when did the first motorola flip phone come out

The Motorola StarTAC is a clamshell mobile phone manufactured by Motorola. It was released on January 3, 1996, being the first ever clamshell/flip mobile phone.[2] The StarTAC is the successor of the MicroTAC, a semi-clamshell design that had been launched in 1989.[3] Whereas the MicroTAC's shell folded down from below the keypad, the StarTAC folded up from above the display. In 2005, PC World put StarTAC at #6 in The 50 Greatest Gadgets of the Past 50 Years.[2]

Motorola StarTAC

The StarTAC was among the first mobile phones to gain widespread consumer adoption; approximately 60 million StarTACs were sold.

Motorola applied for the StarTAC trademark name in September 1995. The StarTAC was unveiled in North America on January 3, 1996.[4] Then the smallest cell phone available, this AMPS phone was an immediate success. Successor TDMA and cdmaOne StarTACs were equally popular. GSM models were available in North America through Powertel, VoiceStream and other early GSM carriers. The StarTAC, which closely resembles Star TrekÂ´s Communicator,[5] remained popular until the early 2000s, appearing in many Hollywood movies of the period such as 8mm starring Nicolas Cage. Many MicroTAC owners switched to this particular model due to its compact size and light weight. During its initial launch, magazine ads for the phone would include an actual size cardboard facsimile that could be pulled from the page to demonstrate the diminutive nature of the device.

The Motorola StarTAC mobile phone was introduced at the price of $1000.[6]

Some key features of the Motorola StarTAC were:

The StarTAC name was revived in 2004 for a new model designed for the South Korean market. It had:

In addition, a version with an 18K gold directional keypad and brightwork was released as StarTAC 2004 SE.

The regular edition was released without the Mobile Banking function as the Motorola V628 in China. The 18K gold edition remained Korea-only.

Motorola once again revived the StarTAC by announcing the StarTAC III on February 27, 2007.[8]

In October 2010, French company Lekki, who revamp iconic and vintage products from the 1990s, refurbished StarTACs in new colorful covers.[12] They are selling it for €220.[13]


what is the role of the ventral root

In anatomy and neurology, the ventral root or anterior root is the efferent motor root of a spinal nerve.

Ventral root of spinal nerve

At its distal end, the ventral root joins with the dorsal root to form a mixed spinal nerve.

A spinal nerve with its anterior and posterior.

The motor tract.

Diagrammatic transverse section of the medulla spinalis and its membranes.

A portion of the spinal cord, showing its right lateral surface. The dura is opened and arranged to show the nerve roots.

Scheme showing structure of a typical spinal nerve.


how many different types of daylilies are there

The World Checklist of Selected Plant Families recognizes 19 species as of September 2014[update]:[1]

Daylily

A daylily is a flowering plant in the genus Hemerocallis /ˌhɛmɪroʊˈkælɪs/.[2] Gardening enthusiasts and professional horticulturalists have long bred daylily species for their attractive flowers. Thousands of cultivars have been registered by local and international Hemerocallis societies.[3] Hemerocallis is now placed in family Asphodelaceae, subfamily Hemerocallidoideae, but used to be part of Liliaceae (which includes true lilies).

Daylilies are perennial plants, whose name alludes to the flowers which typically last no more than 24 hours (about a day or so). The flowers of most species open in early morning and wither during the following night, possibly replaced by another one on the same scape (flower stalk) the next day. Some species are night-blooming. Daylilies are not commonly used as cut flowers for formal flower arranging, yet they make good cut flowers otherwise as new flowers continue to open on cut stems over several days.

Hemerocallis is native to Asia, primarily eastern Asia, including China, Korea, and Japan. This genus is popular worldwide because of the showy flowers and hardiness of many kinds. There are over 80,000 registered cultivars. Hundreds of cultivars have fragrant flowers, and more scented cultivars are appearing more frequently in northern hybridization programs. Some earlier blooming cultivars rebloom later in the season, particularly if their capsules, in which seeds are developing, are removed.

Most kinds of daylilies occur as clumps, each of which has leaves, a crown, flowers, and roots. The long, linear lanceolate leaves are grouped into opposite fans with arching leaves. The crown is the small white portion between the leaves and the roots. Along the scape of some kinds of daylilies, small leafy "proliferations" form at nodes or in bracts. A proliferation forms roots when planted and is often an exact clone of its parent plant. Many kinds of daylilies have thickened roots in which they store food and water.

A normal, single daylily flower has three petals and three sepals, collectively called tepals, each with a midrib in either the same basic color or a different color. The centermost part of the flower, called the throat, usually is of a different color than the more distal areas of the tepals. Each flower usually has six stamens, each with a two-lobed anther. After successful pollination, a flower forms a botanical capsule (often erroneously called a pod since botanical pods are found in Fabaceae, not Hemerocallis).

The Tawny or Fulvous Daylily (Hemerocallis fulva) is invasive in some parts of the United States, such as in Wisconsin (Wisconsin Department of Natural Resources).[4] People[who?] sometimes plant the Fulvous Daylily and other stoloniferous daylilies, which have underground runners. These kinds can overrun one's garden and can take an appreciable amount of time and effort to confine or remove.

The name Hemerocallis comes from the Greek words ἡμέρα (hēmera) "day" and καλός (kalos) "beautiful".

In the Victorian language of flowers, the day lily symbolizes coquetry.[5]

Two hybrids are recognized:[1]

A number of hybrid names appear in the horticultural literature but are not recognized as valid by the World Checklist of Selected Plant Families. These include:[1]

The daylily is often called[by whom?] "the perfect perennial", due to its brilliant colors, ability to tolerate drought and frost and to thrive in many different climate zones, and generally low maintenance. It is a vigorous perennial that lasts for many years in a garden, with very little care and adapts to many different soil and light conditions.[6] Daylilies have a relatively short blooming period, depending on the type. Some will bloom in early spring while others wait until the summer or even autumn. Most daylily plants bloom for 1 through 5 weeks, although some bloom twice in one season ("rebloomers)".[7]

The Tawny Daylily (Hemerocallis fulva), and the sweet-scented Lemon-lily (H. lilioasphodelus; H. flava, old name) were early imports from England to 17th-century American gardens and soon escaped from gardens. The introduced Tawny Daylily is now common in many natural areas, and some[who?] consider it a wildflower. Its nonscientific names include Railroad Daylily, Roadside Daylily, Ditch Lily, Outhouse Lily, Tiger Lily, and Wash-house Lily (although it is not a true lily). Some people[who?] have planted this species near outhouses and wash houses, hence two of its nonscientific names. Hemerocallis lilioasphodelus gained the Royal Horticultural Society's Award of Garden Merit.[8]

There are more than 80,000 daylily cultivars.[6] Depending on the species and cultivar, daylilies grow in USDA plant hardiness zones 1 through 11, making daylilies some of the more adaptable landscape plants. Hybridizers have developed the vast majority of cultivars within the last 100 years. The large-flowered, bright yellow Hemerocallis 'Hyperion', introduced in the 1920s, heralded a return to gardens of the once-dismissed daylily, and is still widely available in the nursery trade. Daylily breeding has been a specialty in the United States, where daylily heat- and drought-resistance made them garden standbys since the 1950s. New cultivars have sold for thousands of dollars, but many sturdy and prolific cultivars sell at reasonable prices of US$20 or less.

Hemerocallis is one of the very highly hybridized plant genera. Hybridizers register hundreds of new cultivars yearly. Hybridizers have extended the genus' color range from the yellow, orange, and pale pink of the species, through vibrant reds, purples, lavenders, greenish tones, near-black, near-white, and more. However, hybridizers have not yet been able to produce a daylily with primarily blue flowers in forms of blue such as azure blue, cobalt blue, and sky blue. Flowers of some cultivars have small areas of cobalt blue.

Other flower traits that hybridizers developed include height, scent, ruffled edges, contrasting "eyes" in the center of a bloom, and an illusion of glitter which is called "diamond dust." Sought-after improvements include foliage color and variegation and plant disease resistance and the ability to form large, neat clumps. Hybridizers also seek to make less-hardy plants hardier in Canada and the Northern United States by crossing evergreen and semi-evergreen plants with those that become dormant and by using other methods. Many kinds of daylilies form clumps of crowded shoots. People[who?] dig up such kinds every 3 or so years, separate shoots, and replant only some of the shoots to reduce crowding. This process increases the flowering of many cultivars.

In the last several decades, many hybridizers have focused on breeding tetraploid plants, which tend to have sturdier scapes and tepals than diploids and some flower-color traits that are not found in diploids. Until this trend took root, nearly all daylilies were diploid. "Tets," as they are called by aficionados, have 44 chromosomes, while triploids have 33 chromosomes and diploids have 22 chromosomes per individual plant.[9] Hemerocallis fulva 'Europa', H. fulva 'Kwanso', H. fulva 'Kwanso Variegata', H. fulva 'Kwanso Kaempfer', H. fulva var. maculata, H. fulva var. angustifolia, and H. fulva 'Flore Pleno' are all triplods that almost never produce seeds and reproduce almost solely by underground runners (stolons) and dividing groups by gardeners. A polymerous daylily flower is one with more than three sepals and more than three petals. Although some people[who?] synonymize "polymerous" with "double," some polymerous flowers have over five times the normal number of petals.

Formerly daylilies were only available in yellow, pink, fulvous (bronzed), and rosy-fulvous colors, now they come in an assortment of many more color shades and tints thanks to intensive hybridization. They can now be found in nearly every color except pure blue and pure white. Those with yellow, pink, and other pastel flowers may require full sun to bring out all of their colors; darker varieties, including many of those with red and purple flowers are not colorfast in bright sun.

The highest award a cultivar can receive is the Stout Silver Medal, given in memory of Dr. Arlow Burdette Stout, who is considered to be the father of modern daylily breeding in North America.

This annual award—as voted by American Hemerocallis Society Garden judges—can be given only to a cultivar that has first received the Award of Merit not less than two years previously. The 2014 winner of the Stout Silver Medal is 'Webster's Pink Wonder', hybridized by Richard Webster and introduced by R. Cobb. A complete list of Stout Silver Medal winners can be seen on the AHS website.[10] The following cultivars have gained the Royal Horticultural Society's 2012 Award of Garden Merit:[11]

'All American Chief'

'Always Afternoon'

'Arctic Snow'

'Asterisk'

'August Frost'

'Beauty to Behold'

'Burning Daylight'

'Cat Dancer'

'Cayenne'

'Cherry Eyed Pumpkin'

'Condilla'

'Curly'

'Cinnamon Windmill'

'Custard Candy'

'Eggplant Escapade'

'Elegant Candy'

'Fooled Me'

'Grey Witch'

'Holly Dancer'

'Jamaican Me Crazy'

'Jellyfish Jealousy'

'Julie Newmar'

'Karen's Curls'

'Killer'

'Lady Neva'

'Lime Frost'

'Mahogany Magic'

'Mary's Gold'

'Moonlit Masquerade'

'North Wind Dancer'

'Old Tangiers'

'Performance Anxiety'

'Primal Scream'

'Radiant Moonbeam'

'Ruby Spider'

'Running Late'

'Russian Rhapsody'

'Selma Longlegs'

'Serena Sunburst'

'Sir Modred'

'Spider Man'

'Stafford'

'Strawberry Candy'

The flowers of Hemerocallis citrina are edible and are used in Chinese cuisine.[12] They are sold (fresh or dried) in Asian markets as gum jum or golden needles (金针 in Chinese; pinyin: jīn zhēn) or yellow flower vegetables (黃花菜 in Chinese; pinyin: huáng huā cài). They are used in hot and sour soup, daylily soup (金針花湯), Buddha's delight, and moo shu pork. The young green leaves and the rhizomes of some (but not all[citation needed]) species are also edible.

H. aurantiaca is included in the Tasmanian Fire Service's list of low flammability plants, indicating that it is suitable for growing within a building protection zone.[13]

Hemerocallis species are toxic to cats and ingestion may be fatal. Treatment is usually successful if started before renal failure has developed.[14]


who wrote the music for the green mile

His critical and commercial success has continued in the following years with his scores for films such as Meet Joe Black, The Green Mile, Erin Brockovich, In the Bedroom and The Salton Sea. He was nominated consecutively for a further three Academy Awards, for Road to Perdition (2002), Finding Nemo (2003), and Lemony Snicket's A Series of Unfortunate Events (2004). However, he lost on each occasion to Elliot Goldenthal (for Frida), Howard Shore (for The Lord of the Rings: The Return of the King), and Jan A. P. Kaczmarek (for Finding Neverland) respectively.

Thomas Newman

Thomas Montgomery Newman (born October 20, 1955) is an American composer best known for his many film scores.

Newman has been nominated for fourteen Academy Awards and three Golden Globes, and has won two BAFTAs, six Grammys and an Emmy Award. Newman was honored with the Richard Kirk award at the 2000 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music.[1]

Born in Los Angeles, California, he is the youngest son of Martha Louis Montgomery (1920–2005) and composer Alfred Newman (1901–1970), who won the Academy Award for Best Original Score nine times. He is a member of a film-scoring dynasty in Hollywood that includes his father Alfred, brother David Newman, sister Maria Newman, uncles Lionel Newman and Emil Newman, cousin Randy Newman (also known as a singer and songwriter), and his first cousin, once removed, Joey Newman. His paternal grandparents were Russian Jewish immigrants, and his mother was from Mississippi.

During their upbringing, Martha herded her sons into violin lessons in the San Fernando Valley every weekend.[2] Newman later studied composition and orchestration for two years at the University of Southern California,[3] before transferring to Yale University, where he graduated as a Bachelor of Arts in 1977 and a Master of Music in 1978.[4] While at Yale, he met composer Stephen Sondheim, who became an early mentor.[2]

Newman and his wife, Ann Marie, have three children. They reside in the Pacific Palisades neighborhood of Los Angeles.

At first, Newman was more interested in musical theater than in film composition, working with Sondheim in Broadway plays.[5] Lionel, who succeeded Alfred as music director for 20th Century Fox, gave Thomas his first scoring assignment on a 1979 episode of the series The Paper Chase.[1] In 1983, John Williams, who was a friend of both Alfred and Lionel, invited Newman to work on Return of the Jedi, orchestrating the scene where Darth Vader dies.[6] Afterwards Newman met in New York producer Scott Rudin, who invited him to compose the score for Reckless (1984). Newman said that he thought "it was a tough job, at first" for requiring him to "develop vocabularies and a sense of procedure", only getting comfortable with writing scores "and not fraudulent in my efforts" after 8 years.[7]

In 1992, Newman composed the score to Martin Brest's film Scent of a Woman.

In 1994, he got his first Academy Award nominations with the scores to The Shawshank Redemption and Little Women.[5] He also scored the film The War. In 1996, he scored Diane Keaton's Unstrung Heroes, receiving yet another Oscar nomination. In 1998, he scored Robert Redford's The Horse Whisperer as well as Meet Joe Black. In 1999, Newman composed the score to Sam Mendes' first feature film American Beauty, created using mainly percussion instruments. Newman believed the score helped move the film along without disturbing the "moral ambiguity" of the script, saying "It was a real delicate balancing act in terms of what music worked to preserve that."[8] This was his first collaboration with Mendes, and he would go on to score all of the director's subsequent films except for the comedy-drama Away We Go, which featured songs instead of a score. He received a fourth Oscar nomination for this score, and although he lost again (to John Corigliano for The Red Violin), he did receive a Grammy and a BAFTA.

He was again nominated for an Oscar for scoring Steven Soderbergh's The Good German (2006). At the Oscar ceremony, he appeared in the opening segment by Errol Morris, who jokingly stated that Newman had been nominated for and failed to win an Oscar eight times. Newman replied: "No, I've failed seven but this will be my eighth", and indeed, he again lost, this time to Gustavo Santaolalla for Babel.

His first score since The Good German was for the 2008 animated film WALL-E, collaborating for the second time with director Andrew Stanton (with the first collaboration being Finding Nemo). The film won the Academy Award for Best Animated Feature (as had Nemo). Newman received two Oscar nominations: one for Best Original Score, and another for Best Original Song for "Down to Earth", which he co-wrote with Peter Gabriel. He was nominated in the Original Score category with two other veteran composers, James Newton-Howard and Danny Elfman, both of whom have also been nominated for several Oscars but each time unsuccessfully. Newman lost both the score and song nominations to A R Rahman for his work on Slumdog Millionaire. He and Peter Gabriel did however win a Grammy for "Down to Earth".

In 2008, Newman scored Towelhead and Sam Mendes' Revolutionary Road and in 2009 he scored Brothers. In 2011 he scored The Help, The Debt, The Iron Lady, and The Adjustment Bureau.[9]

In 2012, Newman scored The Best Exotic Marigold Hotel. He also scored the 23rd James Bond movie Skyfall, directed by his longtime collaborator Sam Mendes, which celebrates the film franchise's 50th anniversary.[10] His work on this film earned him his eleventh Oscar nomination and a second BAFTA win.  During 2013, he scored Steven Soderbergh's Side Effects and Saving Mr. Banks.  The latter score was very well received by film music critics, earning Newman BAFTA and Oscar nominations for the second consecutive year, both of which he lost to Steven Price for Gravity.

Newman's 2014 projects included The Judge and Get on Up. He scored 2015's The Second Best Exotic Marigold Hotel, marking the first time Newman has scored a sequel to a film he also wrote the score for.[11]

In 2016, Newman scored the motion picture Passengers starring Andy Garcia, Michael Sheen,  Laurence Fishburne, Jennifer Lawrence and Chris Pratt.

Newman likes to vary  the instrumentation in his scores, ranging from full orchestra to percussion-only music. He is also fond of incorporating unusual instruments such as the zither, hurdy-gurdy, psaltery and hammered dulcimer,[1] or unexpected sounds, like Aboriginal chants and the chirping of cicadas. The composer declared that he has "an interest in mundane experimentation."[5]

Newman has composed music for television as well, including theme music for the series Boston Public and the miniseries Angels in America. His theme music for the television show Six Feet Under won two Grammy Awards in 2003, for Best Instrumental Composition as well as Best Instrumental Arrangement. Newman also wrote a commissioned concert work for orchestra, Reach Forth Our Hands, for the 1996 Cleveland Bicentennial. The Los Angeles Philharmonic has commissioned a new work by Newman to be performed by the Kronos Quartet and Los Angeles Philharmonic, conducted by Leonard Slatkin, during the orchestra's 2009â€“2010 season.

He composed the incidental music for the Washington Shakespeare Theatre Company's 2014 production of As You Like It, directed by Michael Attenborough and starring Zoe Waites.[13]

As of 2017, Newman has received a total of fourteen Academy Award nominations, however he has yet to win the award, making him the most nominated living composer to have never won an Oscar, and behind Alex North, who received 15 unsuccessful nominations. Thirteen of his nominations are in the Best Original Score category, while one is for Best Original Song.

His first major successes for which he was recognised, came in 1994, when he earned two Academy Award nominations for his scores to Little Women and The Shawshank Redemption; he was the only double-nominee that year, although he lost to Hans Zimmer for The Lion King.

He received his third Academy Award nomination in 1996 for the score to Diane Keaton's comedy Unstrung Heroes, but again lost, this time to Alan Menken for Pocahontas.

He has also received three Golden Globe nominations including one for Best Original Score for 1999's American Beauty and two for Best Original Song, as well as nine Grammy nominations and five wins.

Newman's scores for American Beauty and The Shawshank Redemption were nominated for AFI's 100 Years of Film Scores.


why is ford ranger and mazda bt 50 the same

The Mazda BT-50 (model code J97M) is a compact/mid-sized pickup truck produced by the Japanese manufacturer Mazda since 2006. It is a larger version of the predecessor B-Series pickup and is not sold in the Japanese and North American markets. Until 2011, Ford had also sold a version of the first-generation BT-50 as the Ford Ranger and as the SUV Ford Everest. From 2011 the second-generation Ranger has been designed by Ford Australia, with a Mazda derivative sold as the BT-50.

Mazda BT-50

The BT-50 was launched at the Bangkok Motor Show on 22 March 2006. It shares its Duratorq/MZR-CD 2.5- and 3.0-liter diesel inline-four engines with the Ranger. In late November 2006, the new five-speed automatic transmission with Borg Warner transfer case has been added, as well as side airbags.

The BT-50 received a minor redesign in the first quarter of 2008, with a revised interior and several optional items made standard.

The model sold in Mexico and Central and South America includes these options:

Ford also offers an SUV version of the Ranger, known as the Ford Everest in Asia, Central America, and the Bahamas, and since late 2009 as a 2010 model, in South Africa, where it replaces the Australian-sourced Ford Territory. In India, it is called the Ford Endeavour.

The second-generation Everest has three rows of seating, and rear- or four-wheel drive. It offers Duratorq diesel engines and two different drivetrains: 4x2 for 2.5-liter 143 hp (107 kW) models, and 4x4 for 3.0-liter 156 hp (116 kW) models. In addition, the redesign featured the new five-speed automatic transmission with a Borg Warner transfer case, and the new Active-Shift-on-the-Fly (4x4 only) for the first time.

In the United States, Ford had planned to name an extended-length version of the Ford Expedition the Everest in 2006 as a replacement for the Ford Excursion, but changed at the last minute and decided to rename it the Expedition EL.[5]

In mid-2009, the Everest received a facelift in Southeast Asia, in line with the Ranger's recent update. This facelifted 2009 edition of the Ford Everest continues to be available with either a 2.5-liter turbodiesel with 143 PS or a 3.0-liter turbodiesel with 156 PS.

Also, a model for east Africa has a 2.5-liter turbodiesel with only 107 PS (80 KW), torque 268/2000. In Singapore, the Everest is used by Singapore Guards as a Protected Light Utility Vehicle.

A third facelifted model of the Everest was unveiled at the Manila International Auto Show in April 2013. On 29 April 2014, the third facelift Ford Endeavour was launched in India. This Endeavour features a touch-sensitive SATNAV entertainment system with Navigation Bluetooth audio control and reverse parking camera. Its manual variant comes with a 2.5-liter Duratorq TDCi paired to a five-speed manual transmission.

European and Thai models of the Ford Ranger and Mazda BT-50 are built in Thailand. South African Ford Ranger and Mazda BT-50 models are built in Pretoria, South Africa. Latin American Mazda BT-50s are built in Colombia, replaced by the Ford Ranger T6 built in Argentina since 2012.

The Mazda BT-50 is not sold nor built in Japan.

A full model change of the Mazda BT-50 was revealed on October 2010 at the Australian International Motor Show.[8][9] It is based on the Ford Ranger (T6).

While the BT-50 version was designed by a Mazda team based at Ford Australia's design center in Melbourne, both Ford and Mazda worked independently. Of the exterior panels, only the windscreen, roof, and rear screen are common between the Ranger and BT-50, although the underpinnings are largely the same.[10] Mazda BT-50 is produced in Thailand and South Africa.

A revised BT-50 for the 2016 model year debuted in July 2015 and launched into the Australian market in September 2015. The UR series facelift is mainly cosmetic without any changes in engine specifications, however, several equipment changes and slight price differences over the pre-facelift model are present.[11]


she wants to dance like uma thurman song

"Uma Thurman" is a song by American rock band Fall Out Boy, released digitally on January 12, 2015. The song prominently features sampled theme music from the television series The Munsters (1964â€“66) and lyrics celebrating the character actress Uma Thurman, famous for films such as  Pulp Fiction and Kill Bill.

Uma Thurman (song)

The song was the fifth[4] digital track released in build up to the band's 2015 album, American Beauty/American Psycho. The song was released to modern rock radio as the album's third single (second in the U.S.) in early February.[5] On March 31, 2015, "Uma Thurman" was released as the album's second U.S. Top 40 single.[6] The remix entitled "The Boys of Zummer Remix" was released in promotion of the Boys of Zummer tour featuring American rapper and tourmate Wiz Khalifa.

The song debuted at No. 1 on the U.S. iTunes chart on its digital release,[7] reached No. 22 on the Billboard Hot 100 and was certified 2x Platinum by the RIAA in December 2015. The music video won the 2015 MTV Video Music Award for Best Rock Video. Fall Out Boy performed "Uma Thurman" in a television ad for Pepsi â€” which premiered during the 57th Grammy Awards. Fall Out Boy has also performed the song on TV shows including Late Night with Seth Meyers[8] and at the 2015 Much Music Video Awards.[9]

On October 26, 2015, Uma Thurman discussed the song on the Today Show and said the band asked her for permission to use her name in the song: "I said sure! It's very, like unbelievably polite and gracious of them.  So sweet. I'm so happy for their big success."[10]

The song prominently samples the theme music from The Munsters, taking an electric guitar riff and baritone sax line.[11] Its title is a reference to American actress Uma Thurman dancing with John Travolta in an iconic scene of the film Pulp Fiction.[11][12] She gave permission for Fall Out Boy to use her name.[13][14] The track also incorporates "jittery piano chords"[12] and "clapping drums", along with bursts of verbiage like "I can move mountains, I can work a miracle".[15] Bassist and lyricist Pete Wentz has stated:

This was a fun song to write. originally, when we came up with the idea, and there was this sample in it, which is a sample from The Munsters TV show, people kept saying "oh cool, like Quentin Tarantino, cool" when we played it. We decided why don't we kind of create this world around that? To me, Uma Thurman and Winona Ryder, they were these women in pop culture who were quirky, but that made me only crush on them harder. And rather than going with the traditional Uma Thurman role, we thought a lot about Kill Bill and who her character was in that, and this kind of resilience and this violence, but there's something that's authentic about it (like a woman taking revenge or being empowered). So that's what the chorus of the song's about, and the verses are what you would do to try and capture this woman's affection.[16]

The song is in E minor, at a fast tempo of 144â€“152 beats per minute.[17]

The song has received critical acclaim, with praise for the sample of the theme music from The Munsters and Patrick Stump's vocal performance. Billboard called it the "best yet" from the new album.[11] Music Times wrote positively about the song, stating that the rhythm and bassline are "what really shine" and that the "steady and funky bassline carries the melody seamlessly through the track."[18] It also felt that vocalist Stump's vocal melody played off the music well.[18] Idolator wrote that The Munster sample added a '60s surf-rock vibe to the "impossibly catchy" song.[3]

As a promotional digital release, "Uma Thurman" debuted at No. 73 on the Billboard Hot 100 and No. 6 on the Rock Songs chart on the strength of 46,000 first week downloads as reported by Billboard.[19] It became the band's ninth top 15 Hot Rock Songs charting in the US since the chart began in 2009.[20] It peaked at No. 22 as an official single (and ninth top 30 single), with a top 10 Pop Songs and top 30 Alternative Songs position. "Uma Thurman" charted in the UK reaching No. 71 and in Canada, reaching No. 67.[21] On 10 August 2015, "Uma Thurman" was certified Platinum by the RIAA. As of September 2015, the song has sold 1,040,000 downloads in the United States.[22] It also became Fall Out Boy's first top 10 Radio Songs hit. As of December 2015, the song has been certified 2x Platinum by the RIAA.

The video premiered on VEVO on April 17, 2015. Its premise is contest winner "Sarah" spending the day doing chores for the separate band members as well as pranking them by joyriding and speeding in Trohman's McLaren given the keys by Wentz. Sarah mostly spends the day with Wentz doing some shopping, wearing bandanas in a gang-esque stickup, riding a dune buggy, playing paintball, flying in a windtunnel and crushing a pickup truck with a M1 Abrams tank with "UMA" painted twice.  The truck has printed on the door "Article 1 Section 36.03".  This likely refers to  Alabamaâ€™s Supreme Court blocking same-sex marriage.[23] Sarah also does karaoke with Stump and does a workout with Hurley.  The video, like "Irresistible", references Stump's hands being chopped off once again. The video includes cameos by Big Sean, Action Bronson, Brendon Urie, Big Data and MAX.[24]

Digital download (Deluxe single)[25]

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


what was the magnitude of the earthquake happened in 1985 in mexico city

The 1985 Mexico City earthquake struck in the early morning of 19 September at 07:17:50 (CST) with a moment magnitude of 8.0 and a Mercalli intensity of IX (Violent). The event caused serious damage to the Greater Mexico City area and the deaths of at least 5,000 people. The sequence of events included a foreshock of magnitude 5.2 that occurred the prior May, the main shock on 19 September, and two large aftershocks. The first of these occurred on 20 September with a magnitude of 7.5 and the second occurred seven months later on 30 April 1986 with a magnitude of 7.0. They were located off the coast along the Middle America Trench, more than 350 kilometres (220Â mi) away, but the city suffered major damage due to its large magnitude and the ancient lake bed that Mexico City sits on. The event caused between three and four billion USD in damage as 412 buildings collapsed and another 3,124 were seriously damaged in the city.

1985 Mexico City earthquake

Much of Mexico's volcanic and seismic activity stems from the movement of the North American plate against the Cocos and Pacific plates and it is one of the most active trenches in the world.[3] Each year more than 90 tremors above magnitude 4.0 are recorded in this zone.[4]

While not on or near any fault line like San Francisco or Los Angeles, Mexico City is vulnerable to earthquakes. The main reason for this is the surface geology of the area, especially the downtown area. The city was originally built on an island in the middle of Lake Texcoco, and Aztec rulers built dikes to prevent flooding[5] while Spanish colonial rulers later drained the lakes in response to major flooding. The near surface geology of this area is classified into three sections: the old lake bed which is soft clay from volcanic ash with a high water content, a piedmont area, much of which is capped by 5 to 30 meters of lava less than 2,500 years old, and an old river delta area.[3]

On the bed of the historic lake, the prevailing silt and volcanic clay sediments amplify seismic shaking. Damage to structures is worsened by soil liquefaction which causes the loss of foundation support and contributes to dramatic settlement of large buildings.[3][6][7] Mexico City's downtown area mostly lies on the silt and volcanic clay sediments of the bed of the historic Lake Texcoco, which are between seven and thirty-seven meters deep and have a high water content. Above this is a layer of sand and above this is a layer of sand and rock. The western and northwestern parts of the city are outside the old lakeshores and are located on sands from eroding volcanic cones that surround the Valley of Mexico. The southern part of the city rests on hardened basalt lava flows. The old lakebed, with its high water content, is easily moved or compressed. The old lakeshore area also has a fairly high water content, allowing movement, though not as much as the lakebed. The old lava flows have little water content or movement in comparison and are therefore stable.[3]

Another factor is that the old lakebed resonates with certain seismic waves and low frequency signals.[3] This lakebed has a natural "pitch" of one cycle every 2.5 seconds making everything built on the bed vibrate at the same frequency. This is the same "pitch" as a number of shallow earthquake waves.[8] This resonance amplifies the effects of the shock waves coming from an earthquake far away.[3][9]

However, only certain types of structures are vulnerable to this resonance effect. Taller buildings have their own frequencies of vibration. Those that are six to fifteen stories tall also vibrate at the 2.5-second cycle, making them act like tuning forks in the event of an earthquake. The low-frequency waves of an earthquake are amplified by the mud of the lakebed, which in turn, is amplified by the building itself. This causes these buildings to shake more violently than the earthquake proper as the earthquake progresses. Many of the older colonial buildings have survived hundreds of years on the lakebed simply because they are not tall enough to be affected by the resonance effect.[8][9]

The earthquake occurred in the Pacific Ocean, off the coast of the Mexican state of Michoacán, a distance of more than 350 km (217 mi) from the city, in the Cocos Plate subduction zone, specifically in a section of the fault line known as the Michoacán seismic gap.[3] The Cocos Plate pushes against and slides under the North American Plate, primarily along the coasts of the states of Michoacán and Guerrero in Mexico. Volatile trenches along the Cocos plate generally have had seismic events 30 to 70 years before 1985.[3] This subduction zone outside the Michoacán gap was the source of 42 earthquakes of magnitude 7.8 or stronger in the 20th century prior to the 1985 event.[10] However, this particular section of the subduction zone had not had an event for a much longer time.[3] Shockwaves from the earthquake hit the mouth of the Río Balsas on the coast at 7:17 am and hit Mexico City, 350 km (217 mi) away, two minutes later at 7:19 am.[11] The 19 September quake was a multiple event with two epicenters and the second movement occurring 26 seconds after the first. Because of multiple breaks in the fault line, the event was of long duration. Ground shaking lasted more than five minutes in places along the coast and parts of Mexico City shook for three minutes,[3] with an average shaking time of 3–4 minutes.[11] It is estimated the movement along the fault was about three meters. The main tremor was foreshadowed by a quake of magnitude 5.2 on 28 May 1985, and was followed by two significant aftershocks: one on 20 September 1985 of magnitude 7.5 lasting thirteen seconds and the third occurring seven months later on 30 April 1986 with magnitude 7.0 lasting ten seconds.[3] However, at least twelve other minor aftershocks were associated with the seismic event.[12]

The energy released during the main event was equivalent to approximately 1,114 nuclear weapons exploding.[4][13] The earthquake was felt over 825,000 square kilometers, as far away as Los Angeles and Houston in the United States.[3][14]

In the port of Lázaro Cárdenas, near the epicenter, the 19 September event registered as IX on the Modified Mercalli intensity scale; in parts of Mexico City, it registered the same, even at a distance of about 400 km (249 mi) away. There was no historic record of such a strong quake in Mexico.[3]

While the fault line was located just off the Pacific coast of Mexico, there was relatively little effect on the sea itself. The earthquake did produce a number of tsunamis but they were small, ranging between one and three meters (3 to 10 ft) in height. Ecuador reported the highest waves of 60 cm (2 ft).[3][15]

Most of the earthquake damage was to buildings. Two reasons are the resonance in the lakebed sediments and the long duration of the shaking.[3] The buildings most damaged were from 6 to 15 stories in height. These buildings tended to resonate most with the energetic frequency band of the lakebed motions. One interesting characteristic was that many buildings had their upper floors collapse, leaving the lower floors relatively undamaged.[3] In many damaged buildings, just one floor had collapsed. In some cases the damage was caused by the top of a lower, adjacent building banging against the walls and the supporting columns of its neighbor. Eventually, the columns gave way. In other cases, the first few floors of buildings were designed as parking garages, open lobbies or large shopping areas. These "soft" stories were particularly flexible and tended to collapse after prolonged shaking. Some types of foundations, particularly those involving piles driven into clay and held in place by friction, turned out to be weak. One 9-story building, for example, overturned. Its piles were pulled entirely out of the ground.[16]

A survey by the government of the damage done found that few buildings from one to five stories suffered serious damage; the same was true for buildings over fifteen stories. When the buildings were built seemed to have an effect as well. Before the 1957 earthquake, there were no building codes with respect to earthquake resistance. Some regulations were passed in that year and more in 1976 after another, stronger earthquake shook the city. However, none of these regulations had an event like 1985's in mind when passed. Most of the seriously damaged buildings were built between 1957 and 1976, when the city was starting to build upwards, in the six-to-fifteen floor range. In second place were buildings from before 1957, possibly because they were weakened by the earlier earthquakes. Structures built between 1976 and 1985 suffered the least damage.[17]

At the time of the earthquake, Mexico City had one of the most stringent building codes, based on experience gained from earthquakes in 1957 and 1979. However, the codes were not designed for seismic activity of the intensity experienced in 1985.[3][16] The event was one of the most intense of any recorded in the world, allowing for macroseismic waves to arrive in the Valley of Mexico with unusually high energy content.[3] Prior to the event, estimates about ground movement on the lakebed were generally accepted and a number of buildings were built on these estimates.[16]

Several notable buildings were relatively untouched by the quake. One significant example is the Torre Latinoamericana. Despite being 44 stories tall, it survived the 1985 event almost undamaged. It was constructed with two hundred piles extending down over a hundred feet into the stable earth stratum.[8]

Mexico City is divided into boroughs. Eighty percent of the earthquake damage was confined to four of them: Venustiano Carranza, Cuauhtémoc, Benito Juárez and Gustavo A. Madero.[18] The damage area corresponds to the western part of the lake zone within two to four kilometers of the Alameda Central. Nearly all the buildings that collapsed were located in this lake zone that extended from Tlatelolco in the north to Viaducto Miguel Alemán in the south, Chapultepec Park in the west and to a short distance east of the Zócalo or main plaza.[3]

CuauhtÃ©moc, which includes the historic downtown, suffered the most damage. In this particular area, 258 buildings completely crumbled, 143 partially collapsed and 181 were seriously damaged. The next seriously affected area was Venustiano Carranza where 83 buildings collapsed, 128 partially collapsed and 2,000 structures were seriously damaged.[19] Damage was localized to the center parts of the city, leaving much of the residential outer rim unscathed, but the damage in the affected area was extensive. Over 720,000 tons of debris was removed during the first six weeks after the event.[18] The Metropolitan Commission for Emergencies of the Federal District reported 2,831 buildings damaged for the entire city: 31% or 880 were completely ruined, 13% were reinhabitable with major repairs and the rest, totaling 1581, were recoverable with minor repairs.[4] This translates to more than 30,000 housing units completely destroyed and another 68,000 units damaged.[18]

One of the most visible government institutions to fall in the event was the tower of Hospital Juárez, one of the oldest hospital institutions in Mexico. It was founded in 1847, converting the old convent of San Pablo to treat wounded soldiers from the Mexican-American War. It originally was called San Pablo Hospital but its name was changed to Juárez Hospital in 1872.[20]

The "Torre de HospitalizaciÃ³n" was built in 1970 with the main building being twelve stories tall. It had two wings, one facing north and the other south, with an inpatient capacity of 536 beds. At the top was a helipad. It was also surrounded by a number of other buildings belonging to the hospital complex such as a blood bank, teaching facilities, offices as well as the original convent. At the time of the earthquake, the hospital was 80% full, and it was shift change time for nurses, doctors and residents. Within minutes, the steel-frame structure collapsed, crushing and trapping many people inside.[20]

Those who were rescued first were taken to another building for treatment, as the ambulances were trapped inside the collapsed tower. The hospital did not have an emergency plan but nonetheless, surviving hospital workers and neighbors quickly improvised, under the management of the hospital, setting up aid stations and scavenging supplies. Rescue workers soon arrived to start digging through the rubble. A second quake made rescue work slower, because of fear of further collapse. Most bodies were identified by personal effects, some by dental records and some were so mangled that they wound up being cremated without ever being identified, due to the lack of morgue facilities. 561 bodies were found and 188 were never identified. 266 were hospital workers and 44 were medical residents. The majority who were rescued were found in the first five days. The number of bodies recovered was high during those first days as well but the numbers dramatically increased between days 17 and 31.[20]

Heavy machinery was unable to get to the site until 5 days after the earthquake. Numbers of dead did not include unidentified body parts found. Most of the injured had contusion injuries and many suffered from dehydration, with the severity of the dehydration increasing with those rescued later.[20]

However, the most memorable story to come from this event was the rescue of nearly all the newborn babies that were in the nursery at the time. These babies were pulled out of the wreckage mostly unscathed but lost their mothers.[21] These babies were found seven days after the initial event and came to be known as the "Miracle Babies" or the "Miracle of Hospital JuÃ¡rez".[22] The reason for this was that these babies survived without nourishment, water, warmth or human contact for all that time.[22]

On Manuel José Othón Street, in the Colonia Obrera neighborhood, near Metro station San Antonio Abad, was one of the many garment factories located in the city center area. It was destroyed along with approximately 1,200 other workshops.[17][23]

Called "Topeka", it was one of three buildings that collapsed on this block. The magazine Proceso reported that by the time rescue workers reached the building, the owners were already in a hurry to demolish it, without trying to rescue or recover the seamstresses trapped inside.[24] About 150 bodies of workers had already been pulled from the wreckage by other workers, using their bare hands.[23]

The collapse of this factory exposed the deplorable conditions to which many of these seamstresses were subjected. The building that collapsed, as well as many others, were found to be decrepit. It came to be known that many of these women had to work extended hours with little or no compensation, and few, if any, of the labor laws on the books were being followed. This event made the garment industry a labor embarrassment.[25] All that remains of the factory is a small empty lot with a bronze statue of a woman sewing. Apartments were built on the remainder of the property.[23]

On Eje Central and Xola Avenue, at the southern end of the lakebed zone was (and is) the Secretaría de Comunicaciones y Transportes (Ministry of Communication and Transportation), a reinforced concrete structure with its microwave tower. This structure failed, causing the near total collapse of long distance communications between Mexico City and the rest of the world.[6]

One of the most spectacular building collapses was that of the Conjunto Pino Suárez, which was a complex of five steel-frame buildings. A 20-story tower, Tower Four, doubled over at the third floor and fell south onto a fourteen-story building.[3] The fall left a huge piece of concrete blocking the road that leads to the Zócalo. People at the scene stated that there was simply no time to run and escape the building's fall. The other three 20-story buildings were closed because of damage, as well as the Metro entrance next door. The building was occupied by family courts and offices of the public defender.[26] The area now is a commercial center.[4]

The Hotel Regis was built in the beginning of the 20th century as a luxury hotel in neo-Classical style. It had its own cabaret, gourmet restaurant and a small but luxurious cinema with wide reclining armchairs.[27]

It was located at the corner of Balderas and Avenida JuÃ¡rez in the historic center and completely collapsed within moments of the quake.[4] Shortly after its collapse, it began to burn due to a gas leak, which made it extremely difficult to rescue survivors. Nothing survived of the hotel. The space is now the Plaza de la Solidaridad park.[4] A small museum on the north side of the park houses a mural by Diego Rivera which was originally housed in the huge Hotel Del Prado across the street. That hotel was irreparably damaged in the earthquake and subsequently demolished.[28]

There were two apartment complexes in the area of the city called Tlatelolco to the north of the historic center that became major scenes of disaster, the Unidad Habitacional Nonoalco-Tlatelolco and the "Multifamiliares Juárez" near the Metro Centro Médico. Together, these apartment complexes were a large percentage of the 30,000 units lost, with the city losing about 30% of its living space.[17]

Nonoalco Tlatelolco was located on Paseo de la Reforma Norte #668,[29] covering an area of about two km2. It had 102 buildings with seven medical facilities, twenty-two schools and about 500 small businesses, serving the 80,000 people who lived there. Constructed under the presidency of Adolfo López Mateos, it was considered the most important complex of its kind in the country.[30] In the Conjunto Urbano, two of the three modules of the building called "Nuevo León", at thirteen stories tall, completely collapsed, while the other one was severely damaged. In other buildings, dozens of people terrified by the event jumped from high windows to their death, trying to escape.[31] People became trapped in stairwells, elevators and their apartments without any way to contact the outside world.[30] At the collapsed building, lines of 50–100 men passed rubble by hand and buckets, trying to reach victims.[29] During these rescue efforts, a nearby building, called Oaxaca, began to creak noisily, causing everyone to run and abandon the site temporarily, but it did not collapse.[30]

All the buildings suffered damage but along with the collapsed Nuevo León building, buildings such as those called Veracruz, Coahuila, Zacatecas, Oaxaca, Puebla, Jalisco, Churubusco, Guelatao, 2 de Abril, 15 de Septiembre, Chihuahua, Tamaulipas, ISSSTE 11, Querétaro, Guanajuato, Ignacio Comonfort, Ignacio M. Altamirano, Jesús Terán, Ponciano Arriaga, Niños Héroes and 20 de Noviembre suffered severe damage such as severely cracked foundations. In the days after the quake, military and police cordoned off ten buildings to keep people out, leading a number of them to sleep on the streets.[30] Twelve buildings in the complex were so severely damaged that they were demolished in the next six months.[22][32]

Buildings A1, B2 and C3 of the Multifamiliar JuÃ¡rez complex partially collapsed with a total of nine structures eventually being demolished.[22][32]

One of the more famous images of the event was the live broadcast of Hoy Mismo, a news program in the Televisa television network, when the earthquake struck. In the video, movement can be seen, especially in the lights above the newscasters. The three newscasters were María Victoria Llamas (substituting for Guillermo Ochoa), Lourdes Guerrero and Juan Dosal. As the movement began Llamas reports grabbing the underside of the desk, and whispering quickly to her colleagues that she hoped no one could see how scared she was.[33] The last image broadcast from the studio was that of Lourdes Guerrero stating "... it's still shaking a little (sigue temblando un poquitito), but we must take it calmly. We will wait just a second so we can keep talking."[26] Then the image disappeared. The transmission ended because a nearby 10-ton antenna had bent over and crushed parts of Televisa's buildings that were located on Niños Héroes and Dr. Río de la Loza Streets in Colonia Doctores.[26] Everyone ran from the studio but Llamas and Guerrero stayed, hiding under their anchor desks. After the shaking stopped, they both left the Televisa studios through a back door, and hours later they were back on the air in the studios of Canal de las Estrellas to broadcast live what was happening.[33] Some members of the Hoy Mismo staff died, including producer Ernesto Villanueva and engineer David Mendoza Córcega, who had just parked at the Televisa building, but had no time to escape from his car.[26] The falling debris also killed street vendors who worked just outside the studio building.[33] Reconstruction of the studio building began in 1995 and ended in 2000.

Infrastructure was severely affected. The number of people with potable water went from six million to 90,000.[18] as 6,500 meters of primary and secondary water and drainage pipes suffered breaks in 163 places, cutting off water and contaminating it. 516,000Â m2 of asphalt was damaged, and 137 schools collapsed. The number of jobs lost due to the event was estimated at 200,000. Forty percent of the population was without electricity and seventy percent without telephone service.[18][34]

1,687 school buildings were damaged. Interruption of classes, either to the lack of facilities and/or the need to help with rescue efforts, affected over 1.5 million students.[17]

On the day of the quake, the Metro stopped service and completely shut down for fear of electrocution. This caused people to get out of the tunnels from wherever they were and onto the street to try to get where they were going.[31] At the time, the Metro had 101 stations, with 32 closed to the public in the weeks after the event. On Line 1, there was no service in stations Merced, Pino Suárez, Isabel la Católica, Salto del Agua, Balderas or Cuauhtémoc. On Line 2, there was no service between stations Bellas Artes and Taxqueña. On Line 3 only Juárez and Balderas were closed. Line 4 continued to operate normally. All of the closed stations were in the historic center area, with the exception of the stations of Line 2 south of Pino Suárez. These stations were located above ground. The reason these stations were closed was not due to damage to the Metro proper, but rather because of surface rescue work and clearing of debris.[17]

The area most severely hit by the earthquake had the highest concentration of hospitals. Most of the damage occurred in secondary and tertiary hospitals.[18] Thirteen hospitals of six or more floors were partially or totally destroyed, most of these public institutions. One out of every four then-available beds were lost.[4]

The National Medical Center of the Mexican Social Security Institute (IMSS) was considered the most important hospital complex in Latin America with over 2,300 beds and the largest medical library in the country. It had to be evacuated because all of its 25 buildings suffered severe damage. Most of the beds that it lost were dedicated to tertiary, high-technology care. The ISSSTE hospital for government workers lost 36 percent of its capacity. The 2,158 beds of the Ministry of Health (SSA) were lost, representing 43 percent of its capacity in the city. This included the 700 beds lost with the complete collapse of JuÃ¡rez Hospital and the gynecology-obstetrics tower of the General Hospital of Mexico. In total, the city lost more than 4,000 public hospital beds in the earthquake, severely disrupting these institutions' ability to handle the crisis. In addition, five of the largest private hospitals had to be evacuated. More than 900 patients, physicians, nurses and paramedical workers died in the initial shock.[18]

In contrast, the network of twenty four community general hospitals with 1,600 beds belonging to the city (federal district) were not affected as these were spread out beyond the city center and the old lakebed.[18]

Although much closer to the epicenter, the states of Jalisco, Colima, Guerrero and Michoacán suffered only mild to moderate damage. Landslides caused damage at Atenquique, Jalisco, and near Jala, Nayarit. Rockslides were reported along highways near Ixtapa, Guerrero, with sand volcanos and ground cracks in Lazaro Cardenas. Students at the Universidad de las Américas in nearby Puebla reported feeling as if the cafeteria had been lifted and rocked back and forth, shattering windows and injuring some people but mostly causing panic. A small tsunami caused only mild damage to Lázaro Cárdenas and Zihuatanejo. Some fishing boats were reported missing but these reports were never confirmed.[3] One exceptional case was in Ciudad Guzmán, Jalisco, where about 60 percent of the buildings were destroyed,[3] with about 50 dead.[11] Some damage also occurred as far away as the states of Mexico, Morelos and parts of Veracruz, on the Gulf coast. Coastal and most inland damage was moderated by the fact that most of the west of Mexico sits on bedrock, which serves to transmit the shockwaves without amplifying them. La Villita, and Infiernillo Dams, near the coast, were superficially damaged and undamaged respectively.[3]

Off the coasts of Michoacán and Guerrero, the 19 and 20 September events caused a rupture in the seabed 240 km long and 70 km wide, located between the subduction trench and the coastline. This is an intertidal zone and the event caused widespread mortality in a number of species living in the area such as algae and shellfish.[35]

To this day, the death toll has been in dispute. About 5,000 bodies were recovered from the debris and represent the total of legally certified deaths but does not include those who were missing and never recovered.[18] Reports have numbered the dead anywhere from 5,000 to 30,000 (claimed by a number of citizens' groups)[4] to 45,000 claimed by the National Seismological Service.[13] However, the most commonly cited figures are around 10,000. While high as an absolute number, it compares to other earthquakes of similar strength in Asia and other parts of Latin America where death tolls have run between 66,000 and 242,000 for earthquakes of magnitude 7.8 or above. Part of the explanation for that was the hour in which the earthquake struck, approximately 7:20Â am, when people were awake but not in the many schools and office buildings that were severely damaged.[10][18]

However, the death toll was great enough to require the use of the IMSS baseball field as a morgue, using ice to conserve bodies for identification.[22]

The main reason that the figures have been disputed is the government's response to the tragedy.[4] President Miguel de la Madrid ordered a news blackout[11] and did not address the situation at all for 39 hours after the event.[4] When the government did give estimates of the number killed, they ranged from 7,000 to 35,000.[11] Consequently, most of the populace believes that the true numbers have never been revealed.[4]

According to government figures, approximately 250,000 people lost their homes directly due to the earthquake. Unofficial sources put that figure much higher.[19] Some sources say that more than 50,000 families lost their homes. INEGI reports that 700,000 people in the Federal District and the suburbs in the State of Mexico lost their homes.[4]

In the hours and days immediately after the first shock, there was an enormous response and solidarity among the city population of 18 million people. Ordinary citizens organized brigades to help with rescue efforts and to provide food, clothing and emotional support to the homeless.[18]

Patients had to be moved from damaged hospitals, especially the National Medical Center. Many of these patients were very ill. 1,900 patients were successfully moved from here, without any deaths, in just four hours.[18]

More than 4,000 people were rescued alive. 9,600 injured people received treatment, including 1,879 who needed hospitalization. Despite the loss of 5,000 hospital beds, there was never a shortage of facilities for the injured. Some of the reason for this was that those with postponable care were discharged, but mostly because the public and private facilities unified de facto during the crisis.[18] There were also people rescued as late as ten days after the initial event.[22]

The military was deployed to patrol streets to prevent looting after a curfew was imposed,[36] as well as rescue, sanitary efforts and other, with 1,836 soldiers initially sent in and another 1,500 conscripts sent later.[17] The federal government's first public response was President de la Madrid's declaration of a period of mourning for three days starting from 20 September 1985.[31]

These earthquakes created many political difficulties for the then-ruling Partido Revolucionario Institucional (PRI) or Institutional Revolutionary Party. The crisis was severe enough to have tested the capabilities of wealthier countries, but the government from local PRI bosses to President de la Madrid himself exacerbated the problem aside from the lack of money.[19] The Ministry of Foreign Affairs declared it would not request aid; it specifically rejected help from the United States. It was also widely reported in the days after the earthquake that the military assisted factory owners in retrieving their machinery rather than in removing the bodies of dead factory workers.[37] At many levels of the government, who was helped and by how much was determined by one's standing vis-Ã -vis the PRI. Those belonging to the party received preference and those considered opposition received the runaround. President de la Madrid refused to cut foreign debt payments to use the money to help with the recovery effort. The government's response to the earthquake was widely criticized at various levels of Mexican society, being seen as both authoritarian and incompetent.[19] As most of the collapsed buildings were of recent construction and public works projects, the government was seen at fault due to mismanagement and corruption in these constructions.[11] The government itself realized that it could not handle the crisis alone through already-established institutions and decided to open the process up to "opposition groups".[19]

On the other hand, the disaster created an opportunity for political opponents, especially at the grassroots level. Much of the community organizing focused on helping those left homeless by the earthquake. The three largest and most effective organizations were based in Tlatelolco and Colonia Roma. These consisted of families from the "Multifamiliar Juárez" housing project, which completely collapsed and the combined colonias (neighborhoods) of Centro, Morelos, Guerrero, Doctores, Obrera, Peralvillo, Asturias, Nicolás Bravo among others which housed the working and lower classes. These groups along with the Sindicato Nacional de Costureras united to form the Coordinadora Única de Damnificados (CUD).[19]

CUD and other popular movement representatives met the head of the Secretariat of Urban Development and Ecology (SEDUE) Guillermo Carrillo Arena on 27 September 1985. Carrillo Arena at first insisted that the movements incorporate themselves into the PRI before gaining any concessions. This was refused. Many media outlets expressed support for the popular movements and marches like that of 2 October 1985, demanding that the reconstruction process be more "democratic", meaning the inclusion of non-PRI political organizations into the decision-making process. On 11 October 1985, the President granted a seven-minute audience to the heads of a dozen popular movements, which turned into a 45-minute meeting where de la Madrid was handed a document outlining what would remain the movements' core demands: expropriation of all condemned buildings, followed by a "popular" and "democratic" reconstruction project which would include the active participation of the community movement. De la Madrid conceded some with the expropriation of 5,500 properties in the four most affected boroughs.[19]

After the government created the Programa de Renovación Habitacional Popular (PRHP) on 14 October to help deal with the crisis, friction between the government and community groups grew again, PRHP used PRI-membership as a requirement to be included into the census of earthquake victims. More protests followed on 26 October calling for, among other things, the firing of SEDUE head Carrillo Arena. Things got worse through February 1986, mostly due to the ineffectiveness of SEDUE and PRHP. Finally Carrillo Arena was fired from SEDUE and replaced by Manuel Camacho Solís.[19]

In March, only weeks after taking office, Camacho Solís changed the charged atmosphere between SEDUE and the community groups. He actively integrated Tlateloloco citizen groups into a new program meant for that area, defusing the most volatile area of the city. Camacho Solís continued to work to integrate and smooth relations between his agency and the community groups. On 16 May 1986, Camacho Solís met with the heads of all the major groups. He offered a commitment to build 48,000 housing units in one year if the groups would all sign a "Convenio de concertación democrática para la reconstrucción de vivienda" (Democratic agreement for the reconstruction of housing). Basically, this document required the cooperation of community groups in exchange for solid commitments from the agency. All sides would compromise in order to get something done. The deal generally worked; movements like CUD moderated their stances and agencies like SEDUE and PRHP made progress in rebuilding housing, regardless of political affiliation.[19]

At the time of the earthquake, Mexico was in its fifth year of a foreign debt crisis, and a contracting economy causing serious political problems for the Institutional Revolutionary Party (PRI). Much of the PRI's authoritarian nature was tolerated because the country had seen four decades of economic expansion of six percent or better. When this disappeared, the PRI's power base began to shrink. Its reputation was damaged further when the government seemed to be deliberately downplaying the number of earthquake victims. President de la Madrid made relatively few public appearances afterwards and during those he did, he received strong heckling, in contrast to the near-reverence that past presidents enjoyed at such events.[38]

The severe damage in so many buildings, including in many public works construction projects to house the rapidly growing population of Mexico City, was blamed on lax enforcement of building codes. Critics argued that the lack of enforcement of such codes was indicative of corrupt practices in all levels of government.[37]

The stepping-in of non-PRI organizations to take over where the government could not, also took its toll on PRI's reputation. Burton Kirkwood stated, "Out of the disaster emerged the realization that a viable civil society existed in Mexico. This revelation also caused many to consider why they needed a centralized state that so obviously could not care for its people. As a consequence, the opposition movements pointed to the government's shortcomings and advanced candidates for the greater goal of defeating the PRI."[37]

Shortly after the event, the PRI began to face serious challenges at the polls, forcing it to rig elections, sometimes in embarrassingly messy ways.[38]

One preparation that was made for any future events was the alert system, Sistema de Alerta SÃsmica (SAS), which sends early-warning messages electronically from sensors along the coastal subduction zone in Guerrero. It was expanded to a similar area on the coast of Oaxaca.[39] An alarm is supposed to go off in Mexico City (similar to an air-raid siren) when an earthquake of 6.0 or higher is detected. However, it does not always work.[4]

To better help deal with major disasters, the Civil Protection Committee was created.[4] This committee organizes drills in cooperation with rescue workers, police, hospital staff and even metro personnel.[40] Affiliated with the Civil Protection Committee is the "Brigada de Topos de Tlatelolco" (Mole Brigade of Tlatelolco). This group arose from youths who spontaneously volunteered to risk their lives crawling into collapsed buildings to look for survivors.[41] Despite having no equipment, training or knowledge of rescue tactics,[41] these youths were instrumental in saving a number of lives, including the babies rescued from the collapse of the JuÃ¡rez Hospital.[21] Shortly thereafter, these youths decided to formally band together in February 1986. These "topos" have developed into highly trained specialists in times of disaster, with branches in other parts of Mexico. They are now expertly trained and even have scent dogs to help them. They have gained international fame as they have helped in disasters in San Salvador, Taiwan, in the countries of the rim of the Indian Ocean after the tsunami there in 2004,[41] and most recently in the January 2010 Haiti earthquake.[42][43]

Despite warnings and predictions, in 2005, an estimated 32 million people live in the high-risk lakebed area.[4]

As of 2005, there are still two camps where approximately eighty families are still waiting for relocation from the earthquake.[4]

Centuries-old structures have been reinforced across the city and new construction must comply with very strict codes.[40] There are several instances of tall buildings in Mexico City incorporating earthquake-resistant engineering. A few notable examples are: the Torre Latinoamericana, one of the first buildings in Mexico City to do so, the Torre Ejecutiva Pemex, built before the 1985 earthquake, and the Torre Mayor, built in 2003.

Every 19 September, in all public buildings at Mexico City and all the nation the civil protection authorities conduct evacuation drills to evaluate the evacuation response in the case of an earthquake. On September 19, 2017, 32 years after the 1985 earthquake, Mexico City also faced another earthquake at around 13:14 CDT (18:14 UTC), nearly two hours after the earthquake drills took place.

The Soda Stereo hit "Cuando pase el temblor" which was coincidentally released just weeks after the disaster was temporarily banned from airplay in Mexico due to the magnitude of the events of September 19 and 20. However, most music analysts consider the track to be one that combines the agony and frustration of a people that struggled with the hardships of the time. To this day the track can still be relevant in many ways especially when it comes to difficult situations.


who were the original members of dc talk

DC Talk (stylized as dc Talk) is a Christian rap and rock trio. The group was formed at Liberty University in Lynchburg, Virginia in 1987 by Toby McKeehan, Michael Tait, and Kevin Max Smith. They released five major studio albums together: DC Talk (1989), Nu Thang (1990), Free at Last (1992), Jesus Freak (1995), and Supernatural (1998). In 2002, the Encyclopedia of Contemporary Christian Music called DC Talk "the most popular overtly Christian act of all time."[1]

DC Talk

In 2001, the group released an EP titled Solo, which contained two solo songs from each member. Since that time, DC Talk has been on an indefinite hiatus, and the three band members all have led solo careers. They performed and recorded individual songs together several times during the 2000s, although the group never officially reunited or disbanded.

The group's musical style evolved significantly throughout its career. Its first two releases, DC Talk and Nu Thang, were of the hip hop genre. DC Talk's third album, Free at Last, also mainly took influence from the hip hop style, although the group's music began taking on a rock sound. The trio's last two albums, Jesus Freak and Supernatural, were predominantly pop rock.

"DC Talk" was a nickname that Toby Michael McKeehan, later "TobyMac", (1964- ), who was born in Falls Church, Virginia, was given for being from the Washington D.C., area.[2] While attending Liberty University, McKeehan met Michael DeWayne Tait (1966- ), and the two began to perform together. Tait had been featured singing on Jerry Falwellâ€™s The Old Time Gospel Hour and recorded with the Falwell Singers.[3] He also performed solo, what TobyMac later described his "kind of an R&B / church-oriented music."[4]

The two joined forces to record a song that McKeehan had written, "Heavenbound".[3] They performed the song before an audience of 8,000 Liberty students with McKeehan rapping and Tait singing the chorus.[3] The song was well received, selling out the approximately 3,000 copies[3] of their demo tape, Christian Rhymes to a Rhythm. The tape included "Heavenbound" and was distributed by the group in the Washington D.C. area.[2] The groupâ€™s demo tape eventually led to a recording contract with Forefront Records in 1988.[3] Kevin Max Smith, later "Kevin Max", (1967- ) came from a campus rock band to join the group,[4] and the trio called themselves "DC Talk and the One Way Crew".[2] The name was later simplified to "DC Talk", which came to stand for "decent Christian talk".[2]

After signing the recording contract with ForeFront the label released their self-titled debut album, DC Talk, in 1989 with Mike Valliere and Vic Mignogna. The music video for their first single, "Heavenbound", received airplay on the BET network.[5]

Their follow-up release, Nu Thang, and a Christmas EP titled Yo, Ho, Ho!, were released in 1990. Yo Ho Ho had three songs â€” the title track, "Reason for the Season" and "The King", which was also on DC Talk's first album. Nu Thang had two successful singles: "I Luv Rap Music" and "Can I Get a Witness".[6] Apart from dealing strictly with Christian themes, the band incorporated songs addressing social issues, such as racism in the song "Walls" and abortion in "Children Can Live Without It".[5] The hip hop/pop styling of the album earned the band attention, expanding the group's audience, and by 1991, Nu Thang had sold 200,000 copies.[2] The band became an opening act for Michael W. Smith and received a Dove Award.[2][7] The release of their Rap, Rock, n' Soul video garnered a wider audience for the group, being certified gold for long form video.[1][7]

In 1992, a year after its release, Nu Thang sold more than 300,000 copies and gave the trio two more Dove Awards.[2] In addition to the increasing attention that the group began to receive, DC Talk appeared on The Arsenio Hall Show that same year.[2] "Nu Thang" was eventually certified gold, selling over 500,000 copies, an impressive feat for a Christian artist at that time.[1]

In November 1992, the group released an album that would forever change the landscape of Christian music, Free at Last, which was certified as platinum by the RIAA in 1995.[8] In 2001, CCM ranked "Free at Last" as the 9th best album in Christian music.[9] The album included "The Hardway"; a cover version of the Bill Withers song "Lean on Me"; and a remake of "Jesus Is Just Alright", originally recorded by the Art Reynolds Singers.[6] It stayed at the No.Â 1 spot on the Billboard CCM sales chart for 34 weeks.[6][7] DC Talk became one of the first contemporary Christian groups to perform on late-night television when, on November 12, 1993, the band performed "Jesus Is Still Alright" on The Tonight Show with Jay Leno.[10] Free at Last also garnered the group's first Grammy Award for Best Rock Gospel Album in 1994.[1][6] The success of the album is attributed to the group moving away from a strictly rap sound to a blend of hip hop and pop.[7] The album also prompted the filming of a documentary film with the same name.

During the Free at Last tour, the band was followed around by camera crews to film a documentary. The documentary was going to be released as a theatrical film, Free at Last: The Movie, and was heavily promoted on Lightmusic TV, a Christian music video show. After months of teaser trailers, they abruptly stopped. A trailer included in the enhanced CD single of "Jesus Freak" advertised a September 17, 1995 theatrical release date for the film. It was never released to theaters, as it could not find a distributor.[11] Eight years after the film was to be released theatrically, the movie was finally released on DVD in unfinished form. Some of the footage used for the movie was shown in the video for the song "The Hardway". In 1994, they released one more Christmas single which was their remix version of the classic, "We Three Kings" which was on the album "Joyful Christmas" featuring many other Christian artists.

Jesus Freak was released in 1995, and it achieved the highest first-week sales of any Christian release in history,[6] reaching No.Â 16 on the Billboard 200.[12] The album, which was ultimately certified double platinum,[8] was certified gold within thirty days of its release.[13] This album was a fusion of the musical stylings, with a more pop-rock oriented sound combined with hip hop.

Jesus Freak marked a milestone in the group's commercial career as they signed a deal with Virgin Records in 1996 to distribute their music to the mainstream market.[7][14] It also earned dc Talk their second Grammy.[1]

The title track is also of historical importance. It is believed to be the first link between grunge and rapcore in Contemporary Christian music, and was the first nonâ€“Adult Contemporary song to win the Dove Award for Song of the Year. The song was also played on some secular stations.[1]

[15] "Between You and Me" was a successful single, reaching No. 24 and No. 29 respectively on Billboard's Adult Contemporary and Hot 100[12] and No. 12 on Casey's Top 40, while the video received regular airtime on MTV and VH1.[6]

With the release of the album, the group launched a massive tour titled the Freakshow Tour,[6] which took the trio across the United States, Canada, and Europe. The group released a live video titled Live in Concert: Welcome To The Freak Show which contained footage from the Freakshow tour.[7] An audio CD of the soundtrack from the video was also released under the same title, reaching No.Â 109 on the Billboard 200.[12] The CD Welcome to the Freakshow was certified gold and won dc Talk another Grammy award.[1]

The album is looked at by many as one of the greatest and most important albums to be released in Christian music.[16]

Supernatural, released in 1998, was their last all-new studio album. Upon release, the album overtook Jesus Freak to set a new record for the highest first week sales for a Christian release.[6] It debuted at No.Â 4 on the Billboard 200 charts, a feat for a Christian rock album.[7] Supernatural abandoned the hip hop/rap style found on the group's earlier releases to settle for the pop/rock sound.[7] The group has stated in The Supernatural Experience video that this album was different; it was a collaborative effort of all three members.[7] The songs "Consume Me", "Into Jesus", "Red Letters", and "My Friend (So Long)" received their fair share of radio play on Modern Rock, Contemporary Christian, and Alternative outlets. The group then embarked on a 60-city tour across the United States titled, The Supernatural Experience. Footage from the tour was combined with interviews and released as The Supernatural Experience video and was certified gold for long form video.[1]

In addition to touring and recording Supernatural, the members of the group went on to co-author a book titled Jesus Freaks in collaboration with The Voice of the Martyrs in 1999. The book contains the shortened biographies and incidents in the lives of famous and lesser-known Christians who stood up for their faith. Since then, the group has co-authored a series of other books.

In 2000, DC Talk hosted a show titled Intermission: A Decade of DC Talk.[17] A compilation album titled Intermission: The Greatest Hits was then released, containing many of their previously recorded songs either remixed or in their original formats. Two new songs, "Chance" and "Sugar Coat It", were recorded for the album. Intermission reached No.Â 81 on the Billboard 200.[12]

In 2000, the members announced that they would be taking a break from the group to pursue solo efforts. They released Solo: Special Edition EP, which contained two new songs from each member's solo ventures and a live version of the U2 song "40" performed by all three members. The EP reached No.Â 142 on the Billboard 200 and won dc Talk their fourth Grammy award.[1][12]

In September 2002, DC Talk recorded and released a single about the September 11, 2001 attacks titled "Let's Roll". A 10th Anniversary Edition of Free at Last, which includes all of the songs from the original album (including interludes), a 2002 remake of "The Hardway", as well as a commentary at the end was released. The Special Edition releases also include the DVD of their Free at Last documentary, as well as the music videos for "The Hardway" and "Jesus Is Just Alright".

In 2004, they performed together on a remix of tobyMac's "Atmosphere" as the final track of the Welcome to Diverse City album.

On September 12, 2005, they performed "In the Light" and "Jesus Freak" together during a September 12 concert in Redmond, WA.

On January 12, 2006, Gotee Records (co-founded by DC Talk's TobyMac) announced the production of a 10th anniversary Jesus Freak tribute album entitled, Freaked!. This album, which was released in June 2006, features songs from such Gotee Records artists as Relient K, Sarah Kelly, The Showdown, House of Heroes, Verbs, Liquid, and Family Force 5. It also features a reunion of the Gotee Brothers. In August 2006 an album titled The Early Years, a compilation of songs from their first three albums, was released. On December 26, 2006, a 10th anniversary special edition of Jesus Freak was released.

In 2007, the members joined together to cover the Prince-penned song "The Cross", featuring on Kevin's album, The Blood.

In 2008, Gospel Music Channel interviewed TobyMac, Michael Tait, Joey Elwood, Michael W. Smith, Greg Ham, Peter York, Amanda McKeehan, and Dan Pitts for a TV show called Faith and Fame. Another Greatest Hits album was also released that year.

In 2010, the trio performed with Aaron Shust, Brandon Heath, Matthew West, Natalie Grant, Steven Curtis Chapman, Casting Crowns, and many other artists to serve as backing choir for "Come Together Now", a song about the 2010 Haiti earthquakes. The song was co-written by Michael W. Smith, David Mullen, and Cindy Morgan.[18] On February 21, 2010 TobyMac and Michael Tait, along with the Newsboys, performed the song "Jesus Freak" during Winter Jam in Nashville, Tennessee.[19] In June 2010 Kevin Max tweeted that he was trying to arrange a reunion tour for "perhaps" 2011.[20] On August 3, 2010 "Jesus Freak" was released as a download to the Rock Band store. The song has a "Supervision Recommended" rating.[21] The Rock Band store states that "Supervision Recommended" tracks "may contain suggestive lyrics and the infrequent use of strong language," and the song is not playable in LEGO Rock Band due to the rating.[22] In October 2010 Kevin Max discussed the prospect of new DC Talk music. He admitted that he would love to make more music but he thinks "that time has passed us by...". He then explained, "as individuals we are so different in our approaches that it might be quite a process." Kevin expressed interest in a reunion tour for the fans.[23]

In January 2011, TobyMac stated that a reunion tour would probably happen "sooner or later". He mentioned talking with Michael and Kevin about "when it should be" and "what it could look like." Fans hoping for a reunion tour in the near future may be disappointed: "Right now, I think we're really just enjoying the mountain we're climbing, each of us individually. It's never been a completely closed door. We've always sort of laughed about it, smiled about it. It's timing, I guess."[24] On May 28 and 29, 2011, at the Big Church Day Out in Wiston, UK, TobyMac joined the Newsboys twice to perform "Jesus Freak", and Michael sang "In the Light" on both days with Toby's band, Diverse City.[25] In June 2011 Toby admitted that he thought about Kevin and Michael for every song that he writes. His song "Wonderin'" is about his past with Kevin and Michael in DC Talk. "It's just a warm look back at DC Talk," says Toby, almost wistfully. "It's reminiscing about Michael and Kevin and what we did together, and recognizing their influence on me. I love what I do today, but there are times when I wonder, What if we stayed together? I've got these dreams I'm pursuing now, but are they stealing me from you?"[26] On June 7, 2011, Back 2 Back Hits, featuring songs off Jesus Freak and Supernatural, was released.[27]

In January 2014, Tait indicated that he liked the sound of a "20-years-later" tour in 2015, and that he and tobyMac continue to have conversations on the subject, but that tickets would be pricey.[28] In February 2014, tobyMac admitted he is asked "close to every day" about a reunion tour and that "nothing concrete is in the works" due to conflicting schedules, but that he had not ruled out a reunion.[29] The three celebrated TobyMac's 50th birthday on October 22, 2014.[30]

In 2015 it was announced by Gotee Records that they would be issuing Jesus Freak and Supernatural on vinyl for the first time.[31] The trio also reunited for their first studio track since 2007 to record "Love Feels Like" on TobyMac's sixth studio album This Is Not a Test.[32] It was accompanied with a lyric video.[33]

On May 11, 2016, DC Talk announced a 2017 reunion cruise.[34]

On October 11, 2016, DC Talk performed "Love Feels Like" [35] at the Allen Arena in Nashville, Tennessee at the 47th Annual GMA Dove Awards.[36] The performance was posted Live on the DC Talk Facebook page,[37] making it the very first Facebook Live[38] performance for the band.

DC Talk performed two concerts on July 13, 2017, and a third show on July 14, 2017. These were aboard the MSC Divina in the Bahamas on the reunion cruise announced over a year earlier. The group hinted at more reunions to take place in the future.[39]

Toby McKeehan assumed the stage name of TobyMac, a name that was first mentioned in the lyrics of "Jesus Is Just Alright" when McKeehan rapped, "TobyMac, and the Mac is back no slack". He has focused mostly on the pop/hip-hop genre. His first solo album, Momentum, was released in 2001 and included, "J Train", "Somebody's Watching", "Irene", "Extreme Days", "Get this Party Started", and "Love is in the House". Since then, he has released five other full albums, four remixed albums, and a both a Christmas EP and album, Christmas in Diverse City. Welcome to Diverse City, released in 2004, contained "Diverse City", "Catchafire (Whoopsi-Daisy)", "Gone", "Burn for You", and the remix of "Atmosphere", which featured his former bandmates. Portable Sounds, released in February 2007 and debuted at No. 10 on the Billboard 200.[40] In 2008, he released a live CD/DVD combo entitled Alive and Transported. On February 9, 2010, Tonight, his fourth studio album was released. His 2012 release, Eye on It, was only the third Christian album with a No. 1 debut on the Billboard 200 chart, and the first since 1997.[41] He released his sixth full studio album, This Is Not a Test, on August 7, 2015.

McKeehan has had some success in reaching the mainstream market.[42][43][44][44]

Michael Tait pursued his solo efforts with the band, Tait. The band's first release was Empty in 2001, which included the single "Loss for Words". Lose This Life was the follow-up album released in 2003. It contained the singles "Lose This Life", "God Can You Hear Me", and a hidden track, "Christmas Song".[45] Tait planned to release Loveology in 2007, an album he has been working on for a few years with Ben Moody.[46] Its release has been delayed for unknown reasons. Tait also featured in the rock opera!Hero, as the main character, "Hero". The production is a modern retelling of Jesus' life, as if he were born in Bethlehem, Pennsylvania. On March 9, 2009, it was announced that Peter Furler was stepping down from touring and from his role as lead singer of Newsboys, with Tait replacing him.[47] His first album with the band was Born Again, which was released in July 2010. After a reissue of the Born Again album the band released their second album with Tait as the frontman entitled God's Not Dead. The album went to No. 1 on the Billboard Christian charts and the title track was one of the top songs in Christian radio throughout the next year.[citation needed] A live album, Newsboys Live in Concert: God's Not Dead, was released in late 2012 and marked the band's return to Sparrow Records.[citation needed] In September 2013 the third studio album with Tait in the band, Restart, was released and contained the songs "Live With Abandon" and "We Believe". In March 2014 the film, God's Not Dead, was released and the band's song played a prominent role throughout, serving as the main theme song of the movie and soundtrack.[citation needed] The popularity of the film prompted a renewed interest in the 2011 song pushing it to become the most watched Christian music video on YouTube with nearly 50 million views as of 2016.[citation needed] The band signed with Fair Trade Services in 2015 and in early 2016 released Love Riot.[citation needed]

Kevin Max has released seven albums since the group's hiatus. Stereotype Be was released by Forefront Records in 2001, and included the singles "You", "Be", and "Existence". He signed with Northern Records to release his next three projects. Between the Fence and the Universe was an EP released in 2004, and his next major studio album, The Imposter, was released in 2005. Holy Night, a Christmas album, was also released in 2005 through the Northern label. The Blood was released on December 26, 2007 by Infinity Music Distribution. It features covers of several well-known gospel songs, both classic and contemporary, as well as the original-written track "One Way, One Blood". The album includes collaborations with several other artists, including Chris Sligh and Amy Grant. DC Talk made an appearance on his version of Prince's song "The Cross", with each member singing one verse in the beginning of the song. In 2008, Max starred in the independent film The Imposter, named after his first full length project on Northern Records, and also went on to saying it was not executed the way he wanted it to be. In early 2009 he released an EP titled "Crashing Gates" and partnered with independent label dpulse, which subsequently re-released his previous poetry collaboration with Adrian Belew. In August 2012, he became the lead singer for Christian rock band Audio Adrenaline after Mark Stuart retired and started writing for the band.[citation needed] In June 2014, he left the group to resume his solo career. In 2015 he independently released Broken Temples through crowd funding.[48] The album contained unfinished songs from his time in Audio Adrenaline. The song "Infinite" gained Christian radio airplay even though it was released independently. He now releases albums at his own pace through PledgeMusic.[49][50]

The group is notable for its stances against racism (as evidenced by "Colored People", the second track of Jesus Freak), as well as the uncompromising Christian message in its music. "We're very open about our Christian faith," says McKeehan, "but when we make our records we want to create a musical experience that anyone can immerse themselves in." But still, he says, "one of our goals is to encourage listeners to question themselves and to seek out truth."[51]

E.R.A.C.E. (Eliminating Racism And Creating Equality) was launched in September 1997 when DC Talk participated in the "Racial Reconciliation Rally" in Little Rock, Arkansas. The rally was part of a week-long emphasis on racial reconciliation.[52]

In 1998, the group began the E.R.A.C.E. Foundation to combat racism.[52] The foundation was started after four years of discussion and planning with manager Dan Pitts and Gotee Records President, Joey Elwood. The primary aim of the foundation is to educate and equip America's youth with "an understanding of the importance of interracial unity". The foundation works on healing historically divided groups and healing rifts within the society.[52]