text:
Wikipedia talk:Historical archive/Imported pictures/Images from Amazon.com

March 8–9
''[This is the original thread, archived from User talk:LarryGilbert. —LarryGilbert 17:38, 2004 Mar 11 (UTC)]''

I've started filling out KMFDM albums - insterting album cover, track listing, year. I've also done MDFMK (making a single entry for band and album) and have been making a single entry when an album and a single have the same title, but with a tracklisting for both. eventually i'm going to goink that menu thing you have on Nihil (filled in the album art, btw), and transfer that to other albums. Unfortunatly, i can't find the cases for most of my KMFDM, so i'm unsure of whether i'll be able to find all the info. Crackshoe 05:32, 8 Mar 2004 (UTC)

 * I do have some cover art scanned already; I just haven't uploaded it yet. I'm still trying to grok Wikipedia's policy on "fair use", which is one reason I've been putting it off.  Here's what I have in the hopper:

 * Adios
 * Agogo
 * Attak
 * Boots
 * Glory
 * MDFMK (single)
 * Naïve: Hell To Go
 * Nihil (d'oh, you beat me to it) :-)
 * Symbols
 * WWIII

 * So you do not have to scan those, unless you really, really want to. :-)

 * By the way, see WikiProject Albums for information on style for album articles. That's what I based the layout on.

 * Thanks!

 * —LarryGilbert 08:52, 2004 Mar 8 (UTC)

I've been goinking most of the cover art off amazon, so I would have consistant quality and wouldn't have to find all my KMFDM albums and singles. I found a few entries (Please Please Me and the style sheet you linked to for albums) that contained cover art, so i'm choosing to believe that it consitutes fair use. i'll move onto using that album chart once i've got just tracklistings down for most of the tracks. unfortunatly, because a large number of my KMFDM albums are now missing their cases or are lost somewhere in the depths of chaos (or my room, whichever), i don't have most of the info needed for the fied - i.e. producer, writer for each track ,etc. When i get around to starting that, i'll look around online, or steal my friends copies. Crackshoe 18:13, 8 Mar 2004 (UTC)

 * Please do not take graphics off of Amazon.com. I am certain that is a copyright violation and would get Wikipedia in trouble. —LarryGilbert 22:38, 2004 Mar 8 (UTC)

As far as i can tell, Amazon.com does not claim copyright to the images, and themselves use them under fair use, as does wikipedia. i'm going to look into this further. i've pulled down the graphic on the album i was most currently working on (MDFMK), and will remove the rest after i look further into the matter. Crackshoe 23:42, 8 Mar 2004 (UTC)

Amazon isn't claiming copyright over the images, since they couldn't, legally. therefore, using their scans of album art is, as far as i can see, fair use. simply by scanning the image (which, in this case, we're assuming, although i think its unlikely), they don't gain any rights to the work itslef - it would be like me scanning in someone elses work and then assuming control of that scan and derivative works. since amazon can't claim copyright over those lower resolution images, i don't see any problems with using them under fair use. unless theres evidence to the contrary (amazon.com holding a copyright or some other violation of fair use) i see no reason to take down the images. Crackshoe 01:14, 9 Mar 2004 (UTC)

 * This is incorrect. See their Conditions of Use: "All content included on this site, such as text, graphics, logos, button icons, images, audio clips, digital downloads, data compilations, and software, is the property of Amazon.com or its content suppliers and protected by United States and international copyright laws. The compilation of all content on this site is the exclusive property of Amazon.com and protected by U.S. and international copyright laws."

 * Please understand, I don't want you to think I am being a hard-ass on you personally. It is good to see your effort in fleshing out those pages. I am just trying to make sure that we keep our noses clean and keep Wikipedia legit.

 * —LarryGilbert 01:35, 2004 Mar 9 (UTC)

I understand this isn't you being a hardass. but the images in question do not, in fact, belong to amazon.com (unless sascha sold out), and are thus the property of the appropriate source. from that, i don't see how its any less fair use to use an already scanned image than to rescan a hard copy - i'm trying to see if anyone else on wikipedia has gone over this before. Every Beatles album i've looked at on wikipedia has a smaller (than life size) image of the cover art. What I do need do do, and have neglected to do so, is put a tag on each image, noting that it is, in fact, a copyighted image but used under fair use (check the page for the album cover from Help! for instance). I'm not trying to argue with you (well, I am. but i'm not trying to be a dick), but i do believe this is fair use, as long as it is noted as such. 68.37.187.220 02:35, 9 Mar 2004 (UTC)

 * The place to see whether anyone on Wikipedia has gone over this before is Possible copyright violations, and so I have raised the issue there. —LarryGilbert 02:53, 2004 Mar 9 (UTC)

I was getting ready to do that myself. Once they figure it out, i'll follow whatever remedy is agreed upon. Crackshoe 03:08, 9 Mar 2004 (UTC)

Amazon.com obviously does not hold copyright over the images of KMFDM's album covers (or Slick Idiots, Pigs, or Drill, for that matter.), thus, the copyright belongs to the content providers as described in Amazon.com's Terms of Use. Now, these album covers fall under the fair use guide wikipedia provides [here], which you linked to in the blurb you put on the images uploaded. So i feel that adding the text mandated in that article will resolve this issue entirely. Crackshoe 21:11, 9 Mar 2004 (UTC)

 * I think we have both belabored our opinions on this matter. Let's wait to see what the others decide.  —LarryGilbert 22:34, 2004 Mar 9 (UTC)

The image picture-fair-use.jpg is being linked here; though the picture is originally copyright I feel it is covered by fair use because: Is linked from here. All 4 conditions are met (well, the last one is debateable). others have already decided. i'm going to be going back over those images and replacing them with the text dictated by that link. correction - i'm goign to wait a week, then do this, unless that post to copyright violations yields anything. Crackshoe 22:37, 9 Mar 2004 (UTC)
 * 1) it is a low resolution copy of a CD album cover;
 * 2) it does not limit the copyright owners rights to sell the CD album in any way;
 * 3) copies could not be used to make illegal copies of the album artwork on another CD;
 * 4) the image on the cover is significant because it was made by a famous artist, name.

March 9–10
''[This thread was archived from Possible copyright infringements. —LarryGilbert 17:47, 2004 Mar 11 (UTC)]''

 * Images uploaded by Crackshoe. Please see discussion at User talk:LarryGilbert. I'm not sure this person was aware of any wrongdoing, so please take any action with that in mind. These are images Crackshoe says were downloaded from Amazon.com and re-uploaded here. (Edit: I've confirmed all but one of them with links below.) —LarryGilbert 02:47, 2004 Mar 9 (UTC)
 * Image:Drilldrill.jpg
 * Image:KmfdmMoney.jpg
 * Image:KmfdmNihil.jpg
 * Image:KmfdmWDYKDL.jpg
 * Image:MDFMK.jpg
 * Image:PigPraisetheLard.jpg
 * Image:PigSinsation.jpg
 * Image:PigSwiningRedRaw&Sore.jpg
 * Image:SkoldSkold.jpg
 * Image:Slick Idiot ReDickUlous-LG.gif (I can't find this)
 * Image:Slickidiotdicknitty.jpg

 * P.S. Could someone advise me whether uploading over the violating images with "fair use" images (scanned from original covers) is sufficient to remedy these? Thanks. —LarryGilbert 02:22, 2004 Mar 9 (UTC)

 * RedIckulous source is here (Slick Idiot Official Webpage). Crackshoe 03:28, 9 Mar 2004 (UTC)
 * Low-resolution album covers should be fair use. Since they are being used under fair use, it doesn't matter where we get the covers from; scanning an image doesn't grant a person ownership.
 * --cprompt 00:47, 10 Mar 2004 (UTC)

 * I have no problem with the usage of these images. I believe it is "fair use" for a non-profit educational website to display these images. At any time, if Amazon itself objects, it is free to contact Wikimedia and address the issue. I doubt Amazon will object; if they do object, at that time we can remove them without legal penalty. The Amazon.com copyright statement states, "This site or any portion of this site may not be reproduced, duplicated, copied, sold, resold, visited, or otherwise exploited for any commercial purpose without express written consent of Amazon.com." -- We are not a commercial purpose. Lirath Q. Pynnor

 * I have no problem with cover art being uploaded under a "fair use" defense. In fact, I probably wouldn't have objected at all if Crackshoe had scanned these in himself from his own CDs. There were two big red flags for me: (1) Amazon.com was not acknowledged as the source in the image descriptions (at least not until I put up the copyright-violation notices); and (2) the copyrights of the original works were never included in the image descriptions. My understanding is that both of those are big no-nos on Wikipedia (and, if nothing else, they're general ethical no-nos). —LarryGilbert 06:04, 2004 Mar 10 (UTC)

 * WHen uploaded the pictures, i had, in fact, neglected to put fair use notices on the images. the next day, howver (i think it was the next day, at least. it was as soon as i realizzed the mistake, anyway) i put fair use tags on them - which you followed up later that day with copyright violation tags. That was an error on my part. so do i put the fair use tags back up, aknowledgeing that the material is copyrighted but used under fair use? do i credit amazon.com, which i'm fairly certain doesn't hold the copyright, or whoever does for that particular image? Crackshoe 13:31, 10 Mar 2004 (UTC)

 * Regarding the Amazon.com images, I have a proposal. I've created Images from Amazon.com and thought that we could use that page to work out some quasi-formal practices for handling Amazon.com images.  (I've also made a couple of new notes there.)  So, I propose we downgrade the Amazon.com images from possible copyright infringements (at least unless new information comes to light), link them to the aforementioned link somehow (details to be determined), and move the discussion over to the talk page (Wikipedia talk:Images from Amazon.com).  Does that sound good?  (Note, I think we still need to work on what to do about the SlickIdiot.com image separately.) —LarryGilbert 20:27, 2004 Mar 10 (UTC)

 * Sounds good to me. gives us a central database of Amazon.com images, in case that comes up. I still maintain that, regardless of the amazon.com issue, the RediCkulUs cover should be fair use - but i'll still note the source in the whatsamacallit - image page. Crackshoe 22:53, 10 Mar 2004 (UTC)

Current discussion
I suggest making a boiler plate tag (like the fair use tag) that goes on all images from amazon.com - this will allow us to keep the images centralized, should an issue arise. if possible, we should strive to settle whether this is, in fact, an issue or not, but until then, use an amazon tag for all the image. sounds good? Crackshoe 22:56, 10 Mar 2004 (UTC)

Yep, you read my mind. Also, as the policy develops, that tag can be updated so that the current status of things is always summarized on all of the image descriptions. Here's an idea...

 * This image was downloaded from Amazon.com and uploaded here. Amazon.com asserts that there is a copyright on this image file, although it may be copyrighted by another party. Its usage here is believed to be fair use.  Also, an effort has begun to approach Amazon.com for formal permission to use images from its Web site.  Please see Images from Amazon.com for the latest information.  Below [or above? —Larry] you should find a link to the source on Amazon.com, the copyright of the original'' work (if known), and a fair-use justification.

Trying to make that as neutral as possible. Honest. :-) Thoughts? —LarryGilbert 00:51, 2004 Mar 11 (UTC)

 * I would just change the statement about amazon asserting copyright to something like "Amazon asserts that material is copyrighted either by itself or its content providers" to keep it more similar to the amazon terms of use. but once we figure this out, lets turn it into a tag, so we don't have to copy past all that every time (which i'm figuring out now) Crackshoe 03:54, 11 Mar 2004 (UTC)

 * Actually, on further though, that seems to be a trifle excessive. I think that something more in the vein of
 * This image copyright of Amazon.com or respective Amazon.com content provider. Its usage here is believed to be fair use. Please see Images from Amazon.com for the latest information..
 * followed by the applicable fair use argument (although thats a bit repetitive - the reason for all of them are, at least, thus far, the same, and are already listed in the wiki fair use section. I also feel that a link to the amazon.com image is a bit excessive. Crackshoe 04:07, 11 Mar 2004 (UTC)

 * In interest of time, i'm happy to go with your original text, although i would still leave out the link to each individual picture on amazon.com, 1) because its tedious 2) all information needed to locate the image (band name and album title) are already present on the page. What do you want to call the tag? i was going to do amazon, but cprompt recommended a more verbose amazonfairuse. we could also go with amazonwehopeitsfairusepleasedon'tshootus... Crackshoe 04:26, 11 Mar 2004 (UTC)

 * How about ? That omits "fairuse" because we may be able to get Amazon.com's permission, and in general, Wikipedia prefers more free over less free (and I think fair-use is considered the bottom of the freeness food chain when alternatives exist). As for linking to the source image, it is merely a basic courtesy that should be extended to all image sources, not just Amazon.com. (Though an argument could be made that it's such a given that it doesn't need to be in the tag's text.) I'll try editing the text later to get it closer to something we can agree on. —LarryGilbert 14:52, 2004 Mar 11 (UTC)

 * Followup: How about this for the text...

 * ''This image was downloaded from Amazon.com. Please see Images from Amazon.com as well as Amazon.com's Conditions of Use statement.

 * Short and sweet. Fair use claims should then include an additional tag so the folks working on Fair use can do what they want to do with it. —LarryGilbert 15:57, 2004 Mar 11 (UTC)

 * Perfect. Crackshoe 16:22, 11 Mar 2004 (UTC)

 * I created the tag . Crackshoe 22:54, 11 Mar 2004 (UTC)

''All content included on this site, such as text, graphics, logos, button icons, images, audio clips, digital downloads, data compilations, and software, is the property of Amazon.com or its content suppliers and protected by United States and international copyright laws. The compilation of all content on this site is the exclusive property of Amazon.com and protected by U.S. and international copyright laws. All software used on this site is the property of Amazon.com or its software suppliers and protected by United States and international copyright laws.''

and

''Amazon.com grants you a limited license to access and make personal use of this site and not to download (other than page caching) or modify it, or any portion of it, except with express written consent of Amazon.com. ''

That seems pretty clear... Secretlondon 22:53, 11 Mar 2004 (UTC)

 * This debate is primarily a stopgap ( i think ) until we hear from Amazon.com, which Larry Gilbert is working on. I'm going to temporarily (or perhaps permanently) delink the images until this is further settled. Crackshoe

State of images in question
All known images from Amazon.com have been delinked from their respective articles, and have had their desscription page changed to and a link to the source of the image. Regarding Redickulous, mentioned above but not an image from Amazon.com, and am seeking to contact Slick Idiot more directly, which would provide us a similar resolution image of 'Dicknitty' (also on their webpage) if they allow its use. Crackshoe 23:25, 11 Mar 2004 (UTC)

images.amazon.com versus images-eu.amazon.com
What about other amazon sites? I've uploaded an image from amazon.co.uk - I think they're at least partly autonomous. fabiform | talk 17:10, 19 Mar 2004 (UTC)
 * I had a look at the url and it's from images-eu.amazon.com, so I've listed it above. fabiform | talk 17:21, 19 Mar 2004 (UTC)
 * Fabiform, I think that's fine for now. (Note to others: I moved this thread off of the main page; when Fabiform says "above," that's in reference to the main list of Amazon.com images.) —LarryGilbert 20:09, 2004 Mar 19 (UTC)

Response from Amazon.com
I received a response from Gerald Overbeck of Amazon.com's PR department today. Here is what he said:

 * Thank you for sending your request to Amazon.com. Unfortunately we do not own the legal copyright for the images placed on our site and are therefore unable to grant 3rd party usage.  You will have to contact the label, author or manufacturer to obtain permission.

The response reads like boilerplate to me, so it must be something they get asked a lot.

This does give the subtle implication (whether it was intended, I don't know) that they wouldn't object to usage of images from their site as long as we have the permission of the original copyright holders. Therein lies the real trick, of course. Anyway, I will probably want to follow up with him to clarify that question.

—LarryGilbert 05:23, 2004 Mar 20 (UTC)

 * in my (albeit pretty drunken) opinion, this grants the point i had earlier - that amazon probably doesn' hold copyright to the images in question. this was, i believe, the only real bone of contention -- the use of low resolution jpegs which could not be used to bootleg the artwork for pirated CD's is, as far as i can see, fair use. while idealy we should seek out permissions from the individual copyright holders, i feel we can still use them under fair use, and no longer need to use the amazon tag (although it may be good to keep it, simply for easy referance). Crackshoe 09:04, 20 Mar 2004 (UTC)

 * I've updated the main page to cover the two key points at this time: (1) Amazon.com does not claim copyright on the images it distributes, and (2) the images are usually still copyrighted by someone, so they must still be handled accordingly. People can use the tag as they like, if it makes them feel better. :-) —LarryGilbert 22:12, 2004 Mar 20 (UTC)

 * On a more sober glance, i'm just going to put fair use tags back on the images, and reinsert them into articles as needed. while on some (those i can easily track down the copyright holder) i may try and seek permission, but with the proper fair use tag and explanation, i think it'll be in the clear. Crackshoe 22:41, 20 Mar 2004 (UTC)

 * front page should be updated to say that amazon does not claim copyright. i'll do it in a bit, at the top of the meta page, unless others think otherwise. Crackshoe

 * Already there: "When approached about permission to use images from their site, Amazon.com's official response was that such permission simply wasn't theirs to give. They say that the copyrights still belong to the holders of copyrights in the original works." —LarryGilbert 01:09, 2004 Mar 21 (UTC)

Why the interest in giving these obvious fair use images some special tagging treatment? Fair use is almost certainly how Amazon is using them (scans from the cover of the work, perhaps, hence no creativity by Amazon and no Amazon copyright). Using another scan other than Amazon's doesn't improve the fair use situation markedly - it's still a transformative use from sales material or cover art to a description of the work and in the context of a clearly fair use review and criticism context. Using them and identifing the source, plus ideally giving a fair use description based on what I've given here, is sufficient IMO. Worth noting, perhaps, that Amazon also makes available whole online electronic versions of books under the fair use doctrine, with some restrictions on how much of each work each reader can read at one time. Jamesday 12:04, 12 May 2004 (UTC)

More Current Discussion
So... it looks like this debate has fizzled a while ago. It looks like Amazon isn't claiming any copyright on its images of covers, the covers themselves are categorized under Fair Use, so what's stopping folks from re-uploading like mad? I'd start doing it myself, since I'm interested in adding book-covers to wikipedia articles about authors... but I'm nervous since no one else has done so. Can someone tell me if I'm missing something here? Thanks! Schwael 09:55, 1 Feb 2005 (UTC)

 * No. Go nuts.  Amazon has no legal claim to the scans of works that they do not own the copyright to, because scans cannot be independently copyrighted.  Even if this were not true, they have precluded themselves from any kind of infringement action by expressly disclaiming that they own any copyrights in the scans.  Postdlf 00:20, 11 Feb 2005 (UTC)

Category?
Rather than relying on what's linking to the template, why don't we have a category to which images tagged as can be automatically added? └ UkPaolo/talk┐ 10:39, 10 March 2006 (UTC)


text:
Brown hair

Brown hair, also referred to as brunette (when female) or brunet (when male), is the second-most common human hair color, after black hair. It varies from light brown to dark hair. It is characterized by higher levels of the dark pigment eumelanin and lower levels of the pale pigment pheomelanin.

Brown hair is common among populations in the Western world, especially among those from Northwestern Europe and the United States, as well as populations in Central Europe, Southeastern Europe, Eastern Europe, Southern Europe, Southern Cone, Brazil, Colombia, Costa Rica, Puerto Rico, and also some populations in the Middle East, Central Asia where it transitions smoothly into black hair. Additionally, brown hair is common among Australian Aboriginals and Melanesians.

Etymology and grammar
The term brunette is the feminine form of the French word brunet, which is a diminutive form of brun meaning "brown/brown-haired", the feminine of which is brune. All of these terms ultimately derive from the Proto-Indo-European root *bhrūn- "brown, grey". The form "brun" (pronounced ) is still commonly used in Scotland, particularly in rural areas, and is also the word for "brown" in the Scandinavian languages. In modern English usage, however, it has lost the diminutive meaning and usually refers to any brown-haired girl or woman, or the associated hair color. Merriam-Webster defines "brunet" as "a person having brown hair"—with which they may have "a relatively dark complexion—spelled brunet when used of a boy or man and usually brunette when used of a girl or woman". Although brunet is the masculine version of the popular diminutive form used to describe a little boy or young man with brown hair, the use of "brunet" is uncommon in English. One is more likely to say about a man or boy, "He has brown hair" or "He is brown-haired" than to say, "He is a brunette" (or brunet).

Lighter or darker shades of brown hair may be referred to as "light brunette" or "dark brunette", though in such cases one is generally referring only to the hair color, not using the term as a descriptor for the person; one would be unlikely to say, "She is a light brunette." Rather, one would say, "She has light-brown hair."

Geographic distribution
Brown-haired individuals predominate in most parts of Europe. In northern and central Europe medium to light brown shades are the most common, while darker shades prevail in the rest of the continent. Brown hair, mostly medium to light brown shades, are also dominant in Australia, Canada, South Africa among White South Africans and the United States among European Americans from the Northern, Central and Eastern European (British, Scandinavian, Baltic, Dutch/Flemish, German (including Swiss-German and Austrian), Slovenian, Polish, Ukrainian and Russian) as well as Southern (Italian, Spanish, Greek, Portuguese) and Southeastern European (Bulgarian, Croatian, Serbian). Similarly to blond hair, brown hair occurs commonly among Australian Aboriginal and Melanesian populations.

Dark brown hair is predominant in the Mediterranean parts of Europe, the Middle East, North Africa, Central Asia, and South Asia. Very dark brown hair, easily mistaken for black hair, can be found occasionally in parts of East Asia. This is also true of Southern Cone of South America (Chile, Argentina, Uruguay, Paraguay, central-southern Brazil), Colombia, Andean Region of Venezuela, Costa Rican Central Valley and Puerto Rico.

A study of 1,023 students in Chile found that the most common eye color was brown-black: 71 to 89.4% and the most common hair color was brown from 65.8% to 66.8%.

In Spain, 57% are brown (7% of Spaniards are naturally blonde, 26% brunette, 3% redhead and the remaining 10% dark and light brown).

Dark brown hair also may occasionally be found among Indigenous Americans and Siberians; (formerly) especially for mostly populations in Southeast Asia due to pigment changes (such as the Philippines, Malaysia and Vietnam) for example particularly when they are young, as well as in many other groups.

Biochemistry
The pigment eumelanin gives brown hair its distinctive color. Brown hair has more eumelanin than blond hair but also has far less than black. There are two different types of eumelanin, which are distinguished from each other by their pattern of polymer bonds. The two types are black eumelanin and brown eumelanin. Black eumelanin is the darkest; brown eumelanin is much lighter than black. A small amount of black eumelanin in the absence of other pigments causes grey hair. A small amount of brown eumelanin without any other pigments causes yellow (blond) color hair. Often, natural blond or red hair will darken to a brown color over time. Brown-haired people have medium-thick strands of hair.

Brown-haired people are thought to produce more skin-protecting eumelanin and are associated with having a more even skin tone. The range of skin colors associated with brown hair is vast, ranging from the palest of skin tones to a dark olive complexion.

Varieties of brown hair
Brown hair comes in a wide variety of shades from the very darkest of brown (almost black) to lightest brown (almost blond) showing small signs of blondism. Shades of brown hair include:

 * deepest brunette: the darkest brown, which can be a very dark chestnut; sometimes appears to be off-black at a distance, and is often considered to be black.
 * dark brown
 * milk chocolate brown
 *  dark chestnut brown
 * light chestnut brown
 * medium brown: standard brunette, comparable to Russet brown
 * walnut brown: a warmer variant of medium brown, comparable to a light chestnut
 * caramel brown: warm brown tone.
 * light golden brown : the lightest brown, almost dirty blond
 * mousy: a dull light brown color, sometimes seen as a dirty blond
 * light ash brown: almost blond hair
 * lightest brown: light brown that goes mid blonde in the sun
 * maple brown: a dark golden brown color, like maple syrup

Cultural connotations
In Western popular culture, a common stereotype is that brunettes are stable, serious, smart and sophisticated. According to Allure magazine, in 2005, 76 percent of American women believed that the first female president of the United States will have brown hair.

Modern fiction
Anita Loos, the author of the novel and play Gentlemen Prefer Blondes, wrote a sequel entitled But Gentlemen Marry Brunettes. A film of this was made, Gentlemen Marry Brunettes, starring Jane Russell and Jeanne Crain.

Art and fiction
The Lady of Shalott from Alfred, Lord Tennyson's poem is depicted as a brunette in most paintings. The woman portrayed in Leonardo da Vinci's most well-known painting, Mona Lisa, is brunette. In the French folk song "Au clair de la lune", the likable Lubin visits his brunette neighbor at Pierrot's suggestion. In the Irish song "The Star of the County Down" the narrator falls in love with a woman with "nut-brown" hair, called Rose McCann.

Rivalry with blondes
In popular culture, brunettes may be portrayed as being in a rivalry or competition with blonde women. The rivalry may take the form of competitive sports or as part of a love triangle in which a blonde and a brunette woman compete for the affections of a man.

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

title: Brown hair


text:
Audenshaw

Audenshaw is a town in Tameside, Greater Manchester, England, 4.9 mi east of Manchester. Historically part of Lancashire, in 2011 it had a population of 11,419.

The name derives from Aldwin, a Saxon personal name, and the Old English suffix shagh meaning "Woodland". Nico Ditch, an early-medieval linear earthwork possibly built as a defensive barrier against Vikings, runs through the area. Medieval Audenshaw was a division of the township of Ashton in the county of Lancashire. Audenshaw expanded as a centre for textile manufacture during the Industrial Revolution and the Victorian era with inhabitants employed in hat-making, cotton-spinning, calico-printing, and silk-weaving. In 1974, Audenshaw Urban District became part of the Metropolitan Borough of Tameside.

History
The name Audenshaw is a corruption of its earlier name Aldwinshagh which derives from Aldwin, a Saxon personal name, combined with the Old English suffix shagh meaning "Woodland".

Nico Ditch, a medieval linear earthwork, runs through the area. Stretching 6 mi from Ashton Moss in the east to just east of Stretford in the west, the origin of the ditch is unclear. According to legend, it was completed in a single night by the inhabitants of Manchester, as a protection against Viking invaders in 869–870, and that it was the site of a bloody battle between Saxons and Danes and that Gorton and Reddish got their name from the battle, "Gore Town" and "Red-Ditch". Despite the legend, the U-shape of the ditch – as opposed to the usual V-shape of military earthworks – and the absence of an associated bank indicates that Nico Ditch was probably a boundary marker. Although it is thought to be earlier, the earliest documented reference to Nico Ditch is in a charter detailing the granting of land in Audenshaw to the monks of the Kersal Cell. In the document, dating from 1190 to 1212, the ditch is referred to as "Mykelldiche", and a magnum fossatum, Latin for "large ditch".

In 1877, part of the original village of Audenshaw was demolished to make way for the three Audenshaw Reservoirs. Also destroyed to allow the construction of the reservoirs was a section of Nico Ditch.

Governance
During the Early Middle Ages Audenshaw is supposed to have been a thanage held by Saxons, but following the Norman conquest of England fell within the historic county boundaries of Lancashire, and noted as a division of Ashton, an ancient township and parish within the hundred of Salford. The division of Audenshaw spanned the village of Audenshaw, and the outlying settlements of Danehead, Hooleyhill, Littlemoss, North-street, Walkmill, Waterhouses and Woodhouses. This arrangement persisted until the creation of Audenshaw's first local authority, a local board of health in 1870. Audenshaw Local Board of Health was a regulatory body responsible for standards of hygiene and sanitation in the locality. Under the Local Government Act 1894, the area of the local board became the Audenshaw Urban District, a local government district in the Ashton-under-Lyne Poor Law Union and administrative county of Lancashire. Under the Local Government Act 1972, the Audenshaw Urban District was abolished, and Audenshaw has, since 1 April 1974, formed an unparished area of the Metropolitan Borough of Tameside, within the Metropolitan county of Greater Manchester.

Audenshaw is represented in Parliament by the Denton and Reddish constituency. Since its creation in 1983, the constituency has been held by the Labour Party, At 53.47431°N, -2.11222°W (53.4743°, −2.1122°), 160 mi north-northwest of central London and 5 mi east of Manchester, Audenshaw stands at the head of the Dane valley. Guide Bridge is an area of Audenshaw.

The Member of Parliament for the Denton and Reddish constituency since 2005 has been Andrew Gwynne MP, representing the Labour Party. His majority in the 2005 general election was 13,498 over the Conservative candidate Julie Searle.

Audenshaw is an electoral ward of Tameside, England.

The ward is represented by three councillors: Oliver Ryan (Lab), Maria Bailey (Lab), and Teresa Smith (Lab)

indicates seat up for re-election.

Demography
According to the Office for National Statistics, at the time of the United Kingdom Census 2001, Audenshaw had a population of 12,790. The 2001 population density was 10860 PD/sqmi, with a 100 to 93.2 female-to-male ratio. Of those over 16 years old, 28.4% were single (never married), 43.3% married, and 8.8% divorced. Audenshaw's 5,260 households included 29.0% one-person, 38.5% married couples living together, 8.8% were co-habiting couples, and 11.4% single parents with their children. Of those aged 16–74, 33.4% had no academic qualifications, similar to the Tameside average (35.2%), but above that of England (28.9%).

In 1951 the breakdown of social class in Audenshaw was recorded as 22.7% middle class and 19.3% working class. By 1971, this had changed to 23.4 middle class and 17.2% working class. The rest of the population was made up of clerical workers and skilled manual workers.

At the 2001 UK census, 80.28% of Audenshaw's residents reported themselves as being Christian, 1.1% Muslim, 0.6% Hindu, 0.3% Buddhist, and 0.1% Sikh. The census recorded 11.0% as having no religion, 0.2% had an alternative religion and 6.7% did not state their religion.

Notable people

 * Matthew Hughes (born 1950): politician, born in Audenshaw; Was the distinguished Principal of John Septamus Roe in Perth who grew the school from a small school in Mirrabooka to the largest private school in the state of WA. Matthew went on to become the first Labor party Member of the Legislative Assembly for the electorate of Kalamunda.
 * Lonelady: 21st-century singer and guitarist, real name Julie Campbell, comes from Audenshaw
 * Ellis Plummer (born 1994): Manchester City footballer; born in Audenshaw
 * Brooke Vincent (born 1992): actress, Sophie Webster in Coronation Street; born in Audenshaw
 * Mick Hucknall (born 1960): singer, went to school at Audenshaw School
 * Austin Hopkinson (born 1879–1962) Audenshaw MDC Councillor, MP, Founder of Audenshaw engineering firm, Pikrose, benefactor, donated his home Ryecroft Hall to the people of Audenshaw.

Transport
Audenshaw was once served by a mainline railway station. The station closed in 1950. The town is now served by a tram stop on the East Manchester line of the Manchester Metrolink, providing services westbound to Eccles and MediaCityUK and eastbound to Ashton-under-Lyne.

The bus 220 runs between Manchester city centre and Stalybridge, via Openshaw, Audenshaw and Dukinfield. The bus 221 runs between Dukinfield and Manchester city centre, via Audenshaw and Openshaw. The bus 345 runs between Ashton-under-Lyne and Denton, via Dukinfield and Audenshaw. The bus 347 runs between Ashton-under-Lyne and Haughton Green, via Guide Bridge, Audenshaw and Denton.

Economy
Prior to the Industrial Revolution, the main occupation in Audenshaw was that of farming. The earliest recorded agriculture in the Tameside area was in Audenshaw in the period 1190–1212. As was the case in neighbouring Denton, in the 19th century most of Audenshaw's residents were occupied in the hatting industry, the manufacture of cotton and silk, and calico printing.

According to the 2001 UK census, the industry of employment Audenshaw's residents aged 16–74 was 20.3% manufacturing, 18.7% retail and wholesale, 10.1% property and business services, 9.0% health and social work, 8.2% construction, 6.8% transport and communications, 6.3% education, 6.2% public administration, 5.2% finance, 3.8% hotels and restaurants, 0.9% energy and water supply, 0.4% agriculture, 0.1% mining, and 4.0% other. Compared with national figures, the town had a relatively high percentage of residents working in manufacturing (14.8% in England).

The census recorded the economic activity of residents aged 16–74, 2.2% students were with jobs, 3.0% students without jobs, 4.7% looking after home or family, 6.5% permanently sick or disabled, and 2.7% economically inactive for other reasons.

Landmarks
There are nine Grade II listed buildings in Audenshaw*. These include two lodges which were originally a single barn, a trough and pillar, and St Stephen's Church. The church was constructed in 1846, at a cost of £2,900 (equivalent to £0 in 2024) and provided space for a congregation of 750.

Ryecroft Hall, a Grade II listed building, was donated to the people of Audenshaw by the local Member of Parliament, Austin Hopkinson, in 1921.

The war memorial at the entrance to Audenshaw Cemetery is also a Grade II listed building and commemorates the 140 men from Audenshaw who lost their lives in World War I. Standing 15 ft, it features a bronze statue of a soldier standing on top of a square column; the sculptor was Percy George Bentham. There are slabs of black granite on the fours sides of the column with the names of the deceased. Unveiled in 1920 before a 10,000 strong crowd, it cost £1,300 (£0 in 2024).

Education

There are two nursery schools, five primary schools, and one secondary school in Audenshaw. Opened in 1932 as Audenshaw Grammar School for Boys, Audenshaw School is now the only secondary school in the town. In 2008, the school was the most successful in the borough in terms of proportion of pupils attaining five or more A*–C grades at General Certificate of Secondary Education (GCSE) including maths and English (64% in Audenshaw School compared with the average of 41.8% for Tameside and 47.6% for England) and most points per pupil at A-level. It is a specialist technology college. Until 1964, secondary education was also provided by Poplar Street Primary School which was built in 1914, although its primary school still exists.

Sport
The Audenshaw Greyhound Racing and Sports Ground existed from the turn of the 20th century, initially as an athletic and coursing ground and then as a trotting track, speedway dirt track and greyhound racing track until 1934. This is not to be confused with the Athletics stadium that existed on the south side of the Manchester Road. Audenshaw is also home to the historic rugby club Aldwinians RUFC, once captain by England's rugby union captain from 1956 to 1958, Eric Evans MBE.

title: Audenshaw


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Hattersley

Hattersley is an area of Tameside, Greater Manchester, England; it is located 4 mi west of Glossop and 10 mi east of Manchester, at the eastern terminus of the M67. Historically part of Tintwistle Rural District in Cheshire until 1974, it is the site of an overspill estate built by Manchester City Council in the 1960s.

Construction of the estate
Between 1894 and 1936, Hattersley was a largely rural civil parish in the Tintwistle Rural District in the historical county of Cheshire. In 1936, it was annexed to the municipal borough of Hyde but remained undeveloped. At the beginning of the 1960s, most of the area was purchased by Manchester City Council to build a large overspill estate, which became home to many families rehoused from inner-city slum areas like Gorton. Another similar estate was built in Gamesley. Both these estates consist primarily of council-built houses.

Renewal and privatisation
Regeneration in Hattersley is coordinated by Hattersley Neighbourhood Partnership. The city council transferred control of most of Hattersley's housing stock to Peak Valley Housing Association in 2006 after an attempt to transfer it to the Harvest Housing Group which collapsed when a £20 million gap in funding to refurbish the homes to new housing standards was identified. The transfer brought a £40 million, seven-year improvement plan for existing housing tied to a £140m investment from a private developer.

Selective demolition has begun to remove some obsolete housing leaving space for redevelopment and investment in education and public services. Seven tower blocks were demolished in 2001. Demolition of some of the 1960s low-rise houses on the estate took place in 2007 and 2008, these houses having deteriorated to a condition where refurbishment was not viable, in spite of these houses being just over 40 years old.

In 2012 a Tesco supermarket was opened, despite residents' concern about extra traffic.

Moors Murders
Moors murderer Myra Hindley and her grandmother Ellen Maybury, together with Hindley's boyfriend Ian Brady, were rehoused in Hattersley from Gorton in 1964 and lived at a new council house in the area – 16 Wardle Brook Avenue – for approximately 12 months until Hindley and Brady were arrested in October 1965. They had already carried out three murders, at that time still undetected, before they moved to Hattersley.

Brady spent much of his time at the house with Hindley and together they carried out their final two killings – that of 10-year-old Lesley Ann Downey on Boxing Day 1964, and 17-year-old Edward Evans in October 1965 – at the house; they had already committed three murders while living in Gorton.

The body of Lesley Ann Downey was buried on nearby Saddleworth Moor the day after her murder on Boxing Day 1964, and found there during the initial search of the moors nearly a year later, but the body of Edward Evans was found locked in a bedroom at the house before the couple could dispose of it; the police then went on to find the evidence to link Brady and Hindley to the earlier murders. Brady and Hindley were sentenced to life imprisonment in May 1966, both remaining in custody until their deaths.

In October 1987, Manchester City Council demolished the house as they could not find tenants willing to live there. The site of the house remains vacant, although the surrounding houses remain standing.

Dale Cregan
On 18 September 2012, drug dealer Dale Cregan made a hoax emergency call to the police from an address in Mottram, luring Police Constables Nicola Hughes, 23, and Fiona Bone, 32, of Greater Manchester Police there by claiming that there had been an incident of criminal damage. When they arrived, he ambushed the constables, shooting them and throwing an M75 hand grenade at them. Both officers were hit by at least eight bullets as Cregan fired 32 shots in 31 seconds. He later turned himself in at Hyde police station and was charged with their murders.

Community and regeneration
Hattersley had a monthly community newspaper, the Hattersley & Mottram Community News, produced by local people; it ceased publication in 2011, after Tameside Council ended its funding. It is home to no. 468 (Hyde and Hatterley) Squadron Air Cadets.

Hattersley is now home to both a brand-new community hub and a library. Many new developments have been important in kick-starting the regeneration of the Hattersley district; these include new housing, a large Tesco Extra superstore and Adventure Longdendale (a trampolining, Laser Quest and play centre). There are also plans for Hattersley Retail Park; this was originally scheduled to open in 2021, but has faced multiple setbacks.

Transport

Hattersley railway station serves the area; it is on the Glossop line between Manchester Piccadilly, Glossop and Hadfield. There is a generally half-hourly service in both directions, operated by Northern Trains.

Bus services are provided by Stagecoach Manchester. There are frequent services to Manchester city centre on route 201.

Notable people

 * Ricky Hatton, the former two-weight world champion boxer, grew up on the estate.
 * Shayne Ward, from Hattersley, was on The X Factor.

title: Hattersley


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Leigham

Leigham is the name of an area of the city of Plymouth in the English county of Devon.

Originally a hamlet and manor separate from the city, urban expansion of the 20th century has meant that the area has become widely built up. The area is located to the north east of Plymouth itself.

The place name is Anglo Saxon in origin, and means 'an open space in a wood'. In the Domesday Book of 1086 it was referred to as Leaham and was recorded as consisting of the manor and two farms.

Unfortunately the ancient manor house is no longer there: it fell into disrepair following the Second World War. In the late Summer of 1946 Plymouth City Council bought the Leigham Manor Estate as part of its redevelopment plan for the City.

Leigham was in the parish of Plympton St Mary but is now in the parish of Estover, which itself was carved out of the manorial estate in the 1970s.

title: Leigham


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Henry Olonga

Henry Khaaba Olonga (born 3 July 1976) is a Zimbabwean former cricketer, who played Test and One Day International (ODI) cricket for Zimbabwe. In domestic first-class cricket in Zimbabwe, Olonga played for Matabeleland, Mashonaland and Manicaland. When he made his Test debut in January 1995, he was the first black cricketer and the youngest person to play for Zimbabwe. He was a regular member of the Zimbabwe team through 1998 to 2003. He featured in three World Cup tournaments in 1996, 1999 and 2003. During his playing days, he formed a rivalry against former Indian batsman Sachin Tendulkar whenever Zimbabwe and India played against each other in international cricket. He was also regarded as Zimbabwe cricket's poster boy.

He was considered one of the fastest bowlers in international cricket, but also one of the more inaccurate, bowling many wides and no-balls. His international career came to an end in 2003 after Olonga and teammate Andy Flower wore black armbands during an international cricket match in the 2003 Cricket World Cup to "mourn the death of democracy" in Zimbabwe. Death threats forced him to live in exile in England. Olonga announced his retirement from international cricket after Zimbabwe's final game in the 2003 World Cup at the age of 26 when he was in the prime years of his career. Olonga and Flower were given honorary life membership of the Marylebone Cricket Club (MCC) later in 2003. He and Flower were also honoured by the Cricket Writer's Club during the annual dinner where they were conferred with the Peter Smith Memorial Award, an award which is given as an annual acknowledgement of outstanding contributions to the game of cricket.

Early life
Olonga was born in Lusaka, Zambia. His father John Olonga was a Kenyan surgeon and his mother was Zimbabwean. He has two sisters and two brothers as well as ten half-brothers and sisters from his father's first marriage. Olonga, in his autobiography, reveled how his parents had to be separated temporarily when he was just four years old when his mother learned that her husband had hidden his first marriage from her. One of his brothers, Victor Olonga, played professional rugby and became captain of the Zimbabwe national team. His uncle is the former Kenyan minister Francis Masakhalia.

Soon after his birth, his family had returned to Kenya. After returning to Kenya, the family then moved to Bulawayo in Zimbabwe as his father intended to provide and ensure access to higher quality education for his children. Olonga was educated at Rhodes Estate Preparatory School (REPS) and began playing cricket at the age of eight and also played cricket for the Partridges, the Zimbabwe national primary schools cricket team. He then attended Plumtree School, where he became head boy. He was involved in acting, athletics and rugby in addition to cricket. He was nominated as one of the finalists in the search hunt for Zimbabwe's best high school actor for his performance as Charlie Davenport (a character which featured in the film 1950 film Annie Get Your Gun) while he was still the head boy.

In a school cricket match against Brighton College, he scored 103 runs and took 8 wickets for 15 runs. He found a firm Christian faith in 1992 at a youth camp in Marondera. He was also selected to play for Matabeleland in national primary schools cricket week.

Domestic career
Olonga made his debut in first-class cricket in March 1994, aged 17, playing for Matabeleland against Mashonaland in the Logan Cup at Harare Sports Club. He took five wickets in the match, but had varied performances over the next couple of years. He continued to play domestic first-class cricket for Matabeleland until 1998–99 and then for Mashonaland A in 2001–02. Olonga later played for Manicaland in 2002–03.

International career
He was not an obvious or automatic choice when he was selected to make his international debut for Zimbabwe in the Test against Pakistan in Harare in January 1995 (although Olonga could have been selected to play for Zimbabwe against Sri Lanka earlier in 1995, when David Brain and Eddo Brandes were absent due to injury, but he was found to be ineligible as he still held Kenyan nationality). It was revealed that his father was against Olonga's decision to pursue his career in cricket and wanted him to compete at the Olympics representing Kenya. However, Olonga refused his father's interest and did not give up his cricket ambitions. Having given up his Kenyan citizenship, Olonga became the youngest player to represent Zimbabwe in international cricket, aged 18 years and 212 days. He grew up watching the likes of Malcolm Marshall and Allan Donald and consider them as his childhood idols.

A right arm fast bowler, Olonga was also the first black cricketer to play for Zimbabwe and the third Zambian-born Test cricketer after Phil Edmonds and Neal Radford of England. Zimbabwe beat Pakistan by an innings and 64 runs, the team's first ever Test victory, mainly due to a double century from Grant Flower, as well as centuries from Andy Flower and Guy Whittall. Olonga took the wicket of Saeed Anwar in his first over, but he was no-balled once for throwing. With help from Dennis Lillee, he rebuilt his action at the MRF Pace Foundation before returning to international cricket. He was overlooked from Zimbabwe squad for the 1998 Commonwealth Games in September 1998. Thereafter, he began training harder with fellow seamer Heath Streak and got into the national team after remodelling his bowling action.

He made his debut in ODIs playing against South Africa in October 1995. He was man of the match when he took his first 5-wicket haul (5–70) in Tests, playing against India in October 1998, Zimbabwe's second Test victory. He was also the spearhead of the team that won Zimbabwe's first overseas Test, beating Pakistan in Peshawar in November 1998. Olonga took a second and final Test 5-wicket haul (5–93) in a losing cause against Pakistan in November 2002.

He played 30 Test matches for Zimbabwe, taking 68 wickets with a bowling average of 38.52. Olonga also played 50 One Day Internationals as well, taking 58 wickets at an average of 34.08. He holds the record for the best bowling in an ODI by a Zimbabwean, with figures of 6–19 against England in Cape Town in 2000.

Cricket World Cups
Olonga joined the Zimbabwe team at the 1996 Cricket World Cup in India, Pakistan and Sri Lanka. He was selected to play in Zimbabwe's final game of the competition, against India, but asked to be omitted as he was out of practice. He played in 7 matches in the 1999 Cricket World Cup in England. He was best known for his bowling spell against India at the 1999 Cricket World Cup where he took three wickets in the final over of the group stage match and eventually Zimbabwe created a massive upset by defeating India by a close margin of three runs. It was also Zimbabwe's first ever win against India in a World Cup match.

He was selected for the Zimbabwe team at the 2003 Cricket World Cup, held in South Africa, Zimbabwe and Kenya. Some of the countries playing in the tournament were concerned about security: New Zealand had refused to play in Nairobi and England refused to play in Harare.

Controversy
Olonga and his teammate Andy Flower achieved international recognition by wearing a black armband in the match against Namibia at Harare Sports Club, to "mourn the death of democracy" in Zimbabwe under the government led by Robert Mugabe. Olonga and Flower released a statement on 10 February 2003, the second day of the tournament, stating in part:

"In all the circumstances, we have decided that we will each wear a black armband for the duration of the World Cup. In doing so we are mourning the death of democracy in our beloved Zimbabwe. In doing so we are making a silent plea to those responsible to stop the abuse of human rights in Zimbabwe. In doing so, we pray that our small action may help to restore sanity and dignity to our nation"

Flower scored 39 runs, Olonga conceded 8 runs from 3 overs but took no wickets as Zimbabwe won the match. Their protest was supported in the world press and more widely internationally, but caused a political storm in Zimbabwe. The minister of information Jonathan Moyo labelled Olonga an "Uncle Tom" with "a black skin and a white mask".

Despite the protest, Flower continued to play for Zimbabwe in the tournament, but Olonga was omitted from the team for six matches, ostensibly on grounds of his poor form (including a walkover against England who refused to travel to Harare). Olonga was selected to play in one more World Cup match, against Kenya in Bloemfontein in the Super Sixes stage of the tournament on 12 March. He was also expelled by the Takashinga Cricket Club branding him as "traitor" and it was revealed that his girlfriend also eventually broke up with him in a mail.

A warrant was issued in Zimbabwe for Olonga's arrest on charges of treason. Death threats made him go temporarily into hiding and then into exile in England after Zimbabwe's last match of the tournament, against Sri Lanka in East London. A knee injury forced his retirement from first-class cricket later in 2003, but he has played occasional matches since 2005 for the Lashings World XI. By 2010, he was calling for the restoration of international cricket between Zimbabwe and other countries.

Beyond cricket
Olonga met physical education teacher Tara Read while both were attending the Australian Institute of Sport's cricket program in Adelaide. The couple married in 2004. Olonga had lived in exile in Britain for 12 years from 2003 to 2015 and then moved to Australia in 2015 along with his wife and his two children. His Zimbabwean passport was expired in 2006 when he was living in exile in England and he could not leave England for another nine years. In 2001, he composed the lyrics for the song Our Zimbabwe. He was also nicknamed as "Singing Seamer" by the English press following the release of Our Zimbabwe song.

On Friday 13 October 2006, Olonga won Five's The All Star Talent Show with 50% of the overall votes.

He is now pursuing a career as a cricket commentator and singer and released an album Aurelia in 2006. His autobiography, Blood, Sweat and Treason, was released in July 2010 by Vision Sports Publishing and was longlisted for the William Hill Sports Book of the Year 2010. In addition, he also served as a public speaker, photographer, art worker and author. After composing music, he made his singing debut in 2016 in a charity event performing Nessun dorma at the Sydney Cricket Ground.

In 2019, he entered as a contestant on the eight season of The Voice Australia and performed Anthony Warlow's album This Is the Moment! in the audition.    He got three chair turn from Delta Goodrem, Boy George and Kelly Rowland. He chose Kelly Rowland as his coach and was eliminated in the Battle rounds. He was eliminated from the Voice Australia show after forgetting the lyrics of Elton John's Can You Feel the Love. In an interview with Sportstar, he revealed that his singing career is his second innings of his life.

In August 2019, he joined the fundraiser of the African AIDS Foundation to raise funds for the organisation. He was appointed as global ambassador for Anglican Aid.

title: Henry Olonga


text:
Chris Amon

Christopher Arthur Amon (20 July 1943 – 3 August 2016) was a New Zealand motor racing driver. He was active in Formula One racing in the 1960s and 1970s, and is widely regarded as one of the best F1 drivers never to win a championship Grand Prix. His reputation for bad luck was such that fellow driver Mario Andretti once joked that "if he became an undertaker, people would stop dying". Former Ferrari Technical Director Mauro Forghieri stated that Amon was "by far the best test driver I have ever worked with. He had all the qualities to be a World Champion but bad luck just wouldn't let him be".

Apart from driving, Chris Amon also ran his own Formula One team for a short period in 1974. Away from Formula One, Amon had some success in sports car racing, teaming with co-driver Bruce McLaren to win the 24 Hours of Le Mans race in.

Early life
Amon was born in Bulls, New Zealand, and attended Whanganui Collegiate School. He was the only child of wealthy sheep-owners Ngaio and Betty Amon. He learned to drive at the age of six, taught by a farm worker on the family farm. On leaving school, he persuaded his father to buy him an Austin A40 Special, which he entered in some minor local races and hillclimbs along with practice on the family farm. He progressed to a 1.5-litre Cooper and then an old 2.5-litre Maserati 250F, but only began to draw attention when he drove the Cooper-Climax T51 which Bruce McLaren had used to win his maiden Grand Prix.

In 1962 Amon entered the Cooper for the New Zealand winter series, but was hampered by mechanical problems. However, Scuderia Veloce entered him in a similar car, and, in the rain at Lakeside, he performed well. One of the spectators there was the English racing driver Reg Parnell who persuaded Amon to come to England and race for his team. In a test at Goodwood Amon continued to impress and was on the pace in the Goodwood International Trophy and Aintree 200 pre-season races.

1963
For the 1963 Formula One season the Parnell team were using the year old Lola Mk4A, powered by 1962 specification Climax V8 engines. Amon was teamed with the very experienced Maurice Trintignant for the first race of the season at Monaco and his Grand Prix career started with what was to become typical bad luck: Trintignant's Climax developed a misfire, so he took over Amon's car.

At the 1963 Belgian Grand Prix, Amon was partnered by Lucien Bianchi and started ahead of him from 15th position. After nine laps, however, an oil fire ended his race. He continued to experience mechanical problems at the Dutch, Mexican and German Grands Prix; and after an accident in practice for the Italian Grand Prix left him hanging out of his car's cockpit with three broken ribs, he missed both the Italian and United States rounds.

Amon usually qualified in the midfield and generally outpaced his teammates, who included his good friend Mike Hailwood. His best results of the year were seventh at the French and British Grands Prix. During this time, however, Amon's social life was attracting as much attention as his driving. He was a member of the Ditton Road Flyers, the social set named after the road in London where Amon shared an apartment with American Peter Revson, Hailwood and Tony Maggs.

Parnell was nonetheless impressed with Amon's results in what was regarded as less-than-competitive machinery and promoted him to team leader. Parnell died from peritonitis in January 1964 and his son Tim took over the team.

1964
In a series of four pre-season races in Britain and Italy, Amon recorded three fifth places at Snetterton, Silverstone and Syracuse. He failed to qualify for the first F1 race of the season, the Monaco GP, but at the next race, the Dutch GP, he scored his first World Championship points. The rest of his season, however, was blighted by mechanical problems.

1965
Parnell was offered BRM engines for 1965, but only if it ran Richard Attwood as its regular driver. Reluctantly, Parnell agreed and Attwood took Amon's place. Spotting an opportunity, Bruce McLaren quickly signed Amon for his new McLaren team, but when no second McLaren F1 car materialised, Amon could only drive in sports car races.

At the French GP Amon rejoined Parnell to stand in for an injured Attwood. Amon also competed in a Formula Two race in Stuttgart and won. He returned to Germany for the German GP as second Parnell driver, but mechanical failure again forced an early retirement. His last drive before Attwood's return, a non-championship race in Enna, Sicily, also ended in retirement.

1966
During 1966 Amon continued to race for McLaren in Can-Am. He was intended to drive the second McLaren M2B but difficulties with engine supply meant that the team never made the intended expansion to two cars. (James Garner's character Pete Aron's helmet and car livery in the film Grand Prix were modelled on Amon driving a McLaren, which caused the movie makers to have to encourage other cars to be painted in the 'Yamura' colours and other drivers (Bruce McLaren included) to wear Amon-style helmets.)

However, an opportunity arose to drive for the Cooper F1 team after Richie Ginther left them for Honda. Amon drove for Cooper at the French GP and was scheduled to drive for them for the rest of the season, until the more successful John Surtees left Scuderia Ferrari to join Cooper and Amon found himself dropped.

Amon made one other F1 appearance during the year, driving a Brabham BT11 powered by an old 2-litre BRM engine at the Italian GP under the banner of "Chris Amon Racing". He failed to qualify.

Amon did however, score his biggest success to date when he partnered Bruce McLaren in a 7-litre Ford GT40 Mark II and Ken Miles to Ford's dead-heat "photo-finish" after Miles was instructed to slow down despite leading at the Le Mans 24-hour race, spearheading a formation finish. He subsequently received an invitation to meet Enzo Ferrari at the Ferrari home in Maranello, where he signed to race for Ferrari in 1967 alongside Lorenzo Bandini, Mike Parkes and Ludovico Scarfiotti.

1967
Amon's first year with Ferrari did not begin auspiciously. En route to Brands Hatch for the pre-season Formula One Race of Champions, he crashed his road car and, following race practice, had to withdraw. Tragedy then struck the Ferrari team when Bandini died following a crash during the 1967 Monaco Grand Prix, Mike Parkes broke both his legs at the Belgian Grand Prix and, in the aftermath, Ludovico Scarfiotti went into temporary retirement. Amon, therefore, became Ferrari's only driver for the rest of the season, until joined by Jonathan Williams for the final race in Mexico. Amon scored his first podium in his first official outing for the Scuderia in Monaco and at the end of 1967 had achieved four third places finishing fifth in the Drivers' Championship, in what was going to be the most successful season of his career.

Amon's Ferrari contract also included sports car racing and he began 1967 by winning the Daytona 24 Hours and 1000km Monza events with Bandini in the 4-litre Ferrari 330-P4. He finished the year partnering Jackie Stewart to a second place at the BOAC 500, thereby clinching the manufacturer's world championship for Ferrari by one point over Porsche.

1968
1968 was the year aerodynamics first played a significant role in F1 car design and Amon worked with engineer Mauro Forghieri to place aerofoils on the Ferrari 312.

In January 1968 Amon had returned home to New Zealand and Australia to compete in the 1968 Tasman Series which was used by many of the top Formula One drivers as a warm up series to the World Championship. For the 1968 series Ferrari decided to use the 2.4 engines with a new Dino 166 F2 chassis rather than a downsized 3-litre V12. Using the 246T Amon won the first two rounds of the Tasman Series, including the 1968 New Zealand Grand Prix, before narrowly losing the series to the Lotus-Ford of Jim Clark. The Dino 246 Tasmania was better handling than Clark's Lotus 49T which was still wingless and a difficult proposition. Impressed by Amon's driving in the NZ rounds, Ferrari dispatched a new four-valve version of the 2.4 V6 for the Australian rounds and this gave another 15 hp, but with lesser reliability which, combined with the fact Clark was the best driver in the world at the time, cost Amon the series, although in the final round at Sandown Park he duelled wheel to wheel with Clark before being pipped at the line.

After the first race of the F1 season in South Africa, Amon achieved pole positions in three of the following four races (at the Spanish, Belgian and Dutch Grands Prix) but ever-present mechanical problems meant he secured only a single Championship point from them. Throughout the rest of the season he never qualified lower than fifth place and nearly scored victories at the British and Canadian rounds and he suffered a 100 mph crash in Italy which demolished his car. In Britain, he duelled to the line with Jo Siffert's Lotus 49B and in Canada he dominated the race despite a malfunctioning clutch. Seventeen laps from the finish, however, his car's transmission failed and a distraught Amon had to be consoled by Jacky Ickx. From at least ten promising starts that season he was only able to finish five races and score ten Championship points. His best finish was second place to Siffert's Lotus-Cosworth at the British Grand Prix.

Outside F1, Amon was runner-up in the Formula Two race at Zolder, Belgium, testing the Dino 166 F2. He also came third in that year's BRDC International Trophy.

1969
Amon began 1969 with success driving the Dino engined 246 Tasmania in the Tasman Series that included winning both the New Zealand and Australian Grands Prix. In straight fights, he beat new Gold Leaf Lotus team leader, Jochen Rindt, into second in the races at Pukekohe and Sandown. He would ultimately win the seven race Tasman Series, probably the best of the seven-year 2.5-litre international formula series in this country and the nearest to World Championship level racing in New Zealand, with ferocious competition between Rindt, Graham Hill, Amon and Williams driver Piers Courage. It was actually much more serious racing than the McLaren dominated Can-Am series in the US in which the big sports cars required few gear changes and were essentially cruised to victory with little real competition, where the Tasman cars were essentially marginally lower power F1 cars, as difficult to drive as GP cars on unforgiving very dangerous narrow tracks. Amon finished with four wins, two-thirds and one retirement, but in Formula One his poor luck continued. Despite six starts from top-six positions, he was only able to achieve a third-place at the Dutch GP. The ageing 312 was still quick at the start of the season and after the Lotus 49Bs of Rindt and Graham Hill crashed spectacularly after high wing failure in the opening laps at Barcelona, Amon dominated the Spanish GP until the almost inevitable engine breakage on lap 56, 40 seconds ahead of Stewart's Matra. At Monaco Amon ran second to Stewart for the first 17 laps losing a second a lap to Stewart, but still gaining a second a lap on the third placed G. Hill who survived the race of attrition to win. Ferrari's F1 V12 engine was too unreliable and although its replacement had proven very fast in testing, it had suffered many mechanical breakages. Amon had no reason to believe it would be any more dependable than the V12, so although the new engine was clearly more powerful, he decided to leave Ferrari for a Cosworth DFV powered team. He was more influenced by views of Jackie Stewart and Jochen Rindt, who believed it was essential to be Ford DFV-powered to be competitive.

In addition to Formula One, Amon also drove for Ferrari in the 1969 International Championship for Makes, partnering Pedro Rodriguez to a fourth place in the BOAC 500 at Brands Hatch and coming second at the 12 Hours of Sebring, but retiring from the 1000km Nürburgring and 1000km Monza races, all in the Ferrari 312P sportscar. He also drove in a few Can-Am races. His last race for Ferrari would be the 1970 1000 km Monza, where he finished as runner-up.

1970
For the 1970 Formula One season, Amon made what was to be the first of several moves to smaller, newer teams. March Engineering had been formed the previous year to build custom chassis for Formulas 2 and 3, but quickly moved into F1, designing and building the March 701. Amon and Siffert were signed as drivers, with IndyCar driver Mario Andretti making an occasional appearance in a third car. March also sold their 701 chassis to Tyrrell, where Jackie Stewart drove it to its first victory in that year's Spanish GP.

Amon won the pre-season Silverstone International Trophy, but once the F1 season began he found himself prevented from converting good qualifying positions into good results. He qualified second behind Stewart's Tyrrell-March for the season-opening South African Grand Prix only for his own March to overheat within fourteen laps. Amon then qualified sixth for the Spanish Grand Prix only for his March's Ford-Cosworth DFV engine to expire within ten laps. He qualified and ran second in the 1970 Monaco Grand Prix until his suspension failed twenty laps from the finish. This was the race where Amon refused to drive unless his entry number was changed from 18 – the number under which his then teammate Lorenzo Bandini had crashed and died in Monaco – to 28.

Amon's close second place from a third-place start at the 1970 Belgian Grand Prix finally gave the March works team their first points finish. At that race, Amon set fastest lap at over 152 miles per hour, a lap record which still stands as of 2016, as it was the last race on the full-length Spa-Francorchamps circuit. However, after qualifying fourth for the next race, the Dutch Grand Prix, his car's clutch broke after just one lap. Amon duplicated his Belgian result at the 1970 French Grand Prix,. After a disappointing performance in the British GP at Brands Hatch where Amon finished fifth after being outqualified by tyro Ronnie Peterson in a private 701 on the same tyres, conflict with team boss Max Mosley over the non-delivery of three-quarters of Amon's expected pay for the season saw him provided with inferior DFVs and two backmarker 7th places in Austria and Italy, Amon finished the season strongly with strong drives to third at Mosport, fifth at Watkins Glen and fourth in Mexico. At Watkins Glen in the USGP he was robbed of a probably certain victory, in the opinion of March designer Robin Herd, by a puncture.

By the end of the year, disagreements with March co-founders Mosley and Robin Herd meant that Amon had decided to move to another relatively new team, Matra.

1971
In 1971, Amon, now driving for the Matra factory team, once again scored a pre-season victory, this time at the Argentine Grand Prix. Once the Formula One season had begun, he managed to convert a third-place start at the Spanish GP into a third-place podium finish and scored a couple of fifth places in the South African and French GPs. Apart from these results, however, his run of poor F1 returns continued. He had a major accident at the Nürburgring and it sidelined him for the next race at the Österreichring. At the Italian GP he qualified in pole position and despite a poor start to the race looked as if he would capitalise on it – until the visor on his helmet became detached. Amon had to slow to avoid risking a major accident, thereby allowing other drivers to catch and overtake him. He finished the race in sixth place, scoring just one Championship point.

During the year Amon also competed in the non-championship Questor Grand Prix at the new Ontario Motor Speedway, where he qualified second and, despite suffering a puncture during the race, managed to finish fourth.

In the Tasman Series Amon started from fourth at the Levin Circuit and in the race, he battled with David Oxton and John Cannon but managed to finish third. Amon's third race at Wigram Airfield starting fifth and spun at the start to drop him to the back of the field but managed to climb up to fifth.

1972
In the 1972 Formula One season, Amon, again driving for Matra achieved a handful of points-scoring finishes, but only one podium appearance, at the French GP. Here he achieved the fifth and final pole position of his career and was leading the race until a puncture forced him to pit. However, he climbed back through the field, breaking the circuit's lap record to finish third.

With the money he had made from motorsport, Amon decided to set up a racing engine firm with former BRM engineer Aubrey Woods. Amon Racing Engines supplied Formula 2 engines to a few drivers, but the company quickly became too expensive to run and was sold to March for a loss.

Matra decided to end their participation in Formula One at the end of 1972, so Amon found himself looking to return to March as a driver. The place, however, was given to Jean-Pierre Jarier, purportedly for financial reasons. Amon therefore signed for another recently formed F1 team, Tecno.

1973
Tecno had entered F1 the previous year, having developed a potentially powerful Flat 12 for F1. But their first year in F1 proved to be dismal so they jumped at the chance to sign Amon for the new season. The testing of a new chassis designed by former Lotus and McLaren mechanic Allan McCall proved to be time-consuming. After its non-appearance for the Spanish GP, Amon and Tecno team manager David Yorke met with Enzo Ferrari to see if Amon could be released from his contract to develop the new Ferrari B3 for Ickx and Mezarrio, in a supposedly one off GP drive at Monaco. Yorke rejected the release, and Amon admits he would not have left Ferrari if offered the drive for a season.

Unfortunately, the team went from bad to worse and wasn't able to field the Tecno PA123/6 until the fifth GP of the season, the Belgian GP. Amon managed to finish in sixth position. At Monaco the car qualified a useful 12th and chassis felt good but Chris was unhappy with the car. He decided to concentrate on a still in-development Tecno chassis built by unproven designer Gordon Fowell. This was against the view of the Techno team and Sponsors Martini Rossi who required the car and driver to appear at races While Amon commented at the time that it was "the best chassis I've ever sat in", it too proved virtually undriveable. Amon refused to drive the McCall designed Techno in the Swedish or German Gps and withdrew from the Austrian GP after qualifying. By the time of the Austrian GP, four races from the end of the season, Amon's patience had run out and he left the team. He would later claim that the months he spent with the team "felt like ten [seasons]".

Tyrrell offered Amon a third car – the 005 – in which to drive the last two races of the season. After a mediocre first outing at the Canadian GP, he and Jackie Stewart withdrew from the final race of the year, the United States GP, following the death of their teammate François Cevert during qualifying.

1974
For the 1974 F1 season, Amon revived Chris Amon Racing. Gordon Fowell designed the car, the AF101, which featured a single central fuel tank, titanium torsion bars and a forward driving position. Structurally, however, it proved to be weak and was not ready for an F1 appearance until the fourth race of the season, the Spanish GP. Amon was only able to qualify 23rd, thanks to brake-disc vibration that only became worse with the tyres for the wet race that followed. Despite cautious driving, a brake shaft finally broke and Amon was forced to retire after 22 laps.

Following further work and testing, Amon returned for the Monaco GP and qualified twentieth, but, thanks to mechanical problems, he was unable to start the race. Further problems and illness meant Amon was not able to reappear with the F101 until the Italian GP, three races from the end of the season, but this time he was unable to qualify. That sealed the fate of both the car and Chris Amon Racing, leaving Amon to drive the season's last two races with the faltering BRM team. He would later reveal that he had turned down a chance to join the Brabham team earlier in the season.

1975
Amon contested the 1975 F5000 Tasman series against only Australasian drivers. He qualified on the front row of three of the four New Zealand rounds and scored a victory at Teretonga in January 1975 in rainy conditions by 24.2 seconds. In the Australian rounds, the competition was always harder with more good cars and the locals on their own tracks. Amon had a frustrating series of races unable to pass, South Australian Johnnie Walker, in a superior Lola T332 chassis with Repco-engineered V8. At Surfers Paradise, running from the back of the grid he managed to eventually pass Walker by widening the braking zone in the only corner where overtaking was usually possible. Amon brushed the edge of the track on repeated laps, got extra grip and passed Walker to take the lead. He had been forced to miss most of the practice session, when Customs seized his car's gearbox. In the race, the brilliant effort went for nothing as the Chev engine blew. At Oran Park and Adelaide he followed Walker the whole way to 4th and 3rd unable to pass. In the final deciding race for the Tasman Series with Brown, Walker and Lawrence still in contention, Walker lost his T332 on the first lap and it demolished on wooden barriers surrounding Sandown's car and horse racing tracks. Amon was never in contention and finished 4th. Amon intended to compete in F5000 in both Europe and the US in 1975 but started in only one round of both series, managing a pole in one Shellsport round in the UK and a 4th place overall at the Long Beach GP in a two heat race. He used different Talon F5000 cars for both races. Apart from these successes, Amon's racing career seemed once again to have stalled. Yet the speed he showed in qualifying for a couple of UK F5000 races encouraged Mo Nunn of the small Ensign team to give him a race driving the Ensign N175. Amon managed 7th in the non-championship Swiss GP at Dijon, which led to two more drives for the team, finishing 12th in both the Austrian and Italian GPs. At Monza after a long pit stop he finally ran at competitive pace, running 4 laps down but keeping pace with the leading Ferrari 312T of Niki Lauda for a number of laps. Progressive evaluation of the possibilities of what was slowing the N175 led Amon to change the airbox alignment on the day of the Italian GP and this resulted in a 2-second gain (much like the change in air cooler position that lost and gained two seconds on Hunt's McLaren M23 resolved by the 1976 French GP). Ironically Amon never raced the N175 again and the high airboxes had been banned by the time N176 ran at Jarama the following year, but the flash of testing and driving genius was enough to give Amon another chance. Although the results were unremarkable, he and Nunn worked well together, so Amon joined Ensign for the 1976 F1 season.

1976
Ensign's first race of the season was the South African GP where Amon qualified 18th and showed a revival of form, climbing to seventh place, in the old Ensign N174 and contesting sixth with Mario Andretti in the Parnelli Ford, in the last laps before a last minute refueling stop left him 14th. Thereafter results began to improve, with Amon qualifying 17th and finishing eighth in the USA West GP; qualifying tenth and finishing fifth in the Spanish GP; and then qualifying eighth for the Belgian GP. More points then seemed likely from the race until his car lost a wheel 19 laps from the finish and Amon was lucky to escape unhurt from the ensuing accident. He then achieved a third-place grid position start for the Swedish GP using a Nicholson rebuilt Cosworth for the first time and in the race looked as if he would join Tyrrell drivers Jody Scheckter and Patrick Depailler on the podium, until suspension failure threw him from the track after 38 laps.

Amon had again been lucky to escape serious injury and decided to miss the next race, the French GP. He returned for the British GP, qualifying in sixth and running fourth in the race when his Ford-Cosworth DFV engine developed a water leak. Rather than risk losing an engine, his team called him in to retire.

At the German GP problems dogged his attempts to qualify well, but it was Niki Lauda's crash during the second lap of the race that had a far greater impact. Amon refused to restart the race and Nunn fired him from the team. Amon declared his retirement from the sport and returned to New Zealand.

"I'd seen too many people fried in racing cars at that stage. When you've driven past Bandini, Schlesser, Courage and Williamson, another shunt like that was simply too much. It was a personal decision..." (Amon, on his retirement in 1976) However, Walter Wolf contacted Amon and persuaded him to drive for his Wolf–Williams team in the North American races near the end of the season. After recording some promising times in preparation for the Canadian GP, however, Amon was involved in a heavy collision with another car during qualifying and once again was lucky to walk away unharmed. He then did not take part in either the Canadian or United States Grands Prix.

1977
Amon turned down an offer of a full-time F1 drive for 1977, but did attempt a return to Can-Am racing in 1977 with a Wolf-Dallara WD1. However, after only one race he quit, saying "I'm just not enjoying this anymore". His place was taken by the young and then unknown Canadian Gilles Villeneuve, whom Amon would, later that year, recommend to Enzo Ferrari.

In the meantime, Amon returned once again to New Zealand, this time to retire from F1 motor racing for good.

2000s
Amon came out of retirement for a one-off appearance in the 2003 Dunlop Targa New Zealand with motorsport commentator Murray Walker as his navigator. The pair completed the week-long Auckland to Wellington Tarmac Rally in a Toyota Camry Sportivo, the same car previously used by Walker and Colin Bond in Australia's Targa Tasmania.
 * 2003

Retirement
After his retirement from F1, Amon dedicated himself to running the family farm in New Zealand's Manawatū District for many years. After retiring from farming, he lived in Taupō in New Zealand's North Island. In the early 1980s he became more well known in New Zealand from test-driving vehicles on the TV motoring series Motor Show and later consulted for Toyota New Zealand, tuning the 1984 Toyota Corolla and subsequent cars for sale there. He also appeared in TV commercials for the company, where much was made of the acclaim he won from Enzo Ferrari. Amon participated in the 2004 EnergyWise Rally where he won ahead of Brian Cowan. Amon drove a Toyota Prius for the event.

In the 1993 Queen's Birthday Honours, Amon was appointed a Member of the Order of the British Empire, for services to motor sport.

Amon was involved in the design of the upgraded Taupo Motorsport Park circuit, used for the New Zealand round of the 2006–07 A1 Grand Prix season in January 2007. At the New Zealand Festival of Motor Racing in 2011, Amon's life and career were honoured with a selection of his cars being driven and also used the event to raise funds for the Bruce McLaren trust. Amon was also honoured at the festival in January 2013.

Death
Amon died in Rotorua Hospital on 3 August 2016, aged 73, of cancer. He was survived by his wife (they married in 1977) their three children and their grandchildren. One of his sons, James, is a qualified High Performance personal trainer. He trained Central Districts Stags cricket team, and was revealed to be Brendon Hartley's personal trainer.

Legacy
Despite never winning a championship Formula One Grand Prix, Amon won two non-championship GPs, the Silverstone International Trophy, the 1000 km Monza, the Daytona 24 Hours, six Tasman Series races and one series championship, and, perhaps most significant of all, the famous 24 Heures du Mans (alongside Bruce McLaren). These races included many of Amon's otherwise more successful fellow Formula One drivers. Amon also remains the only driver from New Zealand and Oceania to have raced for Scuderia Ferrari in Formula One.

In Formula One, Chris Amon took part in 96 Grands Prix, achieving 5 poles, leading 183 laps in 7 races, reaching the podium 11 times and scoring a total of 83 Championship points. Amon holds the record for the most different makes of car raced by a Formula 1 World Championship driver, with thirteen. A biography Forza Amon by journalist Eoin Young charts Amon's racing career and gives some insights into his personal life. The book makes clear one point on which Amon himself disagrees with most commentators, the issue of his bad luck. Amon has pointed out on several occasions that he competed for a decade and a half in Formula One and survived some serious accidents, notably in 1976, whilst others, including friends like Bruce McLaren, suffered serious injury and death. In 2008, motorsport journalist Alan Henry rated Chris Amon as his 13th greatest driver.

Reflecting on the 1968 racing death of Jim Clark, Amon said: "If this can happen to Jimmy, what chance do the rest of us have? I think we all felt that. It seemed like we'd lost our leader." In 1995, Amon was inducted into the New Zealand Sports Hall of Fame.

Amon's name has been given to the Toyota Racing Series driver's championship trophy, and the International Scholarship to support drivers who win his trophy to further their careers in single-seater racing. The Toyota Racing Series serves as motorsport's version of "winter ball" in New Zealand during January and February. Following his death, his name was also lent to the Manfeild Autocourse in Feilding, Manawatū.

Career summary
† As Amon was a guest driver, he was ineligible for championship points.

Formula One World Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)

Non-Championship Formula One results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)

Complete Tasman Series results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)

Complete British Saloon Car Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap.)

title: Chris Amon


text:
Angle of repose

The angle of repose, or critical angle of repose, of a granular material is the steepest angle of descent or dip relative to the horizontal plane on which the material can be piled without slumping. At this angle, the material on the slope face is on the verge of sliding. The angle of repose can range from 0° to 90°. The morphology of the material affects the angle of repose; smooth, rounded sand grains cannot be piled as steeply as can rough, interlocking sands. The angle of repose can also be affected by additions of solvents. If a small amount of water is able to bridge the gaps between particles, electrostatic attraction of the water to mineral surfaces increases the angle of repose, and related quantities such as the soil strength.

When bulk granular materials are poured onto a horizontal surface, a conical pile forms. The internal angle between the surface of the pile and the horizontal surface is known as the angle of repose and is related to the density, surface area and shapes of the particles, and the coefficient of friction of the material. Material with a low angle of repose forms flatter piles than material with a high angle of repose.

The term has a related usage in mechanics, where it refers to the maximum angle at which an object can rest on an inclined plane without sliding down. This angle is equal to the arctangent of the coefficient of static friction μs between the surfaces.

Applications of theory

The angle of repose is sometimes used in the design of equipment for the processing of particulate solids. For example, it may be used to design an appropriate hopper or silo to store the material, or to size a conveyor belt for transporting the material. It can also be used in determining whether or not a slope (of a stockpile, or uncompacted gravel bank, for example) would likely collapse; the talus slope is derived from angle of repose and represents the steepest slope a pile of granular material can take. This angle of repose is also crucial in correctly calculating stability in vessels.

It is also commonly used by mountaineers as a factor in analysing avalanche danger in mountainous areas.

Formulation
If the coefficient of static friction μs is known of a material, then a good approximation of the angle of repose can be made with the following function. This function is somewhat accurate for piles where individual objects in the pile are minuscule and piled in random order.

 * $$\tan{(\theta)} \approx \mu_\mathrm{s}\,$$

where $$\theta$$ is the angle of repose.

A simple free body diagram can be used to understand the relationship between the angle of repose and the stability of the material on the slope. For the heaped material to collapse, the frictional forces must be equivalent to the horizontal component of the gravitational force $$m g \sin\theta$$, where $$m$$ is the mass of the material, $$g$$ is the gravitational acceleration and $$\theta$$ is the slope angle:

 * $$m g \sin\theta = f$$

The frictional force $$f$$ is equivalent to the multiplication product of the coefficient of static friction $$\mu$$ and the Normal Force $$N$$ or $$mg\cos\theta$$:

 * $$m g \sin\theta = N \mu $$

 * $$m g \sin\theta = \mu m g \cos\theta $$

 * $$\left ( \frac{\sin \theta}{cos\theta} \right ) = \mu $$

 * $$\theta_R = \arctan(\mu) $$

Where $$\theta_R $$ is the angle of repose, or the angle at which the slope fails under regular conditions, and $$ \mu $$ is the coefficient of static friction of the material on the slope.

Measurement
There are numerous methods for measuring angle of repose and each produces slightly different results. Results are also sensitive to the exact methodology of the experimenter. As a result, data from different labs are not always comparable. One method is the triaxial shear test, another is the direct shear test.

The measured angle of repose may vary with the method used, as described below.

Tilting box method
This method is appropriate for fine-grained, non-cohesive materials with individual particle size less than 10 mm. The material is placed within a box with a transparent side to observe the granular test material. It should initially be level and parallel to the base of the box. The box is slowly tilted until the material begins to slide in bulk, and the angle of the tilt is measured.

Fixed funnel method
The material is poured through a funnel to form a cone. The tip of the funnel should be held close to the growing cone and slowly raised as the pile grows, to minimize the impact of falling particles. Stop pouring the material when the pile reaches a predetermined height or the base a predetermined width. Rather than attempt to measure the angle of the resulting cone directly, divide the height by half the width of the base of the cone. The inverse tangent of this ratio is the angle of repose.

Revolving cylinder method
The material is placed within a cylinder with at least one transparent end. The cylinder is rotated at a fixed speed and the observer watches the material moving within the rotating cylinder. The effect is similar to watching clothes tumble over one another in a slowly rotating clothes dryer. The granular material assumes a certain angle as it flows within the rotating cylinder. This method is recommended for obtaining the dynamic angle of repose, and may vary from the static angle of repose measured by other methods.

Of various materials
Here is a list of various materials and their angle of repose. All measurements are approximated.

With different supports
Different supports modify the shape of the pile, in the illustrations below sand piles, although angles of repose remain the same.

Exploitation by antlion and wormlion (Vermileonidae) larvae

The larvae of the antlions and the unrelated wormlions Vermileonidae trap small insects such as ants by digging conical pits in loose sand, such that the slope of the walls is effectively at the critical angle of repose for the sand. They achieve this by flinging the loose sand out of the pit and permitting the sand to settle at its critical angle of repose as it falls back. Thus, when a small insect, commonly an ant, blunders into the pit, its weight causes the sand to collapse below it, drawing the victim toward the center where the predator that dug the pit lies in wait under a thin layer of loose sand. The larva assists this process by vigorously flicking sand out from the center of the pit when it detects a disturbance. This undermines the pit walls and causes them to collapse toward the center. The sand that the larva flings also pelts the prey with loose rolling material that prevents it from getting any foothold on the easier slopes that the initial collapse of the slope has presented. The combined effect is to bring the prey down to within grasp of the larva, which then can inject venom and digestive fluids.

title: Angle of repose


text:
The Codebreakers

The Codebreakers – The Story of Secret Writing (ISBN 0-684-83130-9) is a book by David Kahn, published in 1967, comprehensively chronicling the history of cryptography from ancient Egypt to the time of its writing. The United States government attempted to have the book altered before publication, and it succeeded in part.

Overview
Bradford Hardie III, an American cryptographer during World War II, contributed insider information, German translations from original documents, and intimate real-time operational explanations to The Codebreakers.

The Codebreakers is widely regarded as the best account of the history of cryptography up to its publication. William Crowell, the former deputy director of the National Security Agency, was quoted in Newsday magazine: "Before he (Kahn) came along, the best you could do was buy an explanatory book that usually was too technical and terribly dull."

The Puzzle Palace (1982), written by James Bamford, gives a history of the writing and publication of The Codebreakers. Kahn, then a journalist, was contracted to write a book on cryptology in 1961. He began writing it part-time, and then he quit his job to work on it full-time. The book was to include information on the NSA and, according to Bamford, the agency attempted to stop its publication. The NSA considered various options, including writing a negative review of Kahn's work to be published in the press to discredit him.

A committee of the United States Intelligence Board concluded that the book was "a possibly valuable support to foreign COMSEC authorities" and recommended "further low-key actions as possible, but short of legal action, to discourage Mr. Kahn or his prospective publishers". Kahn's publisher, Macmillan and Sons, handed over the manuscript to the government for review without Kahn's permission on 4 March 1966. Kahn and Macmillan eventually agreed to remove some material from the manuscript, particularly concerning the relationship between the NSA and its counterpart in the United Kingdom, GCHQ.

The book finishes with a chapter on SETI. Because of the year of its publication, the book did not cover most of the history concerning the breaking of the German Enigma machine, which became public knowledge during the 1970s. Hence, not much was said of Alan Turing. It also did not cover the advent of strong cryptography in the public domain, beginning with the invention of public key cryptography and the specification of the Data Encryption Standard in the mid-1970s. The book was republished in 1996, and this new edition included an additional chapter briefly covering the events since the original publication.

title: The Codebreakers


text:
Paradiso

Paradiso may refer to:

Literature

 * Paradiso (Dante), the third part of Dante's Divine Comedy
 * Paradiso (novel), a 1966 novel by José Lezama Lima

Music

 * Paradiso (Amsterdam), a music venue in Amsterdam
 * Paradiso Festival, an annual music festival at the Gorge Amphitheatre in George, Washington, U.S.

Albums

 * Paradiso (Fiction Plane album), 2009
 * Paradiso (Hayley Westenra album), 2011
 * Paradiso, by Chino Amobi, 2017
 * Paradiso (Lucio Battisti Songbook), by Mina, 2018
 * Paradiso, by Tangerine Dream, 2006

Songs

 * "Il paradiso", a 1969 song by Ambra Borelli and Patty Pravo
 * "Paradiso" (song), a 1994 song by Marika Gombitová
 * "Paradiso", a 2012 song by Azealia Banks from Fantasea
 * "Paradiso", a 1962 song by Connie Francis

Places

 * Paradiso, Ticino, a municipality in Switzerland
 * Lugano-Paradiso railway station
 * Paradiso (Turin Metro), a rail station in Turin, Italy
 * Paradiso railway station (Luxembourg)

Other uses

 * Paradiso (surname)
 * Paradiso (immersive theater experience), a theatrical experience in New York City
 * Il Paradiso, a painting by Tintoretto

title: Paradiso


text:
List of lawmen and prime ministers of the Faroe Islands

The prime minister of the Faroe Islands is the head of government of the Faroe Islands.

The Faroese term løgmaður (plural: løgmenn) literally means "lawman" and originally referred to the legal function of lawspeaker. This old title was brought back into use to refer to the head of government after the islands obtained Home Rule in 1948. In recent decades the Faroese government has started using "Prime Minister" as the official English translation of løgmaður, reflecting the increased autonomy of the islands. This translation does not apply to the pre-1816 office, only the modern leaders of the Faroese government.

Løgmenn as lawmen (c. 1000–1816)
Many of the earlier holders of this position are not known.


text:
The Path to the Nest of Spiders

The Path to the Nest of Spiders (Il sentiero dei nidi di ragno) is a 1947 novel by the Italian writer Italo Calvino. The narrative is a coming-of-age story, set against the backdrop of World War II. It was Calvino's first novel.

Plot
Pin, an orphaned cobbler's apprentice in a town on the Ligurian coast, lives with his sister, a prostitute and spends as much time as he can at a seedy bar where he amuses the adult patrons. After stealing a pistol from a Nazi sailor, Pin searches for an identity with an Italian partisan group. All the while, the people he meets mock him without his knowing. The title refers to Pin's secret hiding place, directions to which he touts as a prize to any adults who win his trust.

Reception
Some critics view the work as unexceptional, on the grounds that it fails to address the issues other than from a very naive perspective; others credit it with being skillfully written and make a virtue of its portrayal of the complex emotions and politics of adults, as seen through the eyes of a child. However one passage about prisoners-of-war being made to dig their own grave before being shot is universally regarded as impressive.

title: The Path to the Nest of Spiders