who drove the john deere car in nascar

In 1997, Little returned to the Cup Series, running the No. 97 Pontiac for Pollex with a sponsorship from John Deere. He finished seventh at the Food City 500, but the team struggled to make races. Late in the year, Jack Roush purchased the team to be added to his stable for 1998. Little ended 1997 36th in points.

Chad Little

Chad Little (born April 29, 1963 in Spokane, Washington) is a former NASCAR driver. He holds a degree in marketing from Washington State University, and a law degree from Gonzaga University.  While attending Washington State University he joined the Delta Upsilon fraternity.

Little currently works at NASCAR as a managing director for technical inspection and officiating. Little had previously been director of the Camping World Truck Series, as well as the director of racing development for Mexico as well as the Whelen Modified Tour.[1] He keeps regular office hours in the sanctioning body's research and development center in Concord, North Carolina. He also was a part-time studio analyst for Speed Channel. He is the father of Jesse Little.

Little began racing the short tracks in Washington in the mid-1980s. He soon began racing in the American Speed Association West late model series, the NASCAR Northwest Tour Series and the NASCAR Winston West Series. One year after being named the NASCAR Winston West Rookie of the Year, Little clinched that series' championship in 1987.

Little made his NASCAR Winston Cup debut in 1986 at Riverside International Raceway, driving the No. 28 Ford owned by George Jefferson. He started 25th and finished 13th. He ran the other Riverside race that year, but finished 35th after suffering engine failure. He ran both the Riverside races the next year, finishing 15th both times in the No. 95 Coors Ford.

The following year, Little was eligible for NASCAR Winston Cup Rookie of the Year honors and signed to drive the No. 90 for Junie Donlavey. However, his best finish was an eighteenth, at the Coca-Cola 600, and he was released early in the season. In 1989, he missed United Airlines Flight 232. About a third of the passengers aboard the flight perished during its emergency landing in Iowa.  In 1990, Little and his father Chuck teamed to field their own entry, the No. 19 Ford sponsored by Bull's Eye Barbecue Sauce. He ran eighteen races and had seven top-twenty finishes, garnering a 33rd-place points finish. The following season, Little made his first full-time attempt at winning the Cup championship, qualifying for 28 out of 29 races and posting a tenth-place finish at Charlotte Motor Speedway, finishing 27th in points.

In 1992, Little signed to drive the No. 66 TropArctic Ford for Cale Yarborough, but was released six races into the season. Later he caught on to the No. 9 Ford fielded by Melling Racing, and had an eighth-place finish at Talladega. He also made his Busch Series debut that year, starting and finishing 29th in the No. 37 Maxx Race Cards Oldsmobile at Watkins Glen International.

In 1993, Little, along with Greg Pollex and former NFL quarterback Mark Rypien, formed Mark Rypien Motorsports, running the No. 23 If It’s Paper-Bayer Select Ford on a limited basis that year, posting a second-place finish at Dover International Speedway. The next year, the team went full-time and Little had ten top-five finishes, finishing third in points. He also drove the No. 97 Ford at the Daytona 500 that season, finishing 29th. In 1995, Little broke through and won six races during the course of the season, including the first two races of the season, at Daytona and Rockingham, and finished second in points, behind Johnny Benson. His other wins were at Loudon, Charlotte, Talladega and South Boston. Little did not win a race the following season, however, and slipped to sixth in points. He also ran nine Cup races, five in Pollex’s No. 97 Sterling Cowboy Pontiac Grand Prix, and another four for Diamond Ridge Motorsports, posting a twentieth-place finish at Darlington Raceway,

In 1998, Little drove for Roush full-time with Jeff Hammond as crew chief. Running 32 out of 33 races, he had seven top-tens, including a second-place run at Texas, finishing behind Mark Martin, and finished a career-high 15th in points. He was unable to duplicate that performance in 1999, posting just five top-tens and finishing 23rd in points. After just one top-ten in 2000, Roush announced Little would not drive the 97 the following season. Late in the year, Little was pulled out of the car and replaced by his successor, Kurt Busch with Hammond still as crew chief. During the season, he also ran a handful of races in the Busch Series. Originally running the No. 30 for Innovative Motorsports, he was released and posted a top-ten in a one-race deal with PPI Motorsports.

Little had 217 career Cup starts in all.

In 2001, Little signed to drive the No. 74 Staff America Chevrolet Monte Carlo for BACE Motorsports in the Busch Series. He had six top-tens and finished ninth in points. He started off 2002 running for BACE, but the team closed after three races due to sponsor issues. He made his final Cup start in a BACE car at Dover that year, finishing 33rd. He has not run NASCAR since.

In 2004, Chad called several Truck and Xfinity races from the booth

Chad later provided competition support for the NASCAR Mexico Corona Series, and became the tour director for the Whelen Modified Tour.

Starting in 2013, Chad took on the role of NASCAR Camping World Truck Series managing director.[2] On February 2, 2015, NASCAR announced that Little would be moving into a new role, as a managing director of technical inspection and officiating. His role as director was replaced by another former driver, Elton Sawyer.[3]

(key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.)


when is fpj ang probinsyano going to end

Ang Probinsyano (Lit: The Man from the Province or The Provincial Man / English: Brothers), officially FPJ's Ang Probinsyano, is a 2015 Philippine action drama television series airing in ABS-CBN based on the 1997 Fernando Poe Jr. film of the same title, courtesy of FPJ Productions. Produced by Dreamscape Productions and directed by Malu Sevilla, Avel Sunpongco, Toto Natividad, Richard V. Somes, Kevin de Vela and Alan Chanliongco, it is topbilled by Coco Martin, together with an ensemble cast.[1] The series premiered on ABS-CBN's Primetime Bida evening block and worldwide on The Filipino Channel on September 28, 2015, replacing Nathaniel. The show will end at 2018.

Ang Probinsyano

The story revolves around the journey of twins Dominador "Ador" de Leon and Ricardo "Cardo" Dalisay, (both played by Coco Martin), who were separated from each other due to financial reasons, even as they followed the path of being police officers.

Ador is raised by his grandmother, Lola Flora (Susan Roces). When he grows up, he enters the Philippine National Police Academy (PNPA) alongside Joaquin Tuazon (Arjo Atayde). During his stint in the Police Academy, he meets the sister of his classmate, Carmen (Bela Padilla), who eventually becomes his wife. After graduating as the class valedictorian, Ador marries Carmen after they discover her pregnancy. She eventually gives birth to Dominador "Junior" de Leon.

Ador continues to display his intelligence and skills as a policeman and is eventually promoted as a Senior Inspector. He becomes a prominent and respected CIDG police official in Manila with a loving family as his support.

Cardo, on the other hand, loves the solitude of the mountains in the province of Botolan, Zambales as a SAF Trooper. He grows up with his bestfriend, Glen (Maja Salvador). Both of them enter the police force. Unknown to Cardo, Glen secretly has a crush on him.

Their lives take a sudden turn when Ador is betrayed and killed by Joaquin after pursuing a syndicate. Wanting to conceal the fact that Ador was killed in action, Cardo was ordered to assume Ador's persona and continue the mission his deceased brother left behind.

He will also be forced to pretend to his brother's family and friends, and be reunited with his grandmother, whom he resented, for surmising she deserted him. Challenges later followed in life, and he promised to find the person who was behind his brother's death.

Cardo tackles various cases of people he meets along the way. However, he was later eventually framed up for illegal drug possession, and thus experiences life in prison. After escaping in a jailbreak and determined to clear his name, Cardo continues his goal in pursuing and ultimately obliterating the syndicate which is responsible for his framing. The organization continues to threaten his family and has many connections in society including the police and government. Unbeknownst to Cardo, the syndicate who framed him up was also the same syndicate responsible for the untimely death of his loved ones, including Ador.

Tomas Tuazon (Albert Martinez), Joaquin's father, was later killed while fighting Cardo in Prison for the killing of Cardo's sister in law and Ador's wife, Carmen. Don Emilio (Eddie Garcia) was jailed for murder of Ador and Cardo's father, Pablo de Leon (Tonton Gutierrez). Cardo's innocence is proven after Joaquin Tuazon was exposed for his crimes for the killing of his twin brother Ador and Cardo's friend Benny (Pepe Herrera).

Cardo later killed Joaquin after the latter disrupted his wedding to Alyanna (Yassi Pressman), avenging Ador's death.

Although retiring from the police, Cardo later decides to turn to vigilantism as the country deals with the threat of a rebel group, known as the Pulang Araw (English: Red Sun Group). After the death of his son Ricky Boy, Cardo decides to return to service in his original capacity as a PNP-SAF trooper.

ABS-CBN president and CEO, Charo Santos-Concio, touted the creation of an action-drama series which particularly aims to give importance to the police force in an effort to help them "regain the love and respect of the people". Coco Martin, who would be later named as the series' lead actor, was involved in the production shoot for the series, who proposed that the production team create a television adaptation of Fernando Poe Jr. film Ang Probinsyano. Martin reasons that he and his grandmother enjoyed watching films of the action star while Martin grew up. The widow of Fernando Poe Jr., Susan Roces reportedly allowed the production team to adopt her late spouse's film. [6]

The series directed by Malu Sevilla, Avel Sunpongco and Toto Natividad is not a remake of the 1997 film of the same name. It was made to be run for months to be more suitable for teleserye viewers.[7]

The title of the original film was inspired from the term "pulis patola" which is occasionally used to tease newbie police officers. Since patola, or cucumber of the luffa genus, is usually grown in the provinces outside urban areas such as Manila, the title Ang Probinsyano was decided to be the title of the 1997 film,[7] which would be later adapted in the 2015 television series.

Singer-actress Angeline Quinto was supposedly part of the main cast to play the role of Lily, an original character yet different role. However, she was later pulled out from the cast due to conflicting schedules.[8][9][10][11] Quinto was replaced by Maja Salvador, and thus the character renamed to Glen. This was Salvador's reunion project with Coco Martin four years after Minsan Lang Kita Iibigin.

On August 2016, Maja Salvador left the series due to numerous prior commitments (including the then-upcoming drama, Wildflower) and the expiration of her contract with Dreamscape. In the same month, Yassi Pressman who recently left GMA Network, joined the cast as Alyana Arevalo to substitute Salvador.

On May and August 2017, Veteran action stars-politicians Lito Lapid and Jestoni Alarcon replaced Albert Martinez and action star-politician Mark Lapid and matinee idol Aljur Abrenica replaced Arjo Atayde as the new main antagonists of the series. Albert Martinez and Arjo Atayde are father and son in the first book chapter series but Lito Lapid and Mark Lapid are father and son in real life and but then Jestoni Alarcon and Aljur Abrenica are father and son in the second book chapter series. Lito Lapid is the Leader of the Rebellion and Mark Lapid is his right-hand man.

The action drama was confirmed to air until 2017 due to its high ratings, action scenes and "real life lessons" which was well received by the audience. Furthermore, the series has also been known to educate its viewers about Philippine laws and issues.[20]

On 21 April 2017, ABS-CBN announced that FPJ's Ang Probinsyano is officially extended until January 2018.[21]

On 28 September 2017, this series will be celebrating its 2nd Anniversary.

The following is a list of songs featured in FPJ's Ang Probinsyano.

FPJ's Ang Probinsyano is considered one of the most-watched teleserye in the Philippines, garnering the highest-rated pilot episode of all time with 41.6% in 2015, and also received the highest peak nationwide rating of 46.7% on its 92nd episode in 2016. The series is well received by the public due to its action sequences, life lessons and crime prevention tips.

Coco Martin was given a certificate of appreciation for his favorable portrayal as a highly dedicated and responsible CIDG Police officer in FPJ's Ang Probinsyano given in the 63rd Criminal Investigation and Detection Group (CIDG) Founding Anniversary.[24]


where does the word helter skelter come from

The term "helter-skelter" was first recorded in the United Kingdom at Hull Fair in October 1905, taking its name from the much older adverb meaning "in confused, disorderly haste". Other recorded names for the slide include Canadian slide, alpine glide, lighthouse slip, slipping the slip and glacier slip.[1]

Helter skelter (ride)

A helter skelter is an amusement ride with a slide built in a spiral around a high tower. Users climb up inside the tower and slide down the outside, usually on a mat or hessian (burlap) sack. Typically the ride will be of wooden construction and, in the case of fairground versions, designed to be disassembled to facilitate transportation between sites. The term is primarily (but not exclusively) found in the United Kingdom. In the United States, the ride is uncommon and may be called by other names, such as a "Skyslide".

The ride inspired the Beatles song of the same name and is also mentioned in the songs "Tonight, Tonight, Tonight" from Genesis, "Ball and Chain" by XTC, "Fade In-Out" by Oasis, "Fat Gal" by Merle Travis, "Wild Child" by Enya, "American Pie" by Don McLean, "Bloodbath in Paradise" by Ozzy Osbourne, "Arabella" by Arctic Monkeys, "Black Curtains" by Megadeth, and "1969" by Ulver. In March 2010, The Shapeshifters also released a track called "Helter Skelter". A version of the ride is featured briefly in the credit sequence of the K-On! movie as part of the music video for "Singing!"

The ride is also shown on the popular Five (UK) and Nickelodeon (US) children's programme Peppa Pig.

In the long-running television series, Doctor Who, there is an unseen helter skelter in the TARDIS, just before the wardrobe.[2]

This ride appears in the PC games RollerCoaster Tycoon and RollerCoaster Tycoon 2 renamed the Spiral Slide. There is also a snake Helter-Skelter in RollerCoaster Tycoon 3.

In Midsomer Murders series 13, Episode 3 "Blood on the Saddle", a Helter Skelter is used as a sniper perch.

A variation of the ride is shown in the Nintendo 64 game Banjo Tooie within the level "Witchyworld".

In Jamie And The Magic Torch, the eponymous hero opens a magical portal to Cuckooland, which takes the form of a helter-skelter.


who is the voice of bleeding gums murphy

Taylor had numerous television roles. He voiced jazz musician "Bleeding Gums" Murphy on The Simpsons, appearing in the first season episode "Moaning Lisa" (1990) and returning for the character's death in the season six episode "'Round Springfield" (1995).[1][23] He was one of the first people to guest star on the show.[24] Taylor was supposed to reprise his role in the season two episode "Dancin' Homer", but was in New York and unable to record his part.[10] Keith Phipps of The A.V. Club said the role gave Taylor "television immortality".[25] He also reprised the role on a recording of Billie Holiday's song "God Bless the Child" on the 1990 The Simpsons' album The Simpsons Sing the Blues.[26] He appeared as a Klingon chef in Star Trek: Deep Space Nine,[6] and played wrestling instructor Coach Wingate in Twin Peaks.[25] Other television roles included guest spots on NYPD Blue, ER, Profiler, Family Matters, Home Improvement and Ally McBeal.[1][3][5][9][10][27] Taylor also had a recurring part in the 2000 series City of Angels,[1] and played a blues singer in a two-part episode of Matlock, a role that was written for him.[10] He also appeared in more than 20 films. These included Trading Places, Amos & Andrew, A Rage in Harlem (as Hank),[10] The Mighty Quinn and Rush Hour 2.[1][5][9]

Ron Taylor (actor)

Ronald James Taylor (October 16, 1952 â€“ January 16, 2002) was an American actor, singer and writer. He grew up in Galveston, Texas and later moved to New York City to attend the American Academy of Dramatic Arts. After graduating, Taylor began working in musical theater, appearing in The Wiz (1977), before getting his break with the 1982 off-Broadway production Little Shop of Horrors. Taylor voiced the killer plant Audrey II in the show, which ran for five years and over 2,000 performances.

Taylor created and starred in the musical revue It Ain't Nothin' But the Blues, which charted the history of blues music from its African origin to American success. Originally performed at high schools in Denver as a 45-minute piece, the revue was expanded to two hours, played around the country and opened on Broadway in 1999. It was met with critical acclaim, ran for eight months, and saw Taylor receive two Tony Award nominations.

He also had numerous television roles, appearing in The Simpsons, Twin Peaks, Star Trek: Deep Space Nine, Ally McBeal and L.A. Law. His performance in the latter, as a singer who performed the American national anthem "The Star-Spangled Banner" at baseball games, led him to perform the anthem at several real-life sporting events. Taylor was married and had one son. He died in January 2002 after suffering a heart attack.

Ronald James Taylor was born on October 16, 1952 in Galveston, Texas to Marian and Robert "Bruno" Taylor and had two sisters, Roberta and Frances.[1][2][3][4] He attended O'Connell High School,[5] and Wharton County Junior College, where he was a football player, and a participant in the school choir and theater. The choir teacher suggested he join after overhearing him singing The Temptations.[1] He favoured music over football, and at the age of 19 attended the American Academy of Dramatic Arts in New York,[1][3] intending to become a singer.[6]

â€”Taylor on his role in Little Shop of Horrors.[7]

Taylor, a "barrel-chested bass-baritone",[3] had an extensive career in musical theater. Upon graduating from the American Academy of Dramatic Arts, Taylor was unable to read sheet music and could "barely" play the piano, but found work as a singer.[3] In 1977 he played the Cowardly Lion in a national touring production of The Wiz.[1][3][6] Taylor subsequently played Great Big Baby in the 1978 Broadway production Eubie! and Caiaphas in a performance of Jesus Christ Superstar.[7]

He voiced Audrey II, the "street-smart, funky, conniving" talking killer plant which is an "anthropomorphic cross between a Venus flytrap and an avocado", in the original off-Broadway production of Howard Ashman and Alan Menken's "black-comedy musical" Little Shop of Horrors from 1982.[1][7][8][9] Audrey II was played by four increasingly large puppets, operated by Martin P. Robinson, while Taylor sat in a box at the back of the stage to voice the role, standing to perform his musical numbers.[3][7] The two kept in close proximity to ensure "that voice and action are always synchronized" and "developed a rapport" which was "the only thing that allow[ed] the character to really bloom."[7] Taylor disliked sitting in the box as it left him feeling disconnected from the audience.[7] The part was his break and was described by Jesse McKinley of The New York Times as "a role Mr. Taylor's booming voice was made for...[he] soon put his stamp on Audrey's signature line: 'Feed me, feed me!'"[3] Members of the public often used the line when they saw Taylor.[7] Little Shop of Horrors was performed over 2000 times before it closed in 1987.[3][10] At the 1983 Drama Desk Awards, Taylor won the award for Outstanding Special Effects for his performance, which he shared with Robinson.[9][11]

In the 1984 Broadway production of The Three Musketeers at The Broadway Theatre, Taylor played Porthos, one of the three title characters.[6][12] After fifteen preview performances, the show ran just nine times before closing.[13] Frank Rich wrote that the musketeers were "professionally played" by Taylor and his co-stars Brent Spiner and Chuck Wagner but felt the three had "little dialogue and often seem like interchangeable stand-ins for the Three Stooges."[12] A similar view was held by William B. Collins of the Philadelphia Inquirer who said they "speak as in one voice and behave like comedians who have been stranded without good material."[14]

Taylor created and starred in the musical revue It Ain't Nothin' But the Blues, which charted the history of blues music from its African origin to American success. He conceived the original idea for the show when he played blues musician Rufus Payne in a 1987 production of Lost Highway, a play about singer Hank Williams at the Denver Center for the Performing Arts in Denver, Colorado. He proposed the idea to director Randal Myler who eventually accepted it in 1994. Taylor co-wrote the revue with Myler, Lita Gaithers, Charles Bevel and Dan Wheetman,[1][9][15][16] and also served as its associate producer.[17] Taylor was the revue's lead singer and acted as its narrator;[18] his numbers included "I'm Your Hoochie Coochie Man", "The Thrill is Gone", "Blues Man" and "Let the Good Times Roll".[17] It was initially performed as a 45-minute production at 25 local high schools.[16] Because of their positive reception, the show was expanded to two hours and 50 songs, with three people being added to the original cast of four, and was regularly performed at the Denver Center.[1][6]

Taylor described the performance as "very cordial", with the audience close to performers, and that "one show is never the same as the next because of the songs, of what they are. Blues is about how you feel today. One day, you're down; another day is real happy and giddy. We're all laughing. Randy's direction captures that. It's always so personal, bringing the audience into the piece."[6] As well as African music, the revue includes "country, gospel, the old blues, Appalachian music," featuring music by Patsy Cline, Brenda Lee, Mahalia Jackson, Jimmy Rogers, Nina Simone and Muddy Waters.[6]

In 1995, the revue ran for a month at the Cleveland Play House, in conjunction with the opening of the Rock and Roll Hall of Fame and Museum,[6] before touring at other regional theaters.[3] It played at the Crossroads Theatre in New Jersey for seven weeks in November 1998 [16] and opened off-Broadway at New York's New Victory Theater in March 1999,[3] presented by Crossroads Theatre, in association with San Diego Repertory Theatre and Alabama Shakespeare Festival.[15] It was met with critical and audience acclaim and the following month moved to Broadway to the Vivian Beaumont Theater.[16][19] New York Times critic Lawrence Van Gelder wrote that the show had a "cornucopia of splendidly interpreted song," and "is a potent blend of visual eloquence and historical sweep that engages the eye and touches the heart while its songs soothe the ear, occasionally work mischief on the funny bone, and always raise the spirits."[15]

A week after opening at the Beaumont, the show received four Tony Award nominations, with Taylor being nominated for Best Performance by a Featured Actor in a Musical and Best Book of a Musical.[1][20] The cast's performance on the live Tony Awards show on CBS was bumped due to limited time, sparking controversy, costing the show potential revenue, and damaging its prospects for survival.[16] The cast performed two days later on the CBS talkshow Late Show with David Letterman,[1] while media attention and radio coverage of the Tony snub boosted the show's takings for the following two weeks.[16] This did not last and did not "build a long-lasting audience like the Tonys could",[16] leading to dwindling attendance. A large word-of-mouth networking campaign to advertise the performance was set up by the producers and the show moved to the Ambassador Theatre, where the box office takes began to break even.[16] The show closed in January 2000 after a total run of eight months on Broadway.[3][19]

For the rest of the year, It Ain't Nothin' But the Blues again toured at regional theaters, running in Atlanta, San Diego, and the John F. Kennedy Center for the Performing Arts in Washington D.C., and returning to New York in August 2000 at the B.B. King Blues Club and Grill for a month-long run.[18][19] Jim Trageser of The Press-Enterprise, in a review of one of the San Diego performances, praised Taylor, saying he "has the lung power to simply take over any show, especially his own" and "shows surprising grace and athleticism as well as the kind of leonine masculinity that certain big men (Orson Welles, Babe Ruth) possess". Trageser also praised the writing, calling it "a superb job not only of selecting the songs, but in choosing arrangements that blow away all the cobwebs history has laid on many of them."[18]

It Ain't Nothin' But the Blues was the longest-running show Taylor appeared in, as well as his final Broadway appearance.[3] Taylor planned an IMAX film version of the production;[21] and nine years after his death, it was revived by the New Harlem Arts Theater at the Aaron Davis Hall on the City College of New York campus.[22]

After a 1991 appearance on the series L.A. Law, on which he played a singer sacked by a baseball team for "embellish[ing]" his performances of the American national anthem "The Star-Spangled Banner", Taylor received several invitations to sing it before sports events, although never expected anything to happen when he had taken the part.[10] He sang it before the Major League Baseball game between the Baltimore Orioles and Detroit Tigers on July 1, 1991. His rendition did not mimic that of his character: "the song is self-explanatory. I'm just going to sing the song straightforwardly and that's that."[10] Taylor received travel and accommodation expenses but no other payment for his performance.[10] He also sang for a Los Angeles Kings National Hockey League game,[10] and on August 5, 1995 he sang the anthem before the MLB match between the Cleveland Indians and Chicago White Sox.[6]

Taylor was part of the blues group The Nervis Bros and performed across the United States.[1][9] He also sang with Billy Joel, Bruce Springsteen, Etta James, Slash and Sheila E..[1]

Taylor met DeBorah Sharpe in 1977 during the production of The Wiz where she was the understudy for Dorothy.[1] They married in 1980 and had a son, Adamah.[1][6] In his spare time, Taylor often helped teach vulnerable young people through a variety of projects, including at the George Street Playhouse in New Jersey.[5][9] He noted "things have come out of the air for me...I'm grateful; that's why I work with kids. I've had a blessing in my career, to have gone as far as I've gone."[6] A 1995 piece in The Plain Dealer described Taylor as "A jolly giant of a man, he looks like a natural force â€“ a mountain, perhaps, who can tell great stories."[6] Taylor was a Christian.[16]

Taylor suffered a small stroke in 1999; he was able to perform again in It Ain't Nothin' But the Blues 73 days later.[16] He died of a heart attack aged 49, on January 16, 2002, at his home in Los Angeles, California.[1] His funeral took place on January 28 at the New Christ Memorial Church of God in Christ.[1][9]


what is the drink for the kentucky derby

The mint julep is a mixed alcoholic drink, or cocktail, consisting primarily of bourbon (or some other spirit), sugar, water, crushed or shaved ice, and fresh mint. As a bourbon-based cocktail, it is associated with the American South and the cuisine of the Southern United States in general, and the Kentucky Derby in particular.

Mint julep

A mint julep is traditionally made with four ingredients: mint leaf, bourbon, simple syrup, and crushed ice. Traditionally, spearmint is the mint of choice used in Southern states, and in Kentucky in particular. Proper preparation of the cocktail is commonly debated, as methods may vary considerably from one bartender to another. The mint julep may be considered a member of a loosely associated family of drinks called "smashes" (the brandy smash is another example, as well as the mojito), in which fresh mint and other ingredients are muddled or crushed in preparation for flavoring the finished drink. The step further releases essential oils and juices into the mixture, intensifying the flavor from the added ingredient or ingredients.

Traditionally, mint juleps were often served in silver or pewter cups, and held only by the bottom and top edges of the cup. This allows frost to form on the outside of the cup.[1]  Traditional hand placement may have arisen as a way to reduce the heat transferred from the hand to the silver or pewter cup. Today, mint juleps are most commonly served in a tall old-fashioned glass, Collins glass, or highball glass with a straw.

The mint julep originated in the southern United States, probably during the eighteenth century.

U.S. Senator Henry Clay of Kentucky introduced the drink to Washington, D.C., at the Round Robin Bar in the famous Willard Hotel during his residence in the city.[2] The term "julep" is generally defined as a sweet drink, particularly one used as a vehicle for medicine. The word itself is derived from the Spanish "julepe",  from Spanish Arabic, and this from the  Persian word گلاب (Golâb), meaning rosewater.

The mint julep was originally prescribed and appears in literature as early as 1784 "sickness at the stomach, with frequent retching, and, at times, a difficulty of swallowing. I then prescribed her an emetic, some opening powders, and a mint julep."[3] An appearance of a mint julep in print came in a book by John Davis published in London in 1803, where it was described as "a dram of spirituous liquor that has mint steeped in it, taken by Virginians of a morning."[4]  Davisâ€™ interviewee mentions his love for whiskey came from his daily preparation of the drink

Americans enjoyed not only bourbon-based juleps during the nineteenth century, but also gin-based juleps made with genever, an aged gin.

British Captain Frederick Marryat's 1840 book Second Series of A Diary in America describes on page 41 the "real mint julep" thus:

There are many varieties [of Mint Julep], such as those composed of Claret, Madeira, &c.; but the ingredients of the real mint-julep are as follows. I learnt how to make them, and succeeded pretty well. Put into a tumbler about a dozen sprigs of the tender shoots of mint, upon them put a spoonful of white sugar, and equal proportions of peach and common brandy, so as to fill it up one-third, or perhaps a little less. Then take rasped or pounded ice, and fill up the tumbler. Epicures rub the lips of the tumbler with a piece of fresh pine-apple, and the tumbler itself is very often incrusted outside with stalactites of ice. As the ice melts, you drink.[5]

The 1862 edition of Bar-Tenders Guide: How to Mix Drinks or The Bon-Vivant's Companion by Jerry Thomas includes five recipes for the mint julep (as well as an illustration of how it is to be served) allowing for either Cognac, brandy, gin, whiskey or sparkling Moselle.[6] Thomas states of the mint julep, "...a peculiarly American beverage...It was introduced [later] into England by Captain Maryatt."

In 1916, the traditional Virginia recipe as served at the "Old White" is described

...the famous old barroom, which was approached by a spiral staircase. Here in this dark, cool room, scented with great masses of fragrant mint that lay upon mountains of crushed ice, in the olden days were created the White Sulphur mint julep and the Virginia toddy, for which this place was famous the world over. The mint juleps were not the composite compounds of the present day. They were made of the purest French brandy, limestone water, old-fashioned cut loaf sugar, crushed ice, and young mint the foliage of which touched your ears... [7]

Recently, however, bourbon-based juleps have decisively eclipsed gin-based juleps.[8]

The mint julep has been promoted by Churchill Downs in association with the Kentucky Derby since 1938. Each year almost 120,000 juleps are served at Churchill Downs over the two-day period of the Kentucky Oaks and the Kentucky Derby, virtually all of them in specially made Kentucky Derby collectible glasses.[9]

In a contract arrangement between the Brown-Forman Corporation and Churchill Downs that has lasted more than 18 years, the Early Times Mint Julep Cocktail has been the designated "official mint julep of the Kentucky Derby", although the Early Times sold within the United States is a Kentucky whiskey, not a bourbon, due to its being aged in used, rather than new, oak barrels.[10] However beginning in 2015, Old Forester, which is also produced by the Brown-Forman Corporation, is now "the official drink of the Kentucky Derby," when sold as Old Forester Mint Julep Ready-to-Serve Cocktail.[11][12]

Since 2006, Churchill Downs has also served extra-premium custom-made mint juleps at a cost of $1000 each at the Kentucky Derby. These mint juleps were served in gold-plated cups with silver straws, and were made from Woodford Reserve bourbon, mint imported from Ireland, spring water ice cubes from the Bavarian Alps, and sugar from Australia. The proceeds were used to support charitable causes dedicated to retired race horses. Woodford Reserve, Early Times, and Old Forester are sister brands produced by Brown-Forman, and under the terms of its current marketing agreement with Churchill Downs, Woodford Reserve is called the "official bourbon" of the derby.

In May 2008, Churchill Downs unveiled the world's largest mint julep glass. Churchill Downs, in conjunction with Brown-Forman, commissioned the Weber Group to fabricate the 6-foot (1.8 m) tall glass (7.5-foot (2.3 m) if the mint sprig is included). The glass was constructed from FDA food-grade acrylic, heated and molded into the shape of an official 2008 Derby glass. It had a capacity of 206 US gallons (780 l; 172 imp gal), and distributed the Early Times mint juleps at the Derby with an elaborate pumping system concealed within the "stir straw".


the gestalt principle of proximity refers to the idea that

The Gestalt law of proximity states that "objects or shapes that are close to one another appear to form groups". Even if the shapes, sizes, and objects are radically different, they will appear as a group if they are close.

Principles of grouping

The principles of grouping (or Gestalt laws of grouping) are a set of principles in psychology, first proposed by Gestalt psychologists to account for the observation that humans naturally perceive objects as organized patterns and objects, a principle known as Prägnanz. Gestalt psychologists argued that these principles exist because the mind has an innate disposition to perceive patterns in the stimulus based on certain rules. These principles are organized into five categories: Proximity, Similarity, Continuity, Closure, and Connectedness.[1][2][3][4]

Irvin Rock and Steve Palmer, who are acknowledged as having built upon the work of Max Wertheimer and others and to have identified additional grouping principles,[5] note that Wertheimer's laws have come to be called the "Gestalt laws of grouping" but state that "perhaps a more appropriate description" is "principles of grouping."[6][7]Rock and Palmer helped to further Wertheimer's research to explain human perception of groups of objects and how we perceive parts of objects and form whole objects on the basis of these.

The principle of similarity states that, all else being equal, perception lends itself to seeing stimuli that physically resemble each other as part of the same object, and stimuli that are different as part of a different object. This allows for people to distinguish between adjacent and overlapping objects based on their visual texture and resemblance. Other stimuli that have different features are generally not perceived as part of the object. Our brain uses similarity to distinguish between objects which might lie adjacent to or overlap with each other based upon their visual texture. An example of this is a large area of land used by numerous independent farmers to grow crops. Each farmer may use a unique planting style which distinguishes his field from another. Another example is a field of flowers which differ only by color.[citation needed]

The principles of similarity and proximity often work together to form a Visual Hierarchy. Either principle can dominate the other, depending on the application and combination of the two. For example, in the grid to the left, the similarity principle dominates the proximity principle and you probably see rows before you see columns.

The principle of closure refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing. For example, if part of a shape’s border is missing people still tend to see the shape as completely enclosed by the border and ignore the gaps. This reaction stems from our mind’s natural tendency to recognize patterns that are familiar to us and thus fill in any information that may be missing.

Closure is also thought to have evolved from ancestral survival instincts in that if one was to partially see a predator their mind would automatically complete the picture and know that it was a time to react to potential danger even if not all the necessary information was readily available.

When there is an intersection between two or more objects, people tend to perceive each object as a single uninterrupted object. This allows differentiation of stimuli even when they come in visual overlap. We have a tendency to group and organize lines or curves that follow an established direction over those defined by sharp and abrupt changes in direction...[citation needed]

When visual elements are seen moving in the same direction at the same rate (optical flow), perception associates the movement as part of the same stimulus. For example, birds may be distinguished from their background as a single flock because they are moving in the same direction and at the same velocity, even when each bird is seen—from a distance—as little more than a dot. The moving 'dots' appear to be part of a unified whole. Similarly, two flocks of birds can cross each other in a viewer's visual field, but they will nonetheless continue to be experienced as separate flocks because each bird has a direction common to its flock.[citation needed]

This allows people to make out moving objects even when other details (such as the objects color or outline) are obscured. This ability likely arose from the evolutionary need to distinguish a camouflaged predator from its background.

The law of common fate is used extensively in user-interface design, for example where the movement of a scrollbar is synchronised with the movement (i.e. cropping) of a window's content viewport; The movement of a physical mouse is synchronised with the movement of an on-screen arrow cursor, and so on.

The principle of good form refers to the tendency to group together forms of similar shape, pattern, color, etc. Even in cases where two or more forms clearly overlap, the human brain interprets them in a way that allows people to differentiate different patterns and/or shapes. An example would be a pile of presents where a dozen packages of different size and shape are wrapped in just three or so patterns of wrapping paper, or the Olympic Rings.


what part of london is the o2 arena in

The O2 is a large entertainment district on the Greenwich peninsula in South East London, England, including an indoor arena, a music club, a Cineworld cinema, an exhibition space, piazzas, bars and restaurants. It was built largely within the former Millennium Dome, a large dome-shaped canopy built to house an exhibition celebrating the turn of the third millennium; consequently The Dome remains a name in common usage for the venue. It is sometimes referred to as The O2 Arena, but that name properly refers to a smaller indoor arena within The O2. Naming rights to the district were purchased by the mobile telephone provider O2 from its developers, Anschutz Entertainment Group (AEG), during the development of the district. AEG owns the long-term lease on the O2 Arena and surrounding leisure space.

The O2

Coordinates: 51°30′10.14″N 0°0′11.22″E / 51.5028167°N 0.0031167°E / 51.5028167; 0.0031167

From the closure of the original "Millennium Experience" exhibition occupying the site, several ways of reusing the Millennium Dome's shell were proposed and then rejected. The renaming of the Dome in 2005 gave publicity to its transition into an entertainment district. The Dome's shell remained in situ, but its interior and the area around North Greenwich Station, the QE2 pier and the main entrance area were completely redeveloped.

The area is served by the Jubilee line's North Greenwich tube station, which was opened just before the millennium exhibition, and by bus routes. Thames Clippers operate a river boat service for London River Services; the present tenants, AEG, purchased Thames Clippers in order to provide river links between central London and The O2. As well as a commuter service, Thames Clippers operates the O2 Express service. Local buses also serve the station and the nearby O2.

On 23 February 2017, O2 announced that they had agreed a deal with AEG to maintain the naming rights of The O2 for a further ten years until 2027.[1]

The dome-shaped structure, which now houses The O2's Entertainment Avenue and arena, was originally constructed as the Millennium Dome and housed the Millennium Experience, a major exhibition to celebrate the start of the third millennium. The exhibition opened to the public on 1 January 2000 and ran until 31 December 2000; however, the project and exhibition was the subject of considerable political controversy and it did not attract the number of visitors anticipated, leading to recurring financial problems. In popular usage, the dome canopy is often still called The Dome, reflecting the substantial, and often adverse, publicity given to its building in the late 20th century.

The O2 was developed inside the dome structure by Anschutz Entertainment Group to a design by Populous and Buro Happold in a £600 million development.[2]

In December 2001, it was announced that Meridian Delta, Ltd. had been chosen by the government to develop the Dome structure, originally the Millennium Dome, as a sports and entertainment centre, and to develop housing, shops and offices on 150 acres (0.6Â km2) of surrounding land. It is also hoped to relocate some of London's tertiary education establishments to the site. Meridian Delta is backed by the American billionaire Philip Anschutz, who has interests in oil, railways, and telecommunications, as well as a string of sports-related investments.

Meridian Delta, a subsidiary of Quintain Estates and Development and Lend Lease, had signed a 999-year lease for the Dome and its surrounding land with the government and English Partnerships, a UK governmental body for national regeneration which was assigned the regeneration of the Greenwich Peninsula. The Dome site was then sub-leased to Anshutz Entertainment Group (AEG), who strongly support Meridian Delta, for a minimum of 58 years. English Partnerships leased the arena directly to AEG Europe for 58 years. AEG would develop and operate The O2 during the length of the lease agreements. The lease agreements were made in the agreement that the government would get a certain percentage of profits through English Partnerships. English Partnerships and Quintain Estates and Development both own land around The O2 on the Greenwich Peninsula. They will release land in stages, to developers, and develop the area in a joint venture with the aid of Meridian Delta.[3] Some of the land is already being developed for offices and shops. Some of the land around the dome is being reserved for possible extended developments for The O2, including a hotel, although the building of much of the extended development depends on how much investment can be made by AEG (See below section about possible future developments for details).

In 2008, the functions of English Partnerships were transferred to the Homes and Communities Agency. Ravensbourne, a specialist art and design institution previously located in Chislehurst, moved to a new campus built immediately adjacent to The O2 in September 2010. The David Beckham Academy football school ran nearby from 2005 to 2009.

The cost of developing the whole Greenwich Peninsula area was estimated at 4Â billion pounds in 2006.[4]

As part of the investment programme, naming rights were sold to O2 plc, and 'The O2' became the official name of the project on 25 May 2005.[5] The £6 million a year deal between O2 plc and AEG also included priority tickets and reserved VIP accommodation for O2 mobile customers.[6] The service was also made available to premium ticket holders. O2 plc started talks with AEG in 2005 to have its logo and branding placed on the roof of the dome, but this has not yet been confirmed.[7] Anschutz Entertainment Group have constantly stated that they wish to abolish its name as 'The Dome' due to its bad reputation as a failed project, being tagged as 'The White Elephant.'[4] Since its opening, there have been signs of the press and public calling it The O2.[8][9][10][11][12] It is currently the largest entertainment district in London.[13] To mark its opening, AEG spent £6.5 million on a mass advertising campaign, led by VCCP, throughout Europe to promote The O2;[14] they are also partnered with and sponsored by ADT, AOL, NEC, Credit Suisse, InBev UK, BMW, Nestle, Pepsi Max and Vivitar.[15]

The development took place in the form of new buildings being built inside the dome structure. The dome structure was not changed as part of the construction with the exception of blue lights being added to the support poles and plasma displays being added to some of the large sculptures around the dome. Construction started with the arena roof, which was built on the ground and then raised, as cranes could not be used in the dome structure. The construction then moved on to the arena building itself and the entertainment avenue around the arena building. A wide pathway between North Greenwich station and The O2 was also built, as well as the Peninsula Square piazza in front of the dome for special events. A glass roof was built over part of the pathway so that people can walk from the station to The O2 without getting wet in rain. A covered path was also built between the QE2 Pier and The O2's main entrance. Buro Happold provided structural engineering for the project. The main civil engineering and construction contract for the development was awarded to Sir Robert McAlpine.[16] Watson Steel Structures provided engineering for the 4500 tonne arena roof.[17] M-E Engineers were the building services engineers for the project. T. Clarke were the electrical contractors.[18] OR Consulting engineers set up a few interactive exhibitions within The O2.[19][20] Keller Ground engineering prepared the ground for construction. Special ground preparation was necessary due to the contaminated soils from the industrial works which existed at the site before the dome. Catalytic converters were also installed within the dome to prevent toxic gases due to the dome structure being left in place. The plant cylinders, containing services equipment, and some piles used for the original dome, were reused.[21] Financial consulting was provided by WT Partnership and EC Harris.[20] The Waterfront partnership provided legal support for the development and continues to do so for The O2.[22] Kerzner International helped with the development of the entertainment venues.[23]

Anschutz planned to build a'super casino' as one of the attractions, as this would create a huge investment for the company and would allow for business opportunities and further developments of the area. The super casino was to be developed and operated by Kerzner International.[23] The association of the British Deputy Prime Minister, John Prescott, with Philip Anschutz, head of the entertainment group, gave rise to serious political controversy in Britain with allegations that Prescott may have used undue influence to support Anschutz's casino licence bid. Prescott had met with Anschutz on several occasions and even stayed in his ranch for a few days.[24] They were further criticised when the structure for the super-casino had already been built.[25] In January 2007 the single trial licence for a British super casino was granted to Manchester. Thus AEG announced that the casino will not be built in the near future, and that there would not be enough investment for a high-rise hotel, designed by Richard Rogers, as well as a theatre, a cable car from Canary Wharf and an extended development that was planned adjacent to the dome structure will not be built.[23] AEG had previously stated that there was no alternative plan if the super casino could not be located in The O2. However the space reserved for the super casino is still available for future developments.

Nearly one-third of the ground floor of the dome awaits development in Phase II. A mezzanine level is also located on the western side of the dome in which AEG are still determined to locate a super casino. Alternatively, an attraction is required that would attract enough tourists who would wish to stay overnight and bring in sufficient investment to allow Phase II to proceed as well as the building of the planned hotel.[26] It has been suggested that The O2 could be a cruise terminal as an alternative to a super casino, if the super casino were not possible.[27] In late 2007, Marine engineering consultancy, Beckett Rankine, were appointed to investigate the possibility of the cruise terminal being built.[28] The remaining land around The O2 Entertainment District will be filled with shops and offices. Short term car parks are currently being built.

In 2012 it was reported that the O2 would be sold by its owners, Anschutz Entertainment Group (AEG), as part of the disposal of the entire company's assets, rumoured to be valued around $7 billion.[29]

The venue, rebranded The O2, was reopened to the public on 24 June 2007 with a concert by Bon Jovi in the arena. The O2 celebrated its first year with a book, including a double page picture of Elton John from his September 2007 Red Piano show.[30] Prior to this reopening, other events took place, including a soft opening for residents of the area to explore the entertainment district and an opening for staff called "The O2 Premiere" which featured Peter Kay, Tom Jones, Kaiser Chiefs and Basement Jaxx. An event called "Out of the Blue" featuring circus acts also took place on the day of the public opening, as part of the Greenwich Festival.

Various buildings are housed within the dome structure including an arena, known as The O2 arena, and an Entertainment Avenue consisting of various restaurants and bars. There is also a VIP club lounge, an operations room, a media centre with high definition facilities and a number of dressing rooms as well as a VIP entrance/exit for performers.

All the venues in the complex use the latest lighting, sound and security technology, including RFID smart card tagging of staff and VIP guests, and digitally managed sound.[31] There are four computer server rooms to provide this technology.[32][33]

The complex is also covered by CCTV and security personnel. Arena visitors and their bags are screened with X-ray machines and metal detectors at the main entrance.[34][35]

The O2 Arena (referred to as the North Greenwich Arena for the 2012 Summer Olympics and Paralympics) is a 20,000 capacity venue, primarily used for live music. It is located at the centre of The O2 and is the first American-style, multi-purpose arena in London.[15] It is the second largest arena in the UK after the Manchester Arena, but is the busiest music venue in the world.[citation needed]

The arena and its facilities are housed in an independent building within the dome structure. The arena has hosted multiple kinds of music and sporting events and in 2008 exceeded ticket sales for both Madison Square Garden and the Manchester Arena.[36]

"indigo at The O2" is a 2,750 capacity live music club for smaller music events, club events, after shows, corporate and private events.[22] It contains four bars: two on the main ground floor area in front of the stage, one in the VIP lounge called the Purple Lounge and one in the stalls, called Bleachers. The Purple Lounge is not in direct view of the stage, but guests have access to "Kings Row", the best seats in the venue. indigo at The O2 is managed by Ansco Music Club limited (the business name of the indigo part of AEG Live).

The venue hosted "An Audience with Bill Clinton" in 2007. Comedians such as Andy Parsons and Roy 'Chubby' Brown have performed at indigo. Classic FM hosted several shows throughout 2008. The venue hosted the 'bootcamp' sessions for the reality TV show, The X Factor during the 2008, Series 5 season, and in 2010 was used for the debut of the snooker format, Power Snooker.[37] In 2012 it was the venue for a performance by South Korean pop rock band CN Blue.[38]

The O2 Bubble is a two-storey bubble-shaped exhibition space built to museum standards, which opened in November 2007. It is made from ETFE, the same material used for the Eden Project, and the bubble itself is reportedly based on the Eden Project.[39] Tutankhamen and the Golden Age of the Pharaohs was the first exhibition in the Bubble and after that was Body Worlds. In October 2009 it was Michael Jackson: The Official Exhibition, a collection of Jackson's personal items from his estate and Neverland Ranch, costumes and props from his tours and videos.[40]

In 2009, the third floor of the bubble became an exhibition called the British Music Experience, a sixty-year retrospective of British popular music.[41] It now hosts an Elvis exhibition. A London outlet of Brooklyn Bowl opened in 2014 on the ground floor.

The Entertainment Avenue is a wide pedestrian avenue within The O2, with artificial palm trees and other decorations, built around the circular arena building which takes up the centre of the dome structure. The entertainment avenue has buildings on either side, which are leased to tenants who run bars and restaurants, and resembles a shopping centre.

The buildings on the Entertainment Avenue include a music club known as indigO2, an exhibition space known as The O2 bubble, a cinema managed by Cineworld and 25 bars and restaurants.[42] The cinema includes 11 screens over 2 levels including one 770 capacity auditorium (Sky Super Screen) which is the third largest screen, by screen-size, in London, and the sixth largest screen in the UK. It uses the vista ticketing system, where tickets can be purchased from any stall selling refreshments. Cineworld began operating the cinema, taking over from Vue in 2010.[43]

Fast food outlets have been banned from the development as the theme is 'aspirational but accessible', trying to avoid it being seen as a shopping centre but more like Covent Garden.[44][45]

Announced in 2011,[46] Up at The O2 officially opened on 21 June 2012. It involves an expedition across the roof of The O2 along a 190m long tensile fabric walkway. Halfway, a central platform provides 360 degree views of the city, before a descent down to the base of the venue on the other side. From the platform, visitors can see the Olympic Park, Thames Barrier, Historic Royal Greenwich and Canary Wharf.

The O2 also has one multi-purpose indoor events space for live music and night clubbing. Competing with other similar events spaces such as Brixton Academy, the club is called Building Six (formerly Matter & Proud2).

Special events or minor events which do not require or cannot be held in the indoor venues are held in the piazzas â€“ The London Piazza, Peninsula Square outside the main entrance of The O2, and the area around the main entrance. The London Piazza has featured an indoor beach, ice rink and dry ski slope.[47]

Brooklyn Bowl is a combined bowling alley and live music venue launched in the O2.


what type of climate does madrid spain have

Madrid and its metropolitan area has a hot-summer Mediterranean climate (Köppen climate classification: Csa)[2][2] with continental influences, with cool winters and hot summers. According to Troll-Paffen climate classification, Madrid has warm-temperate subtropical climate (Warmgemäßigt-subtropisches Zonenklima)[3] and according to Siegmund/Frankenberg climate classification, Madrid has subtropical climate.[4] Eastern and southern parts of the city have a semi-arid climate (BSk).

Climate of Madrid

Its average annual temperature is 19.9 °C (67.8 °F) during the day and 10.1 °C (50.2 °F) at night. In the coldest month – January, typically the temperature ranges from 5 to 15 °C (41 to 59 °F) during the day and −2 to 6 °C (28 to 43 °F) at night. In the warmest month – August, the typical temperature is around 31 °C (88 °F) during the day and about 19 °C (66 °F) at night.[5]

Winters in Madrid are cold compared to other parts of Spain with average temperatures of about 6-8 °C (43-46 °F) and the coldest month is January 6 °C (43 °F). The temperature during the day is around 10 °C-15 °C (50-59 °F), and the temperatures during the night often get below 0 °C (32 °F) although snow is fairly rare.[6]

The summers in Madrid have hot and sunny days with temperatures around 31-32 °C (87.8-89.6 °F) but can be 35-40 °C (95-104 °F) on some days. Overnight temperatures average around 19 °C. [6]

Sunshine duration is 2,769 hours per year, from 124 (4 hours per day in average) in December to 359 (above 11.6 hours per day in average) in July.[5] This is one of the largest number of sunshine duration hours in Europe and this is a bit above average for the southern half of Europe because in this part of the continent, sunshine duration varies from about 2,000 to about 3,000 hours per year. However, this is 70% larger value than in northern half of Europe, where sunshine duration is around 1500 hours per year.[citation needed] In winter Madrid has about three times more sun duration than in the northern half of Europe.[citation needed]

Madrid has on average only 63 precipitation days a year, therein average several rainy days per month (≥ 1 mm), ranging from 2 days in July and August to 8 days in May. The average annual precipitation is less than 436 mm (17.87 inches), ranging from 10 mm (0.35 inch) in August to 56 mm in November and December.[5]

Average relative humidity is 57%, ranging from 38% in July to 74% in December.[5]

Snowfalls are rare, sporadic, to few days per year. In January 1941 reported record: 8 snow days in the month.[8]

The highest temperature recorded during the day is 40.6 °C (105.1 °F) on the 10 August 2012. On the August 1933 reported record, the average maximum temperature during the day was 35.5 °C (95.9 °F). The coldest temperature recorded was −10.1 °C (13.8 °F) at night on 16 January 1945.[8]

Madrid enjoys one of the most optimal number of hours of daylight in Europe. Days in winter are not as short as in the northern part of the continent, the average hours of daylight in December, January and February is 10 hours[15] (for comparison: London[16] or Moscow[17] or Warsaw[18] - about 8 hours).

Madrid has a similar latitude as Valencia or Lisbon, however, the climate of these Iberian cities is different. Madrid is located in the hinterland on the highland, Valencia and Lisbon are located on the coast. Valencia and Lisbon have much warmer winters (data from January, the coldest month):

and also Valencia and Lisbon have cooler summers and milder temperatures in the middle of summer during the day.


is a consulate and embassy the same thing

The office of a consul is termed a consulate, and is usually subordinate to the state's main representation in that foreign country, usually an embassy, or High Commission between Commonwealth countries, in the capital city of the host state. Like the term embassy, the word consulate may refer not only to the office of consul, but also to the building occupied by the consul and his or her staff. The consulate may share premises with the embassy itself.

Consul (representative)

A consul is an official representative of the government of one state in the territory of another, normally acting to assist and protect the citizens of the consul's own country, and to facilitate trade and friendship between the people of the two countries.[1] A consul is distinguished from an ambassador, the latter being a representative from one head of state to another. There can be only one ambassador from one country to another, representing the first country's head of state to that of the second, and his or her duties revolve around diplomatic relations between the two countries; however, there may be several consuls, one in each of several main cities, providing assistance with bureaucratic issues to both the citizens of the consul's own country traveling or living abroad and to the citizens of the country in which the consul resides who wish to travel to or trade with the consul's country.

In Classical Greece, some of the functions of the modern consul were fulfilled by a proxenos. Unlike the modern position, this was a citizen of the host polity (in Greece, a city state). The proxenos was usually a wealthy merchant who had socio-economic ties with another city and who helped its citizens when they were in trouble in his own city. The position of proxenos was often hereditary in a particular family. Modern honorary consuls fulfill a function that is to a degree similar to that of the ancient Greek institution.

Consuls were the highest magistrates of the Roman Republic and Roman Empire. The term was revived by the Republic of Genoa, which, unlike Rome, bestowed it on various state officials, not necessarily restricted to the highest. Among these were Genoese officials stationed in various Mediterranean ports, whose role included duties similar to those of the modern consul, i. e. helping Genoese merchants and sailors in difficulties with the local authorities.

The Consolat de mar was an institution established under the reign of Peter IV of Aragon in the fourteenth century, and spread to 47 locations throughout the Mediterranean.[2] It was primarily a judicial body, administering maritime and commercial law as Lex Mercatoria. Although the Consolat de mar was established by the Corts General (parliament) of the Crown of Aragon, the consuls were independent from the King. This distinction between consular and diplomatic functions remains (at least formally) to this day. Modern consuls retain limited judicial powers to settle disputes on ships from their country (notably regarding the payment of wages to sailors).

The Consulado de mercaderes was set up in 1543 in Seville as a merchant guild to control trade with Latin America. As such, it had branches in the principal cities of the Spanish colonies.

The connection of "consul" with trade and commercial law is retained in French. In Francophone countries, a juge consulaire (consular judge) is a non-professional judge elected by the chamber of commerce to settle commercial disputes in the first instance (in France, sitting in panels of three; in Belgium, in conjunction with a professional magistrate).

A consul of the highest rank is termed a consul-general, and his or her office a consulate-general. He or she typically has one or several deputy consuls-general, consuls, vice-consuls and consular agents working under the consul-general. Consulates-general need not have their offices in the capital city. Many are in important or appropriate cities in terms of bilateral relations (commerce, travel, etc.) In the United States, for example, most countries have a consulate-general in New York City (the home of the United Nations), and some have consulates-general in several major cities. The same is the case for other large countries like Germany, the Russian Federation, Canada, Brazil and Australia.

Consuls of various ranks may have specific legal authority for certain activities, such as notarizing documents. As such, diplomatic personnel with other responsibilities may receive consular letters patent (commissions). Aside from those outlined in the Vienna Convention on Diplomatic Relations, there are few formal requirements outlining what a consular official must do. For example, for some countries, consular officials may be responsible for the issue of visas; other countries may limit "consular services" to providing assistance to compatriots, legalization of documents, etc. Nonetheless, consulates proper will be headed by consuls of various ranks, even if such officials have little or no connection with the more limited sense of consular service.

Activities of a consulate include protecting the interests of their citizens temporarily or permanently resident in the host country, issuing passports; issuing visas to foreigners and public diplomacy. However, the principal role of a consulate lies traditionally in promoting tradeâ€”assisting companies to invest and to import and export goods and services both inwardly to their home country and outward to their host country. Although it is not admitted publicly, consulates, like embassies, may also gather intelligence information from the assigned country.

Contrary to popular belief, many of the staff of consulates may be career diplomats, but they do not generally have diplomatic immunity unless they are also accredited as such. Immunities and privileges for consuls and accredited staff of consulates (consular immunity) are generally limited to actions undertaken in their official capacity and, with respect to the consulate itself, to those required for official duties. In practice, the extension and application of consular privileges and immunities can differ widely from country to country.

Consulates are more numerous than diplomatic missions, such as embassies. Ambassadors are posted only in a foreign nation's capital (but exceptionally outside the country, as in the case of a multiple mandate; e.g., a minor power may accredit a single ambassador with several neighbouring states of modest relative importance that are not considered important allies). Consuls are posted in a nation's capital, and in other cities throughout that country, especially centres of economic activity and cities where large populations of citizens from the consul's home country reside (expatriates).

Consulates are subordinate posts of their home country's diplomatic mission (typically an embassy, in the capital city of the host country). Diplomatic missions are established in international law under the Vienna Convention on Diplomatic Relations, while consulates-general and consulates are established in international law under the Vienna Convention on Consular Relations. Formally, at least within the US system, the consular career (ranking in descending order: consul-general, consul, vice-consul, honorary consul) forms a different hierarchy from the diplomats in the strict sense. However, it is common for individuals to be transferred from one hierarchy to the other, and for consular officials to serve in a capital carrying out strictly consular duties within the consular section of a diplomatic post; e.g., within an embassy.

Between Commonwealth countries, both diplomatic and consular activities may be undertaken by a High Commission in the capital, although larger Commonwealth nations generally also have consulates and consulates-general in major cities. For example, Toronto in Canada, Sydney in Australia and Auckland, New Zealand, are of greater economic importance than their respective national capitals, hence the need for consulates there.

When Hong Kong was under British administration, diplomatic missions of Commonwealth countries, such as Canada,[3] Australia,[4] New Zealand,[5] India,[6] Malaysia,[7] and Singapore[8] were known as commissions. After the transfer of sovereignty to China in 1997, they were renamed consulates-general.[9] with the last commissioner becoming consul-general.[10] However, the Australian commission had been renamed the consulate-general in 1986.[11]

Owing to its status as a special administrative region of China, some countries' consulates-general in Hong Kong report directly to their respective foreign ministries, rather than to their embassies in Beijing, such as those of Canada,[12] the United Kingdom[13] and United States.[14]

A consul general is an official who heads a consulate general and is a consul of the highest rank serving at a particular location. A consul general may also be responsible for consular districts which contain other, subordinate consular offices within a country. The consul general serves as a representative who speaks on behalf of his or her state in the country to which he or she is located, although ultimate jurisdiction over the right to speak on behalf of a home country within another country ultimately belongs to the single ambassador. It is abbreviated "CG" and the plural form is consuls general. In most embassies, the consular section is headed by a consul general who is a diplomat and a member of the ambassador's country team.

Some consuls are not career officials of the represented state at all; some are locally engaged staff with the nationality of the sending country,[15] and in smaller cities, or in cities that are very distant from full-time diplomatic missions, a foreign government which feels that some form of representation is nevertheless desirable may appoint a person who has not hitherto been part of their diplomatic service to fulfill this role. Such a consul may well combine the job with his or her own (often commercial) private activities, and in some instances may not even be a citizen of the sending country. Such consular appointments are usually given the title of honorary consul.

In addition, the U.S. Secretary of State (in a memo issued on August 6, 2003) states the following concerning honorary consuls:

"The United States Government appreciates that honorary consular officers provide important services both to the governments which they represent and to United States citizens and entities. Nevertheless, for reasons previously communicated to the missions, United States Government policy requires that the maintenance and establishment of consular posts headed by honorary consular officers must be supported by documentation which makes it possible for the Department of State to be assured that meaningful consular functions will be exercised by honorary consular officers on a regular basis and that such consular officers come under the supervision of, and are accountable to, the governments which they represent." [16]

As a matter of U.S. policy, honorary consular officers recognized by the U.S. Government are American citizens, or permanent resident aliens who perform consular services on a part-time basis. The limited immunity afforded honorary consular officers is specified in Article 71 of the Vienna Convention on Consular Relations (VCCR). Such individuals do not enjoy personal inviolability, and may be arrested pending trial if circumstances should otherwise warrant. However, appropriate steps are provided to accord to such officers the protection required by virtue of their official position. In addition, the consular archives and documents of a consular post headed by an honorary consular officer are inviolable at all times, and wherever they may be, provided they are kept separate from other papers and documents of a private or commercial nature relating to other activities of an honorary consular officer or persons working with that consular officer.

Despite their other roles, honorary consular officers (in the widest use of the term) in some instances also have responsibility for the welfare of citizens of the appointing country within their bailiwick.[17] For example, the Embassy of Finland states that the tasks of Finland's Honorary Consulate include: monitoring the rights of Finns and permanent residents of Finland residing in the area in which the consulate is located, providing advice and guidance for distressed Finnish citizens and permanent residents traveling abroad to that area, and assisting them in their contacts with local authorities or the nearest Finnish embassy or consulate. Certain types of notarized certificates can be acquired through an honorary consul. Together with diplomatic missions, an honorary consul promotes economic and cultural relations between Finland and the country in question, and takes part in strengthening Finlandâ€™s image abroad. An honorary consul can advise Finnish companies, for instance, in obtaining information about local business culture and in finding cooperation partners.[17]

In the social life of 19th-century Lübeck as depicted in Thomas Mann's novel Buddenbrooks – based on Mann's thorough personal knowledge of his own birth place – an appointment as the consul of a foreign country was a source of considerable social prestige among the city's merchant elite. As depicted in the book, the position of a consul for a particular country was in practice hereditary in a specific family, whose mansion bore the represented country's coat of arms, and with that country confirming the consul's son or other heir in the position on the death of the previous consul. As repeatedly referenced by Mann, a consul's wife was known as "Consulin" and continued to bear that title even on the death of her husband. Characters in the book are mentioned as consuls for Denmark, the Netherlands and Portugal.

From 1798 to 1883 the foreign affairs of the United States were largely the responsibility of those wearing the gold braid of U.S. navy officers.[18] Since there were no formal diplomatic relationships with countries in many regions, the U.S. government often relied on those most experienced in trade relations – the consuls – to seize opportunities for commercial and diplomatic contacts. Early United States consuls were really chief merchant-agents, receiving but an administrative pittance (apart from "insider trading" information on port commerce) and issuing reports to the Department of State on their circumscribed duties in safeguarding American property and estates and caring for sailors and residents. American consuls undertook an informal kind of proto-diplomacy as they functioned mostly to support commerce, acting on their own authority in support of the trading community. The U.S. government, while underwriting such functions, did nothing to guarantee legal protection for American citizens or to accord judicial authority to consuls. In a notable case of 1821, an Italian sailor on the American ship Emily, Francis Terranova, accidentally killed a Chinese woman. Chinese authorities demanded that Terranova be turned over to them, and executed him when the Americans complied.

Early in the 1830s, as part of American interest in expanding competitively in the Pacific region and East Asia, President Andrew Jackson and Secretary of State Edward Livingston made initiatives toward strengthening the American consular role, with respect to remuneration and the coordination of commercial and naval interests. Both were greatly influenced by the "activist" reports of Edmund Roberts, former American consul in Demerara (scene of the Demerara rebellion of 1823 that attracted British attention to the need to abolish slavery,) and by John Shillaber, the American consul in Batavia (modern Jakarta).[19] Shillaber, a Massachusetts native, served as the American consul in Batavia between 1825 and 1832, officially resigning from that post in 1835 while in China. In 1826, in Batavia, he tried unsuccessfully to secure the authority to sign American treaties with Siam and other kingdoms in the East Indies, like Sumatra, where, in 1831, the native population attacked American shipping (which resulted in the US Navy's First Sumatran expedition a year later.) While on leave in 1831, at the request of the Department of State, he prepared treaty outlines dealing with Japan, expressing hopeful opinions about the future of U.S.-Japan relations. In 1832 Secretary of the Navy Levi Woodbury, a leading proponent of increased naval power in China, used his influence to have President Jackson appoint his friend Roberts, rather than Shillaber, as a special envoy to look into treaty possibilities. In 1832 Roberts was awarded the commission to negotiate treaties that Shillaber still expected to receive. Then in 1833 he wrote to Secretary Woodbury stating the need for a naval force in Chinese and Philippine waters to counteract the coastal piracy of the infamous Ladrones (Thieves Islands). Shillaber was discouraged at being passed over for the assignment to Siam secured by Roberts, so in 1834 he attempted to gain the even more prestigious consular post at Canton. In his letters to President Jackson and to Secretary Livingston describing the post-monopoly, pre-treaty political and commercial situation, Shillaber attempted to define himself as a "China expert" and diplomatic pundit. Shillaber's detailed correspondence preserved in his own hand among the U.S. consular despatches in the National Archives in Washington, is remarkably prescient with respect to the inevitability of Sino-British hostilities and the need to define a more assertive American position in China. He recommended that American consuls have official power to represent the government before the Chinese authorities, protect the property and rights of American citizens, make vigorous efforts to open more ports to trade, and that Americans maintain an armed naval presence in East Asian waters. Significantly, Shillaber felt that American policy should have another purpose, namely, to show the Chinese that Americans were a breed apart, different from other Westerners, especially the British, who came to do business, assume control, and wreak havoc in China.[20]

Following Roberts' treaty with Said bin Sultan, Sultan of Muscat and Oman,[21] Richard Waters, a native of Salem, Massachusetts, was appointed American consul from 1837 to 1845 in Zanzibar; Gilbert gives an account of the difficulties facing a neophyte American consul.[22]


20th century boy lyrics robin hood or rock n roll

Although the lyrical content of a lot of Marc Bolan's songs is ambiguous[citation needed], analysis of the multi track recordings of 20th Century Boy reveals the first line of the song to be "Friends say it's fine, friends say it's good/Everybody says it's just like Robin Hood," and not the often misquoted "...just like rock 'n' roll."[6]

20th Century Boy

"20th Century Boy" is a song by T. Rex, written by Marc Bolan. It was released as a single in 1973 and reached No. 3 in the UK Singles Chart.[4] The song was not featured on an original studio album but was included as a bonus track on a reissue of 1973 album Tanx.

It later returned to the UK Top 20 in 1991, peaking at No. 13,[5] fourteen years after Bolan's death, when it was used in a Chris Hartwill-directed commercial for Levi's starring Brad Pitt. It plays a key role on the science fiction-mystery manga 20th Century Boys.

20th Century Boy was recorded on 3 December 1972 in Toshiba Recording Studios in Tokyo, Japan at a session that ran between 15:00 and 1:30.[6][7]

Backing vocals, hand claps, acoustic guitar and saxophones were recorded in England when T. Rex returned to the country after their tour.[6]

The single version of the track fades out at three minutes thirty nine seconds, however the multi track master reveals that the song ended in nearly a full three minutes worth of jamming.[7][6] A rough mix of the full length version can be found on the Bump 'n' Grind compilation.[7]

20th Century Boy's lyrics are, according to Marc Bolan, based on quotes taken from notable celebrities such as Muhammad Ali. This can be seen through the inclusion of the line "sting like a bee", which is taken from one of Ali's 1969 speeches.[8]

"Free Angel" was recorded during the first session for the Tanx album, between 1 and 4 August 1972. The single was mixed for release at Air Studios on 16 December 1972.[7]

English hard rock band Def Leppard covered the song on their 2006 album, Yeah!, which features cover versions of 1970s rock hits. It was released as the third and final single from the album, on 21 August 2006.[9] The band used the song extensively as promotion for including two TV appearances and a regular rotation in the setlist of their 2006 Yeah! Tour. Def Leppard performed "20th Century Boy" on The Tonight Show with Jay Leno on 23 May 2006[10] two days before performing the song with Queen's Brian May on VH1 Rock Honors broadcast on 31 May.

Since its release it has been covered by artists such as Ty Segall, Adam Lambert, Bang Tango, Naked Raygun, Kiyoharu, Adam Ant, Drain STH, Chalk Circle,[11] The Replacements, Girlschool, Pink Cream 69, R.E.M., The Three Johns, Scott Weiland, Placebo,[12] and Siouxsie and the Banshees.[13] It has also been covered live by X Japan, playing the song at many of their earlier performances, one of which was used as the live B-side to their 1989 single "Kurenai". Count Zero, a Boston-based experimental rock band, has released a live performance of the song for download on their website. The song has been covered by Bang Tango in their live album Ain't No Jive...Live!.

Avant-garde metal guitarist Buckethead also covered it on a 1998 tribute, Great Jewish Music: Marc Bolan.[14] On 29 September 2007, Moby joined Richard Barone onstage for "20th Century Boy" at the T. Rex tribute in Central Park, NYC, with Tony Visconti on bass. British rockabilly band The Big Six recorded a version for the 1998 movie The Truman Show.

During their cameo in 1998 film Velvet Goldmine, Placebo performed this song as fictitious band The Flaming Creatures. It also appeared as a Double A-Side on their single "You Don't Care About Us" and in their album Covers. The band also performed it live at the 1999 BRIT Awards with David Bowie.

Powerman 5000 covered the song on their 2011 album Copies, Clones & Replicants.

A slightly different segment of the song, with the addition of a harp, was used in a Jameson Irish Whiskey television advertisement.

Japanese band Buck-Tick cites the chorus in their 2001 single "21st Cherry Boy".[15] Another Japanese band, Fake?, covered the song live in September 2013.[16] The Spike Network series Lip Sync Battle uses the song as its opening theme song, and it was featured during a shootout in the pilot episode of The Good Guys.


who played lola in the movie damn yankees

The film was directed by George Abbott, as was the earlier stage version, with assistance from Stanley Donen. With the exception of Tab Hunter in the role of Joe Hardy (replacing Stephen Douglass), the Broadway principals reprised their stage roles, including Gwen Verdon as Lola.

Damn Yankees (film)

Damn Yankees! is a 1958 musical film made by Warner Bros. based on the 1955 Broadway musical of the same name. The story is a modern take on the Faust legend[1] involving the New York Yankees and Washington Senators baseball teams.

A notable difference between film and stage versions was Gwen Verdon's performance of the song "A Little Brains". For the film, Verdon's suggestive hip movements (as choreographed by Bob Fosse and performed on stage) were considered too risquÃ© for a mainstream American film in 1958, and so, in the film, she simply pauses at these points.

The film was released in the United Kingdom under the title What Lola Wants, to avoid use of the word "Damn" on posters, hoardings and cinema marquees. It was also possibly because the title's pun, alluding to the American Southerners' colloquial term for Northerners ("damn Yankee") would be lost on foreign audiences.

Joe Boyd is a middle-aged fan of the unsuccessful Washington Senators baseball team. His obsession with baseball is driving a wedge between him and his wife Meg—a problem shared by many other wives of Senators supporters. Meg leads them in lamenting their husbands' fixation with the sport ("Six Months Out of Every Year").

After seeing his team lose yet again, Joe rashly declares that he would sell his soul to the devil to see his team beat the Yankees. No sooner has he spoken than the devil appears before him in the guise of a suave conman, Applegate. Applegate claims he can go one better—he can restore Joe's youth, making him the player who wins them the pennant. This was more than Joe bargained for. He agrees, but persuades Applegate to give him an escape clause. Applegate declares that Joe can back out at any time before the last game of the season—afterwards, his soul belongs to the devil.

Joe bids an emotional farewell to a sleeping Meg ("Goodbye Old Girl"), after which Applegate transforms him into a dashing young man, now called Joe Hardy.

The next day, the Senators' practice is a fiasco. Their manager, Ben Van Buren (Russ Brown), gives the team a rousing pep talk ("Heart"). Applegate arrives and, introducing himself as a scout, presents his new discoveryâ€”Joe Hardy from Hannibal, Missouri. Joe promptly hits baseball after baseball out of the park in an impromptu batting practice. As he is signed to a Senators contract, female sportswriter Gloria Thorpe plans to quickly get Joe into the public eye ("Shoeless Joe from Hannibal, Mo.").

With tremendous home runs and game-saving catches, Joe leads the Senators on a long winning streak into pennant contention and becomes a national hero. Joe misses Meg dreadfully, however, and keeps sneaking back to his old neighborhood for a glimpse of her. Realising this could ruin his plans, Applegate summons his demonic right-hand girl, Lola, a seductress who was once known as the ugliest woman in her territory, but sold her soul to Applegate in exchange for eternal youth and beauty. She is ordered to make Joe forget his wife. Lola is confident that she can carry out this task ("A Little Brains, A Little Talent").

Joe succeeds in getting close to Meg by renting a room in his old house; Meg is unaware of his baseball stardom. Applegate and Lola manage to corner Joe in the baseball team's locker room, where Lola confidently tries to seduce Joe ("Whatever Lola Wants"). But she has her first failureâ€”Joe dearly loves Meg, and does not fall for Lola's tempting ways. Applegate angrily banishes Lola.

By the end of the season, the Senators are on the verge of overtaking the Yankees, so their fans hold a lavish tribute ("Who's Got the Pain?"). Gloria, having returned from Hannibal, Missouri, where no residents remember a Joe Hardy, confronts Applegate about the player's true identity. Applegate implies that Joe is actually Shifty McCoy, a corrupt minor leaguer playing under a pseudonym. By the end of the tribute, newspapers arrive accusing Joe of being Shifty. He must meet with the baseball commissioner for a hearing or else be thrown out of baseballâ€”on the day he plans to switch back to being Joe Boyd.

At the hearing, Meg and her female neighbors arrive as material witnesses, attesting to Joe's honesty and falsely claiming he grew up with them in Hannibal. The commissioner acquits Joe, but as everyone celebrates, midnight strikes. Joe realizes he's doomed.

Applegate has planned for the Senators to lose the pennant on the last day of the season, resulting in thousands of heart attacks, nervous breakdowns and suicides of Yankee-haters across the country. He's reminded of his other evil misdeeds throughout history ("Those Were the Good Old Days".)

Following the hearing, Lola lets Joe know she's drugged Applegate so that he will sleep through the last game. They commiserate over their condemned situation at a nightclub ("Two Lost Souls").

Late the next afternoon, Applegate awakens to find the Senators/Yankees game well underway. Realizing Lola has tricked him—and worse, that Lola has actually fallen in love with Joe—he turns her back into an ugly hag.

They arrive at the ballpark by the ninth inning, the Senators up by a run. With two outs, one of the Yankee sluggers (Mickey Mantle) hits a long drive to the outfield. Applegate impulsively switches Joe Hardy back into Joe Boyd in full view of the stadium. Now paunchy and middle-aged, Joe makes a final lunge at the ball and catches it. Washington wins the pennant! As his teammates celebrate and fans storm the field, an unrecognized Joe escapes from the ballpark.

Late that night, as the public wonders why Joe Hardy has disappeared, Joe Boyd meekly returns to his house. Meg quickly hugs him with her tears and they sing to each other ("There's Something about an Empty Chair"). Applegate materializes once again and tries to make amends by offering Joe the chance to resume being Joe Hardy in time for the World Series. Joe ignores him, and a tantrum-throwing Applegate vanishes for good.

The "Overture" and "Two Lost Souls" are noticeably different from Broadway production in orchestration, and many of the lines in "Six Months Out of Every Year" were cut from the film. "A Little Brains, a Little Talent" has a few lyrical differences.

Some songs appear in different order than the original Broadway and subsequent versions, and some songs--"Near to You", "The Game", "A Man Doesn't Know", "Heart (Reprise)"â€”were cut entirely, which left Tab Hunter with very few songs. "There's Something About An Empty Chair" was not in the original stage version or in any stage versions since.

The film is recognized by American Film Institute in these lists:

Most of the baseball action was filmed at the Los Angeles version of Wrigley Field, a site often used in the 1950s for Hollywood films about baseball. The Wrigley footage was supplemented by stock crowd scenes at other ballparks, including the Senators real home, Griffith Stadium.

In 2009, Craig Zadan and Neil Meron attempted to produce a remake for New Line Cinema, with Jim Carrey as the Devil and Jake Gyllenhaal as Joe Boyd. Lola was never cast, and the project has been postponed indefinitely.[6]