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Jennifer Warnes

Jennifer Jean Warnes (born March 3, 1947) is an American singer and songwriter who has performed as a vocalist on a number of film soundtracks. She has won two Grammy Awards, in 1983 for the Joe Cocker duet "Up Where We Belong" and in 1987 for the Bill Medley duet "(I've Had) The Time of My Life". Warnes also collaborated closely with Leonard Cohen.

Early life
Warnes was born on March 3, 1947, in Seattle, Washington, but raised in Anaheim, California. Her desire and ability to sing came early; at age seven she was offered her first recording contract, which her father declined. She sang in church and local pageants until age 17, when Warnes was offered an opera scholarship to Immaculate Heart College. She was so committed to her Catholic faith that for a while she entered a convent after graduating from high school.

Warnes chose to sing folk music as it became popularized by Joan Baez in the mid-1960s. In 1968, after a few years with musical theatre and clubs, she signed with Parrot Records (a London Records subsidiary) and recorded her first album. That year, she joined the cast of the television show The Smothers Brothers Comedy Hour.

Early in her career, industry advisors suggested Warnes change her name to "Warren", but then realized that there was already an actress named Jennifer Warren, so she performed briefly as simply 'Jennifer', though she was credited as Jennifer Warren when she provided duet vocals for singer-guitarist Mason Williams on his 1968 album, The Mason Williams Ear Show. Soon, however, she returned to her birth name.

In November 1968, Warnes (as "Jennifer Warren") portrayed the female lead in the Los Angeles, California, production of the stage musical Hair. She had a related UK single release as "Jennifer" on London HLU 10278 in June 1969 with "Let The Sunshine In" and "Easy to Be Hard", licensed from the US Parrot label.

1970s
In 1971, Warnes met Canadian songwriter and poet Leonard Cohen, and the two remained friends. She toured Europe with Cohen's band in 1972 and 1979 — first as a back-up singer and then as a vocal arranger and guest singer on Cohen's albums Live Songs (1973), Recent Songs (1979), Various Positions (1985), I'm Your Man (1988), The Future (1992), Field Commander Cohen: Tour of 1979 (2001), and Old Ideas (2012). Warnes later (1987) recorded a critically acclaimed album of Cohen songs, Famous Blue Raincoat.

In 1972, Warnes released her third album, Jennifer, which was produced by John Cale. It was unavailable after the LP was deleted, until it was finally reissued in Japan in 2013 (Reprise WPCR-14865). In 1976, Warnes released the album Jennifer Warnes (Arista 4062), which contained her breakthrough single, "Right Time of the Night", which hit number 1 on Billboard's Easy Listening (Adult Contemporary) chart in April 1977 and number 6 on the Billboard Hot 100 chart in May 1977.

Warnes recorded the song "It Goes Like It Goes" for the 1979 motion picture Norma Rae. The song won the Academy Award for Best Original Song. Her 1979 single "I Know A Heartache When I See One", was a Top 10 Country hit and reached the Top 20 on both the Pop and Adult Contemporary charts.

1980s
Warnes recorded the Randy Newman composition "One More Hour" for the 1981 motion picture Ragtime. This became her second song performance nominated for the Academy Award for Best Original Song.

Warnes teamed up with Joe Cocker to record "Up Where We Belong" for the 1982 motion picture An Officer and a Gentleman. Written by Buffy Sainte-Marie, Will Jennings and Jack Nitzsche, the song won the Academy Award for Best Original Song, as well as a Golden Globe Award. The song also won Warnes and Cocker the Grammy Award for Best Pop Performance by a Duo or Group with Vocal, which was released as a single and hit No. 1 (for three weeks running) on the Billboard Hot 100 chart. It was certified platinum for over two million sales in the United States. That same year, she recorded James Taylor's "Millworker" for the American Playhouse PBS production of Working.

In 1985, she recorded a duet version with B. J. Thomas of the song "As Long As We Got Each Other", the theme for the TV show Growing Pains. It was used as the opening theme for the second and third seasons. For the fourth season, the song was once again re-recorded with Thomas and Dusty Springfield. However, the Warnes version made its return for the fifth season and the seventh (final) season of the show. The same year, she recorded vocals for Leonard Cohen's record Various Positions, getting equal vocals credits with Cohen in the inside booklet. After releasing a praised tribute LP of Leonard Cohen's songs in 1987, Famous Blue Raincoat, to which Cohen contributed two new compositions, "First We Take Manhattan", which featured Stevie Ray Vaughan on guitar, and "Ain't No Cure for Love", she contributed vocals to Cohen's 1988 hit LP I'm Your Man, most notably to "Take This Waltz" and "Tower of Song".

Warnes teamed with Bill Medley to record "(I've Had) The Time of My Life" for the 1987 motion picture Dirty Dancing. This marked the third song performed by Warnes to win the Academy Award for Best Original Song and second for the Golden Globe Award in the same category. The song also won Warnes and Medley the Grammy Award for Duo or Group with Vocal. It reached No. 1 on the Billboard Hot 100 and spent four consecutive weeks at No. 1 on the Adult Contemporary chart.

On September 30, 1987, at the Coconut Grove in Los Angeles, she contributed vocals for Roy Orbison's star-studded television special Roy Orbison and Friends, A Black and White Night.

1990s to present
In 1991, Warnes recorded the Lennon-McCartney song "Golden Slumbers" as a duet with Jackson Browne, included in the album For Our Children which was released by Disney as a benefit for the Pediatric AIDS Foundation.

Warnes released her seventh studio album, The Hunter, in June 1992. The LP featured the AC No. 13 single "Rock You Gently", and also featured the track "Way Down Deep" co-written by Warnes and Leonard Cohen. She recorded the track "Cold Enough To Snow" for the 1993 film, Life With Mikey.

In August 2007, the Shout Factory Records label re-released the 20th anniversary edition of Famous Blue Raincoat with a 24-page booklet and four additional songs. The Hunter was re-released in 2009, and The Well was re-released in September 2010.

All remasters were issued on high quality vinyl and 24K gold discs. Famous Blue Raincoat was released with four bonus tracks. The Hunter was released without bonus material. The re-released The Well, however, contains a total of 14 tracks. These include two previously unreleased recordings from the original session: "La Luna Brilla", "A Fool for the Look (in Your Eyes)", and one extra bonus selection, "Show Me the Light" (a second duet with Bill Medley, which was originally featured on the 1998 movie soundtrack Rudolph the Red Nosed Reindeer-The Movie).

In 2018, Warnes released her first album since 2001, Another Time, Another Place. The first cut from the new album, "Just Breathe" was released on March 1, 2018. Written by Eddie Vedder, the song was originally recorded by Pearl Jam. The album includes 10 tracks, among them a new version of "So Sad" by Mickey Newbury, "I Am The Big Easy" by Ray Bonneville, "Once I Was Loved" by John Legend, "Why Worry" by Mark Knopfler, and "The Boys And Me" by Warnes herself and Michael Smotherman.

Compilation albums

 * Best of Jennifer Warnes (Arista, 1982) – US No. 47
 * Just Jennifer (Deram, 1992)
 * Best: First We Take Manhattan (unauthorized German compilation, 2000)
 * Platinum and Gold Collection (2004) – with errors in actual tracks, not Warnes singing; recalled
 * Love Lifts Us Up: A Collection 1968–83 (Raven, 2004)

title: Jennifer Warnes


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Bureau International des Expositions

The Bureau international des expositions (BIE; English: International Bureau of Expositions) is an intergovernmental organization created to supervise international exhibitions (also known as expos, global expos or world expos) falling under the jurisdiction of the Convention Relating to International Exhibitions.

Founding and purpose
The BIE was established by the Convention Relating to International Exhibitions, signed in Paris on 22 November 1928, with the following goals:
 * to oversee the calendar, the bidding, the selection and the organization of World Expositions; and
 * to establish a regulatory framework under which Expo organizers and participants may work together under the best conditions.

Today, 184 member countries have adhered to the BIE Convention.

The BIE regulates two types of expositions: Registered Exhibitions (commonly called World Expos) and Recognized Exhibitions (commonly called Specialized Expositions). Horticultural Exhibitions with an A1 grade, regulated by the International Association of Horticultural Producers, are recognized since 1960.

The Bureau International des Expositions also recognises the Milan Triennial Exhibition of Decorative Arts and Modern Architecture, on grounds of historical precedence, provided that it retains its original features.

History
Since the creation of the BIE in 1928, different protocols have governed Expo categories, which are generally split between World Expos and Specialised Expos. The rules for each category define the duration, the frequency, the size, and the construction attributes of each Expo.

Under the original protocol of the 1928 Paris Convention, the BIE recognised two types of Expos:

 * General Exhibitions (also known as World Expos), which were divided into:
 * 1st category
 * 2nd category
 * Special Exhibitions (also known as Specialised Expos)

The Protocol of 30 November 1972 revised the original Convention, entering into force in 1980. Under these new rules, two types of Expos were recognised:
 * World Exhibitions (also known as World Expos)
 * Specialised Exhibitions (also known as Specialised Expos)

A new amendment was adopted in 1988 and ratified in 1996, further distinguishing the two types of Expos:
 * International Registered Exhibitions (commonly referred to as World Expos)
 * International Recognised Exhibitions (commonly referred to as Specialised Expos)

Expo 2008 in Zaragoza was the first Specialised Expo to be organised under these new rules, which continue to be in force to this day.

The BIE may also grant recognition to A1 Horticultural Exhibitions approved by the International Association of Horticultural Producers (AIPH) since 1960, and to the Triennale di Milano since 1933.

World Expos
According to the 1988 Amendment of the Convention on International Exhibitions, World Expos (formally known as International Registered Exhibitions) may occur every five years, and may last up to six months. Countries, international organizations, civil societies, and corporations are allowed to participate in World Expos. The themes of World Expos address a universal challenge facing humanity, and international participants may design and build their own pavilions. Participants may also opt to customise a pavilion provided by the Organiser or to participate within a joint pavilion, which has lower participation costs. Examples of themes of recent World Expos include "Man and His World" for Expo '67 in Montreal, and "Age of Discoveries" for Seville Expo '92, and examples of joint pavilion buildings for a Registered Exposition is the Plaza of America at Seville's Expo '92, which was constructed by the Seville Expo Authority to maximize participation at the World Expo by South American nations. The Plaza of Africa at Seville was constructed for the same purpose.

World Expos are also massive in scale, sometimes 300 or 400 hectares in size (Montreal's Expo 67 was 410 hectares, Osaka's Expo 70 was 330 hectares, Seville's Expo '92 was 215 hectares and Shanghai's Expo 2010, 528 hectares). Pavilions participating at a World Expo can also be large, sometimes 5,000 to 10,000 square metres in size, mini city blocks in themselves and sometimes more than several stories in height. (The Australia Pavilion for Shanghai 2010 was 5,000 square metres, the British Pavilion sat on a 6,000 square metres lot, as did the Canadian Pavilion. The flagship Chinese National Pavilion had 20,000 square metres of exhibition space.)

World Expos have been known to average 200,000 persons per day of visitors and some 50 to 70 million visitors during their six-month duration. Montreal's Expo 67 attracted 54 million visitors, Osaka's Expo '70, 64 million visitors, the Seville Expo '92, 41 million visitors and Shanghai's Expo 2010 attracted 70 million visitors.

As a result, transport and other infrastructure at a Registered Exposition is an important concern (Seville's World Expo of 1992 boasted cable car, monorail, boat, and bus) and the overall cost for hosting and being represented at a World Expos is quite high, compared to the smaller-scale Specialised Expos.

Specialised Expos
Specialised Expos (formally known as International Recognised Exhibitions) may occur between World Expos and may have a duration of between three weeks and three months. Countries, international organizations, civil societies, and corporations are allowed to participate but the theme of the Expo must address a precise challenge, e.g. Future Energy (Expo 2017 Astana), or Living Oceans and the Coast (Expo 2012 Yeosu). The pavilions are built by the Organiser and made available to participants who may customise them. The largest pavilion may be no larger than 1,000 square meters, and the Expo site must not exceed an area of twenty-five hectares. For this reason Specialised Expos are cheaper to run than World Expos.

There are blurred lines between Specialized and World Expositions prior to the 1996 amendment of the BIE's constitution. Some Specialized Expos, such as Expo 86 in Vancouver, Expo '85 in Tsukuba, or Hemisfair '68, ran for six months and pulled in greater attendance numbers than their 'World Expo' relatives. Many of these specialized expos also had individual pavilions for their participants or covered a greater exhibition site than other World Expos of the era. According to the new amendment, there were only two World Expos between 1970 and 1992 with over 12 Specialized Expos in that same period. Most of these indeed are smaller exhibitions on a focused theme, but some, such as Expo 86 and Expo 88, were intended as full-fledged World Expos. Others, such as Expo 74, the 1982 World's Fair in Knoxville, or Expo '85, were specialized exhibitions that were promoted as full World Expos.

Member states
184 countries are member states of the BIE:

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Australia
Australia was a signatory to the treaty and won the right to hold the 1988 World Exposition. In 2015 the Australian Chamber of Commerce and Industry requested that the Department of Foreign Affairs and Trade (Australia) reconsider membership, as the cost was too high and "difficult to demonstrate an appropriate return on investment", and that membership be withdrawn temporarily in 2015. Australia is no longer listed as a member of BIE.

Canada
On 16 October 2012, the Conservative government ended Canada's membership of the BIE when the federal government cancelled its $25,000 per year membership fee as part of "reviewing all spending across government with the aim of reducing the deficit and returning to balanced budgets."

United States (non-member 2001–2017)
Five International Exhibitions have been sanctioned by the BIE in the United States since World War II: one in the World Expo category—the Century 21 Exposition in Seattle (1962)—and four in the Specialized Expo category—HemisFair '68 in San Antonio; Expo '74 in Spokane, Washington; the 1982 World's Fair in Knoxville, Tennessee; and the 1984 Louisiana World Exposition in New Orleans. The 1964-65 New York World's Fair was held without receiving approval from the BIE.

The United States' membership in the BIE was revoked in June 2001 due to non-allocation of funds by the U.S. Congress for two years. The withdrawal of the United States from the BIE had a limited impact on the BIE and on the participation of the United States in International Exhibitions: the country hosted pavilions at World Expo 2005 in Aichi Prefecture, Japan; World Expo 2010 in Shanghai, China; Specialised Expo 2012 in Yeosu, South Korea; and World Expo 2015 in Milan, Italy. However, the withdrawal "had strong, adverse consequences for states and localities that wish to host an exposition on U.S. soil. Organizers in at least four states have prepared bids, or are exploring the possibility of preparing bids to host a BIE-affiliated expo." In each case, the bid project was unsuccessful, with non-membership of the BIE hurting the chances of a U.S. bid moving forward.

The U.S. rejoined the organization on 10 May 2017 after President Trump signed the "U.S. Wants to Compete for a World Expo Act" (HR534) into law (Pub.L. 115-32) as Minnesota was looking to host a Specialized Expo in 2023.

Expo mascots
Fictional characters serving as mascots have been used since 1984, starting with Seymore D. Fair as the official mascot of the 1984 Louisiana World Exposition (the name being a pun on "see more of the fair", stemming from the local New Orleans dialect). Seymore D. Fair was followed by many more character mascots over the years, including Curro in Seville Expo '92; Twipsy at Expo 2000 in Hanover; and Haibao at Expo 2010 in Shanghai. The names and designs of Expo mascots are often intended to reflect the exposition's host city in some way.

Symbols
The anthem of the Bureau International des Expositions (BIE) is the starting part of the 4th Movement of Dvořák's Symphony No. 9 in E Minor "From the New World".

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Bureau International des Expositions


text:
Derbyshire Wildlife Trust

Derbyshire Wildlife Trust is one of 46 local Wildlife Trusts around the UK working to promote and protect local wildlife. It covers the whole of Derbyshire and was founded in 1962 in response to environmental threats to the local countryside, since when it has continued to grow. The trust is now based at East Mill on the River Derwent in the town of Belper, Derbyshire. It is a registered charity (number 222212), supported by more than 14,000 members and over 500 volunteers.

The trust manages over 50 nature reserves, covering various habitat types. Sixteen of these are Sites of Special Scientific Interest (SSSIs). Derbyshire Wildlife Trust provides community training, activities, and environmental education. It also provides ecological surveys, advice and data to landowners and organisations. Environmental education and workshops are provided at the Whistlestop Centre in Matlock Bath, and the Wildlife Discovery Room at Carsington Water.

History
The trust originated in 1962 as Derbyshire Naturalists' Trust.

In the early 1960s a group of concerned people gathered together to oppose plans to tip fly ash at Ticknall Limeyards in South Derbyshire. Backed by national pressure, they were successful and decided to form a local charitable organisation to handle such issues. Derbyshire Naturalists' Trust was officially launched.

By 1967, the trust had established two nature reserves, one of them at Ticknall Limeyards itself. The other, a Site of Special Scientific Interest (SSSI) at Morley Brickyards, was leased to the trust by its owner and is still being managed as a nature reserve. The trust also acquired Overdale, the first nature reserve that it owned outright. The 15 ha of upland pasture were donated by Portland Cement to mark European Conservation Year. A bequest allowed the Trust to appoint its first member of staff in 1973.

As the trust grew, it was able to campaign more effectively, and in 1984 hit the national headlines when it won a private prosecution against five men caught badger digging.

After rebranding to become Derbyshire Wildlife Trust in 1986, the organisation became the focus of attention again the following year when it launched an appeal to raise £200,000 to renovate the old railway station buildings at Matlock Bath and create the Whistlestop Countryside Centre, an education facility in the old railway station buildings at Matlock Bath. Later in the decade a major Heritage Lottery Fund award enabled them to develop more nature reserves work and set up a Midweek Volunteer Team.

Since 2006, the trust has launched and developed a variety of projects aimed at protecting and raising awareness of vulnerable species and habitats. These include Derby Cathedral's Peregrines Project, Great Trees of Derbyshire and Saving the Great Trees of Derbyshire - projects which have raised awareness of the importance of ancient trees - and Water for Wildlife, which has helped to restore wetland habitats.

In 2007, the Avenue Washlands Nature Reserve near Chesterfield was opened and won first place in the Conservation category for Restoration Sites in the British Trust for Ornithology's Business Bird Challenge. In the same year, a lottery grant allowed the trust to extend its educational programme with Grounds for a Change, transforming Derbyshire school grounds into wildlife havens and outdoor learning spaces. It also took over management of Drakelow Nature Reserve in the south of the county, an important wetland site playing host to over 200 species of birds.

In early 2024, Derbyshire Wildlife Trust purchased 83-acre site Common Farm in Nether Heage to be managed as a nature reserve, following a successful fundraising campaign.

Organisation
Derbyshire Wildlife Trust is governed by a board of trustees, elected from and by the 14,000+ members, employing around 26 members of experienced staff for management and to carry out conservation and education projects. The trust relies heavily on volunteer work for help with aspects such as managing nature reserves, administration, and education work, with around 500 active volunteers.

List of nature reserves

 * The Avenue Washlands
 * Barton Pool
 * Broadhurst Edge Wood
 * Brockholes Wood SSSI
 * Carr Vale
 * Carvers Rocks SSSI
 * Chee Dale SSSI
 * Common Farm, Nether Heage
 * Cramside Wood SSSI
 * Cromford Canal LNR/SSSI
 * Deep Dale and Topley Pike SSSI
 * Derwentside
 * Drakelow
 * Duckmanton Railway Cutting SSSI
 * Erewash Meadows
 * Gang Mine
 * Golden Brook Storage Lagoon
 * Hadfields Quarry
 * Hartington Meadows
 * Hillbridge and Park Woods
 * Hilton Gravel Pits SSSI
 * Hoe Grange Quarry
 * Hollinhill and Markland Grips
 * Holly Wood
 * Hopton Quarry SSSI
 * Ladybower Wood SSSI
 * Lea Wood
 * Lock Lane Ash Tip
 * Long Clough
 * Mapperley Wood
 * Miller's Dale Quarry SSSI
 * Morley Brickyards SSSI
 * North Wingfield
 * Oakerthorpe LNR
 * Overdale
 * Priestcliffe Lees SSSI
 * Risley Glebe
 * Rose End Meadows
 * Rowsley Sidings
 * Spring Wood SSSI
 * Watford Lodge LNR
 * Willington Gravel Pits
 * Woodside
 * Wyver Lane

Derby Cathedral Peregrine Watch Project
The Derby Cathedral Peregrine Project was launched in 2006, with the construction of a nesting platform for a pair of falcons which had unsuccessfully bred at the cathedral for two consecutive years. Subsequent years have been successful, and the project began to include webcams, blogging, and viewing events set up for members of the public to be able to view the birds through telescopes.

Badger Vaccination Scheme
Derbyshire Wildlife Trust runs the largest badger vaccination project in the country, vaccinating over 1,700 badgers since 2014.

Bringing Back Beavers
The trust successfully reintroduced a pair of Eurasian beavers to Willington Wetlands in 2021. The pair subsequently bred in 2022; this was the first wild breeding pair in Derbyshire for around 800 years.

title: Derbyshire Wildlife Trust


text:
4th of July, Asbury Park (Sandy)

"4th of July, Asbury Park (Sandy)", often known just as "Sandy", is a 1973 song by Bruce Springsteen, originally appearing as the second song on his album The Wild, the Innocent & the E Street Shuffle. It was released as a single from the album in Germany.

One of the best-known and most praised of his early efforts, the song remains one of his most popular ballads, and has been described as "the perfect musical study of the Jersey Shore boardwalk culture".

Themes and recording
Set on, as the title suggests, the Fourth of July in Asbury Park, New Jersey, the song is a powerful love ballad, dedicated to one Sandy and describing the depressing atmosphere that threatens to smother the love between the singer and Sandy. Locals include the "stoned-out faces", "switchblade lovers" and "the greasers" who "tramp the streets or get busted for sleeping on the beach all night". The singer is tired of "hangin' in them dusty arcades" and "chasin' the factory girls".

The song begins with the line: "Sandy, the fireworks are hailin' over Little Eden tonight." Writer Ariel Swartley views the song's verses as depicting the narrator as something of an "adolescent loser ... [who's] ruining his chances with the girl: he can't stop telling her about the humiliations, about the girls who led him on, about the waitress that got tired of him." Nevertheless, Swartley observes the choruses to be warm, immediate, and portray an irresistibly romantic atmosphere.

"You travel around [to] Nashville, Atlanta, Tennessee and [people say] 'Hey! What's Asbury Park like?' and I play them this number. This is a song based in New Jersey or actually anywhere along the coast."

Van Morrison's influence can be heard in this song, as "4th of July, Asbury Park (Sandy)" closely parallels his romanticization of Belfast in such songs as "Cyprus Avenue" and "Madame George" from the 1968 album, Astral Weeks.

"Sandy" showcases the wistful side of Springsteen; Los Angeles Times writer Robert Hilburn later wrote that "the verses [were] whispered as if he was singing into his girlfriend's ear." During recording of the song for the album, Springsteen wanted a children's choir to sing on it, but they did not show up for the session. Instead, he recorded the high, clear voice of Suki Lahav, overdubbing it repeatedly, to give a choir-like effect. Lahav, the wife of Springsteen's sound engineer at the time, would not be credited for her role, but would later join the E Street Band for six months as a violinist and singer.

No singles were released from The Wild, the Innocent & the E Street Shuffle. "Sandy" would, however, along with "Rosalita (Come Out Tonight)", become fan favorites from the album, and would garner progressive rock radio airplay during the ramp-up of Springsteen's visibility preceding the 1975 release of Born to Run. The song would be released as a single in Germany in mid-1975, with the title reversed into "Sandy (4th July, Asbury Park)". "Sandy" also attracted the attention of other musicians; it was one of the two Springsteen songs that drummer Max Weinberg knew when he auditioned for Springsteen's E Street Band in late 1974. Once Born to Run made Springsteen a major rock figure, "Sandy" received additional airplay on progressive and album oriented rock formats.

Live performance history
"Sandy" was included on Springsteen and the E Street Band's best-selling 1986 box set Live/1975–85, in a 1980 Nassau Coliseum performance that nevertheless had a "club feel" to it. Its sequencing in the box set represented the opening stages of the journey that the core characters in Springsteen's work take; Springsteen said, "Then you get 'Sandy'. That's the guy and he's on the boardwalk, and I guess that was me then, when I was still around Asbury. And there's the girl.... Here it is. This is the beginning of the whole trip that's about to take place." It is also included on the 2003 compilation The Essential Bruce Springsteen.

The song was a mainstay of Springsteen and the E Street Band's concert set lists during the early part of his career, and a 1975 performance is included on the 2006 Hammersmith Odeon London '75 audio and video release. It became much rarer to hear after the 1980–1981 River Tour, appearing only very sporadically, and then usually in New Jersey.

Within the E Street Band, the song was heavily identified with Danny Federici's accordion part, which is the main musical element. "Sandy" was played several times late on the first leg of the 2007–2008 Magic Tour, including Federici's final regular appearance in November 2007 before taking a leave of absence for melanoma treatment. When Federici made his only return to the stage after that, on March 20, 2008, appearing for portions of a Springsteen and E Street Band performance at Conseco Fieldhouse in Indianapolis, "Sandy" was the one song that he requested be performed. Following Federici's April 17, 2008 death, "Sandy" was performed in tribute to him, with Roy Bittan taking over the accordion part. In July 2008, the live EP Magic Tour Highlights was released, with the final Federici performance of "Sandy" the closing track. The song has been played live about 230 times.

Covers
The Hollies recorded a single of "Sandy" (under that title) in 1975, and included it on their Another Night album. Released on Epic Records in the U.S. in April 1975, it only achieved minor airplay, reaching number 85 on the U.S. pop singles chart. Nonetheless, Record World called it a "winning ballad." It had better success in New Zealand, reaching number 12 on their singles chart. Though released as a single, it did not reach the chart in the UK, though in London it made no.15 on Capital Radio's 'Capital Countdown' Top 40. While not a big hit unto itself, The Hollies' use of "Sandy" presaged other artists mining the early Springsteen songbook for material, a notion that would soon be exploited to much greater commercial success by Manfred Mann's Earth Band and others.

Air Supply recorded "Sandy" for their 1985 album Air Supply. Singer-songwriter Richard Shindell recorded what has been described as a "near-holy reading" of this song for his 2002 live album, Courier.

Jason Heath and the Greedy Souls recorded a version in Los Angeles, 2009 which is officially endorsed by Bruce Springsteen. The band line up features the original E Street Band keyboardist and accordion player Danny Federici's son, Jason Federici. The song was released through Springsteen's website and a video can be seen on YouTube.

Swedish artist Ulf Lundell made a Swedish version of the song called "Sanna, (Nyårsafton Åre 1983) (Sandy)". The song was dedicated to his daughter Sanna, and instead of taking place on 4th of July, it takes place on New Year's Eve.

Ben E. King covered the song on the 1997 tribute album One Step Up/Two Steps Back: The Songs of Bruce Springsteen.

New York hard rock band Kiss released a single titled "Shandi", from their 1980 album Unmasked, with the song title being inspired by Springsteen's Sandy according to Paul Stanley, the only member of Kiss to work on the recording of the song in the studio, although all four members of the group appeared in the song's promotional video clip.

Dutch group Theu Boermans en de groep covered this song in a Dutch language as Venlo'67

Legacy
This song was chosen by Tony Blair as one of his Desert Island Discs, apparently because he listened to it many times when he was courting his future wife Cherie Booth.

Madam Marie
One of the song's most famous lines is:

 * Did you hear, the cops finally busted Madam Marie,
 * for tellin' fortunes better than they do ...

The "Madam Marie" mentioned in the song was a real-life fortune teller on the Asbury Park boardwalk named Marie Castello, who died June 27, 2008, aged 93. Springsteen offered memories and condolences of her on his website, saying: "'Back in the day when I was a fixture on the Asbury Park boardwalk, I'd often stop and talk to Madam Marie as she sat on her folding chair outside the Temple of Knowledge. I'd sit across from her on the metal guard rail bordering the beach, and watched as she led the day trippers into the small back room where she would unlock a few of the mysteries of their future. She always told me mine looked pretty good – she was right. The world has lost enough mystery as it is – we need our fortunetellers. We send our condolences out to her family who've carried on her tradition. Over here on E Street, we will miss her.'" Springsteen said some of the same remarks on stage during the next show on the Magic Tour, dedicating a performance of "Sandy" in Gothenburg, Sweden on July 4, 2008, to her. Similar dedication took place in Helsinki, Finland a few days later.

The dedication, word-by-word, from Gothenburg:
 * We always send this one out to Danny,
 * and just a few days ago, Madam Marie,
 * who was the gypsy teller in the Asbury Park
 * boardwalk passed away, she was 98,
 * that's a lot of fortune-telling.

 * There's enough mystery lost in the world,
 * we need all the fortune-tellers we can get,
 * so tonight we're gonna send this one out to
 * Madam Marie...

Springsteen incorrectly noted she died at 98; she was in fact 93. The song has always been dedicated to Danny Federici since his death on April 17, 2008, as this was "his" song, featuring a prominent accordion throughout the song.

title: 4th of July, Asbury Park (Sandy)


text:
S'Archittu

S'Archittu (Translation: "the little arch," in the Sardinian language) is a small coastal tourist resort near Oristano (Sardinia, Italy), part of the municipality of Cuglieri.

Toponym
The locality takes its name from the rock arch (S'Archittu) which encloses the beach, easily reachable by walk via a footway; during summer nights the arch is illuminated. The top of the arch is used for sea diving and it was the location of one event in the 2001 High Dive World Championship. The arch, about 17 metres high, is a result of marine erosion of an ancient cave formed in the limestone.

Nearby
Approximately 1 km to the south of S'Archittu is Torre del Pozzo ("The Well's Tower).

title: S'Archittu


text:
Dymaxion

Dymaxion is a term coined by architect and inventor Buckminster Fuller and associated with much of his work—prominently his Dymaxion house and Dymaxion car. Dymaxion, a portmanteau of the words dynamic, maximum, and tension; sums up the goal of his study, "maximum gain of advantage from minimal energy input."

Description
A name was needed for the display of Fuller's first architectural model, later to be known as the Dymaxion house, at the Marshall Field's department store in Chicago. To create the name, wordsmith Waldo Warren was hired by Marshall Field's and spent two days listening to Fuller, getting a feel for his idiosyncratic use of language—later playing with the syllables typical of Fuller's speech until he and Fuller agreed on the word Dymaxion.

Fuller used the word for many of his inventions during the decades to follow, including the Dymaxion house, the Dymaxion deployment unit, the Dymaxion car, and the Dymaxion world map. Dymaxion also came to describe a polyphasic sleep schedule he followed, consisting of four 30-minute naps throughout the day.

Fuller eventually renamed his elaborate journal—a highly specific, highly detailed self-documentation of his life—as the Dymaxion Chronofile.

title: Dymaxion


text:
Talk:Dymaxion

Untitled
From memory. May need to be tweaked (or demolished and rebuilt). — Preceding unsigned comment added by 200.165.239.234 (talk) 16:40, 7 October 2002 (UTC)

I rewrote it from a historical source, cited in the article now. I don't think that the individual inventions such as the Dymaxion House etc. need to be described in more detail here, that is done in the corresponding articles. I left out two facts because I think they are wrong: Fuller didn't use Dymaxion as a synonym for more-with-less, and neither was it another name for the cuboctahedron. Correct me if I'm wrong on this. --Renegade Lisp 17:55, 18 January 2006 (UTC)

They need to be listed: Car, House (referred to as dymaxion dwelling machine. Page needs to be redone.), Boat, Bathroom (needs a page), and several others. Thought about making a page that lists his inventions, by expanding the list of patents on his page, but would a list work here? Ieashu (talk) 18:08, 3 December 2012 (UTC)

I believe the "ion" in Dymaxion stood for "tensION", not "ion" as its own word. This makes more sense, and is also what the Buckminster Fuller Institute indicates on its website: http://www.bfi.org/about-bucky/buckys-big-ideas/dymaxion-world. — Preceding unsigned comment added by 209.143.197.34 (talk) 18:16, 13 January 2012 (UTC)
 * That's possible, but the source currently in the article is fairly specific about how the name was derived. Can you find another reference of similar specificity that claims it came from "tension"? The BFI site is a pretty good indicator, but I'd like something that has more-obvious backing behind it, like an actual quote from Fuller.-- SarekOfVulcan (talk) 18:29, 13 January 2012 (UTC)

title: Talk:Dymaxion


text:
Max Weinberg

Max Weinberg (born April 13, 1951) is an American drummer and television personality, most widely known as the longtime drummer for Bruce Springsteen's E Street Band and as the bandleader for Conan O'Brien on Late Night with Conan O'Brien and The Tonight Show with Conan O'Brien. He is the father of former Slipknot drummer Jay Weinberg.

Weinberg grew up in suburban New Jersey and began drumming at an early age. He attended college planning to be a lawyer but got his big break in music in 1974 when he won an audition to become the drummer for Springsteen. Weinberg became a mainstay of Springsteen's long concert performances. Springsteen dissolved the band in 1989, and Weinberg spent several years considering a law career and trying the business end of the music industry before deciding he wanted to continue with drumming.

In 1993, Weinberg got the role as bandleader of The Max Weinberg 7 for Late Night with Conan O'Brien. Weinberg's drums-driven jump blues sound and his role as a comic foil prospered along with the show, giving him a second career. In 1999, Springsteen re-formed the E Street Band for a series of tours and albums; Weinberg worked out an arrangement that allowed him to play with both O'Brien and Springsteen. In 2009, Weinberg moved to the short-lived Tonight Show with Conan O'Brien as leader of Max Weinberg and The Tonight Show Band. Upon that program's conclusion, Weinberg was not invited to follow O'Brien to the new Conan show. Weinberg continued playing with Springsteen, and in 2014 was inducted into the Rock and Roll Hall of Fame as a member of the E Street Band.

Early life
Weinberg was born on April 13, 1951, to a Jewish family in Newark, New Jersey, to parents Bertram Weinberg, an attorney, and Ruth Weinberg, a high school physical education teacher. He has three sisters, Patty, Nancy and Abby. He grew up in Newark as well as in the neighboring suburban towns of South Orange and Maplewood.

The young Max was exposed to music early on, attending Broadway shows weekly from the age of two and liking the big sound put forth by the pit orchestras. He then liked the rhythms of country and western music. He knew he wanted to be a drummer from the age of five, when he saw Elvis Presley and his drummer, D. J. Fontana, appear on The Milton Berle Show in April 1956. Decades later, Weinberg said, "I think anybody who wanted to develop a life in rock 'n' roll music had a moment. That was my moment," and Fontana became a major influence on him. Weinberg received a child's conga drum from his father after he watched a TV show featuring bandleader Xavier Cugat. In a 2020 article in The Wall Street Journal, Weinberg described the drum as having a "... a real calfskin head and a white strap. I played it all over the house."

Weinberg has also acknowledged The Ventures as a major influence on him in a TV interview in 1988 to celebrate that band's 30th anniversary and he actually sat in on drums during the performances.

Weinberg started playing at the age of six. His first public appearance came at the age of seven when he sat in on a bar mitzvah band playing "When the Saints Go Marching In". The bandleader, Herbie Zane, was the leading act for bar mitzvahs and weddings in the area; he was impressed with young Weinberg and brought him along on other engagements as a kind of novelty act. Weinberg thus became a local child star, drumming in a three-piece mohair suit. He gained an appreciation for showmanship and was a fan of Liberace and Sammy Davis, Jr. He grew to idolize drummer Buddy Rich and become a fan of Gene Krupa and saw drummer Ed Shaughnessy of Doc Severinsen's band on The Tonight Show Starring Johnny Carson as having an ideal job as well as admiring the level of playing and serious sartorial style of the Tonight Show musicians. Weinberg stayed with Zane until junior high school and learned rhythms such as cha-chas, merengues, polkas, and the hora and playing everything from Dixieland jazz to Acker Bilk's "Stranger on the Shore".

Weinberg attended Temple Sharey Tefilo-Israel, a Reform Judaism congregation in South Orange, where he was inspired by a local rabbi and had what he later described as "a wonderful Jewish background." He would later say that the Jewish concept of seder, meaning order, became key to his vision of how a good drummer serves his band's music. Witnessing his father lose two summer camps in The Poconos impressed upon him the fragility of economic success and led to a strong work ethic. His father's financial setbacks also provided a reason for Weinberg to find steady work as a drummer, while still in his teens and attending high school, to help his family pay bills.

When the British Invasion hit in 1964, the Beatles and their drummer, Ringo Starr, became a huge influence on Weinberg. He began playing in local New Jersey rock bands, playing the music of The Rolling Stones, Mitch Ryder and the Detroit Wheels, and The Young Rascals. While a member of The Epsilons, he played at the 1964 New York World's Fair. He attended Columbia High School in Maplewood; there he knew Leigh Howard Stevens, who would become a famous percussionist in his own right. Weinberg graduated from Columbia High in 1969. Another band he was in, Blackstone, recorded an eponymous album for Epic Records in 1970.

Weinberg first attended Adelphi University, and later Seton Hall University, majoring in film studies. His general goal was to become a lawyer, but he was still most viscerally interested in a music career and kept his drum set in his car in case any chances to play arose. He performed at weddings, bar mitzvahs, and bars, then landed a job in the pit band for the Broadway musical Godspell.

Success with the E Street Band
Weinberg was still living at home when he met Bruce Springsteen on April 7, 1974, when his band, The Jim Marino Band, were Springsteen's support at Seton Hall. Springsteen had parted ways with his drummer, Vini "Mad Dog" Lopez, earlier that year, and the replacement, Ernest "Boom" Carter, lasted only six months before leaving with pianist David Sancious to form Tone. Weinberg answered a Springsteen Village Voice newspaper ad that famously requested, "no junior Ginger Bakers," in reference to Ginger Baker's reputation for long drum solos. Weinberg auditioned with Springsteen and the core E Street Band in mid-late August of that year at the SIR studios in Midtown Manhattan, bringing a minimalist drum kit with him consisting only of hi-hats, a snare drum and a bass drum. He knew one Springsteen song from the Marino band, "Sandy", and played it. His drumming on the Fats Domino song "Let the Four Winds Blow" sealed the position as his. A week later, he was offered the $110 per week job (US$0 in dollars), and he quit college immediately, about six academic credits short of a degree. Weinberg's first public performance came on September 19, 1974, at The Main Point in Bryn Mawr, Pennsylvania.

Weinberg rose to success as the drummer for Springsteen's E Street Band, as his powerful yet controlled beat solved the E Street Band's drumming instabilities. On Born to Run (1975), Weinberg's drumming evoked two of his idols, Ringo Starr and Levon Helm, and he covered his snare drum with heavy paper towels to capture some of the Memphis soul sound. While travelling on tour, Weinberg became known for his exact requests, such as specifying the particular brand of paper towels to use for his drums or the standards for his hotel rooms. Weinberg never adopted the "rock and roll lifestyle"; he treated his music seriously and kept to the mantra, "Show up, do a good job, and give them more than their money's worth." One compromise Weinberg did have to make was sometimes playing on the High Holy Days. During shows, Springsteen built up the personas of his bandmates, and Weinberg was frequently referred to as "the Mighty Max". Weinberg started a long practice of keeping his eyes on Springsteen every moment during the show, even when Springsteen was behind the stage, as he never knew when Springsteen would change a tempo or suddenly deviate from the set list. Decades later, E Street guitarist Steve Van Zandt would say of Weinberg, "What nobody understands is that not only is Max a great drummer, Max reads Bruce's mind. You can't learn that." Weinberg bought a house overlooking the water in Atlantic Highlands, New Jersey, triggering a lifelong interest in real estate and home design.

Tempos slowed to an oft dirge-like pace on Darkness on the Edge of Town (1978); rehearsals and recording of the album stretched out over a long period, with Springsteen and bandmate and co-producer Steven Van Zandt experiencing a prolonged frustration over their inability to capture a more resonant drum sound. Weinberg soon regretted not playing faster on "Badlands", and tempos did speed up on that number and some others during the accompanying Darkness Tour. He did later say that "It was a ballsy thing to play a single stroke roll through the entirety of 'Candy's Room and that it was the kind of choice a session musician never would have tried.

Weinberg suffered an acknowledged "drumming slump" around 1980, and his time-keeping skills were criticized by Springsteen. What could pass unnoticed in concert became apparent on record, and Weinberg practiced drumming components for months in order to regain a fine sense of timing. Weinberg also suffered from repetitive stress injury and tendinitis, eventually requiring seven operations on his hands and wrists. He studied for a while with noted jazz drummer Joe Morello; Weinberg credited Morello for helping him to learn how to play with the tendinitis. The River Tour Springsteen and E Street Band shows that opened New Jersey's Meadowlands Arena in 1981 became one of the highlights of Weinberg's career.

On June 22, 1981, Weinberg married Rebecca Schick, a Methodist who had grown up in Tinton Falls, New Jersey, and whom he had met through a mutual friend. Springsteen and the band played at their wedding, which was officiated by the same rabbi that Weinberg had while growing up. Becky Weinberg worked as a high school history teacher. They had two children, daughter Ali (born c. 1987) and son Jay (born 1990).

In 1984, they bought a 5 acre farm in Monmouth County; after feeling taken advantage of in the deal, Weinberg became a scrupulous researcher in real estate matters, often spending days at town halls looking over obscure zoning regulations. While on tour, he studied books about architecture, and dreamt of building houses in the style of Frank Lloyd Wright or Richard Meier.

He made a full recovery from his injuries in time for Born in the U.S.A. (1984), which featured an aerobics-timed beat on some tracks that also owed something to the popular Phil Collins drum sound. Weinberg's own experimentation since the Darkness days had also led to a more reverberant sound. Overall, Weinberg's more fluid drumming combined with Roy Bittan's use of synthesizers and better overall production to give Springsteen a more modern sound, resulting in the album becoming Springsteen's best-selling one ever and spawning a record-tying seven Top 10 hit singles. Springsteen later said of the album, "Max was the best thing on the record." Weinberg's most well-known drum part came on "Born in the U.S.A.", where his snare drum paired against Bittan's signature synthesizer riff on the opening and throughout the main part of the song. The recording then descends into improvised chaos; Springsteen had told Weinberg, "When I stop, keep the drums going." Upon the restart, intentional drum breakdowns matched bass swoops and guitar feedback; Springsteen subsequently said of the performance overall, "You can hear Max – to me, he was right up there with the best of them on that song." Weinberg said it was one of his most intense musical experiences.

On the subsequent Born in the U.S.A. Tour, Springsteen generally interspersed hard-rocking song sequences after every three or four numbers in order to give Weinberg's hands a chance to recover. Weinberg's wife Becky unintentionally triggered one of the tour's most celebrated episodes. She was a fan of the This Week with David Brinkley television program and invited panelist George Will to the Washington-area Capital Centre show. After seeing the band perform, Will became convinced that they were exemplars of hard-working patriotism and traditional American values; he wrote, "... consider Max Weinberg's bandaged fingers. The rigors of drumming have led to five tendonitis operations. He soaks his hands in hot water before a concert, in ice afterward, and sleeps with tight gloves on." Will further decided that Springsteen might endorse Ronald Reagan in the 1984 presidential campaign and talked to the campaign, which later led to Reagan's famous extolling of Springsteen at a stop in Hammonton, New Jersey, and Springsteen's subsequent negative response.

For his efforts, Weinberg was named Best Drummer in the Playboy 1985 Pop and Jazz Music Poll and Best Drummer again in Rolling Stone ' s 1986 Critics Poll. The adulation got to him a bit as he aligned with the Mighty Max persona and went to fashionable parties.

Weinberg had a reduced role on Springsteen's 1987 Tunnel of Love album, replacing Springsteen's drum machine parts on a few tracks, but the full band was in place for the 1988 Tunnel of Love Express and Human Rights Now! tours. Weinberg called the latter tour's visiting of many third-world spots around the globe one of the most rewarding things the band had done.

In 1984, Weinberg published The Big Beat: Conversations with Rock's Greatest Drummers, a series of interviews conducted over two years with drummers from various eras, including Starr, Helm, D. J. Fontana, Charlie Watts, Dino Danelli, Hal Blaine and others. The book captured drummers revealing more about their musical approaches than they normally did to the press and was thus considered an important addition to the rock literature. In 1986, Weinberg began taking a one-man show "Growing Up on E Street" to college campuses around the country. It contained some short films that Weinberg produced as well as a question-and-answer session.

Weinberg also played as a session musician, enjoying particular success in connection with songwriter and producer Jim Steinman. He drummed on the 1977 Meat Loaf album, Bat Out of Hell, playing on the Steinman-penned tracks "Bat Out of Hell", "You Took the Words Right Out of My Mouth" and "Paradise by the Dashboard Light". At a point in 1983, Weinberg was featured on the number one and number two songs on the Billboard Hot 100, Bonnie Tyler's "Total Eclipse of the Heart" and Air Supply's "Making Love Out of Nothing at All", both Steinman creations. Weinberg also recorded with Southside Johnny and the Asbury Jukes, Gary U.S. Bonds, Ian Hunter and Carole King.

On October 18, 1989, Springsteen unexpectedly called Weinberg to say he was dissolving the E Street Band. As Weinberg later said, "That's why they call him the Boss."

Breakup and career choices
The news left him "a zombie for about six months". Even before the breakup, he had returned to school at Seton Hall University in early 1989. The band breakup occurred during his second semester at Seton Hall, on his way to completing the remaining 21 credits needed to obtain his bachelor's degree in communications. He graduated from there later in 1989. He then briefly attended Yeshiva University's Cardozo School of Law, but withdrew after six weeks. Weinberg asked Ringo Starr for advice on how to go on when the band that had made your life had broken up. Weinberg and Springsteen remained on friendly terms during this period.

In 1990, Weinberg began offering motivational seminars oriented towards corporations to augment his one-person college show business. He received the HERO Award from Big Brothers Big Sisters of America in October 1990 for his work for that organization. The Big Beat was republished in 1991.

Weinberg thought his career as a musician was over and considered himself retired as a drummer. He went into the music business instead, joining a distribution company as a business partner. He worked as an executive for the Music Master label. He formed his own record company, Hard Ticket Entertainment, in 1990. In 1991, they issued an album that he produced by a group he formed, Killer Joe, called Scene of the Crime. He had sought out this career path because "I didn't want to continually be competing with 'Mighty Max'," but he found business life unfulfilling. Because of that, and for personal reasons as well, he needed to return to performing. Weinberg later reflected, "I felt at times, after the E Street Band broke up, so anonymous it was painful."

He looked through the Yellow Pages for jobs and played at bar mitzvahs for $125; he later said "[I] was glad to do it." Weinberg became the live drummer for 10,000 Maniacs in 1992 after their drummer Jerry Augustyniak was injured five days before a five-week tour. He went after that assignment once he heard it was open and later said, "I lived on a bus and had a roommate. Not exactly like the E Street Band, but I loved it. It reminded me that I am a drummer and I'm good. I was put here to play the drums. To turn my back on that ability was wrong." He played at the January 1993 inauguration of Bill Clinton. Weinberg auditioned in 1993 to be the principal drummer on the Broadway show The Who's Tommy, but was selected instead as the second substitute. Despite the very low pay, Weinberg was nevertheless happy: "I'd buried drumming so far into my psyche. I felt I'd resurrected it." Of Springsteen's work, Weinberg felt "that I would never get to play these songs again."

Late Night with Conan O'Brien
In July 1993, Weinberg had a chance sidewalk meeting outside the Carnegie Deli with newly selected Late Night host Conan O'Brien, where Weinberg spoke about his ideas for music on the show. O'Brien promised Weinberg an audition. Within a few days, Weinberg put together The Max Weinberg 7, recruiting musicians he had worked with during his career, including on the Killer Joe project, starting with guitarist and arranger Jimmy Vivino. Weinberg decided a muscular, drums-driven jump blues vibe, partly derived from the Killer Joe sound, is what he would use as a starting point for the group's sound. At the early August audition, the outfit impressed O'Brien with their ability to play not just rock but also rhythm and blues, soul, jazz, pop, and big band swing; Weinberg was so anxious to land the job that he threw up afterward. After a final meeting with executive producer Lorne Michaels, they were hired as the house band. The band performed on the show every night since its premiere on September 13, 1993. O'Brien later said of the Weinberg choice, "The energy and enthusiasm of his music coincided with the show I wanted to do. Plus, his tan offset my ghostly complexion." Weinberg held the title of music director on the show, while Vivino did most of the arranging. Of his career rebound, Weinberg said simply: "I grabbed the brass ring twice."

In the early phases of the show, Weinberg was involved in occasional comedy bits, but mostly focused on his musical responsibilities, including the selection of walk-on music for guests. The band got a 30-second featured spot each night after O'Brien's opening monologue. O'Brien often received poor notices during the early years of Late Night, and Jon Pareles of The New York Times pronounced the Max Weinberg 7 as the "saving grace" of the show. Weinberg established an image by dressing in high-quality suits and a tie; he said, "I like us to look sharp and play sharp," and "I don't want to look like the audience, I want to look different." Weinberg became a television celebrity, and his visibility and stature grew from Late Night and established an image for him beyond Springsteen. Indeed, much of the show's young fan base, and some of the staff on the show itself, were unaware of Weinberg's past role in the E Street Band.

In 1994, Rhino Records released Max Weinberg Presents: Let There Be Drums, a three-volume set of CDs that highlighted drumming that Weinberg admired on songs from the 1950s through the 1970s. Recaps in 1998 of the first five years of Late Night concluded that the band had been an important element in the show surviving, with Weinberg's personality providing a foil to O'Brien's and with "the Max Weinberg 7 [leaving] television viewers wishing they were in the studio to hear more." Their sound also fit into the swing revival going on during the late 1990s.

In 2000, O'Brien sidekick Andy Richter left the show, and Weinberg became the "second banana". Weinberg continued to present an obvious visual foil: as O'Brien said, "If you looked at this guy you would never know he was the drummer in a huge rock 'n' roll band. You would say he was the guy who did the band's accounting. But Max is the authoritative, buttoned-down adult in the midst of all this madness." Weinberg reveled in O'Brien's youthful audience: "To be 49 and appreciated by 14-year-olds again? What a thrill!" Weinberg engaged in stare-downs with O'Brien and gave scripted screeds about newsmakers. Additionally, Weinberg was comically presented as a twisted character with sexual fetishes and homicidal tendencies in comedy bits. When O'Brien was host of Saturday Night Live on March 10, 2001, his monologue featured a visit from the SNL studio to the Late Night studio (only a few floors apart in the same building, 30 Rockefeller Plaza), where O'Brien discovers Weinberg engaged in sexual intercourse on his desk with a woman played by Max's real-life wife, Becky. Weinberg says of his comic persona: "[I]t's playing against type. I've been happily married for nearly 30 years, with two wonderful children. It's not what I portray on the show, and that's funny." Weinberg continued his one-man college shows, now titled E Street to Late Night: Dreams Found, Lost, and Found Again.

Weinberg returned to the E Street Band briefly when Springsteen re-grouped the band in early 1995 to record a few new songs for the Greatest Hits release. The regrouping was only temporary and the band returned to inactivity. Also in 1995, Weinberg drummed on two of Johnnie Johnson's songs: "I'm Mad" and "She Called Me Out of My Name," on Johnson's 1995 album Johnnie Be Back. Weinberg spent two years building an 8900 sqft house in Middletown Township, New Jersey, that they moved into in 1999; he picked up many of the furnishings for it from locations around the world during subsequent tours.

The Max Weinberg 7 released a self-titled album in 2000 on Hip-O Records; Weinberg said he waited until then because "I wanted to change my style of playing and hone my style before I committed to a record." He was especially proud that the band had successfully backed Tony Bennett during a late 1990s appearance on Late Night: "Two years ago if you'd asked me if I could play with Tony Bennett, I would have said absolutely not. I'm not in his league. But we played with him the other night, and it was wonderful. We swung."

Reformation of the E Street Band

Springsteen reunited the E Street Band in 1999 on a more lasting basis, for the Bruce Springsteen and the E Street Band Reunion Tour. This posed a dilemma for Weinberg, whose greater loyalty was to O'Brien and NBC. Indeed, up until then Weinberg had never missed a Late Night show, appearing in over 1,000 in a row. However, allowing Weinberg to tour for one of the highest-profile reunions in rock history was thought to be of long-term benefit to the television show's appeal, and an arrangement was worked out wherein Weinberg took a leave of absence from Late Night in order to go out on this and subsequent tours. When he was tied up with Springsteen, drummer James Wormworth took his place, and the band was led by Jimmy Vivino ("Jimmy Vivino and the Max Weinberg 7"). When the Reunion Tour was extended in length, shows were generally restricted to weekends, so as to permit Weinberg to fulfill his Late Night responsibilities. At NBC, the coexistence between the drummer's two bosses was known as the Weinberg-Springsteen Rule, and was not typically extended to other talent at the network.

While Weinberg did not forget the breakup and long separation, he viewed it as "at the same time the most horrifying experience I've ever been through and the most liberating." In any case, he immediately felt comfortable playing with Springsteen once more: "Right from the first downbeat of the first rehearsal, it was there again." His drumming for the E Street Band was more relaxed and mature than before, showing more confidence and finesse, and his hands and fingers were in better shape for having done the daily Late Night work. When the tour concluded with ten shows at New York's Madison Square Garden, on several days Weinberg taped the Conan show at Rockefeller Center in the late afternoon, put his hands in ice and changed from his suit into jeans and a vest, and played with Springsteen at night. The experience of doing both left him "professionally speaking, as alive as I've ever felt." Of his position on the drum platform behind Springsteen, he says, "I have the best seat in the house." His energy level was no less, as he could be seen jumping a foot off his seat during some songs. His daughter Ali joined the band on keyboards several times during the tour.

Weinberg's steady drumming helped power Springsteen's 2002 comeback album, and the first E Street Band studio recording in 18 years, The Rising. Weinberg took more time off from the Conan show to participate in the long and successful 2002–2003 Rising Tour. In the early 2000s, Weinberg was at the center of annual holiday benefit shows at Asbury Park Convention Hall, billed as Bruce Springsteen, the Max Weinberg 7 and Friends.

Weinberg was a member of the board of trustees of the Monmouth Conservation Foundation and won a conservation award in 2002. Nevertheless, during 2002 and 2003, he got into a prolonged local controversy over his plans to subdivide a portion of his 65 acre Middletown Township, New Jersey, property into lots for new homes. Some of his neighbors strongly protested the move, and they and some in the press accused him of hypocrisy; Weinberg defended himself by saying the conservation foundation was not against all development, just thoughtless development. A scaled-down version of the plan was approved by the town's zoning board, and in 2008 Weinberg went ahead with plans to sell the lots. Weinberg generally avoids political comments, but did campaign for John Kerry in the 2004 United States presidential election.

Springsteen himself also made appearances on Late Night in 1999, 2002, and 2006. Weinberg participated in the 2004 Vote for Change tour then drummed on Springsteen's 2007 album Magic. There, he was part of a core rhythm section comprising himself, Springsteen, bassist Garry Tallent, and pianist Roy Bittan, who did the tracks first; other members' contributions were added later. Weinberg then took more time off from the Conan show to do the 2007–2008 Magic Tour. Weinberg repeated his role in the core section in recording Springsteen's Working on a Dream album. Weinberg also fulfilled a long-time dream by going to Super Bowl XLIII in February 2009 with Springsteen and the E Street Band's half-time performance, where he was joined by some of the other members of the Max Weinberg 7.

Move to The Tonight Show
The ending of the O'Brien Late Night and beginning of The Tonight Show coincided with the start of Springsteen and the E Street Band's 2009 Working on a Dream Tour. O'Brien told a Variety reporter at the time of the announcement that he hoped that Weinberg would follow him to Los Angeles and that he also hoped an arrangement could be worked out to let Weinberg go on the road with Springsteen as had been done for past tours.

Whether Weinberg would stay with O'Brien and move or not became a subject of conflicting news reports. Nevertheless, O'Brien confirmed on February 18, 2009, that Weinberg and the band were indeed coming with him. Weinberg had not missed an E Street Band show since joining the outfit in 1974, and E Streeter Van Zandt said that no amount of rehearsal by another drummer could replace Weinberg's "intuitive understanding" of Springsteen's performance gambits.

The conflict was resolved when son Jay became a substitute drummer for his father during parts of the Working on a Dream Tour that Max could not make due to commitments to the O'Brien show. Springsteen said, "Once again, I want to express my appreciation to Conan O'Brien, and everyone on his team, for making it possible for Max to continue to do double duty for both us and for him. We promise to return him in one piece." The younger Weinberg began playing during segments of the tour's shows, and got a very positive response from audiences and reviewers as a spark plug for the band. Max Weinberg said Jay's segments allowed him a "total out-of-body experience. For the first time in – I've been with Bruce for 35 years – I've been able to go out in the audience and enjoy a Bruce Springsteen and the E Street Band concert." In one case, Jay did one show of a two-night stand on the East Coast and Max then took a red-eye flight back from Los Angeles to do the second.

The Tonight Show with Conan O'Brien premiered on June 1, 2009, with The Max Weinberg 7 now expanded to eight and referred to as Max Weinberg and the Tonight Show Band. Andy Richter was back as an announcer, making Weinberg's role as a foil a little uncertain. Gradually, Weinberg and the band's roles in the comic aspects of the show began to assert themselves. On June 25, Weinberg departed The Tonight Show temporarily for four weeks to join Springsteen and band part-way through their European leg; this was conveyed on the show via a comedy bit that had his drum riser turn into a float that took him outside the studio and purportedly to the airport. Weinberg returned to the show on August 3, after flying back from a Springsteen show that had ended early into the same morning in Spain. Of being Tonight Show bandleader, he said, "I think one of the biggest thrills in my life was seeing my name in the same sentence as Doc Severinsen, who, in my view, is the gold standard for 'Tonight Show' bandleaders. There's never been anyone who did it quite near the class and the brilliance of Doc Severinsen in the original Tonight Show Band. I used to think when I was a kid what a great job that must be – you know, same place, every time, everyday. Lo and behold, here I am 40 years later, doing it. That sounds deep, deep, deep, deep, deeply satisfying to me." On September 25, Weinberg left The Tonight Show again for two months to join Springsteen and band for the final, American portion of the Working on a Dream Tour. The same drum-riser-to-float comedy bit was used, except this time the float was "hit" and demolished by a truck just outside the studio (and airing of the segment was delayed a few days due to O'Brien legitimately injuring himself during the same show). The tour wrapped on November 22, 2009, in Buffalo, New York; Weinberg was back on The Tonight Show the next day. With no E Street Band projects in sight for at least the next year or two, Weinberg was left to concentrate on his bandleader role.

Even though Weinberg was living in Los Angeles for The Tonight Show, he retained his home in New Jersey and considered that his permanent residence: "I'm not really moving. I'm living out here, but it's more like an extended road trip." Regarding his decision to stay in music rather than pursue the legal profession, he has had no regrets: "The world needs more drummers and fewer lawyers."

However, Weinberg's stint as Tonight Show bandleader was not to last long. The 2010 Tonight Show host and timeslot conflict erupted, and after an intense period of public turmoil, the last O'Brien show took place on January 22, 2010, finishing with Weinberg propelling a guest-filled seriocomic rendition of "Free Bird". While O'Brien negotiated a settlement deal with NBC for himself and his staff, Weinberg as well as Richter had to reach their own agreements with the network.

Departure from O'Brien and start of own bands
In February 2010, Weinberg underwent a twelve-hour open heart valve repair surgery to correct a condition he had known about and had been monitoring since the mid-1980s. His recovery took place over three to five months, and Weinberg kept news about the operation private until an interview eight months later.

In April 2010, O'Brien began his The Legally Prohibited from Being Funny on Television Tour. While the rest of the group was part of the tour under the moniker The Legally Prohibited Band, Weinberg was not (except for a brief appearance at one show). Instead, he assembled and staged appearances by the Max Weinberg Big Band, a fifteen-piece ensemble with twelve horns that mostly plays the music of Frank Sinatra, Buddy Rich, Count Basie, and Maynard Ferguson. Weinberg's interest in the genre dated back to his childhood and the artists he had seen on televised variety shows.

It was initially unknown whether Weinberg would be part of O'Brien's new late night show on TBS cable that began in November 2010, as no specifics had been worked out for that show while O'Brien focused on his tour. In June 2010, the Max Weinberg Big Band Tour began with a show in Red Bank, New Jersey's Count Basie Theater. Weinberg said that he was booking appearances by his big band through 2011 and that with regard to O'Brien, "I literally have not thought about it. There have been no discussions. It's kind of an open question."

In September 2010, it was announced Weinberg would not be part of the show, now named Conan; Jimmy Vivino took over leadership of that band, with Wormworth replacing Weinberg full-time on drums. The split was stated as being mutual, with O'Brien saying, "Max has been a huge part of my life for the past 17 years and he is an incredible bandleader and musician," and Weinberg thanking his band and saying, "17 years – a lifetime on TV ... my association with Conan, his staff, and crew has been a deeply rewarding experience for me." Weinberg subsequently acknowledged that "we both wanted to go in different directions," but both looked forward to Weinberg occasionally stopping by to sit in on the new show. Weinberg said his health was better than ever but that the "life-changing experience emotionally and spiritually" of the surgery, a desire to remain in New Jersey with his family, and an interest in exploring new musical directions had all played a role in his departure from O'Brien.

Another health scare happened in June 2011 when he was diagnosed with prostate cancer. He had surgery for it the following month with a favorable outcome, but did not reveal publicly the news of this health situation for another six years.

In 2013, Weinberg again found himself in a real estate dispute, threatening legal action against Monmouth County in connection with its attempt to repair damage to the Henry Hudson Trail in Atlantic Highlands following damage caused by Superstorm Sandy. Weinberg claimed that the work done in creating that portion of the trail, augmented by Sandy, had caused significant damage to two properties he and his wife owned there. The issue was still ongoing in 2014.

Weinberg played on only a couple of tracks on Springsteen's March 2012 album Wrecking Ball, but resumed his normal role with the E Street Band on the subsequent 2012–2013 Wrecking Ball Tour, this time augmented by percussionist Everett Bradley, as well as on its 2014 continuation, the High Hopes Tour. In 2014, Weinberg was inducted into the Rock and Roll Hall of Fame as a member of the E Street Band. He said of the honor, "when you have that trophy in your hands, I've never experienced anything like that. ... You're walking around with this big heavy symbolic recognition of the work you've done." Meanwhile, he continued to play in a jazz idiom on his own, now with the Max Weinberg Quintet. In late October 2014, Weinberg sat in for a surprise guest appearance on Conan. In early 2015, Weinberg received the Humanitarian of the Year Award from Temple Rodeph Torah in Marlboro, New Jersey, in recognition of his volunteering in association with multiple local groups; he said he was humbled to be accepting an award that focused on tikkun olam.

Weinberg once again hit the road with Springsteen and the E Street Band for The River Tour 2016 in January 2016, which in its various phases lasted until February 2017. He appreciated the shows on the first leg of the tour, where they played the entire 20-song The River album in sequence, because "when you play something night after night you really get to dig into the material, just as an instrumentalist." He attributed his ability to keep playing during some of the longest shows in E Street Band history to his keeping in top physical condition, including exercise by swimming, and to his love of playing with Springsteen.

Once the tour was over, Weinberg said he would continue to appear with his various own bands, including doing weddings and bar and bat mitzvahs just as he had earlier in his career. He also liked to watch his son Jay play with Slipknot, although he conceded he did so from a safe zone where he would not get knocked down by the audience.

On December 14, 2021, Max Weinberg indicated that he felt a tour with Springsteen and the E Street Band was very likely in 2022 saying “Until the bus pulls up at my house, figuratively speaking, I’m not quite sure but I’m pretty convinced ... (that) myself, my colleagues and the people who are interested are going to be very pleasantly surprised in 2022. I don’t make plans for Bruce Springsteen and the E Street Band but I feel very good about the next 18, 24 months."

Equipment
For many years, Weinberg's gear included Slingerland Drums, Ludwig, Pearl Drums and Zildjian cymbals; he subsequently switched to DW Drums, but continues to use Zildjian cymbals. He also uses Remo heads and, previously having used Regal Tip drumsticks and brushes, he now uses Vater drumsticks, notably the 5A Nude wood tip model and Wire Tap brushes. His setup has always been simple, mostly consisting of a snare drum, mounted tom, bass drum and floor tom, while his usual cymbal setup consists of two crash cymbals, a ride cymbal and a pair of hi-hats, with an occasional third crash: "I've got four drums. Anything more is redundant. Besides, I tend to trip over things."

Personal life
As of July 2020, Weinberg and his wife Becky live in Delray Beach, Florida. Among his valued possessions is the conga drum given to him by his father in 1957. During a 2020 Wall Street Journal interview, when asked why he still looks forward to touring with Springsteen, Weinberg said, "A chance to prove I still have it. Playing with Bruce and the E Street Band is the height of what I do."

Weinberg did and does have strong New Jersey and East Coast ties. He lives on the New Jersey shore with his wife and children. He and his family are fans of the New Jersey Devils, and played ice hockey on the 2 acre pond in front of their house. They were season ticket holders for the Devils until the children became too old and busy to attend games. Their son Jay had, without much instruction from his father but using Max's old gear, become a drummer for local punk rock and metal bands. Their daughter Ali became an assistant to NBC News reporter Chuck Todd and began appearing on their MSNBC.com blog "First Read". , Ali is now a foreign affairs producer at the PBS NewsHour. Weinberg played drums on the first album recorded by his sister Nancy Winston, a professional pianist and singer in New York City, known for her regular appearances at Cafe Pierre.

Tours with Bruce Springsteen

 * Born to Run tours, 1974–1977
 * Darkness Tour, 1978–1979
 * The River Tour, 1980–1981
 * Born in the U.S.A. Tour, 1984–1985
 * Tunnel of Love Express Tour, 1988
 * Human Rights Now! Amnesty International Tour, 1988
 * Reunion Tour, 1999–2000
 * The Rising Tour, 2002–2003
 * Vote for Change Tour, 2004
 * Magic Tour, 2007–2008
 * Working on a Dream Tour, 2009
 * Wrecking Ball Tour, 2012–2013
 * High Hopes Tour, 2014
 * River Tour 2016/Oceania '17, 2016–2017
 * Springsteen and E Street Band 2023 Tour, 2023-present

title: Max Weinberg


text:
Weyl's postulate

In relativistic cosmology, Weyl's postulate stipulates that in the Friedmann model of the universe (a fluid cosmological model), the wordlines of fluid particles (modeling galaxies) should be hypersurface orthogonal. Meaning, they should form a 3-bundle of non-intersecting geodesics orthogonal to a series of spacelike hypersurfaces (hyperslices).

Sometimes, the additional hypothesis is added that the world lines form timelike geodesics.

Intuitive significance
The ADM formalism introduced a family of spatial hyperslices. This allows us to think of the geometry of "space" as evolving over "time". This is an attractive viewpoint, but in general no such family of hyperslices will be physically preferred. The Weyl hypothesis can be understood as the assumption that we should consider only cosmological models in which there is such a preferred slicing, namely the one given by taking the unique hyperslices orthogonal to the world lines of the fluid particles.

One consequence of this hypothesis is that if it holds true, we can introduce a comoving chart such that the metric tensor contains no terms of form dt dx, dt dy, or dt dz.

The additional hypothesis that the world lines of the fluid particles be geodesics is equivalent to assuming that no body forces act within the fluid. In other words, the fluid has zero pressure, so that we are considering a dust solution.

Relation to vorticity
The condition that the congruence corresponding to the fluid particles should be hypersurface orthogonal is by no means assured. A generic congruence does not possess this property, which is in fact mathematically equivalent to stipulating that the congruence of world lines should be vorticity-free. That is, they should not be twisting about one another, or in other words, the fluid elements should not be swirling about their neighbors in the manner of the fluid particles in a stirred cup of some liquid. (Nonzero vorticity model is presented in https://arxiv.org/ftp/arxiv/papers/1210/1210.4091.pdf or Nurgaliev I.S. «Singularities Are Averted by Vortices». Gravitation and Cosmology, 2010, Vol. 16, No. 4, pp. 313–315.)

title: Weyl's postulate


text:
Dymaxion house

The Dymaxion House was developed by inventor and architect Buckminster Fuller to address several perceived shortcomings with existing homebuilding techniques. Fuller designed several versions of the house at different times—all of them factory manufactured kits, assembled on site, intended to be suitable for any site or environment and to use resources efficiently. A key design consideration was ease of shipment and assembly.

As he did when naming many of his inventions, Fuller combined the words dynamic, maximum, and tension to arrive at the term Dymaxion.

History
The Dymaxion House was completed in 1930 after two years of development, and redesigned in 1945. Buckminster Fuller wanted to mass-produce a bathroom and a house. His first "Dymaxion" design was based on the design of a grain bin. During World War II, the U.S. Army commissioned Fuller to send these housing units to the Persian Gulf. In 1945, science-fiction writer Robert A. Heinlein placed an order for one to be delivered to Los Angeles, but the order was never filled.

The Siberian grain-silo house was the first system in which Fuller noted the "urban dust dome" effect: many installations have reported that a dome induces a local vertical heat-driven vortex that sucks cooler air downward into a dome, if the dome is vented properly—a single overhead vent, and peripheral vents. Fuller adapted the later units of the grain-silo house to use this effect.

The final design of the Dymaxion house used a central vertical stainless-steel strut on a single foundation. Structures similar to the spokes of a bicycle-wheel hung down from this supporting the roof, while beams radiating out supported the floor. Wedge-shaped fans of sheet metal aluminum formed the roof, ceiling and floor. Each structure was assembled at ground level and then winched up the strut. The Dymaxion house represented the first conscious effort to build an autonomous building in the 20th century.

It was a prototype proposed to use a packaging toilet, water storage and a convection-driven ventilator built into the roof. It was designed for the stormy areas of the world: temperate oceanic islands, and the Great Plains of North America, South America and Eurasia. In most modern houses, laundry, showers and commodes are the major water uses, with drinking, cooking and dish-washing consuming less than 20 liters per day. The Dymaxion house was intended to reduce water use by a greywater system, a packaging commode, and a "fogger" to replace showers. The fogger was based on efficient compressed-air and water degreasers, but with much smaller water particles to make it comfortable.

Description
Two Dymaxion houses were prototyped—one indoor (the "Barwise" house) and one outdoor (the "Danbury" house). No Dymaxion house built according to Fuller's intentions was ever constructed and lived in. The only two prototypes of the round, aluminum house were bought by investor William Graham, together with assorted unused prototyping elements as salvage after the venture failed. In 1948, Graham constructed a hybridized version of the Dymaxion house as his family's home; the Grahams lived there into the 1970s. Graham built the round house on his lake front property, disabling the ventilator and other interior features. It was inhabited for about 30 years, although as an extension to an existing ranch house, rather than a standalone structure as intended by Fuller. In 1990, the Graham family donated this house, and all the component prototyping parts, to the Henry Ford Museum. A painstaking process was used to conserve as many original component parts and systems as possible and restore the rest using original documentation from the Fuller prototyping process. It was installed indoors in the Henry Ford Museum in 2001 with a full exhibit.

Since there was no evidence of the crucial internal rain-gutter system, some elements of the rain collecting system were omitted from the restored exhibit. The roof was designed to wick water inside and drip into the rain-gutter and then to the cistern, rather than have a difficult-to-fit, perfectly waterproof roof.

There was to be a waterless packaging toilet that deftly shrink-wrapped the waste for pickup for later composting. During the prototyping process, the idea for the packaging toilet was quickly replaced by a conventional septic system because the packaging plastic was not available. Other features worked as advertised, notably the heating, and the passive air conditioning system, based on the "dome effect".

The inhabitants of the much-modified version of the house said that the bathroom was a particular delight. The bathroom consisted of two connected stamped copper bubbles, built as four nesting pieces. The bottom piece is fully plated in tin/antimony alloy and the top half is painted. Each bubble had a drain. No area had a radius of less than four inches (10 cm), to aid cleaning. The commode, shower, bathtub and sink were molded into the structural shell in one piece. One bubble contained a step-up ergonomic bathtub and shower, high enough to wash children without stooping, but just two steps (16 inches / 40 cm) up. The oval tub had the controls mounted on the inside left of the entrance to the oval tub. The other bubble was the bathroom proper with commode and sink. The ventilation for the bathroom was a large silent fan under the main sink, which kept odors away from people's noses. All lighting was totally enclosed. To prevent fogging, the mirror faced into the medicine chest, which was ventilated by the fan. A plastic version of the bathroom was available intermittently until the 1980s.

The large wrap-around windows and lightweight structures were popular with the children, who crawled on the windowsill, and twanged the bicycle-wheel-style main struts.

Fuller also designed a 10-story variant which was to have been dropped in place by the Graf Zeppelin.

Criticism
Criticisms of the Dymaxion House include its supposed inflexible design which completely disregarded local site and architectural idiom, and its use of energy-intensive materials such as aluminum, rather than low-energy materials, such as adobe or tile. Fuller chose aluminium for its light weight, great strength, and long-term durability, arguably factors that compensate for the initial production cost. Aluminum was also a logical choice if the homes were to be built in aircraft factories, which, since World War II had ended, had substantial excess capacity.

The Wichita House was a project Fuller accepted during World War II as an attempt to produce cost-effective dwellings for everyone. The project continued to develop the technological concept of the Dymaxion House, now incorporating a round floor plan instead of a hexagonal one. The reactions to the prototype were extraordinarily positive; nevertheless it was not produced industrially because of (re-) tooling costs. Fuller, a consummate perfectionist, felt he could improve the design and was dissatisfied with the prototype. He refused to begin production rather than allowing the "unfinished" design to be used.

title: Dymaxion house


text:
Charles Cros

Charles Cros or Émile-Hortensius-Charles Cros (1 October 1842 – 9 August 1888) was a French poet and inventor. He was born in Fabrezan, Aude.

Cros was a well-regarded poet and humorous writer. As an inventor, he was interested in the fields of transmitting graphics by telegraph and making photographs in color, but he is perhaps best known for being the first person to conceive a method for reproducing recorded sound, an invention he named the Paleophone.

Charles Cros died in Paris at the age of 45.

Early life and education
Cros was born to the philosopher Simon Charles Henry Cros (1803–1876) and Josephine Thor. He was the grandson of grammarian Antoine Cros (1769–1844). Cros was the brother of and the painter and sculptor Henry Cros (fr: Henry Cros) (1840–1907) and of Antoine-Hippolyte Cros (1833-1903), a surgeon who was also pretender to the throne of the defunct Kingdom of Araucanía and Patagonia from 6 March 1902 until 1 November 1903, and the uncle of Laure-Therese Cros (1856-1916), who was the Queen of Araucania and Patagonia from 1 November 1903 until 12 February 1916.

In 1860 Cros began studies in medicine, but he soon abandoned them for a life of literary and scientific pursuits.

Photography
Cros almost invented colour photography. In 1869 he published a theory of color photography in which he proposed that a single scene could be photographed through glass filters colored green, violet, and orange. The three negatives obtained through those filters could be developed to produce positive impressions that contained varying amounts of red, yellow, and blue (the "antichromatic" or complementary colors of the filters). The three positive impressions, when superimposed on one another (for instance, by making three carbon prints using sufficiently transparent pigments, then transferring the pigmented gelatin onto a single support sheet) would recompose the original colors of the photographed scene. Cros's proposals, which anticipated the subtractive method of modern photography, were similar to more influential ideas advanced about the same time by Louis Ducos du Hauron. The same day, 7 May 1869, Charles Cros and Louis Ducos du Hauron presented their method of creating color photographs to the French Society of Photography. They had not been in communication beforehand and each knew nothing about the other's research. Cros ended up conceding the invention to Ducos Du Hauron, despite having deposited a sealed paper at the French Academy of Sciences on 2 December 1867. Ducos du Hauron had patented his ideas on 28 November 1868, almost a full year later, but claimed to have written an unpublished paper on the subject in 1862.

Phonograph
Cros almost invented the phonograph. As far as is known, no one before him had thought of a practical way to reproduce sound from a recording of airborne sound waves. He gave the Greek name 'Paleophone' ('voix du passé', tr. 'voice of the past') to his invention. On 30 April 1877 he submitted a sealed envelope containing a letter to the Academy of Sciences in Paris explaining his proposed method. The letter stated in French, "Un index léger est solidaire du centre de figure d'une membrane vibrante ; il se termine par une pointe [...] qui repose sur une surface noircie à la flamme." The English translation is one close to this: "A lightweight armature is fixed to the center of the face of a vibrating membrane; it ends with a sharp point [...] which rests on a lamp-blacked surface." This surface is integral with a disc driven by a double movement of rotation and linear progression. The system is reversible: when the tip follows the furrow the membrane restores the original acoustic signal. The letter was read in public on December 3 following. In his letter, after having shown that his method consisted of detecting an oscillation of a membrane and using the tracing to reproduce the oscillation with respect to its duration and intensity, Cros added that a cylindrical form for the receiving apparatus seemed to him to be the most practical, as it allowed for the graphic inscription of the vibrations by means of a very fine-threaded screw. An article on the Paleophone was published in "la semaine du Clergé" on 10 October 1877, written by l'Abbé Leblanc. Cros proposed metal for both engraving tool attached to the diaphragm and receiving material for durability.

Before Cros had a chance to follow up on this idea or attempt to construct a working model, Thomas Alva Edison introduced his first working phonograph in the US. Edison used a cylinder covered in tinfoil for his first phonograph, patenting this method for reproducing sound on 15 January 1878. Edison and Cros apparently did not know of each other's work in advance.

Martian communication mirror
Cros was convinced that pinpoints of light observed on Mars and Venus, probably high clouds illuminated by the sun, were the lights of large cities on those planets. He spent years petitioning the French government to build a giant mirror that could be used to communicate with the Martians and Venusians by burning giant lines on the deserts of those planets. He was never convinced that the Martians were not a proven fact, nor that the mirror he wanted was technically impossible to build.

Poetry
In the early 1870s Cros was published in the short-lived weekly Renaissance littéraire et artistique, edited by Emile Blémont (fr: Émile Blémont). Other contributors included Stéphane Mallarmé, Auguste Villiers de l'Isle-Adam and Paul Verlaine.

His poem The Kippered Herring inspired Ernest Coquelin to create what he called monologues, short theatrical pieces whose format was copied by numerous imitators. The piece, translated as The Salt Herring, was translated and illustrated by Edward Gorey.

Non-fiction

 * Solution générale du problème de la photographie des couleurs (1869)

Poetry

 * Le Coffret de santal (1873 and 1879)
 * Plainte (1873)
 * Le Fleuve (1874)
 * La Vision du Grand Canal des Deux Mers (1888)
 * Le Collier de griffes (posthumous, 1908)

English translations published in the United States

 * Charles Cros: Collected Monologues Translated by Doug Skinner (Black Scat Books, ISBN 978-1732350625, 2018)
 * Upside-Down Stories Translated by Doug Skinner (Black Scat Books, ISBN 978-1732350687, 2019)
 * The Science of Love and Other Writings Translated, with an introduction, by Doug Skinner (Wakefield Press, ISBN 978-1-939663-95-5, 2024)

Miscellaneous
The Académie Charles Cros, the French equivalent of the US Recording Academy, is named in his honor.

Cros was a member of the group known as the hydropathes which existed around the period 1878–1881. Charles Cros, played by Christopher Chaplin, appears in the film Total Eclipse, about the lives of Paul Verlaine and Arthur Rimbaud. Cros is seen for a few seconds at the Le Chat Noir in Paris, a café which opened in 1881 and had become the home for the avant-garde art scene of the time.

Marie Corelli published one of his poems posthumously in the text of her 1890s' book, Wormwood, with a special note of respect to the recently deceased author.

Cros had a love affair from 1867-1877 with Nina de Callias.

title: Charles Cros