where is the spirit of st. louis airplane

Lindbergh took off in the Spirit from Roosevelt Airfield, Garden City, New York, and landed 33 hours, 30 minutes later at Aéroport Le Bourget in Paris, France, a distance of approximately 3,600 miles (5,800 km).[3] One of the best known aircraft in the world, the Spirit was built by Ryan Airlines in San Diego, California, which at the time was owned and operated by Benjamin Franklin Mahoney who had purchased it from its founder, T. Claude Ryan, in 1926. The Spirit is now on permanent display in the main entryway's Milestones of Flight gallery at the Smithsonian Institution's National Air and Space Museum in Washington, D.C.

Spirit of St. Louis

The Spirit of St. Louis (Registration: N-X-211) is the custom-built, single engine, single-seat monoplane that was flown solo by Charles Lindbergh on May 20–21, 1927, on the first solo non-stop transatlantic flight from Long Island, New York, to Paris, France, for which Lindbergh won the $25,000 Orteig Prize.[2]

Officially known as the "Ryan NYP" (for New York to Paris), the single engine monoplane was designed by Donald A. Hall of Ryan Airlines and was named the "Spirit of St. Louis" in honor of Lindbergh's supporters from the St. Louis Raquette Club in his then hometown of St. Louis, Missouri. To save design time, the NYP was loosely based on the company's 1926 Ryan M-2 mailplane with the main difference being the 4,000 mile range of the NYP and, as a non-standard design, the government assigned it the registration number N-X-211 (for "experimental"). Hall documented his design in "Engineering Data on the Spirit of St. Louis" which he prepared for the National Advisory Committee for Aeronautics (NACA) and is included as an appendix to Lindbergh's 1953 Pulitzer Prize winning book, The Spirit of St. Louis.

B.F. "Frank" Mahoney and Claude Ryan had co-founded the company as an airline in 1925 and the latter remained with the company after Mahoney bought out his interest in 1926, although there is some dispute as to how involved Ryan may have been in its management after selling his share. It is known, however, that Hawley Bowlus was the factory manager who oversaw construction of the Ryan NYP, and that Mahoney was the sole owner at the time of Donald A. Hall's hiring.

The Spirit was designed and built in San Diego to compete for the $25,000 Orteig Prize for the first non-stop flight between New York and Paris which Lindbergh would win in the single engine monoplane.[4] Hall and Ryan Airlines staff worked closely with Lindbergh to design and build the Spirit in just 60 days. Although what was actually paid to Ryan Airlines for the project is not clear, Mahoney offered to do it at cost. After first approaching several major aircraft manufacturers without success, in early February 1927, Lindbergh, who as a U.S. Air Mail pilot familiar with the good record of the M-1 with Pacific Air Transport, wired, "Can you construct Whirlwind engine plane capable flying nonstop between New York and Paris...?"

Mahoney was away from the factory, but Ryan answered, "Can build plane similar M-1 but larger wings... delivery about three months." Lindbergh wired back that due to competition, delivery in less than three months was essential. Many years later, Jon van der Linde, chief mechanic of Ryan Airlines, recalled, "But nothing fazed B.F. Mahoney, the young sportsman who had just bought Ryan." Mahoney telegraphed Lindbergh back the same day: "Can complete in two months."

Lindbergh arrived in San Diego on February 23 and toured the factory with Mahoney meeting factory manager, Bowlus, chief engineer Donald Hall, and sales manager A.J. Edwards. After further discussions between Mahoney, Hall and Lindbergh, Mahoney offered to build the Spirit for $10,580, restating his commitment to deliver it in 60 days. Lindbergh himself contributed $2,000 toward the cost of the Spirit that he had saved from his earnings as an Air Mail pilot for Robertson Aircraft Corporation.

Lindbergh was convinced: "I believe in Hall's ability; I like Mahoney's enthusiasm. I have confidence in the character of the workmen I've met."[citation needed] He then went to the airfield to familiarize himself with a Ryan aircraft, either an M-1 or an M-2, then telegraphed his St. Louis backers and recommended the deal, which was quickly approved.

Mahoney lived up to his commitment. Working exclusively on the aircraft and closely with Lindbergh, the staff completed the Spirit of St. Louis 60 days after Lindbergh arrived in San Diego. Powered by a Wright Whirlwind J-5C 223-hp radial engine, it had a 14 m (46-foot) wingspan, 3 m (10 ft) longer than the M-1, to accommodate the heavy load of 1,610 L (425 gal) of fuel. In his 1927 book We, Lindbergh acknowledged the achievement of the builders with a photograph captioned "The Men Who Made the Plane", identifying: "B. Franklin Mahoney, president, Ryan Airlines", Bowlus, Hall and Edwards standing with the aviator in front of the completed aircraft.[5]

Lindbergh believed that multiple engines resulted in a greater risk of failure while a single engine design would give him greater range. To increase fuel efficiency, the Spirit of St. Louis was also one of the most advanced and aerodynamically streamlined designs of its era.

Lindbergh believed that a flight made in a single-seat monoplane designed around the dependable Wright J-5C "Whirlwind" radial engine provided the best chance of success. The Ryan NYP had a total fuel capacity of 450 U.S. gallons (1,700 L; 370 imp gal) or 2,710 pounds (1,230 kg) of gasoline, which was necessary in order to have the range to make the anticipated flight non-stop. The fuel was stored in five fuel tanks, a forward tank (88 gallons), the main (209 gallons), and three wing tanks with a total of 153 gallons.[6] Lindbergh modified the design of the plane's "trombone struts" attached to the landing gear to provide a wider wheel base in order to accommodate the weight of the fuel.[7]

At Lindbergh's request, the large main and forward fuel tanks were placed in the forward section of the fuselage, in front of the pilot, with the oil tank acting as a firewall. This arrangement improved the center of gravity and reduced the risk of the pilot being crushed to death between the main tank and the engine in the event of a crash. This design decision meant that there could be no front windshield, and that forward visibility would be limited to the side windows. This did not concern Lindbergh as he was used to flying in the rear cockpit of mail planes with mail bags in the front. When he wanted to see forward, he would slightly yaw the aircraft and look out the side. To provide some forward vision as a precaution against hitting ship masts, trees, or structures while flying at low altitude, a Ryan employee who had served in the submarine service installed a periscope which Lindbergh helped design. It is unclear whether the periscope was used during the flight. The instrument panel housed fuel pressure, oil pressure and temperature gauges, a clock, altimeter, tachometer, airspeed indicator, bank and turn indicator, and a liquid magnetic compass. The main compass was mounted behind Lindbergh in the cockpit, and he read it using the mirror from a women's makeup case which was mounted to the ceiling using chewing gum.[7] Lindbergh also installed a newly developed Earth Inductor Compass made by the Pioneer Instrument Company which allowed him to more accurately navigate while taking account of the magnetic declination of the earth.[8] Lindbergh's ultimate arrival in Ireland deviated from his flight plan by just a few miles.[7]

Lindbergh sat in a cramped cockpit which was 94 cm wide, 81 cm long and 130 cm high (36 in × 32 in × 51 in). The cockpit was so small, Lindbergh could not stretch his legs. The Spirit of St. Louis was powered by a 223-horsepower (166 kW), air-cooled, nine-cylinder Wright J-5C "Whirlwind" radial engine. The engine was rated for a maximum operating time of 9,000 hours (more than one year if operated continuously), and had a special mechanism that could keep it clean for the entire New York-to-Paris flight. It was also, for its day, very fuel-efficient, enabling longer flights carrying less fuel weight for given distances.[Note 1] Another key feature of the Whirlwind radial engine was that it was rated to self-lubricate the engine's valves for 40 hours continuously. Lubricating, or "greasing," the moving external engine parts was a necessity most aeronautical engines of the day required, to be done manually by the pilot or ground crew prior to every flight and would have been otherwise required somehow to be done during the long flight.[9]

The engine was built at Wright Aeronautical in Paterson, New Jersey by a 24-year-old engine builder, Tom Rutledge, who was disappointed that he was assigned to the unknown aviator, Lindbergh. Four days after the flight, he received a letter of congratulations from the Wright management.[9][10]

The race to win the prize required time-saving design compromises, Donald A. Hall decided that the empennage (tail assembly) and wing control surfaces would not be altered from his original Ryan M-2 design, thus minimizing redesign time that was not available without delaying the flight. The result was less aerodynamic stability; nevertheless, the experienced Lindbergh approved the unaltered design.[11] This setup resulted in a negatively stable design that tended to randomly introduce unanticipated pitch, yaw, and bank (roll) elements into its overall flight characteristics. There is dispute regarding whether Hall and Lindbergh also preferred this design because they anticipated that the continuous corrections to the random movements of the aircraft would help to keep Lindbergh awake during the estimated 40-hour flight. Whether or not the unstable design was deliberately retained to help fight fatigue, Lindbergh did later write how these random unanticipated movements helped keep him awake at various times during the flight.[12] The stiff wicker seat in the cockpit was also purposely uncomfortable, although custom fitted to Lindbergh's tall and lanky frame.

Lindbergh also insisted that unnecessary weight be eliminated, even going so far as to cut the top and bottom off of his flight map. He carried no radio in order to save weight and because the radios of the period were unreliable and difficult to use while flying solo. Also, although he was an airmail pilot, he refused to carry souvenir letters on the transatlantic journey, insisting that every spare ounce be devoted to fuel. The fuselage was made of treated fabric over a metal tube frame, while the wings were made of fabric over a wood frame. The plywood material that was used to build most of Lindbergh's plane was made at the Haskelite Manufacturing Corporation in Grand Rapids, Michigan.[13]

A small, left-facing Indian-style swastika was painted on the inside of the original propeller spinner of the Spirit of St. Louis along with the names of all the Ryan Aircraft employees who designed and built it. It was meant as a message of good luck prior to Lindbergh's solo Atlantic crossing as the symbol was often used as a popular good luck charm with early aviators and others.[Note 2] The inside of the original propeller spinner can be viewed at the National Air and Space Museum. This propeller spinner was found to be cracked when Lindbergh arrived at New York prior to his transatlantic flight. The propeller spinner that is on the Spirit of St. Louis now was hastily made in New York to replace the cracked original and was on the aircraft during the transatlantic flight.

Lindbergh's New York-to-Paris flight made him an instant celebrity and media star. In winning the Orteig Prize, Lindbergh stirred the public's imagination. He wrote: "I was astonished at the effect my successful landing in France had on the nations of the world. It was like a match lighting a bonfire."[14] Lindbergh subsequently flew the Spirit of St. Louis to Belgium and England before President Calvin Coolidge sent the light cruiser Memphis to bring them back to the United States. Arriving on June 11, Lindbergh and the Spirit were escorted up the Potomac River to Washington, D.C., by a fleet of warships, multiple flights of military pursuit aircraft, bombers, and the rigid airship Los Angeles where President Coolidge presented the 25-year-old U.S. Army Reserve aviator with the Distinguished Flying Cross.[15]

On the same day, the U.S Post Office issued a commemorative 10-cent "Lindbergh Air Mail" stamp depicting the Spirit over a map of its flight from New York to Paris, and which was also the first stamp issued by the post office that bore the name of a living person.

Over the next 10 months, Lindbergh flew the Spirit of St. Louis on promotional and goodwill tours across the United States and Latin America. Not long after his return to the U.S. Lindbergh met his old barnstorming pal, Bud Gurney (1906â€“1982). He allowed Gurney to fly the Spirit on a short hop. Gurney gave his opinion to Lindbergh of how it handled in comparison to their old Jennies from 1923. Gurney is the only other person besides Lindbergh to have flown The Spirit of St. Louis.[16]

Just one year and two days after making their first flight at Dutch Flats in San Diego, California, on April 28, 1927, Lindbergh and the Spirit of St. Louis flew together for the final time while making a hop from St. Louis to Bolling Field, in Washington, D.C., on April 30, 1928. There he presented his monoplane to the Smithsonian Institution where for more than eight decades it has been on display, hanging for 48 years (1928â€“76) in the Arts and Industries Building and today hanging, since 1976, in the atrium of the National Air and Space Museum alongside the Bell X-1 and SpaceShipOne. At the time of its retirement, the Spirit had made 174 flights for a total of 489:28 flying time.[17]

While in other respects the Spirit of St. Louis appears today much as it appeared on its accession into the Smithsonian collection in 1928, the gold color of the aircraft's aluminum nose panels is an artifact of well-intended early conservation efforts. Not long after the museum took possession of the Spirit, conservators applied a clear layer of varnish or shellac to the forward panels in an attempt to preserve the flags and other artwork painted on the engine cowling. This protective coating has yellowed with age, resulting in the golden hue seen today. Smithsonian officials have indicated that the varnish will be removed and the nose panels restored to their original silver appearance the next time the aircraft is taken down for conservation.[18] However, the Smithsonian has subsequently reversed this stance, deciding that the golden hue on its engine cowling will remain, as it is part of the aircraft's natural state after acquisition and during its years on display. The effort to preserve artifacts is not to alter them but to maintain them as much as possible in the state in which the Smithsonian acquired them. Also, when the aircraft was recently lowered to the floor of the museum's Milestone's gallery, the tires were removed and replaced with 'forklift' style tires. This was done to preserve the Spirit's original tires which, due to age and lessening of vulcanization, are unable to sustain the aircraft's weight without disintegration (conservation was also likely undertaken on the wheel assembly itself).[19][20]

NYP-2, an exact duplicate of the Spirit of St. Louis, was built 45 days after the transatlantic flight, for the Japanese newspaper Mainichi. The NYP-2 carrying serial number 29 was registered as J-BACC and achieved a number of record-breaking flights early in 1928 before a crash ended its career.[21]

Although Ryan capitalized on the notoriety of the NYP special, further developments were only superficially comparable to the Spirit of St. Louis. An offshoot of the Ryan B-1 Brougham emerged as a five-seater with the same J-5 engine but modified with a conventional cockpit layout and a shorter wingspan. Under the newly restructured B.F. Mahoney Company, further development continued with the six-place Model B-7 utilizing a 420 hp engine and the Model C-1 with the basic 220 hp engine. In 1928, Mahoney built a B-1X as a gift for Charles Lindbergh.[21][22]

Pilot Frank Hawks purchased a Mahoney Ryan B-1 Brougham (NC3009) with money from his wife, naming the plane the "Spirit of San Diego." [23] In the aftermath of the media exposure surrounding Lindbergh's transatlantic flight, he flew to Washington with his wife on board to greet the triumphant Lindbergh. Due to the ensuing publicity, Hawks was hired by the Ryan Aircraft company to be its official representative. Hawks went on to tour the country, selling rides in the aircraft "like Lindy flew."[24]

Shortly after the original Spirit was retired in April 1928, the Mahoney Aircraft Corporation presented Lindbergh with a Mahoney Ryan B-1 "Brougham".[25]

The Mahoney Ryan B-1 "Brougham" was also used as the basis of a reproduction of the Spirit of St. Louis. The reproduction was used in the 1938 Paramount film Men with Wings starring Ray Milland.[5]

All three reproductions from the Warner Bros. film The Spirit of St Louis (1956) have survived with B-153 on display at the Missouri History Museum, in St. Louis, B-156 is part of the collection at the Henry Ford Museum in Dearborn, Michigan, and B-159 belongs to the Cradle of Aviation Museum located in Garden City, Long Island, New York, not far from the site of Roosevelt Field from which the original departed in 1927.[26] According to information at the Henry Ford Museum, their copy (B-156) was actually owned by James Stewart, who portrayed Lindbergh in the film. Stewart is credited as having donated the aircraft to the Henry Ford. Lindbergh was reputed to have flown one of the reproductions during the film's production, however, the connection to Lindbergh is now considered a myth.[27]

On the 40th anniversary of Lindbergh's flight, a new reproduction named Spirit 2 was built by movie stunt pilot Frank Tallman. It first flew on April 24, 1967 and appeared at the 1967 Paris Air Show where it made several flights over Paris. In 1972, Spirit 2 was bought for $50,000 by the San Diego Air & Space Museum (formerly San Diego Aerospace Museum) and placed on public display until it was destroyed by arson in 1978. The museum built a replacement named Spirit 3 which first flew on April 28, 1979; it made seven flights before being placed on display. In August 2003, the Spirit 3 was removed from display and was flown as a 75th Anniversary tribute to Lindbergh. The aircraft is now on display in the museum's rotunda.[28]

Through the efforts of both staff and volunteers, the Experimental Aircraft Association in Oshkosh, Wisconsin produced two reproductions of the Spirit of St. Louis, powered by Continental R-670-4 radial engines, the first in 1977 (the first of which was to be based on a conversion from a B-1 Brougham; the aircraft proved to be too badly deteriorated to be used in that manner) to commemorate the 50th anniversary of Lindberghâ€™s flight across the Atlantic Ocean and subsequent tour of the United States. This example is now on display in the main museum gallery. A second reproduction, started from scratch in 1977 and first flown in November 1990, continues to fly at air shows and commemorative events. Both of the EAA reproductions were registered under the original's N-X-211.[29]

Another airworthy reproduction was built by David Cannavo and first flown in 1979, powered by a Lycoming R-680 engine. In 1995, it was bought by Kermit Weeks for his Fantasy of Flight Museum in Polk City, Florida.[30]

A reproduction of the Spirit (Registration ES-XCL), which had been built and certified in Estonia in 1997, was written off on May 31, 2003. Shortly after takeoff at an air show in Coventry, England, structural failure occurred, resulting in a fatal crash, killing its owner-pilot, Captain Pierre HollÃ¤nder.[31] [Note 3][33]

A recently completed Spirit reproduction, intended for airworthiness is owned by the Old Rhinebeck Aerodrome (ORA), fulfilling a lifelong dream of its primary founder, Cole Palen (1925–1993). The reproduction project had been started by Cole before his own death, and has mostly been subsequently built by former ORA pilot and current vintage aircraft maintenance manager Ken Cassens, receiving its wing covering, completed with doped fabric in 2015. A restored Wright J-5 Whirlwind radial was obtained by Palen in the 1970s for the project's start, with original, and still functional 1920s-era flight instruments being incorporated — including the same basic type of earth inductor compass used by Lindbergh — matching the ones in the original Spirit at the NASM, with the goal of becoming the most authentic airworthy reproduction of the Spirit yet built.[34]

This reproduction aircraft successfully flew in early December 2015 in upstate New York, piloted by aircraft restorer/builder, Ken Cassens of Stone Ridge, New York. The aircraft made its public debut flight on May 21, 2016, the 89th anniversary of Lindbergh's flight.[35][36]

A 90% static reproduction built in 1956 for The Spirit of St Louis film by studio employees is now on display at the Wings of the North Air Museum in Eden Prairie, MN.[28] In 1999, the San Diego Air & Space Museum built a non-flying example which was fitted with an original Wright J-5 engine.[28] A static reproduction of the Spirit of St. Louis was built in 2002 and is on display at St. Louis Lambert International Airport.[37] The Octave Chanute Aerospace Museum at Rantoul, Illinois also has a static reproduction built by museum volunteers.[28] Two reproductions are also found in Germany, one at the Frankfurt International Airport with the second in a private collection.[38] [Note 4]

The Spirit of St. Louis on display in the National Air and Space Museum

Left side of Spirit of St. Louis

Nose of the Spirit of St. Louis, with the Wright Whirlwind Radial engine visible

The nose of the Spirit of St. Louis

The tail of the Spirit of St. Louis

Under the tail of the Spirit of St. Louis

Spirit of St. Louis spinner

Spirit of St. Louis model

Spirit of St. Louis model at San Diego International Airport


where is the adoration of the magi located

The Adoration of the Magi is an early painting by Leonardo da Vinci. Leonardo was given the commission by the Augustinian monks of San Donato a Scopeto in Florence, but he departed for Milan the following year, leaving the painting unfinished. It has been in the Uffizi Gallery in Florence since 1670.

Adoration of the Magi (Leonardo)

The Virgin Mary and Child are depicted in the foreground and form a triangular shape with the Magi kneeling in adoration. Behind them is a semicircle of accompanying figures, including what may be a self-portrait of the young Leonardo (on the far right). In the background on the left is the ruin of a pagan building, on which workmen can be seen, apparently repairing it. On the right are men on horseback fighting and a sketch of a rocky landscape.

The ruins are a possible reference to the Basilica of Maxentius, which, according to Medieval legend, the Romans claimed would stand until a virgin gave birth. It is supposed to have collapsed on the night of Christ's birth (in fact it was not even built until a later date). The ruins dominate a preparatory perspective drawing by Leonardo, which also includes the fighting horsemen. The palm tree in the center has associations with the Virgin Mary, partly due to the phrase "You are stately as a palm tree" from the Song of Solomon, which is believed to prefigure her. Another aspect of the palm tree can be the usage of the palm tree as a symbol of victory for ancient Rome, whereas in Christianity it is a representation of martyrdom—triumph over death—so in conclusion we can say that the palm in general represents triumph. The other tree in the painting is from the carob family, the seeds from the tree are used as a unit of measurement. They measure valuable stones and jewels. This tree and its seeds are associated with crowns, suggesting Christ as the king of kings or the Virgin as the future queen of heaven, as well as that this is nature's gift to the new born Christ. As with Michelangelo's Doni Tondo, the background is probably supposed to represent the Pagan world supplanted by the Christian world, as inaugurated by the events in the foreground.The artist uses bright colors to illuminate the figures in the foreground of the painting. Jesus and the Virgin Mary are, in fact, painted yellow, the color of light. The trees are painted blue, an unusual color for trees of any kind. On the right side the most credible self-portrait of Leonardo da Vinci as a 30-year-old can be seen, according to several critics. (See Angelo Paratico [1])

Much of the composition of this painting was influenced by an earlier work of the Northern artist Rogier van der Weyden. The relationship between figures, space and the viewerâ€™s standpoint, the high horizon, slightly raised viewpoint, space receding into the far distance, and a central figural group poised before a rock formation in the middle of the landscape are all copied from van der Weyden's Entombment of Christ (1460, Uffizi Gallery, Italy).[2]

Owing to the painting's unfinished status in 1481, the commission was handed over to Filippino Lippi, who painted another Adoration of the Magi, completed in 1496, in substitution of the one commissioned to Leonardo. It is housed in the Uffizi in Florence.

Domenico Ghirlandaio completed a separate painting, expanding upon Leonardo's theme, in 1488.

In 2002, Dr. Maurizio Seracini, an art diagnostician alumnus of the University of California, San Diego and a native Florentine, was commissioned by the Uffizi to undertake a study of the paint surface to determine whether the painting could be restored without damaging it. Seracini, who heads Editech, a Florence-based company he founded in 1977 focused on the "diagnostics of cultural heritage", used high-resolution digital scans as well as thermographic, ultrasound, ultraviolet and infrared diagnostic techniques to study the painting in ultra-fine detail. He concluded that the painting could not be restored without damaging it and that Leonardo only did the underdrawing. Another artist (or artists) was responsible for all of the existing paintwork on top of the underdrawing. Seracini stated that "none of the paint we see on the Adoration today was put there by Leonardo." As a part of his diagnostic survey on the Adoration of the Magi, Seracini completed more than 2,400 detailed infrared photographic records of the painting's elaborate underdrawing, and scientific analyses.[3] The new images revealed by the diagnostic techniques used by Seracini were initially made public in 2002 in an interview with New York Times reporter Melinda Henneberger.[4] In 2005, nearing the end of his investigation, Seracini gave another interview, this time to Guardian reporter John Hooper.[5] Seracini finally published his results in 2006: M. Seracini, "Diagnostic Investigations on the Adoration of the Magi by Leonardo da Vinci" in The Mind of Leonardo – The Universal Genius at Work, exhibit catalogue edited by P. Gauluzzi, Giunti Florence, 2006, pp. 94–101.[6]

In the Smithsonian Channel TV program, Da Vinci Detective, Seracini conjectures that, upon seeing the preliminary drawings for the altarpiece they had commissioned, they rejected it due to the sensational scenario presented to them. Fully expecting a traditional interpretation including the three wise men, they were instead confronted with a maelstrom of unrelated, half-emaciated figures surrounding the Christ-Child, as well as a full-blown battle scene in the rear of the picture. They chose instead to relegate it to a storage house, rather than to destroy the original work. It was only much later, and probably in the context of the subsequent rise in value of Leonardo artworks, that it was resurrected and painted over by unknown persons to make it more "sale-able."  This later re-working of the panel resulted in alterations to Leonardo's original design for the piece.

The Uffizi Gallery has recently completed a six-year restoration of the work.  It has been fully cleaned with years of dirt and old varnish removed. The result is a work that is incredibly bright, with Da Vinci's charcoal outline and marks clearly visible. The wood panels have also been restored, ensuring the stability of the work for generations to come.


who played the preacher on little house on the prairie

Robert William "Dabbs" Greer (April 2, 1917 â€“ April 28, 2007)[1] was an American actor who performed many diverse supporting roles in film and television for over 50 years. One of his most remembered roles was his portrayal of the Reverend Robert Alden in NBC's Little House on the Prairie. Earlier, Greer had a recurring role as Coach Ossie Weiss in the NBC sitcom Hank.

Dabbs Greer

Greer was born in Fairview, Missouri, the son of Bernice Irene (nÃ©e Dabbs), a speech teacher, and Randall Alexander Greer, a druggist.[2] Greer moved to Anderson as an infant with his family. At the age of eight, he began acting in children's theater productions. He attended Drury University in Springfield, Missouri, where he was a member of Theta Kappa Nu.

Greer made his film debut as an extra in the 1938 film Jesse James, which was filmed mainly around Pineville, Missouri. He told the Neosho Daily News in 2002, "They were paying $5 a day – a day! – to local people for being extras. That was really good money in those days, more money than we had seen in a long time." Greer was recognizable to fans of Adventures of Superman, as he appeared in three episodes of that series, including the inaugural entry, "Superman on Earth" (1952), in which he was cast as the first person ever to be saved by Superman. He was the major guest star, as a man framed for murder in "Five Minutes to Doom" (1954), and as an eccentric millionaire in "The Superman Silver Mine" (1958).

Greer made hundreds of appearances in nearly 200 different television series, including the role of the marshal in the two-part "King of the Dakotas" (1955) and as Ray in "Paper Gunman" of the NBC western anthology series Frontier. In the 1956 movie Hot Rod Girl he played the auto repair shop owner Mr. Fry.

In 1957, he appeared in the episode "Revenge" of the syndicated crime drama Sheriff of Cochise and as Sanders in the episode "My Horse Ajax" of NBC's children's western series Fury, starring Peter Graves and Bobby Diamond. At that time, he starred in three episodes as Mr. Blandish in the syndicated romantic comedy series How to Marry a Millionaire (1957â€“1959) with Barbara Eden and Merry Anders. He guest-starred about this time on the syndicated adventure series Whirlybirds, starring Kenneth Tobey and Rescue 8, starring Jim Davis and Lang Jeffries. He joined David Janssen in an episode of Richard Diamond, Private Detective.

Greer was cast on the syndicated western series Pony Express, starring Grant Sullivan. Greer guest-starred as well on three CBS western series, Steve McQueen's Wanted: Dead or Alive, Trackdown starring Robert Culp, and Don Durant's Johnny Ringo. Thereafter, he appeared in the NBC modern western series Empire, and he also guest-starred on Jack Lord's drama series about the rodeo circuit, Stoney Burke.

Greer appeared in the 1957 episode "Ambush at Gila Gulch" of ABC's Tombstone Territory, the 1957 episode "Rebel Christmas" of the Tod Andrews syndicated series The Gray Ghost, and as Ed Grimes on the 1958 episode "312 Vertical" of Rod Cameron's syndicated series State Trooper. He appeared too in It! The Terror from Beyond Space (1958).

Other appearances in 1959 included the episode "Peligroso" on NBC's western series The Restless Gun and episodes of the syndicated Man Without a Gun. In addition, he had a recurring role as storekeeper Mr. Jonas and in one episode as Chester's uncle on Gunsmoke. He also acted with Keenan Wynn and Bob Mathias in the NBC adventure series The Troubleshooters. In 1960 he appeared in the episode "The Proud Man" in the role of Willie Medford on the syndicated western series Two Faces West and in the episode "Dark Fear" of CBS's anthology series The DuPont Show with June Allyson.

He was cast in The Twilight Zone in the 1962 episode titled "Hocus-Pocus and Frisby" and the 1963 episode "Valley of the Shadow", and in a 1963 segment of Jack Palance's ABC circus drama The Greatest Show on Earth. In 1967, Greer appeared in the series finale entitled "Elizabeth's Odyssey" of Barry Sullivan's NBC western series The Road West.

The 1960s brought Greer several more recurring roles in popular series, such as track coach Ossie Weiss in Hank and Sheriff Norris "Norrie" Coolidge in The Ghost & Mrs. Muir. Greer also made many appearances on the very popular series The Rifleman, starring Chuck Connors and Johnny Crawford, playing both good-guy and bad-guy characters.

In 1962, on the ABC/WB western series Lawman, in an episode titled "The Unmasked," starring John Russell and Peter Brown, Greer was cast in an entirely fictitious portrayal of Boston Corbett, the Union Army soldier who shot and mortally wounded John Wilkes Booth, the assassin of Abraham Lincoln. In that episode, Corbett is given the name "Joe Brockway" and depicted as a hotel owner in Laramie, Wyoming. In the storyline, two former Confederates from Georgia, played by Barry Atwater and Charles Maxwell, arrive in Laramie in search of Brockway, the key, they claim, to the settlement of an estate to which they are all a party. Jack Albertson is cast with Greer in the episode as a traveling elixir salesman named "Doc" Peters.[3]

In 1963, Greer was cast as Jack Tabor in the Perry Mason episode "The Case of the Skeleton's Closet." He guest-starred in seven other Perry Mason episodes. He portrayed, for example, a drunkard in "The Case of the Left-Handed Liar"; a murderer in two other episodes, "The Case of the Prudent Prosecutor" and "The Case of the Lavender Lipstick"; and a murder victim in "The Case of the Fugitive Nurse." Greer can also be seen alongside other guest actors (Dewey Martin, Patricia Crowley, Ray Danton, Andrew Duggan, Walter Burke, David Carradine, and Dick Wessel) in a 1964 episode of Arrest and Trial titled "The Black Flower," portraying a store owner wounded in a robbery. That same year he performed in an episode of The Outer Limits, "The Children of Spider County," in which he is the protective father of a country girl who is enamored with the son of an extraterrestrial. Later, in 1967, Greer, then played an alien himself, posing as a Catholic priest in "The Experiment," an episode of The Invaders.

Greer had a prominent continuing role as Reverend Alden in the NBC series Little House on the Prairie from 1974 to 1983. Often cast as a minister, he performed the marriages of Rob and Laura Petrie on The Dick Van Dyke Show and Mike and Carol Brady on The Brady Bunch; and from 1992 to 1996 he tended to the spiritual needs of the townfolk in fictional Rome, Wisconsin, as Reverend Henry Novotny in Picket Fences. He also had a guest appearance on an episode of Scott Baio's Charles in Charge in the role of Buzz Powell.

In the May 9, 1991, episode of L.A. Law titled "On the Toad Again," he played a character addicted to a "high" produced by licking the skin secretions of psychoactive toads. In the 1997 film Con Air, Greer appeared as the old man discovered hiding under a pickup truck at "Lerner Field" by Nicolas Cage's character Cameron Poe.

Greer's last feature film was a prominent role as the 108-year-old version of the character played by Tom Hanks in 1999's The Green Mile, 61 years after Greer was an extra in the 1938 film Jesse James. Greer's last television performance was in a 2003 episode of Lizzie McGuire. Most of Greer's work was in supporting roles, but he told the Albany Times Union in 2000 that "every character actor, in their own little sphere, is the lead."

Greer, a resident of Pasadena, California, from 1943, died in 2007 at Pasadena's Huntington Hospital after a battle with renal failure and heart disease.[4] His body was transported back to his native state of Missouri, where it was buried in Peace Valley Cemetery in the town of Anderson.[5]


guru gobind singh indraprastha university dwarka nearest metro station

The Dwarka Sector 14  Metro Station is located on the Blue Line of the Delhi Metro.[1] It is the nearest metro station to National Law University, Delhi one of the national law schools in India and Guru Gobind Singh Indraprastha University, NAAC 'A' accredited university established by Government of NCT of Delhi.

Dwarka Sector 14 metro station

Nearest metro station to Kakrola village as well.

List of available ATM at Dwarka Sector 14 metro station
,  [2]

Delhi Transport Corporation bus routes number OLA120, RL-75 serves the station from outside metro station stop. [3]


density of water is maximum at which temperature

An especially notable irregular maximum density is that of water, which reaches a density peak at 3.98 °C (39.16 °F). This has important ramifications in Earth's ecosystem.[1]

Maximum density

The maximum density of a substance is the highest attainable density of the substance under given conditions.

Almost all known substances undergo thermal expansion in response to heating, meaning that a given mass of substance contracts to a low volume at low temperatures, when little thermal energy is present.  Substances, especially fluids in which intermolecular forces are weak, also undergo compression upon the application of pressure.  Nearly all substances therefore reach a density maximum at very low temperatures and very high pressures, characteristic properties of the solid state of matter.


what was spandau ballet's only uk number one hit single

The group's debut single "To Cut a Long Story Short", which reached No. 5 in the UK in 1980, was the first of ten UK top 10 hits, including a No. 1 single "True", a No. 2 single "Gold", and two No. 3 singles: "Chant No. 1" and "Only When You Leave". The band have had eight UK top 10 albums, including three greatest hits compilations and an album of re-recorded material.

Spandau Ballet

Spandau Ballet /ˈspændaʊ ˈbæl.eɪ/ are an English band formed in Islington, London, in 1979. Emerging from new wave, they became one of the most successful groups of the New Romantic era of British pop, and were inspired by music ranging from punk rock and soul music to Frank Sinatra and Tony Bennett.[4] The band's classic line-up featured brothers Gary Kemp on guitar and Martin Kemp on bass, vocalist Tony Hadley, saxophonist Steve Norman and drummer John Keeble. Gary Kemp also served as the band's songwriter.

After achieving the height of their popularity with the 1983 album True, in 1984 they received the Brit Award for technical excellence and were involved in Band Aid, and in 1985 they performed at Live Aid. The band split in 1990 and the members pursued solo careers, with both Kemp brothers winning acting roles. Since their reformation in 2009, the band have been recognised at the Q Awards and Gary Kemp's songwriting has been honoured by the Ivor Novello Awards.

On 3 July 2017, Tony Hadley publicly announced his departure from the band via Twitter.[5] On 6 June 2018, Spandau Ballet announced the singer and actor Ross William Wild[6][7] as their new lead singer at a ticketed gig at Subterania Club in west London.

The band was formed in 1976 as The Cut,[8] with Gary Kemp and Steve Norman on guitar, later saxophone and percussion. Kemp and Norman were attending Dame Alice Owen's School in Islington North London, and were close friends, as they shared a similar interest in music and a common desire to form a band. They were joined by fellow student John Keeble, who met Norman when he stored his drum kit in the school's music room, and the three met regularly at lunchtimes to practice. They were joined by bass player Michael Ellison and by Tony Hadley, who knew Norman, as lead singer. After a few months, Richard Miller replaced Ellison on bass, before Kemp's younger brother Martin Kemp took over the role a couple of years later. By this time, the band had already gained some live experience. Steve Dagger, a close school friend of the band members, was asked by Norman and Gary Kemp to manage them. He was to be an integral part of the band's success.

The band changed its name to The Makers in late-1976 and played as a punk band at the Roxy in their early years.[9] In 1978 they became a power pop band and changed the name to Gentry, under which they played a few gigs, including at Kingsway College. They changed the band's name to Spandau Ballet after a friend of the band, journalist and DJ Robert Elms, saw the phrase "Spandau Ballet" scrawled on the wall of a nightclub lavatory during a visit to Berlin.[10]

The new Spandau Ballet, with Martin Kemp and Hadley, began performing with this name around London. Their music had been in the style of the early Rolling Stones or The Kinks, but became more electronic after they attended clubs such as Billy's and Blitz where the New Romantic[11] scene was spearheaded and they listened to bands like Kraftwerk and Telex.

Spandau Ballet was involved in a major bidding war,[12] but signed to Chrysalis Records and released "To Cut a Long Story Short," produced by the electronic musician Richard James Burgess. Released 10 days after the band emerged from the studio, "To Cut a Long Story Short" became a top 5 hit in late 1980. This was followed by further top 20 hits with "The Freeze", "Musclebound", and the Gold-certified debut album Journeys to Glory in 1981.

The follow-up album, Diamond, also produced by Burgess, was released in 1982. This album was certified Gold by the BPI and featured the funk-flavoured Top 3 hit "Chant No. 1".[13] The band had Burgess remix every single from both albums for inclusion on each single's B-side and for 12-inch club releases. These mixes were later released as a boxed set. However, the second single from Diamond was "Paint Me Down," which broke their run of top 20 hits by stalling at No. 30. The third single, "She Loved Like Diamond", failed to make the UK Top 40 at all.

Trevor Horn remixed the track "Instinction", which was released as the fourth single from the album. Backed with a special dance remix of "Chant No.Â 1" on the 12-inch single version, the release was very well received. It returned the band to the UK top 10 after the poor chart performance of their previous two singles. The group also had success in the United States when "Chant No. 1" peaked at No. 17 on the dance charts in 1981.[14]

The band released their third album, True, in March 1983. Produced by Tony Swain and Steve Jolley, the album featured a slicker pop sound. It was at this point that Steve Norman began playing saxophone for the band. Preceded by the title track which reached number one in various countries, the album also reached number one in the UK. Their next single, "Gold", reached number 2.[15]

The follow-up album, Parade, was released in June 1984, and its singles were again big successes in the charts in Europe, Oceania and Canada. The album's opening song, "Only When You Leave", became the band's last American hit. At the end of 1984, the band performed on the Band Aid charity single and in 1985 performed at Wembley Stadium as part of Live Aid.[16] During this same year, Spandau Ballet achieved platinum status with the compilation The Singles Collection, which kept the focus on the band between studio albums and celebrated its five years of success. However, the album was released by Chrysalis Records without the band's approval and the band instigated legal action against the label.

In 1986, Spandau Ballet signed to CBS Records and released the album Through the Barricades, in which the band moved away from the pop and soul influences of True and Parade and more toward rock. Though the first single, "Fight for Ourselves" peaked at 15 in the UK, the title track and the album both reached the Top 10 in the UK and Europe.[17]

After a hiatus from recording, the band released their next album, Heart Like a Sky, in September 1989. The album and its singles were unsuccessful in the UK, and the album itself was not released in the United States. It did, however, do well in Italy (where its singles "Raw" and "Be Free with Your Love" reached the Top 10)[18] and also in Belgium, Germany and the Netherlands.[19]

In the 1990s, the band split up after a disagreement about royalties.[20] Hadley, Norman and Keeble launched an unsuccessful court case against Gary Kemp for a share of Kemp's songwriting royalties from his work with Spandau Ballet.[21][22] Although they vowed to appeal the verdict, they later decided against this.[23] The three non-Kemp members then continued to tour as a trio, but they had to sell their shares in Spandau Ballet's company to Gary Kemp to pay off legal debts. Because the company owned the rights to the name of Spandau Ballet, the trio had to tour under the moniker "Hadley, Norman and Keeble, ex-Spandau Ballet".

In 1990, the Kemp brothers played the lead roles in the film The Krays.[24] Martin Kemp landed an acting role in the UK soap opera EastEnders. Gary Kemp also did more acting, appearing in a supporting role in the Whitney Houston hit The Bodyguard. In 1995 he released his only solo album, Little Bruises. Meanwhile, Tony Hadley tried to establish a solo career but with little success.

After leaving EastEnders, Martin Kemp continued acting in various high-profile projects and appeared on TV in other roles. He wrote and directed his first film, Martin Kemp's Stalker. Gary Kemp wrote songs with Paul Stratham, who had written songs for Dido, continued acting on stage, in film and in television, and worked on the musicals Begbug and A Terrible Beauty with Guy Pratt.[25][26] Steve Norman moved to Ibiza, where he formed a lounge band, Cloudfish, with Rafa Peletey and Shelley Preston in 2001. Hadley released three studio albums, landed the lead role in the musical Chicago and won the ITV reality show Reborn in the USA. In 1999, Hadley appeared as a guest vocalist on the Alan Parsons album The Time Machine, performing lead vocals on the song "Out of the Blue".

In early 2009, there was much speculation that the band was set to perform later that year.[27][28][29] Although the band did not comment on these reports, the official Spandau Ballet website encouraged fans to sign up "for an exciting announcement",[30] fuelling rumours that a reunion was imminent. Jonathan Ross mentioned during his BBC Radio 2 programme on 21 March 2009, that the band were re-forming and that he had been invited to the reunion party.[31]

The band confirmed the rumours at a press conference on 25 March 2009, on board HMS Belfast in London, a return to the venue of one of their first gigs to announce their comeback tour.[32] The band began a world tour in October 2009, starting with eight dates across Ireland and the UK, the first of which was in Dublin on 13 October 2009. The tickets for the UK and Ireland shows went on pre-sale on the official Spandau Ballet website on 25 March 2009. They went on general release on 27 March 2009. For the general release tickets, the London O2 arena tickets sold out within 20 minutes and an extra two dates were added there because of demand.[33] The band also announced an extra date in Birmingham and added Liverpool to the tour. Members gave their "first public performance and interview anywhere in the world for 19 years" on the BBC television show Friday Night with Jonathan Ross on 24 April 2009.[34]

On 19 October 2009, the group released a new album, Once More, which featured reworked versions of previous songs plus two new songs, including the single of the same name. The album reached the UK Top 10. Virgin Media honoured Spandau Ballet as the Best Comeback of 2009 in the Virgin Media Awards.[35]

Spandau Ballet went on tour in Australia during April 2010 with Tears For Fears.[36] After a headline set at Isle of Wight Festival, the group played their last UK show of the Reformation Tour at Newmarket Racecourse on 25 June 2010.[37][38]

The band came together again in 2014 to promote a documentary about themselves and 1980s culture more broadly, Soul Boys of the Western World, which premiered at the Royal Albert Hall. It was directed by longtime Julien Temple producer, George Hencken.[39] Band members attended South by Southwest (their first public appearance in North America since 1985) and the Cannes Film Festival to drum up support for the film.

It was confirmed on 31 July 2014, that Spandau Ballet were working on new material in the studio with Trevor Horn.[40][41][42][43] In the UK, the band appeared in an ITV show, Spandau Ballet – True Gold, in which they performed several hits and were interviewed in front of a studio audience. The band performed their 1980s hit single "True" and a new song called "This is the Love" on Jimmy Kimmel Live on 11 November 2014. It was their US late-night TV debut and their first US TV appearance since 1985 when they played on Soul Train. They were there to promote their new greatest hits collection called The Story – The Very Best of Spandau Ballet, which also contains three new songs. The album reached the UK Top 10.

The band embarked on another world tour in 2015.[44] In January 2015, they appeared on The Today Show, performing "True".[45] They also appeared on The Talk on 27 July 2015 to perform "True".

On 3 July 2017, Tony Hadley announced on Twitter that due to circumstances beyond his control, he was no longer a member of the band.[46]

The song "True" has been sampled in many songs, most notably P.M. Dawn's "Set Adrift on Memory Bliss" in 1991 and Lloyd's "You" in 2007. "True" is featured in the movies "Sixteen Candles" and The Wedding Singer sung by Steve Buscemi's character.[47] The song "Gold" appears on a UK advert for Flora margarine.[48]

Actor Edward Norton appeared on the ABC sitcom Modern Family as Izzy LaFontaine, a fictional bass player/backup vocalist for Spandau Ballet ("between Richard Miller and Martin Kemp"), in the episode "Great Expectations."[49]

In series 4, episode 2 of Skins, JJ Jones and the Ukulele Orchestra of Great Britain serenade Lara with a rendition of Spandau Ballet's "True". "Gold" is featured in the closing credits of the episode.

The song "Gold" appears in Rockstar Games' 2002 video game Grand Theft Auto: Vice City on the WAVE 103 Station, which plays New Wave and Synthpop songs.

The song "True" appears as a collectible music tape in the 2015 game Metal Gear Solid V: The Phantom Pain written and directed by Hideo Kojima

The Q Awards are hosted annually by the music magazine Q. Spandau Ballet has received one award.

The BRIT Awards are the British Phonographic Industry's annual pop music awards. Spandau Ballet has received one award from one nomination.[51]

The Ivor Novello Awards are awards for songwriting and composing, presented annually in London.


what is the difference between rugby and american football

Generally, American football games last much longer than 80-minute rugby league matches. Because the field is reset after each tackle in American football, it is much slower-paced than the more hectic rugby league, in which play stops for only as long as it takes the tackled player to get back to his feet and return the ball to play. Another major difference is that only the player with possession of the ball may be interfered with in rugby league; defending players interfering with any other attacking player (and vice versa) will incur a penalty. Passing in the two sports also differs: while backward passing is common to both sports, in American football players are allowed to throw the ball forward in certain situations whereas in rugby league forward passing is always illegal. Rugby league players have to kick the ball or run it forward to advance it downfield. To score a try or touchdown in rugby league, the player has to push the ball directly onto the ground once in the try zone, whereas in American football the player has to simply cross the line. American football also requires its players to use a large amount of protective equipment, including helmets, gloves and padding around the body, whereas protective clothing is much more minimal in rugby league, usually amounting to light padding (if any) and soft head gear (hard helmets being illegal). The major difference between rugby league and American Football (Gridiron) is rugby fields are 100 metres where American football is 100 yards.

Comparison of American football and rugby league

A comparison between American football and rugby league is possible because of their shared origins and similar game concepts. Along with Canadian football, rugby league is the most similar sport to American football. Both sports involve the concept of a limited number of downs/tackles and scoring touchdowns/tries takes clear precedence over goal-kicking.

Both sports descend from the older game of rugby football in the 19th Century when its two offshoots developed. British colonists and the British military in Canada brought football to North America. It became popular in American and Canadian universities and prep schools. At the time, association football and rugby football were not as differentiated as they are now and teams would negotiate the rules before playing each game. The sports of American football and Canadian football evolved from these intercollegiate games.

Meanwhile, in England a schism developed in rugby football between those who favoured strict amateurism and those who felt that players should be compensated for time taken off work to play rugby. In 1895, this resulted in the formation of a break-away sport, rugby league, which permitted player payments. At first, the two rugby codes differed only in how they were administered; over time, their playing rules diverged to the point that they are now distinctly different forms of football.

American football is played on a rectangular field 120 yards (110 m) long by 53 1⁄3 yards (48.8 metres) wide. Near each end of the field is a goal line, which are 100 yards (91 m) apart. A scoring area called an end zone extends 10 yards (9.1 m) beyond each goal line. Yard lines cross the field every 5 yards (4.6 m), two rows of hash marks run parallel to the side lines near the middle of the field. At the back of each end zone, there are two goal posts that are 18.5 feet (5.6 m) apart (24 feet (7.3 m) in high school). The posts are connected by a crossbar 10 feet (3.0 m) from the ground and may be in the shape of the letter 'H' or the letter 'Y'.

A rugby league field has very similar dimensions, being up to 120 metres (130 yards) long and 68 metres (74 yd) wide. Lines cross the field marking every 10 metres (11 yd). The goal posts are separated by exactly 100 metres (110 yd) and the area beyond each goal post, known as the in-goal area, extends for another 6–11 metres (6.6–12.0 yd). In rugby league, goal posts are usually H-shaped, each post being 16 metres (52 ft) high and 5.5 metres (18 ft) apart, with the cross bar being 3 metres (9.8 ft) high. American football "tuning fork" goal posts are allowed in rugby league, provided the posts and cross bar are at the required dimensions.[1] The goal posts are used for other forms of point scoring in rugby league: drop goals or field goals, penalty goals and conversions.

As four replacements in a rugby league team, with only twelve interchanges of players allowed to be made throughout the game (ten in the Australian NRL). If the interchanges are used up and a player becomes injured and cannot continue, the team simply has to play short handed. All players must attack and defend and there is no equivalent of special teams.

Prior to the 1960s, and in arena football (an indoor variant of the American game) from 1988 to 2007, American football did use a one-platoon system in which most players were required to play all facets of the game, severely limiting substitution, much as rugby league (and most other sports) continue to do. Most levels of American football abolished the one-platoon system in the late 1940s and early 1950s, although college football re-implemented it for a short time in the 1950s and 1960s.

Broadly speaking, offensive and defensive linemen in American football correspond to forwards in rugby league and other players are somewhat similar to backs. Basically the job of the forwards in rugby league is to get the ball over the advantage line and give the backs space and a chance to be creative and move the ball around, which will hopefully result in points. However, rugby league players are far less specialised than American football players.

Many of the positions have similar names but in practice are very different. A fullback in American football is very different from a fullback in rugby league. However, some of the positions are fairly similar: for instance, the stand-off/five-eighth and halfback carry out a similar role to a quarterback in American football.

In American football, the team that's in possession of the ball (the offense) has four "downs", to advance the ball 10 yards towards the end zone. When the offense gains 10 yards, it gets another set of four downs. If the offense fails to gain 10 yards after 4 downs, it loses possession of the ball.

A down ends, and the ball becomes dead, after any of the following:

This closely resembles the six-tackle rule in rugby league. The team in possession has a "set of six" tackles before having to hand over possession. A key difference is that there is no automatic way of earning a new set of tackles in rugby league. Each set is effectively a chance to score, with failure to do so resulting in relinquishing possession. Another major difference is that play stops briefly when the player in possession of the ball is tackled and resumes once he gets to his feet and returns the ball to play.

Players can advance the ball in two ways in American football:

In rugby league the ball cannot be passed forward, so players can advance the ball by either running with it, or kicking it ahead and chasing it. This concept is preserved in American football; any player may pass the ball backwards, regardless of player position and location of the field. In addition, a ball passed backwards remains live, even if not caught, so long as it remains in play, similar to rugby league.

Following a down, the ball is returned to play within a restricted time limit by a "snap" in American Football. All players line up facing each other at the line of scrimmage. One offensive player, the center, then passes (or "snaps") the ball back between his legs to a teammate, usually the quarterback and play commences.

In rugby league the ball is returned to play following a tackle via the "play the ball", in which the tackled player gets back to his feet and rolls the ball back to a teammate, usually the hooker. The tackled player will usually try to return to the ball to play as quickly as possible before the defensive line can re-form.

Possession may change in different ways in both games:-

In both codes, tactical kicking is an important aspect of play. However, kicking in general play is more common in rugby league. Kicking is far more heavily restricted in American football; the rules currently prohibit a player from kicking the ball after he has crossed the line of scrimmage, whereas a rugby league player can kick the ball at any time, from any point on the field. In rugby league, a player can receive a kick (and still maintain possession) if he is behind the kicker at the time of the kick; that feature is not allowed in the American game, except in the onside kick scenario described above.

In American football, the offense can throw the ball forward once on a play from behind the line of scrimmage. The forward pass is a distinguishing feature of American and Canadian football as it is strictly forbidden in rugby league.

The ball can be thrown sideways or backwards without restriction in both games. In American football this is known as a lateral and is much less common than in rugby league. The lateral is most commonly seen on plays at the very end of the game when a team needing a touchdown with only time on the clock for one more play attempts to avoid being tackled by passing to any teammate behind him that may advance the ball. A common trick play called the hook and ladder combines the two - a short forward pass is thrown, with the player catching the pass immediately throwing a lateral to a trailing teammate who is hopefully unnoticed by defensive players. Laterals are also seen in pitch or pitchout plays, where the quarterback tosses the ball to a back behind him, rather than handing it off.

There is also a minor distinction in what constitutes a forward or backward pass in the two sports. In rugby league (as in rugby union), a pass is considered forward (and thus illegal) if the person catching the ball is ahead of the player throwing it. In American football, a pass is considered forward only if the path of the ball itself has a forward component to it. For instance, the Music City Miracle (a play in which the receiving end of a lateral pass was ahead of the person throwing it, but the path was not forward) was a legal lateral in American football but would have been an illegal forward pass had it been attempted in rugby.

In both codes, if the ball is caught by an opposition player this results in an interception and possession changes hands.

In both games it is permitted to bring down the player in possession of the ball and prevent them making forward progress. Play then restarts from the next down or tackle. In rugby league, it is common for the player in possession to 'off-load' the ball, passing out of the tackle (before forward progress is halted) in order not to use up a tackle and to keep the play alive. This is much less common in American football, where the lateral pass is most commonly used as a desperation strategy when trailing near the end of a game.

In American football, players are allowed to 'block' players without the ball, within certain restrictions. This is not permitted in rugby league and would be considered 'obstruction'. Players not in possession of the ball may not interfere with each other.

A touchdown is the American football equivalent of rugby league's try. Despite the names, a try requires the ball to be 'touched down' to the ground, whereas a touchdown doesn't. In American football it is sufficient for the player carrying the ball to cause the ball to enter the end zone (in-goal area) while still in bounds, by carrying it in or holding the ball in or through the imaginary plane of the goal line. In rugby league the ball must be pressed to the ground in the in-goal area. An American football touchdown scores 6 points and a rugby league try is worth 4 points.

In both games, following a try / touchdown, there is the opportunity to score additional points by kicking the ball between the posts and over the bar. In American football this is called an extra point or a "point after touchdown" (PAT) in the NFL (worth 1 point), in rugby league it is known as a conversion (worth 2 points). There are two key differences between an extra point and a conversion, conversions cannot be charged down like an extra point attempt but they must be taken from the same position as the try was scored. Hence it is important to score under the posts rather than in the corner, which makes for a difficult kick. Rugby league has no equivalent to American football's two-point conversion, in which the scoring team chooses not to kick at goal, but attempt a second touchdown from short range.

In American football teams often opt to go for a field goal (worth 3 points) rather than attempt a touchdown. The rugby league equivalent, also called a field goal, is worth only one point and is much less common. The key difference between a field goal in the two sports is that an American football field goal attempt is normally kicked with a teammate holding the ball, whereas in rugby league the field goal is attempted using a drop-kick.

A similar concept in rugby league is the penalty goal. Following the award of the penalty, the attacking team may opt to kick for goal rather than advance the ball by hand or punting. This scores 2 points in league. The penalty goal is similar to a field goal in American football in that the ball is kicked from the ground and may be held by a teammate (although almost never is), but it cannot be charged down. The nearest equivalent in American football is the rarely used fair catch kick.

American football has one further method of scoring which does not exist in rugby league. If a ball carrier is tackled in their own endzone (in-goal area) with the ball or steps out the back of the end zone with the ball, this results in a safety which scores 2 points for the opposing team. In rugby league this does not result in any points but causes the team in possession to kick the ball back to the opposition from under the posts.

At least one cross-code match between American football and rugby league has been played. On August 1, 2009 the Jacksonville Axemen of the AMNRL played the Jacksonville Knights of the Florida Football Alliance. The first half was played under American football rules, the second half was played under rugby league rules. The score at half-time was Jacksonville Axemen 6 - Jacksonville Knights 27. The final score was Jacksonville Axemen 38 - Jacksonville Knights 27.


what side of a ship is the starboard side

Port and starboard are nautical and aeronautical terms for left and right, respectively. Port is the left-hand side of a vessel or aircraft, facing forward. Starboard is the right-hand side, facing forward. Since port and starboard never change, they are unambiguous references that are not relative to the observer.[2][3]

Port and starboard

The term starboard derives from the Old English steorbord, meaning the side on which the ship is steered. Before ships had rudders on their centrelines, they were steered with a steering oar at the stern of the ship and, because more people are right-handed, on the right-hand side of it.[citation needed] The term is cognate with the Old Norse stýri (steer) and borð (side of a ship).[citation needed] Since the steering oar was on the right side of the boat, it would tie up at the wharf on the other side. Hence the left side was called port.[4]

Formerly, larboard was used instead of port. This is from Middle-English ladebord and the term lade is related to the modern load.[3] Larboard sounds similar to starboard and in 1844 the Royal Navy ordered that port be used instead.[5][non-primary source needed] The United States Navy followed suit in 1846.[6] Larboard continued to be used well into the 1850s by whalers.[citation needed] In Old English the word was bæcbord, of which cognates are used in other European languages, for example as the present Dutch bakboord, the German backbord and the French term bâbord (derived in turn from Middle Dutch).[citation needed]

The navigational treaty convention, the International Regulations for Preventing Collisions at Sea—for instance, as appears in the Merchant Shipping (Distress Signals and Prevention of Collisions) Regulations of 1996 (and comparable US documents from the US Coast Guard),[7]—sets forth the rights of way for maritime vessels, whether by sail or powered, and whether a vessel is overtaking, approaching head-on, or crossing.[7]:11-12 To set forth these navigational rules, the terms starboard and port are absolutely essential, and to aid in in situ decision-making, the two sides of each vessel are marked, dusk to dawn, by navigation lights, the vessel's starboard side by green and its port side by red.[7]:15 Aircraft are lit in the same way.


who has the power to pardon in case of capital punishment in india

The President shall have the power to grant pardons, reprieves, respites or remissions of punishment or to suspend, remit or commute the sentence of any person convicted of any offence

Capital punishment in India

Capital punishment is a legal penalty in India.[1] It has been carried out in five instances since 1995,[2][3][4][5] while a total of twenty-six executions have taken place in India since 1991.[6]

The Supreme Court in Mithu vs. State of Punjab struck down Section 303 of the Indian Penal Code, which provided for a mandatory death sentence for offenders serving a life sentence.[7] The number of people executed in India since the nation achieved Independence in 1947 is a matter of dispute; official government statistics claim that fifty-two people had been executed since Independence. However, research by the People's Union for Civil Liberties indicates that the actual number of executions is in fact much higher, as they located records of 1,422 executions in the decade from 1953 to 1963 alone.[8] Research published by National Law University, Delhi on death row convicts since 2000 had found that of the 1,617 prisoners sentenced to death by trial courts in India, capital punishment was confirmed in only seventy-one cases.[9][10] NLU Delhi confirmed 755 executions in India since 1947.[11] National Law University, Delhi examined 1,414 prisoners who were executed, in the available list of convicts hanged in post-Independence since 1947.[12] According to a report of the Law Commission of India (1967), the total number of cases in which the death sentence was awarded in India from 1953-63 was 1410.[13]

In December 2007, India voted against a United Nations General Assembly resolution calling for a moratorium on the death penalty.[14] In November 2012, India again upheld its stance on capital punishment by voting against the UN General Assembly draft resolution seeking to end the institution of capital punishment globally.[15]

On 31 August 2015, the Law Commission of India submitted a report to the government which recommended the abolition of capital punishment for all crimes in India, excepting the crime of waging war against the nation or for terrorism-related offences. The report cited several factors to justify abolishing the death penalty, including its abolition by 140 other nations, its arbitrary and flawed application and its lack of any proven deterring effect on criminals.[16]

In colonial India, death was prescribed as one of the punishments in the Indian Penal Code, 1860 (IPC),[17] which listed a number of capital crimes. It remained in effect after independence in 1947. The first hanging in Independent India was that of Nathuram Godse and Narayan Apte in the Mahatma Gandhi assassination case on 15 November 1949.[18]

Under Article 21 of the Constitution of India, no person can be deprived of his life except according to procedure established by law.

The Constitution Bench judgment of Supreme Court of India in Bachan Singh vs. State of Punjab (1980) (2 SCC 684) made it very clear that Capital punishment in India can be given only in rarest of rare cases.[3][19] This judgement was in line with the previous verdicts in Jagmohan Singh vs. State of Uttar Pradesh (1973), and then in Rajendra Prasad vs. State of Uttar Pradesh (1979).[20][21][22] The Supreme Court of India ruled that the death penalty should be imposed only in "the rarest of rare cases."[1] While stating that honour killings fall within the "rarest of the rare" category, Court has recommended the death penalty be extended to those found of committing "honour killings", which deserve to be a capital crime.[23] The Supreme Court also recommended death sentences to be imposed on police officials who commit police brutality in the form of encounter killings.[24]

An appeal filed in 2013 by Vikram Singh and another person facing the death sentence questioned the constitutional validity of Section 364A of the Indian Penal Code.[25]

In addition to the Indian Penal Code, a series of legislation enacted by the Parliament of India have provisions for the death penalty.

Sati is the burning or burying alive of any widow or woman along with the body of her deceased husband or any other relative or with any article, object or thing associated with the husband or such relative. Under The Commission of Sati (Prevention) Act, 1987 Part. II, Section 4(1), if any person commits sati, whoever abets the commission of such sati, either directly or indirectly, shall be punishable with death.[26]

The Scheduled Castes and the Scheduled Tribes (Prevention of Atrocities) Act, 1989 was enacted to prevent the commission of offences of atrocities against the members of the Scheduled Castes and the Scheduled Tribes. Under Section 3(2)(i) of the Act, bearing false witness in a capital case against a member of a scheduled caste or tribe, resulting in that person's conviction and execution, carries the death penalty[27] In 1989, the Narcotic Drugs and Psychotropic Substances (NDPS) Act was passed which applied a mandatory death penalty for a second offence of "large scale narcotics trafficking".

In recent years, the death penalty has been imposed under new anti-terrorism legislation for people convicted of terrorist activities.[1] On 3 February 2013, in response to public outcry over a brutal gang rape in Delhi, the Indian Government passed an ordinance which applied the death penalty in cases of rape that leads to death or leaves the victim in a "persistent vegetative state".[28][29] The death penalty can also be handed down to repeat rape offenders under the Criminal Law (Amendment) Act, 2013.

In January 2014, a three-judge panel headed by Chief Justice of India Palanisamy Sathasivam commuted sentences of 15 death row convicts, ruling that the "inordinate and inexplicable delay is a ground for commuting death penalty to life sentence".[30][31] Supreme Court of India ruled that delays ranging from seven to 11 years in the disposal of mercy pleas are grounds for clemency.[32] The same panel also passed a set of guidelines for the execution of a death row convict, which includes a 14-day gap from the receipt of communication of the rejection of the mercy petition to the scheduled execution date, after going through the Shatrughan Chauhan vs. Union of India case.[33][34][35] Subsequently, in February 2014, Supreme Court commuted death sentence of Rajiv Gandhi's killers on the basis of 11-year delay in deciding on mercy plea.[36][37] It was subsequently commuted to life imprisonment.[38] In March 2014, Supreme Court of India commuted death sentence of Devinder Pal Singh Bhullar, convicted in a 1993 Delhi bombings case, to life imprisonment, both on the ground of unexplained/inordinate delay of eight years in disposal of mercy petition and on the ground of insanity/mental illness/schizophrenia.[39][40][41]

The concept of Curative petition was evolved by the Supreme Court of India in the matter of Rupa Ashok Hurra vs. Ashok Hurra and Anr. (2002) where the question was whether an aggrieved person is entitled to any relief against the final judgement/order of the Supreme Court, after dismissal of a review petition.[42] The Supreme Court in the said case held that to prevent abuse of its process and to cure gross miscarriage of justice, it may reconsider its judgements in exercise of its inherent powers.[43]

After the award of the death sentence by a sessions court, the sentence must be confirmed by a High Court to make it final. Once confirmed, the condemned convict has the option of appealing to the Supreme Court. If this is not possible, or if the Supreme Court turns down the appeal or refuses to hear the petition, the condemned person can submit a'mercy petition' to the President of India and the Governor of the State.[47]

The present day constitutional clemency powers of the President and Governors originate from the Government of India Act 1935 but, unlike the Governor-General, the President and Governors in independent India do not have any prerogative clemency powers.

Article 72(1) of the Constitution of India states:

(a) in all cases where the punishment or sentence is by a Court Martial;

(b) in all cases where the punishment or sentence is for an offence against any law relating to a matter to which the executive power of the Union extends;

(c) in all cases where the sentence is a sentence of death.

The execution of death sentence in India is carried out by hanging by the neck till death.

The Code of Criminal Procedure (1898) called for the method of execution to be hanging. The same method was adopted in the Code of Criminal Procedure (1973).[48] Section 354(5) of the above procedure reads as "When any person is sentenced to death, the sentence shall direct that the person be hanged by the neck till the person is dead."

The Army Act, The Navy Act and The Air Force Act also provide for the execution of the death sentence.[49] Section 34 of the Air Force Act, 1950 empowers the court martial to impose the death sentence for the offences mentioned in section 34(a) to (o) of The Air Force Act, 1950. Section 163 of the Act provides for the form of the sentence of death as:-

"In awarding a sentence of death, a court-martial shall, in its discretion, direct that the offender shall suffer death by being hanged by the neck until he be dead or shall suffer death by being shot to death."

This provides for the discretion of the Court Martial to either provide for the execution of the death sentence by hanging or by being shot to death. The Army Act, 1950, and The Navy Act, 1957 also provide for the similar provisions as in The Air Force Act, 1950.

At least 100 people in 2007, 40 in 2006, 77 in 2005, 23 in 2002, and 33 in 2001 were sentenced to death (but not executed), according to Amnesty International figures. No official statistics of those sentenced to death have been released.

About 26 mercy petitions are pending before the president, some of them from 1992. These include those of Khalistan Liberation Force terrorist Devinder Pal Singh Bhullar, the cases of slain forest bandit Veerappan's four associates—Simon, Gnanaprakasham, Meesekar Madaiah and Bilvendran—for killing 21 policemen in 1993; and Praveen Kumar for killing four members of his family in Mangalore in 1994.[50]

Seema Gavit and Renuka Shinde are the only two women in India on death row, whose mercy pleas were rejected by the President after the Supreme Court of India confirmed their death sentence.[51]

As of July 2015, President Pranab Mukherjee has rejected 24 mercy pleas including that of Yakub Memon, Ajmal Kasab, Afzal Guru.[52][53]

On 27 April 1995, Auto Shankar was hanged in Salem, Tamil Nadu. On 14 August 2004, Dhananjoy Chatterjee was hanged for the murder (following a rape) of 14-year-old Hetal Parekh[54] at her apartment residence in Bhowanipur on 5 March 1990.[55][56] Chatterjee, whose mercy plea was rejected on 4 August 2004, was kept at Alipore Central Jail for nearly 14 years.[57]

On 3 May 2010, a Mumbai Special Court convicted Ajmal Kasab of murder, waging war on India, possessing explosives and other charges.[58] On 6 May 2010 the same trial court sentenced him to death on four counts and to a life sentence on five other counts. Kasab was sentenced to death for attacking Mumbai and killing 166 people on 26 November 2008 along with nine other Pakistani terrorists. He was found guilty of 80 offences, including waging war against the nation, which is punishable by death.[59] Kasab's death sentence was upheld by the Bombay High Court on 21 February 2011.[60] and by the Supreme Court on 29 August 2012.[61] His mercy plea was rejected by the president on 5 November and the same was communicated to him on 12 November. On 21 November 2012, Kasab was hanged in the Yerwada Central Jail in Pune.

Afzal Guru was convicted of conspiracy in connection with the 2001 Indian Parliament attack and was sentenced to death. The Supreme Court of India upheld the sentence, ruling that the attack "shocked the conscience of the society at large." Afzal was scheduled to be executed on 20 October 2006, but the sentence was stayed.[citation needed] He was hanged on 9 February 2013 at Delhi's Tihar Central Jail.[62][63]

Yakub Memon, convicted of 1993 Bombay bombings, was executed by hanging in Nagpur Central Jail at around 6:30Â am IST on 30 July 2015.[64][65] On 21 March 2013 the Supreme Court confirmed Memon's conviction and death sentence for conspiracy through financing the attacks. On 30 July 2013 the Supreme Court bench headed by Chief Justice P. Sathasivam, Justice B. S. Chauhan and Justice Prafulla Chandra Pant rejected Memon's application for an oral hearing and dismissed his review petition by circulation. Indian President Pranab Mukherjee rejected Memon's petition for clemency on 11 April 2014. Memon then filed a curative petition to the Supreme Court, which was rejected on 21 July 2015. He became the first convict in 31 years to be hanged in Nagpur Central Jail and the fourth in India since 2004.[66]

On 5 March 2012 a sessions court in Chandigarh ordered the execution of Balwant Singh Rajoana, a convicted terrorist from Babbar Khalsa, for his involvement in the assassination of Chief Minister of Punjab Beant Singh.[67] The sentence was to be carried out on 31 March 2012 in Patiala Central Jail,[68] but the Centre stayed the execution on 28 March due to worldwide protests by Sikhs that the execution was unfair and amounted to a human rights violation.[69]

On 13 March 2012, a court in Sirsa, Haryana, condemned to death 22-year-old Nikka Singh for raping and strangling to death a 75-year-old woman on 11 February 2011.[70] "The imposition of the death sentence was most appropriate in this case. The court has held that it was a cold-blooded murder and where rape was committed on an innocent and hapless old woman," said Neelima Shangla, the Sirsa additional district and sessions judge.[71] "The rape and cold-blooded murder of a woman, who was of grandmother's age of the accused, falls in the rarest of the rare case." The court held that Nikka Singh was a "savage" whose "existence on earth was a grave danger to society" as he had also attempted to rape two other village women.[72]

A special mention here is to the 650-page written judgment in the 1984 Assassination of Indira Gandhi, who was killed by her bodyguards, in which the Delhi High Court panel said, "No excuse or circumstance can... mitigate such a treacherous and cowardly act where a defenseless woman was cruelly slaughtered by the 'guardians' of her safety." The judgment condemned "the most inhuman mode of killing" and said, "Two persons crowding in before an elderly woman and mercilessly pumping into her not one or two but as many as 30 bullets is the ghastly scene to be conjured in the mind's eye." Kehar Singh was hanged on 6 January 1989 for conspiracy in the assassination, carried out by Satwant Singh and Beant Singh.[73]

In June 2012 it became known that Indian president Pratibha Patil, near the end of her five-year term as president, commuted the death sentence of as many as 35 convicts to life imprisonment, including four on the same day (2 June), which created a storm of protest.[74] This caused further embarrassment to the government when it came to light that one of these convicts, Bandu Baburao Tidke—convicted for the rape and murder of a 16-year-old girl—had died five years previously from HIV.[75]

There have been calls for the introduction of the death penalty for rapists and molesters, especially since an infamous 2012 Delhi gang rape case and later crimes.


where was rambo first blood part 2 filmed

The film was shot entirely on location in Mexico. The waterfall explosion scene was shot in Acapulco, Guerrero, Mexico and the rest of the film in Tecoanapa, Guerrero, Mexico.

Rambo: First Blood Part II

Rambo: First Blood Part II (also known as Rambo II or First Blood II) is a 1985 American action film directed by George P. Cosmatos and starring Sylvester Stallone,[4] who reprises his role as Vietnam veteran John Rambo. It is the sequel to the 1982 film First Blood, and the second installment in the Rambo film series. Picking up where the first film left, the sequel is set in the context of the Vietnam War POW/MIA issue; it sees Rambo released from prison by federal order to document the possible existence of POWs in Vietnam, under the belief that he will find nothing, thus enabling the government to sweep the issue under the rug. In addition to Stallone, Richard Crenna reprises his role as Col. Samuel Trautman, with Charles Napier, Steven Berkoff, Julia Nickson, Martin Kove, George Cheung, and Andy Wood also included in the cast.

Despite negative reviews, First Blood Part II was a major worldwide box office blockbuster, with an estimated 42 million tickets sold in the US. It has become the most recognized and memorable installment in the series, having inspired countless rip-offs, parodies, video games, and imitations.

Entertainment Weekly ranked the movie number 23 on its list of The Best Rock-'em, Sock-'em Movies of the Past 25 Years.[5]

Three years into his sentence, former commando John Rambo is visited by his old commander, Colonel Sam Trautman. With the war in Vietnam over, the public has become increasingly concerned over news that a small group of US POWs have been left in enemy custody. To placate their demands for action, the US government has authorized a solo infiltration mission to confirm the reports. As one of only three men suited for such work, Rambo agrees to undertake the operation in exchange for a pardon. He is taken to meet Marshall Murdock, a bureaucratic government official overseeing the operation. Rambo is temporarily reinstated into the US Army and instructed that he is only to photograph a possible camp and not to rescue any prisoners or engage enemy personnel, as they will be retrieved by a better equipped extraction team upon his return.

During his insertion, Rambo's parachute becomes tangled and breaks, causing him to lose his guns and most of his equipment, leaving him with only his knives and a bow with specialized arrows. He meets his assigned contact, a young intelligence agent named Co-Bao, who arranges for a local river pirate band to take them upriver. Reaching the camp, Rambo spots one of the prisoners tied to a cross shaped post, left to suffer from exposure, and rescues him against orders. During escape, they are discovered by Vietnamese troops and attacked. When a gunboat manages to catch up, the pirates betray them out of fear. Rambo gets the POW and Co-Bao to safety, destroys the boat with an rocket launcher, and kills the pirates. When Rambo reaches the extraction point, the helicopter is ordered to abort by Murdock, who claims Rambo has violated his orders. When Trautman confronts him, Murdock also reveals that he never intended to save any POWs if any should be found, but to leave them to save Congress the money it would take to buy their freedom and evade any possibility of further war.

Co-Bao escapes, but Rambo and the POW are recaptured and returned to the camp. There, Rambo learns that Soviet troops are arming and training the Vietnamese. He is turned over to the local liaison, Lieutenant Colonel Podovsky, and his right-hand man, Sergeant Yushin, for interrogation. Upon learning of Rambo's mission from intercepted missives, Podovsky demands that Rambo broadcast a message warning against further rescue missions for POWs under fatal cost. Meanwhile, Co infiltrates the camp disguised as a prostitute and comes to the hut in which Rambo is held captive. Rambo at first refuses to cooperate, but relents when the prisoner he tried to save is threatened. But instead of reading the scripted comments, Rambo directly threatens Murdock, then subdues the Russians with Co's help and escapes into the jungle. They kiss, and Rambo agrees to take Co back to the United States. However, a small Vietnamese force attacks the pair, and Co is killed. An enraged Rambo kills the soldiers and buries Co's body in the mud.

With the use of his weapons and guerrilla training, Rambo systematically dispatches the numerous Soviet and Vietnamese soldiers sent after him. After barely surviving a barrel bomb dropped by Yushin's helicopter, Rambo climbs on board, throws Yushin out of the cabin in a brief but intense fight, and takes control. He lays waste to the prison camp and kills all of the remaining enemy forces before extracting the POWs and heading towards friendly territory in Thailand. Podovsky, pursuing in a helicopter gunship seemingly shoots them down and moves in for the kill. Having faked the crash, Rambo uses a rocket launcher to destroy the aircraft, killing the gunner, the co-pilot, and Podovsky.

Returning to base with the POWs, Rambo, after using the helicopter's machine gun to destroy Murdock's office, confronts the terrified man with his knife, demanding that Murdock rescue the remaining POWs. Trautman then confronts Rambo and tries to convince him to return home now that he has been pardoned. An angry Rambo responds that he only wants his country to love its soldiers as much as its soldiers love it. The film credits roll as Rambo walks off into the distance while his mentor watches him.

Producers considered that Rambo would have a partner in the rescue mission of POWs. The producers allegedly wanted John Travolta to play Rambo's partner, but Stallone vetoed the idea.[6] Lee Marvin (who was considered to play Colonel Trautman in the first film) was offered the role of Marshall Murdock, but declined, leading to the role being played by Charles Napier.

James Cameron wrote a first draft under the title First Blood II. (Cameron had been recommended by David Giler who did some uncredited script work on the first film.[7]) Cameron's script had the same basic structure of the first film but had a character of Rambo's sidekick.

Stallone later recalled:

I think that James Cameron is a brilliant talent, but I thought the politics were important, such as a right-wing stance coming from Trautman and his nemesis, Murdock, contrasted by Rambo’s obvious neutrality, which I believe is explained in Rambo’s final speech. I realize his speech at the end may have caused millions of viewers to burst veins in their eyeballs by rolling them excessively, but the sentiment stated was conveyed to me by many veterans.... [Also] in his original draft it took nearly 30-40 pages to have any action initiated and Rambo was partnered with a tech-y sidekick. So it was more than just politics that were put into the script. There was also a simpler story line. If James Cameron says anything more than that, then he realizes he’s now doing the backstroke badly in a pool of lies.[8]

The film was shot between June and August 1984.

Rambo: First Blood Part II opened in the US on May 22, 1985, and was the #1 film that weekend, taking in $20,176,217 on 2,074 screens (which made it the first film in the US to be shown on 2,000+ screens). Overall, in the US, the film grossed $150,415,432 and $149,985,000 internationally, giving First Blood Part II a box office total of $300,400,432.[3] The movie broke various international box office records.[9]

The film grossed $78,919,000 in rentals in the US alone. DVDs of each of the first three movies in the series have been released and selling since 1998, but no figures are available for these yet. As the movie took $300,400,432 at the box office and $78,919,000 from US rentals, it is estimated that with European/international DVD sales of Rambo: First Blood Part II, the overall takings for the movie is $400â€“500 million.[citation needed]

Rambo: First Blood Part II received lukewarm reviews from critics.[10] The film earned a 30% "Rotten" rating in the review aggregate website Rotten Tomatoes.[11]

The film is listed in Golden Raspberry Award founder John Wilson's book The Official Razzie Movie Guide as one of The 100 Most Enjoyably Bad Movies Ever Made.[12]

The musical score was composed by Jerry Goldsmith, conducting the National Philharmonic Orchestra. The main song is sung by Stallone's brother, singer/songwriter Frank Stallone. Varèse Sarabande issued the original soundtrack album.

Note: As released in the United Kingdom by That's Entertainment Records (the British licensee for VarÃ¨se Sarabande at the time), the UK version placed "Peace in Our Life" between "Betrayed" and "Escape from Torture," thus making "Day by Day" the final track.

In 1999, Silva America released an expanded edition with the cues in film order. Previously unreleased music is in bold.