Kraftwerk.


title: Born This Way (album)

text: The fourth song is "Judas", which Gaga confirmed to be influenced by the Biblical Judas Iscariot. The song's lyrics are about being betrayed as well as "honoring your darkness in order to bring yourself into the light," according to Gaga. The song is a dance-pop and house track, with influences of techno, industrial and disco, a 1980s-inspired pop chorus, as well as a breakdown containing elements of dubstep and techno music.


title: Born This Way (album)

text: The album's fifth track is "Americano", a mariachi song with techno, house and disco influences. Written in Spanish and English, Gaga composed "Americano" in response to the Arizona immigration law Arizona SB 1070. Critics have noted vaudevillian elements within the song, and it has been compared to the work of Judy Garland, with Gaga claiming that she sees influence from French chanson singer Édith Piaf. The sixth track, "Hair" is a song about expressing freedom through one's hair. The song has a dance-pop melody, yet it has influences from rock/heavy metal music artists like Bruce Springsteen, Iron Maiden and Kiss. It has also been noted to incorporate disco and Europop. The seventh track, "Scheiße" contains faux-German lyrics and has a message of feminism, accompanied by a heavy synths, techno beats, as well as Euro disco influences. The song's melody has drawn comparisons to Madonna and electroclash artist Miss Kittin. After "Scheiße" is "Bloody Mary", which is a relatively slow-tempo and dark electropop song containing "plucked strings" and "filthy beats", as well as numerous religious references, a trance-influenced melody, and lyrics infused in French and Spanish. "Bad Kids" contains 1980s synthpop influences and electric guitars. Its disco beat has been compared to the music of Donna Summer, and influences of heavy metal music have been found within its composition.


title: Born This Way (album)

text: "Highway Unicorn (Road to Love)" is "Born This Way"s tenth track. A dance-pop song, it has been noted to have Bruce Springsteen influences, as well as powerful drums and synths. "Heavy Metal Lover", the eleventh track, is a song of electropop and techno tendencies, which has been noted to contain elements of house music, electro-industrial beats, and has been compared to the power pop of the 1990s. Synthesizers are used as a focal point for the song. Following "Heavy Metal Lover" is "Electric Chapel", a heavy metal-influenced pop song noted to contain elements of Europop that has been compared to the work of Madonna. The album's thirteenth track, "You and I", is a rock and roll ballad which contains elements of country rock music. The song contains a moderato tempo, and Queen guitarist Brian May is also featured on the track. The track, furthermore, samples Queen's 1977 single "We Will Rock You".


title: Born This Way (album)

text: The fourteenth track is "The Edge of Glory", which refers to the death of Gaga's grandfather. It is an upbeat song of dance-pop, electronic rock and synthpop tendencies; it also contains a saxophone solo by Clemons which has drawn comparisons to blues music. One of the bonus tracks is "Black Jesus + Amen Fashion", a pop song which draws influences from 1980s and 1990s electronic and club music, including Broadway. "Fashion of His Love", the second bonus track, is a 1980s-influenced dance-pop song that contains references to the late fashion designer Alexander McQueen. The last bonus track is "The Queen", a synth-rock song that talks about self-confidence and bravery.


title: Born This Way (album)

text: On September 12, 2010, Gaga made an appearance at the 2010 MTV Video Music Awards. During the acceptance speech for her Video of the Year award, she announced the title of the album and sang the chorus of its title track. Described by the singer as "a Christmas gift for my fans", Gaga announced the release dates of the album and its lead single at the stroke of midnight on January 1, 2011, via Twitter, supplementing it with a black-and-white photograph in which Gaga is "nude from the waist down, with her hair blowing about, and sporting a jacket with the name of the album emblazoned in what looks like bedazzled jewels."


title: Born This Way (album)

text: At a November 2010 show of The Monster Ball Tour in Gdańsk, Poland, Gaga announced that the album could have up to twenty tracks, adding that production for the album was coming to a close. In an interview with "Vogue" in February 2011, she confirmed that there would be a total of seventeen tracks on the album, of which fourteen would make the final cut to the standard edition. The other three songs were initially to be released on an exclusive deluxe edition of the album at Target; however, Gaga later ended her partnership with Target in response to the company's donation of US$150,000 to the conservative political group Minnesota Forward.


title: Born This Way (album)

text: Prior to the release of "Born This Way", the contents of the album were leaked online on May 18, 2011. Due to a violation of copyright law, it was later removed. The album was formally released worldwide on May 23, 2011, in two separate editions. Several non-singles songs were previewed as part of promoting "Born This Way". Remixes of "Scheiße" and "Government Hooker" were previewed at fashion shows presented by Thierry Mugler in January and March 2011, respectively. Several songs were released on the social network game "FarmVille" during the next few days prior to the album's release, including "Marry the Night", "Americano", and "Electric Chapel".


title: Born This Way (album)

text: On April 17, 2011, Gaga tweeted her selection for the cover art of "Born This Way", which featured the singer fused into a motorcycle. Gaga's name does not appear on the album cover – the only text is the chrome writing across the top reading the album's name. She explained, "The cover with me half-female, half-motorcycle is meant to be or symbolic of the fact that I'm endlessly always changing in so transformative, many ways." It was shot and had the artistic direction by photographer Nick Night. The cover received a negative response from critics and fans. Sean Michaels of "The Guardian" expressed that the cover "[looked] more like a cheap Photoshop job than the most anticipated album of the year." He then commented, "Gone are the futurist sunglasses, the asymmetrical haircuts, even Gaga's newly touted magic horns; instead, a mutant motorbike with Gaga's arms and head, plus a cheesy chrome typeface." He also referenced several messages from fans on Gaga's official forum expressing their dislike for the cover. The special edition cover was released on the same day: it features just Gaga's head from the standard edition cover but the words "Lady Gaga" and "Born This Way" appear in the top left corner of the cover. They are typed in Impact font with "Born This Way" being highlighted in white with black letters. Neither of the words special nor deluxe appear anywhere on the album, as Gaga revealed she disliked them.


title: Born This Way (album)

text: A follow-up remix album, titled "", was released on November 18, 2011. Musically, it is an electronic and dance record; there are also influences of Europop, techno and dubstep within the composition. It had a mixed reception, with the general complaint of critics being that the release was unnecessary. The remix album was also issued as part of box set "", released in the same month, which further included a 17-track version of "Born This Way", and the DVD "".


title: Born This Way (album)

text: "Born This Way", the eponymous lead single, was released on February 11, 2011. Described as a "magical message", the Gaga and Jeppe Laursen-written song was produced by herself, Laursen, Fernando Garibay and DJ White Shadow. It was met with mostly positive reception from critics, who noted the similarities with the Madonna song "Express Yourself". "Born This Way" experienced widespread commercial success, topping the charts in over nineteen countries in addition to selling over a million copies worldwide, becoming the fastest selling song in iTunes history. In her native United States, the song became Gaga's third number one hit, where it spent six weeks atop the "Billboard" Hot 100. It also became the 1,000th song to reach the number one spot since the inauguration of the chart in 1958. The accompanying music video, directed by Nick Knight, was released on February 28, 2011. In it, Gaga appears with shoulder and facial protrusions and talks about giving birth to an extraterrestrial race that "bears no prejudice, no judgment, but boundless freedom." It was met with generally positive reception among music critics, and was noted for its references to the work of Madonna, Michael Jackson, Björk, and the late fashion designer Alexander McQueen, as well as to Greek mythology and surrealism.


title: Born This Way (album)

text: "Judas" was the album's second single, having been released on April 15, 2011. Critics reacted positively to "Judas", complimenting the song's breakdown, yet noted similarities with "Bad Romance" in its composition. It debuted at number four on the Hot Digital Songs chart with the sale of 162,000 copies while peaking at number ten in the United States, reaching in the top ten of twenty countries and peaked at number one on the South Korean charts. The music video for "Judas" was co-directed by Gaga and choreographer Laurieann Gibson, and premiered on May 5, 2011. It includes a motorcycle gang (the Twelve Apostles), and tells a modernized version of the Biblical story about Judas (portrayed by Norman Reedus) betraying Jesus, and ends with Gaga as Mary Magdalene getting stoned to death. The video was generally praised by critics, and received two nominations at the 2011 MTV Video Music Awards.


title: Born This Way (album)

text: The release of the album was preceded by two promotional singles – "The Edge of Glory" on May 9, and "Hair" on May 16, 2011. "The Edge of Glory" became a success in digital stores, prompting Gaga to make it the third single from "Born This Way" on May 11, 2011. It was praised by many critics, who deemed it as an album highlight. The song's points of positive reception include the saxophone solo provided by Clarence Clemons, the underlying message and Gaga's "throaty" and "soulful" vocals. It charted in the top ten of nineteen countries and became Gaga's tenth consecutive top-ten single in the United States, debuting at number three on the "Billboard" Hot 100. A music video for the song premiered on June 16, 2011, co-directed by the singer and her production team, Haus of Gaga. It portrays Gaga dancing on a fire-escape and walking on a lonely street, with scenes featuring Clemons, as well (in his final appearance before he died). Critics highlighted the video for its simplicity in contrast to much of Gaga's past work.


title: Born This Way (album)

text: "You and I", the album's fourth single, was also met with positive critical reaction that complimented the musical composition of the song. The song became Gaga's eleventh consecutive top ten single in the United States, peaking at number six on the "Billboard" Hot 100. The single has received a Grammy nomination for Best Pop Solo Performance. The accompanying music video was also positively received. It was shot by Laurieann Gibson in Springfield, Nebraska, and was released on August 16, 2011. It features Yüyi, Gaga's mermaid alter ego, Jo Calderone, Gaga's male alter ego, and Gaga playing on a piano in the middle of a corn field.


title: Born This Way (album)

text: "Marry the Night" served as the fifth (and at the time final) single from "Born This Way". Critical reception towards the song was positive, with reviewers calling it a strong dance-pop number. It charted in fifteen different countries including the United States, where it peaked at number 29 on the "Billboard" Hot 100. The accompanying music video received critical acclaim as well, being noted by some critics as a "pure spectacle" and as one of Gaga's "biggest epics". It features scenes in a clinic, a dance studio, Gaga's own New York apartment and on a car's rooftop at a parking lot. "Stuck on Fuckin' You", an outtake from the album, was released as a free YouTube stream on Christmas Day 2011 and thereafter as a free download.


title: Born This Way (album)

text: In 2022, the song "Bloody Mary" went viral after being used in videos on TikTok, depicting Wednesday Addams' dance from the Netflix comedy horror series "Wednesday" and its fan recreations. This resulted in a large increase in plays on Spotify. On December 2, 2022, it was sent to French radio as a single, eleven years after the release of the album.


title: Born This Way (album)

text: The first song from "Born This Way" performed by Gaga live was "You and I", at the 2010 White Tie & Tiara Ball at Elton John's house, on "Today" at Rockefeller Center in New York, and during The Monster Ball Tour. In 2011, she embarked on promotional tours and live performances for "Born This Way" in North America, Europe, Asia, and Australia. It began with a live performance of the album's lead single at the 53rd Annual Grammy Awards. On April 28, Gaga performed "Judas" for the first time on "Ellen". "Born This Way" and "You and I" was also sung on "Oprah" on May 6. After her Grammy performance, on February 2011, Gaga added "Born This Way" to the setlist of The Monster Ball Tour, where she performed it as a second encore, in a very similar outfit and choreography as on the awards show. In May, she finished The Monster Ball Tour with concerts in Mexico, where she premiered "Americano" by performing the song on the piano, and closed it with a performance of "Judas".


title: Born This Way (album)

text: After finishing the tour, Gaga performed on the Robin Hood Gala 2011 in New York on May 9. In Europe, she sang "Judas" at the French show "Le Grand Journal" (May 12), "Born This Way" and "Judas" on "The Graham Norton Show" (May 13), and "Born This Way" and "You and I" during the private concert at Annabel's for Belvedere Vodka (May 12). On May 15, she headlined BBC Radio 1's Big Weekend festival, where she sang "The Edge of Glory" for the first time. After returning to the United States, Gaga sang the first three singles from "Born This Way" on the season 36 finale of "Saturday Night Live" (May 21) and "The Edge of Glory" on the final show of the tenth season of "American Idol" (May 25), where she was joined by Clemons in person. On May 27, she held a concert for "Good Morning America" at Central Park, where she performed the first three singles from "Born This Way" and, for the first time, "Hair". Another journey to Europe in June included performances on the season 6 finale of "Germany's Next Topmodel", British TV show "Paul O'Grady Live", the EuroPride 2011 in Rome, as well as some French shows such as "Taratata", "X Factor," and "Le Grand Journal" again. More performances of "The Edge of Glory" and "Born This Way" were held during the 2011 MuchMusic Video Awards in Toronto on June 19 and the 2011 MTV Video Music Aid Japan on June 25. Afterwards, Gaga performed on Japanese shows "SMAP×SMAP" and "Music Lovers", before playing concerts in Taichung (July 3), Singapore (July 7), and at the Sydney Town Hall in Sydney (July 13). In the latter, she also performed on TV show "A Current Affair" on July 11.


title: Born This Way (album)

text: Gaga came back to the United States and performed on "The Howard Stern Show" (July 18), as well as "So You Think You Can Dance" (July 27), "Jimmy Kimmel Live!" (July 28), and "The View" (August 1). On August 28, she sang "You and I" at the 2011 MTV Video Music Awards where she was joined onstage by Brian May, while on September 24, she headlined the 2011 iHeartRadio Music Festival at the MGM Grand Garden Arena in Las Vegas. Another performance came in October on British TV show "Friday Night with Jonathan Ross", during the Clinton Foundation concert at the Hollywood Bowl, and on the F1 Rocks after party in India, where "Marry the Night" was sung for the first time. Gaga's next performances were at the 2011 MTV Europe Music Awards held in Belfast, British TV shows "The X Factor" and "", Children in Need Rocks Manchester telethon in Manchester, and the 2012 Grammy Awards nomination concert in Los Angeles. Songs from the album were also performed on a Thanksgiving television special "A Very Gaga Thanksgiving", aired on November 24. Gaga also headlined KIIS-FM Jingle Ball at the Nokia Theatre in Los Angeles on December 3, as well as Z100's Jingle Ball at Madison Square Garden in New York City on December 9. She also sang on "Ellen" once again and the Japanese show "Music Station". The promotions for "Born This Way" continued with the performance of "Heavy Metal Lover", "Marry the Night" and the title track on the "Dick Clark's New Year's Rockin' Eve" in Times Square.


title: Born This Way (album)

text: In April 2012, Gaga embarked on the Born This Way Ball, her worldwide tour promoting the album, which had 98 dates overall. She visited parts of the world she had not been on tour before, including Southeast Asia, Latin America, and South Africa. The singer described the tour as an "electro-metal pop-opera". The stage was modeled after a medieval Gothic castle, featuring viewing towers, intricate carvings and a large catwalk to interact with the audience. During the tour, all of the songs from the album were performed.


title: Born This Way (album)

text: The Born This Way Ball was well received by critics who praised the stage design, the costumes, Gaga's vocal abilities, and different expressive messages. It was also a commercial success, grossing $183.9 million overall, although, because of a hip injury, Gaga had to cancel the last North American leg of the tour.


title: Born This Way (album)

text: "Born This Way" received generally positive reviews from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 71, based on 34 reviews. Dan Martin of "NME" said that "it's a damn good thing" that Gaga "doesn't know when to hold back" and complimented her for pushing musical boundaries to its "ultimate degree." Sal Cinquemani from "Slant Magazine" opined, "There's nothing small about this album, and Gaga sings the shit out of every single track." Cinquemani compared the album to The Killers' album "Sam's Town" (2006), calling it "bloated, self-important, proudly American, an exercise in extraordinary excess." "Rolling Stone"s Rob Sheffield felt that "the more excessive Gaga gets, the more honest she sounds." Caryn Ganz of "Spin" felt that "excess is Gaga's riskiest musical gamble, but it's also her greatest weapon, and "Born This Way" relentlessly bludgeons listeners' pleasure centres". Adam Markovitz of "Entertainment Weekly" said that the album is "rewarding but wildly uneven", although "the album's sprawl still shows off the breadth of her talent." Despite criticizing her for "letting her skills as a songwriter slide ever so slightly," AllMusic editor Stephen Thomas Erlewine complimented Gaga's composing "sensibility" and "considerable dexterity at delivering the basics." In "MSN Music", Robert Christgau found the album to not be on-par with "The Fame" (2008) or "The Fame Monster" (2009), but added that "both of those keep growing, and with its mad momentum and nutty thematics, this one could too."


title: Born This Way (album)

text: In a mixed review, Greg Kot of the "Chicago Tribune" felt that the album was rushed and sounded like "a major artist sprinting to please everyone all the time." Evan Sawdey of "PopMatters" called it "her weakest album to date" and wrote that it combines "some daring songwriting with some remarkably repetitive themes and beats." Chris Richards of "The Washington Post" found it "boring" and said that, "at its worst, it sounds like reheated leftovers from some '80s movie soundtrack." Randall Roberts of the "Los Angeles Times" opined that Gaga lacks musical adventurousness and that "She's unsubtle in her message, unsubtle in her dress, and, most important, unsubtle aesthetically ... If Gaga had only spent as much time on pushing musical boundaries as she has social ones, "Born This Way" would have been a lot more successful." Andy Gill of "The Independent" critiqued that "the broader [Gaga] spreads her net musically, the less distinctive her art becomes." "The Boston Globe" said that the songwriting "feels thin" and called the album "the most deflated moment in pop music this year". Rich Juzwiak of "The Village Voice" commented that Gaga's "we-shall-overcome sentiment" is expressed more effectively through the album's "egalitarian use of house beats" than through her "sloganeering", which he found "trite" and "[un]insightful."


title: Born This Way (album)

text: "Born This Way" debuted at number one on the US "Billboard" 200 after having sold 1,108,000 copies during the first week, making it the seventeenth album to sell over a million copies in one week. "Born This Way" was Gaga's first number-one album and the highest first-week total since 50 Cent's "The Massacre" (2005) sold 1,141,000 in its first week. Gaga was the fifth woman to sell one million copies in a week, after Whitney Houston (, 1992), Britney Spears ("Oops!...I Did It Again," 2000), Norah Jones ("Feels Like Home," 2004), and Taylor Swift ("Speak Now," 2010). Amazon sold an estimated 440,000 copies in its first two days at a price of 99 cents (at a loss of over $3 million) which contributed to its 662,000 digital sales, the largest in Nielsen SoundScan history. Digital downloads accounted for 60 percent of "Born This Way"s first week total. The album has been cited as the reason "Billboard" instituted a policy of only including sales priced over $3.49 during an album's first four weeks. The album also became the eighth best-selling digital album in United States history after its first week of sales. "Born This Way" also reached number one on the Dance/Electronic Albums chart, displacing "The Fame" (2008). In its second week, the album sold 174,000 copies to remain at the top spot on the "Billboard" 200, but with a sales decrease of 84.27%, set the record for the largest second-week percentage sales drop for a number-one debuting album since Nielsen SoundScan began tracking sales in 1991. Digitally, the album had a 94% drop, selling 38,000 copies. In its third week the album fell to number two being displaced by Adele's "21" (2011) with 42% sales decrease after having sold 100,000 copies. "Born This Way" became the third-best-selling album of the year in the United States, with sales of 2,101,000 copies. It is also the fifth best-selling digital album of all time in the United States, with 877,000 copies sold, as of January 2012. The album received quadruple platinum certification from the Recording Industry Association of America (RIAA) and has sold 2.43 million copies in total in the US as of March 2019. Following Gaga's Super Bowl LI halftime show performance, "Born This Way" re-entered the "Billboard" 200 at number 25, selling 17,000 total album-equivalent units. In September 2021, due to the release of the CD and cassette editions of the album's special tenth anniversary reissue, it re-entered the "Billboard" 200 and Top Album Sales charts at numbers 162 and 10, respectively, selling 5,000 copies—all versions of "Born This Way" were combined and nearly all of the sum was provided by CD sales.