when was the first stop motion animation made

Stop motion animation has a long history in film. It was often used to show objects moving as if by magic. The first instance of the stop motion technique can be credited to Albert E. Smith and J. Stuart Blackton for Vitagraph's The Humpty Dumpty Circus (1897), in which a toy circus of acrobats and animals comes to life.[2] In 1902, the film Fun in a Bakery Shop used the stop trick technique in the "lightning sculpting" sequence. French trick film maestro Georges Méliès used stop motion animation once to produce moving title-card letters in one of his short films, and a number of his special effects are based on stop motion photography. In 1907, The Haunted Hotel is a new stop motion film by J. Stuart Blackton, and was a resounding success when released. Segundo de Chomón (1871–1929), from Spain, released El Hotel Eléctrico later that same year, and used similar techniques as the Blackton film. In 1908, A Sculptor's Welsh Rarebit Nightmare was released, as was The Sculptor's Nightmare, a film by Billy Bitzer. Italian animator Roméo Bossetti impressed audiences with his object animation tour-de-force, The Automatic Moving Company in 1912. The great European stop motion pioneer was Wladyslaw Starewicz (1892–1965), who animated The Beautiful Lukanida (1910), The Battle of the Stag Beetles (1910), The Ant and the Grasshopper (1911).

Stop motion

Stop motion (hyphenated stop-motion when used as an adjective) is an animation technique that physically manipulates an object so that it appears to move on its own. The object is moved in small increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a fast sequence. Dolls with movable joints or clay figures are often used in stop motion for their ease of repositioning. Stop motion animation using plasticine is called clay animation or "clay-mation". Not all stop motion requires figures or models; many stop motion films can involve using humans, household appliances and other things for comedic effect. Stop motion can also use sequential drawing in a similar manner to traditional animation, such as a flip book. Stop motion using humans is sometimes referred to as pixilation or pixilate animation.

The term "stop motion", related to the animation technique, is often spelled with a hyphen, "stop-motion". Both orthographical variants, with and without the hyphen, are correct, but the hyphenated one has, in addition, a second meaning, not related to animation or cinema: "a device for automatically stopping a machine or engine when something has gone wrong" (The New Shorter Oxford English Dictionary, 1993 edition).[1]

Stop motion is often confused with the time lapse technique, where still photographs of a live surrounding are taken at regular intervals and combined into a continuous film. Time lapse is a technique whereby the frequency at which film frames are captured is much lower than that used to view the sequence. When played at normal speed, time appears to be moving faster.

One of the earliest clay animation films was Modelling Extraordinary, which impressed audiences in 1912. December 1916 brought the first of Willie Hopkins' 54 episodes of "Miracles in Mud" to the big screen. Also in December 1916, the first woman animator, Helena Smith Dayton, began experimenting with clay stop motion. She would release her first film in 1917, an adaptation of William Shakespeare's Romeo and Juliet.

In the turn of the century, there was another well known animator known as Willis O' Brien (known by others as O'bie). His work on The Lost World (1925) is well known, but he is most admired for his work on King Kong (1933), a milestone of his films made possible by stop motion animation.

O'Brien's protege and eventual successor in Hollywood was Ray Harryhausen. After learning under O'Brien on the film Mighty Joe Young (1949), Harryhausen would go on to create the effects for a string of successful and memorable films over the next three decades. These included The Beast from 20,000 Fathoms (1953), It Came from Beneath the Sea (1955), Jason and the Argonauts (1963), The Golden Voyage of Sinbad (1973) and Clash of the Titans (1981).

In a 1940 promotional film, Autolite, an automotive parts supplier, featured stop motion animation of its products marching past Autolite factories to the tune of Franz Schubert's Military March. An abbreviated version of this sequence was later used in television ads for Autolite, especially those on the 1950s CBS program Suspense, which Autolite sponsored.

In the 1960s and 1970s, independent clay animator Eliot Noyes Jr. refined the technique of "free-form" clay animation with his Oscar-nominated 1965 film Clay (or the Origin of Species). Noyes also used stop motion to animate sand lying on glass for his musical animated film Sandman (1975).

Stop motion was used by Rankin/Bass Productions on some of their television programs and feature films including The New Adventures of Pinocchio (1960â€“1961), Willy McBean and his Magic Machine (1963, 1965) and most notably seasonal/holiday favorites like Rudolph the Red-Nosed Reindeer (1964), Mad Monster Party? (1966, 1967), The Little Drummer Boy (1968), Santa Claus is Comin' to Town (1970) and Here Comes Peter Cottontail (1971). Under the name of "Animagic", the stop motion works of Rankin/Bass were supervised by Tadahito Mochinaga at his MOM Production in Tokyo, Japan.

In 1975, filmmaker and clay animation experimenter Will Vinton joined with sculptor Bob Gardiner to create an experimental film called Closed Mondays which became the world's first stop motion film to win an Oscar. Will Vinton followed with several other successful short film experiments including The Great Cognito, Creation, and Rip Van Winkle which were each nominated for Academy Awards. In 1977, Vinton made a documentary about this process and his style of animation which he dubbed "claymation"; he titled the documentary Claymation. Soon after this documentary, the term was trademarked by Vinton to differentiate his team's work from others who had been, or were beginning to do, "clay animation". While the word has stuck and is often used to describe clay animation and stop motion, it remains a trademark owned currently by Laika Entertainment, Inc. Twenty clay-animation episodes featuring the clown Mr. Bill were a feature of Saturday Night Live, starting from a first appearance in February 1976.

At very much the same time in the UK, Peter Lord and David Sproxton formed Aardman Animations. In 1976 they created the character Morph who appeared as an animated side-kick to the TV presenter Tony Hart on his BBC TV programme Take Hart. The five-inch-high presenter was made from a traditional British modelling clay called Plasticine. In 1977 they started on a series of animated films, again using modelling clay, but this time made for a more adult audience. The soundtrack for Down and Out was recorded in a Salvation Army Hostel and Plasticine puppets were animated to dramatise the dialogue. A second film, also for the BBC followed in 1978. A TV series The Amazing Adventures of Morph was aired in 1980.

Sand-coated puppet animation was used in the Oscar-winning 1977 film The Sand Castle, produced by Dutch-Canadian animator Co Hoedeman. Hoedeman was one of dozens of animators sheltered by the National Film Board of Canada, a Canadian government film arts agency that had supported animators for decades. A pioneer of refined multiple stop motion films under the NFB banner was Norman McLaren, who brought in many other animators to create their own creatively controlled films. Notable among these are the pinscreen animation films of Jacques Drouin, made with the original pinscreen donated by Alexandre Alexeieff and Claire Parker.

Italian stop motion films include Quaq Quao (1978), by Francesco Misseri, which was stop motion with origami, The Red and the Blue and the clay animation kittens Mio and Mao. Other European productions included a stop motion-animated series of Tove Jansson's The Moomins (from 1979, often referred to as "The Fuzzy Felt Moomins"), produced by Film Polski and Jupiter Films.

One of the main British Animation teams, John Hardwick and Bob Bura, were the main animators in many early British TV shows, and are famous for their work on the Trumptonshire trilogy.

Disney experimented with several stop motion techniques by hiring independent animator-director Mike Jittlov to do the first stop motion animation of Mickey Mouse toys ever produced for a short sequence called Mouse Mania, part of a TV special commemorating Mickey Mouse's 50th Anniversary called Mickey's 50 in 1978. Jittlov again produced some impressive multi-technique stop motion animation a year later for a 1979 Disney special promoting their release of the feature film The Black Hole. Titled Major Effects, Jittlov's work stood out as the best part of the special. Jittlov released his footage the following year to 16mm film collectors as a short film titled The Wizard of Speed and Time, along with four of his other short multi-technique animated films, most of which eventually evolved into his own feature-length film of the same title. Effectively demonstrating almost all animation techniques, as well as how he produced them, the film was released to theaters in 1987 and to video in 1989.

In the 1970s and 1980s, Industrial Light & Magic often used stop motion model animation for films such as the original Star Wars trilogy: the chess sequence in Star Wars, the Tauntauns and AT-AT walkers in The Empire Strikes Back, and the AT-ST walkers in Return of the Jedi were all stop motion animation, some of it using the Go films. The many shots including the ghosts in Raiders of the Lost Ark and the first two feature films in the RoboCop series use Phil Tippett's go motion version of stop motion.

In the UK, Aardman Animations continued to grow. Channel 4 funded a new series of clay animated films Conversation Pieces based on real recorded soundtracks. A further series in 1986 called Lip Sync premiered the work of Richard Goleszowski - Ident, Barry Purves - Next and Nick Park - Creature Comforts as well as further films by Sproxton and Lord. Creature Comforts won the Oscar for Best Animated Short in 1990.

In 1980, Marc Paul Chinoy directed the 1st feature-length clay animated film; a film based on the famous Pogo comic strip. Titled I go Pogo, it was aired a few times on American cable channels, but has yet to be commercially released. Primarily clay, some characters required armatures, and walk cycles used pre-sculpted hard bases legs.[citation needed]

Stop motion was also used for some shots of the final sequence of Terminator movie, also for the scenes of the small alien ships in Spielberg's Batteries Not Included in 1987, animated by David W. Allen. Allen's stop motion work can also be seen in such feature films as The Crater Lake Monster (1977), Q - The Winged Serpent (1982), The Gate (1986) and Freaked (1993). Allen's King Kong Volkswagen commercial from the 1970s is now legendary among model animation enthusiasts.

In 1985, Will Vinton and his team released an ambitious feature film in stop motion called "The Adventures Of Mark Twain" based on the life and works of the famous American author. While the film may have been a little sophisticated for young audiences at the time, it got rave reviews from critics and adults in general.[citation needed] Vinton's team also created the Nomes and the Nome King for Disney's "Return to Oz" feature, for which they received an Academy Award Nomination for Special Visual Effects. In the 80's and early 90's, Will Vinton became very well known for his commercial work as well with stop motion campaigns including The California Raisins.

Of note are the films of Czech filmmaker Jan Švankmajer, which mix stop motion and live actors. These include Alice, an adaptation of Lewis Carroll's Alice's Adventures in Wonderland, and Faust, a rendition of the legend of the German scholar. The Czech school is also illustrated by the series Pat & Mat (1979–present). Created by Lubomír Beneš and Vladimír Jiránek, and it was wildly popular in a number of countries.

Since the general animation renaissance headlined by the likes of Who Framed Roger Rabbit and The Little Mermaid at the end of the 1980s and the beginning of the 1990s, there have been an increasing number of traditional stop motion feature films, despite advancements with computer animation. The Nightmare Before Christmas, directed by Henry Selick and produced by Tim Burton, was one of the more widely released stop motion features and become the highest grossing stop motion animated movie of its time, grossing over $50 million domestic. Henry Selick also went on to direct James and the Giant Peach and Coraline, and Tim Burton went on to direct Corpse Bride and Frankenweenie.

In 1999, Will Vinton launched the first prime-time stop-motion television series called The PJs, co-created by actor-comedian Eddie Murphy. The Emmy-winning sitcom aired on Fox for two seasons, then moved to the WB for an additional season. Vinton launched another series, Gary & Mike, for UPN in 2001.

Another individual who found fame in clay animation is Nick Park, who created the characters Wallace and Gromit. In addition to a series of award-winning shorts and featurettes, he won the Academy Award for Best Animated Feature for the feature-length outing Wallace & Gromit: The Curse of the Were-Rabbit. Chicken Run, to date, is the highest grossing stop motion animated movie ever grossing nearly $225 million worldwide.

The BBC commissioned thirteen episodes of stop frame animated Summerton Mill in 2004 as inserts into their flagship pre-school program, Tikkabilla. Created and produced by Pete Bryden and Ed Cookson, the series was then given its own slot on BBC1 and BBC2 and has been broadcast extensively around the world.

Other notable stop motion feature films released since 1990 include The Secret Adventures of Tom Thumb (1993), Fantastic Mr. Fox and $9.99, both released in 2009, and Anomalisa (2015).

Stop motion has very rarely been shot in stereoscopic 3D throughout film history. The first 3D stop motion short was In Tune With Tomorrow (also known as Motor Rhythm) in 1939 by John Norling. The second stereoscopic stop motion release was The Adventures of Sam Space in 1955 by Paul Sprunck. The third and latest stop motion short in stereo 3D was The Incredible Invasion of the 20,000 Giant Robots from Outer Space in 2000 by Elmer Kaan[3] and Alexander Lentjes.[4][5] This is also the first ever 3D stereoscopic stop motion and CGI short in the history of film. The first all stop motion 3D feature is Coraline (2009), based on Neil Gaiman's best-selling novel and directed by Henry Selick. Another recent example is the Nintendo 3DS video software which comes with the option for Stop Motion videos. This has been released December 8, 2011 as a 3DS system update. Also, the movie ParaNorman is in 3D stop motion.

Another more complicated variation on stop motion is go motion, co-developed by Phil Tippett and first used on the films The Empire Strikes Back (1980), Dragonslayer (1981), and the RoboCop films. Go motion involved programming a computer to move parts of a model slightly during each exposure of each frame of film, combined with traditional hand manipulation of the model in between frames, to produce a more realistic motion blurring effect. Tippett also used the process extensively in his 1984 short film Prehistoric Beast, a 10 minutes long sequence depicting a herbivorous dinosaur (Monoclonius), being chased by a carnivorous one (Tyrannosaurus). With new footage Prehistoric Beast became Dinosaur! in 1985, a full-length dinosaurs documentary hosted by Christopher Reeve. Those Phil Tippett's go motion tests acted as motion models for his first photo-realistic use of computers to depict dinosaurs in Jurassic Park in 1993. A low-tech, manual version of this blurring technique was originally pioneered by Wladyslaw Starewicz in the silent era, and was used in his feature film The Tale of the Fox (1931).

Reasons for using stop motion instead of the more advanced computer-generated imagery (CGI) include the low entry price and the appeal of its distinct look. It is now mostly used in children's programming, in commercials and some comic shows such as Robot Chicken. Another merit of stop motion is that it legitimately displays actual real-life textures, as CGI texturing is more artificial, therefore not quite as close to realism. This is appreciated by a number of animation directors, such as Tim Burton, Henry Selick, Wes Anderson and Travis Knight.

Dominating children's TV stop motion programming for three decades in America was Art Clokey's Gumby series (1955–1989) and its feature film, Gumby I (1992, 1995), using both freeform and character clay animation. Clokey started his adventures in clay with a 1953 freeform clay short film called Gumbasia (1953) which shortly thereafter propelled him into his more structured Gumby TV series. In partnership with the United Lutheran Church in America, he also produces Davey and Goliath (1960–2004).

In November 1959, the first episode of Sandmännchen was shown on East German television, a children's show that had Cold War propaganda as its primary function. New episodes, minus any propaganda, are still being produced in the now-reunified Germany,[6] making it one of the longest running animated series in the world.[citation needed]

In the 1960s, the French animator Serge Danot created the well-known The Magic Roundabout (1965) which played for many years on the BBC. Another French/Polish stop motion animated series was Colargol (Barnaby the Bear in the UK, Jeremy in Canada), by Olga Pouchine and Tadeusz Wilkosz.

A British TV series, Clangers (1969), became popular on television. The British artists Brian Cosgrove and Mark Hall (Cosgrove Hall Films) produced the two stop motion animated adaptions of Enid Blyton's Noddy book series including the original series of the same name (1975–1982) and Noddy's Toyland Adventures (1992–2001), a full-length film The Wind in the Willows (1983) and later a multi-season TV series, both based on Kenneth Grahame's classic children's book of the same title. They also produced a documentary of their production techniques, Making Frog and Toad. Since the 1970s and continuing into the 21st century, Aardman Animations, a British studio, has produced short films, television series, commercials and feature films, starring plasticine characters such as Wallace and Gromit; they also produced a notable music video for "Sledgehammer", a song by Peter Gabriel.

During 1986 to 1991, Churchill Films produced The Mouse and the Motorcycle, Runaway Ralph, and Ralph S. Mouse for ABC television. The shows featured stop-motion characters combined with live action, based on the books of Beverly Cleary. John Clark Matthews was animation director, with Justin Kohn, Joel Fletcher, and Gail Van Der Merwe providing character animation.[7]

From 1986 to 2000, over 150 five-minute episodes of Pingu, a Swiss children's comedy were produced by Trickfilmstudio. In the 1990s Trey Parker and Matt Stone made two shorts and the pilot of South Park almost entirely out of construction paper.

In 1999, Tsuneo Gōda directed an official 30-second sketches of the character Domo. With the shorts animated by stop-motion studio dwarf is still currently produced in Japan and has then received universal critical acclaim from fans and critics. Gōda also directed the stop-motion movie series Komaneko in 2004.

In 2003, the pilot film for the series Curucuru and Friends, produced by Korean studio Ffango Entertoyment is greenlighted into a children's animated series in 2004 after an approval with the Gyeonggi Digital Contents Agency. It was aired in KBS1 on November 24, 2006 and won the 13th Korean Animation Awards in 2007 for Best Animation. Ffango Entertoyment also worked with Frontier Works in Japan to produce the 2010 film remake of Cheburashka.[8]

Since 2005, Robot Chicken has mostly utilized stop motion animation, using custom made action figures and other toys as principal characters.

Since 2009 Laika, the stop-motion successor to Will Vinton Studios, has released four feature films, which have collectively grossed over $400 million.

Singer-songwriter Oren Lavie's music video for the song Her Morning Elegance was posted on YouTube on January 19, 2009. The video, directed by Lavie and Yuval and Merav Nathan, uses stop motion and has achieved great success with over 25.4 million views, also earning a 2010 Grammy Award nomination for "Best Short Form Music Video".

Stop motion has occasionally been used to create the characters for computer games, as an alternative to CGI. The Virgin Interactive Entertainment Mythos game Magic and Mayhem (1998) featured creatures built by stop motion specialist Alan Friswell, who made the miniature figures from modelling clay and latex rubber, over armatures of wire and ball-and-socket joints. The models were then animated one frame at a time, and incorporated into the CGI elements of the game through digital photography. "ClayFighter" for the Super NES and The Neverhood for the PC are other examples.


who plays the lead role in citizen khan

Citizen Khan is a British sitcom produced by the BBC and created by Adil Ray. Five series have been shown so far. It was set in Sparkhill, East Birmingham, described by its lead character, a British Pakistani Muslim Mr Khan (Ray), as "the capital of British Pakistan". Citizen Khan follows the trials and tribulations of Mr Khan, a loud-mouthed, patriarchal, cricket-loving, self-appointed community leader, and his long suffering wife (played by Shobu Kapoor) and daughters Shazia (Maya Sondhi 2012–2014, Krupa Pattani 2015–) and Alia (Bhavna Limbachia).[1] In Series One, Kris Marshall starred as Dave, the manager of Mr Khan's local mosque.[1]  The first name of Mrs Khan is Razia, however Mr Khan's first name is never revealed.

Citizen Khan

The title of the show is a play on the title of the Orson Welles film Citizen Kane.[2] The character Mr Khan had already featured in the BBC Two comedy series Bellamy's People,[3]  on BBC Radio 4's Down the Line[1] and on his own online series on the BBC Comedy website.[4] On 27 September 2012, the BBC announced that Citizen Khan had been commissioned for a second series.[5] On 2 December 2013, BBC controller Charlotte Moore announced that Citizen Khan had been renewed for a third series which began airing on 31 October 2014.[6] On 11 December 2014, BBC comedy controller Shane Allen announced that a fourth series had been commissioned.[7] On 14 October 2015, the official Facebook page of Citizen Khan confirmed through a video of Mr Khan that the fourth series would begin on 30 October 2015. On 20 January 2016, it was confirmed the show would return for a fifth series which started airing on 4 November 2016.

Although Adil Ray is a Muslim, the show has divided opinion on whether its humour is a mockery of followers of that religion. Ray maintains that Mr Khan is a comic character who is intended for families of any ethnic background to relate to, as with other British family sitcoms.[8]

The first episode of Citizen Khan was first broadcast on BBC One on 27 August 2012, in a late timeslot of 10:20pm. It received what Digital Spy referred to as an "impressive" 3.41 million viewers and 20.9% of the audience.[9]

The Daily Mail's Saira Khan stated "at last, a home grown sitcom that allows British Muslims to laugh at themselves. Good on the BBC for finally realising the comic potential in one of the biggest communities that make up modern Britain."[10]

The Independent's Hasnet Lais stated "Credit must be given to Adil Ray for not sparing any sacred cows and shining light on the conundrum of some British Muslim women under the patriarchal cosh."[11]

The BBC received over 700 complaints[12] following the airing of the first episode with a further 20 complaints to Ofcom. Some British Muslims claimed that the show "ridicules" and "insults" Islam. The BBC claimed it had evidence the complaints were part of a lobbying campaign and countered it saying a number of people, including those of Muslim communities, praised the show and referred to its audience figures as a "very positive start."[13]

The Independent's Arifa Akbar commented negatively on its many clichÃ©d jokes and character traits and drawing many comparisons with 1970s-style sitcoms.[14] Mark Jones of The Guardian was more optimistic, describing it as "an affable enough debut, deserving a wider audience than this post-watershed slot is likely to attract."[15]

The Islam Channel made a special show titled Politics and Media: Citizen Khan â€“ Racist stereotypes or harmless fun? Presenter John Rees discussed whether the BBC comedy is stereotyping Muslims, or whether it is fun and can be laughed about by Muslims.

By the second episode, broadcast on 3 September, Citizen Khan clips had become viral. Opinion outside the United Kingdom has also been mixed, resulting in many heated debates. Outside of the UK, Pakistani newspaper The News International criticised the BBC's use of Pakistani flags in the Khan's home and Mr Khan's younger daughter quickly putting on a hijab and pretending to read the Qur'an. The Pakistan News Watch website countered "shows like Citizen Khan are essential in multicultural societies and help put all communities on an equal footing â€“ if everyone can have a laugh at everyone else's expense, then no one can claim superiority."[16] The debate continued into a third week with the Yorkshire Post publishing an article by Pakistani journalist Sabbiyah Pervez appealing to her own community to "stop being so defensive and learn to laugh at itself."[17]

The BBC ordered a seven-episode second series on 27 September 2012 due to good ratings.[5] On 18 September 2013, the BBC announced that the second series would air on Friday nights in the prime time 9.30pm slot from 4 October.[18]

In an interview with The Guardian, Adil Ray stated "What I’ve intended to do with Citizen Khan is a good thing – to make Mr Khan a good character, to make him universal and a communication between different communities."[19] The television industry newspaper Broadcast run an article entitled ‘Rise of a sitcom hero’[20]

The show, along with coverage of the 2012 Summer Olympics, Top Gear, The Apprentice, Doctor Who, Sherlock and The Voice UK, made up the list of the most watched shows on the BBC iPlayer in 2012.[21]

Series 3 of Citizen Khan gained an audience of around 5 million per episode, including iPlayer views. Ahead the Series 4 debut in October 2015, Vicky Power of The Daily Telegraph stated "Itâ€™s harmless, friendly fun for the whole family."[22] Series 4 of Citizen Khan made its debut on 30 October 2015. The series attracted a record 3.3 million viewers.[23]

Citizen Khan has been exported to Australia, India, Russia, Bulgaria and New Zealand, spawned Christmas specials and prompted a UK-wide “live” tour of regional theaters. Speaking to The Daily Telegraph in 2015 ahead of the launch of series 4, Adil Ray stated that fans of the show realise it is a "big laugh out loud comedy, not a reflection of every Muslim or Pakistani family in the country."[24]

From Series 4, the role of Shazia Khan was taken over by Krupa Pattani replacing Maya Sondhi.

Adil Ray has reported that he received death threats for the show, including one threatening a riot.[8] He has stated that his influences came from comedies such as Only Fools and Horses and Fawlty Towers that were aimed at family audiences, and he desires for families of all backgrounds to be able to see elements of Khan's character in their father figure.[8] Ray has claimed that for every complaint he had over a scene in which Khan's daughter Alia hurriedly covers her head in the presence of her father, he received ten from Muslims, Catholics and Jews relating to the experience of a child behaving similarly.[8]

In April 2016, the show was condemned in parliament by Rupa Huq, Labour MP for Ealing Central and Acton, who called its portrayal of a Birmingham Muslim family "quite backward".[25]

Khan has made appearances at Children In Need 2014 in which he appeared as a guest in the EastEnders’ pub, The Queen Victoria, Comic Relief 2015,[30] in which he joked he was hoping to be considered for Jeremy Clarkson’s job at Top Gear, the FA Cup Final 2015, supporting local Birmingham team Aston Villa,[31] and in October 2015 took over the train announcements at Birmingham New Street station for an hour.[32] On Friday 18 November 2016, the cast of Citizen Khan made an appearance on Children in Need in a live sketch Citizen Khan v Citizen Kane where they were joined by comedian Russell Kane and his family for a dance off. On 11 March 2017, Adil Ray appeared as Mr Khan on Let's Sing and Dance for Comic Relief as a judge.

Total viewers include overnight views plus views on BBC iPlayer, BBC HD and recorded catch-up services. Official accurate figures are released 10 days after original transmission by BARB. For instance, Citizen Khan Series 2 Episode 1 attracted overall figures of 4.53m, a consolidated share of 15.1% including 1.17 million BBC iPlayer requests.

Premiering on 12 July 2013, the series airs on Comedy Central India in India.[85] In the United Kingdom, reruns of the show air on Gold.[86]

Series 1, 2 & 3 are available to buy on iTunes in both Standard Definition and High Definition,[87][88][89] "A Khan Christmas" and "A Khan Family Christmas" have also been made available to buy.[90][91]


who is the current chief of airforce staff

The current Chief of Staff of the Air Force is General David L. Goldfein.

Chief of Staff of the United States Air Force

The Chief of Staff of the Air Force (acronym: CSAF, or AF/CC) is a statutory office (10 U.S.C. § 8033) held by a four-star general in the United States Air Force, and is the most senior uniformed officer assigned to serve in the Department of the Air Force, and as such is the principal military advisor and a deputy to the Secretary of the Air Force; and is in a separate capacity a member of the Joint Chiefs of Staff, and thereby a military adviser to the National Security Council, the Secretary of Defense, and the President. The Chief of Staff is typically the highest-ranking officer on active-duty in the U.S. Air Force unless the Chairman and/or the Vice Chairman of the Joint Chiefs of Staff are Air Force officers.

The Chief of Staff of the Air Force is an administrative position based in the Pentagon, and while the Chief of Staff does not have operational command authority over Air Force forces (that is within the purview of the Combatant Commanders who report to the Secretary of Defense), the Chief of Staff does exercise supervision of Air Force units and organizations as the designee of the Secretary of the Air Force.

Under the authority, direction and control of the Secretary of the Air Force, the Chief of Staff presides over the Air Staff, acts as the Secretary's executive agent in carrying out approved plans, and exercises supervision, consistent with authority assigned to Commanders of the Combatant Commands, over organizations and members of the Air Force as determined by the Secretary. The Chief of Staff may also perform other duties as assigned by either the President, the Secretary of Defense or the Secretary of the Air Force.[1]

The Vice Chief of Staff of the Air Force, also a four-star general, is the Chief of Staff's principal deputy.[2]

The Chief of Staff of the Air Force is a member of the Joint Chiefs of Staff as prescribed by 10 U.S.C. § 151. When performing his JCS duties the Chief of Staff is responsible directly to the Secretary of Defense. Like the other members of the Joint Chiefs of Staff, the CSAF is an administrative position, with no operational command authority over the United States Air Force.

The CSAF is nominated for appointment by the President and must be confirmed via majority vote by the Senate.[1] By statute, the CSAF is appointed as a four-star general.[1]

The Chief of Staff is also authorized to wear a special service cap with clouds and lightning bolts around the band of the hat. This cap is different from those worn by other general officers of the Air Force and it is for use by the Chief of Staff and Air Force officers serving as Chairman or Vice Chairman of the Joint Chiefs of Staff.

Prior to the creation of this position, General Henry H. Arnold was designated first Chief of the Army Air Forces and Commanding General of the Army Air Forces during World War II.

*Three former chiefs of staff would later serve as Chairman of the Joint Chiefs of Staff:

McPeak is the only Chief of Staff of the Air Force to date who has served as Acting Secretary of the Air Force (from July 14, 1993 to August 5, 1993 before Sheila Widnall took office as Secretary), thus being the only uniformed Air Force officer to have truly been the "head of the Air Force".


what was concrete made out of in ancient rome

Roman concrete, like any concrete, consists of an aggregate and hydraulic mortar â€“ a binder mixed with water that hardens over time. The aggregate varied, and included pieces of rock, ceramic tile, and brick rubble from the remains of previously demolished buildings.

Roman concrete

Roman concrete, also called opus caementicium, was a material used in construction during the late Roman Republic until the fading of the Roman Empire. Roman concrete was based on a hydraulic-setting cement.  Recently, it has been found that it materially differs in several ways from modern concrete which is based on Portland cement.  Roman concrete is durable due to its incorporation of volcanic ash, which prevents cracks from spreading. By the middle of the 1st century, the material was used frequently, often brick-faced, although variations in aggregate allowed different arrangements of materials. Further innovative developments in the material, called the Concrete Revolution, contributed to structurally complicated forms, such as the Pantheon dome, the world's largest and oldest unreinforced concrete dome.[1]

Roman concrete was normally faced with stone or brick, and interiors might be further decorated by stucco, fresco paintings, or thin slabs of fancy colored marbles. Made up of aggregate and cement, like modern concrete, it differed in that the aggregate pieces were typically far larger than in modern concrete, often amounting to rubble, and as a result it was laid rather than poured.[2] Some Roman concretes were able to be set underwater, which was useful for bridges and other waterside construction.

It is uncertain when Roman concrete was developed, but it was clearly in widespread and customary use from about 150 BC; some scholars believe it was developed a century before that.[3]

Vitruvius, writing around 25 BC in his Ten Books on Architecture, distinguished types of aggregate appropriate for the preparation of lime mortars. For structural mortars, he recommended pozzolana (pulvis puteolanus in Latin), the volcanic sand from the beds of Pozzuoli, which are brownish-yellow-gray in color in that area around Naples, and reddish-brown near Rome. Vitruvius specifies a ratio of 1 part lime to 3 parts pozzolana for cement used in buildings and a 1:2 ratio of lime to pozzolana for underwater work, essentially the same ratio mixed today for concrete used in marine locations.[4]

By the middle of the first century, the principles of underwater construction in concrete were well known to Roman builders. The city of Caesarea was the earliest known example to have made use of underwater Roman concrete technology on such a large scale.[5]

For rebuilding Rome after the fire in 64 AD, which destroyed large portions of the city, Nero's new building code largely called for brick-faced concrete. This appears to have encouraged the development of the brick and concrete industries.[5]

Gypsum and quicklime were used as binders. Volcanic dusts, called pozzolana or "pit sand", were favored where they could be obtained. Pozzolana makes the concrete more resistant to salt water than modern-day concrete.[6] The pozzolanic mortar used had a high content of alumina and silica. Tuff was often used as an aggregate.[7]

Concrete, and in particular, the hydraulic mortar responsible for its cohesion, was a type of structural ceramic whose utility derived largely from its rheological plasticity in the paste state. The setting and hardening of hydraulic cements derived from hydration of materials and the subsequent chemical and physical interaction of these hydration products. This differed from the setting of slaked lime mortars, the most common cements of the pre-Roman world. Once set, Roman concrete exhibited little plasticity, although it retained some resistance to tensile stresses.

The setting of pozzolanic cements has much in common with setting of their modern counterpart, Portland cement. The high silica composition of Roman pozzolana cements is very close to that of modern cement to which blast furnace slag, fly ash, or silica fume have been added.

The strength and longevity of Roman marine concrete is understood to benefit from a reaction of seawater with a mixture of volcanic ash and quicklime to create a rare crystal called tobermorite, which may resist fracturing. As seawater percolated within the tiny cracks in the Roman concrete, it reacted with phillipsite naturally found in the volcanic rock and created aluminous tobermorite crystals. The result is a candidate for "the most durable building material in human history". In contrast, modern concrete exposed to saltwater deteriorates within decades.[8][9][10]

Compressive strengths for modern Portland cements are typically at the 50 MPa level and have improved almost ten-fold since 1860.[11] There are no comparable mechanical data for ancient mortars, although some information about tensile strength may be inferred from the cracking of Roman concrete domes. These tensile strengths vary substantially from the water/cement ratio used in the initial mix. At present, there is no way of ascertaining what water/cement ratios the Romans used, nor are there extensive data for the effects of this ratio on the strengths of pozzolanic cements.[12]

For an environment as prone to earthquakes as the Italian peninsula, interruptions and internal constructions within walls and domes created discontinuities in the concrete mass. Portions of the building could then shift slightly when there was movement of the earth to accommodate such stresses, enhancing the overall strength of the structure. It was in this sense that bricks and concrete were flexible. It may have been precisely for this reason that, although many buildings sustained serious cracking from a variety of causes, they continue to stand to this day.[13]

Another technology used to improve the strength and stability of concrete was its gradation in domes. One example is the Pantheon, where the aggregate of the upper dome region consists of alternating layers of light tuff and pumice, giving the concrete a density of 1,350 kg/m3. The foundation of the structure used travertine as an aggregate, having a much higher density of 2,200 kg/m3.[14]

Recent scientific breakthroughs examining Roman concrete have been gathering media and industry attention.[15][16] Because of its unusual durability, longevity and lessened environmental footprint, corporations and municipalities are starting to explore the use of Roman-style concrete in North America, substituting the coal fly ash with volcanic ash that has similar properties. Proponents claim that concrete made with volcanic ash can cost up to 60% less because it requires less cement, and that it has a smaller environmental footprint due to its lower cooking temperature and much longer lifespan.[17] Usable examples of Roman concrete exposed to harsh marine environments have been found to be 2000 years old with little or no wear.[18]


who inspired sir arthur conan doyle to write sherlock holmes

Holmes was partially modelled on his former university teacher Joseph Bell. In 1892, in a letter to Bell, Doyle wrote, "It is most certainly to you that I owe Sherlock Holmes ... round the centre of deduction and inference and observation which I have heard you inculcate I have tried to build up a man,"[30] and, in his 1924 autobiography, he remarked, "It is no wonder that after the study of such a character [viz., Bell] I used and amplified his methods when in later life I tried to build up a scientific detective who solved cases on his own merits and not through the folly of the criminal."[31] Robert Louis Stevenson was able, even in faraway Samoa, to recognise the strong similarity between Joseph Bell and Sherlock Holmes: "My compliments on your very ingenious and very interesting adventures of Sherlock Holmes. ... can this be my old friend Joe Bell?"[32] Other authors sometimes suggest additional influences—for instance, the famous Edgar Allan Poe character C. Auguste Dupin.[33] Dr. (John) Watson owes his surname, but not any other obvious characteristic, to a Portsmouth medical colleague of Doyle's, Dr James Watson.[34]

Arthur Conan Doyle

Sir Arthur Ignatius Conan Doyle, KStJ, DL (22 May 1859 – 7 July 1930) was a British writer best known for his detective fiction featuring the character Sherlock Holmes. Originally a physician, in 1887 he published A Study in Scarlet, the first of four novels about Holmes and Dr. Watson. In addition, Doyle wrote over fifty short stories featuring the famous detective. The Sherlock Holmes stories are generally considered milestones in the field of crime fiction.

Doyle was a prolific writer; his non-Sherlockian works include fantasy and science fiction stories about Professor Challenger and humorous stories about the Napoleonic soldier Brigadier Gerard, as well as plays, romances, poetry, non-fiction and historical novels. One of Doyle's early short stories, "J. Habakuk Jephson's Statement", helped to popularise the mystery of the Mary Celeste.

Doyle is often referred to as "Sir Arthur Conan Doyle" or simply "Conan Doyle" (implying that Conan is part of a compound surname, as opposed to his given middle name). His baptism entry in the register of St Mary's Cathedral, Edinburgh, gives "Arthur Ignatius Conan" as his given names and "Doyle" as his surname. It also names Michael Conan as his godfather.[1] The cataloguers of the British Library and the Library of Congress treat "Doyle" alone as his surname.[2]

Steven Doyle, editor of the Baker Street Journal, wrote, "Conan was Arthur's middle name. Shortly after he graduated from high school he began using Conan as a sort of surname. But technically his last name is simply 'Doyle'."[3] When knighted, he was gazetted as Doyle, not under the compound Conan Doyle.[4] Nevertheless, the actual use of a compound surname is demonstrated by the fact that Doyle's second wife was known as Jean Conan Doyle rather than Jean Doyle.[5]

Doyle was born on 22 May 1859 at 11 Picardy Place, Edinburgh, Scotland.[6][7] His father, Charles Altamont Doyle, was born in England, of Irish Catholic descent, and his mother, Mary (nÃ©e Foley), was Irish Catholic. His parents married in 1855.[8] In 1864 the family dispersed because of Charles's growing alcoholism, and the children were temporarily housed across Edinburgh. In 1867, the family came together again and lived in squalid tenement flats at 3 Sciennes Place.[9] Doyle's father died in 1893, in the Crichton Royal, Dumfries, after many years of psychiatric illness.[10][11]

Supported by wealthy uncles, Doyle was sent to England, at the Jesuit preparatory school Hodder Place, Stonyhurst in Lancashire at the age of nine (1868â€“70). He then went on to Stonyhurst College until 1875. From 1875 to 1876, he was educated at the Jesuit school Stella Matutina in Feldkirch, Austria.[9] He later rejected the Catholic faith and became an agnostic.[12] He also later became a spiritualist mystic.[13]

From 1876 to 1881, Doyle studied medicine at the University of Edinburgh Medical School, including periods working in Aston (then a town in Warwickshire, now part of Birmingham), Sheffield and Ruyton-XI-Towns, Shropshire.[14] During that time, he studied practical botany at the Royal Botanic Garden in Edinburgh.[15] While studying, Doyle began writing short stories. His earliest extant fiction, "The Haunted Grange of Goresthorpe", was unsuccessfully submitted to Blackwood's Magazine.[9] His first published piece, "The Mystery of Sasassa Valley", a story set in South Africa, was printed in Chambers's Edinburgh Journal on 6 September 1879.[9][16] On 20 September 1879, he published his first academic article, "Gelsemium as a Poison" in the British Medical Journal,[9][17][18] a study which the Daily Telegraph regarded as potentially useful in a 21st-century alleged murder investigation.[19]

Doyle was the doctor on the Greenland whaler Hope of Peterhead in 1880.[20] As M.B., C.M. after his graduation from university in 1881, he was ship's surgeon on the SS Mayumba during a voyage to the West African coast.[9] He completed his M.D. degree (an advanced degree in Scotland beyond the usual medical degrees) on the subject of tabes dorsalis in 1885.[21]

In 1882, Doyle joined former classmate George Turnavine Budd as his partner at a medical practice in Plymouth, but their relationship proved difficult, and Doyle soon left to set up an independent practice.[9][22] Arriving in Portsmouth in June 1882, with less than £10 (£900 today[23]) to his name, he set up a medical practice at 1 Bush Villas in Elm Grove, Southsea.[24] The practice was not successful. While waiting for patients, Doyle returned to writing fiction.

Doyle was a staunch supporter of compulsory vaccination and wrote several articles advocating for the practice and denouncing the views of anti-vaccinators.[25][26]

In early 1891, Doyle attempted the study of ophthalmology in Vienna. He had previously studied at the Portsmouth Eye Hospital to qualify to perform eye tests and prescribe glasses. Vienna was suggested by his friend Vernon Morris as a place to spend six months and train to be an eye surgeon. Doyle, however, found it too difficult to understand the German medical terms at the classes in Vienna and quickly quit his studies there. For the rest of his two-month stay in Vienna, he pursued other activities, such as ice skating with his wife Louisa and drinking with Brinsley Richards of the London Times. He also wrote The Doings of Raffles Haw.

After visiting Venice and Milan, he spent a few days in Paris observing Edmund Landolt, an expert on diseases of the eye. Within three months of his departure for Vienna, Doyle returned to London. He opened a small office and consulting room at 2 Upper Wimpole Street, or 2 Devonshire Place as it was then. A Westminster City Council commemorative plaque is over the front door. He had no patients according to his autobiography and his efforts as an ophthalmologist were a failure.[27][28][29]

Doyle struggled to find a publisher for his work. His first work featuring Sherlock Holmes and Dr. Watson, A Study in Scarlet, was taken by Ward Lock & Co on 20 November 1886, giving Doyle £25 (£2500 today) for all rights to the story. The piece appeared one year later in the Beeton's Christmas Annual and received good reviews in The Scotsman and the Glasgow Herald.[9]

A sequel to A Study in Scarlet was commissioned, and The Sign of the Four appeared in Lippincott's Magazine in February 1890, under agreement with the Ward Lock company. Doyle felt grievously exploited by Ward Lock as an author new to the publishing world and he left them.[9] Short stories featuring Sherlock Holmes were published in the Strand Magazine. Doyle wrote the first five Holmes short stories from his office at 2 Upper Wimpole Street (then known as Devonshire Place), which is now marked by a memorial plaque.[35]

Doyle's attitude towards his most famous creation was ambivalent.[34] In November 1891 he wrote to his mother: "I think of slaying Holmes,Â ... and winding him up for good and all. He takes my mind from better things." His mother responded, "You won't! You can't! You mustn't!"[36] In an attempt to deflect publishers' demands for more Holmes stories, he raised his price to a level intended to discourage them, but found they were willing to pay even the large sums he asked.[34] As a result, he became one of the best-paid authors of his time.

In December 1893, to dedicate more of his time to his historical novels, Doyle had Holmes and Professor Moriarty plunge to their deaths together down the Reichenbach Falls in the story "The Final Problem". Public outcry, however, led him to feature Holmes in 1901 in the novel The Hound of the Baskervilles.

In 1903, Doyle published his first Holmes short story in ten years, "The Adventure of the Empty House", in which it was explained that only Moriarty had fallen, but since Holmes had other dangerous enemies—especially Colonel Sebastian Moran—he had arranged to also be perceived as dead. Holmes was ultimately featured in a total of 56 short stories—the last published in 1927—and four novels by Doyle, and has since appeared in many novels and stories by other authors.

Jane Stanford compares some of Moriarty's characteristics to those of the Fenian John O'Connor Power. "The Final Problem" was published the year the Second Home Rule Bill passed through the House of Commons. "The Valley of Fear" was serialised in 1914, the year Home Rule, the Government of Ireland Act (18 September) was placed on the Statute Book.[37]

Doyle's first novels were The Mystery of Cloomber, not published until 1888, and the unfinished Narrative of John Smith, published only in 2011.[38] He amassed a portfolio of short stories including "The Captain of the Pole-Star" and "J. Habakuk Jephson's Statement", both inspired by Doyle's time at sea. The latter popularised the mystery of the Mary Celeste[39] and added fictional details such as the perfect condition of the ship (which had actually taken on water by the time it was discovered) and its boats remaining on board (the one boat was in fact missing) that have come to dominate popular accounts of the incident.[9][39] Doyle's spelling of the ship's name as Marie Celeste has become more common in everyday use than the original form.[40]

Between 1888 and 1906, Doyle wrote seven historical novels, which he and many critics regarded as his best work.[34] He also authored nine other novels, and later in his career (1912â€“29) five stories, two of novella length, featuring the irascible scientist Professor Challenger. The Challenger stories include what is probably his best-known work after the Holmes oeuvre, The Lost World. He was a prolific author of short stories, including two collections set in Napoleonic times featuring the French character Brigadier Gerard.

Doyle's stage works include Waterloo, the reminiscences of an English veteran of the Napoleonic Wars, the character of Gregory Brewster being written for Henry Irving; The House of Temperley, the plot of which reflects his abiding interest in boxing; The Speckled Band, after the short story "The Adventure of the Speckled Band"; and the 1893 collaboration with J.M. Barrie on the libretto of Jane Annie.[41]

While living in Southsea, Doyle played football as a goalkeeper for Portsmouth Association Football Club, an amateur side, under the pseudonym A. C. Smith.[42]

Doyle was a keen cricketer, and between 1899 and 1907 he played 10 first-class matches for the Marylebone Cricket Club (MCC). He also played for the amateur cricket team the Allahakbarries alongside authors J. M. Barrie and A. A. Milne.[43] His highest score, in 1902 against London County, was 43. He was an occasional bowler who took just one first-class wicket, although one of the highest pedigree as it was W. G. Grace.[44]

Also a keen golfer, Doyle was elected captain of the Crowborough Beacon Golf Club in Sussex for 1910. He had moved to Little Windlesham house in Crowborough with Jean Leckie, his second wife, and resided there with his family from 1907 until his death in July 1930.[45])

In 1885 Doyle married Louisa (sometimes called "Touie") Hawkins. She was the youngest daughter of J. Hawkins, of Minsterworth, Gloucestershire, and the sister of one of Doyle's patients. Louisa suffered from tuberculosis and died on 4 July 1906.[46] The following year he married Jean Elizabeth Leckie, whom he had first met and fallen in love with in 1897. He had maintained a platonic relationship with Jean while his first wife was still alive, out of loyalty to her.[47] Jean died in London on 27 June 1940.[48]

Doyle fathered five children. He had two with his first wife: Mary Louise (28 January 1889 – 12 June 1976) and Arthur Alleyne Kingsley, known as Kingsley (15 November 1892 – 28 October 1918). He had an additional three with his second wife: Denis Percy Stewart (17 March 1909 – 9 March 1955), second husband of Georgian Princess Nina Mdivani; Adrian Malcolm (19 November 1910 – 3 June 1970); and Jean Lena Annette (21 December 1912 – 18 November 1997).[49]

Following the Boer War in South Africa at the turn of the 20th century and the condemnation from some quarters over the United Kingdom's role, Doyle wrote a short work titled The War in South Africa: Its Cause and Conduct, which argued that the UK's role in the Boer War was justified, and which was widely translated. Doyle had served as a volunteer doctor in the Langman Field Hospital at Bloemfontein between March and June 1900.[50] Doyle believed that this publication was responsible for his being knighted as a Knight Bachelor by King Edward VII in 1902[4] and for his appointment as a Deputy-Lieutenant of Surrey.[51] Also in 1900 he wrote a book, The Great Boer War.

He stood for Parliament twice as a Liberal Unionist—in 1900 in Edinburgh Central and in 1906 in the Hawick Burghs—but although he received a respectable vote, he was not elected.[52] Doyle was appointed a Knight of Grace of the Order of the Hospital of Saint John of Jerusalem in 1903.[53]

Doyle was a supporter of the campaign for the reform of the Congo Free State, led by the journalist E. D. Morel and diplomat Roger Casement. During 1909 he wrote The Crime of the Congo, a long pamphlet in which he denounced the horrors of that colony. He became acquainted with Morel and Casement, and it is possible that, together with Bertram Fletcher Robinson, they inspired several characters in the 1912 novel The Lost World.[54] Doyle broke with Robinson when he became one of the leaders of the pacifist movement during the First World War. When Casement was found guilty of treason against the Crown after the Easter Rising, Doyle tried unsuccessfully to save him from facing the death penalty, arguing that Casement had been driven mad and could not be held responsible for his actions.[55]

Doyle was also a fervent advocate of justice and personally investigated two closed cases, which led to two men being exonerated of the crimes of which they were accused. The first case, in 1906, involved a shy half-British, half-Indian lawyer named George Edalji who had allegedly penned threatening letters and mutilated animals in Great Wyrley. Police were set on Edalji's conviction, even though the mutilations continued after their suspect was jailed.[56] Apart from helping George Edalji, Doyle's work helped establish a way to correct other miscarriages of justice, as it was partially as a result of this case that the Court of Criminal Appeal was established in 1907.[57]

The story of Doyle and Edalji was dramatised in an episode of the 1972 BBC television series, The Edwardians. In Nicholas Meyer's pastiche The West End Horror (1976), Holmes manages to help clear the name of a shy Parsi Indian character wronged by the English justice system. Edalji was of Parsi heritage on his father's side. The story was fictionalised in Julian Barnes's 2005 novel Arthur and George, which was adapted into a three-part drama by ITV in 2015.

The second case, that of Oscar Slater, a Yekke and gambling-den operator convicted of bludgeoning an 82-year-old woman in Glasgow in 1908, excited Doyle's curiosity because of inconsistencies in the prosecution case and a general sense that Slater was not guilty. He ended up paying most of the costs for Slater's successful appeal in 1928.[58]

Doyle had a longstanding interest in mystical subjects. He was initiated as a Freemason (26 January 1887) at the Phoenix Lodge No. 257 in Southsea. He resigned from the Lodge in 1889, but returned to it in 1902, only to resign again in 1911.[59]

Also in Southsea in 1887, influenced by a member of the Portsmouth Literary and Philosophical Society, Major-General Alfred Wilks Drayson, he began a series of psychic investigations. These included attending around 20 seances, experiments in telepathy and sittings with mediums. Writing to Spiritualist journal Light, that year, he declared himself to be a Spiritualist and spoke of one particular psychic event that had convinced him.[60]

Though he later wavered, he remained fascinated by the paranormal. He was a founding member of the Hampshire Society for Psychical Research in 1889 and joined the London-based Society for Psychical Research in 1893. He joined Sir Sidney Scott and Frank Podmore on a poltergeist investigation in Devon in 1894. Nevertheless, during this period, he remained, in essence, a dilettante.[61]

During 1916, at the height of World War I, a change came over Conan Doyle's beliefs prompted by the apparent psychic abilities of his children's nanny, Lily Loder Symonds.[62] This, combined with the deaths he saw around him, made him rationalise that Spiritualism was a "New Revelation"[63] sent by God to bring solace to the bereaved. The New Revelation was the title of his first Spiritualist work, published two years later. In the intervening years, he wrote to Light magazine about his faith and lectured frequently on the truth of Spiritualism.

War-related deaths close to him certainly strengthened his long-held belief in life after death and spirit communication, though it is wrong to claim that the death of his son, Kingsley, turned him to Spiritualism, as is often stated. Doyle came out as a Spiritualist to the public in 1916, a full two years before his son's death.[64] It was on 28 October 1918 that Kingsley died from pneumonia contracted during his convalescence after being seriously wounded in the 1916 Battle of the Somme. Doyle's brother Brigadier-general Innes Doyle died, also from pneumonia, in February 1919. His two brothers-in-law (one of whom was E. W. Hornung, creator of the literary character Raffles) and his two nephews also died shortly after the war. His second book on Spiritualism, The Vital Message, appeared in 1919.

Doyle found solace supporting spiritualism and its attempts to find proof of existence beyond the grave. In particular, according to some,[65] he favoured Christian Spiritualism and encouraged the Spiritualists' National Union to accept an eighth precept â€“ that of following the teachings and example of Jesus of Nazareth. He was a member of the renowned supernatural organisation The Ghost Club.[66]

In 1919, the magician P. T. Selbit staged a séance at his own flat in Bloomsbury. Doyle attended the séance. Some later commentators have stated that he declared the clairvoyance manifestations to be genuine.[67][68] However, the contemporary report by the Sunday Express quotes Doyle as saying: "I should have to see it again before passing a definite opinion on it," and: "I have my doubts about the whole thing".[69] In 1920, Doyle debated the claims of Spiritualism with the notable sceptic Joseph McCabe at Queen's Hall in London. McCabe later published his evidence against the claims of Doyle and Spiritualism in a booklet entitled Is Spiritualism Based on Fraud? which claimed Doyle had been duped into believing Spiritualism by mediumship trickery.[70]

Doyle believed that many cases of diagnosed mental illness were the result of spirit possession. He debated with the psychiatrist Harold Dearden on the subject who was diametrically opposed to Doyle's views.[71] He travelled to Australia and New Zealand on Spiritualist missionary work in 1920, and continued his mission all the way up to his death, speaking about his Spiritualist conviction in Britain, Europe and the USA.[61]

Doyle was also inspired by his Spiritualist beliefs to write a novella on the subject, The Land of Mist, featuring the character Professor Challenger. He wrote many other non-fictional Spiritualist works; perhaps his most famous being The Coming of the Fairies (1922)[72] which reveals Conan Doyle's conviction in the veracity of the five Cottingley Fairies photographs. He reproduced them in the book, together with theories about the nature and existence of fairies and spirits. Initially suspected of being falsified, the photos were decades later determined to be faked (along with admissions from the photographers).

Doyle was friends for a time with Harry Houdini, the American magician who himself became a prominent opponent of the Spiritualist movement in the 1920s following the death of his beloved mother. Although Houdini insisted that Spiritualist mediums employed trickery (and consistently exposed them as frauds), Doyle became convinced that Houdini himself possessed supernatural powersâ€”a view expressed in Doyle's The Edge of the Unknown. Houdini was apparently unable to convince Doyle that his feats were simply illusions, leading to a bitter public falling out between the two.[73] A specific incident is recounted in memoirs by Houdini's friend Bernard M. L. Ernst, in which Houdini performed an impressive trick at his home in the presence of Conan Doyle. Houdini assured Conan Doyle the trick was pure illusion and that he was attempting to prove a point about Doyle not "endorsing phenomena" simply because he had no explanation. According to Ernst, Conan Doyle refused to believe it was a trick.[74]

In 1922, the psychical researcher Harry Price accused the spirit photographer William Hope of fraud. Doyle defended Hope, but further evidence of trickery was obtained from other researchers.[76] Doyle threatened to have Price evicted from the National Laboratory of Psychical Research and claimed if he persisted to write "sewage" about spiritualists, he would meet the same fate as Harry Houdini.[77] Price wrote "Arthur Conan Doyle and his friends abused me for years for exposing Hope."[78] Because of the exposure of Hope and other fraudulent spiritualists, Doyle led a mass resignation of eighty-four members of the Society for Psychical Research, as they believed the Society was opposed to spiritualism.[79]

Doyle and spiritualist William Thomas Stead were duped into believing Julius and Agnes Zancig had genuine psychic powers, both claiming that the Zancigs used telepathy. In 1924 Julius and Agnes Zancig confessed that their mind reading act was a trick and published the secret code and all the details of the trick method they had used, under the title Our Secrets!! in a London newspaper.[80] Doyle praised the psychic phenomena and spirit materializations produced by Eusapia Palladino and Mina Crandon, who were both exposed as frauds.[81]

Doyle's two volume, The History of Spiritualism was published in 1926. W. Leslie Curnow a spiritualist, contributed much research to the book.[82][83] In 1926, Robert John Tillyard wrote a predominantly supportive review of Doyle's book The History of Spiritualism in the journal Nature.[84] This caused controversy, and several critics such as A. A. Campbell Swinton pointed to the evidence of fraud in mediumship and Doyle's non-scientific approach to the subject.[85][86][87] In 1927, Doyle spoke in a filmed interview about Sherlock Holmes and spiritualism.[88]

Richard Milner, an American historian of science, has presented a case that Doyle may have been the perpetrator of the Piltdown Man hoax of 1912, creating the counterfeit hominid fossil that fooled the scientific world for over 40 years. Milner says that Doyle had a motive—namely, revenge on the scientific establishment for debunking one of his favourite psychics—and that The Lost World contains several encrypted clues regarding his involvement in the hoax.[89][90] Samuel Rosenberg's 1974 book Naked is the Best Disguise purports to explain how, throughout his writings, Doyle left open clues that related to hidden and suppressed aspects of his mentality.[91]

Doyle commissioned a newly-built home from Joseph Henry Ball, an architect friend, in 1895, and played an active part of the design process.[92] [93] He lived in Undershaw which is near Hindhead in Surrey from October 1897 to September 1907.[94] It was a hotel and restaurant from 1924 until 2004, when it was bought by a developer and stood empty while conservationists and Doyle fans fought to preserve it.[46] In 2012, the High Court in London ruled the redevelopment permission be quashed because proper procedure had not been followed,[95] but it is now due to become part of the Stepping Stones school for children with disabilities and additional needs.

Doyle was staying at the Lyndhurst Grand Hotel during March 1912 and made his most ambitious foray into architecture: sketching the original designs for a third storey extension and altering the front facade to the building.[96] Work began later that year and the building as it is today is a near perfect expression of Doyle's plans.[97]

In 1914, on a family trip to the Jasper National Park in Canada, he designed a golf course and ancillary buildings for a hotel. The plans were realised in full, but neither the golf course nor the buildings have survived.[98]

In 1926, Doyle laid the foundation stone for a Spiritualist temple in Camden, London. Of the building's total £600 construction costs, he provided £500.[99]

Doyle was found clutching his chest in the hall of Windlesham Manor, his house in Crowborough, East Sussex, on 7 July 1930. He died of a heart attack at the age of 71. His last words were directed toward his wife: "You are wonderful."[100] At the time of his death, there was some controversy concerning his burial place, as he was avowedly not a Christian, considering himself a Spiritualist. He was first buried on 11 July 1930 in Windlesham rose garden.

He was later reinterred together with his wife in Minstead churchyard in the New Forest, Hampshire.[9] Carved wooden tablets to his memory and to the memory of his wife, originally from the church at Minstead, are on display as part of a Sherlock Holmes exhibition at Portsmouth Museum.[101][102] The epitaph on his gravestone in the churchyard reads, in part: "Steel true/Blade straight/Arthur Conan Doyle/Knight/Patriot, Physician, and man of letters".[103]

A statue honours Doyle at Crowborough Cross in Crowborough, where he lived for 23 years.[104] There is a statue of Sherlock Holmes in Picardy Place, Edinburgh, close to the house where Doyle was born.[105]


what is joy's job in what happens in vegas

In New York City, high-strung equity trader Joy Ellis McNally is dumped by her fiancÃ© at a surprise birthday party she throws for him. At the same time, easy-going carpenter Jack Fuller is fired from his job by his father, Jack, Sr. Both become emotionally distraught and, with best friends Toni "Tipper", a bartender, and Jeff "Hater", a lawyer, take a debauched trip to Las Vegas.

What Happens in Vegas

What Happens in Vegas is a 2008 American comedy film directed by Tom Vaughan, written by Dana Fox and starring Cameron Diaz and Ashton Kutcher. The title is based on the Las Vegas marketing catchphrase "What happens in Vegas, stays in Vegas."

Joy and Jack meet by chance when they are given the same hotel room because of a computer error. After clearing up the misunderstanding and receiving upgraded rooms and coupons to various clubs, they party and drink together and end up getting married. The next morning, they realize it was a mistake and decide to divorce.

Before they do so, Jack uses a quarter Joy gives him in a slot machine. He hits a three million dollar jackpot and Joy reminds Jack that they are married and hence, she is entitled to half of the money. The couple return to New York, where they attempt to divorce. The judge declares that the couple cannot divorce until they attempt to co-exist for six months, while attending weekly sessions with Dr. Twitchell, a marriage counselor. If they work at the marriage but still want to divorce after six months, each will be permitted to keep half the winnings. If either party does not cooperate, the money will be tied up in litigation by the judge.

The newlyweds devise more and more cunning schemes to undermine each other, such as Jack telling Joy that their counseling session is canceled to prove she's not committed, and Joy inviting girls to their apartment to try to get Jack to cheat on her, throwing a party where Jack's friend Dave shows up. Jack gives Joy's ex-fiancÃ©, Mason, her engagement ring back without Joy knowing. At Joy's job retreat, Jack and Joy find themselves developing an unexpected attraction to one another, and they soon realize that being with each other has brought out the best in both of them.

After they get back from the retreat, it's time for the judge to decide what happens to the money. On her way to the hearing, Joy sees her ex-fiancÃ© Mason, and he tells her that he wants her back. He gives her back the engagement ring and tells her that she is good enough for him. Joy realizes that Jack set her up to get back with him, therefore cheating on him and letting Jack keep the money. Joy walks away from Mason and goes to the hearing. At the hearing, their marriage counselor testifies that the couple truly tried to work on their marriage. The judge decides that they will split the remaining 1.4 million dollars (after taxes, bills Joy ran up, and money Jack spent on his new woodworking business). Joy tells the judge she doesn't want any money and gives the engagement ring to Jack, telling him she officially doesn't want anything from him. Jack realizes she knows that he talked to Mason.

Joy gets the promotion she'd been working for, but tells her boss she would rather be happy doing nothing than doing something she hates and being miserable. Jack talks to his parents and they tell him it looks like he and Joy are in love. Realizing his mistake, he goes to find her. Tipper tells Jack that she quit her job and that nobody knows where she is. He has a suspicion that she has gone to a beach (Fire Island, New York) that she told him about, the only place that makes her feel truly happy. Jack asks her to be his wife (again) and she says yes. As the two embrace, Joy says that she quit her job and has no idea what she's going to do. Jack reminds her that they have a lot of money between them. Joy states that they hit the jackpot, to which Jack replies that he certainly did (referring to both the money and to Joy).

During the credits, we see Tipper and Hater on the day Jack and Joy get married. Tipper and Hater subsequently enact a plan of revenge on Mason, devised by Tipper earlier in the film. Tipper and Hater ring Mason's doorbell, and when he answers, Tipper slugs him in his testicles. He moans in agony and drops to his knees asking "Why?", and she responds emphatically "You know why!", and Tipper leaves with Hater.[1]

Post-credits, Dave is telling Hater about a party that evening, but Hater no longer wants to associate with Dave, citing Jack as being "the glue" that held the two of them together as friends. With that, Hater simply leaves. Dave asks a random guy on the street if he likes to party.

The film had its world premiere at the Odeon in Leicester Square, London on April 22, 2008. Twentieth Century Fox held the U.S. premiere on May 1, 2008 at the Mann Village Theatre in Westwood, CA.[2] It opened in wide release in the United States on May 9, 2008.

American Big Brother 9 housemates Ryan and Sharon were given a special screening of the film after winning a "luxury competition" in April. They were also awarded tickets to the May 1 Hollywood premiere.[3]

What Happens in Vegas grossed $80.3 million in the United States and Canada and $131.4 million in other territories for a total of $219.4 million worldwide, against a production budget of $35 million.[4]

In its opening weekend, the film grossed $20.2 million in 3,215 theaters in the United States and Canada, ranking finishing second at the box office behind Iron Man.[5]

What Happens in Vegas received generally negative reviews from critics. On Rotten Tomatoes the film has a rating of 27%, based on 130 reviews, with an average rating of 4.5/10. The site's critical consensus reads, "What Happens in Vegas has a few laughs, but mostly settles for derivative romantic comedy conventions and receives little help from a pair of unlikable leads."[6] On Metacritic the film has a score of 36 out of 100, based on 31 critics, indicating "generally unfavorable reviews".[7]

Manohla Dargis of The New York Times slammed it, stating that What Happens in Vegas is "one of those junky time-wasters that routinely pop up in movie theaters".[8] Metromix Chicago's Matt Pais called it "bland, boring and not fun at all".[9]

The film received two Razzie Award nominations including Worst Actress (Cameron Diaz) and Worst Screen Couple (Cameron Diaz and Ashton Kutcher). Both awards went to Paris Hilton for The Hottie and the Nottie.[10]


my cousin rachel what happens at the end

Philip suspects that Rachel tried to poison him and, with Louise's help, searches her room. They find nothing to incriminate Rachel and wonder if they are misjudging her. Meanwhile, Rachel has walked to the terraced garden and stepped onto the bridge over the sunken garden. Philip finds her broken body lying amongst the timber and stone. He takes her in his arms, and she looks at him, calling him Ambrose before she dies.

My Cousin Rachel

My Cousin Rachel is a novel by British author Daphne du Maurier, published in 1951. Like the earlier Rebecca, it is a mystery-romance, set primarily on a large estate in Cornwall.

The story has its origins in a portrait of Rachel Carew at Antony House in Cornwall, which du Maurier saw and took as inspiration.[1]

Ambrose Ashley is the owner of a large country estate on the Cornish coast and has been guardian to his orphaned cousin Philip since he was three years old. On Sundays, Philip's godfather, Nick Kendall, and his daughter Louise come to lunch with them, as do the Reverend Mr Pascoe and his family. Life is good apart from a few health problems that require Ambrose to spend the winter in warmer climates. As the damp weather approaches, he sets off for his third winter abroad and chooses Italy.

By the time he has reached his twenties, Philip misses Ambrose on his sojourns in Italy but regularly receives letters from him. Ambrose writes that he has met a cousin of theirs called Rachel - the widowed Contessa Sangalletti - in Florence. In the spring, Ambrose says that he and Rachel are married and have no immediate plans to return to Cornwall. Gradually, the tone of Ambrose's correspondence changes. He complains of the sun, the stuffy atmosphere of the villa Sangalletti, and terrible headaches. In a letter that reaches Philip in July, Ambrose says that a friend of Rachel's called Rainaldi has recommended that Ambrose see a different doctor. Ambrose says he can trust no one and claims that Rachel watches him constantly.

Philip discusses the contents of the letter with his godfather Nick, who is his guardian until his coming of age at 25. Nick suggests that Ambrose may be suffering from a brain tumour. Philip travels to Italy and reaches the villa Sangalletti, where he learns that Ambrose is dead and that Rachel has left the villa. When Philip returns to Cornwall, Nick tells Philip that he has received a communication from Rainaldi, containing two pieces of information: the death certificate confirms that Ambrose's cause of death was a brain tumour, and, as Ambrose had never changed his will in Rachel's favour, Philip is still heir to the estate.

Two weeks later, Nick receives word from Rachel, saying that she has arrived by boat at Plymouth. Philip invites her to stay with him, and a harmony develops between them. One day, a tenant from East Lodge gives Philip a letter from Ambrose, written three months before his death. In it, Ambrose tells Philip about his illness and talks of Rachel's recklessness with money and her habit of turning to Rainaldi rather than himself. Finally, he wonders if they are trying to poison him, and he asks Philip to come to see him. Rachel later shows Philip an unsigned will that Ambrose wrote in which he leaves his property to Rachel. Philip begins to trust Rachel again.

On the day before Philip's 25th birthday, he prepares to transfer Ambrose's estate to Rachel. He also gives her the family jewels, and they make love. The next day, Philip announces that he and Rachel are getting married, but she denies this in front of friends. Not long afterward, Philip falls ill for many weeks, during which Rachel nurses him. When he is well enough to go outside, he finds that the terraced gardens are complete and that work has begun on a sunken garden. The foreman tells Philip that the bridge over the garden is a framework and will not bear any weight.

The book's title reflects Philip's consistent references to Rachel as "my cousin Rachel" up to the moment he realises that he is in love with her.

The first film adaptation, Henry Koster's My Cousin Rachel starring Richard Burton and Olivia de Havilland, was released in 1952. Du Maurier and original director George Cukor reviewed a screenplay draft and found it unfaithful to the novel, with du Maurier declaring it "Quite desperate."[2] Nevertheless, critics Bosley Crowther and Leonard Maltin felt it was a worthy adaptation.[3][4]

A BBC four-part television adaptation, starring Christopher Guard and Geraldine Chaplin, was broadcast in 1983. Professor Nina Auerbach judged it as "Superficially" more faithful, including in a more complex treatment of Rachel.[5]

A radio adaptation of My Cousin Rachel by BBC Radio 4, first aired in April 2011, starring Damian Lewis and Lia Williams. It aired again May 2013 on Radio 4's sister channel Radio 4 extra.

On 17 April 2012, a dramatic adaptation by Joseph O’Connor, of Daphne du Maurier’s My Cousin Rachel, premièred at the Gate Theatre, Dublin, starring Hannah Yelland as Rachel.

The first film adaptation since 1952, Roger Michell's My Cousin Rachel starring Rachel Weisz, Sam Claflin and Iain Glen, was released in June 2017.[6]

The novel is commemorated by the My Cousin Rachel Walk, which stretches five miles in the Barton lands in Cornwall, where some of the action in the novel takes place.[1]


what does tom say at the end of the missing mouse

Tom is instantly rejuvenated and takes the white mouse to kick him out of the window, then Jerry jumps out of the window. The moment Tom's foot makes contact, the mouse causes a massive explosion which reduces the entire neighborhood to rubble, leaving only the radio speaker intact. The radio announcer states: "We repeat, the white mouse will not explode". Tom emerges badly injured and drones, "Don't you believe it!" (repeating a gag from the 1944 film Mouse Trouble) as the cartoon closes.

The Missing Mouse

The Missing Mouse is the 73rd one reel American animated Tom and Jerry short, created in 1951, directed by William Hanna and Joseph Barbera and produced by Fred Quimby. It was the first and only cartoon in the Hanna-Barbera era (1940â€“1958) that the music was not composed by Scott Bradley. Instead, Edward Plumb scored the music for this cartoon. It was animated by Ray Patterson, Ed Barge, Kenneth Muse and Irven Spence, with backgrounds by Robert Gentle. It was released on January 10, 1953 by Metro-Goldwyn-Mayer.

Jerry tries to steal food from the refrigerator while he is being watched by Tom, without him knowing. Jerry is then attacked (having an orange squirt in his face and swatted by pies). When Jerry looks back at Tom, he accidentally runs into a wall.

The cat laughs and sits down, and Jerry breaks out of the wall and onto the floor. The impact tips over a bottle of white shoe polish from the shelf above over and spills its contents onto Jerry, painting him white. Tom reads a magazine and listens to the radio until a breaking news story is announced that an escaped laboratory white mouse who has consumed enough of an experimental explosive to blow up an entire city is on the loose. The slightest jar would cause the mouse to explode, much to Tom's appalled horror.

While listening to this, Jerry knows that Tom will mistake him for the white mouse and decides to have some fun. Tom slams the open window shut and relaxes himself by eating some nuts. As he breaks open the nuts with a hammer, Jerry uses this opportunity and stands on the table. Tom grabs the mouse, thinking he is a nut, but stops the hammer when he feels Jerry, and looks to see the white mouse and his hammer droops down.

Tom jumps away and dashes to the phone to call the police. Jerry whistles at him and tries to fall off the table, and Tom immediately sets a pillow for Jerry to fall on. Tom tries make a call again, but Jerry draws attention to himself trying to drop the lid of the piano onto himself, and Tom has to substitute his head. Tom sneaks away and tries to make a call a third time, but sees Jerry jumping off a butter knife. Tom blows Jerry to safety. Jerry drops an iron towards the cat. He blows his lungs out before it lands in his face.

Tom begins a chase, which ends quickly when Jerry threatens to hit himself with a hammer. The cat begs him not to do it, and Jerry takes this chance to whack his enemy on the head. Tom stopped by the mouse renewing his "suicidal" threat allows Jerry to hit him on the head several times. Satisfied, the rodent filches a few cookies, which gives the cat the chance to swipe the hammer.

In response, Jerry bounces himself on the counter making the cat flinch. The mouse continues bouncing across the counter, but does not see the sink full of water. He jumps out and doesn't realize the polish has washed off. Tom grins and allows Jerry to bounce and hit himself with the hammer. Not knowing he's been exposed, Jerry hits himself even harder and ends up bruising himself. Tom then takes the hammer and pounds Jerry into the counter like a nail. He then grabs Jerry by the tail and takes him to the mirror to show him devoid of the polish. After giggling bashfully in an attempt to laugh the whole thing off, Jerry is then thrown out of the house by Tom.

The 'true' white mouse appears as Tom kicks Jerry out and runs into the house. Tom goes back to reading his magazine and he hears the white mouse eating some nuts. Thinking that Jerry is trying to fool him again, Tom tries to attack him with his hammer and catches him, then tries to wash the "polish" off in the fishbowl but it doesn't work. He tries using a washboard only to hear a whistle, Jerry reveals himself grinning from an open window. Tom realizes that he must be holding the real white mouse and the shock of it causes him to age into an old man. Trembling due to his suddenly accelerated age, Tom sets the mouse down then fumbles to call the police, but snaps back to reality when the radio announcer comes back on the air with important news that the explosive consumed by the white mouse is no longer dangerous and that the mouse will not explode.


who wrote the song all i want is you

"All I Want Is You" is the final song on U2's 1988 album, Rattle and Hum, and was released on 13 June 1989 as the album's fourth and final single. It is the closing song from the film, Rattle and Hum. String arrangements on the song are by Van Dyke Parks.[2]

All I Want Is You (U2 song)

"All I Want Is You" was released in the UK as a single on 12 June 1989.[3] The B-side featured covers of The Righteous Brothers', "Unchained Melody", and a cover of Love Affair's "Everlasting Love". It reached number 4 in the UK charts and number 2 in Australia, number 12 on the Dutch Top 40, but only reached number 67 and number 83 in the Canadian and American charts, respectively. It appeared on the soundtrack for the 1994 film Reality Bites. The popularity of the song in the film led to a re-release in 1994 where it reached number 38 in the U.S. Top 40 Mainstream charts. The single was rereleased in the Netherlands with "Everlasting Love" now being the a-side. "Everlasting Love" reached number 10 in the Dutch Charts, in January 1990. In 2004, it was ranked number 9 in Entertainment Weekly's list of "The 50 Greatest Love Songs."[4]

It is also featured during an episode of Hindsight and the final scenes of the 2011 film Contagion. The song "October" appears on the compilation album The Best of 1980-1990 as a hidden track encoded within the track for "All I Want Is You" following about a minute of silence.

Director Meiert Avis shot the promotional video in the town of Ostia, outside Rome on 18 April 1989.[5] Written by Barry Devlin, the video takes an unusual cinematic approach to the song, with U2 band members making only brief cameo appearances. The video tells the story of a dwarf played by Paolo Risi[6] who falls in love with a trapeze artist played by Paola Rinaldi, one of whom apparently dies towards the end. While there is disagreement amongst fans about exactly who has died, The Edge was quoted as saying it is the trapeze artist who dies.[7] This video pays homage to Fellini, who was shooting his last movie, "La Voce Della Luna" only a few miles away from the U2 set, and also to Tod Browning's 1932 film Freaks.[8]

"All I Want Is You" was played at almost every date of 1989's Lovetown Tour, occasionally seguing into "Bad", with which it shares considerable musical similarity. It has since been featured in some capacity at every subsequent tour. On the Zoo TV Tour in 1992 and 1993, it was usually merely a snippet at the end of "Bad," but occasionally Bono would perform a solo abbreviated version. The version played on 1997's PopMart Tour was much more complete, and subsequent live performances have been of the entire song. During its performance on 2001's Elevation Tour, it would segue into "Where the Streets Have No Name." Another version was eventually played on their Vertigo Tour, in the usual place of "Miracle Drug." The song also closed some shows of the 4th leg, in South America, and finally closed the tour in Honolulu, on 9 December 2006. "All I Want Is You" has also seen occasional appearances on the U2 360° Tour. At the July 2, 2011 show in Nashville, Bono invited a blind fan onstage to play "All I Want Is You" on guitar for his wife after normal set closer "Moment of Surrender." After the song, Bono gave the fan his Gretsch Irish Falcon guitar. Performances on video are also included on PopMart: Live from Mexico City, U2 Go Home: Live from Slane Castle, Ireland, and Vertigo 05: Live from Milan.

The first track on all versions of the single is an edited version of "All I Want Is You." "Unchained Melody" was featured on the 7", 12" and CD versions of the single, and the full version of "All I Want Is You" was only featured on the CD versions of the single.

All I Want Is You

"All I Want Is You" was covered by the Irish girl group Bellefire in 2002 from their debut album After the Rain. It became their most successful hit single, reaching #3 in Ireland and cracking the top 20 in the UK.

An enhanced version of the CD contains the video for "All I Want Is You."

"All I Want Is You" was covered by Brian McFadden, an Irish musician for his album The Irish Connection.[17] The song features guest vocals from Boyzone frontman Ronan Keating. It was released as a single on 25 February 2013.

The accompanying music video sees McFadden performing the track during a UK tour earlier this year. The video did not feature Ronan Keating.[18]