title: Antonio Meucci

text: After Bell secured his patents in 1876 and subsequent years, the Bell Telephone Company filed suit in court against the Globe Telephone Company (amongst many others) for patent infringement. Purportedly too poor to hire a legal team, Meucci was represented only by lawyer Joe Melli, an orphan whom Meucci treated as his own son. While "American Bell Telephone Company v. Globe Telephone Company, Antonio Meucci, et al." was still proceeding, Bell also became involved with "The U.S. Government v. American Bell Telephone Company", instigated by the Pan-Electric Telephone Company, which had secretly given Augustus Hill Garland the U.S. Attorney General 10% of its shares, employed him as a director, and then asked him to void Bell's patent. Had he succeeded in overturning Bell's patent, the U.S. Attorney General stood to become exceedingly rich by reason of his shares.


title: Antonio Meucci

text: The Havana experiments were briefly mentioned in a letter by Meucci, published by "Il Commercio di Genova" of 1 December 1865 and by "L'Eco d'Italia" of 21 October 1865 (both existing today).


title: Antonio Meucci

text: An important piece of evidence brought up in the trial was Meucci's "Memorandum Book", which contained Meucci's noted drawings and records between 1862 and 1882. In the trial, Antonio Meucci was accused of having produced records after Bell's invention and back-dated them. As proof, the prosecutor brought forward the fact that the Rider & Clark company was founded only in 1863. At trial, Meucci said William E. Rider himself, one of the owners, had given him a copy of the memorandum book in 1862; however, Meucci was not believed.


title: Antonio Meucci

text: On 13 January 1887, the United States Government moved to annul the patent issued to Bell on the grounds of fraud and misrepresentation. After a series of decisions and reversals, the Bell company won a decision in the Supreme Court, though a couple of the original claims from the lower court cases were left undecided. By the time that the trial wound its way through nine years of legal battles, the U.S. prosecuting attorney had died and the two Bell patents (No. 174,465 dated 7 March 1876 and No. 186,787 dated 30 January 1877) were no longer in effect, although the presiding judges agreed to continue the proceedings due to the case's importance as a "precedent".


title: Antonio Meucci

text: With a change in administration and charges of conflict of interest (on both sides) arising from the original trial, the U.S. Attorney General dropped the lawsuit on 30 November 1897 leaving several issues undecided on the merits. During a deposition filed for the 1887 trial, Meucci claimed to have created the first working model of a telephone in Italy in 1834. In 1886, in the first of three cases in which he was involved, Meucci took the stand as a witness in the hopes of establishing his invention's priority. Meucci's evidence in this case was disputed due to lack of material evidence of his inventions as his working models were reportedly lost at the laboratory of American District Telegraph (ADT) of New York. ADT did not merge with Western Union to become its subsidiary until 1901.


title: Antonio Meucci

text: Meucci's patent caveat had described a "lover's telegraph", which transmitted sound vibrations mechanically across a taut wire, a conclusion that was also noted in various reviews ("The court further held that the caveat of Meucci did not describe any elements of an electric speaking telephone...", and "The court held that Meucci's device consisted of a mechanical telephone consisting of a mouthpiece and an earpiece connected by a wire, and that beyond this the invention of Meucci was only imagination.") Meucci's work, like many other inventors of the period, was based on earlier acoustic principles and despite evidence of earlier experiments, the final case involving Meucci was eventually dropped upon his death.


title: Antonio Meucci

text: There has been much dispute over who deserves recognition as the first inventor of the telephone, although Bell was credited with being the first to transmit articulate speech by undulatory currents of electricity. The has devoted a museum to Meucci making a chronology of his inventing the telephone and tracing the history of the two trials opposing Meucci and Bell. They support the claim that Antonio Meucci was the real inventor of the telephone.


title: Antonio Meucci

text: However, some scholars outside Italy do not recognize the claims that Meucci's device had any bearing on the development of the telephone. Tomas Farley also writes that, "Nearly every scholar agrees that Bell and Watson were the first to transmit intelligible speech by electrical means. Others transmitted a sound or a click or a buzz but our boys [Bell and Watson] were the first to transmit speech one could understand."


title: Antonio Meucci

text: In 1834 Meucci constructed a kind of acoustic telephone as a way to communicate between the stage and control room at the theatre "Teatro della Pergola" in Florence. This telephone was constructed on the model of pipe-telephones on ships and is still functional.


title: Antonio Meucci

text: In 1848 Meucci developed a popular method of using electric shocks to treat rheumatism. He used to give his patients two conductors linked to 60 Bunsen batteries and ending with a cork. He also kept two conductors linked to the same Bunsen batteries. He used to sit in his laboratory, while the Bunsen batteries were placed in a second room and his patients in a third room. In 1849 while providing a treatment to a patient with a 114V electrical discharge, in his laboratory Meucci is claimed to have heard his patient's scream through the piece of copper wire that was between them, from the conductors he was keeping near his ear. His intuition was that the "tongue" of copper wire vibrated just like a leave of an electroscope—which meant there was an electrostatic effect. To continue the experiment without hurting his patient, Meucci covered the copper wire with a piece of paper. Through this device he claimed to hear an unarticulated human voice. He called this device "telegrafo parlante" (talking telegraph).


title: Antonio Meucci

text: On the basis of this prototype, some claim Meucci worked on more than 30 kinds of telephones. In the beginning, he was inspired by the telegraph. Different from other pioneers of the telephone—such as Charles Bourseul, Philipp Reis, Innocenzo Manzetti, and others—he did not think about transmitting voice by using the principle of the telegraph key (in scientific jargon, the "make-and-break" method). Instead, he looked for a "continuous" solution, meaning one that didn't interrupt the electric flux. In 1856, Meucci reportedly constructed the first electromagnetic telephone, made of an electromagnet with a nucleus in the shape of a horseshoe bat, a diaphragm of animal skin, stiffened with potassium dichromate and a metal disk stuck in the middle. The instrument was housed in a cylindrical carton box. He purportedly constructed it to connect his second-floor bedroom to his basement laboratory, and thus communicate with his invalid wife.


title: Antonio Meucci

text: Meucci separated the two directions of transmission to eliminate the so-called "local effect"—using what we would call today a four-wire-circuit. He constructed a simple calling system with a telegraphic manipulator that short-circuited the instrument of the calling person to make a succession of impulses (clicks) that were louder than normal conversation. Aware that his device required a bigger band than a telegraph, he found some means to avoid the so-called "skin effect" through superficial treatment of the conductor or by acting on the material (copper instead of iron).


title: Antonio Meucci

text: In 1864, Meucci claimed to have made what he felt was his best device, using an iron diaphragm with optimized thickness and tightly clamped along its rim. The instrument was housed in a shaving-soap box, whose cover clamped the diaphragm. In August 1870, Meucci reportedly obtained transmission of articulate human voice at a mile distance by using as a conductor a copper wire insulated by cotton. He called his device "telettrofono". Drawings and notes by Antonio Meucci with a claimed date of 27 September 1870 show that Meucci understood inductive loading on long-distance telephone lines 30 years before any other scientists. The question of whether Bell was the true inventor of the telephone is perhaps the single most litigated fact in U.S. history, and the Bell patents were defended in some 600 cases. Meucci was a defendant in American Bell Telephone Co. v. Globe Telephone Co. and others (the court's findings, reported in 31 Fed. Rep. 729).


title: Antonio Meucci

text: Judge Wallace's ruling was bitterly regarded by historian Giovanni Schiavo as a miscarriage of justice.


title: Antonio Meucci

text: In 2002, on the initiative of U.S. Representative Vito Fossella (R-NY), in cooperation with an Italian-American deputation, the U.S. House of Representatives passed United States HRes. 269 on Antonio Meucci stating "that the life and achievements of Antonio Meucci should be recognized, and his work in the invention of the telephone should be acknowledged." According to the preamble, "if Meucci had been able to pay the $10 fee to maintain the caveat after 1874, no patent could have been issued to Bell." The resolution's sponsor described it as "a message that rings loud and clear recognizing the true inventor of the telephone, Antonio Meucci."


title: Antonio Meucci

text: In 2002, some news articles reported that "the resolution said his 'telettrofono', demonstrated in New York in 1860, made him the inventor of the telephone in the place of Bell, who took out a patent 16 years later."


title: Antonio Meucci

text: Despite the House of Representatives resolution, its interpretation as supporting Meucci's claim as "the" inventor of the telephone remains disputed, as the resolution only referred to "his work in the invention of" the telephone rather than a direct assertion that he was the inventor of the telephone.


title: Antonio Meucci

text: The House of Commons of Canada responded ten days later by unanimously passing a parliamentary motion stating that Alexander Graham Bell was the inventor of the telephone.


title: Antonio Meucci

text: The Italian newspaper "La Repubblica" hailed the vote to recognize Meucci as a belated comeuppance for Bell.


title: Antonio Meucci

text: The Order of the Sons of Italy in America maintains a Garibaldi–Meucci Museum on Staten Island. The museum is located in a house that was built in 1840, purchased by Meucci in 1850, and rented to Giuseppe Garibaldi from 1850 to 1854. Exhibits include Meucci's models and drawing and pictures relating to his life.


title: Antonio Meucci

text: • Pizer, Russell A. "The Tangled Web of Patent #174465" Pub: AuthorHouse ©2009, 347pp. Pizer's book contains 37 illustrations. Of extreme importance is research via the 1971 Ph.D. dissertation of Dr. Rosario Tosiello who's PhD advisor at Boston University was Robert V. Bruce the 1973 author of "Alexander Graham Bell and the Conquest of Solute." The '"Tangled Web of Patent #174465" shows that A. G. Bell did not ever file a patent for the telephone and the Patent #174465 did not mention the word "telephone." The patent application was submitted by Attorney Pollok at the insistence of A. G. Bell's soon-to-be father-in-law, Gradiner Green Hubbard. A. G. Bell was unaware Anthony Pollock had submitted the application at the time of its submission.


title: Siobhan Thompson

text: Siobhan Thompson (born 29 July, 1984) is a British sketch comedian and comedy writer. She is known for her work on the CollegeHumor Originals web series and has appeared in other programs such as "Adam Ruins Everything" and "Broad City". She is also a staff writer for Adult Swim's "Rick and Morty".


title: Siobhan Thompson

text: Thompson originally came from England to the United States to be an archaeologist, but soon found herself drawn to comedy. She began taking classes at the Upright Citizens Brigade in 2010, and is a member of their Maude team Alamo. She is also the former host of the BBC America web series "Anglophenia", the co-host of the sketch comedy podcast Left Handed Radio, and has appeared in multiple television shows.


title: Siobhan Thompson

text: She first appeared in a CollegeHumor sketch in July 2015, and left the company at the end of 2016, before returning in late 2017.


title: Siobhan Thompson

text: In June 2018, it was announced that Joss Whedon would produce a comedy TV series created by Thompson and Rebecca Drysdale to air on Freeform.


title: Siobhan Thompson

text: Thompson is also a player on "Dimension 20", a Dungeons and Dragons actual-play show which premiered September 2018 on Dropout, CollegeHumor's streaming service. Her characters include Adaine Abernant ("Fantasy High, Fantasy High:Sophomore Year"), Misty Moore/Rowan Berry ("Unsleeping City"), Princess Ruby Rocks ("A Crown of Candy"), Iga Lisowski ("The Unsleeping City: Chapter II"), Riva ("A Starstruck Odyssey"), and Princess Rosamund Du Prix ("Neverafter"). In addition, she guested on Not Another D&D Podcast as Apple Scrumper, and the Rotating Heroes Podcast as Astrid Starborn.


title: USS Wasp (LHD-1)

text: USS "Wasp" (LHD-1) is a United States Navy multipurpose amphibious assault ship, and the lead ship of her class. She is the tenth USN vessel to bear the name since 1775, with the last two ships named "Wasp" being aircraft carriers. She was built by the Ingalls Shipbuilding division of Litton in Pascagoula, Mississippi. "Wasp" and her sister ships are the first specifically designed to accommodate new Landing Craft Air Cushion (LCAC) for fast troop movement over the beach, and Harrier II (AV-8B) Vertical/Short Take-Off and Landing (V/STOL) jets which provide close air support for the assault force. She can also accommodate the full range of Navy and Marine Corps helicopters, the tiltrotor MV-22 Osprey, the F-35B Lightning II multi-role fighter, conventional landing craft, and amphibious vehicles.


title: USS Wasp (LHD-1)

text: To carry out her primary mission, "Wasp" has an assault support system that synchronizes the simultaneous horizontal and vertical flow of troops, cargo and vehicles throughout the ship. Two aircraft elevators service the hangar bay and flight deck. Six cargo elevators, each , are used to transport material and supplies from the cargo holds throughout the ship to staging areas on the flight deck, hangar bay and vehicle storage area. Cargo is transferred to waiting landing craft docked within the ship's , well deck. Helicopters in the hangar bay or on the flight deck are cargo-loaded by forklift.


title: USS Wasp (LHD-1)

text: "Wasp" has medical and dental facilities capable of providing intensive medical assistance to 600 casualties, whether combat incurred or brought aboard ship during humanitarian missions. The ship's corpsmen also provide routine medical/dental care to the crew and embarked personnel. Major medical facilities include four main and two emergency operating rooms, four dental operating rooms, x-ray rooms, a blood bank, laboratories, and patient wards. In addition, three battle dressing stations are located throughout the ship, as well as a casualty collecting area at the flight deck level. Medical elevators rapidly transfer casualties from the flight deck and hangar bay to the medical facilities.


title: USS Wasp (LHD-1)

text: For the comfort of the 1,075 crewmembers and 2,200 embarked troops, all manned spaces and berthing areas are individually heated and air conditioned. Berthing areas are subdivided to provide semi-private spaces without adversely affecting efficiency. Onboard recreational facilities include a Library Multi-Media Resource Center with Internet access, a weight room, and satellite television capabilities.


title: USS Wasp (LHD-1)

text: "Wasp"s two steam propulsion plants generate a total of 400 tons of steam per hour. The propulsion system develops , powering the ship to speeds in excess of . USS "Wasp" was built using more than 21,000 tons of steel, 400 tons of aluminum, of electrical/electronic cables, of piping and tubing of various types and sizes, and of ventilation ducting. "Wasp" weighed more than 27,000 tons when moved onto the Ingalls floating dry-dock on 30 July 1987 for launch on 4 August 1987, becoming the largest man-made object rolled across land. In 1996, the ship was fitted with the Advanced Combat Direction System (ACDS).


title: USS Wasp (LHD-1)

text: In February 1993, she left her port on an emergency deployment to Somalia to participate in the United Nations intervention: Operation Restore Hope. Chairman of the Joint Chiefs of Staff, General Colin Powell landed on the ship that April for a discussion of military tactics taking place in and around Mogadishu. Following that, she assisted with another operation off the coast of Kuwait. She later made stops in Toulon, France, and Rota, Spain, en route to her home port in Norfolk, Virginia. In 1998, she won the Marjorie Sterrett Battleship Fund Award for the Atlantic Fleet.


title: USS Wasp (LHD-1)

text: With the exception of deployments noted below, from 2004 to 2012, "Wasp" was not deployed as often or as long as other LHDs, as she was assigned to Joint Strike Fighter F-35B Lightning II testing and kept close to the U.S. as much as possible.


title: USS Wasp (LHD-1)

text: In February 2004, "Wasp" set sail to take the Marines of 1/6 Marine Regiment and HMM-266 Rein to Afghanistan. They arrived at the end of March to offload the Marines, then returned to the U.S. to pick up more Marines from HMH-461 and transported them to Djibouti. After offloading HMH-461 in Djibouti, they picked up the Marines of HMM-266 Rein from Kuwait in August 2004, and returned to Norfolk, Virginia mid-September 2004. On 7 July 2006, Vice President Dick Cheney visited "Wasp". He gave a speech honoring the efforts of the Expeditionary Strike Group in Operation Iraqi Freedom.


title: USS Wasp (LHD-1)

text: "Wasp" was the first ship to deploy the V-22 Osprey, doing so in October 2007, by carrying VMM-263's ten MV-22B Ospreys to Iraq to participate in Operation Iraqi Freedom. "Wasp" also served as the platform for the program's first Sea Trials in December 1990, involving the third and fourth Osprey prototypes. "Wasp" was the principal attraction at Fleet Week 2007 in New York City.


title: USS Wasp (LHD-1)

text: On 4 October 2009, "Wasp" deployed from her base at Norfolk Naval Station in Norfolk, Virginia on a three-month voyage down the Atlantic coast to the Caribbean, with Destroyer Squadron 40 and an embarked Marine Air-Ground Task Force. The 1,100 sailors and 365 embarked Marines conducted operations and exercises in the U.S. 4th Fleet area of responsibility. The operation, called Southern Partnership Station, is part of a maritime strategy, which focuses on building interoperability and cooperation in the region while meeting common challenges. In mid-October 2009, "Wasp" set anchor at the Guantanamo Bay Naval Base in Cuba and disembarked Marines who were assigned to training status for approximately three months while "Wasp" went underway.


title: USS Wasp (LHD-1)

text: On 29 June 2010, "Wasp" was one of the 18 international vessels taking part in the 100th anniversary celebrations of the Canadian Navy in Halifax, Nova Scotia. The Canadian and international warships were reviewed by Queen Elizabeth II, the Duke of Edinburgh, and Prime Minister Stephen Harper. In 2011, "Wasp" was modified for F-35B testing, including replacing a Sea Sparrow launcher with monitoring equipment. She returned to sea on 7 July 2011.


title: USS Wasp (LHD-1)

text: On 3 October 2011, the F-35B made its first vertical landing at sea on "Wasp". On 5 October 2011, "Wasp" successfully launched her first F-35B.


title: USS Wasp (LHD-1)

text: On 30 January 2012, "Wasp" set sail for Operation Bold Alligator, the largest amphibious exercise conducted by U.S. forces in the last decade. The exercise took place from 30 January to 12 February, both afloat and ashore in and around Virginia and North Carolina. In May 2012, "Wasp" participated in New York's Fleet Week, docking at Pier 92 on the Hudson River and offering tours of the ship to the general public. In July 2012, "Wasp" visited Boston for Fleet Week 2012 and Fourth of July festivities. On 30 October 2012, "Wasp" was sent towards the Hurricane Sandy impact area in case the USN was needed to support the disaster relief efforts. In June 2016, "Wasp" deployed for a six-month tour to the Middle East In October 2016, the US Navy announced that "Wasp" will deploy to Sasebo, Japan in late 2017, replacing her sister ship , which will be moved to San Diego, California. On 1 August 2016, Marine AV-8B Harriers from "Wasp" began strikes against the Islamic State of Iraq and the Levant in Libya as part of manned and unmanned airstrikes on targets near Sirte, launching at least five times within two days.


title: USS Wasp (LHD-1)

text: The USN planned to deploy "Wasp" to the Asia-Pacific region in 2017 with a squadron of 16 F-35Bs. In September 2017, "Wasp" became the first U.S. warship to arrive in the Caribbean to provide supplies, damage assessment, and evacuation assistance in the wake of Hurricane Irma. On 3 March 2018, "Wasp" departed Sasebo, Japan for a routine patrol of the Indo-Pacific region. A detachment of 6 F-35Bs from VMFA-121 were deployed with the ship, marking the first operational shipboard deployment for the F-35B.


title: USS Wasp (LHD-1)

text: On 27 May 2019, President Donald J. Trump landed in a helicopter aboard the "Wasp" anchored near Yokosuka, Japan to deliver Memorial Day remarks to the troops during his visit to Japan for a state dinner with Emperor of Japan, Emperor Naruhito and Japanese Prime Minister, Shinzo Abe.


title: USS Wasp (LHD-1)

text: Dark blue and gold are the traditional colors of the US Navy. Blue alludes to the sea, the theater of Naval Operations. Gold is for excellence. The chevron, a traditional symbol for support, represents the amphibious assault mission of the ship. It resembles a wave move to shore and refers to the deployment of men, women and cargo. The wings highlight USS "Wasp"s aviation heritage and capabilities. The modern ship with crossed officers sword and enlisted cutlass adapted from the surface warfare emblems represents leadership, teamwork and the ship's mission in surface operations. The pile of a sharp pointed "V" shape is expressive of assault, combat readiness and victory. The wasp, with its well-developed wings and ability to administer painful stings, epitomizes quick striking power. The stars recall two of the previous ships named "Wasp", CV-7 and CV-18, aircraft carriers that earned two and eight battle stars respectively for World War II service. The red disc or sun refers to World War II Japan and the Pacific Theater where these aircraft carriers saw heavy combat action. The tridents are symbolic of sea power and weaponry.


title: Dymaxion map

text: The Dymaxion map or Fuller map is a projection of a world map onto the surface of an icosahedron, which can be unfolded and flattened to two dimensions. The flat map is heavily interrupted in order to preserve shapes and sizes.


title: Dymaxion map

text: The projection was invented by Buckminster Fuller. The March 1, 1943, edition of "Life" magazine included a photographic essay titled "Life Presents R. Buckminster Fuller's Dymaxion World". The article included several examples of its use together with a pull-out section that could be assembled as a "three-dimensional approximation of a globe or laid out as a flat map, with which the world may be fitted together and rearranged to illuminate special aspects of its geography." Fuller applied for a patent in the United States in February 1944, showing a projection onto a cuboctahedron, which he called "dymaxion". The patent was issued in January 1946.


title: Dymaxion map

text: In 1954, Fuller and cartographer Shoji Sadao produced the Airocean World Map, a version of the Dymaxion map that used a modified but mostly regular icosahedron as the base for the projection. The version most commonly referred to today, it depicts Earth's continents as "one island", or nearly contiguous land masses.


title: Dymaxion map

text: The Dymaxion projection is intended only for representations of the entire globe. It is not a gnomonic projection, whereby global data expands from the center point of a tangent facet outward to the edges. Instead, each triangle edge of the Dymaxion map matches the scale of a partial great circle on a corresponding globe, and other points within each facet shrink toward its middle, rather than enlarging to the peripheries. Fuller's 1980 version of the Dymaxion map was the first definition and use of a mathematical transformation process to make the map. It is a polyhedral map projection.


title: Dymaxion map

text: Though neither conformal nor equal-area, Fuller claimed that his map had several advantages over other projections for world maps.


title: Dymaxion map

text: It has less distortion of relative size of areas, most notably when compared to the Mercator projection; and less distortion of shapes of areas, notably when compared to the Gall–Peters projection. Other compromise projections attempt a similar trade-off.


title: Dymaxion map

text: More unusually, the Dymaxion map does not have any "right way up". Fuller argued that in the universe there is no "up" and "down", or "north" and "south": only "in" and "out". Gravitational forces of the stars and planets created "in", meaning "towards the gravitational center", and "out", meaning "away from the gravitational center". He attributed the north-up-superior/south-down-inferior presentation of most other world maps to cultural bias.


title: Dymaxion map

text: Fuller intended the map to be unfolded in different ways to emphasize different aspects of the world. Peeling the triangular faces of the icosahedron apart in one way results in an icosahedral net that shows an almost contiguous land mass comprising all of Earth's continents – not groups of continents divided by oceans. Peeling the solid apart in a different way presents a view of the world dominated by connected oceans surrounded by land.


title: Dymaxion map

text: Showing the continents as "one island earth" also helped Fuller explain, in his book "Critical Path", the journeys of early seafaring people, who were in effect using prevailing winds to circumnavigate this world island.


title: Dymaxion map

text: However, the Dymaxion map can also prove difficult to use. It is, for example, confusing to describe the four cardinal directions and locate geographic coordinates. The awkward shape of the map may be counterintuitive to most people trying to use it. For example, tracing a path from India to Chile may be confusing. Depending on how the map is projected, land masses and oceans are often divided into several pieces.


title: Dymaxion map

text: A 1967 Jasper Johns painting, "Map (Based on Buckminster Fuller's Dymaxion Airocean World)", depicting a Dymaxion map, hangs in the permanent collection of the Museum Ludwig in Cologne.


title: Dymaxion map

text: The World Game, a collaborative simulation game in which players attempt to solve world problems, is played on a 70-by-35-foot Dymaxion map.


title: Dymaxion map

text: In 2013, to commemorate the 70th anniversary of the publication of the Dymaxion map in "Life" magazine, the Buckminster Fuller Institute announced the "Dymax Redux", a competition for graphic designers and visual artists to re-imagine the Dymaxion map. The competition received over 300 entries from 42 countries.


title: Dymaxion map

text: In 2019, Daniel "daan" Strebe used mathematical work on conformal projections by Oscar S. Adams and L. P. Lee to create a conformal version of the Dymaxion projection. In 2020, the Build the Earth project used Strebe's work to create a map projection for their work known as the Modified Airocean. This map projection provides an extremely low amount of distortion of both shapes and sizes on land, at the cost of heavily distorting the oceans. Unlike the Dymaxion, Modified Airocean is not intended to be unfolded into a 3D object like an icosahedron, and has its continents placed such that it looks somewhat similar to an equirectangular projection.


title: Marquee Moon

text: Marquee Moon is the debut album by American rock band Television. It was released on February 8, 1977, by Elektra Records. In the years leading up to the album, Television had become a prominent act on the New York music scene and generated interest from a number of record labels, eventually signing a record deal with Elektra. The group rehearsed extensively in preparation for "Marquee Moon" before recording it at A & R Recording in September 1976. It was produced by the band's frontman Tom Verlaine and sound engineer Andy Johns.


title: Marquee Moon

text: For "Marquee Moon", Verlaine and fellow guitarist Richard Lloyd abandoned contemporary punk rock's power chords in favor of rock and jazz-inspired interplay, melodic lines, and counter-melodies. The resulting music is largely hook-driven with complex instrumental parts (particularly on longer tracks such as "Marquee Moon"), while evoking themes of adolescence, discovery, and transcendence through imagery in urban, pastoral, and nocturnal modes, including references to the geography of Lower Manhattan. Influenced by Bohemian and French poetry, Verlaine's lyrics also feature puns and double entendres intended to give the songs an impressionistic quality in describing his perception of an experience.


title: Marquee Moon

text: "Marquee Moon" was met with widespread acclaim and was hailed by critics as an original musical development in rock music. The critical recognition helped the album achieve unexpected commercial success in the United Kingdom, despite poor sales in the United States. Among the most acclaimed music releases in history, it has consistently featured in professionally curated lists of top albums, including "Rolling Stone" magazine's "500 Greatest Albums of All Time" (2003), on which it ranked 128th. "Marquee Moon" also proved to be a foundational record of alternative rock, as Television's innovative post-punk instrumentation for the album strongly influenced the new wave and indie rock movements of the 1980s and rock guitar playing in general.


title: Marquee Moon

text: By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."


title: Marquee Moon

text: After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.


title: Marquee Moon

text: In August 1976, Television signed a recording deal with Elektra Records, who promised Verlaine he could produce the band's first album with the condition that he would be assisted by a well-known recording engineer. Verlaine, who did not want to be guided in the studio by a famous producer, enlisted engineer Andy Johns based on his work for the Rolling Stones' 1973 album "Goats Head Soup". Lloyd was also impressed by Johns, who he said had produced "some of the great guitar sounds in rock". Johns was credited as the co-producer on "Marquee Moon". Elektra did not query Television's studio budget for the recording.


title: Marquee Moon

text: Television recorded "Marquee Moon" in September 1976 at A & R Recording in New York City. In preparation for the album's recording, Television had rehearsed for four to six hours a day and six to seven days a week. Lloyd said they were "both really roughshod musicians on one hand and desperadoes on the other, with the will to become good". During preparations, the band rejected most of the material they had written over the course of three years. Once they were in the studio, they recorded two new songs for the album—"Guiding Light" and "Torn Curtain"—and older songs such as "Friction", "Venus", and the title track, which had become a standard at their live shows. Verlaine said that, because he had predetermined the structure of the album, only those eight songs and a few others were attempted during the recording sessions.


title: Marquee Moon

text: For most of "Marquee Moon", Johns recorded Television as they performed live in the studio. A few songs were recorded in one take, including the title track, which Ficca assumed was a rehearsal. Johns suggested the group record another take of the song, but Verlaine told him to "forget it". Verlaine and Lloyd's guitars were recorded and multi-tracked to left and right channels, and the final recordings were left uncompressed and unadorned with studio effects.


title: Marquee Moon

text: According to "Rolling Stone", "Marquee Moon" is a post-punk album, while Jason Heller from "The A.V. Club" described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").


title: Marquee Moon

text: Both sides of the album begin with three shorter, hook-driven songs, which "Stylus Magazine"s Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told "Select". "You know, I always thought "Marquee Moon" was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." According to Stephen Thomas Erlewine, the album is " of tense garage rockers that spiral into heady intellectual territory, which is achieved through the group's long, interweaving instrumental sections".


title: Marquee Moon

text: Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded "Marquee Moon", allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.


title: Marquee Moon

text: Most of the solos on "Marquee Moon" follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.


title: Marquee Moon

text: Verlaine's lyrics on "Marquee Moon" combine urban and pastoral imagery. Although it is not a concept album, many of its songs make geographical references to Lower Manhattan. According to Bryan Waterman, author of the 33⅓ book on the record, it celebrates stern adolescence in the urban pastoral mode. Its urban nocturne theme is derived from poetic works about Bohemian decadence. According to "Spin", the album is about urban mythology; Verlaine brought "a sentimental romanticism to the Bowery, making legends out of the mundane". The lyrics also incorporate maritime imagery, including the paradoxical "nice little boat made out of ocean" in "See No Evil", the waterfront setting in "Elevation", sea metaphors in "Guiding Light", and references to docks, caves, and waves in "Prove It".


title: Marquee Moon

text: Although Verlaine was against drug use after Television formed, he once had a short-lived phase using psychedelic drugs, to which he makes reference in similes on songs like "Venus". Its vignette-like lyrics follow an ostensibly drug-induced, revelatory experience: "You know it's all like some new kind of drug / my senses are sharp and my hands are like gloves / Broadway looks so medieval, it seems to flap like little pages / I fell sideways laughing, with a friend from many stages."


title: Marquee Moon

text: According to Waterman, while psychedelic trips informed the experiences of many artists in Lower Manhattan at the time, "Venus" contributed to the impression of "Marquee Moon" as a transcendental work in the vein of 19th-century Romanticism. "Verlaine is into perception", Waterman said, "and sometimes the perception he represents is as intense as a mind-altering substance." Christgau said that lyrics such as the reference to Broadway in "Venus" lent the album its association among critics to the East Village, as it "situates this philosophical action in the downtown night".


title: Marquee Moon

text: "Marquee Moon" inspired interpretations from a variety of sources, but Verlaine conceded he did not understand the meaning behind much of his lyrics. He drew on influences from French poetry and wanted to narrate the consciousness or confusion of an experience rather than its specific details. He compared the songs to "a little moment of discovery or releasing something or being in a certain time or place and having a certain understanding of something".


title: Marquee Moon

text: Verlaine also used puns and double-entendres when writing his lyrics, which he said are atmospheric and convey the meaning of a song implicitly. "See No Evil" opens with the narrator's flights of fancy and closes with an imperative about limitless possibilities: "Runnin' wild with the one I love / Pull down the future with the one you love". The refrain to "Venus" mentions falling into "the arms of Venus de Milo" (the armless statue), which Verlaine explained as "a term for a state of feeling. They're loving [ubiquitous] arms".


title: Marquee Moon

text: "Marquee Moon"s title was interpreted by Waterman as an encapsulation of the urban and bucolic imagery in the songs, "suggesting the kind of night sky only visible above the neon glare of city-dwellers' assault on the dark". In his mind, the marquee rather than the moon in the concept sets the record's mood. He added, "sensory experience will be of prime importance to these eight songs. What can we see by the light of a marquee moon? What will be revealed on "Marquee Moon"s grooves?"


title: Marquee Moon

text: The album's packaging was designed by art director Tony Lane. The front cover photo was shot by photographer Robert Mapplethorpe, who had previously shot the cover for Patti Smith's 1975 album "Horses". His photo situated Verlaine a step in front of the rest of the band, who were captured in a tensed, serious pose. Verlaine held his left hand across his body and extended his slightly clenched right hand forward. When Mapplethorpe gave Television the contact prints, Lloyd took the band's favorite shot to a print shop in Times Square and asked for color photocopies for the group members to mull over. Although the first few copies were oddly colored, Lloyd asked the copy worker to print more "while turning the knobs with his eyes closed". He likened the process to Andy Warhol's screen prints. After he showed it to the group, they chose the altered copy over Mapplethorpe's original photo, which Fred Smith subsequently had framed and kept for himself.


title: Marquee Moon

text: "Marquee Moon" was released on February 8, 1977, in the United States and on March 4 in the United Kingdom, where it was an unexpected success and reached number 28 on the country's albums chart. The record's two singles—the title track and "Prove It"—both charted on the UK Top 30. Its commercial success in the UK was partly fueled by Nick Kent's rave two-page review of the album for "NME".


title: Marquee Moon

text: While holidaying in London after "Marquee Moon"s completion, Verlaine saw that Television had been put on "NME"s front cover and notified Elektra's press department, who encouraged the band to capitalize on their success there with a tour of the UK. However, the label had already organized for the band to perform on Peter Gabriel's American tour as a supporting act. Television played small theatres and some larger club venues, and received more mainstream exposure, but were not well received by Gabriel's middle-American progressive rock audiences, and found the tour unnerving.


title: Marquee Moon

text: In May, Television embarked on a highly successful theatre tour of the UK with Blondie as their supporting act. They were enthusiastically received by audiences there, and Verlaine said it was refreshing to perform at large theatres after playing smaller clubs for four years. He nonetheless felt that Blondie did not suit their show because they were too different artistically, even though both groups had emerged from the music scene at CBGB. Blondie guitarist Chris Stein said that Television were "so competitive" and unaccommodating on the tour, and that they did not treat it like a joint effort. He recalled one show where "all our equipment was shoved up at the [Glasgow] Apollo and we had like three feet of room so that [Verlaine] could stand still in this vast space."


title: Marquee Moon

text: By the time of Television's return to the US, Elektra had given up on promoting "Marquee Moon", which they dismissed as a commercial failure. "Marquee Moon" sold fewer than 80,000 copies in the US and failed to chart on the "Billboard" 200. The group was dispirited by their inability to meet commercial expectations, which contributed to their disbandment in 1978.


title: Marquee Moon

text: "Marquee Moon" was met with critical acclaim. According to music journalist and biographer Tony Fletcher, critics in 1977 found the album difficult to categorize and instead hailed it as "something entirely original, a new dawn in rock music".


title: Marquee Moon

text: In "NME", Kent wrote that Television have proven to be ambitious and skilled enough to achieve "new dimensions of sonic overdrive" with an "inspired work of pure genius, a record finely in tune and sublimely arranged with a whole new slant on dynamics". He deemed the album's music vigorous, sophisticated, and innovative at a time when rock is wholly conservative. For "Sounds", Vivien Goldman hailed "Marquee Moon" as "an obvious, unabashed, instant classic", while Peter Gammond of "Hi-Fi News & Record Review" called it one of the most exciting releases in music, highlighted by Verlaine's steely, Gábor Szabó-like guitar and authentic rock music. In "Audio", Jon Tiven wrote that although the vocals and production could be more amplified, Verlaine's lyrics and guitar "manage to viscerally and intellectually grab the listener". Joan Downs from "Time" felt the band's sound is distinguished more by the bold playing of Lloyd, who she said has the potential to become a major figure in rock guitar. Christgau, in "The Village Voice", claimed Verlaine's "demotic-philosophical" lyrics could sustain the album alone, as could the guitar playing, which he said is as penetrating and expressive as Eric Clapton or Jerry Garcia "but totally unlike either". Tom Hull, his colleague at the "Voice", recalls being in Christgau's apartment when he received an advance copy and witnessing his "instantly rapturous" reaction to the album. "Without being a guitar fetishist", Hull said he personally found it "as distinctive and powerful as any of its iconic peers—things like "" and "Layla" and Led Zep's first album".


title: Marquee Moon

text: Some reviewers expressed reservations. In "Rolling Stone", Ken Tucker said the lyrics generally amount to non sequiturs, meaningless phrases, and pretentious aphorisms, but are ultimately secondary to the music. Although he found Verlaine's solos potentially formless and boring, Tucker credited him for structuring his songs around chilling riffs and "a new commercial impulse that gives his music its catchy, if slashing, hook". "High Fidelity" felt the music's "scaring amalgam of rich, brightly colored textures" compensates for Verlaine's nearly unintelligible lyrics. Noel Coppage from "Stereo Review" was more critical of the singing and songwriting, likening "Marquee Moon" to a stale version of Bruce Springsteen. Nigel Hunter wrote in "Gramophone" that Verlaine's lyrics and guitar playing are vague and that listeners will need a "strong commitment to this type of music to get much out of it".


title: Marquee Moon

text: At the end of 1977, "Marquee Moon" was voted the third-best album of the year in the Pazz & Jop, an annual poll of American critics nationwide, published in "The Village Voice". Christgau, the poll's creator and supervisor, ranked it number one on his own list. "Sounds" also named it the year's best album, while "NME" ranked it fifth on its year-end list. Verlaine later said of the overwhelmingly positive response from critics: "There was a certain magic happening, an inexplicable certainty of something, like the momentum of a freight train. That's not egoism but, if you cast a spell, you don't get flummoxed by the results of your spell."


title: Marquee Moon

text: Since the album's original release, "Marquee Moon" has been cited by rock critics as one of the greatest records of the American punk rock movement, with Mark Weingarten of "Entertainment Weekly" calling it the masterpiece of the 1970s New York punk rock scene. According to English writer Clinton Heylin, "Marquee Moon" marked the end of the New York scene's peak period, while "Spin" said it was the CBGB era's "best and most enduring record" and ranked it as the sixth-greatest album of all time in its April 1989 issue. "Q" included it in the magazine's 2002 list of the 100 greatest punk records, while writer Colin Larkin ranked it ninth and "Mojo" ranked it 35th on similar lists. The album has often been voted high in critics polls of the greatest debuts and has also been named one of the greatest records of the 1970s by "NME", who ranked it tenth, and "Pitchfork", who ranked it third.


title: Marquee Moon

text: "Marquee Moon" has frequently appeared on rankings of the greatest albums of all time. "The Guardian" and "Melody Maker" placed it 33rd and 25th, respectively, on lists published at the turn of the 21st century. In Larkin's 2000 book "All Time Top 1000 Albums", "Marquee Moon" ranked at number 53. On September 23, 2003, the album was reissued by Rhino Entertainment with several bonus tracks, including the first CD appearance of Television's 1975 debut single "Little Johnny Jewel (Parts 1 & 2)". That same year, it was named the fourth-greatest album of all time by "NME", while "Rolling Stone" placed it at number 128 on its list of the 500 greatest albums of all time. It has been viewed as one of the greatest rock albums ever by English radio DJs Marc Riley, who said that "there's been nothing like it before or since", and Mark Radcliffe, who called it "the nearest rock record to a string quartet—everybody's got a part, and it works brilliantly." Based on such listings, the aggregate website Acclaimed Music ranks "Marquee Moon" as the 28th most acclaimed album in history.


title: Marquee Moon

text: Among the most influential records from the 1970s, the album has also been cited by critics as a cornerstone of alternative rock. It heavily influenced the indie rock movement of the 1980s, while post-punk acts appropriated the album's uncluttered production, introspective tone, and meticulously performed instrumentation. Hunter Felt from "PopMatters" attributed "Marquee Moon"s influence on post-punk and new wave acts to the precisely syncopated rhythm section of Fred Smith and Billy Ficca. He recommended 2003's "definitive" reissue of the album to listeners of garage rock revival bands, who he said had modeled themselves after Verlaine's Romantic poetry-inspired lyrics and the "jaded yet somehow impassioned cynicism" of his vocals. According to Sputnikmusic's Adam Downer, Television introduced an unprecedented style of rock and roll on "Marquee Moon" that inaugurated post-punk music, while "The Guardian" said it scaled "amazing new heights of sophistication and intensity" as a "gorgeous, ringing beacon of post-punk" despite being released several months before the Sex Pistols' "Never Mind the Bollocks" (1977). Erlewine, writing for AllMusic, believed the record was innovative for abandoning previous New York punk albums' swing and groove sensibilities in favor of an intellectually stimulating scope that Television achieved instrumentally rather than lyrically. He claimed "it's impossible to imagine post-punk soundscapes" without "Marquee Moon". Fletcher argued that the songs' lack of compression, groove, and extra effects provided "a blueprint for a form of chromatic, rather than rhythmic, music that would later come to be called angular".


title: Marquee Moon

text: In Erlewine's opinion, "Marquee Moon" was radical and groundbreaking primarily as "a guitar rock album unlike any other". Verlaine and Lloyd's dual playing on the album strongly influenced alternative rock groups such as the Pixies, noise rock acts such as Sonic Youth, and big arena bands like U2. According to Greg Kot from the "Chicago Tribune", Television "created a new template for guitar rock" because of how Verlaine's improvised playing was weaved together with Lloyd's precisely notated solos, particularly on the title track. As a member of U2, Irish guitarist The Edge simulated Television's guitar sound with an effects pedal. He later said he had wanted to "sound like them" and that "Marquee Moon"s title track had changed his "way of thinking about the guitar".


title: Marquee Moon

text: Writing for "Rolling Stone", Rob Sheffield called "Marquee Moon" "one of the all-time classic guitar albums" whose tremulous guitar twang was an inspiration behind bands such as R.E.M. and Joy Division. Joy Division's Stephen Morris cited it as one of his favorite albums, while R.E.M.'s Michael Stipe said his love of "Marquee Moon" was "second only to [Patti Smith's] "Horses"". English guitarist Will Sergeant said it was also one of his favorite records, and that Verlaine and Lloyd's guitar playing was a major influence on his band Echo & the Bunnymen. Verlaine's jagged, expressive sound on the album made a great impression on Red Hot Chili Peppers guitarist John Frusciante when he started developing as a guitarist in his early 20s. In his words, it reminded him that "none of those things that are happening in the physical dimension mean anything, whether it's what kind of guitar you play or how your amp's set up. It's just ideas, you know, emotion."


title: Mechanical energy

text: In physical sciences, mechanical energy is the sum of potential energy and kinetic energy. The principle of conservation of mechanical energy states that if an isolated system is subject only to conservative forces, then the mechanical energy is constant. If an object moves in the opposite direction of a conservative net force, the potential energy will increase; and if the speed (not the velocity) of the object changes, the kinetic energy of the object also changes. In all real systems, however, nonconservative forces, such as frictional forces, will be present, but if they are of negligible magnitude, the mechanical energy changes little and its conservation is a useful approximation. In elastic collisions, the kinetic energy is conserved, but in inelastic collisions some mechanical energy may be converted into thermal energy. The equivalence between lost mechanical energy and an increase in temperature was discovered by James Prescott Joule.


title: Mechanical energy

text: Many devices are used to convert mechanical energy to or from other forms of energy, e.g. an electric motor converts electrical energy to mechanical energy, an electric generator converts mechanical energy into electrical energy and a heat engine converts heat to mechanical energy.


title: Mechanical energy

text: Energy is a scalar quantity and the mechanical energy of a system is the sum of the potential energy (which is measured by the position of the parts of the system) and the kinetic energy (which is also called the energy of motion):


title: Mechanical energy

text: The potential energy, "U", depends on the position of an object subjected to gravity or some other conservative force. The gravitational potential energy of an object is equal to the weight "W" of the object multiplied by the height "h" of the object's center of gravity relative to an arbitrary datum:


title: Mechanical energy

text: The potential energy of an object can be defined as the object's ability to do work and is increased as the object is moved in the opposite direction of the direction of the force. If "F" represents the conservative force and "x" the position, the potential energy of the force between the two positions "x" and "x" is defined as the negative integral of "F" from "x" to "x":


title: Mechanical energy

text: The kinetic energy, "K", depends on the speed of an object and is the ability of a moving object to do work on other objects when it collides with them. It is defined as one half the product of the object's mass with the square of its speed, and the total kinetic energy of a system of objects is the sum of the kinetic energies of the respective objects:


title: Mechanical energy

text: The principle of conservation of mechanical energy states that if a body or system is subjected only to conservative forces, the mechanical energy of that body or system remains constant. The difference between a conservative and a non-conservative force is that when a conservative force moves an object from one point to another, the work done by the conservative force is independent of the path. On the contrary, when a non-conservative force acts upon an object, the work done by the non-conservative force is dependent of the path.


title: Mechanical energy

text: According to the principle of conservation of mechanical energy, the mechanical energy of an isolated system remains constant in time, as long as the system is free of friction and other non-conservative forces. In any real situation, frictional forces and other non-conservative forces are present, but in many cases their effects on the system are so small that the principle of conservation of mechanical energy can be used as a fair approximation. Though energy cannot be created or destroyed, it can be converted to another form of energy.


title: Mechanical energy

text: In a mechanical system like a swinging pendulum subjected to the conservative gravitational force where frictional forces like air drag and friction at the pivot are negligible, energy passes back and forth between kinetic and potential energy but never leaves the system. The pendulum reaches greatest kinetic energy and least potential energy when in the vertical position, because it will have the greatest speed and be nearest the Earth at this point. On the other hand, it will have its least kinetic energy and greatest potential energy at the extreme positions of its swing, because it has zero speed and is farthest from Earth at these points. However, when taking the frictional forces into account, the system loses mechanical energy with each swing because of the negative work done on the pendulum by these non-conservative forces.


title: Mechanical energy

text: That the loss of mechanical energy in a system always resulted in an increase of the system's temperature has been known for a long time, but it was the amateur physicist James Prescott Joule who first experimentally demonstrated how a certain amount of work done against friction resulted in a definite quantity of heat which should be conceived as the random motions of the particles that comprise matter. This equivalence between mechanical energy and heat is especially important when considering colliding objects. In an elastic collision, mechanical energy is conserved – the sum of the mechanical energies of the colliding objects is the same before and after the collision. After an inelastic collision, however, the mechanical energy of the system will have changed. Usually, the mechanical energy before the collision is greater than the mechanical energy after the collision. In inelastic collisions, some of the mechanical energy of the colliding objects is transformed into kinetic energy of the constituent particles. This increase in kinetic energy of the constituent particles is perceived as an increase in temperature. The collision can be described by saying some of the mechanical energy of the colliding objects has been converted into an equal amount of heat. Thus, the total energy of the system remains unchanged though the mechanical energy of the system has reduced.


title: Mechanical energy

text: A satellite of mass formula_5 at a distance formula_6 from the centre of Earth possesses both kinetic energy, formula_7, (by virtue of its motion) and gravitational potential energy, formula_8, (by virtue of its position within the Earth's gravitational field; Earth's mass is formula_9).


title: Mechanical energy

text: If the satellite is in circular orbit, the energy conservation equation can be further simplified into


title: Mechanical energy

text: Today, many technological devices convert mechanical energy into other forms of energy or vice versa. These devices can be placed in these categories:


title: Mechanical energy

text: The classification of energy into different types often follows the boundaries of the fields of study in the natural sciences.


title: Dr. Livesey

text: Dr. David Livesey () is a fictional character in the 1883 novel "Treasure Island" by Robert Louis Stevenson. As well as doctor, he is a magistrate, an important man in the rural society of southwest England, where the story opens; his social position is marked by his always wearing a white wig—even in the harsh conditions of the island on which the adventure takes place.


title: Dr. Livesey

text: Some years previously, he had fought in the Battle of Fontenoy, and was wounded in action during the battle.


title: Dr. Livesey

text: The doctor first appears in the book when he comes to the "Admiral Benbow" to care for Jim Hawkins' ailing father, demonstrating courage and strength of character as he resists the attempts of pirate Billy Bones to bully him. On Bones' subsequent death and the discovery of the treasure map, Dr. Livesey throws in his lot with Squire Trelawney's plans to recover Captain J. Flint's famous hoard. The cooler headed of the two, Dr. Livesey suggests discretion in recruiting a crew for the expedition, urging Trelawney to keep the purpose of the "Hispaniola"'s voyage secret.


title: Dr. Livesey

text: When Hawkins (now serving as cabin boy) discovers the pirates' plot, it is the doctor he seeks out to make his report. Livesey keeps his head in the crisis and lets none of the crew see that he has just been given dreadful news. Thanks to his cool temperament, he, Captain Alexander Smollett, and the squire are able to plan their escape with the few men they can trust. The doctor himself narrates their subsequent flight from the ship and the establishing of their camp in the old stockade on the island.


title: Dr. Livesey

text: Later, when ship's cook Long John Silver and the crew attack, the doctor—a battle-hardened veteran—fights well and, with Captain Smollett wounded, takes responsibility for the safety of the expedition. Acting on Jim's account of his earlier adventures, he sets out to find Ben Gunn and succeeds in winning the castaway's loyalty with the offer of a small Parmesan cheese, a foodstuff for which Gunn has been pining through three years of living on goat meat. He negotiates a truce with Silver by agreeing to surrender the treasure map, which he (but not Silver) now knows to be useless. During the subsequent battle at the site of the plundered cache, he arrives opportunely to orchestrate the rescue of Jim and, as it turns out, Silver.


title: Dr. Livesey

text: Dr. Livesey, though at one point earning a merited rebuke from Captain Smollett for inattention to his post, likely has the largest share of the credit for the expedition's success. He can very well be considered the hero of the story. Without him, the whole expedition would have been a disaster.


title: Dr. Livesey

text: Devoted to his Hippocratic Oath, Dr. Livesey feels duty-bound to treat wounded and ill pirates, even though they are enemies who tried to kill him and might try again.


title: Dr. Livesey

text: Stevenson does not describe Dr. Livesey; he lets the doctor describe himself in actions. He is intelligent, brave and has cool headed—qualities that win the day against the cunning and ruthlessness of his formidable adversary Silver.


title: Reem Shaikh

text: Reem Sameer Shaikh is an Indian actress, known for her works in Indian television and Hindi cinema. Her most notable work includes "Na Bole Tum Na Maine Kuch Kaha", "Chakravartin Ashoka Samrat", "Tujhse Hai Raabta", "Gul Makai" and "".


title: Reem Shaikh

text: Shaikh started her career as a child actor at the age of 6 with "Neer Bhare Tere Naina Devi". In 2012, she starred in "Me Aajji Aur Sahib" and "Yeh Rishta Kya Kehlata Hai".


title: Reem Shaikh

text: She was later seen in the show "Na Bole Tum Na Maine Kuch Kaha" as Rimjhim Bhatnagar. She was also seen as Khushboo in "Khelti Hai Zindagi Aankh Micholi". and as Mishri in the show "Diya Aur Baati Hum". She gained popularity with her portrayal of young Kaurwaki, the wife of Emperor Ashoka in the show "Chakravartin Ashoka Samrat" opposite "Siddharth Nigam".


title: Reem Shaikh

text: In 2018, she guest-starred as Sanaya Seth on "Colors TV" popular show "Tu Aashiqui". In the same year, she booked the lead role of Kalyani Malhar Rane in "Zee TV"'s new show "Tujhse Hai Raabta" and also received the Gold Debut in Lead Role award for the show in 2019.


title: Reem Shaikh

text: In 2022, Shaikh was seen as Paakhi Srivastava Raichand in Colors TV's "" opposite Zain Imam and Akshit Sukhija.


title: Ee Nagaraniki Emaindhi

text: Ee Nagaraniki Emaindi ( What happened to this city?) is a 2018 Indian Telugu-language buddy comedy drama film written and directed by Tharun Bhascker, and produced by D. Suresh Babu under Suresh Productions. The film stars Vishwak Sen, Sai Sushanth Reddy, Abhinav Gomatam, Venkatesh Kakumanu, Anisha Ambrose, Simran Choudhary, and Galusheya Daria. The music was composed by Vivek Sagar with cinematography by Niketh Bommireddy and editing by Ravi Teja Girijala. The film released on 29 June 2018. It received positive reviews for its humour, performances, writing and dialogues.


title: Ee Nagaraniki Emaindhi

text: Vivek, Karthik, Kaushik, and Uppi are childhood friends who dream of a career in filmmaking during their college days. But they eventually give up their plans and settle in other jobs. Vivek resigns his job and lives in isolation, still unable to get over his breakup with Shilpa; Karthik works as a manager in a club and plans on marrying his boss's daughter and settling in the US; Kaushik works as a dubbing artist and wants to become an actor; and Uppi works as a wedding editor. Karthik arranges a bachelor's party for four of them, where they run into Shirley, who joins them to conduct a casual promotional contest in which they narrate her their old friendship, their first short film work and Vivek's love story. Shirley invites them to an event in Goa and leaves.


title: Ee Nagaraniki Emaindhi

text: After a mishap at the party, they all end up in Goa. There they run into Shirley and her friend Dasha, who offer them a place to stay. Karthik loses the engagement ring given by his boss and needs ₹5 lakhs to buy a similar one. So they decide to participate in the Goa short film festival for the prize money. Vivek does not agree to make a romantic comedy film due to his past love failure with Shilpa, but he later agrees as they do not have an alternative. Karthik handles the cinematography, Uppi edits the film, and Kaushik and Dasha act in it. Unfortunately, Vivek could not get out of his past and gives a sad ending to the film. He later gives up on the project as he fears the negative feedback. At this time, when Vivek drank and slept, the remaining three wanted to change the sad ending, but they were caught by patrolling police and end up in a police station.


title: Ee Nagaraniki Emaindhi

text: The next day while editing the film, Vivek wakes up, gets angry at them for changing his ending and yells at Karthik, who is in an online engagement. He reveals that they actually came to Goa because the drunken Karthik requested him. Karthik realizes that he is losing everything else for the social status, calls off his marriage and reconciles his friendship with Vivek. Kaushik gets the confidence to act in films, and Uppi becomes an editor. Vivek finally gets over his breakup, reflects his feelings on Shirley and becomes a cool person without anger issues. After working on a few short films, they start their first feature film, "Pelli Choopulu."


title: Ee Nagaraniki Emaindhi

text: The film has collected $98,136 from the premiere shows in USA held on Thursday night. On Day 1 on Friday, the film has collected $81,127.The total US box office collection was $179,263.


title: Ee Nagaraniki Emaindhi

text: The film received positive reviews from critics."The Hindu" praised the film and stated "With Ee Nagaraniki Emaindi, Tharun Bhascker Dhaassyam breaks the second-film jinx that hounds many filmmakers who've delivered an impressive first film."


title: Ee Nagaraniki Emaindhi

text: "The Times of India" gave 3.5/5 rating and commented that: "Make no mistake, Ee Nagaraniki Emaindi belongs to Tharun Bhascker. The filmmaker's flair for comedy once again shines through and his dialogues are terrific."


title: Ee Nagaraniki Emaindhi

text: "123 Telugu" gave 3.25/5 rating and wrote, "With Ee Nagarainiki Emaindi, Tollywood steps into the buddy comedy genre which has been rarely explored. This movie has no great story but is filled with a lot of fun and precious moments which a group of buddies share in real life."


title: Ee Nagaraniki Emaindhi

text: "The Hans India" gave 3/5 rating and opined that the film was one of the best youthful entertainers in the recent times. "On the whole, the film is enjoyable entirely and even makes us emotional in parts," reviewer added. "Idlebrain.com" gave 3/5 rating and wrote, "[It] is a buddy comedy that has good moments and a slow second half!"


title: Mountain man

text: A mountain man is an explorer who lives in the wilderness. Mountain men were most common in the North American Rocky Mountains from about 1810 through to the 1880s (with a peak population in the early 1840s). They were instrumental in opening up the various emigrant trails (widened into wagon roads) allowing Americans in the east to settle the new territories of the far west by organized wagon trains traveling over roads explored and in many cases, physically improved by the mountain men and the big fur companies originally to serve the mule train based inland fur trade.


title: Mountain man

text: Mountain men arose in a natural geographic and economic expansion that was driven by the lucrative earnings available in the North American fur trade, in the wake of the various 1806–07 published accounts of the Lewis and Clark Expedition findings about the Rockies and the Oregon Country where they flourished economically for over three decades. By the time two new international treaties in early 1846 and early 1848 officially settled new western coastal territories in the United States and spurred a large upsurge in migration, the days of mountain men making a good living by fur trapping had largely ended. The fur industry was failing because of reduced demand and over trapping. With the rise of the silk trade and quick collapse of the North American beaver-based fur trade in the 1830s–1840s, many of the mountain men settled into jobs as Army scouts, wagon train guides or settled throughout the lands which they had helped open up. Others, like William Sublette, opened fort-trading posts along the Oregon Trail to service the remnant fur trade and the settlers heading west.


title: Mountain man

text: Mountain men were most common in the North American Rocky Mountains from about 1810 through to the 1880s (with a peak population in the 1830s). Approximately 3,000 mountain men ranged the mountains between 1820 and 1840, the peak beaver-harvesting period. While there were many free trappers, most mountain men were employed by major fur companies. The life of a company man was almost militarized. The men had mess groups, hunted and trapped in brigades, and always reported to the head of the trapping party. This man was called a "boosway", a bastardization of the French term "bourgeois". He was the leader of the brigade and the head trader.


title: Mountain man

text: Donald Mackenzie, representing the North West Company, held a rendezvous in the Boise River Valley in 1819. The rendezvous system was later implemented by William Henry Ashley of the Rocky Mountain Fur Company, whose company representatives would haul supplies to specific mountain locations in the spring, engage in trading with trappers, and bring pelts back to communities on the Missouri and Mississippi rivers, like St. Louis, in the fall. Ashley sold his business to the outfit of Smith, Jackson, and Sublette. He continued to earn revenue by selling that firm their supplies. This system of rendezvous with trappers continued when other firms, particularly the American Fur Company owned by John Jacob Astor, entered the field.


title: Mountain man

text: The annual rendezvous was often held at Horse Creek on the Green River, now called the Upper Green River Rendezvous Site, near present-day Pinedale, Wyoming. Another popular site in the same general area was Pierre's Hole. By the mid-1830s, it attracted 450–500 men annually, essentially all the American trappers and traders working in the Rockies, as well as numerous Native Americans. In the late 1830s, the Canadian-based Hudson's Bay Company (HBC) instituted several policies designed to undercut the American fur trade. The HBC's annual Snake River Expedition was transformed into a trading enterprise. Beginning in 1834, it visited the American rendezvous to buy furs at low prices. The HBC was able to offer manufactured trade goods at prices far below that with which American fur companies could compete. Combined with a decline in demand for and supply of beaver, by 1840 the HBC had effectively put all American fur traders out of business. The last rendezvous was held in 1840. During the same years, fashion in Europe shifted away from the formerly popular beaver hats; at the same time, the animal had become over-hunted. After achieving an American monopoly by 1830, Astor got out of the fur business before its decline.


title: Mountain man

text: By 1841, the American Fur Company and the Rocky Mountain Fur Company were in ruins. By 1846, only some 50 American trappers still worked in the Snake River country, compared to 500–600 in 1826. Soon after the strategic victory by the HBC, the Snake River route was used by emigrants as the Oregon Trail, which brought a new form of competition. Former trappers earned money as guides or hunters for the emigrant parties.


title: Mountain man

text: A second fur trading and supply center grew up in Taos in what is today New Mexico. This trade attracted numerous French Americans from Louisiana and some French Canadian trappers, in addition to Anglo-Americans. Some New Mexican residents also pursued the beaver trade, as Mexican citizens initially had some legal advantages. Trappers and traders in the Southwest covered territory that was generally inaccessible to the large fur companies. It included parts of New Mexico, Nevada, California and central and southern Utah. After the decline in beaver and the fur trade, with some emigrants to the West using the Mormon Trail, former trappers found work as guides and hunters for the traveling parties.


title: Mountain man

text: After the short-lived Pacific Fur Company was liquidated, British-Canadian companies controlled the fur trade in the Pacific Northwest, first under the North West Company (NWC) and then the HBC. Both companies undertook numerous measures to prevent American fur traders from competing with them west of the Rocky Mountains, especially in the upper Snake River country. After the HBC took over operations in the Pacific Northwest in 1821, American fur traders in the Snake River country quickly went out business and moved on.


title: Mountain man

text: This halted American expansion into the region. After 1825, few American trappers worked west of the Rocky Mountains, and those who did generally found it unprofitable. According to historian Richard Mackie, this policy of the HBC forced American trappers to remain in the Rocky Mountains, which gave rise to the term "mountain men".


title: Mountain man

text: Mountain men were instrumental in opening up the various emigrant trails (widened into wagon roads) allowing Americans in the east to settle the new territories of the far west by organized wagon trains traveling over roads explored and in many cases, physically improved by the mountain men and the big fur companies originally to serve the mule train based inland fur trade. By the time two new international treaties in early 1846 and early 1848 officially settled new western coastal territories on the United States and spurred a large upsurge in migration, the days of mountain men making a good living by fur trapping had largely ended. The fur industry was failing because of over-trapping. Fortuitously, America's ongoing western migration by wagon trains with the goal of claiming cheap lands in the west was building rapidly from a trickle of settlers from 1841's opening of the Oregon Trail to a flood of emigrants headed west by 1847–49 and thereafter well into the later 1880s.


title: Mountain man

text: By the time the fur trade began to collapse in the 1840s, motivating them to change jobs, the trails they had explored and turned into reliable mule trails and improved gradually into wagon-capable freight roads combined to allow them to work as guides and scouts. As the fur trade declined, mountain man Robert Newell told Jim Bridger: "[W]e are done with this life in the mountainsdone with wading in beaver dams, and freezing or starving alternatelydone with Indian trading and Indian fighting. The fur trade is dead in the Rocky Mountains, and it is no place for us now if ever it was." At the same time the great push west along the newly opened Oregon Trail built up from a trickle of settlers in 1841 to a steady stream in 1844–46 and then became a flood as the highly organized Mormon migration exploited the road to the Great Salt Lake discovered by mountain man Jim Bridger in 1847–48. The migration would explode in 1849's "The Forty-Niners" in response to the discovery of gold in California in 1848.


title: Mountain man

text: The life of a mountain man was rugged, and many did not last more than several years in the wilderness. They faced many hazards, especially when exploring unmapped areas: biting insects and other wildlife, bad weather, diseases of all kinds, injuries, and the opposition of Indigenous people, presented constant physical dangers. Grizzly bears were one of the mountain men's greatest enemies. Winters could be brutal, with heavy snowstorms and low temperatures.


title: Mountain man

text: In order to stay alive, the men needed keen senses and knowledge of herbal remedies and first aid, among other skills. In summer, they could catch fish, build shelter, and hunt for food and skins. The mountain men dressed in suits made of deer skin that had stiffened after being left outdoors for a time, which gave them some protection against the weapons of particular enemies. There were no doctors in the regions where mountain men worked, and they had to set their own broken bones, tend their wounds, and nurse themselves back to health.


title: Mountain man

text: A fur trapper was a mountain man who, in today's terms, would be called a free agent. He was independent and traded his pelts to whoever would pay him the best price. That contrasts with a "company man", typically indebted to one fur company for the cost of his gear, who traded only with that company and was often under the direct command of company representatives. Some company men who paid off their debt could become free traders, using the gear they had earned. They might sell to the same company when the price was agreeable or convenient.


title: Mountain man

text: Historical reenactment of the dress and lifestyle of a mountain man, sometimes known as buckskinning, allows people to recreate aspects of this historical period. Today's Rocky Mountain Rendezvous and other reenacted events are both history-oriented and social occasions. Some modern men choose a lifestyle similar to that of historical mountain men. They may live and roam in the mountains of the West or in the swamps of the southern United States.


title: Gyeongju

text: Gyeongju (, ), historically known as "Seorabeol" (, ), is a coastal city in the far southeastern corner of North Gyeongsang Province in South Korea. It is the second largest city by area in the province after Andong, covering with a population of 264,091 people (as of December 2012.) Gyeongju is southeast of Seoul, and east of Daegu. The city borders Cheongdo and Yeongcheon to the west, Ulsan to the south and Pohang to the north, while to the east lies the coast of the Sea of Japan. Numerous low mountains—outliers of the Taebaek range—are scattered around the city.


title: Gyeongju

text: Gyeongju was the capital of the ancient kingdom of Silla (57 BC – 935 AD), which ruled about two-thirds of the Korean Peninsula at its height between the 7th and 9th centuries, for close to one thousand years. Later Silla was a prosperous and wealthy country, and its metropolitan capital of Gyeongju was the fourth largest city in the world. A vast number of archaeological sites and cultural properties from this period remain in the city. Gyeongju is often referred to as "the museum without walls". Among such historical treasures, Seokguram grotto, Bulguksa temple, Gyeongju Historic Areas and Yangdong Folk Village are designated as World Heritage Sites by UNESCO. The many major historical sites have helped Gyeongju become one of the most popular tourist destinations in South Korea.


title: Gyeongju

text: The city of Gyeongju was united with the nearby rural Gyeongju County in 1995 and is now an urban–rural complex. It is similar to 53 other small and medium-sized cities with a population under 300,000 people in South Korea. As well as its rich historical heritage, Gyeongju today is affected by the economic, demographic, and social trends that have shaped modern South Korean culture. Tourism remains the major economic driver, but manufacturing activities have developed due to its proximity to major industrial centers such as Ulsan and Pohang. Gyeongju is connected to the nationwide rail and highway networks, which facilitate industrial and tourist traffic.


title: Gyeongju

text: The early history of Gyeongju is closely tied to that of the Silla kingdom, of which it was the capital. Gyeongju first enters non-Korean records as Saro-guk, during the Samhan period in the early Common Era. Korean records, probably based on the dynastic chronicles of Silla, record that Saro-guk was established in 57 BCE, when six small villages in the Gyeongju area united under Bak Hyeokgeose. As the kingdom expanded, it changed its name to Silla. During the Silla period, the city was called "Seorabeol" (lit. Capital), "Gyerim" (lit. Rooster's forest) or "Geumseong" (lit. City of Gold).


title: Gyeongju

text: After the unification of the peninsula up to Taedong River in 668 AD, Gyeongju became the center of Korean political and cultural life. The city was home to the Silla court and the great majority of the kingdom's elite. Its prosperity became legendary, and was reported as far away as Persia according to the 9th century book "The Book of Roads and Kingdoms". Records of "Samguk Yusa" give the city's population in its peak period as 178,936 households, suggesting that the total population was almost one million. Many of Gyeongju's most famous sites date from this Unified Silla period, which ended in the late 9th century by Goryeo (918–1392).


title: Gyeongju

text: In 940, the founder of Goryeo, King Taejo, changed the city's name to "Gyeongju", which literally means "Congratulatory district". In 987, as Goryeo introduced a system in which three additional capitals were established in politically important provinces outside Gaegyeong (nowadays Kaesong), and Gyeongju was designated as "Donggyeong" ("East Capital"). However, that title was removed in 1012, the third year of King Hyeongjong's reign, due to political rivalries at that time, though Gyeongju was later made the seat of Yeongnam Province. It had jurisdiction over a wide area, including much of central eastern Yeongnam, although this area was greatly reduced in the 13th century. Under the subsequent Joseon (1392–1910) dynasties, Gyeongju was no longer of national importance, but remained a regional center of influence. In 1601, the city ceased to be the provincial capital.


title: Gyeongju

text: Over these centuries, the city suffered numerous assaults. In the 13th century, Mongol forces destroyed a nine-story wooden pagoda at Hwangnyongsa. During the Japanese invasions of Korea, the Gyeongju area became a heated battlefield, and Japanese forces burned the wooden structures at Bulguksa. Not all damage was due to invasions, however. In the early Joseon period, a great deal of damage was done to Buddhist sculptures on Namsan by Neo-Confucian radicals, who hacked arms and heads off statuary.


title: Gyeongju

text: In the 20th century, the city remained relatively small, no longer ranking among the major cities of Korea. During the early 20th century, many archaeological excavations were conducted, particularly inside the tombs which had remained largely intact over the centuries. A museum, the forerunner of the present-day Gyeongju National Museum, was inaugurated in 1915 to exhibit the excavated artifacts.


title: Gyeongju

text: Gyeongju emerged as a railroad junction in the later years of the Japanese Occupation, as the Donghae Nambu Line and Jungang Line were established in preparation for the Second Sino-Japanese War and to exploit the rich resources of the eastern part of the Korean peninsula. Following liberation in 1945, Korea was plunged into turmoil, and Gyeongju was no exception. Returnees from abroad were numerous; a village for them was constructed in present-day Dongcheon-dong. In a period marked by widespread conflict and unrest, the Gyeongju area became particularly notorious for the level of guerrilla activity in the mountains.


title: Gyeongju

text: Despite the outbreak of the Korean War in 1950, most of Gyeongju was spared from the fighting, and remained under South Korean control throughout the conflict. However, for a brief time in late 1950 portions of the city stood on the front lines, as North Korean forces pushed the Pusan Perimeter southward from Pohang.


title: Gyeongju

text: In the 1970s, Korea saw substantial industrial development, much of it centered in the Yeongnam region of which Gyeongju is a part. The POSCO steel mill in neighboring Pohang commenced operations in 1973, and the chemical manufacturing complex in Ulsan emerged in the same year. These developments helped to support the emergence of Gyeongju's manufacturing sector.


title: Gyeongju

text: Gyeongju lies in the southeastern corner of North Gyeongsang Province, and is bounded by the metropolitan city of Ulsan on the south. Within the province, its neighbors include Pohang on the north, Cheongdo County on the southwest, and Yeongcheon on the northwest. Gyeongju is located about north of Busan. To the east, it has no neighbor but the sea.


title: Gyeongju

text: Most of Gyeongju lies in the Gyeongsang Basin, but a few areas of the city belong to the Pohang Basin, such as Eoil-ri and Beomgok-ri in Yangbuk-myeon, and part of Cheonbuk-myeon. The Gyeongsang Basin areas consist of Bulguksa intrusive rock penetrating layers of sedimentary rocks, mainly granite and porphyry. By contrast, the Pohang Basin areas are made up of stratum that formed in the Tertiary period of the Cenozoic era, which consist of igneous rock, aqueous rock, porphyry, sandstone, and tuff.


title: Gyeongju

text: Low mountains are widespread throughout Gyeongju. The highest of these are the Taebaek Mountains, which run along the city's western border. Gyeongju's highest point, Munbok Mountain (문복산), is above sea level. This peak lies in Sannae-myeon, on the border with Cheongdo. East of the Taebaek range, other western peaks such as Danseok Mountain lie within the Jusa subrange. The city's eastern peaks, including Toham Mountain, belong to the Haean Mountains and Dongdae Mountains.


title: Gyeongju

text: Gyeongju's drainage patterns are shaped by these lines of mountains. The Dongdae Mountains divide a narrow foothills area on their east, and various internal river systems to the west. Most of the city's interior is drained by the small Hyeongsan River, which flows north from Ulsan and meets the sea at Pohang Harbor. The Hyeongsan's chief tributaries include the Bukcheon and Namcheon, which join it in Gyeongju Basin.


title: Gyeongju

text: The southwestern corner of Gyeongju, on the far side of the Taebaek range, drains into the Geumho River, which then flows into the Nakdong. A small area of the south, just west of the Dongdae range, drains into the Taehwa River, which flows into the Bay of Ulsan.


title: Gyeongju

text: The Gyeongju coastline runs for between Pohang in the north and Ulsan in the south. There are no islands or large bays, only the small indentations made by the small streams flowing off the Dongdae ridgeline. Because of this, the city has no significant ports, though there are 12 small harbors. One such harbor in Gyeongju's southeast corner is home to the Ulsan base of the National Maritime Police. This base is responsible for security over a wide area of South Korea's east-central coast.


title: Gyeongju

text: Due to its coastal location, Gyeongju has a slightly milder climate than the more inland regions of Korea. In general, however, the city's climate is typical of South Korea. It has hot summers and cool winters, with a monsoon season between late June and early August. As on the rest of Korea's east coast, autumn typhoons are not uncommon. The average annual rainfall is , and the average annual high temperatures range from .


title: Gyeongju

text: Gyeongju's historic city center lies on the banks of the Hyeongsan in Gyeongju Basin. This lowlying area has been subject to repeated flooding throughout recorded history, often as a result of typhoons. On average, chronicles report a major flood every 27.9 years, beginning in the 1st century. Modern flood control mechanisms brought about a dramatic reduction in flooding in the later 20th century. The last major flood occurred in 1991, when the Deokdong Lake reservoir overflowed due to Typhoon Gladys.


title: Gyeongju

text: The executive branch of the government is headed by a mayor and vice-mayor. As in other South Korean cities and counties, the mayor is elected directly, while the vice-mayor is appointed. As of 2019, the mayor is Joo Nak-young, who was elected on June 13, 2018, in the local elections. He is Gyeongju's fifth mayor to be directly elected, the sixth to preside over the city in its present form, and the 31st mayor since 1955. Like most heads of government in the Yeongnam region, he is a member of the conservative Liberty Korea Party.


title: Gyeongju

text: The legislative branch consists of the Gyeongju City Council, with 21 members as of 2009. The present City Council was formed from the merger of the old Gyeongju City Council with the Wolseong County Council in 1991. Most subdivisions of Gyeongju elect a single member to represent them in the council, but Angang-eup is represented by two members because of its large population, and two of the representatives serve combined districts composed of two "dong". Like the mayor, the council members were last elected in 2006, except for a small number elected in more recent by-elections.


title: Gyeongju

text: The central administration is composed of a City Council committee, five departments, two subsidiary organs, a chamber (the auditor), and six business offices. The five departments are the departments of Planning and Culture, Autonomous Administration, Industry and Environment, Construction and Public Works, and the National Enterprise Committee; these oversee a total of 29 subdivisions. The two subsidiary organs are the Health Care Center and Agro-technology Center; these belong directly to the central administration and have a total of 4 subdivisions. In addition, there are 23 local administrative subdivisions. Each of these subdivisions has a local office with a small administrative staff. As of December 2008, the city government employed 1,462 people.


title: Gyeongju

text: The city is divided into 23 administrative districts: 4 "eup", 8 "myeon", and 11 "dong". These are the standard subdivisions of cities and counties in South Korea. The "dong" or neighborhood units occupy the area of the city center, which was formerly occupied by Gyeongju-eup. "Eup" are typically substantial villages, whereas "myeon" are more rural.


title: Gyeongju

text: The city's boundaries and designation changed several times in the 20th century. From 1895 to 1955, the area was known as Gyeongju-gun ("Gyeongju County"). In the first decades of the century, the city center was known as Gyeongju-myeon, signifying a relatively rural rea. In 1931, the downtown area was designated Gyeongju-eup, in recognition of its increasingly urban nature. In 1955, Gyeongju-eup became Gyeongju-si ("Gyeongju City"), the same name as today, but with a much smaller area. The remainder of Gyeongju-gun became "Wolseong County." The county and city were reunited in 1995, creating Gyeongju City as it is today.


title: Gyeongju

text: When the Silla kingdom reached the peak of its development, Gyeongju was estimated to have a million residents, four times the city's population in 2008. In recent years, Gyeongju has followed the same trends that have affected the rest of South Korea. Like the country as a whole, Gyeongju has seen its population age and the size of families shrink. For instance, the mean household size is 2.8 people. Because this has fallen in recent years, there are more households in the city as of 2008 (105,009) than there were in 2003, even though the population has fallen.


title: Gyeongju

text: Like most of South Korea's smaller cities, Gyeongju has seen a steady drop in population in recent years. From 2002 to 2008, the city lost 16,557 people. This is primarily due to the migration of workers seeking employment in the major South Korean cities. In 2007, about 1,975 more people moved away from the city each year than moved in. During the same period, births exceeded deaths by roughly 450 per year, a significant number but not enough to offset the losses due to migration.


title: Gyeongju

text: Gyeongju has a small but growing population of non-Koreans. In 2007, there were 4,671 foreigners living in Gyeongju. This number corresponds to 1.73% of the total population, more than double the figure from 2003. The growth was largely in immigrants from other Asian countries, many of whom are employed in the automotive parts industry. Countries of origin whose numbers have risen include the Philippines, China, Taiwan, Indonesia, and Vietnam. The number of residents from Japan, the United States, and Canada fell significantly in the 2003–2007 period.


title: Gyeongju

text: The city has a distinctive dialect which it shares with northern portions of Ulsan. This dialect is similar to the general Gyeongsang dialect, but retains distinctive features of its own. Some linguists have treated the distinctive characteristics of the Gyeongju dialect as vestiges of the Silla language. For instance, the contrast between the local dialect form "" ("sonaegi") and the standard "" ("sonagi," meaning "rainshower") has been seen as reflecting the ancient phonemic character of the Silla language.


title: Gyeongju

text: Gyeongju is the main destination in South Korea for visitors interested in the cultural heritage of Silla and the architecture of the Joseon Dynasty (1392–1910). The city has 31 National Treasures, and Gyeongju National Museum houses 16,333 artifacts. There are four broad categories of relics and historical sites: tumuli and their artifacts; Buddhist sites and objects; fortresses and palace sites; and ancient architecture. Prehistoric remains including Mumun pottery have been excavated in central Gyeongju, in the Moa-ri and Oya-ri villages of the Cheonbuk-myeon district, and in the Jukdong-ri village of the Oedong-eup district.


title: Gyeongju

text: Dolmens are found in several places, especially in Gangdong-myeon and Moa-ri. Bronze Age relics found in Angye-ri village of Gangdong-myeon, Jukdong-ri and Ipsil-ri villages of Oedong-eup and graveyards in the Joyang-dong district represent the Samhan confederacy period of around the 1st century BC to the 3rd century AD.


title: Gyeongju

text: There are 35 royal tombs and 155 tumuli in central Gyeongju, and 421 tumuli in the outskirts of the city. Silla burial mounds built after the period of the Three Kingdoms are found in central Gyeongju, including tumuli in the districts of Noseo-dong, Nodong-dong, Hwangnam-dong, Hwango-dong and Inwang-dong. Western Gyeongju has the tomb of King Muyeol in Seoak-dong, nearby tumuli in Chunghyo-dong and the tomb of Kim Yu-sin. The tombs of Queen Seondeok, King Sinmun, King Hyogong and King Sinmu are at the base of Namsan mountain while the tombs of King Heongang, King Jeonggang, King Gyeongmyeong and King Gyeongae are on the slopes of the mountain. In addition to the tombs, tumuli have been found surrounding Namsan mountain and in the western part of Geumgang mountain. Artifacts excavated from the tombs of Geumgwanchong (gold crown tomb), Seobongchong (western phoenix tomb), Cheonmachong (heavenly horse tomb) and northern and southern parts of Tomb No. 98 are good examples of Silla culture.


title: Gyeongju

text: Gyeongju has produced notable individuals throughout its history. As the capital of Silla, Gyeongju was a center of culture in its heyday. Notable Gyeongju residents in the Silla period included most of the kingdom's leading figures, not only rulers but scholars such as Seol Chong and Choe Chi-won, and generals like Kim Yusin, the leader of the Hwarang warriors. The city continued to contribute to traditional Korean thought in subsequent dynasties. Relatives of Choe Chi-won such as Choe Eon-wui and Choe Hang played an important role in establishing the structures of early Goryeo. In the Joseon period, Gyeongju joined the rest of Gyeongsang in becoming a hotbed of the conservative "Sarim" faction. Notable Gyeongju members of this faction included the 15th century intellectual Yi Eon-jeok. He has been enshrined in the Oksan Seowon since 1572. In modern times, the city produced writers such as Kim Dong-ni and Park Mok-wol, both of whom did a great deal to popularize the region's culture, as well as Choe Jun, a wealthy businessman who established the Yeungnam University Foundation.


title: Gyeongju

text: Some Korean family clans trace their origins to Gyeongju, often to the ruling elites of Silla. For example, the Gyeongju Kim clan claims descent from the rulers of later Silla. The Gyeongju Park and Gyeongju Seok clans trace their ancestry to Silla's earlier ruling families. These three royal clans played a strong role in preserving the historical precincts of Gyeongju into modern times. The Gyeongju Choe and Lee clans also trace their ancestry to the Silla elites. Prominent members of the Gyeongju Lee clan include Goryeo period scholar Yi Je-hyeon, and Joseon period scholars Yi Hwang and Yi Hang-bok. A contemporary notable figure from the Gyeongju Lee clan is Lee Byung-chull, the founder of Samsung Group. However, not all Gyeongju clans date to the Silla period; for instance, the Gyeongju Bing clan was founded in the early Joseon Dynasty.