title: The Moldy Peaches

text: In 2003 a second album "" was released, a double-CD compilation of various scraps and live recordings.


title: The Moldy Peaches

text: After an extensive US headlining tour in the winter of 2003, the band went into hiatus in early 2004. However, the band reunited in late 2004 for a one-off show to benefit Accidental CDs, Records and Tapes, a hole-in-the-wall record store on Ave A in NYC. That store was an early supporter of the band and helped hook them up with the gig that ultimately got them their record deal. Both central members embarked on solo careers.


title: The Moldy Peaches

text: On December 2, 2007, Dawson and Green played an impromptu set together at Los Angeles' The Smell to end a show where Dawson was headlining. They changed the lyrics of the song "Who's Got The Crack" to "Who's Got The Blues". On December 3, 2007, the Moldy Peaches played at the "Juno" film premiere.


title: The Moldy Peaches

text: The band was booked to appear on the Conan O'Brien television show on January 14, 2008, but they canceled because of the writer's strike. Dawson has said that she is not keen to reform the band at present. However, Dawson and Green did appear together on the NPR radio show "Bryant Park Project" on January 16, 2008. and appeared on television show "The View" on January 21, 2008.


title: The Moldy Peaches

text: Subsequent to the success of the "Juno" soundtrack, which hit No. 1 on the "Billboard" 200 on its third week of physical release, the song "Anyone Else but You" was released as a UK single on February 25, 2008.


title: The Moldy Peaches

text: Green released his seventh solo album and accompanying film, "Aladdin", in 2016 via Fat Possum. His initial band included a 3-piece string section.


title: The Moldy Peaches

text: Dawson has continued to tour playing small clubs and house parties. Her album "Remember That I Love You" on K Records has been well received. Dawson collaborated with Aesop Rock on the album "Hokey Fright" under the name The Uncluded.


title: The Moldy Peaches

text: Dishel's former outfit Stipplicon having broken up, he formed a new band, Only Son, who have toured with Regina Spektor. Dishel also plays in Spektor's band.


title: The Moldy Peaches

text: Cole is in the boyband Candy Boys and has performed with numerous acts including Dufus, Jeffrey Lewis, Only Son, Sandra Bernhard, and Toby Goodshank.


title: The Moldy Peaches

text: After releasing their first few records themselves, The Moldy Peaches have released music internationally through Rough Trade. In the United States records were originally released under the Sanctuary Records banner but, since the demise of Sanctuary and the takeover of Rough Trade by the Beggars Group, U.S. releases are now also on Rough Trade.


title: Wataru Endo

text: Endo began his professional career with Shonan Bellmare. He later played for Sint-Truiden until 2019.


title: Wataru Endo

text: On 13 August 2019, Endo was loaned out to VfB Stuttgart until the end of the season. In April 2020, Stuttgart signed Endo permanently. On 26 November 2020, Endo extended his contract with VfB Stuttgart until June 2024.


title: Wataru Endo

text: On 25 February 2022, Endo scored Stuttgart's only goal in a 1–2 loss to TSG Hoffenheim. He scored again in the club's 3–2 win over Borussia Mönchengladbach. On 14 May 2022, he scored the winning goal in stoppage time in a 2–1 win over 1. FC Köln to save Stuttgart from the relegation playoffs and secure their place in the 2022–23 Bundesliga.


title: Wataru Endo

text: On 23 July 2015, Japan's coach Vahid Halilhodžić called Endo up to the squad for the upcoming 2015 EAFF East Asian Cup. He was named in Japan's squad for the 2018 FIFA World Cup in Russia, although he did not play in any of their matches.


title: Stardust (1927 song)

text: "Stardust" is a jazz song composed by American singer, songwriter and musician Hoagy Carmichael with lyrics by Mitchell Parish. Now considered a standard and part of the Great American Songbook, the song has been recorded over 1,500 times either as an instrumental or vocal track, featuring different performers. During his time attending Indiana University, Carmichael developed a taste for jazz. He formed his own band and played at local events in Indiana and Ohio. Following his graduation, Carmichael moved to Florida to work for a law firm. He left the law sector and returned to Indiana, after learning of the success of one of his compositions. In 1927, after leaving a local university hangout, Carmichael started to whistle a tune that he later developed further. When composing the song, he was inspired by the end of one of his love affairs, and on the suggestion of a university classmate, he decided on its title. The same year, Carmichael recorded an instrumental version of the song for Gennett Records.


title: Stardust (1927 song)

text: In 1928, Carmichael left Indiana after Mills Music hired him as a composer. Mills Music then assigned Mitchell Parish to add words to the song. Don Redman recorded the song the same year, and by 1929, it was performed regularly at the Cotton Club. Isham Jones's 1930 rendition of the song made it popular on radio, and soon multiple acts had recorded "Stardust". Because of the song's popularity, by 1936, RCA Victor pressed a double-sided version that featured Tommy Dorsey and Benny Goodman on respective sides.


title: Stardust (1927 song)

text: By 1940, the song was considered a standard. That year, RCA Victor released two more recordings of "Stardust": one by Dorsey featuring Frank Sinatra as the singer and one by Artie Shaw. Shaw's recording sold one million copies and Glenn Miller's rendition was published the same year. Artists including Jo Stafford, Ella Fitzgerald, Nat King Cole, Billy Ward and his Dominoes, Ringo Starr, and Willie Nelson have recorded "Stardust". The song was featured in several films, including "My Favorite Year", "Goodfellas", "Sleepless in Seattle", and "Casino". It was inducted into the Grammy Hall of Fame in 1995 and added to the National Recording Registry in 2004.


title: Stardust (1927 song)

text: Soon after entering Indiana University, Carmichael developed a taste for jazz music. He had learned to play the piano with his mother, who performed at dances and movie theaters. In 1922, Carmichael met and befriended Bix Beiderbecke. Carmichael often played with Beiderbecke, and he became acquainted with his band, the Wolverines, who recorded his original composition "Riverboat Shuffle" in 1924. While still attending Indiana University, the singer formed a band called Carmichael's Collegians. Carmichael and his band performed locally in Indiana and around Ohio. The band appeared at 50 events between 1924 and 1925, while between 1925 and 1926, they played three to five nights a week at different engagements. Carmichael received his bachelor's degree in 1925 and had earned a Bachelor of Laws by 1926. The same year, he worked as a law clerk in Miami, but he returned to Indiana after failing the Florida Bar examination. Carmichael passed the Indiana State Bar Association examination and worked for a law firm in the state. With the success of Red Nichols' 1927 recording of Carmichael's original "Washboard Blues", the composer decided to leave the practice of law in pursuit of a career in music.


title: Stardust (1927 song)

text: Carmichael wrote the song with inspiration from the end of his love affair with Kathryn Moore, who would later marry Art Baker, the trumpet player in Carmichael's Collegians. While Carmichael related several explanations of how he was inspired to write it on the University campus, biographer Richard Sudhalter deemed the stories "encrusted in myth, much of it the composer's own creation". One night after leaving the Book Nook, a university hangout, Carmichael whistled what would become the opening of the song. The composer later declared that he felt that the tune "had something very strange and different". He worked on the details with different pianos, including one at the Book Nook. According to Ernie Pyle, the composer did further work at the Carmichael family's home. While he visited Carmichael, Pyle asked him to play the song he had been working on. Pyle later commented that Carmichael asked him not to reveal the details of the night he worked on the song with the family's piano, saying "the public likes to think these sweet songs are conceived under the moonlight, amid roses and soft breezes". Carmichael finished the details of the composition on a grand piano that was later thrown away because of its poor state. Baker and Carmichael's Collegians singer Violet Deckard Gardner remembered Carmichael humming the tune of the incomplete composition before 1926. Fellow student Stuart Gorrell suggested the writer entitle his composition "Star Dust"; Gorrell felt the tune sounded like "dust from stars drifting down through the summer sky".


title: Stardust (1927 song)

text: After working out the details with the band, Carmichael booked a recording session with Gennett Records for October 31, 1927. Since he had not written any sheet music for the song, he had to whistle the tune to the musicians. Carmichael played the piano, backed by Emil Seidel and his orchestra: Byron Smart (trumpet), Oscar Rossberg (trombone), Dick Kent and Gene Wood (alto saxophones), Maurice Bennett (tenor saxophone), Don Kimmel (guitar), Paul Brown (tuba), Cliff Williams (drums). The session took place at Gennett's studio in Richmond, Indiana. The recording featured a "medium fast and jazzy tempo" with no lyrics. Under the single-word title "Stardust," it was placed on the flipside of "One Night In Havana", assigned the release number 6311, and credited to Hoagy Carmichael and His Pals.


title: Stardust (1927 song)

text: Carmichael received a one-sided pressing of "Stardust" from the studio, before he left Indiana in 1928 to work for Mills Music as a composer. The first manuscript for the song was deposited at the United States Copyright Office on January 5, 1928. The sheet music featured a tune in a key of D with no indication of tempo and no lyrics. Mills Music then published different sheet music for the song on January 19, 1929, as a piano composition. Don Redman, who worked for Mills Music, often played the song. After hearing Redman's rendition of it, a company arranger suggested playing the song at a "slower tempo and in a sentimental style". Feeling it could be a potential success, Irving Mills "decided on the song having lyrics added.


title: Stardust (1927 song)

text: Mills assigned lyricist Mitchell Parish to add the words to Carmichael's "Star Dust". Parish used as a working title "Then I Will Be Satisfied", but he accepted Redman's suggestion to re-title the song to "Stardust". Author Gene Fernett suggested Redman wrote the verse of the song, but his claim could not be supported. Parish wrote the song using Carmichael's account of how he was inspired to compose the melody, while the lyricist developed a story focused in the concept of lost love. Regarding the lyrics, author Philip Furia described the phrasing as "utterly casual", while he felt that the "imagery and diction strain to be poetic". Furia stressed that Parish "made the subject of the song the melody itself". The sheet music for the vocal composition was published as "Star Dust" on May 10, 1929. It established the structure of the song as a thirty-two bar chorus, with the tune in a key of C. Instead of the traditional A-A-B-A form, "Star Dust" featured an A-B-A-C form. It moved in an interval that fluctuated between minor and major thirds, while the range varied between high and low notes of an octave, and a third to "heighten drama".


title: Stardust (1927 song)

text: In early 1929, Redman and his band The Chocolate Dandies released "Star Dust" on Okeh 8668. The recording retained Carmichael's original key of D. The song soon circulated among black musicians and jazz interpreters, and it was often performed at the Cotton Club after being introduced in 1929. Duke Ellington performed the song at the club, while the revue "Hot Chocolates" featured a version by Louis Armstrong.


title: Stardust (1927 song)

text: While Carmichael worked for RCA Records as a session jazz ensemble leader, journalist Walter Winchell promoted the song. His writings attracted the attention of Isham Jones, who recorded a version with his orchestra as a slow ballad. Jones's session took place on May 14, 1930, in Chicago, and Brunswick Records released it under catalog number 4856, with the title once again "Stardust." The 1931 release became one of his most popular recordings. By 1931, "Stardust" was often played by the orchestras of several US radio stations. While remarking on the popularity of the tune on the radio, the "Calgary Herald" opined of Jones's version: "This beautiful melody seems destined to archive the popularity which it so richly deserves and which is so long overdue." In August 1931, Bing Crosby released the song as "Star Dust" on Brunswick Records. The same year, Lee Sims also released "Stardust" on Brunswick 6132, a version that the "Sydney Morning Herald" called "a melody of a considerable intensity and with dramatic outbursts," with a "realistic and very full" piano reproduction. Throughout the 1930s, record labels used both the one and two-word versions of the title, though Carmichael himself favored the one-word title, as evidenced by his private correspondence and his 1946 memoir "The Stardust Road."


title: Stardust (1927 song)

text: By 1935, while radio announcers commonly credited the orchestra only, Carmichael was mentioned as the composer of the song during introductions because of its popularity. The same year, saxophonist Coleman Hawkins recorded the song on March 2 in Paris. Compagnie de Gramophone Française released it with the catalog number K-7527. The song was often performed by Art Tatum, Garnet Clark, and Fats Waller. Mills recorded the song himself with his multiple bands, and recorded versions by the Mills Blue Rhythm Band and Cab Calloway. In 1936, for the first time in its history, RCA Records pressed two versions of the same song by two different artists on a single record: Tommy Dorsey on one side and Benny Goodman on the other. Goodman used an arrangement by Fletcher Henderson, while Dorsey's version featured the vocals of Edythe Wright. By 1937, Goodman remarked that Carmichael's tune was the most popular dance number of his repertoire. "Stardust" became a standard of big band music.


title: Stardust (1927 song)

text: In 1940, RCA Victor executive Harry Myerson proposed that the label again release a two-sided recording of "Stardust": one side would feature Artie Shaw, the other a new version by Dorsey. Shaw and Dorsey's versions were ultimately released on separate records. Dorsey's recording of the song featured vocals by Frank Sinatra and the Pied Pipers, while Shaw's release would become the most popular recording by the clarinetist, selling a million copies. "The Baltimore Sun" celebrated the release of both recordings in the same week. It considered Dorsey's version "emotional", and felt the vocals by Sinatra and the Pied Pipers made the record suitable for "armchair listening". Of Shaw's version, the reviewer remarked on his "fluid clarinet above strings", and determined the record is for "straight dancing". The "Tampa Bay Times" welcomed Dorsey's "silky trombone" and the "slow vocal style" of Sinatra and the Pied Pipers. Of Shaw's version, they stressed his "intricate and dazzling clarinet wizardry", and the "medium slow drag" playing style of the band. The "Times-Dispatch" also remarked on the "intricate clarinet work" by Shaw, while it felt that Dorsey's version featured "expert trombone work" and an "unusual vocal" that the reviewer preferred over Shaw's version. Shaw's recording was arranged by Lennie Hayton, while the clarinetist used his new orchestra composed of: Billy Butterfield (trumpet), Jerry Jerome (tenor saxophone), Johnny Guarnieri (piano), Nick Fatool (drums), and Jack Jenney and Vernon Brown (trombones). Hayton's arrangements included solos by Shaw, Butterfield and Jenney, while they were focused on the use of the string section.


title: Stardust (1927 song)

text: Also in 1940, Glenn Miller recorded his version of the song, which entered "Billboard's" National Best Selling Chart on October 26, and peaked at number 20. "DownBeat"s review considered the release "among the greatest bits of big band scoring in history". While it considered the song "beautifully arranged with good sax and trumpet solos", "The Boston Globe" felt the result is "completely dead and lifeless". The publication attributed this to an imbalance in the number of musicians in the woodwind section, compared to the rhythm section, which the reviewer described as "just competent musicians, no more".


title: Stardust (1927 song)

text: In 1940, the tune was among those affected by the ASCAP boycott. The dispute between the American Society of Composers, Authors and Publishers (ASCAP) and radio broadcasters focused on the increase in the price of song royalties. To counter the use of ASCAP tunes including "Stardust", Broadcast Music, Inc. was created, and the broadcasters did not renew their contract for the use of an estimated two million tunes. After nine months of negotiation, a settlement was reached in October 1941 and major networks aired the tunes again. In 1941, Don Byas recorded a version of "Stardust" featuring Thelonious Monk, as he was the house pianist at Minton's Playhouse. Monk disliked "Stardust": he described it as "a sad song ... if you know anything about music and harmony". He felt the melody was "lousy" and that performers have to "do a lot of figuring how to play that in order to make it sound good". Another version by Miller was released on the V-Disc label in 1943. During the 1940s, "Stardust" was recorded by multiple artists either as an instrumental song or as a romantic ballad by vocalists. For the period from July 1947 to July 1948, "Stardust" placed at number one on the Juke Box Standard Favorites poll "Billboard" conducted through juke box operators and using the Peatman Survey for radio audiences. According to "Billboard", it "proved to be a nationwide favorite, drawing top votes from all parts of the country".


title: Stardust (1927 song)

text: In May 1953, according to jukebox operators, "Stardust" placed three times on the Ten Pop Standard Records list. Shaw's version topped the chart, while Dorsey and Miller's versions placed at numbers seven and eight, respectively. Ella Fitzgerald recorded the song, accompanied by Ellis Larkins on the piano. The tune was included on her 1954 album "Songs in a Mellow Mood". "Saturday Review" described Fitzgerald as doing "absorbing things with 'Stardust", while the "Chicago Tribune" considered the tune "completely in line with her magnificent singing". In 1954, when the copyright of 14 of his songs including "Stardust" was due for renewal, Carmichael sued Mills Music to receive total ownership or co-ownership of the compositions. Carmichael's contract with Mills Music granted the songwriter royalties in case any of his songs were published. He started his legal action on the grounds of "unconscionable advantage taken of him at the time the contracts were executed". Summary judgment was denied, as the court considered that "the assignee paid large royalties". In 1955, during the 25th anniversary of its publishing, "Time" estimated that Carmichael received a total of $250,000 in royalties for "Stardust", while the song made at the time $15,000 to $20,000 a year.


title: Stardust (1927 song)

text: Producer Lee Gillette convinced Nat King Cole to include the song on his 1957 release "Love Is the Thing". Cole initially refused to record it because of the number of renditions available at the time. Gillette insisted, and Cole agreed to record the song without singing the chorus. Gillette tried to convince him to include it, but Cole refused to do another take. Cole, who had been singing the song since 1954, declared: "I hate to sing Stardust, it wears me out." On its release, the song received good airplay. In 1957, Billy Ward and his Dominoes' version placed at number 12 on "Billboard's" Top 100. The same year, Pat Boone released a version on his album "Star Dust". The album reached number two on "Billboard's" Best selling LP's chart. John Coltrane recorded "Stardust" in 1958, along with flugelhornist Wilbur Harden in what was later known as the "Stardust Sessions", that produced the recording of standard ballads. In 1962, Sinatra's performance of the song, which appeared on "Sinatra and Strings", omitted the chorus. Arranger Don Costa wanted the version to be centered on the "musical and lyrical mind on all the neglected nuances of the verse". A review in "The Rock Island Argus" called Sinatra's "Stardust" his "choicest" track on the album and remarked on his "entirely new approach overlooking the perennially favored chorus".


title: Stardust (1927 song)

text: Between 1958 and 1963, "Stardust" produced US$50,000 yearly in royalties for Mills Music. In 1964, Nino Tempo & April Stevens' version peaked at number 32 on "Billboard's" Top 100. Ringo Starr recorded the song featuring arrangements by Paul McCartney for his 1970 debut solo album, "Sentimental Journey". In 1978, Willie Nelson recorded it as the title-track of his album of pop standards. In its review, the Gannett News Service felt that "Carmichael would be proud". Nelson's album topped "Billboard's" Top Country Albums, while reaching the summit on "Billboard's" Top LPs & Tapes. "Stardust" remained on the "Billboard" charts for 540 weeks until 1988. Of Nelson's version of "Stardust", National Public Radio commented: "Today, people who never heard of Isham Jones or Artie Shaw or even composer Hoagy Carmichael know his work thanks to Willie Nelson." Rod Stewart included the song on "" in 2004. In 2017, Bob Dylan recorded it for his three-disc set "Triplicate", that covered American standards. Daniel Kreps of "Rolling Stone" considered that "Dylan's approach finds a pleasing, country-tinged arrangement" that the reviewer noted to be "somewhere between" Sinatra and Nelson's version.


title: Stardust (1927 song)

text: "Stardust" is considered a part of the Great American Songbook. The song has been recorded over 1,500 times, and has been translated into 40 languages. The "Encyclopædia Britannica" has defined it as "one of the most renowned and most recorded standards in all of American music". Carmichael's 1927 version was inducted into the Grammy Hall of Fame in 1995. National Public Radio included it on their NPR 100, a 1999 list of the 100 most important American musical works of the 20th century. For NPR, Susan Stamberg defined it as "an American song of longing, dreams, desires, [that] still stretches across the decades to touch the spirit of anyone who hears it". In 2004, the Library of Congress inducted Carmichael's "Stardust" into the National Recording Registry, which lists "culturally, historically or aesthetically important" music that "informs or reflects life" in the United States. Carmichael's entry to the Songwriters Hall of Fame deemed the song "most notably one of the greatest standards" from the Jazz Age. Carmichael's biographer Richard Sudhalter attributed the song's popularity to "some combination of young Carmichael's heartland upbringing, Bix's uniquely bardic sensibility, and the unself-conscious emotional directness that characterizes much non-urban American pop music". Nelson's "Stardust" album was inducted into the Grammy Hall of Fame in 2015.


title: Stardust (1927 song)

text: In 1938, Orson Welles's radio broadcast "The War of the Worlds" featured an excerpt of "Stardust" played by the fictional Ramón Raquello Orchestra. The 1961 episode "The Hit Songwriters" of "The Flintstones" featured a version by Fred Flintstone. Different versions of the song appeared in films, including "Stardust Memories" (1980), "Goodfellas" (1990), "Sleepless in Seattle" (1993), "Casino" (1995), "The Aviator" (2004), "A Star Is Born" (2018), "Captive State (2019)"., and Carmichael's own short 1942 recording is featured at the start of closing credits in "Nightmare Alley (2021)". On YouTube that 1942 recording has garnered nearly 230,000 views of one posting alone.


title: Stardust (1927 song)

text: On December 1, 2000, Nelson's version of "Stardust" was used to wake up the crew of Space Shuttle "Endeavour"s mission STS-108. The Caretaker sampled versions of the song for 2 of his albums; Marjorie Stedeford's version in "We'll all go riding on a rainbow" and Charlie Spivak's version in "Everywhere at the end of time".


title: Accretion (astrophysics)

text: In astrophysics, accretion is the accumulation of particles into a massive object by gravitationally attracting more matter, typically gaseous matter, in an accretion disk. Most astronomical objects, such as galaxies, stars, and planets, are formed by accretion processes.


title: Accretion (astrophysics)

text: The accretion model that Earth and the other terrestrial planets formed from meteoric material was proposed in 1944 by Otto Schmidt, followed by the "protoplanet theory" of William McCrea (1960) and finally the "capture theory" of Michael Woolfson. In 1978, Andrew Prentice resurrected the initial Laplacian ideas about planet formation and developed the "modern Laplacian theory". None of these models proved completely successful, and many of the proposed theories were descriptive.


title: Accretion (astrophysics)

text: The 1944 accretion model by Otto Schmidt was further developed in a quantitative way in 1969 by Viktor Safronov. He calculated, in detail, the different stages of terrestrial planet formation. Since then, the model has been further developed using intensive numerical simulations to study planetesimal accumulation. It is now accepted that stars form by the gravitational collapse of interstellar gas. Prior to collapse, this gas is mostly in the form of molecular clouds, such as the Orion Nebula. As the cloud collapses, losing potential energy, it heats up, gaining kinetic energy, and the conservation of angular momentum ensures that the cloud forms a flattened disk—the accretion disk.


title: Accretion (astrophysics)

text: A few hundred thousand years after the Big Bang, the Universe cooled to the point where atoms could form. As the Universe continued to expand and cool, the atoms lost enough kinetic energy, and dark matter coalesced sufficiently, to form protogalaxies. As further accretion occurred, galaxies formed. Indirect evidence is widespread. Galaxies grow through mergers and smooth gas accretion. Accretion also occurs inside galaxies, forming stars.


title: Accretion (astrophysics)

text: Stars are thought to form inside giant clouds of cold molecular hydrogen—giant molecular clouds of roughly and in diameter. Over millions of years, giant molecular clouds are prone to collapse and fragmentation. These fragments then form small, dense cores, which in turn collapse into stars. The cores range in mass from a fraction to several times that of the Sun and are called protostellar (protosolar) nebulae. They possess diameters of and a particle number density of roughly . Compare it with the particle number density of the air at the sea level—.


title: Accretion (astrophysics)

text: The initial collapse of a solar-mass protostellar nebula takes around 100,000 years. Every nebula begins with a certain amount of angular momentum. Gas in the central part of the nebula, with relatively low angular momentum, undergoes fast compression and forms a hot hydrostatic (non-contracting) core containing a small fraction of the mass of the original nebula. This core forms the seed of what will become a star. As the collapse continues, conservation of angular momentum dictates that the rotation of the infalling envelope accelerates, which eventually forms a disk.


title: Accretion (astrophysics)

text: As the infall of material from the disk continues, the envelope eventually becomes thin and transparent and the young stellar object (YSO) becomes observable, initially in far-infrared light and later in the visible. Around this time the protostar begins to fuse deuterium. If the protostar is sufficiently massive (above ), hydrogen fusion follows. Otherwise, if its mass is too low, the object becomes a brown dwarf. This birth of a new star occurs approximately 100,000 years after the collapse begins. Objects at this stage are known as Class I protostars, which are also called young T Tauri stars, evolved protostars, or young stellar objects. By this time, the forming star has already accreted much of its mass; the total mass of the disk and remaining envelope does not exceed 10–20% of the mass of the central YSO.


title: Accretion (astrophysics)

text: At the next stage, the envelope completely disappears, having been gathered up by the disk, and the protostar becomes a classical T Tauri star. The latter have accretion disks and continue to accrete hot gas, which manifests itself by strong emission lines in their spectrum. The former do not possess accretion disks. Classical T Tauri stars evolve into weakly lined T Tauri stars. This happens after about 1 million years. The mass of the disk around a classical T Tauri star is about 1–3% of the stellar mass, and it is accreted at a rate of 10 to per year. A pair of bipolar jets is usually present as well. The accretion explains all peculiar properties of classical T Tauri stars: strong flux in the emission lines (up to 100% of the intrinsic luminosity of the star), magnetic activity, photometric variability and jets. The emission lines actually form as the accreted gas hits the "surface" of the star, which happens around its magnetic poles. The jets are byproducts of accretion: they carry away excessive angular momentum. The classical T Tauri stage lasts about 10 million years (there are only a few examples of so-called Peter Pan disks, where the accretion continues to persist for much longer periods, sometimes lasting for more than 40 million years). The disk eventually disappears due to accretion onto the central star, planet formation, ejection by jets, and photoevaporation by ultraviolet radiation from the central star and nearby stars. As a result, the young star becomes a weakly lined T Tauri star, which, over hundreds of millions of years, evolves into an ordinary Sun-like star, dependent on its initial mass.


title: Accretion (astrophysics)

text: Self-accretion of cosmic dust accelerates the growth of the particles into boulder-sized planetesimals. The more massive planetesimals accrete some smaller ones, while others shatter in collisions. Accretion disks are common around smaller stars, stellar remnants in a close binary, or black holes surrounded by material (such as those at the centers of galaxies). Some dynamics in the disk, such as dynamical friction, are necessary to allow orbiting gas to lose angular momentum and fall onto the central massive object. Occasionally, this can result in stellar surface fusion (see Bondi accretion).


title: Accretion (astrophysics)

text: In the formation of terrestrial planets or planetary cores, several stages can be considered. First, when gas and dust grains collide, they agglomerate by microphysical processes like van der Waals forces and electromagnetic forces, forming micrometer-sized particles; during this stage, accumulation mechanisms are largely non-gravitational in nature. However, planetesimal formation in the centimeter-to-meter range is not well understood, and no convincing explanation is offered as to why such grains would accumulate rather than simply rebound. In particular, it is still not clear how these objects grow to become sized planetesimals; this problem is known as the "meter size barrier": As dust particles grow by coagulation, they acquire increasingly large relative velocities with respect to other particles in their vicinity, as well as a systematic inward drift velocity, that leads to destructive collisions, and thereby limit the growth of the aggregates to some maximum size. Ward (1996) suggests that when slow moving grains collide, the very low, yet non-zero, gravity of colliding grains impedes their escape. It is also thought that grain fragmentation plays an important role replenishing small grains and keeping the disk thick, but also in maintaining a relatively high abundance of solids of all sizes.


title: Accretion (astrophysics)

text: A number of mechanisms have been proposed for crossing the 'meter-sized' barrier. Local concentrations of pebbles may form, which then gravitationally collapse into planetesimals the size of large asteroids. These concentrations can occur passively due to the structure of the gas disk, for example, between eddies, at pressure bumps, at the edge of a gap created by a giant planet, or at the boundaries of turbulent regions of the disk. Or, the particles may take an active role in their concentration via a feedback mechanism referred to as a streaming instability. In a streaming instability the interaction between the solids and the gas in the protoplanetary disk results in the growth of local concentrations, as new particles accumulate in the wake of small concentrations, causing them to grow into massive filaments. Alternatively, if the grains that form due to the agglomeration of dust are highly porous their growth may continue until they become large enough to collapse due to their own gravity. The low density of these objects allows them to remain strongly coupled with the gas, thereby avoiding high velocity collisions which could result in their erosion or fragmentation.


title: Accretion (astrophysics)

text: Grains eventually stick together to form mountain-size (or larger) bodies called planetesimals. Collisions and gravitational interactions between planetesimals combine to produce Moon-size planetary embryos (protoplanets) over roughly 0.1–1 million years. Finally, the planetary embryos collide to form planets over 10–100 million years. The planetesimals are massive enough that mutual gravitational interactions are significant enough to be taken into account when computing their evolution. Growth is aided by orbital decay of smaller bodies due to gas drag, which prevents them from being stranded between orbits of the embryos. Further collisions and accumulation lead to terrestrial planets or the core of giant planets.


title: Accretion (astrophysics)

text: If the planetesimals formed via the gravitational collapse of local concentrations of pebbles, their growth into planetary embryos and the cores of giant planets is dominated by the further accretions of pebbles. Pebble accretion is aided by the gas drag felt by objects as they accelerate toward a massive body. Gas drag slows the pebbles below the escape velocity of the massive body causing them to spiral toward and to be accreted by it. Pebble accretion may accelerate the formation of planets by a factor of 1000 compared to the accretion of planetesimals, allowing giant planets to form before the dissipation of the gas disk. Yet, core growth via pebble accretion appears incompatible with the final masses and compositions of Uranus and Neptune.


title: Accretion (astrophysics)

text: The formation of terrestrial planets differs from that of giant gas planets, also called Jovian planets. The particles that make up the terrestrial planets are made from metal and rock that condensed in the inner Solar System. However, Jovian planets began as large, icy planetesimals, which then captured hydrogen and helium gas from the solar nebula. Differentiation between these two classes of planetesimals arise due to the frost line of the solar nebula.


title: Accretion (astrophysics)

text: Meteorites contain a record of accretion and impacts during all stages of asteroid origin and evolution; however, the mechanism of asteroid accretion and growth is not well understood. Evidence suggests the main growth of asteroids can result from gas-assisted accretion of chondrules, which are millimeter-sized spherules that form as molten (or partially molten) droplets in space before being accreted to their parent asteroids. In the inner Solar System, chondrules appear to have been crucial for initiating accretion. The tiny mass of asteroids may be partly due to inefficient chondrule formation beyond 2 AU, or less-efficient delivery of chondrules from near the protostar. Also, impacts controlled the formation and destruction of asteroids, and are thought to be a major factor in their geological evolution.


title: Accretion (astrophysics)

text: Chondrules, metal grains, and other components likely formed in the solar nebula. These accreted together to form parent asteroids. Some of these bodies subsequently melted, forming metallic cores and olivine-rich mantles; others were aqueously altered. After the asteroids had cooled, they were eroded by impacts for 4.5 billion years, or disrupted.


title: Accretion (astrophysics)

text: For accretion to occur, impact velocities must be less than about twice the escape velocity, which is about for a radius asteroid. Simple models for accretion in the asteroid belt generally assume micrometer-sized dust grains sticking together and settling to the midplane of the nebula to form a dense layer of dust, which, because of gravitational forces, was converted into a disk of kilometer-sized planetesimals. But, several arguments suggest that asteroids may not have accreted this way.


title: Accretion (astrophysics)

text: Comets, or their precursors, formed in the outer Solar System, possibly millions of years before planet formation. How and when comets formed is debated, with distinct implications for Solar System formation, dynamics, and geology. Three-dimensional computer simulations indicate the major structural features observed on cometary nuclei can be explained by pairwise low velocity accretion of weak cometesimals. The currently favored formation mechanism is that of the nebular hypothesis, which states that comets are probably a remnant of the original planetesimal "building blocks" from which the planets grew.


title: Accretion (astrophysics)

text: Astronomers think that comets originate in both the Oort cloud and the scattered disk. The scattered disk was created when Neptune migrated outward into the proto-Kuiper belt, which at the time was much closer to the Sun, and left in its wake a population of dynamically stable objects that could never be affected by its orbit (the Kuiper belt proper), and a population whose perihelia are close enough that Neptune can still disturb them as it travels around the Sun (the scattered disk). Because the scattered disk is dynamically active and the Kuiper belt relatively dynamically stable, the scattered disk is now seen as the most likely point of origin for periodic comets. The classic Oort cloud theory states that the Oort cloud, a sphere measuring about in radius, formed at the same time as the solar nebula and occasionally releases comets into the inner Solar System as a giant planet or star passes nearby and causes gravitational disruptions. Examples of such comet clouds may already have been seen in the Helix Nebula.


title: Accretion (astrophysics)

text: The "Rosetta" mission to comet 67P/Churyumov–Gerasimenko determined in 2015 that when Sun's heat penetrates the surface, it triggers evaporation (sublimation) of buried ice. While some of the resulting water vapour may escape from the nucleus, 80% of it recondenses in layers beneath the surface. This observation implies that the thin ice-rich layers exposed close to the surface may be a consequence of cometary activity and evolution, and that global layering does not necessarily occur early in the comet's formation history. While most scientists thought that all the evidence indicated that the structure of nuclei of comets is processed rubble piles of smaller ice planetesimals of a previous generation, the "Rosetta" mission dispelled the idea that comets are "rubble piles" of disparate material.


title: Arundathi Nag

text: Arundhati Nag (née Rao; born 1955/1956) is an Indian actress. She has been involved with multilingual Theatre in India, for over 25 years, first in Mumbai where she got involved with Indian People's Theatre Association (IPTA), and did various productions in Gujarati, Marathi, and Hindi theatre, and then in Kannada, Tamil, Malayalam and English, in Bangalore.


title: Arundathi Nag

text: Following her marriage to Kannada actor-director Shankar Nag (1980–1990), her association with theatre continued in Bangalore, where she performed several plays in Kannada: Girish Karnad's "Anju Mallige", "27 Mavalli Circle" based on the famous play "Wait Until Dark", "Sandhya Chayya" (Jayant Dalvi), Girish Karnad's "Nagamandala", and Bertolt Brecht's "Mother Courage" as "Hulaguru Huliyavva". She also worked in several Kannada movies: "Accident" (1984), "Parameshi Prema Prasanga" (1984) and "Nodiswamy, Navirodu Heege" (1987).


title: Arundathi Nag

text: Nag built a theatre space dedicated to quality theatre in Bangalore Ranga Shankara: . She is a recipient of the Sangeet Natak Akademi Award (2008), the Padma Shri (2010) and the National Film Awards (57th) in 2010.


title: Arundathi Nag

text: Nag's career spans over 40 years of theatre, film and television. She is the founder and the Managing Trustee of the Sanket Trust, established in 1992, which runs Ranga Shankara, a theatre space in Bangalore..


title: Arundathi Nag

text: The annual Ranga Shankara Theatre Festival, now in its twelfth year, has become a regular feature on Bangalore's cultural calendar.


title: Arundathi Nag

text: Nag continues to be actively involved in theatre: her most recent works include Girish Karnad's "Bikhre Bimb" (Hindi) and "Odakalu Bimba" (Kannada).


title: Arundathi Nag

text: Her last major movie was "The Man Who Knew Infinity" (2016), in which she played the mother of the mathematical wizard Ramanujan. She has also appeared in Hindi movies including "Paa" (2009), "Sapnay" (1997) and "Dil Se" (1998), Kannada movies including "Golibar" (1991), "Jogi" (2005) and "Andar Bahar", and Malayalam "Da Thadiya" (2012) and Drama (2018 film)


title: Arundathi Nag

text: Nag was born in 1956 in Delhi, stayed in Netaji Nagar. Her family moved to Mumbai when she was 10. At 17, she met Shankar Nag, also a theatre artist. Six years later, the two got married and moved to Bangalore. Shankar became a well-known film actor, and later a director, most remembered for his TV adaptation of R. K. Narayan's "Malgudi Days" (1987). They had a daughter together, Kaavya.


title: Arundathi Nag

text: In 1990, Shankar died in a car accident. Arundhati continued to act in theatre, and began to work towards realising her dream of a theatre space, which in 2004, finally materialised into Ranga Shankara, which is today one of India's premier venues for theatre.


title: Paul Brittain

text: Paul Brittain (born February 16, 1977) is an American actor and comedian. He was a cast member on "Saturday Night Live" from 2010 to 2012.


title: Paul Brittain

text: Brittain was born and raised in Naperville, Illinois. He graduated from Naperville North High School in 1995. He attended the University of Illinois at Urbana–Champaign, where he majored in finance and Spanish, graduating in 2000.


title: Paul Brittain

text: He is a veteran performer at the iO Theater in Chicago where he trained with "SNL" castmate Vanessa Bayer and performed as a member with numerous improv and sketch groups. He has appeared on "Sports Action Team".


title: Paul Brittain

text: Brittain joined the cast of "Saturday Night Live" for the 36th season on September 25, 2010. His most memorable recurring characters included Lord Cecil Wyndemere (a childlike, 48-year-old lord), Goran "Funky Boy" Bogdan (a Croatian stand-up comic who punctuates his jokes with "Oooh, funky boy!"), and "Sex Ed" Vincent (a low-rent sex counselor who holds seminars in shady hotels). Brittain's popular celebrity impressions included Ron Paul, James Franco, and Johnny Depp. Brittain's uncle, Bob Newhart hosted "SNL" in its fifth (1979–1980) and 20th (1994–1995) seasons, making Brittain the second "SNL" cast member to be the nephew of a celebrity who hosted "SNL" more than once (after Jason Sudeikis, whose uncle is semi-frequent 1990s host George Wendt).


title: Paul Brittain

text: Brittain exited "SNL" midway through his second season, making his final appearance on January 14, 2012.


title: Redux (JavaScript library)

text: Redux is an open-source JavaScript library for managing and centralizing application state. It is most commonly used with libraries such as React or Angular for building user interfaces. Similar to (and inspired by) Facebook's Flux architecture, it was created by Dan Abramov and Andrew Clark.


title: Redux (JavaScript library)

text: Redux is a small library with a simple, limited API designed to be a predictable container for application state. It operates in a similar fashion to a reducing function, a functional programming concept.


title: Redux (JavaScript library)

text: Redux was created by Dan Abramov and Andrew Clark in 2015. Abramov began writing the first Redux implementation while preparing for a conference talk at React Europe on hot reloading. Abramov remarks, "I was trying to make a proof of concept of Flux where I could change the logic. And it would let me time travel. And it would let me reapply the future actions on the code change."


title: Redux (JavaScript library)

text: Abramov was struck by the similarity of the Flux pattern with a reducing function. "I was thinking about Flux as a reduce operation over time... your stores, they accumulate state in response to these actions. I was thinking of taking this further. What if your Flux store was not a store but a reducer function?"


title: Redux (JavaScript library)

text: Abramov reached out to Andrew Clark (author of the Flux implementation Flummox) as a collaborator. Among other things, he credits Clark with making the Redux ecosystem of tools possible, helping to come up with a coherent API, implementing extension points such as middleware and store enhancers.


title: Redux (JavaScript library)

text: By mid 2016, Abramov had joined the React team and passed the primary maintainership on to Mark Erikson and Tim Dorr.


title: Redux (JavaScript library)

text: In February 2019, codice_1 was introduced as a React hook in the 16.8 release. It provides an API that is consistent with Redux, enabling developers to create Redux-like stores that are local to component states.


title: Stubby Kaye

text: Bernard Solomon Kotzin (November 11, 1918 – December 14, 1997), known as Stubby Kaye, was an American actor, comedian, vaudevillian, and singer, known for his appearances on Broadway and in film musicals.


title: Stubby Kaye

text: Kaye originated the roles of Nicely-Nicely Johnson in "Guys and Dolls" and Marryin' Sam in "Li'l Abner", introducing two show-stopping numbers of the era: "Sit Down, You're Rockin' the Boat" and "Jubilation T. Cornpone." He reprised these roles in the movie versions of the two shows. Other well-known roles include Herman in Bob Fosse's "Sweet Charity", Sam the Shade in "Cat Ballou", and Marvin Acme in "Who Framed Roger Rabbit".


title: Stubby Kaye

text: Kaye was born Bernard Solomon (or Sholom) Kotzin on the last day of the First World War, at West 114th Street in the Morningside Heights section of Manhattan. His parents were first generation Jewish-Americans originally from Russia and Austria-Hungary. His father, David Kotzin, was a dress salesman, and the former Harriet "Hattie" Freundlish was his mother. He was raised in the Far Rockaway section of Queens and later in The Bronx, where he acted in student productions at DeWitt Clinton High School, and where he graduated in 1937.


title: Stubby Kaye

text: In 1939, he won the "Major Bowes Amateur Hour" contest on radio where the prize included touring in vaudeville, where he was sometimes billed as an "Extra Padded Attraction." During the Second World War, he joined the USO where he toured battle fronts and made his London debut performing with Bob Hope. After the war, he continued to work in vaudeville and as master of ceremonies for the swing orchestras of Freddy Martin and Charlie Barnet.


title: Stubby Kaye

text: Directors viewed Kaye as a master of the Broadway idiom, evidenced by his introduction of three show-stopping numbers of the era: "Fugue for Tinhorns" and "Sit Down, You're Rockin' the Boat" from "Guys and Dolls" (1950) and "Jubilation T. Cornpone" from "Li'l Abner" (1956). In 1953 he played in "You Can't Run Away from It", a remake of "It Happened One Night". Kaye is best remembered for creating the role of Nicely-Nicely Johnson in "Guys and Dolls", first on Broadway and then in the film version. He also played Marryin' Sam in "Li'l Abner", again on both stage and screen. He played the title character in Michael Winner's film "The Cool Mikado" (1962).


title: Stubby Kaye

text: In the mid-1950s, Kaye guest starred on NBC's early sitcom "The Martha Raye Show". In 1958, he appeared on the short-lived NBC variety show "The Gisele MacKenzie Show". About this time, he also appeared on ABC's "The Pat Boone Chevy Showroom". In the 1959–60 television season, Kaye co-starred in the short-lived NBC sitcom "Love and Marriage".


title: Stubby Kaye

text: In the 1960-61 television season, Kaye appeared as Marty, the agent of aspiring actress Eileen Sherwood, in the CBS sitcom "My Sister Eileen", starring Shirley Bonne, Elaine Stritch, Jack Weston, Raymond Bailey, and Rose Marie.


title: Stubby Kaye

text: In the 1960s, Kaye became known as the host of a weekly children's talent show, "Stubby's Silver Star Show". During the 1962–63 television season, he was a regular on "Stump the Stars". On April 14, 1963, he guest-starred as "Tubby Mason" in NBC's "Ensign O'Toole", a comedy series, starring Dean Jones.


title: Stubby Kaye

text: Kaye appeared alongside Nat King Cole as a travelling musician in the western/comedy "Cat Ballou" (1965), starring Jane Fonda and Lee Marvin. He played Herman in the Universal musical film "Sweet Charity" (1969), directed by Bob Fosse and starring Shirley MacLaine in the title role. In that movie, he sang the song "I Love to Cry at Weddings."


title: Stubby Kaye

text: Kaye's later stage productions included the 1974 Broadway revival of "Good News", "Man of Magic" in London (with Stuart Damon as Harry Houdini), and his final Broadway show "Grind", co-starring Ben Vereen, in 1985. He made a guest appearance in the British series "Doctor Who," in the serial "Delta and the Bannermen" (1987). His last featured film role was as Marvin Acme in Robert Zemeckis's film "Who Framed Roger Rabbit" (1988).


title: Stubby Kaye

text: His first wife was Jeanne Watson from Chicago, who was a clerical worker at the movie studios in the late 1950s. They were married in 1960 as the series "Love and Marriage" ended, but the couple divorced because of personal differences within a year of their marriage.


title: Stubby Kaye

text: Kaye's second wife, Angela Bracewell, was a former dancer at the London Palladium whom he met while living in Britain. She was the hostess of the British version of the "Beat the Clock" game show, a segment of "Val Parnell's Sunday Night at the London Palladium". They remained married until his death. He was a second cousin of comedian Bill Maher.


title: Joe Worrall (footballer)

text: Joseph Adrian Worrall (born 10 January 1997) is an English professional footballer who plays as a centre-back for club Nottingham Forest. He has also represented England at youth level, and captained the England squad that won the 2017 Toulon Tournament.


title: Joe Worrall (footballer)

text: Joseph Adrian Worrall was born on 10 January 1997 in Nottingham, Nottinghamshire. He started playing football for Kimberley Miners' Welfare at the age of eight, before playing for Priory Celtic when moving to Watnall and Hucknall Sports when moving to Hucknall.


title: Joe Worrall (footballer)

text: Worrall signed with Nottingham Forest in October 2011, rejecting interest from other local sides, Derby County and Leicester City. Worrall joined League Two club Dagenham & Redbridge on 8 January 2016 on a one-month loan deal. He made his professional debut the next day in a third-round FA Cup tie against Everton, which Dagenham & Redbridge lost 2–0, and scored his first professional goal on 23 January in a 2–2 draw away to Newport County. Worrall made his first-team debut for Forest on 29 October 2016 at Reading and, despite losing the game 2–0, his performance was praised as "strong" and "decisive" by the "Nottingham Post". He revealed that he had been frustrated with the quality of Forest's defending that season and pulled manager Philippe Montanier aside to ask for a chance in the first team. Montanier simply replied "OK, you play against Reading on Saturday".


title: Joe Worrall (footballer)

text: On 19 November, Worrall started alongside Damien Perquis and Matt Mills in a three-man defence as Forest earned their first away win and clean sheet of the season at Ipswich Town. His performance led to Worrall being included in the Football League's Team of the Week and comparisons to former Forest and England defender Michael Dawson. He also received praise from manager Philippe Montanier, who described the centre-back as "strong and tall, but very clever too, tactically". Worrall's performances were noticed by Premier League clubs, with Everton and Stoke City reportedly tracking the centre-back. On 27 February 2017, Worrall signed a three-and-a-half-year contract to extend his stay with Nottingham Forest until 2020. Then later that year, after his success with England at the Toulon Tournament, he signed a further extension until 2022.


title: Joe Worrall (footballer)

text: On 31 August 2018, Worrall joined Scottish Premiership club Rangers on loan until the end of the 2018–19 season. Worrall did not wish to go out on loan, and turned down a move to Ipswich Town, but Forest manager Aitor Karanka insisted that he needed more experience.


title: Joe Worrall (footballer)

text: Following his loan spell at Rangers, Worrall became a key player in the Nottingham Forest side under new manager Sabri Lamouchi, with the defender starting every league game of the 2019–20 season. He signed a four-year contract extension in February 2020.


title: Joe Worrall (footballer)

text: During the 2021-22 season, Worrall regularly captained the Forest side during Lewis Grabban's absence through injury. He scored against rivals Leicester City during a 4-1 FA Cup win. He played a key role in Forest's promotion to the Premier League and captained them in their 1–0 Play-off final victory over Huddersfield Town at Wembley. Worrall was also featured in that season's EFL Championship Team of the Season alongside teammates Ryan Yates and Djed Spence.


title: Joe Worrall (footballer)

text: On 19 May 2017, Worrall was called up to the England representative squad for the 2017 Toulon Tournament as a replacement for Charlton Athletic's Ezri Konsa, who had been promoted to the U20 squad for the 2017 FIFA U-20 World Cup. Appointed as the team's captain, Worrall played four times and lifted the trophy as England defended their title on penalties after a 1–1 draw with the Ivory Coast in the final. Worrall was named the second-best player of the tournament after teammate David Brooks, who won the award.


title: Joe Worrall (footballer)

text: Following his impressive summer with England, Worrall received his first call-up to the U21 squad on 24 August 2017 for their upcoming qualifying matches against their Dutch and Latvian counterparts. Worrall was, however, left out of the squad against the Dutch and was an unused substitute in his team's 3–0 win over Latvia on 5 September.


title: Melodic hardcore

text: Melodic hardcore is a broadly defined subgenre of hardcore punk with a strong emphasis on melody in its guitar work. It generally incorporates fast rhythms, melodic and often distorted guitar riffs, and vocal styles tending towards shouting and screaming. Nevertheless, the genre has been very diverse, with different bands showcasing very different styles. Many pioneering melodic hardcore bands (such as Bad Religion and Descendents), have proven influential across the spectrum of punk rock, as well as rock music more generally. The term "melodic punk" is often used to describe both melodic hardcore and skate punk bands.


title: Melodic hardcore

text: Melodic hardcore is broadly defined, however generally incorporates fast rhythms, melodic and often distorted guitar riffs, and vocal styles tending towards shouting and screaming. Many notable bands, such as Dag Nasty and Lifetime use minor interval chords on guitar, such as minor ninth and seventh chords, as well as fifth or ninth harmonies on vocals. Many groups also drop tune their instruments. Tempos commonly range from 180 to 210 beats per minute, with very few bands ranging outside of a 4/4 time signature.


title: Melodic hardcore

text: Many modern melodic hardcore bands are incorporating elements of melodic hardcore and emo, relying more heavily upon melody than their hardcore punk predecessors. There are also bands that take influence from post-hardcore and melodic metalcore.


title: Melodic hardcore

text: As modern melodic hardcore diverges into one more metalcore leaning track as well as one more emotive track, terms such as "melodic emotive hardcore" and "melodic metallic hardcore" have been suggested to distinguish modern melodic hardcore bands with different sounds that still fall into the same genre. Bands such as the Ghost Inside, Blood Youth, Climates, and Hundredth, have been described as both metalcore and melodic hardcore while While She Sleeps is also considered as merging melodic hardcore elements with metalcore. Casey, La Dispute and Being as an Ocean, who are active in the modern melodic hardcore scene, incorporate elements of post-rock/post-black metal and/or spoken word into their music.


title: Melodic hardcore

text: The earliest melodic hardcore emerged from the Californian hardcore punk scene by the early 1980s. This includes Descendents, who formed in 1978. Their earliest work was simple, pop-influenced punk rock, but they went on to mix this melodic approach with hardcore, inspiring both melodic hardcore and pop punk groups. Bad Religion, who formed in Los Angeles in 1979, played in a somewhat similar vein, but their approach was more "angry" and politically charged. They recorded their debut album, "How Could Hell Be Any Worse?", in 1981.


title: Melodic hardcore

text: The Faith's 1983 EP "Subject to Change" is thought of as one of the first melodic hardcore records, as significant as the music of Bad Religion or the Descendents. On the release, the band added and moved away from the more straightforward hardcore punk of their earlier work towards a more complex, textured, and melodic sound, accompanied by introspective lyrics; the release is notable for its influence on post-hardcore.


title: Melodic hardcore

text: Dag Nasty are a key melodic hardcore band that formed during the mid-1980s as part of the Washington, D.C. hardcore scene, with Brian Baker (ex-Minor Threat) on guitar. In 1988, the band All formed, featuring three members of The Descendents. The band made music in a broadly similar vein to the Descendents, and were initially fronted by Dave Smalley of Dag Nasty. Gorilla Biscuits came out of the late 1980s New York hardcore scene, and played a melodic form of the hardcore subgenre known as youth crew. Youth crew itself takes a lot of influence from 7 Seconds, who ventured into melodic hardcore on albums such as "The Crew". Turning Point, a New Jersey hardcore band, also emerged from the youth crew movement, but their later material moved towards melodic hardcore, with more complex music and introspective lyrics.


title: Melodic hardcore

text: In 1994, HO formed, mixing melodic elements of Washington D.C. with New York & California hardcore punk. Lifetime was a notable emo group whose sound drew heavily on pop punk and melodic hardcore. Along with other melodic hardcore groups, they had much influence on subsequent pop punk, including bands such as Fall Out Boy and Saves the Day. When Lifetime broke up, some of their members formed Kid Dynamite. During the 1990s, the "Epi-Fat" sound (a variant of skate punk named after the labels that housed its key bands, Epitaph Records and Fat Wreck Chords) was popular, and key bands such as NOFX, Pennywise and Strung Out bordered on melodic hardcore influenced by the likes of Descendents and Bad Religion.


title: Melodic hardcore

text: Rise Against, formed in 1999, achieved widespread commercial success with the release of their major label debut "Siren Song of the Counter Culture" in 2004, along with bands such as Strike Anywhere, Consumed, Ignite, Belvedere and A Wilhelm Scream, who continued the traditional style of melodic hardcore. Whereas, in the early to mid-2000s, the genre was transformed through the work of newly formed bands including Killing the Dream, Modern Life Is War, The Hope Conspiracy, Sinking Ships, Have Heart, Verse, The Carrier, Ruiner, This Is Hell, as well as the Canadian band Comeback Kid, many of which are housed by key hardcore labels Bridge 9 Records and Deathwish Inc. Thereafter by about 2009, "the likes of Defeater, Touché Amoré, the Ghost Inside, Counterparts, Being as an Ocean, Stick to Your Guns, Vanna, and many more became the new faces of melodic, emotional hardcore", creating an overlap with post-hardcore and metalcore in current melodic hardcore.


title: Melodic hardcore

text: Many bands have crossed over into or out of the genre. Beartooth's sophomore album Aggressive marked a departure from their conventional hardcore punk sound into a style more reminiscent of melodic hardcore. Hundredth began as a band fusing metalcore and melodic hardcore, however eventually evolved into playing shoegaze on their fourth album "Rare". Traditional melodic hardcore band Strung Out began playing a heavily metal-influenced style on their eighth album Transmission.Alpha.Delta. After playing in the genre on their albums "Black Sails in the Sunset" and "The Art of Drowning", California's AFI began to play a more commercially accessible sound on 2003's "Sing the Sorrow". The White Noise began as an electronicore band on their first two records "Set the Sun" and "Desolate", before beginning to play melodic metallic hardcore.


title: Dennis Brown

text: Dennis Emmanuel Brown CD (1 February 1957 – 1 July 1999) was a Jamaican reggae singer. During his prolific career, which began in the late 1960s when he was aged eleven, he recorded more than 75 albums and was one of the major stars of lovers rock, a subgenre of reggae. Bob Marley cited Brown as his favourite singer, dubbing him "The Crown Prince of Reggae", and Brown would prove influential on future generations of reggae singers.


title: Dennis Brown

text: Dennis Brown was born on 1 February 1957 at the Victoria Jubilee Hospital in Kingston, Jamaica. His father Arthur was a scriptwriter, actor, and journalist, and he grew up in a large tenement yard between North Street and King Street in Kingston with his parents, three elder brothers and a sister, although his mother died in the 1960s. He began his singing career at the age of nine, while still at junior school, with an end-of-term concert the first time he performed in public, although he had been keen on music from an even earlier age, and as a youngster was a keen fan of American balladeers such as Brook Benton, Sam Cooke, Frank Sinatra, and Dean Martin. He cited Nat King Cole as one of his greatest early influences. He regularly hung around JJ's record store on Orange Street in the rocksteady era and his relatives and neighbours would often throw Brown pennies to hear him sing in their yard. Brown's first professional appearance came at the age of eleven, when he visited "Tit for Tat" a local West Kingston Nightclub where his brother Basil was performing a comedy routine, and where he made a guest appearance with the club's resident group, the Fabulous Falcons (a group that included Cynthia Richards, David "Scotty" Scott, and Noel Brown). On the strength of this performance he was asked to join the group as a featured vocalist. When the group performed at a JLP conference at the National Arena, Brown sang two songs – Desmond Dekker's "Unity" and Johnnie Taylor's "Ain't That Loving You" – and after the audience showered the stage with money, he was able to buy his first suit with the proceeds. Bandleader Byron Lee performed on the same bill, and was sufficiently impressed with Brown to book him to perform on package shows featuring visiting US artists, where he was billed as the "Boy Wonder".


title: Dennis Brown

text: As a young singer Brown was influenced by older contemporaries such as Delroy Wilson (whom he later cited as the single greatest influence on his style of singing), Errol Dunkley, John Holt, Ken Boothe, and Bob Andy. Brown's first recording was an original song called "Lips of Wine" for producer Derrick Harriott, but when this was not released, he recorded for Clement "Coxsone" Dodd's Studio One label, and his first session yielded the single "No Man is an Island", recorded when Brown was aged twelve and released in late 1969. The single received steadily increasing airplay for almost a year before becoming a huge hit throughout Jamaica. Brown recorded up to a dozen sessions for Dodd, amounting to around thirty songs, and also worked as a backing singer on sessions by other artists, including providing harmonies along with Horace Andy and Larry Marshall on Alton Ellis's "Sunday Coming" album. Brown was advised by fellow Studio One artist Ellis to learn guitar to help with his songwriting, and after convincing Dodd to buy him an instrument, was taught the basics by Ellis. These Studio One recordings were collected on two albums, "No Man is an Island" and "If I Follow my Heart" (the title track penned by Alton Ellis), although Brown had left Studio One before either was released. He went on to record for several producers including Lloyd Daley ("Baby Don't Do It" and "Things in Life"), Prince Buster ("One Day Soon" and "If I Had the World"), and Phil Pratt ("Black Magic Woman", "Let Love In", and "What About the Half"), before returning to work with Derrick Harriott, recording a string of popular singles including "Silhouettes", "Concentration", "He Can't Spell", and "Musical Heatwave", with the pick of these tracks collected on the "Super Reggae and Soul Hits" album in 1973. Brown also recorded for Vincent "Randy" Chin ("Cheater"), Dennis Alcapone ("I Was Lonely"), and Herman Chin Loy ("It's Too Late" and "Song My Mother Used to Sing") among others, with Brown still at school at this stage of his career.


title: Dennis Brown

text: In 1972, Brown began an association that would result in his breakthrough as an internationally successful artist; He was asked by Joe Gibbs to record an album for him, and one of the tracks recorded as a result, "Money in my Pocket", was a hit with UK reggae audiences and quickly became a favourite of his live performances. This original version of "Money in my Pocket" was in fact produced by Winston "Niney" Holness on behalf of Gibbs, with musical backing from the Soul Syndicate. In the same year, Brown performed as part of a Christmas morning showcase in Toronto, Ontario, Canada, along with Delroy Wilson, Scotty, Errol Dunkley, and the Fabulous Flames, where he was billed as the "Boy Wonder of Jamaica" and was considered the star of the show in a local newspaper review. The song's popularity in the UK was further cemented with the release of a deejay version, "A-So We Stay (Money in Hand)", credited to Big Youth and Dennis Brown, which outsold the original single and topped the Jamaican singles chart. Brown and Holness became close, even sharing a house in Pembroke Hall. Brown followed this with another collaboration with Holness on "Westbound Train", which was the biggest Jamaican hit of summer 1973, and Brown's star status was confirmed when he was voted Jamaica's top male vocalist in a poll by "Swing" magazine the same year. Brown followed this success with "Cassandra" and "No More Will I Roam", and tracks such as "Africa" and "Love Jah", displaying Brown's Rastafari beliefs, became staples on London's sound system scene. In 1973, Brown was hospitalized due to fatigue caused by overwork, although at the time rumours spread that he only had one lung and had only a week to live, or had contracted tuberculosis. He was advised to take an extended break from performing and concentrated instead on his college studies.


title: Dennis Brown

text: Brown returned to music and toured the United Kingdom for the first time in late summer 1974 as part of a Jamaican showcase, along with Cynthia Richards, Al Brown, Sharon Forrester, and The Maytals, after which he was invited to stay on for further dates (where he was backed by The Cimarons, staying in the UK for another three months. While in the UK, he recorded for the first time since his hospitalization, working with producer Sydney Crooks, and again backed by the Cimarons. While Brown was in the UK, Gibbs released an album collecting recordings made earlier in Jamaica, released as "The Best of Dennis Brown", and Brown's first single to get a proper UK release was issued on the Synda label – "No More Will I Roam". He returned to Jamaica for Christmas, but six weeks later was back in the UK, now with Holness in tow as his business manager, to negotiate a record deal with Trojan Records, the first Brown album to be released as a result being "Just Dennis", although the pair would be left out of pocket after Trojan's collapse and subsequent buyout by Saga Records. On their return to Jamaica, Brown and Holness resumed recording in earnest with tracks for a new album, including "So Long Rastafari", "Boasting", and "Open the Gate". During 1975, Brown also recorded one-off sessions for Sonia Pottinger ("If You leave Me") and Bunny Lee ("So Much Pain", a duet with Johnny Clarke), and the first recordings began to appear on Brown's new DEB Music label. In the wake of the Trojan collapse, Brown and Holness arranged a deal with local independent label owners Castro Brown (who ran Morpheus Records) and Larry Lawrence (Ethnic Fight) to distribute their releases in the UK. Brown saw the UK as the most important market to target and performed for five consecutive nights at the Georgian Club in Croydon to raise funds to start his new DEB Music label with Castro Brown. In early 1976, Castro secured a deal with Radio London disc jockey Charlie Gillett for Morpheus (and hence DEB) output to be issued through the latter's Oval Records, which had a distribution deal with Virgin Records, but after a dispute over Castro's separate supply of these records to London record shops, the deal was scrapped and the early DEB releases suffered from a lack of promotion. Later that year, Brown voiced two tracks at Lee "Scratch" Perry's Black Ark studio, "Take a Trip to Zion" and "Wolf and Leopard", the latter of which was a hit in Jamaica and would prove to be one of Brown's most popular songs, with a lyric criticizing those criminals who "rode the natty dread bandwagon". Brown confirmed in an interview in "Black Echoes" that he had parted company with Holness, stating: "I was going along with one man's ideas for too long. Niney was trying to find a new beat at all times, which was disconcerting, so I hadn't been working with my true abilities. Now I know that I can produce myself."


title: Dennis Brown

text: Brown began working again with Joe Gibbs, with an agreement that in return for studio time for his own productions, Brown would allow Gibbs use of any rhythm recorded in the process. The first album from this arrangement, the 1977 release "Visions of Dennis Brown", gave him his biggest success so far, blending conscious themes and love songs, and confirming Brown's transformation from child star to grown up artist. The biblical-themed sleeve and portrait of Haile Selassie on the back complemented the roots reggae tracks on the album, including "Repatriation", "Jah Can Do it", and cover versions of Earl 16's "Malcolm X" and Clive Hunt's "Milk and Honey". The album immediately entered the "Black Echoes" chart and stayed there well into the following year, although it was only available in the UK as an expensive import. "Visions..." was voted reggae album of the year by "Melody Maker" writers and was given the same award by readers of "Black Echoes". A reissued "Wolf and Leopard" single, and the eventual album release of the same name also sold well in the UK, both topping the "Black Echoes" chart.


title: Dennis Brown

text: Brown toured the UK in Autumn 1977 with Big Youth, and described the tour: "It's like I was appointed to deliver certain messages and now is the time to deliver them". He had also begun producing recordings by his protege, Junior Delgado. In 1978, Brown moved to live in London, and set up premises in Battersea Rise, near Clapham Junction to relaunch the DEB Music label with Castro Brown, with artists featured on the label including Junior Delgado, 15.16.17, Bob Andy, Lennox Brown, and later, Gregory Isaacs. Brown had further success himself with a discomix of "How Could I Leave You", a version of The Sharks' rocksteady standard "How Could I Live" with accompanying toast by Prince Mohamed. In March 1978, Brown flew to Jamaica, where he was booked at the last minute to perform at the One Love Peace Concert at the National Arena, backed by Lloyd Parks' We The People Band. "Visions of Dennis Brown" was given a wider distribution via a deal between Lightning Records and WEA and topped the UK reggae album chart in September 1978, this chart run lasting for five months. In August 1978, Brown returned to the UK, bringing Junior Delgado with him, and DEB Music released a series of singles, although they sold moderately compared to the label's earlier successes, but in the same month, Brown's breakthrough single was first released. Initially released as a discomix featuring a new version of "Money in my Pocket" and the deejay version "Cool Runnings" by Price Mohamed, which became unavailable for a time after quickly selling out its first pressing, this single gave Brown his first UK Top 40 hit, reaching number 14 the following year and becoming one of the biggest international hits in Jamaica's history, after crossing over first into soul clubs and then rock clubs. This success led to Brown featuring on the cover of the "NME" in February 1979.


title: Dennis Brown

text: Brown's next two albums were both released on DEB – "So Long Rastafari" and "Joseph's Coat of Many Colours", although the label was closed down in 1979, after which Brown again did the rounds of Jamaica's top producers, as well as continuing self-productions with singles such as "The Little Village" and "Do I Worry?" in 1981.


title: Dennis Brown

text: With continuing commercial success, Brown signed an international deal with A&M Records in 1981, and now based permanently in the UK, his first album release for the label was the Gibbs-produced "Foul Play", which while not wholly a success included the roots tracks "The Existence of Jah" and "The World is Troubled". This was followed in 1982 by "Love Has Found its Way", a Gibbs/Brown/Willie Lindo production that blended lovers rock with a more pop sound, and again was not a great success. His final album with the label, 1983's "The Prophet Rides Again", again mixed roots themes with commercial R&B style tracks, and proved to be his swansong with the label. While his association with A&M had taken him in a more commercial pop direction, Kingston's music scene had shifted towards the new dancehall era, and Brown enthusiastically adapted to the new sound, recording for some of the genre's major producers including Prince Jammy and Gussie Clarke. In the early 1980s he also started a new label, Yvonne's Special, dedicated to his wife. In 1984, he collaborated with Gregory Isaacs on the album "Two Bad Superstars Meet" and the hit single "Let Off Supm", recorded with Sly & Robbie and Jammy, which was followed by a second album featuring the two stars, "Judge Not", in 1985. Brown released a huge amount of work through the 1980s, including the 1986 Jammy-produced album "The Exit", but his biggest success of the decade came in 1989 with the Gussie Clarke-produced duet with Isaacs "Big All Round", and the album "Unchallenged". He continued to record prolifically in the 1990s, notably on the "Three Against War" album in 1995 with Beenie Man and Triston Palma, and on albums produced by Mikey Bennett, and his profile in the United States was raised by a series of album releases on RAS Records. In the late 1990s he was managed by Tommy Cowan, who contrasted Brown to Bob Marley, who he had also managed, stating "Bob Marley was a serious businessman, I don't think Dennis was as serious when it came to investment. Dennis was like a community person, he would earn money and in one hour he would give it away." Brown said of his approach to songwriting in the late 1990s:


title: Dennis Brown

text: "When I write a song I try to follow Joseph's way – deliverance through vision from all – true vibration. I want to be a shepherd in my work, teaching and learning, really singing so much. I don't want to sing and not live it. I must live it. If I can sing songs that people can watch me living, then they can take my work"


title: Dennis Brown

text: Brown's 1994 album "Light My Fire" was nominated for a Grammy Award, as was the last album recorded by Brown, "Let Me Be the One" (in 2001).


title: Dennis Brown

text: In the late 1990s, Brown's health began to deteriorate. He had developed respiratory issues, probably exacerbated by longstanding problems with drug addiction, mainly cocaine, leading to him being taken ill in May 1999 after touring in Brazil with other reggae singers, where he was diagnosed with pneumonia. After returning to Kingston, Jamaica, on the evening of 30 June 1999, he was rushed to Kingston's University Hospital, suffering from cardiac arrest. Brown died the next day, the official cause of his death was a collapsed lung. Sitting Jamaican Prime Minister P. J. Patterson and former prime minister, serving at the time as opposition leader, Edward Seaga of the Jamaica Labour Party both spoke at Brown's funeral, which was held on 17 July 1999 in Kingston. The service, which lasted for three hours, also featured live performances by Maxi Priest, Shaggy, and three of Brown's sons. Brown was then buried at Kingston's National Heroes Park. Brown was survived by his wife Yvonne and ten children. Prime Minister Patterson paid tribute to Brown, saying: "Over the years, Dennis Brown has distinguished himself as one of the finest and most talented musicians of our time. The Crown Prince of Reggae as he was commonly called. He has left us with a vast repertoire of songs which will continue to satisfy the hearts and minds of us all for generations to come."


title: Dennis Brown

text: Dennis Brown's brother Leroy Clarke spoke about his brother as follows; "I just give Jah thanks and praise for Dennis’ life and what he has contributed to the world through the root of music, regardless of the rumors out there about him, he has done a lot. He has paid his dues. You want to know the true Dennis? Listen to his lyrics. He was singing from the heart" (The Beat, Volume 18, #5/6).


title: Dennis Brown

text: Dennis Brown was an inspiration and influence for many reggae singers from the late 1970s through to the 2000s, including Barrington Levy, Junior Reid, Frankie Paul, Luciano, Bushman, and Richie Stephens. In July 1999, a group of UK-based musicians and more than fifty vocalists working under the collective name The British Reggae All Stars (including Mafia & Fluxy, Carlton "Bubblers" Ogilvie, Peter Hunnigale, Louisa Mark, Nerious Joseph, and Sylvia Tella) recorded "Tribute Song", a medley of six of Brown's best-known songs, in memory of Brown.


title: Dennis Brown

text: He was honoured on the first anniversary of his death by a memorial concert in Brooklyn, which featured performances from Johnny Osbourne, Micky Jarrett, Delano Tucker, and Half Pint. In 2001, a charitable trust was set up in Brown's name. The Dennis Emanuel Brown Trust works to educate youngsters, maintain and advance the memory of Dennis Brown, and help to provide youngsters with musical instruments. The trust awards the Dennis Emanuel Brown (DEB) bursary for educational achievement each year to students between the ages of 10 and 12 years. In 2005, George Nooks, who had worked with Brown in the mid-1970s in his deejay guise as Prince Mohamed, released an album of Brown covers, "George Nooks Sings Dennis Brown: The Voice Lives On", with Nooks stating: "I was always inspired by his talent and I used to sing like him. Dennis had a large influence on me. To me he was the greatest. He was my number one singer." In the same year, Gregory Isaacs paid a similar tribute with the album "Gregory Isaacs Sings Dennis Brown". In February 2007, a series of events were staged in Jamaica in celebration of the lives of both Brown and Marley (both would have had birthdays that month). In 2008, the Dennis Brown Trust announced a new internet radio station, dedicated solely to the music of Dennis Brown, and in the same month a tribute concert was staged by the Jamaican Association of Vintage Artistes and Affiliates (JAVAA) featuring Dwight Pinkney, Derrick Harriott, Sugar Minott, George Nooks, and John Holt.


title: Dennis Brown

text: Songs about or dedicated to Brown include "If This World Were Mine" by Slightly Stoopid, "Drive" by Pepper (band), and Whitney Houston's "Whitney Houston Dub Plate" on "" album by Wyclef Jean.


title: Dennis Brown

text: On 26 April 2010, Brown was featured on NPR "Morning Edition" news program as one of the "50 great voices – The stories of awe-inspiring voices from around the world and across time". The NPR "50 Great Voices" list includes Nat King Cole, Ella Fitzgerald, Mahalia Jackson and Jackie Wilson among others.


title: Dennis Brown

text: On 6 August 2011, being the 49th anniversary of the country's independence, the Governor-General of Jamaica posthumously conferred the Order of Distinction in the rank of Commander (CD) upon Brown, for his contribution to the Jamaican music industry.


title: Dennis Brown

text: In April 2012, a commemorative blue plaque was placed on Brown's home in Harlesden by the Nubian Jak Community Trust.


title: Portulaca

text: Portulaca (, is the type genus of the flowering plant family Portulacaceae, with over 100 species, found in the tropics and warm temperate regions. They are known as the purslanes.


title: Portulaca

text: Common purslane ("Portulaca oleracea") is widely consumed as an edible plant, and in some areas it is invasive. "Portulaca grandiflora" is a well-known ornamental garden plant. Purslanes are relished by chickens. Some "Portulaca" species are used as food plants by the larvae of some Lepidoptera species including the nutmeg moth ("Hadula trifolii").


title: Zhang (surname)

text: Zhang () is the third most common surname in mainland China and Taiwan (commonly spelled as Chang in Taiwan), and it is one of the most common surnames in the world. Zhang is the pinyin romanization of the very common Chinese surname written ' in simplified characters and ' in traditional characters. It is spoken in the first tone: "Zhāng". It is a surname that exists in many languages and cultures, corresponding to the surname 'Archer' in English for example. In the Wade-Giles system of romanization, it is rendered as Chang, which is commonly used in Taiwan; Cheung is commonly used in Hong Kong as romanization.


title: Zhang (surname)

text: It is also the pinyin romanization of the less-common surnames ' ("Zhāng"), which is the 40th name on the "Hundred Family Surnames" poem. There is the even-less common ' ("Zhǎng").


title: Zhang (surname)

text: A commonly cited but erroneous factoid in the 1990 Guinness Book of Records listed it as the world's most common surname, but no comprehensive information from China was available at the time and more recent editions have not repeated the claim.


title: Zhang (surname)

text: As mentioned above, is the third-most-common surname in mainland China, making up 6.83% of the population of the People's Republic of China. In 2019 it was the most common surname in exactly one provincial-level division, Shanghai municipality. In Taiwan, is the fourth-most-common surname, making up 5.26% of the population of the Republic of China. In 2019 it was again the third most common surname in Mainland China.


title: Zhang (surname)

text: Zhang Wei (张伟) has been the most common family name and given name combination in China for many years.


title: Zhang (surname)

text: Among the Chinese diaspora, the name remains common but takes on various romanizations. "Chong" is the 19th-most-common surname among Chinese Singaporeans; "Chang" is the 6th-most-common surname among Chinese Americans; and "Zhang" was the 7th-most-common particularly Chinese surname found in a 2010 survey of Ontario's Registered Persons Database of Canadian health card recipients.


title: Zhang (surname)

text: combines the Chinese characters ("gōng", "bow") and ( , "cháng", "long" or "wide"). It originally meant "to open up" or "to spread" as an arching bow, but as a common noun in modern use it is a measure word for flat objects such as paper and cloth, like the English "sheet of".


title: Zhang (surname)

text: The traditional origin of the surname (Old Chinese: "*C. traŋ") is rooted in Chinese legend. The fifth son of the Yellow Emperor, Qing Yangshi (, Qīng Yángshì), had a son Hui (, Huī) who was inspired by the Heavenly Bow constellation (, "Tiān Gōng Xīng") to invent the bow and arrow. Hui was then promoted to "First Bow" (, "Gōng Zhèng") and bestowed the surname , whichwhen broken into its constituent radicalsmeans "widening bow" or "archer". Its Middle Chinese pronunciation has been reconstructed as "Trjang".


title: The Blue Dahlia

text: The Blue Dahlia is a 1946 American crime film and film noir with an original screenplay by Raymond Chandler directed by George Marshall and starring Alan Ladd, Veronica Lake and William Bendix. It was Chandler's first original screenplay.


title: The Blue Dahlia

text: Three demobilized United States Navy aviators, Johnny Morrison, Buzz Wanchek, and George Copeland, arrive in Hollywood, California. All three flew together in the same flight crew from Kwajalein Atoll in the South Pacific. Buzz has shell shock and a metal plate in his head above his ear.


title: The Blue Dahlia

text: While George and Buzz get an apartment together, Johnny surprises his wife, Helen, at her hotel bungalow where she is hosting a riotous party with many drunken revellers. Johnny discovers that Helen is having an affair with Eddie Harwood, the owner of the Blue Dahlia nightclub on the Sunset Strip. Johnny punches Eddie as he leaves and then apologizes for losing his temper. The party ends and everybody leaves. Helen, drunk, confesses to Johnny that their son, Dickie, who Johnny believed died of diphtheria, actually died in a car crash that happened because she was driving while drunk. Johnny and Helen scuffle, which is witnessed by the hotel detective, "Dad" Newell. Johnny decides to leave. He pulls a gun on Helen, states 'that's what you deserve,' but drops the gun on a chair and leaves.


title: The Blue Dahlia

text: Buzz goes out to find Johnny at his hotel bungalow. He meets Helen Morrison in the hotel bar and, unaware of her identity, goes to her bungalow for a drink to wait for Mrs Morrison.


title: The Blue Dahlia

text: Helen rings Eddie who breaks up with her over the phone. However, she then blackmails him into seeing her again. Eddie visits Helen at her bungalow; this is witnessed by the hotel detective.


title: The Blue Dahlia

text: Johnny is picked up by Joyce Harwood (who is driving to Malibu) while walking in the rain. She is estranged from Eddie. Neither reveals their names. Although attracted to each other, they part ways and Johnny spends the night in a beach-side inn. The next morning, at the same inn, Joyce sees Johnny at breakfast and reveals that she stayed at the same inn. They decide to walk on the beach to look for moonstones. Whilst purchasing a bus ticket for Los Angeles, Johnny hears the radio announce that Helen has been murdered and that Johnny is suspected. He then quickly leaves to board a bus.


title: The Blue Dahlia

text: After Johnny checks in to a cheap hotel in Los Angeles under an assumed name, Corelli, the hotel manager, finds Johnny's framed photo of himself with Dickie and tries to blackmail him. Johnny punches Corelli out, smashing the frame in the process; he discovers on the back of the photo that Helen has written an insurance note revealing that Eddie is really Bauer, a murderer who is wanted in New Jersey.


title: The Blue Dahlia

text: Corelli revives and sells information on Johnny's identity to a gangster named Leo (the nightclub partner of Eddie), who then kidnaps Johnny when he visits George and Buzz.


title: The Blue Dahlia

text: Buzz and George visit Eddie at the Blue Dahlia. Joyce, who has agreed to meet Eddie, introduces herself. As Joyce picks at a blue dahlia flower, the nightclub's music sets off a painful ring in Buzz's head. Lapsing into a fit, he remembers the agonizing music that he heard at Helen's bungalow, as she played with a blue dahlia.


title: The Blue Dahlia

text: Johnny escapes Leo and his side-kick, knocking them both out just before Eddie arrives. They talk and Eddie admits with regret that, fifteen years earlier, he was involved in the shooting of a bank messenger.


title: The Blue Dahlia

text: Leo comes around and tries to shoot Johnny, but during a scuffle, he shoots Eddie instead. Johnny ends up shooting Leo and flees to the Blue Dahlia, where the police are trying to force a confused Buzz to admit that he killed Helen.


title: The Blue Dahlia

text: Johnny enters and suggests that Joyce turn up the jazz music that Buzz hates. As his head pounds, Buzz remembers leaving Helen alive in her bungalow. Newell tries to shift suspicion towards George, then attempts to leave as Police Captain Hendrickson confronts Newell with the accusation that he tried to blackmail Helen about her affair, and that he killed her when she refused to comply. Newell then tries to escape from the office but is shot dead by Hendrickson when he pulls his own gun.


title: The Blue Dahlia

text: Later, outside the Blue Dahlia, Buzz and George decide to go for a drink, leaving Johnny and Joyce together.


title: The Blue Dahlia

text: Uncredited performances include Mae Busch as Jenny the maid, Anthony Caruso as a corporal playing a jukebox, and Noel Neill as Nolie the hatcheck girl.


title: The Blue Dahlia

text: In 1945 Alan Ladd was one of Paramount's top stars. He had served for ten months in the army in 1943 before being honorably discharged due to illness; however, he had recently been reclassified 1-A for the military draft, and he might have had to go back into the Army. Paramount kept applying for deferments so he could make films but Ladd was due for induction in May 1945.


title: The Blue Dahlia

text: The studio wanted to make a movie starring him before that happened, but had nothing suitable. Producer John Houseman knew Raymond Chandler from having collaborated on Paramount's "The Unseen", which Houseman produced and Chandler rewrote. Houseman says Chandler had started a novel but was "stuck" and was considering turning it into a screenplay for the movies instead. Houseman read the 120 pages Chandler had written and, within 48 hours, it was sold to Paramount. Houseman would produce it under the supervision of Joseph Sistrom.


title: The Blue Dahlia

text: It was the first original script for the screen that Chandler had ever written. He wrote the first half of the script in under six weeks and sent it to Paramount. Delighted, the studio arranged for filming to start in three weeks' time.


title: The Blue Dahlia

text: Paramount announced the film in February 1945, with Ladd, Lake, Bendix and Marshall (the director) all attached from the beginning. Houseman said George Marshall had a reputation for rewriting extensively on the set and had to persuade him to stick to the script. (Marshall said he was so impressed with the writing he never had any intention of rewriting.)


title: The Blue Dahlia

text: Houseman recalled that Ladd was unhappy with the casting of Doris Dowling as his wife because she was half a foot taller than he but this was disguised during their scenes together.


title: The Blue Dahlia

text: Shooting began in March 1945 without a completed screenplay. Houseman was not worried initially because of his confidence in Chandler. He says four weeks into filming the studio began to worry as they were running out of script. "We had shot sixty-two pages in four weeks; Chandler, during that time, had turned in only twenty-two—with another thirty to go."


title: The Blue Dahlia

text: The problem was the ending. Originally, Chandler intended the killer to be Buzz having a blackout. However, the Navy did not want a serviceman to be portrayed as a murderer, and Paramount told Chandler that he had to come up with a new ending. Chandler responded at first with writer's block. Paramount offered Chandler a $5,000 incentive to finish the script, which did not work, according to Houseman:It was the front-office calculation, I suppose, that by dangling this fresh carrot before Chandler's nose they were executing a brilliant and cunning maneuver. They did not know their man. They succeeded, instead, in disturbing him in three distinct and separate ways: One, his faith in himself was destroyed. By never letting Ray share my apprehensions, I had convinced him of my confidence in his ability to finish the script on time. This sense of security was now hopelessly shattered. Two, he had been insulted. To Ray, the bonus was nothing but a bribe. To be offered a large additional sum of money for the completion of an assignment for which he had already contracted and which he had every intention of fulfilling was by his standards a degradation and a dishonor. Three, by going to him behind my back they had invited him to betray a friend and fellow Public School man. The way the interview had been conducted ('sneakily') filled Ray with humiliation and rage.


title: The Blue Dahlia

text: Chandler wanted to quit, but Houseman convinced him to sleep on it. The next day, Chandler said he would be able to finish the film if he resumed drinking. Houseman said that the writer's requirements were "two Cadillac limousines, to stand day and night outside the house with drivers available", "six secretaries", and "a direct line open at all times to my office by day, to the studio switchboard at night and to my home at all times." Houseman agreed and says Chandler then started drinking:


title: The Blue Dahlia

text: [Chandler] did not minimize the hazards [of drinking]", said Houseman in 1964, "He pointed out that his plan... would call for deep faith on my part and supreme courage on his, since he would in effect be completing the script at the risk of his life. (It wasn't the drinking that was dangerous, he explained, since he had a doctor who gave him such massive injections of glucose that he could last for weeks with no solid food at all. It was the sobering up that was parlous; the terrible strain of his return to normal living)."


title: The Blue Dahlia

text: Chandler was unhappy with the forced ending, saying it made "a routine whodunnit out of a fairly original idea." He also disliked the performance of Lake. "The only times she's good is when she keeps her mouth shut and looks mysterious", he told a friend. "The moment she tries to behave as if she had a brain she falls flat on her face. The scenes we had to cut out because she loused them up! And there are three godawful close shots of her looking perturbed that make me want to throw my lunch over the fence."


title: The Blue Dahlia

text: Chandler received a lot of deference on the set, but Lake was not familiar with him so, upon asking about him and being told, "He's the greatest mystery writer around", she made a point of listening intently to an analysis of his work by the film's publicity director to impress newspaper reporters with her knowledge of a writer she had never read. Chandler developed an intense dislike for Lake and referred to her as "Moronica Lake".


title: The Blue Dahlia

text: By May 1945, the government ruled that all men aged 30 or over would be released from the obligation to go back into the Army. Ladd did not have to re-enlist after all.


title: The Blue Dahlia

text: Playing a discharged naval flier returning home from the Pacific first to find his wife unfaithful, then to find her murdered and himself in hiding as the suspect, Alan Ladd does a bangup job. Performance has a warm appeal, while in his relentless track down of the real criminal, Ladd has a cold, steel-like quality that is potent. Fight scenes are stark and brutal, and tremendously effective.


title: The Blue Dahlia

text: A fresh smelling film noir directed with great skill by George Marshall from the screenplay of Raymond Chandler (the only one he ever wrote for the screen, his other films were adapted from his novels). It eschews moral judgment in favor of a hard-boiled tale that flaunts its flowery style as its way of swimming madly along in LA's postwar boom and decadence.


title: The Blue Dahlia

text: "Diabolique" called it "a fantastic film noir, full of atmosphere, intrigue, crackling dialogue and sensational performances, which was recognized as a classic almost immediately and made a tonne of money."


title: The Blue Dahlia

text: The film review aggregator website Rotten Tomatoes reports that 100% of its critics gave the film a positive review, based on 11 reviews.


title: The Blue Dahlia

text: "The Blue Dahlia" was dramatized as a half-hour radio play on the April 21, 1949 broadcast of "The Screen Guild Theater", starring Lake and Ladd in their original film roles. The movie was also adapted into a stage play in 1989.


title: Christopher Denham

text: Christopher Denham is an American actor, screenwriter and director. He is perhaps best known for supporting roles in "Argo", "Being the Ricardos", "Shutter Island" and his role in the Sundance Film Festival cult phenomenon, "Sound of My Voice", as well as the television series "Billions", "Shining Girls", opposite Elisabeth Moss and Amazon Prime's "Utopia", created by Gillian Flynn.