Experimental workflow.

The workflow of a functional cloning experiment varies depending on the source of genetic material, the extent of prior knowledge of the protein or gene of interest and the ability to screen for the protein function. In general, a functional cloning experiment consists of four steps: 1) sample collection, 2) library preparation, 3) screening or selection and 4) sequencing.

Sample collection.

Genetic material is collected from a particular cell type, organism or environmental sample relevant to the biological question. In functional cloning, mRNA is commonly isolated and cDNA is prepared from the isolated mRNA (RNA extraction). In certain circumstances genomic DNA may be isolated, particularly when environmental samples are used as the source of genetic material.

Library preparation.

If the starting material is genomic DNA, the DNA is sheared to produce fragments of appropriate length for the vector of choice. The DNA fragments or cDNA are then treated with restriction endonucleases and ligated to a plasmid or chromosomal vectors. In the case of assays that screen for the protein or for its function, an expression vector is used to ensure that the gene product is expressed. The vector choice will depend on the origin of the DNA or cDNA to ensure proper expression and to ensure that the encoded gene will fall within the limits of the vector’s insert size.  The choice of host is important to ensure that the codon usage will be similar to the donor organism. The host will also need to guarantee that the proper post-translational modifications and protein folding will occur to enable proper functioning of the expressed proteins.

Screening or selection.

The method of screening the prepared genomic or cDNA libraries for the gene of interest is highly variable depending on the experimental design and biological question. One method of screening is to probe colonies via Southern blotting with degenerate oligonucleotides prepared from the amino acid sequence of the query protein. In expression libraries, the protein of interest can be identified by screening with an antibody specific for the query protein via Western blotting to identify colonies carrying the gene of interest. In other circumstances, a specific assay can be used to screen or select for the protein’s activity. For example, genes conferring antibiotic resistance can be selected by growing the colonies of the library on media containing a specified antibiotic. Another example is screening for enzymatic activity by incubating with a substrate that is catalyzed to a colorimetric compound that can easily be visualized.

Sequencing.

The final step of functional cloning is to sequence the DNA or cDNA from the clones that were successfully identified in the screen or selection step. The sequence can then be annotated and used for downstream applications, such as protein expression and purification for industrial applications.

Advantages.

The advantages of functional cloning include the ability to screen for novel genes with desired applications in organisms that cannot be cultured, particularly from bacterial or viral specimens. Additionally, genes encoding proteins with related functions can be identified when there is low sequence similarity due to the ability to screen for the protein function alone. Functional cloning allows for gene identification without prior knowledge of the organism’s genome sequence or position of the gene within the genome.

Limitations.

As with other cloning techniques, vector and host choice affect the success of gene identification via functional cloning due to cloning bias. The vector must have an insert size that will accommodate the entire DNA sequence of the expressed protein. Additionally, in expression vectors the promoters and terminators must function within the chosen host organism. The host choice may affect transcription and translation due to differing codon usage, transcriptional and translational machinery or post-translational modifications within the host.  Other limitations include the labour-intensive library preparation and potential screens which can be both expensive and time-consuming.

Alternative approaches.

Positional cloning.

Positional cloning is another molecular cloning technique for identification of a gene of interest. This method uses exact chromosomal location instead of function to guide gene identification. Because of this, this method focuses on all the genetic material at a chromosomal locus and makes no assumptions about function. In model organisms such as mice or yeast, this method is used more frequently as the information about the position of a gene of interest can be obtained from the sequenced genome. However, this method becomes much more cumbersome when sequence information is not available. In this case, linkage analysis can also be used. Functional cloning on the other hand is more readily used in organisms such as bacterial pathogens that are viable but nonculturable and where sequence data is not available but gene homology or protein function is still of interest.  A way to differentiate between functional and positional cloning is to visualize genes as words. Functional cloning is like using a thesaurus to look up words and selecting for new words that have the same meanings (or functions). Positional cloning is more like picking a specific page of a dictionary and then browsing only that page for any words of interest.

Computationally determine homology.

With the advent of sequencing technology becoming cheaper and cheaper, it is now more feasible to sequence an unknown genome and then computationally determine homology instead of screening. This brings the added benefit of being able to screen for multiple genes of interest at the same time and reduces experimental time. It also allows one to avoid labour-intensive cloning procedures as well. However, if this route is taken, there are other biases and hurdles one must consider. By using sequenced data, one is able to screen based on homology alone. A function-based approach thus allows for discovery of novel enzymes whose functions would not have been predicted based on DNA sequence alone. Therefore, while sequencing is less labour-intensive experimentally, it can also lead to missed genes of interest due to differing sequence homology in genes of related function.

Gibson assembly.

Gibson assembly is a quick cloning method that uses three primary enzymes; 5' exonuclease, polymerase and ligase. The exonuclease digests the 5' end of DNA fragments leaving a 3' overhang. If there is significant homology (20-40 bp) on each end of the DNA insert, it can anneal with a complementary backbone. Afterwards the polymerase can fill in the gaps while ligase fuses the nicks at the end. This method greatly increases the rate of cloning and success rate of cloning into a vector backbone. However, it requires the DNA fragment to have significant homology with the plasmid. For this reason, knowledge of the sequence being cloned must be known beforehand. This is not a requirement with functional cloning.

TOPO cloning.

TOPO Cloning is a cloning method that uses Taq polymerase. This is because Taq leaves a single adenosine overhang on the 3’ end of PCR reaction products. Utilizing this knowledge, backbones with a 5’ thymine overhang can be used for cloning purposes. In this case knowledge of the fragment being cloned must be known to be able to make PCR primers for it and the number of TOPO Cloning compatible vectors is relatively small. However, it provides the advantage that reactions only take about 5 minutes to do.

Gateway recombination cloning.

Gateway recombination cloning is a cloning method in which a DNA fragment is moved from one plasmid backbone to another via a single homologous recombination event. However, for this method to work, the DNA fragment of interest must be flanked by recombination sites. While this method isn't strictly an alternative, it does allow the movement of DNA fragments from one plasmid to another quicker than creating a whole new genomic library. The reason this method may be used in conjunction with functional cloning is to put a library under a different promoter or on a backbone with a different selection marker. This can come in handy if an individual wants to try functional cloning in a wide range of bacteria to try to combat the issue with codon bias.

Applications.

Determining homology in the environment.

Metagenomics is one of the largest fields that commonly uses functional cloning. Metagenomics studies all the genetic material from a specific environmental sample, such as the gut microbiome or lake water. Functional libraries are created that contain DNA fragments from the environment. As the original bacterium that a DNA sequence originated from cannot be easily detected, creating metagenomic functional libraries possesses advantages. Less than 1% of all bacteria are easily cultured in the lab, leaving a large percentage of bacteria that cannot be grown. By using functional libraries, the gene functions of unculturable bacteria can still be studied. Furthermore, these uncultured microbes provide a source for the discovery of novel enzymes with biotechnological applications. Some novel proteins that have been discovered from marine environments include enzymes such as proteases, amylases, lipases, chitinases, deoxyribonucleases and phosphatases.

Determining homology in a known species.

There are situations in which it is imperative to determine if a gene homolog from one source is present in another organism. For example, identification of novel DNA polymerases for polymerase chain reaction (PCR) reactions which synthesize DNA molecules from deoxyribonucleotides. While human polymerase optimally works at 37 °C (98.6 °F), DNA does not denature until 94–98 °C (201–208 °F). This poses a problem as at these temperatures the human DNA polymerase would denature during the denaturation step of the PCR reaction resulting in a non-functioning polymerase protein and a failed PCR. To combat this a DNA polymerase from a thermophile, or bacteria that grows at high temperatures, could be used. An example is Taq polymerase which comes from the thermophilic bacterium "Thermus aquaticus". One could set up a functional cloning screen to find homologous polymerases that have the added advantage of being thermostable at high temperatures.  With this in mind, 3173 Polymerase, another polymerase enzyme, now commonly used in RT-PCR reactions was discovered using the above theory. In RT-PCR reactions, two separate enzymes are commonly used. The first is a retroviral reverse transcriptase to convert RNA to cDNA. The second is a thermostable DNA polymerase to amplify the target sequence. 3173 Polymerase is able to perform both enzymatic functions resulting in a better option for RT-PCR. The enzyme was discovered using functional cloning from a viral host originally found in Octopus hot springs (93 °C) in Yellowstone National Park.

Human health applications.

One of the ongoing challenges of treating bacterial infections is antibiotic resistance which commonly arises when patients do not take their full treatment of medication and hence allow bacteria to develop resistance to antibiotics over time. To understand how to combat antibiotic resistance it is important to understand how the bacterial genome is evolving and changing in healthy individuals with no recent usage of antibiotics to provide a baseline. Using a functional cloning-based technique, DNA isolated from human microflora were cloned into expression vectors in "Escherichia coli". Afterwards, antibiotics were applied as a screen. If a plasmid contained a gene insert that provided antibiotic resistance the cell survived and was selected on the plate. If the insert provided no resistance, the cell died and did not form a colony. Based on selection of cell colonies that survived, a better picture of genetic factors contributing to antibiotic resistance were pieced together. Most of the resistance genes that were identified were previously unknown. By using a functional cloning-based technique one is able to elucidate genes giving rise to antibiotic resistance to better understand treatment for bacterial infections.

Functional cloning is a molecular cloning technique that relies on prior knowledge of the encoded protein’s sequence or function for gene identification. In this assay, a genomic or cDNA library is screened to identify the genetic sequence of a protein of interest. Expression cDNA libraries may be screened with antibodies specific for the protein of interest or may rely on selection via the protein function. Historically, the amino acid sequence of a protein was used to prepare degenerate oligonucleotides which were then probed against the library to identify the gene encoding the protein of interest. Once candidate clones carrying the gene of interest are identified, they are sequenced and their identity is confirmed. This method of cloning allows researchers to screen entire genomes without prior knowledge of the location of the gene or the genetic sequence.

Die Funktionelle Klonierung umfasst Methoden zur Identifikation unbekannter Varianten eines bekannten Gens, z. B. aus anderen Arten oder verschiedene Isoformen oder homologe Gene innerhalb eines Organismus. Im Gegensatz zur positionellen Klonierung basiert die funktionelle Klonierung auf der Suche nach einem Gen ähnlicher DNA-Sequenz und daher vermutlich ähnlicher Funktion.


Delivery.

"Azura" is a ship, with a modified design which distinguishes her from early ships of the same class. Construction of "Azura" began in 2008 when her keel was officially laid on 27 October 2008. A ceremonial float out took place on Friday 26 June 2009, with Amanda Dowds, wife of the ship's captain, acting as her godmother. The formal handover took place on 26 March 2010.

Maiden voyage.

"Azura"s maiden voyage began on 31 March 2010, when she departed from the Fincantieri shipyard en route to Southampton. She arrived in the UK on 7 April 2010. "Azura" first cruise with passengers began on 12 April 2010.

Naming.

"Azura" was formally named on 10 April 2010, by godmother Darcey Bussell. As well as performing the traditional bottle breaking ceremony, as a former principal dancer of the Royal Ballet, Bussell presented a dance performance by Royal Ballet School as part of the celebrations. "Azura" was originally registered in her homeport of Southampton, UK, but in November 2011 she was re-registered to Hamilton, Bermuda to enable wedding ceremonies to be conducted on board.

Facilities.

The ship's facilities include a dance floor in the atrium, a show lounge and an interpretation of a London pub. An open-air cinema screen is situated in front of the funnel.  In total, the ship has eleven restaurants and eating areas, twelve bars and places to drink, four pools, a gym, two spas, outdoor cinema, a theatre and two show lounges.

Design and refits.

"Azura" is the only "Grand"-class ship to feature a "Duck Tail" stern.  She completed a minor refit in April 2015 at Blohm and Voss's shipyard in Hamburg. This included painting P&O's large Union flag design on to the bow, repainting the funnel in blue with P&O's "sunburst" logo plus other minor interior updates.

MS "Azura" is a cruise ship operated by P&O Cruises and owned by Carnival plc. The ship was built by Fincantieri at their shipyard in Monfalcone, Italy. She officially entered service with the company in April 2010 and was named by Darcey Bussell.

Die Azura ist ein Kreuzfahrtschiff der britisch-amerikanischen Carnival Corporation & plc. Sie ist das zweitgrößte Schiff der unter der Kreuzfahrtmarke P&O Cruises betriebenen Flotte. Heimathafen des Schiffes ist Hamilton.


Plot.

Adam Cassidy is a low-level inventor who works for a corporation run by Nicholas Wyatt. After being fired for insubordination, Adam uses the company's credit card to pay for bottle service for his friends at a club. Wyatt and his enforcer, Miles Meechum, blackmail Adam into becoming a corporate spy for Wyatt by threatening to have him arrested for fraud.  Adam is trained by Judith Bolton and infiltrates a company run by Wyatt's former mentor, Jock Goddard. He provides Goddard, who stole several of Wyatt's ideas, with an advanced software able to hack into cellphones, with potential military applications. FBI Agent Gamble interrogates Adam, revealing that three other employees of Wyatt who transferred to Goddard's company were found dead, but Adam ignores him.  Adam finds out Emma Jennings, a woman he met during the party, is the Director of Marketing of Goddard's company. He initiates a relationship with Emma in order to steal files about Goddard's upcoming projects. Wyatt threatens to kill Adam's father, Frank Cassidy, if Adam doesn't steal a revolutionary prototype cellphone, called Occura developed by Goddard. Adam later finds out Meechum and Bolton are monitoring him, so he destroys the cameras in his apartment. In retaliation, Meechum runs over Adam's friend, Kevin, with a car, almost killing him. Adam is given 48 hours to steal the prototype.  Adam uses Emma's thumbprint lifted from a spoon to gain security access to the company's vault. He is confronted there by Goddard, who intends to take over Wyatt's company with evidence that Adam was acting as Wyatt's spy. Emma finds out Adam used her. Adam recruits Kevin to help him. A meeting is set with Wyatt and Goddard, where it is revealed that Bolton has spied against Wyatt on Goddard's behalf. Both men speak of the crimes they have committed to sabotage each other's companies.  Adam has secretly used software to transmit their conversation to Kevin, whose computer recordings are turned over to the FBI. Goddard, Wyatt, Bolton and Meechum are arrested by Gamble, while Adam is released for contributing to the FBI's investigation. He opens a small startup company in Brooklyn with Kevin and their friends, and reconciles with Emma, thanking her with a passionate kiss.

Production.

Principal photography commenced on location in Philadelphia in July 2012, and returned for further filming at the end of November 2012. The first trailer was released on June 6, 2013.

Release.

Relativity Media released "Paranoia" August 16, 2013, and it was a box office bomb. The film debuted at #13 in the United States, generating only $3.5 million in its first weekend and going on to gross a total of $7.4 million in the US. It made $8.9 million in other countries for a worldwide total of $16.3 million. "Variety" magazine listed "Paranoia" as one of "Hollywood's biggest box office bombs of 2013".

Reception.

Rotten Tomatoes, a review aggregator, reports that 7% of 105 critics have given "Paranoia" a positive review; the average rating is 3.8/10. Their consensus is: "Clichéd and unoriginal, "Paranoia" is a middling techno-thriller with indifferent performances and a shortage of thrills." Stephen Holden of "The New York Times" wrote, "Not since Taylor Lautner has Hollywood ogled a pretty boy this vacant and poorly prepared." Andrew Barker of "Variety" wrote, "No one seems paranoid enough in this indifferently made, nearly tension-free thriller." Stephen Farber of "The Hollywood Reporter" called it "slick but muddled".

Paranoia is a 2013 American thriller film directed by Robert Luketic. Barry L. Levy and Jason Hall wrote the screenplay, loosely based on the 2004 novel of the same name by Joseph Finder. It stars Liam Hemsworth, Gary Oldman, Amber Heard, and Harrison Ford. The film was released on August 16, 2013 and bombed at the box office, grossing $16 million against a budget of $35 million. It was described as "clichéd and unoriginal" by review aggregator Rotten Tomatoes, where it has a 7% approval rating.

Paranoia – Riskantes Spiel (Originaltitel: "Paranoia") ist ein Thriller aus dem Jahr 2013 von Regisseur Robert Luketic mit Liam Hemsworth, Gary Oldman, Amber Heard und Harrison Ford in den Hauptrollen. Er basiert auf dem in Deutschland unter dem Titel "Goldjunge" erschienenen Roman von Joseph Finder.


Today's master craftsman in different countries.

Germany.

In Germany, the master craftsman (Meister) is the highest professional qualification in crafts and is a state-approved grade. The certification is called Meisterbrief. The qualification includes theoretical and practical training in the craft as well as business and legal training. Additionally, it implies the qualification to train apprentices. These qualifications prepare the "Meister" for running their own business or alternatively for higher positions at a company. The status of master craftsmen is regulated in the German "Gesetz zur Ordnung des Handwerks" (Crafts and Trades Regulation Code).  While privileged guilds have been abolished in Germany, the ranks of apprentice ("Lehrling"), journeyman ("Geselle") and master craftsman have been retained even through modern times. For security-relevant crafts, e.g., electricians and chimney sweeps, any business in the trade has to be run by a master craftsman or has to employ at least one "Meister".  Journeymen and master craftsmen are by law automatically members of their regional chamber of crafts ("Handwerkskammer"), which is a self-governing public body. The chamber organizes vocational training and oversees the examination of the journeymen and masters.  To become a master craftsman, it is usually required to have completed vocational training in the craft in which the examination should be taken, which finishes with a final examination called "Gesellenprüfung" (journeyman's examination). If these requirements are fulfilled, the candidate can take courses for the "Meisterprüfung" (master craftman's examination). The duration of the courses takes 4 to 6 years depending on the craft. The examination includes theoretical, practical and oral parts and takes 5 to 7 days (depending on the craft). In some crafts, the creation of a masterpiece is also part of the examination.  The German "Meister" qualifies the holder to study for a bachelor's degree at university, whether the "Meister" holds a regular university entrance qualification or not. According to the German Qualifications Framework, the "Meisterbrief" is at the same level as a bachelor's degree, even though it is not an academic degree and thus not directly comparable.

United Kingdom.

This tradition originates in Medieval Europe. The earliest guilds were "frith" or "peace" guilds - groups bonded together for mutual protection following the breakdown of the kins, which were groups related by blood ties.  Merchant guilds – associations of international trades – were powerful in the twelfth and thirteenth centuries, but lost their ascendancy with the rise of the craft guilds – associations of master craftsmen, journeymen, apprentices and the various trades connected with a particular craft.  The College of Arms in London awarded a coat of arms of The Guild of Master Craftsmen in 1992, after four years of assessment. Designed by heraldic expert Peter Greenhill to reflect the many categories of guild membership, it features: three escutcheons (shields) to represent artists, painters and stainers; a pair of compasses opened in chevron for building, construction and carpenters; a dovetail (separating the top third of the shield from the rest) to represent cabinetmaking, woodworking and joinery; and a gavel and chisel for masons and stoneworkers. The southern keep of Lewes Castle, which overlooks the guild’s headquarters, is featured above the helmet as the crest.

United States.

While for the most part guilds as such do not exist, many trades continue the apprentice-journeyman-master model: carpenters, electricians, pipefitters and plumbers are notable examples.

A master craftsman or master tradesman (sometimes called only master or grandmaster) was a member of a guild. In the European guild system, only masters and journeymen were allowed to be members of the guild. An aspiring master would have to pass through the career chain from apprentice to journeyman before he could be elected to become a master craftsman. He would then have to produce a sum of money and a masterpiece before he could actually join the guild. If the masterpiece was not accepted by the masters, he was not allowed to join the guild, possibly remaining a journeyman for the rest of his life.

Der Handwerksmeister ist der höchste klassische Berufsabschluss im Handwerk einschließlich des Kunsthandwerks und verfügt über eine jahrhundertelange Tradition. Handwerksmeister sind zur selbständigen Führung eines Handwerksbetriebs und zur Ausbildung von Lehrlingen berechtigt.


Career.

Kilty has written a number of notable plays including:

"Dear Liar".

"Dear Liar", full title "Dear Liar: A Comedy of Letters" is a play by Kilty that had a successful run in New York, which was based on the correspondence of famed playwright George Bernard Shaw and actress Mrs. Patrick Campbell. In the play, two actors duel with each other as they act on the letters exchanged between Shaw and Mrs. Campbell.  It was staged in Chicago in 1957. The New York shows launched on March 17, 1960 with Katherine Cornell and Brian Aherne. It was staged in London for the first time in 1963. After London showings, in 1964 Kilty and his wife, actress Cavada Humphrey made a world tour.  The play was brought to the screen in 1981 by the director Gordon Rigsby with the lead roles by Jane Alexander as Mrs. Patrick Campbell and Edward Herrmann as George Bernard Shaw.  An adaptation in French was written by Jean Cocteau under the title "Cher menteur" (Dear Liar). The film directed by Alexandre Tarta had in lead roles Edwige Feuillère as Mrs. Patrick Campbell and Jean Marais as George Bernard Shaw.

Other plays.

His other notable plays include:  In the early days of American television, Kilty acted in a number of programs, including "The United States Steel Hour", "Kraft Television Theatre", "The Alcoa Hour", "Studio One", and "Hallmark Hall of Fame".

Tours.

Kilty and Humphrey toured the world performing "Dear Liar: A Comedy of Letters", beginning in 1964. They were also the first duo to internationally tour in the play "Who's Afraid of Virginia Woolf?".  Controversy in South Africa  "Who's Afraid of Virginia Woolf?" was also performed in South Africa. At the insistence of playwright Edward Albee, "Virginia Woolf" was to be presented only before integrated audiences. The play opened in Port Elizabeth and then moved to Durban, receiving strong reviews (favorable and unfavorable) in both cities, with a more negative response in Durban, where one critic called it "dirt-laden debris". In the less provincial, more cosmopolitan Johannesburg, the press was more encouraging. But people who may or may not have seen the show expressed their outrage in letters to the government. In response, Jan de Klerk, South Africa's then Minister of the Interior ordered that performances be suspended in Johannesburg while waiting for a report from the official Board of Censors to ensure that the play was "not contrary to public interest or good morals", in effect banning the play.

Personal life.

He was born in Baltimore, Maryland of Irish descent on his father's side, but raised on the Pala Indian Reservation, San Diego County, California. On May 11, 1956, he wed actress Cavada Humphrey (June 17, 1919 – July 11, 2007), who was three years his senior. Humphrey died in 2007, at the age of 88. Kilty died on September 6, 2012

Jerome Timothy Kilty (June 24, 1922 in Baltimore, Maryland – September 6, 2012) was an American actor and playwright. He wrote "Dear Liar: A Comedy of Letters" and He worked extensively on the stage, both in the United States and abroad.

Jerome Kilty (* 24. Juni 1922 in Baltimore, Maryland; † 6. September 2012 in Norwalk, Connecticut) war ein amerikanischer Schauspieler und Autor, der besonders durch seine Dramatisierungen von Briefwechseln bekannt wurde. Sein bekanntestes Werk war "Dear Liar," die Adaptierung der 40-jährigen Korrespondenz zwischen George Bernard Shaw und Mrs. Patrick Campbell, einer Londoner Schauspielerin.


Operations.

The San Luis Obispo-San Diego trip takes approximately 81⁄2 hours with an average speed of ; maximum track speed is. Much of the "Pacific Surfliner's" scenic route follows the Pacific coast, with the tracks being less than 100 feet from the ocean in some locations. However, trains travel inland through expansive farmlands in Ventura County and industrial backlots in the Los Angeles Basin, San Fernando Valley, and parts of Orange County.  The "Pacific Surfliner" operates thirteen daily round trips between Los Angeles and San Diego. Five round trips run north of Los Angeles: two to San Luis Obispo, and three to Goleta with Thruway Motorcoach connections to San Luis Obispo. Thruway Motorcoach connections are also available to San Pedro; to Palm Springs and Indio; and to San Jose or Oakland (with connections to "Capitol Corridor" trains) via Paso Robles.  Because the San Luis Obispo and Goleta stations are not designed to turn equipment, and the San Diego Santa Fe Depot requires a time-consuming deadhead movement into a wye located about 16 miles to the north in Miramar, trains are operated in push-pull mode. The locomotive is at the rear of the train, pushing the train from Goleta, San Luis Obispo or San Diego to Los Angeles. At Los Angeles, the train reverses at the station, and the locomotive pulls the train to San Diego or Goleta/San Luis Obispo, respectively. Run-through tracks are proposed at Union Station in Los Angeles to ease congestion and reduce time spent waiting to enter or depart the station.  Stops at Orange and Laguna Niguel/Mission Viejo were added in 2007 but dropped in 2012. On October 7, 2013, stops were added at Coaster stations at Carlsbad Village, Carlsbad Poinsettia, Encinitas and Sorrento Valley. The Carlsbad Poinsettia and Encinitas stops were dropped on October 9, 2017 due to low ridership. The Carlsbad Village and Sorrento Valley stops were dropped on October 8, 2018 due to changes with the cross-ticketing arrangement with Coaster.  A 13th daily round trip was added on October 14, 2019.

LOSSAN.

Local agencies along with the host railroads formed the Los Angeles–San Diego-San Luis Obispo Rail Corridor Agency (LOSSAN) in 1989. The "Pacific Surfliner" is operated by Amtrak under the Amtrak California brand with funding provided by the California Department of Transportation (Caltrans). Serious discussions were held in 2009 regarding the local agencies administering the service rather than Caltrans. California Senate Bill No. 1225, passed in 2014, allowed LOSSAN to amend the joint powers agreement and become the sponsor of state-supported intercity passenger rail service in the corridor. In mid-2015, LOSSAN assumed oversight for the Surfliner. They are also working with Caltrans to assess rail operations from Los Angeles to San Diego to develop better connections, close gaps in the schedule, and optimize the assets of the railroad. The ongoing North Coast Corridor project plans to increase rail capacity on the route of the Surfliner in North San Diego County.

Route.

The "Pacific Surfliner" runs on track owned by several private railroads and public agencies:

Rolling stock.

The "Pacific Surfliner" uses push-pull trainsets with a diesel locomotive at one end and a cab car at the other. Eight of the nine trainsets used for regular service use a fleet of 49 bilevel Surfliner coaches (39 owned by Amtrak and 10 by Caltrans), plus nine leased Amtrak Superliner long-distance coaches modified for push-pull operation. A typical six-car set has a business class car; three coach cars; a coach/café car with food sales on the lower level; and a coach/baggage/cab car equipped with coach seating, a checked baggage space on the lower level, and engineer's operating cab. The ninth trainset consists of leased Amtrak equipment: Horizon or Amfleet passenger cars plus a Non-Powered Control Unit. The Surfliner cars will be supplemented and partially replaced by new Siemens single-level cars beginning in 2020. In 2018, to provide additional capacity before the new cars arrive, LOSSAN began negotiating with the Great Lakes Central Railroad to lease bilevel railcars previously refurbished for a never-opened commuter railroad in Michigan.  A dedicated fleet of 14 Caltrans-owned Siemens Charger locomotives began pre-revenue testing in October 2018 and entered revenue service later that year. The Chargers replaced a fleet of 15 Amtrak-owned EMD F59PHI locomotives (built in 1998), which were sold to Metra in early 2018. Amtrak-owned GE P42DC locomotives (which are also used at other times) were temporarily used as motive power until the Chargers were ready for service. The Surfliner cars and Charger locomotives (and previously the F59PHI locomotives) are painted in a blue and silver livery that is unique to the "Pacific Surfliner".  Additional Amtrak-owned cars are added (up to 12-car consists) during periods of high demand, including the San Diego Comic-Con, the San Diego County Fair, events at the Del Mar racetrack, and after the 2018 Southern California mudflows closed Highway 101. Amtrak Great Dome car "Ocean View" is occasionally used as an additional business class car.

The Pacific Surfliner is a passenger train service serving the communities on the coast of Southern California between San Diego and San Luis Obispo.

Der Pacific Surfliner ist eine 563 km lange Bahnverbindung im US-Bundesstaat Kalifornien zwischen San Diego und San Luis Obispo. Die Züge werden von der staatlichen Gesellschaft Amtrak unter der Marke Amtrak California betrieben. Das Angebot wurde schrittweise seit der Übernahme durch Amtrak und den Bundesstaat Kalifornien ausgebaut, mit Stand 2016 fuhren je nach Abschnitt bis zu zwölf Zugpaare. Der Abschnitt des Pacific Surfliner von Los Angeles bis San Diego wurde zuvor von den "San Diegan"-Zügen der ehemaligen Bahngesellschaft Atchison, Topeka and Santa Fe bedient, bis Amtrak den Betrieb übernahm.


Early years.

Born in Westminster, Grigg was the son of Edward Grigg, and his wife, Joan Dickson-Poynder. Edward Grigg was a "Times" journalist, Conservative MP, Governor of Kenya, and member of Winston Churchill's wartime government.  From Eton, Grigg joined the British Army and was commissioned as a second lieutenant into his father's regiment, the Grenadier Guards, in 1943 during the Second World War (1939–1945). While in the British Army, Grigg served as an officer of the Guard at St James's Palace and Windsor Castle, Berkshire, and saw action as a platoon commander in the 1st Battalion, Grenadier Guards, part of the 5th Guards Armoured Brigade of the Guards Armoured Division, against the German Army in France and Belgium. Towards the end of the war, he became an intelligence officer.  After the war, Grigg read Modern History at New College, Oxford. While at Oxford University, he gained a reputation for academic excellence, winning the University Gladstone Memorial Prize in 1948. In the same year, after graduating with second-class honours, Grigg joined "National Review", which was owned and edited by his father.

Political career.

A liberal Tory, and later a supporter of the Anti-Apartheid Movement, Grigg sought election to the House of Commons. He stood for election for the recently created Oldham West at the 1951 general election, but was defeated by the sitting member Leslie Hale. Grigg contested the seat again in the 1955 general election but was similarly unsuccessful. With his father's death in December 1955, Grigg inherited the title of Baron Altrincham, which seemingly ended any hope of him being able to stand again as a candidate. Nonetheless, Grigg refused to apply for a writ of summons, abjuring his right to a seat in the House of Lords.  When Tony Benn (the Viscount Stansgate) succeeded in obtaining passage of the Peerage Act, Grigg was the second person (after Benn himself) to take advantage of the new law and disclaim his peerage. In 1997, he wrote that he was "entirely opposed to hereditary seats in Parliament" and added that at that time in 1963 he "felt honour-bound to disclaim, though it was a bore to have to change my name again". Grigg never achieved his ambition of election to the Commons, and he subsequently left the Conservative party for the SDP in 1982.

Journalism.

As his father's health failed during the first few years of the 1950s, Grigg assumed most of the managerial and editorial duties of the now-renamed "National and English Review". By the time of his father's death in December 1955, Grigg had taken over the editorship formally, and began to edit the "Review" into a publication more reflective of his views.  In 1956, Grigg attacked Anthony Eden's Conservative government for its handling of the Suez Crisis, and pressed for an immediate withdrawal of British forces from Port Said. He followed his father in championing reform of the House of Lords, although he added that, in lieu of reform, abolition might be the only alternative. He also advocated the introduction of women priests into the Anglican Church.

Monarchy.

In an August 1957 article, "The Monarchy Today", Grigg argued that the court of Queen Elizabeth II was too upper-class and British, and instead advocated a more "classless" and Commonwealth court. More personally, he attacked the Queen's style of public speaking as "a pain in the neck": "Like her mother, she appears to be unable to string even a few sentences together without a written text – a defect which is particularly regrettable when she can be seen by her audience."  Grigg also criticised the Queen's speeches, normally written for her by her advisers: "The personality conveyed by the utterances which are put into her mouth is that of a priggish schoolgirl, captain of the hockey team, a prefect, and a recent candidate for Confirmation."  Grigg's article caused a furore and was attacked by the majority of the press, with a minority agreeing with some of his opinions. Henry Fairlie of the "Daily Mail" accused Grigg of "daring to pit his infinitely tiny and temporary mind against the accumulated experience of centuries". Baron Beaverbrook's "Daily Express" defended the Queen, and condemned Grigg's article as a "vulgar" and "cruel" attack. Ian Gilmour's "The Spectator", whilst agreeing with Grigg's view that the Monarchy leant too heavily on the upper class, accused him of "monarcho-mysticism": exaggerating the influence of the Monarchy, and seeking to elevate the Queen to the position of a "life-force". The Archbishop of Canterbury, Geoffrey Fisher, also attacked Grigg.  Whilst the BBC censured his views on the Monarchy, Grigg was invited by Granada Television to discuss his article with Robin Day on the programme "Impact". As he was leaving Television House having given the interview, a member of the League of Empire Loyalists came up to him and slapped his face, saying: "Take that from the League of Empire Loyalists." The man, Philip Kinghorn Burbidge, was fined 20 shillings and said: "Due to the scurrilous attack by Lord Altrincham I felt it was up to a decent Briton to show resentment. What I feared most was the overseas repercussions and publication in American newspapers. I thought our fortunes were at a low ebb and such things only made them more deplorable."  Burbidge added that the court fine was the best investment he had ever made.  Robert Menzies, prime minister of Australia, was publicly critical of Grigg, describing his article as "disgusting and shocking criticism": "I think it a very great pity...that it should have been lifted out of a journal with not a very great circulation and given an audience of many millions in the world Press. I think the Queen performs her duties in the Royal office with perfection...If it is now to be said that she reads a speech I might say that many of the great statesmen in the world will have to face the same charge and had better be criticised for it."  Grigg responded, by attacking Menzies for his "disgusting" and "stuffily subservient" attitude towards the Queen, in a front-page interview with the "Melbourne Herald": "Mr Menzies... is typical of the very worst attitude towards the Crown. He simply blindly worships the Sovereign as someone above criticism...puts her on a pedestal and genuflects."  Grigg alleged that Menzies had given the Queen poor advice during her 1954 tour of Western Australia, when there had been a mild epidemic of poliomyelitis. He said that the risk of the Queen catching polio was minute, when compared to that for the thousands of people who crowded into the streets to see her, but that: "...as a result of Mr Menzies advice, the Queen did not shake hands with anyone during the entire visit. She remained remote, aloof and isolated without contact with the people. Bouquets brought to her by little children were taken by her ladies-in-waiting and then thrown in dustbins. The Queen did not spend one night on Western Australian soil and ate only food brought from the liner "Gothic". I feel that if the situation was put to her properly she would have seen that it wasn't the way a Sovereign acts".  Grigg's comments were widely reported across the world. He recorded an interview for Pathé News, reiterating his criticism of the Queen's speeches: "I feel her own natural self is not allowed to come through: it's a sort of synthetic creature that speaks – not the Queen as she really is."  Grigg also received police protection for his appearance on another Granada broadcast, "Youth Wants To Know": this time from Granada Studios in Manchester. During the broadcast, he criticised the Queen for taking what he considered to be too many holidays. The "Daily Express", having earlier attacked Grigg for his article, began itself to criticise Royal procedure; although it did not criticise the Queen herself.  "Reynold's News" praised Grigg for "saying out loud what many people are thinking". Kingsley Martin's "New Statesman" said Grigg had broken the unassailable Fleet Street law: "...that the Queen is not only devoted, hardworking and young – but also a royal paragon of wit, wisdom and grace."  Grigg always contended that his criticism was meant as constructive, from one who was a reformer and who was a strong believer in constitutional monarchy: "It is too precious an institution to be neglected. And I regard servile acceptance of its faults as a form of neglect."  Grigg also commented specifically of the Queen: "She will know that it is easier to be polite to those in high places than to tell them hard truths in a straightforward manner... Wherever she goes, she has the power to help people and to make them happy, simply by being herself. She does not have to pretend to be a Queen: she is the Queen. And the perfect modern Queen is no haughty paragon, but a normal affectionate human being, sublimated through the breadth and catholicity of her experience and the indestructible magic of her office."  Speaking some decades on, Grigg clarified: "I was rather worried by the general tone of comment, or the absence of comment really in regards to the monarchy – the way we were sort of drifting into a kind of Japanese Shintoism, at least it seemed to me, in which the monarchy was not so much loved as it should be and cherished, but worshipped in a kind of quasi-religious way. And criticism of the people who were actually embodying it at the time was completely out."  In spite of the initial backlash, several of Grigg's recommended reforms for making the monarchy more relevant were accepted by the Royal Household, after Grigg's meeting with Martin Charteris, the Queen's assistant private secretary. Debutantes' Parties were ended in 1958, whilst the Queen received help in order to improve her diction before making her Christmas Speech in December 1957. During a meeting at Eton College some decades later, Charteris praised Grigg for his article: "You did a great service to the monarchy, and I'm glad to say so publicly."

After 1960.

The "National and English Review" closed in June 1960, with its 928th and last issue. At the same time, Grigg started working at "The Guardian", which had just relocated to London from its original home in Manchester. For the rest of the decade he wrote a column, entitled "A Word in Edgeways", which he shared with Tony Benn.

Work as a biographer and historian.

At that same time, in late 1960s, Grigg turned his attention to the project that would occupy him for the remainder of his life: a multi-volume biography of the British prime minister David Lloyd George. The first volume, "The Young Lloyd George", was published in 1973. The second volume, "Lloyd George: The People's Champion", which covered Lloyd George's life from 1902 to 1911, was released in 1978 and won the Whitbread Award for biography for that year. In 1985 the third volume, "Lloyd George, From Peace To War 1912–1916", was published and subsequently received the Wolfson prize. When he died in 2001 Grigg had nearly completed the fourth volume, "Lloyd George: War Leader, 1916–1918"; the final chapter was subsequently finished by historian Margaret MacMillan (Lloyd George's great-granddaughter) and the book published in 2002. In all the volumes, Grigg showed a remarkable sympathy, and even affinity, for the "Welsh Wizard", despite the fact that their domestic personalities were very different. Historian Robert Blake judged the result to be "a fascinating story and is told with panache, vigour, clarity and impartiality by a great biographer."  Grigg also wrote a number of other books, including: "Two Anglican Essays" (discussing Anglicanism and changes to the Church of England), "Is the Monarchy Perfect?" (a compendium of some of his writings on the Monarchy), a biography of Nancy Astor; Volume VI in the official history of "The Times" covering the Thomson proprietorship; and "The Victory that Never Was", in which he argued that the Western Allies prolonged the Second World War for a year by invading Europe in 1944 rather than 1943.

Personal life.

Grigg married Belfast native Patricia Campbell, who worked at "National and English Review", on 3 December 1958 at St Mary Magdalene church, Tormarton, Gloucestershire. They later adopted two boys.

In popular culture.

Grigg is portrayed by John Heffernan in the Netflix series "The Crown".

John Edward Poynder Grigg (15 April 1924 – 31 December 2001) was a British writer, historian and politician. He was the 2nd Baron Altrincham from 1955 until he disclaimed that title under the Peerage Act on the day it received the Royal Assent in 1963.

John Edward Poynder Grigg, 2. Baron Altrincham (* 15. April 1924 in London; † 31. Dezember 2001 ebenda) war ein britischer Autor, Historiker und Politiker (Conservative Party). Er war Herausgeber des politischen Magazins "National Review" und schrieb mehrere Biografien (unter anderem über David Lloyd George). Grigg gehörte zu den Ersten, die nach Inkrafttreten des Peerage Act 1963 auf ihren Adelstitel verzichteten.


History.

The Fox was built in 1929 by movie pioneer William Fox as a showcase for the films of the Fox Film Corporation along with elaborate stage shows. It was one of a group of five spectacular Fox Theatres built by Fox in the late 1920s. The others were the Fox Theatres in Brooklyn, Atlanta, Detroit, and St. Louis.  The Fox Theatre opened on June 28, 1929 with the premiere of "Behind That Curtain", a Charlie Chan movie produced by William Fox, directed by Irving Cummings, and starring Warner Baxter and Lois Moran. The theater was closed from October 20, 1932 to April 1, 1933 due to financial difficulties. On June 28, 1959, a 30th anniversary celebration took place with the screening of the 20th Century-Fox film "Say One for Me" with Bing Crosby and Debbie Reynolds. On March 5, 1960, a series of organ concerts on Saturdays at midnight began, in an attempt to increase business and keep the theater open.

Closing and demolition.

Declining attendance/revenue had been an issue for the Fox since the end of World War II, but had become more pronounced by the late 1950s, with the expansion of television in that decade. The question of the City & County of San Francisco buying the Fox and its land was put before the voters on November 7, 1961 as Proposition I. Requiring only a simple majority, the measure was overwhelmingly defeated with a NO vote of 59.2%.  On February 16, 1963, the theater closed after a final benefit concert featuring Hollywood actors including Jane Russell, and was demolished in July 1963.  Now located at the site is Fox Plaza at 1390 Market Street, a high-rise building with offices and apartments (no relation to the famous Fox Plaza in Los Angeles). The Fox Special Wurlitzer organ was salvaged from the theater and installed in the Frank J. Lanterman estate in La Cañada Flintridge, California. Upon Lanterman's passing, the large 4-manual 36-rank organ was bought by the Disney Company and installed in the restored El Capitan Theatre in Hollywood, California.

The Fox Theatre was a 4,651-seat movie palace located at 1350 Market Street in San Francisco, California. The theater was designed by the noted theater architect, Thomas W. Lamb. Opened in 1929, the theater operated until 1963 when it was closed and demolished.

Das Fox Theatre in San Francisco war einer der größten und opulentesten Filmpaläste der Zwischenkriegszeit. Das Großkino mit einem Fassungsvermögen von über 4500 Menschen wurde am 28. Juni 1929 eröffnet und am 15. Februar 1963 geschlossen. Einem Abschiedsfest mit zahlreichen Hollywoodstars am 16. Februar folgte der Abriss, der am 12. August abgeschlossen war. Geplant wurde das Kino vom Architekten Thomas W. Lamb für den Filmmagnaten William Fox. Wertvolle Teile des Inventars wurden am 28. Februar 1963 versteigert. Die mächtige Kinoorgel der Firma Wurlitzer befindet sich heute im Kino "El Capitan" in Los Angeles. An der Stelle des Filmpalasts in der Market Street steht heute ein Bürohochhaus namens Fox Plaza.


Design.

The Excellence features some styling elements usually found on American cars of the era, like tailfins, the wraparound windshield, and the "hardtop" roof without B-pillars. But the overall design is distinctively European, with its stacked quad-headlights and rakishly low profile. Its low beltline and comparatively high greenhouse predicted the automotive architecture that became mainstream in the late Fifties, and lasted throughout the Sixties. The Facel-Vega Excellence also incorporates a pillarless four-door mechanism, allowing the car to be designed with rear-hinged "suicide" styled rear doors for easier access and egress. This layout could also be found on the limited production Cadillac Eldorado Brougham, which was unveiled later in 1956, and on the mass-produced 1961-1969 Lincoln Continental.  Inside, the car has a lavish interior with seats covered in aromatic leather, a fake walnut dashboard with full instrumentation, and a make up kit located in the back of the centre armrest, consisting of a chrome-handled brush and comb, and two perfume bottles, the latter albeit being supplied empty by the factory. Still, the interior is not nearly as roomy as one would expect from a car with a wheelbase exceeding three metres.  The Excellence was a top performer and could hold its own among the best GTs Europe had to offer. Some high-performance American cars, most notably Chrysler's 300 'letter series' models, could probably outrun an Excellence in straight-line performance, but they were neither as refined, well built, nor had they the 'panache' of a Facel-Vega. Although the Excellence could match the wheelbase of most full-sized American cars of the time, it was considerably shorter, narrower, and most of all, lower. Its comparatively compact measurements gave it the edge in the handling department, which came in handy, especially under European road conditions.  In an article for the November 1985 edition of Collectible Automobile Magazine, noted automotive historian Richard Langworth stated his opinion that "The Excellence is a large vehicle...better suited as a car of State rather than a daily driver." How he came to this conclusion despite the unanimously positive reviews regarding the roadability of the Excellence from the contemporary motoring press as well as its owners, has been a matter of debate ever since.

Chrysler connection.

Powered by contemporary Chrysler V8 engines, like other Facel-Vega cars, the initial Excellences were fitted with the famed Hemi, which Chrysler discontinued for the 1958 model year. Facel-Vega continued to use those engines until their stocks were used up in late 1958. From then on, the V8 powered Facel-Vegas were powered by the Chrysler B-series "Wedge" big-block engines.  All Chrysler powered Facel-Vegas could be had with either the Pont-à-Mousson built four-speed manual, or the Chrysler built Torqueflite three-speed automatic. Whereas the American automatic transmission was optional for the Facel-Vegas, the French manual gearbox conversely became optionally available in selected Chrysler high-performance models.

1958 (Model 'EX').

While the Paris Show Car of 1956 was fitted with a 331 CID (5.4 Litre) unit, the initial batch of production Excellences was equipped with the monster 392 CID (6.4 Litre) version of the Chrysler Hemi V8. This engine, producing, was shared - among others - with the Facel Vega HK500 and Chrysler's own Imperial. Facels could either be ordered with the Pont-à-Mousson built four-speed manual, or the Chrysler built Torqueflite three-speed automatic. Contemporary road tests showed, that they performed equally well with either gearbox. Arguably the most powerful Excellences to ever hit the roads, these were genuine 140 mph cars. Allegedly a mere eleven 'EX'-series cars were built, seven of which are known to survive. The Hemi-engined Excellences can be easily recognized by their inclusion of a hood scoop not seen on later models.

1958–1961 (Model 'EX1').

For model year 1958, Chrysler discontinued the Hemi engines, and after stocks had dried up, Facel-Vega started using the 361 CID (5.9 Litre) Chrysler 'Wedge' head V8 engines. Why Facel-Vega didn't go for the top-of-the-line 413 CID (6.9 Litre) engines remains a mystery, but the French road tax system, which is based on engine displacement, is often cited as an explanation.  Be it as it may, a 361-powered Excellence was anything but a slouch. It had the same nominal horsepower output as the Hemi it replaced, namely. The more faint at heart may be pleased to learn, that from late 1959 onwards, an Excellence could be stopped via optional power disc brakes up front.  The 1958 to 1961 Excellences were the most numerous of the bunch with 137 examples being built. Late models incorporate nearly all of the advancements generally considered to be part of the EX2 update, including the non-panoramic windshield, chassis and steering upgrades, as well as the lesser fins.

1961–1964 (Model 'EX2').

The Excellence received its only significant facelift in 1961. It now came with a bigger 383 CID (6.3 Litre) engine, rated at, a mindboggling figure back then, especially for a saloon car. However, no significant gain in performance could be noted in contemporary road tests, and the initial Hemi-powered cars remain the fastest Excellences ever built. The 'EX2' lost its wraparound windshield and the tailfins were severely clipped, which resulted in a considerably less flamboyant appearance. Despite these measures, the Excellence did not gain significantly more modern looks in general. It rather lost some of its previous elegance. But a complete re-styling of the car would have been prohibitively expensive, especially given its low production figures. More importantly, the chassis was updated, incorporating advancements introduced on the HK500, meaning that the EX2 flexed considerably less than earlier models. The door handles were also changed to better latching turn-down units.  The domestic market price quoted for the car at the EX2's first Paris Motor Show, in October 1961, was 72,500 new francs for a car with automatic transmission. The same money could at that time buy more than twelve Renault Dauphines. Of these "EX2" models, only eight were completed, when production finally ceased for good.

Discussions with Studebaker-Packard.

Following the proposition of a New York based conglomerate wanting to revive the luxurious Packard brand in 1959, Facel-Vega boss Jean Daninos entered into negotiations with Studebaker-Packard Corporation president Harold Churchill. The idea was to badge-engineer the Excellence with Packard nameplates and the trademark Packard "Ox-Yoke" grille, using Packard's new for 1956 and powerful V8's, and market it through the more "exclusive" Studebaker-Packard dealers in North America. However, Daimler-Benz, which already had a marketing partnership with Studebaker-Packard, using Studebaker's dealership network to sell its Mercedes-Benz brand of cars in the United States, objected to the plan. Mercedes never got used to the idea of selling their brand next to a working man's car, Studebaker, but also did not want floor competition for its luxury Type 300 model. Churchill realized that he could never get the same cash stream from Facel-Vega that he did from Daimler-Benz, and the whole project was abandoned. The Facel-Vega Excellence-cum-Packard did make it to the planning stage, but contrary to popular belief, not a single actual prototype was built. However, a number of Excellences were imported to the USA by private owners.

In popular culture.

A Facel-Vega Excellence appeared in the 1959 movie "Count Your Blessings" starring Deborah Kerr and Maurice Chevalier. Other Excellences make brief appearances in the 1961 movie Goodbye Again, the 1963 movies Le temps des copains and Love Is a Ball, the 1972 movie Slaughter, and the 1990 movie Dancing Machine. None of them were the EX2 versions. At about the 40 minute mark of the S1 E8 episode of the TV series "Blood & Treasure" a blue Facel-Vega Excellence is seen on a street in Havana.

The Excellence is a luxury saloon automobile that was unveiled by Facel-Vega of Paris, France, at the Paris Auto Show in October 1956 to rave reviews by the motoring press.

Der Facel Vega Excellence war eine luxuriöse Oberklasse-Limousine des französischen Automobilherstellers Facel S.A. Das Modell wurde von 1958 bis 1964 produziert. Zuerst wurde es in Paris bei der Mondial de l’Automobile im Oktober 1956 vorgestellt, um Bewertungen durch die Fachpresse zu erzielen.


Early life.

Marie-Eugène Debeney was born in Bourg-en-Bresse, Ain. A student at Saint-Cyr, Marie-Eugène Debeney became Lieutenant des Chasseurs in 1886.  Debeney was professor of infantry tactics at the "École de Guerre". He was an advocate of firepower, like Pétain and Fayolle, not a theorist of elan and the infantry offensive, like Grandmaison.

First World War.

Early War.

He was Chief of Staff of the First Army in 1914. He then served two tours as commander of a division.

Somme.

Debeney commanded a corps at Verdun in 1916.  Later that year he commanded XXXII Corps on the Somme. Colonel Mangin, formerly of 79th Infantry Regiment, was his chief of staff. XXXII Corps took over the section of front near Sailly-Saillisel in October 1916. The first attack on 12 October was driven back. On 15 October the elite 66th Infantry Division took over the attack: two battalions of the 152nd Infantry Regiment (the "Red Devils") and 68th BCA (mountain infantry brigade) captured the rest of the Bois Tripot position and the ruins of the château that covered Sailly-Saillisel from the south-west and entered the village. There was then a six-day street fight whilst the French held off German counter-attacks. The French defence on 29 October was later used as a textbook example of successful defence. "This XXXII Corps is really very good", commented the Army commander General Fayolle (4 November). The weather on the Somme turned atrocious that autumn, and the remains of the last houses did not fall until 12 November.

Army Commander.

Debeney served as commander of the Seventh Army in Alsace from late 1916 until the spring of 1917.

Chief of Staff to Petain.

Debeney had long known Pétain and approved of his appointment as the French Commander-in-Chief (C-in-C). Debeney was appointed his chief of staff (replacing General Pont) on 2 May 1917.  On 2 June 1917 Debeney met Field Marshal Sir Douglas Haig (Commander-in-Chief of the British Expeditionary Force) and told him that the French would still participate in Haig's upcoming Flanders offensive (First Army, now under Anthoine, moved north on 7 July, ready to provide the promised six divisions along with artillery and air support), but that the planned attack on the Chemin des Dames by Sixth Army, badly affected by the mutinies, was to be cancelled. Debeney estimated that a delay of a month would be needed to allow the troops rest and leave and to restore morale. Despite his later claims to have been motivated throughout the second half of 1917 by concerns about the state of the French Army, there is no evidence that Haig was particularly disturbed by this news. Second Army’s attack at Verdun was due to begin on 15 July.  In the autumn of 1917, the two main Allied Prime Ministers, Lloyd George and Painlevé, were already beginning to discuss the formation of a joint Allied reserve, with a view to making Foch generalissimo in due course. Debeney commented that the Allies could never have beaten Napoleon without a joint command, "even though he was an idiot" (Sidney Clive notebooks 15 August and 3 September). On 10 October 1917 Debeney produced an abortive scheme for Pétain to be appointed coalition commander-in-chief. In September and October 1917 Debeney joined Pétain in blocking general staff proposals to attack in the difficult terrain of Alsace.  After the initial successful British attack at the Battle of Cambrai, Debeney issued a note to Army and Army Group Commanders and Army Schools on 27 November 1917 - before the devastating German counterattack, but amidst increasing concerns that the Germans would be reinforced from the collapsing Eastern Front before the US Army was present in strength. The note demanded not just defence in depth but also the construction of "bretelles" (trenches perpendicular to the front lines to halt lateral exploitation in the event of a German breakthrough). All commanders were required to set labour works in motion immediately and to submit plans to GQG by 15 December.

German Spring Offensives.

Debeney returned to the First Army as its commander, taking over from Anthoine, in December 1917.  Together with Duchene’s Sixth Army, Humbert’s large Third Army, a cavalry corps, and an extra infantry corps, First Army made up Fayolle’s Reserve Army Group, which moved to hold the gap between British and French forces during the German March Offensive (which began on 21 March). The remnants of the British Fifth Army were also placed under Fayolle for a time.  By 26 March 1918 First Army had the 133rd and 166th Infantry Divisions and the 4th Cavalry Division (which fought dismounted, even after exhausting its ammunition), joined by the 163rd Infantry Division on 29 March. Foch, newly appointed Allied generalissimo, ordered Debeney forward from Montdidier. He was in a difficult position, as many of his forces had yet to arrive. By 5 April Debeney’s Army had been reinforced by four of the French divisions which had been sent to Italy the previous winter after Caporetto, as well as by other divisions (VI Corps was transferred from Third to First Army), and was fighting hard.  Debeney’s Army linked up with the Australian 35th Battalion to plug the gap at Villers-Bretonneux, the last high ground in front of Amiens. This marked the high watermark of the German advance.

Planning Amiens.

First Army attacked west of the Avre on 23 July, capturing three villages, almost 2,000 prisoners and some guns. Debeney met with Rawlinson on 24 July to consolidate plans, the same day Haig and the other national commanders-in-chief met Foch. However, Rawlinson thought Debeney “in a great fright” and commented that it was “very unsatisfactory to have a man like Debeney to work with” and that he was “not altogether satisfied [Debeney] was doing things properly”, although he conceded that First Army “seem to have done very well and my Tanks helped them considerably”. In Greenhalgh's view Rawlinson was not making enough allowance for the heavy fighting by First Army in March and April, or for the advances which Debeney had made since 18 July despite his reserves having been removed for the counteroffensive on the Marne in July. First Army had three organic corps in July: IX, X and XXXI, reserve divisions having been taken off for the Marne sector. By 26 July Petain had supplied four more divisions. First Army took part, under Haig's command, in the Battle of Amiens, together with the British, Australian and Canadian forces of Rawlinson’s Fourth Army. Haig gave Debeney orders for a more active role on 29 July. Fayolle passed XXXV Corps to him and extended his front from 26 to 34 km. He was ordered to make a two-pronged attack, with converging attacks north east and south east to entrap the German defenders opposite his centre, covered by an artillery and infantry attack by French Third Army to his right. On 31 July XXXVI Corps, already deployed behind First Army, was put under Debeney’s command, although it remained in reserve. Debeney and Rawlinson attended the meeting of Haig, Foch and the liaison officer du Cane and other staff officers on 2 August. Rawlinson would have preferred the French to attack from Montdidier to pinch out the German salient, but Foch preferred the British and French to concentrate their forces by attacking side by side. Putting Debeney under Haig’s command also had the benefit, from Foch’s point of view, of cutting Petain, who had not been invited to the meeting and had little prior knowledge of the attack, out of the loop after friction between him and Foch during the Second Battle of the Marne.  First Army was to attack across a front of 34km south of the Luce; from north to south it deployed XXXI Corps (42nd, 153rd and 66th Infantry Divisions, three "shock" divisions which had fought on the Somme in 1916, with another two in reserve), IX Corps (two divisions), X Corps (three divisions), XXXV Corps (two divisions, with another in reserve). In total there were ten divisions in the first wave, three in support, and XXVI Corps (two infantry and three cavalry divisions) in Army Reserve, facing eleven divisions of the German Second and Eighteenth Armies. Debeney also deployed 1,624 guns, 90 light tanks (only two battalions after losses on the Marne) and 1,000 aircraft, including the 600 aircraft of the Air Division, put under First Army command, conducting day and night bombing and attacking enemy balloons. The BEF unit on First Army's immediate left was a Canadian armoured car detachment under the French-born Brigadier-General Raymond Brutinel. On the right Humbert's Third Army, which had borne the brunt of the Battle of the Matz in June, was to join in on 10 August, as soon as Debeney had made enough progress, an aspiration thought absurdly optimistic by Petain's staff.

Battle of Amiens.

On 7 August, having been ordered by Haig to attack the next day, Debeney and Rawlinson agreed to start the attack at 4.20am. Fourth Army was to attack at that time, without any prior bombardment, then French XXXI Corps were to maintain surprise by attacking at 5.05am, followed by IX Corps at 8.20am, aiming to cross the Avre. Three out of Debeney's five corps attacked on 8 August 1918. That day II Colonial Corps was also put under Debeney's command. By the end of the day the French had advanced 8 km (the Canadians had advanced 10 km in their sector) and taken 7,000 prisoners. XXXV Corps on the southern flank was to join in on the third day (10 August) depending on results. Fayolle was now hoping to capture not just the Montdidier area but also the hilly ground around Boulogne la Grasse, 8 km SSE of Montdidier.  On the day Foch telephoned Debeney twice to urge him to greater aggression. Haig visited Debeney on the afternoon of 8 August and found him “pleased with himself”. In the amended version of his diary he claimed that Debeney was “much distressed and almost in tears” because three battalions of Colonial Infantry had “bolted” before German machine gun fire. In fact the unit, part of 15th Colonial Infantry Division, appears to have met its objectives, and was part of IX Corps which was pulled out at the end of the second day having achieved all its objectives. Orders for 9 August were for IX and XXXI Corps to press on. That day Foch urged Debeney to continue to attack “with drums beating” and to "go quickly, straight ahead, manoeuvre, push from behind with all you have until you obtain a decision". That evening X and XXXV Corps (from the south) encircled Montdidier and that night German Eighteenth Army withdrew to north of Roye. First Army attacked again, in conjunction with Humbert's Third Army on its right flank, on 10 August. Montdidier fell on 10 August.  After Amiens Debeney agreed with Rawlinson that further attacks risked running into strong resistance, and Rawlinson lobbied Haig to refuse to make any further attacks for the time being. Although Foch reluctantly came to accept that Haig had made the right decision, he moved Debeney's First Army back under the control of Fayolle's Reserve Army Group effective noon 16 August.

Assault on the Hindenburg Line.

In the Allied General Offensive, beginning of 29 September, Debeney's Army supported the British by launching an artillery attack and attacking a German strongpoint 10 miles south of St Quentin. After a visit to Haig's GHQ Foch ordered First Army to shift its efforts north of St Quentin, but the British were still complaining about the French "hanging back". The French took St Quentin on 3 October, capturing 5,000 prisoners, then crossed the canal east of city. On 4 October Foch ordered Debeney to "support at all costs the right of the British Fourth Army". He chided Debeney directly.  Rawlinson's diary is full of complaints about Debeney; gossip about his performance at Rawlinson's HQ became so common that “to deb” became a slang term for failing to carry out an assigned task. Even Fayolle commented that Debeney was merely following the British and acting “like a clockmaker”. In fact Debeney's own records for the period speak of heavy fighting. However, his Army had been stripped of artillery for the French Fourth Army and US First Army in the Argonne, an offensive to which Foch attached greater importance; only XXXVI Corps had three divisions, whilst his other three corps had two divisions each. Clayton states that during this stage of the war it was "generally" Debeney's policy to wait for adjoining formations to be the first to attack, so drawing off German reserves before he made his own attack.  Delayed by supply problems like all the Allied armies, First Army did not push beyond St Quentin until after 8 October. Debeney's forces took part in the attack at Cambrai which broke the Hindenburg Line (8 October 1918). On 10 October, already aware from French intelligence that Germany had extended armistice feelers to the US, Foch ordered Debeney's First Army to extend its front northward and to overrun the line of the River Serre, to enable the British to concentrate their efforts at the liberation of Lille (which was liberated on 17 October) and between the rivers Sambre and Scheldt/Escaut towards Mons. As directed by Foch on 10 October and Petain the following day, First Army struck between St Quentin and Laon on 15 October, crossing the small Serre river. On 17 October Debeney attacked with five corps. That night the Germans withdrew to the Hunding position. He again attacked on 24 October. By 26 October First Army was breaking through, and on the night of 26/7 October the Germans pulled back 5 kilometres across most of First Army's front.  Debeney had the honour of receiving the German ambassadors on 11 November for the Armistice.

Post-war.

After the war he was Director of the "École de Guerre", where he introduced a new curriculum, and often had his students “walk the ground” of his 1918 campaigns. He was commandant of La Place de Paris and a member of the commission which wrote France's postwar doctrinal manual: "“Instruction provisoire sur l’emploi tactiques des grandes unités”" (1922). As Chief of the General Staff in 1923-30 he helped shape the Basic Laws of 1927 and 1928, which implemented a reduction in the term of conscription from eighteen months to one year and shaped the French Army of the 1930s and 1940. Philpott describes him as “the dominant figure in the French Army in the 1920s, after Foch and Pétain at least”. France, her birthrate badly depleted by the war, had a population of 40 million to face Germany with a population of 80 million. While France was to be defended by the Maginot Line and her network of allies in central Europe, the plan was for the main French army to defeat a German incursion through Belgium by "bataille conduite" (methodical battle). This was to be materiel-intensive fighting along a broad front, inspired by Foch's operations in 1918.  A statue of Foch stands on the Bapaume-Peronne road, near the village of Bouchavesnes, at the point where Messimy’s "chasseurs" broke through on 12 September 1916. Debeney described the statue at its unveiling in 1926 as “the effigy of the conqueror of the Somme”, who had “reawakened the spirit of the offensive in our army and given it the confidence that success would follow from careful preparation and bold execution”. The Somme was “the first of the great massed battles, in which we asserted our tactical superiority over the enemy... After the Somme (Foch) began to abandon the simplistic idea of obtaining success by breaking a short section of the enemy’s front, replacing it with the more fruitful idea, which was to give us victory, of progressively dislocating the various sectors of the front”.  Mentioned in despatches four times, he also received the "cravate de commandeur" for his actions in the battle of the Somme and became a Grand officier (battle of Saint-Quentin) and then (in 1923) grand cross of the Légion d'honneur. Finally, in 1926 he received the supreme reward for a general in time of war, the Médaille Militaire which he always wore.  Several streets in Debeney's birthplace are named after him.

Marie-Eugène Debeney (5 May 1864 – 6 November 1943) was a French Army general. He commanded a corps at the Battle of the Somme then, in the second half of 1917, served as chief of staff to the French Commander-in-Chief Philippe Pétain. He then commanded the First Army which, fighting alongside British Empire forces, played an important role in the mobile fighting of 1918, including at the Battle of Amiens and the Storming of the Hindenburg Line.

Marie-Eugène Debeney (* 5. Mai 1864 in Bourg-en-Bresse; † 6. November 1943 ebenda) war ein französischer Offizier, zuletzt Général d’armée, und Chef des französischen Generalstabs von 1924 bis 1930.


Composition and style.

Per Gessle described "Listen to Your Heart" in the liner notes of Roxette's 1995 greatest hits compilation "Don't Bore Us, Get to the Chorus!" as "The Big Bad Ballad. This is us trying to recreate that overblown American FM-rock sound to the point where it almost becomes absurd. We really wanted to see how far we could take it." Its lyrics were inspired by a close friend of Gessle's, who was in "emotional turmoil, stuck between an old relationship and a new love. A year later, I call him up in the middle of the night after a few too many glasses of champagne, saying 'Hey, you're number one in the States.'"  According to Ultimate Guitar, the track is an alternative rock ballad, with a moderately slow tempo of 86 beats per minute. The verses are made up of three repeating sequences of Bm–G–A and one additional sequence of Bm–G–Em. The first two choruses are composed of two repetitions of a Bm–G–D–A sequence, followed by an extended sequence of D–A–G–D–Bm–G–A–Bm. The bridge consists of E–C♯m–B–A–B–C♯. The final chorus has been modified up by two full tones it consists of two repetitions of D♯m–B–F♯–C♯, followed by a sequence of F♯–C♯–B–F♯–D♯m–B–C♯–D♯m–B, with the final four notes being repeated for the outro.  Seven different versions of the song were released: the original album version; the "Swedish Single Edit", a slightly edited version included on subsequent greatest hits compilations; the "US Remix", used in the music video; the "AC Mix", which is similar to the 'US remix' but with the guitar in the bridge replaced by a midi saxophone; shorter edits of the aforementioned 2 versions, which cut some parts from the last refrain; and the 7" single version, which fades out shortly after the last refrain, omitting most of the outro.

Music video.

Doug Freel directed the song's music video, which was filmed during a live performance at the Borgholm Castle ruin on the Swedish Baltic Sea island of Öland. Freel and the video's production crew believed the ruin to have been created especially for the video. Gessle said: "It took some time to convince them that the place actually was for real."  The song has been performed on all of Roxette's concert tours. On the "Look Sharp!" Live Tour and Join the Joyride! Tour, it was performed in its original, power ballad style, although it has been performed in an acoustic version on all tours since the "Crash! Boom! Bang!" Tour in 1994.

Formats and track listings.

All lyrics by Per Gessle; all music by Gessle, except "Listen to Your Heart" by Gessle and Mats Persson and "Half a Woman, Half a Shadow" by Marie Fredriksson.

Personnel.

Credits adapted from the liner notes of "The Ballad Hits".  Musicians

DHT version.

In 2005, Belgian dance group DHT's cover of "Listen to Your Heart" became an international club hit after being released as single from the album of the same name. Originally released in Belgium in 2003, the various mixes of the song reached American clubs in late 2004, and it was released in the United States in November of that year.  By June 2005, the song had reached number one on the US "Billboard" Hot Dance Airplay chart and the top 10 on the "Billboard" Hot 100, peaking at number eight in August. Worldwide, the cover reached the top 10 in the Czech Republic, France, and the United Kingdom while becoming a top-twenty success in Australia, Belgium, Denmark, Ireland and Norway.  The same year, the group also released the "Edmée's unplugged vocal edit", an acoustic ballad version of the song, which also received substantial airplay.

"Listen to Your Heart" is a song by Swedish pop music duo Roxette, which was originally released in Sweden in September 1988 as the second single from the duo's second studio album, "Look Sharp!" (1988). It was written by Per Gessle with former Gyllene Tider guitarist Mats "M.P." Persson. The song went on to become one of the most successful singles of 1989, reaching number one in both the United States and Canada around November 1989. The track was the first song to reach number one in the US without a commercially-released 7" single.

Listen to Your Heart ist ein Pop-Song des schwedischen Pop-Duos Roxette aus dem Jahr 1989. Er wurde von Per Gessle gemeinsam mit Mats Persson geschrieben.


Background and inspiration.

The first draft of Lennon's lyrics for "I'm Only Sleeping", written on the back of a letter from 1966, suggests that he was writing about the joys of staying in bed rather than any drug euphoria sometimes read into the lyrics. While not on tour, Lennon would usually spend his time sleeping, reading, writing or watching television, often under the influence of drugs, and would have to be woken by McCartney for their songwriting sessions. In a "London Evening Standard" article published on 4 March 1966, Maureen Cleave, a friend of Lennon's, wrote: "He can sleep almost indefinitely, is probably the laziest person in England. 'Physically lazy,' he said. 'I don't mind writing or reading or watching or speaking, but sex is the only physical thing I can be bothered with any more.'"

Recording.

The recording of the song began at EMI Studios on 27 April 1966 with eleven takes of the rhythm track, comprising two acoustic guitars, bass and drums. Five further takes of the song were recorded but they were not used. Take 11 was chosen as the master and two days later Lennon added his lead vocals. On 5 May, George Harrison wrote and recorded the double guitar part. The next day the recording was completed by Lennon, McCartney and Harrison's backing vocals.  The song features the then-unique sound of a reversed guitar duet played by Harrison in a five-hour late-night recording session with producer George Martin. Harrison perfected the part with the tape running backwards so that, when reversed, it would fit the dreamlike mood. One guitar was recorded with fuzz effects, the other without. Engineer Geoff Emerick described the meticulous process as "interminable". "I can still picture George hunched over his guitar for hours on end", Emerick wrote in 2006, "headphones clamped on, brows furrowed in concentration."  During the break before the second bridge, the sound of a yawn can be heard, preceded by Lennon saying to McCartney, "Yawn, Paul."

Release.

"I'm Only Sleeping" was first released on 20 June 1966 as the second track on the US album "Yesterday and Today" and on 5 August 1966 as the third track on "Revolver", the album for which the song was originally intended. The US version of "Revolver" did not include the song as it had already been released: US Beatles releases frequently differed from the British versions.  The mono and stereo versions of "I'm Only Sleeping" differ in the positioning and length of the backwards guitar parts:  The Beatles' pioneering studio effects on "Revolver" proved highly influential on other contemporary artists. Musicologist Walter Everett cites the inclusion of backwards guitar parts on Crosby, Stills & Nash's 1969 song "Pre-Road Downs" as an apparent "homage" to "I'm Only Sleeping".  Since the release of the Beatles' music on CD in 1987, the UK stereo version of the album has become the standard version in the US. Part of an instrumental rehearsal of the song featuring a vibraphone and the first take of the song from 29 April 1966 were released on the 1996 album "Anthology 2". The inclusion of the vibraphone part marked the Beatles' first use of this instrument and reflected the band's experimentation with new sounds during the "Revolver" sessions. The UK mono version of "I'm Only Sleeping" was released on CD as part of the 2009 "The Beatles in Mono" remastered box set.

Covers.

Artists who have covered the song include Rosanne Cash, America, Vince Welnick, Quorthon, Jeff Tweedy, Suggs, Yonder Mountain String Band, and Stereophonics with Oasis. Arctic Monkeys covered the song at their first live performance. Thom Bishop issued a version of the track on his 2013 album "A Little Physics and a Lot of Luck". In the description of Jim Heald of "No Depression" magazine, Bishop's musical arrangement borrows from later Lennon psychedelic songs such as "Lucy in the Sky with Diamonds", "Because" and "Sun King", and builds in intensity from a soft acoustic backing as if to convey "the ratcheting up the tension as the dreamer resists being awakened".

Personnel.

According to Ian MacDonald:

"I'm Only Sleeping" is a song by the English rock band the Beatles from their 1966 studio album "Revolver". In the United States and Canada, it was one of the three tracks that Capitol Records cut from the album and instead included on "Yesterday and Today", released two months before "Revolver". Credited as a Lennon–McCartney song, it was written primarily by John Lennon.<ref name="Fontenot/About"> The track includes a backwards (or backmasked) lead guitar part, played by George Harrison, marking the first time that such a technique had been used on a pop recording.<ref name="McCormick/Tele">

I’m Only Sleeping () ist ein Lied der britischen Band The Beatles aus dem Jahr 1966. Komponiert wurde es vom Rhythmusgitarristen der Band, John Lennon; es steht jedoch unter dem bei den Beatles üblichen Copyright "Lennon/McCartney".


Education and career.

Born in Vienna in 1926, Ross left Austria with his parents only days before the outbreak of World War II. They settled in New York, where he studied chemistry at Queens College (B.S. 1948), with a two-year interruption to serve in the Army from 1944 to 1946. After completing his degree, he went on to perform doctoral research in physical chemistry, studying gas transport properties under the guidance of Isador Amdur at the Massachusetts Institute of Technology (Ph.D. 1951). This led to postdoctoral work in gas thermometry and the statistical mechanical theory of irreversible processes with physical chemist John Kirkwood at Yale. Ross began his faculty career as assistant professor in chemistry at Brown University in 1953. There, he launched a program to test the viscosity of liquids as a function of temperature and pressure with unprecedented precision. Two years later, he and physical chemist Edward Greene began nearly two decades of groundbreaking work developing the use of molecular beams to examine the molecular dynamics – revealing details of molecular collisions, dispersion, and more during chemical reactions. In 1966 Ross joined the Chemistry Department faculty at MIT, where he served as chair from 1966 to 1971. He came to Stanford in 1979 as professor of chemistry and was department chair from 1983 to 1989. Among many honors recognizing his broad contributions in physical chemistry, Professor Ross was named to the National Academy of Sciences and American Academy of Arts and Sciences and received the U.S. National Medal of Science in 2000 from President Clinton.  In his research at Stanford, Ross examined experimental and theoretical investigations in new approaches to the determination of complex reaction mechanisms, the formation of the thermodynamics and statistical mechanics of systems far from equilibrium, the chemical implementation of digital and parallel computers, and application of these studies to biological reaction mechanisms. His contributions in reaction kinetics and dynamics changed chemists’ understanding of reactivity and why many chemical phenomena occur, opening new fields in chemical science.

John Ross (October 2, 1926 – February 18, 2017) was a scientist in physical chemistry and the Camille and Henry Dreyfus Professor of Chemistry at Stanford University.

John Ross (* 2. Oktober 1926 in Wien; † 18. Februar 2017 in Palo Alto) war ein US-amerikanischer Chemiker (Physikalische Chemie). Er war Professor an der Stanford University.