title: Corey Hawkins

text: In 2017, Hawkins began playing a lead role in the "24" reboot "" on Fox. Also that year, he co-starred in the film "", alongside Brie Larson, Samuel L. Jackson and Tom Hiddleston. In spring 2017, Hawkins played a limited-engagement run on Broadway in the play "Six Degrees of Separation" opposite Allison Janney and John Benjamin Hickey. He received a nomination for the Tony Award for Best Actor in a Play.


title: Gear

text: A gear is a rotating circular machine part having cut teeth or, in the case of a cogwheel or gearwheel, inserted teeth (called "cogs"), which mesh with another (compatible) toothed part to transmit (convert) torque and speed. The basic principle behind the operation of gears is analogous to the basic principle of levers. A gear may also be known informally as a cog. Geared devices can change the speed, torque, and direction of a power source. Gears of different sizes produce a change in torque, creating a mechanical advantage, through their "gear ratio", and thus may be considered a simple machine. The rotational speeds, and the torques, of two meshing gears differ in proportion to their diameters. The teeth on the two meshing gears all have the same shape.


title: Gear

text: Two or more meshing gears, working in a sequence, are called a gear train or a "transmission". The gears in a transmission are analogous to the wheels in a crossed, belt pulley system. An advantage of gears is that the teeth of a gear prevent slippage. In transmissions with multiple gear ratios—such as bicycles, motorcycles, and cars—the term "gear" (e.g., "first gear") refers to a gear ratio rather than an actual physical gear. The term describes similar devices, even when the gear ratio is continuous rather than discrete, or when the device does not actually contain gears, as in a continuously variable transmission (CVT). Sometimes a CVT is referred to as an "infinitely variable transmission".


title: Gear

text: Furthermore, a gear can mesh with a linear toothed part, called a "rack", producing movement in a straight line instead of rotation (movement in a circle). See Rack and Pinion for an example.


title: Gear

text: Early examples of gears date from the 4th century BC in China (Zhan Guo times – Late East Zhou dynasty), which have been preserved at the Luoyang Museum of Henan Province, China. The earliest preserved gears in Europe were found in the Antikythera mechanism an example of a very early and intricate geared device, designed to calculate astronomical positions. Its time of construction is now estimated between 150 and 100 BC. Gears appear in works connected to Hero of Alexandria, in Roman Egypt circa AD 50, but can be traced back to the mechanics of the Alexandrian school in 3rd-century BC Ptolemaic Egypt, and were greatly developed by the Greek polymath Archimedes (287–212 BC).


title: Gear

text: A complex geared calendrical device showing the phase of the Moon, the day of the month and the places of the Sun and the Moon in the Zodiac was invented in the Byzantine empire in the early 6th century CE. The worm gear was invented in the Indian subcontinent, for use in roller cotton gins, some time during the 13th–14th centuries. Differential gears may have been used in some of the Chinese south-pointing chariots, but the first verifiable use of differential gears was by the British clock maker Joseph Williamson in 1720.


title: Gear

text: The word "gear" is probably from Old Norse "gørvi" (plural "gørvar") 'apparel, gear,' related to "gøra", "gørva" 'to make, construct, build; set in order, prepare,' a common verb in Old Norse, "used in a wide range of situations from writing a book to dressing meat". In this context, the meaning of 'toothed wheel in machinery' first attested 1520s; specific mechanical sense of 'parts by which a motor communicates motion' is from 1814; specifically of a vehicle (bicycle, automobile, etc.) by 1888.


title: Gear

text: A "cog" is a tooth on a wheel. From Middle English cogge, from Old Norse (compare Norwegian "kugg" ('cog'), Swedish "kugg", "kugge" ('cog, tooth')), from Proto-Germanic *"kuggō" (compare Dutch "kogge" ('cogboat'), German "Kock"), from Proto-Indo-European *"gugā" ('hump, ball') (compare Lithuanian "gugà" ('pommel, hump, hill'), from PIE *"gēw-" ('to bend, arch'). First used c. 1300 in the sense of 'a wheel having teeth or cogs; late 14c., 'tooth on a wheel'; cog-wheel, early 15c.


title: Gear

text: Historically, cogs were teeth made of wood rather than metal, and a cogwheel technically consisted of a series of wooden gear teeth located around a mortise wheel, each tooth forming a type of specialised 'through' mortise and tenon joint. The wheel can be made of wood, cast iron, or other material. Wooden cogs were formerly used when large metal gears could not be cut, when the cast tooth was not even approximately of the proper shape, or the size of the wheel made manufacture impractical.


title: Gear

text: The cogs were often made of maple wood. In 1967 the Thompson Manufacturing Company of Lancaster, New Hampshire still had a very active business in supplying tens of thousands of maple gear teeth per year, mostly for use in paper mills and grist mills, some dating back over 100 years. Since a wooden cog performs exactly the same function as a cast or machined metal tooth, the word was applied by extension to both, and the distinction has been generally lost.


title: Gear

text: The definite ratio that teeth give gears provides an advantage over other drives (such as traction drives and V-belts) in precision machines such as watches that depend upon an exact velocity ratio. In cases where driver and follower are proximal, gears also have an advantage over other drives in the reduced number of parts required. The downside is that gears are more expensive to manufacture and their lubrication requirements may impose a higher operating cost per hour.


title: Gear

text: An "external gear" is one with the teeth formed on the outer surface of a cylinder or cone. Conversely, an "internal gear" is one with the teeth formed on the inner surface of a cylinder or cone. For bevel gears, an internal gear is one with the pitch angle exceeding 90 degrees. Internal gears do not cause output shaft direction reversal.


title: Gear

text: "Spur gears" or "straight-cut gears" are the simplest type of gear. They consist of a cylinder or disk with teeth projecting radially. Though the teeth are not straight-sided (but usually of special form to achieve a constant drive ratio, mainly involute but less commonly cycloidal), the edge of each tooth is straight and aligned parallel to the axis of rotation. These gears mesh together correctly only if fitted to parallel shafts. No axial thrust is created by the tooth loads. Spur gears are excellent at moderate speeds but tend to be noisy at high speeds.


title: Gear

text: "Helical" or "dry fixed" gears offer a refinement over spur gears. The leading edges of the teeth are not parallel to the axis of rotation, but are set at an angle. Since the gear is curved, this angling makes the tooth shape a segment of a helix. Helical gears can be meshed in "parallel" or "crossed" orientations. The former refers to when the shafts are parallel to each other; this is the most common orientation. In the latter, the shafts are non-parallel, and in this configuration the gears are sometimes known as "skew gears".


title: Gear

text: The angled teeth engage more gradually than do spur gear teeth, causing them to run more smoothly and quietly. With parallel helical gears, each pair of teeth first make contact at a single point at one side of the gear wheel; a moving curve of contact then grows gradually across the tooth face to a maximum, then recedes until the teeth break contact at a single point on the opposite side. In spur gears, teeth suddenly meet at a line contact across their entire width, causing stress and noise. Spur gears make a characteristic whine at high speeds. For this reason spur gears are used in low-speed applications and in situations where noise control is not a problem, and helical gears are used in high-speed applications, large power transmission, or where noise abatement is important. The speed is considered high when the pitch line velocity exceeds 25 m/s.


title: Gear

text: A disadvantage of helical gears is a resultant thrust along the axis of the gear, which must be accommodated by appropriate thrust bearings. However, this issue can be turned into an advantage when using a herringbone gear or "double helical gear", which has no axial thrust - and also provides self-aligning of the gears. This results in less axial thrust than a comparable spur gear.


title: Gear

text: A second disadvantage of helical gears is also a greater degree of sliding friction between the meshing teeth, often addressed with additives in the lubricant.


title: Gear

text: For a "crossed" or "skew" configuration, the gears must have the same pressure angle and normal pitch; however, the helix angle and handedness can be different. The relationship between the two shafts is actually defined by the helix angle(s) of the two shafts and the handedness, as defined:


title: Gear

text: where formula_3 is the helix angle for the gear. The crossed configuration is less mechanically sound because there is only a point contact between the gears, whereas in the parallel configuration there is a line contact.


title: Gear

text: Quite commonly, helical gears are used with the helix angle of one having the negative of the helix angle of the other; such a pair might also be referred to as having a right-handed helix and a left-handed helix of equal angles. The two equal but opposite angles add to zero: the angle between shafts is zero—that is, the shafts are "parallel". Where the sum or the difference (as described in the equations above) is not zero, the shafts are "crossed". For shafts "crossed" at right angles, the helix angles are of the same hand because they must add to 90 degrees. (This is the case with the gears in the illustration above: they mesh correctly in the crossed configuration: for the parallel configuration, one of the helix angles should be reversed. The gears illustrated cannot mesh with the shafts parallel.)


title: Gear

text: Double helical gears overcome the problem of axial thrust presented by single helical gears by using a double set of teeth, slanted in opposite directions. A double helical gear can be thought of as two mirrored helical gears mounted closely together on a common axle. This arrangement cancels out the net axial thrust, since each half of the gear thrusts in the opposite direction, resulting in a net axial force of zero. This arrangement can also remove the need for thrust bearings. However, double helical gears are more difficult to manufacture due to their more complicated shape.


title: Gear

text: Herringbone gears are a special type of helical gears. They do not have a groove in the middle like some other double helical gears do; the two mirrored helical gears are joined so that their teeth form a V shape. This can also be applied to bevel gears, as in the final drive of the Citroën Type A.


title: Gear

text: For both possible rotational directions, there exist two possible arrangements for the oppositely-oriented helical gears or gear faces. One arrangement is called stable, and the other unstable. In a stable arrangement, the helical gear faces are oriented so that each axial force is directed toward the center of the gear. In an unstable arrangement, both axial forces are directed away from the center of the gear. In either arrangement, the total (or "net") axial force on each gear is zero when the gears are aligned correctly. If the gears become misaligned in the axial direction, the unstable arrangement generates a net force that may lead to disassembly of the gear train, while the stable arrangement generates a net corrective force. If the direction of rotation is reversed, the direction of the axial thrusts is also reversed, so a stable configuration becomes unstable, and vice versa.


title: Gear

text: Stable double helical gears can be directly interchanged with spur gears without any need for different bearings.


title: Gear

text: A bevel gear is shaped like a right circular cone with most of its tip cut off. When two bevel gears mesh, their imaginary vertices must occupy the same point. Their shaft axes also intersect at this point, forming an arbitrary non-straight angle between the shafts. The angle between the shafts can be anything except zero or 180 degrees. Bevel gears with equal numbers of teeth and shaft axes at 90 degrees are called miter (US) or mitre (UK) gears.


title: Gear

text: Spiral bevel gears can be manufactured as Gleason types (circular arc with non-constant tooth depth), Oerlikon and Curvex types (circular arc with constant tooth depth), Klingelnberg Cyclo-Palloid (Epicycloid with constant tooth depth) or Klingelnberg Palloid. Spiral bevel gears have the same advantages and disadvantages relative to their straight-cut cousins as helical gears do to spur gears. Straight bevel gears are generally used only at speeds below 5 m/s (1000 ft/min), or, for small gears, 1000 r.p.m.


title: Gear

text: The cylindrical gear tooth profile corresponds to an involute, but the bevel gear tooth profile to an octoid.


title: Gear

text: All traditional bevel gear generators (like Gleason, Klingelnberg, Heidenreich & Harbeck, WMW Modul) manufacture bevel gears with an octoidal tooth profile. For 5-axis milled bevel gear sets it is important to choose the same calculation / layout like the conventional manufacturing method.


title: Gear

text: Simplified calculated bevel gears on the basis of an equivalent cylindrical gear in normal section with an involute tooth form show a deviant tooth form with reduced tooth strength by 10-28% without offset and 45% with offset [Diss. Hünecke, TU Dresden].


title: Gear

text: Hypoid gears resemble spiral bevel gears except the shaft axes do not intersect. The pitch surfaces appear conical but, to compensate for the offset shaft, are in fact hyperboloids of revolution. Hypoid gears are almost always designed to operate with shafts at 90 degrees. Depending on which side the shaft is offset to, relative to the angling of the teeth, contact between hypoid gear teeth may be even smoother and more gradual than with spiral bevel gear teeth, but also have a sliding action along the meshing teeth as it rotates and therefore usually require some of the most viscous types of gear oil to avoid it being extruded from the mating tooth faces, the oil is normally designated HP (for hypoid) followed by a number denoting the viscosity. Also, the pinion can be designed with fewer teeth than a spiral bevel pinion, with the result that gear ratios of 60:1 and higher are feasible using a single set of hypoid gears. This style of gear is most common in motor vehicle drive trains, in concert with a differential. Whereas a regular (nonhypoid) ring-and-pinion gear set is suitable for many applications, it is not ideal for vehicle drive trains because it generates more noise and vibration than a hypoid does. Bringing hypoid gears to market for mass-production applications was an engineering improvement of the 1920s.


title: Gear

text: "Crown gears" or "contrate gears" are a particular form of bevel gear whose teeth project at right angles to the plane of the wheel; in their orientation the teeth resemble the points on a crown. A crown gear can only mesh accurately with another bevel gear, although crown gears are sometimes seen meshing with spur gears. A crown gear is also sometimes meshed with an escapement such as found in mechanical clocks.


title: Gear

text: Worm-and-gear sets are a simple and compact way to achieve a high torque, low speed gear ratio. For example, helical gears are normally limited to gear ratios of less than 10:1 while worm-and-gear sets vary from 10:1 to 500:1. A disadvantage is the potential for considerable sliding action, leading to low efficiency.


title: Gear

text: A worm gear is a species of helical gear, but its helix angle is usually somewhat large (close to 90 degrees) and its body is usually fairly long in the axial direction. These attributes give it screw like qualities. The distinction between a worm and a helical gear is that at least one tooth persists for a full rotation around the helix. If this occurs, it is a 'worm'; if not, it is a 'helical gear'. A worm may have as few as one tooth. If that tooth persists for several turns around the helix, the worm appears, superficially, to have more than one tooth, but what one in fact sees is the same tooth reappearing at intervals along the length of the worm. The usual screw nomenclature applies: a one-toothed worm is called "single thread" or "single start"; a worm with more than one tooth is called "multiple thread" or "multiple start". The helix angle of a worm is not usually specified. Instead, the lead angle, which is equal to 90 degrees minus the helix angle, is given.


title: Gear

text: In a worm-and-gear set, the worm can always drive the gear. However, if the gear attempts to drive the worm, it may or may not succeed. Particularly if the lead angle is small, the gear's teeth may simply lock against the worm's teeth, because the force component circumferential to the worm is not sufficient to overcome friction. In traditional music boxes, however, the gear drives the worm, which has a large helix angle. This mesh drives the speed-limiter vanes which are mounted on the worm shaft.


title: Gear

text: Worm-and-gear sets that do lock are called self locking, which can be used to advantage, as when it is desired to set the position of a mechanism by turning the worm and then have the mechanism hold that position. An example is the machine head found on some types of stringed instruments.


title: Gear

text: If the gear in a worm-and-gear set is an ordinary helical gear only a single point of contact is achieved. If medium to high power transmission is desired, the tooth shape of the gear is modified to achieve more intimate contact by making both gears partially envelop each other. This is done by making both concave and joining them at a saddle point; this is called a cone-drive or "Double enveloping".


title: Gear

text: Non-circular gears are designed for special purposes. While a regular gear is optimized to transmit torque to another engaged member with minimum noise and wear and maximum efficiency, a non-circular gear's main objective might be ratio variations, axle displacement oscillations and more. Common applications include textile machines, potentiometers and continuously variable transmissions.


title: Gear

text: A "rack" is a toothed bar or rod that can be thought of as a sector gear with an infinitely large radius of curvature. Torque can be converted to linear force by meshing a rack with a round gear called a "pinion": the pinion turns, while the rack moves in a straight line. Such a mechanism is used in automobiles to convert the rotation of the steering wheel into the left-to-right motion of the tie rod(s).


title: Gear

text: Racks also feature in the theory of gear geometry, where, for instance, the tooth shape of an interchangeable set of gears may be specified for the rack (infinite radius), and the tooth shapes for gears of particular actual radii are then derived from that. The rack and pinion gear type is also used in a rack railway.


title: Gear

text: In epicyclic gearing, one or more of the gear axes moves. Examples are sun and planet gearing (see below), cycloidal drive, automatic transmissions, and mechanical differentials.


title: Gear

text: Sun and planet gearing is a method of converting reciprocating motion into rotary motion that was used in steam engines. James Watt used it on his early steam engines to get around the patent on the crank, but it also provided the advantage of increasing the flywheel speed so Watt could use a lighter flywheel.


title: Gear

text: In the illustration, the sun is yellow, the planet red, the reciprocating arm is blue, the flywheel is green and the driveshaft is gray.


title: Gear

text: A "harmonic gear" or "strain wave gear" is a specialized gearing mechanism often used in industrial motion control, robotics and aerospace for its advantages over traditional gearing systems, including lack of backlash, compactness and high gear ratios.


title: Gear

text: Though the diagram does not demonstrate the correct configuration, it is a "timing gear," conventionally with far more teeth than a traditional gear to ensure a higher degree of precision.


title: Gear

text: A "cage gear", also called a "lantern gear" or "lantern pinion", has cylindrical rods for teeth, parallel to the axle and arranged in a circle around it, much as the bars on a round bird cage or lantern. The assembly is held together by disks at each end, into which the tooth rods and axle are set. Cage gears are more efficient than solid pinions, and dirt can fall through the rods rather than becoming trapped and increasing wear. They can be constructed with very simple tools as the teeth are not formed by cutting or milling, but rather by drilling holes and inserting rods.


title: Gear

text: Sometimes used in clocks, the "cage gear" should always be driven by a gearwheel, not used as the driver. The "cage gear" was not initially favoured by conservative clock makers. It became popular in turret clocks where dirty working conditions were most commonplace. Domestic American clock movements often used them.


title: Gear

text: All cogs of each gear component of magnetic gears act as a constant magnet with periodic alternation of opposite magnetic poles on mating surfaces. Gear components are mounted with a backlash capability similar to other mechanical gearings. Although they cannot exert as much force as a traditional gear due to limits on magnetic field strength, such gears work without touching and so are immune to wear, have very low noise, minimal power losses from friction and can slip without damage making them very reliable. They can be used in configurations that are not possible for gears that must be physically touching and can operate with a non-metallic barrier completely separating the driving force from the load. The magnetic coupling can transmit force into a hermetically sealed enclosure without using a radial shaft seal, which may leak.


title: Gear

text: Several other helix parameters can be viewed either in the normal or transverse planes. The subscript n usually indicates the normal.


title: Gear

text: Pitch is the distance between a point on one tooth and the corresponding point on an adjacent tooth. It is a dimension measured along a line or curve in the transverse, normal, or axial directions. The use of the single word "pitch" without qualification may be ambiguous, and for this reason it is preferable to use specific designations such as transverse circular pitch, normal base pitch, axial pitch.


title: Gear

text: Backlash is the error in motion that occurs when gears change direction. It exists because there is always some gap between the trailing face of the driving tooth and the leading face of the tooth behind it on the driven gear, and that gap must be closed before force can be transferred in the new direction. The term "backlash" can also be used to refer to the size of the gap, not just the phenomenon it causes; thus, one could speak of a pair of gears as having, for example, "0.1 mm of backlash." A pair of gears could be designed to have zero backlash, but this would presuppose perfection in manufacturing, uniform thermal expansion characteristics throughout the system, and no lubricant. Therefore, gear pairs are designed to have some backlash. It is usually provided by reducing the tooth thickness of each gear by half the desired gap distance. In the case of a large gear and a small pinion, however, the backlash is usually taken entirely off the gear and the pinion is given full sized teeth. Backlash can also be provided by moving the gears further apart. The backlash of a gear train equals the sum of the backlash of each pair of gears, so in long trains backlash can become a problem.


title: Gear

text: For situations that require precision, such as instrumentation and control, backlash can be minimized through one of several techniques. For instance, the gear can be split along a plane perpendicular to the axis, one half fixed to the shaft in the usual manner, the other half placed alongside it, free to rotate about the shaft, but with springs between the two-halves providing relative torque between them, so that one achieves, in effect, a single gear with expanding teeth. Another method involves tapering the teeth in the axial direction and letting the gear slide in the axial direction to take up slack.


title: Gear

text: In some machines (e.g., automobiles) it is necessary to alter the gear ratio to suit the task, a process known as gear shifting or changing gear. There are several ways of shifting gears, for example:


title: Gear

text: There are several outcomes of gear shifting in motor vehicles. In the case of vehicle noise emissions, there are higher sound levels emitted when the vehicle is engaged in lower gears. The design life of the lower ratio gears is shorter, so cheaper gears may be used, which tend to generate more noise due to smaller overlap ratio and a lower mesh stiffness etc. than the helical gears used for the high ratios. This fact has been used to analyze vehicle-generated sound since the late 1960s, and has been incorporated into the simulation of urban roadway noise and corresponding design of urban noise barriers along roadways.


title: Gear

text: A profile is one side of a tooth in a cross section between the outside circle and the root circle. Usually a profile is the curve of intersection of a tooth surface and a plane or surface normal to the pitch surface, such as the transverse, normal, or axial plane.


title: Gear

text: The fillet curve (root fillet) is the concave portion of the tooth profile where it joins the bottom of the tooth space.


title: Gear

text: As mentioned near the beginning of the article, the attainment of a nonfluctuating velocity ratio is dependent on the profile of the teeth.


title: Gear

text: Friction and wear between two gears is also dependent on the tooth profile. There are a great many tooth profiles that provide constant velocity ratios. In many cases, given an arbitrary tooth shape, it is possible to develop a tooth profile for the mating gear that provides a constant velocity ratio. However, two constant velocity tooth profiles are the most commonly used in modern times: the "cycloid" and the "involute". The cycloid was more common until the late 1800s. Since then, the involute has largely superseded it, particularly in drive train applications. The cycloid is in some ways the more interesting and flexible shape; however the involute has two advantages: it is easier to manufacture, and it permits the center-to-center spacing of the gears to vary over some range without ruining the constancy of the velocity ratio. Cycloidal gears only work properly if the center spacing is exactly right. Cycloidal gears are still used in mechanical clocks.


title: Gear

text: An undercut is a condition in generated gear teeth when any part of the fillet curve lies inside of a line drawn tangent to the working profile at its point of juncture with the fillet. Undercut may be deliberately introduced to facilitate finishing operations. With undercut the fillet curve intersects the working profile. Without undercut the fillet curve and the working profile have a common tangent.


title: Gear

text: Numerous nonferrous alloys, cast irons, powder-metallurgy and plastics can be used in the manufacture of gears. However, steels are most commonly used because of their high strength-to-weight ratio and low cost. Plastic is commonly used where cost or weight is a concern. A properly designed plastic gear can replace steel in many cases because it has many desirable properties, including dirt tolerance, low speed meshing, the ability to "skip" quite well and the ability to be made with materials that don't need additional lubrication. Manufacturers have used plastic gears to reduce costs in consumer items including copy machines, optical storage devices, cheap dynamos, consumer audio equipment, servo motors, and printers.


title: Gear

text: Another advantage of the use of plastics, formerly (such as in the 1980s), was the reduction of repair costs for certain expensive machines. In cases of severe jamming (as of the paper in a printer), the plastic gear teeth would be torn free of their substrate, allowing the drive mechanism to then spin freely (instead of damaging itself by straining against the jam). This use of "sacrificial" gear teeth avoided destroying the much more expensive motor and related parts. This method has been superseded, in more recent designs, by the use of clutches and torque- or current-limited motors.


title: Gear

text: Although gears can be made with any pitch, for convenience and interchangeability standard pitches are frequently used. Pitch is a property associated with linear dimensions and so differs whether the standard values are in the imperial (inch) or metric systems. Using "inch" measurements, standard diametral pitch values with units of "per inch" are chosen; the "diametrical pitch" is the number of teeth on a gear of one inch pitch diameter. Common standard values for spur gears are 3, 4, 5, 6, 8, 10, 12, 16, 20, 24, 32, 48, 64, 72, 80, 96, 100, 120, and 200. Certain standard pitches such as "1/10" and "1/20" in inch measurements, which mesh with linear rack, are actually (linear) "circular pitch" values with units of "inches"


title: Gear

text: When gear dimensions are in the metric system the pitch specification is generally in terms of module or "modulus", which is effectively a length measurement across the "pitch diameter". The term module is understood to mean the pitch diameter in millimetres divided by the number of teeth. When the module is based upon inch measurements, it is known as the "English module" to avoid confusion with the metric module. Module is a direct dimension, unlike diametrical pitch, which is an inverse dimension ("threads per inch"). Thus, if the pitch diameter of a gear is 40 mm and the number of teeth 20, the module is 2, which means that there are 2 mm of pitch diameter for each tooth. The preferred standard module values are 0.1, 0.2, 0.3, 0.4, 0.5, 0.6, 0.8, 1.0, 1.25, 1.5, 2.0, 2.5, 3, 4, 5, 6, 8, 10, 12, 16, 20, 25, 32, 40 and 50.


title: Gear

text: As of 2014, an estimated 80% of all gearing produced worldwide is produced by net shape molding. Molded gearing is usually either powder metallurgy or plastic. Many gears are done when they leave the mold (including injection molded plastic and die cast metal gears), but powdered metal gears require sintering and sand castings or investment castings require gear cutting or other machining to finish them. The most common form of gear cutting is hobbing, but gear shaping, milling, and broaching also exist. 3D printing as a production method is expanding rapidly. For metal gears in the transmissions of cars and trucks, the teeth are heat treated to make them hard and more wear resistant while leaving the core soft and tough. For large gears that are prone to warp, a quench press is used.


title: Gear

text: Modern physics adopted the gear model in different ways. In the nineteenth century, James Clerk Maxwell developed a model of electromagnetism in which magnetic field lines were rotating tubes of incompressible fluid. Maxwell used a gear wheel and called it an "idle wheel" to explain the electric current as a rotation of particles in opposite directions to that of the rotating field lines.


title: Gear

text: More recently, quantum physics uses "quantum gears" in their model. A group of gears can serve as a model for several different systems, such as an artificially constructed nanomechanical device or a group of ring molecules.


title: Gear

text: The gear mechanism was previously considered exclusively artificial, but as early as 1957, gears had been recognized in the hind legs of various species of planthoppers and scientists from the University of Cambridge characterized their functional significance in 2013 by doing high-speed photography of the nymphs of "Issus coleoptratus" at Cambridge University. These gears are found only in the nymph forms of all planthoppers, and are lost during the final molt to the adult stage. In "I. coleoptratus", each leg has a 400-micrometer strip of teeth, pitch radius 200 micrometers, with 10 to 12 fully interlocking spur-type gear teeth, including filleted curves at the base of each tooth to reduce the risk of shearing. The joint rotates like mechanical gears, and synchronizes "Issus's" hind legs when it jumps to within 30 microseconds, preventing yaw rotation. The gears are not connected all the time. One is located on each of the juvenile insect's hind legs, and when it prepares to jump, the two sets of teeth lock together. As a result, the legs move in almost perfect unison, giving the insect more power as the gears rotate to their stopping point and then unlock.


title: Jimmy Durante

text: James Francis Durante ( , ; February 10, 1893 – January 29, 1980) was an American comedian, actor, singer, vaudevillian, and pianist. His distinctive gravelly speech, Lower East Side accent, comic language-butchery, jazz-influenced songs, and prominent nose helped make him one of America's most familiar and popular personalities of the 1920s through the 1970s. He often referred to his nose as "the schnozzola" (Italianization of the American Yiddish slang word "schnoz", meaning "big nose"), and the word became his nickname.


title: Jimmy Durante

text: Durante was born on the Lower East Side of New York City. He was the youngest of four children born to Rosa (Lentino) and Bartolomeo Durante, both immigrants from Salerno, Campania, Italy. Bartolomeo was a barber. Young Jimmy served as an altar boy at St. Malachy Roman Catholic Church, known as the Actor's Chapel.


title: Jimmy Durante

text: Durante dropped out of school in seventh grade to become a full-time ragtime pianist. He first played with his cousin, whose name was also Jimmy Durante. It was a family act, but he was too professional for his cousin. He continued working the city's piano bar circuit and earned the nickname "Ragtime Jimmy," before he joined one of the first recognizable jazz bands in New York, the Original New Orleans Jazz Band. Durante was the only member not from New Orleans. His routine of breaking into a song to deliver a joke, with band or orchestra chord punctuation after each line, became a Durante trademark. In 1920 the group was renamed Jimmy Durante's Jazz Band.


title: Jimmy Durante

text: By the mid-1920s, Durante had become a vaudeville star and radio personality in a trio named Clayton, Jackson and Durante. Lou Clayton and Eddie Jackson, Durante's closest friends, often reunited with Durante in subsequent years. Jackson and Durante appeared in the Cole Porter musical "The New Yorkers", which opened on Broadway on December 8, 1930. Earlier the same year, the team appeared in the movie "Roadhouse Nights", ostensibly based on Dashiell Hammett's novel "Red Harvest".


title: Jimmy Durante

text: By 1934, Durante had a major record hit with his own novelty composition, "Inka Dinka Doo", with lyrics by Ben Ryan. It became his theme song for the rest of his life. A year later, Durante starred on Broadway in the Billy Rose stage musical "Jumbo". A scene in which a police officer stopped Durante's character—who was leading a live elephant across the stage—to ask "what are you doing with that elephant?", followed by Durante's reply "What" elephant?" was a regular show-stopper. Durante also appeared on Broadway in "Show Girl" (1929), "Strike Me Pink" (1934) and "Red, Hot and Blue" (1936).


title: Jimmy Durante

text: During the early 1930s, Durante alternated between Hollywood and Broadway. Outstanding among his early motion pictures was "The Phantom President" (1932), starring George M. Cohan with Durante as his gregarious pal. Durante then replaced Cliff Edwards as the comic foil in Metro-Goldwyn-Mayer's Buster Keaton comedies: "Speak Easily" (1932), "The Passionate Plumber" (1932), and "What! No Beer?" (1933). The Keaton-Durante series was very successful and might have continued, but Keaton was experiencing personal problems including loss of control over his movies, alcohol abuse, and a messy divorce, so MGM fired Keaton and kept Durante. MGM gave Durante leads in moderately budgeted comedies like "Meet the Baron" (1933) and "Hollywood Party" (1934), but he couldn't carry an entire feature film; he was more effective as somebody's sidekick, and MGM released him in 1934.


title: Jimmy Durante

text: Durante went to England to work in a Richard Tauber film musical, "Land Without Music" (released in the United States as "Forbidden Music"). Upon his return to Hollywood, there were no movie jobs for him. Columbia Pictures offered him a major role in its college musical "Start Cheering", filmed in 1937, and he received excellent critical notices, re-establishing him in movies. From then on, he almost always appeared in strong supporting roles.


title: Jimmy Durante

text: Durante went on to appear in the Gene Autry musical western "Melody Ranch" (1940), "The Man Who Came to Dinner" (1942, playing Banjo, a character based on Harpo Marx), "Ziegfeld Follies" (1945), "Billy Rose's Jumbo" (1962, based on the 1935 musical), and "It's a Mad, Mad, Mad, Mad World" (1963).


title: Jimmy Durante

text: On September 10, 1933, Durante appeared on Eddie Cantor's NBC radio show, "The Chase and Sanborn Hour", continuing until November 12 of that year. When Cantor left the show, Durante took over as its star from April 22 to September 30, 1934. He then moved on to "The Jumbo Fire Chief Program" (1935–1936).


title: Jimmy Durante

text: Durante teamed with Garry Moore for "The Durante-Moore Show" in 1943. Durante's comic chemistry with the young, brushcut Moore brought Durante an even larger audience. "Dat's my boy dat said dat!" became an instant catchphrase, which would later inspire the cartoon "Augie Doggie and Doggie Daddy". The duo was one of the nation's favorites for the rest of the decade. Their Armed Forces Radio Network "Command Performance" with Frank Sinatra remains a favorite of radio-show collectors today. Moore left the duo in mid-1947, and the program returned October 1, 1947 as "The Jimmy Durante Show". Durante continued the show for three more years and featured a reunion of Clayton, Jackson, and Durante on his April 21, 1948 broadcast.


title: Jimmy Durante

text: Although Durante made his television debut on November 1, 1950 (on the "Four Star Revue" – see below) he continued to keep a presence in radio, as a frequent guest on Tallulah Bankhead's two-year NBC comedy-variety show "The Big Show". Durante was one of the cast on the show's premiere November 5, 1950, along with humorist Fred Allen, singers Mindy Carson and Frankie Laine, stage musical performer Ethel Merman, actors Jose Ferrer and Paul Lukas, and comic-singer Danny Thomas (about to become a major television star in his own right). A highlight of the premiere was Durante and Thomas, whose own nose rivaled Durante's, in a routine in which Durante accused Thomas of stealing his nose. "Stay outta dis, no-nose!" Durante barked at Bankhead to a big laugh.


title: Jimmy Durante

text: From 1950 to 1951, Durante was the host once a month (alternating with Ed Wynn, Danny Thomas, and Jack Carson) on NBC's comedy-variety series "Four Star Revue", airing on Wednesday evenings at 8 p.m. Jimmy continued with the show until 1954.


title: Jimmy Durante

text: Durante then hosted a half-hour variety show, "The Jimmy Durante Show"—on NBC from October 2, 1954, to June 23, 1956.


title: Jimmy Durante

text: Beginning in the early 1950s, Durante teamed with sidekick Sonny King, a collaboration that would continue until Durante's death. Several times in the 1960s, Durante served as host of ABC's variety hour "The Hollywood Palace", which was taped live (and consequently included ad-libs by the seasoned vaudevillian). His last regular television series paired him with The Lennon Sisters and was titled, appropriately, "Jimmy Durante Presents the Lennon Sisters". The series lasted for one season on ABC (1969–1970).


title: Jimmy Durante

text: Durante's first wife was Jean "Jeanne" Olson, whom he married on June 19, 1921. She was born in Ohio on August 31, 1896. She was 46 years old when she died on Valentine's Day in 1943, after a lingering heart ailment of about two years, although different newspaper accounts of her death suggest she was 45 or perhaps 52. As her death was not immediately expected, Durante was touring in New York at the time and returned to Los Angeles right away to complete the funeral arrangements.


title: Jimmy Durante

text: Durante's radio show was bracketed with two trademarks: "Inka Dinka Doo" as his opening theme, and the invariable signoff that became another familiar national catchphrase: "Good night, Mrs. Calabash, wherever you are." For years no one knew who Mrs. Calabash referred to and Durante preferred to keep the mystery alive until 1966. One theory was that it referred to the owner of a restaurant in Calabash, North Carolina, where Durante and his troupe had stopped to eat. He was so taken by the food, the service, and the chitchat he told the owner that he would make her famous. Since he did not know her name, he referred to her as "Mrs. Calabash". At a National Press Club meeting in 1966 (broadcast on NBC's "Monitor" program), Durante finally revealed that it was indeed a tribute to his wife. While driving across the country, they stopped in a small town called Calabash, North Carolina whose name Jean had loved. "Mrs. Calabash" became his pet name for her, and he signed off his radio program with "Good night, Mrs. Calabash." He added "wherever you are" after the first year.


title: Jimmy Durante

text: Durante married his second wife, Margaret "Margie" Little, at St. Malachy Roman Catholic Church in New York City on December 14, 1960. As a teenager she had been crowned Queen of the New Jersey State Fair. She attended New York University before being hired by the legendary Copacabana in New York City. She and Durante met there 16 years before their marriage, when he performed there and she was a hatcheck girl. She was 41 while he was 67 when they married. With help from their attorney, Mary G. Rogan, the couple were able to adopt a baby, Cecilia Alicia (nicknamed CeCe and now known as CeCe Durante-Bloum), on Christmas Day, 1961. CeCe became a champion horsewoman and then a horse trainer and horseriding instructor. Margie died on June 7, 2009, at the age of 89.


title: Jimmy Durante

text: On August 15, 1958, for his charitable acts, Durante was awarded a three-foot-high brass loving cup by the Al Bahr Shriners Temple. The inscription reads: "JIMMY DURANTE THE WORLD'S MOST FAMOUS COMEDIAN. A loving cup to you Jimmy, it's larger than your nose, but smaller than your heart. Happiness always, Al Bahr Temple, August 15, 1958." Jimmy Durante started out his career with Clayton and Jackson and when he became a big star and they were left behind, he kept them on his payroll for the rest of their lives.


title: Jimmy Durante

text: Durante's love for children continued through the Fraternal Order of Eagles, who among many causes raise money for disabled and abused children. At Durante's first appearance at the Eagles International Convention in 1961, Judge Bob Hansen inquired about his fee for performing. Durante replied, "Do not even mention money judge or I'll have to mention a figure that'll make ya sorry ya brought it up." "What can we do then?" asked Hansen. "Help da kids," was Durante's reply. Durante performed for many years at Eagles conventions free of charge, even refusing travel money. The Fraternal Order of Eagles changed the name of their children's fund to the Jimmy Durante Children's Fund in his honor, and in his memory have raised over $20 million to help children. A reporter once remarked of Durante after an interview: "You could warm your hands on this one." One of the projects built using money from the Durante Fund was a heated therapy swimming pool at the Hughen School in Port Arthur, Texas. Completed in 1968, Durante named the pool the "Inka Dinka Doo Pool".


title: Jimmy Durante

text: Durante was deeply religious and a staunch Roman Catholic. In Las Vegas, he was seen regularly after Sunday Mass outside of the Guardian Angel Cathedral, standing next to the priest and greeting parishioners as they left the church. In 1968 he recorded 10 spiritual and inspirational songs for the album "Songs for Sunday"; it was expanded to 20 selections for a CD release under the same title in 1996.


title: Jimmy Durante

text: Durante was an active member of the Democratic Party. In 1933, he appeared in an advertisement shown in theaters supporting Franklin D. Roosevelt's New Deal programs and wrote a musical score titled "Give a Man a Job" to accompany it. He performed at both the inaugural gala for President John F. Kennedy in 1961 and a year later at the famous Madison Square Garden rally for the Democratic party that featured Marilyn Monroe singing "Happy Birthday" to JFK.


title: Jimmy Durante

text: Durante continued his film appearances through "It's a Mad, Mad, Mad, Mad World" and television appearances through the early 1970s. He narrated the Rankin-Bass animated Christmas special "Frosty the Snowman" (1969), re-run for many years since. The television work also included a series of commercial spots for Kellogg's Corn Flakes cereals in the mid-1960s, which introduced Durante's gravelly growl and narrow-eyed, large-nosed countenance to millions of children. "Dis is Jimmy Durante, in puy-son!" was his introduction to some of the Kellogg's spots. One of his last appearances was in a memorable television commercial for the 1973 Volkswagen Beetle, where he proclaimed that the new, roomier Beetle had "plenty of breathin' room... for de old schnozzola!"


title: Jimmy Durante

text: In 1963, Durante recorded the album of pop standards "September Song". The album became a best-seller and provided Durante's re-introduction to yet another generation, almost three decades later. From the "Jimmy Durante's Way of Life" album came the gravelly interpretation of the song "As Time Goes By", which accompanied the opening credits of the romantic comedy hit "Sleepless in Seattle", while his version of "Make Someone Happy" launched the film's closing credits. Both are included on the film's best-selling soundtrack. Durante also recorded a cover of the well-known song "I'll Be Seeing You", which became a trademark song on his 1960s TV show and was featured in the 2004 film "The Notebook".


title: Jimmy Durante

text: He wrote a foreword for a humorous book compiled by Dick Hyman titled "Cockeyed Americana". In the first paragraph of the "Foreword!", as Durante called it, he describes meeting Hyman and discussing the book and the contribution that Hyman wanted Durante to make to it. Durante wrote "Before I can say gaziggadeegasackeegazobbath, we're at his luxurious office." After reading the material Hyman had compiled for the book, Durante commented on it: "COLOSSAL, GIGANTIC, MAGNANIMOUS, and last but not first, AURORA BOREALIS. "[Capitalization Durante's]" Four little words that make a sentence—and a sentence that will eventually get me six months."


title: Jimmy Durante

text: Durante retired from performing in 1972, after a stroke confined him to a wheelchair. He made a public appearance in 1974 when MGM held a reunion of its former stars, in connection with its new "That's Entertainment!" film.


title: Jimmy Durante

text: Jimmy Durante died of pneumonia in Santa Monica, California, on January 29, 1980, 12 days before he would have turned 87. He received Catholic funeral rites four days later, with fellow entertainers including Desi Arnaz, Ernest Borgnine, Marty Allen, and Jack Carter in attendance, and was interred at Holy Cross Cemetery in Culver City, California.


title: Jimmy Durante

text: On June 25, 2019, "The New York Times Magazine" listed Jimmy Durante among hundreds of artists whose material was destroyed in the 2008 Universal fire.


title: Jimmy Durante

text: Jimmy Durante is known to most modern audiences as the character who narrated and sang the 1969 animated special "Frosty the Snowman". He also performed the Ron Goodwin title song to the 1968 comedy-adventure "Monte Carlo or Bust" (titled "Those Daring Young Men in Their Jaunty Jalopies" in the U.S.) sung over the film's animated opening credits.


title: Jimmy Durante

text: While his own career in animation was limited, Durante's distinctive voice, looks, and catchphrases earned him numerous depictions and allusions in animation. He was caricatured as early as 1933, alongside Buster Keaton in the Ub Iwerks cartoon "Soda Squirt". Director Tex Avery presented him as a persecuted turkey in the MGM cartoon "Jerky Turkey". In MGM's Tom and Jerry cartoons with father-and-son bulldogs Spike and Tyke, Durante was referenced with a raspy voice and an affectionate "Dat's my boy!" In another Tom and Jerry short, a starfish lands on Tom's head, giving him a big nose. He then proceeds with Durante's famous "Ha-cha-cha-cha" call. The 1943 Tex Avery cartoon "What's Buzzin' Buzzard" featured a vulture with a voice that sounded like Jimmy Durante. Hanna-Barbera continued to use the Durante voice (imitated by Doug Young) in Hanna-Barbera's "Augie Doggie and Doggie Daddy" cartoons, Doggie Daddy invariably addressing the junior beagle with a Durante-like "Augie, my son, my son", and with frequent citations of, "That's my boy who said that!"


title: Jimmy Durante

text: Many Looney Tunes/Merrie Melodies cartoons had characters based on Durante. One Harman-Ising short from 1933, "Bosko's Picture Show", featured a caricature of Adolf Hitler chasing Durante with a meat cleaver. Two examples from the 1940s include "A Gruesome Twosome", which features a cat based on Durante, and "Baby Bottleneck", which in unedited versions opens with a Durante-like stork. "Book Revue" shows the well-known (at that time) 1924 Edna Ferber novel "So Big" featuring a Durante caricature on the cover. The "so big" refers to his nose, and as a runaway criminal turns the corner by the book, Durante turns sideways using his nose to trip the criminal, allowing his capture. In "Hollywood Daffy", Durante is directly depicted as himself, pronouncing his catchphrase "Those are the conditions that prevail!" In "The Mouse-Merized Cat", Catstello (a Lou Costello mouse) briefly is hypnotized to imitate Jimmy Durante singing "Lullaby of Broadway". One of Durante's common catchphrases "I got a million of 'em!" was used as Bugs' final line in "Stage Door Cartoon".


title: Jimmy Durante

text: A Durante-like voice was also used for Marvel Comics superhero the Thing in the Hanna-Barbera cartoon "Fred and Barney Meet the Thing". The voice and appearance of Crispy, the mascot for Crispy Critters cereal, was also based on Durante. In "Mickey Mouse Works", a character named Mortimer Mouse (voiced by Maurice LaMarche) was based on Durante, complete with the "ha-cha-cha!". One of the main characters in Terrytoons' Heckle and Jeckle cartoon series also takes to imitating Jimmy in 1948's "Taming The Cat" ("Get a couple of song birds today...").


title: Jimmy Durante

text: Since Durante's death, his songs have featured in several films. Dan Aykroyd and Kim Basinger performed impressions of Durante from "The Man Who Came to Dinner" singing "Did You Ever Have the Feeling" in 1988's "My Stepmother Is an Alien". His performance of "Young at Heart" was featured in "City Slickers" (1991) and his versions of "As Time Goes By" and "Make Someone Happy" played over the opening and closing credits of "Sleepless in Seattle" (1993). Michael J. Fox performed an impression of Durante singing "Inka Dinka Doo" in 1994's "Greedy". His rendition of "Smile" featured in the film, and trailer for, "Joker" (2019). His rendition of "The Glory of Love" was also used in the end credits of the horror film "Orphan" (2009), and in its prequel "" (2022), with a rendition of it sung by Isabelle Fuhrman.


title: Southeast Asia Treaty Organization

text: The Southeast Asia Treaty Organization (SEATO) was an international organization for collective defense in Southeast Asia created by the Southeast Asia Collective Defense Treaty, or Manila Pact, signed in September 1954 in Manila, the Philippines. The formal institution of SEATO was established on 19 February 1955 at a meeting of treaty partners in Bangkok, Thailand. The organization's headquarters was also in Bangkok. Eight members joined the organization.


title: Southeast Asia Treaty Organization

text: Primarily created to block further communist gains in Southeast Asia, SEATO is generally considered a failure because internal conflict and dispute hindered general use of the SEATO military; however, SEATO-funded cultural and educational programs left longstanding effects in Southeast Asia. SEATO was dissolved on 30 June 1977 after many members lost interest and withdrew.


title: Southeast Asia Treaty Organization

text: The Southeast Asia Collective Defense Treaty, or Manila Pact, was signed on 8 September 1954 in Manila, as part of the American Truman Doctrine of creating anti-communist bilateral and collective defense treaties. These treaties and agreements were intended to create alliances that would keep communist powers in check (Communist China, in SEATO's case). This policy was considered to have been largely developed by American diplomat and Soviet expert George F. Kennan. President Dwight D. Eisenhower's Secretary of State John Foster Dulles (1953–1959) is considered to be the primary force behind the creation of SEATO, which expanded the concept of anti-communist collective defense to Southeast Asia. Then-Vice President Richard Nixon advocated an Asian equivalent of the North Atlantic Treaty Organization (NATO) upon returning from his Asia trip of late 1953, and NATO was the model for the new organization, with the military forces of each member intended to be coordinated to provide for the collective defense of the member states.


title: Southeast Asia Treaty Organization

text: The organization, headquartered in Bangkok, was created in 1955 at the first meeting of the Council of Ministers set up by the treaty, contrary to Dulles's preference to call the organization "ManPac". Organizationally, SEATO was headed by the Secretary General, whose office was created in 1957 at a meeting in Canberra, with a council of representatives from member states and an international staff. Also present were committees for economics, security, and information. SEATO's first Secretary General was Pote Sarasin, a Thai diplomat and politician who had served as Thailand's ambassador to the U.S. between 1952 and 1957, and as Prime Minister of Thailand from September 1957 to 1 January 1958.


title: Southeast Asia Treaty Organization

text: Unlike the NATO alliance, SEATO had no joint commands with standing forces. In addition, SEATO's response protocol in the event of communism presenting a "common danger" to the member states was vague and ineffective, though membership in the SEATO alliance did provide a rationale for a large-scale U.S. military intervention in the region during the Vietnam War (1955–1975).


title: Southeast Asia Treaty Organization

text: Despite its name, SEATO mostly included countries located outside of the region but with an interest either in the region or the organization itself. They were Australia (which administered Papua New Guinea), France (which had recently relinquished French Indochina), New Zealand, Pakistan (which until 1971 included East Pakistan, now Bangladesh), the Philippines, Thailand, the United Kingdom (which administered Hong Kong, North Borneo and Sarawak) and the United States.


title: Southeast Asia Treaty Organization

text: The Philippines and Thailand were the only Southeast Asian countries that actually participated in the organization. They shared close ties with the United States, particularly the Philippines, and they faced incipient communist insurgencies against their own governments. Thailand became a member upon the discovery of the newly founded "Thai Autonomous Region" in Yunnan (the Xishuangbanna Dai Autonomous Prefecture in South West China) – apparently feeling threatened by potential Maoist subversion on its land. Other regional countries like Burma and Indonesia were far more mindful of domestic internal stability rather than any communist threat, and thus rejected joining it. Malaya (independence in 1957; including Singapore between 1963 and 1965) also chose not to participate formally, though it was kept updated with key developments due to its close relationship with the United Kingdom.


title: Southeast Asia Treaty Organization

text: The states newly formed from French Indochina (North Vietnam, South Vietnam, Cambodia and Laos) were prevented from taking part in any international military alliance as a result of the Geneva Agreements signed 20 July of the same year concluding the end of the First Indochina War. However, with the lingering threat coming from communist North Vietnam and the possibility of the domino theory with Indochina turning into a communist frontier, SEATO got these countries under its protection – an act that would be considered to be one of the main justifications for the U.S. involvement in the Vietnam War. Cambodia, however rejected the protection in 1956.


title: Southeast Asia Treaty Organization

text: The majority of SEATO members were not located in Southeast Asia. To Australia and New Zealand, SEATO was seen as a more satisfying organization than ANZUS – a collective defense organization with the U.S. The United Kingdom and France joined partly due to having long maintained colonies in the region, and partly due to concerns over developments in Indochina. The U.S., upon perceiving Southeast Asia to be a pivotal frontier for Cold War geopolitics, saw the establishment of SEATO as essential to its Cold War containment policy.


title: Southeast Asia Treaty Organization

text: The membership reflected a mid-1950s combination of anti-communist Western states and such states in Southeast Asia. The United Kingdom, France and the United States, the latter of which joined after the U.S. Senate ratified the treaty by an 82–1 vote, represented the strongest Western powers. Canada also considered joining, but decided against it in order to concentrate on its NATO responsibilities.


title: Southeast Asia Treaty Organization

text: After its creation, SEATO quickly became insignificant militarily, as most of its member nations contributed very little to the alliance. While SEATO military forces held joint military training, they were never employed because of internal disagreements. SEATO was unable to intervene in conflicts in Laos because France and the United Kingdom rejected the use of military action. As a result, the U.S. provided unilateral support for Laos after 1962. Though sought by the U.S., involvement of SEATO in the Vietnam War was denied because of lack of British and French cooperation.


title: Southeast Asia Treaty Organization

text: Both the United States and Australia cited the alliance as justification for involvement in Vietnam. U.S. membership in SEATO provided the United States with a rationale for a large-scale U.S. military intervention in Southeast Asia. Other countries, such as the UK and key nations in Asia, accepted the rationale. In 1962, as part of its commitment to SEATO, the Royal Australian Air Force deployed CAC Sabres of its No. 79 Squadron to Ubon Royal Thai Air Force Base, Thailand. The Sabres began to play a role in the Vietnam War in 1965, when their air defence responsibilities expanded to include protection of USAF aircraft using Ubon as a base for strikes against North Vietnam.


title: Southeast Asia Treaty Organization

text: In addition to joint military training, SEATO member states worked on improving mutual social and economic issues. Such activities were overseen by SEATO's Committee of Information, Culture, Education, and Labor Activities, and proved to be some of SEATO's greatest successes. In 1959, SEATO's first Secretary General, Pote Sarasin, created the SEATO Graduate School of Engineering (currently the Asian Institute of Technology) in Thailand to train engineers. SEATO also sponsored the creation of the Teacher Development Center in Bangkok, as well as the Thai Military Technical Training School, which offered technical programs for supervisors and workmen. SEATO's Skilled Labor Project (SLP) created artisan training facilities, especially in Thailand, where ninety-one training workshops were established.


title: Southeast Asia Treaty Organization

text: SEATO also provided research funding and grants in agriculture and medical fields. In 1959, SEATO set up the Cholera Research Laboratory in Bangkok, later establishing a second Cholera Research Laboratory in Dhaka, East Pakistan. The Dhaka laboratory soon became the world's leading cholera research facility and was later renamed the International Centre for Diarrhoeal Disease Research, Bangladesh. SEATO was also interested in literature, and a SEATO Literature Award was created and given to writers from member states.


title: Southeast Asia Treaty Organization

text: Though Secretary of State John Foster Dulles considered SEATO an essential element in U.S. foreign policy in Asia, historians have considered the Manila Pact a failure, and the pact is rarely mentioned in history books. In "The Geneva Conference of 1954 on Indochina", Sir James Cable, a diplomat and naval strategist, described SEATO as "a fig leaf for the nakedness of American policy", citing the Manila Pact as a "zoo of paper tigers". As early as the 1950s Aneurin Bevan unsuccessfully tried to block SEATO in the British Parliament, at one point interrupting a parliamentary debate between Foreign Secretary Anthony Eden and Leader of the Opposition Clement Attlee to excoriate them both for considering the idea.


title: Southeast Asia Treaty Organization

text: In the early 1970s, the question of dissolving the organization arose. Pakistan withdrew in 1973, after East Pakistan seceded and became Bangladesh on 16 December 1971. South Vietnam was defeated in war by North Vietnam and France withdrew financial support in 1975, and the SEATO council agreed to the phasing-out of the organization. After a final exercise on 20 February 1976, the organization was formally dissolved on 30 June 1977 during the Carter Administration.


title: Sophie Nélisse

text: Marie-Sophie Nélisse (born March 27, 2000) is a Canadian actress. She is known for her Genie Award–winning performance in "Monsieur Lazhar", as Liesel Meminger in the film adaptation of the best-selling novel "The Book Thief", written by Markus Zusak, and as Caroline in "The Kid Detective". She also stars as young Shauna in Showtime's series "Yellowjackets".


title: Sophie Nélisse

text: Marie-Sophie Nélisse was born in Windsor, Ontario, on March 27, 2000. She is of French descent. Her mother, Pauline Belhumeur, left her job as a schoolteacher in 2013 to act as a talent manager for both Sophie and her younger sister Isabelle, who is also an actress. Nélisse is fluent in both French and English. The family moved to Montreal when she was four.


title: Sophie Nélisse

text: She spent her early years training in gymnastics, aiming for the 2016 Olympics, and signed to a talent agency to make money to pay for the training, but after getting the part in "The Book Thief" (and subsequent accolades) she shifted her focus to acting. Additionally, Nélisse formed and still maintains a close friendship with her co-star from "The Book Thief", Nico Liersch.


title: Sophie Nélisse

text: Besides her Genie Award for "Monsieur Lazhar", she won a Jutra Award for her performance and a Young Artist Award nomination as Best Leading Young Actress in an International Feature Film. She held a recurring role the Québec sitcom "" and she also starred in the title role of the 2015 film "The Great Gilly Hopkins". In May 2016, Nélisse was present on the red carpet at Cannes Film Festival for the first time to present Canadian thriller movie "Mean Dreams".


title: Sophie Nélisse

text: In 2016, Nélisse was one of four actors selected by the Toronto International Film Festival, alongside Grace Glowicki, Jared Abrahamson, and Mylène Mackay for its "Rising Stars" programme, described as an "intensive professional development programme [that] immerses participants in a series of public events and industry meetings during the Festival." In June 2018, it was announced that she would be the face of Caroline Néron's Fall 2018 jewelry line.


title: Sophie Nélisse

text: After graduating high school in June 2017, Nélisse confirmed she wouldn't be enrolling in post-secondary education for the time being due to commitments shooting "Close" in London and Morocco. In a "L'actualité" series about "Being 18 years old in 2018", Nélisse spoke about entering adulthood in the era of the Weinstein effect, and deplored that when she announced she was looking for "more mature roles", she was quickly offered multiple roles where her characters would be raped and that scenarios she receives almost always include sexual elements. One of these instances was when she turned down the sexually-charged lead role in "Fugueuse", in which Ludivine Reding was eventually cast as Fanny, the titular teenage runaway who ends up a sex trafficking victim.


title: Sophie Nélisse

text: Her sister Isabelle Nélisse is also an actress, best known for her roles in "Mama" and HBO's controversial film "The Tale"; the sisters also acted together in "", "Wait Till Helen Comes" and "Worst Case, We Get Married".


title: Drum and bass

text: Drum and bass (also written as drum & bass or drum'n'bass and commonly abbreviated as D&B, DnB, or D'n'B) is a genre of electronic dance music characterized by fast breakbeats (typically 165–185 beats per minute) with heavy bass and sub-bass lines, samples, and synthesizers. The genre grew out of the UK's rave scene in the 1990s.


title: Drum and bass

text: The popularity of drum and bass at its commercial peak ran parallel to several other UK dance styles. A major influence was the original Jamaican dub and reggae sound that influenced jungle's bass-heavy sound. Another feature of the style is the complex syncopation of the drum tracks' breakbeat. Drum and bass subgenres include breakcore, ragga jungle, hardstep, darkstep, techstep, neurofunk, ambient drum and bass, liquid funk (a.k.a. liquid drum and bass), jump up, drumfunk, sambass, and drill 'n' bass. Drum and bass has influenced many other genres like hip hop, big beat, dubstep, house, trip hop, ambient music, techno, jazz, rock and pop.


title: Drum and bass

text: Drum and bass is dominated by a relatively small group of record labels. Major international music labels had shown very little interest in the drum and bass scene until BMG Rights Management acquired RAM in February 2016. Since then, the genre has seen a significant growth in exposure. Whilst the origin of drum and bass music is in the UK, the genre has evolved considerably with many other prominent fanbases located in all over the world.


title: Drum and bass

text: In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to new genres in the rave scene including breakbeat hardcore, darkcore, and hardcore jungle, which combined sampled syncopated beats, or breakbeats, and other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. From as early as 1991, tracks were beginning to strip away some of the heavier sampling and "hardcore noises" and create more bassline and breakbeat led tracks. Some tracks increasingly took their influence from reggae and this style would become known as hardcore jungle (later to become simply jungle), whilst darkcore (with producers such as Goldie, Doc Scott, 4hero, and 2 Bad Mice) were experimenting with sounds and creating a blueprint for drum and bass, especially noticeable by late 1993.


title: Drum and bass

text: By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, jungle also inherited associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.


title: Drum and bass

text: As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance (circa 1995–1997). It also began to split into recognisable subgenres such as hardstep, jump up, ragga, techstep, and what was known at the time as intelligent. As more melodic and often jazz-influenced subgenres of drum and bass called atmospheric or intelligent (Blame and Blu Mar Ten) and jazzstep (4Hero, Roni Size) gained mainstream appeal, additional subgenres emerged including techstep in 1996, drawing influence from techno.


title: Drum and bass

text: The emergence of related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day, drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep, and producing successful artists including Chase & Status, Netsky, Metrik, and Pendulum.


title: Drum and bass

text: Drum and bass incorporates a number of scenes and styles, from the highly electronic, industrial sounds of techstep to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum. The sounds of drum and bass are extremely varied due to the range of influences behind the music. Drum and bass could at one time be defined as a strictly electronic musical genre, with the only "live" element being the DJ's selection and mixing of records during a set. "Live" drum and bass using electric, electronic and acoustic instruments played by musicians on stage emerged over the ensuing years of the genre's development.


title: Drum and bass

text: A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time, but is still evident, with many tracks containing ragga vocals.


title: Drum and bass

text: As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis, and even Michael Jackson acted as funk influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists such as Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons, which contains a drum solo that has since become known as the "Amen break", which, after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.


title: Drum and bass

text: Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s, which were hugely influential in drum and bass. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's "Terrorist" and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important to the scene was Carl Craig. The sampled-up jazz break on Craig's "Bug in the Bassbin" was also influential on the newly emerging sound. DJs at the Heaven nightclub on "Rage" nights used to play it as fast as their Technics record decks would go, pitching it up in the process.


title: Drum and bass

text: By the late 1980s and early 1990s, the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.


title: Drum and bass

text: Clearly, drum and bass has been influenced by other music genres, though influences from sources external to the electronic dance music scene perhaps lessened following the shifts from jungle to drum and bass, and through to so-called "intelligent drum and bass" and techstep. It still remains a fusion music style.


title: Drum and bass

text: Some tracks are illegally remixed and released on white label (technically bootleg), often to acclaim. For example, DJ Zinc's remix of The Fugees' "Ready or Not", also known as "Fugee Or Not", was eventually released with the Fugees' permission after talk of legal action, though ironically, the Fugees' version infringed Enya's copyright to an earlier song. White labels, along with dubplates, played an important part in drum and bass musical culture.


title: Drum and bass

text: The Amen break was synonymous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, "Soul Pride", "Scorpio" and "Think (About It)" breaks. Early pioneers often used Akai samplers and sequencers on the Atari ST to create their tracks.


title: Drum and bass

text: Of equal importance is the TR-808 kick drum, an artificially pitch-downed or elongated bass drum sound sampled from Roland's classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.


title: Drum and bass

text: Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. A more recent commonly used break is the "Tramen", which combines the Amen break, a James Brown funk breakbeat ("Tighten Up" or "Samurai" break) and an Alex Reece drum and bass breakbeat.


title: Drum and bass

text: The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.


title: Drum and bass

text: The complex syncopation of the drum tracks' breakbeat is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.


title: Drum and bass

text: The genre places great importance on the bassline, in this case a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common.


title: Drum and bass

text: Atmospheric pads and samples may be added over the fundamental drum and bass to provide different feels. These have included "light" elements such as ambient pads as found in ambient electronica and samples of jazz and world musics, or "dark" elements such as dissonant pads and sci-fi samples to induce anxiety in the dancer.


title: Drum and bass

text: Old-school DnB usually included an MC providing vocals. Some styles (such as jazz-influenced DnB) also include melodic instruments soloing over the music.


title: Drum and bass

text: Drum and bass is usually between 160 and 180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently, some producers have started to once again produce tracks with slower tempos (that is, in the 150-170 bpm range), but the mid-170s tempo is still a hallmark of the drum and bass sound.


title: Drum and bass

text: A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), might not be drum and bass, but instead may qualify as a drum and bass-influenced breakbeat track.


title: Drum and bass

text: Many mixing points begin or end with a "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognisable build section and breakdown. Sometimes, the drop is used to switch between tracks, layering components of different tracks, as the two records may be simply ambient breakdowns at this point. Some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" the record by spinning it back and restarting it at the build. The drop is often a key point from the point of view of the dance floor, since the drum breaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to begin dancing.


title: Drum and bass

text: Drum and bass exhibits a full frequency response which can sometimes only be fully appreciated on sound systems which can handle very low frequencies, including sub-bass frequencies that are often felt more than heard. As befits its name, the bass element of the music is particularly pronounced, with the comparatively sparse arrangements of drum and bass tracks allowing room for basslines that are deeper than most other forms of dance music. Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems.


title: Drum and bass

text: There are however many albums specifically designed for personal listening. The DJ mix is a particularly popular form of release, with a popular DJ or producer mixing live, or on a computer, a variety of tracks for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car listening.


title: Drum and bass

text: Although this practice has declined in popularity, DJs are often accompanied by one or more MCs, drawing on the genre's roots in hip hop and reggae/ragga.


title: Drum and bass

text: MCs do not generally receive the same level of recognition as producer/DJs, and some events are specifically marketed as being MC-free. There are relatively few well-known drum and bass MCs, mainly based in London and Bristol, including Stevie Hyper D (deceased), the Ragga Twins, Dynamite MC, Skibadee(deceased) and MC Tali.


title: Drum and bass

text: Many musicians have adapted drum and bass to live performances, which feature instruments such as drums (acoustic or electronic), samplers, synthesizers, turntables, bass (either upright or electric) and guitars (acoustic or electric). Samplers have also been used live by assigning samples to a specific drum pad or key on drum pads or synthesizers. MCs are frequently featured in live performances.


title: Drum and bass

text: Smaller scenes within the drum and bass community have developed and the scene as a whole has become much more fractured into specific subgenres, which have been grouped into "light" (influenced by ambient, jazz, and world music) and "heavy" (influenced by industrial music, sci-fi, and anxiety) styles, including:


title: Drum and bass

text: Born around the same time as jungle, breakcore and digital hardcore share many of the elements of drum and bass and to the uninitiated, tracks from the extreme end of drum and bass may sound identical to breakcore thanks to speed, complexity, impact and maximum sonic density combined with musical experimentation. German drum and bass DJ The Panacea is also one of the leading digital hardcore artists. Raggacore resembles a faster version of the ragga-influenced jungle music of the 1990s, similar to breakcore but with more friendly dancehall beats (dancehall itself being a very important influence on drum and bass). Darkcore, a direct influence on drum and bass, was combined with influences of drum and bass itself leading to the creation of darkstep. There is considerable crossover from the extreme edges of drum and bass, breakcore, darkcore, digital hardcore and raggacore with fluid boundaries.


title: Drum and bass

text: Intelligent dance music (IDM) is a form of art music based on DnB and other electronic dance musics, exploring their boundaries using ideas from science, technology, contemporary classical music and progressive rock, often creating un-danceable, art gallery style music.


title: Drum and bass

text: Recently created in the United States is a genre called ghettotech which contains synth and basslines similar to drum and bass.


title: Drum and bass

text: Drum and bass is dominated by a small group of record labels. These are mainly run by DJ-producers, such as London Elektricity's Hospital Records, Andy C and Scott Bourne's RAM, Goldie's Metalheadz, Fabio and Sarah Sandy's Creative Source Records, Kasra's Critical Music, DJ Friction's Shogun Audio, DJ Fresh's Breakbeat Kaos, Ed Rush & Optical's Virus Recordings, Futurebound's Viper Recordings and DJ Hype, Pascal, NoCopyrightSounds and formerly DJ Zinc's True Playaz (known as Real Playaz as of 2006).


title: Drum and bass

text: Prior to 2016, the major international music labels such as Sony Music and Universal had shown very little interest in the drum and bass scene, with the exception of some notable signings, including Pendulum's "In Silico" LP to Warner. Roni Size's label played a big, if not the biggest, part in the creation of drum and bass with their dark, baseline sounds. V Recordings also played a large part of the development of drum and bass.


title: Drum and bass

text: BMG Rights Management acquired Ram Records in February 2016, making a strategic investment to help RAM Records (a London-based drum and bass record company co-owned by Andy C and his business partner Scott Bourne). RAM Records has been pushing the boundaries of drum and bass further into the mainstream with artists such as Chase and Status and Sub Focus.


title: Drum and bass

text: Now defunct labels, include Rob Playford's Moving Shadow, running from 1990 until 2007, which played a pivotal role in the nineties drum and bass scene, releasing records by artists such as Omni Trio.


title: Drum and bass

text: Originally drum and bass was mostly sold in 12-inch vinyl single format. With the emergence of drum and bass into mainstream music markets, more albums, compilations and DJ mixes started to be sold on CDs. As digital music became more popular, websites focused on electronic music, such as Beatport, began to sell drum and bass in digital format.


title: Drum and bass

text: The bulk of drum and bass vinyl records and CDs are distributed globally and regionally by a relatively small number of companies such as SRD (Southern Record Distributors), ST Holdings, & Nu Urban Music Limited.


title: Drum and bass

text: As of 11 September 2012, Nu Urban ceased trading and RSM Tenon were instructed to assist in convening statutory meetings of members and creditors to appoint a liquidator. This left many labels short on sales, as Nu Urban were one of the main distributors for the vinyl market in the drum and bass scene.


title: Drum and bass

text: Despite its roots in the UK, which is still treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, New Zealand, South Africa, and the United States.


title: Drum and bass

text: DnB is popular in continental Europe. The Czech Republic currently hosts the largest drum and bass festival in the world, LET IT ROLL, with an annual attendance of approximately 30,000. The genre is also encountered in Slovakia, and local producers in both countries such as A-Cray, Rido, Forbidden Society, L Plus, B-Complex, Changing Faces, Lixx, Dephzac, and Gabanna are becoming well known worldwide. There are several other drum and bass festivals being held each year in these countries, including Trident Festival, Exploration Festival, or Hoofbeats Open Air in the summer, or one-night events such as LET IT ROLL Winter, Imagination Festival, and LET IT ROLL Winter Slovakia in the colder months. During club season, promoters race between each other to organise better events, often resulting in up to ten parties being held during one weekend, with no more than a two-hour travel between them.


title: Drum and bass

text: The drum and bass scene in Hungary seems to be getting bigger and bigger every year with its "centre" being in Budapest. Drum and bass gigs and parties are being held right on the Danube on the A38 ship, as well in the city centre in Akvárium Klub. For many years now, every major Hungarian music festival has drum and bass artists and DJs playing sets. The main pioneer for the Hungarian DnB scene is Bladerunnaz, a Budapest-based drum and bass crew, which organizes most of the DnB parties in Hungary.


title: Drum and bass

text: Austria has a large emerging DnB scene with many artists such as Camo & Krooked, Ill.Skillz and mainly the Mainframe record label being all based in or around Vienna. Notable events include "The Hive" and "Beat It" held at Flex.


title: Drum and bass

text: In Ireland, the biggest scene by far is in Dublin, with a night every Sunday by the Initial Kru mostly showcasing local DJs but occasionally bringing over international guests such as Spirit and Seba. Record label Boey Audio also run events showcasing local, national and international acts, as well as promoters such as Sól Fúd, Ragga Jungle Dublin and Springfield Crew Massive. There are much smaller regional scenes in areas such as Limerick, Cork and Galway which usually have monthly nights.


title: Drum and bass

text: Brazilian drum and bass is sometimes referred to as "sambass", with a specific samba-influenced style and sound.


title: Drum and bass

text: Venezuela was home to many crews including ones led by Adam F, Dieselboy, AK1200 and many more. Due to the current political climate, however, most crews and promoters have left the country.


title: Drum and bass

text: Argentina is home to the +160 crew led by Bad Boy Orange, and Killerdrumz, who organized the first Therapy Sessions events in the region.


title: Drum and bass

text: Colombia is home to the currently largest Drum & Bass scene. RE.set and Bogotá Project are two collectives that organise drum and bass events in the city, as well as a bi-annual event called Radikal Styles that brings together local talent and international big names.


title: Drum and bass

text: Today, drum and bass is widely promoted using different methods such as video sharing services like YouTube and Dailymotion, blogs, radio, and television, the latter being the most uncommon method. More recently, music networking websites such as SoundCloud and Mixcloud have become powerful tools for artist recognition, providing a vast platform that enables quick responses to new tracks. Record labels have adopted the use of podcasts. Prior to the rise of the internet, drum and bass was commonly broadcast over pirate radio.


title: Drum and bass

text: The three highest-profile radio stations playing drum and bass shows are BBC Radio 1 with The Drum and Bass Show - formerly with Friction, who was replaced with René LaVice in 2017, simulcast in the US and Canada on Sirius XM, and DJ Hype on Kiss 100 in London. Fabio and Grooverider previously held a long-standing drum and bass show on Radio 1. Radio 1 also had the "One in the Jungle" show.


title: Drum and bass

text: The BBC's Black music station BBC Radio 1Xtra used to feature the genre heavily, with DJ Bailey (show axed as of 29 August 2012) and Crissy Criss (show axed as of August 2014) as its advocates. The network also organises a week-long tour of the UK each year called Xtra Bass. London pirate radio stations have been instrumental in the development of drum and bass, with stations such as Kool FM (which continues to broadcast today having done so since 1991), Origin FM, Don FM (the only drum and bass pirate to have gained a temporary legal licence), Renegade Radio 107.2FM, Rude FM, Wax FM and Eruption among the most influential.


title: Drum and bass

text: As of 2014, despite higher profile stations such as 1Xtra scaling back their drum and bass specialist coverage, the genre has made its way into UK top 10 charts with drum and bass inspired tracks from artists such as Rudimental and Sigma. Earlier in August 2014, before Crissy Criss' show was axed, the BBC held a whole prime time evening event dedicated to showcasing drum and bass by allowing four major labels to participate.


title: Drum and bass

text: As of November 2014, six drum & bass songs had reached the no.1 spot on the UK's top 40 chart, since the genre was first being played on the radio, around 1993. The first of these was in 2012. The fact that all six of these songs reached number 1 in only two years shows the increase in popularity and commercialisation of the genre in recent years. The artists who produced these songs are Sigma, Rudimental and DJ Fresh (all had two No.1 hits).


title: Drum and bass

text: Internet radio stations, acting in the same light as pirate stations, have also been an instrumental part in promoting drum and bass music; the majority of them funded by listener and artist donations.


title: Drum and bass

text: Drum and bass was supported by Ministry of Sound radio from the early 2000s until 2014 and later featuring Tuesday shows from labels such as Metalheadz, Fabio & Grooverider, DJ Marky, Viper Recordings, Shogun Audio and Hospital Records. From September 2014, Ministry abruptly dropped all non-mainstream genres to focus on mainstream EDM, causing disappointment amongst the fans of the D&B community.


title: Drum and bass

text: In Toronto since 1994, "The Prophecy" on 89.5 CIUT-FM with Marcus Visionary, DJ Prime and Mr. Brown, is North America's longest running jungle radio show.


title: Drum and bass

text: Seattle also has a long-standing electronica show known as "Expansions" on 90.3 FM KEXP. The rotating DJs include Kid Hops, whose shows are made up mostly of drum and bass. In Columbus, Ohio WCBE 90.5 has a two-hour electronic only showcase, "All Mixed Up", Saturday nights at 10 pm. At the same time, WUFM 88.7 plays its "Electronic Playground".


title: Drum and bass

text: Tulsa, Oklahoma's rock station, 104.5 The Edge, has a two-hour show starting at 10 pm Saturday nights called "Edge Essential Mix", mixed by DJ Demko, showcasing electronic and drum and bass style. While the aforementioned shows in Ohio rarely play drum and bass, the latter plays the genre with some frequency.


title: Drum and bass

text: In Tucson, Arizona, 91.3 FM KXCI has a two-hour electronic show known as "Digital Empire", Friday nights at 10 pm (MST). Resident DJ Trinidad showcases various styles of electronica, with the main focus being drum and bass, jungle and dubstep.


title: Drum and bass

text: In Augusta, Georgia, Zarbizarre of the Cereal Killaz hosts a show called "FreQuency" on WHHD on Friday nights from 11 pm until 1 am, showcasing drum and bass during the second hour of the show.


title: Drum and bass

text: The best-known drum and bass publication was "Kmag" magazine (formerly called "Knowledge Magazine") before it went completely online in August 2009. Although it is still live, after 20 years Kmag ceased updating their site at the end of 2014. Kmag has announced a book to celebrate their 25th anniversary to be published in December 2019. Kmag's publishing arm, Vision, published Brian Belle-Fortune's "All Crews Journeys Through Jungle Drum & Bass Culture" in 2004.


title: Drum and bass

text: Other publications include the longest-running drum and bass magazine worldwide, "ATM Magazine", and Austrian-based "Resident". London-based "DJ" magazine has also been running a widely respected drum and bass reviews page since 1994, written by Alex Constantinides, which many followers refer to when seeking out new releases to investigate. In 2012 he stopped writing the reviews, and they are now contributed by Whisky Kicks.


title: Drum and bass

text: The earliest mainstream drum and bass releases include Goldie's album "Timeless" from 1995. Other early examples include the Mercury Music Prize-winning album "New Forms" (1997) from Reprazent, 4hero's Mercury-nominated "Two Pages" from 1998, then in the 2000s, Pendulum's "Hold Your Colour" in 2005 (the best-selling drum and bass album).


title: Drum and bass

text: In 2012, drum and bass achieved its first UK No. 1 single "Hot Right Now" by DJ Fresh which was one of the fastest-selling singles of 2012 at the time of release, launching the career of Rita Ora.


title: Drum and bass

text: Video games such as Hudson Soft's "Bomberman Hero", Hi-Rez Studios' "", Electronic Arts' "", Rockstar Games' "Grand Theft Auto" series, and Sony's "Wipeout" series from "Pure" onward have contained drum and bass tracks. Microsoft Studios' "Forza Horizon 2, 3, 4 and 5" feature a Hospital Records radio channel.


title: Drum and bass

text: The genre has some popularity in soundtracks; for instance, "Ultrasonic Sound" was used in "The Matrix"s soundtrack, and the E-Z Rollers' song "Walk This Land" appeared in the film "Lock, Stock and Two Smoking Barrels". Ganja Kru's "Super Sharp Shooter" can be heard in the 2006 film "Johnny Was".


title: Drum and bass

text: The Channel 4 show "Skins" uses the genre in some episodes, notably in the first series' third episode, "Jal", where Shy FX and UK Apache's "Original Nuttah" was played in Fazer's club.


title: Web service

text: The use of the term "Web" in Web Service is a misnomer. Web Services do not use the World Wide Web (WWW), a human user interface running on the Internet, but rather a machine-to-machine service running on the Internet using the WWW protocols.


title: Web service

text: In a web service, a web technology such as HTTP is used for transferring machine-readable file formats such as XML and JSON.


title: Web service

text: In practice, a web service commonly provides an object-oriented web-based interface to a database server, utilized for example by another web server, or by a mobile app, that provides a user interface to the end-user. Many organizations that provide data in formatted HTML pages will also provide that data on their server as XML or JSON, often through a Web service to allow syndication. Another application offered to the end-user may be a mashup, where a Web server consumes several Web services at different machines and compiles the content into one user interface.


title: Web service

text: Asynchronous JavaScript And XML (AJAX) is a dominant technology for Web services. Developing from the combination of HTTP servers, JavaScript clients and Plain Old XML (as distinct from SOAP and W3C Web Services), now it is frequently used with JSON as well as, or instead of, XML.


title: Web service

text: Representational State Transfer (REST) is an architecture for well-behaved Web services that can function at Internet scale.


title: Web service

text: A Web API is a development in Web services where emphasis has been moving to simpler representational state transfer (REST) based communications. Restful APIs do not require XML-based Web service protocols (SOAP and WSDL) to support their interfaces.


title: Web service

text: W3C Web Services may use SOAP over HTTP protocol, allowing less costly (more efficient) interactions over the Internet than via proprietary solutions like EDI/B2B. Besides SOAP over HTTP, Web services can also be implemented on other reliable transport mechanisms like FTP. In a 2002 document, the Web Services Architecture Working Group defined a Web services architecture, requiring a standardized implementation of a "Web service."


title: Web service

text: The term "Web service" describes a standardized way of integrating Web-based applications using the XML, SOAP, WSDL and UDDI open standards over an Internet Protocol backbone. XML is the data format used to contain the data and provide metadata around it, SOAP is used to transfer the data, WSDL is used for describing the services available and UDDI lists what services are available.