who was the blues band in adventures in babysitting

On 12 February 1987 he appeared as a musical guest on the NBC talk show Late Night with David Letterman.[36] Collins made a cameo appearance in the 1987 comedy film Adventures in Babysitting.[37] In 1987 the American composer John Zorn and Collins collaborated on a suite, "Two-Lane Highway", which was subsequently released on Zorn's album Spillane. On 22 April 1988 Collins appeared at the New Orleans Jazz and Heritage Festival in a group consisting of B.B. King, Eric Clapton and Stevie Ray Vaughan; the group played on the steamboat President as it cruised along the Mississippi River, in recognition of the musical heritage of New Orleans and artists such as Fate Marable, Louis Armstrong and Henry Red Allen, who had entertained passengers on the fleet of riverboats owned by the Streckfus brothers.[38][39][40]

Albert Collins

Albert Gene Drewery, known as Albert Collins and the Ice Man (October 1, 1932 â€“ November 24, 1993),[1] was an American electric blues guitarist and singer with a distinctive guitar style. He was noted for his powerful playing and his use of altered tunings and a capo. His long association with the Fender Telecaster led to the title "The Master of the Telecaster".[2]

Collins was born in Leona, Texas, on October 1, 1932.[3] He was introduced to the guitar at an early age by his cousin Lightnin' Hopkins, also a Leona resident, who played at family gatherings. The Collins family relocated to Marquez, Texas, in 1938 and to Houston in 1941,[4] where he attended Jack Yates High School.[5] Collins took piano lessons when he was young, but when his piano tutor was unavailable his cousin Willow Young would lend Albert his guitar and taught him the altered tuning that he used throughout his career.[4] Collins tuned his guitar to an open F-minor chord (FCFAbCF), with a capo at the 5th, 6th or 7th fret.[6] At the age of twelve, he decided to concentrate on learning the guitar after hearing "Boogie Chillen'" by John Lee Hooker. At eighteen Collins started his own group, the Rhythm Rockers, in which he honed his craft. During this time he was employed for four years at a ranch in Normangee, Texas; he then worked as a truck driver for various companies for twelve years.[4][5]

Collins played an Epiphone guitar during his first two years with the Rhythm Rockers, but in 1952, after seeing Clarence "Gatemouth" Brown playing a Fender Esquire, he decided to purchase a Fender. He wanted a Telecaster, but because of the cost he chose to buy an Esquire, which he took to the Parker Music Company in Houston to be fitted with a Telecaster neck. This was his main guitar until he moved to California, and it was the guitar that he used on his earliest recordings, including his signature song, "Frosty".[4] For the rest of his career he played a "maple cap"â€“necked natural ash body Fender 1966 Custom Telecaster with a Gibson PAF humbucking pickup retrofitted into the neck position, which became the basis for a Fender Custom Artist signature model[7] in 1990.

In 1954 Collins, then aged 22 and without a record release, was joined in the Rhythm Rockers by 17-year-old Johnny Copeland, who had just left the Dukes of Rhythm (a band he had started with the Houston blues musician Joe "Guitar" Hughes).[8]

Collins started to play regularly in Houston, notably at Shady's Playhouse, where James "Widemouth" Brown (brother of Gatemouth Brown) and other well-known Houston blues musicians would meet for "Blue Monday" jams.[9][10] By the mid-1950s he had established his reputation as a local guitarist of note and had started to appear regularly at a Fifth Ward club, Walter's Lounge, with the group Big Tiny and the Thunderbirds.[11][12]

The saxophonist and music teacher Henry Hayes heard about Collins from Joe "Guitar" Hughes. After seeing him perform live, Hayes encouraged Collins to record a single for Kangaroo Records, a label he had started with his friend M. L. Young.[13] Collins recorded his debut single, "The Freeze", backed with "Collins Shuffle", for Kangaroo at Gold Star Studios, in Houston, in the spring of 1958, with Hayes on saxophone.[14] Texas blues bands of this period incorporated a horn section, and Collins later credited Hayes with teaching him how to arrange for horns.[4] In 1964 he recorded "Frosty" at Gulf Coast Recording Studio, in Beaumont, Texas, for Hall Records, owned by Bill Hall, who had signed Collins on the recommendation of Cowboy Jack Clement, a songwriter and producer who had engineered sessions for Jerry Lee Lewis and Johnny Cash at Sun Records.[15] His debut album, The Cool Sounds of Albert Collins, released in 1965 on the TCF label, consisted of previously released instrumentals, including "Thaw Out" and "Don't Lose Your Cool".[16]

On 19 June 1968 the group Canned Heat was playing at the Music Hall in Houston, and a friend of theirs mentioned that Collins was playing at the Ponderosa Club, which they duly attended.[17] After Collins had finished playing they introduced themselves and offered to help secure an agent for him as well as an introduction to Imperial Records in California.[18] With the offer of a record deal and regular live work Collins decided to move, relocating to Kansas City in July 1968, where he played in the organ trio of the keyboardist Lawrence Wright, and then in November moving to Palo Alto, California.[4] For his 1968 Imperial album, Collins chose the title Love Can Be Found Anywhere (Even in a Guitar), from the lyrics of Canned Heat's "Fried Hockey Boogie", in honor of Canned Heat and their lead singer Bob Hite, who wrote the liner notes for the album.[4] In the spring of 1969 Collins was hired by Bob Krasnow to play on the Ike and Tina Turner album The Hunter, which was released by Krasnow's Blue Thumb Records.[19][20] The move to California was proving to be the right decision, with Collins establishing himself as a regular act on the West Coast circuit, playing at the Fillmore West and the Whisky a Go Go[4] and at the "Newport 69" festival in Northridge, California, in June 1969 and the Gold Rush Festival at Lake Amador, California, in October.[21][22] In December 1970 his debut album, The Cool Sounds of Albert Collins, was reissued as Truckinâ€™ with Albert Collins by Blue Thumb Records.[23]

In November 1971 the Denver label Tumbleweed, which had been newly created by Larry Ray and Bill Szymczyk, released Collins's album There's Gotta Be a Change; it was the label's first official release.[24][25] The single "Get Your Business Straight", backed with "Frog Jumpin'", was released by Tumbleweed in February 1972.[26][27] In 1973 Tumbleweed closed because of financial problems, leaving Collins without a record label.[28] He was signed by Bruce Iglauer, the owner of Alligator Records, in 1978 on the recommendation of Dick Shurman, whom Collins had met in Seattle.[5] His first release for the label was Ice Pickin' (1978), which was recorded at Curtom Studios, in Chicago, and produced by Iglauer, Shurman and Richard McLeese. On 2 February 1978 Collins appeared in concert with the Dutch band Barrelhouse, which was his first live appearance outside the United States. The concert was filmed for the Dutch TV show Tros Sesjun and was subsequently released on vinyl in 1979 by Munich Records as Albert Collins & Barrelhouse Live.[29] Collins won a W. C. Handy Award in the category Best Contemporary Blues Album in 1983 for his Alligator release Don't Lose Your Cool.[30]

On 13 July 1985 Collins performed with George Thorogood and the Destroyers at Live Aid, appearing as guest soloist on "Madison Blues"; the US part of the charity concert was held at JFK Stadium in Philadelphia and, with simultaneous broadcasts in other countries, was viewed by over 1.5 billion people.[31] In December 1986 Collins appeared in concert with Etta James and Joe Walsh at the Wiltern Theater, in Los Angeles; the concert was subsequently released on video under the title Jazzvisions: Jump the Blues Away.[32][33] The backing musicians for the concert were Rick Rosas (bass), Michael Huey (drums), Ed Sanford (Hammond B3 organ), Kip Noble (piano) and Josh Sklar (guitar). In 1986 Collins won a Grammy Award with Robert Cray and Johnny Copeland for their album Showdown![2] Collins finished working on his seventh Alligator album, Cold Snap, by October 1986. It was released shortly afterwards to good reviews and received a Grammy nomination for Best Traditional Blues Recording of 1987.[34][35] Collins cited the album as personally important to him because of the involvement of the organist Jimmy McGriff, an early musical idol, with whom Collins had played in Kansas City, Missouri, in 1966.[4]

Collins was signed to Pointblank Records, a subsidiary of Virgin Records, in 1991.[41] Bruce Iglauer of Alligator Records expressed his disappointment at the departure of Collins while acknowledging that he had signed Collins on a record-to-record basis.[42] On 15 November 1991 Collins performed with Robert Cray, Steve Cropper and Dave Edmunds at the Guitar Legends event in Seville, a series of five concerts to promote the upcoming Seville Expo '92.[43] On 28 October 1991 Collins was filmed in concert for the television program Austin City Limits; the concert was broadcast on 21 February 1992 and released on DVD in April 2008 as Albert Collins Live from Austin, TX.[44] In 1993 Collins played at the Pointblank Borderline Blues Festival in London, which ran from 17 March to 27 March; this was his last appearance in the UK.[37]

Collins was performing at the PalÃ©o Festival in Nyon, Switzerland, in July 1993 when he was taken ill.[45] He was diagnosed in mid-August with lung cancer, which had metastasized to his liver, with an expected survival time of four months. Tracks for his last album, Live '92/'93, were recorded at shows that September. Collins died on 24 November 1993 at the age of 61. He was interred at Davis Memorial Park, in Las Vegas, Nevada.[46][47] His final album, Live '92/'93, was posthumously nominated at the 38th Grammy Awards of 1996 in the category Best Blues Contemporary Album.[48]

In his early days Collins worked as a paint mixer and truck driver to make ends meet.[49] In 1971, when he was 39 years old, he worked in construction, since he couldn't make a proper living from his music.[50] One of his construction jobs was a remodeling for Neil Diamond.[51] He continued with this type of work until the late 1970s,[52] when his wife, Gwen, talked him into returning to a career in music.[53]

After a three-month battle with cancer, Collins died at his home in Las Vegas, Nevada, on November 24, 1993. He was 61 years old. Surviving him were his wife, Gwendolyn, and his father, Andy Thomas.[54]

Collins was an inspiration to a generation of Texas guitar players, including Stevie Ray Vaughan and Jimmie Vaughan. He was among a small group of Texas blues players, along with Johnny "Guitar" Watson and Johnny Copeland, who shaped the legacy of T-Bone Walker into a modern blues template that was to have a major influence on many later players. In an interview with Guitar World magazine, Robert Cray said, "it was seeing Albert Collins at a rock festival in 1969 that really turned my head around." Two years later, Collins played at Cray's high-school graduation party in Tacoma, Washington, and the ice-pick sound sunk in deep: "That was it," Cray recalled. "That changed my whole life around. From that moment I started seriously studying the blues."[55]

Collins is remembered for his informal and audience-engaging live performances. He would frequently leave the stage while still playing to mingle with the audience.[56] The use of an extended guitar lead allowed Collins to go outside of clubs to the sidewalk; one anecdote stated that he left a club with the audience in tow to visit the store next door to buy a candy bar without once stopping his act.[57]

He is also remembered for his humorous stage presence, which is recounted in the documentary Antones: Austin's Home of the Blues: Collins was playing a lengthy solo one night at Antone's and left the building whilst still playing. He returned to the stage still playing the solo and resumed entertaining the audience in person. Shortly afterwards a man arrived at the club and gave Collins the pizza he had just ordered.[58]


st vincent and the grenadines ambassador to the united states

The United States Ambassador to Saint Vincent and the Grenadines is the official representative of the government of the United States to the government of Saint Vincent and the Grenadines. The ambassador is the United States Ambassador to Barbados and the Eastern Caribbean, resident in Bridgetown, Barbados, and is concurrently the ambassador to Antigua and Barbuda, Barbados, Dominica, Grenada, St. Kitts and Nevis, and St. Lucia.

No U.S. mission has ever been established at Kingstown. All diplomatic functions are handled out of the U.S. Embassy at Bridgetown, Barbados, where the U.S. Ambassador to Saint Vincent and the Grenadines is resident.

The following is a list of U.S. ambassadors, or other chiefs of mission, to Saint Vincent and the Grenadines. The title given by the United States State Department to this position is currently Ambassador Extraordinary and Plenipotentiary.


who played kirk's son in wrath of khan

While Square Pegs was in pre-broadcast production, Butrick was cast to play David Marcus, the physicist son of James T. Kirk (William Shatner) and his former lover Carol Marcus (Bibi Besch), in Star Trek II: The Wrath of Khan. He continued the role in the follow-up film Star Trek III: The Search for Spock, in which the character was killed. He later appeared as T'Jon, the captain of a cargo vessel rescued by the crew of the Enterprise in "Symbiosis", a 1988 episode of Star Trek: The Next Generation.

Merritt Butrick

Merritt R. Butrick (September 3, 1959 â€“ March 17, 1989) was an American actor, known for his roles on the 1982 teen sitcom Square Pegs, in two Star Trek feature films, and a variety of other acting roles in the 1980s.

Butrick was born in Gainesville, Florida and was an only child. He graduated in 1977 from Tamalpais High School in Mill Valley, California.[1] He attended the California Institute of the Arts for acting, but was dismissed from the school.

His first screen role was as a rapist in two 1981 episodes of the police drama Hill Street Blues.

He was cast as John "Johnny Slash" Ulasewicz, a major supporting character in the 1982 teen sitcom Square Pegs, which received critical praise but was cancelled after 19 episodes (one season).[2] The character was described by one critic as an "apparent (but never declared) gay student."[3]

Meanwhile, he appeared in the 1982 comedy film Zapped!, the 1988 horror film Fright Night Part 2, and as Barbara Hershey's hillbilly son in the 1987 drama Shy People. He had a variety of guest roles in television series and television movies.

He received critical praise from Time magazine for his performance at the Los Angeles Theatre Center in the play Kingfish, in which he played a ditzy, petulant muscle-boy prostitute. It was his last acting role.

Butrick died of toxoplasmosis, complicated by AIDS, on March 17, 1989, at the age of 29.[4][5] He has at least two panels dedicated to him as part of the NAMES Project AIDS Memorial Quilt, both referencing his role as David Marcus.[6][7]

The 2008 release of Square Pegs on DVD included a featurette dedicated to Butrick, in which his co-stars, including Jami Gertz and Sarah Jessica Parker, and show creator Anne Beatts, paid tributes to and recounted anecdotes about Butrick.

Butrick's Star Trek III co-star Robin Curtis offered similar praise on the DVD commentary for that film. Director Nicholas Meyer, who had directed him in Star Trek II, included a scene in Star Trek VI: The Undiscovered Country (filmed after Butrick's death), in which Captain Kirk puts a photograph of his murdered son on his desk.

Some sources state that Butrick was gay.[8] Kirstie Alley, his co-star in Star Trek II, identified Butrick as being bisexual.[9]


who sings small town throwdown with brantley gilbert

"Small Town Throwdown" is a song co-written and recorded by American country rock singer Brantley Gilbert as a collaboration with Justin Moore and Thomas Rhett.[2] It was released in May 2014 as the second single from his third studio album Just as I Am.[3] The song has sold 417,000 copies in the U.S. as of October 2014.[4]

Small Town Throwdown

An uncredited Taste of Country review stated that "The song — penned by Gilbert and the Peach Pickers — is built to be performed live. Raw energy will make it a hit, as the four aren’t breaking new ground lyrically. For all the talk of a more sentimental album after one or two high-profile news events in Gilbert’s life, the first two singles seem to introduce a very loud, rebellious record. That’s likely a relief to fans who save money all year to see him take the stage."[5]

The music video was directed by Shane Drake and premiered in August 2014. UFC Hall of Famer Chuck Liddell plays a supporting role as the boss from hell.[6]

*sales figures based on certification alone^shipments figures based on certification alone


when are parentheses needed in a chemical formula

For polymers in condensed chemical formulas, parentheses are placed around the repeating unit. For example, a hydrocarbon molecule that is described as CH3(CH2)50CH3, is a molecule with fifty repeating units. If the number of repeating units is unknown or variable, the letter n may be used to indicate this formula: CH3(CH2)nCH3.

Chemical formula

A chemical formula is a way of expressing information about the proportions of atoms that constitute a particular chemical compound or molecule, using a single line of chemical element symbols, numbers, and sometimes also other symbols, such as parentheses, dashes, brackets, commas and plus (+) and minus (âˆ’) signs. These are limited to a single typographic line of symbols, which may include subscripts and superscripts. A chemical formula is not a chemical name, and it contains no words. Although a chemical formula may imply certain simple chemical structures, it is not the same as a full chemical structural formula. Chemical formulas can fully specify the structure of only the simplest of molecules and chemical substances, and are generally more limited in power than are chemical names and structural formulas.

The simplest types of chemical formulas are called empirical formulas, which use letters and numbers indicating the numerical proportions of atoms of each type. Molecular formulas indicate the simple numbers of each type of atom in a molecule, with no information on structure. For example, the empirical formula for glucose is CH2O (twice as many hydrogen atoms as carbon and oxygen), while its molecular formula is C6H12O6 (12 hydrogen atoms, six carbon and oxygen atoms).

Sometimes a chemical formula is complicated by being written as a condensed formula (or condensed molecular formula, occasionally called a "semi-structural formula"), which conveys additional information about the particular ways in which the atoms are chemically bonded together, either in covalent bonds, ionic bonds, or various combinations of these types. This is possible if the relevant bonding is easy to show in one dimension. An example is the condensed molecular/chemical formula for ethanol, which is CH3-CH2-OH or CH3CH2OH. However, even a condensed chemical formula is necessarily limited in its ability to show complex bonding relationships between atoms, especially atoms that have bonds to four or more different substituents.

Since a chemical formula must be expressed as a single line of chemical element symbols, it often cannot be as informative as a true structural formula, which is a graphical representation of the spatial relationship between atoms in chemical compounds (see for example the figure for butane structural and chemical formulas, at right). For reasons of structural complexity, there is no condensed chemical formula (or semi-structural formula) that specifies glucose (and there exist many different molecules, for example fructose and mannose, that have the same molecular formula C6H12O6 as glucose). Linear equivalent chemical names exist that can and do specify any complex structural formula (see chemical nomenclature), but such names must use many terms (words), rather than the simple element symbols, numbers, and simple typographical symbols that define a chemical formula.

Chemical formulas may be used in chemical equations to describe chemical reactions and other chemical transformations, such as the dissolving of ionic compounds into solution. While, as noted, chemical formulas do not have the full power of structural formulas to show chemical relationships between atoms, they are sufficient to keep track of numbers of atoms and numbers of electrical charges in chemical reactions, thus balancing chemical equations so that these equations can be used in chemical problems involving conservation of atoms, and conservation of electric charge.

A chemical formula identifies each constituent element by its chemical symbol and indicates the proportionate number of atoms of each element. In empirical formulas, these proportions begin with a key element and then assign numbers of atoms of the other elements in the compound, by ratios to the key element. For molecular compounds, these ratio numbers can all be expressed as whole numbers. For example, the empirical formula of ethanol may be written C2H6O because the molecules of ethanol all contain two carbon atoms, six hydrogen atoms, and one oxygen atom. Some types of ionic compounds, however, cannot be written with entirely whole-number empirical formulas. An example is boron carbide, whose formula of CBn is a variable non-whole number ratio with n ranging from over 4 to more than 6.5.

When the chemical compound of the formula consists of simple molecules, chemical formulas often employ ways to suggest the structure of the molecule. These types of formulas are variously known as molecular formulas and condensed formulas. A molecular formula enumerates the number of atoms to reflect those in the molecule, so that the molecular formula for glucose is C6H12O6 rather than the glucose empirical formula, which is CH2O. However, except for very simple substances, molecular chemical formulas lack needed structural information, and are ambiguous.

For simple molecules, a condensed (or semi-structural) formula is a type of chemical formula that may fully imply a correct structural formula. For example, ethanol may be represented by the condensed chemical formula CH3CH2OH, and dimethyl ether by the condensed formula CH3OCH3. These two molecules have the same empirical and molecular formulas (C2H6O), but may be differentiated by the condensed formulas shown, which are sufficient to represent the full structure of these simple organic compounds.

Condensed chemical formulas may also be used to represent ionic compounds that do not exist as discrete molecules, but nonetheless do contain covalently bound clusters within them. These polyatomic ions are groups of atoms that are covalently bound together and have an overall ionic charge, such as the sulfate [SO
4]2− ion. Each polyatomic ion in a compound is written individually in order to illustrate the separate groupings. For example, the compound dichlorine hexoxide has an empirical formula ClO
3, and molecular formula Cl
2O
6, but in liquid or solid forms, this compound is more correctly shown by an ionic condensed formula [ClO
2]+[ClO
4]−, which illustrates that this compound consists of [ClO
2]+ ions and [ClO
4]− ions. In such cases, the condensed formula only need be complex enough to show at least one of each ionic species.

Chemical formulas as described here are distinct from the far more complex chemical systematic names that are used in various systems of chemical nomenclature. For example, one systematic name for glucose is (2R,3S,4R,5R)-2,3,4,5,6-pentahydroxyhexanal. This name, interpreted by the rules behind it, fully specifies glucose's structural formula, but the name is not a chemical formula as usually understood, and uses terms and words not used in chemical formulas. Such names, unlike basic formulas, may be able to represent full structural formulas without graphs.

In chemistry, the empirical formula of a chemical is a simple expression of the relative number of each type of atom or ratio of the elements in the compound. Empirical formulas are the standard for ionic compounds, such as CaCl
2, and for macromolecules, such as SiO
2. An empirical formula makes no reference to isomerism, structure, or absolute number of atoms. The term empirical refers to the process of elemental analysis, a technique of analytical chemistry used to determine the relative percent composition of a pure chemical substance by element.

For example, hexane has a molecular formula of C
6H
14, or structurally CH
3CH
2CH
2CH
2CH
2CH
3, implying that it has a chain structure of 6 carbon atoms, and 14 hydrogen atoms. However, the empirical formula for hexane is C
3H
7. Likewise the empirical formula for hydrogen peroxide, H
2O
2, is simply HO expressing the 1:1 ratio of component elements. Formaldehyde and acetic acid have the same empirical formula, CH
2O. This is the actual chemical formula for formaldehyde, but acetic acid has double the number of atoms.

Molecular formulas indicate the simple numbers of each type of atom in a molecule of a molecular substance. They are the same as empirical formulas for molecules that only have one atom of a particular type, but otherwise may have larger numbers. An example of the difference is the empirical formula for glucose, which is CH2O (ratio 1:2:1), while its molecular formula is C6H12O6 (number of atoms 6:12:6). For water, both formulas are H2O. A molecular formula provides more information about a molecule than its empirical formula, but is more difficult to establish.

A molecular formula shows the number of elements in a molecule, and determines whether it is a binary compound, ternary compound, quaternary compound or has even more elements.

The connectivity of a molecule often has a strong influence on its physical and chemical properties and behavior. Two molecules composed of the same numbers of the same types of atoms (i.e. a pair of isomers) might have completely different chemical and/or physical properties if the atoms are connected differently or in different positions. In such cases, a structural formula is useful, as it illustrates which atoms are bonded to which other ones. From the connectivity, it is often possible to deduce the approximate shape of the molecule.

A condensed chemical formula may represent the types and spatial arrangement of bonds in a simple chemical substance, though it does not necessarily specify isomers or complex structures. For example, ethane consists of two carbon atoms single-bonded to each other, with each carbon atom having three hydrogen atoms bonded to it. Its chemical formula can be rendered as CH3CH3. In ethylene there is a double bond between the carbon atoms (and thus each carbon only has two hydrogens), therefore the chemical formula may be written: CH2CH2, and the fact that there is a double bond between the carbons is implicit because carbon has a valence of four. However, a more explicit method is to write H2C=CH2 or less commonly H2C::CH2. The two lines (or two pairs of dots) indicate that a double bond connects the atoms on either side of them.

A triple bond may be expressed with three lines (HCâ‰¡CH) or three pairs of dots (HC:::CH), and if there may be ambiguity, a single line or pair of dots may be used to indicate a single bond.

Molecules with multiple functional groups that are the same may be expressed by enclosing the repeated group in round brackets. For example, isobutane may be written (CH3)3CH. This condensed structural formula implies a different connectivity from other molecules that can be formed using the same atoms in the same proportions (isomers). The formula (CH3)3CH implies a central carbon atom connected to one hydrogen atom and three CH3 groups. The same number of atoms of each element (10 hydrogens and 4 carbons, or C4H10) may be used to make a straight chain molecule, n-butane: CH3CH2CH2CH3.

In any given chemical compound, the elements always combine in the same proportion with each other. This is the law of constant composition.

The law of constant composition says that, in any particular chemical compound, all samples of that compound will be made up of the same elements in the same proportion or ratio. For example, any water molecule is always made up of two hydrogen atoms and one oxygen atom in a 2:1 ratio. If we look at the relative masses of oxygen and hydrogen in a water molecule, we see that 94% of the mass of a water molecule is accounted for by oxygen and the remaining 6% is the mass of hydrogen. This mass proportion will be the same for any water molecule.[1]

The alkene called but-2-ene has two isomers, which the chemical formula CH3CH=CHCH3 does not identify. The relative position of the two methyl groups must be indicated by additional notation denoting whether the methyl groups are on the same side of the double bond (cis or Z) or on the opposite sides from each other (trans or E). Such extra symbols violate the rules for chemical formulas, and begin to enter the territory of more complex naming systems.

As noted above, in order to represent the full structural formulas of many complex organic and inorganic compounds, chemical nomenclature may be needed which goes well beyond the available resources used above in simple condensed formulas. See IUPAC nomenclature of organic chemistry and IUPAC nomenclature of inorganic chemistry 2005 for examples. In addition, linear naming systems such as International Chemical Identifier (InChI) allow a computer to construct a structural formula, and simplified molecular-input line-entry system (SMILES) allows a more human-readable ASCII input. However, all these nomenclature systems go beyond the standards of chemical formulas, and technically are chemical naming systems, not formula systems.

For ions, the charge on a particular atom may be denoted with a right-hand superscript. For example, Na+, or Cu2+. The total charge on a charged molecule or a polyatomic ion may also be shown in this way. For example: H3O+ or SO42âˆ’.

For more complex ions, brackets [ ] are often used to enclose the ionic formula, as in [B12H12]2âˆ’, which is found in compounds such as Cs2[B12H12]. Parentheses ( ) can be nested inside brackets to indicate a repeating unit, as in [Co(NH3)6]3+. Here (NH3)6 indicates that the ion contains six [ammine|NH3 groups], and [ ] encloses the entire formula of the ion with charge +3.[further explanation needed]

Although isotopes are more relevant to nuclear chemistry or stable isotope chemistry than to conventional chemistry, different isotopes may be indicated with a prefixed superscript in a chemical formula. For example, the phosphate ion containing radioactive phosphorus-32 is 32PO43âˆ’. Also a study involving stable isotope ratios might include the molecule 18O16O.

A left-hand subscript is sometimes used redundantly to indicate the atomic number. For example, 8O2 for dioxygen, and 168O2 for the most abundant isotopic species of dioxygen. This is convenient when writing equations for nuclear reactions, in order to show the balance of charge more clearly.

The @ symbol (at sign) indicates an atom or molecule trapped inside a cage but not chemically bound to it. For example, a buckminsterfullerene (C60) with an atom (M) would simply be represented as MC60 regardless of whether M was inside the fullerene without chemical bonding or outside, bound to one of the carbon atoms. Using the @ symbol, this would be denoted M@C60 if M was inside the carbon network. A non-fullerene example is [As@Ni12As20]3âˆ’, an ion in which one As atom is trapped in a cage formed by the other 32 atoms.

This notation was proposed in 1991[2] with the discovery of fullerene cages (endohedral fullerenes), which can trap atoms such as La to form, for example, La@C60 or La@C82. The choice of the symbol has been explained by the authors as being concise, readily printed and transmitted electronically (the at sign is included in ASCII, which most modern character encoding schemes are based on), and the visual aspects suggesting the structure of an endohedral fullerene.

Chemical formulas most often use integers for each element. However, there is a class of compounds, called non-stoichiometric compounds, that cannot be represented by small integers. Such a formula might be written using decimal fractions, as in Fe0.95O, or it might include a variable part represented by a letter, as in Fe1â€“xO, where x is normally much less than 1.

A chemical formula used for a series of compounds that differ from each other by a constant unit is called general formula. Such a series is called the homologous series, while its members are called homologs.
For example, alcohols may be represented by: CnH(2n + 1)OH (n â‰¥ 1)

The Hill system (or Hill notation) is a system of writing empirical chemical formulas, molecular chemical formulas and components of a condensed formula such that the number of carbon atoms in a molecule is indicated first, the number of hydrogen atoms next, and then the number of all other chemical elements subsequently, in alphabetical order of the chemical symbols. When the formula contains no carbon, all the elements, including hydrogen, are listed alphabetically.

By sorting formulas according to the number of atoms of each element present in the formula according to these rules, with differences in earlier elements or numbers being treated as more significant than differences in any later element or number—like sorting text strings into lexicographical order—it is possible to collate chemical formulas into what is known as Hill system order.

The Hill system was first published by Edwin A. Hill of the United States Patent and Trademark Office in 1900.[3] It is the most commonly used system in chemical databases and printed indexes to sort lists of compounds.[4]

Examples: The following formulas are written using the Hill system, and listed in Hill order:

A list of formulas in Hill system order is arranged alphabetically, as above, with single-letter elements coming before two-letter symbols when the symbols begin with the same letter (so "B" comes before "Be", which comes before "Br").[4]


when did ireland change from pounds to euros

The Irish pound (Irish: punt Éireannach) was the currency of Ireland until 2002. Its ISO 4217 code was IEP, and the usual notation was the prefix £ (or IR£ where confusion might have arisen with the pound sterling or other pounds). The Irish pound was superseded by the euro on 1 January 1999.[1] Euro currency did not begin circulation until the beginning of 2002.

Irish pound

The earliest Irish coinage was introduced in the year 997, with a pound divided like the English pound into twenty shillings, each of twelve silver pence. Parity with the pound sterling was established by King John around 1210, so that Irish silver could move freely into the English economy and help to finance his wars in France.[2] However, from 1460, Irish coins were minted with a different silver content than those of England, so that the values of the two currencies diverged.

During the Williamite War of 1689â€“1691, King James II, no longer reigning in England and Scotland, issued an emergency base-metal coinage known as gun money.

In 1701, the relationship between the Irish pound and the English pound sterling was fixed at thirteen Irish pounds equalling twelve English pounds. (The Scottish pound had yet another value.) This relationship made it possible for Irish copper coins to circulate with English silver coins, since thirteen Irish pence had the same value as one English shilling.

In 1801, Ireland became part of the United Kingdom of Great Britain and Ireland, but the Irish pound continued to exist until January 1826. Between 1804 and 1813 silver tokens worth tenpence were issued by the Bank of Ireland and were denominated in pence Irish.[3] The last copper coins of the Irish pound were minted in 1823, and in 1826 the Irish pound was merged with the pound sterling.[4] After 1826 some Irish banks continued to issue paper bank notes, but these were denominated in pounds sterling, and no more distinctly Irish coins were minted until the creation of the Irish Free State in the 20th century.

From continuing to use sterling after independence (1922), the new Irish Free State brought in its own currency from 1928.[5]  The new Saorstát (Free State) Pound was defined by the 1927 Act to have exactly the same weight and fineness of gold as was the sovereign at the time, having the effect of making the new currency pegged at 1:1 with sterling. De facto rather than de jure, parity with sterling was maintained for another fifty years. As with sterling, the £sd system was used, with the Irish names punt (plural: puint), scilling (plural: scillingí) and pingin (plural: pinginí). Distinctive coins and notes were introduced, the coins from 1928 (in eight denominations: 1/4d farthing, 1/2d halfpenny, 1d penny, 3d threepence, 6d sixpence, 1s shilling, 2s florin, 2s 6d half crown and in 1966 a 10s coin) –  all with the same dimensions as their British counterparts. However, the pound sterling generally continued to be accepted on a one-for-one basis everywhere, whereas the Irish currency was not generally accepted in the United Kingdom.

From 1938, the means of tender was referred to as the Irish Pound, after the Constitution of Ireland changed the state's name. The Currency Act, 1927, Adaptation Order, 1938 was the actual mechanism by which change took place.

The Report of the Metric System and Decimal Coinage Committee (1959) was amonst the first formal reports on decimalisation of the currency, discussion continued into the 1960s on the topic. When the British government decided to decimalise its currency, the Irish government followed suit. The legislative basis for decimalisation in the Republic was the Decimal Currency Act, 1969. The number of pence in the Irish pound was redefined from 240 to 100, with the penny symbol changing from "d" to "p". The pound itself was not revalued by this act and therefore pound banknotes were unaffected, although the 10 shilling note was replaced by the 50p coin. The new 5 pence coin correlated with the old 1 shilling coin, and the new 10 pence coin correlated with the old 2 shilling coin. New coins were issued of the same dimensions and materials as the corresponding new British coins. The Decimal Currency Act, 1970 made additional provisions for the changeover not related with the issue of coins.

Decimalisation was overseen by the Irish Decimal Currency Board, created on 12 June 1968. It provided changeover information to the public including a pamphlet called Everyone's Guide to Decimal Currency. The changeover occurred on Decimal Day, 15 February 1971.

In the 1970s, the European Monetary System was introduced. Ireland decided to join it in 1978, while the United Kingdom stayed out.[6]

The European Exchange Rate Mechanism finally broke the one-for-one link that existed between the Irish pound and the pound sterling; by 30 March 1979 an exchange rate was introduced.[7]

This period also saw the creation of the Currency Centre at Sandyford in 1978 so that banknotes and coinage could be manufactured within the state. Prior to this, banknotes were printed by specialist commercial printers in England, and coins by the British Royal Mint.

Until 1986, all decimal Irish coins were the same shape and size as their UK counterparts. After this, however, all new denominations or redesigned coins were of different sizes to the UK coinage. The new 20p coin introduced that year and the Â£1 coin (introduced in 1990) were completely different in size, shape and composition from the previously introduced UK versions. When the UK 5p and 10p coins were reduced in size, the Irish followed suit, but the new Irish 10p was smaller than the new UK version introduced in 1992 and the new Irish 5p was slightly larger than the UK version introduced in 1990. The Irish 50p was never reduced in size (as it had been in the UK in 1997).

31 December 1998, the exchange rates between the European Currency Unit  and the Irish pound and 10 other EMS currencies (all but the pound sterling, the Swedish krona and the Danish krone) were fixed. The fixed conversion factor for the Irish pound was €1 = IR£0.787564. On the next day, a virtual euro was introduced and the exchange rate was GB£1 = €1.42210,[8] making GB£1 ≈ IR£1.12. By 1 January 2002, the day when euro cash was introduced, GB£1 was worth about IR£1.287.[8] Following the appreciation of the euro since its launch and the fall of Sterling in 2007–2009, as of May 2012, GB£1 was worth about the equivalent of IR£0.98.

Although the euro became the currency of the eurozone countries including Ireland on 1 January 1999, it was not until 1 January 2002 that the state began to withdraw Irish pound coins and notes, replacing them with euro specie. All other eurozone countries withdrew their currencies in a similar fashion, from that date. Irish pound coins and notes ceased to be legal tender on 9 February 2002,[9] although they are intended to be exchangeable indefinitely for euro at the Central Bank.

On 31 December 2001, the total value of Irish banknotes in circulation was €4,343.8 million, and the total value of Irish coins was €387.9 million. The Irish cash changeover was one of the fastest in the eurozone, with some shops illegally[9] ceasing to accept pounds after the first week or two. With a conversion factor of 0.787564 Irish pounds to the euro,[10] 56%, by value, of Irish banknotes was withdrawn from circulation within two weeks of the introduction of euro banknotes and coins, and 83.4% by the time they ceased to have legal tender status.

Withdrawal of coinage was slower, having a lower priority, with only 45% of coins withdrawn by 9 February 2002.

All Irish coins and banknotes, from the start of the Irish Free State onwards, both decimal and pre-decimal, may be redeemed into euros (by bank transfer only) at the Central Bank of Ireland in Dublin.

When decimal currency and the euro were in turn introduced, many people in Ireland believed that prices had been improperly raised by traders taking advantage of the confusion,[11] exchange rates notwithstanding.

In the case of the euro the government took special measures to try to prevent any unnecessary price changes, which ultimately proved ineffective. The changeover coincided with an economic boom in the country, and inflation was moderately high. People were eager to blame price rises on merchants taking advantage of changeover confusion.

Most retailers, especially the larger chains, continued to show prices in Irish pounds under the euro price for up to five years after the changeover, enabling people to see the price in old currency and check whether prices had been improperly inflated.[citation needed]


who wrote you belong to me taylor swift

"You Belong with Me" is a song performed by American singer-songwriter Taylor Swift. The song was co-written by Swift and Liz Rose and produced by Nathan Chapman with Swift's aid. It was released on April 18, 2009, by Big Machine Records as the third single from Swift's second studio album, Fearless (2008). Swift was inspired to write "You Belong with Me" after overhearing a male friend of hers arguing with his girlfriend through a phone call; she continued to develop a story line afterward. The song contains many pop music elements and its lyrics have Swift desiring an out-of-reach love interest.

You Belong with Me

The song won Favorite song at 2010 Kids' Choice Awards, and received nominations for the Grammy Awards for Song of the Year, Record of the Year, and Best Female Pop Vocal Performance. "You Belong with Me" enjoyed commercial success as well; it became a top ten hit in Australia, Canada, New Zealand, and the United States. In the United States, the song became Swift's highest-charting single on the Billboard Hot 100 at the time and has become Swift's third best-selling single. It managed to gain the largest crossover radio audience since Faith Hill's "Breathe" did in 2000. The single was certified 6Ã— Platinum by the Recording Industry Association of America (RIAA). The song is one of the best-selling singles worldwide, with worldwide sales of more than 5.1 million units (according to the IFPI).

The song's accompanying music video was directed by Roman White. The video featured Swift portraying two characters, a nerd (the protagonist and narrator) and a popular girl (the antagonist and girlfriend), while American actor Lucas Till portrayed the male lead. The video's plot centers on the protagonist secretively loving the male lead, although he has a girlfriend. The video won the MTV Video Music Award for Best Female Video at the 2009 MTV Video Music Awards, but during Swift's acceptance speech, rapper Kanye West interrupted, protesting in support of Beyoncé. The incident caused a reaction in the media, with many coming to Swift's defense. The song was performed live at numerous venues, including the 2009–10 Fearless Tour, where it was the opening number. It was covered by various artists, including Butch Walker and Selena Gomez & the Scene, and parodied by "Weird Al" Yankovic.

Swift became inspired to write "You Belong with Me" after she overheard a male friend of hers speaking to his girlfriend through a phone call.[4] He acted defensive as his girlfriend yelled at him, and said to her, "No, baby...I had to get off the phone really quickly... I tried to call you right back... Of course I love you. More than anything! Baby, I’m so sorry."[4] Out of the sympathy she felt towards him in the situation, Swift developed a concept for a song.[4] In a writing session with co-writer Liz Rose, Swift explained the situation along with her idea and conceived the song's opening line, "You’re on the phone with your girlfriend / she’s upset / she's going off about something that you said."[4] Together, they developed a story line, which described Swift being in love with the male friend and her having the desire for him to break up with his current girlfriend for her.[4] Swift described the song's concept as "basically about wanting someone who is with this girl who doesn't appreciate him at all. Basically like 'girl-next-door-itis.' You like this guy who you have known for your whole life, and you know him better than she does but somehow the popular girl gets the guy every time."[5] Swift recalled, "It was really fun for us to write the line, 'She wears short skirts, I wear T-shirts'."[4] "You Belong with Me" was first released as a promotional single from Fearless on November 4, 2008, as part of Countdown to Fearless, an exclusive campaign by the iTunes Store;[6] the song was then released as the third single from Fearless on April 18, 2009.[7]

"You Belong with Me" is a Country pop song with a length of three minutes and 52 seconds.[8] According to Kate Kiefer of Paste magazine, it is "a straight-up pop song."[2] The song is set in common time and has a moderate tempo of 130 beats per minute. It is written in the key of F ♯ major and Swift's vocals spans a little below two octaves, from F#3 to C#5. Swift hints at her country music background in the banjo-inflected introduction of the song.[9] Leah Greenblatt of Entertainment Weekly felt Swift's vocals were light and twangy while the melody was "lilting".[10] It follows the chord progression F♯ –C♯–G♯-B.[11] The instrumentation consists of clucking banjos alongside new wave electric guitars.[12]

The lyrics to "You Belong with Me" alternate between narrative modes, where she speaks of herself, a male friend whom she has an unrequited crush on, and his girlfriend. Greenblatt described Swift's role as a storyteller, the song being a narrative set to music, which describes concerning about love and boys "just [being] very hard to catch".[10] Craig Rosen of The Hollywood Reporter believes "You Belong with Me"'s plot is "confessional" and regards scenarios themed with high school, while Swift "is the girl next door who's had her heart broken and takes refuge in music".[13] Lucy Davies of the BBC noted, "Swift deals in the prosaic imagery of high school boys".[14] In one verse, Swift contrasts herself with her friend's girlfriend and states, "She wears high heels, I wear sneakers / She's cheer captain, I'm on the bleachers", which Davies interpreted as the song's protagonist feeling envy towards cheerleaders, in particular, the one dating her male friend.[14] In the choruses, Swift attempts "to persuade some boy to come to his senses and submit to her everygirl charms".[12]

Sean Dooley of About.com labeled "You Belong with Me" as one of the "best songs on Fearless",[15] while Johnny Davis of The Observer believed some parts of the song "may needle British ears", although he felt that it was better than single releases by pop singer Hilary Duff.[16] Lucy Davies of the BBC was not impressed by the song's theme being similar to those of other songs on Fearless or on her eponymous debut album, Taylor Swift.[14] She opined that "You Belong with Me"'s "lyrical palette has few colours [...] and it's repetitive".[14] Jonathan Keefe of Slant Magazine said, "'You Belong with Me' isn't her best-written song by a long shot, but it's hard to fault its construction."[17] Jody Rosen of Rolling Stone commented, "It's hard not to be won over by the guilelessness".[18]

A Times Editor review from The St. Petersburg Times also described it as sounding similar to other hits: "She hankers for a boy who either doesn't love her back or wants to ditch this small town."[19] Josh Love of The Village Voice thought "preternatural wisdom and inclusiveness" shined through the lyrics and theme of "You Belong with Me"; Love also mentioned that it was one of Fearless' "great songs".[20] The same magazine later ranked the song at number 10 on its annual Pazz & Jop critics' poll. Leah Greenblatt of Entertainment Weekly said Swift's vocals fit the song's melody and instrumentation, which, according to her, is "slick" and "radio-friendly".[10] Rob Sheffield of Blender magazine recommended for readers to download "You Belong with Me",[21] and Jeniffer Webb, also from About.com, predicted that the song would reach different age groups.[7] Webb said, "It continues the artist's tradition of having a little something for everyone, so it's no wonder she has such a large fanbase."[7]

At the 52nd Grammy Awards, "You Belong with Me" received nominations for three awards. The song received a nomination for the Grammy Award for Song of the Year but lost to Beyoncé Knowles' "Single Ladies (Put a Ring on It)" (2008), for the Grammy Award for Record of the Year but lost to Kings of Leon's "Use Somebody" (2008), and for the Grammy Award for Best Female Pop Vocal Performance but lost to Knowles' "Halo" (2009).[22] "You Belong with Me" won Favorite Song at the 2010 Kids Choice Awards and was nominated for Song of the Year at the 45th Academy of Country Music Awards, but lost to Lady Antebellum's "Need You Now" (2009).[23][24] Although "You Belong with Me" did not receive an award for any of the nominations it received at the 52nd Grammy Awards, Swift did win album of the year for Fearless, which the song was a part of.

Upon its release as a promotional single, on the week ending November 22, 2008, "You Belong with Me" debuted at number twelve on the Billboard Hot 100 due to sales of 172,000 digital downloads, tying her with the Jonas Brothers for most top twenty debuts in 2008, a record which she later beat; the song fell from the Billboard Hot 100 in the following week.[25][26] Following its single release, the song re-entered the Billboard Hot 100 at number eighty-seven on the week ending May 16, 2009.[27] "You Belong with Me" moved to number three on the Billboard Hot 100 on the week ending August 15, 2009, thus making the song Swift's second highest-charting effort, surpassing her previous second best-charting effort "Love Story", which peaked at number four in January 2009.[28] Driven by non-country radio airplay, the song established the largest crossover radio audience since Faith Hill's "Breathe" (2000).[28] The following week, it peaked at number two on the Billboard Hot 100, being blocked at the top spot by The Black Eyed Peas's "I Gotta Feeling".[29] The song is one of thirteen songs from Fearless charted within the top forty of the Billboard Hot 100, breaking the record for the most top forty entries from a single album.[30] The single was certified quadruple platinum by the Recording Industry Association of America for shipments exceeding four million copies.[31] As of November 2014, "You Belong with Me" has sold 4.5 million copies in the United States.[32]

"You Belong With Me" became Swift's first song to reach Billboard Radio Songs summit with 117 million all-format audience impressions.[33] It also became the first country crossover single to rule Radio Songs since Billboard began incorporating Nielsen BDS-monitored data in 1990.[33] It stayed at number one for two consecutive weeks.[34] On Billboard Hot Country Songs, the single debuted at number thirty-two.[35] On the week-ending June 13, 2009, it jumped from number thirteen to ten in the chart, scoring Swift's eight consecutive top ten hit.[36] "You Belong With Me" became Swift's fourth number one song on Billboard Hot Country Songs after it reached the summit on the week-ending August 22, 2009.[37] It stayed on the top for two weeks and fell at number six afterwards.[38] The single charted in Billboard Hot Country Songs for a total of twenty weeks. On Billboard Pop Songs, it debuted at number forty.[39] It jumped at number twenty six of the following week and on its fifth week, on the week-ending July 25, 2009, it entered the top ten at number ten.[39][40] It reached its peak at number two of the week-ending September 5, 2009 and held from the top spot by Black Eyed Peas's I Gotta Feeling for five weeks.[41] It also reach the top spot on Adult Contemporary for fourteen weeks while reaching number two in Billboard Adult Pop Songs.[42][43]

In Canada, "You Belong with Me" entered at number eighty-four. It jumped at the top ten at number nine and peaked at number three for three non-consecutive weeks.[43] It charted in Canada for forty-five weeks.[44] It also reached number one on Canadian Country Radio after only eleven weeks at radio.[45] It was also certified double platinum by Music Canada for sales of 160,000 digital downloads.[46]

"You Belong with Me" debuted at number ninety-nine on the week ending July 18, 2009, in United Kingdom.[47] It reached its peak in United Kingdom at number thirty on the week ending September 26, 2009.[47] In Ireland, it peaked at number twelve and spent a total of six weeks on the chart.[48] In mainland Europe, "You Belong with Me" peaked at number sixty-one on the Eurochart Hot 100 Singles Chart,[43] number eleven in Belgium (Flanders),[49] and number thirty-two in Denmark.[50] "You Belong with Me" experienced similar commercial outcomes throughout the rest of Europe; it became a top forty hit in Belgium (Wallonia) and a top fifty hit in Sweden.

"You Belong with Me" was a success in Australia and New Zealand. On the week ending May 24, 2009, the song entered in Australia at number fifty.[51] On the week ending July 5, 2009, the song reached its peak at number five, a position it maintained on for three non-consecutive weeks.[51] "You Belong with Me" was placed at number eighty-eight on the decade-end Austrian Singles Chart.[52] It was certified double platinum by the Australian Recording Industry Association for shipments exceeding 140,000 copies.[53] On the week ending May 25, 2009, "You Belong with Me" debuted at number twenty-eight in New Zealand and, after two weeks of ascended positions, it peaked at number five.[54] The single was certified platinum by the Recording Industry Association of New Zealand for shipments exceeding 15,000 copies.[55]

"You Belong with Me"'s accompanying music video was directed by Roman White. In the video, Swift portrays both the protagonist and antagonist, which she respectively described as "the nerd, who is pining away for this guy that she can't have" and "the popular girl."[5] Swift described the popular girl's persona as "horrible and scary and intimidating and perfect".[56] Her love interest is portrayed by American actor Lucas Till; Swift met Till while acting on the set of Hannah Montana: The Movie in April 2008. She later asked him to act in the video, as she was intrigued by his "cool look", embodying a "dreamy guy".[56] In regards to his acting on the video, Swift said, "He's absolutely perfect for the part and really fun to be around, too."[5] According to her, the video's plot is "charming"; she also said that, "the whole video, I'm just sitting there pining away, wishing I could be in her position."[56] In regards to the video's conclusion, White explained that Swift "becomes who she really is", while Swift thought it was a happy ending.[56] Swift commented, "One of my favorite things about this video is that there wasn't a standard performance scene. This video was pretty much all story line and I'm narrating it in the moment, basically narrating while all this is happening around me."[56]

The video was shot in two days in Gallatin and Hendersonville, Tennessee.[5] On the first day of filming, Swift used a body double in order for both Swift, as the protagonist and antagonist, to appear in one shot.[56] In a scene where she appeared dancing, White replaced Swift's routine with a one having no rhythm; she recalled, "It was some of the most fun I'd had in a long time, just freaking out and doing the dumbest moves."[56] On the second day, they first filmed a prom scene and, lastly, the football game, both being filmed at Pope John Paul II High School. The school supplied many students as extras, including football players, band members, cheerleaders and students. The final prom scene used the school's decorations for its real prom the next night. When filming for a touchdown, Till was unable to catch the ball, furthering the length of the shoot.[56] "You put a lot of good solid effort in it and it looks good", Swift stated about filming.[56]

The video commences with Till arguing with his girlfriend through a phone call. As soon as Swift, as the protagonist, notices, they begin to communicate by holding up signs through their bedroom windows. Till closes his curtains, and Swift holds up a sign saying, "I love you". As the song's chorus approaches, Swift starts to sing and dance in front of a mirror, changing to different clothing multiple times. Afterward, Swift is sitting in a bench while reading a book. Till arrives and the two converse. Then, Swift, as the antagonist, arrives in a red convertible car and Till gets in it; Swift, the antagonist, kisses him and gives a hostile look towards the protagonist. Suddenly, she is seen cheerleading at a football game while Swift's other persona is in the bleachers, performing in the school band. After scoring the winning touchdown, Till moves toward his girlfriend and finds her flirting with a teammate, resulting in a heated argument which results in their breakup. Meanwhile, Swift, the protagonist stares in amazement. Back in their bedroom windows, they again communicate through signs, Till asked Swift, the protagonist, if she was attending prom and she responded, "no, studying". Swift, however, notices Till has a dejected expression as he leaves and changes her mind. Shortly after, Swift is seen entering prom with a white dress, no longer looking like a nerd, while all her peers stare in amazement. When Till spots her, he walks towards her and Swift, the antagonist in a red dress, attempts to impede him, but he ignores her. Ending the video, Till and Swift reveal folded signs saying "I love you" and kiss. To date, the video has over 770 million views on YouTube, making it the most viewed country song on YouTube.

The video premiered on May 2, 2009, on CMT.[57] Chris Ryan of MTV commented, "'You Belong With Me' was a teen rom-com wrapped up in a music video, wherein Taylor plays two roles.[58] See Dooley of About.com believed Swift worked "doubly hard", playing two roles.[59] A Times Editor review from The St. Petersburg Times compared the large glasses Swift wore to those of Clark Kent.[19] Michael Deacon of The Daily Telegraph felt the video suited the song, "in that theyâ€™re equally sappy and dull".[60]

At the 2009 MTV Video Music Awards, the video won the MTV Video Music Award for Best Female Video. During Swift's acceptance speech, rapper Kanye West interrupted Swift, grabbing the microphone and stating, "Yo Taylor, I'm really happy for you and I'ma let you finish, but BeyoncÃ© [Knowles] had one of the best videos of all time", regarding her video for "Single Ladies (Put a Ring on It)".[61] According to Jayson Rodriguez of MTV News, Knowles "looked on from the crowd, stunned".[61] Later in the evening, during her acceptance speech for winning the MTV Video Music Award for Video of the Year, Knowles told about her first experience winning her first Video Music Award with Destiny's Child and how much it meant to her. She then called Swift from backstage to complete her acceptance speech.[62] Numerous critics, celebrities, and fans criticized West's actions, including the President of the United States, Barack Obama, who called West a "jackass".[63] At first, West made no effort in contacting Swift, but he later issued an apology, which Swift accepted.[64] The video was nominated for Video of the Year at the 45th Academy of Country Music Awards.[24] At the 2010 CMT Music Awards, the video received nominations for the CMT Music Award for "Video of the Year" and "Female Video of the Year", but lost to Carrie Underwood's "Cowboy Casanova" and Miranda Lambert's "White Liar", respectively.[65] The video was nominated for the MuchMusic Video Award for Best International Artist Video and the MuchMusic Video Award for People's Choice: Favourite International Video, but lost to Miley Cyrus' video for "Party in the U.S.A." and Adam Lambert's video for "Whataya Want From Me" at the 2010 MuchMusic Video Awards, respectively.[66]

Swift's first televised performance of "You Belong with Me" was at a free outdoor concert on May 29, 2009, broadcast by The Today Show.[67] Following promotion for the song, she performed it on The Tonight Show with Jay Leno,[68] Studio 330 Sessions,[69] at the 2009 CMA Music Festival,[70] at the 2009 CMT Music Awards,[71] and at the 2009 V Festival,[72] in the summer of 2009. Swift performed "You Belong with Me" at the 2009 MTV Video Music Awards on September 13, 2009, the same day in which Kanye West interrupted her acceptance speech. She began the performance in a subway station, dressed in a brown trench coat and black beanie, and continued it in a subway, taking off the trench coat and revealing a red cocktail dress. Once the subway docked at a stop, Swift completed the performance atop a yellow taxi cab.[73] Swift later performed the song on The View and Saturday Night Live.[74][75] In the fall of 2009 and winter of 2009 through 2010, Swift commenced promotion for "You Belong with Me" countries outside of the United States; she performed the song on the United Kingdom channel GMTV,[76] the Australian charity concert Sydney Sound Relief,[77] and the Japanese talk show The Sukkiri Morning Show.[78]

Swift performed a medley, which included "You Belong with Me" at the 52nd Grammy Awards. Wearing casual white blouse and black skinny jeans, Swift performed "Today Was a Fairytale" and then announced, "Its a fairly tale and an honor to share the stage with Stevie Nicks". Following, the two performed a cover of Fleetwood Mac's "Rhiannon" (1976). Swift then grabbed her acoustic guitar for the third and final part in her medley, jumping into a twangy version of "You Belong with Me". Nicks stood back, tapping her tambourine and nodding, every so often stepping up to the microphone to sing with Swift.[79] Eric Ditzian of MTV News was disappointed at Swift's and Nicks' harmonies, but said the two "made for a compelling twosome".[79] The performance followed much backlash in regards to Swift's off key singing,[80] which caused Scott Borchetta, CEO of Big Machine Records, to issue a statement defending the performance.[81]

"You Belong with Me" is performed as the opening number on all 2009 and 2010 dates of Swift's first headlining tour, the Fearless Tour.[13] Before Swift or the dancers entered the stage, a video played on the overhead screens; it showed various celebrities, including Miley Cyrus, Demi Lovato, Faith Hill, Lucas Till and Swift herself, sharing their definitions of the word "fearless".[82] Following the video's completion, the band and backup dancers appeared, dressed in yellow cheerleading uniforms. Swift, dressed in a white marching band uniform, then emerges from the bottom of the stage and commences singing. Swift roams around the stage singing and backup dancers perform cheerleading routines while projections of cheerleaders are shown on the stage.[82] Midway through the performance, the backup dancers removed Swift's marching band uniform to reveal a sparkly cocktail dress; she is then handed a rhinestoned acoustic guitar and finishes the performance.[82] Craig Rosen of The Hollywood Reporter believed Swift's performance of "You Belong with Me", coupled with the performance of "Should've Said No", at the May 22, 2009, concert in Los Angeles at the Staples Center made the show a success.[13] The song is also performed on the Speak Now World Tour and The Red Tour.[83][84][85] "You Belong with Me" also was performed on The 1989 World Tour in several venues in place of "You Are in Love".[citation needed]

In November 2009, American rock singer Butch Walker covered "You Belong with Me" for a digital single release.[86] James Christopher Monger of Allmusic said the cover was infused "with the same karaoke glee that fueled previous installments".[87] Bill Lamb of About.com described the composition as a "folksy almost honky-tonk sound" and "a bit more country than Taylor Swift's original".[88] According to Mikael Wood of Billboard, the cover's instrumentation is fueled by banjo; he claimed it was an "online success".[89] Jonathan Keefe of Slant Magazine described the cover's arrangement as "fantastic" and, to him, it "emphasized the terrific melody and structure that are the song's real selling points".[90] After hearing Walker's cover, Swift posted via her official Twitter account, "I'm losing my MIND listening to it! Blown away."[88] Band Hero for consoles features "You Belong with Me" as one of sixty-five songs from "mainstream acts".[91][92]

A parody entitled "TMZ" was included on "Weird Al" Yankovic's studio album Alpocalypse (2011).[93] A music video for the parody, directed by Bill Plympton, was filmed in October 2010, and was included on the album's DVD.[94] The music video was released on "Weird Al"'s Vevo on June 24, 2011.[95]

*sales figures based on certification alone
^shipments figures based on certification alone

Since May 2013 RIAA certifications for digital singles include on-demand audio and/or video song streams in addition to downloads.[130]


when does the downbeat in a measure happen

In typical Western music 4
4 time, counted as "1 2 3 4, 1 2 3 4...", the first beat of the bar (downbeat) is usually the strongest accent in the melody and the likeliest place for a chord change, the third is the next strongest: these are "on" beats. The second and fourth are weaker—the "off-beats". Subdivisions (like eighth notes) that fall between the pulse beats are even weaker and these, if used frequently in a rhythm, can also make it "off-beat".[8]

Beat (music)

In music and music theory, the beat is the basic unit of time, the pulse (regularly repeating event), of the mensural level[1] (or beat level).[2] The beat is often defined as the rhythm listeners would tap their toes to when listening to a piece of music, or the numbers a musician counts while performing, though in practice this may be technically incorrect (often the first multiple level). In popular use, beat can refer to a variety of related concepts including: tempo, meter, specific rhythms, and groove.

Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats (often called "strong" and "weak") and divided into bars organized by time signature and tempo indications.

Metric levels faster than the beat level are division levels, and slower levels are multiple levels. Beat has always been an important part of music. Some music genres such as disco will in general de-emphasize the beat, while other such as funk emphasize the beat to accompany dance.[3]

As beats are combined to form measures, each beat is divided into parts. The nature of this combination and division is what determines meter. Music where two beats are combined is in duple meter, music where three beats are combined is in triple meter. Music where the beat is split in two are in simple meter, music where the beat is split in three are called compound meter. Thus, simple duple (2/4, 4/4, 2/2, etc.), simple triple (3/4), compound duple (6/8), and compound triple (9/8). Divisions which require numbers, tuplets (for example, dividing a quarter note into five equal parts), are irregular divisions and subdivisions. Subdivision begins two levels below the beat level: starting with a quarter note or a dotted quarter note, subdivision begins when the note is divided into sixteenth notes.

The downbeat is the first beat of the bar, i.e. number 1. The upbeat is the last beat in the previous bar which immediately precedes, and hence anticipates, the downbeat.[4] Both terms correspond to the direction taken by the hand of a conductor.

This idea of directionality of beats is significant when you translate its effect on music. The crusis of a measure or a phrase is a beginning; it propels sound and energy forward, so the sound needs to lift and have forward motion to create a sense of direction. The anacrusis leads to the crusis, but doesn't have the same 'explosion' of sound; it serves as a preperation for the crusis.[5]

An anticipatory note or succession of notes occurring before the first barline of a piece is sometimes referred to as an upbeat figure, section or phrase. Alternative expressions include "pickup" and "anacrusis" (the latter ultimately from Greek ana ["up towards"] and krousis ["strike"/"impact"] through French anacrouse). In English, anÃ¡krousis translates literally as "pushing up". The term anacrusis was borrowed from the field of poetry, in which it refers to one or more unstressed extrametrical syllables at the beginning of a line.[4]

The effect can be easily simulated by evenly and repeatedly counting to four. As a background against which to compare these various rhythms a bass drum strike on the downbeat and a constant eighth note subdivision on ride cymbal have been added, which would be counted as follows (bold denotes a stressed beat):

So "off-beat" is a musical term, commonly applied to syncopation that emphasizes the weak even beats of a bar, as opposed to the usual on-beat. This is a fundamental technique of African polyrhythm that transferred to popular western music. According to Grove Music, the "Offbeat is [often] where the downbeat is replaced by a rest or is tied over from the preceding bar".[8] The downbeat can never be the off-beat because it is the strongest beat in 4
4 time.[9] Certain genres tend to emphasize the off-beat, where this is a defining characteristic of rock'n'roll and Ska music.

A back beat, or backbeat, is a syncopated accentuation on the "off" beat. In a simple 4
4 rhythm these are beats 2 and 4.[12]

"A big part of R&B's attraction had to do with the stompin' backbeats that make it so eminently danceable," according to the Encyclopedia of Percussion.[13] An early record with an emphasised back beat throughout was "Good Rockin' Tonight" by Wynonie Harris in 1948.[14] Although drummer Earl Palmer claimed the honor for "The Fat Man" by Fats Domino in 1949, which he played on, saying he adopted it from the final "shout" or "out" chorus common in Dixieland jazz, urban contemporary gospel was stressing the back beat much earlier with hand-clapping and tambourines.[citation needed] There is a hand-clapping back beat on "Roll 'Em Pete" by Pete Johnson and Big Joe Turner, recorded in 1938.[citation needed] A distinctive back beat can be heard on "Back Beat Boogie" by Harry James And His Orchestra, recorded in late 1939.[15] Other early recorded examples include the final verse of "Grand Slam" by Benny Goodman in 1942 and some sections of The Glenn Miller Orchestra's "(I've Got A Gal In) Kalamazoo", while amateur direct-to-disc recordings of Charlie Christian jamming at Minton's Playhouse around the same time have a sustained snare-drum back-beat on the hottest choruses.[citation needed]

Outside U.S. popular music, there are early recordings of music with a distinctive backbeat, such as the 1949 recording of Mangaratiba by Luiz Gonzaga in Brazil.[citation needed]

Slap bass executions on the backbeat are found in styles of country western music of the 1930s, and the late '40s early '50s music of Hank Williams reflected a return to strong backbeat accentuation as part of the honky tonk style of country.[17] In the mid-1940s "hillbilly" musicians the Delmore Brothers were turning out boogie tunes with a hard driving back beat, such as the No. 2 hit "Freight Train Boogie" in 1946, as well as in other boogie songs they recorded.[citation needed] Similarly Fred Maddox's characteristic backbeat, a slapping bass style, helped drive a rhythm that came to be known as rockabilly, one of the early forms of rock and roll.[18] Maddox had used this style as early as 1937.[19]

In today's popular music the snare drum is typically used to play the backbeat pattern.[6] Early funk music often delayed one of the backbeats so as "to give a 'kick' to the [overall] beat".[16]

Some songs, such as The Beatles' "Please Please Me" and "I Want to Hold Your Hand", The Knack's "Good Girls Don't" and Blondie's cover of The Nerves' "Hanging on the Telephone", employ a double backbeat pattern.[20] In a double backbeat, one of the off beats is played as two eighth notes rather than one quarter note.[20]

Cross-rhythm. A rhythm in which the regular pattern of accents of the prevailing meter is contradicted by a conflicting pattern and not merely a momentary displacement that leaves the prevailing meter fundamentally unchallengedâ€”New Harvard Dictionary of Music (1986: 216).[21]

A hyperbeat is one unit of hypermeter, generally a measure. "Hypermeter is meter, with all its inherent characteristics, at the level where measures act as beats."[22][23]


who is the voice of the pak n save ads

Paul Ego (birth name Paul Jones) is a Billy T Award winning New Zealand comedian.[1] He is best known both for his current role as leader of Team One on the New Zealand comedy current affairs panel show 7 Days,[2] and as the voice artist of the Stickman in television advertisements for PAK'nSAVE supermarket.

Paul Ego

Ego’s first gig was in London in 1994 and upon returning to New Zealand in 1995 he soon became a regular sight on the pro-comedy skyline.[3] Ego’s Breakfast Radio career began in 2000 with his role on the Kim & Corbett Breakfast Show on Auckland’s More FM. His role on the award-winning show involved writing comedy scripts and voicing many of the shows regular characters. In 2006 Paul moved to NZ’s Rock Network and he is now one quarter of ’The Morning Rumble’, the 1 Music Breakfast Show in the country.[4] According to his website, he was "parolled in 2011,",[5] in order to "get to know his family again in the mornings."[6]

In the early months of 2013 he co-starred alongside Jeremy Corbett in a comedy show called The Radio.
Ego has been married for 25 years, and has two sons; on his website, he claims to be a "loving but mostly ineffective father."[7][8] He lives in the wealthy North Auckland suburb of Devonport, a source of several jokes from his fellow 7 Days colleagues.

2000 Billy T award winner.

2008 WINNER Best Music & Entertainment Hosts, Metropolitan -2008 NZ Radio Awards. [9]


where does the best sauvignon blanc come from

Sauvignon blanc is a green-skinned grape variety that originates from the Bordeaux region of France. The grape most likely gets its name from the French words sauvage ("wild") and blanc ("white") due to its early origins as an indigenous grape in South West France.[1] It is possibly a descendant of Savagnin. Sauvignon blanc is planted in many of the world's wine regions, producing a crisp, dry, and refreshing white varietal wine. The grape is also a component of the famous dessert wines from Sauternes and Barsac. Sauvignon blanc is widely cultivated in France, Chile, Canada, Australia, New Zealand, South Africa, the states of Washington and California in United States. Some New World Sauvignon blancs, particularly from California, may also be called "Fume Blanc".

Sauvignon blanc

Depending on the climate, the flavor can range from aggressively grassy to sweetly tropical. In cooler climates, the grape has a tendency to produce wines with noticeable acidity and "green flavors" of grass, green bell peppers and nettles with some tropical fruit (such as passion fruit) and floral (such as elderflower) notes. In warmer climates, it can develop more tropical fruit notes but risk losing a lot of aromatics from over-ripeness, leaving only slight grapefruit and tree fruit (such as peach) notes.[2]

Wine experts have used the phrase "crisp, elegant, and fresh" as a favorable description of Sauvignon blanc from the Loire Valley and New Zealand.[3][4] Sauvignon blanc, when slightly chilled, pairs well with fish or cheese, particularly chèvre. It is also known as one of the few wines that can pair well with sushi.[5]

Along with Riesling, Sauvignon blanc was one of the first fine wines to be bottled with a screwcap in commercial quantities, especially by New Zealand producers. The wine is usually consumed young, as it does not particularly benefit from aging, as varietal Sauvignon blancs tend to develop vegetal aromas reminiscent of peas and asparagus with extended aging. Dry and sweet white Bordeaux, including oak-aged examples from Pessac-Léognan and Graves, as well as some Loire wines from Pouilly-Fumé and Sancerre are some of the few examples of Sauvignon blancs with aging potential.[2]

The first Friday in May is International Sauvignon Blanc Day.

The Sauvignon blanc grape traces its origins to western France in the Loire Valley and Bordeaux Regions. As noted above, it is not clear that the vine originated in western France. Ongoing research suggests it may have descended from Savagnin. It has also been associated with the Carmenere family. At some point in the 18th century, the vine paired with Cabernet Franc to parent the Cabernet Sauvignon vine in Bordeaux. In the 19th century, plantings in Bordeaux were often interspersed with Sauvignon vert (In Chile, known as Sauvignonasse) as well as the Sauvignon blanc pink mutation Sauvignon gris. Prior to the phylloxera epidemic, the insect plague which devastated French vineyards in the 19th century, these interspersed cuttings were transported to Chile where the field blends are still common today. Despite the similarity in names, Sauvignon blanc has no known relation to the Sauvignon rosé mutation found in the Loire Valley of France.[6]

The first cuttings of Sauvignon blanc were brought to California by Charles Wetmore, founder of Cresta Blanca Winery, in the 1880s.[7] These cuttings came from the Sauternes vineyards of Château d'Yquem. The plantings produced well in Livermore Valley. Eventually, the wine acquired the alias of "Fumé Blanc" in California by promotion of Robert Mondavi in 1968. The grape was first introduced to New Zealand in the 1970s as an experimental planting to be blended with Müller-Thurgau.[8]

The Sauvignon blanc vine often buds late but ripens early, which allows it to perform well in sunny climates when not exposed to overwhelming heat. In warm regions such as South Africa, Australia and California, the grape flourishes in cooler climate appellations such as the Alexander Valley area.[6] In areas where the vine is subjected to high heat, the grape will quickly become over-ripe and produce wines with dull flavors and flat acidity. Rising global temperatures have caused farmers to harvest the grapes earlier than they have in the past.[9]

The grape originated in France, in the regions of Bordeaux and the Loire Valley.[10] Plantings in California, Australia, Chile and South Africa are also extensive, and Sauvignon blanc is steadily increasing in popularity as white wine drinkers seek alternatives to Chardonnay. The grape can also be found in Italy and Central Europe.

In France, Sauvignon blanc is grown in the maritime climate of Bordeaux (especially in Entre-Deux-Mers, Graves and Pessac-Léognan as a dry wine, and in Sauternes as a sweet wine) as well as the continental climate of the Loire Valley (as Pouilly Fumé, Sancerre, and Sauvignon de Touraine). The climates of these areas are particularly favorable in slowing the ripening on the vine, allowing the grape more time to develop a balance between its acidity and sugar levels. This balance is important in the development of the intensity of the wine's aromas. Winemakers in France pay careful attention to the terroir characteristics of the soil and the different elements that it can impart to the wine. The chalk and Kimmeridgean marl of Sancerre and Pouilly produces wines of richness and complexity while areas with more compact chalk soils produces wines with more finesse and perfume. The gravel soil found near the Loire River and its tributaries impart spicy, floral and mineral flavors while in Bordeaux, the wines have a fruitier personality. Vines planted in flint tend to produce the most vigorous and longest lasting wines.[9]

Pouilly Fumé originate from the town of Pouilly-sur-Loire, located directly across the Loire River from the commune of Sancerre. The soil here is very flinty with deposits of limestone which the locals believed imparted a smoky, gun flint flavor to the wine and hence Fumé, the French word for "smoky" was attached to the wine.[11] Along with Sémillon, Muscadelle and Ugni blanc, Sauvignon blanc is one of only four white grapes allowed in the production of white Bordeaux wine. Mostly used as a blending grape, Sauvignon blanc is the principal grape in Château Margaux's Pavillon Blanc,[12] In the northern Rhône Valley, Sauvignon Blanc is often blended with Tressallier to form a tart white wine.[13]

In the Sauternes region, the grape is blended with Sémillon to make the late harvest wine, Sauternes. The composition of Sauvignon blanc varies from producer and can range from 5-50% with the Premier Cru Supérieur Château d'Yquem using 20%. A traditional practice often employed in Sauternes is to plant one Sauvignon Blanc vine at regular intervals among rows of Sémillon. However, Sauvignon blanc's propensity to ripen 1–2 weeks earlier can lead the grapes to lose some of their intensity and aroma as they hang longer on the vine. This has prompted more producers to isolate their parcels of Sauvignon blanc.[14]

Near the edge of the Chablis commune is an AOC called Saint-Bris that is gaining attention for its Sauvignon blanc production.[15]

In Australia, particularly the Margaret River region, the grape is often blended with Sémillon. Varietal styles, made from only the Sauvignon blanc grape, from Adelaide Hills and Padthaway have a style distinctive from their New Zealand neighbors that tend to be more ripe in flavor with white peach and lime notes and slightly higher acidity.[8]

In the early 1990s, ampelographers began to distinguish Sauvignon blanc from Sauvignonasse plantings in Chile. The character of non-blended Chilean Sauvignon blanc are noticeably less acidic than the wines of New Zealand and more similar to the French style that is typical of Chilean wines. The region of Valparaíso is the most notable area for Sauvignon blanc in Chile due to its cooler climate which allows the grapes to be picked up to six weeks later than in other parts of Chile. In Brazil, ampelographers have discovered that the vines called Sauvignon blanc planted in the region are really Seyval blanc.[8]

In the 1990s, Sauvignon blanc wines from the maritime climatic regions of New Zealand, particularly the South Island, became popular on the wine market. In the Marlborough Region, sandy soils over slate shingles have become the most desirable locations for plantings due to the good drainage of the soil and poor fertility that encourages the vine to concentrate its flavors in lower yields. In the flood plain of the Wairau River Valley, the soil runs in east-west bands across the area. This can create a wide diversity of flavors for vineyards that are planted north-south with the heavier soils producing more herbaceous wines from grapes that ripen late and vines planted in stonier soils ripening earlier and imparting more lush and tropical flavors. It is this difference in soils, and the types of harvest time decisions that wine producers must make, that add a unique element to New Zealand Sauvignon blanc.[9]

The long narrow geography of the South Island ensures that no vineyard is more than 80 miles (130Â km) from the coast. The cool, maritime climate of the area allows for a long and steady growing season in which the grapes can ripen and develop a natural balance of acids and sugars. This brings out the flavors and intensity that distinguish New Zealand Sauvignon blancs.[16] More recently, Waipara in the South Island and Gisborne and Hawkes Bay in the North Island have been attracting attention for their Sauvignon blanc releases, which often exhibit subtle differences to those from Marlborough. The asparagus, gooseberry and green flavor commonly associated with New Zealand Sauvignon blanc is derived from flavor compounds known as methoxypyrazines that becomes more pronounced and concentrated in wines from cooler climate regions.[17] Riper flavors such as passion fruit, along with other notes such as boxwood, may be driven by thiol concentrations.[18]

In North America, California is the leading producer of Sauvignon blanc with plantings also found in Washington state and on the Niagara Peninsula and Okanagan Valley in Canada. Sauvignon Blanc is also grown in small regions in Ohio along Lake Erie and the Ohio River. In California wine produced from the Sauvignon blanc grape is also known as Fumé Blanc. This California wine was first made by Napa Valley's Robert Mondavi Winery in 1968. Mondavi had been offered a crop of particularly good Sauvignon blanc grapes by a grower. At that time the variety had a poor reputation in California due to its grassy flavor and aggressive aromas. Mondavi decided to try to tame that aggressiveness with barrel agings and released the wine under the name Fumé Blanc as an allusion to the French Pouilly-Fumé.[14] The usage of the term is primarily a marketing base one with California wine makers choosing whichever name they prefer. Both oaked and unoaked Sauvignon blanc wines have been marketed under the name Fumé Blanc.[19] California Sauvignon blancs tend to fall into two styles. The New Zealand-influenced Sauvignon blanc have more tropical fruit undertones with citrus and passion fruit notes. The Mondavi-influenced Fumé Blanc are more round with melon notes.[8]

Sauvignon blanc is also beginning to gain prominence in areas like South Africa's Stellenbosch and Durbanville and Italy's Collio Goriziano areas.[15] It is also one of the main ingredients in Muffato della Sala, one of Italy's most celebrated sweet wines.

Winemakers in New Zealand and Chile harvest the grapes at various intervals for the different blending characteristics that the grape can impart depending on its ripeness levels. At its most unripe stage, the grape is high in malic acid. As it progresses further towards ripeness the grape develops red & green pepper flavors and eventually achieves a balance of sugars.[9] The flavors characteristic of Sauvignon blanc come from the chemicals methoxypyrazines. Grapes grown in Marlborough's Wairau Valley may exhibit different levels of ripeness over the vineyard, caused by slight unevenness in the land and giving a similar flavor profile to the resulting wine.

Sauvignon blanc can be greatly influenced by decisions in the winemaking process. One decision is the amount of contact that the must has with the skins of the grape. In the early years of the New Zealand wine industry, there were no wineries on the South Island which meant that freshly harvested grapes had to be trucked and then ferried to the North Island, often all the way up to Auckland. This allowed for prolonged exposure of the skins and juice which sharpened the intensity and pungency of the wine. Some winemakers, like the Loire, intentionally leave a small amount of must to spend some time in contact with the skin for later blending purposes. Other winemakers, like in California, generally avoid any contact with the skin due to the reduced aging ability of the resulting wine.[20]

Another important decision is the temperature of fermentation. French winemakers prefer warmer fermentations (around 16-18 °C) that bring out the mineral flavors in the wine while New World winemakers prefer slightly colder temperatures to bring out more fruit and tropical flavors. A small minority of Loire winemakers will put the wine through malolactic fermentation, a practice more often associated with New Zealand wines.[20] Oak aging can have a pronounced effect on the wine, with the oak rounding out the flavors and softening the naturally high acidity of the grape. Some winemakers, like those in New Zealand and Sancerre, prefer stainless steel fermentation tanks over barrels with the intention of maintaining the sharp focus and flavor intensity.[21]

Sauvignon blanc is also known under the synonyms Beyaz Sauvignon, Blanc Doux, Blanc Fume, Bordeaux bianco, Douce blanche, Feher Sauvignon, Feigentraube, Fie, Fie dans le Neuvillois, Fume, Fume Blanc, Fume Surin, Genetin, Gennetin, Gentin a Romorantin, Gros Sauvignon, Libournais, Melkii Sotern, Muskat Silvaner, Muskat Sylvaner, Muskatani Silvanec, Muskatni Silvanec, Muskatsilvaner, Painechon, Pellegrina, Petit Sauvignon, Picabon, Piccabon, Pinot Mestny Bely, Pissotta, Puinechou, Punechon, Punechou, Quinechon, Rouchelin, Sampelgrina, Sarvonien, Sauternes, Sauvignon, Sauvignon bianco, Sauvignon Bijeli, Sauvignon blanco, Sauvignon Fume, Sauvignon Gros, Sauvignon jaune, Sauvignon jeune, Sauvignon Petit, Sauvignon vert, Sauvignon White, Savagnin, Savagnin blanc, Savagnin Musque, Savagnou, Savignon, Servanien, Servonien, Servoyen, Souternes, Sovinak, Sovinjon, Sovinjon Beli, Sovinon, Spergolina, Surin, Sylvaner Musque, Uva Pelegrina, Weisser Sauvignon, and ZÃ¶ld Ortlibi.[22]