Background.

In January 1980, the members of Talking Heads returned to New York City after the tours in support of their 1979 critically acclaimed third album, "Fear of Music", and took time off to pursue personal interests. Singer David Byrne worked with Brian Eno, the record's producer, on an experimental album, "My Life in the Bush of Ghosts". Keyboardist Jerry Harrison produced an album for soul singer Nona Hendryx at the Sigma Sound Studios branch in New York City; Hendryx and the studio were used during the "Remain in Light" recording on Harrison's advice.  Drummer Chris Frantz and bassist Tina Weymouth, a married couple, discussed leaving Talking Heads after Weymouth suggested that Byrne was too controlling. Frantz did not want to leave, and the two took a long vacation in the Caribbean to ponder the state of the band and their marriage. They became involved in Haitian Vodou religious ceremonies, practised native percussion instruments, and socialised with the reggae rhythm section of Sly and Robbie.  Frantz and Weymouth ended their holiday by purchasing an apartment above Compass Point Studios in Nassau, the Bahamas, where Talking Heads had recorded their second album, "More Songs About Buildings and Food". Byrne joined the duo and Harrison there in early 1980. The band members realised that it had been solely up to Byrne to craft songs even though they were performed as a quartet. They had tired of the notion of a singer leading a backup band; the ideal they aimed for, according to Byrne, was "sacrificing our egos for mutual cooperation". Byrne additionally wanted to escape "the psychological paranoia and personal torment" he had been writing and feeling in New York. Instead of the band writing music to Byrne's lyrics, Talking Heads performed instrumental jams, using the "Fear of Music" song "I Zimbra" as a starting point.  Eno arrived in the Bahamas three weeks after Byrne. He was reluctant to work with the band again after collaborating on the previous two albums. He changed his mind after being excited by the instrumental demo tapes. The band and Eno experimented with the communal African way of making music, in which individual parts mesh as polyrhythms. "Afrodisiac", the 1973 Afrobeat record by Nigerian musician Fela Kuti, became the template for the album. Weymouth said that the beginnings of hip-hop music made Talking Heads realise that the musical landscape was changing. Before the studio sessions began, longtime friend David Gans instructed the band that "the things one doesn't intend are the seeds for a more interesting future". He encouraged them to experiment, improvise and make use of "mistakes".

Recording and production.

Recording sessions started at Compass Point Studios in July 1980. The album's creation required the use of additional musicians, particularly percussionists. Talking Heads used the working title "Melody Attack" throughout the studio process after watching a Japanese game show of the same name. Harrison said the ambition was to blend rock and African genres, rather than simply imitate African music. Eno's production techniques and personal approach were key to the record's conception. The process was geared to promote the expression of instinct and spontaneity without overtly focusing on the sound of the final product. Eno compared the creative process to "looking out to the world and saying, 'What a fantastic place we live in. Let's celebrate it.'"  Sections and instrumentals were recorded one at a time in a discontinuous process. Loops played a key part at a time when computers could not yet adequately perform such functions. Talking Heads developed "Remain in Light" by recording jams, isolating the best parts, and learning to play them repetitively. The basic tracks focused wholly on rhythms and were all performed in a minimalist method using only one chord. Each section was recorded as a long loop to enable the creation of compositions through the positioning or merging of loops in different ways. Byrne likened the process to modern sampling: "We were human samplers."  After a few sessions in the Bahamas, engineer Rhett Davies left following an argument with the producer over the fast speed of recording. Steven Stanley, who since the age of 17 had engineered for musicians such as Bob Marley, stepped in to cover the workload. He is credited by Frantz with helping create "Once in a Lifetime", which was released as a single. A Lexicon 224 digital reverb effects unit, obtained by engineer and mixer Dave Jerden, was used on the album. The machine was one of the first of its kind and able to simulate environments such as echo chambers and rooms through interchangeable programs. Like Davies, Jerden was unhappy with the fast pace at which Eno wanted to record sonically complicated compositions, but did not complain.  The tracks made Byrne rethink his vocal style and he tried singing to the instrumental songs, but sounded "stilted". Few vocal sections were recorded in the Bahamas. The writing process for the lyrics occurred when the band returned to the US and was split between New York City and California. Harrison booked Talking Heads into Sigma Sound, which focused primarily on R&B music, after convincing the owners that the band's work could bring them a new type of clientele. In New York City, Byrne struggled with writer's block. Harrison and Eno spent their time tweaking the compositions recorded in the Bahamas, while Frantz and Weymouth often did not show up at the studio. Doubts began to surface about whether the album would be completed. The recording sessions only built up pace after the recruitment of guitarist Adrian Belew at the request of Byrne, Harrison and Eno. He was advised to add guitar solos to the Compass Point tracks, making use of a Roland guitar synthesiser.  Byrne recorded all the tracks, as they were after Belew had performed on them, to a cassette and looked to Africa to break his writer's block. He realised that, when African musicians forget words, they often improvise and make new ones up. He used a portable tape recorder and tried to create onomatopoeic rhymes in the style of Eno, who believed that lyrics were never the center of a song's meaning. Byrne continuously listened to his recorded scatting until convinced that he was no longer "hearing nonsense". After he was satisfied, Harrison invited Nona Hendryx to Sigma Sound to record backing vocals for the album. She was advised extensively on her vocal delivery by Byrne, Frantz, and Weymouth, and often sang in a trio with Byrne and Eno. The voice sessions were followed by the overdubbing process. Brass player Jon Hassell, who had been working on parts of "My Life in the Bush of Ghosts", was hired to perform trumpet and horn sections. In August 1980, half of the album was mixed by Eno and engineer John Potoker in New York City with the assistance of Harrison, while the other half was mixed by Byrne and Jerden at Eldorado Studios in Los Angeles.

Music and lyrics.

"Remain in Light" features new wave, post-punk, worldbeat, dance-rock, avant-pop, and different types of funk, specifically afrofunk and psychedelic funk. Critic Stephen Thomas Erlewine described the album as a "dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics." It contains eight songs that possess a "striking free-associative feel" according to psychoanalyst Michael A. Brog, in that there is no long-lasting coherent thought process that can be followed in the stream-of-consciousness lyrics. David Gans instructed Byrne to be freer with his lyrical content by advising him that "rational thinking has its limits". The frontman included a bibliography with the album press kit along with a statement that explained how the album was inspired by African mythologies and rhythms. The release stressed that the major inspiration to the lyrics was Professor John Miller Chernoff's "African Rhythm and African Sensibility", which examined the musical enhancement of life in the continent's rural communities. The academic travelled to Ghana in 1970 to study native percussion and wrote about how Africans have complicated conversations through drum patterns. One of the songs, "The Great Curve", exemplifies the African theme by including the line "The world moves on a woman's hips", which Byrne used after reading Professor Robert Farris Thompson's book "African Art in Motion". He also studied straight speech, from John Dean's Watergate testimony to the stories of African American former slaves.  Like all the other tracks, album opener "Born Under Punches (The Heat Goes On)" borrows from "preaching, shouting and ranting". The expression "And the Heat Goes On", used in the title and repeated in the chorus, is based on a "New York Post" headline Eno read in the summer of 1980 whilst Byrne rewrote the song title "Don't Worry About the Government" from Talking Heads' debut album, "", into the lyric "Look at the hands of a government man". The "rhythmical rant" in "Crosseyed and Painless"—"Facts are simple and facts are straight. Facts are lazy and facts are late."—is influenced by old school rap, specifically Kurtis Blow's "The Breaks" given to Byrne by Frantz. "Once in a Lifetime" borrows heavily from preachers' diatribes. Some critics have suggested that the song is "a kind of prescient jab at the excesses of the 1980s". Byrne disagreed with the categorisation and commented that its lyrics are meant to be taken literally; he stated, "We're largely unconscious. You know, we operate half awake or on autopilot and end up, whatever, with a house and family and job and everything else, and we haven't really stopped to ask ourselves, 'How did I get here?'."  Byrne has described the album's final mix as a "spiritual" piece of work, "joyous and ecstatic and yet it's serious"; he has pointed out that, in the end, there was "less Africanism in "Remain in Light" than we implied... but the African ideas were far more important to get across than specific rhythms". According to Eno, the record uniquely blends funk and punk rock or new wave music. None of the compositions include chord changes and instead rely on the use of different harmonics and notes. "Spidery riffs" and layered tracks of bass and percussion are used extensively throughout the album. The first side contains the more rhythmic songs, "Born Under Punches (The Heat Goes On)", "Crosseyed and Painless", and "The Great Curve", which include long instrumental interludes. "The Great Curve" contains extended synthesiser-treated guitar solos from Belew.  The second side features more introspective songs. "Once in a Lifetime" pays homage to early rap techniques and the music of art rock band The Velvet Underground. The track was originally called "Weird Guitar Riff Song" because of its composition. It was conceived as a single riff before the band added a second, boosted riff over the top of the first. Eno alternated eight bars of each riff with corresponding bars of its counterpart. "Houses in Motion" incorporates lengthy brass performances from Jon Hassell, while "Listening Wind" features Arabic music elements. The final track on the album, "The Overload," was Talking Heads' attempt to emulate the sound of British post-punk band Joy Division. The song was made despite no band member having heard the music of Joy Division; rather, it was based on an idea of what the British quartet "might" sound like based on descriptions in the music press. The track features "tribal-cum-industrial" beats created primarily by Harrison and Byrne.

Packaging and title.

The cover art was conceived by Weymouth and Frantz with the help of Massachusetts Institute of Technology researcher Walter Bender and his ArcMac team (the precursor to the MIT Media Lab). Using "Melody Attack" as inspiration, the couple created a collage of red warplanes flying in formation over the Himalayas. The planes are an artistic depiction of Grumman Avenger planes in honour of Weymouth's father, Ralph Weymouth, who was a US Navy Admiral. The idea for the back cover included simple portraits of the band members. Weymouth attended MIT regularly during the summer of 1980 and worked with Bender's colleague, Scott Fisher, on the computer renditions of the ideas. The process was tortuous because computer power was limited in the early 1980s and the mainframe alone took up several rooms. Weymouth and Fisher shared a passion for masks and used the concept to experiment with the portraits. The faces (except for eyes, noses and mouths) were blotted out with blocks of red colour. Weymouth considered superimposing Eno's face on top of all four portraits to insinuate his egotism—the producer wanted to be on the cover art together with Talking Heads—but decided against it in the end.  The rest of the artwork and the liner notes were crafted by the graphic designer Tibor Kalman and his company M&Co. Kalman was a fervent critic of formalism and professional design in art and advertisements. He offered his services for free to create publicity, and discussed using unconventional materials such as sandpaper and velour for the LP sleeve. Weymouth, who was skeptical of hiring a designing firm, vetoed Kalman's ideas and held firm on the MIT computerised images. The designing process made the band members realise that the title "Melody Attack" was "too flippant" for the music recorded, and they adopted "Remain in Light" instead. Byrne has noted, "Besides not being all that melodic, the music had something to say that at the time seemed new, transcendent, and maybe even revolutionary, at least for funk rock songs." The image of the warplanes was relegated to the back of the sleeve and the doctored portraits became the front cover. Kalman later suggested that the planes were not removed altogether because they seemed appropriate during the Iranian hostage crisis of 1979–81.  Weymouth advised Kalman that she wanted simple typography in a bold sans serif font. M&Co. followed the instructions and came up with the idea of inverting the "A"s in "TALKING HEADS". Weymouth and Frantz decided to use the joint credit acronym C/T for the artwork, while Bender and Fisher used initials and code names because the project was not an official MIT venture. The design credits read "HCL, JPT, DDD, WALTER GP, PAUL, C/T". The final mass-produced version of "Remain in Light" boasted one of the first computer-designed record jackets. Psychoanalyst Michael A. Brog has called its front cover a "disarming image, which suggests both splitting and obliteration of identity" and which introduces the listener to the album's recurring theme of "identity disturbance"; he states, "The image is in bleak contrast to the title with the obscured images of the band members unable to'remain in light'."  Talking Heads and Eno originally agreed to credit all songs in alphabetical order to "David Byrne, Brian Eno, Chris Frantz, Jerry Harrison and Tina Weymouth" after failing to devise an accurate formula for the split, but the album was released with the label credit: "all songs written by David Byrne & Brian Eno (except "Houses In Motion" and 'The Overload", written by David Byrne, Brian Eno & Jerry Harrison)". Frantz, Harrison, and Weymouth disputed the credits, especially for a process they had partly funded. According to Weymouth, Byrne told Kalman to doctor the credits on Eno's advice. Later editions credit all band members. Frantz said "we felt very burnt by the credits dispute".

Promotion and release.

Brian Eno advised Talking Heads that the music on "Remain in Light" was too dense for a quartet to perform. The band expanded to nine musicians for the tours in support of the album. The augmenting members recruited by Harrison were Belew, Funkadelic keyboardist Bernie Worrell, bassist Busta "Cherry" Jones, Ashford & Simpson percussionist Steven Scales, and backing vocalist Dolette MacDonald. The larger group performed soundchecks in Frantz and Weymouth's loft by following the rhythms established by Worrell, who had studied at the New England Conservatory and Juilliard School.  The expanded band's first appearance was on August 23, 1980 at the Heatwave festival in Canada in front of 70,000 people; Robert Hilburn of the "Los Angeles Times" called the band's new music a "rock-funk sound with dramatic, near show-stopping force". On August 27, the expanded Talking Heads performed a showcase of tracks to an audience of the full 8000 seating capacity at the Wollman Rink as well as appx another 10,000 seated on the grass outside the walls in New York City's Central Park. The Canada and New York gigs were the only ones initially planned, but Sire Records decided to support the nine-member band on an extended tour. Following the promotional tour, the band went on hiatus for several years, leaving the individual members to pursue a variety of side projects.  "Remain in Light" was released worldwide on October 8, 1980. "Remain in Light" received its world premiere airing in its entirety on October 10, 1980 on WDFM. According to writer David Sheppard, "it was received as a great cultural event as much as a vivid art-pop record." It was certified Gold by the Canadian Recording Industry Association in February 1981 after shipping 50,000 copies, and by Recording Industry Association of America in September 1985 after shipping 500,000 copies. Over one million copies have been sold worldwide.

Critical reception.

The album attained widespread acclaim from media outlets. Ken Tucker of "Rolling Stone" felt it was a brave and absorbing attempt to locate a common ground in the early 1980s divergent and often hostile musical genres; he concluded, ""Remain in Light" yields scary, funny music to which you can dance and think, think and dance, dance and think, "ad infinitum"." Robert Christgau, writing in "The Village Voice", described the record as one "in which David Byrne conquers his fear of music in a visionary Afrofunk synthesis—clear-eyed, detached, almost mystically optimistic". Michael Kulp of the "Daily Collegian" commented that the album deserves the tag "classic" like each of the band's three previous full-length releases, while John Rockwell, writing in "The New York Times", suggested that it confirmed Talking Heads' position as "America's most venturesome rock band". Sandy Robertson of "Sounds" praised the record's innovation, while "Billboard" wrote, "Just about every LP Talking Heads has released in the last four years has wound up on virtually every critics' best of list. "Remain in Light" should be no exception."  AllMusic's William Ruhlmann wrote that Talking Heads' musical transition, first witnessed in "Fear of Music", came to full fruition in "Remain in Light"; he stated, "Talking Heads were connecting with an audience ready to follow their musical evolution, and the album was so inventive and influential." In the 1995 "Spin Alternative Record Guide", Eric Weisbard praised Eno's production effort which helped rein in any excessive appropriations of African music by Talking Heads. In 2004, "Slant Magazine"s Barry Walsh labelled its results as "simply magical" after the band turned rock music into a more global entity in terms of its musical and lyrical scope. In a 2008 review, Sean Fennessey of "Vibe" concluded, "Talking Heads took African polyrhythms to NYC and made a return trip with elegant, alien post-punk in tow."

Accolades and legacy.

"Remain in Light" was named the best album of 1980 by "Sounds", ahead of The Skids' "The Absolute Game", and by "Melody Maker", while "The New York Times" included it in its unnumbered shortlist of the 10 best records issued that year. It figured highly in other end-of-year best album lists, notably at number two, behind The Clash's "London Calling", by Robert Christgau, and at number six by "NME". It featured at number three—behind "London Calling" and Bruce Springsteen's "The River"—in "The Village Voice"s 1980 Pazz & Jop critics' poll, which aggregates the votes of hundreds of prominent reviewers. In 1989, "Rolling Stone" named "Remain in Light" as the fourth best album of the decade. In 1993, it was included at number 11 in "NME"s list of The 50 Greatest Albums Of The '80s, and at number 68 in the publication's Greatest Albums Of All Time list. In 1997, "The Guardian" collated worldwide data from renowned critics, artists, and radio DJs, which placed the record at number 43 in the list of the 100 Best Albums Ever. In 1999, it was included by "Vibe" as one of its 100 Essential Albums Of The 20th Century. In 2000 it was voted number 227 in Colin Larkin's "All Time Top 1000 Albums". In 2002, Pitchfork Media featured "Remain in Light" at number two behind Sonic Youth's "Daydream Nation" in its Top 100 Albums Of The 1980s list. In 2003, VH1 named the record at number 88 during its 100 Greatest Albums countdown, while "Slant" magazine included it in its unnumbered shortlist of 50 Essential Pop Albums. "Rolling Stone" placed it at number 129 in its December 2015 issue of "The 500 Greatest Albums of All Time", higher than three other Talking Heads releases. In 2006, "Q" ranked "Remain in Light" at number 27 in its list of the 40 Best Albums of the 80s. In 2012, "Slant" listed the album at number six on its list of the "Best Albums of the 1980s".  In 2018, Beninese singer Angelique Kidjo released a song-for-song cover of "Remain in Light" (produced by Jeff Bhasker and released on his Kravenworks label), describing herself as a longtime fan of the song "Once in a Lifetime" and wanting to pay tribute to the album by emphasizing its inspiration from African music.

Track listing.

Notes

Personnel.

Those involved in the making of "Remain in Light" were:  Talking Heads  Additional musicians  Design  Production

Remain in Light is the fourth studio album by American rock band Talking Heads, released on October 8, 1980 by Sire Records. It was recorded at Compass Point Studios in the Bahamas and Sigma Sound Studios in Philadelphia between July and August 1980 and produced by longtime collaborator Brian Eno. Following the release of their previous album "Fear of Music" in 1979, the quartet and Eno sought to dispel notions of the band as a mere vehicle for frontman and songwriter David Byrne. Drawing on the influence of Nigerian musician Fela Kuti, the band experimented with African polyrhythms, funk, and electronics, recording instrumental tracks as a series of looping grooves. The sessions incorporated a variety of side musicians, including guitarist Adrian Belew, singer Nona Hendryx, and trumpet player Jon Hassell.

Remain in Light je čtvrté studiové album americké new wave skupiny Talking Heads. Jeho nahrávání probíhalo od července do srpna 1980 v Compass Point Studios v Nassau na Bahamách a v Sigma Sound Studios v New Yorku. Album produkoval Brian Eno, který se na něm podílel i hudebně. Album vyšlo v říjnu 1980 u Sire Records.


History.

In the 1980s, the six then-surviving Mercury Seven astronauts conceived of establishing a place where US space travelers could be remembered and honored, along the lines of halls of fame for other fields. The Mercury Seven Foundation and Astronaut Scholarship Foundation were formed and have a role in the current operations of the Hall of Fame. The foundation's first executive director was former Associated Press space reporter Howard Benedict. The Astronaut Hall of Fame was opened on October 29, 1990, by the U.S. Space Camp Foundation, which was the first owner of the facility. It was located next to the Florida branch of Space Camp.  The Hall of Fame closed for several months in 2002 when U.S. Space Camp Foundation's creditors foreclosed on the property due to low attendance and mounting debt. That September, an auction was held and the property was purchased by Delaware North Park Services on behalf of NASA and the property was added to the Kennedy Space Center Visitor Complex. The Hall of Fame re-opened December 14, 2002.  The Hall of Fame, which was originally located just west of the NASA Causeway, closed to the public on November 2, 2015, in preparation for its relocation to the Kennedy Space Center Visitor Complex 6 miles (9.7 km) to the east on Merritt Island. Outside of the original building was a full-scale replica of a Space Shuttle orbiter named Inspiration (originally named "Shuttle To Tomorrow" where visitors could enter and view a program). Inspiration served only as an outdoor, full scale, static display which visitors could not enter. After the Hall of Fame was transferred to the KSC Visitor Complex, Inspiration was acquired by LVX System and is currently in storage at the Shuttle Landing Facility at the Kennedy Space Center.  The building was purchased at auction by visitor complex operator Delaware North and renamed the ATX Center, and for a time housed educational programs including Camp Kennedy Space Center and the Astronaut Training Experience. Those programs have since been moved to the KSC Visitor Complex, and as of December 2019, the structure was being offered for lease.

Inductees.

Inductees into the Hall of Fame are selected by a blue ribbon committee of former NASA officials and flight controllers, historians, journalists, and other space authorities (including former astronauts) based on their accomplishments in space or their contributions to the advancement of space exploration. Except for 2002, inductions have been held every year since 2001.  As its inaugural class in 1990, the Hall of Fame inducted the United States' original group of astronauts: the Mercury Seven. In addition to being the first American astronauts, they set several firsts in American spaceflight, both auspicious and tragic. Alan Shepard was the first American in space and later became one of the twelve people to walk on the Moon. John Glenn was the first American to orbit the Earth and after his induction went on, in 1998, to become the oldest man to fly in space, aged 77. Gus Grissom was the first American to fly in space twice and was the commander of the ill-fated Apollo 1, which resulted in the first astronaut deaths directly related to preparation for spaceflight.  Thirteen astronauts from the Gemini and Apollo programs were inducted in the second class of 1993. This class included the first and last humans to walk on the Moon, Neil Armstrong and Eugene Cernan; Ed White, the first American to walk in space (also killed in the Apollo 1 accident); Jim Lovell, commander of the famously near-tragic Apollo 13; and John Young, whose six flights included a moonwalk and command of the first Space Shuttle mission.  The third class was inducted in 1997 and consisted of the 24 additional Apollo, Skylab, and ASTP astronauts. Notable members of the class were Roger Chaffee, the third astronaut killed in the Apollo 1 fire and the only unflown astronaut in the Hall; Harrison Schmitt, the first scientist and next-to-last person to walk on the Moon; and Jack Swigert and Fred Haise, the Apollo 13 crewmembers not previously inducted.  The philosophy regarding the first three groups of inductees was that all astronauts who flew in NASA's "pioneering" programs (which would include Mercury, Gemini, Apollo, Apollo Applications Program (Skylab), and Apollo-Soyuz Test Project) would be included simply by virtue of their participation in a spaceflight in these early programs. The first group (the inaugural class of 1990) would only include the original Mercury astronauts (most of whom would go on to fly in later programs). The second group of inductees would include those astronauts who began their spaceflight careers during Gemini (all of whom would go on to fly in later programs). The third group of inductees would include those astronauts who began their spaceflight careers during Apollo, Skylab, and ASTP (some of whom would go on to fly in the Space Shuttle program). Since it would not be practical (or meaningful) to induct all astronauts who ever flew in space, all subsequent inductees (Space Shuttle program and beyond) are considered based on their accomplishments and contributions to the human spaceflight endeavor which would set them apart from their peers.  Over four dozen astronauts from the Space Shuttle program have been inducted since 2001. Among these are the late Sally Ride, the first American woman in space; Story Musgrave, who flew six missions in the 1980s and 90s; and Francis Scobee, commander of the ill-fated final "Challenger" mission.  The 2010 class consisted of Guion Bluford, Jr., Kenneth Bowersox, Frank Culbertson and Kathryn Thornton. The 2011 inductees were Karol Bobko and Susan Helms. The 2012 inductees were Franklin Chang-Diaz, Kevin Chilton and Charles Precourt. Bonnie Dunbar, Curt Brown and Eileen Collins were inducted in 2013, and Shannon Lucid and Jerry Ross comprised the 2014 class.  In 2016, inductees included Brian Duffy and Scott E. Parazynski. Ellen Ochoa and Michael Foale were announced as the 2017 class of the United States Astronaut Hall of Fame. The 2019 inductees are James Buchli and Janet L. Kavandi. Michael López-Alegría, Scott Kelly and Pamela Melroy are the 2020 inductees.

Exhibits.

The Hall of Heroes is composed of tributes to the inductees. Among the Hall of Fame's displays is "Sigma 7", the Mercury spacecraft piloted by Wally Schirra which orbited the Earth six times in 1962. An Astronaut Adventure room includes simulators for use by children.  The spacesuit worn by Gus Grissom during his Mercury flight is on display and has been the subject of a dispute between NASA and Grissom's heirs and supporters since 2002. The spacesuit, along with other Grissom artifacts, were loaned to the original owners of the Hall of Fame by the Grissom family when it opened. After the Hall of Fame went into bankruptcy and was taken over by a NASA contractor in 2002, the family requested that all their items be returned. All of the items were returned to Grissom's family except the spacesuit, because both NASA and the Grissoms claim ownership of it. NASA claims Grissom checked out the spacesuit for a show and tell at his son's school, and then never returned it, while the Grissoms claim Gus rescued the spacesuit from a scrap heap.

The United States Astronaut Hall of Fame, located inside the Kennedy Space Center Visitor Complex Heroes & Legends building, honors American astronauts and features the world's largest collection of their personal memorabilia, focusing on those astronauts who have been inducted into the Hall; as well as "Sigma 7", the fifth manned Mercury spacecraft, and also the Gemini IX spacecraft.

Síň slávy astronautů Spojených států () je muzeum v Titusville na Floridě ve Spojených státech amerických určené pro nejvýznamnější astronauty Spojených států. Vystavuje také předměty spojené s kosmickými lety, například skafandr Gusse Grissoma z jeho suborbitálního letu Mercury-Redstone 4, nebo kosmickou loď Mercury Sigma 7. Muzeum je součástí Kennedyho vesmírného střediska.


Transition indicators.

The existence of private property rights may be the most basic element of a market economy, and therefore implementation of these rights is the key indicator of the transition process.  The main ingredients of the transition process are:  According to Oleh Havrylyshyn and Thomas Wolf of the International Monetary Fund, transition in a broad sense implies:  Edgar Feige, cognizant of the trade-off between efficiency and equity, suggests that the social and political costs of transition adjustments can be reduced by adopting privatization methods that are egalitarian in nature, thereby providing a social safety net to cushion the disruptive effects of the transition process.  The European Bank for Reconstruction and Development (EBRD) developed a set of indicators to measure the progress in transition. The classification system was originally created in the EBRD's 1994 Transition Report, but has been refined and amended in subsequent Reports. The EBRD's overall transition indicators are:

Context.

The economic malaise affecting the Comecon countries – low growth rates and diminishing returns on investment – led many domestic and Western economists to advocate market-based solutions and a sequenced programme of economic reform. It was recognized that micro-economic reform and macro-economic stabilization had to be combined carefully. Price liberalization without prior remedial measures to eliminate macro-economic imbalances, including an escalating fiscal deficit, a growing money supply due to a high level of borrowing by state-owned enterprises, and the accumulated savings of households ("monetary overhang") could result in macro-economic destabilization instead of micro-economic efficiency. Unless entrepreneurs enjoyed secure property rights and farmers owned their farms the process of Schumpeterian "creative destruction" would limit the reallocation of resources and prevent profitable enterprises from expanding to absorb the workers displaced from the liquidation of non-viable enterprises. A hardening of the budget constraints at state-owned enterprises would halt the drain on the state budget from subsidization but would require additional expenditure to counteract the resulting unemployment and drop in aggregate household spending. Monetary overhang meant that price liberalization might convert "repressed inflation" into open inflation, increase the price level still further and generate a price spiral. The transition to a market economy would require state intervention alongside market liberalization, privatization and deregulation. Rationing of essential consumer goods, trade quotas and tariffs and an active monetary policy to ensure that there was sufficient liquidity to maintain commerce might be needed. In addition to tariff protection, measures to control capital flight were also considered necessary in some instances.

Transition in practice.

The most influential strategy for the transition to a market economy was that adopted by Poland launched in January 1990. The strategy was strongly influenced by IMF and World Bank analyses of successful and unsuccessful stabilization programmes which had been adopted in Latin America in the 1980s. The strategy incorporated a number of interdependent measures including macro-economic stabilization; the liberalization of wholesale and retail prices; the removal of constraints to the development of private enterprises and the privatization of state-owned enterprises; the elimination of subsidies and the imposition of hard budget constraints; and the creation of an export-oriented economy that was open to foreign trade and investment. The creation of a social safety net targeted at the individual to compensate for the removal of job security and the removal of price controls on staple goods was also part of the strategy.  The choice of the transition strategy was influenced by the critical state of most post-socialist countries. Policy-makers were persuaded that political credibility took precedence over a sequenced reform plan and to introduce macro-economic stabilization measures ahead of structural measures that would by their nature take longer to implement. The "credibility" of the transition process was enhanced by the adoption of the Washington Consensus favoured by the IMF and the World Bank. Stabilization was deemed a necessity in Hungary and Poland where state budget deficits had grown and foreign debts had become larger than the country's capacity to service. Western advisers and domestic experts working with the national governments and the IMF introduced stabilization programmes aiming to achieve external and internal balance, which became known as shock therapy. It was argued that "one cannot jump over a chasm in two leaps".  The many foreign advisers from, principally, the United States, the United Kingdom and Sweden were often under contract to the international financial institutions and bilateral or multilateral technical assistance programmes. They favoured free trade and exchange rate convertibility rather than trade protection and capital controls, which might have checked capital flight. They tended to support privatization without prior industrial restructuring; an exception was to be found in Eastern Germany where the Treuhand (Trust Agency) prepared state-owned enterprises for the market at considerable cost to the government. Western technical assistance programmes were established by European Union – through the Phare and TACIS programmes – and other donors (including the US AID, the UK Know-how Fund and UNDP) and by the IMF, the World Bank, EBRD and KfW, which also advanced loans for stabilization, structural adjustment, industrial restructuring and social protection. Technical assistance was delivered through the exchange of civil servants and by management consultants, including Agriconsulting, Atos, COWI, Ernst & Young, GOPA, GTZ, Human Dynamics, Idom, IMC Consulting, Louis Berger, NIRAS, PA Consulting, PE International, Pohl Consulting, PwC, and SOFRECO.  It had been expected that the introduction of current account convertibility and foreign trade liberalization would force a currency devaluation that would support export-led growth. However, when prices were de-controlled enterprises and retailers raised their prices to match those prevailing in the black market or towards world price levels, earning them windfall profits initially. Consumers reacted by reducing their purchases and by substituting better quality imported goods in place of domestically produced goods. Falling sales led to the collapse of many domestic enterprises, with personnel lay-offs or reduced hours of work and pay. This further reduced effective demand. As imports grew and exporters failed to respond to opportunities in world markets due to the poor quality of their products and lack of resources for investment, the trade deficit expanded, putting downward pressure on the exchange rate. Many wholesalers and retailers marked prices according to their dollar values and the falling exchange rate fed inflation. The central banks in several countries raised interest rates and tightened credit conditions, depriving state agencies and enterprises of working capital. These in turn found it impossible to pay wages on time, dampening effective demand further.  The impacts of the conventional transition strategies proved to be de-stabilizing in the short-term and left the population impoverished in the long-term. Economic output declined much more than expected. The decline in output lasted until 1992-96 for all transition economies. By 1994, economic output had declined across all transition economies by 41 percent compared to its 1989 level. The Central and Eastern European economies began growing again around 1993, with Poland, which had begun its transition programme earliest emerging from recession in 1992. The Baltic States came out of recession in 1994 and the rest of the former Soviet Union around 1996. Inflation remained above 20 percent a year (except in the Czech Republic and Hungary) until the mid-1990s. Across all transition economies the peak annual inflation rate was 2632 percent (4645 percent in the CIS). Unemployment increased and wages fell in real terms, although in Russia and other CIS economies the rate of unemployment recorded at employment exchanges remained low. Labour force surveys undertaken by the International Labour Organization showed significantly higher rates of joblessness and there was considerable internal migration. High interest rates induced a "credit crunch" and fuelled inter-enterprise indebtedness and hampered the expansion of small and medium-sized enterprises, which often lacked the connections to obtain finance legitimately.  In time domestic producers were able to upgrade their production capacity and foreign direct investment was attracted to the transition economies. Local-manufactured higher quality consumer goods became available and won market share back from imports. Stabilization of the exchange rate was made more difficult by large-scale capital flight, with domestic agents sending part of their earning abroad to destinations where they believed their capital was more secure. The promise of European Union membership and the adoption of the EU's legislation and regulations (the Community acquis or "acquis communautaire") helped secure trust in property rights and economic and governmental institutions in much of Central and Eastern Europe.  Some economists have argued that the growth performance of the transition economies stemmed from the low level of development, decades of trade isolation and distortions in the socialist planned economies. They have emphasized that the transition strategies adopted reflected the need to resolve the economic crisis besetting the socialist planned economies and the overriding objective was the transformation to capitalist market economies rather than the fostering of economic growth and welfare.  But by 2000, the EBRD was reporting that the effects of the initial starting point in each transition economy on the reform process had faded. Although the foundations had been laid for a functioning market economy through sustained liberalization, comprehensive privatization, openness to international trade and investment, and the establishment of democratic political systems there remained institutional challenges. Liberalized markets were not necessarily competitive and political freedom had not prevented powerful private interests from exercising undue influence.  Ten years on, in the "Transition Report" for 2010, the EBRD was still finding that the quality of market-enabling institutions continued to fall short of what was necessary for well-functioning market economies. Growth in the transition economies had been driven by trade integration into the world economy with "impressive" export performance, and by "rapid capital inflows and a credit boom". But such growth had proved volatile and the EBRD considered that governments in the transition economies should foster the development of domestic capital markets and improve the business environment, including financial institutions, real estate markets and the energy, transport and communications infrastructure. The EBRD expressed concerns about regulatory independence and enforcement, price setting, and the market power of incumbent infrastructure operators.  Income inequality as measured by the Gini coefficient rose significantly in the transition economies between 1987 and 1988 and the mid-1990s. Poverty re-emerged with between 20 and 50 percent of people living below the national poverty line in the transition economies. The UN Development Programme calculated that overall poverty in Eastern Europe and the CIS increased from 4 percent of the population in 1988 to 32 percent by 1994, or from 14 million people to 119 million. Unemployment and rates of economic inactivity were still high in the late 1990s according to survey data.  By 2007, the year before the global financial crisis hit, the index for GDP had reached 112 compared to 100 in 1989 for the transition economies. In other words, it took nearly 20 years to restore the level of output that had existed prior to the transition. The index of economic output (GDP) in the countries of Central and Eastern Europe was 151 in 2007; for the Balkans/ South-eastern Europe the index was 111, and for the Commonwealth of Independent States and Mongolia it was 102. Several CIS countries in the Caucasus and Central Asia as well as Moldova and Ukraine had economies that were substantially smaller than in 1989.  The global recession of 2008-09 and the Eurozone crisis of 2011-13 destabilized the transition economies, reduced growth rates and increased unemployment. The slowdown hit government revenues and widened fiscal deficits but almost all transition economies had experienced a partial recovery and had maintained low and stable inflation since 2012.

Process.

Transition trajectories have varied considerably in practice. Some nations have been experimenting with market reform for several decades, while others are relatively recent adopters (e.g., Macedonia, Serbia, Montenegro), and Albania. In some cases reforms have been accompanied with political upheaval, such as the overthrow of a dictator (Romania), the collapse of a government (the Soviet Union), a declaration of independence (Croatia), or integration with another country (East Germany). In other cases economic reforms have been adopted by incumbent governments with little interest in political change (China, Laos, Vietnam). Transition trajectories also differ in terms of the extent of central planning being relinquished (e.g., high centralized coordination among the CIS states) as well as the scope of liberalization efforts being undertaken (e.g., relatively limited in Romania). Some countries, such as Vietnam, have experienced macro-economic upheavals over different periods of transition, even transition turmoil.  According to the World Bank's "10 Years of Transition" report "... the wide dispersion in the productivity of labour and capital across types of enterprises at the onset of transition and the erosion of those differences between old and new sectors during the reform provide a natural definition of the end of transition." Mr. Vito Tanzi, Director of the IMF's Fiscal Affairs Department, gave definition that the transformation to a market economy is not complete until functioning fiscal institutions and reasonable and affordable expenditure programs, including basic social safety nets for the unemployed, the sick, and the elderly, are in place. Mr Tanzi stated that these spending programs must be financed from public revenues generated—through taxation—without imposing excessive burdens on the private sector.  According to the EBRD a well-functioning market economy should enjoy a diverse range of economic activities, equality of opportunity and convergence of incomes. These outcomes had not yet been achieved by 2013 and progress in establishing well-functioning market economies had stalled since the 1990s. On the EBRD's measure of transition indicators the transition economies had become "stuck in transition". Price liberalization, small-scale privatization and the opening-up of trade and foreign exchange markets were mostly complete by the end of the 1990s. However economic reform had slowed in areas such governance, enterprise restructuring and competition policy, which remained substantially below the standard of other developed market economies.  Inequality of opportunity was higher in the transition economies of Central and Eastern Europe and Central Asia than in some other developed economies in Western Europe (except France, where inequality of opportunity was relatively high). The highest inequality of opportunity was found in the Balkans and Central Asia. In terms of legal regulations and access to education and health services, inequality of opportunity related to gender was low in Europe and Central Asia but medium to high in respect of labour practices, employment and entrepreneurship and in access to finance. In Central Asia women also experienced significant lack of access to health services, as was the case in Arab countries. While many transition economies performed well with respect to primary and secondary education, and matched that available in many other developed economies, they were weaker when it came to training and tertiary education.  Over the decade 1994 to 2004, the transition economies had closed some of the gap in income per person with the average for the European Union in purchasing power parity terms. These gains had been driven by sustained growth in productivity as obsolete capital stock was scrapped and production shifted to take advantage of the opening-up of foreign trade, price liberalization and foreign direct investment. However the rapid growth rates of that period of catch-up had stalled since the late 2000s and the prospects for income convergence have receded according to the EBRD's prognosis, unless there are additional productivity-enhancing structural reforms.  The recent history of transition suggested that weak political institutions and entrenched interest groups had hindered economic reform. The EBRD's "Transition Report 2013" looked at the relationship between transition and democratization. The report acknowledged that the academic literature was divided on whether economic development fostered democracy but argued that there was nonetheless strong empirical support for the hypothesis. It suggested that countries with high inequality were less inclined to support a limited and accountable state. In general, the proportion of the population with an income of between US$10–50 a day (the so-called "middle class") correlated with the level of democracy; however this correlation disappeared in transition countries with high income inequality. Those countries with large natural resource endowments, for example oil and gas producers like Russia and Kazakhstan, had less accountable governments and faced less electoral pressure to tackle powerful vested interests because the government could rely on resource rents and did not have to tax the population heavily. Countries with a strong institutional environment – that is, effective rule of law, secure property rights and uncorrupted public administration and corporate governance – were better placed to attract investment and undertake restructuring and regulatory change.  To spur further economic reform and break out of a vicious circle, the EBRD "Transition Report 2013" proposed that the transition economies should:

Countries in transition.

Although the term "transition economies" usually covers the countries of Central and Eastern Europe and the Former Soviet Union, this term may have a wider context. Outside of Europe, there are countries emerging from a socialist-type command economy towards a market-based economy (e.g., China). Despite such movements, some countries have chosen to remain non-free states with regard to political freedoms and human rights.  In a wider sense, the definition of transition economy refers to all countries which attempt to change their basic constitutional elements towards market-style fundamentals. Their origin could be also in a post-colonial situation, in a heavily regulated Asian-style economy, in a Latin American post-dictatorship, or even in a somehow economically underdeveloped country in Africa.  In 2000, the IMF listed the following countries with transition economies:  In addition, in 2002, the World Bank defined Bosnia and Herzegovina, and the Federal Republic of Yugoslavia (later Serbia and Montenegro) as transition economies. In 2009, the World Bank included Kosovo in the list of transition economies. Some World Bank studies also include Mongolia. According to the IMF, Iran is in transition to a market economy, demonstrating early stages of a transition economy.  The eight first-wave accession countries, which joined the European Union on 1 May 2004 (the Czech Republic, Estonia, Hungary, Latvia, Lithuania, Poland, Slovakia, Slovenia) and the two second-wave accession countries that joined on 1 January 2007 (Romania and Bulgaria), have completed the transition process. According to the World Bank, "the transition is over" for the 10 countries that joined the EU in 2004 and 2007. It can be also understood as all countries of the Eastern Bloc.

Branch of economics.

"Transition economics" is a special branch of economics dealing with the transformation of a planned economy to a market economy. It has become especially important after the collapse of Communism in Central and Eastern Europe. Transition economics investigates how an economy should reform itself to endorse capitalism and democracy. There are usually two sides: one which argues for a rapid transformation and one which argues for a gradual approach. Gérard Roland's book "Transition and Economics. Politics, Markets and Firms" (MIT Press 2000) gives a good overview of the field. A more recent overview is provided in "Transition Economies: Political Economy in Russia, Eastern Europe, and Central Asia" by Martin Myant and Jan Drahokoupil.

A transition economy or transitional economy is an economy which is changing from a centrally planned economy to a market economy. Transition economies undergo a set of structural transformations intended to develop market-based institutions. These include economic liberalization, where prices are set by market forces rather than by a central planning organization. In addition to this trade barriers are removed, there is a push to privatize state-owned enterprises and resources, state and collectively run enterprises are restructured as businesses, and a financial sector is created to facilitate macroeconomic stabilization and the movement of private capital. The process has been applied in China, the former Soviet Union and Eastern bloc countries of Europe and some Third world countries, and detailed work has been undertaken on its economic and social effects.

Přechodová ekonomika je taková ekonomika, která se mění z plánované ekonomiky na tržní ekonomiku. Dochází k ekonomické liberalizaci a trh začíná vyvářet ceny sám, spíše než orgány plánované ekonomiky. Vzniká tlak na privatizaci státem vlastněných firem a přírodních zdrojů, dále vzniká nový finanční sektor, který má usnadnit makroekonomickou stabilizaci a kontrolovat pohyb soukromého kapitálu. Tento proces byl uplatněn zejména ve státech Východního bloku, Rusku a Číně.


Design and construction.

Thornycroft evolved at least four separate designs for this ship, two being long (between perpendiculars) and two being long, with engine output varying from. Two final designs were offered to the Admiralty, who required prototypes for subsequent destroyer construction. Thornycroft's "A" design used the maximum length allowed (310 ft between perpendiculars). However, their "B" design—which was adopted—reduced the length by, using only a single boiler room forward (as in their wartime "Wishart").  Two different designs for the machinery were prepared, plus a third outline design. The "B" design was modified in November 1924 after building had begun, to take machinery capable of giving an extra speed; this required extra length. After the initial trials in 1926, the turbines were altered.  "Amazon" was easily recognisable by her slab-sided funnels, characteristic of Thornycroft vessels. Most differences were internal. Unlike earlier designs, which were designed for home fleet service, they were designed for colonial use, with higher freeboard, cruising turbines and better ventilation.  Armament was identical to that in the s built late during the First World War, and comprised four BL Mark I on CP Mk.VI** mountings. These weapons were based on an Army field piece and had separate bagged charges and no Quick Firing (QF) mechanism. The mountings had half shields and a maximum elevation of 30°.  Fire control was by a base rangefinder and the new "Destroyer Director Control Tower" (DCT). The latter would be fitted to all subsequent Royal Navy destroyer designs from the C class up to the U class of 1942. "Amazon" reached only on her initial trials, and so was taken in hand for modifications. Her subsequent acceptance trials on 3 January 1927 resulted in a speed of. In a later trial on the Skelmorlie Mile in March 1927, she made on her fastest run and on the slowest, with an average engine output of. However, this was at nearly below her deep displacement. Her sea speed in load condition in service was only. She was completed on 5 May 1927.  Such was the Navy's satisfaction with the design that they formed the basis of the next 77 subsequent destroyers, often known as the "interwar standard", up to (but not including) the of 1936.  "Amazon" was fitted out for service during the Second World War as a convoy escort. Her "A" and "Y" 4.7 in guns and after set of torpedo tubes were removed. A 12-pounder Mk.V anti-aircraft gun was added in place of the torpedoes (to remedy the lack of a heavy anti-aircraft weapon), and a "Hedgehog" anti-submarine projector was added on the forecastle. Type 286P radar was added at the masthead, and the rangefinder and director on the bridge were replaced with a centimetric Type 271 for detecting surfaced submarines. The 2-pounder guns were replaced with Oerlikon anti-aircraft cannons, with a further pair added in the bridge wings. In 1943, the 12-pounder gun and the remaining torpedo tubes were removed to allow a 10-round depth charge pattern to be carried, and Type 291 radar replaced her Type 286P.

Service history.

She spent most of the war up to 1942 escorting North Atlantic and Russian convoys, moving to the Mediterranean and taking part in Operation Pedestal, until returning to home waters in 1943 for the duration of the war. By 1944 she was reduced to acting as a target and was broken up by West of Scotland Shipbreaking at Troon in 1949.  The ship was depicted on a Maltese postage stamp that was issued on 10 August 2012 commemorating the 70th anniversary of Operation Pedestal.

HMS "Amazon" was a prototype design of destroyer ordered for the Royal Navy in 1924. She was designed and built by Thornycroft in response to an admiralty request for a new design of destroyer incorporating the lessons and technological advances of the First World War. Their great rivals Yarrow produced a similar, competitive design — that of.

HMS Amazon (D39) byl britský torpédoborec sloužící v období druhé světové války. Byl postaven v druhé polovině 20. let a společně s torpédoborcem HMS "Ambuscade" sloužil jako prototyp pro novou generaci britských meziválečných torpédoborců, využívajících nových technologií a zkušeností z první světové války. "Amazon" za druhé světové války plnil eskortní úkoly. Od roku 1944 sloužil jako cvičný cíl. Vyřazen byl v roce 1947.


History.

From Unione Sportiva Salernitana to Salernitana Calcio 1919.

The origins of the team go back to 1919 when in Salerno was founded the former "Unione Sportiva Salernitana" renamed "Salernitana Sport" in 1978, which spent the vast majority of their history at the Serie B and Serie C levels of Italian football.  Salernitana plays their home games at Stadio Arechi. In their earliest years, Salernitana competed in the Italian Football Championship on a regional basis. They played at this level for four seasons during the 1920s. Since that time the club returned to the top level of Italian football twice; they played in Serie A during 1947–48 and 1998–99.  Salernitana, who wear an all-garnet kit, have had several name changes since they first appeared in 1919; one was after a merger with Audax Salerno.  In 2005 the club went bankrupt but were refounded by Antonio Lombardi, changing the name from "Salernitana Sport" to "Salernitana Calcio 1919".  In the summer 2011, it did not appeal against the exclusion by "Commissione di Vigilanza sulle Società di Calcio Professionistiche" (Co.vi.so.c) and it is excluded by the Italian football.

From Salerno Calcio to US Salernitana 1919.

On 21 July 2011 the mayor of Salerno Vincenzo De Luca chooses the proposal of the company Morgenstern S.r.l. administered by "Gianni Mezzaroma" making so born the new team Salerno Calcio, thus representing the city in Serie D. Member of society and the great protagonist of the project is Claudio Lotito, president of Lazio. His brother in law and Gianni's son, Marco Mezzaroma is the president of team: he is the husband of the former minister Mara Carfagna, born in the town.  The club in the 2011–12 season was immediately promoted to Lega Pro Seconda Divisione winning the "Group G" of Serie D.  On 12 July 2012 the club was renamed US Salernitana 1919.

2012–13 Lega Pro Seconda Divisione.

In the 2012–13 Lega Pro Seconda Divisione season, Salernitana finished first in Girone B, and was promoted to Lega Pro Prima Divisione. This was the second consecutive promotion for the team. Finally Salernitana won Group C of Lega Pro and returned Serie B in 2014–15 season.

Colours, badge and nicknames.

Salernitana originally wore light blue and white striped shirts, known in Italy as "biancocelesti". The blue on the shirt was chosen to represent the sea, Salerno the city lies right next to the Gulf of Salerno and has a long tradition as a porting city. During the 1940s the club changed to garnet coloured shirts, which has gained them the nickname "granata" in their homeland.  In the 2011–12 season as "Salerno Calcio" the shirt was striped blue and deep red, with the symbol of St. Matthew, patron of the city, similar to that of Barcelona.  Since 12 July 2012 with the renaming as US Salernitana 1919, the colour of the first shirt is again the traditional garnet.  The 100th anniversary logo was announced on June 24, 2019 and use in the 2019–20 season.

Former players.

From Italian national football team:  From other national football team:

Unione Sportiva Salernitana 1919, commonly referred to as Salernitana, is an Italian football club based in Salerno, Campania. Salernitana returned to Serie B in 2015, having finished first in Lega Pro Prima Divisione - Girone C.

Unione Sportiva Salernitana 1919 je italský fotbalový klub hrající v sezóně 2019/20 ve druhé lize a sídlící ve městě Salerno v regionu Kampánie.


Background.

The Salt Lake Tabernacle was inspired by an attempt to build a Canvas Tabernacle in Nauvoo, Illinois, in the 1840s. This tabernacle was to be situated just to the West of the Nauvoo Temple and was to be oval shaped, much the same as the Salt Lake Tabernacle. However, the Nauvoo edifice (never built) was to have amphitheater-style or terraced seating, and was to have canvas roofing.

Construction.

The Tabernacle was built between 1864 and 1867 on the west center-line axis of the Salt Lake Temple. The roof was constructed in an Ithiel Town lattice-truss arch system that is held together by dowels and wedges. The building has a sandstone foundation, and the dome is supported by forty-four sandstone piers. Prior to its refurbishing in 2007, the overall seating capacity of the building was around 7,000, which included the choir area and gallery (balcony).  Henry Grow, a civil engineer, oversaw the initial construction of the Tabernacle, the domed roof being the most innovative portion of the building. Brigham Young, president of the LDS Church at the time, wanted the Tabernacle roof constructed in an elongated dome shape with no interior pillars or posts to obstruct the view for the audience. (The gallery was added later.) When Young asked Grow how large a roof he could construct using the style of lattice that he had used on the Remington bridge, Grow replied that it could be "100 feet wide and as long as is wanted." Eventually, Grow engineered the Tabernacle roof to be 150 feet across and 250 feet long. Skeptics insisted that when the interior scaffolding was removed, the whole roof would collapse. The roof structure was nine feet thick, formed by a "Remington lattice truss" of timbers pinned together with wooden pegs. Green rawhide was wrapped around the timbers so that when the rawhide dried it tightened its grip on the pegs. When the roof's structural work was completed, sheeting was applied on the roof, which was then covered with shingles. The interior was lathed and then plastered; the hair of cattle was mixed with the plaster to give it strength.  Construction of the Tabernacle began on July 26, 1864, but construction of the roof did not begin until 1865 when all 44 supporting sandstone piers designed by William H. Folsom were in place. Grow rapidly built the roof structure from the center out, but encountered difficulty engineering the semicircular ends of the roof. This difficulty dragged structural work on the roof into fall of 1866 even as other parts of the roof were being shingled. However, Grow finished and shingled the entire roof by the spring of 1867, before the interior of the building was finished. The Tabernacle was first used for the October 1867 conference. The roof has lasted for over a century without any structural problems, though the shingles were replaced with aluminum in 1947. The original benches and columns supporting the balcony were made from the native "white pine" (Engelmann Spruce) that the Mormon pioneers found in the area. Because they wanted to "give their best to the Lord", they hand painted grain on the benches to look like oak and the pillars to resemble marble. During the renovations completed in 2007, the original benches were replaced with new oak pews, and legroom was increased from nine to 14 inches, causing an overall loss of capacity of 1000 seats.  The Salt Lake Tabernacle organ has its case positioned at the west end above the choir seats, and is the focal point of the Tabernacle's interior. The original organ was made by Joseph H. Ridges in 1867 and contained 700 pipes. The organ has been rebuilt several times with the total pipe count being 11,623, making the Tabernacle organ one of the largest pipe organs in the world. The current organ is the work of G. Donald Harrison of the Aeolian-Skinner organ company, and was completed in 1948. The organ was renovated and restored in 1989 with a few minor changes and additions. The largest 32-foot display pipes in the façade are made of wood and were constructed in the same manner as the balcony columns.

Architecture.

The structure was an architectural wonder in its day, prompting a writer for "Scientific American" to comment on "the mechanical difficulties of attending the construction of so ponderous a roof." In 1882, while on a lecture tour of America, Oscar Wilde noted that the building had the appearance of a soup-kettle; he added that it was the most purely dreadful building he ever saw. Some visitors around the beginning of the 20th century criticized it as "a prodigious tortoise that has lost its way" or "the Church of the Holy Turtle," but Frank Lloyd Wright dubbed the tabernacle "one of the architectural masterpieces of the country and perhaps the world."

Purpose.

The Tabernacle was the location of the church's semi-annual general conference for 132 years. Because of the growth in the number of attendees, general conference was moved to the new and larger LDS Conference Center in 2000. In the October 1999 General Conference, church president Gordon B. Hinckley gave a talk honoring the Tabernacle and introducing the new Conference Center. The building is still used for overflow crowds during general conference.  The Tabernacle is the home of The Tabernacle Choir at Temple Square, and was the previous home of the Utah Symphony Orchestra until the construction of Abravanel Hall. It is the historic broadcasting home for the radio and television program known as "Music and the Spoken Word".

Acoustics.

Built at a time before electronics and audio amplifiers, the Tabernacle was constructed with remarkable acoustic qualities so the entire congregation could hear sermons given there. The roof was constructed in a three-dimensional ellipse with the pulpit at one focus of the ellipse. The elliptical concept came from church president Brigham Young, who reportedly said that the design was inspired by "the best sounding board in the world... the roof of my mouth." The elliptical design causes a large portion of the sound from the pulpit end of the building to be concentrated and projected to the focus at the opposite end of the building.  Several years after the initial construction was completed, Truman O. Angell was brought in to further improve the building's acoustics, and was responsible for adding the gallery (balcony) in 1870 that resolved the outstanding acoustical issues. The building has an international reputation as one of the most acoustically perfect buildings in the world; it is common for LDS missionary tour guides to demonstrate the acoustic properties of the Tabernacle by dropping a pin on the pulpit or tearing a newspaper there, which can be heard throughout the building.

Refurbishing.

The Tabernacle was closed from January 2005 to March 2007 for seismic retrofitting and extensive renovations. The baptistry, which was located in the lower portion at the rear of the Tabernacle, was removed as part of the renovation. New gold leafing was applied to the visible organ pipes, the ceiling was repaired and repainted, new dressing rooms and a music library for choir members were created, three recording studios built underneath the main floor, the rostrum was remodeled to accommodate a secondary seating arrangement or a stage for performances, and all plumbing was replaced. The building was reopened in March 2007, and rededicated for use on March 31, 2007. An opening gala concert with the Tabernacle Choir was held on April 6–7, 2007.  As part of the renovation, all 44 piers that support the Tabernacle's roof were reinforced with steel bars, which were inserted into the piers from the bottom. The foundation of each pier was also reinforced with concrete. Steel boxes were used to connect trusses, and were also attached to the piers, clinched tight with structural steel.

Notable speakers and guests.

Twelve presidents of the United States have spoken from the Tabernacle pulpit, including Theodore Roosevelt (1903), William Howard Taft (1909 and 1911), Woodrow Wilson (1919), Warren G. Harding (1923), Franklin D. Roosevelt (1932, then Governor of New York), Herbert Hoover (1932), Harry S. Truman (1948), Dwight D. Eisenhower (1952), John F. Kennedy (1963), Lyndon B. Johnson (1964), Richard Nixon (1970), and Jimmy Carter (1978).  Other notable people who have spoken in the Tabernacle include Susan B. Anthony (1895), Charles Lindbergh (1927), and Helen Keller (1941). Along with praising the decision to allow women equal voting rights in Utah Territory, Anthony praised the Tabernacle itself: "It is just about twenty-four years ago that I was present in this great Tabernacle on the day upon which you dedicated it to the service of the Lord, and every nook and corner, of this great building was packed on the occasion with people from every part of the Territory, many being unable to gain admittance. It was the most magnificent gathering I ever saw."  In 1980, James Stewart guest-conducted the Mormon Tabernacle Choir in the Tabernacle as part of the filming of Mr. Krueger's Christmas, a television special broadcast on NBC.

The Salt Lake Tabernacle, also known as the Mormon Tabernacle, is located on Temple Square in Salt Lake City, in the U.S. state of Utah. The Tabernacle was built from 1863 to 1875 to house meetings for The Church of Jesus Christ of Latter-day Saints (LDS Church), and was the location of the church's semi-annual general conference until the meeting was moved to the new and larger LDS Conference Center in 2000. Now a historic building on Temple Square, the Salt Lake Tabernacle is still used for overflow crowds during general conference.

Salt Lake Tabernacle (nebo také Mormon Tabernacle) je budova nacházející-se v západní části Temple Square v Salt Lake City. Stavba budovy probíhala v letech 1864-1867. Sídlí zde Mormonský chrámový sbor. Varhany zde mají 11 623 píšťal a 147 tónů.


History.

The party was created on 24 February 2012 by Panos Kammenos, a former Member of Parliament (MP) for the conservative party New Democracy (ND). Kammenos had been expelled from the New Democracy parliamentary group after voting against Lucas Papademos' coalition government in a vote of confidence. The party's founding declaration was issued on 11 March 2012. Ten former ND deputies were founding members of the party, namely Elena Kountoura, Christos Zois,,, Spyros Galinos,, Maria Kollia-Tsaroucha, Panagiotis Melas and  On 17 April 2012, the small left-wing anti-bailout party Panhellenic Citizen Chariot reached an election cooperation agreement with the Independent Greeks.  Prior to the May 2012 legislative election, the party had 11 MPs: 10 defectors from New Democracy and one from Panhellenic Socialist Movement (PASOK).  The party won 10.6% of the vote and 33 MPs in the parliamentary election in May 2012. In the snap June 2012 legislative election, ANEL received 7.5% of the vote, which reduced the party's representation to 20 MPs.  In the 2014 European Parliament election held on 25 May 2014, ANEL received 3.5% of the vote, electing a single MEP who sits with the European Conservatives and Reformists (ECR) group. The MEP, Notis Marias, left ANEL, however, and is now an independent member of the ECR group.  In the January 2015 legislative election held on 25 January 2015, ANEL received 4.75% of the vote and returned 13 MPs to the Hellenic Parliament. On 26 January 2015, ANEL agreed to form a governing coalition with the Coalition of the Radical Left.  The second election of the year, the September 2015 legislative election on 20 September 2015, returned ANEL to parliament with 10 seats from 3.69% of the vote. Syriza again agreed to form a coalition government with ANEL, with the returning cabinet sworn in on 21 September.  On 13 January 2019, Defence Minister Panos Kammenos and the Independent Greeks withdrew from Greece's ruling coalition over a deal struck on the Macedonia naming dispute, potentially leaving the governing coalition without a workable majority in parliament. However, the government was able to survive the confidence vote thanks to some ANEL dissidents.  On 9 June 2019, party leader Panos Kammenos announced ANEL would not participate in the 2019 parliamentary election.

Ideology.

The party has been described as conservative, national-conservative, right-wing populist, Greek nationalist, and Eurosceptic.  The party called for revoking the first and second memorandums, loan agreements between Greece, the EU and the International Monetary Fund. Further, it considers the agreements illegal and calls for lifting immunity from and then investigating and prosecuting Greek ministers, parliamentarians, and officials who negotiated the agreements or who otherwise bear blame for Greece's economic crisis.  In opposing the memorandums negotiated with 'The Troika', party leader Kammenos said Greece had become a "laboratory animal" in an austerity experiment conducted by the IMF and EU, who "used the public debt as a means of control." Kammenos has focused much of his fire on Germany, stating that "Germany is not treating Greece as a partner but as its master.... It tries to turn a Europe of independent states into a Europe dominated by Germany."  The party's official programme states it will repudiate part of Greece's debt because it was created by speculators in a conspiracy to bring Greece to the edge of bankruptcy. It announced in December 2012 that it would start working to create a patriotic Democratic Front, whose aim is to save "Greece from the neo-liberal avalanche."  The party also calls for German war reparations (for the invasion and occupation of Greece in the Second World War).  On social policy, Independent Greeks oppose multiculturalism and want to reduce immigration, and support development of a Christian Orthodox oriented education system.  According to "The Independent", the party has "a socially right-wing stance, supporting patriotism and the role of the Greek Orthodox Church in family life and education".

Members of Parliament.

As of 25 January 2019 the Independent Greeks have six MPs in the Hellenic Parliament:  On 19 November 2015 Nikolaos Nikolopoulos had been expelled from the Parliamentary Group of Independent Greeks.  On 16 June 2018 Dimitrios Kammenos was expelled from the party, because he voted to topple the government in a recent no confidence vote tabled by Official Opposition party New Democracy. On 26 June Georgios Lazaridis left his party’s parliamentary group and declared himself independent citing opposition to the Greece-Republic of Macedonia naming agreement signed on 17 June 2018, as the reason for leaving the party.  On 14 January 2019 Elena Kountoura and Vasilion Kokkalis were expelled from the party due to their continuing support for Tsipras government after Independent Greeks left it over the Prespa agreement dispute.  On 15 January 2019 Aristidis Fokas elected on the list of Union of Centrists joined Independent Greeks.

The Independent Greeks - National Patriotic Alliance (, "Anexartitoi Ellines", ANEL) is a national-conservative political party in Greece. The party was the junior coalition partner to the Coalition of the Radical Left (Syriza) in the first and second Tsipras governments, from January 2015 until the June 2019 parliamentary election, in which the party did not participate.

Nezávislí Řekové ( Ανεξάρτητοι Έλληνες - Anexartitoi Ellines, zkratka ANEL) je řecká pravicová národně konzervativní politická strana, která se v roce 2012 odštěpila od Nové demokracie. Současným předsedou strany je Panos Kammenos. V červnových volbách roku 2012 získala strana 20 poslaneckých mandátů. Ve volbách do Evropského parlamentu 2014 strana získala 3.46% a je zastoupena jedním poslancem ve skupině Evropských konzervativců a reformistů. V lednu 2015 získala strana 13 mandátů a byla oslovena vítězem voleb, stranou SYRIZA, s nabídkou sestavení koaliční vlády.


Reign.

Accession and family.

Nectanebo was an army general from Sebennytos, son of an important military officer named Djedhor and of a lady whose name is only partially recorded, [...]mu. A stele found at Hermopolis provides some evidence that he came to power by overthrowing, and possibly putting to death, the last pharaoh of the 29th Dynasty Nepherites II. It has been suggested that Nectanebo was assisted in the "coup" by the Athenian general Chabrias. Nectanebo carried out the coronation ceremony in c. 379/8 BCE in both Sais and Memphis, and shifted the capital from Mendes to Sebennytos.  The relationships between Nectanebo and the pharaohs of the previous dynasty are not entirely clear. He showed little regard for both Nepherites II and his father Achoris, calling the former inept and the latter an usurper. He seemed to have had a higher regard for Nepherites I, who was formerly believed to be Nectanebo's father or grandfather, although it is now believed that this view was due to a misinterpretation of the "Demotic Chronicle". However, it has been suggested that both Achoris and Nectanebo may have been Nepherites I's relatives in some way.  Nectanebo had two known sons: Teos, who was his appointed successor, and Tjahapimu.

Activities in Egypt.

Nectanebo was a great builder and restorer, to an extent not seen in Egypt for centuries. He ordered work on many of the temples across the country.  On the sacred island of Philae near Aswan, he began the temple of Isis, which would become one of the most important religious sites in ancient Egypt, by erecting its vestibule. Nectanebo also began the First Pylon in the Precinct of Amun-Re at Karnak, and it is believed that the earliest known "mammisi", which was found at Dendera, was built by him. The cult of sacred animals, which became prominent between the two Persian occupation periods (the 27th and 31st dynasties respectively), was supported by Nectanebo as evidenced by archaeological findings at Hermopolis, Hermopolis Parva, Saft el-Hinna and Mendes. Further works ordered by the pharaoh have been found in religious buildings at Memphis, Tanis and El Kab. Nectanebo was also generous towards the priesthood. A decree dated to his first year and discovered on a stele at Naucratis, required that 10 percent of taxes collected both from imports and from local production in this city were to be used for the temple of Neith at Sais. A twin of this stele was recently discovered in the now-submerged city of Heracleion. The aforementioned stele from Hermopolis, placed before a pylon of Ramesses II, lists the donations made by Nectanebo to the local deities, and other benefits were also granted to the priesthood of Horus at Edfu. Nectanebo's prodigality showed his devotion to the gods and at the same time financially supported the largest holders of wealth of the country and for expenditure on the defence of the country.

Invasion by Persia.

In 374/3 BCE Nectanebo had to face a Persian attempt to retake Egypt, which was still considered by the Achaemenid king Artaxerxes II nothing more than a rebel satrapy. After a six-year preparation and applying pressure on Athens to recall the Greek general Chabrias, Artaxerxes dispatched a great army led by the Athenian general Iphicrates and the Persian Pharnabazus. It has been recorded that the army was composed of over 200,000 troops including Persian soldiers and Greek mercenaries and around 500 ships. Fortifications on the Pelusiac branch of the Nile ordered by Nectanebo forced the enemy fleet to seek another way to sail up the Nile. Eventually the fleet managed to find its way up the less-defended Mendesian branch. At this point, the mutual distrust that had arisen between Iphicrates and Pharnabazus prevented the enemy from reaching Memphis. Then the annual Nile flood and the Egyptian defenders' resolve to defend their territory turned what had initially appeared as certain defeat for Nectanebo I and his troops into a complete victory.  From 368 BCE many western satrapies of the Achaemenid Empire started to rebel against Artaxerxes II, so Nectanebo provided financial support to the rebelling satraps and re-established ties with both Sparta and Athens.

Succession.

Nectanebo died during his 19th year as ruler. His tomb, sarcophagus and mummy have never been found. Towards the end of his reign (in Year 16 – 364/3 BCE), probably to remedy the dynastic problems that plagued his predecessors, Nectanebo restored the long-lost practice of the co-regency, associating his son Teos to the throne. However, shortly after Teos' accession, his brother Tjahapimu betrayed him and managed to put his own son Nakhthorheb (Nectanebo II) onto the Egyptian throne.

Kheperkare Nakhtnebef, better known by his hellenized name Nectanebo I, was an ancient Egyptian pharaoh, founder of the last native dynasty of Egypt, the XXXth.

Nachtnebef, známý též pod jménem Nektanebis (, "Nektanebó"), byl staroegyptský faraon pocházející z 30. dynastie, který vládl přibližně v letech 380–362 př. n. l.


Plot.

Four years before the events of "", the pregnant Bride and her groom rehearse their wedding. Bill, the Bride's former lover, the father of her child, and the leader of the Deadly Viper Assassination Squad, arrives unexpectedly and orders the Deadly Vipers to kill everyone at the wedding. Bill shoots the Bride in the head, but she survives and swears revenge.  In the present, the Bride has already assassinated Deadly Vipers O-Ren Ishii and Vernita Green. She goes to the trailer of Bill's brother and Deadly Viper Budd, planning to ambush him. Budd has been warned by Bill of her approach; he incapacitates her with a non-lethal shotgun blast of rock salt and sedates her. He calls Elle Driver, another former Deadly Viper, and arranges to sell the Bride's unique sword for $1 million. He seals the Bride inside a coffin and buries her alive.  Years earlier, Bill tells the young Bride of the legendary martial arts master Pai Mei and his Five Point Palm Exploding Heart Technique, a death blow that Mei refuses to teach his students; the technique that supposedly kills any opponent after they have taken five steps. Bill takes the Bride to Mei's temple for training. Mei ridicules her and makes her training a torment, but she gains his respect. In the present, the Bride uses Mei's board punching technique to break out of the coffin and claw her way to the surface.  Elle arrives at Budd's trailer and kills him with a black mamba hidden with the money for the sword. She calls Bill and tells him that the Bride has killed Budd and that she has killed the Bride, using the Bride's real name: Beatrix Kiddo. As Elle exits the trailer, Beatrix ambushes her and they fight. Elle, who was also taught by Mei, taunts Beatrix by revealing that she killed Mei by poisoning him in retribution for him plucking out her eye. An enraged Beatrix plucks out Elle's remaining eye and leaves her screaming in the trailer with the black mamba.  In Acuña, Mexico, Beatrix meets a retired pimp, Esteban Vihaio, who helps her find Bill. She tracks him to a hotel, and discovers that their daughter B.B. is still alive, now four years old, spending the evening with them. After she puts B.B. to bed, Bill shoots Beatrix with a dart containing truth serum and interrogates her. She recounts a mission in which she discovered she was pregnant and explains that she left the Deadly Vipers to give B.B. a better life. Bill explains that he assumed she had died and mourned her for three months; he ordered her assassination when he discovered she was alive and engaged to a "jerk" that he assumed was the father of her child. Beatrix disables Bill and strikes with Mei's Five Point Palm Exploding Heart Technique, which she had kept secret. Bill makes his peace with her, takes five steps and dies. Beatrix leaves with her daughter. The next morning we see Beatrix cry for she still loved Bill, but at the same time she laughs uncontrollably. It's a collateral effect of the truth serum, Bill's last gift for his beloved, so B.B. couldn't see her in tears. Understanding his gesture, Beatrix whispers "thank you" to the late Bill and starts a new life with her child.

Music.

As with Tarantino's previous films, "Kill Bill" features an eclectic soundtrack comprising many musical genres. On the two soundtracks, music ranges from country music to selections from the Spaghetti Western film scores of Ennio Morricone. Bernard Herrmann's theme from the film "Twisted Nerve" is whistled by the menacing Elle Driver in the hospital scene. A brief, 15-second excerpt from the opening of the "Ironside" theme music by Quincy Jones is used as the Bride's revenge motif, which flares up with a red-tinged flashback whenever she is in the company of her next target. Instrumental tracks from Japanese guitarist Tomoyasu Hotei figure prominently, and after the success of "Kill Bill" they were frequently used in American TV commercials and at sporting events. The end credits are driven by the rock and roll version of "Malagueña Salerosa", a traditional Mexican song, performed by "Chingon", Robert Rodriguez's band.

Release.

Theatrical release.

"Kill Bill: Volume 2" was released in theaters on, 2004. It was originally scheduled to be released on, 2004, but was rescheduled. "Variety" posited that the delay was to coincide its theatrical release with "Volume 1"s release on DVD. In the United States and Canada, "Volume 2" was released in and grossed on its opening weekend, ranking first at the box office and beating fellow opener "The Punisher". "Volume 2"s opening weekend gross was higher than "Volume 1"s, and the equivalent success confirmed the studio's financial decision to split the film into two theatrical releases.  "Volume 2" attracted more female theatergoers than "Volume 1", with 60% of the audience being male and 56% of the audience being men between the ages of 18 to 29 years old. "Volume 2"s opening weekend was the largest to date for Miramax Films aside from releases under its arm Dimension Films. The opening weekend was also the largest to date in the month of April for a film restricted in the United States to theatergoers 17 years old and up, besting "Life"s 1999 record. "Volume 2"s opening weekend was strengthened by the reception of "Volume 1" in the previous year among audiences and critics, abundant publicity related to the splitting into two volumes, and the DVD release of "Volume 1" in the week before "Volume 2"s theatrical release.  Outside of the United States and Canada, "Volume 2" was released in 20 territories over the weekend of, 2004. It grossed an estimated and ranked first at the international box office, ending an eight-week streak held by "The Passion of the Christ". "Volume 2" grossed a total of in the United States and Canada and in other territories for a worldwide total of.

Home release.

In the United States, "Volume 2" was released on DVD and VHS on August 10, 2004.  In a December 2005 interview, Tarantino addressed the lack of a special edition DVD for "Kill Bill" by stating "I've been holding off because I've been working on it for so long that I just wanted a year off from "Kill Bill" and then I'll do the big supplementary DVD package."  The United States does not have a DVD boxed set of "Kill Bill", though box sets of the two separate volumes are available in other countries, such as France, Japan and the United Kingdom. Upon the DVD release of "Volume 2" in the US, however, Best Buy did offer an exclusive box set slipcase to house the two individual releases together.  Both "Volume 1" and "Volume 2", were released in High Definition on Blu-ray on September 9, 2008 in the United States.

"The Whole Bloody Affair".

At the 2008 Provincetown International Film Festival, Tarantino announced that the original cut of "Kill Bill", incorporating both films and an extended animation sequence, would be released in May 2009 as Kill Bill: The Whole Bloody Affair. Screenings began on March 27, 2011 at the New Beverly Cinema.

Reception.

On review aggregator Rotten Tomatoes, "Kill Bill: Volume 2" received a score of 84% based on reviews from 238 critics, and an average rating of 7.8/10. The website's critical consensus states, ""Kill Bill: Volume 2" adds extra plot and dialogue to the action-heavy exploits of its predecessor, while still managing to deliver a suitably hard-hitting sequel." At Metacritic, which assigns a weighted average score to reviews from mainstream critics, the film received an average score of 83 out of 100 based on 41 reviews, indicating "universal acclaim".  Roger Ebert gave the film 4 stars out of 4, writing: "Put the two parts together, and Tarantino has made a masterful saga that celebrates the martial arts genre while kidding it, loving it, and transcending it.... This is all one film, and now that we see it whole, it's greater than its two parts." In 2009, he named "Kill Bill" one of the 20 best films of the decade.

Accolades.

Uma Thurman received a Golden Globe Best Actress in a Motion Picture - Drama nomination in 2005 for her role. David Carradine also received a Best Supporting Actor nomination in the same year. "Kill Bill: Volume 2" was placed in "Empire" Magazine's list of the "500 Greatest Films of All Time" at number 423 and the Bride was also ranked number 66 in "Empire" magazine's "100 Greatest Movie Characters".

Possible sequels.

In April 2004, Tarantino told "Entertainment Weekly" that he was planning a sequel:  At the 2006 San Diego Comic-Con International, Tarantino stated that, after the completion of "Grindhouse", he wanted to make two anime "Kill Bill" films: an origin story about Bill and his mentors, and another origin starring the Bride. Details emerged around 2007 about two possible sequels, "Kill Bill: Volume 3" and "Volume 4". According to the article, "the third film involves the revenge of two killers whose arms and eye were hacked by Uma Thurman in the first stories." The article adds that the "fourth installment of the popular kung fu action films concerns a cycle of reprisals and daughters who avenge their mother's deaths".  At the 2009 Morelia International Film Festival, Tarantino stated that he intended to make a third "Kill Bill" film. The same month, he stated that "Kill Bill 3" would be his ninth film, and would be released in 2014. He said he wanted 10 years to pass after the Bride's last conflict, to give her and her daughter a period of peace.  In December 2012, Tarantino said there would "probably not" be a third film." However, in July 2019, Tarantino said that he and Thurman had talked again about a possible sequel, and added: If any of my movies were going to spring from my other movies, it would be a third "Kill Bill"." In December, Tarantino said he had spoken to Thurman about an "interesting" idea for a new film: "It would be at least three years from now. It is definitely in the cards".

Kill Bill: Volume 2 is a 2004 American martial arts film written and directed by Quentin Tarantino. It stars Uma Thurman as the Bride, who continues her campaign of revenge against the Deadly Viper Assassination Squad (Lucy Liu, Michael Madsen, Daryl Hannah, and Vivica A. Fox) and their leader Bill (David Carradine), who tried to kill her and her unborn child.

Kill Bill 2 (v anglickém originále Kill Bill Vol. 2) je film scenáristy a režiséra Quentina Tarantina, který navazuje na předchozí snímek "Kill Bill" a je tak součástí stejnojmenné série. Film je rozdělen do pěti kapitol s tím, že kapitoly nejsou řazeny chronologicky.


History.

The Compose Character key was introduced by engineers at Digital Equipment Corporation (DEC) on the LK201 keyboard, available since 1983 with the VT220 terminal. The keyboard included an LED indicating that a Compose sequence is on-going. While the LK201 introduced the group of command keys between the alphanumerical block and the numerical keypad, and the "inverted T" arrangement of arrow keys, which have become standard, the compose key by contrast did not become a standard.  In 1987, Sun Microsystems released the Sun4, the first dedicated Unix workstation that had a compose key. On the keyboards of Sun Type 5 and 6 workstations, the Compose LED is placed in the keycap (see picture below).  ISO/IEC 9995-7 designed a graphical symbol for this key, in ISO/IEC 9995-7 as symbol 15 "Compose Character", and in ISO 7000 "Graphical symbols for use on equipment" as symbol ISO-7000-2021. This symbol is encoded in Unicode as.  Because Microsoft Windows and macOS do not support a compose key by default, the key does not exist on most keyboards designed for modern PC hardware. When software supports compose key behaviour, some other key is used. Common examples are the right-hand Windows key, the key, or one of the keys. There is no LED or other indicator that a compose sequence is ongoing.

Compose sequences.

If the Compose key is not also a modifier, then key rollover means the compose key does not really have to be released before the subsequent keystrokes. This makes it possible for experienced typists to enter composed characters rapidly.  Earlier versions of compose sequences followed handwriting and the overstrike technique by putting the letter first and diacritics second. For example produced the character ñ. This order is still in use, however the inverse order known from accent-mark dead keys present on the last typewriters is used today: for ñ. This allows multiple diacritics, for instance typing for ấ.  Non-accented characters are generally constructed from letters that when overtyped or sequenced would produce something like the character. For instance will produce the copyright symbol ©, and will produce Æ.  There is no intrinsic limit on sequence length, which should respect both the rules of "mnemonics" and "ergonomics", and "feasibility" within a comprehensive compose tree. For example, might be inserted by, where indicates circled characters, indicates inverse, indicates sans-serif, and indicates the final character.

Compared to other input methods.

The primary advantage of a compose key is that the entire sequence used to select the character is made up of any letters and numbers and symbols available on the keyboard. This allows the sequence to be more mnemonic, so it is easier to remember, possible to guess at if unknown, and can support far greater numbers of characters.  For instance if a dead key system where all the dead keys are marked with diacritics might require for ß, the compose key requires typing, matching the common substitution with "SS" for the character. Another example is 2⁄3 which is entered by, whereas a single dead key solution turns out to be something like (as would be used for 1⁄3).  Modifier keys (such as used on OS/X) are even more limited as typically only one key from the keyboard is used to select the character.  Alt codes or Unicode numerical input could almost be considered a compose key, but with unintuitive numbers, instead of mnemonics, as the selector.  Modern GUI character choosers often require a search function that is not much different than the compose sequences to locate a character quickly.  The primary disadvantage is that compose sequences always require at least one more keystroke. Inconvenient placement of the compose key can also slow typing.

Software support.

X Window System.

X header files call the Compose Key the "Multi_key". On Xorg the default Compose Key is +, (while pressing "before" is the "fourth keyboard level modifier", a different key). As this is rather inconvenient (especially for keyboards without an ) it is common to select a keyboard layout where another key such as the right-hand or is mapped to the compose key, this option is normally available in the settings of the desktop environment. The X keyboard driver does not allow the key used for Compose to also function as a modifier. On modern systems a vast number of compose sequences are supported.

Windows.

On Microsoft Windows a few programs such as PuTTY provide compose-key support. To emulate the compose key for all software, keyboard shortcut utilities are often involved. There are also a number of open-source utilities (such as WinCompose, AllChars, Compose-Keys, or Compose). Installable keyboard layouts (such as KbdEdit) are available that contain a compose key assigned to one of the keys like or. They work by using the dead-key chaining feature that is more commonly used to input letters with multiple diacritics. Such keyboard layouts can also be programmed directly in C (the language Windows drivers are written in), compiled using the free-of-charge Windows Driver Kit, and packaged using the free-of-charge Microsoft Keyboard Layout Creator 1.4, compatible up to the latest versions of the OS.

macOS.

Although the Cocoa text input system allows entry of many alternate and accented characters natively in macOS, a true compose-key solution isn't built in. At least one has been implemented using the Karabiner utility. That works with all applications, as does the use of keyboard drivers where Compose is implemented using the dead key chaining feature.

Chrome OS.

Although Chrome OS is supplied with a larger repertoire of glyphs than most competitors, the chords needed to achieve them are not always as obvious as the Compose concept provides. Google has made available an add-on (ComposeKey) to compete in this market.

DOS.

Under DOS, compose key support depended on the running application. For example, Lotus 1-2-3 used as compose key to allow easier input of many special characters of the Lotus International Character Set (LICS) and Lotus Multi-Byte Character Set (LMBCS).

Common compose combinations.

The table shown below shows some of the default compositions for the X.Org server. For modern systems which support Unicode, the table below is far from complete.

A compose key (sometimes called multi key) is a key on a computer keyboard that indicates that the following (usually 2 or more) keystrokes trigger the insertion of an alternate character, typically a precomposed character or a symbol.

Compose je klávesa přítomná na některých počítačových klávesnicích. Její použití říká operačnímu systému, že následujících několik kláves má zkusit interpretovat jako jednu z předdefinovaných posloupností, které slouží k napsání znaku, který přímo z klávesnice zapsat nelze. Například zmáčknutí Compose a potom "o" a "c" dává jako výstup znak ©, zatímco zmáčknutí "~" a "n" dává jako výstup ñ.