where is the opera house in paris located

The Palais Garnier (pronounced [palɛ ɡaʁnje] French   (help·info)) is a 1,979-seat opera house, which was built from 1861 to 1875 for the Paris Opera. It was called the Salle des Capucines, because of its location on the Boulevard des Capucines in the 9th arrondissement of Paris, but soon became known as the Palais Garnier, in recognition of its opulence and its architect, Charles Garnier. The theatre is also often referred to as the Opéra Garnier (French   (help·info)) and historically was known as the Opéra de Paris or simply the Opéra,[7] as it was the primary home of the Paris Opera and its associated Paris Opera Ballet until 1989, when the Opéra Bastille opened at the Place de la Bastille.[8] The Paris Opera now mainly uses the Palais Garnier for ballet.

Palais Garnier

The Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like Notre Dame Cathedral, the Louvre, or the Sacré Coeur Basilica."[9] This is at least partly due to its use as the setting for Gaston Leroux's 1910 novel The Phantom of the Opera and, especially, the novel's subsequent adaptations in films and Andrew Lloyd Webber's popular 1986 musical.[9] Another contributing factor is that among the buildings constructed in Paris during the Second Empire, besides being the most expensive,[10] it has been described as the only one that is "unquestionably a masterpiece of the first rank."[11] This opinion is far from unanimous however: the 20th-century French architect Le Corbusier once described it as "a lying art" and contended that the "Garnier movement is a décor of the grave".[12]

The Palais Garnier also houses the Bibliothèque-Musée de l'Opéra de Paris (Paris Opera Library-Museum), although the Library-Museum is no longer managed by the Opera and is part of the Bibliothèque Nationale de France.[13] The museum is included in unaccompanied tours of the Palais Garnier.[14]

The opera was constructed in what Garnier himself is said to have told the Empress Eugenie was "Napoleon III"[15] The Napoleon III style was highly eclectic, and borrowed from many historical sources; the opera house included elements from the Baroque, the classicism of Palladio, and Renaissance architecture, artfully blended together.[16]. These were combined with axial symmetry and modern techniques and materials, including the use of an iron framework, which had been pioneered in other Napoleon III buildings, including the Bibliotheque Nationale and the markets of Les Halles.[17][18]

The facade and the interior followed the Napoleon III style principle of leaving no space without decoration.[19] Garnier used polychromy, or a variety of colors, for theatrical effect, achieved different varieties of marble and stone, porphyry, and gilded bronze. The facade of the Opera used seventeen different kinds of material, arranged in very elaborate multicolored marble friezes, columns, and lavish statuary, many of which portray deities of Greek mythology.[20]

The principal facade is on the south side of the building, overlooking the Place de l'Opéra and terminates the perspective along the Avenue de l'Opéra. Fourteen painters, mosaicists and seventy-three sculptors participated in the creation of its ornamentation.

The two gilded figural groups, Charles Gumery's L'Harmonie (Harmony) and La PoÃ©sie (Poetry), crown the apexes of the principal facade's left and right avant-corps. They are both made of gilt copper electrotype.

The bases of the two avant-corps are decorated (from left to right) with four major multi-figure groups sculpted by François Jouffroy (Poetry, also known as Harmony),[21] Jean-Baptiste Claude Eugène Guillaume (Instrumental Music), Jean-Baptiste Carpeaux (The Dance, criticised for indecency), and Jean-Joseph Perraud (Lyrical Drama). The facade also incorporates other work by Gumery, Alexandre Falguière, and others.[22]

Gilded galvanoplastic bronze busts of many of the great composers are located between the columns of the theatre's front façade and depict, from left to right, Rossini, Auber, Beethoven, Mozart, Spontini, Meyerbeer, and Halévy. On the left and right lateral returns of the front facade are busts of the librettists Eugène Scribe and Philippe Quinault, respectively.[22]

The sculptural group Apollo, Poetry, and Music, located at the apex of the south gable of the stage flytower, is the work of Aimé Millet, and the two smaller bronze Pegasus figures at either end of the south gable are by Eugène-Louis Lequesne.

Also known as the Rotonde de l'Empereur, this group of rooms is located on the left (west) side of the building and was designed to allow secure and direct access by the Emperor via a double ramp to the building. When the Empire fell, work stopped, leaving unfinished dressed stonework. It now houses the Bibliothèque-Musée de l'Opéra de Paris (Paris Opera Library-Museum) which is home to nearly 600,000 documents including 100,000 books, 1,680 periodicals, 10,000 programs, letters, 100,000 photographs, sketches of costumes and sets, posters and historical administrative records.

Located on the right (east) side of the building as a counterpart to the Pavillon de l'Empereur, this pavilion was designed to allow subscribers (abonnÃ©s) direct access from their carriages to the interior of the building. It is covered by a 13.5-metre diameter dome. Paired obelisks mark the entrances to the rotunda on the north and the south.

West facade and the Pavillon de l'Empereur

East facade and the Pavillon des AbonnÃ©s

The interior consists of interweaving corridors, stairwells, alcoves and landings, allowing the movement of large numbers of people and space for socialising during intermission. Rich with velvet, gold leaf, and cherubim and nymphs, the interior is characteristic of Baroque sumptuousness.

The building features a large ceremonial staircase of white marble with a balustrade of red and green marble, which divides into two divergent flights of stairs that lead to the Grand Foyer. Its design was inspired by Victor Louis's grand staircase for the Théâtre de Bordeaux. The pedestals of the staircase are decorated with female torchères, created by Albert-Ernest Carrier-Belleuse. The ceiling above the staircase was painted by Isidore Pils to depict The Triumph of Apollo, The Enchantment of Music Deploying its Charms, Minerva Fighting Brutality Watched by the Gods of Olympus, and The City of Paris Receiving the Plan of the New Opéra. When the paintings were first fixed in place two months before the opening of the building, it was obvious to Garnier that they were too dark for the space. With the help of two of his students, Pils had to rework the canvases while they were in place overhead on the ceiling and, at the age of 61, he fell ill. His students had to finish the work, which was completed the day before the opening and the scaffolding was removed.[23]

This hall, 18 meters high, 154 meters long and 13 meters wide, was designed to act as a drawing room for Paris society. It was restored in 2004. Its ceiling was painted by Paul-Jacques-Aimé Baudry and represents various moments in the history of music. The foyer opens into an outside loggia, at each end of which are the Salon de la Lune and Salon du Soleil.

ceilings of the grand foyer of palais Garnier, opera of Paris

ceilings of the grand foyer

The Grand Foyer

Part of the ceiling of the Grand Foyer with paintings by Paul Baudry: the central rectangular panel is Music, while the oval panel at the western end is Comedy.

The auditorium has a traditional Italian horseshoe shape and can seat 1,979. The stage is the largest in Europe and can accommodate as many as 450 artists. The canvas house curtain was painted to represent a draped curtain, complete with tassels and braid.

Transverse section at the auditorium and pavilions

The ceiling area which surrounds the chandelier was originally painted by Jules Eugène Lenepveu. In 1964 a new ceiling painted by Marc Chagall was installed on a removable frame over the original. It depicts scenes from operas by 14 composers – Mussorgsky, Mozart, Wagner, Berlioz, Rameau, Debussy, Ravel, Stravinsky, Tchaikovsky, Adam, Bizet, Verdi, Beethoven, and Gluck. Although praised by some, others feel Chagall's work creates "a false note in Garnier's carefully orchestrated interior."[24]

The seven-ton bronze and crystal chandelier was designed by Garnier. Jules Corboz prepared the model, and it was cast and chased by Lacarière, Delatour & Cie. The total cost came to 30,000 gold francs. The use of a central chandelier aroused controversy, and it was criticised for obstructing views of the stage by patrons in the fourth level boxes and views of the ceiling painted by Eugène Lenepveu.[25] Garnier had anticipated these disadvantages but provided a lively defence in his 1871 book Le Théâtre: "What else could fill the theatre with such joyous life? Who else could offer the variety of forms that we have in the pattern of the flames, in these groups and tiers of points of light, these wild hues of gold flecked with bright spots, and these crystalline highlights?"[26]

On 20 May 1896, one of the chandelier's counterweights broke free and burst through the ceiling into the auditorium, killing a concierge. This incident inspired one of the more famous scenes in Gaston Leroux's classic 1910 gothic novel The Phantom of the Opera.[25]

Originally the chandelier was raised up through the ceiling into the cupola over the auditorium for cleaning, but now it is lowered. The space in the cupola was used in the 1960s for opera rehearsals, and in the 1980s was remodelled into two floors of dance rehearsal space. The lower floor consists of the Salle NureÃ¯ev (Nureyev) and the Salle Balanchine, and the upper floor, the Salle Petipa.[25]

The grand organ was built by Aristide CavaillÃ©-Coll for use during lyrical works. It has been out of service for several decades.

Garnier had originally planned to install a restaurant in the opera house; however, for budgetary reasons, it was not completed in the original design.

On the third attempt to introduce it since 1875, a restaurant was opened on the eastern side of the building in 2011. L'Opéra Restaurant was designed by French architect Odile Decq. The chef was Christophe Aribert;[27] in October 2015, Guillame Tison-Malthé became the new head chef.[28] The restaurant, which has three different spaces and a large outside terrace, is accessible to the general public.

In 1821 the Opéra de Paris had moved into the temporary building known as the Salle Le Peletier on the rue Le Peletier[fr]. Since then a new permanent building had been desired. Charles Rohault de Fleury, who was appointed the opera's official architect in 1846, undertook various studies in suitable sites and designs.[29] By 1847, the Prefect of the Seine, Claude-Philibert de Rambuteau, had selected a site on the east side of the Place du Palais-Royal as part of an extension of the Rue de Rivoli. However, with the Revolution of 1848, Rambuteau was dismissed, and interest in the construction of a new opera house waned. The site was later used for the Grand Hôtel du Louvre (designed in part by Charles Rohault de Fleury).[30]

With the establishment of the Second Empire in 1852 and Georges-Eugène Haussmann's appointment as Prefect of the Seine in June 1853, interest in a new opera house revived. There was an attempted assassination of Emperor Napoleon III at the entrance to the Salle Le Peletier on 14 January 1858. The Salle Le Peletier's constricted street access highlighted the need for a separate, more secure entrance for the head of state. This concern and the inadequate facilities and temporary nature of the theatre gave added urgency to the building of a new state-funded opera house. By March Haussmann settled on Rohault de Fleury's proposed site off the Boulevard des Capucines, although this decision was not announced publicly until 1860. A new building would help resolve the awkward convergence of streets at this location, and the site was economical in terms of the cost of land.[31]

On 29 September 1860 an imperial decree officially designated the site for the new Opéra,[32] which would eventually occupy 12,000 square metres (1.2 ha).[33] By November 1860 Rohault de Fleury had completed the design for what he thought would be the crowning work of his career and was also working on a commission from the city to design the facades of the other buildings lining the new square to ensure they were in harmony. However that same month Achille Fould was replaced as minister of state by Count Alexandre Colonna-Walewski. His wife Marie Anne de Ricci Poniatowska had used her position as mistress of Napoleon III to obtain her husband's appointment.[34] Aware of competing designs and under pressure to give the commission to Viollet-le-Duc, who had the support of Empress Eugénie, Walewski escaped the need to make a decision by proposing to mount an architectural design competition to select the architect.[35]

Entrance elevation of a project for the Théâtre Impériale de l'Opéra by Rohault de Fleury, November 1860

On 30 December 1860 the Second Empire of Emperor Napoleon III officially announced an architectural design competition for the design of the new opera house.

Applicants were given a month to submit entries. There were two phases to the competition. Charles Garnier's project was one of about 170 submitted in the first phase.[36] Each of the entrants were required to submit a motto that summarised their design. Garnier's was the quote "Bramo assai, poco spero" ("desire for much, hope for little") from the Italian poet Torquato Tasso. Garnier's project was awarded the fifth-place prize, and he became one of seven finalists selected for the second phase.[37] In addition to Garnier, among the others were his friend Leon Ginain, Alphonse-Nicolas CrÃ©pinet and Joseph-Louis Duc (who subsequently withdrew due to other commitments).[38] To the surprise of many, both Viollet-le-Duc and Charles Rohault de Fleury missed out.

The second phase required the contestants to revise their original projects and was more rigorous, with a 58-page program, written by the director of the OpÃ©ra, Alphonse Royer, which the contestants received on 18 April. The new submissions were sent to the jury in the middle of May, and on 29 May 1861 Garnier's project was selected for its "rare and superior qualities in the beautiful distribution of the plans, the monumental and characteristic aspect of the facades and sections".[39]

Garnier's wife Louise later wrote that the French architect Alphonse de Gisors, who was on the jury, had commented to them that Garnier's project was "remarkable in its simplicity, clarity, logic, grandeur, and because of the exterior dispositions which distinguish the plan in three distinct partsâ€”the public spaces, auditorium, and stage... 'you have greatly improved your project since the first competition; whereas Ginain [the first-place winner in the first phase] has ruined his.'"[39]

Legend has it that the Emperor's wife, the Empress Eugénie, who was likely irritated that her own favoured candidate, Viollet-le-Duc, had not been selected, asked the relatively unknown Garnier: "What is this? It's not a style; it's neither Louis Quatorze, nor Louis Quinze, nor Louis Seize!" "Why Ma'am, it's Napoléon Trois" replied Garnier "and you're complaining!"[40] Andrew Ayers has written that Garnier's definition "remains undisputed, so much does the Palais Garnier seem emblematic of its time and of the Second Empire that created it. A giddy mixture of up-to-the-minute technology, rather prescriptive rationalism, exuberant eclecticism and astonishing opulence, Garnier's opera encapsulated the divergent tendencies and political and social ambitions of its era."[1] Ayers goes on to say that the judges of the competition in particular admired Garnier's design for "the clarity of his plan, which was a brilliant example of the beaux-arts design methods in which both he and they were thoroughly versed."[1]

After the initial funds to begin construction were voted on 2 July 1861, Garnier established the OpÃ©ra Agence, his office on the construction site, and hired a team of architects and draftsmen. He selected as his second-in-command, Louis-Victor Louvet, followed by Jean Jourdain and Edmond Le Deschault.[42]

The site was excavated between 27 August and 31 December.[43] On 13 January 1862 the first concrete foundations were poured, starting at the front and progressing sequentially toward the back, with the laying of the substructure masonry beginning as soon as each section of concrete was cast. The opera house needed a much deeper basement in the substage area than other building types, but the level of the groundwater was unexpectedly high. Wells were sunk in February 1862 and eight steam pumps installed in March, but despite operating continuously 24 hours a day, the site would not dry up. To deal with this problem Garnier designed a double foundation to protect the superstructure from moisture. It incorporated a water course and an enormous concrete cistern (cuve) which would both relieve the pressure of the external groundwater on the basement walls and serve as a reservoir in case of fire. A contract for its construction was signed on 20 June. Soon a persistent legend arose that the opera house was built over a subterranean lake, inspiring Gaston Leroux to incorporate the idea into his novel The Phantom of the Opera. On 21 July the cornerstone was laid at the southeast angle of the building's facade. In October the pumps were removed, the brick vault of the cuve was finished by 8 November, and the substructure was essentially complete by the end of the year.[44]

The emperor expressed an interest in seeing a model of the building, and a plaster scale model (2Â cm per meter) was constructed by Louis Villeminot between April 1862 and April 1863 at a cost of more than 8,000 francs. After previewing it, the emperor requested several changes to the design of the building, the most important of which was the suppression of a balustraded terrace with corner groups at the top of the facade and its replacement with a massive attic story fronted by a continuous frieze surmounted by imperial quadrigae over the end bays.[45]

With the incorporated changes, the model was transported over specially installed rails to the Palais de l'Industrie for public display at the 1863 exhibition. Théophile Gautier wrote of the model (Le Moniteur Universel, 13 May 1863) that "the general arrangement becomes intelligible to all eyes and already acquires a sort of reality that better permits one to prejudge the final effect... it attracts the crowd's curiosity; it is, in effect, the new Opéra seen through reversed opera glasses."[46] The model is now lost, but it was photographed by J. B. Donas in 1863.[45]

The emperor's quadrigae were never added, although they can be seen in the model. Instead Charles-Alphonse Guméry's gilded bronze sculptural groups Harmony and Poetry were installed in 1869. The linear frieze seen in the model was also redesigned with alternating low- and high-relief decorative medallions bearing the gilded letters from the imperial monogram ("N" for Napoléon, "E" for Empereur). The custom-designed letters were not ready in time for the unveiling and were replaced with commercially available substitutes. After the fall of the empire in 1870, Garnier was relieved to be able to remove them from the medallions. Letters in Garnier's original design were finally installed during the restoration of the building in 2000.[47]

The scaffolding concealing the facade was removed on 15 August 1867 in time for the Paris Exposition of 1867. The official title of the Paris Opera was prominently displayed on the entablature of the giant Corinthian order of coupled columns fronting the main-floor loggia: "ACADEMIE IMPERIALE DE MUSIQUE".[48] When the emperor was deposed on 4 September 1870 as a result of the disastrous Franco-Prussian War, the government was replaced by the Third Republic, and almost immediately, on 17 September 1870, the Opera was renamed Théâtre National de l'Opéra, a name it kept until 1939.[49] In spite of this, when it came time to change the name on the new opera house, only the first six letters of the word IMPERIALE were replaced, giving the now famous "ACADEMIE NATIONALE DE MUSIQUE", an official title which had actually only been used during the approximately two-year period of the Second Republic which had preceded the Second Empire.[49]

All work on the building came to a halt during the Franco-Prussian War due to the siege of Paris (September 1870 – January 1871). Construction had so advanced that parts of the building could be used as a food warehouse and a hospital. After France's defeat Garnier became seriously ill from the deprivations of the siege and left Paris from March to June to recover on the Ligurian coast of Italy, while his assistant Louis Louvet remained behind during the turmoil of the Paris Commune which followed. Louvet wrote several letters to Garnier, which document events relating to the building. Because of the theatre's proximity to the fighting at the Place Vendôme, troops of the National Guard bivouacked there and were in charge of its defence and distributing food to soldiers and civilians. The Commune authorities planned to replace Garnier with another architect, but this unnamed man had not yet appeared when Republican troops ousted the National Guard and gained control over the building on 23 May. By the end of the month the Commune had been severely defeated. The Third Republic had become sufficiently well established by the fall, that on 30 September construction work recommenced, and by late October a small amount of funds were voted by the new legislature for further construction.[50]

The political leaders of the new government maintained an intense dislike of all things associated with the Second Empire, and many of them regarded the essentially apolitical Garnier as a holdover from that regime. This was especially true during the presidency of Adolphe Thiers who remained in office until May 1873, but also persisted under his successor Marshal MacMahon. Economies were demanded, and Garnier was forced to suppress the completion of sections of the building, in particular the Pavillon de l'Empereur (which later became the home of the Opera Library Museum). However, on 28â€“29 October an overwhelming incentive to complete the new theatre came when the Salle Le Peletier was destroyed by a fire which raged the entire night.[51] Garnier was immediately instructed to complete the building as soon as possible.

The cost of completion of the new house during 1874 was more than 7.5 million francs, a sum that greatly exceeded the amounts spent in any of the previous thirteen years. The cash-strapped government of the Third Republic resorted to borrowing 4.9 million gold francs at an interest rate of six percent from François Blanc, the wealthy financier who managed the Monte Carlo Casino. Subsequently (from 1876 to 1879) Garnier would oversee the design and construction of the Monte Carlo Casino concert hall, the Salle Garnier, which later became the home of the Opéra de Monte Carlo.[52]

During 1874 Garnier and his construction team worked feverishly to complete the new Paris opera house, and by 17 October the orchestra was able to conduct an acoustical test of the new auditorium, followed by another on 2 December which was attended by officials, guests, and members of the press. The Paris Opera Ballet danced on the stage on 12 December, and six days later the famous chandelier was lit for the first time.[53]

The theatre was formally inaugurated on 5 January 1875 with a lavish gala performance attended by Marshal MacMahon, the Lord Mayor of London and King Alfonso XII of Spain. The program included the overtures to Auber's La muette de Portici and Rossini's William Tell, the first two acts of Halévy's 1835 opera La Juive (with Gabrielle Krauss in the title role), along with "The Consecration of the Swords" from Meyerbeer's 1836 opera Les Huguenots and the 1866 ballet La source with music by Delibes and Minkus.[54] As a soprano had fallen ill one act from Charles Gounod's Faust and one from Ambroise Thomas's Hamlet had to be omitted. During the intermission Garnier stepped out onto the landing of the grand staircase to receive the approving applause of the audience.

In 1881 electric lighting was installed. In the 1950s new personnel and freight elevators were installed at the rear of stage, to facilitate the movement of employees in the administration building and the moving of stage scenery.

In 1969, the theatre was given new electrical facilities and, during 1978, part of the original Foyer de la Danse was converted into new rehearsal space for the Ballet company by the architect Jean-Loup Roubert. During 1994, restoration work began on the theatre. This consisted of modernising the stage machinery and electrical facilities, while restoring and preserving the opulent dÃ©cor, as well as strengthening the structure and foundation of the building. This restoration was completed in 2007.

The French Post Office has issued two postage stamps on the building: The first was issued in September 1998, for the centenary of the death of Charles Garnier. It was designed by Claude Andréotto grouping elements which recall the artistic activities of the Opera Garnier: the profile of a dancer, a violin and a red curtain. The second, drawn and engraved by Martin Mörck, is issued in June 2006 and represents, in intaglio, the main facade.

The building inspired many other buildings over the following thirty years.

Several buildings in Poland were based on the design of the Palais Garnier. these include the Juliusz Słowacki Theatre in Kraków, built during 1893 and also the Warsaw Philharmony edifice in Warsaw, built between 1900 and 1901.

In Ukraine, the influence of the Palais Garnier can be seen at the National Opera House of Ukraine in Kiev, built in 1901, Lviv Theatre of Opera and Ballet in Lviv, built between 1897 and 1900.

The Thomas Jefferson Building of the Library of Congress in Washington, D.C. is modelled after the Palais Garnier, most notably the facade and Great Hall.[55]

The Theatro Municipal do Rio de Janeiro (1909) was also modelled after Palais Garnier, particularly and Great Hall and stairs.

The Amazon Theatre in Manaus (Brazil) built from 1884 to 1896. The overview is very similar, though the decoration is simpler.

The Hanoi Opera House in Vietnam is considered to be a typical French colonial architectural monument in Vietnam, and it is also a small-scale replica of the Palais Garnier. The Saigon Opera House is a smaller counterpart.

The Legends Hotel Chennai in India is also a small scale replica of Palais Garnier, especially the Facade and statues.

The former Warsaw Philharmonic Hall

Hanoi Opera House

National Opera House of Ukraine

The Thomas Jefferson Building at the Library of Congress

The Amazonas theatre in Manaus, Brazil

Municipal Theater of São Paulo

Apollo, Poetry and Music roof sculpture by Aimé Millet

Apollo, Poetry and Music; Apollo's lyre detail

Poetry roof sculpture by Charles Gumery

Lyrical Drama faÃ§ade sculpture by Jean-Joseph Perraud

The Dance by Jean-Baptiste Carpeaux

Bronze busts of Beethoven and Mozart on the front faÃ§ade

Palais Garnier east side with L'OpÃ©ra Restaurant


who is the current president of united airlines

Oscar Munoz (born January 1959) is an American businessman. He was named president and chief executive officer (CEO) of United Airlines on September 8, 2015.[2] At the time of this appointment, Munoz had been serving as a member of the board of directors of parent company United Continental Holdings (UCH) since its formation with the 2010 merger between United and Continental.[3] Munoz had been a member of Continental's board of directors since 2004.[3]

Oscar Munoz (executive)

In March 2017, Munoz was named "Communicator of the Year for 2017" by PRWeek.[4] The following month Munoz received widespread criticism for his handling of the issues after a ticketed passenger was forcibly removed from United Airlines Flight 3411,[5] leading Steve Barrett, Editor-in-chief of PRWeek US, to state "if PRWeek was choosing its Communicator of the Year now, we would not be awarding it to Oscar Munoz â€¦ In time, the episode and subsequent response will be quoted in textbooks as an example of how not to respond in a crisis."[6]  Subsequently, on April 21, 2017, UCH announced that Munoz would remain chief executive officer of the airlines but would "not take broader control of the company as previously planned."[7]  Munoz had been scheduled to assume the role of chairman of the board of UCH at the company's 2018 annual stockholders' meeting.[7]

Munoz was born in January 1959,[8] the oldest of nine children in a Mexican-American family living in California, and was the first in his family to graduate from college. Munoz earned a BS in business from the University of Southern California, and an MBA from Pepperdine University.[9]

Munoz was president of CSX Corporation during 2015 and its chief operating officer from 2012 to 2015.[3][10] From 2001 to 2003, Munoz served as the chief financial officer and vice president of consumer services at AT&T.[11] Munoz had worked for Coca-Cola Co. and PepsiCo Inc..[2]

Munoz has twice been named among the "100 Most Influential Hispanics" by Hispanic Business magazine.[12] In March 2017, he was named "Communicator of the Year for 2017" by PRWeek.[13]

On April 9, 2017, Chicago O'Hare Airport security removed four passengers from United Express Flight 3411 to make space for four employees who were deadheading to another flight. Three of the passengers left the airplane without incident, but the fourth, Dr. David Dao, refused to leave the seat he had paid for. Chicago Department of Aviation Police officers were called to remove Dao, which they accomplished by first slamming his face into the arm rest and then dragging the injured and bleeding man from the aircraft.[14][15][16] The following day, an official response from United Airlines, attributed to Munoz, apologized "for having to re-accommodate these customers" without mentioning Dao's injuries.[17] In an email to United employees, Munoz stated that he stood behind employees for having "followed established procedures" and said that Dao was "disruptive and belligerent".[14] Videos depicting the incident and Dao's injuries were widely circulated, and United Airline's shares declined.[18][19] In a second press release on April 11, which was more sensitive to public opinion, Munoz "deeply apologize[d] to the customer forcibly removed and to all other customers aboard."[20]

Munoz's handling of the incident was described by various critics as a "fumbling response,"[4][13][21] a "major disappointment,"[22] and a "sort of a self-immolation [that] makes you wonder about his choice as CEO."[23] Munoz was already under pressure from activist shareholders to improve United's performance, including its customer relations, after he took charge of the airline in 2015.[24] However, analysts remained confident of future performance.[25]

Munoz suffered a heart attack on October 15, 2015, a month after becoming CEO of United Airlines.[26] On January 5, 2016, he received a heart transplant and returned to work in March 2016.[27]

Munoz is married to Cathy; they have four children.[28]


who wrote the song out in the country

"Out in the Country" is a song written by Paul Williams and Roger Nichols and performed by Three Dog Night. The song was produced by Richard Podolor,[1] and was featured on their 1970 album, It Ain't Easy.[2] In the US, "Out in the Country" peaked at number 11 on the US adult contemporary chart, and number 15 on the Billboard chart in 1970.[3] Outside the US, "Out in the Country" reached number 9 in Canada,[4]

Out in the Country


what can i do with hirens boot cd

Hiren's BootCD (also known as HBCD) is a bootable CD containing a number of diagnostic programs such as partitioning agents, system performance benchmarks, disk cloning and imaging tools, data recovery tools, MBR tools, BIOS tools, and others for fixing various computer problems.

Hiren's BootCD

Prior to version 11.0, Hiren's BootCD contained several commercial products. In version 10.6,[1] 17 were listed in the release notes. Most notably Acronis True Image, Norton Ghost, Acronis Disk Director, and Paragon Partition Manager. (Partition Magic Pro had been replaced already in version 10.5.) To be able to start a commercial application, the user had to promise to be the holder of a license, but no validation of this statement was ever made.

In version 11.0,[2] only three remained:


two financial powers of the governor of a state

He causes to be laid before the State Legislature the annual financial statement which is the State Budget. Further no demand for grant shall be made except on his recommendation. He can also make advances out of the Contingency Fund of the State to meet any unforeseen expenditure. Moreover, he constitutes the State Finance Commission.

Governor - India

———————
Executive:

———————
Legislature:

———————
Political parties

National coalitions:

———————
State governments

———————
Local governments: Rural bodies:

Urban bodies:

The governors and lieutenant-governors/administrators of the states and union territories of India have similar powers and functions at the state level as that of the President of India at Union level. Governors exist in the states while lieutenant-governors exist in union territories and in the National Capital Territory of Delhi. The governor acts as the nominal head whereas the real power lies with the Chief ministers of the states and his/her councils of ministers.

In India, a lieutenant governor is in charge of a union territory. However, the rank is present only in the union territories of Andaman and Nicobar Islands, Delhi and Puducherry (the other territories have an administrator appointed, who is an IAS officer or retired judges of courts ). However, the governor of Punjab acts as the administrator of Chandigarh. Although lieutenant-governors do not hold the same rank as a governor of a state in the list of precedence.

The governors and lieutenant-governors are appointed by the President for a term of five years.

Article 157 and Article 158 of the Constitution of India specify eligibility requirements for the post of governor. They are as follows:

A governor must:

The primary function of the governor is to preserve, protect and defend the constitution and the law as incorporated in his/her oath of office under Article 159 of the Indian constitution in the administration of the State affairs. All his/her actions, recommendations and supervisory powers (Article 167c, Article 200, Article 213, Article 355, etc.) over the executive and legislative entities of a State shall be used to implement the provisions of the Constitution. In this respect, the governor has many different types of powers:

The Constitution vests in the governor all the executive powers of the state government. The governor appoints the chief minister, who enjoys the support of the majority in the Legislative Assembly. The governor also appoints the other members of the Council of Ministers and distributes portfolios to them on the advice of the chief minister.

The Council of Ministers remain in power during the 'pleasure' of the governor, but in the real sense it means the pleasure of obtaining majority in the Legislative Assembly. As long as the majority in the Vidhan Sabha supports the government, the Council of Ministers cannot be dismissed.

The governor appoints the chief minister of a state. He or she also appoints the Advocate General and the chairman and members of the State Public Service Commission. Apart from this, State Election Commissioner are also appointed by the Governor (though removed by the President).The president consults the governor in the appointment of judges of the High Courts and the governor appoints the judges of the District Courts. All administrations are carried on his or her name, he or she also has the power to appoint staff for his tenure in class one and class four as per constitution of India.

The Governor of the state by virtue of his office is also the Chancellor of most of the Universities in the State[1]. The dignity and impartiality of the office of the Chancellor puts the Governor in a unique position with regard to protecting the autonomy of the Universities and saving them from undue political interference. The Governor as Chancellor of University also acts as President of the Senate. He has power to direct inspection of every component of the Universities and affiliated colleges, required due action on the result of inquiry. The Chancellor appoints search committee for appointments of Vice Chancellor. He accords consent of warrant of degrees and withdraw degree or distinctions both at the recommendations of the Senate. He approves or disapproves statutes passed by the Senate and appoints teachers of the University based on recommendation of the respective committees.

The governor summons the sessions of both houses of the state legislature and prorogues them. The governor can even dissolve the Vidhan Sabha. These powers are formal and the governor while using these powers must act according to the advice of the Council of Ministers headed by the Chief Minister.

The governor inaugurates (to dedicate) the state legislature by addressing it after the assembly elections and also at the beginning of the first session every year. The governor's address on these occasions generally outlines new policies of the state government. A bill that the state legislature has passed, can become a law only after the governor gives assent. The governor can return a bill to the state legislature, if it is not a money bill, for reconsideration. However, if the state legislature sends it back to the governor for the second time, the governor must assent to it. The governor has the power to reserve certain bills for the president.

When the state legislature is not in session and the governor considers it necessary to have a law, then the governor can promulgate ordinances. These ordinances are submitted to the state legislature at its next session. They remain valid for no more than six weeks from the date the state legislature is reconvened unless approved by it earlier. [1]

Governor is empowered under Article 192 to disqualify a member of a House of the State legislature when the election commission recommends that the legislator is no longer complying with provisions of Article 191.

Per Articles 165 and 177, Governor can ask the Advocate General to attend the proceedings of both houses of the state legislature and report to him any unlawful functioning if any.

The governor can use these powers:

The governor has no role or powers in a contingency situation such as president's rule unless specifically permitted by the president under articles 160, 356 and 357. The Governor is not permitted to take any decision on his own without state cabinet advise when an elected government is in charge under the provisions of Part VI of the constitution. Governor's rule is applicable only to Jammu and Kashmir state. It is often used synonymous with president's rule in other states.

Various emoluments, allowances and privileges available to a governor are determined by the Governors (Emoluments, Allowances and Privileges) Act, 1982.[2]

In addition to the monthly salary, the governor is entitled to rent free official residence, free household facilities and conveyance. The governor and his family are provided with free medical attendance, accommodation and treatment for life.[2]

The term of governor's office is normally 5 years but it can be terminated earlier by:

There is no provision for impeachment, as it happens for the president.

Under Article 361 of the constitution, governor can not be summoned for questioning except on his voluntary willingness to testify in the court in support of his controversial deeds though the unconstitutional decisions taken by the governor would be declared invalid by the courts. The case would be decided by the courts based on the facts furnished by the union government for the governor's role. As clarified by the Supreme Court in the case 'Rameshwar Prasad & Ors vs. Union of India & ANR 24 January 2006', though governor can not be prosecuted and imprisoned during his tenure, he can be prosecuted after he/she steps down from the post for the guilty committed during his term of governorship as declared earlier by the courts.[6] No governor has resigned on impropriety to continue in office for declaring and nullifying his decisions as unconstitutional by the courts till now. No criminal case at least on the grounds of disrespecting constitution is lodged till now against former governors to punish them for their unconstitutional acts though many decisions taken during the term of governorship had been declared by Supreme Court as unconstitutional, mala fide, void, ultra vires, etc.[7]

While the President of India is "elected", the governor is "selected" by the incumbent central government.[8] That is why there have been many instances when governors appointed by a previous government are removed by an incoming government. The reasons are more political. The supreme court has ruled that governors should be given security of term but this is generally not adhered to.[8]

Political observers have described governorship as "plush old age homes" wherein the governor does not stay impartial and act against popular state leaders. In 1984, Congressman Ram Lal dismissed the N. T. Rama Rao government and allowed Nadendla Bhaskar Rao as chief minister of Andhra Pradesh for 31 days.[9]

In January 2014, the Central Bureau of Investigation (CBI) approached the Union Law Ministry under the UPA Government to record statements of West Bengal Governor M. K. Narayanan and Goa Governor Bharat Vir Wanchoo.[10] Their statements were considered vital as Narayanan was National Security Adviser and Wanchoo was Chief of Special Protection Group (SPG) at the time of signing of contract with AgustaWestland. Their views were also considered before Indian Government signed the contract with Agusta Westland. However, Union Law ministry stonewalled CBI probe by rejecting CBI's request to examine them claiming they had 'immunity'.[11] UPA was defeated in the 2014 general election and with the incoming NDA Government's permission, West Bengal Governor M. K. Narayanan became the first ever Governor to be questioned by police in a criminal case. The CBI questioned M. K. Narayanan as a "witness" in â‚¹ 3600-crore 2013 Indian helicopter bribery scandal. The CBI said Goa Governor Bharat Vir Wanchoo would be questioned in the same case.[12][13]

Arunachal Pradesh governor who is also appointed by the ruling party at the centre, has been sacked by the president after the Supreme Court has quashed his unconstitutional acts.[14] it is a good event in Indian polity by giving a strong message to the state governors that they should not come under the influence of the ruling party at the centre to commit unconstitutional acts.

Lt Governor of Delhi, Najeeb Jung resigned taking moral responsibility for his unconstitutional role when Supreme Court observed that the elected local government is not an unconstitutional institution without any powers.[15]

The Governors / Lieutenant Governors have similar powers and functions at the state level, as that of the President / Vice President at the Union level. But, similar powers don't mean all powers. The Constitution mentions the post of Vice Governor, called Lieutenant Governor in India. But, a Governor, since at the state level, cannot have a deputy (lieutenant governor). But, a Lieutenant Governor, since at the union-territorial level, cannot have a head (governor). Hence, a state having a governor cannot have a lieutenant governor & a union territory having a lieutenant governor cannot have a governor.


when is dj khaled's album coming out

Grateful is the tenth studio album by American musician DJ Khaled. It was released on June 23, 2017, by We the Best Music Group and Epic Records.[1] The album features guest appearances from a wide array of artists, including Future, Travis Scott, Rick Ross, Migos, Chance the Rapper, Nicki Minaj, Kodak Black, Alicia Keys, Beyoncé, Jay Z, Justin Bieber, Lil Wayne, 2 Chainz, Drake, Rihanna, Sizzla, Mavado, Nas, Calvin Harris and Betty Wright, among others.[2]

Grateful (DJ Khaled album)

The cover art was released alongside the album's third single on June 5, 2017, and featured Khaled's son Asahd, who was born in October 2016.[3][4] Asahd was also revealed to be acting as the album's executive producer, with his father taking to talk show Jimmy Kimmel Live! in March 2017 to explain the reasoning and process behind his son's position on the album, stating:

He is credited as executive producer, and his attorney has his points and royalties, everything. Listening to the songs, going over the business part of it, [deciding] if the vocals are right, if the beats are right, if the energy's right. When he [rocks and grins], those are smash hit records, when he [looks deep in thought], that's the real serious records but hits with substance. It's a vibe, you know what I mean? Believe it or not, the poops and the throw-ups are super blessings. Those are actually the real good ones. He actually threw up on me while I was mixing and working on "Shining", and when he threw up on me, that [was] a blessing.[5]

The album also saw production from an array of producers, including several in-house producers from Khaled's We the Best Music Group record label. Cool & Dre and Nasty Beatmakers co-produced two of the album's singles, which were heavily influenced by the musical styles present in Miami. The former also contributed toward three additional songs on the album, teaming up with 808-Ray for each effort.[6][7] Other in-house producers Danja and Lee on the Beats additionally provided production, with Khaled enlisting the duo on several occasions prior for his previous albums.[8] Khaled later worked with Scottish producer and disc jockey Calvin Harris, who also received a co-artist credit for "Don't Quit". The album was also comprised by several other record producers such as Nic Nac, Ben Billions, DannyBoyStyles, The Beat Bully, Schife, StreetRunner and Tarik Azzouz, among others.[9][10][11]

The album's lead single, called "Shining" was released on February 12, 2017.[12] It features guest vocals from American singer Beyoncé, and American rapper Jay Z, with production by Khaled himself, and Danja; as well as it was also co-written by Canadian singer PartyNextDoor.[13] It premiered following the 59th Annual Grammy Awards, peaking at number 57 on the US Billboard Hot 100.[14]

"I'm the One" was released as the album's second single on April 28, 2017.[15] The song features guest appearances from a fellow Canadian singer Justin Bieber, alongside fellow American rappers Quavo, Chance the Rapper, and Lil Wayne. It also saw production from Khaled himself, as well as being co-produced by Nic Nac. "I'm the One" debuted at number one, becoming Khaled's first number one single on the Billboard Hot 100; as well as also topping the charts in the United Kingdom, Australia and Canada.[16]

"Wild Thoughts" was released as the album's third single on June 16, 2017.[17] The song features guest appearances from a Bajan singer Rihanna, and American singer Bryson Tiller, with production by Khaled himself, and Nasty Beatmakers.[18] Khaled has previously collaborated with Tiller on Major Key, however, the single marks his first collaboration with Rihanna. Khaled described his attempts to court Rihanna for a feature appearance on an album for several years in an interview with Entertainment Weekly, stating "seven, eight years I've been trying to do this. I always put the kites out there that I wanted to work with her [and] I was always getting the right record ready [to] see if something comes back that's possible."[19] The single housed elements of Latin pop and contemporary R&B, debuting at number 4 on the US Billboard Hot 100, peaking it at number 2 so far.

The promotional single from the album, called "To the Max" was released on June 5, 2017.[20] The single features guest appearances from Canadian rapper Drake, with production by Khaled himself, and Cool & Dre.[21] The song marked the fifth collaboration between the pair, and contained sampling from an array of musical genres, including bassline and alternative rock.[22] "To the Max" peaked at number 53 on the US Billboard Hot 100. The song has been removed in some regions for unknown reasons.

At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, Grateful received an average score of 61, based on 11 reviews, indicating "generally favorable" reception.[23]

Grateful debuted at number one on the US Billboard 200, with 149,000 album-equivalent units, of which 50,000 were pure album sales.[29] It is DJ Khaled's second number-one album on the chart.[29] On July 14, 2017, Grateful was certified gold by the Recording Industry Association of America for combined sales and album-equivalent units of over 500,000 units in the United States.[30] On August 23, 2017, the album was certified platinum by the Recording Industry Association of America (RIAA).

Credits adapted from album liner notes.

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


what is the name of the knowledge navigator in built into apple's ios

The notion of Siri was firmly planted at Apple 25 years ago though “Knowledge Navigator” with the voice of the assistant was only a concept prototype.[2] In October 2011, Apple relaunched Siri, a voice activated personal assistant software vaguely similar to that aspect of the Knowledge Navigator.[5]

Knowledge Navigator

The Knowledge Navigator is a concept described by former Apple Computer CEO John Sculley in his 1987 book, Odyssey. It describes a device that can access a large networked database of hypertext information, and use software agents to assist searching for information.

Apple produced several concept videos showcasing the idea. All of them featured a tablet style computer with numerous advanced capabilities, including an excellent text-to-speech system with no hint of "computerese", a gesture based interface resembling the multi-touch interface later used on the iPhone and an equally powerful speech understanding system, allowing the user to converse with the system via an animated "butler" as the software agent.

In one vignette a university professor returns home and turns on his computer, in the form of a tablet the size of a large-format book. The agent is a bow-tie wearing butler who appears on the screen and informs him that he has several calls waiting. He ignores most of these, from his mother, and instead uses the system to compile data for a talk on deforestation in the Amazon Rainforest. While he is doing this, the computer informs him that a colleague is calling, and they then exchange data through their machines while holding a video based conversation.

In another such video, a young student uses a smaller handheld version of the system to prompt him while he gives a class presentation on volcanoes, eventually sending a movie of an exploding volcano to the video "blackboard". In a final installment a user scans in a newspaper by placing it on the screen of the full-sized version, and then has it help him learn to read by listening to him read the scanned results, and prompting when he pauses.

The videos were funded and sponsored by Bud Colligan, Director of Apple's higher education marketing group, written and creatively developed by Hugh Dubberly and Doris Mitsch of Apple Creative Services, with technical and conceptual input from Mike Liebhold of Apple's Advanced Technologies Group and advice from Alan Kay, then an Apple Fellow.[1] The videos were produced by The Kenwood Group in San Francisco and directed by Randy Field. The director of photography was Bill Zarchy. The post-production mix was done by Gary Clayton at Russian Hill Recording for The Kenwood Group. The product industrial design was created by Gavin Ivester and Adam Grosser of Apple design.

Samir Arora, a software engineer at Apple was involved in R&D on application navigation and what was then called hypermedia. He wrote an important white paper entitled â€œInformation Navigation: The Future of Computing". While working for Apple CEO John Sculley at the time, Arora built the technology to show fluid access to linked data displayed in a friendly manner an emerging area of research at Apple.[2]

The Knowledge Navigator video premiered in 1987 at Educom, the leading higher education conference, in a keynote by John Sculley, with demos of multimedia, hypertext and interactive learning directed by Bud Colligan.[3]

The music featured in this video is Georg Anton Benda's Harpsichord Concerto in C.

The astute bow tie wearing software agent in the video has been the center of quite a few heated discussions in the domain of human–computer interaction. It was criticized as being an unrealistic portrayal of the capacities of any software agent in the foreseeable future, or even in a distant future.[citation needed] Some user interface professionals like Ben Shneiderman of the University of Maryland, College Park have also criticized its use of a human likeness for giving a misleading idea of the nature of any interaction with a computer, present or future.[citation needed]

Some visions put forth by proponents of the Semantic Web have been likened to that of the Knowledge Navigator by Marshall and Shipman, who argue that some of these visions[4] "ignore the difficulty of scaling knowledge-based systems to reason across domains, like Apple's Knowledge Navigator," and conclude that, as of 2003, "scenarios of the complexity of [a previously quoted] Knowledge Navigator-like approach to interacting with people and things in the world seem unlikely."


what is the goo goo dolls song slide about

In a 2002 performance on VH1 Storytellers, Rzeznik explained that the song refers to a teenage girl in a strict Catholic environment who has become pregnant. She and her boyfriend are debating as to the possibility of abortion or marriage.[4]

Slide (Goo Goo Dolls song)

"Slide" is a song recorded by American alternative rock group The Goo Goo Dolls. It was released in September 1998 as the first commercial single release[1] from their sixth studio album, Dizzy Up the Girl.

The song reached number one on the Billboard Adult Top 40 chart, the Modern Rock Tracks chart and the Mainstream Top 40 chart, and number eight on the Billboard Hot 100 chart in late 1998 and early 1999. The song also debuted at #1 on Canada's Singles chart, and stayed on the chart for 70 more weeks.[2][3]  The single was certified Gold by the RIAA on August 18, 2008.

When the band guest starred on an episode of Sesame Street the song was reworked into "Pride"; a song sung to Elmo that celebrated the tasks he accomplished in his life; the episode aired on January 31, 2000.

The music video was directed by Nancy Bardawil and partially filmed at the El Dorado Hotel on South Spring Street, Los Angeles.

In October 2012, "Slide" was ranked number 9 on Billboard's "Top 100 Pop Songs 1992-2012" chart, which also featured Goo Goo Dolls hits "Iris", which topped the chart at #1, and "Name" ranking at number 24. The Goo Goo Dolls are the only musicians to have three songs chart on the list, two breaking the top 10 and all three falling within the top 25. They are also the only musicians that have back to back singles ("Iris", 1998 and "Slide", 1999) featured on the list.[5]


when did flatline by justin bieber come out

On December 9, 2013, Bieber announced that the ten Music Monday releases would be packaged with an additional five new songs in a compilation entitled Complete My Journals. Although the album was initially set for release on December 16, 2013, the date was pushed back one week to December 23, as Bieber intended to include one more song on the compilation. Though it does not appear on the album itself, the bonus track, "Flatline", was available for a free download on the iTunes Store for a limited time.[36] Journals was available on iTunes from January 2, 2014, and all sixteen songs are available for purchase individually.[1] According to one of its producers and Bieber's personal friend, Jason "Poo Bear" Boyd, the album was supposed to receive a full release, as well as its singles to be promoted on radio, however the label didn't support it because it wasn't the direction they wanted Justin to go.[11] It was, however, eventually released on LP in 2016.[3]

Journals (album)

Journals is the second compilation album by Canadian recording artist Justin Bieber. The album was only released digitally through online platforms, such as iTunes, on December 23, 2013 by Island Records.[1][2] A ten-week digital download campaign entitled Music Mondays, in which one new song was released every Monday night, was held from October 7, 2013 to December 9, 2013. In addition to the songs released on "Music Mondays", Journals is also composed of other five previously unreleased songs. The recording sessions took place between 2012 and 2013, while the singer was on his Believe Tour, which generated one or two songs a day throughout the entire tour.

To achieve a more mature sound, Journals sees Bieber working with a variety of different R&B producers, such as The Audibles, Jason "Poo Bear" Boyd, Andre Harris, D.K. the Punisher, Soundz, Chef Tone, T-Minus, as well as his previous producers Maejor Ali, Diplo, Rodney "Darkchild" Jerkins and Sir Nolan, while collaborating with R&B and hip-hop artists and rappers, such as Future, R. Kelly, Chance the Rapper, Big Sean and Lil Wayne. An R&B and soul album with pop influences, Journals mostly deals with themes of heartbreak and forgiveness in a romantic relationship. It was suggested that Bieber's relationship with former girlfriend, actress and singer Selena Gomez, was the main inspiration for the majority of the album. The album was supported with the release of ten singles, with two of them receiving music video treatment.

The album was met with lukewarm reviews from music critics. Although some praised its mature direction and labeled it his best material, others felt dismissed its similar themes and "unfinished" production. Despite promotions of the album that helped Bieber reach number one on the Social 50 chart and the release planned to capitalize the sales rush before Christmas, the album was not submitted for sales tracking to SoundScan, thus it did not chart on the Billboard 200 due to its first week sales going unreported. It reached the top-forty in some countries and debuted in the top 10 only in Denmark and Norway. The compilation was meant to be released physically, but due to the label not supporting Bieber's sound's choices, they did not support the album project. It was, however, eventually released on LP in 2016.[3]

While touring with his Believe Tour throughout 2012 and 2013, Justin Bieber managed to write new songs everyday. According to his manager, Scooter Braun, the writing process had him "writing one to two songs a day for the entire tour and [...] label[ing] them by the city he wr[o]te them in."[4] In January 2013, Bieber confirmed he was writing for a new album,[5] as well as American R&B singer R. Kelly that confirmed he was working with Bieber on the album.[6] Meanwhile, in June of the same year, he confirmed a new album, the rest of the Believe Tour and a movie for 2013.[7] In July, Braun gave an interview for MTV News, where he discussed the album, claiming: "For this project, we want to do things a little bit differently. And there are more songs than 10 or 12, so if you have more music and you have more things you want to express, you gotta think out the box, and [think like] ’How do I get this out there in a unique way where it gets directly to my fans and I can express myself through music directly to them?’ And I think that’s what it’s about when you have people who are incredibly creative, things happen."[8] In August, Bieber confirmed he was working with American rapper Future. It was also reported he was working with Juicy J, Ludacris and Big Sean.[9] In December, he also confirmed he was working with Chance the Rapper and Lil' Wayne.[10]

As executive producer, Justin enlisted previous collaborators such as Rodney Jerkins, Maejor Ali, Diplo and Sir Nolan, while working with a range of new R&B producers such as The Audibles, Andre Harris, D.K. the Punisher, Soundz, Chef Tone, T-Minus, Jason "Poo Bear" Boyd and others. Boyd became one of the most frequent collaborators on the album, writing with Bieber several songs as well as producing some. According to the producer, Bieber suggested they to "flip those Craig David chords and [...] create something." By doing so, he came up with the song "Recovery", a song that was finished at Cherry Beach Sound in Toronto. As he recalled, the process had Bieber hearing Boyd songs and selected them to sing, and many songs from the producer turned into songs off Journals. Boyd continued: "He [Bieber] just felt them so much, so strongly. It was just a matter of me letting go of the fact that I don't care about me being a singer more so than I care about putting great music out into the universe. Then I was able to do it. The songs that I felt like were too mature, we changed them up to fit him like a custom suit."[11]

An R&B and soul album,[12][13][14][15] Journals steps away from Bieber's more teen-pop sound of his previous efforts, while also having pop influences. As claimed by Spin's Brandon Soderberg, "[s]onically, it’s up there with Beyoncé in terms of holding tight to the patience of ’80s and ’90s R&B while never forgetting the sugar-rush rewards of pop." Soderberg also reflected that Bieber was inspired by many R&B artists such as "Aaliyah, Drake, Maxwell, Miguel, Sade, and Usher out of EDM mode."[12] According to one of its producers, Jason Boyd, "Justin grew up listening to R&B. Journals was trying because it was going against the grain [of what he had been doing sonically], but it served so much of a purpose in him growing up."[11] Chris Martins of Billboard also noted that the album "drew on Boyd’s experience writing for 112, Usher and Chris Brown."[16]

The album is composed by many "slow numbers", such as "Hold Tight," "All Bad" and "PYD", which Carl Williot of Idolator considered "racy, restrained jams in the vein of The Weeknd’s mixtapes (minus the danger), each utilizing the bare minimum in terms of percussion." "One Life" was also noted for having influences by The Weeknd and Frank Ocean.[17] Williot also noted that "'Roller Coaster' took the disco-pop craze of 2013 and marries it to trap stomps,[14] as well as "freestyle-meets-Sonic the Hedgehog roller-skating grooves", completed Soderberg.[12] "Bad Day" and "Swap It Out" flirt with late ’90s R&B/bling rap sweet spot, while "Confident" and closer "Memphis" channel Timbaland's prime with their brittle, syncopated percussion and background yelps."[14] "Change Me', as noted by Soderberg, has a "The Tony Rich Project" feel to it, while "Backpack" is a futuristic pop song with a guitar solo.[12] Meanwhile, "Recovery" features a "Craig David-sampling swoon" of "Fill Me In", "All that Matters" pushes Bieber's "earnest vocal into the limelight over an instrumental that relies on little more than swirling guitar strums and plush bass," and "Heartbreaker" features "chords [that] swim in and out of focus over a low-slung groove and vocals [that] float menacingly somewhere over your head" as Fact's Aimee Cliff noticed.[15]

Journals main themes deal with heartbreak and forgiveness in a romantic relationship, with many critics noting that it was influenced by Bieber's relationship with former girlfriend Selena Gomez.[18][19][20] It finds the singer apologizing, taking responsibility for bad behavior and pledging lifelong faithfulness, while also talking about sex in some songs.[20] Adam R. Holz of Plugged In noted that "'Journals' is a mournfully desperate, frequently "freaky" set of songs that finds the 19-year-old Canadian singer begging for a second chance with an ex. And it's tempting to buy in to Justin Bieber's repeated pleas for one last loop-around with his beloved. That's because the painfully plaintive nature of his repeated pleas gives him an air of wounded authenticity. It's not hard to believe that he really has lost the one girl (Selena Gomez?) who means everything to him, and that he'll do anything to win her back."[20]

The first song, "Heartbreaker", finds Bieber begging for his lover to not break his heart, "suggest[ing] that while he's got real flaws, those shouldn't completely disqualify him" and "pledg[ing] love through ups and downs, good times and bad." "I know the seasons may change/And sometimes love goes from sunshine to rain/ â€¦ I still believe in us/I still believe in love," he sings.[20] "All That Matters" continues in the same vein, with lines like: "Oh, oh, whenever you're not in my presence/It feels like I'm missing my blessings, yeah."[20] "Hold Tight" "focuses almost exclusively on sex," while "Recovery" finds Bieber " taking responsibility for mistakes and praying for a second chance."[20] "Bad Day" and "All Bad" shared similarities, with the first talking about a painful break-up, while the latter has him "assuring a lover that the haters have him all wrong"[18] and, according to Holz, making a "meanspirited and sexist accusation" about how "females like to run their mouths."[20] "PYD" features Bieber and R. Kelly singing about "having sex with a woman in just about as many locations as they can brainstorm. The titular acronym stands for "put you down," a slang reference to sex."[20]

The eighth track, "Roller Coaster", which references "Ohio Players' 1970s hit "Love Rollercoaster", talks about the loneliness of long-distance loving,[15] while the piano ballad "Change Me" is about "accepting responsibility before proposing a solution to a problem he didn't even have."[18] "Confident" returns talking about sex, with Bieber talking about someone he's apparently just spied, while Chance the Rapper also talks about the song's main subject.[20] "One Life", co-written by Drake, "offers another take on those sorts of faithfulness pledges",[20] having a "YOLO [you only live once] with a conscience" theme.[12] "Backpack" finds Bieber "fall[ing] in love with an alien girl whom he desires to'stay in my backpack forever'."[17] "What's Hatnin'" focuses on conflict resolution and forgiveness,[20] "Swap It Out" "looks into the complicated feelings that go into a relationship,"[13] and "Memphis" "finds Bieber exploring a relationship, wherein he wants to be with his butterfly-giving girl 24/7."[13] The bonus song, "Flatline", "explores a failed relationship, due to his busy schedule and the girl in question always contacting him at the wrong times, then not returning the phone calls he attempts to make."[21]

On October 3, 2013, Bieber announced that he would release one new song every Monday for 10 weeks, leading up to the release of his Believe theatrical film, which saw a limited one-week release on Christmas Day 2013. Each of the singles released has its own original artwork, featuring a white and purple theme.[22] The album and single's artwork was designed by Cooper Sebastian. The first song issued during "Music Mondays", as Bieber had touted the weekly releases, "Heartbreaker", was issued on October 7, 2013.[23] The song reached the top of the Denmark charts, the top-ten in other three countries and peaked inside the top-twenty on the US Billboard Hot 100, the UK Singles Chart and other five territories.[24] The second song, "All That Matters", was released on October 14, 2013, and was the first to receive a music video treatment, released on December 2, 2013.[25] It was another number-one single in Denmark, while reaching the top-twenty in eight countries, including the United Kingdom. In the United States, it reached number 24.[26] "Hold Tight" was the third, released on October 21, 2013, and also his third consecutive number-one in Denmark; elsewhere it reached the top-forty in over ten countries,[27] followed by "Recovery" and "Bad Day", released on October 28, 2013 and November 4, 2013, respectively, with both reaching the top-forty in many countries, while the latter becoming the album's fourth number-one single in Denmark.[28][29] The other five subsequent singles, "All Bad", "PYD", "Roller Coaster", "Change Me" and "Confident", were released each a week and attained moderate impact on the charts worldwide,[30][31][32] with "Roller Coaster" and "Confident" also reaching the top of Denmark charts,[33][34] and the latter also receiving a music video treatment.[35]

Song "Looking For You", which features hip hop trio, Migos, was possibly going to appear on the album, but never made the final cut due to never being released.

Journals was met with lukewarm reviews, with most music critics noting his artistic growth. In a positive review, Mikael Wood of Los Angeles Times praised the "tunes that take up his evolving reputation with surprising candor" as well as the fact that "he's using that voice to confront the awkward aging-in-public process head-on." He also called the album "a come-to-Jesus moment that has nothing to do with Christmas."[18] Jim Farber of New York Daily News noted that Journals "has a cohesion nowhere evident on the Bieb’s three previous studio CDs," while also praising the album for "find[ing] an energy in Bieber’s deepening personality" and the music that "finds him more fully engaged."[19] Aimee Cliff wrote for Fact that the album is "a resounding achievement" and "trumps at every turn with its secret weapon: subtlety,"[15] while Brandon Soderberg of Spin called it "a cohesive, well-paced collection of narcotic R&B," claiming that the album's "elegance is conveyed via denser production choices and our host’s artful crooning."[12] Ben Rayner of Toronto Star applauded Bieber's voice, calling it "sufficiently well suited to the material that he can almost sell his new persona." Rayner also acknowledged that " tunes are often surprisingly interesting from a production standpoint," however he pointed out that "there’s too much of the same."[17]

Niko John of Absolute Punk went on to write that "'Journals' is undoubtedly his greatest work to date and shows a more mature, sexual side to the Canadian pop-star. However, it is an experiment that at times works and at others feels like Bieber is trying way too hard to discard his boy image."[37] Sandeep Singh of Verdens Gang wrote that Journals is "neither a profound diary or a studio album it could have been [...] But this is undoubtedly the best Bieber has bubbled up to now."[42] The Washington Post's Alison Stewart offered a negative outlook on the project, writing that "Justin Bieber ends a bad year with a bad album."[41] In his review written for the Milwaukee Journal Sentinel, Piet Levy wrote that Bieber is "less an eager child than a confident adult, although when Bieber's flat come-ons are juxtaposed with seasoned R&B star R. Kelly on "PYD," it's clear that as a performer, he still has a lot of growing up to do."[39]

{{albumchart|Australiab

^shipments figures based on certification alone


in a cross-section of a glacier the greatest flow velocities (speeds) occur

The lowest velocities are near the base of the glacier and along valley sides where friction acts against flow, causing the most deformation. Velocity increases inward toward the center line and upward, as the amount of deformation decreases. The highest flow velocities are found at the surface, representing the sum of the velocities of all the layers below.[1][2]

Ice-sheet dynamics

Ice sheet dynamics describe the motion within large bodies of ice, such those currently on Greenland and Antarctica. Ice motion is dominated by the movement of glaciers, whose gravity-driven activity is controlled by two main variable factors: the temperature and strength of their bases. A number of processes alter these two factors, resulting in cyclic surges of activity interspersed with longer periods of inactivity, on both hourly and centennial time scales. Ice-sheet dynamics are of interest in modelling future sea level rise.

The main cause of flow within glaciers can be attributed to an increase in the surface slope, brought upon by an imbalance between the amounts of accumulation vs. ablation. This imbalance increases the shear stress on a glacier until it begins to flow. The flow velocity and deformation will increase as the equilibrium line between these two processes is approached, but are also affected by the slope of the ice, the ice thickness and temperature.[1][2]

When the amount of strain (deformation) is proportional to the stress being applied, ice will act as an elastic solid. Ice will not flow until it has reached a thickness of 30 meters (98 ft), but after 50 meters (164 ft), small amounts of stress can result in a large amount of strain, causing the deformation to become a plastic flow rather than elastic. At this point the glacier will begin to deform under its own weight and flow across the landscape. According to the Glen–Nye Flow law, the relationship between stress and strain, and thus the rate of internal flow, can be modeled as follows:[1][2]

Glaciers may also move by basal sliding, where the base of the glacier is lubricated by meltwater, allowing the glacier to slide over the terrain on which it sits. Meltwater may be produced by pressure-induced melting, friction or geothermal heat. The more variable the amount of melting at surface of the glacier, the faster the ice will flow.[3]

The top 50 meters of the glacier form the fracture zone, where ice moves as a single unit. Cracks form as the glacier moves over irregular terrain, which may penetrate the full depth of the fracture zone.

Most of the important processes controlling glacial motion occur in the ice-bed contactâ€”even though it is only a few meters thick.[4] Glaciers will move by sliding when the basal shear stress drops below the shear resulting from the glacier's weight.[clarification needed]

For a given glacier, the two variables are τD, which varies with h, the depth of the glacier, and τB, the basal shear stress.[clarification needed]

The basal shear stress is a function of three factors: the bed's temperature, roughness and softness.[4]

Whether a bed is hard or soft depends on the porosity and pore pressure; higher porosity decreases the sediment strength (thus increases the shear stress τB).[4] If the sediment strength falls far below τD, movement of the glacier will be accommodated by motion in the sediments, as opposed to sliding. Porosity may vary through a range of methods.

A soft bed, with high porosity and low pore fluid pressure, allows the glacier to move by sediment sliding: the base of the glacier may even remain frozen to the bed, where the underlying sediment slips underneath it like a tube of toothpaste. A hard bed cannot deform in this way; therefore the only way for hard-based glaciers to move is by basal sliding, where meltwater forms between the ice and the bed itself.[5]

Bed softness may vary in space or time, and changes dramatically from glacier to glacier. An important factor is the underlying geology; glacial speeds tend to differ more when they change bedrock than when the gradient changes.[5]

As well as affecting the sediment stress, fluid pressure (pw) can affect the friction between the glacier and the bed. High fluid pressure provides a buoyancy force upwards on the glacier, reducing the friction at its base. The fluid pressure is compared to the ice overburden pressure, pi, given by ρgh. Under fast-flowing ice streams, these two pressures will be approximately equal, with an effective pressure (pi – pw) of 30 kPa; i.e. all of the weight of the ice is supported by the underlying water, and the glacier is afloat.[4]

A number of factors can affect bed temperature, which is intimately associated with basal meltwater. The melting point of water decreases under pressure, meaning that water melts at a lower temperature under thicker glaciers.[4] This acts as a "double whammy", because thicker glaciers have a lower heat conductance, meaning that the basal temperature is also likely to be higher.[5]

Bed temperature tends to vary in a cyclic fashion. A cool bed has a high strength, reducing the speed of the glacier. This increases the rate of accumulation, since newly fallen snow is not transported away. Consequently, the glacier thickens, with three consequences: firstly, the bed is better insulated, allowing greater retention of geothermal heat. Secondly, the increased pressure can facilitate melting. Most importantly, τD is increased. These factors will combine to accelerate the glacier. As friction increases with the square of velocity, faster motion will greatly increase frictional heating, with ensuing melting – which causes a positive feedback, increasing ice speed to a faster flow rate still: west Antarctic glaciers are known to reach velocities of up to a kilometre per year.[4] Eventually, the ice will be surging fast enough that it begins to thin, as accumulation cannot keep up with the transport. This thinning will increase the conductive heat loss, slowing the glacier and causing freezing. This freezing will slow the glacier further, often until it is stationary, whence the cycle can begin again.[5]

Supraglacial lakes represent another possible supply of liquid water to the base of glaciers, so they can play an important role in accelerating glacial motion. Lakes of a diameter greater than ~300 m are capable of creating a fluid-filled crevasse to the glacier/bed interface. When these crevasses form, the entirety of the lake's (relatively warm) contents can reach the base of the glacier in as little as 2–18 hours – lubricating the bed and causing the glacier to surge.[6] Water that reaches the bed of a glacier may freeze there, increasing the thickness of the glacier by pushing it up from below.[7]

Finally, bed roughness can act to slow glacial motion. The roughness of the bed is a measure of how many boulders and obstacles protrude into the overlying ice. Ice flows around these obstacles by melting under the high pressure on their lee sides; the resultant meltwater is then forced down a steep pressure gradient into the cavity arising in their stoss,[clarification needed] where it re-freezes.[4] Cavitation on the stoss side increases this pressure gradient, which assists flow.[4]

Because ice can flow faster where it is thicker, the rate of glacier-induced erosion is directly proportional to the thickness of overlying ice. Consequently, pre-glacial low hollows will be deepened and pre-existing topography will be amplified by glacial action, while nunataks, which protrude above ice sheets, barely erode at all – erosion has been estimated as 5 m per 1.2 million years.[8] This explains, for example, the deep profile of fjords, which can reach a kilometer in depth as ice is topographically steered into them. Being the principal conduits for draining ice sheets, fjords' extension inland increases the rate of ice sheet thinning. It also makes the ice sheets more sensitive to changes in climate and the ocean.[8]

The flow of water under the glacial surface can have a large effect on the motion of the glacier itself. Subglacial lakes contain significant amounts of water, which can move fast: cubic kilometres can be transported between lakes over the course of a couple of years.[9]

This motion is thought to occur in two main modes: pipe flow involves liquid water moving through pipe-like conduits, like a sub-glacial river; sheet flow involves motion of water in a thin layer. A switch between the two flow conditions may be associated with surging behaviour. Indeed, the loss of sub-glacial water supply has been linked with the shut-down of ice movement in the Kamb ice stream.[9] The subglacial motion of water is expressed in the surface topography of ice sheets, which slump down into vacated subglacial lakes.[9]

The interface between an ice stream and the ocean is a significant control of the rate of flow.

Ice shelves – thick layers of ice floating on the sea – can stabilise the glaciers that feed them. These tend to have accumulation on their tops, may experience melting on their bases, and calve icebergs at their periphery. The catastrophic collapse of the Larsen B ice shelf in the space of three weeks during February 2002 yielded some unexpected observations. The glaciers that had fed the ice sheet (Crane, Jorum, Green, Hektoria – see image) increased substantially in velocity. This cannot have been due to seasonal variability, as glaciers flowing into the remnants of the ice shelf (Flask, Leppard) did not accelerate.[10]

Ice shelves exert a dominant control in Antarctica, but are less important in Greenland, where the ice sheet meets the sea in fjords. Here, melting is the dominant ice removal process,[11] resulting in predominant mass loss occurring towards the edges of the ice sheet, where icebergs are calved in the fjords and surface meltwater runs into the ocean.

Tidal effects are also important; the influence of a 1 m tidal oscillation can be felt as much as 100 km from the sea.[4] On an hour-to-hour basis, surges of ice motion can be modulated by tidal activity. During larger spring tides, an ice stream will remain almost stationary for hours at a time, before a surge of around a foot in under an hour, just after the peak high tide; a stationary period then takes hold until another surge towards the middle or end of the falling tide.[12][13] At neap tides, this interaction is less pronounced, without tides surges would occur more randomly, approximately every 12 hours.[12]

Ice shelves are also sensitive to basal melting. In Antarctica, this is driven by heat fed to the shelf by the circumpolar deep water current, which is 3 °C above the ice's melting point.[14]

As well as heat, the sea can also exchange salt with the oceans. The effect of latent heat, resulting from melting of ice or freezing of sea water, also has a role to play. The effects of these, and variability in snowfall and base sea level combined, account for around 80 mm a−1 variability in ice shelf thickness.

Over long time scales, ice sheet mass balance is governed by the amount of sunlight reaching the earth. This variation in sunlight reaching the earth, or insolation, over geologic time is in turn determined by the angle of the earth to the sun and shape of the Earth's orbit, as it is pulled on by neighboring planets; these variations occur in predictable patterns called Milankovitch cycles. Milankovitch cycles dominate climate on the glacialâ€“interglacial timescale, but there exist variations in ice sheet extent that are not linked directly with insolation.

For instance, during at least the last 100,000 years, portions of the ice sheet covering much of North America, the Laurentide ice sheet broke apart sending large flotillas of icebergs into the North Atlantic. When these icebergs melted they dropped the boulders and other continental rocks they carried, leaving layers known as ice rafted debris. These so-called Heinrich events, named after their discoverer Hartmut Heinrich, appear to have a 7,000â€“10,000-year periodicity, and occur during cold periods within the last interglacial.[15]

Internal ice sheet "binge-purge" cycles may be responsible for the observed effects, where the ice builds to unstable levels, then a portion of the ice sheet collapses. External factors might also play a role in forcing ice sheets. Dansgaard–Oeschger events are abrupt warmings of the northern hemisphere occurring over the space of perhaps 40 years. While these D–O events occur directly after each Heinrich event, they also occur more frequently – around every 1500 years; from this evidence, paleoclimatologists surmise that the same forcings may drive both Heinrich and D–O events.[16]

Hemispheric asynchrony in ice sheet behavior has been observed by linking short-term spikes of methane in Greenland ice cores and Antarctic ice cores. During Dansgaard–Oeschger events, the northern hemisphere warmed considerably, dramatically increasing the release of methane from wetlands, that were otherwise tundra during glacial times. This methane quickly distributes evenly across the globe, becoming incorporated in Antarctic and Greenland ice. With this tie, paleoclimatologists have been able to say that the ice sheets on Greenland only began to warm after the Antarctic ice sheet had been warming for several thousand years. Why this pattern occurs is still open for debate.

The implications of the current climate change on ice sheets are difficult to ascertain. It is clear that increasing temperatures are resulting in reduced ice volumes globally.[11] (Due to increased precipitation, the mass of parts of the Antarctic ice sheet may currently be increasing, but the total mass balance is unclear.[11])

Since the surging nature of ice sheet motion is a relatively recent discovery, and is still a long way from being entirely understood, no models have yet made a comprehensive evaluation of the effects of climate change. However, it is clear that climate change will act to destabilise ice sheets by a number of mechanisms.

Rising sea levels will reduce the stability of ice shelves, which have a key role in reducing glacial motion. Some Antarctic ice shelves are currently thinning by tens of metres per year, and the collapse of the Larsen B shelf was preceded by thinning of just 1 metre per year.[11] Further, increased ocean temperatures of 1 °C may lead to up to 10 metres per year of basal melting.[11] Ice shelves are always stable under mean annual temperatures of −9 °C, but never stable above −5 °C; this places regional warming of 1.5 °C, as preceded the collapse of Larsen B, in context.[11]

Increasing global air temperatures take around 10,000 years to directly propagate through the ice before they influence bed temperatures, but may have an effect through increased surfacal melting, producing more supraglacial lakes, which may feed warm water to glacial bases and facilitate glacial motion.[11] In areas of increased precipitation, such as Antarctica, the addition of mass will increase rate of glacial motion, hence the turnover in the ice sheet. Observations, while currently limited in scope, do agree with these predictions of an increasing rate of ice loss from both Greenland and Antarctica.[11] A possible positive feedback may result from shrinking ice caps, in volcanically active Iceland at least. Isostatic rebound may lead to increased volcanic activity, causing basal warming â€“ and, through CO2 release, further climate change.[17]