title: Fernando Colunga

text: His next telenovela were "Nunce Te Olvidare" (1999) by Edith Gonzalez and "Abrazame Muy Fuerte" (2000) with Aracely Arambula, Victoria Ruffo, Cesar Evora and Nailea Norvind. After this, he spent time away from telenovelas to study acting and production. He also played a role in "Navidad Sin Fin" in 2001. In 2003, he worked in "Amor Real" with Adela Noriega; a production of Carla Estrada, where he played Manuel Fuentes Guerra, the bastard son of a rich landowner. He starred alongside Mauricio Islas and Helena Rojo. In 2003, he won the TVyNovelas Award for Best Actor. After "Amor Real", Colunga took some time from TV acting and concentrated on theater. Along with César Evora, he adapted screenplays and launched "Death Trap".


title: Fernando Colunga

text: After spending several months touring with his work, Colunga returned to television with the telenovela of Carla Estrada, "Alborada" (2005) and "Passion" (2007)"." He shared the stage with actors like Valentino Lanús, Daniela Romo, Mariana Garza, Luis Roberto Guzmán, Vanessa Guzman, Arturo Peniche, Irán Castillo, Susana González, Sebastián Rulli, and Daniela Castro.


title: Fernando Colunga

text: In 2008, he worked on the telenovela "Manana Es Para Siempre" sharing credits with Silvia Navarro and Lucero. This telenovela is produced by Nicando Diaz, in which he plays Eduardo Juarez, a man who, for his revenge against Barbara Greco (Lucero) changes his name to Franco Santoro. In 2010, he was the star of the telenovela "Soy Tu Dueña" produced by Nicandro Diaz; he shared credit with Lucero, Gabriela Spanic, and Jacqueline Andere.


title: Fernando Colunga

text: In 2012, he starred in "Porque el Amor Manda" with Blanca Soto, Erick Elias, and Claudia Alvarez, debuting in the genre of telenovela with a comic touch. "Porque el Amor Manda" is a Mexican telenovela produced by Juan Osorio. It was an adaptation of the 2011 "Secretary". This starred Colunga and Blanca Soto, with Erick Elias and Claudia Alvarez, who play the main antagonists of the story.


title: Fernando Colunga

text: In 2015, he worked on the telenovela "Pasión y Poder" sharing credits with Jorge Salinas and Susana González.


title: Crime of the Century (album)

text: Crime of the Century is the third studio album by the English rock band Supertramp, released in September 1974 on A&M Records. "Crime of the Century" was Supertramp's commercial breakthrough in many countries, most notably in the UK, Canada and Germany where it peaked in the Top 5 while also making the Top 20 in Australia and France. It was an improvement over their previous sales in the US, but still only peaked at No. 38, with the US hit being "Bloody Well Right". "School" was another popular track, particularly at album rock-oriented radio stations. The album was eventually certified Gold in the US in 1977 after the release of "Even in the Quietest Moments...". In Canada, it was eventually certified Diamond (sales of one million copies). The album was Supertramp's first to feature drummer Bob Siebenberg (at the time credited as Bob C. Benberg), saxophone and clarinet player and vocalist John Helliwell, bassist Dougie Thomson, and co-producer Ken Scott. The album has received critical acclaim, including its inclusion in "Rolling Stone"'s "50 Greatest Prog Rock Albums of All Time".


title: Crime of the Century (album)

text: The album's dedication reads "To Sam", which is a nickname for , the Dutch millionaire who supported the band financially from 1969 to 1972.


title: Crime of the Century (album)

text: After the failure of their first two albums and an unsuccessful tour, it looked like the end of Supertramp, but Rick Davies and Roger Hodgson built it up from there, recruiting new members, drummer Bob C. Benberg, woodwinds player and backing vocalist John Helliwell, and bassist Dougie Thomson. Their record label, A&M, in particular A&R man Dave Margereson (who would become their manager for the next ten years), sent this new line-up to a seventeenth-century farm in west Dorset in order to rehearse together and prepare the album.


title: Crime of the Century (album)

text: The album was recorded at several studios, including Trident Studios and Ramport Studios (owned by The Who), with co-producer Ken Scott. While recording the album, Davies and Hodgson recorded approximately 42 demo songs, from which only 8 were chosen to appear on the album. Several other tracks appeared on later albums ("Crisis? What Crisis?", "...Famous Last Words...").


title: Crime of the Century (album)

text: Due to a contractual agreement, all the songs are credited jointly to the two writers, but some of the songs were written individually. Scott commented that Davies and Hodgson "were very, very different personalities. Those differing personalities made the music sound the way it did." "Asylum", "Rudy" and "Bloody Well Right" were written by Davies, "Dreamer", "If Everyone Was Listening", and "Hide in Your Shell" were written by Hodgson, and both "School" and "Crime of the Century" are Davies/Hodgson collaborations.


title: Crime of the Century (album)

text: Hodgson remarked of "Hide in Your Shell": "I was 23 when I wrote that song, confused about life and like a lot of people are at that age, trying to hide my insecurities. I’ve always been able to express my innermost feelings more openly in song and 'Hide in Your Shell' came to me at a time when I was feeling very lonely – lonely both in life and within the band – with no one who shared my spiritual quest."


title: Crime of the Century (album)

text: "Dreamer" was composed by Hodgson on his Wurlitzer piano at his mother's house when he was 19 years old. At that time he recorded a demo of the song using vocals, Wurlitzer, and banging cardboard boxes for percussion. Hodgson recalled: "I was excited – it was the first time I laid hands on a Wurlitzer." Supertramp cut their own recording of the song in imitation of this early demo. Also, Hodgson stated on "In the Studio with Redbeard" while talking about the making of the album that the band had difficulty recreating the song when recording it.


title: Crime of the Century (album)

text: Another of Hodgson's philosophical musings, "If Everyone Was Listening", was inspired by the "As You Like It" adage "All the world’s a stage, and all the men are merely players". According to "Entertainment Weekly", the message of the song is, "Not knowing what’s going on in everyone’s mind is just another form of not being in control. The fear comes not from the absence of knowledge of another person’s thought process, but rather from confronting the fact that we have no control over anything." The song would later provide the title track for Michael Ball's 2014 album of the same name.


title: Crime of the Century (album)

text: The album was named after the final song, "Crime of the Century", which the band members felt was the strongest song on the album. Shortly after his departure from Supertramp, Hodgson commented: "I've had more people come up to me and say that that song touched them more deeply than any other. That song really came together when we were living together at Southcombe Farm, Thorncombe, and just eating, sleeping, and breathing the ideas for the album. The song just bounced between Rick and I for so many weeks before it finally took form." For unknown reasons, in several interviews both before and since, Hodgson has attributed the song as being written solely by Davies.


title: Crime of the Century (album)

text: Hodgson describes "School" as "my song basically" but admits that Davies wrote both the piano solo and a good deal of the lyrics. Interviewed by Jeff Parets of Acoustic Storm in 2010, Hodgson confirmed that the song was based on his experience at boarding school and said of the girl's scream: "Everything, especially that scream that you're talking about just before the band comes in, does represent a lot... I mean, you know, school is a wonderful place. Obviously, it's a school playground but that scream does represent a lot more." "Ultimate Classic Rock" critic Nick DeRiso rated "School" as Supertramp's 3rd greatest song, calling it a "jazz fusion-informed gem" and praising its "free-form creativity," "plaintive lyric" and "stirring musical specificity."


title: Crime of the Century (album)

text: On the "In the Studio with Redbeard" episode devoted to the album, Hodgson stated that "Rudy" was the character on the album and was seen as somewhat autobiographical of Davies' life at the time. The sound of the train in "Rudy" was recorded at London Paddington station, while the crowd noises in the song were taken from Leicester Square.


title: Crime of the Century (album)

text: Hodgson and Davies both stated that communication within the group was at a peak during the recording of this album, while drummer Siebenberg stated that he thought it was this album on which the band hit its "artistic peak".


title: Crime of the Century (album)

text: "Crime of the Century" deals loosely with themes of loneliness and mental stability, but is not a concept album. Davies consciously linked the opening track "School" to "Bloody Well Right" with the line "So you think your schooling is phoney", and according to Hodgson, any unifying thread beyond that was left to the listener's imagination.


title: Crime of the Century (album)

text: The photograph for the cover was Paul Wakefield's first album work. A&M Records' art director Fabio Nicoli invited Wakefield to the studio where the band were recording and had him read the lyrics. With the album title already chosen, Wakefield started asking himself "what an appropriate sentence could be for 'the crime of the century'" and combined it with a line from the song "Asylum": "when they haunt me and taunt me in my cage." One of his ideas, a prison cell window floating in space with a person silently screaming through the bars, was approved by the band, and when Wakefield started to develop the idea, he reduced the prisoner to just hands clutching the bars, "a resignation to fate that the other didn’t have. It felt like there would be no reprieve." A friend made the set of polished aluminum bars and welded it to a stand, and underneath it Wakefield's twin brother grabbed the bars, with his hands whitened with stage make-up. Through multiple exposure, Wakefield shot 12 pictures on transparency film, which he then combined with a back-lit starscape, that was actually a black card sheet filled with holes in a darkened studio. Half of the resulting pictures had the expected result. The back cover photograph, featuring band members in their underwear holding dress suits and top hats, was originally made when the album cover was meant to be a gatefold.


title: Crime of the Century (album)

text: "Crime of the Century" was Supertramp's first U.S. Top 40 album and was eventually certified Gold in the U.S. in 1977, after the release of "Even in the Quietest Moments...". The album also marked the commercial breakthrough for the band in the United Kingdom; "Crime of the Century" peaked at number four in the album chart in March 1975, and "Dreamer" reached number thirteen on the singles chart in the same month. The album was particularly successful in Canada, staying on the album chart for over two years, peaking at number four, and being certified Diamond (10 x platinum) signifying sales of over one million copies.


title: Crime of the Century (album)

text: In 1978, "Crime of the Century" was ranked 108th in "", which recognised the 200 greatest albums of all time as voted for by notable rock critics and DJs. "Village Voice" critic Robert Christgau was ambivalent towards the album's "straight-ahead art-rock", which he called "Queen without preening. Yes without pianistics and meter shifts." Adam Thomas's retrospective review in "Sputnikmusic" described it as one of the better albums of the 1970s for its powerful expression of young adult confusion and alienation, and for its consistent contrast between prog and pop elements.


title: Crime of the Century (album)

text: In the 1987 edition of "The World Critic Lists", CBC's Geoff Edwards ranked "Crime of the Century" the 10th greatest album of all time. A 1998 public poll, aggregating the votes of more than 200,000 music fans, saw "Crime of the Century" voted among the all-time top 1000 albums, and it was listed in the 2005 book "1001 Albums You Must Hear Before You Die". In 2015, it was chosen as the 27th greatest progressive rock album by "Rolling Stone". Paul Elliott of "Classic Rock" magazine called it a progressive rock masterpiece.


title: Crime of the Century (album)

text: Many of the songs on the album remained staples of the band's shows well into the 21st century ("School", "Bloody Well Right", "Rudy", and the title song). Almost all of the album appears on the band's 1980 live album "Paris" although the tracks that feature orchestrations on the studio versions ("Asylum", "Rudy", and "Crime of the Century") were replaced by string synthesisers or Oberheim synthesisers, which were played mainly by Helliwell with some help from Hodgson. Hodgson has also included songs from the album ("Dreamer", "Hide in Your Shell", "School" and "If Everyone Was Listening") in his concerts.


title: Crime of the Century (album)

text: The first release was on vinyl by A&M Records in 1974. In 1977, it became the first pop music LP title re-issued by the audiophile label Mobile Fidelity Sound Lab. A&M released it as one of the first CDs in its "Audio Master Plus" series in 1984, which it then reissued in 1990. Mobile Fidelity also released its own remastered CD version on a gold disc as part of its "Ultradisc" series, in November 1984.


title: Crime of the Century (album)

text: A new remastered CD version of the album was released by A&M in 1997, followed by a different remaster on 11 June 2002. The newer A&M remasters feature all of the album art restored plus credits and full lyrics, which were missing from some earlier editions. Both 1997 and 2002 A&M remasters were from the original tapes by Greg Calbi and Jay Messina at Sterling Sound in New York.


title: Crime of the Century (album)

text: The 1997 remaster has all tracks peaking at 100 percent, significantly altering the original dynamic range of the recording and effectively adding new distortion to the sound. The 2002 edition is not quite as loud but still has much of the same effect.


title: Crime of the Century (album)

text: The album was re-issued by German audiophile label Speaker's Corner in 1999, as a 180 gram vinyl LP. It has none of the dynamic range compression applied to the A&M remastered CD versions.


title: Crime of the Century (album)

text: It was announced in October 2014 that the album, remastered by Ray Staff, would be reissued in CD, digital download, and 180g vinyl formats on 9 December 2014. In addition to the original album, the release would include a complete recording of a 1975 Hammersmith Odeon concert, a 24-page booklet of photographs, and an essay written by Phil Alexander with new interviews with Ken Scott, Dave Margereson, and most of the band members. Two 10×8 prints and a longer version of the essay were announced as exclusives of the vinyl version.


title: Tim Cappello

text: Tim Cappello (born May 3, 1955), also credited as Timmy Cappello, is an American multi-instrumentalist, composer and vocalist. He is primarily known for his saxophone work supporting Tina Turner in the 1980s and 90s, as well as for his musical performance in the 1987 vampire film "The Lost Boys".


title: Tim Cappello

text: He is notable for his muscular physique, his sexually provocative movements during his performances and for his tendency to perform shirtless, with his skin oiled and with his hair in a ponytail.


title: Tim Cappello

text: Cappello was born and grew up in the Silver Lake neighborhood of Harrison, New York, which, at the time, had a White Plains, New York, postal service address. The youngest of three children, his Sicilian father was a local conductor and music teacher. Cappello started music lessons at age 4. When he was 15 years old, Cappello dropped out of high school and was accepted at the New England Conservatory of Music, playing both drums and keyboards for his audition. He later studied saxophone with Lennie Tristano.


title: Tim Cappello

text: Cappello studied intermittently with Lennie Tristano over a four-year span between touring with performers such as musician Eric Carmen and comedian Billy Crystal. He played saxophone for Peter Gabriel on his album "Peter Gabriel 2" (1978) in addition to touring with Gabriel. Cappello also toured with Garland Jeffreys in 1978, playing both saxophone and keyboards. After struggling with heroin addiction, Cappello quit the drug "cold turkey" in 1979 and began bodybuilding in 1980. Cappello toured with Carly Simon later that same year, once appearing on stage in a leather g-string, as well as chains and a dog leash by which Simon pulled him onto the stage.


title: Tim Cappello

text: From 1981 to 1982, Cappello fronted his own pop band in New York City called The Ken Dolls—a band that included drummer J.P. "Thunderbolt" Patterson (also of The Dictators and Manitoba's Wild Kingdom) and Joe Carroll, a composer/producer who is president and founder of the Manhattan Producer's Alliance (ManHatPro). Cappello's sexual stage presence was further cultivated during his work with The Ken Dolls—performing in a style dubbed "porn pop", Cappello was known to perform in a g-string.


title: Tim Cappello

text: In 1984, Cappello was hired by Tina Turner as her keyboardist and saxophonist. Recording and touring with her over several years, Cappello's work can be heard on Turner's tracks "We Don't Need Another Hero" and "One of the Living" from "Mad Max Beyond Thunderdome" (1985) in addition to appearing in the music videos for both singles. Cappello performed on the 1993 soundtrack album "What's Love Got to Do with It", playing saxophone as well as singing Ike Turner's vocal parts in an updated version of the song "Proud Mary". Cappello toured with Ringo Starr in 1992 and 1999 as a member of his All-Starr Band.


title: Tim Cappello

text: At 6 feet tall, and reportedly 215 lbs in 1985, Cappello's size and appearance helped garner him roles in television and film. In 1987, he appeared in a musical performance in the film "The Lost Boys" where he both sang and played saxophone in a cover version of the song "I Still Believe" by The Call. As an actor, he appeared on the television shows "The Equalizer" and "Miami Vice" in 1987, as well as in the films "Hearts of Fire" with Bob Dylan in 1987 and "Tap" with Gregory Hines in 1989.


title: Tim Cappello

text: Cappello has composed music for film and television. He has worked with director Carole Langer on three occasions, composing the score for her 1987 film "Radium City"—a documentary about the women who worked for the Radium Dial Company in Ottawa, Illinois in the 1920s—for her four-hour documentary series about the Rat Pack for the A&E channel, and for her 2001 TV documentary "Lana Turner... a Daughter's Memoir". Cappello also composed the score for the A&E "Biography" episode titled "Jerry Lewis: The Last American Clown" which first aired in 1996.


title: Tim Cappello

text: Cappello played saxophone on the Netflix variety show "The Break with Michelle Wolf" during a segment called "Saxophone Apologies" during which Wolf addressed the lack of apologies from both Bill Clinton and the press for their treatment of Monica Lewinsky in relation to the Clinton–Lewinsky scandal.


title: Tim Cappello

text: In 2018, Tim was featured, along with singer Indiana, on the British Synthwave band GUNSHIP's single "Dark All Day" from the album of the same name. The album rose to number 1 in the Electronic charts in the US, UK and Canada.


title: Tim Cappello

text: He also released his 1st solo album, "Blood on the Reed", in 2018 and toured to support the album in 2019 and 2020 until Covid hit.


title: Tim Cappello

text: In 2021 Tim was featured in the Netflix series 'Worn Stories' in which he tells about his relationship to his codpiece, first given to him by Tina Turner, as a symbol of strength in the face of the ups and downs of the music business and the saxophone's regard (or lack thereof) in popular music.


title: Tim Cappello

text: In 2021 and 2022 Timmy appeared as one of the rock experts on the AXS show 'The Top 10 Revealed, Starring Katie Daryl', appearing in 4 episodes in 2021 and the same in 2022.


title: Tim Cappello

text: He made an appearance in June of '22 in a 35 minute video concert collaboration between Stranger Things and Doritos called 'Live From The Upside Down' starring Charli XCX, The Go-Go's, Corey Hart and Soft Cell.


title: Tim Cappello

text: Actor Jon Hamm portrayed a pony-tailed, shirtless saxophonist named "Sergio" in an SNL Digital Short titled "The Curse", which aired on "Saturday Night Live" ("SNL") on January 30, 2010. In the short, Andy Samberg's character is cursed by Sergio, who appears out of nowhere playing his saxophone at inopportune times. Sergio's dancing and appearance resembled Cappello's performances in the film "The Lost Boys" and in the video for Tina Turner's 1985 single "One of the Living" from the "Mad Max Beyond Thunderdome" soundtrack.


title: Tim Cappello

text: In 2011, a video of a saxophone player interrupting college classes, and other public scenes, while repeatedly playing the saxophone riff from the 1984 pop ballad "Careless Whisper", was circulated on social media websites such as BuzzFeed and Urlesque. The saxophonist in the video, also known as Sexy Sax Man, is shirtless, long-haired and is named Sergio Flores, echoing both Cappello's image and that of Jon Hamm's character in the "SNL" parody. "Paste" magazine ranked the video #3 on their list of the 10 best viral videos of 2011.


title: Tim Cappello

text: In 2022, Capello appears in the closing scene of the season two finale of Reservation Dogs. The episode wraps on him singing and playing saxophone to "I Still Believe" with White Jesus.


title: Joe Mantello

text: Joseph Mantello (born December 27, 1962) is an American actor and director known for his work on Broadway productions of "Wicked", "Take Me Out", and "Assassins", having gained notoriety in the 1993 cast of "Angels in America".


title: Joe Mantello

text: Mantello was born in Rockford, Illinois, the son of Judy and Richard Mantello, an accountant. His father is of Italian ancestry and his mother is of half Italian descent. He was raised Catholic.


title: Joe Mantello

text: Mantello studied at the North Carolina School of the Arts; he started the Edge Theater in New York City with actress Mary-Louise Parker and writer Peter Hedges. He is a member of the Naked Angels theater company and an associate artist at the Roundabout Theatre Company.


title: Joe Mantello

text: Mantello came to New York from Illinois in 1984 in the midst of the AIDS crisis, having overcome a youthful feeling, he admitted to a reporter in 2013, that "for some reason I was deeply ashamed of the theater early on. I think it had to do with this growing sense I was gay, although I couldn’t have put a word to it back then. Where I grew up, boys played sports. When [teacher] Mrs. Windsor wrote in my yearbook, 'Have you ever considered a career in the theater?' it was literally like she wrote the word 'faggot'."


title: Joe Mantello

text: Mantello began his theatrical career as an actor in Keith Curran's "Walking the Dead" and Paula Vogel's "The Baltimore Waltz". On the transition from acting to directing, Mantello said, "I think I've become a better actor since I started directing, although some people might disagree. Since I've been removed from the process I see things that actors fall into. Now there's a part of me that's removed from the process and can stand back."


title: Joe Mantello

text: Mantello directs a variety of theatre works, as "The New York Times" noted: "Very few American directors – Jack O'Brien and Mike Nichols come to mind – successfully jump genres and styles the way Mr. Mantello does, moving from a two-hander like "Frankie and Johnny in the Clair de Lune" to the huge canvas of a mainstream musical comedy like "Wicked," from downtown stand-up ("The Santaland Diaries") to contemporary opera ("Dead Man Walking") to political performance art ("The Vagina Monologues")."


title: Joe Mantello

text: A Roundabout Theatre Company revival of "Lips Together, Teeth Apart" directed by Mantello was scheduled to open at the American Airlines Theatre in April 2010, when one of the stars, Megan Mullally, suddenly quit. The production was postponed indefinitely due to her departure.


title: Joe Mantello

text: Mantello directed the Jon Robin Baitz play "Other Desert Cities" at the Booth Theater in 2011. He returned to acting for the first time in over a decade with the role of Ned Weeks in the Broadway limited engagement revival of "The Normal Heart" in April 2011, for which he was nominated for the Tony Award as Best Performance by an Actor in a Leading Role in a Play. Mantello had previously been nominated for the Tony Award for his role as Louis in "Angels in America".


title: Joe Mantello

text: He directed the Off-Broadway world premiere of the musical "Dogfight" in the summer of 2012 at the Second Stage Theater. In January 2013, he directed the Broadway premiere of Sharr White's "The Other Place" at the Samuel J. Friedman Theatre. In 2014 he directed Sting's new musical "The Last Ship". He directed the Harvey Fierstein play "Casa Valentina", which premiered on Broadway in April 2014.


title: Joe Mantello

text: Mantello acted in the revival of "The Glass Menagerie" which opened on Broadway at the Belasco Theatre in February 2017. Directed by Sam Gold, the play stars Sally Field as Amanda Wingfield, with Mantello playing Tom.


title: Joe Mantello

text: From 1990 to 2002, Mantello was in a relationship with playwright Jon Robin Baitz. As of 2018, he lives with Paul Marlow, who owns a custom clothing company in Manhattan.


title: Flat feet

text: Flat feet (also called pes planus or fallen arches) is a postural deformity in which the arches of the foot collapse, with the entire sole of the foot coming into complete or near-complete contact with the ground. Sometimes children are born with flat feet (congenital).


title: Flat feet

text: There is a functional relationship between the structure of the arch of the foot and the biomechanics of the lower leg. The arch provides an elastic, springy connection between the forefoot and the hind foot so that a majority of the forces incurred during weight bearing on the foot can be dissipated before the force reaches the long bones of the leg and thigh.


title: Flat feet

text: In pes planus, the head of the talus bone is displaced medially and distal from the navicular bone. As a result, the Plantar calcaneonavicular ligament (spring ligament) and the tendon of the tibialis posterior muscle are stretched to the extent that the individual with pes planus loses the function of the medial longitudinal arch (MLA). If the MLA is absent or nonfunctional in both the seated and standing positions, the individual has "rigid" flatfoot. If the MLA is present and functional while the individual is sitting or standing up on their toes, but this arch disappears when assuming a foot-flat stance, the individual has "supple" flatfoot. This latter condition is often treated with arch supports.


title: Flat feet

text: Studies have shown flat feet are a common occurrence in children and adolescents. The human arch develops in infancy and early childhood as part of normal muscle, tendon, ligament and bone growth. Flat arches in children usually become high arches as the child progresses through adolescence and into adulthood. Children with flat feet are at a higher risk of developing knee, hip, and back pain. A 2007 randomized controlled trial found no evidence for the efficacy of treatment of flat feet in children either from expensive prescribed orthotics (i.e. shoe inserts) or less expensive over-the-counter orthotics. As a symptom itself, flat feet usually accompany genetic musculoskeletal conditions such as dyspraxia, ligamentous laxity or hypermobility.


title: Flat feet

text: Since children are unlikely to suspect or identify flat feet on their own, it is important for adult caregivers to check on this themselves. Besides visual inspection of feet and of the treadwear pattern on shoe soles, caregivers should notice when a child's gait is abnormal, or the child seems to be in pain from walking. Children who complain about calf muscle pains, arch pain, or any other pains around the foot area may be developing or have developed flat feet. A systematic review and meta-analysis study by Xu, et.al., found that urban sedentary boys, aged 6-9, were frequently diagnosed with flatfeet. The researchers also explored and listed additional risk factors that played a role in diagnosing flatfeet.


title: Flat feet

text: Training of the feet, utilizing foot gymnastics and going barefoot on varying terrain, can facilitate the formation of arches during childhood, with a developed arch occurring for most by the age of four to six years. Ligament laxity is also among the factors known to be associated with flat feet. One medical study in India with a large sample size of children who had grown up wearing shoes and others going barefoot found that the longitudinal arches of the bare-footers were generally strongest and highest as a group, and that flat feet were less common in children who had grown up wearing sandals or slippers than among those who had worn closed-toe shoes. Focusing on the influence of footwear on the prevalence of pes planus, the cross-sectional study performed on children noted that wearing shoes throughout early childhood can be detrimental to the development of a normal or a high medial longitudinal arch. The vulnerability for flat foot among shoe-wearing children increases if the child has an associated ligament laxity condition. The results of the study suggest that children be encouraged to play barefooted on various surfaces of terrain and that slippers and sandals are less harmful compared to closed-toe shoes. It appeared that closed-toe shoes greatly inhibited the development of the arch of the foot more so than slippers or sandals. This conclusion may be a result of the notion that intrinsic muscle activity of the arch is required to prevent slippers and sandals from falling off the child's foot. In children with few symptoms orthotics is not recommended.


title: Flat feet

text: Flat feet can also develop as an adult ("adult acquired flatfoot") due to injury, illness, unusual or prolonged stress to the foot, faulty biomechanics, or as part of the normal aging process. This is most common in women over 40 years of age. Known risk factors include obesity, hypertension and diabetes. Flat feet can also occur in pregnant women as a result of temporary changes, due to increased elastin (elasticity) during pregnancy. However, if developed by adulthood, flat feet generally remain flat permanently.


title: Flat feet

text: If a youth or adult appears flatfooted while standing in a full weight bearing position, but an arch appears when the person plantarflexes, or pulls the toes back with the rest of the foot flat on the floor, this condition is called flexible flatfoot. This is not a true collapsed arch, as the medial longitudinal arch is still present and the windlass mechanism still operates; this presentation is actually due to excessive pronation of the foot (rolling inwards), although the term 'flat foot' is still applicable as it is a somewhat generic term. Muscular training of the feet is helpful and will often result in increased arch height regardless of age.


title: Flat feet

text: Research has shown that tendon specimens from people who have adult-acquired flat feet show evidence of increased activity of proteolytic enzymes. These enzymes can break down the constituents of the involved tendons and cause the foot arch to fall. In the future, these enzymes may become targets for new drug therapies.


title: Flat feet

text: Many medical professionals can diagnose a flat foot by examining the patient standing or just looking at them. On going up onto tip toe the deformity will correct when this is a flexible flat foot in a child with lax joints. Such correction is not seen in adults with a rigid flat foot.


title: Flat feet

text: An easy and traditional home diagnosis is the "wet footprint" test, performed by wetting the feet in water and then standing on a smooth, level surface such as smooth concrete or thin cardboard or heavy paper. Usually, the more the sole of the foot that makes contact (leaves a footprint), the flatter the foot. In more extreme cases, known as a kinked flatfoot, the entire inner edge of the footprint may actually bulge outward, where in a normal to high arch this part of the sole of the foot does not make contact with the ground at all.


title: Flat feet

text: On plain radiography, flat feet can be diagnosed and graded by several measures, the most important in adults being the talonavicular coverage angle, the calcaneal pitch, and the talar-1st metatarsal angle (Meary's angle). The talonavicular coverage angle is abnormally laterally rotated in flat feet. It is normally up to 7 degrees laterally rotated, so a greater rotation indicates flat feet. Radiographies generally need to be taken on weightbearing feet in order to detect misalignment.


title: Flat feet

text: Most flexible flat feet are asymptomatic, and do not cause pain. In these cases, there is usually no cause for concern. Flat feet were formerly a physical-health reason for service-rejection in many militaries. However, three military studies on asymptomatic adults (see section below), suggest that persons with asymptomatic flat feet are at least as tolerant of foot stress as the population with various grades of arch.


title: Flat feet

text: In a study performed to analyze the activation of the tibialis posterior muscle in adults with pes planus, it was noted that the tendon of this muscle may be dysfunctional and lead to disabling weightbearing symptoms associated with acquired flat foot deformity. The results of the study indicated that while barefoot, subjects activated additional lower-leg muscles to complete an exercise that resisted foot adduction. However, when the same subjects performed the exercise while wearing arch supporting orthotics and shoes, the tibialis posterior was selectively activated. Such discoveries suggest that the use of shoes with properly fitting, arch-supporting orthotics will enhance selective activation of the tibialis posterior muscle thus, acting as an adequate treatment for the undesirable symptoms of pes planus.


title: Flat feet

text: Rigid flatfoot, a condition where the sole of the foot is rigidly flat even when a person is not standing, often indicates a significant problem in the bones of the affected feet, and can cause pain in about a quarter of those affected. Other flatfoot-related conditions, such as various forms of tarsal coalition (two or more bones in the midfoot or hindfoot abnormally joined) or an accessory navicular (extra bone on the inner side of the foot) should be treated promptly, usually by the very early teen years, before a child's bone structure firms up permanently as a young adult. Both tarsal coalition and an accessory navicular can be confirmed by X-ray. Rheumatoid arthritis can destroy tendons in the foot (or both feet) which can cause this condition, and untreated can result in deformity and early onset of osteoarthritis of the joint. Such a condition can cause severe pain and considerably reduced ability to walk, even with orthoses. Ankle fusion is usually recommended.


title: Flat feet

text: Treatment of flat feet may also be appropriate if there is associated foot or lower leg pain, or if the condition affects the knees or the lower back. Treatment may include foot gymnastics or other exercises as recommended by a podiatrist or physical therapist. In cases of severe flat feet, orthoses should be used through a gradual process to lessen discomfort. Over several weeks, slightly more material is added to the orthosis to raise the arch. These small changes allow the foot structure to adjust gradually, as well as giving the patient time to acclimatize to the sensation of wearing orthoses. In some cases, surgery can provide lasting relief, and even create an arch where none existed before; it should be considered a last resort, as it is usually very time-consuming and costly. A minimally-invasive surgical intervention involving a small implant is also available. The implant is inserted into the sinus tarsi and prevents the calcaneus and talus from sliding relative to each other. This prevents the sinus tarsi from collapsing and thus prevents the external symptom of the fallen arch from occurring.


title: Flat feet

text: The effects of flat feet fall under two categories, which are asymptomatic and symptomatic. Individuals with rigid flat feet tend to exhibit symptoms such as foot and knee tendinitis, and are recommended to consider surgical options when managing symptoms. Individuals with flexible flat generally exhibit asymptomatic effects in response to their flat feet.


title: Flat feet

text: According to AAP news and journal gateway, being flexibly flat-footed does not impede athletic performance.


title: Flat feet

text: It is generally assumed by running professionals (primarily including some physical trainers, podiatrists, and shoe manufacturers) that a person with flat feet tends to overpronate in the running form. However, some also assert that persons with flat feet may have an underpronating if they are not a neutral gait. With standard running shoes, these professionals claim, a person who overpronates in his or her running form may be more susceptible to shin splints, back problems, and tendonitis in the knee. Running in shoes with extra medial support or using special shoe inserts, orthoses, may help correct one's running form by reducing pronation and may reduce risk of injury.


title: Flat feet

text: Studies analyzing the correlation between flat feet and physical injuries in soldiers have been inconclusive, but none suggest that flat feet are an impediment, at least in soldiers who reached the age of military recruitment without prior foot problems. A 2005 study of Royal Australian Air Force recruits that tracked the recruits over the course of their basic training found that neither flat feet nor high arched feet had any impact on physical capability, injury rates or bipedal aptitude. Although there have been results rendered from military trials that have shown those with flat feet to have fewer injuries. No current studies have been successful in fully ascertaining the chronic, long-term detriments to health that are caused by the overexertion (of which is necessary for athletes/soldiers performing with flat feet) and other compensating measures commonly enacted by the body during bipedal movement. Another divergent study of 295 Israel Defense Forces recruits found that those with high arches had almost four times as many stress fractures as those with the lowest arches. A later study of 449 U.S. Navy special warfare trainees found no significant difference in the incidence of stress fractures among sailors and Marines with different arch heights.


title: Sud Aviation Caravelle

text: SNCASE merged into the larger Sud Aviation conglomerate before the aircraft entered revenue service on 26 April 1959 with Scandinavian Airlines System (SAS); 282 were built until production ended in 1972. It was ordered by airlines on every continent and operated until its retirement in 2005.


title: Sud Aviation Caravelle

text: The short-range, five-abreast airliner is powered by two aft-mounted Rolls-Royce Avon turbojet engines, allowing a clean low wing.


title: Sud Aviation Caravelle

text: The later, slightly longer 10/11 variants could seat 99 to 118 passengers over and were powered by Pratt & Whitney JT8D low-bypass turbofans.


title: Sud Aviation Caravelle

text: On 12 October 1951, the "Comité du matériel civil" (civil aircraft committee) published a specification for a medium-range aircraft, which was later sent to the aviation industry by the "Direction technique et industrielle". This called for an aircraft capable of carrying 55 to 65 passengers and of cargo on routes up to with a cruising speed of about . The type and number of engines were not specified. Since 1946, various design studies for aircraft in this category had already been underway at several of the leading French aircraft manufacturing organisations, and had resulted in some ambitious concepts being mooted. None of these firms possessed the financial power to independently embark on the substantial development work involved, let alone to establish a manufacturing line for the construction of such aircraft.


title: Sud Aviation Caravelle

text: The response to the specification from the French industry was strong, it has been claimed that every major manufacturer submitted at least one proposal; a total of 20 different designs were ultimately received. The majority of these proposals were powered by all-turbojet engine arrangements, although Breguet had entered a number of designs that were powered by both turbojet and turboprop engines; among these was one for a Snecma Atar-powered tri-jet to be developed in association with the SNCA du Nord and a turboprop type; all of the different designs were designated as "Br. 978". Hurel-Dubois had entered several turboprop designs based on a narrow fuselage and shoulder-mounted wing, similar to many regional propliners. Proposals from SNCASO included the S.O.60 with two Rolls-Royce Avon RA.7 engines, outfitted with two smaller Turbomeca Marborés as auxiliaries. SNCASE had also returned a number of designs from the X-200 to X-210, all of these being purely jet-powered.


title: Sud Aviation Caravelle

text: On 28 March 1952, after studying the various entries, the "Comité du Matériel Civil" announced that it had produced a short list of three entrants: the four-engined Avon/Marbore SNCASO S.0.60, the twin-Avon Hurel-Dubois project, and the three-engined Avon SNCASE X-210. At this point, British engine manufacturer Rolls-Royce had already begun to offer a new version of the Avon that was to be capable of developing 9,000 lbf (40 kN) of thrust, which would render the auxiliary engines of the S.O.60 and the third engine featured on the X-210 unnecessary. The Committee issued a request for SNCASE to re-submit its X-210 proposal as a twin-Avon design. In doing so, SNCASE decided to not remove the remaining engines from their rear-mounted position; most designs had placed the engines underneath the wing, where they could be mounted on the spar for lower overall weight, but it was felt that these weight savings were not worth the effort. This turned out to be a benefit to the design, as the cabin noise was greatly reduced as a result. In July 1952, the revised X-210 design with twin Avons was re-submitted to the Secretariat General for Civil and Commercial Aviation (SGACC).


title: Sud Aviation Caravelle

text: Two months later, SNCASE received official notification that its design had been accepted. On 6 July 1953, the SGACC placed a formal order for the construction of a pair of prototypes along with a pair of static airframes for fatigue testing. SNCASE's design licensed several fuselage features from British aircraft company de Havilland, the two companies already having had dealings in respect to several earlier designs. The nose area and cockpit layout were taken directly from the de Havilland Comet jet airliner, while the rest of the airliner was locally designed. A distinctive design feature was the cabin windows in the shape of a curved triangle, which were smaller than conventional windows but gave the same field of view downwards.


title: Sud Aviation Caravelle

text: On 21 April 1955, the first prototype of the Caravelle (F-WHHH), launched by Madame de Gaulle, was rolled out. On 27 May 1955, the first prototype conducted its maiden flight, powered by a pair of British Rolls-Royce RA-26 Avon Mk.522, capable of providing of unitary thrust. For the maiden flight, which had a total duration of 41 minutes, the crew consisted of Pierre Nadot (first officer), André Moynot (second officer), Jean Avril (mechanic), André Préneron (radio operator) and Roger Beteille.


title: Sud Aviation Caravelle

text: Almost one year later, on 6 May 1956, the second prototype made its first flight. The first prototype had been fitted with a cargo door located on the lower left side of the fuselage, but this door was removed in the second prototype in favour of an all-seating arrangement. By October 1956, both prototypes had accumulated in excess of 1,000 flight hours. By the end of 1956, the two aircraft had visited various locations across Europe and North Africa; and trials were already underway for French carrier Air France. During 1957, the second prototype accumulated roughly 2,500 flight hours across various flights conducted throughout North America and South America.


title: Sud Aviation Caravelle

text: In 1956, the type received its first order from Air France; it was followed by Scandinavian Airlines System (SAS) in 1957. More orders followed, which had been partially driven by a campaign of direct presentations held at airshows and dedicated flight demonstrations using the two prototypes to potential customers. Also during 1956, SNCASE (Sud-Est - Southeast) had merged with SNCASO (Sud-Ouest - Southwest) and several other French aircraft manufacturers to become Sud Aviation; however, the original SE designation assigned to the airliner was retained. In May 1959, the Caravelle received its airworthiness certification, enabling the type to enter passenger service. On 26 April 1959, the Caravelle performed its first flight with paying passengers on board for Scandinavian operator SAS; shortly thereafter, the type commenced operations with Air France as well.


title: Sud Aviation Caravelle

text: Within four years of entering airliner service, a total of 172 Caravelles had been sold to a range of operators. Aviation writer M.G. Douglas attributed the type's favourable early sales record to the effective marketing campaign of performing demonstrations to prospective customers using the two prototypes, as well to the Caravelle having effectively no jet-powered rivals, being the only short-haul jetliner for several years following its introduction. Several models of the Caravelle were developed and produced over the lifetime of the production run, often in response to the increasing power of the available engines, which allowed higher takeoff weights to be adopted.


title: Sud Aviation Caravelle

text: By 1963, there were a total of six different versions of the Caravelle in production, designated "III", "VI-N", "VI-R", "10A", "10B", and "X-BIR". Of these, the Caravelle III was considered to be the basic version of the airliner, while the other variants featured an increasing number of improvements. The Caravelle VI-N was equipped with more powerful Avon 531 engines and an additional heat exchanger for the air conditioning, while the Caravelle VI-R, which had come about as a result of demands by U.S. carrier United Airlines, was furnished with thrust reverser-equipped Avon 352s, a revised windscreen design, soundproofing, a new luggage compartment door, and wing spoilers.


title: Sud Aviation Caravelle

text: The Caravelle 10A and 10B, which differed only in the engines used and were commonly referred to as the "Super Caravelle", featured the improvements of the VI-R in addition to a high degree of further design changes. The more high-profile modifications included a stretch of the fuselage by ; a highly altered wing; an aerodynamic fairing behind the fin of the tailplane; expanded cargo capacity via raised floor support struts; and higher cabin windows. Other changes included the adoption of variable-displacement pumps for the hydraulic system and the use of AC-based generators in place of earlier DC counterparts along with an auxiliary power unit (APU). The redesigned wing was equipped with double-slotted Fowler flaps, additional and repositioned stall vanes, aerodynamic improvements to the wing root and adjustments to the leading edge that improved the performance of the wing during the crucial takeoff and landing phases of flight.


title: Sud Aviation Caravelle

text: Despite its commercial success, however, the Caravelle was soon displaced from being the focus of Sud Aviation's development efforts as the majority of the company's design engineers were progressively reallocated onto an entirely new project that was intended to produce a successor to the Caravelle. The project was relatively ambitious, having the aim of producing a viable supersonic transport that possessed the same general size and range as the Caravelle. It was decided that the envisioned supersonic airliner should be naturally named after the firm's recent success, thus the Super-Caravelle name was applied to the design. Ultimately, the work on the Super-Caravelle would be merged with similar work that had been undertaken by Britain's Bristol Aeroplane Company, and would result in the development of Concorde.


title: Sud Aviation Caravelle

text: In total, 282 Caravelles of all types were manufactured (2 prototypes or pre-production aircraft and 280 production aircraft); reportedly, Sud Aviation's projected break-even point for the type had been forecast to be around the 200-unit mark.


title: Sud Aviation Caravelle

text: The Caravelle belongs to the first generation of passenger aircraft to use newly developed jet propulsion technology, and it was the first jet airliner developed specifically for the short/medium-range sector of the market. Early in the Caravelle's career, its chief competitors were propeller-driven aircraft, such as the British-built Vickers Viscount and the U.S.-built Convair CV-440. Reportedly, the Caravelle proved to be a highly reliable airliner during its early years of service. The low accident rate for the type led to lower than average insurance premiums for Caravelle operators.


title: Sud Aviation Caravelle

text: The Caravelle was typically powered by a pair of British-built Rolls-Royce Avon turbojet engines, installed in a rear-mounted position close to the tail unit. Various models of the Avon engine were adopted for different versions of the airliner, often with increased thrust and additional features such as thrust reversers. Alternative powerplants were adopted or proposed for some Caravelle models, such as the U.S.-built Pratt & Whitney JT8D-1 and General Electric CJ-805-23C engines.


title: Sud Aviation Caravelle

text: The Caravelle was designed to maximise passenger comfort and operator convenience. The rear entry door had built-in stairs that, while adding structural complexity, meant that mobile airport stairs were unnecessary. On later variants, soundproofing in the form of readily removable mattress-like rolls that fixed in place via existing brackets was added to the design. In some configurations, the Caravelle's cabin was furnished with a number of rearward-facing passenger seats, which was an uncommon arrangement amongst civil aircraft. From September 1963 onwards, an autolanding capability (via two separate systems, of which one was self-contained while the other was integrated with the airliner's autopilot), was made available for the Caravelle by Sud Aviation.


title: Sud Aviation Caravelle

text: The final assembly line for the Caravelle was at Sud Aviation's factory at Blagnac Airport near Toulouse. Much of the aircraft was manufactured at other sites across France and in other countries, however. The production of large portions of the Caravelle had been subcontracted to other manufacturers; these included the Italian aircraft manufacturer Fiat Aviazione, which produced the aircraft's tailplane, fin, ailerons, and engine nacelles; and French aviation firm Breguet Aviation, which performed the outfitting of the rear fuselage; while much of the ancillary equipment of the Caravelle originated from either British or U.S. manufacturers. Sud Aviation constructed and outfitted the nose section, along with manufacturing the tailcone, rudder, Fowler flaps, both the leading edges and trailing edges of the wing, and the majority of the fuselage.


title: Sud Aviation Caravelle

text: The Caravelle served with airlines on every continent except Australia. In 1957, Trans-Australia Airlines (TAA) sought to order two Caravelles, to service its longest routes, Perth-Sydney and Perth-Melbourne, from 1960. However, the Australian government blocked the order, saying that any further diversity in full-size airliners used on domestic routes would have an adverse impact on aircraft servicing within Australia.


title: Sud Aviation Caravelle

text: For 45 years of commercial exploitation, 67 Caravelles have been withdrawn from service as a result of destruction or for irreparable damage. None of these accidents and incidents are attributed to a design defect, only a few technical failures, human errors, or sabotage. The total loss of life in accidents in the Caravelle is more than 1,300. The accident rate per million flights is estimated at more than 5.5, compared with less than 1 for the most recent airliners.


title: Char B1

text: The Char B1 was a specialised break-through vehicle, originally conceived as a self-propelled gun with a 75 mm howitzer in the hull; later a 47 mm gun in a turret was added, to allow it to function also as a , a "battle tank" fighting enemy armour, equipping the armoured divisions of the Infantry Arm. Starting in the early twenties, its development and production were repeatedly delayed, resulting in a vehicle that was both technologically complex and expensive, and already obsolescent when real mass-production of a derived version, the Char B1 "bis", started in the late 1930s. A further up-armoured version, the Char B1 "ter", was only built in two prototypes.


title: Char B1

text: Among the most powerfully armed and armoured tanks of its day, the type was very effective in direct confrontations with German armour in 1940 during the Battle of France, but low speed and high fuel consumption made it ill-adapted to the war of movement then being fought. After the defeat of France, captured Char B1 (bis) would be used by Germany, with some rebuilt as flamethrowers, , or mechanised artillery.


title: Char B1

text: The Char B1 had its origins in the concept of a "Char de Bataille" conceived by General Jean Baptiste Eugène Estienne in 1919, e.g. in his memorandum "Mémoire sur les missions des chars blindés en campagne". It had to be a "Battle Tank" that would be able to accomplish a breakthrough of the enemy line by destroying fortifications, gun emplacements and opposing tanks. In January 1921 a commission headed by General Edmond Buat initiated a project for such a vehicle. To limit costs, it had to be built like a self-propelled gun, with the main weapon in the hull. To minimise the vehicle size this gun should be able to move only up and down, with the horizontal aiming to be provided by turning the entire vehicle. The specifications included: a maximum weight of thirteen tonnes; a maximum armour thickness of 25 millimetres; a hull as low as possible to enable the gun to fire into the vision slits of bunkers; a small machine gun turret to fend off enemy infantry attacks, at the same time serving as an observation post for the commander and a crew of at most three men. Two versions should be built, one a close support tank armed with a 75 mm howitzer, the other an anti-tank vehicle with a 47 mm gun instead.


title: Char B1

text: French industry was very interested in the project. In the past, this had led to much non-constructive rivalry. Estienne, who in the war had personally witnessed the dismal effects of such a situation, was determined to avoid a repetition. He used his position as Inspector-General of the Tanks to enforce the so-called "Estienne accord" on the industrialists, ordering them to "reach a mutual understanding, free from any spirit of industrial competition". To be allowed to join, they had to agree beforehand to relinquish any patents to the Army, which would be free to combine all projects into a single type. In exchange, to the industry very large orders of no less than a thousand vehicles were promised.


title: Char B1

text: On these conditions four projects were started in 1921: two by a cooperation between Renault and Schneider: the SRA and the SRB, one by "Forges et Aciéries de la Marine et d'Homécourt" (FAMH), more commonly known as "Saint Chamond" from its location, and the last by "Forges et Chantiers de la Méditerranée" (FCM), the FCM 21. Renault and Schneider would each get to produce 250 units, FAMH and FCM each 125. A fifth producer, Delaunay-Belleville, whose project (an improved Renault FT) had been rejected beforehand, would be allowed to make 83 tanks; the remaining 167 would be allotted at the discretion of the French State.


title: Char B1

text: On 13 May 1924, the four prototypes were presented at the "Atelier de Rueil", where they were compared, each having to drive over a twenty kilometre test course. Immediately it became evident that their technical development had been insufficient, most breaking down; the SRA even started to fall apart. Maintenance was difficult because the engines were inaccessible. All projects used a three-man crew but differed considerably in size, form and the solution chosen to laterally point the gun.


title: Char B1

text: The SRA was the heaviest vehicle at 19.5 tonnes. Its length was 5.95 metres, its height 2.26m and its width 2.49m. It had a 75 mm howitzer in the right side of the hull and a cast, 30 mm thick, turret with two machine-guns. It was steered by an epicyclical transmission combined with hydraulically reinforced brake disks, which failed to provide the desired precision during tests.


title: Char B1

text: Seen from the front it was very similar to the final model, but its side-on profile was more like that of the British Medium Mark D, including the "snake track"-system, with the drive wheel higher than the idler in front. The suspension used leaf springs. A Renault six-cylinder 180 hp engine (a bisected V12 aircraft engine) allowed for a maximum speed of 17.5 km/h; a four hundred litre fuel tank for a range of 140 kilometres.


title: Char B1

text: The SRB, also using leaf springs, was a somewhat larger vehicle, six metres long, 2.28 metres high and 2.5 metres wide. It was nevertheless lighter at 18.5 tonnes, a result of having a smaller 47 mm gun—it thus was the antitank version. Using the same engine, its speed was accordingly slightly higher at 18 km/h. More limited fuel reservoirs holding 370 litres decreased the range to 125 kilometres. It used an advanced hydraulic suspension system and the hydraulic Naeder-transmission from the "Chaize" company combined with a "Fieux" clutch and Schneider gear box. It used modified Renault FT tracks. The upper track run was much higher, creating enough room for a side door on the left.


title: Char B1

text: The FAHM prototype was 5.2 metres long, 2.4 m high and 2.43 m wide. It used a hydropneumatic suspension. Despite a less powerful Panhard engine of 120 hp it still attained a speed of 18.2 km/h. Fuel reservoirs of just 230 litres limited its range to a mere seventy kilometres. The 75 mm howitzer was placed in the middle of the hull and steered by providing each snake track with its own hydraulic "Jeanny" transmission. On top there was a riveted machine-gun turret with 25 mm armour.


title: Char B1

text: The lightest prototype was the FCM 21 at 15.64 tonnes. It resembled a scaled-down Char 2C, the giant tank produced by the same company. It was very elongated with a length of 6.5 metres and width of 2.05 metres. A rather large riveted turret with a stroboscopic cupola, adopted from the Char 2C, brought its height to 2.52 metres. Like the superheavy tank it had no real spring system for the twelve small wheels per side. Separate clutches for each snake track enabled it to horizontally point the 75 mm howitzer in the middle of the hull. It used the same Panhard engine as the FAHM type and its speed was the lowest of all at 17.4 km/h. However, its 500-litre fuel tanks allowed for the best range at 175 kilometres.


title: Char B1

text: In March 1925, Estienne decided to base the future production type on the SRB, as regarded the general form and mechanical parts. However, it would be fitted with the 75 mm gun, a Holt-track to be developed by FCM, which company had completed a special research programme aimed at optimising weight distribution, and the FAMH-suspension (later this would again be discarded). Estienne also had some special requirements: a track tension wheel should be fitted, adjustable from the inside, and a small gangway from the fighting room should improve the accessibility of the engine compartment. Furthermore, the front armour should be increased to 40 millimetres.


title: Char B1

text: In November 1925 Renault was given the order to build a wooden mock-up, that was finished early 1926. On 27 January 1926, it was decided to build three prototypes of what was provisionally called a "Tracteur 30", a final design by engineer Alleaume of the Schneider company, cooperating with the "Section Technique des Chars de Combat" (STCC). The first was to be delivered by Renault, the other two by FCM and FAHM respectively.


title: Char B1

text: The same year, the "Direction de l'Infanterie" in the Plan 1926 redefined the concept of a "Char de Bataille". There would be a greater emphasis on infantry support, implying that the antitank-capacity was secondary and no armour increase was necessary. The weight was to be limited to 22 tonnes and the speed might be as low as 15 km/h. However, a radio set would have to be fitted to better direct and coordinate its actions; therefore a fourth crew-member was needed.


title: Char B1

text: On 18 March 1927, the contracts for the three prototypes were signed. The hull of first Renault vehicle, made of soft boiler plate instead of armour steel to simplify changes, was finished apart from the armament in January 1929; it was delivered in March. The separately produced cast turret was delivered on 23 April. The howitzer could only be fitted in April 1930. This prototype was allotted the series number No. 101. No. 102, the production of which FAMH had shifted to Renault, was delivered soon after; in September 1930 FCM delivered No. 103, constructed by the "Atelier de Mépanti" at Marseille. One of the vehicles was fitted with an alternative 75 mm Schneider gun instead of the 75 mm St Chamond M 21 from FAMH.


title: Char B1

text: Testing on the first prototype had already begun before the other two were delivered, or even its main armament was fitted. At the weight was more than specified but could nevertheless reach a top speed of . From 6 May until August 1930 the "Commission d'Experiences des Matériels de Chars" carried out a further test programme on what was now officially called the Char B—the "B" not referring to "Bataille" but to a general classification code. The commission was largely satisfied with the vehicle, though many smaller problems were detected that had to be improved. The FCM prototype featured several alternative technologies: a "Winterthur" transmission, a Citroën clutch and a Sulzer diesel engine, later replaced by a Clerget diesel. All of these systems would prove to be more unreliable than the original concept and were ultimately rejected.


title: Char B1

text: The three vehicles were not only used for technological, but also tactical experimentation. Together with the Char D1 pre-series, they represented the only modern tanks in France and the Army was naturally very interested in what lessons could be learned from them about future warfare, outlining the concept of a "Char de Manoeuvre". Neither "Char de Bataille" nor "Char de Manoeuvre" are official type designations; they refer to the tactical concepts only. In October 1931 a small unit was formed, the "Détachement d' Experimentation" in which the prototypes were united from December, using the "Camp de Châlons" as a base to see how they could be used in winter conditions. Afterwards, they drove on their own power to the "Atelier de Rueil" for repairs. In September they took part in the summer manoeuvres in Champagne as a "Détachement Mécanique de Combat"; from 4 May 1933 No. 102 and 103 together formed a "Détachement d'Engins Blindés" to perform tactical experiments in the army bases of Coëtquidan and Mourmelon as part of a motorised light division, followed by comparable experiments in April 1934 at Sissonne. Technical aspects were not forgotten during these tests and it was established they could attain an average road speed of 19 km/h, cross a trench wide, and wade through a deep stream.


title: Char B1

text: The prototypes were again extensively altered to meet changes in specifications. On 6 April 1934, the first order was made for seven tanks of a Char B1. The "B1" refers to the fact that there were other simultaneous projects to develop improved types: the Char B2, B3 and B B.


title: Char B1

text: The Char B1 was manufactured by several firms: Renault (182), AMX (47), FCM (72), FAMH (70) and Schneider (32). Although it was the main producer, Renault had not exclusively designed the tank. Therefore, the official name was not "Renault B1" as often erroneously given. It was a very expensive tank to build: the cost per vehicle was about 1.5 million French francs. In France at the time two schools of thought collided: the first wanted to build very powerful heavy tanks, the other a lot of cheap light tanks. Both sides managed to influence procurement policy to the end that not enough tanks were built of either category, to the exasperation of men like Colonel Charles de Gaulle, who wanted to build more of the medium Char D2 at a third of the cost of the Char B1 bis, but with the same 47 mm anti-tank gun.


title: Char B1

text: The outer appearance of the Char B1 reflected the fact that development started in the twenties: like the very first tank, the British Mark I tank of World War I, it still had large tracks going around the entire hull and large armour plates protecting the suspension—and like all tanks of that decade it had no welded or cast hull armour. The similarity resulted partly from the fact that the Char B1 was a specialised offensive weapon, a break-through tank optimised for punching a hole into strong defensive entrenchments, so it was designed with good trench-crossing capabilities. The French Army thought that dislodging the enemy from a key front sector would decide a campaign, and it prided itself on being the only army in the world having a sufficient number of adequately protected heavy tanks. The exploitation phase of a battle was seen as secondary and best carried out by controlled and methodical movement to ensure superiority in numbers, so for the heavy tanks also mobility was of secondary concern. Although the Char B1 had a reasonably good speed for the time of its conception, no serious efforts were made to improve it when much faster tanks appeared.


title: Char B1

text: More important than the tank's limitations in tactical mobility, however, were its limitations in strategic mobility. The low practical range implied the need to refuel very often, limiting its operational capabilities. This again implied that the armoured divisions of the Infantry, the "Divisions Cuirassées", were not very effective as a mobile reserve and thus lacked strategic flexibility. They were not created to fulfill such a role in the first place, which was reflected in the small size of the artillery and infantry components of the divisions.


title: Char B1

text: Another explanation of the similarity to the British Mark I lies in the Char B1's original specification to create a self-propelled gun able to destroy enemy infantry and artillery. The main weapon of the tank was its 75 mm howitzer, and the entire design of the vehicle was directed to making this gun as effective as possible. When in the early 1930s it became obvious that the Char B1 also had to defeat counterattacking enemy armour, it was too late for a complete redesign. The solution was to add the standard cast APX-1 turret which also equipped the Char D2. Like most French tanks of the period (the exception being the AMC 34 and AMC 35) the Char B thus had a small one-man turret. Today this is typically seen as one of their greatest flaws. The commander, alone in the turret, not only had to command the tank, but also to aim and load the gun. If he was a unit leader, he had to command his other tanks as well. This is in contrast with the contemporary German, British and to a lesser extent Soviet policy to use two or three-man turret crews, in which these duties were divided amongst several men. The other nations felt that the commander would otherwise be over-tasked and unable to perform any of his roles as well as the commanders of tanks with two or three-man turret crews.


title: Char B1

text: Whether this left the Char B1 less formidable in actual combat than a review of its impressive statistics suggests, is difficult to ascertain. In 1940, the vast majority of Char B1 combat losses were inflicted by German artillery and anti-tank guns. In direct meetings with German tanks the Char B1 usually had the better of it, sometimes spectacularly so as when on 16 May a single tank, "Eure" (commanded by Captain Pierre Billotte), frontally attacked and destroyed thirteen German tanks lying in ambush in Stonne, all of them Panzer IIIs and Panzer IVs, in the course of a few minutes. The tank safely returned despite being hit 140 times. Similarly, in his book "Panzer Leader", Heinz Guderian related an incident which took place during a tank battle south of Juniville: "While the tank battle was in progress I attempted, in vain, to destroy a Char B with a captured 47 mm. anti-tank gun; all the shells I fired at it simply bounced harmlessly off its thick armour. Our 37 mm. and 20 mm. guns were equally ineffective against this adversary. As a result, we inevitably suffered sadly heavy casualties."


title: Char B1

text: The French favoured small turrets despite their shortcomings, as they allowed for much smaller and thus cheaper vehicles. Although the French expenditure on tanks was relatively larger than the German, France simply lacked the production capacity to build a sufficient number of heavier tanks. The Char B1 was expensive enough as it was, eating up half of the infantry tank budget.


title: Char B1

text: The original Char B1 had frontal and side armour up to 40 mm thick. The vehicle had a fully traversing APX1 turret with a 47 mm L/27.6 SA 34 gun. This had a poor anti-tank capability: the thirty Armour Piercing High Explosive (APHE) rounds among the fifty the tank carried had a maximum penetration of about 25 mm. In addition, it was armed with a 75 mm ABS 1929 SA 35 gun mounted in the right-hand side of the hull front and two 7.5 mm Châtellerault M 1931 machine guns: one in the hull and the other in the turret. The hull machine gun was to the right of the 75mm gun, in a fixed mount. It was invisible from the outside of the tank, and due to being fixed had very little use. The 75 mm L/17.1 gun, able to fire both a High Explosive and the APHE "Obus de rupture Modèle 1910M" round, had a limited traverse of only one degree to the left or the right. It was laid onto target by the driver (provided with the gun sight) through the Naeder hydraulic precision transmission. The traverse had been made possible only in order to align the gun barrel precisely with the sight beforehand. The 75 mm gun had its own loader—the remaining two crew members were the radio operator and the commander, who had to load, aim and fire the 47 mm gun while commanding the vehicle (and in the case of platoon leaders, command other vehicles as well). The fighting compartment had the radio set on the left and an exit hatch in the right side. All vehicles had the ER53 radiotelegraphy set so all communication was in Morse code only. A hatch in the rear bulkhead gave access to a corridor (under which nineteen 75 mm rounds out of a total of eighty were stowed) in the engine room to the right of the engine, which was officially rated at , but had an actual output of . Each tank had its own team of three mechanics; in battle some of these might join the regular crew.


title: Char B1

text: The suspension was very complex with sixteen road wheels per side. There were three large central bogies, sprung by a vertical coil spring. Each central bogie carried two smaller ones. The three vertical springs moved through holes in a horizontal beam, to both extreme ends of which road wheels were attached by means of leaf springs: three at the front and one at the back. The high track run gave the tank an old fashioned look, reflecting its long development time. It had a maximum speed of 28 km/h and a weight of 28 tonnes. The range was about two hundred kilometres. A total of 34 vehicles were built from December 1935 until July 1937. They had series numbers 102 to 135. Chassis number 101 was kept apart to build the Char B1 ter prototype.


title: Char B1

text: The Char B1 bis was an upgraded variant with thicker armour at 60 mm maximum (55 mm at the sides) and an APX4 turret with a longer-barrelled (L/32) 47 mm SA 35 gun, to give the tank a real anti-tank capacity. It was the main production type: from 8 April 1937 until June 1940, 369 units were delivered out of a total order for 1144, with series numbers 201 to 569. Before the war, production was slow: only 129 had been delivered on 1 September 1939. The monthly delivery was still not more than fifteen in December; it peaked in March 1940 with 45.


title: Char B1

text: The Char B1 bis had a top speed of provided by a petrol engine. The first batch of 35 Char B1 bis used the original engine but from 1938 to May 1940 they were slowly re-equipped. Its weight was about 31.5 tonnes. The operational range was about which was similar to other tanks of the period. At the three fuel tanks (total capacity of ) would be exhausted in six hours. To improve matters, at first, trailers with an 800-litre auxiliary fuel tank were towed but this practice was soon abandoned. Instead Char B1 units included a large number of fuel trucks and TRC Lorraine 37 L armoured tracked refuelling vehicles specially designed to quickly refuel them. The last tanks to be produced in June had an extra internal fuel tank. To cool the more powerful engine the Char B1 bis had the air intake on the left side enlarged. It is often claimed this formed a weak spot in the armour, based on a single incident on 16 May near Stonne where two German 37 mm PAK guns claimed to have knocked out three Char B1s by firing at the intakes at close range. The air intake was a thick assembly of horizontal slits alternately angled upwards and downwards between 28 mm thick armour plates, and as such intended to be no more vulnerable than the normal 55 mm side plates.


title: Char B1

text: Over the production run the type was slowly improved. Tanks number 306 to 340 carried 62 47-mm rounds (and the old complement of 4,800 machine gun rounds); later tanks 72 and 5,250. However the B1 bis had fewer 75 mm rounds compared to the earlier B1 : 74 instead of eighty, normally only seven of which were APHE ammunition. Early in 1940 another change was made when the ER53 radio was replaced by the ER51 which allowed spoken wireless communication. The company and battalion command tanks also had an ER55 for communication with higher command. The crews of the "1re DCR" kept their old sets however, preferring them because the human voice was drowned by engine noise.


title: Char B1

text: Development of the Char B1 ter was started at the same time as production funds were given for the "bis" with the intention of providing a tank armoured to 75mm. A design with sloped and welded 70 mm armour, weighing 36.6 tonnes and powered by a engine was meant to replace the B1 bis to accelerate mass production, a change first intended for the summer of 1940 and later postponed to March 1941. In the course of the redesign, space was provided for a fifth crew member, a "mechanic". Cost was reduced by omitting the complex Neader transmission and giving the hull gun a traverse of five degrees to each side instead. The first prototype was shown in 1937. Only three prototypes could be partly finished before the defeat of France. In May 1940 it was agreed to deliver nine Char B1s each month to Britain in exchange for a monthly British production of the "H 39". The three prototypes were lost after having been evacuated on 17 June 1940, their ship the "Mécanicien Principal Carvin" being bombed by the Germans in the Gironde on 21 June. However, some believe that another prototype was obtained by Italy.


title: Char B1

text: The Char B1 served with the armoured divisions of the infantry, the (DCr). These were highly specialised offensive units, to break through fortified positions. The mobile phase of a battle was to be carried out by the (mechanised light divisions) of the cavalry, equipped with the SOMUA S35. The First and Second DCR had 69 Char B1s each; the Third 68. The 37th , serving with 1DCR, was at first equipped with the original B1; these vehicles were refitted with the longer SA 35 gun in the spring of 1940 and the turret renamed to APX1A. The battalion was re-equipped with the Char B1 bis and in late May reinforced by five of the original tanks.


title: Char B1

text: After the German invasion several ad hoc units were formed: the 46th (4e DCR) with 52 Char B1s and five autonomous companies (347e, 348e, 349e, 352e and 353e ) with in total 56 tanks: 12 B1s and 44 B1 bis; 28BCC was reconstituted with 34 tanks. The regular divisions destroyed quite a few German tanks but lacked enough organic infantry and artillery to function as an effective mobile reserve.


title: Char B1

text: A number of Char B1s (161) were captured by the Germans during the Fall of France. These were later pressed into service as second line and training vehicles under the name of B-2 740 (f), and were often used as turretless supply vehicles. Sixty became platforms for flamethrowers as B-2 (f). Sixteen were converted into 105 mm self-propelled artillery, armed with the 10.5 cm leFH 18 light howitzer. Ordinary tank versions were also frequently modified. For example, additional armour was placed above the main gun, and a winch mechanism was added behind the turret. One unit, 213, was equipped with the Char B1 bis and deployed on the Channel Islands from 1941 to 1945. One of their tanks is displayed by the Bovington Tank Museum, though repainted in French colours. In German service, the tank saw action in the Balkans campaign and the Eastern Front, initially during Operation Barbarossa, the flamethrower version from 1942 onwards.


title: Char B1

text: Some Char B turrets were removed and installed on German bunkers defending Normandy beaches at the time of D-Day (6 June 1944).


title: Char B1

text: Panzer-Kompanie 224, a training unit, was outfitted with several flamethrower-equipped B-2s. They were stationed in Arnhem during Operation Market Garden, losing six tanks to anti-tank weaponry when they were sent to attack the Oosterbeek perimeter on 20–21 September 1944.


title: Char B1

text: Italy independently from Germany captured eight Chars B1 bis when in October 1940 an Italian worker disclosed to the Italian Armistice Commission that they had been hidden in a cave near Les Baux-de-Provence in July 1940. These vehicles, six of which lacked the turret, were tested, but probably not used operationally by Italy.


title: Char B1

text: The Italian armour historian Nicola Pignato in contrast stated in 1989 that some twenty B1 bis, in various stages of preparation and construction, along with a single 36-ton B1 ter prototype were directly recovered from the FCM factory, of which an unknown number were to be destined for Italy. Six vehicles in Italian service were known as B1-bis, and lacked turrets, but were used in trials until 1943, after which they were used as target practice, and ammunition carriers.


title: Char B1

text: After the Allies had invaded France in 1944, some B1s were recaptured. Several were used on an individual and incidental basis by resistance forces, such as those fighting the German garrison of Paris in August 1944. On 7 October 1944, the Provisional Government of the French Republic formed the 13th Dragoon Regiment of the Free French Forces. The majority of the regiment fielded SOMUA S35 cavalry tanks, but Captain Edmond Voillaume's 2nd Company was equipped with 19 B1 bis tanks, which included a mixture of standard and German modified B-2s. They were stationed in Orléans until 2 April 1945, when they were mobilized for the Allied siege of La Rochelle.


title: Char B1

text: The tanks were effective in the attack on Royan on 15 April 1945, using their 75 mm guns for fire support, while targeting pillboxes with their 47 mm guns. After that, 2nd Company accompanied troops on an assault on Pontaillac on 17 April, followed by an attack on the German stronghold at La Rochelle between 29 April and 8 May. Voillaume was awarded the Distinguished Service Cross for his actions. After the war, the 13th Dragoon Regiment was stationed in the French occupation zone of Allied-occupied Germany as part of the French 3rd Armoured Division. It was eventually disbanded in the German town of Wittlich in April 1946.


title: Char B1

text: The last surviving Char B1 can be seen at the (ASPHM), near Strasbourg, in France. It was previously at the Fort de Seclin. It is in a bad condition, with parts like the main gun missing. It was salvaged from a firing range, and will be restored by the owner.


title: Jimmy Tarbuck

text: James Joseph Tarbuck (born 6 February 1940) is an English comedian, singer, actor, entertainer and game show host.


title: Jimmy Tarbuck

text: He was a host of "Sunday Night at the London Palladium" in the mid-1960s, and hosted numerous game shows and quiz shows on ITV during the 1970s, 1980s and early 1990s. He is also known for leading ITV's "Live From Her Majesty's" and its subsequent incarnations during the 1980s.


title: Jimmy Tarbuck

text: Tarbuck was born in Wavertree, Liverpool, on 6 February 1940. He has an older brother (William) and his parents, Ada McLoughlin (aka Ada Hannagan) and Joseph Frederick Tarbuck, married in March 1947.


title: Jimmy Tarbuck

text: He attended Dovedale Primary School in Liverpool, where he was a schoolmate of John Lennon. His first television show was "It's Tarbuck '65!" on ITV in 1964, though he had been introduced on Sunday Night at the London Palladium in October 1963 by Bruce Forsyth. He then replaced Forsyth as the last original host of the show from 1965 until it was axed in 1967. He has also hosted numerous quiz shows, including "Winner Takes All", "Full Swing", and "Tarby's Frame Game". In the early 1970s he hosted a variety show "Tarbuck's Luck" on the BBC.


title: Jimmy Tarbuck

text: In the 1980s, he hosted similar Sunday night variety shows, "Live From Her Majesty's", "Live from the Piccadilly" and finally "Live from the Palladium", which were produced by London Weekend Television for ITV.


title: Jimmy Tarbuck

text: He appeared on the fourth series of BBC One's "Strictly Come Dancing" in 2006, but was forced to pull out due to high blood pressure, and needed surgery to fit stents in his heart. In 2008, he returned to a variety format on television screens when he co-hosted, alongside Emma Bunton, an edition of ITV1's variety show "For One Night Only". He appeared on "Piers Morgan's Life Stories" on 25 May 2012, while on 3 December that year he was invited to celebrate 100 years of the Royal Variety Performance along with Bruce Forsyth, Ronnie Corbett and Des O'Connor.


title: Jimmy Tarbuck

text: Tarbuck made a "Comedy Playhouse" pilot for the BBC in 1967, acting in Johnny Speight's "To Lucifer, A Son" alongside John Le Mesurier and Pat Coombs, but a series was not commissioned. His only other acting credit was in a 1993 episode of police comedy "The Detectives", playing the straight role of Johnny McKenna, an international arms dealer who liked to conduct his business on the golf course.


title: Jimmy Tarbuck

text: In October 2015, Tarbuck and Des O'Connor starred in their own one-off show at the London Palladium to raise money for the new Royal Variety Charity. During the following two years they toured clubs and theatres around the UK with his comedy show, and sometimes as a double act with Kenny Lynch.


title: Jimmy Tarbuck

text: Tarbuck married Pauline ("née" Carfoot) in 1959. His best man was footballer Bobby Campbell. The couple live in Coombe, Kingston upon Thames, London, and have three children: Cheryl (born in 1960), Liza (born in 1964), and James (born in 1968).


title: Jimmy Tarbuck

text: Tarbuck has often been nicknamed 'Tarby'. He is a Conservative Party supporter, and at the height of his celebrity was a prominent supporter of Margaret Thatcher and her policies, baking her a cake to celebrate her 60th birthday in October 1985.


title: Jimmy Tarbuck

text: Tarbuck is well-known as a keen player of golf, and was prominent as a competitor in pro-celebrity golf matches when these were televised.


title: Jimmy Tarbuck

text: In February 2020, Tarbuck revealed that, the day after his 80th birthday, he had been diagnosed with prostate cancer.


title: Jimmy Tarbuck

text: †Credited to 'The Caddies' (Henry Cooper, Tony Dalli, Bruce Forsyth, Kenny Lynch, Glen Mason, Ed Stewart, Jimmy Tarbuck)


title: Tadashi Yanai

text: Yanai was born in Ube, Yamaguchi in February 1949. He attended Ube High School and later Waseda University, graduating in 1971 with a Bachelor's degree in Economics and Political Science. His uncle was an activist for the minority group known as "Burakumin", who have continued to suffer caste-based discrimination in employment and marriage in modern Japan.


title: Tadashi Yanai

text: In 1971, Yanai started in business by selling kitchenware and men's clothing at a JUSCO supermarket. After a year at JUSCO, he quit and joined his father’s roadside tailor shop. Yanai opened his first Uniqlo store in Hiroshima in 1984, and changed the name of his father’s company "Ogori Shoji" to Fast Retailing in 1991.


title: Tadashi Yanai

text: He has stated: "I might look successful but I've made many mistakes. People take their failures too seriously. You have to be positive and believe you will find success next time."


title: Tadashi Yanai

text: In 2019, Yanai stepped down from the board of Softbank after 18 years as an independent director at the Japanese technology conglomerate.


title: Tadashi Yanai

text: He is the son of Kanichi Yanai and Hisako Mori Yanai. Yanai is married and has two sons, Kazumi and Koji, and lives in Tokyo. He lives in a $50 million, 16,586-square-foot house outside of Tokyo and owns two golf courses in Hawaii.


title: Louis de Broglie

text: Louis Victor Pierre Raymond, 7th Duc de Broglie (, , ; 15 August 1892 – 19 March 1987) was a French physicist and aristocrat who made groundbreaking contributions to quantum theory. In his 1924 PhD thesis, he postulated the wave nature of electrons and suggested that all matter has wave properties. This concept is known as the de Broglie hypothesis, an example of wave–particle duality, and forms a central part of the theory of quantum mechanics.


title: Louis de Broglie

text: De Broglie won the Nobel Prize for Physics in 1929, after the wave-like behaviour of matter was first experimentally demonstrated in 1927.


title: Louis de Broglie

text: The 1925 pilot-wave model, and the wave-like behaviour of particles discovered by de Broglie was used by Erwin Schrödinger in his formulation of wave mechanics. The pilot-wave model and interpretation was then abandoned, in favor of the quantum formalism, until 1952 when it was rediscovered and enhanced by David Bohm.


title: Louis de Broglie

text: Louis de Broglie was the sixteenth member elected to occupy seat 1 of the Académie française in 1944, and served as Perpetual Secretary of the French Academy of Sciences. De Broglie became the first high-level scientist to call for establishment of a multi-national laboratory, a proposal that led to the establishment of the European Organization for Nuclear Research (CERN).


title: Louis de Broglie

text: Louis de Broglie belonged to the famous aristocratic family of Broglie, whose representatives for several centuries occupied important military and political posts in France. The father of the future physicist, Louis-Alphonse-Victor, 5th duc de Broglie, was married to Pauline d’Armaille, the granddaughter of the Napoleonic General Philippe Paul, comte de Ségur and his wife, the biographer, Marie Célestine Amélie d'Armaillé. They had five children; in addition to Louis, these were: Albertina (1872–1946), subsequently the Marquise de Luppé; Maurice (1875–1960), subsequently a famous experimental physicist; Philip (1881–1890), who died two years before the birth of Louis, and Pauline, Comtesse de Pange (1888–1972), subsequently a famous writer. Louis was born in Dieppe, Seine-Maritime. As the youngest child in the family, Louis grew up in relative loneliness, read a lot, and was fond of history, especially political. From early childhood, he had a good memory and could accurately read an excerpt from a theatrical production or give a complete list of ministers of the Third Republic of France. For him it was predicted a great future as a statesman.


title: Louis de Broglie

text: De Broglie had intended a career in humanities, and received his first degree in history. Afterwards he turned his attention toward mathematics and physics and received a degree in physics. With the outbreak of the First World War in 1914, he offered his services to the army in the development of radio communications.


title: Louis de Broglie

text: After graduation, Louis de Broglie as a simple sapper joined the engineering forces to undergo compulsory service. It began at Fort Mont Valérien, but soon, on the initiative of his brother, he was seconded to the Wireless Communications Service and worked on the Eiffel Tower, where the radio transmitter was located. Louis de Broglie remained in military service throughout the First World War, dealing with purely technical issues. In particular, together with Léon Brillouin and brother Maurice, he participated in establishing wireless communications with submarines. Prince Louis was demobilized in August 1919 with the rank of adjudant. Later, the scientist regretted that he had to spend about six years away from the fundamental problems of science that interested him.


title: Louis de Broglie

text: His 1924 thesis "Recherches sur la théorie des quanta" (Research on the Theory of the Quanta) introduced his theory of electron waves. This included the wave–particle duality theory of matter, based on the work of Max Planck and Albert Einstein on light. This research culminated in the de Broglie hypothesis stating that "any moving particle or object had an associated wave". De Broglie thus created a new field in physics, the "mécanique ondulatoire," or wave mechanics, uniting the physics of energy (wave) and matter (particle). For this he won the Nobel Prize in Physics in 1929.


title: Louis de Broglie

text: In his later career, de Broglie worked to develop a causal explanation of wave mechanics, in opposition to the wholly probabilistic models which dominate quantum mechanical theory; it was refined by David Bohm in the 1950s. The theory has since been known as the De Broglie–Bohm theory.


title: Louis de Broglie

text: In addition to strictly scientific work, de Broglie thought and wrote about the philosophy of science, including the value of modern scientific discoveries. In 1930 he founded the book series Actualités scientifiques et industrielles published by Éditions Hermann.


title: Louis de Broglie

text: De Broglie became a member of the Académie des sciences in 1933, and was the academy's perpetual secretary from 1942. He was asked to join "Le Conseil de l'Union Catholique des Scientifiques Francais", but declined because he was non-religious.


title: Louis de Broglie

text: On 12 October 1944, he was elected to the Académie Française, replacing mathematician Émile Picard. Because of the deaths and imprisonments of Académie members during the occupation and other effects of the war, the Académie was unable to meet the quorum of twenty members for his election; due to the exceptional circumstances, however, his unanimous election by the seventeen members present was accepted. In an event unique in the history of the Académie, he was received as a member by his own brother Maurice, who had been elected in 1934. UNESCO awarded him the first Kalinga Prize in 1952 for his work in popularizing scientific knowledge, and he was elected a Foreign Member of the Royal Society on 23 April 1953.


title: Louis de Broglie

text: Louis became the 7th duc de Broglie in 1960 upon the death without heir of his elder brother, Maurice, 6th duc de Broglie, also a physicist.


title: Louis de Broglie

text: In 1961, he received the title of Knight of the Grand Cross in the Légion d'honneur. De Broglie was awarded a post as counselor to the French High Commission of Atomic Energy in 1945 for his efforts to bring industry and science closer together. He established a center for applied mechanics at the Henri Poincaré Institute, where research into optics, cybernetics, and atomic energy were carried out. He inspired the formation of the International Academy of Quantum Molecular Science and was an early member.


title: Louis de Broglie

text: Louis never married. When he died on 19 March 1987 in Louveciennes at the age of 94, he was succeeded as duke by a distant cousin, Victor-François, 8th duc de Broglie. His funeral was held 23 March 1987 at the Church of Saint-Pierre-de-Neuilly.


title: Louis de Broglie

text: The first works of Louis de Broglie (early 1920s) were performed in the laboratory of his older brother Maurice and dealt with the features of the photoelectric effect and the properties of x-rays. These publications examined the absorption of X-rays and described this phenomenon using the Bohr theory, applied quantum principles to the interpretation of photoelectron spectra, and gave a systematic classification of X-ray spectra. The studies of X-ray spectra were important for elucidating the structure of the internal electron shells of atoms (optical spectra are determined by the outer shells). Thus, the results of experiments conducted together with Alexandre Dauvillier, revealed the shortcomings of the existing schemes for the distribution of electrons in atoms; these difficulties were eliminated by Edmund Stoner. Another result was the elucidation of the insufficiency of the Sommerfeld formula for determining the position of lines in X-ray spectra; this discrepancy was eliminated after the discovery of the electron spin. In 1925 and 1926, Leningrad physicist Orest Khvolson nominated the de Broglie brothers for the Nobel Prize for their work in the field of X-rays.


title: Louis de Broglie

text: Studying the nature of X-ray radiation and discussing its properties with his brother Maurice, who considered these rays to be some kind of combination of waves and particles, contributed to Louis de Broglie's awareness of the need to build a theory linking particle and wave representations. In addition, he was familiar with the works (1919–1922) of Marcel Brillouin, which proposed a hydrodynamic model of an atom and attempted to relate it to the results of Bohr's theory. The starting point in the work of Louis de Broglie was the idea of A. Einstein about the quanta of light. In his first article on this subject, published in 1922, the French scientist considered blackbody radiation as a gas of light quanta and, using classical statistical mechanics, derived the Wien radiation law in the framework of such a representation. In his next publication, he tried to reconcile the concept of light quanta with the phenomena of interference and diffraction and came to the conclusion that it was necessary to associate a certain periodicity with quanta. In this case, light quanta were interpreted by him as relativistic particles of very small mass.


title: Louis de Broglie

text: It remained to extend the wave considerations to any massive particles, and in the summer of 1923 a decisive breakthrough occurred. De Broglie outlined his ideas in a short note "Waves and quanta" (, presented at a meeting of the Paris Academy of Sciences on September 10, 1923), which marked the beginning of the creation of wave mechanics. In this paper, the scientist suggested that a moving particle with energy E and velocity v is characterized by some internal periodic process with a frequency formula_1 (later known as Compton frequency), where formula_2 is Planck's constant. To reconcile these considerations, based on the quantum principle, with the ideas of special relativity, de Broglie was forced to associate a "fictitious wave" with a moving body, which propagates with the phase velocity formula_3. Such a wave, which later received the name phase wave, or de Broglie wave, in the process of body movement remains in phase with the internal periodic process. Having then examined the motion of an electron in a closed orbit, the scientist showed that the requirement for phase matching directly leads to the quantum Bohr-Sommerfeld condition, that is, to quantize the angular momentum. In the next two notes (reported at the meetings on September 24 and October 8, respectively), de Broglie came to the conclusion that the particle velocity is equal to the group velocity of phase waves, and the particle moves along the normal to surfaces of equal phase. In the general case, the trajectory of a particle can be determined using Fermat's principle (for waves) or the principle of least action (for particles), which indicates a connection between geometric optics and classical mechanics.


title: Louis de Broglie

text: This theory set the basis of wave mechanics. It was supported by Einstein, confirmed by the electron diffraction experiments of G P Thomson and Davisson and Germer, and generalized by the work of Schrödinger.


title: Louis de Broglie

text: However, this generalization was statistical and was not approved of by de Broglie, who said "that the particle must be the seat of an internal periodic movement and that it must move in a wave in order to remain in phase with it was ignored by the actual physicists [who are] wrong to consider a wave propagation without localization of the particle, which was quite contrary to my original ideas."