title: Johnny Orlando

text: Orlando has cited Justin Bieber and Shawn Mendes among his primary musical inspirations. He also stated that he looks up to Billie Eilish, as well as Drake, The Weeknd, Alessia Cara and other fellow Canadian musicians who he looks forward to collaborating with in the future. In recent interviews, he's also shared that his dad played Pearl Jam and Otis Redding in the car, which helped cultivate his songwriting skills.


title: Wife

text: A wife (: wives) is a female in a marital relationship. A woman who has separated from her partner continues to be a wife until the marriage is legally dissolved with a divorce judgement. On the death of her partner, a wife is referred to as a widow. The rights and obligations of a wife in relation to her partner and her status in the community and in law vary between cultures and have varied over time.


title: Wife

text: The word is of Germanic origin, from Proto-Germanic *"wībam", "woman". In Middle English it had the form "wif", and in Old English "wīf", "woman or wife". It is related to Modern German "Weib" (woman, female), and Danish "viv" (wife, usually poetic); The original meaning of the phrase "wife" as simply "woman", unconnected with marriage or a husband/wife, is preserved in words such as "midwife", "goodwife", "fishwife" and "spaewife".


title: Wife

text: In many cultures, marriage is generally expected that a woman will take her husband's surname, though that is not universal. A married woman may indicate her marital status in a number of ways: in Western culture a married woman would commonly wear a wedding ring but in other cultures other markers of marital status may be used. A married woman is commonly given the honorific title "Mrs", but some married women prefer to be referred to as "Ms", a title which is also used by preference or when the marital status of a woman is unknown.


title: Wife

text: A woman on her wedding day is usually described as a "bride", even after the "wedding ceremony", while being described as a wife is also appropriate after the wedding or after the honeymoon. If she is marrying a man, her partner is known as the "bridegroom" during the wedding, and within the marriage is called her "husband".


title: Wife

text: In the older custom, still followed, e. g., by Roman Catholic ritual, the word "bride" actually means fiancée and applies up to the exchange of matrimonial consent (the actual marriage act); from then on, even while the rest of the very ceremony is ongoing, the woman is a wife, and no longer a bride, and the bridal couple is no longer referred to as such but as the newlywed couple or "newlyweds".


title: Wife

text: "Wife" refers to the institutionalized relation "to the other spouse", unlike mother, a term that puts a woman into the context of her children. In some societies, especially historically, a "concubine" was a woman who was in an ongoing, usually matrimonially oriented relationship with a man who could not be married to her, often because of a difference in social status.


title: Wife

text: The term "wife" is most commonly applied to a woman in a union sanctioned by law (including religious law), not to a woman in an informal cohabitation relationship, which may be known as a girlfriend, partner, cohabitant, significant other, concubine, mistress etc. However, a woman in a so-called common law marriage may describe herself as a common law wife, de facto wife, or simply a wife. Those seeking to advance gender neutrality may refer to both marriage partners as "spouses", and many countries and societies are rewording their statute law by replacing "wife" and "husband" with "spouse". A former wife whose spouse is deceased is a "widow".


title: Wife

text: The status of a wife may be terminated by divorce, annulment, or the death of a spouse. In the case of divorce, terminology such as "former-wife" or "ex-wife" is often used. With regard to annulment, such terms are not, strictly speaking, correct, because annulment, unlike divorce, is usually retroactive, meaning that an annulled marriage is considered to be invalid from the beginning almost as if it had never taken place. In the case of the death of the other spouse, the term used is widow. The social status of such women varies by culture, but in some places, they may be subject to potentially harmful practices, such as widow inheritance or levirate marriage; or divorced women may be socially stigmatized. In some cultures, the termination of the status of wife made life itself meaningless, as in the case of those cultures that practiced sati, a funeral ritual within some Asian communities, in which a recently widowed woman committed suicide by fire, typically on the husband's funeral pyre.


title: Wife

text: The legal rights of a wife have been since the 19th century, and still are, in many jurisdictions subject to debate. This subject was in particular addressed by John Stuart Mill, in "The Subjection of Women" (1869). Historically, many societies have given sets of rights and obligations to husbands that have been very different from the sets of rights and obligations given to wives. In particular, the control of marital property, inheritance rights, and the right to dictate the activities of children of the marriage, have typically been given to male marital partners. However, this practice was curtailed to a great deal in many countries in the twentieth century, and more modern statutes tend to define the rights and duties of a spouse without reference to gender. Among the last European countries to establish full gender equality in marriage were Switzerland, Greece, Spain, and France in the 1980s. In various marriage laws around the world, however, the husband continues to have authority; for instance the Civil Code of Iran states at Article 1105: ""In relations between husband and wife; the position of the head of the family is the exclusive right of the husband"".


title: Wife

text: Traditionally, and still in some parts of the world, the bride or her family bring her husband a "dowry", or the husband or his family pay a "bride price" to the bride's family, or both are exchanged between the families; or the husband pays the wife a "dower". The purpose of the dowry varies by culture and has varied historically. In some cultures, it was paid not only to support the establishment of a new family, but also served as a condition that if the husband committed grave offenses upon his wife, the dowry had to be returned to the wife or her family; but during the marriage, the dowry was often made inalienable by the husband. Today, dowries continue to be expected in parts of South Asia such as India, Pakistan, Nepal, Bangladesh, and Sri Lanka, and conflicts related to their payment sometimes result in violence such as dowry deaths and bride burning.


title: Wife

text: In some cultures, particularly in the Anglophone West, wives often change their surnames to that of the husband upon getting married. For some, this is a controversial practice, due to its tie to the historical doctrine of coverture and to the historically subordinated roles of wives. Others argue that today this is merely a harmless tradition that should be accepted as a free choice. Some jurisdictions consider this practice as discriminatory and contrary to women's rights, and have restricted or banned it; for example, since 1983, when Greece adopted a new marriage law which guaranteed gender equality between the spouses, women in Greece are required to "keep" their birth names for their whole life.


title: Wife

text: Traditionally, and still in many cultures, the role of a wife was closely tied to that of a mother, by a strong expectation that a wife ought to bear children, while, conversely, an unmarried woman should not have a child out of wedlock. These views have changed in many parts of the world. Children born outside marriage have become more common in many countries.


title: Wife

text: Although some wives in particular in Western countries choose not to have children, such a choice is not accepted in some parts of the world. In northern Ghana, for example, the payment of bride price signifies a woman's requirement to bear children, and women using birth control are at risk of threats and coercion. In addition, some religions are interpreted as requiring children in marriage; for instance Pope Francis said in 2015 that choosing not to have children was "selfish".


title: Wife

text: Many traditions like a dower, dowry and bride price have long traditions in antiquity. The exchange of any item or value goes back to the oldest sources, and the wedding ring likewise was always used as a symbol for keeping faith to a person.


title: Wife

text: In ancient Rome, The Emperor Augustus introduced marriage legislation, the Lex Papia Poppaea, which rewarded marriage and childbearing. The legislation also imposed penalties on young persons who failed to marry and on those who committed adultery. Therefore, marriage and childbearing was made law between the ages of twenty-five and sixty for men, and twenty and fifty for women. Women who were Vestals Virgins, were selected between the ages of 6 and 10 to serve as priestesses in the temple of goddess Vesta in the Roman Forum for 30 years after which time they could marry. Noble women were known to marry as young as 12 years of age, whereas women in the lower classes were more likely to marry slightly further into their teenage years. Ancient Roman law required brides to be at least 12 years old, a standard adopted by Roman Catholic canon law. In ancient Roman law, first marriages to brides aged 12–25 required the consent of the bride and her father, but by the late antique period Roman law permitted women over 25 to marry without parental consent. The father had the right and duty to seek a good and useful match for his children, and might arrange a child's betrothal long before he or she came of age. To further the interests of their birth families, daughters of the elite would marry into respectable families. If a daughter could prove the proposed husband to be of bad character, she could legitimately refuse the match. The age of lawful consent to a marriage was 12 for maidens and 14 for youths. In late antiquity, Most Roman women seem to have married in their late teens to early twenties, but noble women married younger than those of the lower classes, and an aristocratic maiden was expected to be virgin until her first marriage. In late antiquity, under Roman law, daughters inherited equally from their parents if no will was produced. In addition, Roman law recognized wives' property as legally separate from husbands's property, as did some legal systems in parts of Europe and colonial Latin America.


title: Wife

text: Christian cultures claim to be guided by the New Testament in regard to their view on the position of a wife in society as well as her marriage. The New Testament condemns divorce for both men and women (1 Cor 7:10–11), and assumes monogamy on the part of the husband: the wife is to have her "own" husband, and the husband is to have his "own" wife (1 Cor 7:2). In the medieval period, this was understood to mean that a wife should not share a husband with other wives. As a result, divorce was relatively uncommon in the pre-modern West, particularly in the medieval and early modern period, and husbands in the Roman, later medieval and early modern period did not publicly take more than one wife.


title: Wife

text: In pre-modern times, it was unusual to marry for love alone, although it became an ideal in literature by the early modern period. In the 12th century, the Roman Catholic Church drastically changed legal standards for marital consent by allowing daughters over 12 and sons over 14 to marry without their parents' approval, even if their marriage was made clandestinely. Parish studies have confirmed that late medieval women did sometimes marry against their parents' approval. The Roman Catholic Church's policy of considering clandestine marriages and marriages made without parental consent to be valid was controversial, and in the 16th century both the French monarchy and the Lutheran church sought to end these practices, with limited success.


title: Wife

text: The New Testament made no pronouncements about wives' property rights, which in practice were influenced more by secular laws than religion. Most influential in the pre-modern West was the civil law, except in English-speaking countries where English common law emerged in the High Middle Ages. In addition, local customary law influenced wives' property rights; as a result wives' property rights in the pre-modern West varied widely from region to region. Because wives' property rights and daughters' inheritance rights varied widely from region to region due to differing legal systems, the amount of property a wife might own varied greatly. Under the English common law system, which dates to the later medieval period, daughters and younger sons were usually excluded from landed property if no will was produced. Under English common law, there was a system where a wife with a living husband ("feme couvert") could own little property in her own name. Unable to easily support herself, marriage was very important to most women's economic status. This problem has been dealt with extensively in literature, where the most important reason for women's limited power was the denial of equal education and equal property rights for females. The situation was assessed by the English conservative moralist Sir William Blackstone: "The husband and wife are one, and the husband is the one." Married women's property rights in the English-speaking world improved with the Married Women's Property Act 1882 and similar legal changes, which allowed wives with living husbands to own property in their own names. Until late in the 20th century, women could in some regions or times sue a man for wreath money when he took her virginity without taking her as his wife.


title: Wife

text: If a woman did not want to marry, another option was entering a convent as a nun. to become a "bride of Christ", a state in which her chastity and economic survival would be protected. Both a wife and a nun wore Christian headcovering, which proclaimed their state of protection by the rights of marriage. Much more significant than the option of becoming a nun, was the option of non-religious spinsterhood in the West. An unmarried woman, a feme sole, had the right to own property and make contracts in her own name. As first demonstrated quantitatively by John Hajnal, in the 19th and early 20th centuries the percentage of non-clerical Western women who never married was typically as high as 10–15%, a prevalence of female celibacy never yet documented for any other major traditional civilization. In addition, early modern Western women married at quite high ages (typically mid to late 20s) relative to other major traditional cultures. The high age at first marriage for Western women has been shown by many parish reconstruction studies to be a traditional Western marriage pattern that dates back at least as early as the mid-16th century.


title: Wife

text: In the 20th century, the role of the wife in Western marriage changed in two major ways; the first was the breakthrough from an "institution to companionate marriage"; for the first time since the Middle Ages, wives became distinct legal entities, and were allowed their own property and allowed to sue. Until then, partners were a single legal entity, but only a husband was allowed to exercise this right, called coverture. The second change was the drastic alteration of middle and upper-class family life, when in the 1960s these wives began to work outside their home, and with the social acceptance of divorces the single-parent family, and stepfamily or "blended family" as a more "individualized marriage".


title: Wife

text: In Western countries today, married women usually have an education, a profession and they (or their husbands) can take time off from their work in a legally procured system of ante-natal care, statutory maternity leave, and they may get maternity pay or a maternity allowance. The status of marriage, as opposed to unmarried pregnant women, allows the spouse to be responsible for the child, and to speak on behalf of their wife; a partner is also responsible for the wife's child in states where they are automatically assumed to be the biological legal parent. Vice versa, a wife has more legal authority in some cases when she speaks on behalf of a spouse than she would have if they were not married, e.g. when her spouse is in a coma after an accident, a wife may have the right of advocacy. If they divorce, she also might receive—or pay—alimony (see Law and divorce around the world).


title: Wife

text: The effect of women's income on heterosexual relationships’ dynamics depends on the couple’s different factors. Firstly on the cultural values that the couple has. As explained in (Brown and Roberts (2014)., according to the traditional levels of values of the couple, is going to dependent there effects that the wife's income is going to generate in the dynamics of the relationship. If the couple has strong traditional values, the income of women will affect men's gender identity and affect their well-being. On the other hand if they have strong liberal values, the income of a woman changes the dynamics almost in the opposite way, wife’s are the provider of the house and the man does the housework. However, in most cases of the sample in the study, the dynamics ended in a mutually dependent relationship, where the woman's income is needed, but at the same time women have to do the majority of the housework, their well-being is seriously affected.


title: Wife

text: Another variable that changes the dynamics is time, according to the research (Schwartz and Pons, 2016), there can be the assumption, that could explain how the dynamics star changing through the past decades, at the beginning of the 1970s the traditional dynamics was that women did the house labor and that men work for income because literally, they were in a system that made men much more capable of bringing more income to the family.


title: Wife

text: However, there's also noticed that the few women who out-earned their husbands were more prepared than the average men, but they still earn less than the average men, for discrimination issues. Eventually, the feminist movement changed the patriotic system, and women started earning more. The dynamics of couples started changing in the 1980s, correlations between higher income of women and higher rates of divorce, started decreasing, because the dynamics had already changed. People were getting more used to changing traditional dynamics to bring more income to the family. This effect is supported by the previous study of Roger (2004).


title: Wife

text: Finally another variable that was analyzed, is the economic independence theory, (Rogers, 2004) establishes that if one side of the couple provides more than 60% of the total income of the couple, there's a dependence effect. Therefore, in the past decades women have had a major increase in their economic independence. However at the same time that the dynamics are changed to give the power to women to decide, there's sacrifices that they have to make, such as the postponement of Maternity. Several studies, such as (Laura Gordo, 2009), prove that in order to specialize more in their jobs, women are postponing maternity. According to experts, by doing this they reduce their fertility rates. This problem leaves the question of, how can this change?. In my own opinion, I would say that there has to be a more significant change in the system. Maybe feminism is not totally right because while there is an injustice when a man has more economic advantages than women, there is also an injustice when women have to decrease their probabilities of having their children in order to compete in the economic system. This topic should be investigated deeper in further research.


title: Wife

text: In Indo-Aryan languages, a wife is known as "Patni", which means a woman who shares everything in this world with her husband and he does the same, including their identity. Decisions are ideally made in mutual consent. A wife usually takes care of anything inside her household, including the family's health, the children's education, a parent's needs.


title: Wife

text: The majority of Hindu marriages in rural and traditional India are arranged marriages. Once they find a suitable family (family of same caste, culture and financial status), the boy and the girl see and talk to each other to decide the outcome. In recent times however the western culture has had significant influence and the new generations are more open to the idea of marrying for love.


title: Wife

text: Indian law has recognized rape, sexual, emotional or verbal abuse of a woman by her husband as crimes.


title: Wife

text: In Hinduism, a wife is known as a "Patni" or "Ardhangini" (similar to "the better half") meaning a part of the husband or his family. In Hinduism, a woman or man can get married, but only have one husband or wife respectively.


title: Wife

text: In India, women may wear vermilion powder on their foreheads, an ornament called Mangalsutra () which is a form of necklace, or rings on their toes (which are not worn by single women) to show their status as married women.


title: Wife

text: China's family laws were changed by the Communist revolution; and in 1950, the People's Republic of China enacted a comprehensive marriage law including provisions giving the spouses equal rights with regard to ownership and management of marital property.


title: Wife

text: In Japan, before enactment of the Meiji Civil Code of 1898, all of the woman's property such as land or money passed to her husband except for personal clothing and a mirror stand. See Women in Japan, Law of Japan


title: Wife

text: Christian marriage as based on biblical teachings and conditions, is to be between one woman and one man, that God Himself joined them and that no human is to separate them, according to Christ's words (Matthew 19:4-6). The New Testament states that an unmarried Christian woman is to be celibate or is to become the Christian wife of one husband to avoid sexual immorality and for his sexual passion (1 Cor 7:1-2 & 8–9). The New Testament permits divorce of a Christian wife by a Christian husband only if she has committed adultery (Matthew 5:32). A Christian widow to (re)marry a man she chooses (1 Cor 7:39) but forbids a divorced Christian woman to remarry because she would be committing adultery if she did (Matthew 5:32). As such she is to remain unmarried and celibate or be reconciled with her husband (1 Cor 7:1-2 & 8-9 and 1 Cor 7:10-11). A Christian wife can divorce a non-Christian husband if he wants a divorce (1 Cor 7:12-16). Christian husbands are to love their Christian wives as Christ loved the Church (Ephesians 5:25) and as he loves himself (Ephesians 5:33). The Christian wife is to respect her husband (Ephesians 5:33). Christian husbands are to not be harsh with their Christian wives (Colossians 3:19) and to treat them as a delicate vessel and with honor (1 Peter 3:7).


title: Wife

text: Women in Islam have a range of rights and obligations (see main article Rights and obligations of spouses in Islam). Marriage takes place on the basis of a marriage contract. The arranged marriage is relatively common in traditionalist families, whether in Muslim countries or as first or second generation immigrants elsewhere.


title: Wife

text: Women in general are supposed to wear specific clothes, as stated by the hadith, like the hijab, which may take different styles depending on the culture of the country, where traditions may seep in. The husband must pay a "mahr" to the bride.


title: Wife

text: Traditionally, the wife in Islam is seen as a protected, chaste person that manages the household and the family. She has the ever important role of raising the children and bringing up the next generation of Muslims. In Islam, it is highly recommended that the wife remains at home although they are fully able to own property or work. The husband is obligated to spend on the wife for all of her needs while she is not obligated to spend even if she is wealthy. Muhammad is said to have commanded all Muslim men to treat their wives well. There is a hadith by Al-Tirmidhi, in which Muhammad is said to have stated "The believers who show the most perfect faith are those who have the best character and the best of you are those who are best to their wives."


title: Wife

text: Traditionally, Muslim married women are not distinguished from unmarried women by an outward symbol (such as a wedding ring). However, women's wedding rings have recently been adopted in the past thirty years from Western culture.


title: Wife

text: Women in Judaism have a range of rights and obligations ( see main article Jewish views on marriage). Marriage takes place on the basis of a Jewish marriage contract, called a Ketubah. There is a blur of arranged marriages and love marriages in traditional families.


title: Wife

text: Once, a man called Shechem, a Hivite, offered a dowry to get an Israelite wife, but was rejected, since he was not an Israelite himself. Genesis 34


title: Wife

text: In ancient times there were Israelite women who were Judge, Queen regnant, Queen regent, Queen mother, Queen consort, and Prophetess:


title: Wife

text: Deborah was the wife of an Israelite man whose name was Lapidoth, which means "torches." Deborah was a Judge and a Prophetess.


title: Wife

text: Esther was the Jewish wife of a Persian King named Ahasuerus. Esther was Queen consort to the King of Persia and at the same time she was Queen regnant of the Jewish people in Persia and their Prophetess.


title: Wife

text: Bathsheba was the Queen consort of King-Prophet David and then the Queen mother of King-Prophet Solomon. He rose from his throne when she entered and bowed to her and ordered that a throne be brought and he had her sit at his right hand, which is in stark contrast to when she was Queen consort and bowed to King-Prophet David when she entered. Prophet Jeremiah portrays a Queen mother as sharing in her son's rule over the kingdom in Jeremiah 13:18-20.


title: Wife

text: There is a widely held expectation, which has existed for most of recorded history and in most cultures, that a wife is not to have sexual relations with anyone other than her legal husband. A breach of this expectation of fidelity is commonly referred to as adultery or extramarital sex. Historically, adultery has been considered to be a serious offense, sometimes a crime, and a sin. Even if that is not so, it may still have legal consequences, particularly as a ground for a divorce. Adultery may be a factor to consider in a property settlement, it may affect the status of children, the custody of children; moreover, adultery can result in social ostracism in some parts of the world. In addition, affinity rules of Catholicism, of Judaism and of Islam prohibit an ex-wife or widow from engaging in sexual relations with and from marrying a number of relatives of the former husband.


title: Wife

text: In parts of the world, adultery may result in violent acts, such as honor killings or stoning. Some jurisdictions, especially those that apply Sharia law, allow for such acts to take place legally.


title: Wife

text: As of September 2010, stoning is a legal punishment in countries such as Saudi Arabia, Sudan, Iran, Yemen, the United Arab Emirates, and some states in Nigeria as punishment for zina al-mohsena ("adultery of married persons").


title: Air Defense Anti-Tank System

text: The Oerlikon/Martin Marietta Air Defense Anti Tank System (US designation MIM-146 "ADATS") is a dual-purpose short range surface-to-air and anti-tank missile system based on the M113A2 vehicle. The ADATS missile is a laser-guided supersonic missile with a range of 10 kilometers (6.2 miles), with an electro-optical sensor with TV and Forward Looking Infrared (FLIR). The carrying vehicle also has a search radar with an effective range of over 25 kilometers (16 miles).


title: Air Defense Anti-Tank System

text: The first firing of an "ADATS" missile occurred in June 1981. Canada was the launch customer for the system with 36 Units on the M113 chassis ordered for the Canadian Army in 1986. The system was further developed and produced at a new facility in Québec. The US Army also selected ADATS installed on the M2 Bradley chassis but by the time it was ready for service the ending of the Cold War led the US Army to cancel its orders, after Oerlikon invested over CHF 1 billion in the project. A small number of vehicles, many of them the developmental prototypes, entered service with the Canadian Army.


title: Air Defense Anti-Tank System

text: ADATS was trialed or proposed on a variety of different platforms to suit the needs of the user for the defense of mobile field formations or fixed sites such as airfields. Besides the M113A2 tracked vehicle chosen by Canada, ADATS was also installed on the M2 Bradley chassis for the US Army and the Swiss MOWAG Shark 8x8 vehicle, and proposed for the British Warrior MICV chassis. A shelter mounted version either with on-mount radar for autonomous use, or without radar for coordination with a central fire control center could be mounted on a 4x4 or 6x6 military truck or installed in fixed locations. This version was purchased by Thailand. A version mounted on the 4 wheel trailer used for the Oerlikon Contraves Skyguard fire control system and without radar, probably intended for integration with Skyguard and Oerlikon GDF 35mm guns, was also proposed.


title: Air Defense Anti-Tank System

text: There was also a proposed naval version called Sea Sprint using the standard 8-missile turret minus the radar, proposed for the close-in anti-air and anti-missile self-defense role.


title: Air Defense Anti-Tank System

text: Oerlikon also suggested a dedicated anti-tank system without the radar, including a version mounted on a long articulating arm that could be elevated high above the vehicle to clear trees or terrain while the launch vehicle remained hidden.


title: Air Defense Anti-Tank System

text: First systems were deployed as part of Canada's NATO contribution in West-Germany. 36 systems were delivered by 1994. Cost of the system was initially $650 million. Over the life of the project, total cost reached $1.1 billion.


title: Air Defense Anti-Tank System

text: After their return from Germany, Canadian ADATS systems were only operationally deployed once: In June 2002, they were used to defend the airspace of the G8 summit held in Kananaskis, Alberta. Canadian ADATS were never operationally deployed in Bosnia or Afghanistan.


title: Air Defense Anti-Tank System

text: As of 31 March 2011, the ADATS has been withdrawn from Canadian service with no planned replacement announced.


title: Air Defense Anti-Tank System

text: Canadian acquisition of the ADATS system was marred by a scandal relating to the purchase of the land where assembly of the system was to take place. The property had been bought and sold several times over a short period of time and its price inflated before it was sold to Oerlikon. It led to the resignation of Minister of State for Transport André Bissonnette who had been directly involved in the land deal, and several criminal accusations.


title: Air Defense Anti-Tank System

text: The ADATS cropped up from an extensive competition during which it was selected by the U.S. Army for the Forward Area Air-Defense (FAAD) program under the designation MIM-146 for the missile. The US Army planned to purchase 387 systems. Test results indicated that the system did not perform well in inclement weather. Ultimately the FAAD contract was cancelled in the early 1990s after the end of the Cold War.


title: Air Defense Anti-Tank System

text: The Royal Thai Air Force acquired one static shelter-based system from Oerlikon Canada, linked to a Skyguard fire control system.


title: Air Defense Anti-Tank System

text: In the late 1990s, Canada offered the surplus ADATS systems to the Greek military as part of a Low Level Air Defence program. The offer was considered but not accepted. Greece eventually purchased the Russian Tor missile system.


title: Air Defense Anti-Tank System

text: In September 2005, the Canadian Government and the Canadian Forces announced a modernization program, transforming the ADATS and associated command, control and communications systems into a Multi-Mission Effects Vehicle (MMEV). The MMEV was to retain and enhance ADATS anti-aircraft and anti-armor capability (85% or better engagement success rate) to meet new threats, provide indirect fire support to ground troops, and would be mounted on a LAV III wheeled armoured vehicle.


title: Air Defense Anti-Tank System

text: It was to be fitted with a 3D radar, non-line-of-sight missile (using unmanned aerial vehicles (UAVs) to gather required intelligence and target location at a range of 8 km or more) and low-cost precision kill (LCPK) missile (fireable on direct shot at a >8 km range), based on a 2.75-inch rocket and advanced Battle Management Command and Control Communication Computer and Information (BMC41), including Link 11/16, to provide Intelligence, Surveillance, Target Acquisition, and Reconnaissance (ISTAR).


title: Air Defense Anti-Tank System

text: In July 2006, Canadian Forces Land Staff recommended the cancellation of the Multi-Mission Effects Vehicle Project. The program was cancelled in November 2006.


title: 3-Quinuclidinyl benzilate

text: 3-Quinuclidinyl benzilate (QNB) (IUPAC name 1-azabicyclo[2.2.2]octan-3-yl hydroxy(diphenyl)acetate; US Army code EA-2277; NATO code BZ; Soviet code Substance 78) is an odorless and bitter-tasting military incapacitating agent. BZ is an antagonist of muscarinic acetylcholine receptors whose structure is the ester of benzilic acid with an alcohol derived from quinuclidine.


title: 3-Quinuclidinyl benzilate

text: BZ is a white crystalline powder with a bitter taste. It is odorless and nonirritating with delayed symptoms several hours after contact. It is stable in most solvents, with a half-life of three to four weeks in moist air; even heat-producing munitions can disperse it. It is extremely persistent in soil and water and on most surfaces. BZ is soluble in water, soluble in dilute acids, trichloroethylene, dimethylformamide, and most organic solvents, and insoluble with aqueous alkali.


title: 3-Quinuclidinyl benzilate

text: As a powerful anticholinergic agent, BZ produces a syndrome of effects known as the anticholinergic toxidrome: these include both psychological and physiological effects, with the most incapacitating effect being a state of delirium characterized by cognitive dysfunction, hallucinations, and inability to perform basic tasks. The usual syndrome of physical anticholinergic effects are also present, including mydriasis (potentially to the point of temporary blindness), tachycardia, dermal vasodilation, xerostomia and hyperthermia. The readily-observable symptoms of the anticholinergic toxidrome are famously characterized by the mnemonic "Mad as a hatter, red as a beet, dry as a bone and blind as a bat" (and variations thereof).


title: 3-Quinuclidinyl benzilate

text: Based on data from more than 500 reported cases of accidental atropine overdose and deliberate poisoning, the median lethal oral dose is estimated to be approximately 450 mg (with a shallow probit slope of 1.8). Some estimates of lethality with BZ have been grossly erroneous, and ultimately the safety margin for BZ is inconclusive due to lack of human data at higher dosage ranges, though some researchers have estimated it to be 0.5 to 3.0 mg/kg and an LD is 0.2 to 1.4 mg/kg (Rosenblatt, Dacre, Shiotsuka, & Rowlett, 1977).


title: 3-Quinuclidinyl benzilate

text: Antidotes for BZ include 7-MEOTA, which can be administered in tablet or injection form. Atropine and tacrine (THA) have also been used as treatments, THA having been shown to reduce the effects of BZ within minutes. Some military references suggest the use of physostigmine to temporarily increase synaptic acetylcholine concentrations.


title: 3-Quinuclidinyl benzilate

text: BZ was invented by the Swiss pharmaceutical company Hoffman-LaRoche in 1951. The company was investigating anti-spasmodic agents, similar to tropine, for treating gastrointestinal ailments when the chemical was discovered. It was then investigated for possible use in ulcer treatment, but was found unsuitable. At this time the United States military investigated it along with a wide range of possible nonlethal, psychoactive and psychotomimetic incapacitating agents including psychedelic drugs such as LSD and THC, dissociative drugs such as ketamine and phencyclidine, potent opioids such as fentanyl, as well as several glycolate anticholinergics. By 1959, the United States Army showed significant interest in deploying it as a chemical warfare agent. It was originally designated "TK", but when it was standardized by the Army in 1961, it received the NATO code name "BZ", the Chemical Corps initially referred to BZ as CS4030, then later as EA 2277. The agent commonly became known as "Buzz" because of this abbreviation and the effects it had on the mental state of the human volunteers intoxicated with it in research studies at Edgewood Arsenal in Maryland. As described in retired Army psychiatrist James Ketchum's autobiographical book "Chemical Warfare: Secrets Almost Forgotten" (2006), work proceeded in 1964 when a general envisioned a scheme to incapacitate an entire trawler with aerosolized BZ; this effort was dubbed Project DORK. BZ was ultimately weaponized for delivery in the M44 generator cluster and the M43 cluster bomb, until all such stocks were destroyed in 1989 as part of a general downsizing of the US chemical warfare program.


title: 3-Quinuclidinyl benzilate

text: In 2022 a documentary film," Dr Delirium and The Edgewood Experiments", was broadcast on Discovery+, featuring an interview with Ketchum not previously shown.


title: 3-Quinuclidinyl benzilate

text: In February 1998, the British Ministry of Defence accused Iraq of having stockpiled large amounts of a glycolate anticholinergic incapacitating agent known as ‘Agent 15’. Agent 15 is an alleged Iraqi incapacitating agent that is likely to be chemically identical to BZ or closely related to it. Agent 15 was reportedly stockpiled in large quantities prior to and during the Persian Gulf War. However, after the war the CIA concluded that Iraq had not stockpiled or weaponized Agent 15.


title: 3-Quinuclidinyl benzilate

text: According to Konstantin Anokhin, professor at the Institute of Normal Physiology in Moscow, BZ was the chemical agent used to incapacitate terrorists during the 2002 Nord-Ost siege, but 204 hostages perished due to overdose; but many other agents have also been proposed, and none definitively confirmed.


title: 3-Quinuclidinyl benzilate

text: In January 2013, an unidentified U.S. administration official, referring to an undisclosed U.S. State Department cable, claimed that "Syrian contacts made a compelling case that Agent 15, a hallucinogenic chemical similar to BZ, was used in Homs". However, in response to these reports a U.S. National Security Council spokesman stated,


title: 3-Quinuclidinyl benzilate

text: "The reporting we have seen from media sources regarding alleged chemical weapons incidents in Syria has not been consistent with what we believe to be true about the Syrian chemical weapons program".


title: Heathen (David Bowie album)

text: Heathen (stylised as uǝɥʇɐǝɥ) is the 23rd studio album by English musician David Bowie. It was originally released in Europe on 10June 2002, and the following day in America. After departing EMI/Virgin, it was his first release through his newly-formed ISO Records label, in conjunction with Columbia Records. It reunited Bowie with producer Tony Visconti, marking the two's first full-album collaboration since 1980's "Scary Monsters". Recording mostly took place at New York studios from August 2001 to January 2002 and featured overdubs from several guest musicians, including Dave Grohl and Pete Townshend. Two tracks, including "Afraid" and "Slip Away" evolved from Bowie's shelved "Toy" album, while three were covers by Pixies, Neil Young and the Legendary Stardust Cowboy.


title: Heathen (David Bowie album)

text: Musically, "Heathen" features an art rock and art pop sound reminiscent of Bowie's 1970s works, with several tracks displaying similar melodies and arrangements. Meanwhile, the spiritual lyrics reflected Bowie's accumulated feelings of dread, thoughts on ageing, and hope for a better future for his newborn daughter. Due to the timing of its release, several commentators interpreted some tracks, particularly "Sunday" and "Slow Burn", as a partial response to the September 11 attacks, although Bowie was adamant that the material was written beforehand. The album's spiritual themes were reflected in the artwork and packaging.


title: Heathen (David Bowie album)

text: Boosted by a vast marketing campaign and promotional appearances, "Heathen" was Bowie's most widely-anticipated album in years. It charted in numerous countries and peaked at number five on the UK Albums Chart. It also became his highest charting album in the United States since "Tonight" (1984), reaching number 14 on the "Billboard" 200. Additionally, the single "Everyone Says 'Hi" reached number 20 in the UK. "Heathen" was also the artist's most well-received album in years, with critics calling it a return to form and his best since "Scary Monsters". Many also signaled out the return of Visconti.


title: Heathen (David Bowie album)

text: Bowie supported the album on the Heathen Tour throughout mid-2002, which saw him perform at several festivals, including headlining the UK's Meltdown. Several shows featured both "Low" (1977) and "Heathen" played in their entireties. The album marked a creative and commercial resurgence for Bowie following a period of experimentation in the 1990s. His biographers have praised "Heathen" as an improvement over its predecessors, with several commending Bowie's ability to update his older sound for a modern setting and recognise it as one of his finest in his later career.


title: Heathen (David Bowie album)

text: In 2000, David Bowie recorded "Toy", a collection of remade songs he wrote in the 1960s with a couple of new tracks. Originally slated for release in March 2001, the project was shelved due to financial troubles encumbering his label, EMI/Virgin. In the meantime, Bowie began work on a new album with his former producer Tony Visconti, marking the duo's first full-length collaboration since "Scary Monsters (and Super Creeps)" (1980). After not speaking to each other for almost 20 years, the two reconciled in 1998 and recorded various one-off projects before reuniting for a full album. Both men were eager to work with each other again, with Visconti stating: "It was only in very recent years, around the time he made contact again, that I realized how much I missed him. We both had grown and changed, so the time was right to open the channels again."


title: Heathen (David Bowie album)

text: Bowie spent the spring of 2001 writing compositions. Wanting to establish a framework for the sessions, he started initial work at New York City's Looking Glass Studios alone. When writing, he aimed to make a collection of "serious songs to be sung", further explaining to "Interview" magazine, "I went in with the idea of creating a personal, cultural restoration", wanting to capture elements of songwriting techniques he had used throughout his entire career. Visconti was impressed with Bowie's growth as a songwriter, stating: "His knowledge of harmonic and chordal structure has vastly improved... there was more depth to his melodic and harmonic writing." As a result, "Heathen" became Bowie's first solely-written album since 1993's "The Buddha of Suburbia". Numerous personal events in Bowie's life, such as the birth of his daughter Alexandria in August 2000, the death of his mother Margaret in April 2001, and the death of his friend Freddie Buretti in May, deeply affected him and influenced some of the new material. In June, Bowie moved into Visconti's home in West Nyack, New York, where the two spent time working on songs using Pro Tools.


title: Heathen (David Bowie album)

text: On their second day of working, Bowie and Visconti travelled to Allaire Studios in Shokan, New York at the suggestion of guitarist David Torn. Located on the estate of Glen Tonche on top of Mount Tonche in the Catskill Mountains two hours north of New York City, the studio had 40-foot tall ceilings and a view of the Ashokan Reservoir. Although he had preferred more urban areas, such as New York City or Berlin, Bowie found the location's isolationism was inspirational for the sessions and began to write "furiously"; the tracks "Sunday" and "Heathen (The Rays)" were specifically influenced by the surroundings. He told "Interview":


title: Heathen (David Bowie album)

text: Recording at Allaire commenced in August 2001 and continued into September. The lineup initially consisted of Bowie, Visconti, and drummer Matt Chamberlain, whom the two had met while scouting at the studio; David Torn contributed guitar parts in September. The trio finished 19 pieces in about two weeks, one of which was a remake of the "Toy" track "Uncle Floyd", now titled "Slip Away". When asked about using entirely new personnel by "Time Out" magazine, Bowie explained, "I was keen to work with musicians neither [Tony nor I] had worked with before." As for himself, Bowie contributed more instrumentation on "Heathen" than any studio album "since "Diamond Dogs" [1974] or maybe "Low" [1977]"; he played guitar, saxophone, stylophone, keyboards, drums and the same EMS AKS synthesiser he used on "Low". According to biographer Nicholas Pegg, this development was "actively encouraged" by Visconti. Visconti also brought back the vocal effect previously utilised on the song "Heroes" (1977) for "Sunday" and "I Would Be Your Slave", wherein three microphones were set up at different distances from the singer, each opening up when Bowie sang at the appropriate volume.


title: Heathen (David Bowie album)

text: In addition to the core band, Bowie invited several former collaborators and newcomers to Allaire for overdubs. They included guitarist Gerry Leonard, who returned from the "Toy" sessions, singer Kristeen Young, who previously worked with Visconti, and keyboardist Jordan Rudess, who had worked with Bowie and Visconti before the "Toy" sessions. Rudess revealed at the time: "Bowie doesn't like a lot of options. He has a good idea of how he wants the end result to sound, so practically what's on his demo is close to what he wants." Returning collaborators on guitar included Foo Fighters frontman Dave Grohl: having previously performed with Bowie at his 50th birthday concert in January 1997, Grohl guested on a cover of Neil Young's "I've Been Waiting for You"; Carlos Alomar, last seen on the 1995 Outside Tour, contributed overdubs in mid-October; and the Who's Pete Townshend, who played parts for "Slow Burn", having previously guested on "Because You're Young" from "Scary Monsters". Townshend later told fans that "Heathen" was "surprising, moving, poetic, in a musical and visionary sense."


title: Heathen (David Bowie album)

text: Mixing for "Heathen" began at Looking Glass in October. Here, Visconti reworked the Mark Plati-produced "Toy" track "Afraid" to have it match the new material. Bowie, Visconti and Alomar also recorded vocals and guitars for "Everyone Says 'Hi, which was completed at Sub Urban Studios in London with production by Brian Rawling and Gary Miller. Miller said that he primarily worked off the vocals: "It started off like a remix, but ended up as a fully-fledged production." Overdubbing continued on and off until January 2002. Visconti added contributions from the Scorchio Quartet (Greg Kitzis, Meg Okura, Martha Mooke, Mary Wooten), who previously played with Bowie at the Tibet House Benefit Concert in February 2000, and the Borneo Horns (Lenny Pickett, Stan Harrison, Steve Elson), last seen on "Never Let Me Down" (1987). Other credited players on "Heathen" include drummer Sterling Campbell and bassist Tony Levin of King Crimson.


title: Heathen (David Bowie album)

text: Outtakes from the sessions included "Wood Jackson", "When the Boys Came Marching Home", a new version of a track Bowie and Visconti recorded in 1998 called "Safe", and "Fly". Bowie later remarked that "the hard part was knowing which songs not to include [on the final album]".


title: Heathen (David Bowie album)

text: The standard edition of "Heathen" contains 12 songs, of which nine are originals and three are covers. Two of the covers were originally slated for inclusion on an abandoned sequel to Bowie's 1973 covers album "Pin Ups": Young's "I've Been Waiting for You" and "I Took a Trip on a Gemini Spaceship" by Norman Odam, or the Legendary Stardust Cowboy, from whom Bowie lifted part of his Ziggy Stardust moniker in 1972. The final cover is "Cactus" by the Pixies, which features Bowie on all instruments except for bass and is his only recorded drum performance. Biographer David Buckley writes that the album is musically diverse, presenting a range of genres from the "edgy rock" of "Scary Monsters" ("Cactus"), techno ("I Took a Trip on a Gemini Spaceship"), American punk ("I've Been Waiting For You"), drum and bass ballad ("I Would Be Your Slave"), riff rock ("Afraid"), quasi-reggae ("5.15 The Angels Have Gone") and 1971-era pop ("Everyone Says 'Hi). Other reviewers have classified "Heathen" as art rock and art pop. Compared to previous albums, the songs feature numerous more ties between the melodies, harmonies and arrangements, predominantly on "Sunday", "Slip Away" and "Afraid". Bowie said he based the songs on "Heathen" off of Richard Strauss' "Four Last Songs", particularly "Sunday", "Heathen (The Rays)", "I Would Be Your Slave" and "5.15 The Angels Have Gone", as well as capturing the mood of Bob Dylan's "Time Out of Mind" (1997).


title: Heathen (David Bowie album)

text: According to Bowie, the album's overarching theme was "of a world that had dispensed of its gods". Visconti later confirmed to "The Guardian" that "the concept of "Heathen" is a godless century. [Bowie] was addressing the bleakness of our soul... and maybe his own soul." At the time, "Rolling Stone"s David Fricke similarly wrote that a loose theme throughout the album details "the search for guiding light in godless night". Described by Buckley as "sombre, moody, spiritually questing and reflective", the album continues the "spirituality" of "Outside" (1995), "Earthling" (1997) and "Hours" (1999), while also presenting Bowie's strong reflections on ageing. He told "Interview" magazine that once you reach a certain age, you realise "you're not growing anymore", "your body's strength is diminishing" and once aware, "You've got to let it go". Comparing "Heathen" and "Hours", author Dave Thompson says that both share "a similar mood, a similar air of mature reflection and a similar air of deep, personal beauty". However, compared to, in Pegg's words, the "world-weary reminiscence" that pervaded "Hours", "Heathen" focuses on feelings of existential dread, particularly on "Sunday", "Afraid" and the title track. Pegg also analyses the feeling of anxiety throughout "Heathen" as being different compared to records such as "Diamond Dogs" and "Station to Station" (1976), in that here, "it is the anxiety of a happy, fulfilled mind struggling to come to terms with imitations of mortality." Bowie elaborated in "Interview": "It's a head-spinning dichotomy of the lust for life against the finality of everything." He also defined the album's protagonist as a lost 21st-century man.


title: Heathen (David Bowie album)

text: Due to its subject matter and timing of its release, many commentators at the time suggested that "Heathen" was partly a response to the September 11 attacks. Author Marc Spitz argued that because "Heathen" was recorded in New York, it is inevitable that listeners would interpret the lyrics as a response to the attacks. In "The Words and Music of David Bowie", James E. Perone stated that the album "chronicles New York City at the time of the...attacks".


title: Heathen (David Bowie album)

text: However, Bowie said all the songs were written beforehand and reflected a general feeling of anxiety that he'd had in America for years, adding "it's not unlikely that you're going to have a sense of angst in anything that's recorded in New York or by New Yorkers". He also remarked that "half a dozen" of his own albums, had they been released after the attacks, would have attracted similar attention as commentaries on the attacks. Visconti later explained that the recording sessions were still underway at the time of the attacks, but suggested that "only a few lines were amended after September 11". Plati also commented that "I think in "Heathen" you can feel the overall mood of where we all were during those times." Thompson argued that the album "sounded like it understood how people felt".


title: Heathen (David Bowie album)

text: Perone identifies tracks such as "Slip Away", "Slow Burn" and "A Better Future" as reflecting a post-9/11 atmosphere, while regarding "Sunday", Bowie himself admitted: "It was quite spine-tingling to realize how close those lyrics came. There are some key words in there that really just freak me out." A month after the attacks, Bowie performed "Heroes" and a cover of Simon & Garfunkel's "America" at the Concert for New York at Madison Square Garden. A week after the show, he stated that he "felt duty-bound to do something" following the attacks.


title: Heathen (David Bowie album)

text: Album opener "Sunday" displays pervading electronic textures and numerous loops using created synthesisers. It musically descends from tracks such as "Word on a Wing" (1976), "The Motel" (1995), "The Dreamers" (1999), and the atmospherics of "Low" (1977). Establishing the album's core themes of, in Pegg's words, "spiritual uncertainty and existential fear", the dreary lyrics were inspired by the "barren beauty" of the surrounding region around Allaire. Regarding the title, Pegg evaluates it as "neatly encapsulat[ing] the album's sense of an uneasy balance between the spiritual and the secular." The lyrics of "Cactus", taken from Pixies' debut album "Surfer Rosa" (1988), discuss a distaste and lack of sexual engagement that biographer Chris O'Leary considers a "carnal relief" from the rest of the album's "Grand Old Man-isms". Bowie played most of the instruments while Visconti played bass. Pegg considers it a raw, tightly produced piece of garage rock that pays homage to T.Rex's "The Groover" (1973).


title: Heathen (David Bowie album)

text: Pegg considers "Slip Away" a "sweeping ballad" reminiscent of "Space Oddity" (1969) and "Life on Mars?" (1971). Originally the "Toy" track "Uncle Floyd", the song was re-recorded from scratch for "Heathen". The lyrics meditate on lost happiness and yearning expressed through the views of two puppets from the obscure low-budget children's television series "The Uncle Floyd Show". Bowie became a fan of the show in 1980 and even appeared on it in 1981. He said in 2002 that he placed "Slip Away" on "Heathen" because he "wanted something on the album that pointed to a nicer time... even if it wasn't necessarily true." "Slow Burn" musically harkens back to Bowie's 1970s works, particularly with saxophone playing. Pegg finds it a modernised update of the R&B styles of tracks such as "Heroes" and "Teenage Wildlife" (1980). The lyrics express a feeling of anxiety in a "terrible town" that were grounded in feelings Bowie had accumulated over many years. Nevertheless, commentators suggested a 9/11 influence, with O'Leary arguing that lyrics such as "Here are we, at the centre of it all" evoke the atmosphere of New York City after the attacks.


title: Heathen (David Bowie album)

text: The reworking of "Afraid" is set to the original backing track recorded for "Toy", albeit enhanced by new production from Visconti. This recording is more upbeat and inspired by 1970s new wave. Lyrically, its character is insecure and fearful for the future, which Pegg finds reminiscent of the 1997 re-recording of "I Can't Read". Pegg considers Bowie's cover of "I've Been Waiting for You", taken from Young's eponymous 1969 debut album, a "strong and direct rendition" that stands as the "least essential" of the album's three cover versions." Perone highlights Grohl's guest performance as standing out on its own rather than mimicking Young's original. According to O'Leary, Bowie used the Pixies' 1990 cover as a template for his version. Compared to other tracks on the album, "I Would Be Your Slave" is more avant-garde and minimalist, based around sequences of strings and drum loops. The lyrics, described by Bowie as "an entreaty to the highest being to show himself in a way that could be understood", feature ambiguous dialogue between a disturbed protagonist and another figure, analysed by biographers as either a lover or God. Perone calls it a "song of undying devotion".


title: Heathen (David Bowie album)

text: According to O'Leary, Bowie covered "I Took a Trip on a Gemini Spaceship" as a way to "make amends" for not compensating Odam when he used him as an influence for Ziggy. Concerning a character who is lonely out in space, the music is incohesive, featuring an abrasive "speed-funk backdrop" of instruments that reference science fiction programs from "" to "Star Trek". "5.15 The Angels Have Gone" is a somber song that concerns a man who feels isolated and has lost hope. The image of a lonely man who packs up and leaves town continues a theme present throughout Bowie's entire career, from songs such as "Can't Help Thinking About Me" (1965) to "Move On" (1979). Discussing the song, Bowie explained: "A man who could once see his angels – hopes and aspirations, maybe – can't see them anymore and he blames the crushing dumbness of life for it." Perone likens its angels references to "Hours" and the use of trains representing a change in lifestyle to "Station to Station" (1976). Musically, it sets an icy percussion backing with repetitive guitar phrase.


title: Heathen (David Bowie album)

text: "Everyone Says 'Hi boasts a lush and sentimental arrangement to present a meditation on bereavement and denial. Like the previous track, the song's character desires to leave home for better opportunities. Thompson states that the lyrics are outlined as a series of thoughts that read like postcards. Regarding its placement on "Heathen", Perone opines that the track upholds "the general sense of disillusionment and disconnection" that runs throughout the album. "A Better Future" is Bowie's plea to God for a brighter world where his daughter can grow up safe. Perone says that the lyrics "ring true" to the context of both a personal relationship and the feeling of bereavement in New York City after 9/11. Musically, the track displays textured production with a simple melody, with electronic minimalism reminiscent of the Berlin Trilogy and the "catchy synthesiser pop" of "Dead Against It" (1993), foreshadowing the songs on the artist's next studio album "Reality" (2003). Musically, "Heathen (The Rays)" offers a culmination of the album's styles, particularly evoking "Sunday" and "Slip Away" with a gradually growing arrangement, and a return of the multi-layered backing vocals found throughout the entire album. Buckley opines that it's "Warszawa"-type ending leaves the listener "seemingly without hope or consultation". Regarding the subject, Bowie explained: "'Heathen' is about knowing you're dying. [...] It's a song to life, where I'm talking to life as a friend or lover."


title: Heathen (David Bowie album)

text: The album's themes are reflected in the artwork and packaging. The artwork was photographed by Swiss photographer Markus Klinko, who took the cover photo for Bowie's wife Iman's book "I Am Iman". The photo sessions took place in early 2002 and were digitally enhanced by Klinko's partner Indrani. Bowie then hired "I Am Iman" designer Jonathan Barnbrook to create the cover's upside-down typeface, which evokes the writings of Jacques Derrida, one of Bowie's favourite philosophers. Klinko's photograph's included in the booklet reinforce, in Pegg's words, "the sense of spiritual and discursive negation": Bowie sitting at a Spartan school-desk with his pen in the air above a blank page. Various shots depict him cutting through the pages, while his crucifix is censored in another photo. On the cover artwork itself, Bowie appears in semi-profile. Buckley states that he "looks possessed", gazing "like a grown-up Midwich Cuckoo". His eyes are blank and silvered out, which Pegg suggests represents "a state of both blindness and transcendence". Bowie explained that they were fish eyes (a reference to the ichthys) and the artwork as a whole was intended "as a pun on Christianity". In another interview, he stated they come from Luis Buñuel and Salvador Dalí's 1929 film "Un Chien Andalou".


title: Heathen (David Bowie album)

text: An image included in the packaging contains three books that announce the themes: Albert Einstein's "The General Theory of Relativity" (1915), Sigmund Freud's "The Interpretation of Dreams" (1899), and Friedrich Nietzsche's "The Gay Science" (1882). Non-literary references include various medieval and Renaissance paintings that are marred by paint splatters and knife slashes. Pegg connects these Christian images to Nietzsche's book, which particularly announced that "God is dead". The paintings defaced include: Guido Reni's "Massacre of the Innocents" (1611), which symbolises Bowie's fear for his daughter's future – and inevitably the 9/11 attacks; Duccio di Buoninsegna's "Madonna and Child with Six Angels" (1300–1305), which suggests that "the angels have gone"; Carlo Dolci's "Magdalene" (1660–1670), appearing in an inverted detail; and an engraved undated copy of Peter Paul Rubens' "Christ and St. John with Angels". The standard jewel-case CD booklet also included a torn image of Raffaello Sanzio's "St. Sebastian" (1501–1502). Pegg and Buckley call the artwork one of Bowie's finest.


title: Heathen (David Bowie album)

text: On 15December 2001, Bowie announced his departure from Virgin and began the process of forming his own independent label, ISO Records. Describing it as "aiming to be 'a small. mobile, intelligent unit'," he explained: "I've had one too many years of bumping heads with corporate structure. Many times I've not been in agreement with how things are done and as a writer of some proliferation, frustrated at how slow and lumbering it all is. I've dreamed of embarking on my own set-up for such a long time and now is the perfect opportunity." In March 2002, ISO entered a licensing deal with Columbia Records, who would distribute Bowie's work starting with "Heathen". Columbia chairman Don Ienner offered his full support of Bowie in a released statement, praising "Heathen" as "a remarkable addition to [an] incredible body of work[...] I think it's the album his worldwide audience has been waiting for." Bowie was also happy with the engagement, offering commendation for the label's marketing. The deal would last for the rest of his life.


title: Heathen (David Bowie album)

text: "Slow Burn" was released in Japan and Europe only on 3June 2002 as the album's lead single in different CD formats featuring various outtakes; a UK release planned for July 2002 was cancelled. According to Pegg, a 60-second clip of Bowie and child actress Hayley Nicholas directed by Gary Koepke appeared as a television commercial to promote "Heathen", but its full Koepke-directed music video remained unreleased until 2016. "Everyone Says 'Hi was issued as the second single on 16September, backed by not only various "Heathen" and "Toy" tracks, but also "Safe", a reworking of a song written for but cut from "The Rugrats Movie" in 1998. It reached number 20 in the UK and was supported by a rare video taken from a live performance in July. "I've Been Waiting for You" was released as a single in Canada only the same month.


title: Heathen (David Bowie album)

text: ISO issued "Heathen" in Europe on 10June 2002 and in America the following day. It came in various CD formats, including a standard CD with the full 12-track album and a limited-edition digipack that was packaged with the "Toy" re-recording of "Conversation Piece" and the 1979 version of "Panic in Detroit", along with an online code to access lyrics, scrapped album artworks and two audio tracks; the Japanese release added the B-side "Wood Jackson". In December 2002, "Heathen" was issued on Super Audio CD, featuring a 5.1 surround sound remix of the album, extended versions of four tracks, and outtakes.


title: Heathen (David Bowie album)

text: The album's thorough marketing campaign advertised "Heathen" as Bowie's 25th studio album and included several television appearances and interviews, various pre-release "listening events" and in America, a television commercial featuring Bowie and a young girl, which he described as a "parent-child situation". The campaign and press coverage of the Bowie-hosted Meltdown festival and the 30th anniversary of "Ziggy Stardust" (1972) led "Heathen" to become his most anticipated album in several years. As such, it peaked at number five on the UK Albums Chart, matching the performance of "Hours", and remaining on the chart for 20 consecutive weeks, the artist's longest continuous chart presence since "Let's Dance" (1983). It also peaked at number 14 on the "Billboard" 200, becoming Bowie's highest charting album there since "Tonight" in 1984. Across Europe, "Heathen" reached number one in Denmark, number two in Norway, number three in France, number four in Austria, Belgium Flanders and Germany, and the top ten in Australia, Belgium Wallonia, Canada, Ireland, Italy, Scotland, Sweden and Switzerland. Elsewhere, the album charted in Finland (11), Hungary (18), the Netherlands (19), New Zealand (22), Japan (26), and Spain (27).


title: Heathen (David Bowie album)

text: "Heathen" was Bowie's best-received album in years. On Metacritic, the album has an overage score of 68 out of 100 based on 20 reviews, indicating "generally favourable reviews". Many reviewers felt "Heathen" was a return to form for the artist and his best work since "Scary Monsters". In "The Guardian", Alexis Petridis found a "strident, confident" album "lush with melodies" that "achieves a balance noticeably lacking in Bowie's output of the past 20 years". Although he felt it did not reach the highs of "Station to Station", "Low" or "Scary Monsters", he concluded that "Heathen" is "packed with fantastic songs" and is overall "the sound of a man who has finally worked out how to grow old with a fitting degree of style". Chris Jones of BBC Music found it not a return to form, but rather "a continuation of all the marvelous things we love about [Bowie]." Praising the covers and production, Jones ultimately called it a "serendipitous release" that "bursts with a positively rude health". AllMusic's Stephen Thomas Erlewine reasoned that although it doesn't break new ground, the ending result is "an understated, utterly satisfying record, [...] simply because he'd never sounded as assured and consistent since." Meanwhile, Sarah Dempster of "NME" opined that with the album, Bowie "remains rock's most worship-worthy oddity".


title: Heathen (David Bowie album)

text: Numerous reviewers highlighted the return of Visconti. "Entertainment Weekly"s David Browne highlighted his return as harkening back to Bowie's late-1970s collaborations with the producer, as did "Blender"s John Aizlewood. Regarding the production, Fricke stated that the majority of "Heathen" was "the sound of Bowie essentially covering himself — to splendid, often moving effect." "Pitchfork"s Eric Carr similarly wrote that "Bowie is obviously never going to recapture his trend-setting finesse of yesteryear, but at least he seems okay with that. And that's this record's greatest strength." Meanwhile, a writer for "Time Out" magazine described the album as "a collection of strong, melodic songs executed with playful primitivism and sung with a force and passion that would be remarkable in a man half his age." Several reviewers also praised the cover songs.


title: Heathen (David Bowie album)

text: Some reviewers expressed more mixed assessments. "Time" magazine's Benjamin Nugent found that the only good songs were the covers, while Kyle Smith of "People" complained about a general lack of melodicism. Veteran critic Robert Christgau was also mixed in "The Village Voice", naming "Heathen" his "dud of the month", primarily citing weak songwriting. Although he highlighted tracks such as "Cactus", "Slow Burn" and "Afraid", Aizlewood criticised the track listing as incohesive, finding they "plod" rather than "spring". In a very negative review for "Uncut" magazine, Ian MacDonald complained that none of the album's 12 tracks have memorable choruses or melodies, with "short-breathed and tired" phrasings and "energyless" sequences. He also cited poor track flows resulting in a disappointing and dissatisfying Bowie album.


title: Heathen (David Bowie album)

text: "Heathen" appeared on several lists of the year's best albums and was nominated for the Mercury Prize. "Slow Burn" also received a Grammy nomination for Best Male Rock Vocal Performance at the 45th Annual Grammy Awards in 2003. Regarding overall reception, Bowie said that "it's been very positively received" at the time, but noticed a cliché regarding critical reviews: "It seems to be traditional now that every album since "Black Tie White Noise" [1993] is the best album I've put out since "Scary Monsters". Inevitably, that's what I get. But this one just seems to have caught people's imaginations."


title: Heathen (David Bowie album)

text: From 10May to 23October 2002, Bowie supported the album on the Heathen Tour. After the smaller-scale Hours Tour, Bowie opted for a "less is more" approach for the Heathen Tour, stating that "touring has become harder and harder for me." The lineup featured returning musicians Earl Slick, Gail Ann Dorsey, Mark Plati, Mike Garson, Sterling Campbell, and "Heathen" players Gerry Leonard and Catherine Russell. They first made a series of festival and television appearances throughout May and early June. On 11June, Bowie and the band appeared at New York's Roseland Ballroom and played "Low" and "Heathen" in their entireties. He stated: "The two albums kind of feel like cousins to each other. They've got a sonic similarity." In the second half of June, Bowie curated the annual UK Meltdown festival, which featured performances from himself and a variety of hand-picked artists, including the Legendary Stardust Cowboy, Coldplay, Suede and performances of Philip Glass' ""Low"" and ""Heroes"" symphonies by the London Sinfonietta. These initial performances received unanimous praise and concluded with Bowie again performing "Low" and "Heathen" in their entireties.


title: Heathen (David Bowie album)

text: Although Bowie intended for the tour to not be a greatest hits package, changes were made to the setlist after Meltdown. "A Better Future" and "Slow Burn" were dropped after Meltdown, while "I Took a Trip on a Gemini Spaceship" followed suit in exchange for more crowd-pleasing numbers, such as "Stay" and "Life on Mars?". Nevertheless, he continued playing most of "Low" and "Heathen" for subsequent shows. In late July, he joined musician Moby on his 12-date Area:2 festival tour promoting his new album "18" (2002). The two had formed a friendship in 1997 after Mody remixed "Earthling"s "Dead Man Walking". Bowie's performances at Area:2 were described by numerous reviewers as show-stealers. In September, Bowie made various television appearances to promote the "Everyone Says 'Hi single.


title: Heathen (David Bowie album)

text: The tour's European leg commenced on 22September with a show in Berlin and ended on 2October with a show at London's Hammersmith Odeon, the venue Bowie famously killed off Ziggy Stardust at in 1973. Afterwards, the tour was extended to multiple shows in New York, where tracks from "Heathen" and oldies such as "Rebel Rebel" were played. In the end, the tour consisted of 36 dates, with several leisurely breaks. Bowie initially ruled out the possibility of a world tour due to his family commitments. However, the success of the Heathen Tour, and admiration for his touring band, reinvigorated Bowie's desire for larger tours, leading to the worldwide A Reality Tour the following year.


title: Heathen (David Bowie album)

text: According to Pegg, "Heathen" marked a commercial and creative resurgence for Bowie. Buckley argues that he finally found a voice in 2002 compared to the 1990s, when critics dismissed him as "genre-hopping" too old for the times. With "Heathen"s update of old themes into a modern settings, the public took notice of him for the first time "in a generation". "Heathen" went on to sell one million copies worldwide by the end of 2003. In 2016, Bryan Wawzenek of "Ultimate Classic Rock" placed "Heathen" at number 17 out of 26 in a list ranking Bowie's studio albums from worst to best, praising Bowie's comfortability on the record, calling it "distinguished, thoughtful and spirited". Including Bowie's two albums with Tin Machine, "Consequence of Sound" ranked "Heathen" number 19 in a 2018 list, with Blake Goble finding it an "atmospheric residue from Bowie's '70s efforts made in a more commercially slick and stable world".


title: Heathen (David Bowie album)

text: Bowie's biographers have reacted positively to "Heathen". In "", Spitz considers it one of the artist's best. Some found it an improvement over its immediate predecessors: Buckley finds it lacks the "optimism" of "Earthling", while Pegg calls the songwriting an improvement over "Hours". Author Paul Trynka similarly highlighted the return of Visconti as helping to ditch the "intense sonic textures, overlayered production, and the sense that Bowie was trying too hard" that pervaded its predecessors. Pegg further hails Visconti's production as "the richest, strongest sound of any Bowie album in years", particularly signaling out his work on "Afraid" and "I Would Be Your Slave". Regarding Bowie's vocal performances, Pegg positively compares them to that of ""Heroes"" and "Scary Monsters", while Trynka considers them his finest since "Baal" (1982).


title: Heathen (David Bowie album)

text: On the album as a whole, Buckley felt that it failed to replicate the creativity of his 1970s works, but by itself, it stands as "a valid and at times excellent piece of work". Perone names "Heathen" one of the artist's strongest albums in his later career, although he argues that it inevitably lies in the shadow of the 9/11 connections, as even though the songs were written before, it successfully captured the spirit of the tragedy. Pegg felt the inclusion of three covers was excessive and noted the overall lack of melodies, but "combined with superb performances, not to mention some of the finest and most probing lyrics Bowie ever wrote, the result is a positive triumph." He added that after a decade of experimentation, "Heathen" emerged from that decade's collaborators with "an impressive collection of songs which evoke the classic Bowie of old, but are at the same time convincingly modern in style, intent and execution."


title: Tequila sunrise (cocktail)

text: The tequila sunrise is a cocktail made of tequila, orange juice, and grenadine syrup. The drink is served unmixed in a tall glass. The modern drink originates from Sausalito, California, in the early 1970s after an earlier iteration created in the 1930s in Phoenix, Arizona. The cocktail is named for its appearance when served—with gradations of color resembling a sunrise.


title: Tequila sunrise (cocktail)

text: The original tequila sunrise contained tequila, creme de cassis, lime juice, and soda water, and was served at the Arizona Biltmore Hotel where it was created by Gene Sulit in the 1930s or 1940s.


title: Tequila sunrise (cocktail)

text: The more popular modern version of the cocktail contains tequila, orange juice, and grenadine, and was created by Bobby Lozoff and Billy Rice in the early 1970s while working as young bartenders at the Trident in Sausalito, California north of San Francisco. In 1972, at a private party at the Trident organized by Bill Graham to kick off the Rolling Stones' 1972 tour in America, Mick Jagger had one of the cocktails, liked it, and he and his entourage started drinking them. They later ordered them all across America, even dubbing the tour itself their "cocaine and tequila sunrise tour".


title: Tequila sunrise (cocktail)

text: At the time, the Trident was the largest outlet for tequila in the United States, and in 1973 Jose Cuervo picked up on the new drink as a marketing opportunity and put the recipe for the new drink on the back of their bottles of tequila, and promoted it in other ways. Later that same year, the Eagles recorded a song called "Tequila Sunrise" for their "Desperado" album as the drink was soaring in popularity. In 1988, a successful film titled Tequila Sunrise was released, starring Michelle Pfeiffer, Mel Gibson and Kurt Russell, and directed by Robert Towne.


title: Tequila sunrise (cocktail)

text: The tequila sunrise is considered a long drink and is usually served in a collins or highball glass. The International Bartender Association has designated this cocktail as an IBA Official Cocktail.


title: Tequila sunrise (cocktail)

text: The drink is mixed by pouring in Tequila, ice, then the juice and, lastly, syrup. The signature look of the drink depends on adding the syrup without mixing with the other ingredients. A spoon may be used to guide the syrup down the glass wall to the bottom of the glass with minimal mixing.


title: International Day of Yoga

text: The International Day of Yoga has been celebrated across the world annually on June 21 since 2015, following its inception in the United Nations General Assembly in 2014.


title: International Day of Yoga

text: Yoga is a physical, mental and spiritual practice which originated in ancient India. The Indian Prime Minister Narendra Modi, in his UN address in 2014, had suggested the date of June 21, as it is the longest day of the year in the Northern Hemisphere and shares a special significance in many parts of the world.


title: International Day of Yoga

text: The Indian Prime Minister Narendra Modi, in his UN address in 2014, suggested an annual Day of Yoga on June 21, as it is the longest day of the year in the Northern Hemisphere and shares a special significance in many parts of the world. Following the initial proposal, the UN adopted the draft resolution, entitled "Day of Yoga", on 2014. The consultations were convened by the delegation of India.


title: International Day of Yoga

text: In 2015 Reserve Bank of India issued a 10 rupees commemorative coin to mark the International Day of Yoga.


title: International Day of Yoga

text: In April 2017, UN Postal Administration (UNPA) issued 10 stamps on Asanas on a single sheet to mark International Day of Yoga.


title: International Day of Yoga

text: On 11 December 2014, India's Permanent Representative Asoke Mukherji introduced the draft resolution in the United Nations General Assembly. The draft text received broad support from 177 Member States who sponsored the text, which was adopted without a vote. This initiative found support from many global leaders. A total of 177 nations co-sponsored the resolution, which is the highest number of co-sponsors ever for any UNGA resolution of such nature.


title: International Day of Yoga

text: When proposing 21 June as the date, Modi said that the date was the longest day of the year in the northern hemisphere (shortest in the southern hemisphere), having special significance in many parts of the world. In Indian calenders, the summer solstice marks the transition to Dakshinayana. The second full moon after summer solstice is known as Guru Poornima. In Hindu mythology, Shiva, the first yogi (Adi Yogi), is said to have begun imparting the knowledge of yoga to the rest of mankind on this day, and became the first guru (Adi Guru).


title: International Day of Yoga

text: Following the adoption of the UN resolution, several leaders of the spiritual movement in India voiced their support for the initiative. The founder of Isha Foundation, Sadhguru, stated, "this could be a kind of a foundation stone to make scientific approach to the inner well-being of the human being, a worldwide thing... It's a tremendous step for the world." The founder of Art of Living, Ravi Shankar, lauded the efforts of Modi, saying, "It is very difficult for any philosophy, religion or culture to survive without state patronage. Yoga has existed so far almost like an orphan. Now, official recognition by the UN would further spread the benefit of yoga to the entire world."


title: International Day of Yoga

text: The first International Day of Yoga was observed around the world on 21 June 2015. The Ministry of AYUSH made the necessary arrangements in India. 35,985 people, including PM Modi and dignitaries from 84 nations, performed 21 asanas (yoga postures) for 35 minutes at Rajpath in New Delhi, becoming the largest yoga class ever held, and with the largest number—84—of participating nations. Similar days have been held in cities in India and around the world each year since then.


title: International Day of Yoga

text: In 2020, Bulgarian prime minister Boyko Borissov recorded a video message to Indian prime minister Narendra Modi on the occasion of International Yoga Day.


title: International Day of Yoga

text: An Associated Press report in 2015 noted that the first "International Yoga Day" involved "millions of yoga enthusiasts" who "stretched and twisted", as well as Modi and members of his cabinet. It stated that the main road in Delhi had become an exercise area for the occasion, and reported that while Modi was speaking of "peace and harmony", some people in India thought the promotion of yoga was a partisan Hindu operation. It reported that a sequence of Surya Namaskar (sun salutations) was dropped because Muslims objected to the implication that the sun was the Hindu god of the sun, Surya; the chanting of the Hindu sacred syllable "Om" was also dropped. Others considered that the money spent on the event might have been better spent on cleaning Delhi's streets.


title: International Day of Yoga

text: The "Christian Science Monitor" wrote in 2016 that the 2014 United Nations resolution had been "wildly popular" but noted that yoga had a "meditative component" and had become known as not only a form of physical exercise but also a mental and spiritual practice. It gave as evidence the 2015 sermon by Pope Francis cautioning Roman Catholics about the idea that yoga could be a path to God; it noted, too, that Modi had replied to the charge that the Day was intended to promote Hinduism with the words "Yoga is not about the other life. Therefore, it is not a religious practice".


title: International Day of Yoga

text: "The Week" stated in 2015 that the government of India's purpose in holding International Days of Yoga was to have yoga recognized around the world as "India's cultural property", citing India's minister of yoga, Shripad Yesso Naik as stating "We're trying to establish to the world that it's ours." "The Week" wrote that this was not likely to succeed, not least because many types of yoga were already being practized in the Western world. The article noted that Christian evangelicals agreed with the Indian government that yoga was "primarily a Hindu spiritual practice", but quoted the scholar of religion Ann Gleig as saying that most Western yoga was markedly changed by being in the West, and was devoid of religious content; the "ironically" agreeing views of strongly religious Hindus and Christians were "historically flawed".


title: New Riders of the Purple Sage

text: New Riders of the Purple Sage is an American country rock band. The group emerged from the psychedelic rock scene in San Francisco in 1969 and its original lineup included several members of the Grateful Dead. The band is sometimes referred to as the New Riders or as NRPS.


title: New Riders of the Purple Sage

text: The roots of the New Riders can be traced back to the early 1960s Peninsula folk/beatnik scene centered on Stanford University's now-defunct Perry Lane housing complex in Menlo Park, California where future Grateful Dead guitarist Jerry Garcia often played gigs with like-minded guitarist David Nelson. The young John Dawson (also known as "Marmaduke") also played some concerts with Garcia, Nelson, and their compatriots while visiting relatives on summer vacation. Enamored of the sounds of Bakersfield-style country music, Dawson would turn his older friends on to the work of Merle Haggard and Buck Owens and provided a vital link between Timothy Leary's International Federation for Internal Freedom in Millbrook, New York (Dawson having boarded at the Millbrook School) and the Menlo Park bohemian coterie nurtured by Ken Kesey.


title: New Riders of the Purple Sage

text: Inspired by American folk music, rock and roll, and blues, Garcia formed the Grateful Dead (initially known as The Warlocks) with blues singer Ron "Pigpen" McKernan, while Nelson joined the similarly inclined New Delhi River Band (which would eventually come to include bassist Dave Torbert) shortly thereafter. Although they lacked the managerial acumen and cultural cachet of the Grateful Dead and elected to remain in East Palo Alto, California unlike the former group, which soon relocated to the Haight-Ashbury district of San Francisco, the New Delhi River Band were considered by late 1966 to be the house band of The Barn (one of the region's few viable concert venues outside of San Francisco) in Scotts Valley, California. The group continued to enjoy a cult following in Santa Clara and Santa Cruz Counties through the Summer of Love until their dissolution in early 1968.


title: New Riders of the Purple Sage

text: After a period of inactivity Nelson contributed to the Grateful Dead's "Aoxomoxoa" (1969) sessions and served as the caretaker of Big Brother and the Holding Company's rehearsal space while guitarist Peter Albin and drummer David Getz undertook a European tour with Country Joe & the Fish following the schismatic departure of Janis Joplin and Sam Andrew from the former band in December 1968. During this period Nelson and Garcia played intermittently in an early iteration of High Country, a traditional bluegrass ensemble formed by the remnants of the Peninsula folk scene. Nelson was set to serve as lead guitarist in the reconstituted lineup of Big Brother that coalesced later in 1969 and thus may have contributed to some of the recordings on "Be a Brother" (1970) during this transitional period.


title: New Riders of the Purple Sage

text: Dawson—who dropped out of Occidental College in December 1965 and remained in Los Angeles for several years thereafter, "hanging out with musicians and weirdos"—had returned to Los Altos Hills by early 1969, allowing him to contribute to the "Aoxomoxoa" sessions and briefly enroll at Foothill College. After a mescaline experience at Pinnacles National Park with Torbert and Matthew Kelly, he began to compose songs on a regular basis. Some (such as "Glendale Train" and "I Don't Know You") were traditional country pastiches; a number of others ("Last Lonely Eagle", "Garden of Eden", and "Dirty Business") found him working in a "psychedelic country" fusion milieu redolent of Gram Parsons' nascent Flying Burrito Brothers. "Henry", a traditional shuffle with contemporary lyrics about marijuana smuggling, also dates from this period.


title: New Riders of the Purple Sage

text: Dawson's vision was prescient, as 1969 marked the emergence of country rock via Bob Dylan, The Band, The Flying Burrito Brothers, Poco, the Dillard & Clark Band, and the Clarence White-era Byrds. Around this time, Garcia was similarly inspired to take up the pedal steel guitar, and an informal line-up including Dawson, Garcia, and Peninsula folk veteran Peter Grant (on banjo) began playing coffeehouse and hofbrau concerts together when the Grateful Dead were not touring. Their repertoire included country standards, traditional bluegrass, Dawson originals, and a few Dylan covers ("Lay Lady Lay", "You Ain't Goin' Nowhere", "Mighty Quinn"). By the summer of 1969 it was decided that a full band would be formed and David Nelson was recruited to play lead guitar.


title: New Riders of the Purple Sage

text: In addition to Nelson, Dawson (on acoustic guitar), and Garcia (continuing to play pedal steel), the original line-up of the band that came to be known as the New Riders of the Purple Sage (a nod to the Foy Willing-led Western swing combo from the 1940s, Riders of the Purple Sage, which borrowed its name from the Zane Grey novel) consisted of Alembic Studio engineer Bob Matthews on electric bass and Mickey Hart of the Grateful Dead on drums; bassist Phil Lesh also played sporadically with the ensemble in lieu of Matthews through the end of the year, as documented by the late 1969 demos later included on the "Before Time Began" archival release. Lyricist Robert Hunter briefly rehearsed with the band on bass in early 1970 before the permanent hiring of Torbert in April of that year. The most commercially successful configuration of the New Riders would come to encompass Dawson, Nelson, Torbert, Spencer Dryden, and Buddy Cage.


title: New Riders of the Purple Sage

text: After a few warmup gigs throughout the Bay Area in 1969, Dawson, Nelson, and Torbert began to tour in May 1970 as part of a tripartite bill advertised as "An Evening with the Grateful Dead". An acoustic Grateful Dead set that often included contributions from Dawson and Nelson would then segue into New Riders and electric Dead sets, obviating the need to hire external opening acts.


title: New Riders of the Purple Sage

text: By the time the New Riders recorded their first album in late 1970, change was in the air. Hart temporarily left the Grateful Dead in February 1971. Although Hart contributed to two tracks on the album, former Jefferson Airplane drummer Spencer Dryden replaced him in the New Riders prior to his departure from the parent group. Dryden would remain with the group for ten years, ultimately serving as the band's manager.


title: New Riders of the Purple Sage

text: Their first album, eponymously titled was released on Columbia Records (under a contract informed by Clive Davis's long-term aspiration to sign the Grateful Dead) in late 1971. It proved to be a moderate success comparable to the Dead's releases of the era, peaking at No. 39 on the "Billboard" 200 chart. Entirely composed by Dawson (in comparison to the more egalitarian songwriting of later releases), the record was driven by Garcia's pedal-steel playing.


title: New Riders of the Purple Sage

text: With the New Riders desiring to become more of a self-sufficient group and Garcia needing to focus on his other responsibilities, the musician parted ways with the group in November 1971. Seasoned pedal steel player Buddy Cage was recruited from Ian and Sylvia's Great Speckled Bird to replace Garcia. The band's second album, "Powerglide" (1972), was the first to feature this line-up. The "Powerglide" album art included a notable caricature of the band members drawn by Lore Shoberg.


title: New Riders of the Purple Sage

text: 1973's "The Adventures of Panama Red" included a Nelson-sung cover of Peter Rowan's "Panama Red" that steadily gained traction as an enduring FM radio staple. The album peaked at No. 55 in "Billboard" and, albeit as a sleeper hit, marked the band's commercial zenith; in 1979, it was certified gold by RIAA.


title: New Riders of the Purple Sage

text: In the mid-1970s, Radio Caroline adopted the song "On My Way Back Home" from the "Gypsy Cowboy" album as the station's theme tune. The song was well-suited to the station's album-oriented format of the time, and included the lyric "Flying to the sun, sweet Caroline".


title: New Riders of the Purple Sage

text: The New Riders of the Purple Sage continued touring and releasing albums throughout the late 1970s and early 1980s to an increasingly fallow reception; none of the albums that followed "New Riders "(1976) charted on the "Billboard "200 in antipodal contrast to the widespread mainstream success of the outlaw country movement (exemplified by Willie Nelson and Waylon Jennings) and such second-wave country rock groups as The Eagles, Pure Prairie League, and Firefall. The band continued to open several Grateful Dead and Jerry Garcia Band shows in 1977 and 1978, including the final concert preceding the closure of Winterland Ballroom on December 31, 1978.


title: New Riders of the Purple Sage

text: In 1974, Torbert left NRPS; he and Matthew Kelly co-founded the band Kingfish (best known for Bob Weir's membership during the Grateful Dead's late-1974 to mid-1976 touring hiatus) the year before. Initially he was replaced by Skip Battin (formerly of Skip & Flip and the early 1970s lineup of The Byrds), who briefly emerged as the dominant creative force in the band due to his prolific songwriting collaboration with controversial Hollywood impresario Kim Fowley. Stephen A. Love of Rick Nelson's Stone Canyon Band and the Roger McGuinn Band replaced Battin after he left the group to co-found a reconstituted lineup of The Flying Burrito Brothers in 1976. Shortly thereafter, Spencer Dryden relinquished his performance duties to manage the group in 1977. His musical replacement was Patrick Shanahan. Allen Kemp joined on bass in 1978 before emerging as a co-frontman on guitar and vocals, contributing prominently to the songwriting for the band's last major label release, 1981's "Feelin' All Right".


title: New Riders of the Purple Sage

text: In 1982, Nelson and Cage left the band, leaving Dawson as the sole remaining member from the classic lineup.


title: New Riders of the Purple Sage

text: From the early 1980s to the late 1990s Dawson continued as leader of the New Riders of the Purple Sage. He was joined by bluegrass-oriented multi-instrumentalist Rusty Gauthier, who sang and played acoustic guitar, slide guitar, mandolin, banjo, and fiddle. During this fifteen-year period, an evolving lineup of musicians played with Dawson and Gauthier in the New Riders. These included among others, guitarists Allen Kemp, Gary Vogensen, and Evan Morgan; bass players Fred Campbell, Bill Laymon, and Michael White; and drummers Val Fuentes, and Greg Lagardo.


title: New Riders of the Purple Sage

text: Some projects had the current line-up performing new material and others reworked older material. On some albums, such as "Midnight Moonlight", the band's sound was less influenced by electric country rock and more by acoustic bluegrass music.


title: New Riders of the Purple Sage

text: In 1997, the New Riders of the Purple Sage split up. Dawson retired from music and moved to Mexico to become an English teacher. By this time, Nelson had started his own David Nelson Band. There was a reunion performance in 2001. In 2002, the New Riders accepted a Lifetime Achievement Award from "High Times" magazine. On hand were a frail Dawson (suffering from emphysema), Nelson, Cage, Dryden and Torbert's widow Patti. The band performed "Panama Red" and "Lonesome LA Cowboy" with Peter Rowan as part of the celebration. In the spring of 2004, Cage sat in at several gigs with the David Nelson Band.


title: New Riders of the Purple Sage

text: Shortly after the death of Spencer Dryden, a reconstituted line-up of the New Riders began touring in late 2005. It features David Nelson and Buddy Cage, alongside guitarist Michael Falzarano, bassist Ronnie Penque, and drummer Johnny Markowski. They have released a live album, "", and two studio albums, "Where I Come From" and "17 Pine Avenue".


title: New Riders of the Purple Sage

text: Allen Kemp died on June 25, 2009. John "Marmaduke" Dawson died in Mexico on July 21, 2009, at the age of 64.


title: New Riders of the Purple Sage

text: The membership of the New Riders of the Purple Sage has changed many times. The following table shows a somewhat simplified version of the history of the band's lineups.


title: The Real Housewives of Dubai

text: The Real Housewives of Dubai is an American reality television series that premiered on Bravo on June 1, 2022. Developed as the twelfth installment of "The Real Housewives" franchise, highlighting the personal and professional lives of several women residing in the city of Dubai, United Arab Emirates.


title: The Real Housewives of Dubai

text: The first season premiered on June 1, 2022 and starred Nina Ali, Chanel Ayan, Caroline Brooks, Sara Al Madani, Lesa Milan and Caroline Stanbury.


title: The Real Housewives of Dubai

text: Phaedra Parks, previously a full time cast member on "The Real Housewives of Atlanta" and "The Real Housewives Ultimate Girls Trip", appears in a recurring guest role. Lystra Adams, a full time cast member on "The Real Housewives of Cheshire", also made a guest appearance during the finale.


title: The Real Housewives of Dubai

text: Nina Ali, Chanel Ayan, Caroline Brooks, Sara Al Madani, Lesa Milan and Caroline Stanbury are introduced as series regulars.


title: Corporate tax in the United States

text: Corporate tax is imposed in the United States at the federal, most state, and some local levels on the income of entities treated for tax purposes as corporations. Since January 1, 2018, the nominal federal corporate tax rate in the United States of America is a flat 21% due to the passage of the Tax Cuts and Jobs Act of 2017. State and local taxes and rules vary by jurisdiction, though many are based on federal concepts and definitions. Taxable income may differ from book income both as to timing of income and tax deductions and as to what is taxable. The corporate Alternative Minimum Tax was also eliminated by the 2017 reform, but some states have alternative taxes. Like individuals, corporations must file tax returns every year. They must make quarterly estimated tax payments. Groups of corporations controlled by the same owners may file a consolidated return.