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C4 carbon fixation

 carbon fixation or the Hatch–Slack pathway is one of three known photosynthetic processes of carbon fixation in plants. It owes the names to the 1960s discovery by Marshall Davidson Hatch and Charles Roger Slack.

fixation is an addition to the ancestral and more common carbon fixation. The main carboxylating enzyme in photosynthesis is called RuBisCO, which catalyses two distinct reactions using either  (carboxylation) or oxygen (oxygenation) as a substrate. RuBisCO oxygenation gives rise to phosphoglycolate, which is toxic and requires the expenditure of energy to recycle through photorespiration. photosynthesis reduces photorespiration by concentrating around RuBisCO.

To enable RuBisCO to work in an environment where there is a lot of carbon dioxide and very little oxygen, leaves generally contain two partially isolated compartments called mesophyll cells and bundle-sheath cells. is initially fixed in the mesophyll cells in a reaction catalysed by the enzyme PEP carboxylase in which the three-carbon phosphoenolpyruvate (PEP) reacts with to form the four-carbon oxaloacetic acid (OAA). OAA can then be reduced to malate or transaminated to aspartate. These intermediates diffuse to the bundle sheath cells, where they are decarboxylated, creating a -rich environment around RuBisCO and thereby suppressing photorespiration. The resulting pyruvate (PYR), together with about half of the phosphoglycerate (PGA) produced by RuBisCO, diffuses back to the mesophyll. PGA is then chemically reduced and diffuses back to the bundle sheath to complete the reductive pentose phosphate cycle (RPP). This exchange of metabolites is essential for photosynthesis to work.

Additional biochemical steps require more energy in the form of ATP to regenerate PEP, but concentrating allows high rates of photosynthesis at higher temperatures. Higher CO2 concentration overcomes the reduction of gas solubility with temperature (Henry's law). The concentrating mechanism also maintains high gradients of  concentration across the stomatal pores. This means that plants have generally lower stomatal conductance, reduced water losses and have generally higher water-use efficiency. plants are also more efficient in using nitrogen, since PEP carboxylase is cheaper to make than RuBisCO. However, since the pathway does not require extra energy for the regeneration of PEP, it is more efficient in conditions where photorespiration is limited, typically at low temperatures and in the shade.

Discovery
The first experiments indicating that some plants do not use carbon fixation but instead produce malate and aspartate in the first step of carbon fixation were done in the 1950s and early 1960s by Hugo Peter Kortschak and Yuri Karpilov. The pathway was elucidated by Marshall Davidson Hatch and Charles Roger Slack, in Australia, in 1966. While Hatch and Slack originally referred to the pathway as the "C4 dicarboxylic acid pathway", it is sometimes called the Hatch–Slack pathway.

Anatomy

plants often possess a characteristic leaf anatomy called kranz anatomy, from the German word for wreath. Their vascular bundles are surrounded by two rings of cells; the inner ring, called bundle sheath cells, contains starch-rich chloroplasts lacking grana, which differ from those in mesophyll cells present as the outer ring. Hence, the chloroplasts are called dimorphic. The primary function of kranz anatomy is to provide a site in which can be concentrated around RuBisCO, thereby avoiding photorespiration. Mesophyll and bundle sheath cells are connected through numerous cytoplasmic sleeves called plasmodesmata whose permeability at leaf level is called bundle sheath conductance. A layer of suberin is often deposed at the level of the middle lamella (tangential interface between mesophyll and bundle sheath) in order to reduce the apoplastic diffusion of (called leakage). The carbon concentration mechanism in plants distinguishes their isotopic signature from other photosynthetic organisms.

Although most plants exhibit kranz anatomy, there are, however, a few species that operate a limited  cycle without any distinct bundle sheath tissue. Suaeda aralocaspica, Bienertia cycloptera, Bienertia sinuspersici and Bienertia kavirense (all chenopods) are terrestrial plants that inhabit dry, salty depressions in the deserts of the Middle East. These plants have been shown to operate single-cell -concentrating mechanisms, which are unique among the known  mechanisms. Although the cytology of both genera differs slightly, the basic principle is that fluid-filled vacuoles are employed to divide the cell into two separate areas. Carboxylation enzymes in the cytosol are separated from decarboxylase enzymes and RuBisCO in the chloroplasts. A diffusive barrier is between the chloroplasts (which contain RuBisCO) and the cytosol. This enables a bundle-sheath-type area and a mesophyll-type area to be established within a single cell. Although this does allow a limited cycle to operate, it is relatively inefficient. Much leakage of from around RuBisCO occurs.

There is also evidence of inducible photosynthesis by non-kranz aquatic macrophyte Hydrilla verticillata under warm conditions, although the mechanism by which  leakage from around RuBisCO is minimised is currently uncertain.

Biochemistry
In plants, the first step in the light-independent reactions of photosynthesis is the fixation of  by the enzyme RuBisCO to form 3-phosphoglycerate. However, RuBisCo has a dual carboxylase and oxygenase activity. Oxygenation results in part of the substrate being oxidized rather than carboxylated, resulting in loss of substrate and consumption of energy, in what is known as photorespiration. Oxygenation and carboxylation are competitive, meaning that the rate of the reactions depends on the relative concentration of oxygen and.

In order to reduce the rate of photorespiration, plants increase the concentration of  around RuBisCO. To do so two partially isolated compartments differentiate within leaves, the mesophyll and the bundle sheath. Instead of direct fixation by RuBisCO, is initially incorporated into a four-carbon organic acid (either malate or aspartate) in the mesophyll. The organic acids then diffuse through plasmodesmata into the bundle sheath cells. There, they are decarboxylated creating a -rich environment. The chloroplasts of the bundle sheath cells convert this into carbohydrates by the conventional  pathway.

There is large variability in the biochemical features of C4 assimilation, and it is generally grouped in three subtypes, differentiated by the main enzyme used for decarboxylation ( NADP-malic enzyme, NADP-ME; NAD-malic enzyme, NAD-ME; and PEP carboxykinase, PEPCK). Since PEPCK is often recruited atop NADP-ME or NAD-ME it was proposed to classify the biochemical variability in two subtypes. For instance, maize and sugarcane use a combination of NADP-ME and PEPCK, millet uses preferentially NAD-ME and Megathyrsus maximus, uses preferentially PEPCK.

NADP-ME
The first step in the NADP-ME type pathway is the conversion of pyruvate (Pyr) to phosphoenolpyruvate (PEP), by the enzyme Pyruvate phosphate dikinase (PPDK). This reaction requires inorganic phosphate and ATP plus pyruvate, producing PEP, AMP, and inorganic pyrophosphate (PPi). The next step is the carboxylation of PEP by the PEP carboxylase enzyme (PEPC) producing oxaloacetate. Both of these steps occur in the mesophyll cells:

 * pyruvate + Pi + ATP → PEP + AMP + PPi
 * PEP + → oxaloacetate

PEPC has a low KM for — and, hence, high affinity, and is not confounded by O2 thus it will work even at low concentrations of.

The product is usually converted to malate (M), which diffuses to the bundle-sheath cells surrounding a nearby vein. Here, it is decarboxylated by the NADP-malic enzyme (NADP-ME) to produce and pyruvate. The is fixed by RuBisCo to produce phosphoglycerate (PGA) while the pyruvate is transported back to the mesophyll cell, together with about half of the phosphoglycerate (PGA). This PGA is chemically reduced in the mesophyll and diffuses back to the bundle sheath where it enters the conversion phase of the Calvin cycle. For each molecule exported to the bundle sheath the malate shuttle transfers two electrons, and therefore reduces the demand of reducing power in the bundle sheath.

NAD-ME
Here, the OAA produced by PEPC is transaminated by aspartate aminotransferase to aspartate (ASP) which is the metabolite diffusing to the bundle sheath. In the bundle sheath ASP is transaminated again to OAA and then undergoes a futile reduction and oxidative decarboxylation to release. The resulting Pyruvate is transaminated to alanine, diffusing to the mesophyll. Alanine is finally transaminated to pyruvate (PYR) which can be regenerated to PEP by PPDK in the mesophyll chloroplasts. This cycle bypasses the reaction of malate dehydrogenase in the mesophyll and therefore does not transfer reducing equivalents to the bundle sheath.

PEPCK
In this variant the OAA produced by aspartate aminotransferase in the bundle sheath is decarboxylated to PEP by PEPCK. The fate of PEP is still debated. The simplest explanation is that PEP would diffuse back to the mesophyll to serve as a substrate for PEPC. Because PEPCK uses only one ATP molecule, the regeneration of PEP through PEPCK would theoretically increase photosynthetic efficiency of this subtype, however this has never been measured. An increase in relative expression of PEPCK has been observed under low light, and it has been proposed to play a role in facilitating balancing energy requirements between mesophyll and bundle sheath.

Metabolite exchange
While in photosynthesis each chloroplast is capable of completing light reactions and dark reactions,  chloroplasts differentiate in two populations, contained in the mesophyll and bundle sheath cells. The division of the photosynthetic work between two types of chloroplasts results inevitably in a prolific exchange of intermediates between them. The fluxes are large and can be up to ten times the rate of gross assimilation. The type of metabolite exchanged and the overall rate will depend on the subtype. To reduce product inhibition of photosynthetic enzymes (for instance PECP) concentration gradients need to be as low as possible. This requires increasing the conductance of metabolites between mesophyll and bundle sheath, but this would also increase the retro-diffusion of out of the bundle sheath, resulting in an inherent and inevitable trade off in the optimisation of the  concentrating mechanism.

Light harvesting and light reactions
To meet the NADPH and ATP demands in the mesophyll and bundle sheath, light needs to be harvested and shared between two distinct electron transfer chains. ATP may be produced in the bundle sheath mainly through cyclic electron flow around Photosystem I, or in the M mainly through linear electron flow depending on the light available in the bundle sheath or in the mesophyll. The relative requirement of ATP and NADPH in each type of cells will depend on the photosynthetic subtype. The apportioning of excitation energy between the two cell types will influence the availability of ATP and NADPH in the mesophyll and bundle sheath. For instance, green light is not strongly adsorbed by mesophyll cells and can preferentially excite bundle sheath cells, or vice versa for blue light. Because bundle sheaths are surrounded by mesophyll, light harvesting in the mesophyll will reduce the light available to reach BS cells. Also, the bundle sheath size limits the amount of light that can be harvested.

Efficiency
Different formulations of efficiency are possible depending on which outputs and inputs are considered. For instance, average quantum efficiency is the ratio between gross assimilation and either absorbed or incident light intensity. Large variability of measured quantum efficiency is reported in the literature between plants grown in different conditions and classified in different subtypes but the underpinnings are still unclear. One of the components of quantum efficiency is the efficiency of dark reactions, biochemical efficiency, which is generally expressed in reciprocal terms as ATP cost of gross assimilation (ATP/GA).

In photosynthesis ATP/GA depends mainly on  and O2 concentration at the carboxylating sites of RuBisCO. When concentration is high and O2 concentration is low photorespiration is suppressed and  assimilation is fast and efficient, with ATP/GA approaching the theoretical minimum of 3.

In photosynthesis  concentration at the RuBisCO carboxylating sites is mainly the result of the operation of the  concentrating mechanisms, which cost circa an additional 2 ATP/GA but makes efficiency relatively insensitive of external  concentration in a broad range of conditions.

Biochemical efficiency depends mainly on the speed of delivery to the bundle sheath, and will generally decrease under low light when PEP carboxylation rate decreases, lowering the ratio of /O2 concentration at the carboxylating sites of RuBisCO. The key parameter defining how much efficiency will decrease under low light is bundle sheath conductance. Plants with higher bundle sheath conductance will be facilitated in the exchange of metabolites between the mesophyll and bundle sheath and will be capable of high rates of assimilation under high light. However, they will also have high rates of retro-diffusion from the bundle sheath (called leakage) which will increase photorespiration and decrease biochemical efficiency under dim light. This represents an inherent and inevitable trade off in the operation of photosynthesis. plants have an outstanding capacity to attune bundle sheath conductance. Interestingly, bundle sheath conductance is downregulated in plants grown under low light and in plants grown under high light subsequently transferred to low light as it occurs in crop canopies where older leaves are shaded by new growth.

Evolution and advantages
plants have a competitive advantage over plants possessing the more common carbon fixation pathway under conditions of drought, high temperatures, and nitrogen or  limitation. When grown in the same environment, at 30 °C, grasses lose approximately 833 molecules of water per  molecule that is fixed, whereas  grasses lose only 277. This increased water use efficiency of grasses means that soil moisture is conserved, allowing them to grow for longer in arid environments.

carbon fixation has evolved in at least 62 independent occasions in 19 different families of plants, making it a prime example of convergent evolution. This convergence may have been facilitated by the fact that many potential evolutionary pathways to a phenotype exist, many of which involve initial evolutionary steps not directly related to photosynthesis. plants arose around during the Oligocene (precisely when is difficult to determine) and were becoming ecologically significant in the early Miocene around. metabolism in grasses originated when their habitat migrated from the shady forest undercanopy to more open environments, where the high sunlight gave it an advantage over the pathway. Drought was not necessary for its innovation; rather, the increased parsimony in water use was a byproduct of the pathway and allowed plants to more readily colonize arid environments.

Today, plants represent about 5% of Earth's plant biomass and 3% of its known plant species. Despite this scarcity, they account for about 23% of terrestrial carbon fixation. Increasing the proportion of plants on earth could assist biosequestration of  and represent an important climate change avoidance strategy. Present-day plants are concentrated in the tropics and subtropics (below latitudes of 45 degrees) where the high air temperature increases rates of photorespiration in  plants.

Plants that use carbon fixation
About 8,100 plant species use carbon fixation, which represents about 3% of all terrestrial species of plants. All these 8,100 species are angiosperms. carbon fixation is more common in monocots compared with dicots, with 40% of monocots using the pathway, compared with only 4.5% of dicots. Despite this, only three families of monocots use carbon fixation compared to 15 dicot families. Of the monocot clades containing plants, the grass (Poaceae) species use the  photosynthetic pathway most. 46% of grasses are and together account for 61% of  species. has arisen independently in the grass family some twenty or more times, in various subfamilies, tribes, and genera, including the Andropogoneae tribe which contains the food crops maize, sugar cane, and sorghum. Various kinds of millet are also. Of the dicot clades containing species, the order Caryophyllales contains the most species. Of the families in the Caryophyllales, the Chenopodiaceae use carbon fixation the most, with 550 out of 1,400 species using it. About 250 of the 1,000 species of the related Amaranthaceae also use.

Members of the sedge family Cyperaceae, and members of numerous families of eudicots – including Asteraceae (the daisy family), Brassicaceae (the cabbage family), and Euphorbiaceae (the spurge family) – also use.

No large trees (above 15 m in height) use, however a number of small trees or shrubs smaller than 10 m exist which do: six species of Euphorbiaceae all native to Hawaii and two species of Amaranthaceae growing in deserts of the Middle-East and Asia.

Converting plants to
Given the advantages of, a group of scientists from institutions around the world are working on the Rice Project to produce a strain of rice, naturally a  plant, that uses the  pathway by studying the  plants maize and Brachypodium. As rice is the world's most important human food—it is the staple food for more than half the planet—having rice that is more efficient at converting sunlight into grain could have significant global benefits towards improving food security. The team claims rice could produce up to 50% more grain—and be able to do it with less water and nutrients.

The researchers have already identified genes needed for photosynthesis in rice and are now looking towards developing a prototype  rice plant. In 2012, the Government of the United Kingdom along with the Bill & Melinda Gates Foundation provided US$14 million over three years towards the Rice Project at the International Rice Research Institute. In 2019, the Bill & Melinda Gates Foundation granted another US$15 million to the Oxford-University-led C4 Rice Project. The goal of the 5-year project is to have experimental field plots up and running in Taiwan by 2024.

C2 photosynthesis, an intermediate step between and Kranz, may be preferred over  for rice conversion. The simpler system is less optimized for high light and high temperature conditions than, but has the advantage of requiring fewer steps of genetic engineering and performing better than under all temperatures and light levels. In 2021, the UK Government provided £1.2 million on studying C2 engineering.

title: C4 carbon fixation


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Multiple rocket launcher

A multiple rocket launcher (MRL) or multiple launch rocket system (MLRS) is a type of rocket artillery system that contains multiple launchers which are fixed to a single platform, and shoots its rocket ordnance in a fashion similar to a volley gun. Rockets are self-propelled in flight and have different capabilities than conventional artillery shells, such as longer effective range, lower recoil, typically considerably higher payload than a similarly sized gun artillery platform, or even carrying multiple warheads.

Unguided rocket artillery is notoriously inaccurate and slow to reload compared to gun artillery. A multiple rocket launcher helps compensate for this with its ability to launch multiple rockets in rapid succession, which, coupled with the large kill zone of each warhead, can easily deliver saturation fire over a target area. However, modern rockets can use GPS or inertial guidance to combine the advantages of rockets with the higher accuracy of precision-guided munitions.

History
The first multiple rocket launchers were invented during the medieval Chinese Song dynasty, in which the Chinese fire lance was fixed backward on a pike or arrow and shot at an enemy as early as 1180. This form of rocket was used during the Mongol siege of Kaifeng.

Chinese militaries later created multiple rocket launchers that fired up to 100 small fire-arrow rockets simultaneously. The typical powder section of the arrow-rockets was 1/3 to 1/2 ft (10 to 15 cm) long. Bamboo arrow shafts varied from 1.5 ft (45 cm) to 2.5 ft (75 cm) long and the striking distance reached 300 to 400 paces. The Chinese also enhanced rocket tips with poison and made sure that the launchers were mobile. They designed a multiple rocket launcher to be carried and operated by a single soldier. Various forms of MRLs evolved, including a launcher mounted on a wheelbarrow.

The Joseon dynasty of Korea used an expanded variant of such a launcher (called a hwacha) made of 100 to 200 holes containing rocket arrows placed on a two-wheeled cart. The range of the fired arrows is estimated to have been 2,000 meters. The hwacha was used to great effect against invading armies during the Japanese invasions of 1592–1598, most notably the Battle of Haengju, in which 40 hwachas were deployed to repel 30,000 Japanese soldiers.

European armies preferred relatively large single-launch rockets prior to World War II. Napoleonic armies of both sides followed the British adoption of Mysorean rockets as the Congreve rocket. These were explosive steel-cased bombardment rockets with minimal launchers. European navies developed naval multiple launcher mounts with steadily improving explosive rockets for light and coastal vessels. These weapons were largely replaced by conventional light artillery during the late nineteenth century.

World War II

The first self-propelled MRLs—and arguably the most famous—was the Soviet BM-13 Katyusha, first used during World War II and exported to Soviet allies afterwards. They were simple systems in which a rack of launch rails was mounted on the back of a truck. This set the template for modern MRLs. The Americans mounted tubular launchers atop M4 Sherman tanks to create the T34 Calliope rocket launching tank, only used in small numbers, as their closest equivalent to the Katyusha. The Germans began using a towed six-tube multiple rocket launcher during World War II, the Nebelwerfer, called the "Screaming Mimi" by the Allies. The system was developed before the war to skirt the limitations of the Treaty of Versailles. Later in the war, 15 cm Nebelwerfer 41s were mounted on modified Opel Maultier "Mule" halftracks, becoming Panzerwerfer 42 4/1s. Another version produced in limited numbers towards the end of the war was a conversion of the Schwerer Wehrmachtschlepper ("heavy military transport", sWS) halftrack to a configuration similar to the Panzerwerfer 42 4/1, mounting the 10-barreled 15 cm Nebelwerfer.

Another German halftrack MRL system was inspired by the Russian BM-13. Keeping the Soviet 82 mm rocket caliber as well as the launch and rocket stabilisation designs, it was developed into a system of two rows of 12 guide rails mounted to a Maultier chassis, each row providing the capacity for 24 rockets, underslung as well as on top of the rails, for 48 rockets total. This vehicle was designated 8 cm Raketen-Vielfachwerfer (8 cm multiple rocket launcher). As the launch system was inspired by and looked similar to the BM-13, which the Germans had nicknamed "Stalin-Orgel" or "Stalin-Organ", the Vielfachwerfer soon became known as the "Himmler-Orgel", or "Himmler-Organ".

Types
There are two main types of MRLs:
 * With tubes or pipes, usually made of steel, non-removable from launcher, with options to be reloaded on the battlefield with rockets loaded manually or semi-automatically. This was the most usual type until the 21st century. It is more convenient for battlefield usage because it does not require special tools to reload modules and test them before using them on launchers as with other types.
 * With containers, pods or modules that can be removed from the launcher and quickly replaced with same or different types of rockets and calibers. They are usually reloaded at a factory or within specially-equipped army workshops. These are more modern types of weapons as they are not necessarily related to just one type of rocket and give more options to commanders in the field to deal with different tactical situations using different types of rockets or to quickly reload. They are also easier to upgrade for different types of rockets.

Current usage
Like all artillery, MRLs have a reputation of devastating morale on ill-disciplined or already-shaken troops. The material effect depends on circumstances, as well-covered field fortifications may provide reasonable protection.

MRLs are still unable to properly engage reverse slope positions in mountain warfare because it is more difficult to determine the trajectory compared to that of a howitzer by adding or removing propellant increments. Simple MRL rocket types have a rather long minimum firing range for the same reason. An approach to lessen this limit is the addition of drag rings to the rocket nose. The increased drag slows the rocket down relative to a clean configuration and creates a less flat trajectory. Pre-packaged MRL munitions do not offer this option but some MRL types with individually loaded rockets do.

Improvised MRLs based on helicopter or aircraft-mounted rocket pods (typically of 57–80   mm caliber) especially on light trucks and pickups (so-called "technicals") are often seen in civil wars when rebels make use of captured launchers and munitions.

Modern MRL systems can use modern land navigation (especially satellite navigation such as GPS) for quick and accurate positioning. The accurate determination of the battery position previously required such effort that making a dispersed operation of the battery was at times impractical. MRL systems with GPS can have their MRLs dispersed and fire from various positions at a single target, just as previously multiple batteries were often united on one target area.

Radar may be used to track weather balloons to determine winds or to track special rockets that self-destruct in the air. The tracking allows determination of the influence of winds and propellant temperatures on the rockets' flight paths. These observations can then be factored into the firing solution for the rocket salvo for effect. Such tracking radars can also be used to predict the range error of individual rockets. Trajectory-correcting munitions may then benefit from this, as a directional radio may send a coded message to the rocket to deploy air brakes at just the right time to correct most of the range error. This requires that the rockets were originally aimed too far, as the range can only be shortened by the air brakes, not extended.

A more sophisticated system makes use of radar data and a one-way radio datalink to initiate a two dimensional (range and azimuth) correction of the rocket's flight path with steering by fins or nose thrusters. The latter is more common with systems which can be used to upgrade old rockets and the IMI ACCULAR is an example.

Fin-stabilised rockets also allow for easy course corrections using rudders or minute charges. Precision-guided munitions have been introduced to exploit this. Guidance principles such as satellite navigation, inertial navigation systems and semi-active laser seekers are used for this. This improves dispersion from a CEP of hundreds of meters at dozens of kilometers' range to just a few meters and largely independent of the range of the round (except for INS, as INS navigation creates a small dispersion that is about proportional to range). This in turn made great increases of rocket (or missile) ranges useful; previously dispersion had made rockets too inefficient and often too dangerous to friendly troops at long ranges. Long-range MRL missiles often fly a higher quasi-ballistic trajectory than shorter-ranged rockets and thus pose a de-confliction challenge, as they might collide with friendly aircraft in the air.

The differences between an MRL missile and a large anti-tank guided missile, such as the Nimrod, have blurred due to guided MRL missiles such as the M31 GMLRS (guided unitary multiple launch rocket system), which passed flight tests in 2014.

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

title: Multiple rocket launcher


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Prentis Cobb Hale

Prentis Cobb Hale Jr. (July 30, 1910 – February 16, 1996) was an American entrepreneur.

The son of Prentis Cobb Hale I, who with two brothers, founded Hale Brothers & Co. Inc., in Sacramento, California in 1881. Prentis Hale Jr. earned a bachelor's degree in 1933 and an Ll.B. in 1936, both at Stanford University.

In 1936, he began his business career as a stock clerk working in the basement of the family business, Hale Bros. Stores. By 1948, he was the company's president. Hale Bros merged with Los Angeles–based Broadway Department Stores to form Broadway-Hale Stores Inc. He was chairman of the new company from 1950 to 1972. Edward W. Carter (1911–1996) succeeded Hale in the post, followed by Philip M. Hawley. The company, later known as Carter Hawley Hale Stores Inc., owned the Emporium, Weinstock's and The Broadway, as well as Neiman-Marcus, prior to its two famous bankruptcies.

He was also a vice president of the Bank of America and a member of the Bohemian Club. He died in San Francisco on February 16, 1996.

He had four children with his first wife, Marialice King Hale, who committed suicide in March 1969. He later married Denise Minnelli, the former wife of director Vincente Minnelli.

title: Prentis Cobb Hale


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Peace Center

The Peace Center is a performing arts center located in Greenville, South Carolina. It is composed of a concert hall, theater, and amphitheatre. Located adjacent to Falls Park, the center hosts over 300 events each year, including classical music, Broadway shows, pop stars, and magic shows including David Copperfield.

About
Under consideration since at least the 1970s, a new Greenville performing arts center was being designed and was of utmost importance for then-mayor Bill Workman. The Peace Center is named after the local Peace family who donated $10 million towards its development. The center was opened in 1990 and is built on the former site of three dilapidated factories – one that produced wagons for the Confederate Army, a textile plant built in the 1880s, and a former home of Duke's Mayonnaise. There are three resident companies: Greenville Symphony Orchestra, Carolina Ballet Theatre, and the International Ballet. In January 2004, the Peace Center hosted a debate among Democratic presidential candidates. In May 2011, it was the site of the first Republican debate for the 2012 presidential election. In February 2016, it was the site of the ninth Republican debate for the 2016 presidential election. The TD Stage at the Peace Center (formerly the Peace Center Amphitheater) opened September 12, 2012, hosting Vince Gill. The night started with Mayor Knox White and TD executives hosting a ribbon cutting ceremony. Seating capacity is projected to be 1,400+. Patrons are able to sit along the tiered seat-walls or use blankets or lawn chairs in the open-seating areas.

The Brian Setzer Orchestra performed at the Peace Center in 2006 for their Christmas Rocks Tour, and also played some of their hits like "Jump, Jive, and Wail".

In 2022, a $36 million renovation project was revealed.

title: Peace Center


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ODE

ODE may refer to:

 * Ohio Department of Education, the state education agency of Ohio
 * Omicron Delta Epsilon, an international honor society in the field of economics
 * Online disinhibition effect, a loosening of social inhibitions during interactions with others on the Internet that would otherwise be present in normal face-to-face interaction
 * Open Dynamics Engine, a real-time physics engine
 * Ordinary differential equation, a mathematical concept
 * Oregon Daily Emerald, student newspaper of the University of Oregon
 * Oxford Dictionary of English, a 1998 English language dictionary
 * Apache ODE, a web-services orchestration engine from the Apache Software Foundation

title: ODE


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Juan José Ibarretxe

Juan José Ibarretxe Markuartu (born 15 March 1957) is a former president of the Basque Autonomous Community in Spain. Also a leading member of the Basque Nationalist Party (PNV) during the period, he held office from 2 January 1999 to 7 May 2009. Ibarretxe is an advocate of Basque independence by peaceful means.

Origins and early political career
He was born in Llodio in the province of Álava, and holds a degree in Economics from the University of the Basque Country. In 1983 he was elected a member of the Basque Parliament for Álava, representing the PNV, and from then on rose steadily to prominence. From 1986-1990 and 1991-1994 he was the President of the PNV Economic and Budgetary Commission. On 4 January 1995, then Basque President José Antonio Ardanza appointed him Vice President.

Lehendakari
On 28 March 1998, he was nominated PNV presidential candidate to compete in the October 25 Basque election, and became lehendakari (president) on 2 January 1999. In October 2003 he released the highly controversial Ibarretxe Plan (Plan Ibarretxe), which foresaw a future Basque country freely associated with Spain, with its own separate legal system and European Union (EU) representation. In October 2007 while in office he was prosecuted for holding talks with other political agents in search for a compromise leading to peace, considered illegal by the judge for the participation of former members of Batasuna.

Private life and hobbies
Ibarretxe grew up speaking only Spanish, but now speaks Basque acceptably and English. He is an avid cycling fan and has presided over a cycling club in Llodio. He is married and has two children. He is a non-practising Roman Catholic.

title: Juan José Ibarretxe


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John Taylor (bishop of Lincoln)

John Taylor (c. 1503 – 1554) was an English churchman and academic, Bishop of Lincoln from 1552 to 1554.

Life
Taylor served as bursar then proctor of Queens' College, Cambridge from 1523 to 1537, and master of St John's College, Cambridge from 1538 to 1546. He was rector of St Peter upon Cornhill, London, of Tatenhill, Staffordshire, Dean of Lincoln Cathedral, a Reformer and Commissioner for the first Prayer Book.

According to John Foxe's Acts and Monuments, John Taylor walked out of mass celebrated at the commencement of the 1553 parliament. He was discharged from parliament and convocation on 5 October 1553, In 1553 Taylor was sent by Mary to the Tower for his action and that he died soon after. In later editions Foxe corrected this, asserting Taylor was commanded to attend and died shortly afterwards at Ankerwyke House at Wraysbury in Buckinghamshire.

title: John Taylor (bishop of Lincoln)


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Theodore Bikel

Theodore Meir Bikel (May 2, 1924 – July 21, 2015) was an Austrian actor, folk singer, musician, composer, unionist, and political activist. He appeared in films, including The African Queen (1951), Moulin Rouge (1952), The Kidnappers (1953), The Enemy Below (1957), I Want to Live! (1958), My Fair Lady (1964), The Russians Are Coming, the Russians Are Coming (1966), and 200 Motels (1971). For his portrayal of Sheriff Max Muller in The Defiant Ones (1958), he was nominated for the Academy Award for Best Supporting Actor.

He made his stage debut in Tevye the Milkman in Tel Aviv, Mandatory Palestine, when he was in his teens. He later studied acting at Britain's Royal Academy of Dramatic Art, and made his London stage debut in 1948 and in New York in 1955. He was also a widely recognized and recorded folk singer and guitarist. In 1959, he co-founded the Newport Folk Festival, and created the role of Captain von Trapp opposite Mary Martin as Maria in the original Broadway production of Rodgers & Hammerstein's The Sound of Music. In 1969, Bikel began acting and singing on stage as Tevye in the musical Fiddler on the Roof, a role he performed more often than any other actor to date. The production won nine Tony Awards, and was one of the longest-running musicals in Broadway history.

Bikel was president of the Associated Actors and Artistes of America until 2014, and was president of Actors' Equity in the late 1970s and early 1980s. He served as the chairman of the board of directors of Partners for Progressive Israel, where he also lectured.

Early years
Theodore Bikel was born into a Jewish family in Vienna, Austria, the son of Miriam (née Riegler) and Josef Bikel, from Bukovina. As an active Zionist, his father named him after Theodor Herzl, the founder of modern Zionism. Following the German annexation of Austria in 1938, Bikel's family fled to Mandatory Palestine, where his father's contacts helped the family obtain British passports. Bikel studied at the Mikve Yisrael agricultural school and joined Kibbutz Kfar HaMaccabi.

Bikel started acting while in his teens. He performed with Habimah Theatre in 1943, and was one of the founding members of the Cameri Theatre, which became a leading Israeli theatre company. He described his acting experience there as similar to, if not better than, the method acting techniques taught at the Actors Studio in New York. "The Habimah people were much closer to the Method, indeed, than Lee Strasberg was, because they were direct disciples of Stanislavski."

In 1945, he moved to London to study at the Royal Academy of Dramatic Art. Finding work almost immediately, from the mid 40s to the late 50s, Bikel appeared in a slew of British B-movies, and the occasional 'A' film too, usually playing heavies and crooks of various European nationalities despite having perfected his English accent. He played the lead role in 1956 English film drama, 'Flight from Vienna'. Despite his success in the UK, the ever-ambitious Bikel travelled to the States in 1954 to pursue his career in the more lucrative Hollywood movie industry and on Broadway, becoming a naturalized citizen in 1961.

Bikel did not return to live in Israel, nor did he take part in the 1948 Arab–Israeli War. Bikel wrote in his autobiography, Theo: "A few of my contemporaries regarded [not returning to Israel] as a character flaw, if not a downright act of desertion. In me there remains a small, still voice that asks whether I can ever fully acquit myself in my own mind."

Actor
In 1948, Michael Redgrave recommended Bikel to his friend Laurence Olivier as understudy for the parts of both Stanley Kowalski and Harold "Mitch" Mitchell in the West End theatre district premiere of Tennessee Williams' A Streetcar Named Desire in London, (England / United Kingdom). Aside from being an understudy, Bikel's main role in the production was the relatively minor part of Pablo Gonzales. He graduated from supporting actor and understudy, though, to star opposite the director's wife, Vivien Leigh, with a sudden, unplanned performance when a co-star, playing the role of Mitch, came down with a case of flu. Bikel showed up backstage and went directly to Leigh's dressing room to ask if she wanted to rehearse with him, to make sure he was right for the role. She replied that she did not need to: "Go and do it," she said. "You are a professional, and Larry gave you this job because he trusted you to do it well." After the show, Leigh told him, "Well done."

For most of his acting career, he was known for his versatility in playing characters of different nationalities and ethnic backgrounds; he claimed he took on those different personalities so his acting would "never get stale". On television, he played an Armenian merchant on Ironside, a Polish professor on Charlie's Angels, an American tyrannical college / law school professor on The Paper Chase (television version of the earlier feature film The Paper Chase (1973), starring John Houseman as "Professor Kingsley"),  a Bulgarian villain on Falcon Crest, a Belarusian on Star Trek: The Next Generation, and an Italian on Murder, She Wrote.

In movies, he played an Imperial German naval gunboat officer of the First World War era in The African Queen (1951) opposite Humphrey Bogart and Katharine Hepburn and in the World War II combat film on a Nazi German U-boat / submarine in The Enemy Below (1957) starring Robert Mitchum and Curd Jürgens, a Southern "redneck"  sheriff chasing two chained escaped convicts Sidney Poitier and Tony Curtis in The Defiant Ones, and a Russian submarine  captain whose boat gets grounded on the beach near the rural village on Gloucester Island of the New England rocky coast causing residents to panic of a threatening Russian Soviet Union / Red Navy  invasion in the Cold War era comedy The Russians Are Coming, the Russians Are Coming!!! (1966), along with Alan Arkin, Brian Keith, Jonathan Winters and Carl Reiner. He also portrayed the sadistic General Jouvet in The Pride and the Passion (1957), and was screen tested for the role of Auric Goldfinger in the James Bond film Goldfinger (1964), though the part ultimately fell to German actor Gert Fröbe. In My Fair Lady (1964), he played the overbearing Hungarian linguist Zoltan Karpathy.

He made his Broadway debut in 1955 in Tonight in Samarkand, and in 1958 was nominated for a Tony Award for Best Featured Actor in a Play for The Rope Dancers. In 1959, he created the role of Austria-Hungary Empire naval Captain von Trapp in the original stage musicale production of The Sound of Music, which earned him a second "Tony" nomination. Bikel did not like his role because his ability to sing was underused; neither did he like performing the same role of the captain repeatedly. When the famous longtime musicale composers, Rodgers and Hammerstein, realized Bikel was an accomplished folksinger, they wrote the song "Edelweiss" (purporting within the story to be an Austrian folk song) specifically for him to sing and accompany himself on the guitar.

In 1964, he played Zoltan Karpathy, the dialect expert, in the film version of My Fair Lady. Since his first appearance as Tevye in the musical Fiddler on the Roof (1967), Bikel had performed the role more often than any other actor (more than 2,000 times). When an injury required 74-year-old fellow Israeli performer Chaim Topol (veteran of many productions of the stage show and star of the later 1967 motion picture Fiddler on the Roof) to withdraw from a high-budget, much-promoted 2009 North American tour of the revival musical, Bikel substituted for him in several appearances in 2010.

Bikel was a guest star on many popular television series in the 1950s (often called the first "Golden Age of Television"). He appeared in an episode of the 1954 NBC legal drama Justice based on cases from the Legal Aid Society of New York. He also appeared in the episode entitled "The Faithful Pilgrimage" of CBS's Appointment with Adventure anthology series. That particular episode was written by Rod Serling. He also appeared in a second episode of Appointment with Adventure entitled "Return of the Stranger". Bikel also appeared in an acting role in Frank Zappa's experimental film 200 Motels (1971).

Bikel continued guest-starring in the following decades of the 1960s and 1970s beginning on Rod Serling's The Twilight Zone (episode "Four O'Clock" as Oliver Crangle). He appeared on episodes of the Western series of Wagon Train, and the World War II drama Combat! in the season-three episode "Mountain Man" as Francois Perrault. Then the police dramas of Hawaii Five-O, Columbo (1977, "The Bye-Bye Sky High I.Q. Murder Case"), Charlie's Angels, The San Pedro Beach Bums, Cannon, then back to family Western on Little House on the Prairie, and the long-running Gunsmoke. International intrigue on Mission: Impossible, 1980s primetime soap opera Dynasty, the iconic '70s sitcom of All in the Family (1978), along with more police / detective dramas on Knight Rider; Murder, She Wrote;  Law & Order; and Mickey Spillane's Mike Hammer (1987 episode "Elegy for a Tramp" as Gerringer).

In the early 1990s, he appeared on the science fiction  series Star Trek: The Next Generation, in the episode "Family", playing Sergey Rozhenko, Worf's Belarusian-born adoptive father. Bikel continued in the sci-fi genre with performing two roles in the Babylon 5 universe, in 1994 as Rabbi Koslov in the first-season episode "TKO" and in 1998, as Ranger leader Lenonn in the TV movie Babylon 5: In the Beginning.

Bikel was nominated for the Drama Desk Award in 2010 for outstanding solo performance for Sholom Aleichem: Laughter Through Tears, an off-Broadway play that he also wrote. In 2012, Bikel played the title role in Visiting Mr. Green with the Harold Green Jewish Theatre Company in Toronto, Ontario, Canada. In 2013, Bikel starred in Journey 4 Artists, a documentary that celebrates the power of music and religious diversity.

Folk singer and composer
In 1955, at the suggestion of Jac Holzman of Elektra Records, Bikel began recording songs, including several albums of Jewish folk songs and songs from Russia and other countries, making over 20 contemporary and folk music albums during his career. For those, he played acoustic guitar alone or accompanied by other musicians. He was able to sing in 21 different languages, including Yiddish, Hebrew, German, Russian, Hungarian, Romanian, French, medieval Spanish, Zulu, and English. His early albums included Israeli Folk Songs (1955) and Songs of Russian Old & New (1960). Bikel's live performances were issued on two albums: Bravo Bikel (1959), and Bikel on Tour (1963).

In 1959, Bikel co-founded the Newport Folk Festival (together with Pete Seeger, Harold Leventhal, Oscar Brand, and George Wein). He performed a number of recorded duets with Judy Collins at various festivals and on television. During an interview, when asked what inspired him to become involved in organizing a folk festival, he said that music was "one of the few answers to the chaos that we have," one of the only recourses to avoid social strife, and a means of giving youth hope for a better world.

Bikel viewed then 21-year-old Bob Dylan as one of those young performers expressing emotional and social messages through song. In 1963, Bikel joined Dylan, Seeger, Peter, Paul and Mary, and Joan Baez for the festival grand finale as they sang "Blowin' in the Wind" and "We Shall Overcome". Following the festival, Bikel, Seeger, and Dylan traveled to a planned rally in Greenwood, Mississippi, to perform Dylan's newly written song, "Only a Pawn in Their Game", about the man who murdered Medgar Evers. Originally, only Bikel and Seeger were scheduled to perform, but Bikel wanted Dylan to go with them. He told Dylan's manager, Albert Grossman, "I'll tell you what. Buy him a ticket. Don't tell him where it came from. Tell him it's time to go down and experience the South."

Bikel's close friendship with Seeger was sometimes tested as a result of the Newport festival's choice of performers. On one occasion, Seeger became infuriated during Bob Dylan's legendary 1965 performance accompanied by the Paul Butterfield Blues Band. Seeger expected Bikel to support him: "Theo, for Chrissake—tell them. Set them straight!" Bikel stepped forward and told Seeger, "Peter, this band, these rebels—they are us. They are what we were 20 years ago. Remember?" Seeger stared at him "like a trauma victim", as Bikel succeeded in calming Seeger down enough to let the group finish their songs. In 1965, Bikel, as well as Seeger, was shocked when Bob Dylan turned electric at the festival, an event some call "Dylan's declaration of musical independence."

In 1962, Bikel became the first singer besides Dylan to perform "Blowin' in the Wind" in public. His album A Folksinger's Choice (1964) featured Jim McGuinn (as he was then known) on banjo. Bikel (with business partner Herb Cohen) opened the first folk music coffee house in Los Angeles, The Unicorn. Its popularity led to the two opening a second club, Cosmo Alley, which, in addition to folk music, presented poets such as Maya Angelou and comics including Lenny Bruce. Bikel became increasingly involved with civil-rights issues and progressive causes, and was a Eugene McCarthy delegate to the 1968 Democratic Convention.

Personal life
Bikel was married four times. He married Ofra Ichilov in 1942. They divorced the following year. His second marriage was in 1967 to Rita Weinberg Call, with whom he had two children. They divorced in 2008. He married conductor Tamara Brooks later that year. She died in 2012. He married journalist and foreign correspondent Aimee Ginsburg on December 29, 2013.

Political activism
Bikel was a longtime activist in the civil-rights and human-rights movements, participating as a fundraiser with performances. He co-founded the Actors Federal Credit Union in 1962, and in 1968, he was a delegate to the Democratic National Convention in Chicago. He was president of Actors' Equity from 1977 to 1982, in which office he supported human-rights causes. Since 1988, he had been president of the Associated Actors and Artistes of America.

Upon hearing of his death, Actors’ Equity wrote: "From the time he joined Equity in 1954, Bikel has been an advocate for the members of our union and his extraordinary achievements paved the way for so many. No one loved theater more, his union better, or cherished actors like Theo did. He has left an indelible mark on generations of members past and generations of members to come. We thank you, Theo, for all you have done."

Bikel was an active supporter and campaigner for John F. Kennedy. He did some of his campaigning during the run of The Sound of Music, which got him into trouble with the producers, who did not think it was becoming for an actor. He recalls, "I would go out sometimes between matinee and evening performances, go to a rally and speak from a flat-bed truck, and then come back to the theater." The producers stopped complaining, however, when after one show he was picked up backstage by a limousine carrying Eleanor Roosevelt, and he accompanied her to a Democratic rally as her special guest.

In 1968, Bikel supported the presidential campaign of Eugene McCarthy and attended the 1968 Democratic National Convention after being elected as a pro-McCarthy delegate in New York.

At the 1977 AFL–CIO Convention, Bikel welcomed Russian dissident Vladimir Bukovsky upon his release from the Soviet Union. He was arrested in front of the Soviet Embassy in Washington in 1986 while protesting the plight of Soviet Jews.

President Jimmy Carter appointed him to serve on the National Council for the Arts in 1977 for a six-year term. In 2007, he served as chair of the Board of Directors of Meretz USA (now Partners for Progressive Israel).

He was a member of the high-IQ collective Mensa International.

Death
Bikel died on July 21, 2015, at Ronald Reagan UCLA Medical Center in Los Angeles of natural causes, according to publicist Harlan Boll, survived by Ms. Ginsburg, his sons from his second marriage, Robert and Daniel, and three grandchildren. He was buried at Hillside Memorial Park Cemetery in Culver City, California.

Awards and recognition

 * 1959 – Academy Award nomination for The Defiant Ones
 * 1992 – Honorary Doctorate of the University of Hartford
 * 1997 – Lifetime Achievement Award from the National Foundation for Jewish Culture
 * 2005 – Star on the Hollywood Walk of Fame (6233 Hollywood Blvd.)
 * 2008 – Golden Rathausmann of Vienna (November 27)
 * 2009 – Austrian Cross of Honour for Science and Art, 1st class (November 15)
 * 2014 – Lifetime Achievement Award from Rhode Island International Film Festival (August)

Discography

 * Folk Songs of Israel (1955), Elektra
 * An Actor’s Holiday (1956), Elektra
 * A Young Man and a Maid (with Cynthia Gooding) (1957), Elektra
 * Theodore Bikel Sings Jewish Folk Songs (1958), Elektra
 * To Broadway, To Life!: The Musical Theater of Bock and Harnick
 * Folk Songs from Just about Everywhere (with Geula Gill) (1959), Elektra
 * More Jewish Folk Songs (1959), Elektra
 * Bravo Bikel (Town Hall Concert) (1959), Elektra
 * Songs of Russia Old and New (1960), Elektra
 * Newport Folk Festival 1960 (5 songs), Elektra
 * The Sound of Music (Original Broadway Cast) (1960), Columbia Records
 * From Bondage to Freedom (1961), Elektra
 * A Harvest of Israeli Folk Songs (1961), Elektra
 * The Poetry and Prophecy of The Old Testament (1962), Elektra
 * The Best of Bikel (1962), Elektra
 * Theodore Bikel on Tour (1963), Elektra
 * A Folksinger’s Choice (1964), Elektra
 * The King and I (1964), Columbia Records
 * Yiddish Theatre and Folk Songs (1965), Elektra

 * Songs of the Earth (with The Pennywhistlers) (1967), Elektra
 * Theodore Bikel Is Tevye (1968), Elektra
 * A New Day (1970), Reprise Records
 * Silent No More (Soviet Jewish Underground) (1972), Star Records
 * Theodore Bikel for the Young (1973), Peter Pan Records
 * Theodore Bikel Sings Jewish Holiday Songs (1987)
 * A Passover Story (1991), Western Wind
 * A Chanukkah Story (1992), Western Wind
 * Theodore Bikel Sings Jewish Folk Songs (CD reissue, 1992), Bainbridge Records
 * Theodore Bikel Sings More Jewish Folk Songs (CD reissue, 1992) Bainbridge Records
 * Rise up and Fight–Songs of Jewish Partisans (1996), Holocaust Museum
 * Tevye the Dairyman and the Railroad Stories (1996) Macmillan audio
 * A Taste of Passover (1998), Rounder Records
 * Classic Jewish Holiday & Shabbat Songs (2000), Sameach Records
 * A Taste of Chanukkah (2000), Rounder Records
 * Theodore Bikel's Treasury of Yiddish Folk & Theatre Songs (2004), Rhino Handmade
 * In My Own Lifetime (2006), Jewish Music Group
 * Our Song (with Alberto Mizrahi) (2007), Opus Magica Musica

title: Theodore Bikel


text:
Gander

Gander may refer to:

 * Gander (goose), an adult male goose

Canada

 * Gander, Newfoundland and Labrador, a town in Canada
 * Gander (electoral district), a provincial electoral district
 * Gander Academy, an elementary school in Gander
 * Gander Collegiate, a high school in Gander
 * Gander International Airport, a major airport in Newfoundland and Labrador
 * CFB Gander, also known as 9 Wing Gander, a Canadian air force base co-located at Gander International Airport
 * Gander Bay, Newfoundland
 * Gander Lake, Newfoundland
 * Gander River, Newfoundland
 * Gander terrane, a continental fragment in Newfoundland
 * Gander Island, part of the Moore Islands, British Columbia

France/Luxembourg

 * Gander (Moselle), a small river

People

 * Gander (surname)
 * "Gander", nickname of Monty Stratton (1912-1982), Major League Baseball pitcher

Fictional characters

 * Gladstone Gander, a Walt Disney fictional character created by cartoonist Carl Barks
 * Goosetave Gander, a fictional character of the Scrooge McDuck Universe, Gladstone Gander's father
 * Richard Gander, in the 1972 British sitcom Alcock and Gander

Other uses

 * Gander (horse), a thoroughbred race horse
 * Gander Stakes, an ungraded stakes race for New York bred Thoroughbred race horses
 * Gander (dog), a Newfoundland dog, recipient of the Dickin Medal for bravery
 * Kokusai Ku-8, a 1940s Japanese light transport monoplane codenamed Gander by the Allies
 * USS Gander, a Danube class starship in the science fiction franchise Star Trek

title: Gander


text:
Danielle Harris

Danielle Andrea Harris (born June 1, 1977) is an American actress. She is known as a "scream queen" for her roles in multiple horror films, including four entries in the Halloween franchise: Halloween 4 (1988) and Halloween 5 (1989) as Jamie Lloyd, and Halloween (2007) and Halloween II (2009) as Annie Brackett. Other such roles include Tosh in Urban Legend (1998), Belle in Stake Land (2010), and Marybeth Dunston in the Hatchet series (2010–17). In 2012, she was inducted into the Fangoria Hall of Fame.

Harris began her career as a child actress, with various appearances on television and prominent roles in films such as Marked for Death (1990), Don't Tell Mom the Babysitter's Dead (1991), The Last Boy Scout (1991), Free Willy (1993) and Daylight (1996). She is also known for her voice work, which includes playing Debbie Thornberry for the full run of the Nickelodeon series The Wild Thornberrys (1998–2004) and in the related films The Wild Thornberrys Movie (2002) and Rugrats Go Wild (2003).

In 2013, Harris made her feature directorial debut with the horror film Among Friends, after previously directing Madison (a segment in the unfinished anthology film Prank) in 2008 and a Stake Land companion short film in 2010.

Early life
Harris was born in Plainview, New York on June 1, 1977 and was raised by her mother Fran, along with her sister Ashley. Harris is Jewish. While living in Florida during elementary school, Harris won a beauty contest, winning a trip to New York City for ten days. While there, she was offered various modeling jobs, but turned them down because they were all far from her home. Her mother was eventually transferred back to New York for work and Harris began work as a model. She also began appearing in television commercials.

1985–1989: Early roles and Halloween
In 1985, at age seven, Harris was cast in the role of Samantha "Sammi" Garretson in the ABC soap opera One Life to Live and stayed on the program for three years. Her character was considered a "miracle child", extracted as an embryo from the womb of her deceased mother and implanted in a family friend, whom her father later married. In 1987, Harris made a guest appearance in the series Spenser: For Hire.

Following her early television work, Harris successfully auditioned for the role of Jamie Lloyd in the fourth edition of the Halloween franchise, beating out several other young actresses, Melissa Joan Hart among them. Halloween 4: The Return of Michael Myers was released in October 1988, grossing over $17 million on a $5 million budget. On doing this type of film at such a young age, Harris said:

"It was fun for me. I knew we were making a movie and I knew that it was make believe. I was more worried about being a good, little actress and being able to cry and scream really good. I think everybody made such an amazing effort to make sure that I knew that it wasn't real. In between takes we would joke around and it was just fun. It didn't really bother me until I got to be older."

Harris returned the following year for the sequel, Halloween 5: The Revenge of Michael Myers, which did not perform as well as its predecessor at the box office. Harris portrayed Jamie Lloyd once again, this time her character being traumatized and mute for the first half of the film. Critics cited Harris' performance as one of the strongest aspects of the film.

1990s: Film, television and voice work
In 1990, Harris appeared in Marked for Death as protagonist John Hatcher (Steven Seagal)'s niece Tracey. The action film had a $12 million budget and earned $43 million domestically and $57 million worldwide. 1991 saw Harris partake in several film and television projects, including the made-for-television films Don't Touch My Daughter, as a young girl who is kidnapped and molested, and The Killing Mind, in which she portrayed main character Isobel as a child. Later that year, Harris made an appearance in the sketch-oriented show In Living Color.

Harris' next film role was in the 1991 comedy Don't Tell Mom the Babysitter's Dead, as Melissa Crandell, with the story revolving around five siblings whose mother goes to Australia for two months, only to have her children's babysitter die. The young protagonists choose not to tell their mother and attempt to live on their own. The same year, Harris had a guest role in the series Eerie, Indiana, portraying a character who receives a heart transplant then begins to act like the heart's original owner, and also guest starred in an episode of Growing Pains, as Susie Maxwell. Harris had the role of Darian Hallenbeck in the 1991 action film The Last Boy Scout, alongside Bruce Willis and Damon Wayans. The film grossed $7,923,669 in its opening weekend, and the total gross was $59,509,925. Reviews were mixed, and some critics cited the Christmastime release for such a violent film as a reason for its underwhelming box office.

1992 saw Harris participate in the pilot for the potential CBS series 1775, although it was not picked up. Between 1992 and 1993, Harris had the recurring role of Molly Tilden on the sitcom Roseanne (which she would reprise in a 2021 episode of Roseanne sequel series The Conners), then joined Roseanne Barr again in 1993 for the television film The Woman Who Loved Elvis, this time as daughter Priscilla. She appeared in an episode of Jack's Place the same year, portraying a teenage runaway. Also in 1993, Harris portrayed Gwenie in the film Free Willy, which had a US gross of $7,868,829 in its opening weekend, and went on to make $77,698,625 in the US and $153,698,625 worldwide. In 1994, she appeared on the drama series The Commish, playing the role of Sheri Fisher for one episode. The same year, Harris portrayed the main character's daughter Jessica in the television film Roseanne: An Unauthorized Biography, based upon her former co-star Roseanne Barr. She then guest starred in the sitcom Boy Meets World, as Theresa "T.K." Keiner.

In 1995, Harris learned that the producers of Halloween: The Curse of Michael Myers were looking for an actress over the age of 18 to play the role of Jamie Lloyd. Only 17 at the time, Harris got emancipated in order to participate, but was dissatisfied with the fate of the character in the script and the low salary offered. She abstained from reprising her role and was replaced by J. C. Brandy, although she can still be seen in The Producer's Cut of the film, which replays Halloween 5's ending. Harris has since admitted to being glad she did not rejoin the series at this point, believing that this allowed her to make her later return in the 2007 remake of the original Halloween.

In 1996, Harris shared dual roles with Katherine Heigl for the television film Wish Upon a Star: Harris played Hayley Wheaton, a nerdy girl who switches bodies with her older, more popular sister Alexia (Heigl). Also in 1996, Harris starred in the films Shattered Image and Back to Back, and, the same year, had the role of young survivor Ashley Crighton in Daylight, the disaster film toplined by Sylvester Stallone. While Daylight has a 26% approval rating on Rotten Tomatoes and grossed $33 million in the United States, it took in over $126 million overseas, resulting in gross earnings of $159,212,469 worldwide. In 1997, Harris appeared in two episodes of the medical drama ER as Laura Quentin. In 1998, Harris had the lead role of Lulu in the film Dizzyland, where she portrayed a sexually abused teenager, and also appeared in an episode of Diagnosis: Murder. She then appeared in the popular slasher Urban Legend, her first horror film since her early Halloween credits. She portrayed Tosh, a goth girl who is murdered while her roommate Natalie (Alicia Witt) is resting on the other side of the room.

Beginning in 1998, Harris was among the main cast of Nickelodeon's animated children's series The Wild Thornberrys, chosen to voice Debbie Thornberry, the sister of a girl who can talk to animals. The protagonist, Eliza, travels the world with her family and uses her special ability to help the animals. The series lasted for five seasons, with a total of 91 episodes. It spawned several animated films early in the next decade, with its series finale airing in 2004. Harris would continue to make film and television appearances while doing The Wild Thornberrys: she portrayed a teenage witch named Aviva in a 1998 episode of Charmed, starred in the 1999 film Goosed as protagonist Charlene in her younger years, and appeared as Justine in the television film Hard Time: Hostage Hotel.

2000s: Continued work and return to Halloween
Harris had a supporting role in the crime and comedy film Poor White Trash in 2000 and went on to star in the 2001 comedy Killer Bud. Between 2000 and 2002, Harris was a cast member of the series That's Life. Her character, Plum Wilkinson, featured in all but eight episodes and was involved in a romantic relationship with Kevin Dillon. Her animated series The Wild Thornberrys had spin-off movies in the early 2000s: the television film The Origin of Donnie from 2001 was followed by the 2002 theatrical release of The Wild Thornberrys Movie, which grossed $40,108,697 in the US, and a further film, Rugrats Go Wild, dealt with the Thornberrys meeting the characters from the popular series Rugrats. Released in 2003, it opened at #4 at the box office and grossed $39 million in the US, about the same as the Thornberrys Movie. Harris also appeared in an episode of The West Wing, had a supporting role as Leila in the 2003 television film The Partners and was in the theatrically released films Debating Robert Lee and Em & Me (both 2004). From 2004 to 2005, she was a main cast member of the animated sitcom Father of the Pride, appearing in all 14 episodes.

In January 2007, it was announced that Harris was cast as Annie Brackett in the remake of horror landmark Halloween. This marked Harris' first participation in the Halloween franchise since The Revenge of Michael Myers eighteen years prior. The remake, also called Halloween and directed by Rob Zombie, had Scout Taylor-Compton and Malcolm McDowell in main roles. Harris has revealed that Zombie wanted no one from previous Halloweens in the film, but, once she auditioned, he changed his mind. The film, which cost $15 million to make, opened at #1 at the box office and went on to gross $80,253,908 worldwide, becoming the highest-grossing Halloween in unadjusted U.S. dollars, which it remained for more than a decade. Unlike in the original version, Annie Brackett survives, after Michael Myers (Tyler Mane) tries his hand at torture instead of killing her quickly. Annie encounters her attacker with her chest exposed, having undressed for the most part, which marked Harris' first onscreen nudity. Harris admits that she refused the offers to cover her body while the cameras were not rolling, to better portray a vulnerable Annie against the monster. On facing Michael Myers once again and at the same time doing her first nude scene, she also commented:

"I had a harder time emotionally with Rob Zombie's Halloween and H2 than I did when I was a kid. When I was a kid, it was totally fun and I didn't understand when I did Rob's Halloween, why it was so hard for me to shake it off. I'm like, "I'm an actress! Why am I getting a feeling like I want to cry? This is weird! I did enough crying when I was there [on set]. I don't know why I'm still feeling this way". I think it was because it was the first time I was ever physically touched by him. As a little girl, as Jamie, he never got me, ever. Now as an adult, I don't have my clothes on, doing scenes I've never done before as an actor, and I'm actually being attacked. Even though I should know the guy by now, it's still a weird thing that happens with your psyche I think."

Harris then began to appear in more horror productions and fantastic films. That same year, she starred in the also Halloween-themed Left for Dead. For Fearnet, she hosted Route 666: America's Scariest Home Haunts. 2009 saw her in a leading role in Blood Night: The Legend of Mary Hatchet, as Felicia Freeze in the comedic superhero adventure film Super Capers and alongside Robert Patrick in The Black Waters of Echo's Pond. Fear Clinic, a Fearnet original web series featuring Harris as well as veterans Robert Englund and Kane Hodder, made its debut the week of Halloween 2009. Also in 2009, Harris reprised her role of Annie Brackett in the sequel Halloween II. Halloween II was officially released on August 28, 2009, in North America, and was met with negative reception from most critics. On October 30, 2009, it was re-released in North America to coincide with the Halloween holiday weekend. The original opening of the film grossed less than that of the 2007 remake, with approximately $7 million. The film would go on to earn $33,392,973 in North America and $5,925,616 in foreign countries, giving Halloween II a worldwide total of $39,318,589.

2010–present: Numerous horror films and directorial debut

Harris continued to develop her "scream queen" identity with growing genre credits. She starred alongside Lance Henriksen, Bill Moseley, AFI's Davey Havok and Nicki Clyne in the illustrated film series Godkiller. Beginning with 2010's Hatchet II, Harris has taken over the leading role of Marybeth in the Hatchet series, after Tamara Feldman declined to reprise her character. Further genre credits include Jim Mickle's second feature film, the vampire/post-apocalyptic epic Stake Land, Cyrus: Mind of a Serial Killer, ChromeSkull, Havenhurst and Michael Biehn's The Victim, with lead roles in Shiver, See No Evil 2, Inoperable, Camp Cold Brook and others. She equally provided the voice and basis for an animated Barbara in Night of the Living Dead: Darkest Dawn, director Zebediah de Soto's prequel/re-telling of George A. Romero's 1968 original. Work in other types of films includes dramas like The Trouble with the Truth and Quentin Tarantino's Once Upon a Time in Hollywood. Harris made her directorial debut with the horror comedy Among Friends, in which she also has an appearance. The film, which was picked up for distribution by Lionsgate, was released on August 27, 2013.

Since the 2010s, Harris has had guest appearances in the television shows Psych (as a murder suspect), Bones (as a murder victim), as herself in Holliston and Naked Vegas, and also returned to voice Debbie Thornberry for a saucy Robot Chicken parody of The Wild Thornberrys, among others.

On April 3, 2022, Harris appeared as a guest for the 2022 Dead Meat Horror Awards along with other horror film stars such as Tony Todd, Bonnie Aarons, Ray Chase and Heather Langenkamp. In 2021, she started a podcast with longtime friend and Halloween co-star Scout Taylor-Compton called Talk Scary to Me, which can be heard on any podcast platform, with new episodes airing each Tuesday.

Public image
Harris has been referred to as "horror's reigning scream queen" by the New York Daily News and various other outlets,    and was called "the Natalie Portman of Horror" by director Sylvia Soska. She has provided the cover feature for such publications as Girls and Corpses, Gorezone magazine, Invasion magazine and Scream Sirens   as well as a subject for the photo-book The Bloody Best Project, a collection of artistic pictures showcasing the celebrities of the horror film industry. Harris was also featured in Five Finger Death Punch's first music video, "The Bleeding", in 2007. In 2011, Harris won the Best Actress Award at the Shockfest Film Festival for her starring role in the short Nice Guys Finish Last. The 2012 Burbank International Film Festival gave Harris its Best Actress Award for her portrayal of literary heroine Wendy Alden in Shiver.

Personal life
In 2013, Harris became engaged to David Gross. The couple married in a private ceremony in Holualoa, Hawaii, on January 4, 2014, and had a son in 2017. Their second son was born in late 2018.

Stalking incident
Harris was stalked in 1995 by an obsessed fan, Christopher Small, who wrote letters threatening to kill her. Small was later arrested after taking a teddy bear and a shotgun to her home. On January 29, 2007, Harris appeared on an episode of the Dr. Phil show, sharing her experience with other equally affected people. The stalker was obsessed with her character of Molly Tilden from the television series Roseanne. In October 2009, Harris was granted a restraining order against Small, who began sending her messages on Twitter.

title: Danielle Harris


text:
Talk:Sleeping barber problem

Making sense
Does this page make sense to computer experts? I certainly don't understand it. :-) Jwrosenzweig 00:13, 28 Feb 2004 (UTC)

 * Not really, I only knew of the dining philosophers problem. This article (and similar pages found by Google) state the rules but not what the difficulty really is - in plain language.  I searched and only found homework problems being stated, or programs that claimed to be successful implementations.  So why are the locks important?  What's the relevance of an unbounded queue?  Someone that has actually analysed this needs to write some more text for us!  (-;  – Lee J Haywood 18:46, 15 May 2004 (UTC)

 * Is it any better now? Dori | Talk 05:37, May 16, 2004 (UTC)

 * Yes, much better. Personally I'd like to have a clear understanding of what happens when you don't implement a valid solution.  For example, with the dining philosophers, it's clear that deadlock occurs when they all take, say, their left forks and then wait for the other – it is then easy to work out the solution for yourself.  With this article, the solution is outlined well, but I don't think that it is immediately clear why it is correct to someone who is only vaguely familiar with semaphores.  Thanks.  – Lee J Haywood 08:29, 16 May 2004 (UTC)

 * OK, how about now? :) We'll make an article out of this. Dori | Talk 15:41, May 16, 2004 (UTC)

 * Okay, I still have 2 points to make. First, the outline of the solution doesn't mention the use of a queue – so starvation would be an issue.  Second, the solution says that a new customer can sit in the barber's chair when they arrive, if it is empty, ignoring those in the waiting room.  So the solution seems to neglect how the barber actually chooses the next customer and how that customer gets from the waiting room to the chair.  Of course, we don't want the whole solution here – it is a homework problem, after all (I'd implement it myself, but I'm very ill at the moment).  – Lee J Haywood 08:23, 17 May 2004 (UTC)

 * I have to check since it's been a while, but I believe the semaphores take care of the queues. Dori | Talk 15:08, May 17, 2004 (UTC)

 * Yes, starvation is an issue. The customers will have their hair cut in a random order, so one of them may wait indefinetely if customers arrive all the time. And yes, a customer that just arrived may get his hair cut ahead of others in the waiting room, if timing is right. The main purpose of this solution is to guarantee the synchronization between barber and customer. To prevent starvation you must enforce FIFO order on the customers, but this require aditional coding. Also, the problem does not state that the first one to arrive should be the first one to get a hair cut, but this is usually true. Italo Tasso 13:34, 8 June 2007 (UTC)

The whole picture
I don't get the whole picture - maybe I am not so smart :-}.

In my thinking, each customer enters, take a sit and call the barber to cut his hair. The barber remember who has called him (the "call" will wake him if necessary) and cut the hairs in this order. I fail to see any race conditions here... :-?. Can someone state the prerequisites of this problem more precisely to show what actions are atomic and what not? (As example, how could it be, that the barber wait *on* an customer while this customer wait *on* the barber?)

 * When you say that the barber remembers who has called him, you are already solving the problem using a queue. That is a possible solution. Every problem that can be solved with a message queue can be solved with semaphores/shared memory, and vice versa. The problem we want to solve happens when the barber is cutting someones hair and another customer arrives. The barber must finish cutting hair and the second customer must wait. The barber can't cut both hair at the same time, nor stop one in the middle. Barber and customer must be synchronized. Italo Tasso 14:03, 8 June 2007 (UTC)

Since the barber problem is rather illustrative (like the philosophy dinner), maybe replacing the words "semaphore" and "mutex" with illustrative examples could make me understand it?

So if I get it right, a mutex is some kind of a table bell. Each customer enter, sit down and press the bell which will make the bartender awake, right? (Since there is only one bell, they have to wait until the bell is "free").

The semaphore is not as easy for me to map to the barber problem. Currently I just think of the semaphore as the customer chairs, however I fail to see a concurrency problem here (as long as "sit down onto a free chair" is atomic). Maybe it is something different?

 * Mutex and semaphore are the same thing. Mutex or lock usually refers to a binary semaphore, whose value is only one or zero. An illustrative example on semaphores would be keys to a room. On the entrace there is a box with keys. If you want to enter, you must grab a key (P function). When you leave, you drop the key on the box (V function). If there are no keys in the box, you wait (P) until someone else drops a key (V). A mutex would be a box with only one key, so that you have only one person in the room at a time. Check out the page about semaphores here at the wikipedia. Italo Tasso 14:03, 8 June 2007 (UTC)

--Imi.

Semaphore
Are the semaphore inited to zero? maybe it would be helpfull to show their init in the pseodo code. —The preceding unsigned comment was added by 212.143.92.226 (talk • contribs).

 * I just added the initialization values. Italo Tasso 14:03, 8 June 2007 (UTC)

Code changes
I did some changes to the pseudo-code:

 * The initialization values for the semaphores were missing.

 * I replaced the acquire/release semaphore notation with the more conventional P and V. Acquire/release usually refer to locks or binary semaphores. The customers semaphore is not binary. It must assume values greater than 1 to work properly. It is not clear that releasing it several times will increase its value beyond 1.

 * In the customer thread, there was a loop that caused all customers to have their hair cut. This is not how it should be. If there are no free seats, the customer leaves without having his hair cut.

Italo Tasso 12:58, 8 June 2007 (UTC)

Mistakes?
Is it just me or the semaphore functions aren't right?

Taken from Semaphore article here on wikipedia :

P(Semaphore s) { wait until s > 0, then s := s-1; /* must be atomic once s > 0 is detected */ }

V(Semaphore s) { s := s+1;  /* must be atomic */ }

Well...isn't actually P which waits if nothing is available? The code says : V(Customers) //tries to acquire a customer - if none is available he goes to sleep

same here: V(accessSeats) //at this time he has been awakened - want to modify the number of available seats

or here : P(accessSeats) //don't need to lock the chairs anymore shouldn't we give the lock back (make it 1) ?

I think they should be swapped and it will be ok. Or maybe it's just me... 141.85.0.74 22:04, 14 November 2007 (UTC)

Deadlock?
I understand that some customers may not get their haircut if there is not any queue. But how it could possibly result in a deadlock? —Preceding unsigned comment added by 88.101.76.122 (talk) 03:06, 4 March 2008 (UTC)

I think that using semaphores is a mess compared to using queues:

barber.takeNextCustome {   queue.pop; // wait on next customer to aarive if no one is waiting }

customer.arrive {   queue.push( this ); // wait for barber to be free or awake him if he's waiting }

I second the complants here. This is a lousy explanation. I think it boils down to not explaining how the barber might come to be waiting on a customer. DJ Clayworth (talk) 01:55, 11 February 2010 (UTC)

Shop layout
I'm a bit baffled by For example, a customer may arrive and observe that the barber is cutting hair, so he goes to the waiting room. While they're on their way, the barber finishes their current haircut and goes to check the waiting room. Since there is no one there (the customer not having arrived yet)... - what layout is being imagined here for this to make sense, where the barber overtakes the customer on their way to the waiting room? Are we meant to imagine two adjacent rooms for cutting and waiting, with a long corridor that the customer must traverse between them, and a separate, shorter corridor (or even a door or window) which only the barber can use?

I can't find any description of the setup in sources that matches this, only examples like "A sleepy town contains a small barber shop having two doors and a few chairs. Customers enter through one door and leave through the other door." where it's all framed as being one room. Is this "customer not having arrived yet" aspect original research? --Lord Belbury (talk) 16:37, 4 December 2019 (UTC)

Wrong exemple?
I think that the last synchronization problem example is wrong:

"In another situation, two customers may arrive at the same time when there happens to be a single seat in the waiting room. They observe that the barber is cutting hair, go to the waiting room, and both attempt to occupy the single chair."

Following the described situation, the waiting room may have many chairs and not just one, so this can't be correct.

title: Talk:Sleeping barber problem


text:
The Superjesus

The Superjesus are an Australian rock band formed in Adelaide in late 1994. Their debut album, Sumo (February 1998), peaked at No. 2 on the ARIA Albums Chart, their second album, Jet Age (October 2000) reached No. 5 and their third album, Rock Music (May 2003) peaked at No. 14. Their top 40 singles include "Down Again" (1997), "Now and Then" (1998), "Gravity" (2000) and "Stick Together" (2003). At the ARIA Music Awards of 1997 they won Best New Talent for Eight Step Rail and Breakthrough Artist – Single for "Shut My Eyes". The group disbanded in mid-2004, and reunited in 2013. The band has undergone multiple line-up changes, with lead vocalist Sarah McLeod and bassist Stuart Rudd serving as mainstays. As of 2022, they are joined by lead guitarist Cam Blokland and drummer Murray Sheridan.

Career beginnings: 1994–1996
The Superjesus formed in late 1994 as Hell's Kitchen in Adelaide by Paul Berryman on drums, Sarah McLeod (ex-Fallen Down Monster) on lead vocals and guitar, Stuart Rudd on bass guitar and Chris Tennent on lead guitar. Rudd and Tennent had been jamming together for about a year when Rudd tried out for McLeod's latest band. Tennent was McLeod's guitar teacher at the time and a veteran of the Adelaide music scene, having played in various bands since the 1980s. Paul Berryman successfully auditioned for the group and they started rehearsing for over a year before their first gig.

Hell's Kitchen changed their name to the Superjesus on the eve of the Big Day Out in Adelaide on Australia Day long-weekend, January 1996. Tennent provided the new name. Berryman explained, "It was basically just a piss-take on commonly used words in the '90s. Like The Jesus and Mary Chain, "Jesus Built My Hotrod", the Jesus Lizard, Jesus Jones; there's just heaps of Jesus' out there in the music world so we thought we would have that and super was kind of like a '90s catch word." Their debut five-track extended play, Eight Step Rail, was released in August 1996 on Aloha Records.

Career peak: 1997–2004
Eight Step Rail reached the ARIA Singles Chart Top 50 in February 1997. Its feature track, "Shut My Eyes", received high rotation on national youth alternative music radio station, Triple J – it was listed at No. 81 on the station's Hottest 100 for 1996. AllMusic's Jonathan Lewis described how "their wall of guitar noise (somewhat reminiscent of Siamese Dream-era Smashing Pumpkins) made them an overnight success on Australian radio ... McLeod's voice was a major drawcard." Jasper Cooper of Oz Music Project felt that on the EP, "Musically, the band inherited much from contemporaries such as the Smashing Pumpkins, but McLeod's appeal at the band's fore, lent The Superjesus their own niche and stature. The single track 'Shut My Eyes' was the band's tour de force, something that was still unmatched in their latter albums."

They followed with a tour of Australia's east coast, then supported shows by Clouds, Hoodoo Gurus and United Kingdom band, Bush. As songwriters, Tennent typically composed the music and McLeod supplied the lyrics – the pair had also developed a personal relationship. In January 1997 the Superjesus appeared at the Big Day Out and, in April, they travelled to Triclops Sound Studios, Atlanta to record their debut album, Sumo, with Matt Serletic (Collective Soul) producing and Jeff Tomei (Smashing Pumpkins, Hole) as audio engineer. At the ARIA Music Awards of 1997 they won Best New Talent for Eight Step Rail and Breakthrough Artist – Single for "Shut My Eyes". McLeod and Tennent's personal relationship had ended and late that year; he temporarily left the group. Aaron Tokona (of Weta) filled in on guitar when the Superjesus toured New Zealand. Tokona turned down the offer to become a permanent member and remained with Weta.

With Tennent back on board they released Sumo in February 1998 through EastWest/Warner Music Australasia, which peaked at No. 2 on the ARIA Albums Chart and was certified platinum by ARIA for shipment of 70,000 copies. Australian musicologist, Ian McFarlane, described it as "a big sounding album backed by a generous budget." Its local success led to a United States version – with an altered track listing – being issued in June. Lewis felt that they "show that guitar rock with McLeod's vocals soaring over the top is definitely their strength. Unfortunately, it is also their weakness, with Sumo containing too little variation in style." An extended version titled Sumo II, including a bonus seven-track enhanced CD of live performances, was released in October. At the ARIA Music Awards of 1998 Sumo had them nominated for Best Group, Breakthrough Artist – Album and Best Cover Art (artwork by Chris and William Tennent).

In January 1999, they appeared at the Big Day Out, again, and then took a few months off. Chris Tennent left the Superjesus permanently in mid-1999 when they were due to resume. The group relocated to Melbourne in November where they recruited Tim Henwood (ex-Jen Anderson Band, Supermann, Plasticine, Barker) on guitar. Henwood and McLeod became the principal songwriters. The band released their second album, Jet Age, in October 2000, which was produced by Ed Buller (Psychedelic Furs, Suede, Ben Lee) and peaked at No. 5. Louise Buckingham of femail.com.au noticed that the group's "rock engine is winding up and are fuelled to commence take-off down the runway of Australian rock music. With the recent release of blazing new album Jet Age and with the hit-single "Gravity" now a friend to the radio waves, The Superjesus have proved they are keen to move into a new musical era." Amazon.com's editorial reviewer declared that it was an "intelligent, mature, sophisticated" release. At the ARIA Music Awards of 2001, Jet Age was nominated for Best Rock Album and Best Cover Art (Darren Glindemann).

Henwood left in mid-2001 and eventually formed The Androids (he later joined Rogue Traders). McLeod considered disbanding the Superjesus but took up lead guitar while working for their third album as a trio, Rock Music (May 2003), with Marc Waterman producing, which reached No. 14. Patch Brown had replaced Henwood, but due to stylistic differences during recording, he was replaced in turn by Jason Slack, a Slippery Rock Graduate. Tim Cashmere of Undercover felt that "they are just as powerful as before" with McLeod "singing better than ever over her chunkier-than-ever riffs." MediaSearch's Carmine Pascuzzi cautioned that "Those who have been ready to write them off should rethink as Sarah McLeod sings beautifully and the band work in harness efficiently to produce a strong effort. The riffs and tenacity are very much on show... They still have a knack for really rocking out, yet indulging in some slower ballads."

In June 2004, the Superjesus split with Warner Music Australasia as the members took time off to pursue other projects. McLeod worked on a solo album, Beauty Was a Tiger. She then fronted the Sydney-based three-piece band, Screaming Bikini.

Reformation: 2012–present
On 27 November 2012 McLeod announced on radio station Triple M The Superjesus would reunite for a one-off show on 1 February 2013. Later, McLeod told the Northern Star "We only got back together in 2013 because our drummer [Paul Berryman] came back to Australia from Seattle, so we [bass player Stuart Rudd and lead singer McLeod] thought we could play one single show, see how the crowd responded and, more importantly, how we responded to each other and see if we had some musical chemistry together. The one show was better than we had hoped, crowd-wise and for ourselves." The band, with the line-up of Berryman, Henwood, McLeod and Rudd, played at the Stone Music Festival with Van Halen and Aerosmith in Sydney in April, before embarking on their first national tour in 10 years – The Resurrection Tour – in May and June.

In early 2015 the Superjesus undertook the She Who Rocks Tour sharing the stage with the Baby Animals, fronted by Suze DeMarchi. In June that year the Superjesus released their first single in over a decade, "The Setting Sun". In November they followed with "St. Peters Lane", and embarked on The Setting Sun Tour. In December, Henwood departed to return to The Androids and was replaced with former member, Jason Slack and in April 2016, drummer Paul Berryman departed due to family commitments and residing in the United States. Meanwhile, McLeod traveled to New York City for three months to write new material for a planned fourth album.

In August 2016, the band released an EP, entitled Love and Violence, released through Golden Robot Records. The Superjesus supported the EP with a national tour commencing in October.

In March 2017, The Superjesus were inducted into the South Australian Music Hall of Fame. In 2018, The Superjesus celebrated 20 years of Sumo by re-releasing the album in August with bonus tracks and a national tour.

In January 2019, The Superjesus appeared at the 'Under the Southern Stars' concert tour of five states starting off at Hastings, Victoria, with performances in Tasmania, Queensland, New South Wales and South Australia scheduled throughout January. Appearing with The Superjesus at the Hastings concert were Hoodoo Gurus, Eskimo Joe, You Am I, British India, The Getaway Plan and Scott Darlow. In November, The Superjesus travelled overseas and performed in the South American country of Brazil. The band was also featured and interviewed on a documentary, celebrating the ABC TV Australian music show Recovery, hosted by Dylan Lewis.

In September 2022, the band announced a headlining tour for January 2023 in support of a forthcoming new single, 'Money'. The following month, the band confirmed that they would release their fourth studio album in 2023, which is being recorded at Studio 85 in the Blue Mountains and produced by drummer, Murray Sheridan. In December 2022, the band formally inducted lead guitarist Cam Blokland and drummer Murray Sheridan into the line-up.

The Superjesus toured Australia from August through to December 2023, promoting their new single "Lights Out".

Band members
Current members
 * Sarah McLeod – lead vocals, rhythm guitar (1994–2004, 2013–present), lead guitar (2001–2004)
 * Stuart Rudd – bass (1994–2004, 2013–present)
 * Cameron Blokland – lead guitar (2022–present)
 * Murray Sheridan – drums (2022–present)

Former members
 * Chris Tennent – lead guitar (1994–1999, hiatus 1997)
 * Paul Berryman – drums (1994–2004, 2013–2016)
 * Tim Henwood – lead guitar (1999–2001, 2013–2015)
 * Jason Slack – lead guitar (2001–2004; touring, 2015–2022)
 * Travis Dragani – drums (2016–2022)

Former touring musicians
 * Aaron Tokona – lead guitar (1997; died 2020)

Timeline

ARIA Music Awards
The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. The Superjesus won 3 awards from 8 nominations.

 * rowspan="2"| 1997
 * rowspan="2"| Eight Step Rail
 * Best New Talent
 * Won
 * Breakthrough Artist – Single
 * Won
 * rowspan="4"| 1998
 * rowspan="4"| Sumo
 * Best Group
 * Nominated
 * Breakthrough Artist - Album
 * Nominated
 * Best Cover Art
 * Nominated
 * Best Rock Album
 * Won
 * rowspan="2"| 2001
 * rowspan="2"| Jet Age
 * Best Rock Album
 * Nominated
 * Best Cover Art
 * Nominated
 * rowspan="2"| 2001
 * rowspan="2"| Jet Age
 * Best Rock Album
 * Nominated
 * Best Cover Art
 * Nominated
 * Best Cover Art
 * Nominated

South Australian Music Awards
The South Australian Music Awards are annual awards that exist to recognise, promote and celebrate excellence in the South Australian contemporary music industry. They commenced in 2012.

 * 2017
 * The Superjesus
 * Hall of Fame
 * inductee
 * inductee

title: The Superjesus