text:
Spencer Tunick

Spencer Tunick (born January 1, 1967) is an American photographer best known for organizing large-scale nude shoots. Since 1994, he has photographed over 75 human installations around the world.

Life and career
Spencer Tunick was born in Middletown, Orange County, New York into a Jewish family. His father Earl owned a keychain photo-viewer franchise in the Catskills. In 1986, he visited London, where he took photographs of a nude at a bus stop and of scores of nudes in Alleyn's School's Lower School Hall in Dulwich, Southwark. He earned a Bachelor of Arts from Emerson College in 1988.

Photography
In 1992, Tunick began documenting live nudes in public locations in New York through video and photographs. His early works from this period focus more on a single nude individual or small groups of nudes. Tunick cites 1994, when he posed and photographed 28 nude people in front of the headquarters of the United Nations in midtown Manhattan, as a turning point in his career; "It all started there, moving my work from just photography into installation and performance photography," he says. Since then, he has organized and photographed over 65 temporary site-related installations in the United States and abroad. Tunick's philosophy is that "individuals en masse, without their clothing, grouped together, metamorphose into a new shape. The bodies extend into and upon the landscape like a substance. These grouped masses which do not underscore sexuality become abstractions that challenge or reconfigure one's views of nudity and privacy." Sometimes, after gathering his subjects together, Tunick grades them by gender, long hair, age or other characteristics. Registration for modeling on his website includes questions about skin tone. A color chart shows seven boxes ranging from stark white to baby-powder pink and dark chocolate. In his work, he plays off different flesh tones or groups people of the same color. Tunick is also interested in the juxtaposition between the organic and the mechanical, and often chooses famous buildings or unusual structures as his backdrop.

Film
Tunick is the star of the pandemic documentary film Stay Apart Together, directed by Nicole Vanden Broeck and released in 2023, in which Tunick reinvents his photography "to find a way to bring everyone together while staying apart". To mark International Women's Day on March 8, 2021, the twenty-fourth session of the Stay Apart Together project saw Tunick and Vanden Broeck collaborate with Mexican-American visual artist Daniela Edburg to depict 75 Latin American women in 11 poses, incorporating the colors purple and green (symbols of the Latin American feminist movement) and hot pink, selected by Edburg for its liveliness.

Major installations
On May 26, 2001, between 2,500 and 3,000 volunteers gathered at the Place des Arts in Montreal, in collaboration with the Musée d'art contemporain de Montréal. Later, in September 2001, Tunick photographed 400 nude volunteers in Greenwich, London, each side of Cutty Sark, and then in a nearby street. On June 30, 2002, 4,000 volunteers got together near the Parque Forestal in Santiago completely naked at 0°. Some people from conservative and Christian background criticized the event and even protested in front of the Palacio de La Moneda after it happened, gathering around 200 people. In April 2003, Tunick was again in London to photograph 160 nude volunteers in front of the Saatchi Gallery at its opening on the South Bank, and later 500 volunteers in a nude photo shoot in Selfridges department store. In June, he photographed 7,000 naked people in Barcelona, and hundreds of women in New York's Grand Central Terminal in October. On June 26, 2004 in Cleveland, he completed his largest installation in the United States, with 2,754 people posing. In August 2004, a photo shoot was completed in Buffalo of about 1,800 nudes in Buffalo's old central train station. On July 17, 2005 he photographed almost 1,700 nudes on the quaysides at Newcastle upon Tyne and Gateshead, including the Gateshead Millennium Bridge. On September 11, 2005, he photographed 1,493 nudes in Lyon on the Rhône quaysides and footbridge resp. between containers. On March 19, 2006, Tunick photographed 1,500 nudes in Caracas, having people standing up, lying down, and on their knees beside the main Simón Bolívar statue. On August 6, 2006 he photographed about 500 nudes in the courtyard of the Museum Kunstpalast in Düsseldorf. In 2007 Spencer Tunick was commissioned by the Dream Amsterdam Foundation to realize art projects for the artistic event Dream Amsterdam. On April 15, 2007, Tunick organized an installation in a tulip field in Schermerhorn. On June 3, 2007, he photographed installations with 2000 participants in Amsterdam: 2000 people in a car park; 250 men at a nearby gas station; and 250 women on bicycles on the Lijnbaansgracht — Lauriergracht. A small group of participants was photographed on a canal, Leliegracht, requiring a special bridge construction to create the illusion that the people were floating over the water. On May 6, 2007, approximately 18,000 people posed for Tunick in Mexico City's principal square, the Zócalo, setting a new record, and more than doubling the previous highest number of 7,000 people who had turned out in Barcelona in 2003. Male and female volunteers of different ages stood and saluted, lay down on the ground, crouched in the fetal position, and otherwise posed for Tunick's lens in the city's massive central plaza, the Plaza de la Constitución. Here, the specific problems of photographing great numbers of people outside became clear: as Tunick could only shoot from buildings located west of the square (the three other sides of the square are government buildings and the cathedral), there was a rush to take the pictures before dawn to avoid getting sunflare in the lens. An accompanying documentary Naked in Mexico: Spencer Tunick was also filmed on, and around, the date of the photo shoot. On August 18, 2007, Tunick used 600 nude people in a "living sculpture" on the Aletsch Glacier in an installation intended to draw attention to global warming and the shrinking of the world's glaciers in a collaboration with Greenpeace. The temperature was about 10 °C. The Aletsch glacier retreated by 100 m between 2005 and 2006. The environment-oriented installation was reported in several languages and media outlets around the world, Swiss politicians were playfully encouraged to demonstrate their green credentials by participating in Tunick's installation, and Euro RSCG Zurich, Switzerland received the AME Grand Trophy for Public Service and Not-For-Profit, for their campaign for Tunick and Greenpeace Switzerland, "Naked Testimony to Global Warming". Tunick followed this installation with one at the Sagamore Hotel in Miami Beach. Tunick announced plans to take photographs in Ernst Happel Stadium in Vienna with 2,008 naked football fans in the run-up to the Euro 2008 tournament. On June 17, 2008 Tunick carried out an installation in the grounds of Blarney Castle in County Cork with about 1200 people. Another photoshoot was organised for four days later (Saturday June 21) in Dublin, on the South Wall near the Poolbeg Lighthouse, with over 2500 nude people taking part. The South Wall event was somewhat washed out, with one of the proposed set-ups having to be cancelled. However, people praised the organisers for an event well run. On October 3, 2009, Tunick performed another installation in collaboration with Greenpeace, this time to draw attention to the effect climate change is having on French wine production. Over 700 volunteers turned up at a vineyard near Macon, France, for a number of poses among the vines. On March 1, 2010, Tunick carried out a series of installations titled "The Base" on the Sydney Opera House Forecourt and inside the Opera House. The installations were carried out as part of the Sydney Gay and Lesbian Mardi Gras and were Tunick's first large-scale installation in Sydney, with over 5,200 participants. For the event, the CBC reported that Tunick had invited Lady Gaga to the photo shoot. In May 2010, Tunick was commissioned by The Lowry to work with 1000 people in five secret locations. The resulting exhibition was called Everyday People, tying into a phrase used by L. S. Lowry in describing his art. The press were allowed a photoshoot at Peel Park, Salford on May 1, but the other locations such as Castlefields, Dantzic Street and Ringway remained unreported. On August 8, 2010, around 700 revellers at the Big Chill Festival, at Eastnor Castle Deer Park in Herefordshire UK, shed their clothes and covered themselves in five shades of body paint for an installation that paid homage to the art of Yves Klein, Mark Rothko and Ellsworth Kelly, and made reference to the BP oil spillage in the Gulf of Mexico. Tunick continued to the International Street Theatre Festival in Aurillac, France, where he had been invited to hold an installation for its 25th anniversary. The installation took place over two days, August 20 and 21, 2010. On the first morning, Tunick assembled participants with black umbrellas on a hillside above the town centre, and later with clear umbrellas in the narrow streets of the historic quarter of Aurillac. On the following morning Tunick set out to re-enact Eugène Delacroix's "Liberty Leading the People", with the help of 250 women wielding French flags, 4 men and a smoke machine. On September 17, 2011, Tunick photographed a large group of naked volunteers at the Dead Sea. 1,200 volunteers ranging in age from 20 to somewhere in their sixties set out for the Dead Sea before dawn and modeled in three different arrangements: in the sea, on land and covered in Dead Sea mud. On June 23, 2012, Tunick photographed a group of naked volunteers in Munich, Germany. Tunick was interpreting scenes from the Richard Wagner opera "Der Ring des Nibelungen". The volunteers were painted in gold or red posing outside the Bavarian State Opera House. On June 4, 2016, Tunick photographed a group of naked volunteers in Bogotá, Colombia. 6,000 volunteers ranging in age from 20 to somewhere in their sixties set out for Bogotá before dawn. On July 9, 2016, Tunick photographed 3,200 people wearing only blue paint, in Kingston upon Hull, UK. The project was named Sea of Hull, and was commissioned by Ferens Art Gallery in recognition of the following year's City of Culture events. The gathering was the largest of any of Tunick's UK-based projects to date. On July 18, 2016, Tunick photographed 100 nude women, in Cleveland, Ohio, where the Republican National Convention was being hosted. They held circular Mylar mirrors over their heads and reflected light at the city to expose what they view as the naked truth about Republicans. According to Tunick, the point of the exercise was to "shine the wisdom of women to change the world." In July 2018, Tunick photographed almost 500 men and women draped in sheer red cloths on top of a Woolworths supermarket building in Melbourne, Australia. In September 2018, Tunick visited Bodø, Norway to create the artwork BODØ BODYSCAPE as part of Bodø Biennale. It was his first project in Norway, and first ever project north of the Arctic Circle.
 * 2001
 * 2002
 * 2003
 * 2004
 * 2005
 * 2006
 * 2007
 * 2008
 * 2009
 * 2010
 * 2011
 * 2012
 * 2016
 * 2018

Media reception
Tunick is the subject of three HBO documentaries, Naked States, Naked World, and Positively Naked. It has been observed that there may be an ambiguity in Tunick's work between "transgression" and "obedience". A "regimented" quality has been observed in the arrangement of figures in some of Tunick's work, but this, it has been observed, may be offset by the social transgression that accrues to public nakedness.

title: Spencer Tunick


text:
Spirit of St. Louis

The Spirit of St. Louis (formally the Ryan NYP, registration: N-X-211) is the custom-built, single-engine, single-seat, high-wing monoplane that Charles Lindbergh flew on May 20–21, 1927, on the first solo nonstop transatlantic flight from Long Island, New York, to Paris, France, for which Lindbergh won the $25,000 Orteig Prize.

Lindbergh took off in the Spirit from Roosevelt Airfield, Garden City, New York, and landed 33 hours, 30 minutes later at Aéroport Le Bourget in Paris, France, a distance of approximately 3,600 miles (5,800 km). He also flew this aircraft on numerous occasions, delivering mail in and out of the United States. One of the best-known aircraft in the world, the Spirit was built by Ryan Airlines in San Diego, California, owned and operated at the time by Benjamin Franklin Mahoney, who had purchased it from its founder, T. Claude Ryan, in 1926. The Spirit is on permanent display at the Smithsonian Institution's National Air and Space Museum in Washington, D.C.. The exhibit, Pioneers of Flight, is closed for renovations until Spring 2025.

Development
Officially known as the "Ryan NYP" (for New York to Paris), the single-engine monoplane was designed by Donald A. Hall of Ryan Airlines and named the "Spirit of St. Louis" in honor of Lindbergh's supporters from the St. Louis Raquette Club in his then hometown of St. Louis, Missouri. To save design time, the NYP was loosely based on the company's 1926 Ryan M-2 mailplane, the main difference being the NYP's 4,000 mi range. As a nonstandard design, the government assigned it the registration number N-X-211 (for "experimental"). Hall documented his design in "Engineering Data on the Spirit of St. Louis", which he prepared for the National Advisory Committee for Aeronautics (NACA) and is included as an appendix to Lindbergh's 1953 Pulitzer Prize winning book The Spirit of St. Louis.

B.F. "Frank" Mahoney and Claude Ryan had co-founded the company as an airline in 1925 and Ryan remained with the company after Mahoney bought out his interest in 1926, although there is some dispute as to how involved Ryan may have been in its management after selling his share. It is known, however, that Hawley Bowlus was the factory manager who oversaw construction of the Ryan NYP, and that Mahoney was the sole owner at the time of Donald A. Hall's hiring.

The Spirit was designed and built in San Diego to compete for the $25,000 Orteig Prize for the first nonstop flight between New York and Paris. Hall and Ryan Airlines staff worked closely with Lindbergh to design and build the Spirit in just 60 days. Although what was actually paid to Ryan Airlines for the project is not clear, Mahoney agreed to build the plane for $6,000 and said that there would be no profit; he offered an engine, instruments, etc. at cost. After first approaching several major aircraft manufacturers without success, in early February 1927 Lindbergh, who as a U.S. Air Mail pilot was familiar with the good record of the M-1 with Pacific Air Transport, wired, "Can you construct Whirlwind engine plane capable flying nonstop between New York and Paris ...?"

Mahoney was away from the factory, but Ryan answered, "Can build plane similar M-1 but larger wings... delivery about three months." Lindbergh wired back that due to competition, delivery in less than three months was essential. Many years later, John Vanderlinde, chief mechanic of Ryan Airlines, recalled, "But nothing fazed B.F. Mahoney, the young sportsman who had just bought Ryan." Mahoney telegraphed Lindbergh back the same day: "Can complete in two months."

Lindbergh arrived in San Diego on February 23 and toured the factory with Mahoney, meeting Bowlus, chief engineer Donald Hall, and sales manager A. J. Edwards. After further discussions between Mahoney, Hall and Lindbergh, Mahoney offered to build the Spirit for $10,580, restating his commitment to deliver it in 60 days. Lindbergh contributed $2,000 toward the cost of the Spirit that he had saved from his earnings as an Air Mail pilot for Robertson Aircraft Corporation. The rest was provided by the Spirit of St. Louis Organization.

Lindbergh was convinced: "I believe in Hall's ability; I like Mahoney's enthusiasm. I have confidence in the character of the workmen I've met." He then went to the airfield to familiarize himself with a Ryan aircraft, either an M-1 or an M-2, then telegraphed his St. Louis backers and recommended the deal, which was quickly approved.

Mahoney lived up to his commitment. Working exclusively on the aircraft and closely with Lindbergh, the staff completed the Spirit of St. Louis 60 days after Lindbergh arrived in San Diego. Powered by a Wright Whirlwind J-5C 223-hp radial engine, it had a 14 m (46-foot) wingspan, 3 m (10 ft) longer than the M-1, to accommodate the heavy load of 1,610 L (425 gal) of fuel. In his 1927 book We, Lindbergh acknowledged the builders' achievement with a photograph captioned "The Men Who Made the Plane", identifying: "B. Franklin Mahoney, president, Ryan Airlines", Bowlus, Hall and Edwards standing with the aviator in front of the completed aircraft.

Design

Lindbergh believed that multiple engines resulted in a greater risk of failure while a single-engine design would give him greater range. To increase fuel efficiency, the Spirit of St. Louis was also one of the most advanced and aerodynamically streamlined designs of its era.

Lindbergh believed that a flight made in a single-seat monoplane designed around the dependable Wright J-5 Whirlwind radial engine provided the best chance of success. The Ryan NYP had a total fuel capacity of 450 U.S.gal or 2710 lb of gasoline, which was necessary in order to have the range to make the anticipated flight non-stop. The fuel was stored in five fuel tanks, a forward tank – 88 U.S.gal, the main – 209 U.S.gal, and three wing tanks – total of 153 U.S.gal. Lindbergh modified the design of the plane's "trombone struts" attached to the landing gear to provide a wider wheelbase in order to accommodate the weight of the fuel.

At Lindbergh's request, the large main and forward fuel tanks were placed in the forward section of the fuselage, in front of the pilot, with the oil tank acting as a firewall. This arrangement improved the center of gravity and reduced the risk of the pilot being crushed to death between the main tank and the engine in the event of a crash. This design decision meant that there could be no front windshield, and that forward visibility would be limited to the side windows. This did not concern Lindbergh as he was accustomed to flying in the rear cockpit of mail planes with mail bags in the front. When he wanted to see forward, he would slightly yaw the aircraft and look out the side. To provide some forward vision as a precaution against hitting ship masts, trees, or structures while flying at low altitude, a Ryan employee who had served in the submarine service installed a periscope which Lindbergh helped design. It is unclear whether the periscope was used during the flight. The instrument panel housed fuel pressure, oil pressure and temperature gauges, a clock, altimeter, tachometer, airspeed indicator, bank and turn indicator, and a liquid magnetic compass. The main compass was mounted behind Lindbergh in the cockpit, and he read it using the mirror from a women's makeup case which was mounted to the ceiling using chewing gum. Lindbergh also installed a newly developed Earth Inductor Compass made by the Pioneer Instrument Company which allowed him to more accurately navigate while taking account of the magnetic declination of the earth. Lindbergh's ultimate arrival in Ireland deviated from his flight plan by just a few miles.

Lindbergh sat in a cramped cockpit which was 36 x in width, length, and height. It was so small, Lindbergh could not stretch his legs, nevertheless it was to be his home for nearly two days and nights over the Atlantic. The Spirit of St. Louis was powered by a 223 hp, air-cooled, nine-cylinder Wright J-5C Whirlwind radial engine, by most accounts an exceptionally engineered powerplant by engineer Charles Lawrance. The engine was rated for a maximum operating time of 9,000 hours (more than one year if operated continuously) and had a special mechanism that could keep it clean for the entire New York-to-Paris flight. It was also, for its day, very fuel-efficient, enabling longer flights carrying less fuel weight for given distances. Another key feature of the Whirlwind radial engine was that it was rated to self-lubricate the engine's valves for 40 hours continuously. Lubricating, or "greasing," the moving external engine parts was a necessity most aeronautical engines of the day required, to be done manually by the pilot or ground crew prior to every flight and would have been otherwise required somehow to be done during the long flight.

The engine was built at Wright Aeronautical in Paterson, New Jersey, by a 24-year-old engine builder, Tom Rutledge, who was disappointed that he was assigned to the unknown aviator, Lindbergh. Four days after the flight, he received a letter of congratulations from the Wright management.

The race to win the prize required time-saving design compromises. Donald A. Hall decided that the empennage (tail assembly) and wing control surfaces would not be altered from his original Ryan M-2 design, thus minimizing redesign time that was not available without delaying the flight. The result was less aerodynamic stability; nevertheless, the experienced Lindbergh approved the unaltered design. This setup resulted in a negatively stable design that tended to randomly introduce unanticipated pitch, yaw, and bank (roll) elements into its overall flight characteristics. There is a dispute regarding whether Hall and Lindbergh also preferred this design because they anticipated that the continuous corrections to the random movements of the aircraft would help to keep Lindbergh awake during the estimated 40-hour flight. Whether or not the unstable design was deliberately retained to help fight fatigue, Lindbergh did later write how these random unanticipated movements helped keep him awake at various times during the flight. The stiff wicker seat in the cockpit was also purposely uncomfortable, although custom-fitted to Lindbergh's tall and lanky frame.

Lindbergh also insisted that unnecessary weight be eliminated, even going so far as to cut the top and bottom off of his flight map. He carried no radio in order to save weight and because the radios of the period were unreliable and difficult to use while flying solo. Also, although he was an airmail pilot, he refused to carry souvenir letters on the transatlantic journey, insisting that every spare ounce be devoted to fuel. The fuselage was made of treated fabric over a metal tube frame, while the wings were made of fabric over a wood frame. The plywood material that was used to build most of Lindbergh's plane was made at the Haskelite Manufacturing Corporation in Grand Rapids, Michigan.

A small, left-facing Indian-style swastika was painted on the inside of the original propeller spinner of the Spirit of St. Louis along with the names of all the Ryan Aircraft employees who designed and built it. It was meant as a message of good luck prior to Lindbergh's solo Atlantic crossing as the symbol was often used as a popular good luck charm with early aviators and others. The inside of the original propeller spinner can be viewed at the National Air and Space Museum. This propeller spinner was found to be cracked when Lindbergh arrived at New York prior to his transatlantic flight. A replacement was hastily made in New York to replace the cracked original and was on the aircraft during the transatlantic flight.

Later history and conservation

Lindbergh's New York-to-Paris flight made him an instant celebrity and media star. In winning the Orteig Prize, Lindbergh stirred the public's imagination. He wrote: "I was astonished at the effect my successful landing in France had on the nations of the world. It was like a match lighting a bonfire." Lindbergh subsequently flew the Spirit of St. Louis to Belgium and England before President Calvin Coolidge sent the light cruiser USS Memphis (CL-13) to bring them back to the United States. Arriving on June 11, Lindbergh and the Spirit were escorted up the Potomac River to Washington, D.C., by a fleet of warships, multiple flights of military pursuit aircraft, bombers, and the rigid airship USS Los Angeles (ZR-3) (which was itself a veteran of one of the earliest transatlantic flights), where President Coolidge presented the 25-year-old U.S. Army Reserve aviator with the Distinguished Flying Cross.

On the same day, the U.S Post Office issued a commemorative 10-cent "Lindbergh Air Mail" stamp depicting the Spirit over a map of its flight from New York to Paris, and which was also the first stamp issued by the post office that bore the name of a living person.

Over the next 10 months, Lindbergh flew the Spirit of St. Louis on promotional and goodwill tours across the United States and Latin America. According to the published log of the Spirit, during his 3-month tour of the US, he allowed Major Thomas Lamphier (Commander of the 1st Pursuit Squadron, Selfridge Field) and Lieutenant Philip R. Love (classmate in flight school and colleague of Lindbergh's in the airmail service of Robertson Aircraft Corporation) to pilot the Spirit of St. Louis for ten minutes each on July 1 and August 8, 1927, respectively. These two are apparently the only persons other than Lindbergh who ever piloted the Spirit of St. Louis.

One year and two days after making their first flight at Dutch Flats in San Diego, California, on April 28, 1927, Lindbergh and the Spirit of St. Louis flew together for the final time while making a hop from St. Louis to Bolling Field, in Washington, D.C., on April 30, 1928. There he presented the plane to the Smithsonian Institution where for more than eight decades it has been on display, hanging for 48 years (1928–76) in the Arts and Industries Building, and since 1976 hanging in the atrium of the National Air and Space Museum alongside the Bell X-1 and SpaceShipOne. At the time of its retirement, the Spirit had made 174 flights, totaling 489:28 hours in the air.

The Spirit of St. Louis appears today much as it appeared on its accession into the Smithsonian collection in 1928, except that the gold color of the aircraft's aluminum nose panels is an artifact of well-intended early conservation efforts: Not long after the museum took possession of the Spirit, conservators applied a clear layer of varnish or shellac to the forward panels in an attempt to preserve the flags and other artwork painted on the engine cowling. This protective coating has yellowed with age, resulting in the golden hue seen today. Smithsonian officials at some point planned to remove the varnish and restore the nose panels to their original silver appearance when the aircraft was to be taken down for conservation, but later decided that the golden hue on the engine cowling will remain, as it is part of the aircraft's natural state after acquisition and during its years on display. The effort to preserve artifacts is not to alter them but to maintain them as much as possible in the state in which the Smithsonian acquired them.

In 2015 the aircraft was lowered to the floor of the museum's Milestone's gallery, and the tires were temporarily replaced with "forklift" style tires. This was done to preserve the Spirit's original tires which, due to age and lessening of vulcanization, are unable to sustain the aircraft's weight without disintegration (conservation was also likely undertaken on the wheel assembly itself).

Further developed types
NYP-2, an exact duplicate of the Spirit of St. Louis, was built 45 days after the transatlantic flight, for the Japanese newspaper Mainichi. The NYP-2 carrying serial number 29 was registered as J-BACC and achieved a number of record-breaking flights early in 1928 before a crash ended its career.

Although Ryan capitalized on the notoriety of the NYP special, further developments were only superficially comparable to the Spirit of St. Louis. An offshoot of the Ryan B-1 Brougham emerged as a five-seater with the same J-5 engine but modified with a conventional cockpit layout and a shorter wingspan. Under the newly restructured B.F. Mahoney Company, further development continued with the six-place Model B-7 utilizing a 420 hp engine and the Model C-1 with the basic 220 hp engine.

Shortly after the original Spirit was retired in April 1928, the Mahoney Aircraft Corporation presented Lindbergh with a Mahoney Ryan B-1 "Brougham". In 1928, Mahoney built a B-1X (NX4215) as a gift for Charles Lindbergh.

Pilot Frank Hawks purchased a Mahoney Ryan B-1 Brougham (NC3009) with money from his wife, naming the plane the "Spirit of San Diego." In the aftermath of the media exposure surrounding Lindbergh's transatlantic flight, he flew to Washington with his wife on board to greet the triumphant Lindbergh. Due to the ensuing publicity, Hawks was hired by the Ryan Aircraft company to be its official representative. Hawks went on to tour the country, selling rides in the aircraft "like Lindy flew."

Airworthy examples
The Mahoney Ryan B-1 "Brougham" was also used as the basis of a reproduction of the Spirit of St. Louis. The reproduction was used in the 1938 Paramount film Men with Wings starring Ray Milland.

All three reproductions from the Warner Bros. film The Spirit of St Louis (1957) have survived with B-153 on display at the Missouri History Museum, in St. Louis, B-156 is part of the collection at The Henry Ford museum in Dearborn, Michigan, and B-159 belongs to the Cradle of Aviation Museum located in Garden City, Long Island, New York, not far from the site of Roosevelt Field from which the original departed in 1927. According to information at the Henry Ford Museum, their copy (B-156) was actually owned by James Stewart, who portrayed Lindbergh in the film. Stewart is credited as having donated the aircraft to the museum. Lindbergh was reputed to have flown one of the reproductions during the film's production, however, the connection to Lindbergh is now considered a myth.

On the 40th anniversary of Lindbergh's flight, a new reproduction named Spirit 2 was built by a movie stunt pilot, Frank Tallman. It first flew on April 24, 1967, and appeared at the 1967 Paris Air Show where it made several flights over Paris. In 1972, Spirit 2 was bought for $50,000 by the San Diego Air & Space Museum (formerly San Diego Aerospace Museum) and placed on public display until it was destroyed by arson in 1978. The museum built a replacement named Spirit 3 which first flew on April 28, 1979; it made seven flights before being placed on display. In August 2003, the Spirit 3 was removed from display and was flown as a 75th Anniversary tribute to Lindbergh. The aircraft is now on display in the museum's rotunda.

Through the efforts of both staff and volunteers, the Experimental Aircraft Association in Oshkosh, Wisconsin produced two reproductions of the Spirit of St. Louis, powered by Continental R-670-4 radial engines, the first in 1977 (of which was to be based on a conversion from a B-1 Brougham; the aircraft proved to be too badly deteriorated to be used in that manner), flown by EAA founder Paul Poberezny to commemorate the 50th anniversary of Lindbergh's flight across the Atlantic Ocean and subsequent tour of the United States. This example is now on display in the main museum gallery. A second reproduction, started from scratch in 1977 and first flown in November 1990, continues to fly at air shows and commemorative events. Both of the EAA reproductions were registered under the original's N-X-211.

Another airworthy reproduction was built by David Cannavo and first flown in 1979, powered by a Lycoming R-680 engine. In 1995, it was bought by Kermit Weeks for his Fantasy of Flight Museum in Polk City, Florida.

A reproduction of the Spirit (Registration ES-XCL), which had been built and certified in Estonia in 1997, was written off on May 31, 2003. Shortly after takeoff at an air show in Coventry, England, structural failure occurred, resulting in a fatal crash, killing its owner-pilot, Captain Pierre Holländer.

A recently completed Spirit reproduction, intended for airworthiness is owned by the Old Rhinebeck Aerodrome (ORA), fulfilling a lifelong dream of its primary founder, Cole Palen (1925–1993). The reproduction project had been started by Cole before his own death and has mostly been subsequently built by former ORA pilot and current vintage aircraft maintenance manager Ken Cassens, receiving its wing covering, completed with doped fabric in 2015. A restored Wright J-5 Whirlwind radial was obtained by Palen in the 1970s for the project's start, with original, and still-functional 1920s-era flight instruments being incorporated — including the same basic type of earth inductor compass used by Lindbergh — matching the ones in the original Spirit at the NASM.

This reproduction aircraft successfully flew in early December 2015 in upstate New York, piloted by aircraft restorer/builder Ken Cassens of Stone Ridge, New York. The aircraft made its public debut flight on May 21, 2016, the 89th anniversary of Lindbergh's flight.

JNE Aircraft's reproduction

Over a period of 7 years and 3 months, John Norman of Burlington, Washington crafted to-date the most authentic Spirit reproduction ever built. With the intention of creating a copy of the aircraft "as it sits now," with all the patches, updates or modifications recreated in pains-taking detail and the added bonus of being airworthy Norman completed the project in 2019. The maiden flight was performed July 28, 2019 and the public debut flight was September 8, piloted by John's friend and seasoned pilot, Ron Fowler.

In 2015, with coordinated efforts by fellow Spirit researcher Ty Sundstrom and the National Air & Space Museum, Norman took detailed measurements to correct errors he had discovered in the existing "Morrow" drawings. During the same trip, in an attempted search for Lindbergh's missing logbook, Norman used a video boroscope to inspect never-before seen areas of the fuselage and discovered an original pair of pliers thought to have been used by Lindbergh to adjust the fuel valves during flight.

In late 2021, a documentary feature film centered on the project and its builder began production. A tentative summer 2023 release is expected.

Static display examples
A 90% static reproduction, built in 1956 for The Spirit of St Louis film by studio employees, is now on display at the Wings of the North Air Museum in Eden Prairie, MN. In 1999, the San Diego Air & Space Museum built a non-flying example that was fitted with an original Wright J-5 engine. It is on display at San Diego International Airport. A static reproduction of the Spirit of St. Louis was built in 2002 and is on display at St. Louis Lambert International Airport. The Octave Chanute Aerospace Museum at Rantoul, Illinois also has a static reproduction built by museum volunteers. Two reproductions are also found in Germany, one at the Frankfurt International Airport with the second in the "Luftfahrtmuseum Hannover".

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

title: Spirit of St. Louis


text:
Talk:Club sandwich

Danny Mears Did Not Invent It
Someone is intent on getting a line in the article about the club sandwich being invented by "a maverick line cook named Danny Mears." There's no cited support for this assertion and the wording is suspicious. I've seen a number of sources elsewhere repeating this claim copied directly from wikipedia (some cited, some not), but nothing that independently supports it. My guess is that someone knows a guy by that name and wants him to go down in internet history as the inventor of the club sandwich. Either way, they keep sneaking it in right next to a citation, which is easy to miss, and most recently someone changed the citation to point to a "source" that was lifted directly from an earlier version of the page. Someone caught the citation change and reverted it, but the text change got through. — Preceding unsigned comment added by 68.100.28.86 (talk) 02:23, 28 May 2011 (UTC)

Terrible picture
thats a terrible picture, its mostly fries. someone fix this, now!

Perhaps I am mistaken, but I have always understood that the canonical "club sandwich" contained turkey, lettuce, tomato, and bacon.

See, for example: http://www.foodtv.com/food/recipes/recipe/0,1977,FOOD_9936_15658,00.html http://whatscookingamerica.net/History/SandwichHistory.htm

Dominus 08:43, 7 Nov 2003 (UTC)

 * There's now a better picture in the article, so I've removed the one with the fries obscuring the sandwich. boffy_b 18:52, 15 December 2006 (UTC)

This is not a club sandwich in the picture. Club sandwiches are in quarters. AndrewSta (talk) 02:52, 22 May 2011 (UTC)

Current picture is not in quarters and also it's difficult to see the layers. It's also not particularly neat. Part of the club sandwich is the neat construction and cutting. 86.130.174.142 (talk) 20:16, 9 June 2014 (UTC) Mark

"General" Section
Most of the information here is so general as to be nearly completely useless. Fries are commonly served with many sandwiches, and parsley is a common decoration for any type of food. I also can't say I've heard of eating club sandwiches with ketchup. I'm skeptical that this happens any more for clubs than for any other type of sandwich. It'd also be nice to get a better photo; you can hardly see the club under all those fries. Pimlottc 13:14, 27 February 2006 (UTC)

Ingredients
The ingredients are almost universally turkey, bacon, lettuce, and tomatoes, however, I have seen club sandwiches with ham and roast beef as well as turkey. I didn't really know if these are "true" clubs, or just some poor facsimile, so I included these ingredents as alternatives. Does anybody know for sure?

 * In my (US) experience, those are the standard ingrediants. If there is a variance, it's most commonly the use of another meat instead of turkey, which is added a modifier to the name.  For example, a "chicken club" would be chicken, bacon, lettuce and tomato. Pimlottc 12:27, 27 February 2006 (UTC)

I should note that it is almost universally served on three slices of bread. 67.136.242.106 04:44, 26 December 2005 (UTC)

 * This is also my understanding. It's also the most obviously visual distinction between a club sandwhich and other types. Pimlottc 12:27, 27 February 2006 (UTC)

Does nobody think cheese is a common ingredient? I don't eat a clubhouse without. I have heard either way is still a club, anyone know?

Here's my version for your reference. Toasted bread with bacon, lettuce, mayonnaise, tomato, turkey, EGG and AVOCADO. It seems nobody here mention about egg and avocado as variants.(recipe from the restaurant I'm working) 218.102.191.207 (talk) 13:31, 7 October 2008 (UTC)

I'm pretty sure that some investigation would show that turkey did not appear on the club sandwich until the jogging-low-fat-craze of the latter 1970's. — Preceding unsigned comment added by 71.63.115.194 (talk) 15:52, 16 November 2012 (UTC)

The club sandwich was my first culinary epiphany, and I have been eating them for 65 years. In that time, I was served cheese only once; the restaurant was later found to be a front for a drug ring. To me it consists of chicken, bacon, tomato, lettuce and mayonnaise on three slices of bread. The link on the main page supports me on the chicken issue, but turkey is acceptable.Barnaby the Scrivener (talk) 12:49, 21 March 2009 (UTC)

 * A true club would be chicken lettuce under bacon. (Literally what club stands for) 68.116.114.116 (talk) 20:34, 5 May 2023 (UTC)

Toasted
I noted that the bread is toasted when I edited the article. If someone wants to write a paragraph about how the bread should always be toasted, go ahead.

 * For that matter, what the he** is "occasionally" toasted bread? Can understand that it may be made with plain or toasted bread, but not bread that occasionally gets toasted (like some sort of random event that sometimes happens). — Preceding unsigned comment added by 68.50.90.64 (talk) 22:27, 22 March 2017 (UTC)

Name?
Why is it called a club sandwich?--Primal Chaos 17:23, 21 February 2007 (UTC)

I came, because i was confused because of its name. My guesses were: It was named Clubsandwich because it was served in clubs like it is today. For example in between a golf session or on a beach "club", it was a welcomed, easy prepared and fast meal, a more modern version of a hamburger (and not as heavy). (I did my own research and noticed that many of those clubs were serving those kind of sandwiches. An indicator is that i is sometimes also called clubhouse sandwich...

Second, club can also be ment as a wooden chunk used as a weappon, and its obiously big size can be understood as eating a club, of course just colloquial. (I know it sounds stupid)

User:Queen-Max18:35, 7 April 2007 (GMT +1:00)

 * If anything, club sandwiches are fairly light fare - so the "big size" comment doesn't make much sense.  — Preceding unsigned comment added by 68.51.66.32 (talk) 15:32, 17 May 2013 (UTC)

Most nightclubs serve some variant of it. This is the origin of the name "*C*L*U*B*" sandwich!174.113.240.160 (talk) 07:49, 17 February 2012 (UTC)

How often
as anyone ordered a club sandwhich and been brought the sandwich described in this article?

Most of the "clubs" I've had were turkey, ham, bacon, cheese, tomatoe, and lettuce. The second most common has been turkey, ham, roast beef, cheese, tomatoe, and lettuce. At Subway I'd get turkey, ham, roast beef, bacon, cheese plus veggies. I've seen the sandwhich on this page plus cheese sold as a "turkey club" but I can't think of a restaurant where a "club" is used to describe a sandwhich with turkey, bacon, tomatoe, and lettuce only. —Preceding unsigned comment added by 74.140.244.90 (talk) 01:27, 14 December 2007 (UTC)

 * The unsigned comment above is a good point. The sandwich currently described in the article is a standardized item.  There are lots of variations also called club sandwiches.

 * The article version from last September better recognized the diversity of things that are called club sandwiches. Wanderer57 (talk) 16:26, 16 March 2008 (UTC)

 * In A Cook's Bible by New Zealand-based Lesley Christensen-Yule and Hamish McRae (Penguin, Auckland, 2007), it describes the American ("classic") club sandwich has two layers of fillings chicken, bacon, hard-boiled egg, lettuce and mayonnaise, and in the New Zealand version ("New Zealand club sandwich") one of the two layers of filling is the meaty one and mayonnaise, and the other one has the vegetables, and egg is not used. My personal experience is that I have has club sandwiches at Carlton Hotel in Auckland (now Rendez-vous Hotel) and Cathedral Cafe in Christchurch, and both versions conform to this observation. --JNZ (talk) 06:25, 14 July 2008 (UTC)

Huh?
This article starts: "A club sandwich, also called a clubhouse sandwich, is a sandwich with toasted bread." This would appear to be saying that the defining characteristic of a club sandwich is that it is made with toasted bread - of course, other sandwiches can be made with toasted bread but that certainly wouldn't necessarily make them club sandwiches, so something is obviously not right here. — Preceding unsigned comment added by 68.51.66.32 (talk) 01:26, 6 November 2013 (UTC)

 * and egg in a traditional club sandwich? don't think so. while turkey seems to be the meat of choice since I was a lad (maybe the last forty years), it appears that chicken breast may be more traditional. So, a basic club sandwich has bacon, tomato, lettuce, mayo, and turkey/chicken on three slices of toast. you can possibly have one with ham, cheese, maybe even egg, but don't think you'd say those are traditional club sandwiches. — Preceding unsigned comment added by 68.51.66.32 (talk) 01:37, 6 November 2013 (UTC)

Stub?
This article is categorized as a "Food stub." I don't know when it was categorized as such, but I don't see this article in its current form as an stub. SpiritedMichelle (talk) 16:46, 24 July 2015 (UTC)

Another story for the name
Some time ago, McDonalds posted a video showing a chef making a big mac in a home kitchen. According to that video, the three sections of the bun were the heel (bottom), crown (top) and the club (the center). I have no evidence that this naming didn't come after the fact, however, the defining aspect of a club sandwich is that it's made with three bread layers, so this story does make sense.

Nsayer (talk) 20:42, 24 March 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Club sandwich. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20110905144014/http://www.foodnetwork.com/recipes/food-network-kitchens/classic-club-sandwich-recipe/index.html to http://www.foodnetwork.com/recipes/food-network-kitchens/classic-club-sandwich-recipe/index.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 19:56, 9 August 2017 (UTC)

Egg included in a club sandwich
I think in modern times an egg should be included in a club sandwich 140.241.244.203 (talk) 17:29, 17 February 2023 (UTC)

title: Talk:Club sandwich


text:
Philip Segal

Philip David Segal (born in Southend-on-Sea, Essex, England in 1962) is a British-American television producer. He emigrated to the United States "at the age of fifteen or sixteen", where he gained a degree in Telecommunications from San Diego State University. After graduating he started work in the US television industry, first as a casting assistant and then as a literary agent, working at Fenton Feinberg Casting and the ICM TV Literary Department training program.

In 1985, he was appointed Director of Drama Development at Columbia Pictures. He then moved to ABC Television as a programming executive, and says he worked on shows such as Twin Peaks, Thirtysomething and China Beach.

In 1989, he went to the BBC where he had a chat about the TV industry and asked about work on different shows, one of the ones he was most interested in was science fiction series Doctor Who. Nothing came of this conversation but a week later Doctor Who was officially cancelled while the BBC searched for an American company to make a new series as a joint venture.

In 1991, he joined Steven Spielberg's Amblin Entertainment, where he became Vice President of Amblin Television, overseeing the production of seaQuest DSV, Earth 2 and The Young Indiana Jones Chronicles.

Segal contacted the BBC, applying for the distribution rights of a new series of Doctor Who under Amblin. Collaborating with fellow English expatriate Peter Wagg (producer of Max Headroom) they created the early drafts of what eventually became the Doctor Who television movie in 1996. Segal received an executive producer credit on the movie. In 2000, Segal co-wrote the book Doctor Who: Regeneration with Gary Russell (HarperCollins, ISBN 0-00-710591-6), the making-of book about the movie.

Segal won the best director of a short film award from the NY International Film & Video Festival in 2000 for his short story The Other Side of Monday. Other directing credits include: a single episode of Mutant X according to IMDB and one episode of Andromeda for the Tribune Action Hours, and the feature film Hobbs End which he also co-wrote with Eric Truheart. In 2000 he became senior VP for scripted programming and development at Tribune Entertainment, overseeing Andromeda, Beastmaster and other shows.

After a period working at Bunim-Murray Productions as Executive Vice-President, Segal joined Original Productions in 2006 as an executive producer. He was appointed Chief Executive Officer of Original in 2012 but left the company in 2017 when Original's parent company, Fremantle, decided not to renew his contract. His credits include Ice Road Truckers and Ax Men for The History Channel, The Colony, Pitchmen, Swords: Life on the Line for Discovery Channel, 1000 Ways to Die for Spike, Black Gold for Tru TV, Wildlife Warriors and Cut in Half for National Geographic Channel, and Storage Wars for A&E. Segal lives in Glendale, California and in Medford, Oregon.

title: Philip Segal


text:
Difference feminism

Difference feminism is a term developed during the equality-versus-difference debate in American feminism to describe the view that men and women are different, but that no value judgment can be placed upon them and both sexes have equal moral status as persons.

Most strains of difference feminism did not argue that there was a biological, inherent, ahistorical, or otherwise "essential" link between womanhood and traditionally feminine values, habits of mind (often called "ways of knowing" ), or personality traits. These feminists simply sought to recognize that, in the present, women and men are significantly different and to explore the devalued "feminine" characteristics. This variety of difference feminism is also called gender feminism.

However, some forms of difference feminism – such as Mary Daly's cultural feminism – argue that women and their values are superior to those of men. There is ongoing debate about whether Daly's feminism is essentialist.

History
The "difference" feminist view was developed in the 1980s, in part as a reaction to popular liberal feminism (also known as "equality feminism"), which emphasized the similarities between women and men in order to argue for equal treatment for women. Difference feminism, although it still aimed at equality between men and women, emphasized the differences between men and women and argued that identicality or sameness are not necessary in order for men and women, and masculine and feminine values, to be treated equally. Liberal feminism aimed to make society and law gender-neutral, since it saw recognition of gender difference as a barrier to rights and participation within liberal democracy, while difference feminism held that gender-neutrality harmed women "whether by impelling them to imitate men, by depriving society of their distinctive contributions, or by letting them participate in society only on terms that favor men".

Difference feminism drew on earlier nineteenth-century strains of thought, for example the work of German writer Elise Oelsner, which held that not only should women be allowed into formerly male-only spheres and institutions (e.g. public life, science) but that those institutions should also be expected to change in a way that recognizes the value of traditionally devalued feminine ethics, like care. On the latter point, many feminists have re-read the phrase "difference feminism" in a way that asks "what difference does feminism make?" (e.g. to the practice of science) rather than "what differences are there between men and women"?

In the 1990s, feminists addressed the binary logic of "difference" versus "equality" and moved on from it, notably with postmodern and/or deconstructionist approaches that either dismantled or did not depend on that dichotomy.

Criticism
Some have argued that the thought of certain prominent second-wave feminists, like psychologist Carol Gilligan and radical feminist theologian Mary Daly, is essentialist. In philosophy, essentialism is the belief that "(at least some) objects have (at least some) essential properties". In the case of sexual politics, essentialism is taken to mean that "women" and "men" have fixed essences or essential properties (e.g. behavioral or personality traits) that cannot be changed. However, essentialist interpretations of Daly and Gilligan have been questioned by some feminist scholars, who argue that charges of "essentialism" are often used more as terms of abuse than as theoretical critiques based on evidence, and do not accurately reflect Gilligan or Daly's views.

In France
Commonly labeled "French feminism", the work of Hélène Cixous, Luce Irigaray and Julia Kristeva has been considered a form of difference feminism. Their psychoanalytic approach to sexual difference perceived the search for equality as a phallocentric erasure of the specificities of the female body. Like the American differentialist authors, "French feminists are regularly accused of essentialism."

title: Difference feminism


text:
User talk:GrahamWhite

AHOERSTEMEIER? are you living in germany>

title: User talk:GrahamWhite


text:
Legazpi Airport

Legazpi Airport was a major airport in the Bicol Region, served the vicinity of Legazpi, the capital city of Albay in the Philippines.

Prior to its closure, the airport was designated as a Class 1 principal domestic Airport by the Civil Aviation Authority of the Philippines, a body of the Department of Transportation that is responsible for the operations of not only this airport but also of all other public airports in the Philippines except the major international airports.

The airport was replaced by the new and larger Bicol International Airport in 2021.

History
The site of the former Legazpi Airport used to be the Sanborn Field. This former US airfield opened in the early 1900s. During World War II, the airport was occupied by Japanese forces from 1941 until the airport was liberated by the United States Army in 1945. Commercial operations started the following year.

The jet age came to Legazpi in the late 1960s and by the 1970s Philippine Airlines (PAL) introduced regular service to/from Manila using British Aircraft Corporation's BAC 1-11s. In the late 1980s PAL introduced Boeing 737-300s. YS-11s provided airlink to Mactan, Cebu, Masbate, and Virac. When PAL phased out the YS-11s and the short-lived Shorts SD-360 'Sunriser,' Fokker 50s replaced them. Before the debilitating labor strike in 1998 which caused PAL to temporarily cease operation, Legazpi Airport served as the airline's hub in Bicol, serving Manila, Cebu, Masbate, Virac, even Catarman in Samar. Today, it serves local clients and transient passengers from southern Camarines Sur and the province of Sorsogon.

Aside from PAL, Filipinas Orient Airways and Air Manila International served the airport before 1972, the declaration of martial law in the Philippines. Through the years, other airlines came and went: Air Philippines for some time served Legazpi with YS-11s and 737-200s. Asian Spirit served Pili for flights to/from Manila and Cebu and has since ceased operations with six million pesos in collectibles from local (Naga or Pili) franchisees. Asian Spirit also planned to introduce flights to Virac and Masbate before its rebranding as Zest Airways. At present, Aboitiz cargo regularly calls on Legazpi. South East Asian Airlines, using the 19-seat LET-410. plies Cebu-Legazpi-Cebu Mondays and Fridays.

When Pope John Paul II visited the Philippines in 1981, his itinerary included the city of Legazpi. The papal plane was a chartered PAL Boeing 727 tri-jet. President Ferdinand Marcos arrived in his own jet; First Lady Imelda and the then-Minister of Defense, Juan Ponce Enrile, arrived with their own retinues on separate jets.

In the mid-1990s, a Harrier jumpjet of the US Marines made an emergency landing here. Nearby Alicia Hotel housed the unexpected guests for days while the aircraft was repaired. During that time, day and night, the airport site became an aviation museum of sorts with curious on-lookers taking a glimpse at the heavily guarded fighter plane, exactly the same piece used in the Schwarzenegger film True Lies.

In February 2000, during a lull in nearby Mayon Volcano's eruption (which suspended regular commercial service), a chartered Boeing 727 from Guam landed, bringing relief goods for evacuees.

On September 15, 2001, coming home from her state visit to Japan, President Gloria Macapagal Arroyo flew to Legazpi non-stop from Tokyo using a chartered PAL Airbus A320, highlighting the capability of the airport to handle international air traffic. On November 26, 2003, a Cebu Pacific DC-9-32 brought delegates to the Philippine Institute of Certified Public Accountants (PICPA) convention on a charter flight from Cebu.

Upgrades
In 2015, the passenger terminal building was refurbished and expanded under a ₱40 million refurbishment program funded by the Civil Aviation Authority of the Philippines.

Although operating as sunrise-sunset (SR-SS) due to lack of an instrument landing system (ILS), the airport can handle night landings and take-off but only on prior notice. The fact that the airfield does not have an ILS system leads to flights being delayed and/or cancelled because the airfield cannot operate in inclement weather without an ILS system. Evening flights began in 2016 after upgrades to the airport facilities, with Cebu Pacific being the first airline to operate night flights.

Closure
As early as 1996, plans were laid to construct an international airport in the neighboring municipality of Daraga, which would replace Legazpi Airport. Construction of the larger Bicol International Airport was slated to open by 2014 but was repeatedly delayed.

The airport had its last flight on October 7, 2021, and closed on the same day. After the closure, the airport site is planned to be converted into a business district.

Recent events
One of the last legs of the 2022 Leni Robredo presidential campaign was supposed to be held at the airport's runway on 7 May 2022 but was instead moved to Sawangan Park.

In 2024, the airport hosted the Albay Hot Air Balloon Festival.

Runway
The airport had a single runway which was 2,280 m long and 36 m wide. The runway was longer than those of the now-defunct Bacolod City Domestic Airport (1,958 x 30 meters) and Mandurriao Airport in Iloilo City (2,100 x 43 m). It runs in a direction of 06/24.

Terminal and apron
The passenger terminal building at Legazpi Airport had the capacity of more than 500 passengers. After its refurbishment in 2015, separate arrival and pre-departure areas for domestic and international chartered flights were added to the terminal building, including office space for the Bureau of Immigration, customs and quarantine, and the Philippine Drug Enforcement Agency.

The airport could handle medium-sized civilian jets and military aircraft. Its apron has the capacity of three aircraft.

title: Legazpi Airport


text:
Remembrance of the Daleks

Remembrance of the Daleks is the first serial of the 25th season of the British science fiction television series Doctor Who. The serial was first broadcast in four weekly episodes from 5 to 26 October 1988. It was written by Ben Aaronovitch and directed by Andrew Morgan.

In the serial, alien time traveller the Doctor (Sylvester McCoy) and his companion Ace (Sophie Aldred) travel back to 1963 to retrieve the Hand of Omega, a powerful device created by the Doctor's Time Lord race, and keep it from the Daleks.

The serial contains many references to the history of the show, featuring settings from the first Doctor Who episode, An Unearthly Child, such as Coal Hill School and the junkyard at 76 Totter's Lane. The serial is the final appearance of the Daleks in the original run and the only occasion in which the Seventh Doctor encountered them on television.

In reader polls conducted by Doctor Who Magazine from 1998 onwards, Remembrance of the Daleks has consistently been voted as one of the greatest Doctor Who stories of all time.

Plot
The Seventh Doctor and Ace arrive in Shoreditch in 1963. They meet a military unit led by Group Captain Gilmore and Sergeant Smith, tracking abnormal local magnetic fluctuations, originating mainly from Coal Hill School where a transmat device in its basement is tied to a Dalek ship in geostationary orbit. A second, weaker fluctuation is emitted by a nearby Dalek. There are two Dalek factions: Imperial Daleks on the orbiting mothership, controlling the school, and Renegade Daleks, who reject the Emperor's authority, controlling the junkyard. Both sides seek the Hand of Omega, a Time Lord device the Doctor left on Earth during his first visit to 1963.

Smith is a secret associate of Ratcliffe, leader of a group of fascists, reporting to a Renegade battle computer, which uses a schoolgirl as its eyes and ears. The Doctor has the Hand buried in a local cemetery, but Ratcliffe finds it, tipped off by Smith. Imperial Daleks arrive to seize it from the Renegades, but the Doctor and Ace defeat them and destroy their transmat. Anticipating a siege, the Doctor has Gilmore fortify the school while he disables the Renegade "time controller", fleeing with Daleks in pursuit, returning to the school just as the Imperial Daleks land. The Imperials eventually defeat the Renegades after deploying a Special Weapons Dalek, wiping out all but a Supreme Dalek, allowing Ratcliffe and Smith to escape with the controller, pursued by the schoolgirl, who kills Ratcliffe.

The Imperial Daleks take the Hand to the mothership, leaving for their home planet, Skaro. Ace follows Smith to recover the controller. The Doctor establishes communication with the Dalek Emperor, who is really their creator, Davros, who means to destroy the Time Lords with the Hand. The Doctor mocks him but then feigns fear. Davros launches the Hand, Skaro's sun goes supernova, and Skaro is destroyed, the force of the explosion also wrecking the mothership. The Hand returns to Gallifrey.

Smith captures and attempts to kill Ace, but the schoolgirl finds them and kills Smith first. The Doctor persuades the Supreme Dalek to relinquish control of the girl. The Supreme Dalek self-destructs, and the girl screams and faints, but is unharmed. At Smith's funeral, Ace asks the Doctor if what they have done was good, to which he responds: "Time will tell".

Continuity
An undertaker says that he thought the Doctor was supposed to be an "old geezer with white hair," referring to his first incarnation.

Conception and writing
Producer John Nathan-Turner wanted to start Doctor Who twenty-fifth anniversary season "with a bang", a story with the Doctor's most famous adversaries, the Daleks. Nathan-Turner and script editor Andrew Cartmel hired 25 year old Ben Aaronovitch to write the story, who had not written for television before. He initially developed a story idea which later became Battlefield (1989), before Cartmel then commissioned Aaronovitch to write the Dalek story, originally titled Nemesis of the Doctor. According to deals made with Terry Nation, the creator of the Daleks, he had to approve a Dalek story if he was not writing it. Despite initial concerns, the storyline was approved. One of Cartmel's goals with the story was to have the Doctor be a commanding centre, rather than being "pushed and pulled" by the story as he felt had been happening recently. As such, Aaronovitch wanted there to be a spirit of the Doctor just wanting to tackle the Daleks. Two of the first things Aaronovitch thought of when creating the story was the 1963 setting and a Dalek climbing up stairs. He decided to reveal the Daleks in the middle of the first episode instead of as its cliffhanger, and then have a Dalek levitating up stairs to surprise viewers. The inability of Daleks to climb stairs was an urban myth and a joke, with the Doctor even joking about it in Destiny of the Daleks (1979). Remembrance was intended to put it to rest, though Cartmel noted that the joke was still prevalent. The Dalek civil war seen in Remembrance was intended to be an outcome of the previous Dalek story, Revelation of the Daleks (1985). Aaronovitch felt that destroying Skaro at the end seemed like a logical conclusion, but he noted that it might not be the best decision in the long run. Remembrance of the Daleks, the first story in Doctor Who twenty-fifth anniversary season, contains many references to the series' past, something Aaronovitch felt was fun. It is set in the same time and place as the programme's first episode, "An Unearthly Child", where Coal Hill School employed original companions Ian and Barbara and the Doctor's granddaughter Susan was enrolled. The Totter's Lane junkyard also reappears, as it had in season 22's Attack of the Cybermen, though "I.M. Foreman" is misspelled "I.M. Forman". It originally read "L.M.", though that was changeable in production. In one of the classrooms, Ace picks up a book on the French Revolution just as Susan had in "An Unearthly Child"; Aldred studied the original to try to mimic Carole Ann Ford's stature. The Doctor references the events of The Dalek Invasion of Earth (1964), Genesis of the Daleks (1975), Terror of the Zygons (1975), and The Web of Fear (1968), as well as likening a device to something he used in Planet of the Daleks (1973). The Doctor mistakenly calls Group Captain Gilmore "Brigadier", a reference to Brigadier Lethbridge-Stewart, who had headed UNIT, an organisation similar to Gilmore's. Rachel, a scientific advisor from Cambridge, is similar to Liz Shaw, and she shares a conversation with Gilmore that is reminiscent of a conversation between the Brigadier and Liz in Spearhead from Space (1970). Rachel also bears a physical resemblance to Barbara. Remembrance of the Daleks is also contains a meta-reference; a television continuity announcer says, "This is BBC television, the time is quarter past five and Saturday viewing continues with an adventure in the new science fiction series Doc—", but is cut off by a scene change before completing the title. Aaronovitch "couldn't resist" the reference, and clarified that it was meant as a joke and was not to be taken seriously. Originally, it was intended that the show that was introduced would be called Professor X. Alison and Rachel make mention of a "Bernard" from the "British Rocket Group". This is a reference to Bernard Quatermass and his British Experimental Rocket Group, of the Nigel Kneale-penned Quatermass science-fiction television serials. Several scenes from Remembrance of the Daleks were cut or edited in production. McCoy's favourite scene, in which the Doctor muses to a worker at a café, was cut by about half. As originally shot, Ace defused the tension between her and the Doctor when he left her at the boarding house. Also cut was the Doctor curing Ace's leg at the beginning of the third episode, and the issuing of instructions from the Dalek controller through an earpiece. In a notable deleted line, the Doctor tells Davros that he is "far more than just another Time Lord". This, along with the Doctor's hints that he was present at the creation of the Hand of Omega, was part of the so-called "Cartmel Masterplan" by script editor Andrew Cartmel to restore some of the mystery to the Doctor's origins. However, as the programme ceased production in 1989, the intended revelations never came to pass. The original script also had the Doctor blowing up a Dalek with the anti-tank missile in episode two, but McCoy felt this was out of character and suggested Ace should do it instead.

Casting
To protect the secret of Davros' presence in the story, Terry Molloy was credited in part three under an anagram, "Roy Tromelly". Ian Ogilvy was approached for the role of Gilmore, but did not accept; Neil Stacy was also considered. The role went to Simon Williams, who was known for his role as James Bellamy in Upstairs, Downstairs. Sophie Aldred and Karen Gledhil, who had watched the programme when they were younger, were awed to work with him. Williams had trouble handling the character's gun and also misunderstood a stage direction in the script describing it, which earned him the nickname of "Chunky". This nickname was carried on into the character, with McCoy adding the line, "...why his men call him 'Chunky' I've no idea."

The computer was voiced by John Leeson, who previously played K-9. Leeson was asked to make his voice sound like Davros', to trick viewers into thinking the computer was Davros, and watched past episodes for reference. Michael Sheard was chosen to play the headmaster as he would be familiar to children. Sheard had to be released from his work on Grange Hill to participate; Peter Tilbury was briefly considered for the role if Sheard could not make it. Sheard had previously appeared in The Ark (1966), The Mind of Evil (1971), Pyramids of Mars (1975), The Invisible Enemy (1977), and Castrovalva (1982). Peter Halliday, who played the blind Vicar, had also appeared in various Doctor Who stories. Stratford Johns, who had previously appeared in Four to Doomsday, was originally considered for Ratcliffe. Mark McGann, the brother of Eighth Doctor actor Paul McGann, was originally considered for the role of Mike Smith. Pamela Salem had roles in two Fourth Doctor serials, as one of the Xoanon voices in The Face of Evil, and as Toos in The Robots of Death (1977). Simon Williams, Karen Gledhill, and Pamela Salem reprised their roles in this serial in an audio spin-off series for Big Finish titled Counter-Measures, which details the adventures of the group after this story.

Remembrance of the Daleks was the first story in which Ace was a regular companion, having joined at the end of Dragonfire. Cartmel worked with Aldred to make Ace different from most companions: less of a "screamer" and more tomboyish. Aldred recalled that taking on the Daleks made her feel like a "real assistant". Aldred did many of her own stunts, bonding with the new stunt coordinator, Tip Tipping. She found the experience "terrifying" at first. Aldred has said that she is proud of the scene where Ace beats up a Dalek with a baseball bat, calling it one of the best things she has done in her life. Aldred was also trained in firing guns for the scene where she shoots a Dalek.

Filming and effects
The director, Andrew Morgan, wanted to improve upon his last effort, Time and the Rani (1987). Feeling that the script was worth it, extra money was put into the production. However, production went over-budget by £13,000, and as a result Morgan was barred from directing for the programme again. Filming took place in April 1988. St John's School in Hammersmith was used as Coal Hill School. The Kew Bridge Steam Museum in Brentford was used as the I.M. Forman junkyard. Filming at this location was occasionally interrupted by a radio traffic news helicopter circling overhead. John Nodes Funeral Service in Ladbroke Grove, London was used for the funeral parlour the Doctor retrieves the Hand of Omega from, and the graveyard where he buries the Hand is Willesden Lane Cemetery. The cemetery filming was attended by some Doctor Who fans who came to watch.

For the levitating Dalek, a scaffolding was built over the stairs, and the Dalek prop was placed in a tray that was hoisted up by a rail-mounted trolley. Two of the six Renegade Daleks were reused props from the 1960s. Imperial Daleks were built with bigger wheels that would roll easier on location. Aaronovitch expected the Dalek ship to be cheap-looking and achieved with colour-separation overlay, and was surprised when a model ship was constructed and "landed" with the help of a crane. For the final battle sequence between the Renegade and Imperial Daleks, the BBC Effects Department's pyrotechnics were so loud and the explosions so realistic that the London Fire Brigade was dispatched to the scene by local residents who feared that an IRA bomb had gone off. McCoy recalled that after the first explosions, a number of car alarms in the neighbourhood went off, and the emergency services drivers were surprised when they arrived to see Daleks coming at them from out of the smoke. The junkyard gate was part of ITV's storage facility, and the pyrotechnics not only destroyed it for the effect of the Special Weapons Dalek blowing it up, but also smashed windows in the nearby building. A thermal imaging camera was used for Dalek perspective shots.

Post-production
The first episode begins with a cold open, the second serial to have a specially-shot pretitles sequence after Time and the Rani (1987), though Castrovalva (1982) began with a reprise of Logopolis (1981) and "The Five Doctors" (1983) featured a clip from The Dalek Invasion of Earth (1964) before the title sequence. Remembrance cold open features a shot of the Earth with audio clips from 1963, including John F. Kennedy's American University speech and Martin Luther King Jr.'s "I Have a Dream" speech. Other clips from the early 60s were planned but did not make the final cut. Many songs from the time period can be heard in the background during several scenes in the serial.

Themes and analysis
James Chapman, in his book Inside the TARDIS (2006), reported that the plot to revisit the Doctor's past and origins has been compared to a comic book trend in the 1980s to reinterpret the origin stories of comic-book characters. He also noted that the many continuity references in the story displayed a knowledge of the series' history, but that Remembrance of the Daleks was "neither a celebration of the Doctor Who legacy" like "The Five Doctors" (1983), "nor an exercise in fan-obsessive continuity" as was displayed in Attack of the Cybermen (1985).

The battle between Dalek factions has been likened to racism, which is apparent in the 1960s setting as Ace sees a sign that says "No Coloureds". The subtext was intentional, as Aaronovitch drew on the Daleks' Nazi theme and applied it to the setting. Cartmel was particularly proud of the scene and, when it was screened to BBC Head of Drama Mark Shivas, rewound the tape because Shivas had missed the sequence due to a phone call. Shivas felt that Ace should have torn the sign up, and Cartmel agreed it was a missed opportunity.

Broadcast and reception
This was the first time the programme was transmitted – albeit only in the London region – with NICAM stereo sound.

Reviews were mostly positive. Paul Cornell, Martin Day, and Keith Topping wrote in The Discontinuity Guide, "The best Doctor Who story in some considerable time, Remembrance of the Daleks reintroduced mystery and magic into the series with much intelligence and revisionist continuity". The A.V. Club reviewer Christopher Bahn, despite noting that the production had not aged well visually, called Remembrance of the Daleks "the Seventh Doctor era at its best". He was positive towards how going back to An Unearthly Child allowed Aaronovitch and Cartmel to "showcase their new, more devious master-planner version of the Doctor", as well as the action and the character moments for Ace. DVD Talk's J. Doyle Wallis, reviewing the original DVD release, gave the story three and a half out of five stars, calling it "a good ... adventure" and noting the shift in the Doctor's personality. Alasdair Wilkins of io9 called Remembrance "by a pretty wide margin the best anniversary special the show has ever done", praising the return to the 1960s and the various continuity references.

Patrick Mulkern of Radio Times praised the serial for "attempting to honour the programme's roots, even if, sadly, the effect is more of the present clomping all over the past", and questioned how the Doctor could have known about the Daleks in 1963 if he did not meet them until he left. He was also critical of the supporting characters and McCoy and Ace; he felt McCoy "struggles to convey gravitas" in the changes that had been made to his character, and while Aldred brought "gusto", Ace was "a peculiarly safe, middle-class rendering of a streetwise kid". Mulkern wrote that the action scenes were handled well, but some of the Daleks looked "fragile" and destroying Skaro was double genocide. John Sinnot, reviewing the second DVD release on DVD Talk, gave the serial three and a half out of five stars. He praised the action, references, and the Doctor's active involvement in the plot, but criticised the music and also questioned how the Doctor would have been able to plant the Hand of Omega for the Daleks. Sinnot also felt the Daleks acted "stupid" in some scenes, and wrote that the relationship between Ace and Mike was "clumsy and awkward". In 2010, Charlie Jane Anders of io9 listed the cliffhanger to the first episode – in which the Dalek levitates up the stairs – as one of the greatest cliffhangers in the history of Doctor Who. However, Anders felt that the execution was "pants, with Sylvester McCoy pulling some dreadful faces". In 2013, Den of Geek's Andrew Blair selected Remembrance of the Daleks as one of the ten Doctor Who stories that would make great musicals.

In the Doctor Who Magazine 1988 season poll, Remembrance of the Daleks was voted as the best story of season twenty-five with 64% of the vote, 46% ahead of The Greatest Show in the Galaxy. Ten years later, the magazine conducted a poll of readers to find the most popular Doctor Who stories of all time for the programme's 35th anniversary; Remembrance of the Daleks was voted 6th. In 2003, the magazine conducted a poll for the programme's 40th anniversary – this time, Remembrance of the Daleks finished 7th. Remembrance of the Daleks placed 14th in the magazine's 2009 "Mighty 200" reader survey, which ranked the 200 Doctor Who stories made up to that point. In the magazine's 50th anniversary poll, released in 2014, it placed 10th. In 2023, the story finished in 9th position in the magazine's 60th anniversary poll.

The 2021 Channel 4 drama It's a Sin contains a mocked-up scene of a fictional Doctor Who serial involving a Dalek attack in tribute to the actor Dursley McLinden, who appeared in Remembrance of the Daleks and whose life and early death from AIDS partially inspired the drama's main character played by Olly Alexander.

In print
Ben Aaronovitch's novelisation was published by Target Books in June 1990. Its use of a "darker Doctor and more modern approach" influenced the Virgin New Adventures, a series of more adult original novels that continued the Doctor Who story after the series was cancelled. The ancient Gallifreyan figure known as "The Other" first appears here, who had been instrumental to the Cartmel Masterplan, and whose storyline continued into the New Adventures. The novelisation also references Kadiatu Lethbridge-Stewart, who became a recurring character in the New Adventures. Certain phrases are also translated into the Daleks' language which refer to the Doctor as the "Ka Faraq Gatri" and is variously translated as "Bringer of Darkness" or "Destroyer of Worlds". The phrase is used throughout the Virgin New Adventures series to refer to the increasingly dark actions of the Seventh Doctor and is referred to again in "Journey's End" where Davros condemns the Tenth Doctor as the "Destroyer of Worlds".

The novelisation was rereleased in 2013 as part of a 50th anniversary collection of novels reprinted for each Doctor. Remembrance of the Daleks was the only novelisation in the range.

Home media
Remembrance of the Daleks was released on VHS with The Chase in September 1993 as a special Dalek tin set titled The Daleks: Limited Edition Boxed Set. It was re-released in 2001 as part of The Davros Collection, which was a limited-edition box set, exclusive to UK retailer WH Smith.

The serial was released on DVD in the United Kingdom on 26 February 2001, remastered by the Doctor Who Restoration Team. The original Region 2 DVD release has some video effects missing from episode 1 and the start of episode 2. This was an unforeseen consequence of the Restoration Team using earlier edits of these episodes to minimise generational quality loss, made before certain effects were added. The problem was corrected with subsequent DVD releases, including Region 1. This DVD also was not able to include two songs by The Beatles, "Do You Want to Know a Secret" and "A Taste of Honey", due to copyright; the former was replaced by the Billy J. Kramer and the Dakotas' version, while the latter was replaced with "generic production music".

The story was included as part of a limited run box set in 2003 with The Dalek Invasion of Earth and Resurrection of the Daleks. A remastered version of this story was released on Region 2 in November 2007, as part of The Complete Davros Collection and as a two-disc standalone release (including the 'Davros Connections' documentary from the boxset) on 20 July 2009. It includes the effects that were mistakenly left out and songs by The Beatles that weren't clearable for the original release but subsequently fell under a blanket music licensing agreement for the UK. There is also a newly remastered stereo and 5.1 surround sound mix. In the original Davros Boxset release version, there were two total mutes of the 5.1 soundtrack during episode one. 2entertain fixed the master within a few days of release and faulty copies could be exchanged for fixed ones via mail-in. The standalone version of the release uses the fixed version. The two-disc Special Edition was delayed due to clearance issues and was held off until it was released in the United States and Canada on 2 March 2010.

This serial was also released as part of the Doctor Who DVD Files in issue 29 on 10 February 2010, the first of the classic series to be released on the partwork. This marks the fourth different separate release of the serial on DVD.

In 2013, (in the USA and Australia) it was released on DVD for another time as part of the "Doctor Who: The Doctors Revisited 5–8" box set, alongside Earthshock, Vengeance on Varos, and the TV movie.

Target novelisation

 * On Target – Remembrance of the Daleks
 * On Target – Remembrance of the Daleks

title: Remembrance of the Daleks


text:
Dr. Who and the Daleks

Dr. Who and the Daleks is a 1965 British science fiction film directed by Gordon Flemyng and written by Milton Subotsky, and the first of two films based on the British science-fiction television series Doctor Who. It stars Peter Cushing as Dr. Who, Roberta Tovey as Susan, Jennie Linden as Barbara, and Roy Castle as Ian. It was followed by Daleks' Invasion Earth 2150 A.D. (1966).

The story is based on the Doctor Who television serial The Daleks, produced by the BBC. Filmed in Technicolor, it is the first Doctor Who story to be made in colour and in a widescreen format. The film was not intended to form part of the ongoing story-lines of the television series. Elements from the programme are used, however, such as various characters, the Daleks and a police box time machine, albeit in re-imagined forms.

Plot
Dr. Who, his granddaughters Susan and Barbara, and Barbara's boyfriend Ian are accidentally transported to another planet by Dr. Who's latest invention, a time and space machine called Tardis.

While exploring, the travellers see a city in the distance. They also find a small container of drugs which they take aboard Tardis. Wishing to investigate further, Dr. Who fakes a leak in a fluid link, a vital component of Tardis, to ensure that the group will go to the city to search for the mercury supposedly needed to refill the component. Once in the city they are captured by cyborg creatures which refer to themselves as "Daleks", who seize the fluid link for examination. Dr. Who then realises that the group have contracted radiation sickness, and that the drugs they discovered earlier may be their only hope of survival. While covertly observing the captives, the Daleks discuss their own plight. They are trapped inside their metal casings, and within the city, by the radiation. They wish to leave so that they can destroy all other life and claim the planet for themselves. Hearing the captives discussing the drugs, the Daleks make a proposal to them. If the humans bring the drugs they found to them, they will allow them enough to treat themselves. Susan goes, being the only one still strong enough to undertake the task.

Reaching Tardis Susan collects the drugs and then encounters Alydon, leader of the Thals, a species that fought the Daleks in an atomic war centuries previously. Alydon gives Susan a second container of anti-radiation drugs to use if the Daleks fail to keep their promise.

When Susan returns, the Daleks discover the second drug supply, but allow the humans to treat themselves with it. Susan explains to her companions that, according to Alydon, the Thal crops have failed and they have come to the Dalek city, hoping to trade the anti-radiation drug formula for food. Again overhearing this conversation, the Daleks decide that they don't need the Thals now that they have a sample of the drug. They get Susan to write a letter which they will leave for the Thals, stating that they will provide food, to be collected from the city, as an act of friendship. When Susan finishes the letter, the Daleks reveal that they plan to kill all of the Thals when they arrive.

When a Dalek enters their cell the travellers manage to disable it. Once free, they are able to warn the Thals who are entering the city, and escape with them into the jungle. The Daleks then test the Thal anti-radiation drug but find that it causes disastrous side effects. Thwarted, they decide to detonate a neutron bomb to increase the planet's radiation to a level which even the Thals cannot survive.

Back at the Thal camp, Dr. Who realises that the travellers are trapped on the planet as the Daleks still have the fluid link, and he will need the Thals' help to recover it. He urges Alydon to fight the Daleks to save his species but he refuses, insisting that the Thals are now peaceful. In response, Dr. Who pretends to order Ian to take a Thal woman to the Daleks in exchange for the confiscated component. Horrified, Alydon attacks Ian, then realises that the Thals can fight for things they care about. Alydon, Dr. Who and Susan then lead the Thals in an attack on the city, but the Daleks repel the assault and Dr. Who and Susan are recaptured.

Meanwhile, Ian, Barbara and a small group of Thals infiltrate the Dalek city from the rear. Once inside they join the rest of the Thals, who have mounted a frontal assault to rescue Dr. Who and Susan. The Thals and humans enter the control room, where the Daleks have started the bomb countdown. During the ensuing struggle the Daleks inadvertently destroy their main control console, which kills them by cutting their power and stops the bomb detonation.

Back in the jungle, with the fluid link recovered, the travellers depart in Tardis to return home.

Production
Amicus bought an option to make the story and two sequels from Terry Nation and the BBC for £500. Principal photography commenced at Shepperton Studios, England in April 1965 and took six weeks. The film was produced on a budget of £180,000,.

The Daleks were redesigned slightly for the film. They had larger base sections and dome lights than the TV Daleks of the time, making them more imposing, and some were fitted with a two-jawed mechanical claw instead of a plunger. They also had more colourful paint schemes, with two Dalek leaders being painted respectively in black and red. Originally, the Daleks were to be armed with flamethrowers, but these were vetoed on health and safety grounds and because they were considered too frightening for a young audience. Instead, the guns produced jets of CO2 gas from internally mounted fire extinguishers. The actor Barrie Ingham discussed the production in an interview in Australia in 1976 for the Doctor Who fanzine Zerinza.

In 1995, a documentary about the two Dalek films, Dalekmania, was released on video. It revealed details about the productions, spin-offs, and publicity campaigns. It was later included as an extra in many of the home media video releases of the two Dalek films.

Although the planet on which the action takes place is not named in the film, it is retroactively identified as Skaro in the sequel, matching the name given in the television series.

Release
The film premiered in London on 23 August 1965. The film was the twentieth biggest British box office moneymaker in 1965. It did not perform as well in the US, however, where the Doctor Who television series and the Daleks were relatively unknown.

Marketing
As part of the promotional campaign, a number of Daleks were displayed at the 1965 Cannes film festival. Single Daleks were also sent further afield, one making an appearance at a cinema in Sydney, Australia. Souvenir Press published a tie-in colouring book for children in 1965, with colour photographic illustrations from the film on both the front and rear covers.

Critical response
Halliwell's Film Guide described the film as "limply put together, and only for indulgent children". John Clute, in the book Science Fiction: The Illustrated Encyclopedia, gives the film one star out of three, stating: "Many people would like to see the [Doctor Who] television series back; few mourn the long-gone films". Radio Times was more favourable, awarding the film three stars out of five, commenting: "this spin-off lacks the bite and inventiveness that set the landmark series apart, unwisely injecting humour into the sparse scenario, and the cheap art direction is strictly '101 Uses for Pink Plastic Sheeting'. However, despite the many faults, it's still a fun ride for both the uninitiated and die-hard fans alike".

In The Guardian in 2013, Stuart Heritage stated: "Cushing does his best, but he's not exactly given a lot to work with." He described the Daleks as "so pointlessly toothless here" and also criticised the "incredibly tedious" amount of Dalek dialogue to explain their motives, the portrayal of the Thals, and Roy Castle's performance, saying "to call him hammy would be to provide the greatest disservice to pigs." Andrew Nette of the British Film Institute stated the film was "widely derided by many fans and critics", adding it is "certainly an uneven affair. Some scenes [...] still have the capacity to thrill. Others, like the final victory over the Daleks, feel rushed and flat. The Doctor's granddaughters are largely one-dimensional... The aspect of the movie that most antagonises purists is Cushing's Doctor." Nette described the film as having a "wonderfully pulpy sci-fi atmosphere", saying: "The highlight of the movie is its look... Many of the sets [...] are impressive" and "the movie Daleks are more impressive than their small screen counterparts".

According to the BFI, the Cushing films "are often forgotten in the Doctor Who pantheon". Similarly, Stuart Heritage commented in The Guardian in 2013 that "people don't talk about Dr Who and the Daleks any more". In 1975, actor Tom Baker, who was playing the Fourth Doctor in the television series, commented on the flaws of the film and its sequel while discussing another proposed Doctor Who film, saying "There have been two Doctor Who films in the past, both rather poor... There are many dangers in transporting a television series onto the big screen.. a lot of things that you could get away with on the small screen wouldn't wash in the cinema."

Home media
Super 8 film
 * Released in the UK by Walton Sound and Film Services in 1977.

VHS
 * Released in the UK by Thorn EMI in 1982 and by Warner Home Video in 1988 and 1996.
 * Released in the US by Thorn EMI in 1985, by GoodTimes Home Video in 1989 and by Lumiere in 1994.
 * Released in Australia Thorn EMI in 1983 and by Universal in 1990.

Betamax
 * Released in the UK by Thorn EMI in 1982.
 * Released in Australia Thorn EMI in 1983.

DVD
 * Both films, plus the Dalekmania documentary, released in the US by Anchor Bay Entertainment as a boxset in 2001 and by Lionsgate as a two-disc set in 2012.
 * Both films, plus the Dalekmania documentary, released in Australia by StudioCanal as a two-disc boxset in 2001.
 * Both films, plus the Dalekmania documentary, released in the UK by StudioCanal as a two-disc boxset in 2002 and 2006.

Blu-ray
 * The film, plus the Dalekmania documentary, released in the UK by StudioCanal in 2013.
 * Both films, released in the UK by StudioCanal as a two-disc box set in 2013.
 * Released in the UK by StudioCanal as a Zavvi exclusive 'SteelBook' limited edition in 2015.
 * The film, plus the Dalekmania documentary, released in the US by Kino Lorber in 2020.
 * A restored and remastered version released on 4K UHD disc by StudioCanal, in both Limited Edition and standard Steelbook formats in 2022.

Soundtrack

 * Music from both films was released by Silva Screen Records on a CD entitled Dr. Who & the Daleks in 2009 and on a limited edition double vinyl LP in 2016.
 * Selected tracks from both films were released by Silva Screen Records as a limited edition 7-inch EP in 2011.
 * Music from the film was released on an LP by StudioCanal in 2022 as part of a package also including 4K UHD and Blu-ray discs of the film.

title: Dr. Who and the Daleks


text:
Virgin Books

Virgin Books is a British book publisher 90% owned by the publishing group Random House, and 10% owned by Virgin Group, the company originally set up by Richard Branson as a record company.

History
Virgin established its book publishing arm in the late 1970s; in the latter part of the 1980s Virgin purchased several existing companies, including WH Allen, well known among Doctor Who fans for their Target Books imprint; Virgin Books was incorporated into WH Allen in 1989, but in 1991 WH Allen was renamed Virgin Publishing Ltd.

Virgin Publishing's early success came with the Doctor Who New Adventures novels, officially licensed full-length novels carrying on the story of the popular science-fiction television series following its cancellation in 1989. Virgin published this series from 1991 to 1997, as well as a range of Doctor Who reference books from 1992 to 1998 under the Doctor Who Books imprint.

In recent times the company is best known for its commercial non-fiction list, which includes business, health and lifestyle, music, film, and celebrity biographies. Richard Branson's autobiography Losing My Virginity, released in 1998, was an international best-seller at the time, and continues to sell well. His follow-up title Business Stripped Bare was published in September 2008. Virgin Business Guides included titles by Robert Craven, Paul Barrow and Rachelle Thackray. More recently the company has enjoyed success with Robert H Frank's The Economic Naturalist, where the author had his economics students pose interesting questions from everyday life and explain them through economics.

Random House, through its United Kingdom division, acquired a 90% stake in the company in March 2007. In November 2009, Virgin became an independent imprint within Ebury Publishing, a division of the Random House Group.

Imprints
Other popular ranges have included various erotic fiction lines:
 * Black Lace specializes in erotica and erotic romance written by female authors specifically for heterosexual female readers. The imprint does not publish novels written by men partly as a marketing scheme, partly to better appeal to their target demographic. The books explore women's sexuality as well as such themes as BDSM, group sex and bisexuality. The imprint began publishing in 1993, has published over 250 titles and sold over three million books. In 2006, Black Lace developed three specific lines within the imprint: contemporary, historical and paranormal. Black Lace also publishes short story anthologies, novella collections and in 2007 launched its first trilogy, a series of werewolf erotica by Mathilde Madden. The imprint marked its fifteen-year anniversary in 2008 with re-issues of several of its original novels. In 2009, Virgin announced that Black Lace would add no new titles in 2010. The line was relaunched in 2012.
 * Nexus Books, sado-masochistic pornography written mostly for men who have sex with women, and women who have sex with men or women. In 2009, Virgin announced that Nexus would add no new titles in 2010.
 * Idol for gay men (defunct).
 * Sapphire for lesbians (defunct).

title: Virgin Books