title: In Rainbows

text: The release also drew criticism. Trent Reznor of Nine Inch Nails thought it did not go far enough, and accused Radiohead of using a compressed digital release as a bait-and-switch to promote a traditional record sale. Reznor released his sixth album, "Ghosts I–IV," under a Creative Commons licence the following year. The singer Lily Allen said the release was "arrogant" and sent a bad message to less successful acts, saying: "You don't choose how to pay for eggs. Why should it be different for music?" The Sonic Youth bassist Kim Gordon said the release "seemed really community-oriented, but it wasn't catered towards their musician brothers and sisters, who don't sell as many records [as Radiohead]. It makes everyone else look bad for not offering their music for whatever." The "Guardian" journalist Will Hodgkinson argued that Radiohead had made it impossible for less successful musicians to make a living from their music. The release surprised record executives; an unidentified executive at a major European label told "Time:" "This feels like yet another death knell. If the best band in the world doesn't want a part of us, I'm not sure what's left for this business."


title: In Rainbows

text: The release came at a time when CD sales were falling due to internet piracy. U2's manager Paul McGuinness said that 60 to 70 percent of Radiohead fans had pirated "In Rainbows", and saw this as an indication that Radiohead's strategy had failed. However, the media measurement company BigChampagne concluded that the music industry should not think of piracy as lost sales, as Radiohead had shown that even releasing music free had not deterred it. Based on this report, "Wired" concluded that "by 'losing' the battle for the email addresses of those who downloaded their album via bit torrent, [Radiohead] actually won the overall war for the public's attention – no easy feat, these days". In a retrospective article, "NME" argued that Radiohead had demonstrated that the best response to piracy was to explore alternative ways to connect with fans, offering content at different price points: "The pay-what-you-want aspect isn't something to be followed slavishly ... It's the willingness to try it and the connection with fans that made it successful that should be an inspiration."


title: In Rainbows

text: Responding to criticisms, Jonny Greenwood said Radiohead were responding to the culture of downloading free music, which he likened to the legend of King Canute: "You can't pretend the flood isn't happening." Colin said the criticism was "worrying about all these ancillary questions and forgetting about the primal urge of people to share and enjoy music. And there's always going to be a way of finding money or livings to be made out of it." Yorke told the BBC: "We have a moral justification in what we did in the sense that the majors and the big infrastructure of the music business has not addressed the way artists communicate directly with their fans ... Not only do they get in the way, but they take all the cash."


title: In Rainbows

text: Radiohead's managers defended the release as "a solution for Radiohead, not the industry", and doubted "it would work the same way [for Radiohead] ever again". Radiohead have not used the pay-what-you-want system for subsequent releases. In February 2013, Yorke told the "Guardian" that though Radiohead had hoped to subvert the corporate music industry with "In Rainbows", he feared they had instead played into the hands of content providers such as Apple and Google: "They have to keep commodifying things to keep the share price up, but in doing so they have made all content, including music and newspapers, worthless, in order to make their billions. And this is what we want?" In the 2010s, "Gigwise" and "DIY" credited "In Rainbows" as the first "surprise album" — a major album released without prior marketing or publicity — ahead of acts such as Beyoncé and U2.


title: In Rainbows

text: As Radiohead's recording contract with EMI ended in 2003, Radiohead recorded "In Rainbows "without a record label. Shortly before work began, Yorke told "Time" he said: "I like the people at our record company, but the time is at hand when you have to ask why anyone needs one. And, yes, it probably would give us some perverse pleasure to say 'fuck you' to this decaying business model."


title: In Rainbows

text: In August 2007, as Radiohead were finishing "In Rainbows", EMI was acquired by the private equity firm Terra Firma for US$6.4 billion (£4.7 billion), with Guy Hands as the new chief executive. EMI executives including Keith Wozencroft, who had signed Radiohead to EMI, travelled regularly to Radiohead's Oxfordshire studio in hopes of negotiating a new contract. The executives were "devastated" when Radiohead told them they would not be signing. O'Brien later said he had not realised Radiohead's importance to EMI: "That probably sounds really naive. But there weren't people going, 'You're so important.' We were just one of the bands on their roster." According to Eamonn Forde, author of "The Final Days of EMI", Radiohead had lost faith in EMI and thought the new ownership would be a "bloodbath". O'Brien said Radiohead believed a deal with EMI was possible, and that "it was really sad to leave all the people [we'd worked with] ... But Terra Firma don't understand the music industry."


title: In Rainbows

text: Hands believed that Radiohead would only have canceled their self-release plan with a "really big" offer. An EMI spokesperson stated that Radiohead had demanded "an extraordinary amount of money" for a new contract. Yorke and Radiohead's management released statements denying that they had asked for a large advance, but had instead wanted control over their back catalogue, which Hands had refused. According to Hands, Radiohead wanted "a lot of money" in addition to ownership of their back catalogue, which EMI "valued even more". He estimated that Radiohead had wanted "millions and millions". Responding to Hands's statement, Yorke told an interviewer: "It fucking pissed me off. We could have taken them to court. The idea that we were after so much money was stretching the truth to breaking point. That was his PR company briefing against us and I'll tell you what, it fucking ruined my Christmas."


title: In Rainbows

text: Days after Radiohead signed to XL, EMI announced a box set of Radiohead material recorded before "In Rainbows," released in the same week as the "In Rainbows" special edition. Radiohead were reportedly "incensed" at the release; commentators including the "Guardian" saw it as retaliation for the band choosing not to sign with EMI. Hands defended the reissues as necessary to boost EMI's revenues, and said that "we don't have a huge amount of reasons to be nice [to Radiohead]". The box set was promoted on Google Ads with an advert falsely claiming that "In Rainbows" was included; EMI removed it, citing a "data source glitch". A spokesperson for Radiohead said they accepted this was a genuine mistake.


title: In Rainbows

text: Following the album release, Radiohead broadcast two webcasts from their Oxfordshire studio: "Thumbs Down" in November 2007 and "Scotch Mist" on New Year's Eve. In the US, "Scotch Mist" was also broadcast on Current TV. The webcasts featured performances of "In Rainbows" songs, covers of songs by New Order and the Smiths, poetry, and videos created with the comedian Adam Buxton and the filmmaker Garth Jennings. Colin Greenwood described the webcasts as spontaneous and liberating: "It was so cool because we didn't have to go through three weeks of video commissioning and receiving dodgy scripts set on abandoned skyscrapers in downtown LA or something."


title: In Rainbows

text: The first single from "In Rainbows", "Jigsaw Falling into Place", was released in January 2008, followed by "Nude" on 31 March. They were accompanied by music videos directed by Buxton and Jennings. "Nude" debuted at number 37 on the "Billboard" Hot 100; boosted by sales of the remix stems, it was the first Radiohead song to enter the chart since "High and Dry" (1995) and their first US top-40 song since their debut single "Creep" (1992). In July, Radiohead released a video for "House of Cards", made with lidar technology instead of cameras.


title: In Rainbows

text: In March 2008, Radiohead ran a contest with the animation company Aniboom whereby entrants submitted concepts for animated music videos for "In Rainbows "songs. Semifinalists were chosen by TBD Records and the Cartoon Network programming block Adult Swim. Unable to choose only one winner, Radiohead awarded the full prize money of $10,000 each to four semifinalists, who created videos for "15 Step", "Weird Fishes", "Reckoner" and "Videotape". Radiohead held remix competitions for "Nude" and "Reckoner", releasing the separated stems for fans to download; the entries were streamed on the Radiohead website.


title: In Rainbows

text: On 16 January 2008, a surprise Radiohead performance at the London record shop Rough Trade East was relocated to a nearby club after police raised safety concerns. Radiohead toured North America, Europe, South America and Japan from May 2008 until March 2009. To determine how they could reduce carbon emissions for the tour, Radiohead commissioned the environmental group Best Foot Forward. Based on the findings, Radiohead played in amphitheatres in city centres to reduce reliance on flights for attendees, and used a carbon-neutral "forest" of LEDs on stage. Radiohead recorded a live video, "In Rainbows — From the Basement", broadcast on VH1 in May 2008. In February 2009, Yorke and Jonny Greenwood performed "15 Step" with the University of Southern California Marching Band at the televised 51st Annual Grammy Awards.


title: In Rainbows

text: In early October 2007, a Radiohead spokesperson reported that most downloaders paid "a normal retail price" for the digital version of "In Rainbows", and that most fans had pre-ordered the limited edition. Citing a source close to the band, "Gigwise" reported that "In Rainbows" had sold 1.2 million digital copies before its retail release; this was dismissed by Radiohead's co-manager Bryce Edge as "exaggerated".


title: In Rainbows

text: According to research released in November 2007 by the market research firm Comscore, downloaders paid an average of $2.26 per download globally, and 62% of downloaders paid nothing. Of those who paid, the average paid was $6 globally, with 12% paying between $8 and $12, around the typical cost of an album on iTunes. Radiohead dismissed the report as "wholly inaccurate", but said that the results had been good. Another survey, conducted by the industry organisation Record of the Day, found that 28.5% of those who downloaded the album paid nothing or £0.01 and the average price per download was £3.88. In December 2007, Yorke said that Radiohead had made more money from digital sales of "In Rainbows" than the digital sales of all previous Radiohead albums combined.


title: In Rainbows

text: In October 2008, one year after the release, Warner Chappell reported that although most people paid nothing for the download, prerelease sales for "In Rainbows" had been more profitable than the total sales of "Hail to the Thief" and that the limited edition had sold 100,000 copies. In 2009, "Wired" reported that Radiohead had made an "instantaneous" £3 million from the album. "Pitchfork" saw this as proof that, thanks to their fans, "Radiohead could release a record on the most secretive terms, basically for free, and still be wildly successful, even as industry profits continued to plummet."


title: In Rainbows

text: According to the media measurement company BigChampagne, on the day of release, around 400,000 copies of "In Rainbows" were pirated via torrent. It had been shared 2.3 million times by 3 November 2007. At its peak, it was shared many times more than the second-most shared album released in the same period. Some piracy came from users driven to torrents after the official website overloaded.


title: In Rainbows

text: Because inrainbows.com is not a chart-registered retailer, "In Rainbows" download and limited edition sales were not eligible for inclusion in the UK Albums Chart. On the week of its retail release, "In Rainbows" reached number one on the UK Albums Chart, with first-week sales of 44,602 copies. In the US, after some record stores broke street date agreements, it entered the "Billboard" 200 at number 156. However, in the first week of official release, it became the 10th independently distributed album to reach number one on the "Billboard" 200, selling 122,000 copies. In October 2008, Warner Chappell reported that "In Rainbows" had sold three million copies worldwide, including 1.75 million physical sales, since its retail release. It was the bestselling vinyl album of 2008.


title: In Rainbows

text: On the review aggregate site Metacritic, "In Rainbows" earned a rating of 88 out of 100, based on 42 reviews, indicating "universal acclaim". Various reviewers, such as "The Guardian"s Alexis Petridis, attributed the album's quality to Radiohead's performance in the studio and that the band sounded like they were enjoying themselves. Others, such as "Billboard"s Jonathan Cohen, commended the album for not being overshadowed by its marketing hype. Andy Kellman of AllMusic wrote that "In Rainbows" "will hopefully be remembered as Radiohead's most stimulating synthesis of accessible songs and abstract sounds, rather than their first pick-your-price download".


title: In Rainbows

text: The "NME" described the album as "Radiohead reconnecting with their human sides, realising you [can] embrace pop melodies and proper instruments while still sounding like paranoid androids ... This [is] otherworldly music, alright." Will Hermes, writing in "Entertainment Weekly", called "In Rainbows" "the gentlest, prettiest Radiohead set yet" and stated that it "uses the full musical and emotional spectra to conjure breathtaking beauty". Rob Sheffield of "Rolling Stone" praised its "vividly collaborative sonic touches" and concluded: "No wasted moments, no weak tracks: just primo Radiohead." In 2011, "The Rolling Stone Album Guide" described it as Radiohead's "most expansive and seductive album, possibly their all-time high".


title: In Rainbows

text: Jon Dolan of "Blender" called "In Rainbows" "far more pensive and reflective" than "Hail to the Thief", writing that it "formulates a lush, sensualized ideal out of vague, layered discomfort". "Spin"s Mikael Wood felt that the album "succeeds because all of that cold, clinical lab work hasn't eliminated the warmth from their music", while "Pitchfork"s Mark Pytlik dubbed it a more "human" album that "represents the sound of Radiohead coming back to earth". Robert Christgau, writing for "MSN Music", gave "In Rainbows" a and noted that the album, having been developed in concert, was "more jammy, less songy and less Yorkey, which is good". "The Wire" was more critical, finding "a sense here of a group magisterially marking time, shying away ... from any grand, rhetorical, countercultural purpose".


title: In Rainbows

text: "In Rainbows" was ranked among the best albums of 2007 by many music publications. It was ranked number one by "Billboard", "Mojo" and "PopMatters", third by "NME" and "The A.V. Club", fourth by "Pitchfork" and "Q", and sixth by "Rolling Stone" and "Spin". It was also ranked one of the best albums of the decade by several publications: "NME" ranked it 10th, "Paste" 45th, "Rolling Stone" 30th, the "Guardian" 22nd, and "Newsweek" fifth. "Rolling Stone" ranked "In Rainbows" on its updated lists of the 500 Greatest Albums of All Time at number 336 in 2012 and 387 in 2020. It was included in the book "1001 Albums You Must Hear Before You Die". In 2019, the "Guardian" named it the 11th greatest album of the 21st century so far. In 2020, "Rolling Stone" named "In Rainbows" one of the 40 most groundbreaking albums for its pay-what-you want release, influencing acts such as Beyoncé and U2. In 2021, "Pitchfork" readers voted "In Rainbows" the fourth-greatest album of the previous 25 years.


title: In Rainbows

text: "In Rainbows" was nominated for the short list of the 2008 Mercury Prize, and won the Grammy awards for Best Alternative Music Album and Best Boxed or Special Limited Edition Package at the 51st Annual Grammy Awards. It was also nominated for Grammy awards for Album of the Year and Producer of the Year, Non-Classical (for Nigel Godrich), and "House of Cards" was nominated for Best Rock Performance by a Duo or Group with Vocal, Best Rock Song and Best Music Video.


title: In Rainbows

text: The special edition of "In Rainbows" included a second disc, "In Rainbows Disk 2", which contains eight additional tracks. In 2009, Radiohead made "Disk 2" available to purchase as downloads on their website, and in October 2016 it was released on streaming and digital services.


title: In Rainbows

text: "Pitchfork"'s Chris Dahlen wrote that "a lesser band might have crammed some bootlegs and demo takes in here, but when Radiohead put something on disc, they want it to count". However, he criticised Yorke's vocals: "The cynical/alienated rut into which he grinds himself has the persistence of a toothache ... Yorke sounds like neither a post-millennial prophet nor an uncanny empathist, so much as a crank."


title: In Rainbows

text: David Fricke of "Rolling Stone" wrote that "If you bought the deluxe box edition of "In Rainbows" just for the session leftovers, you did not get your eighty dollars' worth" but conceded that it did "deserve to be on record". "Stereogum" wrote "the most impressive thing about "In Rainbows CD2" is how effortless it all seems".


title: The Sword in the Stone (1963 film)

text: The Sword in the Stone is a 1963 American animated musical fantasy comedy film produced by Walt Disney and released by Buena Vista Distribution. The 18th Disney animated feature film, it is based on the novel of the same name by T. H. White, first published in 1938 and then revised and republished in 1958 as the first book of White's Arthurian tetralogy "The Once and Future King". Directed by Wolfgang Reitherman, the film features the voices of Rickie Sorensen, Karl Swenson, Junius Matthews, Sebastian Cabot, Norman Alden, and Martha Wentworth. It was the last animated film from Walt Disney Productions to be released in Walt Disney's lifetime.


title: The Sword in the Stone (1963 film)

text: Disney first acquired the film rights to the novel in 1939, and there were various attempts at developing the film over the next two decades before production on the film officially began. Bill Peet wrote the story for the film, while the songs were written by the Sherman Brothers. This was the first animated Disney film to feature songs by the Sherman Brothers; they went on to contribute music to such Disney films as "Mary Poppins" (1964), "The Jungle Book" (1967), "The Aristocats" (1970), and "The Many Adventures of Winnie the Pooh" (1977). George Bruns composed the film's score, following his work on the previous two animated Disney films, "Sleeping Beauty" (1959) and "One Hundred and One Dalmatians" (1961). He also composed the scores of the next three animated Disney films, "The Jungle Book", "The Aristocats", and "Robin Hood" (1973).


title: The Sword in the Stone (1963 film)

text: The film received mixed reviews, but became a box-office success. A live-action remake entered development in 2015 and is set to be directed by Juan Carlos Fresnadillo and released on Disney+.


title: The Sword in the Stone (1963 film)

text: After the King of England, Uther Pendragon, dies without a heir to the throne, a sword magically appears inside an anvil, itself embedded in a stone, with an inscription proclaiming that whoever removes it is the rightful King of England. Many have failed attempting to remove the sword, which becomes forgotten, leaving England in the Dark Ages.


title: The Sword in the Stone (1963 film)

text: Years later, an 11-year-old orphan named Arthur, commonly called Wart, accidentally scares off a deer his older foster brother Sir Kay was hunting, causing Kay to launch his arrow into the forest. While retrieving the arrow, Arthur meets Merlin, an elderly wizard who lives with his talking pet owl Archimedes. Merlin declares himself Arthur's tutor and returns with him to his home, a castle run by Sir Ector, Arthur's foster father. Ector's friend, Sir Pellinore, arrives to announce that the winner of the upcoming New Year's Day tournament in London will be crowned king. Ector decides Kay will be a contestant, and appoints Arthur as Kay's squire.


title: The Sword in the Stone (1963 film)

text: To educate Arthur, Merlin transforms them both into fish. They swim in the castle moat to learn about physics. After the lesson, Arthur is sent to the kitchen as punishment for attempting to relate what happened to Ector and Kay. Merlin enchants the dishes to wash themselves, then takes Arthur out again for another lesson.


title: The Sword in the Stone (1963 film)

text: For the next lesson, Merlin transforms them both into squirrels to learn about gravity. Arthur almost gets eaten by a wolf, but is saved by a female squirrel who falls in love with him. After they return to human form, Ector accuses Merlin of using black magic on the dishes. Arthur defends Merlin, but Ector punishes Arthur by giving Kay another squire, Hobbs.


title: The Sword in the Stone (1963 film)

text: Resolving to make amends, Merlin plans on educating Arthur full-time. However, Merlin's knowledge of future history confuses Arthur, prompting Merlin to appoint Archimedes as Arthur's teacher. Merlin transforms Arthur into a sparrow and Archimedes teaches him how to fly. Soon after, Arthur encounters Madam Mim, an eccentric, evil witch who is Merlin's nemesis. Merlin arrives to rescue Arthur before Mim can destroy him, and Mim challenges Merlin to a wizards' duel and, despite Mim's cheating, Merlin outsmarts her by transforming into a germ and infecting her, illustrating the importance of knowledge over strength.


title: The Sword in the Stone (1963 film)

text: On Christmas Eve, Kay is knighted. When Hobbs comes down with the mumps, Ector reinstates Arthur as Kay's squire. Merlin ultimately scolds Arthur for choosing war games over education. When Arthur attempts to justify his decision, Merlin angrily transports himself to 20th-century Bermuda.


title: The Sword in the Stone (1963 film)

text: At the tournament, Arthur realizes he left Kay's sword at the inn. It is closed for the tournament, but Archimedes sees the "Sword in the Stone", which Arthur removes almost effortlessly, unknowingly fulfilling the prophecy. When Arthur returns with the sword, Ector recognizes it and the tournament is halted. Ector places the sword back in its anvil, demanding Arthur prove that he pulled it. He pulls it once again, revealing that he is England's rightful king.


title: The Sword in the Stone (1963 film)

text: Later, the newly crowned King Arthur sits in the throne room with Archimedes, feeling unprepared for the responsibility of ruling. Merlin returns from Bermuda and resolves to help Arthur become the great king he has foreseen him to be.


title: The Sword in the Stone (1963 film)

text: In February 1939, Walt Disney announced he had purchased the film rights to T. H. White's "The Sword in the Stone". However, following the outbreak of World War II, the studio focused instead on producing cartoons for the United States government and armed forces such as "Der Fuehrer's Face" (1943). In June 1944, following the successful re-release of "Snow White and the Seven Dwarfs" (1937), Disney assigned writers to work on "The Sword in the Stone", along with "Cinderella" (1950) and "Alice in Wonderland" (1951). It continued to be announced that the project was in active development throughout the late 1940s and early 1950s. In June 1960, Disney told the "Los Angeles Times" that, following the release of "One Hundred and One Dalmatians", two animated projects were in development, which were "Chanticleer" and "The Sword in the Stone". Around that same time, Disney's elder brother Roy O. Disney attempted to persuade him to discontinue their feature animation division, as enough films remained to make successful re-releases. The younger Disney refused, but, because of his plans to build another theme park in the United States, he would approve only one animated film to be released every four years.


title: The Sword in the Stone (1963 film)

text: "Chanticleer" was developed by Ken Anderson and Marc Davis, who aimed to produce a feature animated film in a more contemporary setting. They visited the Disney archives and decided to work on adapting the satirical tale after glancing at earlier conceptions dating back to the 1940s. Anderson, Davis, Milt Kahl, and director Wolfgang Reitherman spent months preparing elaborate storyboards for "Chanticleer". Following a silent response to one pitch presentation, a voice from the back of the room said, "You can't make a personality out of a chicken!" When the time came to approve either "Chanticleer" or "The Sword in the Stone", Disney remarked that the problem with making a rooster a protagonist was, "[you] don't feel like picking a rooster up and petting it."


title: The Sword in the Stone (1963 film)

text: Meanwhile, "The Sword in the Stone" was developed solely by veteran story artist Bill Peet. After Disney had seen the 1960 Broadway production of "Camelot", he approved the project to enter production. Ollie Johnston stated, "[Kahl] got furious with Bill for not pushing "Chanticleer" after all the work he had put in on it. He said, 'I can draw a damn fine rooster, you know.' Bill said, 'So can I. Peet recalled "how humiliated they were to accept defeat and give in to "The Sword in the Stone"...He allowed them to have their own way, and they let him down. They never understood that I wasn't trying to compete with them, just trying to do what I wanted to work. I was [in] the midst of all this competition, and with Walt to please too."


title: The Sword in the Stone (1963 film)

text: Writing in his autobiography, Peet said he decided to write a screenplay before producing storyboards, though he found the narrative "complicated, with the Arthurian legend woven into a mixture of other legends and myths" and that finding a direct storyline required "sifting and sorting". After Disney received the first screenplay draft, he told Peet that it should have more substance. Peet lengthened his second draft by elaborating on the more dramatic aspects of the story, which Disney approved of through a phone call from Palm Springs, Florida.


title: The Sword in the Stone (1963 film)

text: The film continued the Xerox method of photocopying drawings onto animation cels that had been used in "One Hundred and One Dalmatians" (1961). An additional animation technique, "touch-up", was created during production to replace the clean-up process. The clean-up process had required assistant animators to transfer the directing animators' sketches onto new sheets of paper, which were then copied onto the animation cels. To do a touch-up, the assistants would instead draw directly on the animators' sketches. This streamlined the process, but it also caused assistants of directing animator Milt Kahl to fear they would ruin his linework.


title: The Sword in the Stone (1963 film)

text: "The Sword in the Stone" premiered in London on December 12, 1963. It was released to theaters on December 18 in the United Kingdom and on December 25 in the United States. It was re-released on December 22, 1972. The film was again re-released to theaters on March 25, 1983, as a double bill with the animated short "Winnie the Pooh and a Day for Eeyore".


title: The Sword in the Stone (1963 film)

text: "The Sword in the Stone" was released on North American VHS, Betamax, and Laserdisc in 1986 as an installment of the Walt Disney Classics collection. It was re-released on VHS in 1989 and on VHS and Laserdisc on July 12, 1991. It was first released on VHS in the United Kingdom in 1988, followed by a re-issue the following year. Another re-release on VHS and Laserdisc occurred on October 28, 1994, this time as part of the Walt Disney Masterpiece Collection.


title: The Sword in the Stone (1963 film)

text: The film was released on VHS and DVD on March 20, 2001, as an installment in the Walt Disney Gold Classic Collection. The VHS edition included the Goofy short "A Knight for a Day" while the DVD contained the Mickey Mouse short "Brave Little Tailor", the episode "All About Magic" from the "Disneyland" television program, and film facts. The DVD of the film was re-released as a 45th-anniversary special edition on June 17, 2008.


title: The Sword in the Stone (1963 film)

text: For its 50th anniversary, the film was released on Blu-ray on August 6, 2013. Despite being touted as a new remaster of the film, this release was heavily criticized by home media reviewers for the "scrubbed" quality of its digital transfer due to the excessive use of noise reduction.


title: The Sword in the Stone (1963 film)

text: During its initial release, "The Sword in the Stone" earned an estimated $4.75 million in box office rentals in the United States and Canada. It garnered $2.5 million in box office rentals during its 1972 re-release and $12 million during its 1983 re-release. The film has had a lifetime domestic gross of $22.2 million in North America.


title: The Sword in the Stone (1963 film)

text: "The Sword in the Stone" received mixed reviews from critics, who thought that its humor failed to balance out a "thin narrative". Gene Arneel of "Variety" wrote that the film "demonstrates anew the magic of the Disney animators and imagination in character creation ...But one might wish for a script which stayed more with the basic story line rather than taking so many twists and turns which have little bearing on the tale about King Arthur as a lad." Bosley Crowther of "The New York Times" praised the film, claiming it is "an eye-filling package of rollicking fun and thoughtful common sense. The humor sparkles with real, knowing sophistication — meaning for all ages — and some of the characters on the fifth-century landscape of Old England are Disney pips." Philip K. Scheuer, reviewing for the "Los Angeles Times", described the film as "more intimate than usual with a somewhat smaller cast of characters—animal as well as human. Otherwise, the youngsters should find it par the usual Disney cartoon course. It may not be exactly what T. H. White had in mind when he wrote this third of his sophisticated trilogy about King Arthur, but it's a good [bit] livelier than the stage "Camelot" derived from another third."


title: The Sword in the Stone (1963 film)

text: On the review aggregator Rotten Tomatoes, the film has an approval rating of based on reviews, with an average score of . The website's critical consensus reads: "A decent take on the legend of King Arthur, "The Sword in the Stone" suffers from relatively indifferent animation, but its characters are still memorable and appealing." Nell Minow of Common Sense Media gave the film four out of five stars, writing: "Delightful classic brings Arthur legend to life". In his book "The Best of Disney", Neil Sinyard states that, despite not being well known, the film has excellent animation, a complex structure, and is actually more philosophical than other Disney features. Sinyard suggests that Walt Disney may have seen something of himself in Merlin, and that Mim, who "hates wholesome sunshine", may have represented critics.


title: The Sword in the Stone (1963 film)

text: In 1964, "The Sword in the Stone" was nominated for an Academy Award for Best Scoring of Music—Adaptation or Treatment. It lost the award to "Irma la Douce" (1963).


title: The Sword in the Stone (1963 film)

text: In 2008, "The Sword in the Stone" was one of the 50 films nominated for the American Film Institute's Top 10 Animated Films list, but it was not selected as one of the top 10.


title: The Sword in the Stone (1963 film)

text: Several characters from the film made frequent appearances in the "Disney's House of Mouse" television series. Merlin was voiced by Hamilton Camp, and appears in the episode "Rent Day". Wart also made a few appearances in the series, usually seen in crowd shots with Merlin. He also appears with Merlin in the audience in the episode: "Mickey vs. Shelby" after a cartoon ends. Sir Kay was seen in the episode "Ask Von Drake", when he tries to pull the sword from the stone with Arthur, Merlin, and Madam Mim. Madam Mim appears as a villain in the spin-off film "Mickey's House of Villains". In the past, Merlin frequented the Disney Parks, the only character from the film appearing occasionally for meet-and-greets at Disneyland Resort and Walt Disney World Resort. He appeared in the opening unit of Walt Disney's Parade of Dreams at Disneyland Park. He also hosts the "Sword in the Stone" ceremony in the King Arthur Carrousel attraction in Fantasyland at Disneyland. In 2014 and 2015, UK health directive Change4Life incorporated "Higitus Figitus" as the soundtrack for adverts promoting their Disney-sponsored "10 minute shake up" summer program.


title: The Sword in the Stone (1963 film)

text: In the Disney comics, Madam Mim was adopted into the Donald Duck universe, where she sometimes teams with Magica De Spell, Witch Hazel and/or the Beagle Boys. She also appeared in the Mickey Mouse universe, where she teamed with Black Pete on occasion and with the Phantom Blot at one point. She was in love with Captain Hook in several stories; in others, with Phantom Blot. In the comics produced in Denmark or in the Netherlands, she lost her truly evil streak, and appears somewhat eccentric, withdrawn and morbid, yet relatively polite.


title: The Sword in the Stone (1963 film)

text: Mim appeared in numerous comics produced in the United States by Studio Program in the 1960s and 1970s, often as a sidekick of Magica. Most of the stories were published in Europe and South America. Among the artists are Jim Fletcher, Tony Strobl, Wolfgang Schäfer, and Katja Schäfer. Several new characters were introduced in these stories, including Samson Hex, an apprentice of Mim and Magica.


title: The Sword in the Stone (1963 film)

text: Merlin (), Archimedes () and Mim ()'s debut in the prolific Italian Disney comics scene was in a greatly remembered story: "Mago Merlino presenta: Paperino e la 850" (), published in nine parts in "Topolino" "libretto" #455-#464 (16 August-18 October 1964). In the story, Scrooge McDuck charged Donald Duck and Huey, Dewey and Louie with delivering a special gas to power the Olympic torch at the 1964 Summer Olympics in Tokyo, passing through the World's most disparate climates to test its properties. Unfortunately, Donald's car, the 313, breaks down, but Merlin materializes and magically creates a Fiat 850 (Fiat was sponsoring the story). Mim, however, wants to obtain the gas, and has the Beagle Boys chase after them. The 850 (initially put in contrast with the villains' generic, Edsel-like car), thanks to Merlin's magic, displays remarkable characteristics that help the ducks successfully finish their mission.


title: The Sword in the Stone (1963 film)

text: Madam Mim made a surprise appearance in the video game "World of Illusion" as the fourth boss of the game.


title: The Sword in the Stone (1963 film)

text: Merlin is a supporting character in the "Kingdom Hearts" series. In "Kingdom Hearts", Merlin, who lives in an abandoned shack in Traverse Town with Cinderella's Fairy Godmother, is sent by King Mickey to train Sora, Donald, and Goofy in the art of magic. He owns an old book that features the world of The Hundred Acre Wood, home of Winnie the Pooh. The book's pages, however, have been torn out and scattered across the universe, so Merlin asks Sora to retrieve them for him. He reprises the same role in "", as a figment of Sora's memories.


title: The Sword in the Stone (1963 film)

text: In "Kingdom Hearts II", Merlin, now voiced by Jeff Bennett, has moved to Hollow Bastion to aid Leon's group as part of the town's restoration committee, though he is at odds with Cid, who prefers his own computer expertise over Merlin's magic. Merlin again instructs Sora, Donald, and Goofy in the art of magic, and again requests that they retrieve the stolen parts of the Pooh storybook. At one point in the game, he is summoned to Disney Castle by Queen Minnie to counter the threat of Maleficent, and he constructs a door leading to Disney Castle's past (Timeless River) for the trio to explore and stop Maleficent and Pete's plans.


title: The Sword in the Stone (1963 film)

text: In the prequel, "Kingdom Hearts Birth by Sleep", Merlin encounters Terra, Aqua, and Ventus and grants them each access to the Hundred Acre Wood. The prequel also reveals that it was Terra who gave him the book in the first place after finding it in Radiant Garden. According to series creator Tetsuya Nomura, a world based on "The Sword in the Stone" was initially to appear in "", but the idea was scrapped. Merlin returns in "Kingdom Hearts III", where he asks Sora to restore Pooh's storybook once more (though this does not involve finding any missing pages), but has no involvement in the story beyond that, and instead spends his time at Remy's bistro in Twilight Town having tea.


title: The Sword in the Stone (1963 film)

text: Merlin appears in the world builder video game "Disney Magic Kingdoms" as the guide for the player during the game progress, and as the owner of Merlin's Shop, where the players can buy and sell in-game items, as well as other options that Merlin can perform. Merlin also appears as one of the villagers in "Disney Dreamlight Valley", filling a similar role as a guide who teaches the player new mechanics during the early portions of the game.


title: The Sword in the Stone (1963 film)

text: A live-action feature film adaptation entered development in July 2015, with Bryan Cogman writing the script and Brigham Taylor serving as producer. By January 2018, Juan Carlos Fresnadillo was announced as director.


title: The Sword in the Stone (1963 film)

text: On October 15, 2021, Disney announced a live-action adaptation of T. A. Barron's "The Merlin Saga" was in development, with Michael Matthews set to direct.


title: Bath salts (drug)

text: Bath salts (also psychoactive bath salts, PABS, or in the United Kingdom monkey dust) are a group of recreational designer drugs. The name derives from instances in which the drugs were disguised as bath salts. The white powder, granules, or crystals often resemble Epsom salts, but differ chemically. The drugs' packaging often states "not for human consumption" in an attempt to circumvent drug prohibition laws. Additionally, they may be mislabeled as plant food, powdered cleaner, and other such products.


title: Bath salts (drug)

text: Synthetic cathinones such as mephedrone, which are chemically similar to the cathinone naturally found in the plant "Catha edulis" (khat), were first synthesised in the 1920s. They remained obscure until the first decade of the 21st century when underground chemists rediscovered them and began to use them in designer drugs, as the compounds were legal in many jurisdictions. In 2009 and 2010 there was a significant rise in the use of synthetic cathinones, initially in the United Kingdom and the rest of Europe, and subsequently in the United States. Drugs marketed as "bath salts" first came to the attention of authorities in the US in 2010 after reports were made to US poison centers. In Europe, the drugs were predominantly purchased from websites, but in the US they were mainly sold in small independent stores such as gas stations and head shops. In the US, this often made them easier to obtain than cigarettes and alcohol. Bath salts have also been sold online in small packets.


title: Bath salts (drug)

text: Hundreds of other designer drugs or "legal highs" have been reported, including artificial chemicals such as synthetic cannabis and semi-synthetic substances such as methylhexaneamine. These drugs are primarily developed to avoid being controlled by laws against illegal drugs, thus giving them the label "designer drugs".


title: Bath salts (drug)

text: In the US, the number of calls to poison centers concerning "bath salts" rose from 304 in 2010 to 6,138 in 2011, according to the American Association of Poison Control Centers. Calls related to bath salts then began to decrease; by 2015, the number had declined to 522.


title: Bath salts (drug)

text: Pharmacologically, bath salts usually contain a cathinone, typically methylenedioxypyrovalerone (MDPV), methylone or mephedrone; however, the chemical composition varies widely and products labeled with the same name may also contain derivatives of pyrovalerone or pipradrol. In Europe the main synthetic cathinone is mephedrone, whereas in the US MDPV is more common.


title: Bath salts (drug)

text: Very little is known about how bath salts interact with the brain and how they are metabolized by the body. Scientists are inclined to believe that bath salts have a powerful addictive potential and can increase users' tolerance. They are similar to amphetamines in that they cause stimulant effects by increasing the concentration of monoamines such as dopamine, serotonin, and norepinephrine in synapses. They are generally less able to cross the blood brain barrier than amphetamines due to the presence of a beta-keto group that increases the compound's polarity.


title: Bath salts (drug)

text: Bath salts can be ingested orally, snorted, smoked, or injected. Bath salts can be detrimental to human health and can potentially cause erratic behavior, hallucinations, and delusions. This is often due to their wakefullness-promoting effect, leading to insomnia.


title: Bath salts (drug)

text: Bath salts are often consumed concurrently with alcohol. A 2015 study has investigated the interrelation between mephedrone and alcohol, focusing on psychostimulant and rewarding effects. It showed that alcohol, at low (non-stimulant) doses, significantly enhances the psychostimulant effects of mephedrone. This effect is mediated by an increase in synaptic dopamine, as haloperidol, but not ketanserin, was capable of blocking the potentiation by alcohol.


title: Bath salts (drug)

text: Bath salts or monkey dust come in a powdered or crystallised form which can be swallowed, smoked, injected or snorted. Subjective effects are similar to MDMA or cocaine but with a duration of 5–6 hours. Both substances cause a rapid onset of action in the central nervous system, and stimulant toxicity. In larger doses this class of substances can cause effects similar to those seen in cases of serotonin syndrome. Due to their rapid onset, synthetic cathinones are powerful reward/reinforcers, with high addiction potential. "Monkey dust", "bath salts" or plant food are often used at the same time as classical psychoactive drugs. Users who have overdosed often display symptoms of agitation, delirium, hallucinations, excessive motor activity, seizures, tachycardia, hypertension, and/or hyperthermia.


title: Bath salts (drug)

text: Bath salt/Monkey dust users have reported symptoms that include headache, heart palpitations, nausea, cold fingers, hallucinations, paranoia, and panic attacks. News media have reported reactions that include violent behavior, heart attack, kidney failure, liver failure, suicide, an increased tolerance for pain, dehydration, and breakdown of skeletal muscle tissue. Furthermore, there is evidence to support the claim that a psychoactive compound could catalyze psychosis in a person who is already susceptible to psychotic disorders.


title: Bath salts (drug)

text: Visual symptoms similar to those of stimulant overdoses include dilated pupils, involuntary muscle movement, rapid heartbeat, and high blood pressure.


title: Bath salts (drug)

text: MDPV and other synthetic cathinones cannot be smelled by detection dogs and are not detected by typical urinalysis, though they can be detected in urine and hair using gas chromatography-mass spectrometry or liquid chromatography-mass spectrometry. Distributors may disguise the drug as everyday substances such as fertilizer or insect repellent.


title: Bath salts (drug)

text: Little is known about how many people use bath salts. In the UK, mephedrone, commonly known as MCAT, is the fourth most commonly used illicit drug among nightclub goers after cannabis, MDMA and cocaine. Based on reports to the American Association of Poison Control Centers, use of bath salts in the US is thought to have increased significantly between 2010 and 2011. The increase in use is thought to result from their widespread availability, undetectability on many drug tests, and sensationalist media coverage.


title: Bath salts (drug)

text: The drug policy of Canada since Fall 2012 categorizes methylenedioxypyrovalerone (MDPV) as a schedule I substance under the Controlled Drugs and Substances Act, placing it in the same category as heroin and MDMA. Mephedrone and methylone are already illegal in Canada and most of the United States.


title: Bath salts (drug)

text: In the United Kingdom, all substituted cathinones were made legal in April 2010, under the Misuse of Drugs Act 1971, but other designer drugs such as naphyrone appeared soon after and some products described as legal contained illegal compounds. To avoid being controlled by the Medicines Act, designer drugs such as mephedrone have been described as "bath salts", or other misnomers such as "plant food" despite the compounds having no history of being used for these purposes.


title: Bath salts (drug)

text: In July 2012, US federal drug policy was amended to ban the drugs commonly found in bath salts. Prior to that, bath salts were legal in at least 41 states. Prior to the compounds being made illegal, mephedrone, methylone, and MDPV were marketed as bath salts. The "bath salt" name and labels that say "not for human consumption" are an attempt to skirt the Federal Analog Act, which forbids selling drugs that are substantially similar to drugs already classified for human use.


title: Bath salts (drug)

text: Use of bath salts or monkey dust has spread through social media. Anecdotal reports of the drug lowering its users' pain thresholds while simultaneously giving them increased strength can largely be attributed to the emergency services and frontline NHS staff. Such reports have been picked up, and sensationalised by the regional and tabloid press. In the city Stoke-on-Trent, Monkey Dust has been reported to be an entirely new compound, when in fact preparations of MDPV and MDPHP or "bath salts" have been available since the early 2000s. The print press and broadcast media have often used textual framing techniques to report on synthetic cathinone use among society's most vulnerable. Terms like "epidemic", "zombie attack" and more recently "incredible hulk" are often used when describing users. In August 2018, Staffordshire police said they were receiving around ten calls per day regarding Monkey Dust. However, it was not clear whether the incidents actually involved Monkey Dust, or a combination of substances.


title: Bath salts (drug)

text: Contrary to popular belief, during the investigation of the Miami cannibal attack toxicologists found no trace of the components in bath salts during the autopsy of the attacker. But some scientist doubt the claim that no bath salts were involved in the ordeal and say that due to the meager testing capabilities a bath salt could have gone undetected.


title: Bath salts (drug)

text: Bath Salts or Monkey dust were originally a research chemical or legal highs. Users would purchase the chemicals off the internet, ingest them and blog about the effects.


title: MG MGB

text: The MGB is a two-door sports car manufactured and marketed from 1962 until 1980 by the British Motor Corporation (BMC), later the "Austin-Morris" division of British Leyland, as a four-cylinder, soft-top sports car. It was announced and its details first published on 19 September 1962. Variants include the MGB GT three-door 2+2 coupé (1965–1980), the six-cylinder sports car and coupé MGC (1967–69), and the eight-cylinder 2+2 coupé, the MGB GT V8 (1973–76).


title: MG MGB

text: Replacing the MGA in 1962, production of the MGB and its variants continued until 1980. Sales for the MGB, MGC and MGB GT V8 combined totaled 523,836 cars. After a 12-year hiatus, the MGB re-entered production as the heavily modified MG RV8 with a limited run of 2,000 cars before finally being replaced in 1995 by the MG F.


title: MG MGB

text: Development of the MGB started at least as early as 1958 with the prototype known by its Abingdon codename; MG EX205. In structure the car was a progressive, modern design in 1962, using a unitary structure, instead of the traditional body-on-frame construction used on both the MGA and MG T-types and the MGB's rival, the Triumph TR series. However, components such as brakes and suspension were developments of the earlier 1955 MGA, with the B-Series engine having its origins in 1947. The lightweight design reduced manufacturing costs while adding to overall vehicle strength. Wind-up windows were standard, and a comfortable driver's compartment offered plenty of legroom. A parcel shelf was fitted behind the seats.


title: MG MGB

text: The MGB achieved a 0– time of just over 11 seconds. The three-bearing 1,798 cc B-Series engine produced 95 hp (71 kW) at 5,400 rpm – upgraded in October 1964 to a five-bearing crankshaft. From 1975, US-market MGB engines were de-tuned to meet emission standards, ride height was increased by an inch (25 mm), and distinctive rubber bumpers were fitted to meet bumper standards.


title: MG MGB

text: The MGB was one of the first cars to feature controlled crumple zones designed to protect the driver and passenger in a impact with an immovable barrier (200 ton). Nevertheless, the British AA motoring association has described the car, like many other classic models, as much less safe than modern cars. The issue received public attention following a 2013 case in which a driver in a hired 1963 MGB was killed in a collision with a taxi.


title: MG MGB

text: A limited production of 2,000 units of the RV8 was produced by Rover in the 1990s. Despite the similarity in appearance to the roadster, the RV8 had less than 5% parts interchangeability with the original car.


title: MG MGB

text: All MGBs (except the V8 version) used the BMC B-Series engine. This engine was essentially an enlarged version of that used in the MGA with engine displacement being increased from 1,622 to 1,798 cc. The earlier cars used a three-main-bearing crankshaft, 18G-series. In February 1964 positive crank-case breathing was introduced and the engine prefix changed to 18GA, until October 1964, when a five-bearing crankshaft design was introduced, the engine prefix became 18GB. Horsepower was rated at 95 net bhp on both five-main-bearing and earlier three-bearing cars with peak power coming at 5,400 rpm with a 6,000 rpm redline. Torque output on the MGB had a peak of and fuel consumption was around 25 mpg. US specification cars saw power fall in 1968 with the introduction of emission standards and the use of air or smog pumps. In 1971 UK spec cars still had at 5,500 rpm, with torque at 2,500 rpm. Engine prefixes became 18V and the SU carburettor needles were changed for reasons of the latest emission regulations, under ECE15. By 1973 it was ; by 1974 it was 87, with torque; by 1975 it was 85 with . Some California specification cars produced only around by the late 1970s. The compression ratio was also reduced from 9:1 to 8:1 on US spec cars in 1972.


title: MG MGB

text: All MGBs from 1963 to 1974 used twin SU carburettors. US spec cars from 1975 used a single Stromberg carburettor mounted on a combination intake–exhaust manifold. This greatly reduced power as well as created longevity problems as the (adjacent) catalytic converter tended to crack the intake–exhaust manifold. All MGBs used an SU-built electric fuel pump.


title: MG MGB

text: All MGBs from 1962 to 1967 used a four-speed manual gearbox with a non-synchromesh, straight-cut first gear. Optional overdrive was available. This gearbox was based on that used in the MGA with some minor upgrades to cope with the additional output of the larger MGB engine. In 1968 the early gearbox was replaced by a full synchromesh unit based on the MGC gearbox. This unit was designed to handle the 150net bhp of the three-litre engine of the MGC and was thus over-engineered when mated with the standard MGB B-Series engine. The same transmission was used in the 3.5-litre V8 version of the MGB-GT-V8. An automatic three-speed transmission was also offered as a factory option, but was unpopular.


title: MG MGB

text: Electrically engaged overdrive gearboxes were an available option on all MGBs. The overdrive unit was operational in third and fourth gears (until 1977, when overdrive was only operational in fourth) but the overall ratio in third gear overdrive was roughly the same as fourth gear direct. The overdrive unit was engaged by a toggle switch on the dashboard or by pulling the wiper lever towards the driver, model dependent. The switch was moved to the top of the gearshift knob in 1977. Overdrives were fitted to less than 20% of all MGBs.


title: MG MGB

text: The gearbox input shaft, flywheel and engine backing plate were changed with the advent of the five-main-bearing engine in 1965. Therefore, the transmission for a three-main-bearing engine (1962–1964) differed from its later counterpart.


title: MG MGB

text: Early MGBs used the "banjo" type differential carried over from the MGA with the rear axle ratio reduced from the MGA's 4.1 (or 4.3) to 3.9 to 1. (Compensating for the reduction from 15 inch to wheels). MGB GTs first began using a tube-type rear axle in 1967. This unit was substantially stronger, being, like the later gearbox, designed for the three-litre MGC. All MGBs used the tube-type axle from 1968.


title: MG MGB

text: All MGBs were fitted with solid (non-ventilated) disc brakes on the front with drum brakes on the rear. The front brake calipers were manufactured by Lockheed and used two pistons per caliper. The brake system on the MGB GT was the same as the roadster with the exception of slightly larger rear brake cylinders. A single-circuit hydraulic system was used before 1968 when dual-circuit (separate front and rear systems) were installed on all MGBs to comply with US regulations. Servo assistance (power brakes) was not standard until 1975. Many modern and contemporary testers have commented on the very heavy brake pedal pressure needed to stop the non-servo-assisted cars.


title: MG MGB

text: The MGB initially had an extremely simple electrical system. Dash-mounted toggle switches controlled the lights, ventilation fan, and wipers with only the direction indicators being mounted on a stalk on the steering column. The ignition switch was also mounted on the dash. Like the MGA, the MGB used two 6-volt batteries wired in series to give a 12-volt positive earth configuration. The batteries were placed under a scuttle panel behind the seats making access difficult; the location gave excellent weight distribution and thus improved handling. The charging system used a Lucas dynamo. Later MGBs had considerable changes to the electrical system including the use of a single 12-volt battery, a change from positive to negative earth, safety-type toggle (rocker) switches, alternator in lieu of dynamo, additional warning lights and buzzers, and most common functions moved to steering column stalks.


title: MG MGB

text: From 1972 there were two different Pirelli Cinturato radial tyre sizes factory-fitted to new cars, depending on whether the car was a roadster,(155/80x14) or a GT,(165/80x14).The original tyres for the majority of MGBs were 165HR14 Pirelli Cinturato. With the 1974.5 arrival of the rubber bumper cars the factory-fitted tyre size was simplified to 165/80x14 for all cars, irrespective of whether the car was a roadster or a GT, and also irrespective of the wheel type (wire or RoStyle). The factory built V8s were fitted with alloy wheels and full profile 175HR14 tyres. The "Jubilee" model, made to celebrate the 50th anniversary of the company in 1975 had the alloy wheels from the V8, allegedly because the V8 was not selling and they had a large stock. With a pre-war British racing green colour, tinted glass, gold body stipes and other gold trim 751 Jubilees were made. One was destroyed in an advertising stunt that went wrong. There are thought to be about half of them left as of 2021. The final 1,000 LE models were the last cars to leave the factory with alloy wheels.


title: MG MGB

text: The roadster was the first of the MGB range to be produced. The body was a pure two-seater; a small rear seat was a rare option at one point. By making better use of space the MGB was able to offer more passenger and luggage accommodation than the earlier MGA while being shorter overall. The suspension was also softer, giving a smoother ride, and the larger engine gave a slightly higher top speed. The four-speed gearbox was an uprated version of the one used in the MGA with an optional (electrically activated) overdrive transmission. Wheel diameter dropped from 15 to .


title: MG MGB

text: In late 1967, sufficient changes were introduced for the factory to define a Mark II model for the 1968 model year. Changes included synchromesh on all four gears with revised ratios, an optional Borg-Warner 35 automatic gearbox (except in the US), a new rear axle, and an alternator in place of the dynamo with a change to a negative earth system. To accommodate the new gearboxes there were significant changes to the sheet metal in the floorpan, and a new flat-topped transmission tunnel.


title: MG MGB

text: To meet US safety regulations for the 1968 model year, the MGB received a plastic and foam rubber covered "safety" dashboard, dubbed the "Abingdon pillow", and dual circuit brakes. Other markets continued with the steel dashboard. Rubery Owen RoStyle wheels were introduced to replace the previous pressed steel versions in 1969 and reclining seats were standardised.


title: MG MGB

text: 1969 also saw three windscreen wipers instead of two to sweep the required percentage of the glass (US market only), high seat backs with head restraints and side marker lamps. The next year saw a new front grille, recessed, in black aluminium. The more traditional-looking polished grille returned in 1973 with a black "honeycomb" insert. In North America, 1970 saw split rear bumpers with the number-plate in between, 1971-1974 returned to the earlier single-piece full-length style chrome bumper.


title: MG MGB

text: To meet impact regulations, 1974 US models had the chrome bumper over-riders replaced with oversized rubber ones, nicknamed "Sabrinas" after the British actress Sabrina. In the second half of 1974 the chrome bumpers were replaced altogether. A new, steel-reinforced black rubber bumper at the front incorporated the grille area as well, giving a major restyling to the B's nose, and a matching rear bumper completed the change.


title: MG MGB

text: New US headlight height regulations also meant that the headlamps were too low. Rather than redesign the front of the car, British Leyland raised the car's suspension by . This, in combination with the new, far heavier bumpers, resulted in significantly poorer handling. For the 1975 model year only, the front anti-roll bar was deleted as a cost-saving measure (though still available as an option). The damage done by the British Leyland response to US legislation was partially alleviated by revisions to the suspension geometry in 1977, when a rear anti-roll bar was made standard equipment on all models. US emissions regulations also reduced horsepower.


title: MG MGB

text: In March 1979 British Leyland started the production of black painted limited edition MGB roadsters for the US market, meant for a total of 500 examples. Due to a high demand for the limited edition model, production ended with 6,682 examples. The UK received bronze-painted roadsters and a silver GT model limited edition. The production run of homemarket limited edition MGBs was split between 421 roadsters and 579 GTs.


title: MG MGB

text: The last MGB roadster produced at Abingdon returned to Abingdon County Hall Museum on 1 December 2011, with the help of British Motor Heritage. It was lifted up 30 feet through a first floor window of the Grade I listed building with inches to spare and now forms part of the collection on display in the main gallery.


title: MG MGB

text: Work on a successor for the MGB had been undertaken as early as 1964 with the EX234, but due to the excellent sales of the MGB and Midget, BMC cancelled it in 1966. In 1968 a second proposed replacement was developed, the ADO76, but British Leyland had ceased work on that project by the end of 1970; the ADO76 would ultimately become the rubber-bumper version of the MGB in 1974. When the Abingdon factory finally closed in late 1980, British Leyland did not replace it, with the EX234 prototype finally being sold at auction in 2016.


title: MG MGB

text: The decision to discontinue the MGB came about largely due to the poor sales performance of the Triumph TR7, which had largely taken over as BL's contemporary offering in the small sports car market. BL management felt that continued production of the MGB was cannibalising the TR7's sales and this therefore was a justification for taking it off the market. However the TR7 failed to sell and was axed a year later. The MG marque was subsequently used to badge engineer sports versions of the Austin Metro, Austin Maestro and Austin Montego throughout the 1980s, prior to the re-emergence of the MGB in late 1992 as the MG RV8.


title: MG MGB

text: The fixed-roof MGB GT was introduced in October 1965. Production continued until 1980, although export to the US ceased in 1974. The MGB GT sported a ground-breaking greenhouse designed by Pininfarina and launched the sporty "hatchback" style. By combining the sloping rear window with the rear deck lid, the B GT offered the utility of a station wagon while retaining the style and shape of a coupe. This new configuration was a 2+2 design with a right-angled rear bench seat and far more luggage space than in the roadster. Relatively few components differed, although the MGB GT did receive different suspension springs and anti-roll bars and a different windscreen which was more easily and inexpensively serviceable. In 2019, Road & Track named the GT one of the "16 of Pininfarina's Most Beautiful Designs That Aren't Ferraris."


title: MG MGB

text: Although acceleration of the GT was slightly slower than that of the roadster, owing to its increased weight, top speed improved by to because of better aerodynamics.


title: MG MGB

text: A special edition of the GT was produced in 1975 for the 50th Anniversary of the MG Car Company. It was in pre-war British Racing Green, had tinted glass, gold body stripes, V8 alloy wheels painted in gold and black and other gold trim. 751 Jubilees were made, one was destroyed in an advertising stunt that went wrong. There are thought to be about half of them left as of 2021.[13]


title: MG MGB

text: The MGB Berlinette produced by the Belgian coach builder Jacques Coune used a raised windscreen to accommodate the fastback. Fifty-six were produced.


title: MG MGB

text: The MGC was a 2,912 cc, straight-six version of the MGB sold from 1967 and produced until August 1969 with some sales running on into 1970. The car was given the model code ADO52. It was intended as a replacement for the Austin-Healey 3000 Mk. III which would have been ADO51 but in that form never got beyond the design proposal stage. The first engine to be considered was an Australian-designed six-cylinder version of the BMC B-Series but the production versions used a new seven-main-bearing development of the Morris Engines designed C-Series that was also to be used for the new Austin 3-litre four-door saloon. In the twin SU carburettor form used in the MGC the engine produced at 5,250 rpm. The body shell needed considerable revisions around the engine bay and to the floor pan, but externally the only differences were a distinctive bonnet bulge to accommodate the relocated radiator and a teardrop for carburettor clearance. It had different brakes from the MGB, 15 inch wheels with Pirelli Cinturato 165HR15 tyres (CA67). a lower geared rack and pinion and special torsion bar suspension with telescopic dampers. Like the MGB, it was available as a coupé (GT) and roadster. An overdrive gearbox or three-speed automatic gearbox were available as options. The car was capable of 120 mph (193 km/h) and a 0–60 mph time of 10.0 seconds.


title: MG MGB

text: The heavy engine (209 lb heavier than the 1,798 cc MGB engine) and new suspension changed the vehicle's handling, and it received a mixed response in the automotive press. It later transpired that the BMC press department had set the tyre pressures of the cars in the launch fleet incorrectly (to the same values as the standard MGB) and that even the correct pressures were insufficient to get the best handling from the car. Poor reviews also stemmed from the fact that, despite BMC's marketing, the MGC was not a direct replacement for the Austin-Healey 3000 and neither was it a higher-performance MGB.


title: MG MGB

text: At the time of the car's launch the manufacturers stated that the Austin-Healey 3000 would continue to be offered as a parallel model priced on the domestic market at £1,126, compared to the MGC's £1,102.


title: MG MGB

text: In 1967 Prince Charles took delivery of an MGC GT (SGY 766F), which he passed down to Prince William 30 years later.


title: MG MGB

text: MG began offering the MGB GT V8 in 1973 powered by the aluminium block 3,528 cc Rover V8 engine, first fitted to the Rover P5B. The of torque allowed it to reach in 7.7 seconds and go on to a top speed. Fuel consumption was just under 20 mpg.


title: MG MGB

text: By virtue of its aluminium cylinder block and heads, the Rover V8 engine weighed approximately 20 kilos less than MG's iron four-cylinder. Unlike the MGC, the V8 that provided the MGB GT V8's increased power and torque did not require significant chassis changes nor sacrifice handling.


title: MG MGB

text: Both chrome and rubber-bumpered GT versions of the V8-powered MGB were produced by the factory with production ending in 1976.


title: MG MGB

text: MG never attempted to export the MGB GT V8 to the United States. It chose not to develop a left-hand-drive version of the MGB GT V8 although the Rover V8 engine was offered in US-bound Rover models. The P6 3500 was withdrawn after 1971 from the US and the Rover 3500 SD1 only introduced in 1980 (its engine equipped with power-sapping emissions equipment) so that during the lifetime of the MGB GT V8 the engine was not being built in a federal version. Abingdon built seven LHD models, sent them to America to achieve certification, and brought them back to the UK to be sold to mainland European countries.


title: MG MGB

text: Subsequent to the launch of the Mazda MX-5 in 1989, British Motor Heritage (by then owned by Rover Group) had placed the MGB bodyshell back in production to serve the MGB restoration market. The success of the MX-5 had given Rover confidence that the market for 2 seater roadsters had re-emerged, and the decision was taken in 1991 to create an updated MGB model. The suspension was only slightly updated, sharing the leaf spring rear of the MGB. The boot lid and doors were shared with the original car, as were the rear drum brakes. The engine was the 3.9-litre version of the aluminium Rover V8, similar to the one previously used in the MGB GT V8. A limited-slip differential was also fitted. The MG RV8 debuted at the British International Motor Show in October 1992.


title: MG MGB

text: The British Motor Heritage manufactured bodyshell was painted at Rover's Cowley plant before final assembly at Cowley where the cars were hand-built in a separate unit, the LVA . The interior featured veneered burr elm woodwork and Connolly leather.


title: MG MGB

text: The engine produced 190 bhp (142 kW) at 4,750 rpm, achieving 0–60 mph (96 km/h) in 5.9 seconds. Largely due to the rear drum brakes and rear leaf springs, the RV8 was not popular with road testers. The high price of the car put it in direct competition with contemporary rivals from specialist manufacturers such as TVR which offered modern technology and a more up to date driving experience.


title: MG MGB

text: A large proportion of the limited MG RV8 production went to Japan – 1,579 of the 1,983 produced. In the UK, 330 RV8s were sold initially. Several hundred (possibly as many as 700) of these cars were reimported back to the UK and also Australia between 2000 and 2010 with a peak number of 485 registered at the DVLA in the UK. Several sources consider this a continuation of the MGB model.


title: MG MGB

text: The MGB was assembled in Australia from 1963 to 1972, during which time approximately 9,000 were sold. The cars were assembled from complete knock down kits shipped from England. Initially, assembly was undertaken by the Pressed Metal Corporation at its Enfield facility, but was subsequently moved to BMC Australia’s Zetland plant in 1968. Australian assembly ended in 1972 when the government issued a requirement that, to enjoy favourable tariff treatment, locally produced cars should feature 85% local content. At the time, the local content of the Australian assembled MGBs was evaluated as just 45%. All MGBs assembled in Australia were roadsters.


title: MG MGB

text: Specially tuned MGBs (including some with aluminium panels) were successful in international road competition events, scoring a Grand Touring category victory in the 1965 Monte Carlo Rally. Circuit racing wins included the Guards 1000 miles race at Brands Hatch in 1965 and the 84-hour Marathon de la Route at the Nürburgring in 1966. MGBs also won the GT Category in the 1966 Targa Florio, the 1966 Spa 1000 and the 1967 Spa 1000.


title: Saint Thomas, U.S. Virgin Islands

text: Saint Thomas () is one of the Virgin Islands in the Caribbean Sea which, together with Saint John, Water Island, Hassel Island, and Saint Croix, form a county-equivalent and constituent district of the United States Virgin Islands (USVI), an unincorporated territory of the United States. The territorial capital and port of Charlotte Amalie is located on the island. As of the 2020 census, the population of Saint Thomas was 42,261, about 48.5% of the total population of the United States Virgin Islands. The island has a land area of .


title: Saint Thomas, U.S. Virgin Islands

text: The island was originally settled around 1500 BC by the Ciboney people. Ciboney sites have been uncovered in Krum Bay. The island was later inhabited by the Arawaks and then the Caribs. Arawak sites have been uncovered in Magen's Bay and Botany Bay, and Carib sites have been uncovered in Magen's Bay and Salt River.


title: Saint Thomas, U.S. Virgin Islands

text: The Dutch West India Company established a post on Saint Thomas in 1657. The first congregation was the St. Thomas Reformed Church, which was established in 1660 and was associated with the Dutch Reformed Church.


title: Saint Thomas, U.S. Virgin Islands

text: Denmark-Norway's first attempt to settle the island in 1665 failed. However, the Danes did resettle St. Thomas in 1671, under the sponsorship of the Glueckstadt Co., later the Danish West India Company. The first slave ships arrived in 1673, and St. Thomas became a slave market. In 1685, the Danish leased part of the island to the Brandenburger Company, which was resold to the Danish in 1754, and was granted free port status in 1764.


title: Saint Thomas, U.S. Virgin Islands

text: The land was divided into plantations and sugarcane production became the primary economic activity. As a result, the economies of Saint Thomas and the neighboring islands of Saint John and Saint Croix became highly dependent on slave labor and the slave trade. In 1685, the "Brandenburgisch-Africanische Compagnie" took control of the slave trade on Saint Thomas, and for some time the largest slave auctions in the world were held there.


title: Saint Thomas, U.S. Virgin Islands

text: Saint Thomas's fine natural harbor became known as "Taphus" for the drinking establishments located nearby. ("Tap Hus" translates as "rum shop" or "tap house" referring to the drinking establishments.) In 1691, the primary settlement there was renamed Charlotte Amalie in honor of the wife of Denmark's King Christian V. It was later declared a free port by Frederick V. In December 1732, the first two of many Moravian Brethren missionaries came from Herrnhut Saxony in present-day Germany to minister to them. Distrusted at first by the white masters, they lived among the slaves and soon won their confidence.


title: Saint Thomas, U.S. Virgin Islands

text: The first British invasion and occupation of the island occurred in 1801. The islands were returned to Denmark in 1802, under the terms of the Treaty of Amiens. Fire destroyed hundreds of homes in Charlotte Amalie in 1804.


title: Saint Thomas, U.S. Virgin Islands

text: The second British occupation of the island occurred from 1807 to 1815, after the Invasion of the Danish West Indies (1807), during which they built Fort Cowell on Hassel Island.


title: Saint Thomas, U.S. Virgin Islands

text: While the sugar trade had brought prosperity to the island's free citizens, by the early 19th century Saint Thomas was in decline. The continued export of sugar was threatened by hurricanes, drought, and American competition. Following the Danish Revolution of 1848, slavery was abolished and the resulting rise in labor costs further weakened the position of Saint Thomas's sugar producers.


title: Saint Thomas, U.S. Virgin Islands

text: Given its harbors and fortifications, Saint Thomas still retained a strategic importance, and thus, in the 1860s, during the American Civil War and its aftermath, the United States government considered buying the island and its neighbors from Denmark for $7.5 million. However, the proponents of the purchase failed to gain legislative support for the bid.


title: Saint Thomas, U.S. Virgin Islands

text: In 1915, David Hamilton Jackson traveled to Denmark and convinced the King of Denmark to allow freedom of the press in Saint Thomas, Saint John, and Saint Croix. He began the first newspaper in the islands, known as "The Herald". Jackson was the editor of "The Herald", which had its office at 1B Kongens Gade in Christiansted. The newspaper's focus was civic and labor rights for local workers, and it published criticisms of the labor situation in the islands. After beginning "The Herald," Jackson organized labor unions among the islanders for better working conditions. He was also instrumental in persuading the Danish to allow the US to purchase the islands of Saint Thomas, Saint John, and Saint Croix. The islands now have an annual celebration in November to honor the legacy of David Hamilton Jackson.


title: Saint Thomas, U.S. Virgin Islands

text: In 1917, Saint Thomas was purchased (along with Saint Croix and Saint John) by the United States for $25 million in gold ($ million today), as part of a defensive strategy to maintain control over the Caribbean and the Panama Canal during the First World War. The transfer occurred on March 31, 1917, behind Fort Christian before the barracks that now house the Legislature of the U.S Virgin Islands. The baccalaureate service for the transfer was held at the St. Thomas Reformed Church as it was identified as the American church in the Danish West Indies.


title: Saint Thomas, U.S. Virgin Islands

text: At the time of the US purchase in 1917, the colony did not include Water Island, which had been sold by Denmark to the East Asiatic Company, a private shipping company, in 1905. The company eventually sold the island to the United States in 1944, during the German occupation of Denmark. The federal government then used the island for military purposes until 1950, before finally transferring it to the territorial government in 1996.


title: Saint Thomas, U.S. Virgin Islands

text: The United States granted citizenship to the residents in 1927. The U.S. Department of the Interior took over administrative duties in 1931. American forces were based on the island during the Second World War. In 1954, passage of the U.S. Virgin Islands Organic Act officially granted territorial status to the three islands, and allowed for the formation of a local senate with politics dominated by the American Republican and Democratic parties. Full home rule was achieved in 1970.


title: Saint Thomas, U.S. Virgin Islands

text: The post-war era also saw the rise of tourism on the island. With relatively cheap air travel and the American embargo on Cuba, the numbers of visitors greatly increased. Despite natural disasters such as Hurricane Hugo (1989), Hurricanes Luis and Marilyn (1995), and Hurricanes Irma and Maria (2017) the island's infrastructure continues to improve as the flow of visitors continues. Hotels have been built from the West End to the East End, and in recent years, Saint Thomas has become a busy cruise ship port and vacation venue.


title: Saint Thomas, U.S. Virgin Islands

text: The island has a number of natural bays and harbors including Magens Bay, Great Bay, Jersey Bay, Long Bay, Fortuna Bay, and Hendrik Bay. Passenger ships dock and anchor in Long Bay, near Charlotte Amalie. Ships dock at Havensight Pier. Red Hook is an unofficial "town" located on the East End subdistrict.


title: Saint Thomas, U.S. Virgin Islands

text: Saint Thomas has a tropical savanna climate ("Aw" according to the Köppen climate classification) with a drier season and a wetter season. The temperature is warm year-round, with January and February, the coolest months, having average highs of and average lows of . August has the highest average high of , with July, August and September all having the highest average low at . The highest temperature ever recorded was on August 4, 1994 and June 23, 1996, which is the highest temperature to have ever been recorded in the United States Virgin Islands. The lowest recorded temperature was in November.


title: Saint Thomas, U.S. Virgin Islands

text: Saint Thomas receives of precipitation annually over 163.6 precipitation days. Autumn is the wettest time of year because of tropical cyclones. November is the wettest month, receiving of rain on average over 17.8 precipitation days, the most of any month. March is the driest month, receiving of rainfall over 8.1 precipitation days, the least of any month.


title: Saint Thomas, U.S. Virgin Islands

text: Saint Thomas is divided into the following subdistricts (with population as per the 2020 U.S. Census):


title: Saint Thomas, U.S. Virgin Islands

text: From 1796 a small Jewish community developed in Charlotte Amalie. It established the Beracha Veshalom Vegmiluth Hasadim, the second oldest synagogue in the United States.


title: Saint Thomas, U.S. Virgin Islands

text: During the late nineteenth and early twentieth centuries a group of French Catholic immigrants known as the came to St. Thomas from the St. Barthélemy islands to the east, forming one community of fishermen and one of farmers.


title: Saint Thomas, U.S. Virgin Islands

text: Passenger and limited car-ferry services to neighboring islands such as Water Island, Saint John, Saint Croix, and the British Virgin Islands run regularly out of the Red Hook Terminal, Charlotte Amalie, and Crown Bay Marina.


title: Saint Thomas, U.S. Virgin Islands

text: The United States Virgin Islands is the only place under United States jurisdiction where the rule of the road is to drive on the left. This was inherited from what was the then-current Danish practice at the time of the American acquisition in 1917. However, because the islands are a U.S. territory, most cars are imported from the mainland United States and therefore the steering column is located on the left side of the vehicle.


title: Saint Thomas, U.S. Virgin Islands

text: The island has many regular taxis from compact size to large vans, as well as open-air, covered trucks called "safaris" with bench seats. The latter usually operate only between high-traffic points, e.g., cruise-ship terminals at Havensight and Crown Bay and downtown Charlotte Amalie.


title: Saint Thomas, U.S. Virgin Islands

text: "St. Thomas" is among the most recognisable instrumentals in the repertoire of American jazz tenor saxophonist Sonny Rollins based on a traditional calypso sung to him by his mother, Valborg Solomon Rollins, who was born on Saint Thomas.


title: Human leg

text: The human leg, in the general word sense, is the entire lower limb of the human body, including the foot, thigh or sometimes even the hip or gluteal region. However, the definition in human anatomy refers only to the section of the lower limb extending from the knee to the ankle, also known as the crus or, especially in non-technical use, the shank. Legs are used for standing, and all forms of locomotion including recreational such as dancing, and constitute a significant portion of a person's mass. Female legs generally have greater hip anteversion and tibiofemoral angles, but shorter femur and tibial lengths than those in males.


title: Human leg

text: In human anatomy, the lower leg is the part of the lower limb that lies between the knee and the ankle. Anatomists restrict the term "leg" to this use, rather than to the entire lower limb. The thigh is between the hip and knee and makes up the rest of the lower limb. The term "lower limb" or "lower extremity" is commonly used to describe all of the leg.


title: Human leg

text: The leg from the knee to the ankle is called the "crus". The calf is the back portion, and the tibia or shinbone together with the smaller fibula make up the front of the lower leg.


title: Human leg

text: Evolution has provided the human body with two distinct features: the specialization of the upper limb for visually guided manipulation and the lower limb's development into a mechanism specifically adapted for efficient bipedal gait. While the capacity to walk upright is not unique to humans, other primates can only achieve this for short periods and at a great expenditure of energy.


title: Human leg

text: The human adaption to bipedalism has also affected the location of the body's center of gravity, the reorganization of internal organs, and the form and biomechanism of the trunk. In humans, the double S-shaped vertebral column acts as a great shock-absorber which shifts the weight from the trunk over the load-bearing surface of the feet. The human legs are exceptionally long and powerful as a result of their exclusive specialization for support and locomotion—in orangutans the leg length is 111% of the trunk; in chimpanzees 128%, and in humans 171%. Many of the leg's muscles are also adapted to bipedalism, most substantially the gluteal muscles, the extensors of the knee joint, and the calf muscles.


title: Human leg

text: The major bones of the leg are the femur (thigh bone), tibia (shin bone), and adjacent fibula, and these are all long bones. The patella (kneecap) is the sesamoid bone in front of the knee. Most of the leg skeleton has bony prominences and margins that can be palpated and some serve as anatomical landmarks that define the extent of the leg. These landmarks are the anterior superior iliac spine, the greater trochanter, the superior margin of the medial condyle of tibia, and the medial malleolus. Notable exceptions to palpation are the hip joint, and the neck and body, or shaft of the femur.


title: Human leg

text: Usually, the large joints of the lower limb are aligned in a straight line, which represents the mechanical longitudinal axis of the leg, the Mikulicz line. This line stretches from the hip joint (or more precisely the head of the femur), through the knee joint (the intercondylar eminence of the tibia), and down to the center of the ankle (the ankle mortise, the fork-like grip between the medial and lateral malleoli). In the tibial shaft, the mechanical and anatomical axes coincide, but in the femoral shaft they diverge 6°, resulting in the "femorotibial angle" of 174° in a leg with normal axial alignment. A leg is considered straight when, with the feet brought together, both the medial malleoli of the ankle and the medial condyles of the knee are touching. Divergence from the normal femorotibial angle is called genu varum if the center of the knee joint is lateral to the mechanical axis (intermalleolar distance exceeds 3 cm), and genu valgum if it is medial to the mechanical axis (intercondylar distance exceeds 5 cm). These conditions impose unbalanced loads on the joints and stretching of either the thigh's adductors and abductors.


title: Human leg

text: The angle of inclination formed between the neck and shaft of the femur (collodiaphysial angle) varies with age—about 150° in the newborn, it gradually decreases to 126–128° in adults, to reach 120° in old age. Pathological changes in this angle result in abnormal posture of the leg: a small angle produces coxa vara and a large angle coxa valga; the latter is usually combined with genu varum, and coxa vara leads genu valgum. Additionally, a line drawn through the femoral neck superimposed on a line drawn through the femoral condyles forms an angle, the "torsion" angle, which makes it possible for flexion movements of the hip joint to be transposed into rotary movements of the femoral head. Abnormally increased torsion angles result in a limb turned inward and a decreased angle in a limb turned outward; both cases resulting in a reduced range of a person's mobility.


title: Human leg

text: Some hip muscles also act either on the knee joint or on vertebral joints. Additionally, because the areas of origin and insertion of many of these muscles are very extensive, these muscles are often involved in several very different movements. In the hip joint, lateral and medial rotation occur along the axis of the limb; extension (also called dorsiflexion or retroversion) and flexion (anteflexion or anteversion) occur along a transverse axis; and abduction and adduction occur about a sagittal axis.


title: Human leg

text: The anterior dorsal hip muscles are the iliopsoas, a group of two or three muscles with a shared insertion on the lesser trochanter of the femur. The psoas major originates from the last vertebra and along the lumbar spine to stretch down into the pelvis. The iliacus originates on the iliac fossa on the interior side of the pelvis. The two muscles unite to form the iliopsoas muscle, which is inserted on the lesser trochanter of the femur. The psoas minor, only present in about 50 per cent of subjects, originates above the psoas major to stretch obliquely down to its insertion on the interior side of the major muscle.


title: Human leg

text: The posterior dorsal hip muscles are inserted on or directly below the greater trochanter of the femur. The tensor fasciae latae, stretching from the anterior superior iliac spine down into the iliotibial tract, presses the head of the femur into the acetabulum but also flexes, rotates medially, and abducts to hip joint. The piriformis originates on the anterior pelvic surface of the sacrum, passes through the greater sciatic foramen, and inserts on the posterior aspect of the tip of the greater trochanter. In a standing posture it is a lateral rotator, but it also assists extending the thigh. The gluteus maximus has its origin between (and around) the iliac crest and the coccyx, from where one part radiates into the iliotibial tract and the other stretches down to the gluteal tuberosity under the greater trochanter. The gluteus maximus is primarily an extensor and lateral rotator of the hip joint, and it comes into action when climbing stairs or rising from a sitting to a standing posture. Furthermore, the part inserted into the fascia latae abducts and the part inserted into the gluteal tuberosity adducts the hip. The two deep glutei muscles, the gluteus medius and minimus, originate on the lateral side of the pelvis. The medius muscle is shaped like a cap. Its anterior fibers act as a medial rotator and flexor; the posterior fibers as a lateral rotator and extensor; and the entire muscle abducts the hip. The minimus has similar functions and both muscles are inserted onto the greater trochanter.


title: Human leg

text: The ventral hip muscles function as lateral rotators and play an important role in the control of the body's balance. Because they are stronger than the medial rotators, in the normal position of the leg, the apex of the foot is pointing outward to achieve better support. The obturator internus originates on the pelvis on the obturator foramen and its membrane, passes through the lesser sciatic foramen, and is inserted on the trochanteric fossa of the femur. "Bent" over the lesser sciatic notch, which acts as a fulcrum, the muscle forms the strongest lateral rotators of the hip together with the gluteus maximus and quadratus femoris. When sitting with the knees flexed it acts as an abductor. The obturator externus has a parallel course with its origin located on the posterior border of the obturator foramen. It is covered by several muscles and acts as a lateral rotator and a weak adductor. The inferior and superior gemelli muscles represent marginal heads of the obturator internus and assist this muscle. These three muscles form a three-headed muscle (tricipital) known as the triceps coxae. The quadratus femoris originates at the ischial tuberosity and is inserted onto the intertrochanteric crest between the trochanters. This flattened muscle act as a strong lateral rotator and adductor of the thigh.


title: Human leg

text: The adductor muscles of the thigh are innervated by the obturator nerve, with the exception of pectineus which receives fibers from the femoral nerve, and the adductor magnus which receives fibers from the tibial nerve. The gracilis arises from near the pubic symphysis and is unique among the adductors in that it reaches past the knee to attach on the medial side of the shaft of the tibia, thus acting on two joints. It share its distal insertion with the sartorius and semitendinosus, all three muscles forming the pes anserinus. It is the most medial muscle of the adductors, and with the thigh abducted its origin can be clearly seen arching under the skin. With the knee extended, it adducts the thigh and flexes the hip. The pectineus has its origin on the iliopubic eminence laterally to the gracilis and, rectangular in shape, extends obliquely to attach immediately behind the lesser trochanter and down the pectineal line and the proximal part of the linea aspera on the femur. It is a flexor of the hip joint, and an adductor and a weak medial rotator of the thigh. The adductor brevis originates on the inferior ramus of the pubis below the gracilis and stretches obliquely below the pectineus down to the upper third of the linea aspera. Except for being an adductor, it is a lateral rotator and weak flexor of the hip joint.


title: Human leg

text: The adductor longus has its origin at superior ramus of the pubis and inserts medially on the middle third of the linea aspera. Primarily an adductor, it is also responsible for some flexion. The adductor magnus has its origin just behind the longus and lies deep to it. Its wide belly divides into two parts: One is inserted into the linea aspera and the tendon of the other reaches down to adductor tubercle on the medial side of the femur's distal end where it forms an intermuscular septum that separates the flexors from the extensors. Magnus is a powerful adductor, especially active when crossing legs. Its superior part is a lateral rotator but the inferior part acts as a medial rotator on the flexed leg when rotated outward and also extends the hip joint. The adductor minimus is an incompletely separated subdivision of the adductor magnus. Its origin forms an anterior part of the magnus and distally it is inserted on the linea aspera above the magnus. It acts to adduct and lateral rotate the femur.


title: Human leg

text: The muscles of the thigh can be classified into three groups according to their location: anterior and posterior muscles and the adductors (on the medial side). All the adductors except gracilis insert on the femur and act on the hip joint, and so functionally qualify as hip muscles. The majority of the thigh muscles, the "true" thigh muscles, insert on the leg (either the tibia or the fibula) and act primarily on the knee joint. Generally, the extensors lie on anterior of the thigh and flexors lie on the posterior. Even though the sartorius flexes the knee, it is ontogenetically considered an extensor since its displacement is secondary.


title: Human leg

text: Of the anterior thigh muscles the largest are the four muscles of the quadriceps femoris: the central rectus femoris, which is surrounded by the three vasti, the vastus intermedius, medialis, and lateralis. Rectus femoris is attached to the pelvis with two tendons, while the vasti are inserted to the femur. All four muscles unite in a common tendon inserted into the patella from where the patellar ligament extends it down to the tibial tuberosity. Fibers from the medial and lateral vasti form two retinacula that stretch past the patella on either sides down to the condyles of the tibia. The quadriceps is "the" knee extensor, but the rectus femoris additionally flexes the hip joint, and articular muscle of the knee protects the articular capsule of the knee joint from being nipped during extension. The sartorius runs superficially and obliquely down on the anterior side of the thigh, from the anterior superior iliac spine to the pes anserinus on the medial side of the knee, from where it is further extended into the crural fascia. The sartorius acts as a flexor on both the hip and knee, but, due to its oblique course, also contributes to medial rotation of the leg as one of the pes anserinus muscles (with the knee flexed), and to lateral rotation of the hip joint.


title: Human leg

text: There are four posterior thigh muscles. The biceps femoris has two heads: The long head has its origin on the ischial tuberosity together with the semitendinosus and acts on two joints. The short head originates from the middle third of the linea aspera on the shaft of the femur and the lateral intermuscular septum of thigh, and acts on only one joint. These two heads unite to form the biceps which inserts on the head of the fibula. The biceps flexes the knee joint and rotates the flexed leg laterally—it is the only lateral rotator of the knee and thus has to oppose all medial rotator. Additionally, the long head extends the hip joint. The semitendinosus and the semimembranosus share their origin with the long head of the biceps, and both attaches on the medial side of the proximal head of the tibia together with the gracilis and sartorius to form the pes anserinus. The semitendinosus acts on two joints; extension of the hip, flexion of the knee, and medial rotation of the leg. Distally, the semimembranosus' tendon is divided into three parts referred to as the "pes anserinus profondus". Functionally, the semimembranosus is similar to the semitendinosus, and thus produces extension at the hip joint and flexion and medial rotation at the knee. Posteriorly below the knee joint, the popliteus stretches obliquely from the lateral femoral epicondyle down to the posterior surface of the tibia. The subpopliteal bursa is located deep to the muscle. Popliteus flexes the knee joint and medially rotates the leg.


title: Human leg

text: With the popliteus (see above) as the single exception, all muscles in the leg are attached to the foot and, based on location, can be classified into an anterior and a posterior group separated from each other by the tibia, the fibula, and the interosseous membrane. In turn, these two groups can be subdivided into subgroups or layers—the anterior group consists of the extensors and the peroneals, and the posterior group of a superficial and a deep layer. Functionally, the muscles of the leg are either extensors, responsible for the dorsiflexion of the foot, or flexors, responsible for the plantar flexion. These muscles can also classified by innervation, muscles supplied by the anterior subdivision of the plexus and those supplied by the posterior subdivision. The leg muscles acting on the foot are called the extrinsic foot muscles whilst the foot muscles located "in" the foot are called intrinsic.


title: Human leg

text: Dorsiflexion (extension) and plantar flexion occur around the transverse axis running through the ankle joint from the tip of the medial malleolus to the tip of the lateral malleolus. Pronation (eversion) and supination (inversion) occur along the oblique axis of the ankle joint.