Management career.

Early coaching career.

Sacchi had grown up watching attacking sides, such as Budapest Honvéd, Real Madrid, Brazil and the Netherlands. He started his career managing his local club, Baracca Lugo, because he was not good enough to play for them. Of the challenge he faced, Sacchi said, "I was twenty-six, my goalkeeper was thirty-nine and my centre-forward was thirty-two. I had to win them over." He next coached at Bellaria before joining Cesena, who were in the Serie B, as a youth team coach. He then took over at Rimini who were playing in the Serie C1, and almost led them to a title.  He received his breakthrough when he moved to Fiorentina as a youth coach. His achievements with the youth team earned interest from Parma, who were then playing in Serie C1. He led Parma to promotion in his first season, and in the following season took them to within 3 points of promotion to Serie A. Of greater importance to his time at Parma, however, was the team's performance in the Coppa Italia; they beat Milan 1–0 in the group stages, and beat them again 1–0 on aggregate in the first knockout round. This was enough to attract interest from Milan club owner Silvio Berlusconi, who promptly appointed Sacchi as manager.

Milan.

At Milan, Sacchi again faced problems of credibility. The press argued that such an inadequate player could never go on to be a successful coach, and that even Berlusconi – who had played football at amateur level – was probably a better player. Sacchi, however, coined a witty term in response: "I never realised that in order to become a jockey you have to have been a horse first." Sacchi was an instant success at the San Siro, leading Milan to its first Serie A title in nine years in his debut season, following up the league title with a Supercoppa Italiana in 1988.  Sacchi's success at Milan gained him two back-to-back European Cups. The success he gained was largely attributed to the Dutch trio he had purchased: Marco van Basten, Ruud Gullit and Frank Rijkaard. However, other great players such as Roberto Donadoni, as well as the defensive back four of Franco Baresi, Alessandro Costacurta, Mauro Tassotti and Paolo Maldini, were also a key to his success.  The first European Cup final in 1989 was against Steaua București, who were beaten resoundingly 4–0. Gullit and Van Basten scored two goals each and Milan lifted the European Cup for the first time in over 20 years. En route to the final, Milan had dispatched Real Madrid 6–1 on aggregate in the semi-final, a result which almost represented the passing of the mantle for best European club. The quarter-final against Werder Bremen was a tight affair; Milan only went through 1–0 on aggregate thanks to a Van Basten penalty. The second round was shrouded in controversy. Donadoni had his life saved only through the quick-thinking of the Red Star Belgrade physio, who broke his jaw to make a passage for oxygen to reach his lungs after he had suffered a bad foul and lay unconscious. The first leg ended in a 1–1 draw and the second leg got called off in 64th minute and rescheduled to be replayed the next day due to the thick fog (Milan was losing 0–1 at the moment). Milan eventually progressed following a penalty shoot-out.  Although the team was not as strong as they had been in the previous season, they were victorious again in 1990. After victories against HJK Helsinki, Real Madrid and KV Mechelen, Milan defeated German giants Bayern Munich in the semi-final, thanks to an away goal. The Dutch magic worked again in the final, as Frank Rijkaard scored the only goal of the game through a Van Basten assist to conquer Sven-Göran Eriksson's Benfica. By winning the final, Milan became the first team which retained the title since 1980, and the last team to do so until Real Madrid would manage to achieve this feat 27 years later. Sacchi would also capture back to back European Super Cups and Intercontinental Cups in 1989 and 1990, and would lead Milan to the final of the 1989–90 Coppa Italia, where they were defeated by Juventus. The following season saw them defeated by eventual runners-up Marseille in the quarter-final, and finish second in Serie A behind Sampdoria, while they were eliminated in the semi-finals of the Coppa Italia by eventual champions Roma. This was Sacchi's last season with "i Rossoneri".

Italy national team.

In 1991, Sacchi was appointed manager of the Italy national team, replacing Azeglio Vicini. Sacchi based his Italian selection predominantly on Milan players, especially in the defensive line which featured Paolo Maldini and Franco Baresi; the attacking line was led by talismanic 1993 Ballon d'or winner Roberto Baggio of Juventus. Notable exclusions from Sacchi's "Azzurri" selections, however, included Gianluca Vialli, Roberto Mancini, Giuseppe Bergomi and Walter Zenga.  Sacchi successfully led Italy through the qualification campaign to reach the 1994 FIFA World Cup. Despite not being among the favourites and losing their first match 1–0 to the Republic of Ireland, Italy reached the final (their first since 1982), where they were defeated by Brazil in a penalty shoot-out, the first ever shootout in a World Cup final. Under Sacchi, Italy qualified for UEFA Euro 1996, but were eliminated from a group which included the eventual finalists, Germany and the Czech Republic.

Later coaching career.

After leaving his position with the national team, Sacchi returned to Milan to replace Óscar Tabárez in December 1996. However, the second spell was unsuccessful with Milan finishing 11th in the league and suffering its worst ever Serie A defeat, losing 6-1 at home to eventual champions Juventus.  Sacchi had brief spells in the Spanish La Liga, taking charge of Atlético Madrid in 1998 after his second spell with the "Rossoneri". He could only guide "Los Colchoneros" to a disappointing 13th place in the league in his only season at the Vicente Calderón Stadium, although they did qualify for Europe having finished as runners-up in the Copa del Rey. He later returned to Madrid, this time at the Santiago Bernabéu Stadium as director of football at Real Madrid for the 2004–05 season. He also briefly returned to Parma in 2001, replacing Alberto Malesani, but soon resigned after disappointing results, and was replaced by Renzo Ulivieri.

Management style and influence.

Nicknamed "The Prophet of Fusignano", Sacchi favored a fluid, yet highly organised attacking 4–4–2 formation, discarding the traditional libero in an era where Italian football was mainly focussed on strong defensive play, and Helenio Herrera's "Catenaccio" tactics were still a strong influence. Defensively, Sacchi's teams adopted a zonal marking system, which had already been introduced by his predecessor Nils Liedholm, and were known for their defensive strength, conceding few goals; indeed, the defensive quartet of Maldini, Baresi, Costacurta, and Tassotti, which Sacchi deployed both at Milan and with the Italy national team, is regarded as one of the greatest defences of all-time.  Sacchi believes in the Dutch concept of Total Football, insisting that young players should be coached in all aspects of football rather than into specialist positions, helping the team both with or without the ball. He was also a firm believer in team ethic and treating all players as equals, once saying, "The only way you can build a side is by getting players who speak the same language and can play a team game. You can’t achieve anything on your own, and if you do, it doesn’t last long. I often quote what Michelangelo said: 'The spirit guides the hand.'" To perfect his team's cohesion, Sacchi introduced "shadow play", where his players would simulate a match in training without a football. As a coach, he also attracted controversy, as he was known for implementing a strict and rigorous training regime upon his players, and his teams were often known for their work ethic and discipline. Sacchi is also remembered for his outspokenness, stubbornness and his meticulous, obsessive attention to detail when preparing tactical solutions and perfecting plays, which his players were then expected to memorise and implement consistently during matches.  Sacchi is also credited as an innovator, popularising high pressing from his teams, the offside trap, and a high defensive line with no more than 25 metres between defence and attack. This style of pressing has been emulated successfully by José Mourinho's Porto, Pep Guardiola's Barcelona, Jürgen Klopp's Borussia Dortmund and Jupp Heynckes's Bayern Munich. His successor at Milan, Fabio Capello, retained Sacchi's tactics and went on to win four "Scudetti" in five seasons and the 1993–94 Champions League. Spanish coach Rafael Benítez – who won the UEFA Cup and La Liga with Valencia, the UEFA Champions League and FA Cup with Liverpool, the FIFA Club World Cup with Internazionale and the UEFA Europa League with Chelsea – cites Sacchi as his role model and "the coach who has revolutionised football in the past 50 years".

Honours.

Manager.

Parma  Milan  Italy

Arrigo Sacchi (; born 1 April 1946) is an Italian former professional football coach. He was twice manager of Milan (1987–1991, 1996–1997), with great success. He won the Serie A title in his 1987–88 debut season and then dominated European football by winning back to back European Cups in 1989 and 1990. From 1991 to 1996, he was head coach of the Italy national team and led them to the 1994 FIFA World Cup Final, only to lose to Brazil in a penalty shoot-out.

Arrigo Sacchi (* 1. April 1946 in Fusignano (RA), Italien) ist ein ehemaliger italienischer Fußballspieler und -trainer. Als Cheftrainer von AC Mailand gewann er den Europapokal der Landesmeister 1988/89 und 1989/90. 1994 wurde er als Trainer der italienischen Nationalmannschaft Vizeweltmeister.


Name.

The name of the mythological being usually called Anzû was actually written in the oldest Sumerian cuneiform texts as ("AN.IM.MI"; the cuneiform sign 𒄷, or "MUŠEN", in context is an ideogram for "bird"). In texts of the Old Babylonian period, the name is more often found as "AN.IM.DUGUD". In 1961, Landsberger argued that this name should be read as "Anzu", and most researchers have followed suit. In 1989, Thorkild Jacobsen noted that the original reading of the cuneiform signs as written (giving the name "IM.dugud") is also valid, and was probably the original pronunciation of the name, with Anzu derived from an early phonetic variant. Similar phonetic changes happened to parallel terms, such as "imdugud" (meaning "heavy wind") becoming "ansuk". Changes like these occurred by evolution of the "im" to "an" (a common phonetic change) and the blending of the new "n" with the following "d", which was aspirated as "dh", a sound which was borrowed into Akkadian as "z" or "s".  It has also been argued based on contextual evidence and transliterations on cuneiform learning tablets, that the earliest, Sumerian form of the name was at least sometimes also pronounced Zu, and that Anzu is primarily the Akkadian form of the name. However, there is evidence for both readings of the name in both languages, and the issue is confused further by the fact that the prefix 𒀭 ("AN") was often used to distinguish deities or even simply high places. AN.ZU could therefore mean simply "heavenly eagle".

Origin and cultural evolution.

Thorkild Jacobsen proposed that Anzu was an early form of the god Abu, who was also syncretized by the ancients with Ninurta/Ningirsu, a god associated with thunderstorms. Abu was referred to as "Father Pasture", illustrating the connection between rainstorms and the fields growing in Spring. According to Jacobsen, this god was originally envisioned as a huge black thundercloud in the shape of an eagle, and was later depicted with a lion's head to connect it to the roar of thunder. Some depictions of Anzu therefore depict the god alongside goats (which, like thunderclouds, were associated with mountains in the ancient Near East) and leafy boughs. The connection between Anzu and Abu is further reinforced by a statue found in the Tell Asmar Hoard depicting a human figure with large eyes, with an Anzu bird carved on the base. It is likely that this depicts Anzu in his symbolic or earthly form as the Anzu-bird, and in his higher, human-like divine form as Abu. Though some scholars have proposed that the statue actually represents a human worshiper of Anzu, others have pointed out that it does not fit the usual depiction of Sumerian worshipers, but instead matches similar statues of gods in human form with their more abstract form or their symbols carved onto the base.

Sumerian and Akkadian myth.

In Sumerian and Akkadian mythology, Anzû is a divine storm-bird and the personification of the southern wind and the thunder clouds. This demon—half man and half bird—stole the "Tablet of Destinies" from Enlil and hid them on a mountaintop. Anu ordered the other gods to retrieve the tablet, even though they all feared the demon. According to one text, Marduk killed the bird; in another, it died through the arrows of the god Ninurta.  Anzu also appears in the story of "Inanna and the Huluppu Tree", which is recorded in the preamble to the Sumerian epic poem "Gilgamesh, Enkidu, and the Netherworld".  Anzu appears in the Sumerian Lugalbanda and the Anzud Bird (also called: The Return of Lugalbanda).

Babylonian and Assyrian myth.

The shorter Old Babylonian version was found at Susa. Full version in "Myths from Mesopotamia: Creation, The Flood, Gilgamesh, and Others" by Stephanie Dalley, page 222 and at "The Epic of Anzû", Old Babylonian version from Susa, Tablet II, lines 1-83, read by Claus Wilcke. The longer Late Assyrian version from Nineveh is most commonly called "The Myth of Anzu". (Full version in Dalley, page 205). An edited version is at "Myth of Anzu".  Also in Babylonian myth, Anzû is a deity associated with cosmogeny. Anzû is represented as stripping the father of the gods of "umsimi" (which is usually translated "crown" but in this case, as it was on the seat of Bel, it refers to the "ideal creative organ"). Regarding this, Charles Penglase writes that "Ham is the Chaldean Anzû, and both are cursed for the same allegorically described crime," which parallels the mutilation of Uranus by Cronus and of Osiris by Set.

Anzû, also known as Zû and Imdugud (Sumerian: "AN.IM.DUGUD"), is a lesser divinity or monster in several Mesopotamian religions. He was conceived by the pure waters of the Apsu and the wide Earth, or as son of Siris. Anzû was depicted as a massive bird who can breathe fire and water, although Anzû is alternately depicted as a lion-headed eagle.

Anzu (auch Zu; sumerisch an(IM)-dugud) ist die Bezeichnung eines Wesens der mesopotamischen Mythologie und bedeutet "mächtige/starke Wolke". Bei dem akkadischen Begriff handelt es sich um ein Lehnwort, dessen ursprüngliche Bedeutung ungeklärt ist. Der sumerische Name ist Imdugud.


History.

Two options were examined for the route: a direct line along the course of the Rhine would have been cheaper. This would have passed through a sparsely populated area, which would have produced few passengers. Half a century later this route was used by the Rhine Bank Railway ("Rheinuferbahn") built by another "Cologne-Bonn railway" ("Köln-Bonner Eisenbahnen")—now line 16 of the Cologne and Bonn Stadtbahns.  Another option was built, a 29 km-long line, later part of the West Rhine line ("Linke Rheinstrecke"). It runs in a wide arc through Roisdorf, Sechtem, Brühl and Kalscheuren to St. Pantaleon station in Cologne. This terminal station was built immediately after passing through the Pantaleon gate of the medieval Wall. The site for Bonn station was strongly debated. The location in Poppelsdorfer Allee was finally selected, because it was easier to extend the line from there to the south.  The first earthworks were built in March 1842. The line was opened on 15 February 1844 after a grand ceremony of inauguration on 13 February. From the summer of 1844 six daily pairs of trains ran. The first four locomotives came from Manchester.

Extension to Rolandseck.

In 1844, the BCE increased its capital to fund an extension to Koblenz and the shares were oversubscribed fourfold. Construction of the new route, however, was delayed partly because Bonn University protested to the Prussian king Frederick William IV against the fragmentation of Poppelsdorfer Allee (avenue) on its land. The king finally commissioned the landscape architect Peter Joseph Lenné to design of the intersection of the railway and Poppelsdorfer Allee.  The BCE was authorised on 4 August 1854 to extend its line at least to Rolandseck. This was an important part of its success, as it was possible for travellers to change conveniently from train to steamship at the station. In addition the constriction of the Rhine Valley there made the construction of competing lines on the western side of the Rhine impossible. On 18 October 1855 the line was completed via Bad Godesberg and Mehlem to Rolandswerth and on 21 January 1856 the entire 14 km long extension to Rolandseck was opened.

Takeover of the company.

On 1 January 1857, the Bonn–Cologne Railway Company was acquired by the Rhenish Railway Company for 1.05 million Prussian thalers.  Forty years later with the "Köln-Bonner Eisenbahnen" (KBE) was established with a similar name (but with more modern spelling), but it was not related to the BCE.

The Bonn–Cologne Railway Company (, BCE) is a former German Railway company, founded in July 1837 in Bonn and granted a concession on 6 July 1840 to build and operate a railway line between Bonn and Cologne.

Die Bonn-Cölner Eisenbahn-Gesellschaft, kurz BCE, war ein deutsches Eisenbahnunternehmen, das im Juli 1837 in Bonn gegründet wurde und am 6. Juli 1840 die Konzession erhielt, eine Eisenbahnstrecke zwischen Bonn und Köln zu bauen und zu betreiben.


Original Story.

The story is about a high school girl, Kozue Ayuhara, who transferred to Fujimi Academy and tried out for the school volleyball team. She develops a friendship with her teammate Midori Hayakawa, and her talents impress coach Hongō more and more each day. Though she showcases extraordinary volleyball skills, she makes enemies with Katsuragi, the star of the current team. Kozue discovers that being at the top would bring stress, incompatibilities and other dilemmas into her life. Her high expectations of becoming the best volleyball player in the school, Japan and eventually the world, set the tone for the drama to follow.

Adaptations.

Anime.

DVD.

The anime was digitally remastered on DVD in 2003 from Amuse Video Inc. Low-priced edition released in 2007 from Columbia Music Entertainment.

Movies.

From 1970 to 1971, a total of 4 anime movies were spawned based on the series by Toho Co., Ltd and director Eiji Okabe.

Manga.

The original manga is re-printed by Shueisha in 2003.  The redraw by Ozawa for Shin Attack No.1 spans the following 3 volumes:

Live Action Drama.

In 2005 a live action drama based on "Attack No. 1" aired on TV Asahi. Ueto Aya, the famous Japanese actress and singer stars as Kozue Ayuhara.

Story.

The story is very similar to the original, but it has a few differences.  At the beginning of the manga series, Midori Hayakawa didn't like Kozue that much because Kozue was really good at volleyball (but they soon became best friends), but in the 2005 drama, Midori has bigger issues with Kozue. First of all, Midori was better at volleyball than Kozue at the start of this drama, and was very jealous when Kozue got called to come and play for Japan's national team (although at this point they didn't play any matches, but trained to become stronger). Secondly, Midori has a huge crush on Ichinose Tsutomu-kun. Midori had known Tsutomu-kun since she was very young, and when she found out that he liked Kozue, she was extremely jealous of Kozue. But when Tsutomu-kun died while saving a young boy, Midori's jealousy sort of evaporated. Thirdly, when Kozue helped some girls who were in her volleyball team, Fujimi, from a drunken man, she became popular, and got the No. 1 tracksuit for Fujimi, Midori was very jealous, so she didn't tell Kozue that Kozue had been taken out of Japan's volleyball team because, replacing her, Midori had been called to play for Japan. Despite all this jealousy from Midori, Kozue and she are best friends, and in the end get to play together for Japan, as Kozue is called back.  Another difference is that Kozue injures her leg very badly and has to have surgery, but recovers fully. Also, in this drama, it doesn't reveal if Japan won worldwide, since it ends where Japan are playing Brazil.

Spinoffs.

In 1977 Fumio Kurokawa, Eiji Okabe and writer Haruya Yamazaki helmed Attack on Tomorrow (based on a new story by "Hana no Ko Lunlun" creator Shiro Jinbo) for the Nippon Animation studio, but it didn't come close to matching the success of the original series.  In 1984 Kazuyuki Okaseko directed Attacker You! for the Knack animation studio; while not an official spinoff of "Attack No. 1", "Attacker You!" invited the inevitable comparisons with the earlier series, although the latter was heavier on comedic elements. In addition, the screenwriters for the Italian version created a relationship between that series and Attack No. 1 that was not present in the original Japanese: they rewrote You Hazuki (Mila) as a cousin of Kozue, who was renamed "Mimi Ayuhara" in the Italian dub of Attack No. 1. This "Voltron"-style reworking of the story of "Attacker You!" by the Italian dubbing staff carried over into the French and Spanish versions of the anime. To compound the confusion, the heroine of "Attack on Tomorrow" is named Mimi in both the Japanese and Italian versions (although she is renamed Virginie in the French version).

Reaction.

This series was practically responsible for the explosion of the shōjo subgenre from 1960s and on. It was originally screened in evening prime time with a ~20% viewership, and the record with its iconic opening theme, sung by Kumiko Oosugi, had about 700 thousand sales. There were countless series that followed the same concept, but shifted the focus to different sports. Ace wo Nerae! for tennis, Yawara! A Fashionable Judo Girl for judo are just some examples of series that appeared in the decades after the fading of this series.  The show has received numerous awards. On September 23, 2005 it was voted ""TV Asahi Top Anime"" placing 61 out of 100. On October 13, 2006 it was voted ""Japanese Favorite TV Anime"" placing 9 out of 100 among celebrities.  This show also had a profound impact not only for being a sport spirited (supokon) anime in Japan, but had a strong influence long after the series ended. Italian professional volleyball player, Francesca Piccinini, is one such example of someone inspired by the series. (In Italy, the anime was shown on TV in the 1980s under the title "Mimi e la nazionale della pallavolo". It was also known as "Mila Superstar" in Germany and other countries, "Les Attaquantes" in French, "La Panda de Julia" in Spanish and "TAKKITAKKI" in Uzbekistan.)  Kazuko Suzuki describes "Attack No. 1" as an "innovation on the campus story", where a heroine would go to college and meet her future husband. She describes Kozue as "psychologically independent", as Kozue has realised that she must strive to create her own happiness and continues to strive on after her boyfriend's death.

The anime is an adaptation of Urano's 1968 volleyball manga serialized in Weekly Margaret Magazine under the same name. Urano was considered one of the founders of shōjo anime. And the series was introduced not only to push the older female manga fan base (as opposed to the significantly younger audience for magical girl series such as Sally, the Witch) into the anime mainstream, but also capitalizes on the boom of the gold medal Japanese women's volleyball team in the 1964 Olympics. The show did stand out in an era dominated by shōnen adventures and sci-fi anime, and was well received in the anime-friendly television markets of France (as ""Les Attaquantes""), Italy, (where it was originally retitled ""Quella magnifica dozzina"" and later ""Mimì e la nazionale di pallavolo"", where Kozue was renamed Mimì) and Germany (where it was retitled as ""Mila Superstar"", where Kozue was renamed Mila). The name Mila came from the immensely popular Italian version of 1984's Attacker You!, in which the main character, You Hazuki, was renamed Mila.

Mila Superstar (jap., "Atakku No. 1") ist eine Manga-Reihe von Chikako Urano, die unter anderem als Anime-Fernsehserie adaptiert wurde. Die Serie handelt von der anfangs 12-jährigen Volleyballspielerin "Mila Ayuhara". Das Werk ist den Genres Sport, Shōjo und Drama zuzuordnen und hat für das Sport-Genre eine besondere Bedeutung, da es dies in die an Mädchen gerichtete Manga-Sparte eingeführt hat.


Biography.

Hansson published his first works, "Dikter" (""Poems"") in 1884 and "Notturno" in 1885. In those he expressed a celebration of the natural beauty and folk culture of his native province Skåne, southern Sweden. The refined poetry did not fit the Swedish realism of the 1880s-90s and gained little attention. Hansson followed up with the decadent "Sensitiva Amorosa" (1887), a collection of morbid, erotic sketches that shocked the Sweden of his day. The reaction from the public was harsh, and Hansson left his country for Germany in 1889. He would then continue to live abroad for the remainder of his life, in countries such as Switzerland and Turkey (where he also died).

Ideas and works.

In the period following the notorious "Sensitiva Amorosa" (1887) he proclaimed himself an adherent of Nietzschean ideas, a view he made public with the cycle of poems "Ung Ofegs visor" (1892). Here he voiced his contempt of the general crowd and belief in the "Übermensch". Hansson, together with Georg Brandes was instrumental in calling attention to Nietzsche's works in Germany, and he also helped publicize Strindberg's work in German magazines at a point when the latter was not appreciated in Sweden. The two men rapidly became enemies, though, after Strindberg moved to Berlin in 1892.  While in Germany, he wrote and published works in German, Danish and Norwegian, for example "Fatalistische Geschichten" (German, 1890) which was published the same year in Danish as "Skæbnenoveller". Other German language works during this period included "Im Huldrebann" (1895), "Meervögel" (1895), "Der Weg zum Leben" (1896; also in Swedish, "Vägen till lifvet", 1896), and "Der Schutzengel" (1896).  Later in the 1890s he came to loathe Germany, and a hatred of people grew to fanatical proportions, manifesting itself in anti-semitism among other things. For a short period he expressed an adherence to Catholicism. These peculiarities further alienated him from contemporary Sweden. He did however gain some recognition in Germany thanks to his German wife Laura (1854–1928; pseudonym Laura Marholm), who spread Hansson's works to a larger audience.

Legacy.

A productive writer, his writings are uneven. However, he is considered today a pioneer within modern Swedish poetry, who reshaped nature poetry; he has sometimes been called the only one among late-19th-century Swedish poets who really absorbed the influence of French Symbolism and "fin-de-siècle" moods. In 1906 Vilhelm Ekelund, a major poet of the next generation, published a paeanic poem hailing him as the like of Pindar, the bard of his province and a poetic forerunner. Ekelund, like Hansson, was a native of the rural southern province of Scania and felt in opposition to the literary fashions of Stockholm; he felt these had rejected Hansson and driven him into exile. From this point on, Ola Hansson began to be reappraised, and in his final years an (unsatisfying) edition of his collected works began to appear in Sweden (greeted by the author's angry pointing out of its shortcomings in newspaper articles dispatched from his exile). He has remained, in particular, an invoked hero of Scanian writers.  In 1913 he was awarded the first scholarship in memory of Gustaf Fröding, elected by Swedish university students.

Ola Hansson (12 November 1860, Hönsinge, Sweden – 26 September 1925, Büyükdere, Turkey) was a Swedish poet, prose writer, and critic.

Ola Hansson (* 12. November 1860 in Hönsinge (Grönby), Schweden; † 26. September 1925 in Büyükdere am Bosporus) war ein schwedisch-deutscher Schriftsteller.


Origins.

The origin of the name Googie dates to 1949, when architect John Lautner designed the Hollywood coffee shop Googies, which had distinct architectural characteristics. The name "Googie" had been a family nickname of Lillian K. Burton, the wife of the original owner, Mortimer C. Burton.  Googies was located at the corner of Sunset Boulevard and Crescent Heights in Los Angeles but was demolished in 1989. The name Googie became a rubric for the architectural style when editor Douglas Haskell of "House and Home" magazine and architectural photographer Julius Shulman were driving through Los Angeles one day. Haskell insisted on stopping the car upon seeing Googies and proclaimed "This is Googie architecture." He popularized the name after an article he wrote appeared in a 1952 edition of "House and Home" magazine.  Though Haskell coined the term Googie and was an advocate of modernism, he did not appreciate the Googie aesthetic. In his article he used the fictional Professor Thrugg's overly effusive praise to mock Googie, at the same time lampooning Hollywood, which he felt informed the aesthetic.

History.

Googie's beginnings are with the Streamline Moderne architecture of the 1930s. Alan Hess, one of the most knowledgeable writers on the subject, writes in "Googie: Ultra Modern Road Side Architecture" that mobility in Los Angeles during the 1930s was characterized by the initial influx of the automobile and the service industry that evolved to cater to it. With car ownership increasing, cities no longer had to be centered on a central downtown but could spread out to the suburbs, where business hubs could be interspersed with residential areas. The suburbs offered less congestion by offering the same businesses, but accessible by car. Instead of one main store downtown, businesses now had multiple stores in suburban areas. This new trend required owners and architects to develop a visual imagery so customers would recognize it from the road. This modern consumer architecture was based on communication.  The new smaller suburban drive-in restaurants were essentially architectural signboards advertising the business to vehicles on the road. This was achieved by using bold style choices, including large pylons with elevated signs, bold neon letters and circular pavilions. Hess writes that because of the increase in mass production and travel during the 1930s, Streamline Moderne became popular because of the high energy silhouettes its sleek designs created. These buildings featured rounded edges, large pylons and neon lights, all symbolizing, according to Hess, "invisible forces of speed and energy", that reflect the influx of mobility that cars, locomotives and zeppelins brought.  Streamline Moderne, much like Googie, was styled to look futuristic to signal the beginning of a new era – that of the automobile and other technologies. Drive-in services such as diners, movie theaters and gas stations built with the same principles developed to serve the new American city. Drive-ins had advanced car-oriented architectural design, as they were built with an expressive utilitarian style, circular and surrounded by a parking lot, allowing all customers equal access from their cars. These developments in consumer-oriented design set the stage for Googie during the 1950s, since during the 1940s World War II and rationing caused a pause of development because of the imposed frugality on the American public.  With the increasing prosperity of the United States during the 1950s, however, American designers celebrated this new affluence with optimistic designs. The development of nuclear power and the reality of spaceflight captivated the public's imagination of the future. Googie architecture exploited this trend by incorporating energy into its design with elements such as the boomerang, diagonals, atomic bursts and bright colors. According to Hess, commercial architecture was influenced by the desires of the mass audience. The public was captivated by rocket ships and nuclear energy, so, in order to draw their attention, architects used these as motifs in their work. Buildings had been used to catch the attention of motorists since the invention of the car, but during the 1950s the style became more widespread. The identity of the first architect to practice in the style is often disputed, though Wayne McAllister was one early and influential architect in starting the style with his 1949 Bob's Big Boy restaurant in Burbank. McAllister got his start designing fashionable restaurants in Southern California, which led to a series of Streamline Moderne drive-ins during the 1930s; though he did not have formal training as an architect, he had been offered a scholarship at the architecture school at the University of Pennsylvania because of his skill. McAllister developed a brand for coffee shop chains by developing a style for each client – which also allowed customers to easily recognize a store from the road.  Along with McAllister, the prolific Googie architects included John Lautner, Douglas Honnold, and the team of Louis Armet and Eldon Davis of Armet & Davis firm, which they founded in 1947. Also instrumental in developing the style was designer Helen Liu Fong, a member of the firm of Armet and Davis. Joining the firm during 1951, she created such Googie interiors as those of the Johnie's Coffee Shop on Wilshire Boulevard and Fairfax Avenue, the first Norms Restaurant, and the Holiday Bowl on Crenshaw Boulevard.  America's interest in spaceflight had a significant influence on the unique style of Googie architecture. During the 1950s, space travel became a reality for the first time in history. In 1957 the Soviet Union launched Sputnik I, the first human-made satellite to achieve Earth orbit. The Soviet Union then launched Vostok 1 carrying the first human, Yuri Gagarin, into Earth orbit in 1961. The Eisenhower and Kennedy administrations made competing with the Soviets for dominance in space a national priority of considerable urgency and importance. This marked the beginning of the so-called "Space Race".  Googie-style signs usually boast sharp and bold angles, intended to suggest the aerodynamic features of a rocket ship. Also, at the time, the unique architecture was a form of architectural expressionism, as space rockets were technological novelties at the time.

Characteristics.

Cantilevered structures, acute angles, illuminated plastic paneling, freeform boomerang and artist's palette shapes and cutouts, and tailfins on buildings marked Googie architecture, which was contemptible to some architects of then-current High Art Modernism, but had defenders during the post-Modern period at the end of the 20th century. The common elements that generally distinguish Googie from other forms of architecture are:  The boomerang shape was another design element that captured movement. It was used structurally in place of a pillar or aesthetically as a stylized arrow. Hess writes that the boomerang was a stylistic rendering of a directional energy field.  Editor Douglas Haskell described the abstract Googie style, saying that "If it looks like a bird, this must be a geometric bird." Also, the buildings must appear to defy gravity, as Haskell noted: "...whenever possible, the building must hang from the sky". Haskell's third tenet for Googie was that it have more than one theme—more than one structural system. Because of its need to be noticed from moving automobiles along the commercial strip, Googie was not a style noted for its subtlety.  One of the more famous Googie buildings is the Theme Building at Los Angeles International Airport (LAX), designed by James Langenheim of Pereira and Luckman and built during 1961.  One of the remaining Googie-styled drive-in restaurants, Harvey's Broiler (Paul Clayton, 1958), later Johnie's Broiler in Downey, California, was partially demolished in 2006. However, through the efforts of citizens, the city of Downey, and historic preservationists, the structure was rebuilt and reopened in 2009 as a Bob's Big Boy restaurant.  Another remaining example of Googie architecture still in operation is the main terminal at Washington Dulles International Airport, designed by Eero Saarinen in 1958. This terminal exemplifies the dramatic roof slope, large windows, and generous use of concrete, somewhat similar to Saarinen's TWA Flight Center.

Districts.

Classic locations for Googie style buildings are Miami Beach, Florida, where secondary commercial structures were adapted from the resort style of Morris Lapidus and other hotel designers; the first phase of Las Vegas, Nevada; and Southern California, where.

Wildwood, New Jersey.

The beachfront resort town of Wildwood, New Jersey, features an array of motel designs, colorfully described by such sub-styles as Vroom, Pu-Pu Platter, Phony Colonee and more. The district is known collectively as the Wildwoods Shore Resort Historic District by the State of New Jersey.  The term "doo-wop" was invented by New Jersey's Mid-Atlantic Center for the Arts during the early 1990s to describe the unique, space-age architectural style. Many of Wildwood's Doo-Wop motels were built by Lou Morey, who specialized in such designs. His Ebb Tide Motel, built during 1957 and demolished during 2003, is credited as the first Doo-Wop motel in Wildwood Crest.

Today.

After the 1960s, the architectural community rarely appreciated or accepted Googie, considering it too flashy and vernacular for academic praise, and so the architecture of the 1970s, especially the International Style, abandoned Googie. As Hess notes, beginning during the 1970s, commercial buildings were meant to blend into the urban environment and not attract attention. Since Googie buildings were part of the service industry, most developers did not think they were worth preserving as cultural artifacts. Despite the humble origins of Googie, Hess writes that, "Googie architecture is an important part of the history of suburbia." Googie was a symbol of the early days of car culture.  It was not until the 1990s that efforts were made to conserve Googie buildings. However, by that time it was too late to save some famous landmarks such as Googie's and Ship's Westwood, which had already been demolished. Despite the loss of those important landmarks, other famous Googie buildings, such as Pann's, Norm's, the Wich Stand, and some of the original Bob's Big Boy locations, have been preserved and restored.  In Wildwood, New Jersey, a "Doo Wop Preservation League" works with local business and property owners, city planning and zoning officials, and the state's historic preservation office, to help ensure that the remaining historic structures will be preserved. Wildwood's high-rise hotel district has been the first in the US to enforce "Doo Wop" design guidelines for new construction.  The architect Michael Hsu designed numerous restaurants for the Austin-based restaurant P. Terry's in the Googie style. Each location is uniquely designed, featuring oblique shapes, color, and large geometric roofs.

Influence.

Googie Architecture developed from the futuristic architecture of Streamline Moderne, extending and reinterpreting technological themes for the new conditions of the 1950s. While 1930s' architecture was relatively simple, Googie embraced opulence. Hess argues that the reason for this was that the vision of the future of the 1930s was obsolete by 1950 and thus the architecture evolved along with it. During the 1930s, Streamlined trains and Lincoln-Zephyrs had been advanced technology, and Streamline Moderne paralleled their smooth simplified aerodynamic exteriors. That simplicity may have represented the Depression era's forced frugality.  The eye-catching Googie style flourished in a carnival atmosphere along multi-lane highways, in motel architecture and above all in commercial signage. The influence of Googie was prominently seen in the early architecture and signage of Las Vegas (c. 1945–1970), where many of the same architects who designed Googie coffee shops in Los Angeles went on to design some of the seminal hotels and casinos in Las Vegas. Private clients were the main patrons of Googie. Ultimately, the style became unfashionable and, over time, numerous examples of the Googie style have either fallen into disrepair or been destroyed completely.  The exaggerated once-futuristic Googie style exemplified in "The Jetsons" cartoons, and the original Disneyland (which featured a Googie Tomorrowland) gave birth several decades later to retrofuturism. Googie was also the inspiration for the set design style of the Pixar movie "The Incredibles" and the animated television series "Johnny Bravo", "", "Dexter's Laboratory", "The Powerpuff Girls", "Futurama", and "My Life as a Teenage Robot", as well as the cover of the faux-memoir "Based on a True Story" by comedian Norm Macdonald.

Further reading.

Books are arranged in chronological order by year of publication:

External links.

Preservation groups working to save Googie architecture include

Googie ( ) architecture is a type of futurist architecture influenced by car culture, jets, the Space Age, and the Atomic Age. It originated in Southern California with the Streamline Moderne architecture of the 1930s, and was popular nationwide from the late 1940s to the early 1970s.

Googie (auch "populuxe") ist eine Form der Architektur und des Designs, die sich Ende der 1940er Jahre in Südkalifornien entwickelt hat und bis in die Mitte der 1960er Jahre fortbestand. Googie weist einen sehr futuristischen Stil auf und wurde stark durch die damalige amerikanische Autokultur, die noch in den Kinderschuhen steckende amerikanische Raumfahrt und das Atomzeitalter beeinflusst.


History.

In 1883, a group of railroad surveyors headed by S. L. Dolson and David Loring arrived in Rock Point, near present-day Gold Hill. They were charged with finding the best route through the Rogue Valley for the Oregon and California Railroad. Citizens of neighboring Jacksonville hoped that it would pass between their town and "Hanley Butte", near the present day Claire Hanley Arboretum. Such a move would have all but guaranteed prosperous growth for Jacksonville, but Dolson decided instead to stake the railroad closer to Bear Creek. The response from Jacksonville was mixed, but the decision was final. By November 1883, a depot site had been chosen and a surveying team led by Charles J. Howard was hard at work platting the new town. They completed their work in early December 1883, laying out 82 blocks for development.  James Sullivan Howard, a merchant and surveyor, claimed to have built the town's first building in January 1884, though blacksmith Emil Piel was advertising for business at the "central depot" in the middle of December 1883. Others point out the farms of town founders Iradell Judson Phipps and Charles Wesley Broback, which were present before the town was platted. Regardless, on February 6, 1884 (less than a month after it was built), J. S. Howard's store became Medford's first post office, with Howard serving as postmaster. The establishment of the post office led to the incorporation of Medford as a town by the Oregon Legislative Assembly on February 24, 1885, and again as a city in 1905. Howard held the position of postmaster for Medford's first ten years, and again held the post upon his death on November 13, 1919.  The beginning of the 20th century was a transitional period for the area. Medford built a new steel bridge over Bear Creek to replace an earlier one which washed away three years before. Without a bridge, those wanting to cross had to ford the stream, typically using a horse-drawn wagon; the first automobile did not arrive in Medford until 1903. Pharmacist George H. Haskins had opened a drugstore just after the town was platted, and in 1903 he allowed the Medford Library Association to open a small library in that store. Five years later the library moved to Medford's new city hall, in another four years, Andrew Carnegie's donation allowed a dedicated library to be built. Construction on the Medford Carnegie Library was completed in 1912.  In 1927, Medford took the title of county seat of Jackson County away from nearby Jacksonville.  Until the 1960s, Medford was a sundown town where African Americans and other nonwhites were not allowed to live or stay at night.  In 1967, Interstate 5 was completed immediately adjacent to downtown Medford to replace the Oregon Pacific Highway. It has been blamed for the decline of small businesses in downtown Medford since its completion, but nevertheless remains an important route for commuters wishing to travel across the city. In fact, a study completed in 1999 found that 45% of vehicles entering I-5 from north Medford heading south exited in south Medford, just three miles (5 km) away.  The high volume of traffic on Interstate 5 led to the completion of a new north Medford interchange in 2006. The project, which cost about $36 million, improved traffic flow between I-5 and Crater Lake Highway. Further traffic problems identified in south Medford prompted the construction of another new interchange, costing $72 million. The project began in 2006 and was completed in 2010.  Since the 1990s, Medford has dedicated an appreciable amount of resources to urban renewal in an attempt to revitalize the downtown area. Several old buildings have been restored, including the Craterian Ginger Rogers Theater and the Prohibition era Cooley-Neff Warehouse, now operating as Pallet Wine Company, an urban winery. Streets have been realigned, new sidewalks, traffic signals, and bicycle lanes were installed, and two new parking garages have been built. Downtown Medford also received a new library building to replace the historic Medford Carnegie Library and now boasts satellite campuses for both Rogue Community College and Southern Oregon University.  Economic problems in 2008 and 2009 put a hold on "The Commons" project, a collaboration between the city of Medford and Lithia Motors. The project, one of the largest undertaken in downtown in recent years, aims to provide more parking, recreation, and commerce to the area. Before the work stopped, the Greyhound Bus depot was moved and $850,000 was spent replacing water lines. The Commons is anchored by the new corporate headquarters of Lithia Motors, Inc. (NYSE: LAD). Included in The Commons are two public park blocks slated to be informal public gathering areas as well as an area for special events such as the farmer's market. Ground breaking for the project was April 22, 2011, with a Phase 1 completion date of 2012.

Geography.

Medford is located approximately north of the northern California border at 42.3°N. According to the United States Census Bureau, the city has a total area of, of which, is land and is water. The Pacific Ocean is about west of the city, and is the nearest coast. The nearest river is the Rogue River (), and the nearest lake is Agate Lake ().  Nearby cities include Grants Pass, Klamath Falls, Ashland, Roseburg, Redding (California), and Crescent City (California). Medford is from Salem, the capital of Oregon.  The nearest interstate highway is I-5, which runs northwest-southeast through the center of the city. The nearest junctions with other interstate highways are with I-84 in Portland () and I-80 in Sacramento (). Medford also serves as a junction for Oregon Routes 99, 238, 62, and nearby 140 ().  Medford is also situated in the remains of ancient volcanic flow areas as demonstrated by the Upper and Lower Table Rock lava formations and nearby Mount McLoughlin and Crater Lake, which is the remains of Mount Mazama. In the late spring/early summer the snow on the slopes of Mount McLoughlin melt away into a formation called the "angel wings," which Native American tribes interpreted as an osprey, an indicator of the beginning of salmon run.

Climate.

Medford sits in a rain shadow between the Cascade Range and Siskiyou Mountains called the Rogue Valley. As such, most of the rain associated with the Pacific Northwest and Oregon in particular skips Medford, making it drier and sunnier than the Willamette Valley. Medford's climate is considerably warmer, both in summer and winter, than its latitude would suggest, with a Mediterranean climate (Köppen "Csa"). Summers are akin to Eastern Oregon, and winters resemble the coast. Here, summer sees an average of 57 afternoons over and eleven afternoons over. In August 1981, the high temperature reached over for four consecutive days, with two days reaching. Freezing temperatures occur on 69 mornings during an average year, and in some years there may be a day or two where the high stays at or below freezing; the average window for freezing temperatures is October 23 through April 23. The city is located in USDA hardiness zone 8. Medford also experiences temperature inversions in the winter which during its lumber mill days produced fog so thick that visibility could be reduced to less than five feet. These inversions can last for weeks; some suggest this is because the metropolitan area has one of the lowest average wind speeds of all American metropolitan areas. The heavy fog returns nearly every winter with the inversions lowering air quality for several months without relief.  Medford residents do experience snowfall during the winter months; however, due to the weather shadow effect it only averages and melts fairly quickly. In the past, the city has seen seasonal snowfall totals reach in 1955–1956. That season was also the wettest "rain year" with a total of ; this immediately followed the driest "rain year" since records started in 1911 from July 1954 to June 1955 when only was recorded. By far the wettest month has been December 1964 with ; no other month has had more than. The wettest day on record has been December 2, 1962 with.  The lowest recorded temperature in Medford was on December 13, 1919, and the highest recorded temperature was on July 20, 1946. There is significantly more diurnal temperature variation in summer than in winter, with the difference between January high and low average temperatures being only, but the difference between August high and low average temperatures is.

Government and leadership.

Medford has a council-manager style of government. The governing body of Medford consists of an elected mayor and eight city council members, two from each of four wards. The council hires a professional city manager to run the day-to-day operations of the city including the hiring of city staff.  The mayor and council members are not paid, but are reimbursed for expenses.

Mayor.

The current mayor of Medford is Gary Hale Wheeler. He was first elected mayor in November 2004 with 16,653 of 28,195 votes (59%), reelected in 2008 with 21,651 of 22,211 votes (97.5%), reelected again in 2012 with about 97 percent of the votes, and reelected again in 2016 with about 56 percent of the votes for a term ending in December 2020.  Wheeler is an optometrist with an office in Medford. Prior to his election, he spent thirteen years on the Medford Urban Renewal Agency Board and served in the US Army where he also practiced optometry.

City council.

Medford municipal code divides the city into four wards, each represented by two city council members. Every biennium, one member from each ward is elected to serve a four-year term, creating an overlap where half of the eight-member council remains in office while the other half must campaign for reelection.

City manager.

The city manager position is held by Brian Sjothun, the former Medford Parks and Recreation Director.

Economy.

Medford's economy is driven primarily by the health care industry. The two major medical centers in the city, Asante Rogue Regional Medical Center and Providence Medford Medical Center, employ over 2,000 people. As Medford is also a retirement destination, assisted living and senior services have become an important part of the economy.  In the past, Medford's economy was fueled by agriculture (pears, peaches, viticulture grapes) and timber products. The largest direct marketer of fruits and food gifts in the United States, Harry and David Operations Corp., is based in Medford. It is the largest employer in Southern Oregon, with 1,700 year round and about 6,700 seasonal employees in the Medford area. The recreational legalization of OR marijuana in 2012 has been a special boom for area agriculture. Of the more than two million pounds of marijuana grown in the state each year, $2 million a month is sold from Medford area retailers. Lithia Motors, a Fortune 500 company and the 4th largest auto retailer in the U.S., has been headquartered in Medford since 1970 and was started in Ashland in 1946, named for a nearby springs.  Other companies located in the city include Benchmark Maps, Falcon Northwest, Pacific International Enterprises, and Tucker Sno-Cat. Medford and the surrounding area is home to the expanding Oregon wine industry, which includes the Rogue Valley AVA.  The city's historic downtown has undergone an economic recovery in recent years, using a combination of public funds and private investment. The revitalization effort led to the renovation of underutilized downtown properties and to the construction of a new Lithia Motors headquarters building in the district, completed in 2012. Hospitality company The Neuman Hotel Group, based in nearby Ashland, OR, took over management and ownership of a large downtown motel, The Red Lion, in 2014, that had fallen into disrepair. Neuman Hotel Group renovated the property and renamed it Inn At the Commons.

Demographics.

2016 census estimate.

The Census Bureau estimate for 2016 calculated an 8.9% growth in Medford since 2010 with 81,636 people in 29,751 households. Through 2015, the Census Bureau estimates that there were 7,427 veterans and 7.3% foreign-born persons. Among persons aged 25 or more, 86.4% had a high school degree or higher and 23.7% had a bachelor's degree or higher. Of people 16 or older, 61% of people held employment, and the median income was $41,931 (in 2015 dollars).

2010 census.

As of the census of 2010, there were 74,907 people, 30,079 households, and 19,072 families residing in the city. The population density was. There were 32,430 housing units at an average density of. The racial makeup of the city was 86.0% White, 0.9% African American, 1.2% Native American, 1.5% Asian, 0.5% Pacific Islander, 6.0% from other races, and 3.9% from two or more races. Hispanic or Latino of any race were 13.8% of the population.  There were 30,079 households of which 31.9% had children under the age of 18 living with them, 45.1% were married couples living together, 13.1% had a female householder with no husband present, 5.3% had a male householder with no wife present, and 36.6% were non-families. 28.9% of all households were made up of individuals and 12.4% had someone living alone who was 65 years of age or older. The average household size was 2.44 and the average family size was 2.98.  The median age in the city was 37.9 years. 24.1% of residents were under the age of 18; 9% were between the ages of 18 and 24; 25.4% were from 25 to 44; 25.3% were from 45 to 64; and 16.2% were 65 years of age or older. The gender makeup of the city was 48.4% male and 51.6% female.

Points of interest.

Alba Park.

The oldest park in Medford, Alba Park is located at the intersection of Holly and Main in downtown Medford was deeded to the city by the railroad company in 1888. Known as "Library Park" after the 1911 construction of the Medford Carnegie Library, it was later renamed for Medford's sister city, Alba, Italy. The park contains a gazebo, a statue of a boy with two dogs surrounded by a fountain pool, and a Japanese gun from World War II.  The annual Pear Blossom Run ends across the street from Alba Park at the Medford city hall, with an all-day fair conducted in the park itself.

Bear Creek Corporation/Harry & David.

Medford is the birthplace of Bear Creek Corporation, known around the world for its fruit-laden gift baskets, especially locally grown pears. Tours of the plant are open to the public.

Bear Creek Park.

At nearly, this south Medford park is the second largest in the city (Prescott Park is the largest at 1,740 acres). Bear Creek Park is bordered on the west by Bear Creek and the Bear Creek Greenway. On the park grounds are four tennis courts, a skatepark, a dog park, an amphitheater, a large playground, a BMX track, and a community garden.  Since 1925, the property hosting Bear Creek Park has been used for several purposes. The first section was purchased from a resident of Medford named Mollie Keene. The town used it for incinerating garbage until 1939. After that, it spent 20 years as a girl scout day camp before seeing private ownership again for a few years. Concerns about pollution in the Bear Creek received media attention in 1963 and the city purchased more property. In 1988, a playground designed by Robert Leathers of New York was built.

The Commons.

The Commons is a public park built in the city's historic downtown district adjacent to the Lithia Motors headquarters building. It has been used as a venue for community activities. It was completed in 2012.

I.O.O.F. Eastwood Historic Cemetery.

The cemetery, established in 1890, lies on just north of Bear Creek Park. It includes the grave of J. S. Howard and other former residents of Medford. The Parks and Recreation Department offers free tours of the cemetery.

Claire Hanley Arboretum.

The Claire Hanley Arboretum was first planted in 1962 by Claire and Mary Hanley, two sisters raised on the historic "Michael Hanley Farmstead" along present-day Oregon Route 238. It is part of a larger agriculture research center belonging to the Oregon State University. Located on the grounds are species of the dogwood "cornus mas", the dove tree, and the Sorrel tree.

Medford Carnegie Library.

The Medford Carnegie Library is a two-story library building located in downtown Medford. It was erected in 1911 thanks to a gift from Andrew Carnegie, but was vacated in 2004 after a new library building was constructed near the Rogue Community College extension campus, also in downtown Medford. Currently, there are plans to use the building for class reunions, public meetings, and for annexing some city offices from the neighboring City Hall building.

Roxy Ann Peak and Prescott Park.

One of Medford's most prominent landmarks, Roxy Ann Peak is a 30-million-year-old mountain located on the east side of the city. Its summit is above sea level. It was named for Roxy Ann Bowen, an early settler who lived in its foothills.  A significant area of Roxy Ann Peak (including the summit) is enclosed in Medford's largest park, a protected area called Prescott Park. The land was set aside in the 1930s and named in honor of George J. Prescott, a police officer killed in the line of duty in 1933.  The most commonly used trail on Roxy Ann Peak, part of Prescott Park, climbs about from the beginning of the footpath at the second gate to a height of about. The trail is about one-way, and provides a panoramic view of the Rogue Valley.

Vogel Plaza.

Finished in 1997 at the intersection of E. Main St and Central Ave in downtown Medford, Vogel Plaza has quickly become a center of activity for many local events. One such event is the annual Art in Bloom festival, which is held around Mother's Day each year. During the two-day festival, over 10,000 people attend and more than 75 artists showcase their work while surrounded by live entertainment, workshops, food, and children's activities.

Education.

Medford is served by Medford School District 549C and has two main high schools and an alternative high school: South Medford High School, North Medford High School, and Central Medford High School, respectively. In addition to the two public high schools, Medford has several private high schools. Two of the largest are St. Mary's School and Cascade Christian High School. In addition, there are 14 public elementary schools and two public middle schools, (Hedrick and McLoughlin). Medford 549C has over 13,000 students enrolled.  Crossroads School is a private, alternative high school operating in Medford along with three others operated or affiliated with a church; Cascade Christian High School, St. Mary's High School, and Rogue Valley Adventist School. Grace Christian and Sacred Heart School are private elementary and middle schools in Medford.  In 1997, Grants Pass-based Rogue Community College (RCC) completed construction on a seven-building campus spanning five blocks in downtown Medford. Nearby Ashland-based Southern Oregon University collaborated with Rogue in 2007 on the construction of an eighth building which will offer third- and fourth-year courses to students. Pacific Bible College, formerly named Dove Bible Institute, was founded in Medford in 1989.

Crime and law enforcement.

The Federal Bureau of Investigation publication "Crime in the United States" provides unranked statistical data from law enforcement agencies across the United States. The table to the right are statistics reported for the city of Medford for the years 2004 through 2007. The FBI data for 2017 ranks Medford as the most dangerous city in Oregon.  As with any city that experiences rapid growth, Medford has seen a recent surge in gang activity and organized crime in the past decade. Methamphetamine use is a problem in Medford and southern Oregon and is believed to play a role in numerous property crimes, including identity theft.

Police Department.

The Medford Police Department has 103 sworn police officers supported by a staff of 33 civilian employees and 30 volunteers.

Media.

Radio.

AM  FM

Newspaper.

The principal newspaper of Medford and Jackson County is the "Mail Tribune", which is owned by Rosebud Media. It began circulation in 1909 after a merger between the Medford-based "Mail" and the Ashland-based "Tribune"., an average of 37,000 copies of the "Mail Tribune" are in circulation each day.

Sports.

In addition to having several athletes who were famous natives or residents of the city, Medford played host to several professional sports teams since 1948. It was the home city for several professional baseball teams, most notably the Medford A's, later known as the Southern Oregon Timberjacks, of the Northwest League. They were a short-season single-A minor league baseball affiliate of the Oakland Athletics who played at historic Miles Field from 1979 to 1999 before relocating to Vancouver, British Columbia. There is currently talk about bringing an expansion franchise to Medford, but there is no suitable stadium to host such a team at the moment.  Medford also hosted a professional indoor football team from the National Indoor Football League known as the Southern Oregon Heat in 2001. They played in the Compton Arena at the Jackson County Expo Park.  Medford's Lava Lanes bowling alley previously hosted the PBA's Medford Open every January, which aired on ESPN, the last Open took place in 2009.  Medford is the home of a Junior A hockey team, the Southern Oregon Spartans, who plays their home games at The RRRink in south Medford.  Medford is host to the Medford Rogues, a collegiate wood bat baseball team, who plays their home games at Harry and David Field  Each year, Medford hosts the Rogue Memorial Challenge on Memorial Day Weekend. This event is primarily based at US Cellular Community Sports Park, however uses fields across the city throughout the tournament.

Transportation.

The city of Medford is responsible for over of roads within its boundaries.

Air.

Medford is home to Oregon's 3rd busiest airport, the Rogue Valley International-Medford Airport (airport code MFR). Over 1 million passengers use the airport annually, Medford airport has two asphalt runways which handle about sixty daily flights from five airlines. Medford's Airlines are Alaska Airlines (operated by Horizon Air), United Express, Delta Connection, United, American Airlines,and Allegiant Airlines.

Bus.

The greater Medford metro area has been served by Rogue Valley Transportation District (RVTD) since 1975. The bus system operates eight routes from Monday to Saturday, four of which travel to nearby cities Central Point, Jacksonville, Phoenix, Talent, Ashland, and White City. All routes connect at the Front Street Transfer Station, which since October 2008 has contained Medford's Greyhound Bus depot.

Rail.

There are no passenger trains that route through Medford. Amtrak trains serve nearby Klamath Falls. People in Medford can board the Southwest POINT Klamath Shuttle Amtrak Thruway Motorcoach (an intercity bus route) at the RVTD Front Street Transfer Station for a two and a half hour ride and guaranteed connection with Amtrak's "Coast Starlight" train at the Klamath Falls Amtrak Passenger Rail Station. The last direct service was provided by the Southern Pacific Railroad to Portland, ending in 1956.

Maritime.

The nearest maritime port is the Port of Coos Bay, which is away.  The nearby Rogue River is monitored for flooding at the "Gold Ray Dam", a decommissioned hydroelectric dam built in 1906 near Gold Hill. The National Weather Service identifies as the flood level. At this depth, navigability between the Pacific Ocean and the Rogue Valley is limited. Even a small "handysize" freighter is unable to make the trip, and any ship hauling cargo to Medford would have to have a much smaller draw. Therefore, Medford does not have a nearby maritime port.

Medford in popular culture.

In the 1944 movie "Double Indemnity", the fictional character Mr. Jackson said: "I'm a Medford man – Medford, Oregon. Up in Medford, we take our time making up our minds."

Sister city.

Shortly after the sister city program was established in 1960, Medford was paired up with Alba, Piedmont, Italy. The cities are apart and were paired based on 1960 similarities in population, geography, and climate.  Every other year, both Alba and Medford take turns exchanging students. During March and April of one year, students from Medford's high schools will visit Alba and stay with host families. Likewise, Alba students will visit Medford every other year. Sixty-seven Medford students applied for the 2007 trip to Italy, but only 24 were selected.  It was former mayor of Medford John W. Snider who selected Alba during his 1957–1962 term, making a satellite phone call to Alba's former mayor Osvaldo Cagnasso.

Medford is a city in, and the county seat of, Jackson County, Oregon, in the United States. As of July 1, 2019, the city had a total population of 83,072 and a metropolitan area population of 217,479, making the Medford MSA the fourth largest metro area in Oregon. The city was named in 1883 by David Loring, civil engineer and right-of-way agent for the Oregon and California Railroad, after Medford, Massachusetts, which was near Loring's hometown of Concord, Massachusetts. Medford is near the middle ford of Bear Creek.

Medford ist eine Stadt im Jackson County im US-Bundesstaat Oregon. Sie umfasst 56,2 km2 (21,7 mi2) des "Bear Creek Valley" in Süd-Oregon. Medford wurde in den frühen 1880ern als „Middle Ford“ für eine neue Eisenbahnstrecke von Oregon nach Kalifornien, die durch das Zentrum von Bear Creek Valley verlief, gebildet. Der aus Medford, Massachusetts stammende Eisenbahningenieur David Loring kürzte den Namen „Middel Ford“ zu dem seiner Heimatstadt: Medford.


Globe front sight.

The globe front sight consists of a hollow cylinder with a threaded cap, which allows differently shaped interchangeable front sight elements to be used. Most common are posts of varying widths and heights or rings or holes of varying diameter — these can be chosen by the shooter for the best fit to the target being used. Tinted transparent plastic insert elements may also be used, with a hole in the middle; these work the same way as an opaque ring, but provide a less obstructed view of the target. High end target front sight tunnels normally also accept accessories like adjustable aperture and optical systems to ensure optimal sighting conditions for match shooters. Some high end target sight line manufacturers also offer front sights with integrated aperture mechanisms.

Complementing rear sight element.

The complementing rear sight element may be an open type iron sight or an aperture sight as used in ghost rings and target aperture sights such as a target shooting diopter sight.

Diopter and globe sighting line principle.

The use of round rear and front sighting elements for aiming at round targets, like used in ISSF match shooting, takes advantage of the natural ability of the eye and brain to easily align concentric circles (circles all having a common centre).  For optimal aiming and comfort the shooter should focus the aiming eye on the front sighting element. To avoid eye fatigue and improve balance the non-aiming eye should be kept open. The non-aiming eye can be blocked from seeing distractions by mounting a semi-transparent occluder to the diopter.  Even for the maximum precision, there should still be a significant area of white visible around the bullseye and between the front and rear sight ring (if a front ring is being used). Since the best key to determining center is the amount of light passing through the apertures, a narrow, dim ring of light can actually be more difficult to work with than a larger, brighter ring.  The precise sizes of the employed components are quite subjective, and depend on both shooter preference and ambient lighting, which is why target rifles come with easily replaceable front sight inserts, and adjustable aperture mechanisms.

A globe sight is a front sight component used to assist the aiming of a gun/device, usually those intended to launch projectiles, such as firearms, airguns, and crossbows. It is found in particular as a front sight element on rifles.

Ein Ringkorn ist ein Teil der Zieleinrichtung bei Gewehren (Luftgewehr oder Kleinkalibergewehr) beim Sportschießen. Ein Ringkorn befindet sich am vorderen Ende oben auf dem Lauf der Waffe innerhalb des sogenannten „Korntunnels“. Ein Ringkorn kann aus Glas, durchsichtigem Kunststoff oder aus Metall bestehen. In nebenstehender Abbildung wird ein Metall-Ringkorn gezeigt. In der Öffnung in der Mitte des Ringkornes zentriert der Schütze den Ringspiegel einer Schießscheibe. Im Ringkorn werden die schwarzen Ringe (hier die Ringe 4 bis 10) zentriert. Die Größe der Durchblicköffnung in der Mitte des Ringkornes kann mit unterschiedlichen Ringkörnern oder einem verstellbaren Ringkorn mit Irisblende variiert werden.


Plot.

In the small town of Sam Dent, British Columbia, a school bus hits a patch of ice, runs through a barrier and crashes into a lake, killing 14 children. The grieving parents are approached by an out-of-town lawyer, Mitchell Stephens, who is haunted by his dysfunctional relationship with his drug-addicted daughter. Stephens persuades the reluctant parents and bus driver Dolores Driscoll to file a class action lawsuit against the town and bus company for damages, arguing that the accident is a result of negligence in constructing the barrier or the bus.  The case depends on coaching the few surviving witnesses to say the right things in court, particularly Nicole Burnell, a 15-year-old paralyzed from the waist down as a result of the accident. Before the accident, Nicole was an aspiring musician and being sexually abused by her father, Sam.  One bereaved parent, Billy Ansel, distrusts Stephens and pressures Sam to drop the case; Nicole overhears their argument. In the pretrial deposition, Nicole unexpectedly accuses the bus driver Driscoll of speeding, halting the lawsuit given Driscoll's lack of deep pockets. Stephens and Nicole's father know she is lying but can do nothing. Two years later, Stephens sees Driscoll working as a bus driver in a city.

Production.

Adaptation.

Canadian director Atom Egoyan adapted the screenplay after his wife, actress Arsinée Khanjian, suggested he read Russell Banks' "The Sweet Hereafter". The novel is inspired by an incident in Alton, Texas, in 1989, in which a bus crash killed 21 students, leading to multiple lawsuits. Egoyan found it initially challenging to acquire the rights, as they had been optioned to another studio that was not actually producing it. Shortly before the option expired, novelist Margaret Atwood suggested to Egoyan that he meet with Banks personally after the director's success with the film "Exotica" (1994), and Banks was willing to grant him the rights. Egoyan later stated he was drawn to filming the novel because he felt film is for "confronting the most extreme things." As an Armenian Canadian, he also saw the story as a metaphor for the Armenian Genocide, in which those guilty had not accepted responsibility.  In adapting the novel, Egoyan changed the setting from Upstate New York to British Columbia, to help secure Canadian funding. He also added references to the story of "The Pied Piper of Hamelin" by Robert Browning, to emphasize how Egoyan saw "The Sweet Hereafter" as a "grim fairy tale." Nicole is seen reading "The Pied Piper" to children who later die in the accident. In that story, the Pied Piper leads all the children away, never to return, after their parents refuse to honour their debt to him. Egoyan wrote a new stanza in the "Pied Piper" style for the scene in which Nicole testifies Dolores was speeding, in which she describes her father's lips as "frozen as the winter moon." Egoyan also made Mitchell Stephens the main character and increased the importance of Stephens' daughter, and moved the reveal of incest between the Burnells to later in the film.

Filming.

The film was shot in British Columbia and Ontario, on a budget of $5 million. Funding came from the company Alliance Communications. Egoyan assembled many Canadian actors he had worked with in prior films, including Bruce Greenwood, Gabrielle Rose and Sarah Polley. Egoyan explained the benefit of working with a familiar cast, saying "When you’re working on a limited production schedule, it’s a comfort to know that you know the personalities involved, you know what they need as opposed to having to discover that and be surprised by that."  Ian Holm was cast as Mitchell Stephens after the actor originally set to play the character, Donald Sutherland, quit the project. In casting the part, Egoyan was inspired by Holm's "strangely compassionate, yet furtive and menacing" performance in "The Homecoming" (1973). Holm explained why he accepted the role, saying, "It's not often you get offered a leading role at age 65... This is my first in a movie," and afterwards said the film is "very touching" and "a masterpiece." Holm called his part challenging, as it was his first lead, but he found Egoyan and the Canadian actors to be great to work with.

Music.

The "Pied Piper" references influenced composer Mychael Danna's music, which uses a Persian ney flute along with old instruments such as recorders, crumhorns and lutes, creating "a pseudo-medieval score." The score thus combined Danna's interests in old and exotic music. Egoyan stated medieval-style music was used to make the film feel timeless, evoking Brothers Grimm fairy tales and avoiding the feel of a TV movie.  Polley's character, Nicole, is an aspiring singer before the accident, and is seen on stage performing Jane Siberry's "One More Colour." Danna and Polley cooperated to create Nicole's music, with Polley writing lyrics to Danna's original songs and Danna arranging the adaptations of "Courage" and "One More Colour." The songs were chosen because of their domestic popularity, reinforcing the local nature of Nicole's music. The Tragically Hip's original version of "Courage" also appears in the film.

Release.

The film debuted at the Cannes Film Festival in May 1997, and went on to play at the Toronto International Film Festival, Telluride Film Festival, New York Film Festival and Valladolid International Film Festival. In Canada, the film was distributed by Alliance Communications. Following its screening at Cannes, Fine Line Features secured rights for the film for distribution in the United States, releasing it there on October 10, 1997.  In Region 1, "The Sweet Hereafter" was released on DVD in May 1998. In Canada, the film had a Blu-ray release in June 2012, with special features, including interviews.

Reception.

Box office.

By the spring of 1998, "The Sweet Hereafter" had grossed $1 million domestically. According to "The Numbers", "The Sweet Hereafter" grossed $4,306,697 in North America and $3,644,550 in other territories, for a worldwide total of $7,951,247. Although Canadian historian George Melnyk said the film achieved "mainstream popularity," another Canadian historian, Reginald C. Stuart, said that the film "aimed for, but did not reach, a mass audience." Dan Webster of "The Spokesman-Review" concluded that "despite generally good reviews," the film "never attracted much box-office attention."  The Writers Guild of Canada commented that "The Sweet Hereafter" and contemporary Canadian films "never succeeded in scoring a home run at the international box office." Melnyk suggested Egoyan's previous film "Exotica" performed better at the box office than "The Sweet Hereafter" because of "Exotica"'s "sexual content... rather than the early film's artistic merit."

Critical reception.

The film holds a 100% rating at Rotten Tomatoes, with an average score of 8.91/10 based on 58 reviews, and a 100% rating from 18 "Top Critic" reviews. The site's consensus reads, "Director Atom Egoyan examines tragedy and its aftermath with intelligence and empathy." On Metacritic, the film has a weighted average score of 90 out of 100, based on 23 critics, indicating "universal acclaim." In 2002, readers of "Playback" voted it the greatest Canadian film ever made. In 2004, the Toronto International Film Festival ranked it third in the Top 10 Canadian Films of All Time, tied with "Goin' Down the Road", and in 2015, it was the sole film in the third spot.  Roger Ebert gave the film four stars, calling it "one of the best films of the year, an unflinching lament for the human condition." Janet Maslin, writing for "The New York Times", said "this fusion of Mr. Banks's and Mr. Egoyan's sensibilities stands as a particularly inspired mix," with Sarah Polley and Bruce Greenwood "particularly good here." Brendan Kelly of "Variety" praised "The Sweet Hereafter" as "Egoyan's most ambitious work to date," and as "a rich, complex meditation on the impact of a terrible tragedy on a small town," adding Polley and Tom McCamus are "excellent."  "Entertainment Weekly" gave the film an A, saying it "puts you in a rapturous emotional daze," and calling it a "hymn to the agony of loss" and "a new kind of mystical fairy tale, one that seeks to uncover the forces holding the world together, even as they tear it apart." Paul Tatara of "CNN" called "The Sweet Hereafter" "devastating" and wrote Ian Holm gives "the performance of his hugely impressive career." David Denby of "New York" mazine said that the film had "Ian Holm's greatest role in the movies," and that the cast are "all excellent." The film made over 250 critics' Top 10 lists for the best films of 1997.  In 2004, Slovenian critic Slavoj Žižek called "The Sweet Hereafter" "arguably "the" film about the impact of trauma on a community." That year, "The New York Times" also included the film on its list of "the Best 1,000 Movies Ever Made." In 2011, British director Clio Barnard praised the "real depth" and "healthy ambiguity" of the story and described Holm and Polley as "brilliant," giving "powerful, subtle performances." One year later, "The A.V. Club" named "The Sweet Hereafter" the 22nd best film of the 1990s, praising it as a "masterpiece of adaptation."

Accolades.

"The Sweet Hereafter" won three awards at the 1997 Cannes Film Festival: the FIPRESCI Prize, the Grand Prize of the Jury, and the Prize of the Ecumenical Jury. This was the highest honour won at Cannes for a Canadian film and made Egoyan the first Canadian to win the Grand Prix, followed by Xavier Dolan with "It's Only the End of the World" in 2016.  "The Sweet Hereafter" also won Best Motion Picture, Best Director, Best Cinematography, Best Actor for Holm, and three other prizes, at the 18th Genie Awards. It was nominated for Best Director and Best Adapted Screenplay at the 70th Academy Awards, but lost to "Titanic" and "L.A. Confidential", respectively.

The Sweet Hereafter is a 1997 Canadian drama film written and directed by Atom Egoyan, starring Ian Holm, Sarah Polley and Bruce Greenwood, and adapted from the 1991 novel of the same name by Russell Banks. The film tells the story of a school bus accident in a small town that results in the deaths of numerous children. A class-action lawsuit ensues, proving divisive in the community and becoming tied with personal and family issues.

Das süße Jenseits ("The Sweet Hereafter") ist ein zweifach Oscar-nominiertes Filmdrama des kanadischen Regisseurs Atom Egoyan aus dem Jahr 1997. Es basiert auf dem gleichnamigen Roman von Russell Banks. Das Drama variiert das Grundmotiv der Sage des Rattenfängers von Hameln.


History.

Outlets first appeared in the eastern United States in the 1930s. Factory stores started to offer damaged or excess goods to employees at a low price. After some time, the audience expanded to include non-employees. In 1936, Anderson-Little (a men's clothing brand) opened an outlet store independent of its existing factories. Until the 1970s, the primary purpose of outlet stores was to dispose of excess or damaged goods.  In 1974, Vanity Fair opened up the first multi-store outlet center in Reading, Pennsylvania. Throughout the 1980s and 1990s, outlet malls grew rapidly in the United States. A typical outlet mall in the U.S. is opened with between 100,000 to 200,000 square feet (about 1 to 2 hectares) of retail space. This can gradually increase to 500,000 to 600,000 feet (around 5 hectares). The average outlet mall has an area of 216,000 square feet. In 2003, outlet malls in the U.S. generated $15 billion in revenue from 260 stores.  The number of U.S. malls increased from 113 in 1988 to 276 in 1991 and to 325 in 1997 and 472 in 2013.  Outlet malls are not an exclusively American phenomenon. In Canada, the Dixie Outlet Mall dates from the late 1980s, and was followed by Vaughan Mills in 1999, and Toronto Premium Outlets in 2013. In Europe, retailer BAA McArthurGlen has opened 13 malls with over 1,200 stores and 3 million square feet (about 30 hectares) of retail space; describing itself as an "outlet village", Bicester Village, on the edge of the town of Bicester in Oxfordshire in England, is a regular stop for bus-tours of foreign tourists, especially from China. Stores have also been emerging in Japan since the mid to late 1990s.

Difference between factory outlet and outlet store.

At factory outlets, the products sold are from one brand only. Manufacturers who sell only their own products at a reduced price run factory outlets. On the other hand, retailers run outlet stores, and various brands are sold there.  Factory outlets have been around longer than outlet stores and were typically built next to the factories where the products were manufactured.

An outlet store, factory outlet or factory shop is a brick and mortar or online store in which manufacturers sell their stock directly to the public. Traditionally, a factory outlet was a store attached to a factory or warehouse, sometimes allowing customers to watch the production process such as in the original L.L. Bean store. In modern usage, outlet stores are typically manufacturer-branded stores such as Gap or Bon Worth grouped together in outlet malls. The invention of the factory outlet store is often credited to Harold Alfond, founder of the Dexter Shoe Company.

Als Fabrikverkauf, Fabriksverkauf, Werksverkauf, Outlet-Store oder Factory Outlet bezeichnet man im klassischen Sinne eine Verkaufsstelle, in der Hersteller ihre eigenen Produkte direkt zu meist reduzierten Preisen an den Endabnehmer verkaufen. Es gibt darüber hinaus weitere Outlet-Konzepte.


Apple.

Apple's fat binary.

A fat-binary scheme smoothed the Apple Macintosh's transition, beginning in 1994, from 68k microprocessors to PowerPC microprocessors. Many applications for the old platform ran transparently on the new platform under an evolving emulation scheme, but emulated code generally runs slower than native code. Applications released as "fat binaries" took up more storage space, but they ran at full speed on either platform. This was achieved by packaging both a 68000-compiled version and a PowerPC-compiled version of the same program into their executable files. The older 68K code (CFM-68K or classic 68K) continued to be stored in the resource fork, while the newer PowerPC code was contained in the data fork, in PEF format.  Fat binaries were larger than programs supporting only the PowerPC or 68k, which led to the creation of a number of utilities that would strip out the unneeded version. In the era of small hard drives, when 80 MB hard drives were a common size, these utilities were sometimes useful, as program code was generally a large percentage of overall drive usage, and stripping the unneeded members of a fat binary would free up a significant amount of space on a hard drive.

NeXT's/Apple's multi-architecture binaries.

NeXTSTEP Multi-Architecture Binaries.

Fat binaries were a feature of NeXT's NeXTSTEP/OPENSTEP operating system, starting with NeXTSTEP 3.1. In NeXTSTEP, they were called "Multi-Architecture Binaries". Multi-Architecture Binaries were originally intended to allow software to be compiled to run both on NeXT's Motorola 68k-based hardware and on Intel IA-32-based PCs running NeXTSTEP, with a single binary file for both platforms. It was later used to allow OPENSTEP applications to run on PCs and the various RISC platforms OPENSTEP supported. Multi-Architecture Binary files are in a special archive format, in which a single file stores one or more Mach-O subfiles for each architecture supported by the Multi-Architecture Binary. Every Multi-Architecture Binary starts with a structure (struct fat_header) containing two unsigned integers. The first integer ("magic") is used as a magic number to identify this file as a Fat Binary. The second integer ("nfat_arch") defines how many Mach-O Files the archive contains (how many instances of the same program for different architectures). After this header, there are "nfat_arch" number of fat_arch structures (struct fat_arch). This structure defines the offset (from the start of the file) at which to find the file, the alignment, the size and the CPU type and subtype which the Mach-O binary (within the archive) is targeted at.  The version of the GNU Compiler Collection shipped with the Developer Tools was able to cross-compile source code for the different architectures on which NeXTStep was able to run. For example, it was possible to choose the target architectures with multiple '-arch' options (with the architecture as argument). This was a convenient way to distribute a program for NeXTStep running on different architectures.  It was also possible to create libraries (e.g. using libtool) with different targeted object files.

Mach-O and Mac OS X.

Apple Computer acquired NeXT in 1996 and continued to work with the OPENSTEP code. Mach-O became the native object file format in Apple's free Darwin operating system (2000) and Apple's Mac OS X (2001), and NeXT's Multi-Architecture Binaries continued to be supported by the operating system. Under Mac OS X, Multi-Architecture Binaries can be used to support multiple variants of an architecture, for instance to have different versions of 32-bit code optimized for the PowerPC G3, PowerPC G4, and PowerPC 970 generations of processors. It can also be used to support multiple architectures, such as 32-bit and 64-bit PowerPC or PowerPC and x86.

Apple's Universal binary.

In 2005, Apple announced another transition, from PowerPC processors to Intel x86 processors. Apple promoted the distribution of new applications that support both PowerPC and x86 natively by using executable files in Multi-Architecture Binary format. Apple calls such programs "Universal applications" and calls the file format "Universal binary" as perhaps a way to distinguish this new transition from the previous transition, or other uses of Multi-Architecture Binary format.  Universal binary format was not necessary for forward migration of pre-existing native PowerPC applications; from 2006 to 2011, Apple supplied Rosetta, a PowerPC (PPC) emulator, to play this role. However, Rosetta had a fairly steep performance overhead, so developers were encouraged to offer both PPC and Intel binaries, using Universal binaries. The obvious cost of Universal binary is that every installed executable file is larger, but in the years since the release of the PPC, hard-drive space has greatly outstripped executable size; while a Universal binary might be double the size of a single-platform version of the same application, free-space resources generally dwarf the code size, which becomes a minor issue. In fact, often a Universal-binary application will be smaller than two single-architecture applications because program resources can be shared rather than duplicated. If not all of the architectures are required, the lipo and ditto command-line applications can be used to remove versions from the Multi-Architecture Binary image, thereby creating what is sometimes called a "thin binary".  In addition, Multi-Architecture Binary executables can contain code for both 32-bit and 64-bit versions of PowerPC and x86, allowing applications to be shipped in a form that supports 32-bit processors but that makes use of the larger address space and wider data paths when run on 64-bit processors.  In versions of the Xcode development environment from 2.1 through 3.2 (running on Mac OS X 10.4 through Mac OS X 10.6), Apple included utilities which allowed applications to be targeted for both Intel and PowerPC architecture; universal binaries could eventually contain up to four versions of the executable code (32-bit PowerPC, 32-bit x86, 64-bit PowerPC, and 64-bit x86). However, PowerPC support was removed from Xcode 4.0 and is therefore not available to developers running Mac OS X 10.7 or greater.

DOS.

Combined COM-style binaries for CP/M-80 and DOS.

CP/M-80, MP/M-80, Concurrent CP/M, CP/M Plus and Personal CP/M-80 executables for the Intel 8080 (and Z80) processor families use the same.COM file extension as DOS-compatible operating systems for Intel 8086 binaries. In both cases programs are loaded at offset +100h and executed by jumping to the first byte in the file. As the opcodes of the two processor families are not compatible, attempting to start a program under the wrong operating system leads to incorrect and unpredictable behaviour.  In order to avoid this, some methods have been devised to build fat binaries which contain both a CP/M-80 and a DOS program, preceded by initial code which is interpreted correctly on both platforms. The methods either combine two fully functional programs each built for their corresponding environment, or add stubs which cause the program to exit gracefully if started on the wrong processor. For this to work, the first few instructions in the.COM file have to be valid code for both 8086 and 8080 processors, which would cause the processors to branch into different locations within the code. For example, the utilities in Simeon Cran's emulator MyZ80 start with opcode sequence EBh, 52h, EBh. An 8086 sees this as a jump and reads its next instruction from offset +154h whereas an 8080 or compatible goes straight through and reads its next instruction from +103h. A similar sequence used for this purpose is EBh, 03h, C3h.  Another method to keep a DOS-compatible operating system from erroneously executing.COM programs for CP/M-80 and MSX-DOS machines is to start the 8080 code with C3h, 03h, 01h, which is decoded as a "RET" instruction by x86 processors, thereby gracefully exiting the program, while it will be decoded as "JP 103h" instruction by 8080 processors and simply jump to the next instruction in the program.  Some CP/M-80 3.0.COM files may have one or more RSX overlays attached to them by GENCOM. If so, they start with an extra 256-byte header (one page). In order to indicate this, the first byte in the header is set to C9h, which works both as a signature identifying this type of COM file to the CP/M 3.0 executable loader, as well as a "RET" instruction for 8080-compatible processors which leads to a graceful exit if the file is executed under older versions of CP/M-80.  C9h is never appropriate as the first byte of a program for any x86 processor (it has different meanings for different generations, but is never a meaningful first byte); the executable loader in some versions of DOS rejects COM files that start with C9h, avoiding incorrect operation.

Combined binaries for CP/M-86 and DOS.

CP/M-86 and DOS do not share a common file extension for executables. Thus, it is not normally possible to confuse executables. However, early versions of DOS had so much in common with CP/M in terms of its architecture that some early DOS programs were developed to share binaries containing executable code. One program known to do this was WordStar 3.2x, which used identical overlay files in their ports for CP/M-86 and MS-DOS, and used dynamically fixed-up code to adapt to the differing calling conventions of these operating systems at runtime.  Digital Research's GSX for CP/M-86 and DOS also share binary identical 16-bit drivers.

Combined COM and SYS files.

DOS device drivers start with a file header whose first four bytes are FFFFFFFFh by convention, although this is not a requirement. This is fixed up dynamically by the operating system when the driver loads (typically in the DOS BIOS when it executes DEVICE statements in CONFIG.SYS). Since DOS does not reject files with a.COM extension to be loaded per DEVICE and does not test for FFFFFFFFh, it is possible to combine a COM program and a device driver into the same file by placing a jump instruction to the entry point of the embedded COM program within the first four bytes of the file (three bytes are usually sufficient). If the embedded program and the device driver sections share a common portion of code, or data, it is necessary for the code to deal with being loaded at offset +0100h as a.COM style program, and at +0000h as a device driver. For shared code loaded at the "wrong" offset but not designed to be position-independent, this requires an internal address fix-up similar to what would otherwise already have been carried out by a relocating loader, except for that in this case it has to be done by the loaded program itself; this is similar to the situation with self-relocating drivers but with the program already loaded at the target location by the operating system's loader.

Crash-protected system files.

Under DOS, some files have file extensions which do not reflect their actual file type. For example, COUNTRY.SYS is not a DOS device driver, but a binary NLS database file for use with the CONFIG.SYS COUNTRY directive and the NLSFUNC driver. The PC DOS and DR-DOS system files IBMBIO.COM and IBMDOS.COM are special binary images, not COM-style programs. Trying to load COUNTRY.SYS with a DEVICE statement or executing IBMBIO.COM or IBMDOS.COM at the command prompt will cause unpredictable results.  It is sometimes possible to avoid this by utilizing techniques similar to those described above. For example, DR-DOS 7.02 and higher incorporate a safety feature developed by Matthias R. Paul: If these files are called inappropriately, tiny embedded stubs will just display some file version information and exit gracefully.  A similar protection feature was the 8080 instruction C7h ("RST 0") at the very start of Z-System language overlay files, which would result in a warm start (instead of a crash) under CP/M-80 if loaded inappropriately.  In a remotely similar fashion, many (binary) file formats by convention include a 1Ah byte (ASCII ^Z) near the beginning of the file. This control character will be interpreted as "soft" end-of-file (EOF) marker when a file is opened in non-binary mode, and thus, under many operating systems (including RT-11, VMS, CP/M, DOS, and Windows), it prevents "binary garbage" from being displayed when a file is accidentally typed at the console.

Linux.

FatELF: Universal binaries for Linux.

FatELF is a fat binary implementation for Linux and other Unix-like operating systems. Technically, a FatELF binary is a concatenation of ELF binaries with some meta data indicating which binary to use on what architecture. Additionally to the CPU architecture abstraction (byte order, word size, CPU instruction set, etc.), there is the advantage of binaries with support for multiple kernel ABIs and versions.  FatELF has several use-cases, according to developers:  A proof-of-concept Ubuntu 9.04 image is available., FatELF has not been integrated into the mainline Linux Kernel.

A fat binary (or multiarchitecture binary) is a computer executable program which has been expanded (or "fattened") with code native to multiple instruction sets which can consequently be run on multiple processor types. This results in a file larger than a normal one-architecture binary file, thus the name.

Die englische Bezeichnung (übersetzt: "Fette Binärdatei") bezeichnet ein Computerprogramm, das sich unmodifiziert auf Rechnern ausführen lässt, deren CPUs eigentlich vollkommen unterschiedliche Befehlssatzarchitekturen (engl., kurz: ISA) besitzen. Dies wird durch die Zusammenfassung mehrerer auf den jeweiligen CPU-Typen lauffähiger Programme in einer entsprechend strukturierten binären Containerdatei erreicht. Das Betriebssystem ist dann dafür zuständig, das benötigte Programm aus diesem Container zu laden und auszuführen.