the tuba is a member of what instrument family

The tuba (UK: /ˈtjuːbə/ or US: /ˈtuːbə/;[1] Italian pronunciation: [ˈtuːba]) is the largest and lowest-pitched musical instrument in the brass family. Like all brass instruments, sound is produced by moving air past the lips, causing them to vibrate or "buzz" into a large cupped mouthpiece. It first appeared in the mid 19th-century, making it one of the newer instruments in the modern orchestra and concert band. The tuba largely replaced the ophicleide.[2] Tuba is Latin for 'trumpet'.[3]

Tuba

In America, a person who plays the tuba is known as a tubaist or tubist.[4] In the United Kingdom, a person who plays the tuba in an orchestra is known simply as a tuba player; in a brass band or military band, they are known as bass players.

Prussian Patent No. 19 was granted to Wilhelm Friedrich Wieprecht and Johann Gottfried Moritz (1777–1840)[5] on September 12, 1835 for a "bass tuba" in F1. The original Wieprecht and Moritz instrument used five valves of the Berlinerpumpen type that were the forerunners of the modern piston valve. The first tenor tuba was invented in 1838 by Carl Wilhelm Moritz (1810–1855), son of Johann Gottfried Moritz.

The addition of valves made it possible to play low in the harmonic series of the instrument and still have a complete selection of notes. Prior to the invention of valves, brass instruments were limited to notes in the harmonic series, and were thus generally played very high with respect to their fundamental pitch. Harmonics starting three octaves above the fundamental pitch are about a whole step apart, making a useful variety of notes possible.

The ophicleide used a bowl-shaped brass instrument mouthpiece but employed keys and tone holes similar to those of a modern saxophone. Another forerunner to the tuba was the serpent, a bass instrument that was shaped in a wavy form to make the tone holes accessible to the player. Tone holes changed the pitch by providing an intentional leak in the bugle of the instrument. While this changed the pitch, it also had a pronounced effect on the timbre. By using valves to adjust the length of the bugle the tuba produced a smoother tone that eventually led to its popularity.

Adolphe Sax, like Wieprecht, was interested in marketing systems of instruments from soprano to bass, and developed a series of brass instruments known as saxhorns. The instruments developed by Sax were generally pitched in E♭ and B♭, while the Wieprecht "basstuba" and the subsequent Cerveny contrabass tuba were pitched in F and C (see below on pitch systems). Sax's instruments gained dominance in France, and later in Britain and America, as a result of the popularity and movements of instrument makers such as Gustave Auguste Besson (who moved from France to Britain) and Henry Distin (who eventually found his way to America).[6] Afterwards there have been many other various types of the Tuba including some with different types of valves different numbers and more.

An orchestra usually has a single tuba, though an additional tuba may be asked for. It serves as the bass of the orchestral brass section and it can reinforce the bass voices of the strings and woodwinds. It provides the bass of brass quintets and choirs (though many small brass ensembles will use the euphonium or bass trombone as the lowest voice). It is the principal bass instrument in concert bands, brass bands and military bands, and those ensembles generally have two to four tubas. It is also a solo instrument.

Tubas are used in marching bands, drum and bugle corps and in many jazz bands (see below). In British style brass bands, two E♭ and two B♭ tubas are used and are referred to as basses.

Well known and influential parts for the tuba include:

Concertos have been written for the tuba by many notable composers, including Ralph Vaughan Williams (Tuba Concerto), Edward Gregson, John Williams, Alexander Arutiunian, Eric Ewazen, James Barnes, Joseph Hallman, Martin Ellerby, Philip Sparke, Kalevi Aho, Arild Plau, Simon Proctor, James Woodward, Victor Davies, Josef Tal, Bruce Broughton (Tuba Concerto), David Carlson, Alexey Lebedev.

Tubas are found in various pitches, most commonly in F, E♭, C, or B♭. The main tube of a B♭ tuba is approximately 18 feet (5.5 m) long, while that of a C tuba is 16 feet (4.9 m), of an E♭ tuba 13 feet (4.0 m), and of an F tuba 12 feet (3.7 m). The instrument has a conical bore, meaning the bore diameter increases as a function of the tubing length from the mouthpiece to the bell. The conical bore causes the instrument to produce a preponderance of even-order harmonics.

A tuba with its tubing wrapped for placing the instrument on the player's lap is usually called a concert tuba or simply a tuba. Tubas with the bell pointing forward (pavillon tournant) instead of upward are often called recording tubas because of their popularity in the early days of recorded music, as their sound could more easily be directed at the recording microphone. When wrapped to surround the body for cavalry bands on horseback or marching, it is traditionally known as a hélicon. The modern sousaphone, named after American bandmaster John Philip Sousa, resembles a hélicon with the bell pointed up (in the original models as the J. W. Pepper prototype and Sousa's concert instruments) and then curved to point forward (as developed by Conn and others). Some ancestors of the tuba, such as the military bombardon, had unusual valve and bore arrangements compared to modern tubas.

During the American Civil War, most brass bands used a branch of the brass family known as saxhorns, which, by today's standards, have a narrower bore taper than tuba—the same as true cornets and baritones, but distinct from trumpets, euphoniums, and others with different tapers or no taper. Around the start of the Civil War, saxhorns manufactured for military use in the USA were commonly wrapped with the bell pointing backwards over the player's shoulder, and these were known as over-the-shoulder saxhorns, and came in sizes from cornets down to E♭ basses. However, the E♭ bass, even though it shared the same tube length as a modern E♭ tuba, has a narrower bore and as such cannot be called by the name 'tuba' except as a convenience when comparing it to other sizes of Saxhorn.

Most music for the tuba is written in bass clef in concert pitch, so tuba players must know the correct fingerings for their specific instruments. Traditional British-style brass band parts for the tuba are usually written in treble clef, with the B♭ tuba sounding two octaves and one step below and the E♭ tuba sounding one octave and a major sixth below the written pitch. This allows musicians to change instruments without learning new fingerings for the same written music. Consequently, when its music is written in treble clef, the tuba is a transposing instrument, but not when the music is in bass clef.

The lowest pitched tubas are the contrabass tubas, pitched in C or B♭, referred to as CC and BB♭ tubas respectively, based on a traditional distortion of a now-obsolete octave naming convention. The fundamental pitch of a CC tuba is 32 Hz, and for a BB♭ tuba, 29 Hz. The CC tuba is used as an orchestral, and concert band instrument in the U.S., but BB♭ tubas are the contrabass tuba of choice in German, Austrian, and Russian orchestras. In the United States, the BB♭ tuba is the most common in schools (largely due to the use of BB♭ sousaphones in high school marching bands) and for adult amateurs. Many professionals in the U.S. play CC tubas, with BB♭ also common, and many train in the use of all four pitches of tubas.[citation needed]

The next smaller tubas are the bass tubas, pitched in F or E♭ (a fourth above the contrabass tubas). The E♭ tuba often plays an octave above the contrabass tubas in brass bands, and the F tuba is commonly used by professional players as a solo instrument and, in America, to play higher parts in the classical repertoire (or parts that were originally written for the F tuba, as is the case with Berlioz). In most of Europe, the F tuba is the standard orchestral instrument, supplemented by the CC or BB♭ only when the extra weight is desired. Wagner, for example, specifically notates the low tuba parts for Kontrabasstuba, which are played on CC or BB♭ tubas in most regions. In the United Kingdom, the E♭ is the standard orchestral tuba.

The euphonium is sometimes referred to as a tenor tuba and is pitched in B♭, one octave higher than the BB♭ contrabass tuba. The term "tenor tuba" is often used more specifically to refer to B♭ rotary-valved tubas pitched in the same octave as euphoniums. The "Small Swiss Tuba in C" is a tenor tuba pitched in C, and provided with 6 valves to make the lower notes in the orchestral repertoire possible. The French C tuba was the standard instrument in French orchestras until overtaken by F and C tubas since the Second World War. One popular example of the use of the French C tuba is the Bydło movement in Ravel's orchestration of Mussorgsky's Pictures at an Exhibition, though the rest of the work is scored for this instrument as well.

Larger BBB♭ subcontrabass tubas exist, but are extremely rare (there are at least four known examples). The first two were built by Gustave Besson in BBB♭, one octave below the BB♭ Contrabass tuba, on the suggestion of John Philip Sousa. The monster instruments were not completed until just after Sousa's death. Later, in the 1950s, British musician Gerard Hoffnung commissioned the London firm of Paxman to create a subcontrabass tuba in EEE♭ for use in his comedic music festivals. Also, a tuba pitched in FFF was made in Kraslice by Bohland & Fuchs probably during 1910 or 1911 and was destined for the World Exhibition in New York in 1913. Two players are needed; one to operate the valves and one to blow into the mouthpiece.

In addition to the length of the instrument, which dictates the fundamental pitch, tubas also vary in overall width of the tubing sections. Tuba sizes are usually denoted by a quarter system, with  4⁄4 designating a normal, full-size tuba. Larger rotary instruments are known as kaisertubas and are often denoted  5⁄4. Larger piston tubas, particularly those with front action, are sometimes known as grand orchestral tubas (examples: the Conn 36J Orchestra Grand Bass from the 1930s, and the current model Hirsbrunner HB-50 Grand Orchestral, which is a replica of the large York tubas owned by the Chicago Symphony Orchestra). Grand orchestral tubas are generally described as  6⁄4 tubas. Smaller instruments may be described as  3⁄4 instruments. No standards exist for these designations, and their use is up to manufacturers who usually use them to distinguish among the instruments in their own product line. The size designation is related to the larger outer branches, and not to the bore of the tubing at the valves, though the bore is usually reported in instrument specifications. ( Tuba may make different sounds when dented in different spots of the instrument.)The quarter system is also not related to bell size, at least across manufacturers. The largest tuba is the contrabass tuba (Besson) and is the lowest.

Tubas are made with either piston or rotary valves. Rotary valves, invented by Joseph Riedl, are based on a design included in the original valve patents by Friedrich Blühmel and Heinrich Stölzel in 1818. Červeny of Graslitz was the first to use true rotary valves, starting in the 1840s or 1850s. Modern piston valves were developed by François Périnet for the saxhorn family of instruments promoted by Adolphe Sax around the same time. Pistons may either be oriented to point to the top of the instrument (top-action, as pictured in the figure at the top of the article) or out the front of the instrument (front-action or side-action). There are advantages and disadvantages to each valve style, but assertions concerning sound, speed, and clarity are difficult to quantify. German players generally prefer rotary valves while British and American players favor piston valves — the choice of valve type remains up to the performer.

Piston valves require more maintenance than rotary valves â€” they require regular oiling to keep them freely operating, while rotary valves are sealed and seldom require oiling. Piston valves are easy to disassemble and re-assemble, while rotary valve disassembly and re-assembly is much more difficult and is generally left to qualified instrument repair persons.

Tubas generally have from three to six valves, though some rare exceptions exist. Three-valve tubas are generally the least expensive and are almost exclusively used by beginners and amateurs, and the sousaphone (a marching version of a BBâ™ tuba) almost always has three valves. Among advanced players, four and five valve tubas are by far the most common choices, with six-valve tubas being relatively rare except among F tubas, which mostly have five or six valves.

The valves add tubing to the main tube of the instrument, thus lowering its fundamental pitch. The first valve lowers the pitch by a whole step (two semitones), the second valve by a semitone, and the third valve by three semitones. Used in combination, the valve tubing is too short and the resulting pitch tends to be sharp. For example, a BB♭ tuba becomes (in effect) an A♭ tuba when the first valve is depressed. The third valve is long enough to lower the pitch of a BB♭ tuba by three semitones, but it is not long enough to lower the pitch of an A♭ tuba by three semitones. Thus, the first and third valves used in combination lower the pitch by something just short of five semitones, and the first three valves used in combination are nearly a quarter tone sharp.

The fourth valve is used in place of combinations of the first and third valves, and the second and fourth used in combination are used in place of the first three valves in combination. The fourth valve can be tuned to lower the pitch of the main tube accurately by five semitones, and thus its use corrects the main problem of combinations being too sharp. By using the fourth valve by itself to replace the first and third combination, or the fourth and second valves in place of the first, second and third valve combinations, the notes requiring these fingerings are more in tune. The fourth valve used in combination with, rather than instead of, the first three valves fills in the missing notes in the bottom octave allowing the player to play chromatically down to the fundamental pitch of the instrument. For the reason given in the preceding paragraph some of these notes will tend to be sharp and must by 'lipped' into tune by the player.

A fifth and sixth valve, if fitted, are used to provide alternative fingering possibilities to improve intonation, and are also used to reach into the low register of the instrument where all the valves will be used in combination to fill the first octave between the fundamental pitch and the next available note on the open tube. The fifth and sixth valves also give the musician the ability to trill more smoothly or to use alternative fingerings for ease of playing.

The bass tuba in F is pitched a fifth above the BB♭ tuba and a fourth above the CC tuba, so it needs additional tubing length beyond that provided by four valves to play securely down to a low F as required in much tuba music. The fifth valve is commonly tuned to a flat whole step, so that when used with the fourth valve, it gives an in-tune low B♭. The sixth valve is commonly tuned as a flat half step, allowing the F tuba to play low G as 1-4-5-6 and low G♭ as 1-2-4-5-6. In CC tubas with five valves, the fifth valve may be tuned as a flat whole step or as a minor third depending on the instrument.

Some tubas have a compensating system to allow accurate tuning when using several valves in combination, simplifying fingering and removing the need to constantly adjust slide positions. The most popular of the automatic compensation systems was invented by Blaikley (Bevan, 1874) and was patented by Boosey (later, Boosey and Hawkes, which also, later still, produced Besson instruments). The patent on the system limited its application outside of Britain, and to this day tubas with compensating valves are primarily popular in the United Kingdom and countries of the former British Empire. The Blaikley design plumbs the instrument so that if the fourth valve is used, the air is sent back through a second set of branches in the first three valves to compensate for the combination of valves. This does have the disadvantage of making the instrument significantly more'stuffy' or resistant to air flow when compared to a non-compensating tuba. This is due to the need for the air to flow through the valves twice. It also makes the instrument heavier. But many prefer this approach to additional valves or to manipulation of tuning slides while playing to achieve improved intonation within an ensemble. Most modern professional-grade euphoniums also now feature Blaikley-style compensating valves.

Some tubas have a strong and useful resonance that is not in the well-known harmonic series. For example, most large B♭ tubas have a strong resonance at low E♭ (E♭1, 39 Hz), which is between the fundamental and the second harmonic (an octave higher than the fundamental). These alternative resonances are often known as false tones or privileged tones. Adding the six semitones provided by the three valves, these alternative resonances let the instrument play chromatically down to the fundamental of the open bugle (which is a 29 Hz B♭0). The addition of valves below that note can lower the instrument a further six semitones to a 20 Hz E0. Thus, even three-valved instruments with good alternative resonances can produce very low sounds in the hands of skilled players; instruments with four valves can play even lower. The lowest note in the widely known repertoire is a 16 Hz double-pedal C0 in the William Kraft piece Encounters II, which is often played using a timed flutter tongue rather than by buzzing the lips. The fundamental of this pitch borders on infrasound and its overtones define the pitch in the listener's ear.

The most convincing explanation for false-tones is that the horn is acting as a 'third of a pipe' rather than as a half-pipe. The bell remains an anti-node, but there would then be a node one-third of the way back to the mouthpiece. If so, it seems that the fundamental would be missing entirely, and would only be inferred from the overtones. However, the node and the antinode collide in the same spot and cancel out the fundamental.

The tuba is generally constructed of brass, which is either unfinished, lacquered or electro-plated with nickel, gold or silver. Unfinished brass will eventually tarnish and thus must be periodically polished to maintain its appearance.

Some tubas are capable of being converted into a marching style, known as "marching tubas". A leadpipe can be manually screwed on next to the valves. The tuba is then usually rested on the left shoulder (although some tubas allow use of the right shoulder), with the bell facing directly in front of the player. Some marching tubas are made only for marching, and cannot be converted into a concert model. Most marching bands opt for the sousaphone, an instrument that is easier to carry and almost always cheaper than a true marching tuba. The earlier Helicon is still used by bands in Europe and other parts of the world. Drum and bugle corps players, however, generally use marching tubas or Contrabass bugles. Standard tubas can also be played whilst standing, with the use of a strap joined to the tuba with two rings. The strap goes over the shoulder like a sash, so the musician can play the instrument in the same position as when sitting.

The tuba has been used in jazz since the genre's inception. In the earliest years, bands often used a tuba for outdoor playing and a double bass for indoor performances. In this context, the tuba was sometimes called "brass bass", as opposed to the double bass (string bass). Many musicians played both instruments.

In modern jazz, tubas usually fill the traditional bass role, though it is not uncommon for them to take solos. New Orleans style brass bands like the Dirty Dozen Brass Band and the Rebirth Brass Band use a sousaphone as the bass instrument. Bill Barber played tuba on several Miles Davis albums, including Birth of the Cool and Miles Ahead. New York City-based tubist Marcus Rojas performed frequently with Henry Threadgill.


what song is virus alert a parody of

"Virus Alert" is a style parody of Sparks, specifically their work in the mid-1970s, such as their album Kimono My House (1974).[2][7] It details "the evil that lurks in your email inbox."[4] "Close but No Cigar" is a style parody of Cake[2] that tells the story of a man who breaks up with his seemingly perfect girlfriends due to the most inconsequential of flaws.[7][8] The track was inspired by an actual friend of Yankovic's who was never satisfied with any of his dates; Yankovic later explained that "the song was inspired by [the] attitude, that nothing could ever be good enough."[7] The final original recorded, "Pancreas", is a song mainly about the biological functions of the aforementioned organ.[2][3] The song is an imitation of the musical stylings of Brian Wilson, specifically his work found on the 1966 album Pet Sounds, released by the Beach Boys, and their aborted follow-up album, Smile. Yankovic joked that the reason the song was written was because "my pancreas has given so much to me over the years, I felt like I needed to give something back to it".[2]

Straight Outta Lynwood

Straight Outta Lynwood is the twelfth studio album by "Weird Al" Yankovic, released on September 26, 2006. It was the sixth studio album self-produced by Yankovic. The musical styles on the album are built around parodies and pastiches of pop and rock music of the mid-2000s. The album's lead single, "White & Nerdy", is a parody of Chamillionaire's hit single "Ridin'". The single peaked at number nine on the Billboard Hot 100; "Canadian Idiot", a parody of Green Day's American Idiot, also charted, peaking at number 82.

The album contains three further parodies, based on "Confessions Part II" by Usher, "Do I Make You Proud" by Taylor Hicks, and "Trapped in the Closet" by R. Kelly. The other half of the album is original material, containing many "style parodies", musical imitations of existing artists, such as Brian Wilson, Rage Against the Machine, Sparks, animated musical specials, Cake, and 1980s charity songs. Originally, there were plans for the album's lead single to have been a spoof of James Blunt's hit "You're Beautiful" entitled "You're Pitiful", but Blunt's record label, Atlantic, blocked the commercial release of the parody.

In 2006, the album was released as both a digital download and as a DualDisc (a double-sided optical disc that contained a CD on one side and a DVD on the other) containing both the album and animated music videos for a number of the album's songs. Straight Outta Lynwood was met with mostly positive reviews, with many critics in particular applauding "White & Nerdy" and "Trapped in the Drive-Thru". Some of the other parody songs, however, were met with a more mixed response. The album peaked at number 10 on the Billboard 200. "White & Nerdy" became Yankovic's highest-charting single, as well as his first Platinum-certified single. The record itself was certified Gold for shipments of over 500,000 copies.

On July 5, 2005, recording for Straight Outta Lynwood officially began at Santa Monica Sound Records, in Santa Monica, California. By late 2005, six originals—"Pancreas", "Close but No Cigar", "Virus Alert", "Don't Download This Song", "I'll Sue Ya", and "Weasel Stomping Day"—had been recorded.[1] "Weasel Stomping Day" describes, in the style of animated musical specials of the 1960s, a supposedly traditional holiday in which participants don Viking helmets, spread mayonnaise on their lawns, and "snap [the titular animals'] weasely spines in half."[2][3] "I'll Sue Ya" is a Rage Against the Machine style parody, satirizing frivolous litigation.[4] Yankovic chose to juxtapose the style of Rage Against the Machine with lyrics about lawsuits because he felt that humor could be derived by pairing the anger of the band's music with a topic so vacuous.[2] "Don't Download This Song", a style parody of 1980s charity songs, such as "We are the World", "Hands Across America", and "Do They Know It’s Christmas?",[5] "describes the perils of online music file-sharing".[6] According to Yankovic himself, the song takes a moderate approach to the peer-to-peer music download situation, arguing that both sides—people trying to illegally download music and the Recording Industry Association of America (RIAA)—can act hypocritically depending on the situation.[2]

On February 19, 2006, Yankovic began working on the album's parodies. During these sessions, three parodies were recorded; the first of these, "Canadian Idiot", is a play on "American Idiot" by Green Day. It is a satirical commentary on American nationalism and the stereotypical American view of Canadians.[3][9] The song is ironic, and Yankovic has stated that the song's anger is a joke and that he loves Canada.[2] Next, Yankovic began working on "Trapped in the Drive-Thru", a parody of R. Kelly's "Trapped in the Closet". Yankovic was inspired to pen the spoof after hearing the "brilliant and wonderful and ridiculous" original.[2] Efforts to make the parody more convoluted than the original were first considered but then abandoned by Yankovic; he eventually reasoned, however, that he could make his version "a little more stupid".[2] Thus, the song is an excruciatingly detailed narrative about a couple going to a drive-thru, which was "the most banal thing [Yankovic] could think of at the time."[3][10] Because the song was three times the length of a normal song, legally, Yankovic would have been required to pay thrice the statutory rate for royalties. This in turn would have forced Yankovic to remove one of his parodies from the album. However, R. Kelly allowed Yankovic to only pay the royalty rate for one song.[7] To round out the first session, Yankovic recorded "Confessions Part III", a play on "Confessions Part II" by Usher. The song purports to be a continuation of the Usher songs "Confessions" and "Confessions Part II", focusing on trivial, silly, strange, and disturbing confessions; Yankovic explained that, "After hearing Usher do [the original songs], I couldn’t help but think that maybe he’d left a few things out, that there were a few confessions he had yet to make."[2]

After being denied permission to include "You're Pitiful" on the album, Yankovic wrote "Do I Creep You Out" and "White & Nerdy" to take its place, recording both on July 22, 2006.[1] The first of these is a play on "Do I Make You Proud" by Taylor Hicks, in which a singer addresses the object of his affection and stalking; the song was also Yankovic's jab at American Idol, a musical competition show that Hicks had won in May 2006.[2][3] The final parody written and recorded for the album was "White & Nerdy", a parody of "Ridin'" by Chamillionaire featuring Krayzie Bone. The song describes the life of a white nerd whose wish to "roll with the gangstas" is impeded by his stereotypically white and nerdy behavior; the song is also filled with references to nerd culture. Yankovic later joked that it was a song he "was born to write" due to association with nerd humor.[2] While Yankovic usually records his songs together with his band, the backing tracks for "White and Nerdy" were completely recorded by guitarist Jim West—who handled the synthesizer production—and Jon "Bermuda" Schwartz—who was tasked with recording the drums. The two musicians recorded their specific tracks at their home studios, and the finished audio tracks were then brought to Westlake Studio in Los Angeles, California, where Yankovic added his vocals.[11] Chamillionaire himself put "White & Nerdy" on his official MySpace page and said that he enjoys the parody.[12] In an interview, he also stated he was pleasantly surprised by Yankovic's rapping ability, saying: "He's actually rapping pretty good on it, it's crazy... I didn't know he could rap like that."[12]

"Polkarama!", a medley of popular hit songs set to a polka beat, was recorded during the second parody session. Yankovic explained that, "if there’s a song that I think is really ripe for parody but I just can’t think of a clever enough idea, sometimes it’ll end up in the polka medley."[13] Regarding their popularity, Yankovic has said, "At this point, it's sort of mandatory for me to do a polka medley. Fans would be rioting in the streets, I think, if I didn't do a polka medley."[2]

Yankovic had originally wanted to record a parody of James Blunt's hit "You're Beautiful" and release it as the lead single for the album. The parodist had approached Blunt about the spoof, and the singer approved his idea. Yankovic then went into the recording studio on April 12, 2006, and recorded his version, entitled "You're Pitiful".[1] However, Blunt's record company, Atlantic Records, told Yankovic that he could not include the song on his album. Yankovic eventually learned that Atlantic felt "it was 'too early' in James' career for a parody, and that they were afraid that focusing any more attention on 'Beautiful' at that point might lead to the perception of James as a 'one-hit wonder.'"[10]

At first, the label promised that they would let Yankovic release the parody at an unspecified later date. Yankovic, however, later learned that they had no such intentions.[10] Since Blunt himself was fine with the parody, Yankovic decided to release "You're Pitiful" as a free digital download on his website, noting that, "if James Blunt himself were objecting I wouldn't even offer my parody for free on my Web site. But since it's a bunch of suits—who are actually going against their own artist's wishes—I have absolutely no problem with it."[14]

Yankovic had wanted to record a parody of Daniel Powter's "Bad Day" for the album entitled "You Had a Bad Date", but Powter initially refused.[10][15] Powter then changed his mind "literally the day before [Yankovic] went into the studio to record 'White & Nerdy'", at which point, according to Yankovic, "the train had left the station".[15] T-Pain had also given Yankovic permission to record a parody of "I'm N Luv (Wit A Stripper)" called "I'm in Luv Wit Da Skipper", referencing the character from the 1960s sitcom Gilligan's Island. Yankovic later decided not to record the song, but T-Pain was still thanked in the album's liner notes,[16] and Yankovic still performed the song in the parody medley during his Straight Outta Lynwood Tour.[17] Besides his "Bad Day" and "I'm N Luv (Wit A Stripper)" parodies, Yankovic also claimed to have several "mediocre" ideas such as "Holodeck Girl" (a spoof of "Hollaback Girl" by Gwen Stefani), "IRS" (a play on "S.O.S." by Rihanna), and "HairyBack" (a parody of "SexyBack" by Justin Timberlake).[10] In addition, Nickelback had originally given Yankovic permission to use their song "Photograph" in "Polkarama"; however, Yankovic was unable "to find a way to incorporate the song into [Polkarama] where it didn't sound wedged in or tacked on", and he decided not to use it. Yankovic nonetheless thanked Nickelback in the liner notes to Straight Outta Lynwood, however.[16]

The title is a takeoff on Straight Outta Compton, an album by N.W.A. Lynwood, California, Yankovic's home town, is a neighboring community to Compton, California.[18]  The cover art, inspired by "gangsta imagery",[19] depicts Yankovic, wearing a Lynwood, California, letterman's jacket and holding a pit bull on a leash, in front of a Chevrolet. All of the images from the album were photographed by Michael Blackwell on April 22, 2006. Blackwell is an Atlanta, Georgia-based photographer who has also taken images of notable hip hop stars as T.I., Lil' Scrappy, and Young Jeezy.[19][20] The pit bull on the cover is named Dough Boy, and is owned by a local couple that was walking by during the photo shoot.[19] Yankovic had always planned for this album to be titled Straight Outta Lynwood, even when the lead single was going to be "You're Pitiful"; Yankovic had liked the ironic juxtaposition of having a gangsta rap-inspired album cover and title, with "such a toothless ballad for the lead parody".[19] However, the cover ended up being unintentionally appropriate when "White & Nerdy" became the lead track on the album. The numbers and letters on the album cover each have double meanings: "NLY" are the initials of both Yankovic's daughter and his father. The number "27" is an in-joke with Yankovic's fans, but February 7 was also his mother's birthday.[19] The license plate originally read "27 4LIFE" during the photo shoot.[21] The photo featured on the back of the CD case was Yankovic's initial pick to be the album's cover, before the current image was selected.[19]

While Yankovic's previous albums usually generated only one or two official music videos, Straight Outta Lynwood spawned nine, and the DualDisc release of the album included videos for all six original songs. Yankovic's record label had suggested he release a DualDisc, and he was in favor of the idea once he realized that he could hire animators to create videos for the original songs, in order to make the release more rewarding for fans who purchased it. At first, Yankovic was unsure who he would be able to hire, because of the budget, but to his surprise, many notable artists signed on. Bill Plympton created a hand-drawn video for "Don't Download This Song", which preceded the release of the album, and Thomas Lee, best known for his Flash music video "Star Wars Gangsta Rap", animated a video for "I'll Sue Ya". A music video for "Virus Alert" was helmed by David Lovelace, creator of Retarded Animal Babies; Yankovic admitted to exercising more creative control over this video than the others present on the DVD, citing concern with Lovelace's previous content.[19][22] John Kricfalusi and Katie Rice animated a video for "Close but No Cigar". Yankovic had long been a fan of Kricfalusi, who is perhaps best known as the creator of the cartoon series Ren & Stimpy.[19][23][24] The video "takes an irreverent look at the world of dating as seen thru  [sic] the eyes of Cigarettes the cat."[4] Jim Blashfield created a video for "Pancreas" using stock footage from the Prelinger Archives. Finally, Shadowmachine Films released a stop-motion video for "Weasel Stomping Day" that aired on September 24, 2006 as part of "The Munnery", the show's 32nd episode of the Adult Swim TV show Robot Chicken.[19]

Subsequent videos were also made for three of the album's parodies. On August 15, 2006, Yankovic announced that he planned to shoot a music video for "White & Nerdy" in the Los Angeles area on August 21, 24, 25, and 27. He posted a solicitation for volunteers to appear in the video on his MySpace blog.[25] The video was filmed in high definition.[19] Originally, it was going to be released on September 18 at 9 PM Pacific Time on AOL.com, but, since the video had been leaked, AOL cancelled the premiere event and uploaded the video early.[26] Soon thereafter, VH1 began airing the video in "large rotation", meaning it was shown roughly 20 times a day.[27] Near the end of 2006, animators at JibJab made a video for "Do I Creep You Out", and Doug Bresler released a video for "Trapped in the Drive Thru" in 2007. In regards to the latter, Bresler's original cut of the video modelled the male in the song after Yankovic. Yankovic later asked that Bresler give the character a more neutral look, noting that if a live action video had been made, he "would almost certainly be playing a character [in the video, and] not 'Weird Al'".[16] Bresler complied, and gave the character a more generic hairstyle.[16] MuchMusic, a 24-hour Canadian cable music and variety television channel, ran a fan-made "Canadian Idiot" video contest on their website, but it was later scrapped due to lack of entries.[28]

Following the release of Straight Outta Lynwood, Yankovic undertook the two-year-long Straight Outta Lynwood Tour. Starting on March 10, 2007 and concluding on August 28, 2008, Yankovic played 163 shows across the United States.[29] To promote the album, a promotional website was launched for the single "Don't Download This Song", "dontdownloadthissong.com". The site allowed a user to launch an e-card that included a download and stream of the song, as well as options to email the card to friends.[30]

Chris Carle of IGN awarded the album an 8 out of 10, denoting a "great" release.[33] He called it "another solid record to add to the collection; just the right nostalgic blend of parodies, gross-out songs and polka."[33] Specifically, he selected "White & Nerdy", "Polkarama!", and "Weasel Stomping Day" as the album's stand-out tracks, but felt that original songs like "Pancreas" and "I'll Sue Ya" were either not funny or "late to the party".[33] David Jeffries of AllMusic awarded the record three-and-a-half stars out of five and called it "inspired".[31] He highlighted "White & Nerdy" as a choice single, calling it a "reason to celebrate [Yankovic's] return".[31] Jeffries applauded "Canadian Idiot" and "Trapped in the Drive-Thru", calling both funny, and he also noted that the originals from the album were humorous as well. However, he felt that the Usher and Taylor Hicks parodies were "only mildly humorous" and that some of the original songs "really drag" when compared to the others.[31] Gavin Edwards of Rolling Stone awarded the album three out of five stars and highlighted "Trapped in the Drive-Thru" as the album's best song, writing, "'Weird Al' is funniest when he's singing about food."[35]

Al Shipley of Stylus gave the album a "Bâ€“" and felt that, while "White & Nerdy" was a solid parody, the other spoofs on the album were not quite up to par. He praised "Pancreas" and "Virus Alert" as the album's best style parodies, comparing the latter to the 1985 single "Dare to Be Stupid", while criticizing "I'll Sue Ya", "Close but No Cigar", and "Don't Download This Song". Shipley concluded that the most hilarious moment on the album was Yankovic singing the lyrics to "Candy Shop" by 50 Cent over a polka beat in "Polkarama!"[32] Scott Shetler of Slant Magazine awarded the album three stars out of five. He felt that in the 2000s, Yankovic's work had gradually declined in quality, but that Straight Outta Lynwood displayed "occasional flashes of genius", such as "White & Nerdy", which he praised for Yankovic's rapping ability. Shetler also felt that "Trapped in the Drive-Thru", was impressive, although he noted it was not as spectacular as it could have been. Once again, "Confessions, Pt. III" and "Do I Creep You Out" were described as "throwaways". However, Shetler wrote that "for once, Yankovic's originals are better than his parodies", highlighting "Pancreas", "I'll Sue Ya", and "Don't Download This Song" as the best songs on the album.[36]

Straight Outta Lynwood was nominated for two Grammy Awards in the categories for "Best Comedy Album" and "Best Surround Sound Album".[37] Rolling Stone later named "Trapped in the Drive Thru" as one of the 100 Greatest Songs of 2006, ranking it at 77th,[38] while Blender ranked "White & Nerdy" at number 76 on their Top 100 Songs of 2006.[39]

Straight Outta Lynwood was released on September 26, 2006. On April 4, 2007, the album was certified gold for shipments exceeding 500,000 copies.[40] The album's lead-off single, "White & Nerdy" was a hit on the Billboard Hot 100, charting at number 9. This made it his highest-charting single, surpassing "Eat It", which had peaked at number 12 in 1984. It also marked the first time that Yankovic had ever cracked the top ten of the Billboard Hot 100.[37][41] "Canadian Idiot" also charted on the Hot 100, peaking at number 82.[41] On June 15, 2007, "White & Nerdy" was certified gold—his first gold single since "Eat It" in 1984—and on January 31, 2008, the single was certified platinum for selling over 1,000,000 copies, making this the first time that Yankovic had ever achieved this level of certification. In addition, the ringtone for "White & Nerdy" was certified gold.[40]

Internationally, the album charted at number 27 on the Australian Albums Chart.[42] "White & Nerdy" also peaked at number 14 on the Swedish singles chart, and number 80 on the UK Singles Chart.[43][44]

In late 2013, Yankovic sued his label, Volcano, and its parent company Sony for unpaid publishing royalties from several of his albums, as well as for his track "White & Nerdy". Yankovic claimed that—despite the song's viral success—he never earned royalties from the single. The initial lawsuit was for $5 million; Yankovic won the lawsuit and was awarded an undisclosed sum of money from Sony.[45]

Adapted from the Straight Outta Lynwood liner notes and Weird Al's official website.[3][46]


who made brothers a tale of two sons

Brothers: A Tale of Two Sons is an adventure game developed by Starbreeze Studios and published by 505 Games for Xbox 360, Microsoft Windows, PlayStation 3, PlayStation 4, Xbox One, iOS, Android and Windows Phone.

Brothers: A Tale of Two Sons

Brothers is presented from a third-person view overlooking the two brothers. The brothers are moved individually by two thumbsticks on the controller. The controller triggers also cause the respective brother to interact with the game world, such as talking to a non-player character or grabbing onto a ledge or object. The older brother is the stronger of the two and can pull levers or boost his younger brother to higher spaces, while the younger one can pass between narrow bars. The player progresses by manipulating the two brothers at the same time to complete various puzzles, often requiring the player to manipulate both brothers to perform differing functions (such as one distracting a hostile non-player character while the other makes their way around). Should either brother fall from a great height or get injured, the game restarts at a recent checkpoint. All of the in-game dialogue is spoken in a fictional language based on Lebanese Arabic, thus the story is conveyed through actions, gestures and expressions.

The story begins with a boy named Naiee paying his respects at the tombstone of his dead mother, who drowned at sea while he remained unable to save her. His elder brother, Naia, calls him to help their ill father reach the village's doctor, who in turn tells them the only way to save him is by collecting the waters from the Tree of Life. The brothers embark on their journey through the village, hills and mountains, while facing challenges like the local bully, a farmer's aggressive dog, and deadly wolves. They also help others along the way – reuniting a friendly pair of trolls, saving a man attempting suicide, and aiding an inventor.

The brothers eventually save a girl from being sacrificed by tribesmen. The girl in turn assists them on their journey, and begins seducing Naia, tricking the brothers to enter a cave, much to Naiee's dismay. Once inside, she reveals herself as a monstrous spider and while trying to eat Naia, the brothers manage to thwart and kill her by pulling off her legs – but not before she mortally wounds and stabs Naia. Nearing the end of their journey, the brothers at last reach the Tree of Life; Naia insists that Naiee venture on to reach the top of the tree. He collects the Water of Life, but as he returns to the bottom, he finds that Naia has already died from his injury. Unable to revive him using the water, Naiee buries and grieves for his older brother before returning to the village aided once again by a griffin.

Upon reaching the shoreline, Naiee must face his inability to swim in order to get the waters to his dying father. His mother's spirit appears to comfort and motivate him, and with Naia's spiritual guidance, Naiee is able to force himself to swim to the village. He is finally able to give the doctor the water, and the father recovers from his illness overnight. A short time afterwards, Naiee and his father mourn at the tombstones of both the mother and Naia while the griffin flies on into the mountains.

Brothers: A Tale of Two Sons, formerly known as P13, was developed by Starbreeze Studios and was the first game to come from the publishing partnership with 505Â Games.[4] The game uses Unreal Engine 3,[5] and was developed in collaboration with Swedish award-winning film director Josef Fares.[6]

On January 16, 2015, it was reported that Starbreeze sold Brothers intellectual property to 505 Games for $500,000.[7] On June 10, 2015, 505 Games announced that the game will be released for the PlayStation 4 and Xbox One in mid-2015, to feature director's commentary, the soundtrack, and a concept art gallery. The game was released for iOS devices on October 22, 2015.[3] The Android version of the game was released in 26 May 2016 in Play Store.[8] A Windows Phone version of the game is also in development.

Brothers: A Tale of Two Sons received critical acclaim. Aggregating review websites GameRankings and Metacritic gave the Microsoft Windows version 92.14% based on 7 reviews and 90/100 based on 9 reviews,[9][14] the Xbox One version 88.33% based on 3 reviews and 81/100 based on 6 reviews,[10][17] the Xbox 360 version 85.49% based on 38 reviews and 86/100 based on 56 reviews,[11][15] the PlayStation 3 version 83.80% based on 10 reviews and 85/100 based on 15 reviews[12][16] and the PlayStation 4 version 79.40% based on 5 reviews and 81/100 based on 10 reviews.[13][18]

IGN said that Brothers "might be the best downloadable title since Journey".[6] 1UP.com said "I wasn't quite sure what I was getting myself into when I met with Swedish film director Josef Fares a few months back. I knew it had something to do with Starbreeze, a studio that Matt Leone deconstructed in one of last year's phenomenal cover stories. But film directors transitioning into video games have had a less-than stellar record. Look at the Wachowskis, Spielberg, John Woo...let's just say that their cinematic outputs far outweigh their video game analogues. So what could a film director possibly show me in a video game that would impress me during the busiest season in our medium? Well, it turns out that Fares was prepared to debut a downloadable title called Brothers: A Tale of Two Sons, and that it was about to command my utmost attention."[20]

GamesMaster's James Nouch said his preview of the game "Brothers is a charming, emotive adventure that flows at its own rather sedate pace",[21] but in their final review GamesMaster gave it a 91/100 writing, "Short but immensely satisfying, it's Ico meets Limbo in Fable's world. In a word: spellbinding."[22] Edge gave it a 7/10 in its review. It praised the visual style, pace and story, as well as the controls, saying that the control scheme "understands what it means to communicate meaning through interaction"; but it criticized Starbreeze's lack of confidence in making an art game.[23] UK's GamesTM magazine gave Brothers a score of 8/10 in its review in issue 137.[24]

Joystiq gave it full score in its review, 5/5. Joystiq's Ludwig Kietzmann says: "It's rare for a game to forge a connection so strong, and even rarer for you to become the connective tissue."[19] Official Xbox Magazine UK praised the game and its touching story and inventive controls. They gave it a review score of 9/10.[25] The Digital Fix also praised the game and gave it 10/10, with Rob Kershaw writing "Brothers is nothing short of a triumph, glowing brightly in the embers of the dying fire of this console generation and reminding us all why we started playing games in the first place."[26]GameTrailers rated the game 8.8/10 in their positive review, writing "A Tale of Two Sons rubs elbows with Ico and Journey, though the setting and style are a bit more traditional."[27] Sweden's biggest gaming site FZ.se honored the game with 5/5 in its review, describing it as a masterpiece with a very touching story, extremely beautiful landscapes and inventive, well implemented controls.[28]

Both IGN and PC Gamer stated Brothers was one of the best games of 2013. IGN states this with "It's no secret that we love Journey. It was our Game of the Year for 2012, after all. And we quite love Fable too [...]. So to combine the two into one cinematic, story-driven experience – one written and directed by a decorated Swedish filmmaker – meant our interest was piqued. And after we saw the game, we knew: this is going to be good. Really, really good."[29] PC Gamer said "this could easily shape up to be one of the indie darlings of 2013."[30] The game won the "Best Innovation" award while nominated for "Best Family Game" and "Best Story" at the 2014 BAFTA Video Games Awards.[31][32]

The YouTube video game commentator TotalBiscuit maintains that Brothers: A Tale of Two Sons is his favourite video game ever, stating in his video review of the game "Now I'd like to tell you why I believe that this is not only my game of the year, but in twenty-five years of gaming, I don't think I've ever had an experience that has matched up to Brothers. Which would, as you might imagine, mean that after playing this, I think that this is my favourite game of all time."[33] He has sustained this opinion since.

As of January 2015, the game has sold 800,000 copies.[7]

Brothers won the award for Best Xbox Game at the 2013 VGX Award Show (formerly Spike Video Game Awards; VGAs), in competition with Grand Theft Auto V, BioShock Infinite, and Tomb Raider.[34] It also won the Best Game Innovation Award at 2014's British Academy Games Awards (BAFTA).[35]


who sang i wanna be with you

"I Wanna Be With You" is a song by American pop singer Mandy Moore. It was released as the only single from Moore's second studio album of the same name on April 11, 2000, one day after Moore's 16th birthday. The song received positive reviews from critics, who complimented Moore's mature vocals and the song's arrangement. The song peaked at number 24 in the United States Billboard Hot 100, becoming Moore's first and only top 30 single in the US to date. The song also peaked at number 13 in Australia and was certified Gold by ARIA. It also peaked at number 21 in the UK, 66 in Austria and 70 in Germany. The song was featured on the soundtrack to the 2000 film Center Stage. The music video for the song, directed by Nigel Dick showed Moore singing the song to her love interest in a dance studio.

I Wanna Be with You (Mandy Moore song)

"I Wanna Be with You" is a string-heavy pop song with slight R&B influenced beats. The song is written in the key of E♭ Major and is set in the time signature of common time. It is moderately paced with a tempo of 76 beats per minute. The song also follows the sequence of Ebmaj7–Ab–Eb7–Abmaj7 as its chord progression. Moore's vocals in the song spans from the note of A♭3 to D♭5.[1] The version used in the film has more poppy beats.[2]

The single was released in early 2000 and soon became Moore's highest charting song in the US at number 24, becoming her only top 40 song in the nation. It spent 16 weeks on the Billboard Hot 100, and peaked during its 9th week on the chart.[3] As the date, "I Wanna Be with You" has sold 32,000 physical copies and 315,000 paid digital downloads according to Nielsen Soundscan.[4] The single was more successful in Australia, spending over 25 weeks in the top 100 and reaching number 11 on the ARIA charts. It also reached number 21 in the UK, becoming her second, and so far, last single to chart there.

Billboard praised the song and said, "Top 40 programmers and listeners alike will love Moore more with this track...just delightful."[5] Allmusic chose the song as a highlight track on the album of the same name.[6]

The song's video was directed by Nigel Dick. It gained a lot of airplay on MTV and the song was also featured on the soundtrack to the film  "Center Stage" The video shows a 16-year-old Mandy in a dance studio singing to her love interest, who was played by Sascha Radetsky from the movie.

"I Wanna Be With You" is the last song by Moore to chart so far on the Billboard Hot 100. Mandy continued her success in Australia with the following two singles, "In My Pocket" and "Crush" from her follow-up album of 2001, Mandy Moore.

Australian CD Single

Single Pt.1

12" Single

Center Stage Soundtrack

UK Maxi CD Single

Brazil Maxi CD Single, Promo

UK CD Single

Mexico CD Single, Promo

Credits adapted from I Wanna Be with You liner notes.[7]

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


an american tail the mystery of the night monster fievel's nightmare

Nellie gets a chance when she is assigned to report on mice who disappear overnight into holes that open up on their floor all over New York City. Reed makes up a, as Nellie calls it, "so-called monster" that lives under Manhattan and takes mice away during the night to add more excitement to the otherwise unimportant story, intending to sell more papers. The night monster creates fears among the readers, as could be expected. Fievel begins having nightmares that cause him to lose sleep because of his fear of the monster; the film opens up with Fievel having a dream about being chased by what he thinks the monster looks like (a fiery demonic cat with a mouse trap on its tongue). When, through Tanya, he is assigned the job of following Nellie and drawing up interperatations of what the monster looks like based on witness testimony, this makes his insomnia all the worse. A particularly suspicious miniature French poodle named Madame Mousey, who has started living among the mice about this time, appears at every crime scene, claiming to be a fortune teller. The heroes finally decide to investigate her by means of the "dog council" that meets at Central Park. They also search down one of the holes, which leads directly to a group of cats known as the infamous Outlaw Cats hiding in the sewers. All the mice that had disappeared are being held in wood cages there, to be sold off to other cats and eaten.

An American Tail: The Mystery of the Night Monster (also known as An American Tail IV: The Mystery of the Night Monster) is a 1999 American animated children's film directed and produced by Larry Latham. It is the second direct-to-video follow-up to An American Tail. It is also the fourth and final film in the An American Tail series. Thomas Dekker stars as the young Fievel Mousekewitz in a story set before the events of the second film and after third film. Universal released it on July 25, 2000, in the US.[2]

After the events of the third film, but before the second,Fievel, his friend Tony, and his sister Tanya all get jobs at the local newspaper, where the audience is introduced to Nellie, who wants to be an important reporter, but only gets small assignments, as if she were a secretary to Reed, the newspaper's editor. Throughout the film, Tanya tries to win Reed's heart, while Tony tries to get noticed by Reed and promoted to a reporter. As in the previous movies, where a mouse installation is directly below its human installation counterpart, the newspaper offices the mice work in is directly underneath the newspaper offices the humans work in.

The night monster itself, a mechanic device with ghastly flashing pictures and a circular saw, is revealed in full when it attacks the mice newspaper office and printing press to prevent them from printing the truth, which they had just discovered. A great chase scene takes place throughout both the mouse and the human newspaper offices. Reed reveals that he was in love with Nellie all along, leaving Tanya intensely disheartened. When all the cats seem to be under control, the "dog council" appears just as they're regaining consciousness and chase them all away, taking Madame Mousey with them. The last scene takes place at the beach, where the audience is told that the "dog council" had chosen for the French poodle (who was the mastermind behind the night monster all along) a punishment worse than prison: returning her to her owner, Mrs. Abernathy. Mama Mousekewitz, Fievel's mother, surmises saying that now that the mystery has been cleared up, Fievel may finally go to sleep, only to turn around and find him with Yasha his sister already asleep on the beach towel, to which Papa smiles and says, "You were saying?" The Mousekewitz family, including Tony and Tiger, share a group hug as Mama says, "Sweet dreams, my little Fievel. Sweet dreams.", ending the film, and the series.

David Parkinson of Radio Times rated it 2/5 stars and criticized the film's use of what he called "flagrant racial stereotypes". Parkinson concluded, "But, apart from a couple of imaginatively eerie dream sequences, there's little here to hold the attention of even the least discriminating youngster".[3]


why is there no jump ball in college basketball

The alternating possession arrow rule went into effect in college basketball in 1981. Ever since, it has been controversial. Supporters of the possession arrow believe that jump balls give the team with taller players and better leapers an unfair advantage over the other, plus the possession arrow (especially in the NCAA Tournament) gives another element of strategy. But those who oppose the possession arrow believe that it has frequently undone a trailing team's defensive effort because it is the other team's turn to get the ball.

Jump ball

A jump ball is a method used to begin or resume play in basketball. It is similar to a face-off in ice hockey and field lacrosse and a ball-up in Australian rules football. Two opposing players attempt to gain control of the ball after an official tosses it into the air between them.

In the NBA, WNBA, and competitions operated by Euroleague Basketball, a jump ball occurs at the start of the game (called the opening tip or tip off), the start of any extra period, to settle special situations where penalties cancel out and neither team is previously entitled to the ball, and to settle any held balls. Held balls occur when two opposing players both lay equal claim to the ball, and after trying to wrestle it from each other, end up in a stalemate. A jump ball may also be called if there are different calls by two or more referees.

However, most competitions other than the NBA, WNBA, Euroleague Basketball (all entire game)[clarification needed], and the UAAP (in the final two minutes of a game and overtime in UAAP only) use the alternating possession rule to settle all jump ball situations after the opening tip. This uses a possession arrow on the scorekeeper's table. Whenever such a jump ball situation occurs, possession of the ball is awarded to the team that is moving in the direction of the possession arrow on offense. The arrow then swaps to point to the other team. At the start of the game, the arrow points to the team that lost the opening tip.

FIBA, with recommendation by NCAA Men's Supervisor of Officials Hank Nichols, on the FIBA World Technical Commission at the time, adopted the alternating possession rule in 2003, with a major difference. In overtime periods, play begins with the arrow. In other organizations, another jump ball is conducted.

FIBA mandated that ULEB, which operated the EuroLeague and Eurocup before handing responsibility to the Euroleague Company, adopt the FIBA rule in 2005, as part of FIBA's rules being used by the EuroLeague, effective the 2005-06 season. Previously, the EuroLeague used the NBA jump ball rules. However, the Euroleague Company reinstated the jump ball rule in 2013.

Uniquely, 3x3, a formalized version of halfcourt three-on-three basketball overseen by FIBA, does not use a jump ball at any time in a game. Under current (2016) rules, the first possession is based on the result of a pregame coin toss; the winner can choose to have the first possession either at the start of the game or at the start of a potential overtime. During the game, held balls are automatically awarded to the defensive team.[1]


when are the abdominal muscles involved in breathing

The diaphragm is the major muscle responsible for breathing. It is a thin, dome-shaped muscle that separates the abdominal cavity from the thoracic cavity. During inhalation, the diaphragm contracts, so that its center moves caudally (downward) and its edges move rostrally (upward). This compresses the abdominal cavity, raises the ribs upward and outward and thus expands the thoracic cavity. This expansion draws air into the lungs. When the diaphragm relaxes, elastic recoil of the thoracic wall causes the thoracic cavity to contract, forcing air out of the lungs.[1]

Muscles of respiration

The muscles of respiration are those muscles that contribute to inhalation and exhalation, by aiding in the expansion and contraction of the thoracic cavity. The diaphragm and, to a lesser extent, the intercostal muscles drive respiration during quiet breathing. Additional 'accessory muscles of respiration' are typically only used under conditions of high metabolic demand (e.g. exercise) or respiratory dysfunction (e.g. an asthma attack).

The diaphragm is also involved in non-respiratory functions, helping to expel vomit, faeces, and urine from the body by increasing intra-abdominal pressure, and preventing acid reflux by exerting pressure on the esophagus as it passes through the esophageal hiatus.

Along with the diaphragm, the intercostal muscles are one of the most important groups of respiratory muscles. These muscles are attached between the ribs and are important in manipulating the width of the rib cage. There are three layers of intercostal muscles. The external intercostal muscles are most significant in respiration. These have fibres that are angled obliquely downward and forward from rib to rib.[2] The contraction of these fibres raises each rib toward the rib above, with the overall effect of raising the rib cage, assisting in inhalation.

"Accessory muscles" refers to muscles that assist, but do not play a primary role, in breathing. There is some controversy concerning which muscles may be considered accessory muscles of inhalation. However, the sternocleidomastoid and the scalene muscles (anterior, middle and posterior scalene) are typically considered accessory muscles of breathing. Both assist in elevating the rib cage.[3] The involvement of these muscles seems to depend on the degree of respiratory effort. During quiet breathing, the scalenes are consistently phasically active, while the sternocleidomastoids are quiet.[4] With an increase in the respiratory volume, sternocleidomastoids also become active.[5] Both muscles are simultaneously activated when one breathes in at the maximal flow rate.[4]

Apart from the above neck muscles, the following muscles have also been observed contributing to respiration: serratus anterior, pectoralis major and pectoralis minor, trapezius, latissimus dorsi, erector spinae, iliocostalis lumborum, quadratus lumborum, serratus posterior superior, serratus posterior inferior, levatores costarum, transversus thoracis, subclavius (Kendall et al., 2005).

Use of the accessory muscles while at rest is often interpreted as a sign of respiratory distress.[6]

During quiet breathing, there is little or no muscle contraction involved in exhalation; this process is simply driven by the elastic recoil of the thoracic wall. When forceful exhalation is required, or when the elasticity of the lungs is reduced (as in emphysema), active exhalation can be achieved by contraction of the abdominal wall muscles (rectus abdominis, transverse abdominis, external oblique muscle and internal oblique muscle). These press the abdominal organs cranially (upward) into the diaphragm, reducing the volume of the thoracic cavity.[1]

The internal intercostal muscles have fibres that are angled obliquely downward and backward from rib to rib.[2] These muscles can therefore assist in lowering the rib cage, adding force to exhalation.[1]


what kind of animal is seen at the end of all mtm television productions

MTM produced a number of successful television programs during the 1970s and 1980s. Its famous logo featured an orange cat named Mimsie (who was borrowed from a local shelter and then owned by one of the MTM staff, not by Moore and Tinker who have been used naming the cat) inside a circle surrounded by gold ribbons, parodying how Leo the Lion features in the Metro-Goldwyn-Mayer logo. There have been many different variants of this logo.

MTM Enterprises

MTM Enterprises (later known as MTM Enterprises, Inc.) was an American independent production company established in 1969 by Mary Tyler Moore and her then-husband Grant Tinker to produce The Mary Tyler Moore Show for CBS. The name for the production company was drawn from Moore's initials.[1]

All of MTM's shows are now owned by 21st Century Fox through subsidiary 20th Century Fox Television.

The founders died within two months of each other, with Grant Tinker on November 28, 2016, followed by Mary Tyler Moore on January 25, 2017.

For many years MTM, with CBS, co-owned the CBS Studio Center in Studio City, California, where a majority of their programs were filmed and videotaped. Most of MTM's series aired on CBS.

MTM Enterprises acquired Jim Victory Television in 1986.[citation needed] Victory was the distributor of most of MTM's programming in the syndication market (exceptions included The Mary Tyler Moore Show and The Bob Newhart Show, both originally distributed by Viacom Enterprises). Victory was later reincorporated as MTM Television Distribution, which was folded into 20th Television after News Corporation bought MTM.

Tinker oversaw MTM's operation until leaving the company in 1981 and becoming chairman of NBC. Lawyers backing NBC's then-owner RCA convinced Tinker to sell his remaining shares of MTM. Tinker later regretted leaving MTM, believing that the company started to decline without him.[2]

In 1988, MTM was sold to UK broadcaster and independent station for the South and South East of England TVS Entertainment for $320 million.[2]

After TVS lost its franchise to broadcast on the ITV network to Meridian Broadcasting, a number of American companies (and to a lesser extent, Meridian) were interested in acquiring it, with Pat Robertson's International Family Entertainment making the first offer.[3] A small number of shareholders, including Julian Tregar, rejected the offer from IFE. In November, TCW Capital made a bid,[4] but withdrew it a few weeks later after reviewing the accounts of TVS.[5] IFE increased its offer to £45.3M, but continued to be opposed by Julian Tregar, who blocked the deal on technical grounds, alleging that the offer was too low.[6][7] IFE finally increased the offer to appease the remaining shareholders,[8][9] and on January 23, 1993 their offer of £56.5M was finally accepted,[10] the deal being completed on February 1, 1993 (the month after Meridian began its first broadcast).

IFE along with MTM were sold to News Corporation's 20th Century Fox and became Fox Family Worldwide, a joint venture of News Corporation and Saban Entertainment, in 1997.[11][12] Its library assets were folded into 20th Century Fox Television even after Fox Family Worldwide was sold to The Walt Disney Company in 2001.[13]

MTM Enterprises also included a record label, MTM Records — distributed by Capitol Records — which was in existence from 1984 to 1988.[14]

Mimsie, who was used as the main logo for MTM, died in 1988 at the age of 20. During the credits of the final episode of St. Elsewhere, Mimsie is shown in the logo on life support with an EKG monitor detecting its heart until the end, when a flatline is heard.[15]

MTM's productions included:

In addition to the above shows, MTM has distributed programs such as:

MTM programs appeared almost exclusively on CBS until the early 1980s, when Grant Tinker assumed the additional role of president of NBC. Soon, NBC picked up a number of MTM shows, and Tinker stepped down as head of MTM to avoid a conflict of interest. His intention was to leave NBC after 5 years (in 1986) and return to MTM, taking over the reins from interim MTM president Arthur Price. However, Price fired many of the key players in the company's ranks, and by 1986 they had few shows left on the schedules (Hill Street Blues, St. Elsewhere and Remington Steele were all nearing the ends of their runs, leaving Newhart as the sole entrant on the schedule).


odalisque is a turkish term and can be defined as

The word "odalisque" is French in form and originates from the Turkish odalÄ±k, meaning "chambermaid", from oda, "chamber" or "room". It can also be transliterated odahlic, odalisk, and odaliq.

Odalisque

An odalisque (Turkish: OdalÄ±k) was a chambermaid or  a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan.

Joan DelPlato has described the term's shift in meaning from Turkish to English and French:

The English and French term odalisque (rarely odalique) derives from the Turkish 'oda', meaning "chamber"; thus an odalisque originally meant a chamber girl or attendant. In western usage, the term has come to refer specifically to the harem concubine. By the eighteenth century the term odalisque referred to the eroticized artistic genre in which a nominally eastern woman lies on her side on display for the spectator.[1]

An odal覺k was not a concubine of the harem, but a maid, although it was possible that she could become one. An odal覺k was ranked at the bottom of the social stratification of a harem, serving not the man of the household, but rather, his concubines and wives as personal chambermaids. Odal覺k were usually slaves given as gifts to the sultan by wealthy Turkish men. Generally, an odal覺k was never seen by the sultan but instead remained under the direct supervision of his mother, the Valide Sultan.

If an odalık was of extraordinary beauty or had exceptional talents in dancing or singing, she would be trained as a possible concubine. If selected, an odalık trained as a court lady would serve the sultan sexually and only after such sexual contact would she change in status, becoming thenceforth one of the consorts of the sultan.

In contrast to European depictions of nude harem women, they more often wore androgynous robes resembling those worn by the male pages of the palace. The conditions of the Ottoman harem "resembled a monastery for young girls more than the bordello of European imagination."[2]

W. S. Gilbert refers to the "Grace of an odalisque on a divan" in Colonel Calverley's song "If You Want A Receipt For That Popular Mystery" from the Gilbert and Sullivan opera Patience.

In popular use, the word odalisque also may refer to a mistress, concubine or paramour of a wealthy man.

During the 19th century, odalisques became common fantasy figures in the artistic movement known as Orientalism, being featured in many erotic paintings from that era.

By the later 19th century, Turkish writers such as Melek Hanum used the word odalisque to refer to slave-concubines when writing in English:

If any lady possesses a pretty-looking slave, the fact soon gets known. The gentlemen who wish to buy an odalisque or a wife, make their offers. Many Turks, indeed, prefer to take a slave as a wife, as, in such case, there is no need to dread fathers, mothers, or brothers-in-law, and other undesirable relations.[3]

In 2011, the Law Society of British Columbia brought a discipline hearing against an unnamed lawyer for referring to another lawyer's client as living with an odalisque. The Law Society found the use of the word, though an extremely poor choice, did not rise to the level of professional misconduct.[4]


is hot pepper sauce the same as hot sauce

Hot sauce, also known as chili sauce or pepper sauce, is any condiment, seasoning, or salsa made from chili peppers and other ingredients.

Hot sauce

Humans have used chili peppers and other hot spices for thousands of years. Inhabitants of Mexico, Central America and South America had chili peppers more than 6,000 years ago. Within decades of contact with Spain and Portugal in the 16th century, the American plant was carried across Europe and into Africa and Asia, and altered through selective breeding.[1] One of the first commercially available bottled hot sauces in America appeared in 1807 in Massachusetts.[2] However, of the early brands in the 1800s, few survive to this day. Tabasco sauce is the earliest recognizable brand in the United States hot sauce industry, appearing in 1868. As of 2010, it was the number 13 best-selling seasoning in the United States[3] preceded by Frank's RedHot Sauce in 12th place, which was the sauce first concocted and used with the creation of buffalo wings.[4]

There are many recipes for hot sauces but the only common ingredient is some variety of chili pepper. Many hot sauces are made by using chili peppers as the base and can be as simple as adding salt and vinegar while other sauces use some type of fruits or vegetables as the base and add the chili peppers to make them hot.[5] Manufacturers use many different processes from aging in containers, to pureeing and cooking the ingredients to achieve a desired flavor. Because of their ratings on the Scoville scale, Ghost pepper and Habanero peppers are used to make the hotter sauces but additional ingredients are used to add extra heat, such as pure capsaicin extract and mustard oil. Other common ingredients include vinegar and spices. Vinegar is used primarily as a natural preservative, but flavored vinegars can be used to attain a different taste.[6]

They are prepared from chilli peppers and vinegar, with fruits and vegetables added for extra flavor. The most common peppers used are habanero and Scotch bonnet, the latter being the most common in Jamaica. Both are very hot peppers, making for strong sauces. Over the years, each island developed its own distinctive recipes, and home-made sauces are still common.[11]

The heat, or burning sensation, experienced when consuming hot sauce is caused by capsaicin and related capsaicinoids. The burning sensation is not "real" in the sense of damage being wrought on tissues. The mechanism of action is instead a chemical interaction with the neurological system.

The seemingly subjective perceived heat of hot sauces can be measured by the Scoville scale. The Scoville scale number indicates how many times something must be diluted with an equal volume of water until people can no longer feel any sensation from the capsaicin. The hottest hot sauce scientifically possible is one rated at 16,000,000 Scoville units, which is pure capsaicin. An example of a hot sauce marketed as achieving this level of heat is Blair's 16 Million Reserve (due to production variances, it is up to 16 million Scoville units), marketed by Blair's Sauces and Snacks. By comparison, Tabasco sauce is rated between 2,500 and 5,000 Scoville units (batches vary) - with one of the mildest commercially available condiments, Cackalacky Classic Condiment Company's Spice Sauce, weighing in at less than 1000 Scoville units on the standard heat scale.

A general way to estimate the heat of a sauce is to look at the ingredients list. Sauces tend to vary in heat based on the kind of peppers used, and the further down the list, the less the amount of pepper.

Capsaicinoids are the chemicals responsible for the "hot" taste of chili peppers. They are fat soluble and therefore water will be of no assistance when countering the burn. The most effective way to relieve the burning sensation is with dairy products, such as milk and yogurt. A protein called casein occurs in dairy products which binds to the capsaicin, effectively making it less available to "burn" the mouth, and the milk fat helps keep it in suspension. Rice is also useful for ameliorating the impact, especially when it is included with a mouthful of the hot food. These foods are typically included in the cuisine of cultures that specialise in the use of chilis. Mechanical stimulation of the mouth by chewing food will also partially mask the pain sensation.[20]


what inspired langston hughes to write the negro speaks of rivers

According to Hughes, the poem was written while he was 17 and on a train crossing the Mississippi River on the way to visit his father in Mexico in 1920.[1][2] Twenty years after its publication, Hughes suggested the poem be turned into a Hollywood film, but the project never went forward.[3]:305

The Negro Speaks of Rivers

"The Negro Speaks of Rivers" is a poem by American writer Langston Hughes.

I've known rivers:
I've known rivers ancient as the world and older than the
      flow of human blood in human veins.

My soul has grown deep like the rivers.

I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln
     went down to New Orleans, and I've seen its muddy
     bosom turn all golden in the sunset.

I've known rivers:
Ancient, dusky rivers.

My soul has grown deep like the rivers.

In his early writing, including "The Negro Speaks of Rivers", Hughes was inspired by American poet Carl Sandburg.[4][5]:169


what type of bird is black with a brown head

The brown-headed cowbird is typical for an icterid in general shape, but is distinguished by a finch-like head and beak and is smaller than most icterids. The adult male is iridescent black in color with a brown head. The adult female is slightly smaller and is dull grey with a pale throat and very fine streaking on the underparts. The total length is 16–22 cm (6.3–8.7 in) and the average wingspan is 36 cm (14 in).[5] Body mass can range from 30–60 g (1.1–2.1 oz), with females averaging 38.8 g (1.37 oz) against the males' average of 49 g (1.7 oz).[6]

Brown-headed cowbird

The brown-headed cowbird (Molothrus ater) is a small obligate brood parasitic icterid of temperate to subtropical North America. They are permanent residents in the southern parts of their range; northern birds migrate to the southern United States and Mexico in winter, returning to their summer habitat around March or April.[2]

The genus name Molothrus is from Ancient Greek molos, "struggle", and throsko, "to impregnate", and the specific ater is Latin for "dull black".[3] The English name "cowbird", first recorded in 1839, refers to this species often being seen near cattle.[4]

The species lives in open or semi-open country and often travels in flocks, sometimes mixed with red-winged blackbirds (particularly in spring) and bobolinks (particularly in fall), as well as common grackles or European starlings.[2] These birds forage on the ground, often following grazing animals such as horses and cows to catch insects stirred up by the larger animals. They mainly eat seeds and insects.

Before European settlement, the brown-headed cowbird followed bison herds across the prairies. Their parasitic nesting behaviour complemented this nomadic lifestyle. Their numbers expanded with the clearing of forested areas and the introduction of new grazing animals by settlers across North America. Brown-headed cowbirds are now commonly seen at suburban birdfeeders.

The brown-headed cowbird is an obligate brood parasite: it lays its eggs in the nests of other small passerines (perching birds), particularly those that build cup-like nests. The brown-headed cowbird eggs have been documented in nests of at least 220 host species, including hummingbirds and raptors.[7][8] The young cowbird is fed by the host parents at the expense of their own young. Brown-headed cowbird females can lay 36 eggs in a season. More than 140 different species of birds are known to have raised young cowbirds.[9]

Unlike the common cuckoo, the brown-headed cowbird is not divided into gentes whose eggs imitate those of a particular host.

Some host species, such as the house finch, feed their young a vegetarian diet. This is unsuitable for young brown-headed cowbirds, meaning almost none survive to fledge.[10]

Social behaviors of cowbird males include aggressive, competitive singing bouts with other males and pair-bonding and monogamy with females.

By manipulating demographics so juveniles only had access to females, juvenile males developed atypical social behavior; they did not engage in the typical social singing bouts with other males, did not pair bond with females, and were promiscuous. This demonstrates that there is great flexibility in the behavior of cowbirds, and that the social environment is extremely important in structuring their behavior. Adult males housed with juvenile males were shown to have greater reproductive success compared to adult males housed with other adult males. Being housed with juvenile males honed the reproductive skills of the adult males by providing them with a more complex social environment.

This finding was further studied by comparing the behaviors and reproductive success of males exposed to a dynamic flock, consisting of changing individuals, with males exposed to a static group of individuals. The individuals that stayed with the same group (i.e., static flock) had a stable, predictable relationship between social behavior and reproductive success; the males that sang high amounts to females experienced the greatest reproductive success. The adult males that were exposed to a rotating roster of new individuals (i.e., dynamic flock) had an unpredictable relationship between social variables and reproductive success; these males were able to copulate using a much greater variety of social strategies. The males who lived in static flocks had high levels of consistency in their behaviors and reproductive success across multiple years, whereas the males in dynamic flocks experienced varying levels of dominance with other males, differing levels of singing to females, and differing levels of reproductive success.[11]

Brown-headed cowbirds do not raise their own young, instead laying their eggs in the nests of other bird species. As a result, young cowbirds are not exposed to species-typical visual and auditory information like other birds. Despite this, cowbirds are able to develop species-typical singing, social, and breeding behaviors.[11] A 2017 study demonstrated that cowbird brains are wired to respond to the vocalizations of other cowbirds, allowing young to find and join flocks of their own species. These vocalizations are consistent across all cowbird populations, and serve as a sort of species-recognition password. If a young cowbird is not exposed to these "password" vocalizations by a certain age, it will mistakenly imprint on the host species.[12]

Accepting a cowbird egg and rearing a cowbird chick can be costly to a host species. In the American redstart, nests parasitized by cowbirds were found to have a higher rate of predation, likely due in part to the loud begging calls by the cowbird nestling, but also partly explained by the fact that nests likely to be parasitized are also more likely to be predated.[13]

Host species sometimes notice the cowbird egg, with different hosts reacting to the egg in different ways. Some, like the blue-grey gnatcatcher, abandon their nest, losing their own eggs as well. Some, like the American yellow warbler, bury the foreign egg under nest material, where it perishes.[14] And some, like the brown thrasher, physically eject the egg from the nest.[8] Experiments with grey catbirds, a known cowbird host, have shown that this species rejects cowbird eggs more than 95% of the time; for this species, the cost of accepting cowbird eggs (i.e. the loss of their own eggs or nestlings through starvation or the actions of the nestling cowbird) was far higher than the cost of rejecting those eggs (i.e. where the host might conceivably eject its own egg accidentally).[15] Brown-headed cowbird nestlings are also sometimes expelled from the nest. Nestlings of host species can also alter their behavior in response to the presence of a cowbird nestling. Song sparrow nestlings in parasitized nests alter their vocalizations in frequency and amplitude so that they resemble the cowbird nestling, and these nestlings tend to be fed equally often as nestlings in unparasitized nests.[16]

It seems that brown-headed cowbirds periodically check on their eggs and young after they have deposited them. Removal of the parasitic egg may trigger a retaliatory reaction termed "mafia behavior". According to a study by the Florida Museum of Natural History published in 1983, the cowbird returned to ransack the nests of a range of host species 56% of the time when their egg was removed. In addition, the cowbird also destroyed nests in a type of "farming behavior" to force the hosts to build new ones. The cowbirds then laid their eggs in the new nests 85% of the time.[17]

Humans sometimes engage in cowbird control programs, with the intention of protecting species negatively impacted by the cowbirds' brood parasitism. A study of nests of Bell's vireo highlighted a potential limitation of these control programs, demonstrating that removal of cowbirds from a site may create an unintended consequence of increasing cowbird productivity on that site, because with fewer cowbirds, fewer parasitized nests are deserted, resulting in greater nest success for cowbirds.[18]


what is produced in the intermembrane space of mitochondria

The intermembrane space is chemically similar to cytosol, but includes a large amount of small proteins as well. As electrons move down the proteins in the electron transport chain, the electrons lose energy to bring H+ ions from the mitochondrial matrix into the intermembrane space. As a concentration gradient of hydrogen ions forms, a protein called ATP synthase harnesses the potential energy of these ions and starts chemiosmosis, where the H+ ions reenter the matrix via this enzyme bound to the cristae (folds of the inner membrane). ADP and a phosphate group are combined to form ATP.

Mitochondrial intermembrane space

The intermembrane space of a Mitochondrion refers to the compartment formed between the inner and outer mitochondrial membranes.[1]


who played the original snapper on young and the restless

Snapper Foster is a fictional character on the CBS daytime soap opera The Young and the Restless. An original character since the show's inception, the role was played by William Gray Espy from March 26, 1973 to July 1975, and David Hasselhoff from 1975 to May 1982. Espy briefly reprised the character from February 28, 2003 to March 5, 2003, and Hasselhoff briefly reprised the role from June 15â€“21, 2010.[1]

Snapper Foster

With The Young and the Restless originally conceived as focusing on two core families, the wealthy Brookses and the poor Fosters, Snapper was designed as the oldest son of the latter. As a student going through medical school, the character was given the nickname "Snapper" because of his personality of quickly snapping on people that he disagrees with.[2]

Since show co-creator William J. Bell wanted to hire relatively unknown actors for his original cast,[2] William Gray Espy was eventually selected to portray Snapper. Espy played the character for about two years before leaving the show in 1975.

Then-unknown actor David Hasselhoff was picked to replace Espy. Snapper would be Hasselhoff's first major TV role. He spent six years playing the character before leaving The Young and the Restless in 1982 to star in the TV show Knight Rider. Hasselhoff's decision to quit the soap opera was one of the major factors that led to Bell phasing out the Foster family (sans the youngest sibling Jill) and turning the focus to relatively newer characters like Victor Newman.[2]

Espy reprised Snapper for a few episodes in 2003, revolving around a storyline where his sister Jill discovers that she was actually adopted by the Fosters as a child. Hasselhoff would then later be invited back to play Snapper again for a few episodes in 2010. Reacting to the invitation, he said:

As the series opened up in 1973, 24-year-old medical student Snapper Foster was juggling his feelings for two women: Chris Brooks the daughter of newspaper mogul Stuart Brooks; and Sally McGuire, a waitress who worked at Pierre's.

Stuart was not thrilled when Snapper caught the eye of his trusting daughter, Chris. Stuart was less offended by Snapper's blue-collar roots than by his indifference to Chris. Handsome Snapper was not only putting himself through medical school, but being "man of the family" after his father, William "Bill" Foster, deserted them seven years earlier. As the eldest son, Snapper was helping his mom Liz Foster who worked as a factory worker, put his brother Greg through law school and keeping a big-brother eye on his sister Jill Foster who dreamed of being a fashion model while working as a beautician. Liz wished the best for all her children and encouraged Snapper to pursue a nice, well-bred girl like Chris. However, with enough obligations already, Snapper preferred to keep his freedom. However, Snapper was already seeing Sally McGuire. One evening, Chris invited Snapper to the Brooks home for dinner but he didn't show. After a day at school and work he had visited Sally, fell asleep and she conveniently forgot to wake him as he had asked. His half-truth—that he fell asleep after a full day—satisfied Chris enough to get her through the hurt of disappointment. Stuart, however, grew more displeased with Snapper. When Stuart learned that Snapper was seeing Sally, he was quick to tell Chris that Snapper was cheating on her. Chris moved out and went to work as a secretary for Snapper's brother Greg, unaware that Stuart had financially helped his new law practice in return for her employment. When she found out, she angrily quit. Greg was especially saddened because he had fallen in love with Chris.

Chris was raped by a man named George Curtis and the rape left her tramatized until she found it hard to make love with Snapper and refused to have sex with him even though she loved him very much. Snapper showed a great deal of patience and respect for Chris, offering her emotional support but finding his own sexual pleasure with lover Sally. Sally had fallen in love with Snapper, too, and was desperate to keep him. In spite of her friend Brad Eliot's advice that she'd only end up getting hurt, Sally decided to use a desperate single woman's oldest trick. She threw away her birth control pills and got pregnant by Snapper. Meanwhile, Snapper was growing more and more fond of Chris. He broke off with Sally without knowing he would be the father of her child. With Snapper's encouragement, Chris was able to file charges against her attacker. Unfortunately, because of lack of evidence, he was not convicted. Determined all the more to stand by her side, Snapper proposed marriage. It took him a long time to get her to accept, but Chris finally did and they became engaged. Sally was devastated when she found out about Snapper's engagement and took a drug overdose, but Brad saved her life when he found her and rushed her to the hospital. Later when Sally was out and about again, she intended to tell Snapper that he had gotten her pregnant, hoping he would break his engagement to Chris and marry her instead. Liz found out and successfully did her best to change Sally's mind about interfering with Snapper's future. Sally accepted Pierre's proposal and they eloped a few days before Chris and Snapper. Although Snapper overheard the conversation between Sally and Liz, Snapper had no intention of changing his plans. He and Chris exchanged their vows in a lovely ceremony. After an uneasy sexual start, Chris and Snapper worked through her problems and were happy together, living in a small apartment. When Chris became pregnant, however, Snapper's pleasure was tinged by fears that having another responsibility might hinder his medical career aspirations. When Sally's husband Pierre was killed, Sally wanted to leave town, but Snapper urged her to stay until the baby was born. Eventually, Snapper confessed to Sally that he wanted to keep an eye on her because he feared that her unborn baby might have been injured by her recent suicide attempt, which occurred during the time she learned about Snapper and Chris' engagement. Sally gave birth to her and Snapper's son, Pierre Charles (aka Chuckie). Feeling sympathy for Sally's plight of raising a baby alone, Chris encouraged Snapper to spend time with Sally and her baby. However, Chris eventually realized that Snapper was the baby's father and Snapper confirmed Chris' fears. Distraught, Chris suffered a miscarriage. Soon after, she separated from Snapper and accepted a job as a social worker in Legal Aid working for Greg. Meanwhile, Sally moved to Chicago. With Sally out of the way, Chris and Snapper soon afterwards reconciled.

In 1975, Snapper had finally convinced Liz to have his father Bill declared legally dead. Unknown to Liz and her children, Bill was alive in a town nearby. Later, Bill resumed contact with the family, via a letter, after he was diagnosed with cancer. With the exception of Snapper, the entire Foster family embraced Bill's return. Shortly after Bill returned, he collapsed and was rushed to the hospital as Snapper detected Bill's ailing health. The following year, Snapper had long made amends with his father, but Bill's cancer had progressed leading to him being on life-support. Snapper later found himself in legal trouble after he was accused of killing Bill when it was actually his mother Liz who pulled Bill's life-support system, which left Liz tramatized and led to her suffering a stroke and forgetting her actions. With Greg's help, Snapper was cleared of murder charges. Snapper after this left the hospital and opened up his own clinic.

In the late 1970s, Snapper and Chris had become foster parents for a little girl named Karen Becker as her mother Nancy was institutionalized and her father Ron was a rapist. When both Ron and Nancy became more stable, Snapper and Chris returned custody of Karen to the Beckers.

By 1981, Snapper and Chris had given birth to their daughter who they named Jennifer Elizabeth Foster after Chris's late mother Jennifer Brooks and Snapper's mother Liz. After Jennifer's birth, Snapper was opposed to Chris's idea of getting a bigger home. Soon after, Snapper's former lover, Sally McGuire, re-entered Snapper's life with their son, Chuckie, who was seriously ill. While Chuckie was hospitalized with a kidney problem, Sally realized that she was still attracted to Snapper, but Snapper was adamant that she move on with her life. When Chuckie was cured, Snapper shared an emotional good-bye with both Sally and Chuckie as they returned home with Sally's fiancee, Stan. One month later, Snapper left town, and Chris joined him a few months after that.At some point Sally & Stan divorced and Chuckie discovered that Snapper was his father.

Snapper briefly returned to town in 2003 when Liz broke the news to Jill that the Fosters were not her biological family.

In 2010, Liz was making a visit to Genoa City to visit Jill and brought Snapper along with her as a surprise, but Jill and Kay quickly left for the hospital after receiving a call about an ailing Liz, who was rushed to the hospital after she had collapsed shortly after she and Snapper got off their plane. The hospital allowed Snapper doctor privileges in order to work on Liz, who on her deathbed confessed a secret to Snapper about Jill's true parentage.