who sings the song solitude by black sabbath

In the liner notes to the 1998 live album Reunion, drummer Bill Ward commented that Master of Reality was "an exploratory album". In 2013, Mojo magazine called Master of Reality "The sound of a band becoming increasingly comfortable in their studio surroundings." Iommi believes the band might have become too comfortable, however, telling Guitar World in 1992, "During Master of Reality, we started getting more experimental and began taking too much time to record. Ultimately, I think it really confused us. Sometimes I think I'd really like to go back to the way we recorded the first two albums. I've always preferred just going into the studio and playing, without spending a lot of time rehearsing or getting sounds." The song "Into the Void" was especially problematic, with Iommi revealing in the same interview: "We tried recording "Into the Void" in a couple of different studios because Bill just couldn't get it right. Whenever that happened, he would start believing that he wasn't capable of playing the song. He'd say: "To hell with it – I'm not doing this!" There was one track like that on every album, and "Into the Void" was the most difficult one on Master of Reality." In his autobiography Iron Man: My Journey Through Heaven and Hell with Black Sabbath, Iommi describes the difficulty Osbourne also experienced recording the vocal: "It has this slow bit, but then the riff where Osbourne comes in is very fast. Osbourne had to sing really rapidly: "Rocket engines burning fuel so fast, up into the night sky they blast," quick words like that. Geezer had written all the words out for him ... Seeing him try was hilarious." The song "Solitude" showcases guitarist Iommi's multi-instrumental talents, featuring him playing guitar, flute, and piano.[4] A delay effect was later added to Osbourne's vocals on the song as a means of doubling the vocal track.

Master of Reality

Master of Reality is the third studio album by English rock band Black Sabbath, released in July 1971. It is widely regarded as the foundation of doom metal, stoner rock, and sludge metal.[1] It was certified double platinum after having sold over 2 million copies. Master of Reality was Black Sabbath's first and only top 10 album in the US until 13, forty-two years later.

Master of Reality was recorded at Island Studios, in London, during February and April 1971. The album was produced by Rodger Bain, who had also produced Black Sabbath's previous two albums; this was to be his final collaboration with the band.

On the tracks "Children of the Grave", "Lord of This World", and "Into the Void", guitarist Tony Iommi downtuned his guitar 1 1⁄2 steps to produce what he called a "bigger, heavier sound".[2] This also reduced string tension, thus making the guitar less painful for him to play; Iommi had two of his fingers partially severed in a factory accident years earlier.[3] Geezer Butler also downtuned his bass guitar to match Iommi. "It helped with the sound, too", Butler explained to Guitar for the Practicing Musician in 1994. "Then it got to the point where we tuned even lower to make it easier vocal-wise. But Osbourne would then sing higher so it sort of defeated the object." In the 2013 biography of the band Black Sabbath: Symptom of the Universe, Mick Wall writes that "the Sabbath sound took a plunge into even greater darkness. Bereft even of reverb, leaving their sound as dry as old bones dug up from some desert burial plot, the finished music's brutish force would so alarm the critics they would punish Sabbath in print for being blatantly thuggish, purposefully mindless, creepy, and obnoxious. Twenty years later groups like Smashing Pumpkins, Soundgarden, and, particularly, Nirvana, would excavate the same heaving lung sound ... And be rewarded with critical garlands." In his autobiography I Am Ozzy, vocalist Ozzy Osbourne states that he cannot remember much about recording Master of Reality "apart from the fact that Tony detuned his guitar to make it easier to play, Geezer wrote 'Sweet Leaf' about all the dope we'd been smoking, and 'Children of the Grave' was the most kick-ass song we'd ever recorded."

During the album's recording sessions, Osbourne brought Iommi a large joint which caused the guitarist to cough uncontrollably.[2] Iommi was recording acoustic guitar parts at the time, and his coughing fit was captured on tape: A fragment of Iommi's coughing was later added by producer Bain as the intro to "Sweet Leaf," a song which was admittedly an ode to marijuana use.[2] Iommi recalls "We all played 'Sweet Leaf' while stoned."[2] In an interview with Guitar World in 2001 Butler recalled: "I do remember writing "Sweet Leaf" in the studio. I'd just come back from Dublin, and they'd had these cigarettes called Sweet Afton, which you could only get in Ireland. We were going: "What could we write about?" I took out this cigarette packet, and as you opened it, it's got on the lid: "it's the sweetest leaf that gives you the taste" I was like: "Ah, Sweet Leaf!" Writing in Mojo in 2013, Phil Alexander observed: "To most it is the quintessential stoner anthem, a point borne out by Sabbath's own Olympian consumption of hashish during their early days." In the Black Sabbath concert film The Last Supper, Ward ruminates: "Did it enhance the music? Well, you know, we wrote 'Sweet Leaf': 'When I first met you / didn't realize', that's about meeting marijuana, having a relationship with marijuanaÂ ... That was part of our lifestyle at that time."[citation needed]

Butler was (and remains) a Catholic[2] and the song After Forever focuses entirely on Christian themes. At the time, Black Sabbath were suspected by some observers of being Satanists due to their dark sound, image, and lyrics.[2] "After Forever" was released as a single along with "Fairies Wear Boots" in 1971.[5][6]

The first editions of Master of Reality came in an 'envelope sleeve' containing a poster of the band, and with the album's title embossed in black lettering, visible in relief. Later editions lacking the embossed printing would render the album title in grey. This was the first Black Sabbath sleeve on which the lyrics were reproduced on the back of the sleeve. In his autobiography Iommi describes the cover as "Slightly Spinal Tap-ish, only well before Spinal Tap".[clarification needed]

On the first North American editions of the album, several songs had subtitles given to segments, making it appear that there were more songs than there actually were. The intro of "After Forever" was given the title "The Elegy", the outro of "Children of the Grave" was called "The Haunting", the intro of "Lord of This World" was titled "Step Up", and the intro of "Into the Void" called "Deathmask." This treatment had also been used on the North American editions of Black Sabbath's previous two albums. These pressings also incorrectly listed the album title as Masters of Reality.[7] Subsequent editions corrected the album's title and removed three of the four subtitles (all but "The Elegy").

Master of Reality peaked at number five on the UK Albums Chart,[15] and at number eight in the United States,[16] where it achieved Gold status on advance orders alone.[citation needed] It eventually sold two million copies in the US.[17] Despite the album's immediate commercial success, it was viewed with disdain by several contemporary music critics. In his review for The Village Voice, Robert Christgau called the album: "A dim-witted, amoral exploitation."[14] Rolling Stone magazine's Lester Bangs described its music as "monotonous" and hardly an improvement over Paranoid, although he found the lyrics more revealing because they offer: "Some answers to the dark cul-de-sacs of Paranoid."[18]

In 1994, Master of Reality was ranked number 28 in Colin Larkin's Top 50 Heavy Metal Albums. Larkin described it as Black Sabbath's "first real international breakthrough" and "a remarkable piece of work".[19] Writing in MusicHound Rock: The Essential Album Guide (1999), authors Gary Graff and Daniel Durcholz described the album as a "brilliant skull crusher", singling out "Children of the Grave" and "Sweet Leaf" as "timeless" tracks.[10] In 2001, Q included the album in their list of the 50 Heaviest Albums of All Time, calling it "malevolentÂ ... Casting Black Sabbath as a Titanic-style house band on the eve of Armageddon, cranking it as the bomb drops."[20] A critic for the magazine cited it as "the most cohesive record of [the band's] first three albums."[11] In 2003, Rolling Stone magazine ranked the album number 298 in their list of the 500 greatest albums of all time.[21] They described the album as representing "the greatest sludge-metal band of them all in its prime."[22] The same magazine also ranked the album 34th on its "100 Greatest Metal Albums of All Time".[23] Billy Corgan, the leader of The Smashing Pumpkins, considered Master of Reality the album that "spawned grunge". Black Sabbath and especially Master of Reality was a huge influence of the 1990s stoner rock / Desert Rock scenes in the UK and the US, bands like Kyuss, Monster Magnet, Sleep, and Orange Goblin have cited Sabbath and Master of Reality as a defining album of that genre.[24] John Stanier, drummer for Helmet and Tomahawk, cited the record as the one that inspired him to become a musician.[25] In 2013, Sabbath biographer Mick Wall praised Iommi's "ability to incorporate more neat riffs and sudden unexpected time changes in one song than most bands would contemplate on an entire album".

Songs from Master of Reality have been covered by a variety of bands.

"After Forever" has been covered by Biohazard for Nativity in Black, a Black Sabbath tribute album,[26] Aurora Borealis for Hell Rules: Tribute to Black Sabbath, Vol. 2, Deliverance on their 1992 album What a Joke, and by the hardcore band Shelter on their 1992 album Quest for Certainty. Frost Like Ashes on their debut EP Pure as the Blood Covered Snow. The song "Solitude" was covered by English doom metal band Cathedral as a bonus track for the European version of Nativity in Black, and later by Norwegian group Ulver on their 2007 album Shadows of the Sun.[27] White Zombie covered "Children of the Grave" on Nativity in Black, spawning a single. Stone Sour, Racer X, Earth Crisis, and Neurosis have all covered the song as well. "Into the Void" was covered in 1995 by stoner rock band Kyuss and released on the 1997 split EP Kyuss/Queens of the Stone Age, and by Soundgarden on their EP Satanoscillatemymetallicsonatas. Soundgarden's version featured new lyrics derived from the words of Chief Seattle.[28] "Sweet Leaf" was covered by Alice in Chains in a live performance in Cincinnati on August 1991 and by Godsmack as a bonus track for the Japanese special edition of their 2000 album Awake and for the second volume of Nativity in Black. The riff from "Sweet Leaf" was used as the basis for the Butthole Surfers' song "Sweat Loaf," from the album Locust Abortion Technician. Thrash metal band Anthrax, at the end of their cover of another Black Sabbath song, "Sabbath Bloody Sabbath" from their 1987 EP I'm the Man, launch into an abbreviated version of "Sweet Leaf" which fades to silence after several seconds. That same riff is referenced near the end of "Give It Away" by the Red Hot Chili Peppers.[29] "Sweet Leaf" has also been covered by American metal band Ugly Kid Joe on their first release: As Ugly as They Wanna Be, and by Baltimore hardcore band Next Step Up on their 1995 album: Fall From Grace. Riffs from "Sweet Leaf" and "Into the Void" feature in a live recording of a Black Sabbath medley performed by Candlemass in 1988. The medley was released as a track on the bonus CD accompanying the 2003 re-release of their debut album, Epicus Doomicus Metallicus. Estonian band Rondellus, in their tribute album Sabbatum, covered the songs "After Forever" and "Solitude" in Medieval style with lyrics translated into Latin. "After Forever" is retitled "Post Aeternitatem" (literally, "After Eternity"), and is sung by a choir of male voices. "Solitude" is sung by male and female voices, accompanied by positive organ. Exhorder covered the song "Into the Void" on their album The Law released in 1992. Stoner doom metal band Sleep covered "Lord of this World" on their EP Volume Two. Grindcore band Brutal Truth made a cover of this song on their EP Perpetual Conversion. Also, Corrosion of Conformity recorded a version for Nativity in Black.

Several bands are named after songs on Master of Reality, or the album itself. Syracuse, New York hard rock band Masters of Reality, who enjoyed moderate success in the 1990s, took their name from the album title. Metal bands After Forever and Orchid take their name from the album tracks of the same name.[30] Mountain Goats leader John Darnielle wrote a short novel for the 33⅓ book series with Master of Reality as a central theme. The book is written in the form of a diary of a young man who has been committed to a mental health treatment facility, and how the teen relates to the world through the songs on the album.[31] The song "Solitude" was featured as the leitmotif of main character, Zombie, in the 1991 motion picture Zombie ja Kummitusjuna (Zombie and the Ghost Train) by Finnish director Mika Kaurismäki[32] and also appeared in the ending scene of the episode Keep Calm and Carry On, from the TV series Supernatural.[33] Future Black Sabbath producer Rick Rubin sampled "Sweet Leaf"'s main guitar riff in producing the Beastie Boys' 1986 song "Rhymin' and Stealin.'"[34] The track "Into the Void" was featured at the beginning of Episode 23 (entitled "Hog Heaven") of the ninth season of the television series CSI: Crime Scene Investigation.[citation needed]

All music composed by Black Sabbath (Tony Iommi, Geezer Butler, Ozzy Osbourne, Bill Ward), except "After Forever", "Embryo" and "Orchid" by Iommi; all lyrics by Butler.

Note that, while the overall timing of "Deathmask/Into the Void" is approximately correct, the apportioning of time between the two parts of the song may be arbitrary, as the 3:08 mark occurs during "Into the Void"'s middle-8 vocal section ("Freedom fighters sent off to the sun..."). The revised US pressing timings, shown below, compound this likely error.

Note that the timing of "Orchid" on revised US pressings is incorrect, as it includes the "Step Up" introductory section of "Lord of This World." The timing of "Solitude" on these pressings is similarly incorrect, as it includes the first half of "Into the Void"; the timings of "Deathmask" and "Into the Void" from the original US pressing should have been grouped instead.

US-made compact disc pressings of Master of Reality continue to list the incorrect timings of the Revised US LP pressing on the CD booklet.[35] The songs are not indexed on the CD using those timings, however, with breaks between songs properly placed.

A two-disc deluxe edition was released in the UK on 29 June 2009 and in the US on 14 July 2009 as an import. This deluxe edition was remastered by Andy Pearce who also did the deluxe editions of Black Sabbath and Paranoid.

BPI certification[37] (United Kingdom)

CRIA certification[38] (Canada)


who is the pitching coach for the new york yankees

Lawrence Lee Rothschild (born March 12, 1954) is an American professional baseball pitcher, coach, and manager.  He currently serves as the pitching coach of the New York Yankees of Major League Baseball (MLB).

Larry Rothschild

Rothschild played for the Detroit Tigers of MLB in 1981 and 1982. In addition to the Yankees, he has coached for the Cincinnati Reds, Atlanta Braves, Florida Marlins, and Chicago Cubs. He served as the manager of the Tampa Bay Devil Rays from 1998 through 2001.

Rothschild graduated from Homewood-Flossmoor High School and pitched for the Florida State Seminoles baseball team.  He signed as an amateur free agent with the Cincinnati Reds in 1975.

Rothschild spent 11 years in the Cincinnati Reds, Detroit Tigers, San Diego Padres, and Chicago Cubs organizations as a relief pitcher from 1975 to 1985. He was 66â€“46 in the minor leagues. He pitched in seven games in the major leagues for the Tigers, five in 1981 and two in 1982.

Rothschild then worked as a coach with the Reds from 1986 to 1993, winning a World Series ring in 1990 as the team's bullpen coach.

Rothschild worked with the Atlanta Braves as a pitching instructor in 1995 before joining the Florida Marlins in 1995 and staying until 1997, where he won another World Series ring in 1997.

Rothschild managed the Tampa Bay Devil Rays beginning in their inaugural season of 1998 until early in the 2001 season, when he was fired as a result of three consecutive losing seasons and a 4â€“10 start to 2001.[1] During his time in Tampa Bay, Rothschild compiled a record of 205 wins and 294 losses. He spent the remainder of 2001 as a consultant with the Florida Marlins, and was hired as the Chicago Cubs pitching coach in 2002.

Prior to the 2011 season, he accepted a three-year contract from the New York Yankees after Dave Eiland was fired.[2] Under Rothschild's tenure, the Yankees pitching staff has posted a 3.73 ERA in 2011, a 3.84 ERA in 2012, a 3.94 ERA in 2013, a 3.75 ERA in 2014, and a 4.05 ERA in 2015.

On October 17, 2013, Rothschild signed a one-year contract to remain with the Yankees.[3] His contract was renewed through the 2016 season. On October 7, 2016 he signed a one-year deal to remain with the Yankees through the 2017 season. Under Rothschild, starter Luis Severino finished with a 14-6 record with a 2.98 ERA, fourth in the league.[4]

On November 14, 2017, Rothschild signed a one-year contract to remain with the Yankees for the 2018 season.[5]

Rothschild was born in Chicago, Illinois. He is Jewish on his father's side.[6] He has three children with his wife Jane,[7] and his son Scott plays varsity baseball for the University of Chicago Maroons.[8]


who played alice boyfriend on the brady bunch

Allan John Melvin (February 18, 1923 – January 17, 2008[1]) was an American character actor who appeared in several television shows including numerous recurring roles as varying characters on "The Andy Griffith Show," recurring roles as Corporal Henshaw on The Phil Silvers Show; Sergeant Hacker on Gomer Pyle, USMC; Alice’s boyfriend Sam the Butcher on The Brady Bunch; and Archie Bunker’s friend Barney Hefner on All in the Family and Archie Bunker’s Place.

Allan Melvin

Born in Kansas City, Missouri, to Richard and Marie Melvin and raised in New York City by his paternal grandparents, Frank and Helen (nÃ©e Campbell) Melvin. He attended Columbia University.[2] After graduation, he served in the United States Navy during World War II and married his wife, Amalia Faustina Sestero, in March 1944 in New York City.

While working at a job in the sound effects department of NBC Radio, he did a nightclub act and appeared and won on the Arthur Godfrey’s Talent Scouts radio show. While appearing on Broadway in Stalag 17, he got his break into television by getting the role of Corporal Steve Henshaw[3] on the popular The Phil Silvers Show program.[2] TV fans of this era usually best remember his role as Henshaw, Sergeant Bilko’s right-hand man on that show. “He was proudest of that show,” Amalia Melvin said. “I think the camaraderie of all those guys made it such a pleasant way to work. They were so relaxed.”[2]

During this period, in addition to his role on The Phil Silvers Show, Melvin was often cast in slightly loud, occasionally abrasive, but generally friendly second banana roles. Melvin was also adept at “tough guy” roles; in an example of his range as an actor, one episode of Sergeant Bilko featured Melvin doing a recognizable impersonation of Humphrey Bogart.

In the 1960s, Melvin worked extensively at CBS for Sheldon Leonard and Aaron Ruben. He played Staff Sergeant Charlie Hacker who was Sergeant Vince Carter’s rival for four seasons on Gomer Pyle, USMC. He also made eight appearances[4] on the Dick Van Dyke Show. He also provided the voices of cartoon character Magilla Gorilla, the lion Drooper, on The Banana Splits Adventure Hour, arch villain Tyrone in The Secret Lives of Waldo Kitty and Bluto on The All-New Popeye Hour. Melvin also made eight guest appearances on The Andy Griffith Show in eight different roles, usually as heavies. He also made three guest appearances on Perry Mason in various roles, including reporter Bert Kannon in the 1966 episode, "The Case of the Sausalito Sunrise." Also in 1966 Allan played the space enforcer on the series Lost In Space, in the episode “West Of Mars”.

Melvin is remembered for supporting roles on two popular 1970s sitcoms. He played Sam Franklin, the owner of a local butcher shop and boyfriend of Alice Nelson (the Bradys’ housekeeper) on The Brady Bunch, and Barney Hefner, Archie Bunker’s neighbor and friend on All in the Family. In other contributions to 1970s pop culture, he appeared as a Mel’s Diner patron on Alice and worked as a voice artist (under the name “Al Melvin”). He provided several characters’ voices for the TV show H.R. Pufnstuf and the voice of Prince Thun of the Lion Men on The New Adventures of Flash Gordon.

Some of his most prolific work was in television commercials, for products as diverse as Kellogg's Sugar Frosted Flakes and Remington electric razors. In the latter commercial, he sang a few bars of Frank Loesser’s song “I Believe in You” with a modified lyric. He was also featured as Al the Plumber on Liquid-Plumr drain opener commercials for fifteen years.[5]

In the early 1980s, Melvin appeared as a regular in Archie Bunker’s Place, a successor to All in the Family, in which he played the now more important role of Barney Hefner. When this series ended in 1983, Melvin’s work was exclusively devoted to cartoon voice-overs.

Allan Melvin died of cancer on January 17, 2008, aged 84,[6] and was buried at Westwood Memorial Cemetery in Southern CA. He was survived by wife Amalia, his wife of 64 years, and daughter Jennifer and her family. Allan Melvin was preceded in death by another daughter Mya, who died in 1970. Melvin is buried just yards from his TV best friend Carroll O'Connor, who played 'Archie Bunker' in TV's "All In The Family". Coincidentally, later the same year, famed 1950s pin-up Bettie Page was interred in the grave beside Melvin.

Perry Mason 1963 - Carl Jasper


where did the phrase what's up come from

Whassup? (also known as Wazzup) was a commercial campaign for Anheuser-Busch Budweiser beer from 1999 to 2002.[1] The first spot aired during Monday Night Football, December 20, 1999. The ad campaign was run worldwide and became a pop culture catchphrase. The phrase itself is a slurred version of the phrase "What's up?".

Whassup?

The commercials were based on a short film, entitled True, written and directed by Charles Stone III, that featured Stone and several of his childhood friends â€“ Fred Thomas, Paul Williams, Terry Williams, Jimmy "Puerto Rock" Perez and Kevin Lofton. The characters sat around talking on the phone and saying "whassup?" to one another in a comical way. The short was popular at a number of film festivals around the country and eventually caught the attention of creative director Vinny Warren and art director Chuck Taylor at the Chicago-based ad agency DDB, who took the idea to August A. Busch IV, vice president of Anheuser-Busch, and signed Stone to direct Budweiser TV commercials based on the film. Scott Martin Brooks won the role of Dookie when Kevin Lofton declined to audition.[2]

Whassup? won the Cannes Grand Prix award and the Grand Clio award, among others. In May 2006, the campaign was inducted into the CLIO Hall of Fame.

Eight years later, Stone made another version of the ad with the same cast, called Wassup 2008. The 2-minute short film was heavily critical of the presidency of George W. Bush and was a clear endorsement of the presidential campaign of Barack Obama.[3] The 2008 video was nominated for the Favorite User Generated Video award at the 35th People's Choice Awards.

The film Scary Movie (2000) parodied the ad in one scene.

Professional wrestling tag team The Dudley Boyz incorporated part of the ad as one of their signature moves. D-Von would climb to the top rope while Bubba Ray held an opponent's legs apart, before they both stuck out their tongues and did the Whassup head shake. D-Von would then execute a diving headbutt to the crotch of the opponent.

The Simpsons episodes "The Bart Wants What It Wants" (2002) and "See Homer Run"[citation needed] (2005) both feature the character Milhouse using the expression in an attempt to be cool.

The Greg the Bunny episode "Father and Son Reunion" (2002) featured the character Gil trying to bond with his son Jimmy. Gil thinks all young people use the expression to be cool. They go out together along with Greg the Bunny and Gil shouts the expression at everyone they meet, much to the embarrassment of Jimmy.

In the 2003 Friends episode "The One With Phoebe's Rats", Ross enters Monica and Chandler's apartment saying "Whassup" trying to imitate the commercial, to which Chandler replies, "Seriously dude, three years ago!"

The Office episode "Pilot" has Michael Scott, played by Steve Carell, and Dwight K. Schrute exchanging the expression with each,[clarification needed] which Jim Halpert implies to the audience that Scott is still doing it seven years after the ad was popular.

The Aqua Teen Hunger Force episode "Multiple Meat" (2010) had Frylock using the expression to Master Shake and when the latter does not react to it he asks "I'm sorry is that out now?"

The band Falling in Reverse parodied the ad in the music video of the song "Good Girls, Bad Guys" (2011).[4]

In the film Central Intelligence (2016), Bob Stone sends Calvin Joyner a video clip of the ad and asks, "remember those commercials?"

In the How I Met Your Mother episode "Trilogy Time" Barney Stinson uses the expression in supposed "dream" futures.


who played the first gordon on sesame street

Matthew Thomas Robinson Jr. (January 1, 1937 – August 5, 2002) was an American actor, writer and television producer. Robinson was the first actor to portray the character of Gordon Robinson on the long–running PBS children's TV program Sesame Street. When Sesame Street began in 1969, not only did Robinson play Gordon, but he also provided the voice of the puppet Roosevelt Franklin and also was one of the show's producers. He left the show in 1971. In later years, when producers needed a last name for the Gordon character, then played by Hal Miller and then Roscoe Orman, they used Matt's last name.

Matt Robinson (actor)

He wrote and produced the films Save the Children and Amazing Grace in the early 1970s, and authored scripts for Sanford and Son and Eight Is Enough. In 1983, he joined the staff of the NBC's The Cosby Show as a producer and staff writer. By that time, he was beginning to show symptoms of Parkinson's Disease, but stayed with the show for seven seasons despite the difficulty. He ultimately succumbed to the disease on August 5, 2002 in Los Angeles at the age of 65.

He is survived by his daughter, actress Holly Robinson Peete (21 Jump Street, Hangin' with Mr. Cooper, For Your Love, The Talk), son Matt Robinson III, his wife, Dolores Robinson, and five grandchildren.

Born Matthew Thomas Robinson Jr., in Philadelphia, Pennsylvania to Matthew Robinson Sr. and Marie (nee Henson) Robinson on January 1, 1937. His father worked as a postal worker and one of the first African American columnists for The Philadelphia Independent newspaper, while his mother worked as an elementary school teacher.

Robinson attended West Philadelphia High School in Philadelphia, Pennsylvania before going on to Pennsylvania State University in University Park, Pennsylvania and graduating in 1958 with a degree from the College of the Liberal Arts and Sciences. While at Penn State, Robinson was elected president of the Penn State Omega Psi Phi fraternity, one of the first African American fraternities founded at a prominently African American college or university--Howard University in Washington, D.C.

In 1962, Robinson wrote a slave revolt drama titled Rained All Night.[1][2]

He began his media career in 1963 as a writer, and soon after producer and on-air talent, at television station WCAU-TV in his hometown of Philadelphia. Robinson produced and hosted Opportunity in Philadelphia, a weekly televised employment service oriented toward African-Americans. By televising job opportunities, Opportunity in Philadelphia sought to allay the apprehension many minorities felt when looking for work. Robinson established his talent at WCAU, ultimately leading to future successes as a producer and actor.

Robinson's television breakthrough came in 1969 when he joined the Children's Television Workshop (CTW) to assist in the development of a new children's program for National Educational Television called Sesame Street. His initial role was to produce and oversee filmed segments focusing on the diversity of different characters on the show. Robinson was eventually chosen to play the fictional character of Gordon in the series, after the performance of the character in test episodes by another actor, Garrett Saunders, did not work out as the producers had hoped.[3] Gordon was the first character with spoken lines on the show, as a result of difficulty in finding someone to fill the figure. This was against Robinson's original intentions upon joining the show, as he preferred a behind-the-scenes role, and was initially reluctant to take the part. Dolores Robinson commented on his backseat role on the set: "He was by nature shy, and he knew that they were having a difficult time casting Gordon. And the people overseeing the taping up in the booth, peering at the monitors, kept saying, 'Matt knows what to do. He should be the Gordon.'

Despite resigning from the character Gordon, and the Sesame Street group officially in 1972, Robinson continued to work with the show, scripting and voicing Roosevelt Franklin sketches until 1975. One reason why he resigned from the show completely in 1975 was because he did not agree with the decision to have Susan work outside the home, as he felt that women should stay home.

Since 1972, two other actors, Hal Miller (1972–1974) and Roscoe Orman (1974–) have played the role of Gordon. Later, when Gordon's surname was needed, Robinson's was used in tribute.

Robinson wrote the first Sesame Street-themed storybook in 1972, titled Gordon of Sesame Street's Storybook. It was composed of four of his originally written children stories, "No More Milk", "Fisher-Man", "Fire-Man" and "A Lot of Hot Water". The cover has a Gordon Robinson caricature reading to different children.[5]

While with CTW, Robinson also played the voice of a reddish-magenta puppet named Roosevelt Franklin. Robinson worked closely with Jim Henson to accurately design the character, the first black-influenced Muppet. Other minority-based Muppets created by Henson and Robinson were Baby Ray Francis, Mobley Mose and a Hispanic Muppet, A.B. Cito. Roosevelt Franklin promoted ideals such as family, pride, respect and geography while also showing a passion for rhyming and blues music. By both creating the character and performing Franklin's voice for three seasons, Robinson helped his puppet become one of the show's main characters. In addition, Franklin continued to make appearances until 1975.

The puppet was pulled from the show because a negative perception of the character among African-Americans began to grow. This resulted from Franklin's frequently unruly behavior at the fictional elementary school, which was deemed a bad example for the audience. Additional arguments for the character's departure were rooted in its overly excessive black image, or lack thereof. Dolores Robinson has stated that Roosevelt Franklin became a televised vehicle for her then husband's anger with racism and pride in the black race.

Robinson recorded and released the first Sesame Street album to be focused on a single character, The Year of Roosevelt Franklin (Gordon's Friend from Sesame Street). Released in 1971, and then re-released in 1974 under the name My Name is Roosevelt Franklin, the album dealt with many appropriate behaviors for children; aside from basic topics such as numbers and letters, it also touched on traffic safety, sharing and getting along with others. All tracks were co-written with the help of Joe Raposo. The album was again released on compact disc in 2010 as a part of a set titled Old School: Volume 2, also including "Grover Sings the Blues" and "The Count Counts".

Following his time with CTW, Robinson continued to produce and write for movies, television and the stage.[5][6] He wrote and produced, under the direction of Stan Lathan, Save The Children (1973), a musical performance that was a spinoff of a black exposition conducted by People to Save Humanity. Robinson would continue his work as a producer and writer in the 1974 film Amazing Grace, which was about a group of neighbors seeking to overthrow some shady, money-hungry politicians.[7]

Other post-Sesame Street work included writing episodes for Sanford and Son, The Waltons and Eight Is Enough, and writing and producing for Captain Kangaroo, a children's television series on CBS that aired from 1955 to 1984.

In 1983, Robinson joined the crew of NBC's The Cosby Show as a producer and writer. The family sitcom, which aired from 1984 for eight seasons until 1992, revolved around the life of the Huxtable family â€“ an affluent African-American family in Brooklyn, New York. Robinson transitioned between writer, executive story consultant, executive story editor and soundtrack writer for over 50 episodes of the show, eventually becoming a co-producer. He acted in one episode, "Cliff's Nightmare", as a French scientist.

Written by Robinson and directed by Bill Lathan, The Confessions of Stepin Fetchit is a one-man play that focuses on Lincoln Perry, who was a popular black comic character in 1930s films but soon came under fire by civil rights advocates. The play was meant as a call to history as well as a discussion forum for reflection on Perry's life story as one of America's first black movie stars.[8]

Matt and his wife Dolores had two children, Matthew Thomas Robinson III and Holly Elizabeth Robinson (born September 18, 1964), before divorcing.[6] At first, Robinson was skeptical about his children going into film and television, though his daughter would go on to prominent TV roles.

Robinson was diagnosed with Parkinson's disease in 1982 at the age of 45 and battled the disease for 20 years. In 1997, during her father's struggle with the disease, daughter Holly Robinson Peete and her husband, NFL quarterback Rodney Peete, started the HollyRod Foundation. The foundation was created to reach out to all those affected by Parkinson's disease or autism and provide medical, physical and emotional support. Located within the Center for Parkinson's Research and Movement Disorders at the Keck School of Medicine at the University of Southern California, the HollyRod Foundation is able to provide low or no-cost treatment as well as various services to the underserved in greater Los Angeles.

Robinson died in his sleep at his Los Angeles home on Monday, August 5, 2002 at the age of 65.[11] A memorial service was held on the morning of Friday, August 9, 2002 at the Writers Guild of America Theater in Beverly Hills, California. He is survived by daughter and actress Holly Robinson Peete, son and production assistant Matthew Robinson III, former spouse Dolores Robinson and five grandchildren.[12][13]


what is the rhyme scheme of meeting at night

Like its sister poem "Parting at Morning" which uses pronominal reference to attribute the gender of the person in the boat (as male), the poem never reveals the identity of the two lovers.[3] It follows the rhyme scheme abccba and deffed.[4]

Meeting at Night

"Meeting at Night" is a Victorian English love poem by Robert Browning. The original poem appeared in Dramatic Romances and Lyrics (1845) in which "Night" and "Morning" were two sections. In 1849, the poet separated them into the two poems "Meeting at Night" and "Parting at Morning".

The poem (like others of the 1845 collection) was written during the courtship period of Browning with his future wife Elizabeth Barrett. Kennedy and Hair describe the poem as the "most sensual poem" he had written up to that time.[1]

John Kenyon, a distant cousin of Elizabeth Barrett, presented a copy of Barrett's 1844 poems to Sarianna Browning, sister of Robert Browning. Browning, discovering his name in print in the poem volume, wrote a letter to Barrett on January 10, 1845. Upon getting a reply he sent her the manuscripts of poems and plays of the Dramatic Romances and Lyrics for proofreading.[2]

The poems in Dramatic Romances and Lyrics were arranged in groups of two or three with the two love poems "Night" and "Morning" as complementary. They are described by Kennedy and Hair as "a compact dramatic narrative reflecting a decidedly masculine attitude toward love."[1]

The poem is written in two stanzas of six lines each. The first stanza describes the excitement of a secret journey by a boat on the sea. The second stanza describes the joy of the meeting of the two lovers.

There are two published accounts of this poem: one by F. R. Leavis[5] and another by Ronald Carter and Walter Nash.[6] Kennedy and Hair explain that Browning's urgent love for Elizabeth Barrett had led him to write "the most sensual poem he had yet created."[1]


summary of the poem the sparrow's nest

The poem is a moving tribute to Wordsworth's sister Dorothy, recalling their early childhood together in Cockermouth before they were separated following their mother's death in 1778 when he was barely eight years old.[1]

The Sparrow's Nest

Behold, within the leavy shade,
Those bright blue eggs together laid !
On me the chance-discovered sight
Gleamed like a vision of delight.
I started—seeming to espy
The home and sheltered bed,
The Sparrow’s dwelling, which, hard by
My Father’s house, in wet or dry
My sister Emmeline and I
Together visited.

She looked at it and seemed to fear it ;
Dreading, tho’ wishing, to be near it :
Such heart was in her, being then
A little Prattler among men.
The Blessing of my later years
Was with me when a boy :
She gave me eyes, she gave me ears ;
And humble cares, and delicate fears ;
A heart, the fountain of sweet tears ;
And love, and thought, and joy.

The Sparrows Nest is a lyric poem written by William Wordsworth at Town End, Grasmere, in 1801. It was first published in the collection Poems in Two Volumes in 1807.

"At the end of the garden of my father's house at Cockermouth was a high terrace that commanded a fine view of the river Derwent and Cockermouth Castle. This was our favourite play-ground. The terrace-wall, a low one, was covered with closely-clipt privet and roses, which gave an almost impervious shelter to birds that built their nests there. The latter of these stanzas alludes to one of those nests."

The 'Emmeline' of the poem is his sister Dorothy.

The poem itself was placed in a section of Poems in Two Volumes entitled Moods of my Mind, in which he grouped together his most deeply felt lyrics. Others included To a Butterfly, a childhood recollection of chasing butterflies with Dorothy, and I Wandered Lonely as a Cloud, closely based on an entry in Dorothy's journal following a walk together and an example of the line "She gave me eyes, she gave me ears" in the poem.[3]


how many hydrogen bonds form between g and c

The GC pair is bound by three hydrogen bonds, while AT and AU pairs are bound by two hydrogen bonds. To emphasize this difference in the number of hydrogen bonds, the base pairings can be represented as respectively Gâ‰¡C versus A=T and A=U. DNA with low GC-content is less stable than DNA with high GC-content; however, the hydrogen bonds themselves do not have a particularly significant impact on stabilization, the stabilization is due mainly to interactions of base stacking.[2] In spite of the higher thermostability conferred to the genetic material, it has been observed that at least some bacteria species with DNA of high GC-content undergo autolysis more readily, thereby reducing the longevity of the cell per se.[3] Due to the thermostability given to the genetic materials in high GC organisms, it was commonly believed that the GC content played a necessary role in adaptation temperatures, a hypothesis that was refuted in 2001.[4] However, it has been shown that there is a strong correlation between the prokaryotic optimal growth at higher temperatures and the GC content of structured RNAs (such as ribosomal RNA, transfer RNA, and many other non-coding RNAs).[4][5] The AU base pairs are less stable than the GC base pairs previously attributed to GC bonds containing 3 hydrogen bonds and AU having only 2 hydrogen bonds, making high-GC-content RNA structures more resistant to the effects of high temperatures. More recently, it has been proved that the most stabilizing factor of thermal stability of double stranded nucleic acids is actually due to the base stackings of adjacent bases, rather than the number of hydrogen bonds between the bases.There is more favorable stacking energy for G:C pairs because of the relative positions of exocyclic groups than in the A:U pairs. Additionally, there is a correlation between the order in which the bases stack and thermal stability.[6]

GC-content

In molecular biology and genetics, GC-content (or guanine-cytosine content) is the percentage of nitrogenous bases on a DNA or RNA molecule that are either guanine or cytosine (from a possibility of four different ones, also including adenine and thymine in DNA and adenine and uracil in RNA).[1] This may refer to a certain fragment of DNA or RNA, or that of the whole genome. When it refers to a fragment of the genetic material, it may denote the GC-content of section of a gene (domain), single gene, group of genes (or gene clusters), or even a non-coding region. G (guanine) and C (cytosine) undergo a specific hydrogen bonding, whereas A (adenine) bonds specifically with T (thymine, in DNA) or U (uracil, in RNA).

In PCR experiments, the GC-content of primers are used to predict their annealing temperature to the template DNA. A higher GC-content level indicates a relatively higher melting temperature.

GC content is usually expressed as a percentage value, but sometimes as a ratio (called G+C ratio or GC-ratio). GC-content percentage is calculated as[7]

whereas the AT/GC ratio is calculated as[8]

The GC-content percentages as well as GC-ratio can be measured by several means, but one of the simplest methods is to measure what is called the melting temperature of the DNA double helix using spectrophotometry. The absorbance of DNA at a wavelength of 260 nm increases fairly sharply when the double-stranded DNA separates into two single strands when sufficiently heated.[9] The most commonly used protocol for determining GC ratios uses flow cytometry for large number of samples.[10]

In alternative manner, if the DNA or RNA molecule under investigation has been sequenced then the GC-content can be accurately calculated by simple arithmetic or by using the free online GC calculator.

GC ratios within a genome is found to be markedly variable. These variations in GC ratio within the genomes of more complex organisms result in a mosaic-like formation with islet regions called isochores.[11] This results in the variations in staining intensity in the chromosomes.[12] GC-rich isochores include in them many protein coding genes, and thus determination of ratio of these specific regions contributes in mapping gene-rich regions of the genome.[13][14]

Within a long region of genomic sequence, genes are often characterised by having a higher GC-content in contrast to the background GC-content for the entire genome. Evidence of GC ratio with that of length of the coding region of a gene has shown that the length of the coding sequence is directly proportional to higher G+C content.[15] This has been pointed to the fact that the stop codon has a bias towards A and T nucleotides, and, thus, the shorter the sequence the higher the AT bias.[16]

GC content is found to be variable with different organisms, the process of which is envisaged to be contributed to by variation in selection, mutational bias, and biased recombination-associated DNA repair.[17] The species problem in prokaryotic taxonomy has led to various suggestions in classifying bacteria, and the ad hoc committee on reconciliation of approaches to bacterial systematics has recommended use of GC ratios in higher level hierarchical classification.[18] For example, the Actinobacteria are characterised as "high GC-content bacteria".[19] In Streptomyces coelicolor A3(2), GC content is 72%.[20] The GC-content of Yeast (Saccharomyces cerevisiae) is 38%,[21] and that of another common model organism, thale cress (Arabidopsis thaliana), is 36%.[22] Because of the nature of the genetic code, it is virtually impossible for an organism to have a genome with a GC-content approaching either 0% or 100%. A species with an extremely low GC-content is Plasmodium falciparum (GC% = ~20%),[23] and it is usually common to refer to such examples as being AT-rich instead of GC-poor.[24]


when did the first wimpy open in the uk

Lyons obtained a licence to use the Wimpy brand in the United Kingdom, from Edward Gold's Chicago based Wimpy Grills, Inc.[6][7] and, in 1954, the first "Wimpy Bar" Lyons was established at the Lyons Corner House in Coventry Street, London.[9][10] Originally, the bar was a special fast food section within the more traditional Corner House restaurants, but the success soon led to the establishment of separate Wimpy restaurants serving only hamburger based meals.

Wimpy (restaurant)

Wimpy is the brand name of a multinational chain of fast food restaurants, that is currently headquartered in Johannesburg, South Africa. The chain originally began in 1934 in the United States and was based in Chicago before expanding internationally two decades later to reach a maximum of approximately 1,500 locations in dozens of countries before declining to several hundred locations in two or three countries. Its worldwide headquarters later relocated from the United States to the United Kingdom before relocating a second time to South Africa.

Originally called Wimpy Grills, the Wimpy brand was created in 1934 by Edward Gold, when he opened his first location in Bloomington, Indiana.[1][2] The name was inspired by the character of J. Wellington Wimpy from the Popeye cartoons created by E. C. Segar. Although the Wimpy name is most closely identified with the city of Chicago, Gold did not open his first Chicago area location until two years later in 1936, and after opening units in five other Midwestern cities.[3] By 1947, the Chicago Tribune reported that the chain had 26 units, and expected to sell eight million hamburgers annually in the Chicago area.[4]

According to a 1978 Chicago Tribune article, Gold's company Wimpy Grills Inc. of Chicago had a maximum of 25 locations in the United States at its height, but only seven locations remained at the time of his death in 1977.[5] According to the Chicago Tribune, when Gold died in 1978, the chain vanished within the United States because no one had purchased the rights and trademark to the Wimpy name from Gold's estate.[5]

In 1954, Gold sold a licence to J. Lyons and Co. to use the Wimpy name in the United Kingdom.[6][7] Subsequently, in 1957, Wimpy Grills Inc. of Chicago formed a joint company with Lyons called Wimpy's International Inc., based in Chicago, to operate Wimpy Grills in the rest of the world.[8]

The joint company eventually grew to 1,500 locations, and Gold later sold his share to Lyons prior to his death.[5] After obtaining full control of the international licensing outside of the United States, Lyons and its successors handled global franchising through their United Kingdom based subsidiary Wimpy International Ltd. This arrangement ceased when Wimpy UK became a subsidiary of South Africa-based Famous Brands in 2007 and the South African company started to handle worldwide franchising duties directly from Johannesburg.

In 1955 newspaper column, Art Buchwald, syndicated writer for the Washington Post, wrote about the recent opening of a "Wimpy's Hamburger Parlor" on Coventry Street and about the influence of American culture on the British.[10]

Buchwald wrote, "Food served at the table within ten minutes of ordering and with atomic age efficiency. No cutlery needed or given. Drinks served in a bottle with a straw. Condiments in pre-packaged single serving packets." In addition to familiar Wimpy burgers and Whippsy milkshakes, the British franchise initially had served ham or sardine rolls called torpedoes and cold frankfurter with pickled cucumber sandwiches called Freddies.[10]

During the 1970s Wimpy refused entry to women on their own after midnight. Some sources speculate that this may be because of an assumption they might be prostitutes.[11][12]

By 1970, the business had expanded to over 1,000 restaurants in 23 countries.[9]

In July 1977, the business was acquired by United Biscuits.[13] By the end of the 1980s, Wimpy was beginning to lose ground to McDonaldâ€™s, which had opened its first restaurant in the country in 1974, and so the new management of Wimpy began to streamline the business, by converting some of the traditional table service restaurants to counter service.

When United Biscuits decided to divest its restaurant division in 1989, it sold the business to Grand Metropolitan (now Diageo). At the time of the sale, there were 381 locations in the United Kingdom. Grand Metropolitan had acquired Burger King the previous year, and it began to convert the counter service restaurants to Burger King, since it had a greater global brand recognition.[14]

In February 1990, the remaining 216 table service restaurants were purchased by a management buy out, backed by 3i.[15] These were locations that were considered less desirable by Grand Metropolitan. At the time of the buyout, there were also 140 franchised locations outside of the United Kingdom. In October 1999, Wimpy rolled out a chain of restaurants known as Dr Beaks, to take on brands such as KFC.[16]

A second management buy out occurred in May 2002, backed by the Bank of Scotland.[17] At the time of the sale in 2002, there were approximately 300 locations in the United Kingdom and Ireland.

Although Wimpy outlets have decreased in numbers in the United Kingdom, they are still found in many cities, and at seafront/seasonal locations, such as Clacton-on-Sea, Clarence Pier in Southsea, Porthcawl and Brean Leisure Park in Somerset.[18] By the beginning of the 21st century, most Wimpys were found in less desirable low rent locations that primarily cater to pensioners and others on a fixed income, and not in their former high street locations of their earlier days.[19] Another big change from earlier times was that most locations were now franchises, and not company owned operations.

On 27 February 2007, Famous Brands, which owns the Wimpy franchise in South Africa, announced that it had acquired Wimpy UK.[20][21] Having acquired the brand, Famous Brands has re branded Wimpy in the United Kingdom, to bring it in line with Wimpy South Africa. The "new" logo is actually one used by Wimpy UK from the 1960s until the 1980s. In November 2009, Famous Brands began to upgrade its 170 locations in the United Kingdom to resemble United States style diners.[22] By June 2017, only 80 restaurants remain in the United Kingdom,[23] down from over 500 during its height in the 1970s.[20]

Wimpy International opened its first South African location in Durban in 1967.[24] The South African restaurants were sold to Bakers SA Ltd in the late 1970s, which in 1987 sold the South African chain to Pleasure Foods, then known as Juicy Lucy SA.[25] Famous Brands Limited, then known as the Steers Holdings Limited, acquired Wimpy when it bought Pleasure Foods in 2003.[26]

In February 2007, Famous Brands acquired the United Kingdom based Wimpy to become the parent company for the chain, and become in charge in collecting the franchise fees from the other franchises.[20]

By 2011, Famous Brands had 509 Wimpy restaurants in South Africa, making it the largest franchise in the Wimpy franchise system.[27]

In May 1961, French businessman Jacques Borel opened his first Wimpy restaurant in Paris after obtaining an exclusive franchise to operate Wimpy restaurants in France.[28][29] His restaurant was the first hamburger restaurant in France and had predated the opening of the first McDonald's restaurant by a decade.

By the end of that year, he was able to open three more locations within Paris. By 1966, he began to expand outside the capital, starting with Lille.[30] Within a short time, Borel had 20 locations; 15 in Paris and five in the rest of the country.[28] Although successful, Borel was forced to close the chain in 1969, due to a disagreement he had with Lyons, the British parent company.[31]

Wimpy has been in Ireland on two occasions, in the 1960s, and more recently in the early 2000s.[32] In the 2000s, petrol station chain operator Petrogas took on the master franchise for Ireland,[33] and had operated a large number of sites until 2010.[34]

Most have been replaced by Grill'n'Fill own branded areas, selling virtually identical products, or Burger King, for which Petrogas had obtained the franchise. Petrogas terminated its master franchise agreement with Wimpy International in 2010.[34]

The Wimpy licence in Australia was held by Happysnaks Pty Ltd, owned by restaurateur and entrepreneur Oliver Shaul.[35][36] The first Wimpy bar opened in Sydney in November 1964, owned and operated directly by Happysnaks. Subsequent Wimpy bars operated as franchises.

By 1971, there were 70 Wimpy bars around Australia, the most successful being in Hindley Street, Adelaide.[37] Unable to compete with McDonald's, the Wimpy brand was withdrawn in 1975 and most Wimpy bars became independent fast food outlets.[37]

Wimpy had branches in New Zealand, including Auckland, Hamilton, Tauranga, Paraparaumu, Wanganui, Palmerston North and Taupo. These were all rebranded in 2002. One store remained in Rotorua trading as Wimpy, although it was not part of the franchise chain. The last Wimpy in New Zealand was put up for sale in May 2008.[38]

Wimpy was one of the first fast food restaurant chains to open in India's free market economy. With a run of initial success, Wimpy was often touted as the first icon of 'Westernization' in India. A few of the restaurants which were still in business were located in Punjab until 2002.[39]

Wimpy entered the Israeli market in the 1960s, and dominated for a time the hamburger restaurant market.[40][41] Before its final failure and pullout in the 1980s, Wimpy was joined in an emerging market for hamburger restaurants by Burgeranch (since 1972) and MacDavid (since 1978). Wimpy was infamous in Israel for poor flavor and even sanitation and hygiene, however, it did expose Israelis to hamburger restaurants.[40][41][42]


what was the name of punky brewsters dog

Penelope "Punky" Brewster (Soleil Moon Frye) is a warm, funny and bright child. Her father walked out on her family, then her mother abandoned her at a Chicago shopping center, leaving Punky alone with her dog Brandon. Afterwards, Punky discovered a vacant apartment in a local building.[3]

Punky Brewster

Punky Brewster is an American sitcom about a young girl (Soleil Moon Frye) being raised by a foster parent (George Gaynes).[2] The show ran on NBC from September 16, 1984 to March 9, 1986, and again in first-run syndication from October 30, 1987 to May 27, 1988.

Punky Brewster spawned an animated spin-off It's Punky Brewster. The series featured the original cast voicing their respective characters. The cartoon was produced by Ruby-Spears, and aired on NBC from September 14, 1985 to December 6, 1986.

The building was managed by Henry Warnimont (George Gaynes) - an elderly, widowed photographer with a grouchy streak. Punky hit it off with young Cherie Johnson (played by Cherie Johnson, the niece of series creator David W. Duclon, and the only performer on the series who used her real-life name for her character), who lived in Henry's building with her grandmother Betty (Susie Garrett). Betty worked as a registered nurse at the local Cook County Hospital. Henry discovers Punky in the empty apartment across from his, and hears her story.[3]

The relationship between the two blossoms, despite red tape from social workers (who ultimately rally to Henry's side). As their day in court approaches, the state forces Punky to stay at Fenster Hall, a shelter for orphaned and abandoned children, which makes her realize how close she has grown to Henry. Finally, their day arrives, and the court approves Henry to become Punky's foster father. Later on, Henry legally adopts her.[4]

Punky's other friends are geeky Allen Anderson (Casey Ellison) and stuck-up rich girl Margaux Kramer (Ami Foster). During the NBC run, Punky's teachers were regularly seen; in the first season, cheerful Mrs. Morton (Dody Goodman) and in the second season, hip Mike Fulton (T.K. Carter). Mike formed a close relationship with Punky and her friends, and was also portrayed as a social crusader of sorts.

Also in the first season, Margaux's socialite mother (Loyita Chapel) appeared on a recurring basis - as did kooky maintenance man Eddie Malvin (Eddie Deezen). Eddie disappeared after the first several episodes.

Beginning in 1984, NBC aired the sitcom on Sundays. Because the show had many young viewers and was scheduled after football games (which tended to run long), six fifteen-minute episodes were produced. This was done rather than joining a full-length episode in progress, so as not to disappoint children watching the program.[5]

The second season's February 2, 1986 episode, introduced the first installment of a five-part storyline. In the five-part episode "Changes", Henry's downtown photography studio was destroyed in a fire, and it seemed for a time that he would not be able to recover from its aftermath and resume his career. As a result of his stress, Henry ended up hospitalized for a bleeding ulcer.

During this time, Betty and Cherie made arrangements for Punky to stay with them until Henry recovered. Everyone's stability was halted when bureaucratic social worker Simon P. Chillings (guest star Timothy Stack) showed up, found out about Henry's condition, and deemed the worst: he found Betty unsuitable to care for Punky, because she was a single woman with long working hours, already raising her granddaughter. Chillings also felt that Henry was unfit to be Punky's legal guardian in the long term - due to his health, age, and uncertain financial future. Chillings made Punky a ward of the state yet again, and she returned to Fenster Hall.

Punky's efforts to escape from Fenster included a trick pulled by Margaux, in which she dressed up and pretended to be Punky. Despite advocacy from Mike Fulton, Chillings placed Punky with a new foster family: the fabulously wealthy Jules and Tiffany Buckworth (Robert Casper and Joan Welles), the latter of whom did not take kindly at all to Punky's working-class playfulness. Things gradually returned to normal: Henry, back on his feet following surgery, opened up a glitzy new studio at the local mall; in the process, he reunited with Punky. At the conclusion of the story arc, Henry officially adopted Punky.[6]

Andy Gibb guest-starred twice on Punky: once as himself, hosting a pre-teen beauty pageant; and once as a music instructor hired by Henry for Punky, who persuades the young man to go out for a recording contract. They run afoul of a con artist instead; Henry, correctly suspecting this man is up to no good, proclaims his own intention to break into the music business. When the con man repeats the same words to Henry that he said to the music teacher, he is exposed as a fraud; the teacher thanks Henry by giving Punky several free lessons.

The final episode of the second season was notable for centering on the very recent, real-life Space Shuttle Challenger disaster. Punky and her classmates watched the live coverage of the shuttle launch in Mike Fulton's class. After the accident occurred, Punky is traumatized; her dreams of becoming an astronaut are crushed. She writes a letter to NASA, and is visited by special guest star Buzz Aldrin.[7] Although the episode received high ratings, NBC cancelled the show soon after. [8]

After two seasons, NBC saw that Punky Brewster and its principal Sunday night stablemate, the four-year-old Silver Spoons, could not compete as strongly as they hoped against CBS' juggernaut 60 Minutes, and cancelled both programs.[9][10] Like many cult-favorite sitcoms of the time, Punky Brewster was revived for first-run syndication (as was Silver Spoons). Production on Punky went undelayed, and its third season began shooting on schedule. While the show was in production throughout the 1986-87 season, it did not return to the air via first-run syndication until October 30, 1987.[11] Beginning on that premiere date, Punky was packaged such that new episodes would air every weekday (usually late in the afternoon on independent stations). The entire third season (1986â€“87) aired in the five-days-a-week format through December 7, 1987.

By the syndicated run, the storylines had clearly started to mature. Many more of Punky and Cherie's friends were seen (although most only made a handful of guest appearances each), with Margaux becoming their comic foil and source of friction. Early in the third season, Allen moved away to Kansas with his mother, following his parents' divorce. As Punky herself embarked on junior high, her avant-garde day-glo and multicolored attire, along with her pigtails, segued into more traditional teenage styles, and her declaration of, and reliance on "Punky Power!" gave way to the realization that intelligence, common sense and a strong will can get one out of any problem. More of her dalliances with boys entered the stories, with the ones she chased and those that tried to pursue her. Punky's spunk and vivacious attitude toward life did remain though, thanks in part to the sunshine brought in by the most important man in her life, her adoptive dad.

Henry's photography studio at the mall continued to see much success, so much that by the end of the third season he received an offer from the magnate of Glossy's, a photo studio franchise, for a $100,000 buyout of Warnimont's, which also included the offer of Henry becoming manager of the Glossy's location. Henry accepted, but soon found that his creativity and business style was not being appreciated by his new employers. He quit Glossy's, but then decided to give into Punky's and Cherie's dream to run their own teen hangout/burger establishment, and invested into another mall property which ended up being splashed with as much color and originality as Punky's bedroom. All involved, which even included Betty and Margaux, unanimously decided on christening it "Punky's Place." Into season four, much of the action continued to take place at the mall, with Henry, Punky and her friends' efforts to keep their new restaurant afloat and the many teenage misadventures which passed through at Punky's Place.

From December 10, 1987 through April 24, 1988, reruns from the third season aired in the weekday Punky Brewster first-run syndication package. On April 27, 1988, new episodes resumed for the fourth season, and ran every weekday for exactly a month until the series finale aired on May 27, 1988.

The final episode, "Wedding Bells for Brandon," features Brandon falling in love with Brenda, a golden retriever who belonged to one of Henry and Punky's neighbors. Their whirlwind romance culminated in a wedding ceremony in the courtyard, which was mostly attended by other neighborhood canines.

The show was produced by Lightkeeper Productions, and NBC Productions during the network run. NBC was not allowed to co-produce the series when it moved into first-run syndication, due to then-existing FCC regulations regarding network involvement in syndicated TV programming. Thus, they made a syndication deal with Coca-Cola Telecommunications to co-produce two more seasons of episodes, plus U.S. syndication rights to the NBC-era episodes. Thus, Sony Pictures Television holds the domestic television rights, while NBCUniversal holds international television and worldwide DVD/Blu-Ray rights. Reruns of the series were telecast on The Family Channel from 1993 to 1996.

The theme song for Punky Brewster is "Every Time I Turn Around," written by Gary Portnoy and Judy Hart Angelo and sung by Portnoy.

NBC programming chief Brandon Tartikoff named the series after a girl he had a crush on in his own childhood: an older tomboy named Peyton "Punky" Brewster. Before the series aired, NBC tracked her down (by this time, she was married to a lawyer in Connecticut and named Peyton Rutledge) and secured her permission to use her name for the lead character. Rutledge was even hired to do a cameo in one episode as a teacher at Punky's school (in the opening scene of the episode titled "The Search", aired November 10, 1985) so that both the real and fictional Punky Brewster could be on screen at the same time (the teacher even comments "Punky Brewster? Strange name!"). She is credited at the end of the episode as Peyton B. Rutledge.[12][13]

Punky's dog is named Brandon, after Tartikoff himself. The dog's real name was Sandy. Sandy originally shared the role with his brother, but Tartikoff decided that Sandy was better for the role.

The final episode in Season 1, titled "Fenster Hall" (aired March 31, 1985), was a failed attempt to create a spin-off of Punky Brewster. It was originally a one-hour episode, but was cut into two shows for syndication. This crossover episode marked the debut of Mike Fulton; T. K. Carter was the intended star of the Fenster Hall spin-off. Mike's history as a longtime resident of Fenster was explained, since he had been an orphan from birth and had been shuffled around to many foster homes before permanently staying at Fenster from the time he was seven. Now as the chief boys' counselor, Mike was saddled with helping new, tough street kid T.C. Finestra (Billy Lombardo) fit in with his group of regular charges, after an incident in which T.C. broke into and stole from the bedroom of Punky Brewster. Punky had a confrontation with T.C. after following him to a shady lair kept by street thug Blade (James LeGros), who had taken T.C. under his wing and was teaching him how to rob. It was there in which Punky learned of T.C.'s situation, and brought him home to Henry before it was decided that he would be better off at Fenster.

The primary focus of the episode was on Mike and T.C.'s learning to trust and look out for each other, while many other denizens of Fenster were introduced who would have also comprised the cast of the spin-off. Mike's boss was Rita J. Sanchez (Rosana DeSoto), and his other boys, who he treated as if they were his own sons, were aspiring heavyweight boxer Lester "Sugar" Thompson (Martin Davis), sweet little Dash (Benji Gregory), nerdy intellectual Lyle (Gabriel Damon), who supposedly did Mike's tax forms for him; and huge, hulking Conan (B.J. Barie). When Fenster Hall did not transpire as a regular series by the time of NBC's 1985-86 upfronts, T.K. Carter then continued his role as Mike Fulton on Punky Brewster the following season, now serving as Punky's fourth grade teacher.

It's Punky Brewster!, an animated spin-off with the original cast appeared on NBC on Saturday mornings.[1][14] The cartoon was produced by Ruby-Spears. It ran from September 14, 1985 to December 6, 1986, for a total of 26 episodes. However, through reruns, it remained in the regular Saturday-morning lineup through the 1988â€“89 season.[14] The series was later syndicated by Claster Television as part of a package featuring the DIC series Maxie's World (the "lead" program), and Beverly Hills Teens.

All four seasons have been released on DVD in Region 1 by Shout! Factory, as well as separate discs that consist of six to eight episodes of the series. All season releases also contain episodes of the spin-off cartoon, It's Punky Brewster.[15][16][16][17][18]

Mill Creek Entertainment also released three "Best-of" collections of the series.

In Region 4, Umbrella Entertainment has released the first two seasons on DVD in Australia.[19][20] These releases do not contain episodes of the animated It's Punky Brewster.


did a woman run for president in 2008

The first woman considered for a major party presidential candidacy by an incumbent president was Oveta Hobby, by Dwight D. Eisenhower. Eisenhower encouraged Hobby to run in 1960, but she declined.[2] In 1964, Margaret Chase Smith announced her candidacy for the Republican Party nomination, becoming the first female candidate for a major party's nomination. She qualified for the ballot in six state primaries, and came in second in the Illinois primary, receiving 25% of the vote. She became the first woman to have her name placed in nomination for the presidency at a major political party's convention.[3] In 1968, Charlene Mitchell became the first African American woman to run for president, and the first to receive valid votes in a general election. She qualified for the ballot in two states, winning 1,075 votes.[4] In 1972, Shirley Chisholm became the first black candidate for a major party's presidential nomination, and the first woman to run for the Democratic Party's nomination.[5] Tonie Nathan, the Libertarian Party's vice-presidential candidate in 1972, became the first woman to receive an electoral vote, via faithless elector Roger MacBride.[6] In the 1988 presidential election, Lenora Fulani and her running mate Joyce Dattner became the first women to achieve ballot access in all fifty states.[7] Fulani was also the first African American to do so. In the 2008 Democratic presidential primaries, Hillary Clinton became the first woman to win a presidential primary, and the first to be listed as a presidential candidate in every primary and caucus nationwide.[8] Despite losing the nomination in a close race against Barack Obama, Clinton won more votes in 2008 than any primary candidate in American history.

List of female United States presidential and vice-presidential candidates

The following is a list of female U.S. presidential and vice-presidential nominees and invitees. Nominees are candidates nominated or otherwise selected by political parties for particular offices. Listed as nominees or nomination candidates are those women who achieved ballot access in at least one state (or, before the institution of government-printed ballots, had ballots circulated by their parties). They each may have won the nomination of one of the US political parties (either one of the two major parties or one of the third parties), or made the ballot as an Independent, and in either case must have votes in the election to qualify for this list. Exception is made for those few candidates whose parties lost ballot status for additional runs.

In 1872, Victoria Woodhull ran for president. While many historians and authors agree that Woodhull was the first woman to run for president, some have questioned the legality of her run. They disagree with classifying it as a true candidacy because she was younger than the constitutionally mandated age of 35, but election coverage by contemporary newspapers does not suggest age was a significant issue. The presidential inauguration was in March 1873, and Woodhull's 35th birthday was sixth months later in September. In 1884, Belva Lockwood followed with a run for president. Her running mate was Marietta Stow, who became the first woman to run for vice president.[1]

In 2016, Hillary Clinton became the first woman nominated for president by a major party after winning a majority of delegates in the Democratic Party primaries, and was formally nominated at the Democratic National Convention on July 26, 2016.[9][10] As a major party nominee, Clinton became the first woman to participate in a presidential debate, and later the first to carry a state in a general election. Clinton lost the election but became the first woman to win the popular vote.[11]

Two women have won the vice-presidential nominations of major parties, Geraldine Ferraro for the Democratic Party in the 1984, and Sarah Palin for the Republican Party in the 2008.

The Green Party has run a female candidate three times, Cynthia McKinney in 2008 and Jill Stein in 2012 and 2016. Stein received more general election votes than any prior female candidate in 2012.

This list, sorted by the number of votes, includes female candidates who have run for President of the United States in a general election that received over 40,000 votes.
     Major-party nominee

This list, sorted by the number of votes they received, includes female candidates for a party nomination for President of the United States who ran in at least one primary or caucus and received over 5,000 votes.

Candidates who failed to receive their parties' nomination (or who are currently campaigning for their party's nomination).

This list includes female candidates who have run or are currently running for Vice President of the United States and received over 100,000 votes. Note that the vote for Vice President is not separate in the United States and is tied together with whoever their running mate is.[71]

Indicates major-party nominee


who sings paint it black in the last witch hunter

The song plays during the end credits of the films Full Metal Jacket and The Devil's Advocate. In TV, it was used as the opening theme song to the series Tour of Duty and for the end credits to part five of  The Vietnam War documentary series. It was featured in the Call of Duty: Black Ops III and The Mummy trailers. The Pittsburgh Pirates of Major League Baseball use the song as part of their "Black Out" promotions.[17] An orchestral arrangement of the song has been used in multiple episodes of the TV series Westworld.[18] R&B singer Ciara would later cover the song for the soundtrack of the 2015 film The Last Witch Hunter.[19]

Paint It Black

"Paint It Black" (originally released as "Paint It, Black") is a song by the English rock band the Rolling Stones. Jointly credited to the songwriting partnership of Mick Jagger and Keith Richards, it was first released as a single on 6 May 1966, and later included as the opening track to the US version of their 1966 album Aftermath.[4]

"Paint It Black" reached number one in both the Billboard Hot 100 and the UK Singles Chart. The song became the Rolling Stones' third number one hit single in the US and sixth in the UK.[5][6] Since its initial release, the song has remained influential as the first number one hit featuring a sitar, particularly in the UK where it has charted on two other occasions, and has been the subject of multiple cover versions, compilation albums, and film appearances.[7]

The song's lyrics are, for the most part, meant to describe bleakness and depression through the use of colour-based metaphors. Initially, "Paint It Black" was written as a standard pop arrangement, humorously compared by Mick Jagger to "Songs for Jewish weddings".[8] The song describes the extreme grief suffered by one stunned by the sudden and unexpected loss of wife, lover or partner. It is often claimed that Jagger took inspiration from novelist James Joyce's 1922 book, Ulysses, taking the excerpt, "I have to turn my head until my darkness goes", referring to the novel's theme of a worldwide view of desperation and desolation.[7] The song itself came to fruition when the band's leader Brian Jones took an interest in Moroccan music. It was their first song to feature a sitar instrumental.

"Paint It Black" came at a pivotal period in the Rolling Stones' recording history, a time that saw the songwriting collaboration of Jagger and Keith Richards assert itself as the principal composer of the band's original material. This is evident from the sessions for the album Aftermath, where for the first time the duo penned the complete track list.[9] In addition, Jones, overshadowed by Jagger and Richards, grew bored with attempting to write songs, as well as conventional guitar melodies.[10] To alleviate the boredom, Jones explored eastern instruments, more specifically the sitar, to bolster the group's musical texture and complexity. A multi-instrumentalist, Jones was able to develop a tune from the sitar in a short amount of time, largely due to his studies under Harihar Rao, a disciple of Ravi Shankar.[11] Not long after a discussion with George Harrison, who had recently recorded sitar on "Norwegian Wood", Jones arranged basic melodies with the instrument that, over time, morphed into the one featured in "Paint It Black".[12] In a 1995 interview, Jagger commented on the musical styles on Aftermath – "'Paint It, Black' was this kind of Turkish song" – but did not elaborate.[13]

The master take of "Paint It Black" was recorded on 8 March 1966, at RCA Studios in Los Angeles, with record producer Andrew Loog Oldham present throughout the process.[14] Much of the early recorded arrangements, and keys of the track were modeled after The Animals' version of "The House of the Rising Sun", but The Rolling Stones were unsatisfied with the song, and considered scrapping it. However, while twiddling with a Hammond organ, Bill Wyman searched for a heavier bass sound, while playing the part on his knees. Wyman's playing clicked with the group, and inspired the up-tempo and Eastern pentatonic melody. By all accounts, the sitar was brought into the mix when Harihar Rao happened to walk in the studio with the instrument in hand.[8]

The sitar was featured in the song. However, contrary to popular belief, the opening riff is played by Keith Richards on guitar, as seen on The Ed Sullivan show and other live performances of the time. Jones' sitar is still heard throughout the song. In his book Brian Jones: The Making of the Rolling Stones, Paul Trynka has noted that the influence of Harrison's sitar playing, and, in particular, The Beatles' song "Norwegian Wood" on the Rubber Soul album, draws parallels in "Paint It Black" - most noticeably in Jones' droning sitar melody.[15] In response to claims that he was merely imitating the Beatles, however, Jones said: "What utter rubbish!" His sitar part on the track immediately became influential in developing a whole subgenre of minor-key psychedelic music.[11] Coupled with this striking instrumental motif, it is complemented by Jagger's droning, and slight nasal vocalization.[7] In addition, "Paint It Black" was highlighted by Wyman's heavy bass, Charlie Watts's low-pitch drumming, and Richards' bolero-driven acoustic guitar outro. Soon after, Richards noted that the conclusion of the track was over-recorded, and a different guitar could have potentially improved the song.[8][11]

"Paint It Black" was released to the US on 7 May 1966, reaching number one on the Billboard Hot 100 during a stay of 11 weeks. In the UK, the song was released on 13 May 1966, and also became a number one hit on the UK Singles Chart throughout a chart stay of ten weeks.[5][6] It was originally released as "Paint It, Black", the comma being an error by Decca Records, but, nonetheless, stirred controversy among fans over its racial interpretation.[16] Upon further reissues to the UK in 1990 and 2007, "Paint It Black" charted at number 61 and 70, respectively.[6]

"Paint It Black" has appeared on numerous Stones compilations, including Hot Rocks 1964–1971 (1971), 30 Greatest Hits (1977), Singles Collection: The London Years (1989), Forty Licks (2002), and GRRR! (2012). Live recordings are featured on the concert albums Flashpoint (1991), Live Licks (2004), Shine a Light (2008), Hyde Park Live (2013), and Havana Moon (2016). The song was featured in the music video games Guitar Hero III: Legends of Rock, Guitar Hero Live, and Rocksmith 2014, as well as the video games Conflict: Vietnam, Twisted Metal: Black and Mafia III.

An instrumental version was used in 2018 as background in a TV spot, The Future is Built for Ford Motor,  featuring Bryan Cranston, as a subtle nod to Henry Ford’s famous comment: “Any customer can have a car painted any colour that he wants so long as it is black.”

Before Eric Burdon & War's 1970 version reached the charts in Netherlands, Eric Burdon covered it on the 1967 Eric Burdon & The Animals debut album, Winds of Change. They also performed a 12:40 version on German TV in 1970.[35] The original album version of Eric Burdon & War had a length of 13:41.

Eric Burdon & The Animals performed it at the Monterey Pop Festival in 1967. This version was cut and included in the motion picture of the festival. They performed it also on the BBC.

Eric Burdon performed it also on his "Hippiefest" tour in 2008.


where does the river tay start and end

The River Tay (Scottish Gaelic: Tatha) is the longest river in Scotland and the seventh-longest in the United Kingdom. The Tay originates in western Scotland on the slopes of Ben Lui (Scottish Gaelic: Beinn Laoigh), then flows easterly across the Highlands, through Loch Dochart, Loch Iubhair and Loch Tay, then continues east through Strathtay (see Strath), in the centre of Scotland, then southeasterly through Perth, where it becomes tidal, to its mouth at the Firth of Tay, south of Dundee. It is the largest river in the UK by measured discharge.[1] Its catchment is approximately 2,000 square miles (5,200 km2), the Tweed's is 1,500 square miles (3,900 km2) and the Spey's is 1,097 square miles (2,840 km2).

River Tay

In the 19th century the Tay Rail Bridge was built across the firth at Dundee as part of the East Coast Main Line, which linked Aberdeen in the north with Edinburgh and London to the south. The bridge, designed by Sir Thomas Bouch, officially opened in May 1878. On 28Â December 1879 the bridge collapsed as a train passed over. The entire train fell into the firth, with the loss of 75 passengers and train crew. The event was commemorated in a poem, The Tay Bridge Disaster (1880), written by William McGonagall, a notoriously unskilled Scottish poet. The critical response to his article was enhanced as he had previously written two poems celebrating the strength and certain immortality of the Tay Bridge. A second much more well received poem was published in the same year by the German writer Theodor Fontane.[2] A. J. Cronin's first novel, Hatter's Castle (1931), includes a scene involving the Tay Bridge Disaster, and the 1942 filmed version of the book recreates the bridge's catastrophic collapse.

The rail bridge was rebuilt, and in the 1960s the Tay Road Bridge was built.

During the winters of 2009–10 and 2010–11, the Tay froze over as far as the Tay Road Bridge, and ice floes remained for weeks despite a thaw.

Several places along the Tay take their names from it, or are believed to have done so:

The Tay drains much of the lower region of the Highlands. It originates on the slopes of Ben Lui (Beinn Laoigh), only around 25 miles (40Â km) from the west coast town of Oban, in Argyll and Bute.[1] In 2011, the Tay Western Catchments Partnership determined as its source (as based on its'most dominant and longest' tributary) a small lochan on Allt Coire Laoigh south of the summit.[3] The river has a variety of names in its upper catchment: for the first few miles it is known as the River Connonish; then the River Fillan; the name then changes to the River Dochart until it flows into Loch Tay at Killin.

The River Tay emerges from Loch Tay at Kenmore, and flows from there to Perth which, in historical times, was its lowest bridging point. Below Perth the river becomes tidal and enters the Firth of Tay. The largest city on the river, Dundee, lies on the north bank of the Firth. On reaching the North Sea, the River Tay has flowed 120 miles (190Â km) from west to east across central Scotland.

The Tay is unusual amongst Scottish rivers in having several major tributaries, notably the Earn, the Isla, the River Tummel, the Almond and the Lyon.[1]

A flow of 2,269 m3/s (80,100 cu ft/s) was recorded on 17 January 1993, when the river rose 6.48 m (21 ft 3 in) above its usual level at Perth, and caused extensive flooding in the city. Were it not for the hydro-electric schemes upstream which impounded runoff, the peak would have been considerably higher. The highest flood recorded at Perth occurred in 1814, when the river rose 7 m (23 ft) above its usual level, partly caused by a blockage of ice under Smeaton's Bridge. Other severe flood events occurred in 1210 and 1648 when bridges over the Tay at Perth were destroyed.

The river is of high biodiversity value and is a Site of Special Scientific Interest (SSSI) maintaining a flagship population of Atlantic salmon (Salmo salar), Freshwater pearl mussel (Margaritifea margaritifera) and native species such as the Eurasian otter (Lutra lutra).[1] Freshwater pearl mussels are one of Scotland's most endangered species and the River Tay hosts two-thirds of the world's remaining stock.[4]

The Tay is internationally renowned for its Atlantic salmon fishing and is one of the best salmon rivers in the United Kingdom, and western Europe, attracting anglers from all over the world. The lowest ten miles of the Tay, including prestigious beats like Taymount or Islamouth, provides most of the cream of the Tay. The largest rod caught salmon in Britain, caught on the Tay by Miss Georgina Ballantine in 1922, weighing 64 pounds (29Â kg), retains the British record. The river system has salmon fisheries on many of its tributaries including the Earn, Isla, Ericht, Tummel, Garry, Dochart, Lyon and Eden.[5] Dwindling catches include a 50% reduction in 2009 so the Tay District Salmon Fisheries Board ordered a catch-and-release policy for females all season, and for males until May, beginning in the January 2010 fishing season. Research by the North Atlantic Salmon Conservation Organisation has shown that the number of salmon dying at sea has doubled or trebled over the past 20 years, possibly due to overfishing in the oceans where salmon spend two years before returning to freshwater to spawn. The widespread collapse in Atlantic salmon stocks suggests that this is not solely a local problem in the River Tay.[6]

The first Eurasian beaver (Castor fiber) living wild in Scotland in over 400 years was captured in the River Tay in 2007 because it may have been illegally released or not of the proper genetic stock. There is an earlier undocumented sighting of a beaver in the River Earn, a Tay tributary, in May 2001. The Tay watershed beaver may be escapees from Tayside captive beaver enclosures.[7] The beaver became extinct in Great Britain towards the end of the 18th century, the last reference to beavers in England dating to 1789.[8] It is estimated that at least 20, and possibly up to 100, beavers live on the Tay River, although these were targeted for trapping by the Scottish Natural Heritage,[9] a decision was made to allow them to stay.[10]

Proponents of the Tayside beavers argue that they have not been proven to be of "wrong" genetic stock and there is scientific evidence to support that they may represent a rather ideal mix of western European populations, since any single relict population in western Europe is relatively genetically depauperate.[11] Scottish Natural Heritage did import beaver from Norway and legally released them in Knapdale in 2009.[12][13][14] In early December 2010, the first of the wild Tayside beavers was trapped by Scottish Natural Heritage on the River Ericht in Blairgowrie, Perthshire and was held in captivity in Edinburgh Zoo. It died within a few months and Scottish Natural Heritage ended its trapping program.[15]

A passenger and vehicle ferry service operated across the River Tay between Craig Pier, Dundee and Newport-on-Tay in Fife. In Dundee, the ferries were known as "the Fifies".[16] The service was discontinued on the opening of the Tay Road Bridge on 18 August 1966.

The last vessels to operate the service were PS B. L. Nairn and two more modern ferries equipped with Voith Schneider Propellers, MVs Abercraig and Scotscraig.

The Tay is mentioned in William McGonagall's poems The Tay Bridge Disaster and Railway Bridge of the Silvery Tay and the German poet Theodor Fontane has mentioned the Tay in his poem Die BrÃ¼ck' am Tay. Both poems deal will the Tay bridge disaster of 1879 seeing the bridge's construction as a case of human hubris and expressing an uneasiness towards the fast technological development of mankind.[2] It is mentioned in the Steeleye Span song "The Royal Forester". Many Rolls-Royce civil aero-engines are named after British rivers, one of which is the Rolls-Royce Tay.


where is the daily value found and used

The RDI is used to determine the Daily Value (DV) of foods, which is printed on nutrition facts labels (as %DV) in the United States and Canada, and is regulated by the Food and Drug Administration (FDA) and Health Canada respectively.

Reference Daily Intake

The Reference Daily Intake or Recommended Daily Intake (RDI) is the daily intake level of a nutrient that is considered to be sufficient to meet the requirements of 97â€“98% of healthy individuals in every demographic in the United States. While developed for the US population, it has been adopted by other countries, though not universally.

The Recommended Dietary Allowances (RDAs) were a set of nutrition recommendations that evolved into both the Dietary Reference Intake (DRI) system of nutrition recommendations (which still defines RDA values) and the RDIs used for food labelling. The first regulations governing U.S. nutrition labels specified a % U.S. RDA declaration based on the current RDA values, which had been published in 1968. Later, the % U.S. RDA was renamed the %DV and the RDA values that the %DVs were based on became the RDIs.

The RDAs (and later the RDA values within the DRI) were regularly revised to reflect the latest scientific information, but although the nutrition labeling regulations were occasionally updated, the existing RDI values were not changed, so that until 2016 many of the DVs used on nutrition facts labels were still based on the outdated RDAs from 1968. In 2016 the Food and Drug Administration published changes to the regulations including updated RDIs and DVs based primarily on the RDAs in the current DRI. Larger manufacturers must start using the new labels by July 26, 2018 and all manufacturers must use the new values from July 26, 2019.

Daily Values used by the FDA for the following macronutrients are Daily Reference Values.[1][2]

FDA issued a Final Rule on changes to facts panel on May 27, 2016.[3] The new values were published in the Federal Register.[4] New values can be used on labels now, but companies have until July 28, 2018 to be in compliance. In the interim, products with old or new facts panel content will be on market shelves at same time.

The following table lists the old and new DVs based on a caloric intake of 2000 kcal (8400 kJ), for adults and children four or more years of age.

For vitamins and minerals, the old RDIs and new RDIs (old and new adult 100% Daily Values) are given in the following table, along with the more recent RDAs or AIs of the Dietary Reference Intakes (maximized over sex and age groups, excluding women who are pregnant or lactating):[3]

The RDI is derived from the RDAs, which were first developed during World War II by Lydia J. Roberts, Hazel Stiebeling and Helen S. Mitchell, all part of a committee established by the U.S. National Academy of Sciences to investigate issues of nutrition that might "affect national defense" (Nestle, 35). The committee was renamed the Food and Nutrition Board in 1941, after which they began to deliberate on a set of recommendations of a standard daily allowance for each type of nutrient. The standards would be used for nutrition recommendations for the armed forces, for civilians, and for overseas population who might need food relief. Roberts, Stiebeling, and Mitchell surveyed all available data, created a tentative set of allowances for "energy and eight nutrients", and submitted them to experts for review (Nestle, 35). The final set of guidelines, called RDAs for Recommended Dietary Allowances, were accepted in 1941. The allowances were meant to provide superior nutrition for civilians and military personnel, so they included a "margin of safety". Because of food rationing during the war, the food guides created by government agencies to direct citizens' nutritional intake also took food availability into account.

The Food and Nutrition Board subsequently revised the RDAs every five to ten years. In 1973, the FDA introduced regulations to specify the format of nutrition labels when present, although the inclusion of such labels was largely voluntary, only being required if nutrition claims were made or if nutritional supplements were added to the food. The nutrition labels were to include percent U.S. RDA based on the 1968 RDAs in effect at the time. The RDAs continued to be updated (in 1974, 1980 and 1989) but the values specified for nutrition labelling remained unchanged.[5]

In 1993 the FDA published new regulations mandating the inclusion of a nutrition facts label on most packaged foods. Originally the FDA had proposed replacing the percent U.S. RDAs with percent daily values based on the 1989 RDAs but the Dietary Supplement Act of 1992 prevented it from doing so. Instead it introduced the RDI to be the basis of the new daily values. The RDI consisted of the existing U.S. RDA values (still based on the 1968 RDAs as the FDA was not allowed to change them at the time) and new values for additional nutrients not included in the 1968 RDAs.[5]

In 1997, at the suggestion of the Institute of Medicine of the National Academy, the RDAs became one part of a broader set of dietary guidelines called the Dietary Reference Intake used by both the United States and Canada. As part of the DRI, the RDAs continued to be updated.

On May 27, 2016, the FDA updated the regulations to change the RDI and Daily Values to reflect current scientific information.[3][4] Until this time, the Daily Values were still largely based on the 1968 RDAs. The new regulations make several other changes to the nutrition facts label to facilitate consumer understanding of the calorie and nutrient contents of their foods, emphasizing nutrients of current concern, such as vitamin D and potassium.[3] The revision to the regulations came into effect on 26 July 2016 and larger manufacturers must comply within two years while smaller manufacturers must comply by 26 July 2019.[3][5][6]

In 2010, the U.S. Institute of Medicine determined that the government should establish new consumption standards for salt to reduce the amount of sodium in the typical American diet below levels associated with higher risk of several cardiovascular diseases, yet maintain consumer preferences for salt-flavored food.[7] The daily maximum for sodium in the United States had been above estimated minimums for decades.[8] For instance, the National Research Council (United States) found that 500 milligrams of sodium per day (approximately 1,250 milligrams of table salt) is a safe minimum level.[9] In the United Kingdom, the daily allowance for salt is 6Â g (approximately 2.5 teaspoons, about the upper limit in the U.S.), an amount considered "too high".[10][11]

The Institute of Medicine advisory stated (daily intake basis): "Americans consume more than 3,400 milligrams of sodium – the amount in about 1.5 teaspoons of salt – each day. The recommended maximum daily intake of sodium – the amount above which health problems appear – is 2,300 milligrams per day for adults, about 1 teaspoon of salt. The recommended adequate intake of sodium is 1,500 milligrams per day, and people over 50 need even less."[7]