title: Daylight saving time in the Americas

text: Daylight saving time in the Americas is the arrangement in the Americas by which clocks are advanced by one hour in spring and moved back in autumn, to make the most of seasonal daylight. The practice is widespread in North America, with most of Canada and the United States participating, but much less so in Central and South America.


title: Daylight saving time in the Americas

text: Canada and the United States use daylight saving time on a wide scale, with only a few provinces/states, or parts of them, opting out of the practice or adopting it year-round without a twice-yearly switch.


title: Daylight saving time in the Americas

text: The Canadian province of Saskatchewan and the territory of the Yukon do not observe daylight saving time. Saskatchewan remains on Central Standard Time (CST), although, geographically, they are in the Mountain Time Zone, and Yukon remains on Mountain Standard Time (MST) all year long.


title: Daylight saving time in the Americas

text: The US territories of Puerto Rico and the Virgin Islands remain on Atlantic Standard Time (AST) all year long, so clocks in those territories match those in New York City during the summer and Bermuda in the winter.


title: Daylight saving time in the Americas

text: The states of Hawaii and Arizona do not observe daylight saving time. Hawaii stays on Hawaiian Standard time year round, Arizona stays on Mountain Standard time year round.


title: Daylight saving time in the Americas

text: Since 2007, in areas of Canada and the United States in which it is used, daylight saving time begins on the second Sunday of March and ends on the first Sunday of November.


title: Daylight saving time in the Americas

text: On March 15, 2022, the United States Senate passed the Sunshine Protection Act by unanimous consent. If passed by the House of Representatives, the law would place the United States under Daylight Time year-round.


title: Daylight saving time in the Americas

text: Mexico observed daylight saving time (DST; Spanish: "horario de verano") nationwide from 1996 to 2022, even in its tropical regions, because of its increasing economic ties to the United States. It previously observed the schedule used by the United States prior to 2007, with DST beginning on the first Sunday of April and ending on the last Sunday of October. Although the United States changed the schedule for DST beginning in 2007, only certain municipalities in Mexico, located less than 20 km from the border adopted this change. The rest of the country continued to follow the original schedule before abolishing DST on Sunday, 30 October 2022. The border municipalities that changed to observe the U.S. schedule continue to do so, beginning DST on the second Sunday of March and ending it on the first Sunday of November.


title: Daylight saving time in the Americas

text: Saint Pierre and Miquelon, located near the Canadian coast, belongs to France, but observes daylight saving time according to Canadian rules.


title: Daylight saving time in the Americas

text: Greenland (excluding two minor areas at Danmarkshavn and Pituffik) observes DST and uses the European convention (DST begins 01:00 UTC last Sunday in March and ends 01:00 UTC last Sunday in October). Most populated places in the country are in the zone in the winter ( in the summer). Clocks are changed from 22:00 to 23:00 in the spring (on the Saturday before the last Sunday in March), and reset back from 23:00 to 22:00 in the autumn (on the Saturday before the last Sunday in October).


title: Daylight saving time in the Americas

text: Danmarkshavn does not use DST, because it is a weather station with an airstrip which is supplied from Iceland, which does not use DST. This might apply to some other weather stations in the area.


title: Daylight saving time in the Americas

text: Pituffik/Thule Air Base uses and United States conventions on DST because it is a US air base, meaning it is part of the Atlantic Time Zone.


title: Daylight saving time in the Americas

text: Barbados in the western Atlantic no longer observes Daylight Saving Time, like many Caribbean nations. The last observance of a daylight saving-related time clock adjustment was between Sunday, 20 April 1980 at 02:00 and Thursday, 25 September 1980 at 02:00. On 25 September the clock was shifted from -3:00 to -4:00, where it has remained since.


title: Daylight saving time in the Americas

text: Cuba normally observes DST from March to October although the precise dates vary. For two years in the mid-2000s, Cuba stayed on DST throughout the year. In 2009 it was on DST from the second Sunday in March to the last Sunday of October. In 2011, it was on DST from the second Sunday in March to the first Sunday in November.


title: Daylight saving time in the Americas

text: Dominica in the Caribbean does not observe Daylight Saving Time, like several other Caribbean nations.


title: Daylight saving time in the Americas

text: The Dutch Caribbean islands of Aruba, Bonaire, Curaçao, Saba, Sint Eustatius and Sint Maarten do not observe Daylight Saving Time.


title: Daylight saving time in the Americas

text: The French Caribbean islands of Guadeloupe, Martinique, Saint-Barthélemy and Saint-Martin do not observe Daylight Saving Time.


title: Daylight saving time in the Americas

text: Haiti had reestablished Daylight Saving Time in 2012, following the US/Canada DST Rules, starting on the second Sunday in March and ending on the first Sunday in November. This was discontinued in 2016, but was re-introduced in 2017.


title: Daylight saving time in the Americas

text: Jamaica previously used Daylight Saving Time, utilising the US and Canadian rules. The practice was followed from 1974 before being discontinued in 1983.


title: Daylight saving time in the Americas

text: Turks and Caicos discontinued Daylight Saving Time in March 2015, at the same time moving from the Eastern Time Zone to the Atlantic Time Zone, the result being the same as having year-round Daylight Saving in the Eastern Time Zone.


title: Daylight saving time in the Americas

text: In 2018, the islands reintroduced daylight saving time by setting the clocks back 1 hour to Eastern Standard Time; the islands follow the same daylight saving schedule as the United States and Canada.


title: Daylight saving time in the Americas

text: Guatemala has used DST during energy crises. The last time the country used DST was from 30 April to 1 October 2006.


title: Daylight saving time in the Americas

text: Honduras adopted DST from May 1994 until September 1994 but then abandoned it. On 7 May 2006 it again used DST; however the country ended DST observance on 7 August 2006, making this the shortest use of DST in the northern hemisphere as it was only applied for 3 months. The government decided not to use DST in 2007.


title: Daylight saving time in the Americas

text: Nicaragua observed DST from 1 January 1992 until 20 February 1994 but it stopped thereafter. DST was re-implemented, citing energy conservation, beginning 10 April 2005 until 2 October 2005 and followed a similar period the next year. 2006's observance of DST began on 30 April and ended on 1 October. In 2007, the government of Nicaragua decided to stop observing daylight saving time.


title: Daylight saving time in the Americas

text: In equatorial regions, DST is not useful because of the stability of light levels throughout the year. As a result, large areas of South America do not observe DST. DST is used in some of the more southerly countries such as Paraguay and most of Chile.


title: Daylight saving time in the Americas

text: Since 2009, Argentina has not been observing DST and the entire country has stayed on . Argentina is located at a longitude that would naturally put it in the UTC−04:00 or UTC−05:00 time zone.


title: Daylight saving time in the Americas

text: San Luis province, which was previously in a different time zone than most of the country and which formerly observed DST, decided in April 2010 not to change its clocks back and to stay on all year round.


title: Daylight saving time in the Americas

text: The most recent history of Argentina observing DST dates from 2007 to 2009. After a period of not observing DST, Argentina observed DST in some provinces in an attempt to save energy. For each period, the executive branch of the government set the specific start and end dates for DST, i.e. there was no fixed annual schedule.


title: Daylight saving time in the Americas

text: In 2011, Bolivia planned to observe DST starting September 1 for the first time in its history, advancing the clock an hour on a nationwide basis in order to offset their energy problems. The schedule change was planned to take place every year between September and March, corresponding to the spring and summer of the South American country. However, the day before the scheduled change, on August 31, 2011, the national government indefinitely suspended the observation of DST due to opposition from experts in electricity, neighborhood and school leaders, and the general populace.


title: Daylight saving time in the Americas

text: Brazil adopted DST (called "horário de verão"—"summer time"—in Portuguese) for the first time in 1931, and it was in effect across the entire country. The duration and regional applicability of DST has varied over the years (see for details). As of 2013, DST was used only in the southern region (the states of Rio Grande do Sul, Santa Catarina, Paraná), the southeast region (the states of São Paulo, Rio de Janeiro, Espirito Santo, Minas Gerais), and the central-west region (the state of Goiás and the Distrito Federal, and the states of Mato Grosso and Mato Grosso do Sul).


title: Daylight saving time in the Americas

text: Formerly, starting and ending dates were variable, but in 2008, a decree (No. 6558 of 9 September 2008) established a permanent rule: DST starts at 00:00 on the third Sunday in October from 2008 to 2017 (and on the first Sunday in November from 2018 to the present), and ends at 00:00 on the third Sunday in February—unless the latter falls during Carnaval: in this case, the end of DST was postponed by one week.


title: Daylight saving time in the Americas

text: In the past, DST was observed from the second Saturday in October to the second Saturday in March, but it has varied (see Time in Chile). In 2008, for example, the time was adjusted on Sunday, March 30, at 12 midnight.


title: Daylight saving time in the Americas

text: In 2011, in order to prevent energy shortages after a dry summer, DST was first extended until April 2 and then until May 7.


title: Daylight saving time in the Americas

text: From 2011 to 2014, Chile DST started the first Saturday of September at 24:00, and ended the last Saturday of April at 24:00.


title: Daylight saving time in the Americas

text: DST was not observed in 2015 when the government declared that the country would remain on permanently. But on March 16, 2016, decree 253 modified the 2015 decision and restored winter time, except for the Magallanes and Chilean Antarctica Region which remains on permanently. It would last 90 days from the second weekend of May to the second weekend of August.


title: Daylight saving time in the Americas

text: From February 1992 until March 1993, Colombia suffered rolling blackouts of up to 10 hours a day due to a particularly strong El Niño season, which dried the reservoirs in hydroelectric plants in a country deriving 70% of its energy output from hydroelectric sources; consequently, the government decided to use DST to help save electricity. The experiment failed to deliver the intended results, possibly due to Colombia's low latitude, and the DST experiment was discontinued.


title: Daylight saving time in the Americas

text: Ecuador's President Sixto Durán Ballén imposed daylight saving time in 1992 in an energy-saving effort. It was poorly received by the populace and did not last long.


title: Daylight saving time in the Americas

text: DST () is generally observed from the first Sunday of September to the third Sunday of April. However, the Falklands remained on DST throughout 2011 and 2012.


title: Daylight saving time in the Americas

text: Paraguay observes DST under decree 1867 of March 5, 2004. DST ends on the second Sunday of March and starts on the third Sunday of October.


title: Daylight saving time in the Americas

text: In 2010, Paraguay changed its own DST rules because of the energy crisis, ending DST on the second Sunday in April, a month later than previous years. The start date remains unchanged.


title: Daylight saving time in the Americas

text: Beginning in 2004, Uruguay began to observe DST. Starting in 2006, DST began on the first Sunday in October and ended on the second Sunday in March of each year. However, on 30 June 2015, Uruguay abolished DST.


title: IFTTT

text: IFTTT (, an acronym of If This Then That) is a private commercial company that runs online digital automation platforms which it offers as a service. Their platforms provide a visual interface for making cross-platform if statements to its users, which, , numbered 18 million people.


title: IFTTT

text: IFTTT has partnerships with different providers of everyday services as well as using public APIs to integrate them with each other through its platform. They supply event notifications to IFTTT and execute commands that implement the responses.


title: IFTTT

text: On December 14, 2010, Linden Tibbets, the co-founder of IFTTT, posted a blog post titled “ifttt the beginning...” on the IFTTT website, announcing the new project. The first IFTTT applications were designed and developed by Linden with co-founders Jesse Tane and Alexander Tibbets. The product was officially launched on September 7, 2011.


title: IFTTT

text: By April 2012, users had created one million tasks. In June 2012, the service entered the Internet of Things space by integrating with Belkin Wemo devices, allowing applets to interact with the physical world. In July 2013, IFTTT released an iPhone app and later released a version for iPad and iPod touch. Then in April 2014, an Android version came out. By the end of 2014, the IFTTT business was valued at approximately US$170 million.


title: IFTTT

text: On February 19, 2015, IFTTT launched three new applications: Do Button (that triggers an action when it is pressed), Do Camera (which automatically uploads an image to services such as Facebook, Twitter, and Dropbox), and Do Notes (which uploads text to services). In November 2016, the four apps were merged. By December 2016, the company announced a partnership with JotForm to integrate an applet to create actions in other applications.


title: IFTTT

text: Part of IFTTT's revenue comes from "IFTTT Platform" partners, who pay to have their products connected to the service.


title: IFTTT

text: On September 10, 2020, the service switched to a limited freemium model with a subscription-based version known as "IFTTT Pro", which allows services to use conditional statements and query data for more complex tasks. At the same time, all existing users were limited to three custom applets, being required to subscribe to Pro in order to remove this limitation. This decision generated criticism from IFTTT's community of users.


title: IFTTT

text: IFTTT was featured on TIME Magazine’s "50 Best Websites 2012" list. Microsoft developed a similar product called Microsoft Flow (later renamed Microsoft Power Automate).


title: Feigenbaum constants

text: In mathematics, specifically bifurcation theory, the Feigenbaum constants are two mathematical constants which both express ratios in a bifurcation diagram for a non-linear map. They are named after the physicist Mitchell J. Feigenbaum.


title: Feigenbaum constants

text: Feigenbaum originally related the first constant to the period-doubling bifurcations in the logistic map, but also showed it to hold for all one-dimensional maps with a single quadratic maximum. As a consequence of this generality, every chaotic system that corresponds to this description will bifurcate at the same rate. Feigenbaum made this discovery in 1975, and he officially published it in 1978.


title: Feigenbaum constants

text: The first Feigenbaum constant is the limiting ratio of each bifurcation interval to the next between every period doubling, of a one-parameter map


title: Feigenbaum constants

text: Here is the bifurcation parameter, is the variable. The values of for which the period doubles (e.g. the largest value for with no period-2 orbit, or the largest with no period-4 orbit), are , etc. These are tabulated below:


title: Feigenbaum constants

text: The ratio in the last column converges to the first Feigenbaum constant. The same number arises for the logistic map


title: Feigenbaum constants

text: the Feigenbaum constant is the ratio between the diameters of successive circles on the real axis in the complex plane (see animation on the right).


title: Feigenbaum constants

text: Bifurcation parameter is a root point of period- component. This series converges to the Feigenbaum point = −1.401155... The ratio in the last column converges to the first Feigenbaum constant.


title: Feigenbaum constants

text: Other maps also reproduce this ratio, in this sense the Feigenbaum constant in bifurcation theory is analogous to in geometry and in calculus.


title: Feigenbaum constants

text: is the ratio between the width of a tine and the width of one of its two subtines (except the tine closest to the fold). A negative sign is applied to when the ratio between the lower subtine and the width of the tine is measured.


title: Feigenbaum constants

text: These numbers apply to a large class of dynamical systems (for example, dripping faucets to population growth).


title: Feigenbaum constants

text: Both numbers are believed to be transcendental, although they have not been proven to be so. There is also no known proof that either constant is irrational.


title: Feigenbaum constants

text: The first proof of the universality of the Feigenbaum constants was carried out by Oscar Lanford—with computer-assistance—in 1982 (with a small correction by Jean-Pierre Eckmann and Peter Wittwer of the University of Geneva in 1987). Over the years, non-numerical methods were discovered for different parts of the proof, aiding Mikhail Lyubich in producing the first complete non-numerical proof.


title: Mikoyan-Gurevich MiG-1

text: The Mikoyan-Gurevich MiG-1 () was a Soviet fighter aircraft of World War II that was designed to meet a requirement for a high-altitude fighter issued in 1939. To minimize demand on strategic materials such as aluminum, the aircraft was mostly constructed from steel tubing and wood. Flight testing revealed a number of deficiencies, but it was ordered into production before they could be fixed. Although difficult to handle, one hundred were built before the design was modified into the MiG-3. The aircraft was issued to fighter regiments of the Soviet Air Forces (VVS) in 1941, but most were apparently destroyed during the opening days of Operation Barbarossa, the German invasion of the Soviet Union in June 1941.


title: Mikoyan-Gurevich MiG-1

text: The MiG-1 was designed in response to a requirement for a high-altitude fighter with an inline engine issued by the VVS in January 1939. Initially the aircraft, designated "I-200", was designed in the Polikarpov construction bureau. Work started in June 1939, under the direction of Nikolai Polikarpov and his assistant M. Tetivikin. Polikarpov himself preferred radial engines and promoted his I-180 design at that time, but when the powerful Mikulin AM-37 inline engine became available, he decided to use it in a fighter. The approach that he selected was to build the smallest possible aircraft around the intended powerplant, thereby minimizing weight and drag — the philosophy of the light fighter. As specified, the aircraft was to be capable of reaching 670 km/h (417 mph). In August 1939, Polikarpov fell out of favor with Joseph Stalin and as a result, when Polikarpov went in November 1939 to tour Germany's aviation works, the Soviet authorities decided to scatter his construction team and create a new Experimental Construction Section (OKO), headed by Artem Mikoyan and Mikhail Gurevich, which remained formally subordinated to the Polikarpov bureau until June 1940. Further work upon the I-200 design was assigned to Mikoyan and Gurevich, who later became recognized — not with full justice — as its designers.


title: Mikoyan-Gurevich MiG-1

text: The MiG-1 was a low-wing monoplane with a tailwheel undercarriage of mixed construction. Due to shortages of light alloys, the rear fuselage was made from wood, but the front fuselage, from the propeller to the rear of the cockpit, was a welded steel tube truss covered by duralumin. The bulk of the wing was wooden, but the center section was all-metal with a steel I-section main spar. The wing used a Clark YH profile. It was evenly tapered with rounded tips and the outer wing panels had 5° of dihedral. All three landing gear wheels retracted hydraulically; the main units inwards into the wing center section. The cockpit was situated well aft, which seriously limited forward vision when landing and taxiing. The AM-37 engine was not yet available and the less powerful V-12 Mikulin AM-35A had to be substituted. It had six exhaust ejectors, one for each pair of cylinders, that provided some additional thrust. It drove a VISh-22Ye controllable-pitch propeller in diameter. The air intakes for the supercharger were in the wing roots and the oil cooler was on the port side of the engine cowling. The radiator was underneath the cockpit. Armament included two fuselage-mounted ShKAS machine guns and one UBS machine gun.


title: Mikoyan-Gurevich MiG-1

text: The result was a highly conventional aircraft that first flew on schedule on 5 April 1940 at the Khodynka Aerodrome in Moscow with chief test pilot Arkadij Ekatov at the controls. On 24 May the first prototype attained a speed of 648.5 km/h (402.9 mph) at 6,900 m (22,638 ft). It could not, however, attain the speed originally specified by the Air Force with this engine. The second prototype took to the air on 9 May, but the third aircraft, the first to be armed, was forced to wait until 6 June, as problems with its synchronization gear prolonged the ground firing tests. On 5 August was reached at using maximum boost. Time to altitude figures were 5.1 minutes to and 7.2 minutes to and speeds at lower altitudes were at and at .


title: Mikoyan-Gurevich MiG-1

text: The I-200 was ordered into production almost immediately, on 31 May 1940. In contrast to the other competing designs, the I-26 (Yak-1) and I-301 (LaGG-3), the I-200 successfully completed the state trials in August on its first attempt. But the trials revealed a number of serious defects, including inadequate visibility when taxiing, poor-quality plexiglas in the canopy obscuring the pilot's view, heavy controls, poor longitudinal stability, difficulty in opening the canopy, an excessively hot cockpit and a "dangerous propensity to flick from a simple stall into a spin from which it was almost impossible to recover".


title: Mikoyan-Gurevich MiG-1

text: A number of improvements were ordered to be made to the aircraft as a result of the deficiencies discovered during the trials, but only a few of them were able to be implemented before production began as the VVS was very anxious to get modern fighters into service. These included an additional air intake on the starboard side of the nose for the oil cooler, rubber sheaths around the fuel tanks to make them self-sealing, two underwing bomb racks each capable of carrying a FAB-100 bomb, a PBP-1 gunsight and each ShKAS was given 375 rounds and the UBS 300 rounds. From the ninth aircraft onwards the side-opening canopy was replaced by a rear-sliding canopy that could be jettisoned in flight. On 9 December 1940 the first 100 I-200s were designated as the MiG-1 (after the initials of Mikoyan and Gurevich).


title: Mikoyan-Gurevich MiG-1

text: The improvement process continued throughout the production run, though they were not immediately implemented in the production line, but were instead incorporated in a fourth prototype for evaluation. This aircraft first flew on 29 October 1940 and was a significant improvement over the I-200s then in production. It passed its State acceptance trials and its improvements were incorporated in the production line from the 101st I-200. These were designated as the MiG-3 on 9 December, although the first production MiG-3 was not completed until 20 December 1940.


title: Mikoyan-Gurevich MiG-1

text: The I-200 prototypes were used to evaluate a number of proposals. For example, the second prototype was fitted with a prototype of the AM-37 engine and first flew with that engine on 6 January 1941. It experienced severe vibration problems and, despite efforts to cure the problems, failed during a flight on 7 May, and was destroyed in the ensuing crash. The third prototype was generally used for armament trials, experimenting with RS-82 rockets among other weapons. For another trial it was equipped with the experimental MP-3 autocannon carried underneath the wings in external pods and redesignated as the IP-201. The 12.7 mm UBS gun was removed for these tests and the space freed up was used to install an extra fuel tank. Initially the cannon had the low rate of fire of only 300 rounds per minute, but this was soon doubled and the gun was renamed the MP-6. Installation of the guns was difficult, despite the aircraft's metal outer wing panels, and the wings deformed when the cannon were first mounted. It made its first and only flight on 1 December 1940 carrying two MP-6s and two 12.7 mm AP-12.7 machine guns, but a blocked fuel line caused a forced landing before the guns could be fired. Testing on a variety of other aircraft revealed very unsatisfactory performance from the guns and their development was canceled. The designers were arrested on 15 May 1941 and executed on 28 October 1941.


title: Mikoyan-Gurevich MiG-1

text: On 3 December 1940 the VVS ordered that the 41st Fighter Regiment ("istrebitel'nyy aviatsionnyy polk"), based at the Crimean town of Kacha, was to conduct operational trials on the I-200 and that they were to be transferred to the 146th Fighter Regiment at Yevpatoria, also in the Crimea, for pilot training after the conclusion of the trials. By 22 February 1941, 89 had been issued to regular fighter units, notably the 89th Fighter Regiment at Kaunas, Lithuania and the 41st Fighter Regiment at Białystok, Poland, both places under Soviet occupation since 1939–40. On 1 June 1941 they were spread out a bit more, with 31 in the Baltic Military District, 37 in the Western Special Military District, one in the Kiev Military District and eight in the Odessa Military District for a total of 77 on hand, of which only 55 were operational. An additional eight MiG-1s were assigned to the Soviet Navy. However, only four pilots were trained to handle either the MiG-1 or the MiG-3.


title: Mikoyan-Gurevich MiG-1

text: Little is known of the performance of the MiG-1 in combat as most were likely destroyed during the opening days of Operation Barbarossa. However, one was still in the inventory of the VVS as late as 1944 when it was recorded as withdrawn that year.


title: March (music)

text: A march, as a musical genre, is a piece of music with a strong regular rhythm which in origin was expressly written for marching to and most frequently performed by a military band. In mood, marches range from the moving death march in Wagner's "Götterdämmerung" to the brisk military marches of John Philip Sousa and the martial hymns of the late 19th century. Examples of the varied use of the march can be found in Beethoven's "Eroica" Symphony, in the Marches Militaires of Franz Schubert, in the Marche funèbre in Chopin's Sonata in B flat minor, the ""Jäger March"" in the by Jean Sibelius, and in the Dead March in Handel's "Saul".


title: March (music)

text: Marches can be written in any time signature, but the most common time signatures are , ("alla breve" , although this may refer to 2 time of Johannes Brahms, or "cut time"), or . However, some modern marches are being written in or time. The modern march tempo is typically around 120 beats per minute. Many funeral marches conform to the Roman standard of 60 beats per minute. The tempo matches the pace of soldiers walking in step. Both tempos achieve the standard rate of 120 steps per minute.


title: March (music)

text: Each section of a march typically consists of 16 or 32 bars, which may repeat. Most importantly, a march consists of a strong and steady percussive beat reminiscent of military field drums.


title: March (music)

text: Marches frequently change keys once, modulating to the subdominant key, and occasionally returning to the original tonic key. If it begins in a minor key, it modulates to the relative major. Marches frequently have counter-melodies introduced during the repeat of a main melody. Marches frequently have a penultimate "dogfight" strain in which two groups of instruments (high/low, woodwind/brass, etc.) alternate in a statement/response format. In most traditional American marches, there are three strains. The third strain is referred to as the "trio".


title: March (music)

text: The march tempo of 120 beats or steps per minute was adopted by the Napoleonic army in order to move faster. Since Napoleon planned to occupy the territory he conquered, instead of his soldiers carrying all of their provisions with them, they would live off the land and march faster. The French march tempo is faster than the traditional tempo of British marches; the British call marches in the French tempo "quick marches". Traditional American marches use the French or quick march tempo. There are two reason for this: First, U.S. military bands adopted the march tempos of France and other continental European nations that aided the U.S. during its early wars with Great Britain. Second, the composer of the greatest American marches, John Philip Sousa, was of Portuguese and German descent. Portugal used the French tempo exclusively—the standard Sousa learned during his musical education. A military band playing or marching at the traditional British march tempo would seem unusually slow in the United States.


title: March (music)

text: March music originates from the military, and marches are usually played by a marching band. The most important instruments are various drums (especially snare drum), horns, fife or woodwind instruments and brass instruments. Marches and marching bands have even today a strong connection to military, both to drill and parades. Marches, which are played at paces with multiples of normal heartbeat, can have a hypnotic effect on the marching soldiers, rendering them into a trance, This effect was widely known already in the 16th century, and was employed to lead the soldiers in closed ranks against the enemy fire in the 16th and 17th century wars.


title: March (music)

text: March music is often important for ceremonial occasions. Processional or coronation marches, such as the popular coronation march from "Le prophète" by Giacomo Meyerbeer and the many examples of coronation marches written for British monarchs by English composers, such as Edward Elgar, Edward German, and William Walton, are all in traditional British tempos.


title: March (music)

text: Marches were not notated until the late 16th century; until then, time was generally kept by percussion alone, often with improvised fife embellishment. With the extensive development of brass instruments, especially in the 19th century, marches became widely popular and were often elaborately orchestrated. Composers such as Wolfgang Amadeus Mozart, Ludwig van Beethoven, Hector Berlioz, Pyotr Ilyich Tchaikovsky, Gustav Mahler, Ralph Vaughan Williams, Charles Ives, Arnold Schoenberg, Igor Stravinsky, Alban Berg, Sergei Prokofiev, Paul Hindemith, Dmitri Shostakovich, and Leonard Bernstein wrote marches, sometimes incorporating them into operas, sonatas, suites, and symphonies. The popularity of John Philip Sousa's band marches has been unmatched.


title: March (music)

text: The style of the traditional symphony march can be traced back to symphonic pieces from renaissance era, such as pieces written for nobility.


title: March (music)

text: British marches typically move at the standard pace of 120 beats per minute, have intricate countermelodies (frequently appearing only in the repeat of a strain), have a wide range of dynamics (including unusually soft sections), use full-value "stingers" at the ends of phrases (as opposed to the shorter, marcato stinger of American marches). The final strain of a British march often has a broad lyrical quality to it. Archetypical British marches include "The British Grenadiers" and those of Major Ricketts, such as the well-known "Colonel Bogey March" and "The Great Little Army".


title: March (music)

text: Scottish bagpipe music makes extensive use of marches played at a pace of approximately 90 beats per minute. Many popular marches are traditional and of unknown origin. Notable examples include Scotland the Brave, Highland Laddie, Bonnie Dundee and Cock of the North. Retreat marches are set in 3/4 time, such as The Green Hills of Tyrol and When the Battle's O'er. The bagpipe also make use of slow marches such as the Skye Boat Song and the Cradle Song. These are set in 6/8 time and are usually played at around 60 beats per minute if played by only pipe bands (and 120 if played with a military band).


title: March (music)

text: Those marches indicative of the light infantry and rifle regiments of the Army (today The Rifles and the Royal Gurkha Rifles), like "Silver Bugles" and "Bravest of the Brave", move at a faster 140 beats per minute pace and feature the distinctive bugle sounds common to the bands of these units (plus bagpipes for the Gurkhas).


title: March (music)

text: German marches move at a very strict tempo of 114 beats per minute, and have a strong oom-pah polka-like/folk-like quality resulting from the bass drum and low-brass playing on the downbeats and the alto voices, such as "peck horn" and snare drums, playing on the off-beats. This provides a very martial quality to these marches. The low brass is often featured prominently in at least one strain of a German march. To offset the rhythmic martiality of most of the strains, the final strain (the trio) often has a lyrical (if somewhat bombastic) quality. Notable German and Austrian march composers include Carl Teike ("Alte Kameraden"), Hermann Ludwig Blankenburg, Johann Gottfried Piefke ("Preußens Gloria"), Johann Strauss I ("Radetzky-Marsch"), Johann Strauss II, Hans Schmid, Josef Wagner, and Karl Michael Ziehrer.


title: March (music)

text: Swedish marches have many things in common with the German marches, much due to historical friendship and bonding with states like Prussia, Hesse and, from 1871 and on, Germany. The tempo is strict and lies between 110 and 112 beats per minute. The oom-pah rhythm is common, although it is rarely as distinctive as in a typical German march. The first bars are nearly always played loudly, followed by a cheerful melody, often with pronounced countermelodies in the euphoniums and trombones. At least one strain of a Swedish march is usually dedicated to the low brass, where the tubas also play the melody, with the rest of the instruments playing on the off-beats. The characteristics of the trio vary from march to march, but the final strain tends to be grand and loud. Examples of Swedish marches are "Under blågul fana" by Viktor Widqvist and "På post för Sverige" by Sam Rydberg.


title: March (music)

text: French military marches are distinct from other European marches by their emphasis on percussion and brass, often incorporating bugle calls as part of the melody or as interludes between strains. Most French marches are in common metre and place a strong percussive emphasis on the first beat of each bar from the band and field music drumlines, hence the characteristic "BOOM-whack-whack-whack" rhythm. Many, though not all French marches (in particular marches dating from the period of the French Revolution) make use of triplet feel; each beat can be felt as a fast triplet. Famous French marches include "Le Régiment de Sambre et Meuse", "La Victoire est à Nous", "Marche de la garde consulaire à Marengo", "La Galette", the "Chant du départ", "Le Chant des Africains", "Le Caïd", "la Marche Lorraine" and "Le Boudin". While many are of the classic quick march time used today, there are several which are of slow time, harking to the slow and medium marches of soldiers of the French forces during the Revolution and the Napoleonic Wars. Part of the French Foreign Legion's current march music inventory includes at lot of slow marches. Also, there are marches similar to those of British rifle regiments which are used by the Chasseur infantry battalions of the Army.


title: March (music)

text: Greek marches typically combine French and German musical traditions, due to the modern Greek State's history of Germanic Royal Dynasties, combined with Francophile governments as well as French and Bavarian officers and military advisors, who brought their respective musical traditions with them, with later British influences. Among the most famous marches are "Famous Macedonia" (Μακεδονία Ξακουστή), a march to commemorate Greece's victory in the Balkan Wars, "Greece never dies" (Η Ελλάδα ποτε δεν πεθαίνει), "The Aegean Sailor" (Ο Ναύτης του Αιγαίου), "The Artillery" (Το Πυροβολικό), "From flames, Crete" (Από φλόγες, η Κρήτη), and "The Army Marches Forth" (Πέρναει ο Στρατός). Almost all Greek marches have choral versions. Many of these marches, in the choral versions, are also popular patriotic songs, which are taught to Greek children in school and are sung along on various occasions, such as national holidays and parades. "Famous Macedonia" also serves as the unofficial anthem of the Greek Region of Macedonia. The Greek Flag March () is the sole march used during the parading of the Greek Flag at ceremonies. Composer Margaritis Kastellis contributed to the development of many Greek pieces for military bands only.


title: March (music)

text: Dutch marches typically feature a heavy intro, often played by the trombones, euphoniums, drums, and tubas, followed by a lighthearted trio and a reasonably fast and somewhat bombastic conclusion, while maintaining occasional bugle calls due to the former wide presence of field music formations (particularly in the Army). Dutch emphasis on low brass is also made clear in that some Dutch military bands use sousaphones, which have a more forward projection of sound, rather than the regular concert tubas used by most other European military styles. Some well-known Dutch march composers are Jan Gerard Palm, Willy Schootemeyer, Adriaan Maas, Johan Wichers, and Hendrik Karels. By far, most Dutch military bands perform their music on foot; however, some Dutch regiments (most notably the Trompetterkorps Bereden Wapens) carry on a Dutch tradition in which its historical bicycle infantry had a mounted band, thus playing march music on bikes.


title: March (music)

text: Italian marches have a very light musical feel, often having sections of fanfare or soprano obbligatos performed with a light coloratura articulation. This frilly characteristic is contrasted with broad lyrical melodies reminiscent of operatic arias. It is relatively common to have one strain (often a first introduction of the final strain) that is played primarily by the higher-voiced instruments or in the upper ranges of the instruments' compass. Examples of Italian march music is "Il Bersagliere" (The Italian Rifleman) by Boccalari and "4 Maggio" by Creux. Uniquely, the Bersaglieri regiments always move at a fast jog, and their running bands, mostly all-brass, play at this pace, with marches like "Passo di Corsa dei Bersaglieri" (Double March of the Bersaglieri) and "Flick Flock" as great examples.


title: March (music)

text: The most characteristic Spanish march form is the pasodoble. Spanish marches often have fanfares at the beginning or end of strains that are reminiscent of traditional and popular music. These marches often move back and forth between major and (relative) minor keys, and often show a great variation in tempo during the course of the march reminiscent of a prolonged Viennese rubato. Military marches are an adapted form of the pasodoble, which feature strong percussion and have British and French influences as well, as well as German, Austrian and Italian elements. Typical Spanish marches are "Amparito Roca" by Jaime Teixidor, "Los Voluntarios" by Gerónimo Giménez, and "El Turuta" by Roman de San Jose. Many of these marches are also of patriotic nature.


title: March (music)

text: Notable Czech (Bohemian) march composers include František Kmoch and Julius Fučík, who wrote "Entrance of the Gladiators".


title: March (music)

text: While many of the marches of Tsarist Russia share similar characteristics with German marches of the period, and indeed some were directly borrowed from Germany (such as "Der Königgrätzer Marsch") and later on France and Austria, the indigenous, pre-revolutionary Russian march has a distinctly Russian sound, with powerful strains in minor keys repeated with low brass with occasional flashes of major chords between sections. The Soviet period produced a large number of modern marches incorporating both Russian themes and structure reminiscent of Dutch marches. Frequently in major keys, Soviet marches often span a wide range of dynamics while maintaining a strong melody well-balanced with the percussion, entering the bombastic range without overpowering percussion as is common with French marches. They are often in the A-B/Cb-A form or ternary form. Agapkin's Farewell of Slavianka is one common example of the classical Russian march, while a notable example of a Soviet-style Russian march is Isaak Dunayevsky's "March of the Enthusiasts" (Марш энтузиастов) and Vasily Solovyov-Sedoi's V Put. Other military marches include the March of 108th Saratov Infantry Regiment and the March of the Defenders of Moscow.


title: March (music)

text: In Ukraine, military marches were originally written to emulate the Russian model, with folk songs and natively Ukrainian marches only recently being used. The Zaporizhian March (also known as the Cossack march) is one of the main marches of the Armed Forces of Ukraine and even replaced Farewell of Slavianka in 1991 as the official march being played during the induction of recruits to the military.


title: March (music)

text: The same concept is applied in Belarus but on a much more toned down style due to the fact that the country still borrows Russian marches. The few homegrown military marches in Belarus include the Our Fatherland's Flag (Айчыны нашай сцяг), as well as the remastered "Motherland My Dear" (Радзіма мая дарагая), Victory March (Марш Перамогi) and Song from 45 (Письмо из 45-го). Other marches include the "Vajacki marš" of the Belarusian Democratic Republic.


title: March (music)

text: The true march music era existed from 1855 to the 1940s when it was overshadowed by jazz, which the march form influenced (especially through ragtime). American march music cannot be discussed without mentioning "The March King", John Philip Sousa, who revolutionized the march during the late 19th and early 20th centuries. Some of his most famous marches are "Semper Fidelis", "The Washington Post", "The Liberty Bell", and "The Stars and Stripes Forever". Sousa's marches are typically marked by a "subdued" trio, as in "The Stars and Stripes Forever" in which the rest of the band becomes subordinated to arguably the most famous piccolo solo in all of music. Typically, an American march consists of a key change, quite often happening in coordination with the Trio. The key may change back before the song is over, especially if the Trio ends well before the last few bars of the march.


title: March (music)

text: A specialized form of the typical American march music is the circus march, or screamer, typified by the marches of Henry Fillmore and Karl King. These marches are performed at a significantly faster tempo (140 to 200 beats per minute) and generally have an abundance of runs, fanfares, and other showy features. Frequently, the low brass has one or more strains (usually the second strain) in which they are showcased with both speed and bombast. Stylistically, many circus marches employ a lyrical final strain which (in the last time through the strain) starts out "maestoso" (majestically, slower and more stately) and then, in the second half of the strain, speeds up to end the march faster than the original tempo.


title: March (music)

text: Marches continued to be commissioned throughout the 20th century to commemorate important American events. In the 1960s, Anthony A. Mitchell, director of the United States Navy Band, was commissioned to write "The National Cultural Center March" for the center that would later become known as the Kennedy Center for the Performing Arts.


title: March (music)

text: The Caucasus consisting of Armenia, Azerbaijan and Georgia often have a Soviet/Russian influence due to the three countries period under the USSR.


title: March (music)

text: Following the Russo-Georgian War, all Russian military marches in the repertoire of the Military Band of the National Guard of Georgia were weeded out in favor of native Georgian marches. Many Armenian patriotic military marches were developed during the First Nagorno-Karabakh War. In Azerbaijan, many military marches such as "Azadlıq Marşı" (Freedom's March) and "Görüş Marşı" (Slow March) are used as inspection marches while others such as the March of the Azerbaijan Higher Military Academy or the "Marş «Vətən»" (Fatherland March) are used in military parades. Other marches are holdovers from the Soviet era, such as "Yaxşı Yol" (Farewell).


title: March (music)

text: Bengali march music tradition began in the 19th century, during the Bengali Renaissance by the Bengali nationalists. Kazi Nazrul Islam, the national poet of Bangladesh and active revolutionary during the Indian Independence Movement create a separate subgenre of Bengali music known as Nazrul Geeti included march music against fascism and oppression. His writings and music greatly inspired Bengalis of East Pakistan during the Bangladesh Liberation War.


title: March (music)

text: The most famous of Bengali marches is the Notuner Gaan, which is the national march of the People's Republic of Bangladesh. Among the most popular Bengali marches are the following:


title: March (music)

text: Currently, marches played at military ceremonies in India have British origins. For example, ‘"Auld Lang Syne"’ played during passing out parades at various military academies is a tune that originated in Britain. Similarly, ‘"Abide With Me"’, is a Christian hymn, that is traditionally played as the last tune at the Beating the Retreat ceremony on January 29 every year. The marches that independent India’s military bands plays is a mix of British classics ("The British Grenadiers", "Trafalgar", "Gibraltar") and tunes composed by officers. Over the years, the military bands began to play an eclectic mix of the standard marching songs, as well as jazz, Bollywood and Indian compositions.


title: March (music)

text: The Indian military bands consists of musicians from the Indian Army, Navy and Air Force. The primary bands include Indian Army Chief's Band, Indian Naval Symphonic Band and No. 1 Air Force Band. Today, the Indian Armed Forces have more than 50 military brass bands and 400 pipe bands and corps of drums. A Tri-Services Band refers to a joint Indian Armed Forces military band that performs together as a unit.


title: March (music)

text: Japan's march music ("Koushinkyoku", 行進曲) tradition began in the 19th century after the country's ports were forced open to foreign trade by the Perry Expedition. An influx of Western musical culture that the newly arrived traders and diplomats brought with them swept through Japanese musical culture, leaving a lasting legacy on the country's music. Japanese and foreign musicians of the time sought to impart Western musical forms to the Japanese, as well as combining Japanese-style melodies with Western-style harmonization. Furthermore, with Japan's government and society stabilized after the Meiji Restoration, the country sought to centralize and modernize its armed forces, with the armed forces of France and Prussia serving as models. All of these helped augur in what would later become modern Japanese music. The march genre, already sharing roots with the preexisting tradition of "gunka", or military songs, became very popular, especially in the years after Japan's victories in the First Sino-Japanese War and the Russo-Japanese War.


title: March (music)

text: One of the earliest and most enduring of Japanese marches is the "Defile March" (分列行進曲) composed in 1886 by Charles Leroux, an officer with the French Army serving as an advisor to the Imperial Japanese Army. Originally two separate marches based on Japanese melodies—"Fusouka" (扶桑歌) and "Battotai" (抜刀隊), inspired by the Satsuma Rebellion and reportedly a favorite song of the Emperor Meiji—they were later combined in the march currently recognized today. It soon became a very popular band standard, with the Imperial Japanese Army adopting it as their signature march. After World War II the JGSDF and the Japanese police would adopt the march, where it continues to be a core part of their repertoire.


title: March (music)

text: In the years before 1945, many distinguished composers such as Yamada Kōsaku, Nakayama Shimpei, Hashimoto Kunihiko, Setoguchi Tōkichi, and Eguchi Yoshi (Eguchi Gengo) all contributed to the genre. Some were military and nationalist in tone. Others, like Nakayama's 1928 "Tokyo March" (東京行進曲), were meant for popular consumption and wholly unrelated to military music.


title: March (music)

text: The Philippine march tradition is a mix of European and American traditions plus local musical styles. Several famous Philippine composers composed marches, and even Julián Felipe composed the march that would become Lupang Hinirang, the national anthem. Several marches are adaptations of local folk music, others have a patriotic feeling.


title: March (music)

text: The Philippine march music tradition began in the 19th century, during the Philippine Revolution, as an offshoot of the Spanish march tradition. This is a popular form of music as a battle hymn in the same way as in the US or France specially if Filipino soldiers are going to war or winning battles, is also the way of the Filipino to express their nationalistic affection to their native land. This style of music was also popular during the Philippine–American War and during the Second World War.


title: March (music)

text: During the late 1960s this form of music begun to be widely used as a part of military drills, parades and exercises of the Armed Forces, National Police and Coast Guard, as well as by youth uniformed groups and athletes. Prominent local march composers include Antonio Buenaventura and National Artist Lucio San Pedro. Some famous marches are:


title: March (music)

text: Thailand's late king, Bhumibol Adulyadej, is a march composer. His most famous march piece, the "Royal Guards March", is played by military bands during the Thai Royal Guards parade at the Royal Plaza at Bangkok every 2 December yearly. It reflects the use of German and British military band influences in Thai military music.


title: March (music)

text: Chinese marches tend to originate from time of the Second Sino-Japanese War, with very few still being performed that were composed before 1930 (one notable exception to this is the Military anthem of China, which dates back to the late Qing Dynasty with lyrics commissioned by Zeng Guofan). They are typically written in a major key, and performed at around 120 beats per minute. Prussian style oom pah rhythm is heavily used, seen in the Presentation March and March Past of the People's Liberation Army. The most famous of Chinese marches is the March of the Volunteers, which is the national anthem of the People's Republic of China.


title: March (music)

text: North Korean marches are heavily influenced by the Soviet military band tradition mixed with Korean influences. Most of the marches are dedicated to the party and to their revolution and leaders. Use of a grandiose brass sound is almost always present in the music. Many marches are adapted from the North Korean revolutionary and patriotic song tradition, known as the genre. Among the more popular North Korean marches played during state ceremonies are:


title: March (music)

text: Modern Turkey's national anthem is the march, "İstiklâl Marşı", which has an aggressive tune. Generally, old Turkish marches from the Ottoman Empire have aggressive lyrics, for instance in "Mehter Marşı". It is notable that Mozart and Beethoven also wrote popular Turkish marches. Modern marches played during ceremonies include the "Atatürk March", played as the march-in and march-off piece of military bands in military parades and ceremonies.


title: March (music)

text: Central Asian march traditions have spanned centuries and consists of many different military and national cultures. The main five Central Asian nations (Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, Uzbekistan) commonly utilize Russian military marches during state functions, although they have made much quicker efforts unlike their Ukrainian and Belarusian counterparts to distinguish their military traditions from Russia. Most Central Asian nations have a Turkic culture and therefore uses marches with a mix of Russian and Turkish traditions. Tajikistan is an outlier in that it has a more Persian musical tradition. Afghanistan, like Tajikistan, has military marches that are similar to those in Iran, but with more recent American and British influence in combination with the Russian tradition.


title: March (music)

text: Although inspired by German, Spanish and French military music, marches of South and Central America are unique in melody and instrumentation.


title: March (music)

text: Argentine marches are inspired by its military history and the influx of European immigration in the 19th and 20th centuries. Cayetano Alberto Silva's "San Lorenzo march" is an example that combines German and French military musical influences. Other examples include the "Avenue of the Camelias" March and the March of the Malvinas, used during the Falklands War and in military parades and ceremonies.


title: March (music)

text: Brazilian military marches are popular called by the name ""Dobrado"", a reference to the most popular type of bar on this music genre, the 2/4. This type of music is influenced by the European and American march styles. Almost all states of Brazil have contributed to the growth of this tradition with a number of marches composed by local musicians, many of patriotic nature. Most popular composers are Antônio Manuel do Espírito Santo, with "Cisne Branco" (the official march of the Navy), "Avante Camaradas" e "Quatro Dias de Viagem" and Pedro Salgado, with "Dois corações" e "Coração de Mãe". Manoel Alves' "Batista de Melo" March, played widely in military and civil parades, while being the song of the Brazilian Army artillery and quartermaster services, is "de facto" the army's quick march past tune.


title: March (music)

text: Colombian military march music, like "The National Army of Colombia Hymn", "Commandos March" and "Hymn of the Colombian Navy" is an adaptation of the European and the American march styles.


title: March (music)

text: Venezuela's "The Indio and the Conquistador" is the official marchpast of the Military Academy of Venezuela. It is more famous for being played in slow time in military parades and ceremonies. Also famous is the official double march of the National Armed Forces of Venezuela's special forces and airborne units, "Carabobo Reveille", and the "Slope Arms" March, played in ceremonies featuring the Flag of Venezuela and the first march in the beginning of parades. Marches like these (including the anthem of the 114th Armored Battalion "Apure Braves", "Fatherland Beloved") show British, American and Prussian influence.


title: March (music)

text: Mexican marches, like the "March of the Heroic Military College", "Airborne Fusiliers March", "National Defense March" and the "Viva Mexico March", are all inspired by American, Spanish, and French military music but have a faster beat. Some marches have direct French influence of bugle acommpaniment during parades for infantry units, since the Mexican Armed Forces has always maintained drum and bugle bands at the unit level.


title: March (music)

text: Cuban military marches are inspired by both American, Spanish and Soviet military music. German military marches such as the "Yorckscher Marsch" and "Preußens Gloria" are commonly used by the Cuban Revolutionary Armed Forces Band during official functions such as military parades. A notable Cuban military march is the "Hymn of July 26" (Himno del 26 de Julio). Other musical compositions include the "Marcha de la alfabetización" and the "Marcha De La Revolución".


title: March (music)

text: Other Latin American marches are inspired by both European and Native American influences, such as the Peruvian marches "Los peruanos Pasan" and "Sesquicentenario" and the Ecuadorian military march "Paquisha".


title: March (music)

text: Marches from Chile are a mix of European march music especially the German march tradition, and many are locally composed. Los viejos estandartes, the official march of the Chilean Army, is one such example. Several German, British and French marches (and even the US march Semper Fidelis) are also used by military and civil bands in parades and ceremonies most especially during national holidays.


title: La Luna (2011 film)

text: La Luna (, Italian and Spanish for ""The Moon"") is a 2011 American computer-animated short film, directed and written by Enrico Casarosa in his directorial debut. The short premiered on June 6, 2011 at the Annecy International Animated Film Festival in France, and it was paired with Pixar's "Brave" for its theatrical release on June 22, 2012, being shown before the film's beginning. "La Luna" was released on November 13, 2012, on the "Brave" DVD and Blu-ray, and on a new "Pixar Short Films Collection, Volume 2", the second collection of Pixar's short films. "La Luna" was nominated for Best Animated Short Film at the 84th Academy Awards.


title: La Luna (2011 film)

text: A young Italian boy, Bambino, goes on a midnight boat trip with his father Papà and grandfather Nonno in Genoa, Italy. After they anchor in the middle of the sea, Nonno presents Bambino with a cap similar to the ones he and Papà wear. The two men disagree on how Bambino should wear it, with Papà pulling it low over his eyes and Nonno pushing it back on his head.


title: La Luna (2011 film)

text: Papà sets up a long ladder for Bambino to climb so he can set an anchor on the full moon, and the three ascend to start their work of sweeping fallen stars off the lunar surface. Papà urges Bambino to use a pushbroom on the stars, while Nonno favors a besom broom. As they quarrel, a huge star crashes on the moon; it is far too large for any of them to move.


title: La Luna (2011 film)

text: Turning his cap backward, the way he wants to wear it, Bambino climbs onto the star and taps it with a hammer. It bursts apart into hundreds of smaller stars, and all three go to work sweeping them to one side, with Bambino choosing a rake instead of either man's broom. Once the job is done, they climb down to their boat and look up at the moon, which now displays a glowing crescent phase thanks to their efforts.


title: La Luna (2011 film)

text: The plot was inspired by Casarosa's childhood and tales by Antoine de Saint-Exupéry and Italo Calvino. The style comes from Hayao Miyazaki's anime and from "La Linea" by the Italian cartoonist Osvaldo Cavandoli.


title: Meri Awas Suno

text: Meri Awas Suno () is a 2022 Indian Malayalam-language musical drama film written and directed by Prajesh Sen and produced by B. Rakesh. The film stars Jayasurya, Manju Warrier and Sshivada. Johny Antony , Gautami Nair and Sudheer Karamana also play major roles. It is an unofficial remake of 2019 Bengali film "Konttho". The film tells the story of a radio jockey and speech therapist.


title: Meri Awas Suno

text: The music is by M Jayachandran and the lyrics are by BK Harinarayanan. This is the first time Jayasurya and Manju Warrier share the screen space.


title: Meri Awas Suno

text: Trivandrum is the film's shooting location. The first look poster of the movie was released on 13 February 2021, which is World Radio Day. The movie was released on May 13, 2022.Principal photography was started at Trivandrum


title: Meri Awas Suno

text: Shankar, a radio jockey, is shattered when he is diagnosed with laryngeal cancer. After finding out that he will lose his voice in the process of treatment, all hope is lost for him. But, he is aided by Dr Reshmi, a speech therapist to accept his new life and move forward.


title: Meri Awas Suno

text: Trivandrum, Mumbai and Kashmir were the film's shooting locations. The first look poster of the movie was released on 13 February 2021, coinciding World Radio Day.


title: Meri Awas Suno

text: The digital rights of the film is acquired by Disney+ Hotstar and started streaming from 24 June 2022. The satellite rights of the film is acquired by Asianet.


title: Meri Awas Suno

text: The film received positive reviews from critics and audiences. Times of India gave 3/5 and wrote, " A survival family drama". The News Minute gave 2.5/5 and wrote, "This Manju-Jayasurya film is interesting, but too dramatised". RJ. Princy Alexander of "Onmanorama" wrote "Though the movie will uplift your mood with its encouraging tone and beautiful blend of emotion, 'Meri Awaa Suno' should have taken some more time to leave a deeper effect on the audience".


title: Robert Andrews Millikan

text: Robert Andrews Millikan (March 22, 1868 – December 19, 1953) was an American experimental physicist honored with the Nobel Prize for Physics in 1923 for the measurement of the elementary electric charge and for his work on the photoelectric effect.


title: Robert Andrews Millikan

text: Millikan graduated from Oberlin College in 1891 and obtained his doctorate at Columbia University in 1895. In 1896 he became an assistant at the University of Chicago, where he became a full professor in 1910. In 1909 Millikan began a series of experiments to determine the electric charge carried by a single electron. He began by measuring the course of charged water droplets in an electric field. The results suggested that the charge on the droplets is a multiple of the elementary electric charge, but the experiment was not accurate enough to be convincing. He obtained more precise results in 1910 with his famous oil-drop experiment in which he replaced water (which tended to evaporate too quickly) with oil.


title: Robert Andrews Millikan

text: In 1914 Millikan took up with similar skill the experimental verification of the equation introduced by Albert Einstein in 1905 to describe the photoelectric effect. He used this same research to obtain an accurate value of Planck’s constant. In 1921 Millikan left the University of Chicago to become director of the Norman Bridge Laboratory of Physics at the California Institute of Technology (Caltech) in Pasadena, California. There he undertook a major study of the radiation that the physicist Victor Hess had detected coming from outer space. Millikan proved that this radiation is indeed of extraterrestrial origin, and he named it "cosmic rays." As chairman of the Executive Council of Caltech (the school's governing body at the time) from 1921 until his retirement in 1945, Millikan helped to turn the school into one of the leading research institutions in the United States. He also served on the board of trustees for Science Service, now known as Society for Science & the Public, from 1921 to 1953.


title: Robert Andrews Millikan

text: Robert Andrews Millikan was born on March 22, 1868, in Morrison, Illinois. He went to high school in Maquoketa, Iowa and received a bachelor's degree in the classics from Oberlin College in 1891 and his doctorate in physics from Columbia University in 1895 – he was the first to earn a Ph.D. from that department.


title: Robert Andrews Millikan

text: At the close of my sophomore year [...] my Greek professor [...] asked me to teach the course in elementary physics in the preparatory department during the next year. To my reply that I did not know any physics at all, his answer was, "Anyone who can do well in my Greek can teach physics." "All right," said I, "you will have to take the consequences, but I will try and see what I can do with it." I at once purchased an Avery's "Elements of Physics", and spent the greater part of my summer vacation of 1889 at home – trying to master the subject. [...] I doubt if I have ever taught better in my life than in my first course in physics in 1889. I was so intensely interested in keeping my knowledge ahead of that of the class that they may have caught some of my own interest and enthusiasm.


title: Robert Andrews Millikan

text: Millikan's enthusiasm for education continued throughout his career, and he was the coauthor of a popular and influential series of introductory textbooks, which were ahead of their time in many ways. Compared to other books of the time, they treated the subject more in the way in which it was thought about by physicists. They also included many homework problems that asked conceptual questions, rather than simply requiring the student to plug numbers into a formula.


title: Robert Andrews Millikan

text: Starting in 1908, while a professor at the University of Chicago, Millikan worked on an oil-drop experiment in which he measured the charge on a single electron. J. J. Thomson had already discovered the charge-to-mass ratio of the electron. However, the actual charge and mass values were unknown. Therefore, if one of these two values were to be discovered, the other could easily be calculated. Millikan and his then graduate student Harvey Fletcher used the oil-drop experiment to measure the charge of the electron (as well as the electron mass, and Avogadro's number, since their relation to the electron charge was known).


title: Robert Andrews Millikan

text: Professor Millikan took sole credit, in return for Harvey Fletcher claiming full authorship on a related result for his dissertation. Millikan went on to win the 1923 Nobel Prize for Physics, in part for this work, and Fletcher kept the agreement a secret until his death. After a publication on his first results in 1910, contradictory observations by Felix Ehrenhaft started a controversy between the two physicists. After improving his setup, Millikan published his seminal study in 1913.


title: Robert Andrews Millikan

text: The elementary charge is one of the fundamental physical constants, and accurate knowledge of its value is of great importance. His experiment measured the force on tiny charged droplets of oil suspended against gravity between two metal electrodes. Knowing the electric field, the charge on the droplet could be determined. Repeating the experiment for many droplets, Millikan showed that the results could be explained as integer multiples of a common value (1.592 × 10 coulomb), which is the charge of a single electron. That this is somewhat lower than the modern value of 1.602 176 53(14) x 10 coulomb is probably due to Millikan's use of an inaccurate value for the viscosity of air.


title: Robert Andrews Millikan

text: Although at the time of Millikan's oil-drop experiments it was becoming clear that there exist such things as subatomic particles, not everyone was convinced. Experimenting with cathode rays in 1897, J. J. Thomson had discovered negatively charged 'corpuscles', as he called them, with a charge-to-mass ratio 1840 times that of a hydrogen ion. Similar results had been found by George FitzGerald and Walter Kaufmann. Most of what was then known about electricity and magnetism could be explained on the basis that charge is a continuous variable. This in much the same way that many of the properties of light can be explained by treating it as a continuous wave rather than as a stream of photons.


title: Robert Andrews Millikan

text: The beauty of the oil-drop experiment is that as well as allowing quite accurate determination of the fundamental unit of charge, Millikan's apparatus also provided a 'hands on' demonstration that charge is actually quantized. General Electric Company's Charles Steinmetz, who had previously thought that charge is a continuous variable, became convinced otherwise after working with Millikan's apparatus.


title: Robert Andrews Millikan

text: There is some controversy over selectivity in Millikan's use of results from his second experiment measuring the electron charge. This issue has been discussed by Allan Franklin, a former high-energy experimentalist and current philosopher of science at the University of Colorado. Franklin contends that Millikan's exclusions of data do not affect the final value of the charge obtained, but that Millikan's substantial "cosmetic surgery" reduced the statistical error. This enabled Millikan to give the charge of the electron to better than one-half of one percent. In fact, if Millikan had included all of the data he discarded, the error would have been less than 2%. While this would still have resulted in Millikan's having measured the charge of "e" better than anyone else at the time, the slightly larger uncertainty might have allowed more disagreement with his results within the physics community, which Millikan likely tried to avoid. David Goodstein argues that Millikan's statement, that all drops observed over a 60 day period were used in the paper, was clarified in a subsequent sentence which specified all "drops upon which complete series of observations were made". Goodstein attests that this is indeed the case and notes that five pages of tables separate the two sentences.


title: Robert Andrews Millikan

text: When Einstein published his seminal 1905 paper on the particle theory of light, Millikan was convinced that it had to be wrong, because of the vast body of evidence that had already shown that light was a wave. He undertook a decade-long experimental program to test Einstein's theory, which required building what he described as "a machine shop "in vacuo"" in order to prepare the very clean metal surface of the photoelectrode. His results published in 1914 confirmed Einstein's predictions in every detail, but Millikan was not convinced of Einstein's interpretation, and as late as 1916 he wrote, "Einstein's photoelectric equation... cannot in my judgment be looked upon at present as resting upon any sort of a satisfactory theoretical foundation," even though "it actually represents very accurately the behavior" of the photoelectric effect. In his 1950 autobiography, however, he simply declared that his work "scarcely permits of any other interpretation than that which Einstein had originally suggested, namely that of the semi-corpuscular or photon theory of light itself".


title: Robert Andrews Millikan

text: Since Millikan's work formed some of the basis for modern particle physics, it is ironic that he was rather conservative in his opinions about 20th century developments in physics, as in the case of the photon theory. Another example is that his textbook, as late as the 1927 version, unambiguously states the existence of the ether, and mentions Einstein's theory of relativity only in a noncommittal note at the end of the caption under Einstein's portrait, stating as the last in a list of accomplishments that he was "author of the special theory of relativity in 1905 and of the general theory of relativity in 1914, both of which have had great success in explaining otherwise unexplained phenomena and in predicting new ones."


title: Robert Andrews Millikan

text: Millikan is also credited with measuring the value of Planck's constant by using photoelectric emission graphs of various metals.


title: Robert Andrews Millikan

text: In 1917, solar astronomer George Ellery Hale convinced Millikan to begin spending several months each year at the Throop College of Technology, a small academic institution in Pasadena, California, that Hale wished to transform into a major center for scientific research and education. A few years later Throop College became the California Institute of Technology (Caltech), and Millikan left the University of Chicago to become Caltech's "chairman of the executive council" (effectively its president). Millikan served in that position from 1921 to 1945. At Caltech, most of his scientific research focused on the study of "cosmic rays" (a term he coined). In the 1930s he entered into a debate with Arthur Compton over whether cosmic rays were composed of high-energy photons (Millikan's view) or charged particles (Compton's view). Millikan thought his cosmic ray photons were the "birth cries" of new atoms continually being created to counteract entropy and prevent the heat death of the universe. Compton was eventually proven right by the observation that cosmic rays are deflected by the Earth's magnetic field (hence must be charged particles).


title: Robert Andrews Millikan

text: Robert Millikan was Vice Chairman of the National Research Council during World War I. During that time, he helped to develop anti-submarine and meteorological devices. He received the Chinese Order of Jade. After the War, Millikan contributed to the works of the League of Nations' Committee on Intellectual Cooperation (from 1922, in replacement to George E. Hale, to 1931), with other prominent researchers (Marie Curie, Albert Einstein, Hendrik Lorentz, etc.). Millikan was a member of the organizing committee of the 1932 Los Angeles Olympics, and in his private life was an enthusiastic tennis player. He was married and had three sons, the eldest of whom, Clark B. Millikan, became a prominent aerodynamic engineer. Another son, Glenn, also a physicist, married the daughter (Clare) of George Leigh Mallory of "Because it's there" Mount Everest fame. Glenn was killed in a climbing accident in Cumberland Mountains in 1947.


title: Robert Andrews Millikan

text: A religious man and the son of a minister, in his later life Millikan argued strongly for a complementary relationship between Christian faith and science. He dealt with this in his Terry Lectures at Yale in 1926–27, published as "Evolution in Science and Religion". He was a Christian theist and proponent of theistic evolution. A more controversial belief of his was eugenics – he was one of the initial trustees of the Human Betterment Foundation and praised San Marino, California for being "the westernmost outpost of Nordic civilization ... [with] a population which is twice as Anglo-Saxon as that existing in New York, Chicago, or any of the great cities of this country." In 1936, Millikan advised the president of Duke University in the then-racial segregated southern United States against recruiting a female physicist and argued that it would be better to hire young men.


title: Robert Andrews Millikan

text: At this moment, August 22, 1938, the principles of representative ballot government, such as are represented by the governments of the Anglo-Saxon, French, and Scandinavian countries, are in deadly conflict with the principles of despotism, which up to two centuries ago had controlled the destiny of man throughout practically the whole of recorded history. If the rational, scientific,


title: Robert Andrews Millikan

text: progressive principles win out in this struggle there is a possibility of a warless, golden age ahead for mankind. If the reactionary principles of despotism triumph now and in the future, the future history of mankind will repeat the sad story of war and oppression as in the past.


title: Robert Andrews Millikan

text: Millikan died of a heart attack at his home in San Marino, California in 1953 at age 85, and was interred in the "Court of Honor" at Forest Lawn Memorial Park Cemetery in Glendale, California.


title: Robert Andrews Millikan

text: On January 26, 1982, he was honored by the United States Postal Service with a 37¢ Great Americans series (1980–2000) postage stamp.


title: Robert Andrews Millikan

text: Tektronix named a street on their Portland, Oregon, campus after Millikan with the Millikan Way (MAX station) of Portland's MAX Blue Line named after the street.


title: Robert Andrews Millikan

text: During the mid to late 20th century, several colleges had named buildings, physical features, awards, and professorships in honor of Robert Millikan.


title: Robert Andrews Millikan

text: In 1958, Pomona College named a science building Millikan Laboratory in honor of Millikan. After reviewing Millikan's association with the eugenics movement, the college administration voted in October 2020 to rename the building as the Ms. Mary Estella Seaver and Mr. Carlton Seaver Laboratory.


title: Robert Andrews Millikan

text: On the Caltech campus, several physical features, rooms, awards, and a professorship were named in honor of Millikan, most notably the Millikan Library, which was completed in 1966. In January 2021, the Board of Trustees voted to immediately strip Millikan's name from the Caltech campus because of his association with eugenics. The Robert A. Millikan Library has been renamed Caltech Hall. In November 2021, the Robert A. Millikan Professorship was renamed the Judge Shirley Hufstedler Professorship.


title: Robert Andrews Millikan

text: In November 2020, Millikan Middle School (formerly Millikan Junior High School) in the suburban Los Angeles neighborhood of Sherman Oaks started the process of renaming their school.


title: Robert Andrews Millikan

text: In August 2020, the Long Beach Unified School District established a committee that would examine the need for renaming of their Robert A. Millikan High School.


title: Robert Andrews Millikan

text: In the Spring of 2021, the American Association of Physics Teachers voted unanimously to remove Millikan's name from the Robert A. Millikan award, which honors "notable and intellectually creative contributions to the teaching of physics." A few months later, AAPT announced that the award would be renamed in honor of University of Washington professor of physics Lillian C. McDermott who died the previous year.


title: Robert Andrews Millikan

text: In 1902 he married Greta Ervin Blanchard (1876-1955). They had three sons: Clark Blanchard, Glenn Allan, and Max Franklin.


title: Robert Andrews Millikan

text: "If Kevin Harding's equation and Aston's curve are even roughly correct, as I'm sure they are, for Dr. Cameron and I have computed with their aid the maximum energy evolved in radioactive change and found it to check well with observation, then this supposition of an energy evolution through the disintegration of the common elements is from the one point of view a childish Utopian dream, and from the other a foolish bugaboo."


title: Robert Andrews Millikan

text: "No more earnest seekers after truth, no intellectuals of more penetrating vision can be found anywhere at any time than these, and yet every one of them has been a devout and professed follower of religion."


title: Grizzly II: Revenge

text: Grizzly II: Revenge (sometimes stylized Grizzly II. Revenge, also known as Grizzly II: The Predator "and Grizzly II. The Concert") is a 1983 American action thriller horror film that was not properly released until 2020. It was directed by André Szöts and is a sequel to the 1976 film "Grizzly" that was directed by William Girdler and David Sheldon. The film is about a giant grizzly named Tawanda, who seeks revenge after her cub was killed by poachers. It stars Steve Inwood, Louise Fletcher, John Rhys-Davies, Deborah Raffin and Deborah Foreman; actors George Clooney, Laura Dern and Charlie Sheen, who were all relatively unknown at the time, all had small roles in the film.


title: Grizzly II: Revenge

text: Originally filmed in Hungary in 1983, the release was put on hold for many decades. The film premiered at the 2020 Hollywood Reel Independent Film Festival and was released on January 8, 2021 through video-on-demand.


title: Grizzly II: Revenge

text: In the vast Yellowstone National Park, grizzly bears and other wildlife roam free while hikers and campers abound. The National Park Service is charged with the protection of the park and its wildlife, and the rangers are always on the lookout for poachers. The park is preparing for a major rock concert to be held over three days in Grover Meadows and expects 50,000 people in attendance. At the ranger station, Chief Ranger Nick Hollister is briefing the rangers on the upcoming event.


title: Grizzly II: Revenge

text: Harvey, a poacher, is hunting for a grizzly bear and ends up killing a cub and wounding its mother. The grizzly bear, seeking revenge, viciously attacks and kills Harvey. Nick and Pete, the Head Park Ranger, relay the news to Eileene Draygon, the Superintendent of Summit. They press Draygon to halt the concert for everyone’s safety, but Draygon declines to get involved.


title: Grizzly II: Revenge

text: Back at the ranger station, Samantha Owens, director of Bear Management, is adamantly opposed to killing the grizzly bear. She insists on locating the bear and tranquilizing and relocating it with the help of Bouchard, the world famous grizzly expert from Canada. Three teenagers, Ron, Tina and Lance are hiking through the park to the concert. They enter grizzly territory, which is restricted, and set up camp without any clue of the terror they will face. Later that evening, they are attacked and killed by the grizzly bear.


title: Grizzly II: Revenge

text: The next morning, Nick, Pete and Samantha find the bodies of Ron, Tina and Lance, which heightens concern for the concert scheduled the next day. Nick demands that his men find and kill the grizzly bear. Running out of options, Nick drives to see Draygon and gives her a report on the new killings. Nick again asks for help, but Draygon again refuses. Meanwhile, back in the forest, Pete finds the other poachers and wants to take them into custody. Instead, they attack Pete, leaving him unconscious. The grizzly bear finds Pete and chases him into a cave, where she kills him.


title: Grizzly II: Revenge

text: As concert day comes, Charlie, the concert manager is making the final arrangements. Large crowds are arriving. Meanwhile, the poachers are also creating traps by digging large holes and planting sharp and deadly sticks into them. The grizzly bear roams the forest, finds the poachers and kills them easily. The chase then continues; Nick and Samantha, the rangers, Bouchard, all scatter to track down the grizzly bear. The grizzly bear finds its way to the concert grounds. The concert goes on and the crowd enjoys the cutting-edge English rock bands.


title: Grizzly II: Revenge

text: Backstage, Bouchard encounters the grizzly bear and stabs at her, but the grizzly swipes Bouchard with her arm and kills him. Nick has to act fast. He gets the grizzly bear’s attention and lures her to her side of the concert stage containing the high voltage, which the grizzly bear falls into and is killed. Draygon acts as if the dying grizzly bear was part of the action. The concert audience is cheering and applauding and does not know the truth about what happened.


title: Grizzly II: Revenge

text: The principal photography with the tentative title "The Predator" was completed in 1983. Joseph Ford Proctor, the producer, left the scene after the first day of the shoot and there were no funds to continue the film. Suzanne C. Nagy, the co-producer, found an investor and the principal photography was therefore finished in 45 days. At a later time, she found out that Joseph Proctor was in jail for a non-related business transaction.


title: Grizzly II: Revenge

text: An unauthorized bootleg version with the workprint appeared on YouTube in 2007 from a bad quality VHS recording. Suzanne C. Nagy, who owns the title "Grizzly II" and its sequel rights, did not remove it until 2018. At that time her company, GBGB International, was already working on the completion of "Grizzly II: Revenge". The movie was finished on January 2020 and entered into various film festivals until the company decided to enter into a licensing agreement with Gravitas Ventures. As of August 2020, Gravitas Ventures represents the movie worldwide and released the film on video on demand, DVD and Blu-ray on January 8, 2021.


title: Grizzly II: Revenge

text: Various magazines and websites such as The Ringer and "Empire" magazine have released articles regarding the movie's production, release halt and the steps it took to finally give it an official release almost four decades later. Other articles and interviews published are on MovieWeb, Bloody Disgusting and Birth.Movies.Death. "Grizzly II" screenplay writer Suzanne C. Nagy also did an interview on the film that can be seen on "The Good, The Bad, and The Sequel Podcast" YouTube channel.


title: Grizzly II: Revenge

text: Like the first film, critical reception was also negative. On Rotten Tomatoes, the film has an approval rating of based on reviews from critics.


title: Grizzly II: Revenge

text: Dennis Harvey from "Variety" refers the film as an "incomplete mess". He criticizes the top billing notices of George Clooney, Laura Dern and Charlie Sheen despite each only appearing on screen for a few minutes and the poor-quality special effects, especially for the bear attack scenes, calling them "cheesily abrupt, poorly disguising faulty effects work". He also finds the film's music score to be random sound pieces spliced together and not coherent. Jeannette Catsoulis of the "New York Times" calls out the film's directing being that of "touching incompetence". Catsoulis finds the dialogue dopey, the tone uncertain at times and the demise of the mother bear to be disappointing and needed a better send-off.


title: Grizzly II: Revenge

text: The film was first screened at the Hollywood Reel Independent Film Festival on February 17, 2020. Since then, the movie was shown in various film festivals including the Monmouth Film Festival, Lisbon International Horror Film Festival, Knoxville Horror Film Festival, Chicago International Film Festival, LA Crime and Horror Film Festival, and Popcorn Frights Film Festival.


title: Harrison Gilbertson

text: Gilbertson began acting at the age of six when he played the character of Sorrow in a local production of "Madama Butterfly". He made his screen debut in 2002, playing the role of Greggy in "Australian Rules". His big break came in 2009 when he landed the lead role of Billy Conway in "Accidents Happen". Reviewers commended his performance and acting abilities.


title: Harrison Gilbertson

text: His US debut was in the indie "Virginia", directed by screenwriter Dustin Lance Black. He won the 2010 AFI Young Actor Award for his performance as Frank Tiffin in "Beneath Hill 60". Also in 2014, he appeared in "Need for Speed" and the thriller ghost feature, "Haunt". He appeared in the indie Australian movie "My Mistress", a romance about a young man who becomes infatuated with his neighbor, a dominatrix. He appeared as Michael Fitzhubert in the miniseries remake of "Picnic at Hanging Rock" alongside Natalie Dormer and Samara Weaving. in 2018, Gilbertson played the role of Sean in director Assaf Bernstein's psychological thriller, "Look Away", which starred India Eisley, Mira Sorvino and Jason Isaacs.


title: SIG P210

text: The SIG P210 (Swiss Army designation Pistole 49, the civilian model was known as SP47/8 prior to 1957) is a locked breech self loading, semi-automatic pistol designed and manufactured in Neuhausen am Rheinfall (Canton of Schaffhausen, Switzerland) by SIG from 1948 to 2006.


title: SIG P210

text: It is of all-steel construction chambered in 9×19mm Parabellum and 7.65×21mm Parabellum. It was used from 1949 to 1975 by the Swiss Army and police units. It was also adopted and is still in service with the Military of Denmark (as M/49 Neuhausen or simply Neuhausen), in 1951 by the German Bundespolizei and in shooting sports.


title: SIG P210

text: The pistols were decommissioned by the Swiss Army and replaced by the SIG Sauer P220 (Swiss Army designation "Pistole 75") developed in 1975. Swiss production of the P210 continued until 2006. A new model, the P210 Legend, was introduced by SIG Sauer GMBH of Germany in 2010, and another, the P210A, was introduced by SIG Sauer Inc. of New Hampshire in the United States in 2017. In 2022, Sig Sauer released the P210 Carry originally debuted at the 2010 Shot Show in Las Vegas, Nevada. The P210 Carry is a pistol chambered in 9x19 Parabellum with a capacity of 8+1. The P210 Carry is lighter and smaller than the original P210 featuring an alloy frame and a 4.1 inch barrel instead of the 4.7 inch barrel on the original P210. It also differs because it has new additions such as the front slide serrations, the Nitron finish, and the black Hogue G10 grips, for a more aggressive and modern look.


title: SIG P210

text: The design was derived from Charles Petter's Modèle 1935A pistol. In 1937, "Schweizerische Industrie Gesellschaft" (SIG) acquired a license for the Petter-Browning system from SACM in order to develop a replacement for the Luger Parabellum 06/29, which had been in service since 1900. Apparently not satisfied with the Petter Browning design or the changes they had made to it, SIG evaluated no fewer than 11 prototypes from 1942 through 1944. Selbstladepistole Neuhausen model 44/16 pistol production began in 1944. Some of the original Petter Browning features had been retained, specifically the self-contained firing and recoil systems. The Neuhausen 44/16 had a magazine capacity of 16 rounds.


title: SIG P210

text: Development was slowed by the Second World War. After testing various experimental models (such as the aforementioned 44/16 with a double-column magazine), the 47/8 model was adopted in Oct 1948 as the Pistole Modell 1949 (P49), and SP47/8 for civilian market. Some previous series were tested by Swedish sport shooters and by the Danish army (Danish Defence designation Pistol M/1949).


title: SIG P210

text: The 47/8 model supported the easy change of the barrels between 7.65 and 9mm Parabellum and a kit to convert to .22 caliber (see table below).


title: SIG P210

text: SIG M/1949 is the 47/8 model purchased for the Danish military and issued version for officers, military police, and special forces, chambered in 9mm Luger.


title: SIG P210

text: Usually called only "Neuhausen" in Denmark, this model is stamped "P m/49", and also known as "P210-DK".


title: SIG P210

text: First issued beginning in 1950 to the Danish Army Technical Corps (stamped "HTK"), this remained the standard sidearm in the Danish military throughout 60 years of continuous use, since the 2010s being replaced with the SIG Sauer P320 X-5 Carry.


title: SIG P210

text: In 1957, the civil designation (SP47/8) was definitively changed to P210 according to the company nomenclature policy. Model P210-1 in retrospect covers all models produced until 1965, the designation P210-2 refers to the standard model as produced from 1966 (beginning with serial nr. P 59071).


title: SIG P210

text: P210-3 was a police version produced from 1951 to 1964 (serial nrs. P 6791 to P 6840 and P 8001 to P 8893), produced in limited numbers for the cantonal police forces of Basel, Lausanne, and Glarus, with a handful sold on the private market.


title: SIG P210

text: SIG was renamed to SIG Sauer upon acquisition by Sauer & Sohn in the 1970s, and to Swiss Arms in 2000.


title: SIG P210

text: From 2010, a new model, dubbed "P210 Legend" was made by SIG Sauer, GMBH of Eckernförde, Germany. This model was exported to the USA until 2017, when


title: SIG P210

text: SIG Sauer Inc. of New Hampshire began production of its own model, dubbed P210A, made in Exeter, N.H., offered in two versions, Standard (210A-9-B) and Target (210A-9-TGT).


title: SIG P210

text: Army models run from serial number A 100001 to A 213110. Those that have a P added to the rear of a serial number that starts with an A have been sold by the Swiss army to civilians. A stamped "P" (="privat") on the front of the trigger guard shows that a weapon was left as a gift to the owner upon leaving the Armed Services.


title: SIG P210

text: Serial numbers 6001 to 6028 are prototypes made during 1938–1947. 6033 to 6406 are early model SP47/8 made in 1947.


title: SIG P210

text: Serial numbers with a P were made for police and for private use, running from P 8001 to P 8250 (1951) and


title: SIG P210

text: Serial numbers from P 79600 to P 97950 are private models made by SIG Sauer, Switzerland, during 1976–1984, and P 300001 to P 331536 were made by Sig Sauer (Swiss Arms) during 1983–2006; the jump to the 300000s range marks the transition from traditional forged frames to CNC production.


title: SIG P210

text: During 1966–1969, SIG produced a small number of special heavy frame P210-5 models for the National Match team.


title: SIG P210

text: and 50 pieces of P210-6 heavy frame pistols, made for Hofmann & Reinhart of Zürich (P 79101 to 79150).


title: SIG P210

text: These pistols represent the pinnacle of SIG pistol manufacture and are extremely sought after by collectors, and consequently almost never offered on the open market.


title: SIG P210

text: P 555001 to P 555555 are special collectors' edition of 555 sets of five chromed pistols with gilded controls, P210, P220, P225, P226 and P230, made for Vonbank AG in 1987 to 1990), at the time sold for CHF 12,950.


title: SIG P210

text: In 1991, another special edition numbered № 0001 to № 1991 was made to commemorate "700 Years of Swiss Confederation" ("700 Jahre Eidgenossenschaft"), at the time sold for CHF 4,100 per piece.


title: SIG P210

text: The Danish m/49 pistols have their own serial numbers, without a leading letter, engraved on the right side of the slide, running from 7695 (1951) to 35383 (1962).


title: America's Next Top Model (season 1)

text: America's Next Top Model, cycle 1 was the first cycle of "America's Next Top Model". It originally aired on UPN from May to July 2003, and was hosted by Tyra Banks, who additionally served as its executive producer and presenter. The judging panel consisted of Banks, Janice Dickinson, Kimora Lee Simmons, and Beau Quillian. The cycle's catchphrase was "One girl has what it takes."


title: America's Next Top Model (season 1)

text: This was the only season to feature a cast of only ten finalists. All later cycles have featured at least twelve finalists. The international destination for the cycle was Paris, France. The show’s first visit to Europe.


title: America's Next Top Model (season 1)

text: The winner of the competition was 20-year-old Adrianne Curry from Joliet, Illinois with Shannon Stewart placing as runner up. Her prizes were a modeling contract with Wilhelmina Models, a photo spread in "Marie Claire" magazine, and a contract with Revlon cosmetics.


title: America's Next Top Model (season 1)

text: Cycle 1 has received positive reviews from critics. Despite its low budget, E. Alex Jung commented how this worked to the show's advantage, praising how Tyra “wanted to reflect the reality of life as a working model” and acknowledging that “there was something about the low production value that reflected that simple truth.” He also praised it in comparison to other seasons of "America's Next Top Model", commentening how “"ANTM"’s first season felt like a glimpse into how fashion actually worked” whereas later seasons “became campier, more ludicrous, and vaguely surreal.” Jung also states that Cycle 1 “was the only season where the contestants didn’t readily buy into the project” and commended the season for respecting their decisions, such as when Shannon and Robin refused to pose nude.


title: America's Next Top Model (season 1)

text: Margaret Lyons also praised the season, describing it as “impeachable” and “one of the best seasons, debut or otherwise, that any reality show has ever had.” She argued that “"ANTM" helped usher in the era of profession-based reality contest shows” but viewed it more positively compared to the rest of "America's Next Top Model"'s seasons, commenting how “nothing has ever quite lived up to the perfection of season one” and how “the grossness of Tyra’s constant idiotic catchphrases, and the repetitiveness of the challenges (have) eventually eroded my passion for the series.”


title: America's Next Top Model (season 1)

text: After winning Cycle 1, Adrianne Curry was meant to receive a contract with Revlon and Wilhelmina Models, but she never received it. America's Next Top Model and Tyra Banks ignored her when she contacted them about the issue, and Curry was subsequently erased from the show. Although she appeared on Cycle 2, and was briefly mentioned in Cycle 20 as part of a challenge, she wasn’t featured in the opening credits for Cycles 7, 8 or 9 alongside the other previous winners of America's Next Top Model, and a photo of her didn’t appear in the contestants’ New York residence alongside the previous Top Model winners.


title: Vader (band)

text: Vader is a Polish death metal band from Olsztyn. Formed in 1983, the group was founded by then-bassist Piotr "Peter" Wiwczarek and guitarist Zbigniew "Vika" Wróblewski. Vader went through several lineup changes over the years, with Wiwczarek as the only constant member. Since 2022, the band has comprised Wiwczarek on guitars and vocals, guitarist Marek "Spider" Pająk, bassist Tomasz "Hal" Halicki, and drummer Michał Andrzejczyk.


title: Vader (band)

text: Starting as a heavy metal group, Vader eventually went to thrash, speed, and then in the late 1980s became a death metal band. It would not be until nine years after forming that they managed to release their debut album "The Ultimate Incantation" (1992); Vader has released eleven more studio albums since then. The band's name was inspired by Darth Vader from the "Star Wars" film series. Lyrical themes include stories by H. P. Lovecraft, World War II, horror, and science fiction. According to "Billboard" magazine, by 2002 Vader sold approximately 500,000 releases around the world.