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Tinker Bell

Tinker Bell is a fictional character from J. M. Barrie's 1904 play Peter Pan and its 1911 novelisation Peter and Wendy. She has appeared in a variety of film and television adaptations of the Peter Pan stories, in particular the 1953 animated Walt Disney picture Peter Pan and its 2023 live action adaptation Peter Pan & Wendy. She also appears in the official 2006 sequel Peter Pan in Scarlet by Geraldine McCaughrean commissioned by Great Ormond Street Hospital as well as the "Peter and the Starcatchers" book series by Ridley Pearson and Dave Barry.

At first only a supporting character described by her creator as "a common fairy", her animated incarnation was a hit and has since become a widely recognized unofficial mascot of The Walt Disney Company, next to the official mascot of Mickey Mouse.

In original play and novel
Barrie described Tinker Bell as a fairy who mended pots and kettles, an actual tinker of the fairy folk. Her speech consists of the sounds of a tinkling bell, which is understandable only to those familiar with the language of the fairies.

Though sometimes ill-tempered, jealous, vindictive and inquisitive, she is also helpful and kind to Peter. The extremes in her personality are explained in the story by the fact that a fairy's size prevents her from holding more than one feeling at a time, so when she is angry she has no counterbalancing compassion. At the end of the novel, when Peter flies back to find an older Wendy, "when she expressed a doubtful hope that Tinker Bell would be glad to see her he said, 'Who is Tinker Bell?'" Try as she might, nothing she said helped Peter remember Tinker Bell. Finally, Peter said, 'There are such a lot of them, I expect she is no more.' The narrator comments that he expected Peter was right, "that fairies don't live long, but they are so little that a short time seems a good while to them."

In the first draft of the play, she is called Tippy-toe, but became Tinker Bell in the later drafts and final version.

On stage
In the original stage productions, Tinker Bell was represented on stage by a darting light "created by a small mirror held in the hand off-stage and reflecting a little circle of light from a powerful lamp", and her voice was "a collar of bells and two special ones that Barrie brought from Switzerland". However, a 'Jane (or Jenny) Wren' was listed among the cast on the programmes as playing Tinker Bell; this was a joke which also helped with the mystique of the fairy character and fooled H.M. Inspector of Taxes, who sent Jane Wren a tax demand.

Originally, no fairy dust was mentioned in the play, but Barrie added to the script the necessity to sprinkle it to enable the children to fly because "so many children tried [to fly] from their beds and needed surgical attention."

In the musical version of the play, she was also represented by a darting light, accompanied by a celesta. Her favourite insult (as in Barrie's play) is "You silly ass!", which the audience learns to recognise because it is always represented by the same motif: four notes (presumably one for each syllable of the phrase), followed by a growl on the bassoon.

In film
Film adaptations provided the first vocal effects for the character, whether through sound, such as musical expressions or the sound of a tinkling bell, or human speech.

Peter Pan (1924)
In the 1924 film, Tinker Bell was played by Virginia Browne Faire.

Hook
In the 1991 film Hook, Tinker Bell is portrayed by Julia Roberts. After taking the now-adult Peter to Neverland to rescue his children, Tinker Bell persuades Captain Hook to give her three days to restore Peter's lost memories (including his abilities to fly, fight, and crow) in order to ensure a fair fight between Peter and Hook. After Peter's memory is restored, Tinker Bell "wishes" herself into a human-size woman to share a kiss with Peter. After Peter returns to London, Tinker Bell appears to him one last time on the Peter Pan statue in Kensington Gardens to tell him that she will always love him.

In this version, Tinker Bell is portrayed as a winged, six-inch-tall tomboyish sprite with a red "pixie cut" hairstyle. She wears a ragged leather tunic with matching shorts and carries a dagger strapped to her leg. Only while flying does she appear as the traditional ball of light. Tinker Bell displays strength beyond all proportion to her size and is capable of picking up and carrying a grown man, as well as wielding a human sword while flying (giving the impression that the sword is hovering in mid-air). This is also the first interpretation in which Tinker Bell has the ability to transform into a human-size version of herself. Hook subverts Tinker Bell's canon by having her survive well into the modern era, whereas the original novel states that fairies are naturally short-lived and that Tinker Bell was expected to have died shortly after the Darling children's adventures and Peter forgot her.

Peter Pan (2003)
In the 2003 film Peter Pan, P.J. Hogan originally planned to use a computer-generated version of the character, but instead used Ludivine Sagnier in combination with digital models and effects to take advantage of the actress's expressions.

Peter Pan & Wendy (2023)
In the 2023 film Peter Pan & Wendy, Yara Shahidi portrayed Tinker Bell. This marked the first time a person of color portrayed the character that was traditionally portrayed as white. This adaptation followed in the footsteps of Disney's casting of the African American actress Halle Bailey to play Ariel in The Little Mermaid (2023).

Peter Pan's Neverland Nightmare (2024)
Tinker Bell will appear in the 2024 horror film Peter Pan's Neverland Nightmare which will portray her as a human instead of a fairy who is addicted to heroin whilst thinking it's fairy dust. She and Captain Hook will be helping Peter Pan kidnap kids.

Peter Pan in Scarlet
Tinker Bell returns in the official sequel Peter Pan in Scarlet. When Wendy and the rest of the group reach Neverland and ask Peter where she is, he replies that he does not know anyone by the name Tinker Bell, which is explained as him not remembering her after she died. She is mentioned by Wendy and the rest of the Lost Boys to Fireflyer, a silly blue fairy, who when he reaches the top of Neverpeak, makes the wish to meet her. When they open Captain Hook's treasure chest, among other things, Tinker Bell is seen inside it to Fireflyer's joy. Initially, Tinker Bell does not like him, but eventually she comes to see that Fireflyer is not as bad as he seems to be. In the end, they get married and start selling dreams to the Roamers, previous Lost Boys that have been outcast by Peter, while having many adventures.

Peter and the Starcatchers
In the Dave Barry and Ridley Pearson Peter and the Starcatchers book series, Tinker Bell makes her first appearance at the end of the first novel. Originally, she was a green and yellow coloured bird who was put in a bag of starstuff, turning her into a fairy. Molly's father, the famous starcatcher Lord Leonard Aster, made her Peter's guardian and she follows him on all of his adventures. She doesn't like being called a fairy and would much rather be called "birdwoman" because of her origins. She is very protective of Peter, and hates his paying attention to any other female. She can be very impolite to others (only Peter is able to understand her perfectly, and most of the time he does not reveal what she says about others, because they are mostly insults). She is also able to emit a very bright light, which she uses as an attack against other creatures, especially Lord Ombra, one of the main villains of the series.

Cheshire Crossing
In the Andy Weir and Sarah Andersen Cheshire Crossing series, Tinker "Tink" Bell firstly appears alongside Peter as they attempt to rescue captured fairies from Captain Hook and the Wicked Witch of the West, with Peter being captured and Tink fleeing to get Wendy's help, alongside that of Dorothy Gale and Alice Liddell, providing the latter two with fairy dust to fly. Later, after Dorothy is captured, Tink frees her and goes to Castle West to warn Jack the Knave of Hearts of the incoming flying pirate ship, preventing the Cheshire Cat from eating her when they attempt to do so. Later, after the Witch defeats Mary Poppins in battle, Tink lends Poppins her power against the Witch as Poppins utters "Say hello to my little friend!", leaving them evenly matched. Later, after the Witch has been defeated, Alice places Peter (now shrunken to Tink's size and having matured due to consuming size-altering berries in Wonderland) next to Tink, having recognized her as being in love with him, and after being complimented by Peter as to her appearance, the pair kiss.

Coira in Everland
In the book by Kirk Clendinning, Coira in Everland, Tinker "Tink" Bell has isolated herself from the other fairies and girls in Everland, partly due to her anger and humiliation with Pan, deep in the forest within a hollow tree. Coira, who has lost her dream pool, and so too is estranged from the community, finds Tinker Bell and they become fast friends, sharing Pan-like adventures together. When the Mairbh Queen threatens to destroy Everland by enslaving fairies and children to gather nectar so that she can make enough fairy dust to escape from Everland, Tink, Coira, a mauve fairy named Chandler and mysterious boy work together to defeat her and restore Everland to normalcy.

On television
Tinker Bell was voiced or portrayed by:
 * Sumi Shimamoto in the 1989 anime series The Adventures of Peter Pan.
 * Debi Derryberry in the 1990 Fox animated program Peter Pan and the Pirates.
 * Keira Knightley in the 2011 Neverland miniseries.
 * Rose McIver in season three (2013) of ABC's Once Upon A Time, debuting in the episode "Quite a Common Fairy".
 * In Peter Pan Live!, a TV production of the musical broadcast by NBC in 2014, a computer-generated version of Tinker Bell was used, controlled live by a technician.
 * Paloma Faith in the 2015 Peter & Wendy ITV film.

In World of Winx, Tinker Bell is a powerful fairy from the world of dreams (also called Neverland) and a friend of Peter Pan. When Peter Pan eventually left her for Wendy Darling, she became dark and cold, turning into the evil Queen.

In art
In addition to the illustrations in the original editions of Peter Pan, Tinker Bell has also been depicted by fantasy artists such as Brian Froud and Myrea Pettit. She also appears in the edition of Peter Pan in Scarlet illustrated by David Wyatt.

A bronze sculpture of Tinker Bell by London artist Diarmuid Byron O'Connor was commissioned by Great Ormond Street Hospital, to whom Barrie bequeathed the copyright to the character, to be added to his original four-foot statue of Peter Pan, wresting a thimble from Peter's finger. The figure has a nine-and-a-half-inch wingspan and is seven inches tall, and was unveiled on 29 September 2005 by Sophie, Countess of Wessex.

In 2009, a waxwork of Tinker Bell (the museum's "smallest figure of all time" at five and a half inches) was created at Madame Tussauds, London.

At Disneyland
Five people individually played Tinker Bell at Disneyland California from 1961 to 2005. Multiple alternate people, women and men, were playing the role at Walt Disney World in Florida and Disneyland after 2005. Tinker Bell didn't start flying in Florida until 1985.
 * 1958 (Hollywood Bowl) and 1961–1964 (Disneyland): Tiny Kline
 * Summer 1964: Mimi Zerbini
 * 1965–1982: Judy Kaye
 * 1983–2005: Gina Rock (trained three girls to replace her when she retired)
 * 1985–2005: Patty Rock (backup for Gina Rock 1985-1995, then split flying time until 2005)

title: Tinker Bell


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Rattle and Hum

Rattle and Hum is a hybrid live/studio album by Irish rock band U2, and a companion rockumentary film directed by Phil Joanou. The album was produced by Jimmy Iovine and was released on 10 October 1988, while the film was distributed by Paramount Pictures and was released on 27 October 1988. Following the breakthrough success of the band's previous studio album, The Joshua Tree, the Rattle and Hum project captures their continued experiences with American roots music on the Joshua Tree Tour, further incorporating elements of blues rock, folk rock, and gospel music into their sound. A collection of new studio tracks, live performances, and cover songs, the project includes recordings at Sun Studio in Memphis and collaborations with Bob Dylan, B. B. King, and Harlem's New Voices of Freedom gospel choir.

Although Rattle and Hum was intended to represent the band paying tribute to legendary musicians, some critics accused U2 of trying to place themselves amongst the ranks of such artists. Critical reception to both the album and the film was mixed; one Rolling Stone editor spoke of the album's "excitement"; another described it as "misguided and bombastic". The film grossed just $8.6 million, but the album was a commercial success, reaching number one in several countries and selling 14 million copies. The lead single "Desire" became the band's first UK number-one song while reaching number three in the US. Facing creative stagnation and a critical backlash to Rattle and Hum, U2 reinvented themselves in the 1990s through a new musical direction and public image.

History
While in Hartford during the 1987 The Joshua Tree Tour, U2 met film director Phil Joanou who made an unsolicited pitch to the band to make a feature-length documentary about the tour. Joanou suggested they hire Martin Scorsese, Jonathan Demme, or George Miller to direct the film. Joanou met the band again in Dublin to discuss the plans and again in France in September before the band chose him as director. The movie was originally titled U2 in the Americas and the band planned to film in Chicago and Buenos Aires later in the year. It was later decided that the Chicago venue was not suitable, and instead U2 used the McNichols Sports Arena in Denver to film. Following the success of Live at Red Rocks: Under a Blood Red Sky, which had been filmed in Denver four years earlier, the band hoped that "lightning might strike twice". With production problems and estimated costs of $1.2 million the band cancelled the plans for December concerts in South America. At the suggestions of concert promoter Barry Fey, the band instead booked Sun Devil Stadium at Arizona State University in Tempe, Arizona, the same city where the Joshua Tree tour began.

The movie is a rockumentary, which was initially financed by the band and intended to be screened in a small number of cinemas as an independent film. After going over budget, the film was bought by Paramount Pictures and released in theatres in 1988, before arriving on video in 1989. It was produced by Michael Hamlyn and directed by Joanou. Paul Wasserman served as the publicist. It incorporates live footage with studio outtakes and band interviews. The album is a mix of live material and new studio recordings that furthers the band's experimentation with American music styles and recognises many of their musical influences. It was produced by Jimmy Iovine and also released in 1988.

The title, Rattle and Hum, is taken from a lyric from "Bullet the Blue Sky", the fourth track on The Joshua Tree. The image used for the album cover and movie poster, depicting Bono shining a spotlight on Edge as he plays, was inspired by a scene in the live performance of "Bullet the Blue Sky" recorded in the film and album, but was recreated in a stills studio and photographed by Anton Corbijn. Several vinyl copies have the message "We Love You A.L.K." etched into side one, a reference to the band's production manager Anne Louise Kelly, who would be the subject of another secret dedication message on several CD copies of the band's later album, Pop.

Studio recordings
Bono said "Hawkmoon 269" was in part as a tribute to writer Sam Shepard, who had released a book entitled Hawk Moon. Bono also said that the band mixed the song 269 times. This was thought to be a joke for years until it was confirmed by guitarist the Edge in U2 by U2, who said that they spent three weeks mixing the song. He also contradicted Bono's assertion about Shepard, saying that Hawkmoon is a place in Rapid City, South Dakota, in the midwestern United States.

"Angel of Harlem" is a horn-filled tribute to Billie Holiday. The bass-heavy "God Part II" is a sequel of sorts to John Lennon's "God".

The lead single, "Desire", sports a Bo Diddley beat. During the Joshua Tree tour, in mid-November 1987, Bono and Bob Dylan met in Los Angeles; together they wrote a song called "Prisoner of Love" which later became "Love Rescue Me". Dylan sang lead vocals on the original recording, a version which Bono called "astonishing", but Dylan later asked U2 not to use it citing commitments to The Traveling Wilburys. The live performance of "I Still Haven't Found What I'm Looking For" (recorded with a full church choir) is a gospel song. "When Love Comes to Town" is a blues rocker featuring B. B. King on guitar and vocals.

U2 recorded "Angel of Harlem", "Love Rescue Me" and "When Love Comes to Town" at Sun Studio in Memphis, Tennessee, where Elvis Presley, Roy Orbison, Johnny Cash and many others also recorded. They also recorded an unreleased version of "She's a Mystery to Me" and Woody Guthrie's "Jesus Christ", which appeared on Folkways: A Vision Shared. The band started writing "Heartland" in 1984 during The Unforgettable Fire sessions, and it was worked on during The Joshua Tree sessions. All of the studio tracks apart from "Heartland" were performed in concert on the Lovetown Tour, which began almost a year after Rattle and Hum's release.

In addition to the nine studio tracks that comprised one half of the double album, a number of additional recordings from the Rattle and Hum sessions would be released on various singles and side projects. "Hallelujah Here She Comes" was released as a B-side to "Desire", and "A Room at the Heartbreak Hotel" was released as a B-side to "Angel of Harlem." Covers were released as B-sides for the rest of the singles—an abbreviated cover of Patti Smith's "Dancing Barefoot" would be released as a B-side to "When Love Comes to Town" (the full version would see release on the 12" version of the single and on CD on the 1994 soundtrack album to Threesome), while "Unchained Melody" and "Everlasting Love" would be released as the B-sides to "All I Want Is You." A cover of "Fortunate Son" recorded with Maria McKee would not be released until 1992's "Who's Gonna Ride Your Wild Horses" single; a version of the soul classic "Everybody Loves a Winner" by William Bell, also recorded with McKee, would eventually be released on the 20th anniversary edition of Achtung Baby.

Studio versions of "She's a Mystery to Me" (a Bono/Edge composition that would eventually be recorded and released by Roy Orbison), Bruce Cockburn's "If I Had a Rocket Launcher", Percy Sledge's "Warm and Tender Love", and "Can't Help Falling in Love With You", while recorded, have yet to be released. (A solo Bono cover of the Elvis Presley classic would be released on 1992's Honeymoon in Vegas album, however.) A cover of the Woody Guthrie song "Jesus Christ" was also recorded during these sessions for eventual inclusion on the cover album Folkways: A Vision Shared. Lastly, a cover of "Christmas (Baby Please Come Home)" was recorded and released for the first A Very Special Christmas album, released at the end of 1987.

Live performances
The band chose to film the black-and-white footage over two nights at Denver's McNichols Sports Arena on 7 and 8 November 1987. They chose the city following the success of their U2 Live at Red Rocks: Under a Blood Red Sky video which was filmed in Red Rocks Amphitheatre near Denver in 1983. The Edge said, "We thought lightning might strike twice". The first night's performance disappointed the group, with Bono finding that the cameras infringed on his ability to play to the crowd. The second Denver show was far more successful and seven songs from the show are used in the film, and three on the album.

Hours before the second Denver performance, an IRA bomb killed eleven people at a Remembrance Day ceremony in the Northern Irish town of Enniskillen (see Remembrance Day Bombing). During a performance of "Sunday Bloody Sunday", which appears on the film, Bono condemned the violence in a furious mid-song rant in which he yelled, "Fuck the revolution!" The performance was so powerful that the band said they were not sure the song should have been used in the film. After watching the film, they considered not playing the song on future tours.

Colour outdoor concert footage is from the band's Tempe, Arizona shows on 19 and 20 December 1987. Tickets were sold for US$5 each and both nights sold out within days. The set was different each night with the band throwing in some rarely performed songs, including "Out of Control", "Christmas (Baby Please Come Home)", "One Tree Hill", and "Mothers of the Disappeared". For the latter, all four members played at the front of the stage, each under a large spotlight.

The album opens with a live cover of the Beatles' "Helter Skelter". Its inclusion on the album was intended by the band to reflect the confusion of The Joshua Tree Tour and their new-found superstar status. Bono opens "Helter Skelter" with this statement: "This is a song Charles Manson stole from the Beatles. We're stealing it back".

The album contains a live version of Bob Dylan's "All Along the Watchtower". The performance is from the band's impromptu "Save the Yuppies" concert in Justin Herman Plaza in San Francisco, California on 11 November 1987. The video intersperses the performance of the song with footage from the band's performance of "Pride" from the same show, during which Bono spray-painted "Rock and Roll Stops the Traffic" on the Vaillancourt Fountain. This caused a bit of controversy, and ultimately, the band paid to repair the damage and publicly apologised for the incident. The phrase "Rock and Roll Stops the Traffic" reappeared 18 years later in the video "All Because of You" when an unnamed fan appeared with the sign at 1:55 in the video. It also reappeared in February 2009, when the band played on the rooftop of the BBC Radio studios in Langham Place.

Dennis Bell, director of New York gospel choir The New Voices of Freedom, recorded a demo of a gospel version of "I Still Haven't Found What I'm Looking For". While in Glasgow in late July during the Joshua Tree Tour, Rob Partridge of Island Records played the demo for the band. In late September, U2 rehearsed with Bell's choir in a Harlem church, and a few days later they performed the song together at U2's Madison Square Garden concert. Footage of the rehearsal is featured in the movie, while the Madison Square Garden performance appears on the album. After the church rehearsal, U2 walked around the Harlem neighbourhood where they came across blues duo, Satan and Adam, playing in the street. A 40-second clip of them playing their composition, "Freedom for My People", appears on both the movie and the album.

During "Silver and Gold", Bono explains that the song is an attack on apartheid. "The Star Spangled Banner" is an excerpt of Jimi Hendrix's famous Woodstock performance in 1969. The noise of the crowd was sampled extensively by The KLF for 'the Stadium House Trilogy' of singles on their 1991 album The White Room.

Alternative live concert footage captured for the film in other cities during the 1987 tour (but ultimately not used for the final cut of the film) included:

 * Foxboro, Massachusetts, Foxboro Stadium, 22 September 1987
 * Philadelphia, Pennsylvania, JFK Stadium, 25 September 1987
 * New York, NY, Madison Square Garden, 28 September 1987
 * Long Island, New York, Rehearsals on a beach, 19 October 1987
 * Boston, Massachusetts, Boston Garden, 18 September 1987 (color footage)

Album
The album divided critics when it was released in 1988. Some reviewers panned it, feeling that U2 were making a deliberate and pretentious attempt at rock and roll renown. Jon Pareles of The New York Times called it a "mess" that exuded "sincere egomania", and said the "band's self-importance got in the way" of their ambition for the album. He said it was plagued by the group's "attempts to grab every mantle in the Rock-and-Roll Hall of Fame" and that each one was "embarrassing in a different way". David Stubbs of Melody Maker said that Rattle and Hum "lacks cohesion" and "is musically, stylistically confused". He criticised Bono's "reverential nods to the great white heroes of rock" and the band's "homages to the bluesmen and gospel greats". Thom Duffy of the Orlando Sentinel said that Rattle and Hum is "greatly in need of a focal point" and "often sounds like an over-reaching attempt to claim chunks of pop history as [U2's] own story". He believed the group had "merely celebrated its own ascension into the pop history books... and little more". Tom Carson from The Village Voice called it an "awful record" by "almost any rock-and-roll fan's standards", and said the group's failure did not "sound attributable to pretensions so much as to monumental know-nothingism". Fellow Village Voice critic Robert Christgau was more complimentary, calling the record "looser and faster than anything they've recorded since their first live mini-LP". David Browne of the New York Daily News said the album's "scope and disjointedness" recalled double albums such as Exile on Main St. or The Beatles, but that until it aged as well as those records, "'Rattle and Hum' just prattles and numbs". Andrew Means of The Arizona Republic thought the album was "no substitute" for the "exhilaration and conviction" of the Joshua Tree Tour. He believed that Bono's passion on record was not "quite as mesmerizing as it is on stage" and that the group's new material did not "add significantly" to their message or image. Lynden Barber of The Sydney Morning Herald called it "an ambitious project, and the result is almost inevitably a mixed bag". He lamented the songs that presented the band's Christianity "as a fait accompli", as well as their proclivity for "jams around a couple of chords substituting themselves for considered song-writing". A reviewer for Knight-Ridder News said, "this double-album boondoggle manages to make the band sound like quintessential overreachers".

Writing in Rolling Stone, Anthony DeCurtis said that the record succeeded at capping U2's rise to stardom "on a raucous, celebratory note", finding it to be "most enjoyable when the band relaxes and allows itself to stretch without self-consciously reaching for the stars". DeCurtis ultimately deemed it a "tad calculated in its supposed spontaneity" and said it demonstrated "U2's force but devot[ed] too little attention to the band's vision". In a rave review for the Los Angeles Times, Robert Hilburn called Rattle and Hum a "frequently remarkable album" that more than matched The Joshua Tree, and he credited U2 for reviving the "idealism and craft of [rock's] finest moments". J. D. Considine of The Baltimore Sun said that the album's songs "draw upon every musical strength U2 has developed over the years" and that the "sheer muscular physicality of its sound" set Rattle and Hum apart from its predecessors. He said that despite the record being "occasionally pretentious", the group "never seems out of its depth" amongst the guest artists. Jay Cocks of Time said, "U2 has never sounded better or bolder", calling Rattle and Hum: "the best live rock album ever made. The record, in every sense, of their lives". Hot Press reviewer Bill Graham said it was U2's "most ambitious record" yet, while John Mackie of The Vancouver Sun said it "should consolidate the band's stature as the Beatles of the late '80s". Cliff Radel of The Cincinnati Enquirer said that Rattle and Hum "proves the achievements of the band's previous album... were no accident", and that it demonstrated the group's ability to create "highly charged songs in the studio and on stage". In the UK, Robin Denselow of The Guardian said that "the whole sounds far greater than the sum of the decidedly variable parts". The review found the cover songs to be the weakest material but judged Rattle and Hum overall to be a "solid, versatile piece of work" that "leaves much of the best until last". Stuart Baillie of NME gave it a positive 8/10 review. Contentiously, his review replaced a much more negative 4/10 review by Mark Sinker, in which he described it as "the worst album by a major band in years". It was pulled by NME editor Alan Lewis, as it was feared that criticism of U2 would affect the magazine's circulation; Sinker resigned in protest.

At the end of 1988, Rattle and Hum was voted the 21st-best album of the year in the Pazz & Jop, an annual poll of American critics published by The Village Voice. In other critics' lists of the year's top albums, it was ranked number one by HUMO, second by the Los Angeles Times and Hot Press, 17th by OOR, 23rd by NME, and 47th by Sounds.

Film
According to a USA Today survey of reviews at the time of the film's release, Rattle and Hum had an average review score of 64/100. According to review aggregation website Rotten Tomatoes, the film has a rating of 62%. Roger Ebert panned the film as a "mess", saying the concert footage was poorly lit and did not show the audience enough, and that the band being "deliberately inarticulate" in interview segments was "not cute". His review partner Gene Siskel was more complimentary, praising the group's performance with the Harlem gospel choir as "powerful and emotional" and calling Bono's statements during "Sunday Bloody Sunday" the film's highlight. Hal Hinson of The Washington Post called the film "an exercise in rock 'n' roll hagiography" and "a fanzine on celluloid", and said that despite its "stunning look", the film came across as "stagy and overproduced". He said that the band's "attempts to place themselves in the rock continuum are fairly strenuous and more than a little presumptuous". Joyce Millman of the San Francisco Examiner described it as a "tediously pious and self-important" film that "successfully captured everything the faithful love, and we pagans loathe, about the biggest band of the '80s". She said the film "does nothing to pierce the band's vagueness" and that they were upstaged by King and the Harlem gospel choir. Millman judged that the cinematography's "gargantuan pomposity... perhaps unintentionally" personified "the essence of U2". Gary Graff of the Detroit Free Press called the film "a conceptual mess that lacks focus and flow", and said that it neither chronicles the band's breakout success of 1987 adequately nor offers additional insight into the band. He said that "many of the individual components of [the film] are excellent" but that Joanou failed to tie them together. Carrie Rickey of The Philadelphia Inquirer said, "Self-indulgent to the point of absurdity, U2 Rattle and Hum might be the silliest concert film ever made." She said it compared unfavourably to other concert movies due to its lack of narrative, and that Joanou's reverence for U2 bordered on "unintentional hilarity", adding, "Rob Reiner and company couldn't do a Spinal Tap on this; Rattle and Hum is already a parody." Joanou himself called the picture "pretentious".

Michael MacCambridge of the Austin American-Statesman disagreed with the film's detractors, calling it a "very good and at times excellent concert movie" whose "studied avoidance of drifting into self-parody" distinguished it from predecessors and headed off comparisons to This Is Spinal Tap. MacCambridge enjoyed the black-and-white footage of the band "in the middle of becoming legend" and their scenes with King and the Harlem gospel choir, but thought the switch to colour footage interrupted the film's "pace and momentum". David Silverman of the Chicago Tribune said that Joanou "steadily brings the viewer into a relationship with the band and brings an understanding to the new music", while "provid[ing] an innovative, fast-paced insight" to U2. Silverman praised the documentary scenes with the individual band members and the "beautiful artistic" performance footage, and said the director "succeeded in bringing U2 to the screen in a creative, introspective and exciting film that will add to the legend and preserve the integrity of the decade's most influential contribution to rock". Barbara Jaeger of The Record called it a "moving, beautifully photographed look at the group" that properly captured the energy of their live performances. She said, "If there is to be a standard against which future rock movies will be judged, 'U2 Rattle and Hum' is it." Mackie of The Vancouver Sun said that despite the film offering "few insights into the individual members, the live footage is nothing short of brilliant." He described Bono's speech during "Sunday Bloody Sunday" as a "raw, emotional moment, a spontaneous outburst that crystalizes the powerful message of peace and love that U2 preach". Michael Wilmington of the Los Angeles Times said the film "records some savagely compelling live performances" and offers proof of why "this unlikely band... are often ranked by critics as the world's best". He thought that despite Joanou not setting the proper context for the film or conducting an engaging interview with U2, "he matches the impassioned sounds with spectacular visuals".

Commercial performance
Despite the criticism, the Rattle and Hum album was a strong seller, continuing U2's burgeoning commercial success. It hit number one on the US Billboard 200 albums chart, remaining at the top spot for six weeks; it was the first number-one double album in the US since Bruce Springsteen's The River in 1980. Rattle and Hum also reached number one in the UK and Australian charts. In the UK, it sold 360,000 copies in its first week, making it the fastest-selling album at that point (a record it held until the release of Oasis's Be Here Now in 1997). Lifetime sales for the album have surpassed 14 million copies.

Legacy
"'Rattle and Hum was conceived as a scrapbook, a memento of that time spent in America on the Joshua Tree tour. It changed when the movie, which was initially conceived of as a low-budget film, suddenly became a big Hollywood affair. That put a different emphasis on the album, which suffered from the huge promotion and publicity, and people reacted against it.'" In 1989, while at a press tour in Sydney, Australia (where U2 were touring with B. B. King and working on demos for the follow-up album Achtung Baby), Bono stated, "making movies: that's the nonsense of rock & roll", which Rolling Stone magazine claimed was almost an apology for the film. "Playing shows is the reason we're here", he added. Despite their commercial popularity, the group were dissatisfied creatively; Bono believed they were musically unprepared for their success, while Mullen said, "We were the biggest, but we weren't the best." By the Lovetown Tour, they had become bored with playing their greatest hits. U2 believe that audiences misunderstood the group's collaboration with King on Rattle and Hum and the Lovetown Tour, and they described it as "an excursion down a dead-end street". Towards the end of the Lovetown Tour, Bono announced on-stage that it was "the end of something for U2", and that "we have to go away and ... dream it all up again". The band subsequently reinvented themselves in the 1990s; beginning with Achtung Baby in 1991, they incorporated alternative rock, electronic dance music, and industrial music into their sound, and adopted a more ironic, flippant image by which they embraced the "rock star" identity they struggled with in the 1980s.

Personnel

 * Bono – lead vocals, guitars, harmonica
 * The Edge – guitars, keyboards, backing vocals, lead vocals on "Van Diemen's Land"
 * Adam Clayton – bass guitar
 * Larry Mullen Jr. – drums, percussion

Guest performers
 * Bob Dylan – Hammond organ on "Hawkmoon 269", backing vocals on "Love Rescue Me"
 * The New Voices of Freedom – gospel choir on "I Still Haven't Found What I'm Looking For"
 * George Pendergrass, Dorothy Terrell – vocal soloists
 * Joey Miskulin – organ on "Angel of Harlem"
 * The Memphis Horns – horns on "Angel of Harlem" and "Love Rescue Me"
 * B. B. King – guest vocals and lead guitar on "When Love Comes to Town"
 * Billie Barnum, Carolyn Willis, and Edna Wright – backing vocals on "Hawkmoon 269"
 * Rebecca Evans Russell, Phyllis Duncan, Helen Duncan – backing vocals on "When Love Comes to Town"
 * Brian Eno – keyboards on "Heartland"
 * Benmont Tench – Hammond organ on "All I Want Is You"
 * Van Dyke Parks – string arrangement on "All I Want Is You"

Additional musicians (field recordings and tapes)
 * Satan and Adam (Sterling Magee and Adam Gussow) – vocals, guitar, percussion, and harmonica on "Freedom for My People" (sourced from field recording)
 * Jimi Hendrix – electric guitar on "The Star Spangled Banner" (sourced from Woodstock: Music from the Original Soundtrack and More as played through U2's concert PA system)

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

title: Rattle and Hum


text:
Lapsang souchong

Lapsang souchong or Zhengshan xiaozhong (, 'Proper Mountain Small Varietal') is a black tea consisting of Camellia sinensis leaves that may be smoke-dried over a pinewood fire. This smoking is accomplished either as a cold smoke of the raw leaves as they are processed or as a hot smoke of previously processed (withered and oxidized) leaves. The intensity of the smoke aroma can be varied by locating the leaves closer or farther (or higher or lower in a multi-level facility) from the source of heat and smoke or by adjusting the duration of the process. The flavour and aroma of smoked lapsang souchong is described as containing empyreumatic notes, including wood smoke, pine resin, smoked paprika, and dried longan; it may be mixed with milk but is not bitter and usually not sweetened with sugar. The tea originates from the Wuyi Mountains region of Fujian and is considered a Wuyi tea (or bohea). It is also produced in Taiwan. It has been labelled as smoked tea (熏茶), smoky souchong, tarry lapsang souchong and lapsang souchong crocodile. While the tea leaf grading system adopted the term souchong to refer to a particular leaf position, lapsang souchong may be made with any leaf of the Camellia sinensis plant, though it is not unusual for the lower leaves, which are larger and less flavourful, to be used as the smoking compensates for the lower flavour profile and the higher leaves are more valuable for use in unflavoured or unblended teas. In addition to its consumption as a tea, lapsang souchong is also used in stock for soups, stews and sauces or otherwise as a spice or seasoning. Beginning in the early 21st century, an unsmoked variety of lapsang souchong was developed in the village of Tong Mu Guan in the Wuyi mountains. The unsmoked variety has become increasingly popular, particularly in the Chinese domestic market.

History
The lapsang souchong originated in the Wuyi Mountains during the Qing dynasty, although there are earlier examples of smoked teas. Purportedly, lapsang souchong was first created in 1646, as civilians in the Wuyi Mountain areas fled from Qing soldiers who were advancing through the area on their Manchu unification campaign against the Southern Ming. Before they fled, to avoid spoilage of newly plucked leaves, batches were quickly dried over fire and buried in sacks. Afterwards, despite the odour, the tea leaves were shipped and sold to the Dutch traders. At the time, the months-long journey from China to Europe necessitated preservation methods and the partial oxidation of this Wuyi tea, an oolong tea graded as bohea or souchong, was better able to preserve its quality. The smoky souchong tea sold and the Dutch returned to request more. There is an alternative story that soldiers during the Taiping Rebellion (1850–1864) interfered with tea processing by using sacks of freshly picked tea leaves as bedding and delaying the drying which had to be hastened by using heat from pinewood-fuelled fire.

The trade name would later become lapsang souchong from the Fuzhou dialect: La (pine) Sang (wood) with souchong meaning "small sort" referring to the leaves used. Prior to the British East Indian Company's adoption of the terms black and green to categorize teas, the tea leaves coming from the Wuyi Mountains area were referred to as bohea, with souchong (小种) referring to a different grade. Before lapsang came into use, the term smoky souchong was used to describe this tea leaf. Lapsang souchong that is produced in Taiwan is often referred to as tarry lapsang souchong or lapsang souchong crocodile. The word souchong would later be integrated into the tea leaf grading system to refer to the fourth and fifth leaves which are the larger, broader leaves.

Cultivation and processing
Lapsang souchong is typically made with the larger, coarser leaves of the Bohea cultivar of the camellia sinensis plant. The Bohea cultivar has been bred to more readily absorb the smoke flavouring. The coarseness of the lower leaves also allows the smoke to more readily adhere to the leaf. The addition of the smoke flavour makes the lower concentration of aromatic compounds in these larger leaves, relative to the younger leaves and the bud, less relevant to the taste of the final product. However, any leaf may be used in the production of lapsang souchong, and, indeed, the young leaves and bud are used in Zheng Shan Xiao Zhong. Pinus taiwanensis is used for smoking, though other woods, such as cedar and cypress, are sometimes used as well.

Smoked lapsang souchong is manufactured similar to black tea but with an intermediary step of smoking or the addition of an artificial smoke flavour. There are several ways this smoking may be accomplished. The traditional means, referred to as Zheng Shan Xiao Zhong, is to entirely process the leaves within the smoke house, equivalent to a cold smoke, though most of the smoke flavouring is instilled during the final drying phase. The indoor withering is done with the leaves laid out on bamboo mats and turned at intervals, followed by a period of rolling to break cell walls and initiate oxidation. The leaves are transferred to cloth bags where they are allowed to oxidize for 5 to 6 hours with a quick pan-firing to the seal the cell walls and halt the oxidation. A second rolling (twisting) then occurs followed by 8 to 12 hours of drying in the presence of smoke.

Generic lapsang souchong uses a similar process but with leaves collected from more distant farms. These leaves are partially processed (e.g. partially withered or oxidized) after plucking and then transported to a centralized smoking facility where they are hot smoked. Smoking may also provide a means to create a marketable product from older or less flavourful leaves. Customization can be accommodated by varying the duration of the smoking or placement of a batch relative to the source of heat and smoke, in addition to the leaf selection. The smoke shed has several upper floors or lofts made of wooden slats where leaves can be laid out, allowing batches to be closer or farther from the source heat and smoke. In addition to Fujian, tea smoking facilities are also located in Taiwan where the lapsang souchong is known for being more heavily smoked.

Preparation, flavour and aroma

Like other black teas, lapsang souchong is typically brewed with water at boiling or a little less than boiling, 95 C. It can be infused once, for 3 to 5 minutes, with 2 to 3 grams (one tablespoon) of loose-leaf tea per 150 millilitres ($2/3$ cup) of water used, or through multiple infusions using 5 grams for 30 seconds to one minute at a time in 110 millilitres of water.

The aroma of the dry leaves is described as having intense empyreumatic notes reminiscent of bacon while the liquor is known for its lingering smoky flavour. Other flavours associated with lapsang souchong include wood smoke, pine resin, smoked paprika, dried longan, and peated whisky. Lapsang souchong lacks the bitterness that can come with other black teas, so it does not need to be sweetened and can be brewed strongly. It is a full-bodied tea that can be prepared with or without milk.

The aroma of lapsang souchong is derived from a variety of chemical compounds. The two most abundant constituents of the aroma are longifolene and α-terpineol. Many of the compounds making up the aroma of lapsang souchong, including longifolene, originate only in the pine smoke and are not found in other kinds of tea.

Tea blends and culinary uses
Lapsang souchong is used in blends of black tea to provide a more full bodied flavour and a more robust aroma, for example it may be blended with an Earl Grey tea. The blend called Russian Caravan consists of approximately 60% Keemun, 20% lapsang souchong and the remainder being a roasted oolong; the blend is intended to invoke thoughts of camel caravans en route from China to Russia in the 19th century delivering goods such as black tea which could absorb some of the campfire smoke during their months-long journey. In British culture, lapsang souchong has been popularly associated with Winston Churchill who enjoyed the tea but it is used more in Russian-labelled blends, especially those sweetened with spices and citrus.

With its wood-smoked flavour, lapsang souchong is also used as a spice for flavouring or seasoning foods. As well as being added to stock for soups, stews and sauces, lapsang souchong is also a spice in vegetarian recipes, a component in meat rubs, and a flavouring for boiled eggs. When prepared as a tea (rather than used as a seasoning), lapsang souchong pairs well with meals of tuna, cod, game, eggs, or with brunch.

title: Lapsang souchong


text:
Second audio program

Second audio program (SAP), also known as secondary audio programming, is an auxiliary audio channel for analog television that can be broadcast or transmitted both over-the-air and by cable television. Used mostly for audio description or other languages, SAP is part of the multichannel television sound (MTS) standard originally set by the National Television Systems Committee (NTSC) in 1984 in the United States. The NTSC video format and MTS are also used in Canada and Mexico.

Usage
SAP is often used to provide audio tracks in languages other than the native language included in the program. In the United States, this is sometimes used for Spanish-language audio (especially during sports telecasts), often leading to the function being referred to facetiously as the "Spanish audio program". Likewise, some Spanish-language programs may, in rare cases, offer English on SAP. Some stations may relay NOAA Weather Radio services, or, particularly in the case of PBS stations, a local National Public Radio (NPR) sister station, on the audio channel when SAP is not being used. In Canada, parliamentary and public affairs channel CPAC similarly uses SAP to carry both English and French-language audio.

SAP is also a means of distribution for audio description of programs for the visually impaired. Under the Twenty-First Century Communications and Video Accessibility Act of 2010, top U.S. television networks and cable networks have been gradually required to broadcast quotas of audio described programming per-quarter,  Since May 26, 2015, broadcasters have been required under the Act to provide dictations on SAP of any "emergency information" displayed in a textual format outside of the Emergency Alert System and newscasts.

Frequencies
MTS features, including stereo and SAP, travel on subcarriers of the video carrier, much like color for television. It is not carried on the audio carrier in the manner of stereo sound for an FM radio broadcast, however, as it only has a frequency deviation of ±25 kHz, whereas regular FM broadcasting has a deviation of ±75 kHz. The SAP subcarrier is located at 78.670 kHz, which is five times the 15.734 kHz corresponding to the MTS pilot signal. In turn, the MTS pilot is locked to the horizontal sync frequency of the video carrier for stability. The SAP channel contains mono audio which has been dbx-encoded for noise reduction, to improve the signal-to-noise ratio. The SAP audio has a bandpass from 60 Hz to 12 kHz, which is less than the "regular" audio channel which runs from 50 Hz to 15 kHz.

Though not technically an SAP channel, television stations can also broadcast a "PRO" (professional) audio subcarrier which is used to communicate with station personnel, particularly those engaged in electronic news gathering. This one-way audio channel allows individuals at the television station to send messages to people located away from the station, and is frequently employed during on-location newscasts as the foldback channel to reporters and cameramen. This channel is located at 6.5 times the pilot (102.271 kHz), and is also part of the MTS standard.

Other media
Second audio programs are also available in other media. On analog television receive-only satellite television systems, audio programs are manually tuned by their subcarrier frequency, commonly around 6 MHz, often as low as 5.8 or as high as 7.2. These travel the same way as the discrete left and right main audio channels, and ATIS station ID, which is heard as Morse code. On FM radio, radio reading services and other audio programs can be heard on subcarriers through subsidiary communications authority; however, these are generally prohibited from public listening without special equipment. HD Radio subchannels, somewhat more widely available, operate on a similar premise but generally carry totally unrelated programming to the main feed.

On digital television systems, selection is done through a menu as with analog television, though some provide easier access rather than having to dig down to find the option. Stations may also choose to transmit audio-only programs by assigning them to separate digital subchannels with an optional screen of title and artist information; however, this prevents the viewer from watching the main video in the case of television stations.

title: Second audio program


text:
Let Go (Avril Lavigne album)

Let Go is the debut studio album by Canadian singer-songwriter Avril Lavigne, released on 4 June 2002, by Arista Records. Critics have described Let Go as an alternative rock album with a pop-punk and post-grunge-oriented sound. *
 * The album is considered to have transformed the pop-punk music scene, integrating the genre to the mainstream and contributing to the rise of female-fronted pop-punk music acts. The album has sold over 16 million copies worldwide, making it Lavigne's highest-selling album to date and the best selling album of the 21st century by a Canadian artist. A Rolling Stone readers' poll named Let Go the fourth best album of the 2000s.
 * The album is considered to have transformed the pop-punk music scene, integrating the genre to the mainstream and contributing to the rise of female-fronted pop-punk music acts. The album has sold over 16 million copies worldwide, making it Lavigne's highest-selling album to date and the best selling album of the 21st century by a Canadian artist. A Rolling Stone readers' poll named Let Go the fourth best album of the 2000s.
 * The album is considered to have transformed the pop-punk music scene, integrating the genre to the mainstream and contributing to the rise of female-fronted pop-punk music acts. The album has sold over 16 million copies worldwide, making it Lavigne's highest-selling album to date and the best selling album of the 21st century by a Canadian artist. A Rolling Stone readers' poll named Let Go the fourth best album of the 2000s.
 * The album is considered to have transformed the pop-punk music scene, integrating the genre to the mainstream and contributing to the rise of female-fronted pop-punk music acts. The album has sold over 16 million copies worldwide, making it Lavigne's highest-selling album to date and the best selling album of the 21st century by a Canadian artist. A Rolling Stone readers' poll named Let Go the fourth best album of the 2000s.
 * The album is considered to have transformed the pop-punk music scene, integrating the genre to the mainstream and contributing to the rise of female-fronted pop-punk music acts. The album has sold over 16 million copies worldwide, making it Lavigne's highest-selling album to date and the best selling album of the 21st century by a Canadian artist. A Rolling Stone readers' poll named Let Go the fourth best album of the 2000s.
 * The album is considered to have transformed the pop-punk music scene, integrating the genre to the mainstream and contributing to the rise of female-fronted pop-punk music acts. The album has sold over 16 million copies worldwide, making it Lavigne's highest-selling album to date and the best selling album of the 21st century by a Canadian artist. A Rolling Stone readers' poll named Let Go the fourth best album of the 2000s.

The album was credited as the biggest pop debut of 2002. According to Billboard, the album was the 21st-best-selling album of the decade. It was certified 7x Platinum by the Recording Industry Association of America (RIAA) in the United States, and it received a diamond certification from Music Canada. The album reached multi-platinum in many countries around the world, including the UK, in which she became the youngest female solo artist to have a number-one album in the region.

On 18 March 2013, Let Go was re-released as a double disc-set paired with her second studio album, Under My Skin, which is released under RCA Records. The album was further promoted by the Try to Shut Me Up Tour between December 2002 and June 2003.

Background
In November 2000, Ken Krongard, an A&R representative, invited Antonio "L.A." Reid, then head of Arista Records, to producer Peter Zizzo's Manhattan studio to hear Lavigne sing. Her 15-minute audition "so impressed" Reid that he immediately signed her to Arista with a deal worth $1.25 million for two albums and an extra $900,000 for a publishing advance. By this time, Lavigne had found that she fit in naturally with her hometown high school's skater clique, an image that carried through to her first album, but although she enjoyed skateboarding, school left her feeling insecure. Armed with a record deal, she dropped out to focus on her music career, but she still had to inform her parents of her decision. "I wasn't going to turn [the record deal] down. It's been my dream all my life. They knew how much I wanted this and how much I've put into it."

Lavigne relocated to Los Angeles, where she collaborated with songwriter and producer Clif Magness, who gave her ample creative control in the writing process. Lavigne and Magness wrote "Losing Grip" and "Unwanted", songs that she deemed reflective of her vision for the entire album. However, Arista was not thrilled with the heavy-guitar laden songs that Lavigne was writing, prompting the label to look for other producers to match their demands.

Now two years since she signed the deal, Lavigne, who was then unknown, came to the attention of the three-piece production team the Matrix. Arista could not find the right direction for Lavigne, so the team's manager, Sandy Roberton, suggested that they work together: "Why don't you put her together with the Matrix for a couple of days?" According to member Lauren Christy, they had been listening to Lavigne's early songs and felt they contained "a Faith Hill kind of vibe". As soon as they saw Lavigne coming into their studio, the Matrix felt that her musical direction was incongruous to her image and attitude. After talking to Lavigne for an hour, "we cottoned on that she wasn't happy but couldn't quite figure out where to go." The Matrix played her songs with Faith Hill influences, because these were the kinds of songs the label wanted Lavigne to sing. But Lavigne dismissed it, saying she wanted songs with punk rock inclinations. Lavigne played the Matrix a song that she had recorded and really loved, a track with sounds evocative of the rock band System of a Down. Fortunately, prior to forming the Matrix, its members' early projects were in the pop-rock vein, so they readily figured out what Lavigne wanted to record and knew exactly what to do with her. They told her to come back the following day. In the meantime, they wrote a song that evolved into "Complicated" and another song called "Falling Down" (which appears on the Sweet Home Alabama soundtrack). They played these for Lavigne when she returned the following day; the songs ultimately allowed her to visualize the path she should take.

When Josh Sarubin, the A&R executive who signed Lavigne to the imprint, heard "Complicated", he knew it was right for her. Lavigne presented the song to Reid, who approved of the musical direction Lavigne and the Matrix were taking, and set "Complicated" as the album's lead single. Reid sent Lavigne back to the Matrix to work with them, initially for a month. Arista gave the team carte blanche to write and produce ten songs, which took them two months. The album was originally titled Anything but Ordinary, after the track of the same name that the Matrix produced, but Lavigne asked Reid for the album to be called Let Go instead, which is the title of an unreleased demo featured on Lavigne's 2001 B-Sides.

The album cover was taken in Manhattan, New York City at the intersection of Broadway and Canal Street. In 2022, Lavigne visited the same place and recreated the cover in a short video for the 20th anniversary of the album.

Writing and recording
With the Matrix, Lavigne recorded tracks in Decoy Studios, situated in a Los Angeles suburb known as Valley Village. She also worked with producer-songwriter Curt Frasca and Peter Zizzo, whose Manhattan studio Lavigne was checked in prior to securing a record deal with Arista, and where Lavigne also recorded some of the tracks. The Matrix member Scott Spock was their principal engineer for the project, while Tom Lord-Alge was assigned to mix the tracks. Lavigne recorded complete takes "against the largely finished instrumental tracks". Spocks revealed Lavigne normally recorded each song in five or six takes, "and probably 90 percent of what was finally used came from the first or second takes." The Matrix also contributed backing vocals.

Introduced as a singer-songwriter, Lavigne's involvement produced significant issues. Lavigne has implied that she is the primary author of the album. In an article published in Rolling Stone magazine, Lavigne stated that while working with the Matrix, one member would be in the recording studio while they were writing, but did not write the guitar parts, lyrics, or the melody. According to Lavigne, she and Christy wrote all the lyrics together. Graham would come up with some guitar parts, "and I'd be like, 'Yeah, I like that,' or 'No, I don't like that.' None of those songs aren't from me."

The Matrix, who produced six songs for Lavigne, five of which appear in the album, had another explanation of how the collaboration went. According to them, they wrote much of the portions in the three singles: "Complicated", "Sk8er Boi", and "I'm with You", which were conceived using a guitar and piano. Christy said, "Avril would come in and sing a few melodies, change a word here or there." Reid complemented the issue over the credits: "If I'm looking for a single for an artist, I don't care who writes it. Avril had the freedom to do as she really pleased, and the songs show her point of view. ... Avril has always been confident about her ideas."

Although she needed pop songs "to break" into the industry, Lavigne felt "Complicated" does not reflect her and her songwriting skills. Nonetheless, she was grateful for the song because it successfully launched her career. She favours more "Losing Grip", because "it means so much more when it comes straight from the artist".

Release and promotion
The album was released on 4 June 2002, in Canada and the United States. Later, on 22 July, Let Go hit record stores worldwide, and on 26 August in some parts of Europe, including the United Kingdom and Ireland. A DataPlay version of the album was released in September 2002. Arista had established a deal with DataPlay earlier in 2002 and included Let Go alongside albums by rock singer Santana and singer Whitney Houston in the release.

Although Lavigne was targeted to the teen audience, a marketing strategy credited with the successful launch of her career; Lavigne performed on a host of radio-sponsored multi-artist holiday shows throughout the United States, a marketing strategy that induced higher sales of the album during the season. She embarked on her first headlining tour, Try to Shut Me Up Tour, which took place on 23 January 2003, and ended on 4 June 2003. Lavigne toured with her band—drummer Matthew Brann, bassist Mark Spicoluk, and guitarists Jesse Colburn and Evan Taubenfeld—which she had grouped after signing the deal. In the tour, she included all songs off Let Go, B-sides, and cover versions of "Knockin' on Heaven's Door" by Bob Dylan and "Basket Case" by Green Day.

Lavigne filmed her performance in Buffalo, New York, on 18 May 2003, the final date of her five-week headlining North American tour. The tour DVD My World was released on 4 November 2003, on joint venture by Arista Records and 20th Century Fox Home Entertainment. The DVD features the concert, a behind-the-scenes featurette, five music videos and a six-song bonus audio CD that includes an unreleased track "Why".

Singles
"Complicated" was released by Arista as the album's lead single, which was seen as an across-all-age-groups introduction to Lavigne. Thought to produce wide cross-demographic appeal, however, the music video for the single features Lavigne and her band wreaking havoc in a mall, "the sort of imagery that might have grown-ups thinking 'Clean that mess up!' more than clamoring for the record." The song topped the charts in several countries and was nominated for two Grammy Awards for Song of the Year and Best Female Pop Vocal Performance.

The second single, "Sk8er Boi", was aimed at pop-punk-oriented kids. The release of "Sk8er Boi" created disagreement among many radio programming directors. However, their impressions were diverted as listeners helped change their minds; early rotation of the single proved successful, showing it was as popular with post-collegiate listeners as with teens. The song reached number one on US mainstream radio.

"I'm with You" was released in late November 2002, close to Christmas holidays to remind parents about the album to, if not to buy it themselves, to purchase it for any children in their family. The song became another success for Lavigne reaching number four in the Billboard Hot 100, number one on mainstream radio and the top 10 in the UK and Canada. It was not officially released in Australia but received radio and television airplay. To date, Let Go is Lavigne's only album to produce multiple top-ten singles in the US. The song was also nominated for two Grammy Awards the same categories as "Complicated". The release arrangement of the album's singles, with "I'm with You" being served as the third, was regarded as "controversial", given that "I'm with You" was "thought by some to be the biggest potential smash on the album", and could have established Lavigne as a more mature artist if it was released first. According to Reid, "Some people just really didn't get that. And with the first video, there was some concern that maybe because it's so young and so playful, it might alienate more serious music lovers."

"Losing Grip" was released as the fourth single from the album, "to act as a bridge into her next album", which Lavigne stated would be "harder-rocking" than her debut. In 2004, it was nominated for the Grammy Award for Best Female Rock Vocal Performance.

"Mobile" was released in New Zealand in May 2003, as the fifth single. It was later used in 2003's The Medallion, the 2004 film Wimbledon, and a brief appearance in the film Just Married. In 2011, a music video for the song leaked onto the Internet made from official footage that was never finished.

"Nobody's Fool" was released as the sixth and final single when it was sent to the radio in January 2005, almost two years after the previous single from Let Go, and after the release of Lavigne's second studio album, Under My Skin.

Other songs were released as regional radio-only singles. "Things I'll Never Say" was released as a radio-only single in Italy. "Unwanted" was released as a promotional single in the United Kingdom. The song "Tomorrow" was played in one episode of the second season of the television series Smallville and the first season of the television series The Last of Us, while the song "Anything but Ordinary" was played in the third episode of the first season of the television series Birds of Prey.

20th anniversary edition
A new edition of Let Go, newly remixed by John Feldmann, was released on 3 June 2022, to coincide with the 20th anniversary of the original album's release. The album contains the different version of the thirteen original tracks plus six bonus tracks.

A new recording of "Breakaway" is featured on the re-release. Lavigne originally wrote the song in 2001, then passed it to American singer Kelly Clarkson who recorded it for The Princess Diaries 2: Royal Engagement soundtrack. The original demo version by Lavigne had previously leaked online in 2014.

Critical reception
Let Go received mostly positive responses from critics, earning a metascore of 68 over 100 on Metacritic, which is based on the collated reviews from 9 publications. Rolling Stone magazine's music critic Pat Blashill wrote that the album "comes fully loaded with another dozen infectious hymns of Total Request angst". Blashill complimented Lavigne on having a "great voice", adding she crafted the album with "a qualified staff of hitmakers". Christina Saraceno of AllMusic noted that Lavigne "handles a variety of styles deftly", while also complimenting her as "a capable songwriter with vocal chops". Nonetheless, Saraceno opined that "at her age, one imagines, she is still finding her feet, borrowing from the music she's grown up listening to". John Perry of Blender magazine summarized Let Go into an "outstanding guitar-pop debut". A review in Q magazine praised Lavigne for displaying "a musical guile way beyond her years". Kaj Roth of Melodic felt that Lavigne "sings lovely and some of the songs goes in the Alanis Morissette [sic] vein". For Jon Caramanica of Entertainment Weekly magazine (who gave the album a B−), "Lavigne's monochromatic debut set of unimaginative guitar rock is saved only by the earnestness of her songs."

Some reviewers had similar sentiments toward the quality of the lyrics to some songs in the album. Saraceno said that Lavigne "still has some growing up to do lyrically", asserting "Sk8er Boi" shows her "lyrical shortcomings" and calling the phrasing in "Too Much to Ask" "awkward and sometimes silly". Perry noted the lyrics to "Sk8er Boi" as "endearingly naive".

Accolades
The album earned Lavigne numerous awards from organizations around the world. The success of the album's commercial performance led Lavigne to be named Best New Artist at the 2002 MTV Video Music Awards. She won three awards—Favorite Female Artist, Favorite Breakthrough Artist, and the Style Award—the most of any performer at the 2003 MTV Asia Awards. She received five nominations for the album at the 2003 Grammy Awards, including Best New Artist and Best Pop Vocal Album. The album's singles "Complicated" and "I'm with You" were nominated Song of the Year at the 2003 and 2004 ceremony, respectively, accumulating eight nominations for the album. Lavigne was nominated for six categories at the 2003 Juno Awards—which were presented in Ottawa—winning four including Best Album and Best New Artist.

Commercial performance
Let Go was commercially successful in the United States, gaining praise from Entertainment Weekly magazine as one of the biggest pop debut albums of 2002. According to Billboard, as of 2022, Let Go is one of the 15 best-performing 21st-century albums without any of its singles being number-one hits on the Billboard Hot 100. The album debuted on the Billboard 200 at number eight on the strength of 62,000-unit sales and later peaked at number two. Its high debut was fuelled by the success of "Complicated", which was in heavy rotation on MTV. Increasing weekly sales allowed the album to stay inside the chart's top 10 for 37 weeks. The album sold at least 100,000 copies every week straight until late 2002, easily accumulating over 2-million-unit sales. In a December 2002 report by Entertainment Weekly magazine, it was stated that the album had sold 3.9 million copies, becoming the third top-selling album of 2002 in the United States. Year-end figures released by Nielsen SoundScan revealed that Let Go had sold over 4.1 million copies in the United States, accumulated in 30 weeks of the album's release. Let Go was certified double platinum by the Recording Industry Association of America. This earned Let Go the distinction of being the highest-shipped debut of 2002 and best-selling album by a female artist. On 30 April 2003, the RIAA certified the album six-times platinum, denoting shipments of over six million units. It remains Lavigne's best-selling album to date, with 6.9 million copies sold in the United States and over 16 million worldwide.

Chartwise, the album reached higher peak positions notably during and after the holidays. Following her show-opening performance at the 2002 Billboard Music Awards, Let Go continued to be one of the holiday's top sellers with sales that week of 272,000. It reached its highest sales week on the issue dated 4 January 2003, with 363,000 copies sold. Although it had peaked at number two in September 2002, Let Go rose from three to two on the Billboard 200 on the issue dated 1 February 2003. The increase of sales was the offshoot to Lavigne's appearance on 11 January in Saturday Night Live as the show's musical guest. There were accusations of lip-synching but in an interview at the time she tells she has never lip-sung or ever plans to. During this time also, Lavigne received much media coverage due to her nominations at the 2003 Grammy Awards and for embarking on her first North American tour. In the United Kingdom, the album took longer to reach the summit of the UK Albums Chart. In its 18th week of release, reached on the chart year 2003, the album hit number one, rising to the top spot over the holiday, making Lavigne breaking a record becoming the youngest female singer to top the chart at 17 years and nine months old. However, the record was broken by Joss Stone in October 2004, when her album Mind Body & Soul debuted at number one on the UK Albums Chart when she was 17 years and five months old.

The album's international sales upsurge was attributed to the continuing success of "Sk8er Boi". Let Go is the 12th best-selling album of 2003 in the United Kingdom. The album has been certified six-times platinum by the British Phonographic Industry.

Let Go was also selling well in Canada, surpassing sales of over one-million-unit sales in less than a year. The Canadian Recording Industry Association certified the album diamond in May 2003. In Australia, Let Go had been certified seven-times platinum by the Australian Recording Industry Association in 2003, based on the sales of over 490,000 units from wholesalers to retailers. The album is the tenth best-selling album of 2002 there, and the third in the following year. Overall, the album charted at number one in six countries and top five in eight countries.

Impact and legacy
Let Go was twentieth on Billboard 200 Greatest of All Time Albums by Women. The album is considered one of the albums that transformed the pop-punk music scene, helping to consolidate the genre in the mainstream and contributing to the rise of female-fronted pop-punk bands and female-driven punk-influenced pop music.

Track listing

 * Notes
 * undefinedThe thirteen standard edition tracks and tracks 17-19 are remastered with additional production by John Feldmann, for the 20th Anniversary Edition.
 * "Why" is an alternate take on the original that both versions were recorded in 2002 with the alternate take being put on the "20th Anniversary Edition".
 * "Breakaway" is a new recording on the 20th Anniversary Edition, while the other songs retain their original recording session.

Personnel
Credits adapted from the liner notes of Let Go.

Musicians
 * Avril Lavigne – lead vocals, background vocals (11), guitar (11)
 * The Matrix – additional vocals (2–4, 8–9)
 * Clif Magness – bass (1, 5–6, 10, 12–13), guitar (1, 5–6, 10, 12), keyboards (1, 5–6, 10, 12–13)
 * Suzie Katayama – cello (4)
 * Jeff Allen – bass (11)
 * Joe Bonadio – drums (11)
 * Josh Freese – drums (1, 5–6, 10, 12)
 * Matthew Brann - drums (4)
 * Alex Elena – drums (7, 13)
 * Victor Indrizzo – drums (2-3)
 * Gerry Leonard – guitar (11)
 * Corky James – guitar (2–4, 8–9)
 * Peter Zizzo – guitar (11)
 * Curt Frasca – multi instruments (7), guitar (3)
 * Dennis Johnson – beats & scratching (11)

Production
 * The Matrix – producer (2–4, 8–9), arranger (2–4, 8–9)
 * Clif Magness – producer (1, 5–6, 10, 12–13), programming (1, 5–6, 10), drum looping (13), sequencing (13)
 * Curt Frasca – producer (7, 12–13), programming (13)
 * Antonio "LA" Reid – executive producer
 * Rick Kerr – engineer
 * Leon Zervos – mastering
 * Curt Frasca – producer (7, 12), programming (7)
 * Peter Zizzo – producer (11), arranger (11), Pro-Tools editing (11), programming (11)
 * Jen Scaturro – Pro-Tools editing (11), programming (11)
 * Avril Lavigne – art direction
 * Tom Lord-Alge – mixing (1–9, 11)
 * Randy Staub – mixing (10)
 * David Leonard – mixing (12–13)
 * Sabelle Breer – vocal arranger (7, 13), additional vocal production (7, 13)

title: Let Go (Avril Lavigne album)


text:
Talk:Homo ergaster

Sentence
I've left the sentence "Homo ergaster developed the more sophisticated hand-axe." in the article, but it's not clear--more sophisticated than what? Vicki Rosenzweig

Should we retranslate "ergaster" as just "worker"? "Workman man" sounds redundant.

larger brain?
Didn't homo erectus have a larger brain? This site, for example(http://www.talkorigins.org/faqs/homs/species.html#ergaster) says that H. erectus has a larger brain, while others give a range from ~850-1200cc, larger than 800cc in any case.

Hair/No-Hair, Skin, Sweat?
While I feel it's important to use our imaginations when trying to interpret what we've found, it seems to be a habit lately to take logical supposition and begin giving it as known fact. For instance, it's reasonable to wonder why Ergaster was so radically different from Habilis and Rudolphensis, the only two previous specimens known. It's not so reasonable to clearly state that some of the greatest differences were that Ergaster was hairless and dark-skinned, whereas Habilis was not. We have no evidence regarding this, and only have our own logic based on fossil finds and what we believe about the environment of the time.

Just as we once assumed that bipedalism only arose with Australopithecenes (and find that it existed quite further back, even if not as a standard means of locomotion), it's folly to assume that hairlessness was either a short process or one that occurred at the most convenient time. It's a valid argument that a lack of hair goes much further back in our line, just as it's easy to believe that loss of a noticable hair coat arose with more modern African populations.

Moreover, considering the wide variations in hairyness among modern populations (from the smooth and hairless to men who have built-in sweaters), it is doubtful that a wide-ranging population in varying environments could be defined under anything but an average hair covering.

It's nitpicking, but it's bad science to not seperate hypothetical reasoning and strongly derrived theory.

 * I agree. The recent edits made to several homin articles includes an excessive amout of repetitiveness and unscientific ponderings to warrant inclusion as is. I'm reverting this one as well. - UtherSRG (talk) 19:47, 15 November 2005 (UTC)

Telanthropus capensis merge
Someone proposed that we merge Telanthropus capensis here. I think this is a bad idea and will clean up the other article a bit and delete the merge tag unless I hear objection. Any objection? --Selket Talk 20:21, 28 February 2007 (UTC)

sulcus
"H. ergaster may be distinguished from H. erectus by its ... lack of an obvious sulcus." this needs to be more specific. there are many types of sulci: Attys 22:00, 29 March 2007 (UTC)
 * in the brain
 * sulcus arteriæ vertebralis
 * sagittal sulcus
 * sigmoid sulcus
 * tympanic sulcus
 * lacrimal sulcus (sulcus lacrimalis)
 * sulcus tubae auditivae
 * radial sulcus (musculospiral groove)
 * preauricular sulcus
 * malleolar sulcus
 * Calcaneal sulcus
 * Intermammary sulcus
 * interlabial sulci
 * Anterior interventricular sulcus
 * Posterior interventricular sulcus

authority vs researcher
"Authority" is more accurate than "researcher". There are many folks that do research. Some of them publish, others work for those that publish. The ones that publish are authorities; they have "authored" the description or theory or hypothesis, etc. In fact, "authority" is used explicitly in taxonomy. - UtherSRG (talk) 15:31, 20 June 2008 (UTC)

Expansion and Inclusion
I have begun an attempt to make the pages on Homo ergaster, Homo erectus, Homo heidelbergensis, Homo neanderthalensis, Homo habilis, and Homo georgicus resemble each other in format and content more closely. I shall try to present each competing interpretation, but have often settled, half-way through the page, on presenting each species as legitimately distinct (while letting readers know, of course). My main concern is that these six pages present many prevalent and valid interpretations, but no conformity of tone or content between pages (or sometimes even paragraphs). I shall also try to make conglomerate authorship less detectable between pages, personally editing large chunks using my own tone. I shall attempt, however, to let no personal interpretations of our ancestry interfere with the hypotheses presented. I will not eradicate any additions to these pages' content, obviously, but will attempt to make their voice and presentation uniform. Homo Ergaster (talk) 00:23, 6 January 2010 (UTC)

Language
I accidentally revised the page without including anything about H. ergaster's linguistic capacities: I shall right this as soon as I am able. Homo Ergaster (talk) 13:02, 7 January 2010 (UTC)

Dunno why all these sections in articles on human ancestors focus on 'symbolic' communication. It is well established now in studies of modern languages that symbolic constructions evolve from much more iconic ones. Wouldn't that imply that early Homo might utilize a far more iconic system overall? Even today there are many language families (for example Ubangian, in central Africa) where iconically organized vocabulary (ideophones) outweighs forms dominated by form/meaning arbitrariness (symbolicity). —Preceding unsigned comment added by 96.234.78.76 (talk) 18:48, 7 July 2010 (UTC)

Unclear intro
I don't understand this sentence in the intro:

There is still disagreement on the subject of the classification, ancestry, and progeny of H. ergaster, but it is now widely thought (though not agreed) to be the direct ancestor of later hominids such as Homo heidelbergensis, Homo sapiens and Homo neanderthalensis rather than Asian erectus.

Is this a correct interpretation?:

A  There is still disagreement on the subject of the classification, ancestry, and progeny of H. ergaster, but it, rather than Asian erectus, is now widely thought (though not agreed) to be the direct ancestor of later hominids such as Homo heidelbergensis, Homo sapiens and Homo neanderthalensis rather than Asian erectus.

Or is this?:

B  There is still disagreement on the subject of the classification, ancestry, and progeny of H. ergaster, but it is now widely thought (though not agreed) to be the direct ancestor of later hominids such as Homo heidelbergensis, Homo sapiens and Homo neanderthalensis rather than of Asian erectus.

—Michael Z. 2010-03-03 18:57 z

A is definitely incorrect, B may or may not be correct. I am not sure there is much of a consensus. Some camps lump ergaster as a type of erectus. I don't a have a source handy or I would take a stab at a rewrite that may remove the reference to the Asian erectus line altogether. Nowimnthing (talk) 19:48, 3 March 2010 (UTC)

the writing in this article is astoundingly bad in general. I am tagging it for cleanup. --dab (𒁳) 10:57, 5 April 2010 (UTC)

1.6 mya to .6 mya (600,000 ka)
New evidence seems to suggest that Homo ergaster fossils have been found as recently as 600,000 years ago. My textbook How Humans Evolved (5th edition) by Boyd and Silk, 2009 is more recent than the previous 2007 source of ergaster being from 1.6-1.3 mya. The page in my textbook is on page 307.

"Homo ergaster appears in the African fossils about 1.8 mya and disappears about 0.6 mya" Galith2 (talk) 18:49, 28 April 2010 (UTC)

Ancestor of Homo erectus
I read in Becoming Human by Ian Tattersaul that Homo ergaster was the ancestor of Homo erectus which was subsequently the ancestor of both Homo heidelbergensis (which in turn was ancestor of Homo neanderthalensis) and Homo rhodesiensis (which in turn was the ancestor of the now solely surviving Homo sapiens).

By the way, this makes sense based on the dates of speciation and extinction for Homo ergaster and Homo erectus already mentioned in the respective Articles. The Mysterious El Willstro (talk) 05:35, 6 January 2011 (UTC)

Atlanthropus
"Atlanthropus" is a Rdr to the accompanying article, and Homo atlanthropus is mentioned twice on User talk:KamranRaju. Carleton S. Coon mentions Atlanthropus mauretancius on at least p. 10, 591 (table & footnote) and the genus alone on at least p. 10-11, 591 (footnote). There are no references within the text of the article. Britannica has
 * "Facts about Atlanthropus mauritanicus: Ternifine, as discussed in Ternifine (anthropological and archaeological site, Algeria): ...with the remains of other archaic humans, and resemblances to Peking man were observed. Initially the Ternifine group was considered sufficiently different to justify a new genus and species (Atlanthropus mauritanicus). However, later it was recognized that the fossils from Algeria and China, along with similar specimens from Java, could all be classified together in one species,..."

If it's applied only to the one specimen, we need at least to identify which one, rather than the whole species, somewhere in the article. --Jerzy•t 03:09, 11 July 2011 (UTC)

Timeframe
The current (24.12.2011) version of the article date Ergaster "about 2.5–1.7 million years ago.[1]", the reference being "Hazarika, Manji (16–30 June 2007). "Homo erectus/ergaster and Out of Africa: Recent Developments in Paleoanthropology and Prehistoric Archaeology"."

The article (as available at http://eaa.elte.hu/Hazarika.pdf), makes no such claim whatsoever, but instead: "H. ergaster existed between 1.8 million and 1.3 million years ago", om the second page (numbered 36).

The current figures were added anonymously in what appears to be vandalism (the first edit changed Africa with France, but was reverted 30 minutes later), here is the history page for reference:

http://en.wikipedia.org/w/index.php?title=Homo_ergaster&diff=prev&oldid=377768412

I am reverting to the timeframe as per the reference merryXIV (talk) 17:34, 24 December 2011 (UTC)

Timeframe redux
ANON.78 (re current page 12August 2015): why did you change the date range? The source (Hazarika, 2007) reports "1.8 mya", but you edit the page to a different value. Do you have a different source? Pls reply.Jbeans (talk) 08:56, 13 August 2015 (UTC)
 * The same editor made a similar change on the Homo erectus article. Perhaps that should also be reverted. TimidGuy (talk) 10:37, 13 August 2015 (UTC)

Article Inconsistent with Itself
From the lead – “[Ergaster] is one of the earliest members of the genus Homo, possibly descended from, or sharing a common ancestor with, Homo erectus.“ This would make Erectus the older species (Ergaster..descended from...erectus)

From the Classification and Special Distinction section – “Some call H. ergaster the direct African ancestor of H. erectus, proposing that H. ergaster emigrated out of Africa and into Asia, branching into a distinct species.[5]” This would make Ergaster the older species (ergaster ancestor of erectus)

One or the other must be wrong; from the chart over at Homo it seems Ergaster is the older species, can anyone out there help out here to clean this up? See also the "Unclear Intro" and "Timeframes" sections on this Talk page Skates61 (talk) 05:05, 10 January 2012 (UTC)

Discovery and representative fossils
Hi! there should be some clarification in this section. I see what i can find

http://www.efossils.org/species/homo-ergaster first dicovery 1971 in Koobi Fora

http://www.nature.com/nature/journal/v488/n7410/full/nature11322.html Since its discovery in 1972 Wikirictor (talk) 02:22, 30 October 2015 (UTC)

http://www.christopherseddon.com/2009/01/homo-ergaster.html From Koobi Fora, East Turkana: KNM-ER 3733, a cranium discovered in 1975 by Bernard Ngeneo, Wikirictor (talk) 02:27, 30 October 2015 (UTC)

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title: Talk:Homo ergaster


text:
Sung Wong Toi

Sung Wong Toi is an important historic relic in Ma Tau Chung, Kowloon, Hong Kong. While its remaining portion is now located in the Sung Wong Toi Garden at the junction of Ma Tau Chung Road and Sung Wong Toi Road, it was originally a 45-metre-tall boulder standing on the top of Sacred Hill  in Ma Tau Chung above Kowloon Bay.

Etymology
The name Sung Wong Toi literally means "Song king terrace", or "Terrace of the kings of the Song dynasty". The stone is believed to have been a memorial to the last two boy emperors of the Southern Song dynasty, Zhao Shi and Zhao Bing, who temporarily lived in Hong Kong from 1277 to 1279. In historical maps and documents, Sung Wong Toi is also known as Hill of the King of the Sung and Song Wong Toi in some occasions.

Song dynasty

According to historical records, when the child emperors Zhao Shi and Zhao Bing of the Song dynasty were fleeing south when the Song Empire was gradually being conquered by the Yuan dynasty in the late 13th century, they took refuge at the Sacred Hill along the seashore. Zhao Shi died of illness in Hong Kong, while Zhao Bing died when the Song loyalist Lu Xiufu put him on his shoulders and jumped off a cliff following the defeat of Song by the Yuan at the naval Battle of Yamen.

Yuan dynasty
After the Song dynasty was overthrown by the Yuan dynasty in 1279, local residents inscribed the words "Sung Wong Toi" on this large rock that was on the Sacred Hill at that time.

Note that the Chinese character for "king" (王) is carved in the stone instead of the conventional "emperor" (皇). Both characters are pronounced as "Wong" in Cantonese. This may have been done by the locals to avoid angering the Yuan emperors. The colonial government in 1959 recognized the nature of this intentional word choice, preferred using the character for "emperor" (皇) to name the surrounding locations associated with Sung Wong Toi, namely the park built for settling the trimmed monolith, the nearby road and the metro station.

Qing dynasty
In 1807, seven smaller characters were added on the right side of the stone to record the renovation work during the reign of the Jiaqing Emperor.

Japanese occupation
During the Japanese occupation of Hong Kong in 1941–1945, the boulder was dislodged from its place when the Sacred Hill was levelled for an extension of the Kai Tak Airport. A portion of the rock inscribed with Chinese characters survived the blasting operation. That part of the boulder, about one-third of its original size, displays the Chinese name of the stone, "Sung Wong Toi".

Post-World War II
After World War II, this portion of the stone was shaped into a rectangular block and moved to the Sung Wong Toi Garden, a small park especially constructed for it. This park is located in the present-day Kowloon City District, at the junction of Sung Wong Toi Road and Ma Tau Chung Road, which is close to the stone's original site. The construction work of the park was completed in the winter of 1945.

The park was planned be relocated to nearby Kai Tak Development as Sung Wong Toi Park.

title: Sung Wong Toi


text:
Panathenaea

The Panathenaea (or Panathenaia) was a multi-day ancient Greek festival held annually in Athens that would always conclude on 28 Hekatombaion, the first month of the Attic calendar. The main purpose of the festival was for Athenians and non-Athenians to celebrate the goddess Athena. Every four years, the festival was celebrated in a larger manner over a longer time period with increased festivities and was known as the Great (or Greater) Panathenaea. In the years that the festival occurred that were not considered the Great Panathenaea, the festival was known as the Lesser Panathenaea. The festival consisted of various competitions and ceremonies, culminating with a religious procession that ended in the Acropolis of Athens.

History
The inaugural celebration of the Great Panathenaea occurred in 566 BCE and possibly continued until around 410 CE. Edicts issued by Theodosius I in 391 CE banned sacrifices and closed the temples in Athens, making it very unlikely the festival continued until 410 CE despite some archeological evidence that indicates it may have. There is some uncertainty surrounding the creation of the festival but Peisistratos is commonly credited with the solidification of the festival in 566 BCE, organizing it and turning it into a significant Athenian celebration.

Mythology
There are multiple mentions of the founding of the Panathenaea in Greek mythology that most notably include the stories of Theseus and Erectheus (also referred to as Erichthonius in mythological texts). The Iliad holds the earliest mention of the festival and attributes its creation to Erechtheus. The son of Gaia and Hephaestus, Erechtheus created the festival and dedicated it to Athena after becoming the king of Athens. In Plutarch's Life of Theseus, Theseus unifies multiple Attic communities into one state, giving it the name of Athens and creating a feast known as Panathenaea or "the sacrifice of all the united Athenians".

Banquets
Athenians would begin the festival with a banquet during the first night in the Agora where meat would be cut up to be distributed using a ceremonial kopis. There was also a major banquet on the second day and a smaller banquet-style meal after the procession on the last day of the festival where people would eat bread alongside parts of the animals that were sacrificed to Athena.

Procession
The most significant aspect of the festival was the procession to the Acropolis on the last day of the festival (28 Hekatombaion), where Athenians would make sacrifices to the goddess Athena. Such as a Hekatomb (sacrifice of 100 oxen or cows) The night before this procession, the younger population of Athens would have a vigil known as a pannychis where the people would dance on the Acropolis. During this vigil, the people of Athens would sing a paean for Athena, a song of praise that typically would not be sung at celebrations for Athena but at celebrations for the god Apollo instead.

During the Lesser Panathenaea young girls known as arrephoroi would carry a specially woven peplos robe to place on the wooden cult image of Athena located in the Erechtheum, a temple on the north side of the Acropolis that was dedicated to Athena. In line with the occurrence of the Great Panthenaea every four years a larger peplos tapestry would be woven to be put on the statue of Athena in the Parthenon, a temple in the centre of the Acropolis. Athenians would begin their procession in the Kerameikos neighbourhood and would continue south until they reached the Acropolis. The procession consisted of over 1,000 people from a wide range of backgrounds but was led by the high priestess and the treasurers of the temple followed by the arrephoros carrying the peplos robe. This lead group would be followed by other priests (hieropoios), priestesses (athlothetai), and unmarried young women (kanephoros), magistrates, soldiers, athletes, representatives from other states, musicians, and herdsmen among others. The procession would conclude with more than one hundred cows and sheep being sacrificed on the altar of Athena in the Acropolis in a religious ceremony known as a hecatomb. Non-Athenians also participated in the procession, with female metics carrying hydria I and male metics carrying bread used for the meal after the festival or other non-animal offerings on ornate trays known as skaphai.

Competitions
During the festival many competitions were held including a chariot race, a stadion, and various other athletic events. There would also be singing and poetry competitions, where participants would perform selections from Homer's Iliad and Odyssey.

Prizes
After the conclusion of the competitions at the festival, prizes were awarded to the victors. The reward that is most synonymous with the festival was the Panathenaic prize amphora with images on the sides that would remain similar year to year. These prize amphoras were filled with valuable high-class sacred olive oil and the victors would also sometimes receive monetary prizes in the form of Greek drachma instead of amphoras. The victors’ names were carved into stone victor lists, which were displayed in various parts of Athens. They were placed primarily near churches or religious shrines, with the most notable of these places being the Acropolis.

Prize amphoras
The prize amphoras were the major reward victors received during the festival. People in Ancient Greece associated olive oil with Athena because of the mythological story of her gifting the first Moria to Athens, using the tree to claim the city over the god Poseidon. Olive oil and the prize amphoras were associated with power, wealth, and prosperity due to this association with Athena. The standardized versions of these amphoras would typically depict an image of Athena with roosters standing on two columns on each side of the goddess. On the other side of the amphora, there would typically be images related to the event or competition that the amphora was won for. These images were believed to be included in an attempt to show the rest of the world that Athens was the self-proclaimed head of ancient Greek civilization. An armed Athena was meant to indicate that the goddess was the protector of Athens. The roosters supported this image as the people of Athens saw the birds as having a "fighting spirit" with the columns being used to emphasize the rooster's presence.

Archeological influence
The Parthenon Frieze is a marble sculpture in the Parthenon in the Acropolis of Athens that has a portion that is interpreted to be depicting people of Athens participating in the religious procession that takes place during the Panathenaea. There are images of the high priestess, priests, a young girl meant to resemble an arrephoros, and people herding animals to be sacrificed to the gods.

Current relevance
The Panathenaea ended around the conclusion of the 4th century CE, but it still holds some relevance in the present day. The Panathenaic Stadium was initially a small racetrack with seating on a hill overlooking the track used for the athletic competitions until it was upgraded in the 4th century BCE by the logographer Lykourgos. He upgraded the track to a small stadium with stone seating, remaining until Herodes Atticus upgraded the stadium again in the middle of the 2nd century CE. He made the stadium much larger and used marble instead of stone. The stadium was abandoned after Theodosius I banned the festival and was not used again until the Zappas Olympics in the late 19th century CE. Before the inaugural 1896 Summer Olympics the stadium was completely renovated, going on to host both the opening and closing ceremonies as well as a number of the competitions. The stadium has hosted many athletic events since then, most notably the archery competition and marathon finish for the 2004 Summer Olympics. One side of the Olympic medals from the 2004 Summer Olympics also depicts an image of the Panathenaic Stadium. It is important to note that the modern Olympic Games are more directly inspired by the ancient Olympic Games than the Panathenaic Games.

title: Panathenaea