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Bad Hair Day

Bad Hair Day is the ninth studio album by "Weird Al" Yankovic, released on March 12, 1996. It was Yankovic's last studio album for the Scotti Brothers label before it was purchased by Volcano Entertainment in 1999. The album produced an array of hit comedy singles; lead single "Amish Paradise", which lampoons both Coolio's "Gangsta's Paradise" and the Amish lifestyle, charted at No. 53 on the Billboard Hot 100, while "Gump", which parodies "Lump" by the Presidents of the United States of America and the movie Forrest Gump, reached at No. 102.

The musical styles on the album are built around parodies and pastiches of pop and rock music of the mid-1990s, largely targeting alternative rock and hip-hop alike. The album also includes style parodies, imitations of specific artists like They Might Be Giants and Elvis Costello. "Amish Paradise" caused a minor controversy after rapper Coolio expressed distaste at having his song parodied by Yankovic, although the two later made amends.

Bad Hair Day was met with mixed to positive reviews, with many critics praising "Amish Paradise" in particular; "Amish Paradise" went on to become one of Yankovic's best-known singles. The album peaked at No. 14 on the Billboard 200. Bad Hair Day sold 1,317,000 copies in the U.S. in 1996 alone, the highest sales tally for any comedy album in a single calendar year since Nielsen SoundScan began tracking sales in 1991. Bad Hair Day was Yankovic's sixth Gold record in the United States, and went on to be certified Double Platinum for sales of over two million copies in the U.S. by the Recording Industry Association of America (RIAA). The album was also certified Platinum in Canada by the Canadian Recording Industry Association (CRIA).

Recording
In November 1994, Yankovic entered Santa Monica Sound Recorders in Santa Monica, California, to begin the first of the Bad Hair Day sessions, which he produced himself. Recording with Yankovic were Jon "Bermuda" Schwartz on drums, Steve Jay on bass, and Jim West on guitar. The album was recorded in five sessions. The first session started on November 30 and yielded two originals: "Callin' In Sick" and "Everything You Know Is Wrong". The second session started the next day and produced the original songs: "I Remember Larry", "The Night Santa Went Crazy", and "Since You've Been Gone". The third session took place on November 5, 1995, and resulted in the original "I'm So Sick of You" and the parody "Cavity Search". The fourth session yielded "The Alternative Polka" medley, and the two parodies "Gump" and "Phony Calls". The fifth and final recording session produced "Amish Paradise" and "Syndicated Inc.", both of which were parodies.

Originals
"Callin' In Sick" is a style parody of music popular in Seattle, Washington, most notably grunge. "Everything You Know Is Wrong" is a stylistic pastiche of They Might Be Giants. Yankovic explained that he "tried to write a song sort of in their style, but perhaps even a little bit more twisted". For fans of They Might Be Giants, he put "little references in here and there, little allusions to other songs of theirs". The song title is taken from the 1974 Firesign Theatre album of the same name.

"I Remember Larry" is a style parody of Hilly Michaels, and it tells the tale of a neighborhood bully who, after myriad pranks, drives the narrator to kidnap him and leave him for dead in the forest. At the 3:10 mark, the song contains a backmasked message, which when reversed reads, "Wow, you must have an awful lot of free time on your hands". "The Night Santa Went Crazy" tells the story of Santa snapping, embarking on a killing spree, and eventually being arrested. Originally, the song had a different third verse, differing in the fact that, at the end of the song, Santa is killed by the SWAT team. The "Extra Gory" version was eventually released on the single for "Amish Paradise". Another version was written for the Touring with Scissors tour in 1999, combining elements of the album version and the "Extra Gory" version. "Since You've Been Gone" is a generic doo-wop a cappella track that details a lover's torment after the object of his affections breaks up with him. Yankovic performed most of the vocals himself, and to make sure that he stayed on key, a scratch guitar track was recorded; when the song was mixed, the guitar track was removed. Bassist Steve Jay provides the low voices in the song. Finally, "I'm So Sick of You", a style parody of Elvis Costello in which the singer tells his girlfriend all the things he hates about her.

Parodies and polka
The first parody recorded for the album was "Cavity Search", a parody of U2's hit "Hold Me, Thrill Me, Kiss Me, Kill Me". The song, which recounts the horror of having to go to the dentist, features the sound of an actual dental drill. To enhance the dental theme of the song, Yankovic called in his actual dentist, who brought a real drill and a human tooth, which the two took turns drilling while recording. The second parody was a pastiche of TLC's hit "Waterfalls" called "Phony Calls", about prank calls. During the bridge, a clip from The Simpsons second season episode "Blood Feud" is played on top of the music. Because the sound clip was from a preexisting episode, Yankovic noted that "it was a pretty sweet deal for the Simpsons' voice actors – they each got a nice pile of money, and they didn't even have to come to the studio!" Before the call you hear a phone number being dialed. The number is 372-5806, which at the time was guitarist Jim West's home phone number. The next parody recorded for the album was "Gump", a parody of "Lump" by the Presidents of the United States of America. The song recounts the basic plot to the 1994 film Forrest Gump about a naïve and slow-witted yet athletically prodigious native of Alabama who witnesses, and in some cases influences, some of the defining events of the latter half of the 20th century in the United States. "Gump" was released as the second single from the album, and received a video. On January 15, 1996, Yankovic began recording the lead single for the album, "Amish Paradise". Yankovic felt that parodying Coolio would pay off, because Coolio had "such an identifiable image that a lot of things could be done [with]". He noted, "I like to play around with people that have some- you know, a lot of style as opposed to somebody who's kind of homogonized [sic] and bland and has no personality, and Coolio certainly kind of sticks out in a crowd." Yankovic felt that juxtaposing the original song's "gangsta" themes with the Amish lifestyle would produce a humorous end result. After Yankovic revealed to his label that he would be doing a Coolio parody, they requested that the album artwork for the release also parody Coolio. Yankovic had been toying with the name Bad Hair Day for a time and felt that he could adequately use the name and lampoon Coolio – who was known for his distinct hair style – at the same time. The final parody recorded for the album, "Syndicated Inc.", is a parody of "Misery" by Soul Asylum, a loving ode to syndicated television.

Much like Yankovic's previous album, Bad Hair Day features a polka medley of then-current hit songs, "The Alternative Polka". "The Alternative Polka" originally contained the chorus of Weezer's song "Buddy Holly" performed by Yankovic, but the song's writer, Weezer front man Rivers Cuomo, requested its removal just before the album's release. Yankovic was forced to physically cut the bit out of the master tape, but Weezer was still given credit in the liner notes because the notes were already printed. On June 25, 2010, over 14 years after the album's release, Yankovic released the un-mixed and un-mastered "Buddy Holly" clip on his official YouTube channel.

Unused parodies
In addition to the five parodies on the album, Yankovic had several parody ideas that were turned down. Originally, Yankovic wanted to turn the Offspring's hit "Come Out and Play" into an ode about doing laundry called "Laundry Day". There are conflicting stories as to why the song was never recorded; either Yankovic never approached the Offspring about releasing the parody, or the band denied permission. Either way, Yankovic performed the song in concert from 1996 through 2000. Despite not being able to parody "Come Out and Play", Yankovic would later be granted permission to parody their 1998 hit "Pretty Fly (For a White Guy)" as "Pretty Fly for a Rabbi" on his 1999 album Running with Scissors. Yankovic also wanted to record a parody of the Beatles' Anthology hit "Free as a Bird" titled "Gee, I'm a Nerd". Yankovic asked Paul McCartney, a supporter of Yankovic's work, if he could parody "Free as a Bird". McCartney had no problem with the parody, but because "Free as a Bird" was written by John Lennon, McCartney deferred the decision to Yoko Ono, who denied permission because she was uncomfortable with the parody idea.

Yankovic had also intended to record a parody of the U2 song "Numb" and a parody of the Rembrandts's hit song "I'll Be There for You". The "Numb" spoof would have been called "Green Eggs and Ham", a song in which Yankovic recited various lines from the Dr. Seuss book of the same name. U2 approved the parody, but Yankovic was unable to get permission from the Seuss estate. Likewise, Yankovic had wanted to turn "I'll Be There for You" into "I'll Repair For You", and write it about the popular 1990s sitcom Home Improvement. The Rembrandts had also given approval when Yankovic asked, but the producers of Friends did not want the theme song to get overexposed and refused permission. All of the rejected parodies were later performed in concert.

Controversy
The album's lead single, "Amish Paradise", caused a minor controversy after rapper Coolio said that Yankovic had never asked for permission to record the parody. Yankovic traditionally secures permission from the artists he parodies, even though this is not legally required, as parodies are covered under fair use guidelines, but when he inquired about "Gangsta's Paradise", Yankovic was told by Scotti Brothers Records that Coolio had given permission. Coolio later claimed that he had not given such permission, making a statement at the Grammys saying that he did not appreciate Yankovic "desecrating" his song.

Speculation surfaced that Coolio had actually given permission but later changed his mind, or that Yankovic's record label had lied to Yankovic in the hopes that the song would become popular. Yankovic later stated on VH1's Behind the Music that he had written a sincere letter of apology to Coolio which was never returned, and that Coolio never complained when he received his royalty check from proceeds of the song. A series of photos taken at the XM Satellite Radio booth at the 2006 Consumer Electronics Show, as well as a post on the "Ask Al" feature on Yankovic's website, suggested that Yankovic and Coolio made amends. According to Yankovic, he was very surprised when Coolio came over to chat. He later joked on his site's Q&A feature that, "I doubt I'll be invited to Coolio's next birthday party but at least I can stop wearing that bulletproof vest to the mall."

Promotion
Scotti Brothers Records developed a promotion strategy for Bad Hair Day, which included Yankovic dressing up in exaggerated Coolio-styled hair and presenting an award at the American Music Awards in January 1996. According to Billboard, this was "a hint as to who would be the next victim of a Yankovic parody". "Amish Paradise" was then released in the very beginning of March as a radio and commercial single, when "Gangsta's Paradise" was still receiving radio airplay. Four days later, the video was released. The album's success was also bolstered by the release of "Gump" as a single on April 25, and a video four days later. In addition, WEA, who had taken over distributing Scotti Brothers' albums from BMG, helped with the initial release of the album.

To promote the album, Yankovic undertook the "Bad Hair Tour", which spanned from May 24, 1996, to October 19, 1997. The tour was largely centered in the United States, although the first half saw Yankovic perform in Canada. Yankovic performed over 130 shows during the tour. Initially, there were preliminary plans to have Yankovic tour Europe, based on whether All American Music Group would secure the album's international release, although this venture never came to fruition.

Critical reception
Mike Joyce of The Washington Post wrote that "Amish Paradise" was "by far the cleverest and funniest track that Bad Hair Day has to offer [and] it ranks right up there with such Yankovic classics as 'Another One Rides the Bus,' 'Smells Like Nirvana' and 'Eat It.'" He also enjoyed "Gump", but felt that the remainder of the parodies were weak, particularly citing "Cavity Search" as "a sophomoric attempt to extract yuks". However, Joyce noted that "some of the biggest laugh-getters" on the album were Yankovic's originals. A record review from the Pittsburgh Post-Gazette concluded that "'Weird Al' Yankovic's ninth collection of original songs and parodies reinforces his reign as pop music's King of Comedy", and that the record "showcases Yankovic's unparalleled ability to capture the styles of other bands and turn boring pop songs into fun tunes." J. D. Considine of The Baltimore Sun noted that while Yankovic's music can be "sophomoric and silly", Yankovic himself "can also be pretty smart". The review highlighted, among other songs, "The Alternative Polka" and "The Night Santa Went Crazy", as some of the album's best songs.

Not all reviews were positive. Stephen Thomas Erlewine of AllMusic criticized the lack of humor on the album saying "the music on Bad Hair Day not only lacks the humor, it lacks the impish energy that made Weird Al's first albums such fun." The Rolling Stone Record Guide awarded the album two out of five stars. However, the book later referred to the album's lead single, "Amish Paradise", as "gut-busting."

Commercial performance
Bad Hair Day was released on March 12, 1996, and eventually became Yankovic's best selling album. Domestically, the album debuted at number 28 on the Billboard 200 on March 30, 1996. It eventually peaked at number 14. The album remained on the chart for a total of 56 weeks, making it Yankovic's longest-charting album. In 1996 alone, the album sold 1,317,000 copies in the United States, setting a record for the most copies a comedy album sold in a year during the Nielsen SoundScan era. On May 15, 1996, Recording Industry Association of America (RIAA) certified Bad Hair Day gold, and then on June 11 of the same year, it certified the record platinum. In May 2014, it was announced that the album had sold 2.025 million copies in the U.S., making it the fourth best selling comedy album of the Nielsen Soundscan era. On October 3, 2019, the album was officially certified double-platinum by the RIAA.

The album was also successful in Canada, where it peaked at No. 9 on the Canadian Albums Chart, and was later certified Platinum by the Canadian Recording Industry Association (CRIA), for sales over 100,000 copies.

Personnel
Credits adapted from CD liner notes.

Band members
 * "Weird Al" Yankovic – lead and background vocals, keyboards, accordion
 * Jim West – guitars, banjo, background vocals
 * Steve Jay – bass guitar, background vocals
 * Jon "Bermuda" Schwartz – drums, percussion

Additional musicians
 * Rubén Valtierra – keyboards
 * Warren Luening – trumpet
 * Joel Peskin – clarinet
 * Tommy Johnson – tuba
 * Gary Herbig – baritone saxophone
 * Lisa Popeil – background vocals
 * Nancy Cartwright – voice of Bart Simpson
 * Hank Azaria – voice of Moe the Bartender

Technical
 * "Weird Al" Yankovic – producer, arranger
 * Tony Papa – engineer, mixing
 * Colin Sauers – assistant engineer
 * Doug Haverty – art direction
 * Command A Studios – design
 * Carl Studna – photography
 * Roseanne McIlvane – bad hair
 * Bernie Grundman – mastering

title: Bad Hair Day


text: User talk:137.164.230.61

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

title: User talk:137.164.230.61


text:
Antonio de Cabezón

Antonio de Cabezón (30 March 1510 – 26 March 1566) was a Spanish Renaissance composer and organist. Blind from childhood, he quickly rose to prominence as a performer and was eventually employed by the royal family. He was among the most important composers of his time and the first major Iberian keyboard composer.

Life
Cabezón was born in Castrillo Mota de Judíos, a municipality near Burgos, in the north of Spain. Nothing is known about his formative years. He became blind in early childhood, and he may have been educated at the Palencia Cathedral by the organist there, García de Baeza. At the time, the country was slowly entering its Golden Age. On 14 March 1516, Charles V was proclaimed King of Castile and of Aragon jointly with his mother, the first time the crowns of Castile and Aragon were united under the same king. After the death of his paternal grandfather, Maximilian, in 1519, Charles also inherited the Habsburg lands in Austria, and later went on to become Emperor of the Holy Roman Empire and one of the most powerful monarchs in the world.

In 1525, Charles married Isabella of Portugal, further strengthening his position in Spain. It was Isabella who employed Cabezón into her service in 1526. His duties included playing the clavichord and the organ, and he also assumed the position of organist at the chapel Isabella organized soon after her wedding. The composer remained with the royal family for the rest of his life. Through the court, he met such important composers as vihuelist Luis de Narváez, known today for his advanced polyphonic fantasias, and Tomás de Santa María, theorist and composer whose important treatise on instrumental music, Arte de tañer fantasía, was examined and approved by Cabezón.

In 1538, Cabezón was made músico de la cámara (chamber musician) to Charles (who as a child was educated in music by the noted organist Henry Bredemers). After Isabella's death in 1539, Cabezón was appointed music teacher to her children: Prince Felipe and his sisters Maria and Joan (Maria would later become the most important patron of composer Tomás Luis de Victoria). In 1543 Felipe became Regent of Spain, and he made Cabezón his court organist. Cabezón's duties included playing a portative organ for Felipe on his journeys. On 19 July 1546 Cabezón's brother Juan, also an organist and composer, was appointed musician in the royal chapel of Prince Felipe. Since the late 1540s Antonio and Juan both accompanied Felipe on his various trips, and visited Italy, the Netherlands, Germany (in 1548–49), and England (in 1554–56), where Antonio's variations may have influenced William Byrd and Thomas Tallis, who later took up the form.

Practically nothing is known about Cabezón's personal life. He married one Luisa Nuñez de Mocos from Ávila, and the couple had five children. One of Antonio's sons, Hernando de Cabezón (1541–1602) became a composer, and it was through his efforts that the bulk of Antonio's oeuvre was preserved. Another son, Agustín de Cabezón (who died before 1564), became a chorister of the royal chapel. Cabezón died in Madrid on 26 March 1566.

Works
A few of Cabezón's works appeared in print during his lifetime in Luis Venegas de Henestrosa's compilation Libro de cifra nueva (Alcalá de Henares, 1557). However, the bulk of his compositions was published posthumously by his son Hernando in a volume titled Obras de música para tecla, arpa y vihuela (Madrid, 1578). Together these collections contain some 275 pieces, most for organ or other keyboard instruments. Cabezón also composed instrumental music for plucked string instruments and ensembles, and vocal music, but only a single vocal piece survives: Invocación a la letanía, in the Cancionero de la Casa de Medinaceli. A mention of a mass by Cabezón is contained in a 1611 inventory of music from Cuenca Cathedral, but the actual music is lost, as are, presumably, many other works by the composer. A good keyboard improviser, many works by Antonio de Cabezón transcribed by his son Hernando were "mere crumbs from my father's table".

Liturgical organ music
While French and Italian organists of the time frequently composed organ masses, in Spain this practice was limited to versos on the Kyrie. Consequently, most of Cabezón's liturgical music was intended for the Daily Offices—prescribed prayers of the daily round. Music for Mass is represented by the nine sets of Kyrie verses for organ. These fall into the following groups: Cabezón's music for the Daily Offices comprises 32 hymns and three collections of versets for the psalms and for the Magnificats:
 * Kyrie de Nuestra Señora, a three-voice setting, three parts (Kyrie, Christe, Kyrie) with the cunctipotens ("Mass IV") chant in the tenor.
 * Tema Rex virginum, a four-voice setting, four parts (on the same chant: Kyrie, Kyrie, Christe, Kyrie rather than the expected even verses K-Chr-Chr-K)
 * Kyries de primer, segundo, [...] septimo tono, seven four-voice settings, all in four parts (Kyrie, Christe, Christe, Kyrie); the original source places quinto tono last, possibly by mistake.
 * Salmodia para principiantes (sets of four versillos on each of the 8 psalm tones "for beginners")
 * Fabordon y glosas [del primer, segundo, [...] tono] (faburdens with 3 glosas or divisions in upper, bass and inner voices for each tone)
 * Salmodia para el Magnificat (7 Magnificat verses for each tone)

Tientos
The tiento was a polyphonic form of instrumental music that originated in the Iberian peninsula, and has been linked to both tastar de corde (an improvisatory prelude) and the ricercar (an improvisatory prelude or, at a later stage of development, a strict imitative composition). Twenty-nine tientos by Cabezón survive. Fourteen appeared in Libro de cifra nueva: these works are all written out in long note values, alternating between imitative counterpoint and non-imitative sections. Usually there are three or four themes, and the first to be presented is also the most developed. The non-imitative parts frequently employ techniques unusual for the genre at the time: extended duets, motifs transforming into ostinato patterns. Twelve more tientos appear in Obras de música: six from an earlier period in Cabezón's career, and six late works. While the earlier pieces are similar in many respects to the Libro de cifra pieces, Cabezón's late tientos use smaller note values, have a tendency towards longer and more characteristic subjects, and many of their features anticipate the music of the Baroque period.

Variations
Nine sets of variations (in Spanish tradition called discantes, diferencias, or glosas) are included in Obras de musica: Cabezón's variations are one of the earliest high points of the genre, and presumably influenced English composers such as Thomas Tallis and William Byrd. All of the variation sets begin with the first variation, assuming the theme is already known to the listener, and connects individual variations using free transitions, thus frequently making analysis of the structure complicated. Cabezón uses numerous techniques, such as a migrating and/or heavily ornamented cantus firmus. The models are taken from popular Spanish songs, dance forms, and established melodic-harmonic frameworks.
 * 1) Diferencias sobre las Vacas (3 variations)
 * 2) Pavana italiana (6 variations)
 * 3) Diferencias sobre la Gallarda milanese (2 variations)
 * 4) Diferencias sobre el canto del Caballero (5 variations)
 * 5) Diferencias sobre la Pavana italiana (5 variations)
 * 6) Diferencias sobre el canto de La Dama le demanda (6 variations on Arbeau's La Belle qui tiens ma vie)
 * 7) Diferencias sobre el villancico De quién teme enojo Isabel (7 variations)
 * 8) Diferencias sobre las Vacas (6 variations)
 * 9) Otras diferencias de Vacas (4 variations)

Intabulations
The intabulations in Obras de música are ordered according to polyphonic complexity, starting with the simpler four-part pieces and culminating with six-part ones. They are based on works by composers such as Josquin des Prez and Orlande de Lassus and are more or less similar to most such compositions of the period.

Sheet music

 * Obras de musica para tecla, arpa y vihuela (click "View options" JPG icon) - Biblioteca Nacional de España info
 * A generous number of editions from Obras and Henestrosa (in Japanese)
 * Antonio de Cabezón, at Cancioneros Musicales Españoles (in Spanish)
 * A generous number of editions from Obras and Henestrosa (in Japanese)
 * Antonio de Cabezón, at Cancioneros Musicales Españoles (in Spanish)

Recordings

 * Discografia – Paola Erdas

title: Antonio de Cabezón


text:
User talk:Kartheeque

Welcome to the Wikipedia
Here are some links I find useful

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Feel free to ask me anything the links and talk pages don't answer. You can sign your name by typing 4 tildes, likes this: ~.

Cheers, Sam [Spade] 20:55, 26 May 2004 (UTC)

Francois Gautier
Hey, welcome to WP. I only arrived here a month or so ago. I had notice with the page listed here Francois Gautier that you have not wikified everything all nice and pretty. Just to give you quick heads up: Wikify (that is add square brackets around), the 1st instance of: dates, people, and major other relevent things. If you need any help at all, just leave a note at my talk page. And congratulations and good luck. Burgundavia 05:44, May 28, 2004 (UTC)
 * Unfortunately, I just noticed that your article is a copyright violation of this website . I have listed the page on Copyright problems. Please rewrite the article here Francois Gautier/temp. This allows the main page, with the copy vio to be deleted. Here is a policy guideline on copyrights: Copyrights. Burgundavia 05:47, May 28, 2004 (UTC)

India related
Hi, Welcome aboard. You may be interested in the following:

-- 11:13, Apr 13, 2005 (UTC)

Proposed deletion of Akshara

The article Akshara has been proposed for deletion  because of the following concern:
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While all contributions to Wikipedia are appreciated, content or articles may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the article to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Shashwat986 → talk 23:12, 21 September 2012 (UTC)

title: User talk:Kartheeque


text:
Eric Anderson (teacher)

Sir William Eric Kinloch Anderson (27 May 1936 – 22 April 2020) was a British teacher and educator, who was head master of Eton College from 1980 to 1994 and provost of Eton College from September 2000 to January 2009. He is notable also for having played a part in the education of a King and four Prime Ministers, at four separate educational institutions (two in Scotland and two in England).

Life and career
Anderson was born on 27 May 1936 and schooled at George Watson's College, Edinburgh. He graduated from the University of St Andrews with first-class honours in English language and literature and then a Master of Letters (MLitt) degree from Balliol College, University of Oxford.

During his early career, Anderson taught at Fettes College in Edinburgh and at Gordonstoun where he taught Prince Charles and directed him as Macbeth in the school play. He moved back to Fettes (1966-70) and then to be headmaster at Abingdon School (1970–75), Shrewsbury School (1975–80) and Eton College (1980–94) and he was rector of Lincoln College, Oxford (1994–2000), when its undergraduate students included Rishi Sunak. He was chairman of the Heritage Lottery Fund (1998–2001) and provost of Eton College (2000–2009).

At Fettes, he was Prime Minister Tony Blair's housemaster. Blair subsequently named Anderson in a 1997 advertising campaign run by the Teacher Training Agency, entitled "No one forgets a good teacher". He was Head Master of Eton while David Cameron and Boris Johnson were there, as well as Rory Stewart, Justin Welby, Archbishop of Canterbury, the Olympic oarsman Matthew Pinsent and the actors Dominic West and Damian Lewis. He was a supporter of the direct grant system.

The Clarendon Press published Anderson's edition of The Journal of Sir Walter Scott in 1972 and he became a trustee of Scott's Abbotsford during its refurbishment. He was elected a fellow of the Royal Society of Edinburgh in 1985 and, in 2002, he was appointed a Knight of the Order of the Thistle.

He retired as provost of Eton on 30 January 2009, and was succeeded by William Waldegrave.

His other positions included visitor at Harris Manchester College, Oxford; member of the visiting committee of Harvard University Memorial Church; trustee of the Royal Collection Trust; and chairman of Cumberland Lodge. He received honorary degrees from the University of St Andrews, Hull, Siena, Birmingham, the University of Aberdeen and Buckingham.

Personal life
Anderson was the son of William James Kinloch Anderson, proprietor of the Edinburgh-based kilt-making business Kinloch Anderson, and Margaret Gouinlock Harper. He was married to Elizabeth ("Poppy") Anderson, daughter of William and Mary Mason of Skipton. Their son is David Anderson (Lord Anderson of Ipswich KBE KC), and their daughter Kate is married to Will Gompertz.

He was an honorary Old Abingdonian and in 2018 accompanied Poppy, Kate and Will Gompertz, to open Beech Court at Abingdon School. Anderson died on 22 April 2020 at the age of 83, two days after his 60th wedding anniversary.

title: Eric Anderson (teacher)


text:
Lawrence Ross

Lawrence C. Ross Jr. (born February 20, 1966) is an author of historical texts and fiction.

Life
He was born in Los Angeles, California, and attended Loyola High School and then University of California, Berkeley, and UCLA, where he earned a degree in history. Ross has a Master of Fine Arts (MFA) degree from the UCLA School of Theater, Film and Television, in screenwriting.

Ross worked as a reporter, for the Los Angeles Independent Newspaper and was appointed managing editor of Rap Sheet magazine, hip hop's first West Coast magazine in 1997.

In 1997, Ross, a member of Alpha Phi Alpha fraternity, began writing The Divine Nine: The History of African American Fraternities and Sororities (ISBN 0758202709). The Divine Nine was the first book written that covered the members of the National Pan-Hellenic Council (NPHC). The book has appeared on the bestseller lists of the Los Angeles Times, Essence and Blackboard magazine. As a result of Ross's Divine Nine, he toured the campus lecture circuit. In the past ten years, Ross has lectured at over 300 colleges and universities, on the topics of the NPHC and hazing and how black fraternity and sorority members can fulfill their promise.

He has also written commentaries for The Root.com, The Grio.com and CNN.com about African American fraternal life and education.

In 2001, Ross's second book, The Ways of Black Folks: A Year in the Life of a People, was published. In it, Ross chronicles the stories of black people from throughout the African diaspora. It was selected as a "Fall Must Read", by the National Association of Black Journalists.

Ross's third book and fiction debut, Friends With Benefits, was chosen as a main selection, by Doubleday's Black Expressions Book Club.

In October 2007, his fourth book, Skin Game, was published by Kensington Books. In September 2007, his fifth book, Money Shot: The Wild Nights and Lonely Days in Black Porn, was published by Thunder's Mouth Press. Money Shot was the first book written about the black adult industry. In February 2016, St. Martin's Press published his sixth book, Blackballed: The Black and White Politics of Race on America's Campuses.

Ross has appeared as a guest on National Public Radio and on television shows, such as Good Morning Atlanta. He has been interviewed in Ebony, Savoy, Essence and Newsweek magazines, the Los Angeles Times, Africana.com and The Times.

In 2018, Ross received an honorary PhD from the University of La Verne.

Works

 * The Divine Nine : The History of African American Fraternities and Sororities, New York, NY: Kensington Publishing, 2000, ISBN 9780758202703,
 * The Ways of Black Folks : A Year in the Life of a People, New York: Dafina ; London : Turnaround, 2004. ISBN 9780758206343,
 * Blackballed : The Black and White Politics of Race on America's Campuses, New York: St. Martin's Griffin. ISBN 9781250131546,

title: Lawrence Ross


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Bluegreen Vacations Duel

The Bluegreen Vacations Duel, formerly known as the Twin 125s, is a NASCAR Cup Series preliminary event to the Daytona 500 held annually in February at Daytona International Speedway. It consists of two 150 mi races, which both serve as a qualifying race for the Daytona 500. The finishing order in the two 150 mi races, held on the Thursday before the Daytona 500, determine the starting lineup for the Daytona 500 held on race day.

Qualifying for the Daytona 500 is unique in NASCAR. Only the two front row starters (the pole and "outside pole") are determined by the standard knockout qualifying system. For all other drivers it only determines their starting position in their Duel, with odd placed cars being entered into the first Duel and even placed cars going in the second. After the Top 2 positions are locked in, the next 30 places of starting grid of the Daytona 500 is set by the finishing order of these two races with the top 15 (excluding pole winner and outside pole) making up the next 15 places on the inside and outside lanes respectively. After the Duels are completed the four fastest non-qualifiers by time and finally the six or seven (if no past champion's exemption is needed) highest-earning teams in points (from the previous season's standings) not in the race yet advance (also set by time), and the starting grid for the Daytona 500 would then be set. The order is still subject to change if technical regulations are violated.

History
The event began as twin 100-mile (40-lap) races. From 1959 to 1971, the races were counted with points towards the Grand National championship. Purses awarded were counted separately from those awarded in the Daytona 500. For 1968, the races were scheduled for 125 mi each, but were cancelled due to rain, and the starting lineup for the 1968 Daytona 500 fell back on the timed laps. In 1969, the races were extended again to 125 miles (50 laps). Lengthening the races added the need for a pit stop, increasing the complexity and excitement of the races.

For 1972, NASCAR's modern era commenced, so races were required to be at least 250 mi to be included as official points events. The Daytona qualifying races continued, however, as a non-points event. ABC first aired the races in 1971 as part of Wide World of Sports highlights show. CBS took over in 1979, showing the races tape-delayed and edited the day before the Daytona 500.

With the introduction of restrictor plates in 1988, the resulting reduction in speed and fuel consumption again allowed drivers to possibly complete the race without a pit stop. Nine times from 1988 to 2004, one of the races went without a caution, and without a pit stop by the winner. In 2003, rules had been put in place requiring smaller fuel tanks on restrictor plate tracks (from 22 usgal down to 13 usgal), which effectively forced a pit stop once again.

Starting in 2001, the races were shown live on television, as the Daytona 500 would rotate between FOX/FX and NBC/TNT from 2001 to 2006.

In 2005, the races were lengthened to 150 miles (60-laps), given a new name, the Gatorade Duel, and from 2005 to 2012, used NASCAR's All-Exempt Tour format (similar to golf, but better known within NASCAR circles as the "top 35 rule"). The grids changed from even-odd qualifiers to a combination of even-odd based on the front row drivers by speed, then previous year's points standings (even-odd) of exempt and non-exempt teams by speed. A rain delay in 2006 saw the second race finish under the lights.

Starting in 2007, the Gatorade Duel is shown live on Speed, under the new broadcast agreement. That same year, allegations of cheating involving Michael Waltrip Racing came up. In 2013, Budweiser took over as sponsor of the Duels.

During Speedweeks 2013, Daytona International Speedway announced that the qualifying races would be held in prime-time and under stadium lighting on the Thursday before the Daytona 500 beginning in 2014, the races' debut on Fox Sports 1.

From 2016 to 2018, the races were renamed the Can-Am Duel after new title sponsor Bombardier Recreational Products' range of Can-Am All-terrain vehicles.

Beginning in 2017 The Duels became a points event once again in with the unveiling of a new race format. Under the new format still in use as of 2024 the race awards regular season points for the top ten drivers in each duel with 10 points being awarded to the winners and finishers in 2nd to 10th place earning 9 points to 1 point in increments of one point per position.

Format

 * Busch Pole qualifying is currently held the week of the Daytona 500. Since 2021, it has been held the Wednesday of the race week. Prior to that, it was held the Sunday before (except in 2010, when qualifying was held on Saturday to avoid conflict with Super Bowl XLIV) starting from 2003, the Saturday before until 2002 (except for 1992), and the Wednesday before prior to the 1980s. Standard three-round knockout qualifying procedures are used for restrictor plate tracks. The fastest qualifier in the third round wins the pole position for the Daytona 500, and second fastest in the third round is considered the second starting position, also known as the "outside pole". Both front row starters are locked into those positions on the Daytona 500 starting grid.
 * The two fastest qualifiers above (the Daytona 500 pole winner and the "outside pole" winner) are awarded the first starting position on the grid for each of the two Duel races, respectively.
 * Drivers who qualify in odd-numbered positions in Q3 start in the first Duel, while those who qualify in even-numbered ones in that round start in the second Duel. This fills positions 1–6 in each Duel.
 * The 12 drivers eliminated after Q2 have their Q2 times determine their starting position. The fastest driver eliminated in Q2, based on Q2 times only, starts 7th in the first Duel, while the second-fastest driver in Q2 starts in that position in the second one and based on position of elimination from Q2, they start in the first (odd) or second (even) numbered positions.
 * Drivers eliminated after Q1 will have Q1 times determine their starting position. The fastest driver eliminated in Q1 starts 13th in the first Duel, while the second-fastest driver eliminated in Q1 starts in there in the second one.

Pre-charter format (except 2005–12)

 * The Top 15 (14 until 2004) finishers in each Twin 125 race (excluding the two original front row qualifiers) advanced to the Daytona 500 starting lineup.
 * The Top 15 (14 until 2004) from the first race (excluding the original pole position winner) filled the inside portions of rows 2 through 16 (15 until 2004).
 * The Top 15 (14 until 2004) from the second race (excluding the original outside pole winner) filled the outside portions of rows 2 through 16 (15 until 2004).
 * After both races, the remaining non-qualifiers revert to their original qualifying speeds. Until NASCAR imposed the charter system in 2016, the four fastest remaining cars were assigned positions 33–36. This format has been in place from 1998 to 2003 and 2013 to 2015. This rule was to generally protect fast qualifying cars that suffered a crash or engine failure during the heats.
 * In 2015 with knockout qualifying, a driver's qualifying speed is based on his fastest, regardless of it taking place in Q1, Q2, or Q3.
 * For 1998–2003, qualifying speeds filled positions 31–36.
 * For 1995–1997 and 2004, qualifying speeds filled positions 31–38.
 * Through 1994, qualifying speeds filled positions 31–40.
 * The final starting positions (37-42) were reserved for provisionals. The highest entries in championship owner points (not driver points) from the previous season that have not yet made the field are assigned grid positions 37–42.
 * Prior to 1995, the provisional system varies, with typically two cars added.
 * From 1995 to 1997, four provisionals were used.
 * From 1998 to 2003, seven provisionals were used.
 * In 2004, five provisionals were used.
 * Provisionals are assigned by owner points from the previous season.
 * Since 1990, the 43rd and final spot on the grid were tentatively reserved for the most recent NASCAR Cup champion not yet in the field. The "Champions Provisional" is used if needed, but if there are no former Cup champions in need of the slot, it reverts to a standard provisional spot. (This provisional was abolished with the charter system in 2016.)
 * Since 2013, after the seven provisionals are assigned, the starting order of positions 37 through 40 is determined by fastest qualifying speeds. Under the current charter system, the rule is in effect, but only for positions 39 and 40, for open (non-chartered) cars.

All Exempt Tour Format/"Top 35 Rule" (2005–2012)
Between the 2005 and 2012 seasons, the Duel used different rules because of NASCAR's All Exempt Tour format (better known as the "top 35 rule") used at the time for the NASCAR Cup Series.
 * All exempt teams (the previous season's Top 35 teams through owner points), along with the two drivers who qualified for the front row – the top two drivers from qualifying (if they are not exempt teams) are locked into the Daytona 500 starting field, regardless of finishing position in the Duel races.
 * The pole position winner is given the pole for the first Duel, and the driver who qualifies second is given the pole for the second Duel; regardless of their exempt status.
 * Exempt teams (excluding the pole and "outside pole" winners) are split among the two Duels based on their owner points position from the previous season. Odd-numbered points positions are entered into the first Duel and even-numbered points positions are entered into the second Duel.
 * If both teams on the front row in the Daytona 500 are even-positioned teams from the previous year's points (and would be in Duel 2), the slowest exempt team of the odd-positioned teams, based on the final points standings from the previous year, is moved to Duel 2. This was used in the 2012 Duels.
 * Non-exempt entries are split between the two qualifying races. The top qualifier among non-exempt teams provided the team is not on the front row is slotted into the second race (along with even ranked non-exempt qualifiers) are split into the second race, and even ranked qualifiers are in the first race (as if they were called 36th and 37th, et al.), unless both front row starters were odd or even teams from the previous year, or if one of the two non-exempt teams makes the front row.
 * After the participants are determined for the two Duels, the actual lineups for the two Duels revert to overall time trial speed rank.
 * The Top 2 finishers among the non-exempt teams (excluding any that happened to qualify on the front row) from each Duel advance to the Daytona 500.
 * Starting positions 3-39 are finalized by Duel finishes. Drivers from the first Duel start on the inside and drivers from the second Duel start on the outside.
 * Starting positions 3-40 (or 41) are finalized in this manner if one (or both) front row starter is a non-exempt team.
 * One to four additional positions are filled by non-exempt entries by original time trial speeds.
 * If both front row starters are non-exempt teams, only one position is available. If the 43rd position is not needed, two positions are available.
 * If one front row starters is a non-exempt team, two (or three) positions are available.
 * If both front row starters are exempt teams, three (or four) positions are available. This brings the field to 42 cars.
 * If there is a former NASCAR Cup Series champion driver who raced in the previous season racing for a non-exempt team and has yet to qualify, the most recent former champion not in the field yet takes the 43rd position. It is not unusual for a non-exempt team to seek out a former champion as their driver, as it provides an easier way to qualify.  Otherwise, an extra position by time is available.

Charter-era format
Under the current charter system, because all chartered entries are guaranteed entry to every race of a season:
 * All finishers driving for chartered teams in each Duel (excluding the two original front row qualifiers) advanced to the Daytona 500 starting lineup; the first race determines the starting position of the inside row and the second determines the outside row.
 * The highest-placed "open" entry (entering the race without a charter) of each duel race will advance, based on their finishing position (for a total of two cars each). This also determines their starting position.
 * Two fastest non-chartered drivers that advanced based on qualifying speeds alone will start on the last row of the Daytona 500, for a total of four non-chartered cars (NASCAR reduced the starting grid from 43 to 40 with the introduction of the system).
 * If the "open" driver that was the top unchartered entry in the duel race was also the fastest non-chartered driver in the time trials, the fastest "open" driver not locked-in that way will advance on their qualifying time alone. Otherwise, their time would be used as a fallback for them to start on the last row of the event.

The arrangement of the Duels under the charter system notably cost Ty Dillon a starting spot in 2021 when Ryan Preece beat him during the Duels as Dillon, despite still finishing in the top-10, did not have a fast enough qualifying time compared to his non-chartered peers.

Early years

 * In the early years of the Daytona 500, the rules for the qualifying races varied widely. In 1959, the first race comprised the Convertible series, while the second comprised the Grand National series. The Top 20 finishers in each race advanced to the Daytona 500, while a last-chance, 25 mi consolation race was held on Saturday, to fill the field to a maximum of 65 cars.
 * In early years, the qualifying races were held on the Friday prior to the Daytona 500, rather than the current Thursday.
 * On rare occasions, a 75-mile "consolation race" was also held.
 * In some early years, pole qualifying for the Daytona 500 was held on Wednesday, the day before the qualifying races. It was eventually moved up to the weekend before, and returned to Wednesday in 2021.
 * Typically, until 2014, the faster of two laps in single-car qualifying determined starting positions for the Duels and the front row for the 500.

Race notes

 * 1961: First race was shortened due to crash.
 * 1974: Both races were shortened due to energy crisis (10% shorter).
 * 2006: Both races were extended due to a green–white–checker finish.
 * 2007, 2011 and 2018: First race was extended due to a NASCAR overtime.
 * 2008, 2015 and 2021: Second race was extended due to a NASCAR overtime.
 * 2017: Was the first time that points were on the line in Modern era (1972–present).
 * 2021: Second race was delayed 3 hours for rain, finished early Friday morning.

title: Bluegreen Vacations Duel


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Allegra

Allegra may refer to:

People

 * Allegra (given name), people with the given name Allegra
 * Antonio Allegra (1905–1969), Italian organist and lyricist
 * Chad Allegra (born 1980), American professional wrestler better known as Karl Anderson
 * Francis Allegra (1957–2015), judge of the U.S. Court of Federal Claims
 * Gabriele Allegra (1907–1976), beatified Italian Catholic priest
 * Indira Allegra, multidisciplinary American artist and writer
 * Salvatore Allegra (1898–1993), Italian composer

Railway

 * Rhaetian Railway ABe 8/12, a powerful three-car electric multiple-unit train on Swiss meter gauge
 * The brand name for the Hakone Tozan 3000 series trains in Japan

Drugs

 * Fexofenadine, an antihistamine drug sold under the brand names Allegra, Allerfexo, Telfast, and others

Other

 * Allegra, 1999 live album by Fifteen
 * Opel Allegra, a car
 * Allegra, a greeting in the Romansh language of south-eastern Switzerland
 * Allegra (genus), a genus of protists belonging to the group Placidozoa

title: Allegra


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Morlock

Morlocks are a fictional species created by H. G. Wells for his 1895 novel The Time Machine. They are the story's main antagonists. Since their creation by H. G. Wells, the Morlocks have appeared in many other works such as sequels, films, television shows, and works by other authors, many of which have deviated from the original description.

In choosing the name "Morlocks", Wells may have been inspired by Moloch, the Canaanite god of child sacrifice, with the Eloi analogous to children. Alternatively, he may have also been inspired by the Morlachs, an ethnic group in the Balkans which attracted attention from Western travellers as a perceived archetype of barbarism and backwardness.

In The Time Machine
The Morlocks are at first a mysterious presence in the book, in so far as the protagonist initially believes the Eloi are the sole descendants of humanity. Later, the Morlocks are made the story's antagonists. They dwell underground beneath the English countryside of AD 802,701, maintaining ancient machines that they may or may not remember how to build. Their only access to the surface world is through a series of well-like structures that dot the countryside of future England.

After thousands of generations of living without sunlight, the Morlocks have come to resemble troglofauna. They are described as apelike, with dull grey-to-white skin, chinless faces, large greyish-red eyes with a capacity for reflecting light, and flaxen hair on the head and back. They are stronger than the Eloi, but smaller and weaker than the average human (the Time Traveller hurt or killed some barehanded with relative ease), but a large swarm of them could be a serious threat to a lone man, especially unarmed and/or without a light source. Unlike the Eloi, the Morlocks retain some of their human curiosity, initiative, and aggression: they are intrigued by the Time Traveller and band together to attack him when he invades their dwelling. Their language is composed of strange, unpleasant sounds, which the Time Traveller never deciphers. Their sensitivity to light usually prevents them from attacking during the day.

The relationship between the Morlocks and the Eloi is symbiotic: the Eloi are clothed, fed and possibly bred by the Morlocks, and the Morlocks consume the Eloi as a food source. Seeing this, the Time Traveller speculates that the relationship developed from a class distinction present in his own time: the Morlocks are descendants of the working class who were relegated to working and living underground so that the rich upper class could live in luxury on the surface. With time, the roles altered – the surface people grew apathetic and helpless to the point that they were no longer masters of their subterranean counterparts. However, the Morlocks must have continued to tend to the Eloi (the protagonist guesses this may at first have been out of tradition or intrinsic habit) and at some point began using them as livestock.

When the Sleeper Wakes
H. G. Wells also wrote a book called When the Sleeper Wakes (1899). The book centers on a man who somehow falls asleep for several centuries, and wakes in the mid-21st century to find that his investments have done so well that he owns the world. In this book, we find out that an organization called the Labour Company has rounded up most of the world's lower class, forcing them to work underground in horrible conditions for the sole benefit of the rich upper class. It would seem that these people will later degenerate to become the Morlocks.

When the "Sleeper" encounters these (apparently) proto-Morlocks, they appear as labourers working underground under horrible conditions. He notes that they seem to be turning paler, as well as developing their own dialect of English.

The Time Ships
The Time Ships (1995), by Stephen Baxter is a canonical sequel to The Time Machine (1895) officially authorized by the Wells estate to mark the centenary of the original's publication. In its wide-ranging narrative, the Time Traveller attempts to return to the world of tomorrow but instead finds that his actions have changed the future: one in which the Eloi have never manifested. Instead, the Earth is a nearly barren waste that has been abandoned in favour of a 220 million kilometres wide self-sustaining sphere around the Sun drawing its energy directly from sunlight (since it entirely encompasses the star and receives its whole energy output), where the Morlocks (and several other offshoots of humanity) now live.

Utterly peaceful, moralistic, and highly intelligent (Nebogipfel learns English in a matter of days and is soon able to speak it fluently – with some limitations due to the Morlocks' peculiar vocal apparatus, quite different from those of humans), the only resemblance these new Morlocks have to the monstrous cannibals of the first future is that of appearance and dwelling "underground". The sphere they inhabit is divided into two concentric shells, with the Morlocks living exclusively inside the nearly featureless exterior. Above them, the inner shell where the sun shines openly is an Earth-like utopia. In its many forms and at many technological levels (from somehow familiar nowadays like industrial worlds, to worlds having anti-gravitational devices), they continue on here in much the same way as that of the Time Traveller's era (with war being the most obvious holdover).

The Morlocks' civilization includes a variety of nation-groups based on thought and ideology, in which individuals move between without conflict. All needs are met by the sphere itself, including reproduction where the newly born are "extruded" directly from the floor. These peaceful intelligent Morlocks seem also to have extraordinary resistance to disease and perhaps to radiations too, even when not in their homeworld, as stated by Nebogipfel when in the Paleocene (the Time Traveller quickly got ill there because of unknown germs, whereas Nebogipfel, though injured and disabled, suffered no apparent ill effects).

The only Morlock given a name is Nebogipfel, who remains with the Time Traveller throughout the book. Nebogipfel's name comes from the main character of H. G. Wells' first attempt at a time travel story, then called "Chronic Argonauts". The character's name was Dr. Moses Nebogipfel. (The name Moses was also used in The Time Ships, though it is given to the younger version of himself that the Time Traveller meets on his journey.)

Morlock Night
In K. W. Jeter's novel Morlock Night, the Morlocks have stolen the Time Machine and used it to invade Victorian London. These Morlocks are much more formidable than those in The Time Machine – a clever, technological race with enough power to take over the entire world. They also get support from certain treacherous 19th century humans, especially a dark wizard named Merdenne. It is also revealed that the Morlocks living in their native time (the 8,028th century) have stopped allowing the Eloi to roam free and now keep them in pens.

The Morlocks are separated into two types, or castes, in the novel. One is the short, weak, stupid Grunt Morlocks, who are supposedly the kind that the Time Traveller encountered, and the other is the Officer Morlocks, who are taller, more intelligent, speak English, and have a high rank within the Morlock invasion force. An example of the latter type is Colonel Nalga, an antagonist later in the book.

These Morlocks are always described as wearing blueish spectacles, which are presumably to protect the Morlocks' sensitive, dark-adapted eyes.

In other books

 * Die Reise mit der Zeitmaschine (1946, "The Journey with the Time Machine"), by Egon Friedell – translated by Eddy C. Bertin into English and republished as The Return of the Time Machine. At the time of its publication, this was then the only sequel to The Time Machine. It describes the Time Traveller's further visits to the future, and the Time Machine's entanglement with the past.
 * The Man Who Loved Morlocks (1981), by David Lake. This novel recounts the Time Traveller's second journey. This time, he meets the Morlocks again, but is equipped with a camera and a Colt revolver. This book is notable for portraying the Morlocks in a sympathetic, and completely different light. The Time Traveller discovers, on his second trip, that the Eloi and Morlocks of the future world are all dying due to a disease introduced by him on his first trip, to which they have no immunity. Traveling further into the future, he discovers a great and noble civilization, the beautiful inhabitants of which it is eventually learned are the descendants of the few surviving Morlocks. Also, an ancient journal is discovered, which tells the story of the Time Traveller's first trip from the Morlocks' point of view, revealing that the Morlocks, rather than being hostile predators/farmers of the Eloi, were in fact the custodians of a kind of natural reserve dedicated to protecting and preserving them. The apparently hostile acts of the Morlocks are explained by showing the story from a different viewpoint.
 * Time Machine Troopers (2011), by Hal Colebatch, published by Acashic. In this story, the time traveller returns to the future about 18 years beyond the time in which he first visited it, hoping to regenerate the Eloi, and taking with him Sir Robert Baden-Powell, who will later found the Boy Scout movement in England. They set out to teach the Eloi self-reliance and self-defence, but are captured by Morlocks. It turns out that the Eloi and Morlocks are both more complex than the time traveller had thought, also that Weena is still alive and leading an Eloi resistance movement. The story sets out to be an answer to Wells's pessimism, as the Time Traveller and Baden-Powell seek to teach the future world scouting and cricket. Sir Winston Churchill and H. G. Wells himself also feature as characters.

In other fiction
Some authors have adopted the Morlocks and adapted them to their works, often completely unassociated with The Time Machine, or were named in-universe in homage to H.G. Wells' works.

The Morlocks appeared in a story by Alan Moore titled Allan and the Sundered Veil, which appeared as part of the comic book collection The League of Extraordinary Gentlemen, Volume I. In the story, the Time Traveller takes some of the regular League characters into his future world, where he has made a base out of the Morlock sphinx. The party is soon attacked by Morlocks, who are fierce, simian creatures in this story. They are physically much more powerful than Wells' creatures, although they're similar to the Hunter Morlocks from the 2002 film.

Larry Niven included a version of the Morlocks in his Known Space books. They appear as a subhuman alien race living in the caves in one region of Wunderland, which is one of humanity's colonies in the Alpha Centauri system. Many of these stories are by Hal Colebatch in the shared spin-off series, "The Man Kzin Wars", especially in vols. X, XI and XII. They are also mentioned in stories in the same series by M. J. Harringtom.

In Joanna Russ' short story "The Second Inquisition", The Time Machine is referenced a number of times, and the unnamed character referred to as "our guest" (who is evidently a visitor from the future) claims to be a Morlock, although she does not physically resemble Wells' Morlocks.

In the fictional universe of Warhammer 40,000, Morlocks are the elite warriors of the Iron Hands chapter of space marines and feature in several Horus Heresy novels where they act as bodyguards for their primarch Ferrus Manus.

In the Marvel Comics universe, a number of mutants whose mutations are visually obvious dwell underground, calling themselves Morlocks.

The inhabitants of the Moscow metro are sometimes sarcastically referred to as Morlocks in Dmitry Glukhovsky's Metro 2033.

In essays and non-fiction
In Neal Stephenson's essay on modern culture vis-à-vis operating system development, In the Beginning... was the Command Line, he demonstrates similarities between the future in The Time Machine and contemporary American culture. He claims that most Americans have been exposed to a "corporate monoculture" which renders them "unwilling to make judgments and incapable of taking stands." Anyone who remains outside of this "culture" is left with powerful tools to deal with the world, and it is they, rather than the neutered Eloi, that run things.

J. R. R. Tolkien mentioned Morlocks three times in his 1939 essay On Fairy-Stories, which discusses the genre now called fantasy. The first reference occurs where Tolkien attempts to define the genre, and he suggests that the Morlocks (and Eloi) place The Time Machine more in the genre than do the Lilliputians in Gulliver's Travels. He reasoned that the Lilliputians are merely diminutive humans, whereas the Morlocks and Eloi are significantly different from us, and "live far away in an abyss of time so deep as to work an enchantment". Another reference to the creatures of The Time Machine occurs in the essay's section "Recovery, Escape, Consolation". Here it's argued that fantasy offers a legitimate means of escape from the mundane world and the "Morlockian horror of factories". Elsewhere in his essay, Tolkien warns against separating fantasy readers into superficial categories, using the Eloi and Morlocks as a dramatic illustration of the repercussions of sundering the human race.

The Time Machine (1960 film)
The 1960 film version of The Time Machine directed by George Pal features Morlocks designed by Wah Chang. They are depicted as blue-skinned ape-like creatures with sloth-like hands and feet. Like the creatures in the novella, the Morlocks are unaccustomed to resistance and susceptible to blows. They are defeated in the end by the Eloi, who are motivated to fight back by the Time Traveller, George. The divergence between Eloi and Morlocks in this telling did not originate in a caste system, originate after a nuclear war destroyed the world August 18, 1966.

The Morlocks in this film draw the Eloi to their doom through the use of air raid sirens. Sirens, which once warned their ancestors to seek shelter underground, now evoke an instinctual response in the Eloi: they go into a trance and proceed to Morlock realms, where the Morlocks finally herd them underground with whips.

The Time Machine (1978 film)
In the television film The Time Machine directed by Henning Schellerup (1928–2000) and first broadcast on US television on November 5, 1978, the protagonist Dr. Neil Perry (played by John Beck) travels with his time machine into the future to tell his company Mega Corporation, for which he developed an Antimatter bomb, about its future destructive impact on humanity. In the future, he witnessed the destruction of civilization, but also learns that nature has been revived from the wasteland and that some of the people who had previously sought refuge underground, the Eloi, have returned to the surface. The race that remained below the surface became the Morlocks, and when Perry arrives he watches as the Morlocks begin to harvest the Eloi as their food. Here, he also meets the Eloi girl Weena (played by Priscilla Barnes) who, unlike the other film adaptations, now has a brother named Ariel.

Weena leads Perry into a preserved technology museum, which also shows his bomb developed in the past for the Mega Corporation, and in a video animation he can see the damage caused by his bomb. Before Perry returns to his time, he and Ariel blow up three entrances to the Morlocks' caves with plastic explosives they found in the museum. When he travels back in time to tell his company about the dramatic effects of the bomb in the future, his superiors show disinterest. Perry travels to the future again to return to Weena and the Eloi and finds that their world is now free of the Morlocks.

The Time Machine (2002 film)
In 2002, another film based on The Time Machine was directed by Simon Wells, the great-grandson of H. G. Wells. The Morlocks in this film, as well as the Eloi, have been changed in several major ways. The Morlocks have become physically stronger and faster, and are very ape-like now, frequently running on all fours.

The movie displays three of these races:

 * The Hunter Morlocks are Morlocks that hunt down and capture the Eloi. They are muscular, gorilla-like hunters. They have a powerful sense of smell used to track down the Eloi. Different actors portray the Hunter Morlocks: Richard Cetrone, Edward Conna, Chris Sayour, Jeremy Fitzgerald, Darrell Davis, Grady Holder, Bryan Friday, Clint Lilley, Mark Kubr, Jeff Podgurski, Dan McCann, Bryon Weiss, and Steve Upton.
 * The Spy Morlocks are Morlocks that shoot them with blowgun darts (so as to make them detectable to the hunters). They are more slender and agile than the Hunter Morlocks, but much weaker. The Spy Morlocks shoot blowpipes at escaping Eloi, marking them with a pungent substance and making it easier for the Hunters. Different actors portray the Spy Morlocks: Joey Anaya, Jacob Chambers, Doug Jones, Dorian Kingi, and Kevin McTurk.
 * The Über-Morlocks are Morlocks that command the first two races telepathically. They appear more human than the other two castes seen in the movie. Instead of having grey skin and patches of fur, the Über-Morlock (portrayed by Jeremy Irons) that appears in the film has long, flowing white hair and white skin, the general physique of a human, and clothing. His brain is so large that much of it is outside his head, trailing down his back and enveloping spine. He is telepathic and telekinetic, articulate in English speech, and eventually ends up fighting Alexander Hartdegen (the main character of this film).

As explained by the Über-Morlock when Alexander is brought to him while trying to save the Eloi Mara, the Morlocks originated from humans that sought shelter underground, after an operation demolition at constructing a colonys and mines in the Moon sent some of its fragments crashing to Earth. They remained underground for so long that they developed bodies with very little melanin in their skin and very sensitive eyes that could not tolerate sunlight for long. As a result of the past catastrophe and the resulting strain on resources, the proto-Morlocks divided themselves into several castes, two of which (the 'Hunters' and the 'Spies') could survive in the daylight. They inbred within each caste until the Morlock race became composed of genetically fine-tuned sub-races designed for specific tasks.

During the climax of the film, Alexander kills the Über-Morlock by pushing him out of the moving time machine. The rest of the Morlocks are destroyed when Alexander causes his time machine to malfunction and explode in their tunnels.

Time Machine: Rise of the Morlocks
A 2011 television movie originally named Morlocks (renamed Time Machine: Rise of the Morlocks) produced for Syfy, starring David Hewlett, and Robert Picardo. The plot sees a time machine open a portal to the future allowing Morlocks to travel back to the present and wreak havoc. These Morlocks are descended from a patient with terminal cancer whose father used the military time travel project to look for technology in the future as a cure. One of the first Morlocks to escape through the portal into the present is captured and has its DNA extracted. Paradoxically, it is treatment with this DNA that causes the patient to mutate into the first Morlock.

Mutant War
Morlocks are briefly referenced by the protagonist in reference to the zombie-like mutant antagonists of the film.

Television shows
In the serial Timelash episodes of the twenty-second season of Doctor Who, the Sixth Doctor takes H. G. Wells into the future where they encounter an underground-dwelling, reptilian species called the Morlox (a homophone of "Morlocks"). The Borad, an evil ruler, accidentally becomes half-Morlox before the episode.

In the 1978 Challenge of the Superfriends episode titled "Conquerors of the Future", the episode featured Barlocks, a variation of the Morlocks in a time period when the Super Friends are long dead who lived outside a domed city that is Earth's capital. The Barlocks have attacked it many times and are driven away by the bright lights. In addition, they aren't very good at mastering the technology they have. When the Legion of Doom arrived and encountered the Barlocks, Lex Luthor formed an alliance with their leader (voiced by Ted Cassidy) and came up with a trick to take over the domed city. Afterwards, the Legion of Doom used them in their plans to conquer the galaxy with Lex Luthor leading the Barlocks to conquer the ruling planet of Sector 13 while Black Manta leads the Barlocks to conquer the ruling planet in the Outer Galaxy Region. When Superman, Green Lantern, and Flash arrive in this time after accidentally appearing in the farther future and finding a history book that details the history of Earth, they defeat the Legion of Doom as Flash uses his super-speed to place the Barlocks back in their cave. The inhabitants of Earth's capital city sees to it that the planets the Legion of Doom and the Barlocks have conquered are liberated.

Homer Simpson mentions Morlocks in The Simpsons episode "Homer the Moe", claiming he became their king while telling a shaggy dog story.

In 2003, Peak Entertainment relaunched Monster in My Pocket with former lead villain Warlock as the hero. The new villain became Warlock's evil twin Morlock. The series was passed on by Cartoon Network and Peak's rights to Monster in My Pocket were revoked on December 22, 2004. With the series' limited distribution, it is difficult to say if the connection was more than a nominal one.

In 2006, a new incarnation of Power Rangers, titled Power Rangers: Mystic Force, includes Morlocks as the enemies of the Mystic Force Rangers. Sources from before the show's premiere described them as "zombie-like foot soldiers" and it was also implied that they live underground below the town of Briarwood (where the show takes place) and plot to rise up and destroy everything. However, it has since been revealed that the Morlocks in the show are not simply foot soldiers; they comprise the entire group of enemies of the Power Rangers that have been led by Octomus. The Morlocks in the show are entirely unlike those in The Time Machine, except that they still live underground and are villains. These Morlocks are not portrayed as a divergent species of humanity, but instead as an ancient, evil legion who were sealed underground centuries ago. The Morlocks have finally broken the seal and are planning to invade Briarwood, and later the world. The term was used exclusively in promotional material and was never mentioned in the show.

On the episode of The Big Bang Theory called "The Nerdvana Annihilation," Leonard Hofstadter and his friends chipped in to buy an original time machine prop from the 1960 film classic The Time Machine. None in the group was more excited about the purchase than Sheldon Cooper, who seemed to think he was the only one able to grasp the full possibilities of owning such a unique piece of memorabilia. His viewpoint changed drastically though, after he experienced a series of episode-ending dreams, all featuring the infamous cannibalistic Morlock species from the classic H. G. Wells book. The first dream was him travelling to the future on 28 April 802701 and being eaten alive by three Morlocks. When he wakes up, Leonard agrees to get rid of the time machine, but he hires Morlocks to do it (called Starving Morlocks). As they eat Sheldon, he wakes up again and yells for Leonard to help him.

In the 2010 episode of Futurama titled "The Late Philip J. Fry," Bender, Farnsworth, and Fry travel to the future where they meet a society of small creatures who explain that humanity has diverged into two distinct groups through evolution. Upon returning five years later, the crew discovers that the small, intelligent creatures have been overrun and destroyed by the troglodytic "Dumb-locks."

In the 2014 episode of Regular Show titled "Journey to the Bottom of the Crash Pit," Mordecai, Rigby, Muscle Man and Hi-Five Ghost travel to their cave in search for a video camera, they find it in possession of the "Carlocks" instead of Morlocks, who are the first and last of the mighty underground race and refuse to give it back, forcing them to steal it and escape in a worn-out car. The Carlocks give chase to try and get the camera back, but the four manage to escape the hole. Skips' truck then dumped dirt into the hole, killing them for good.

Comics
In Marvel Comics, the Morlock name was used for a group of mutants that live in the sewers.

Video games
In Bookworm Adventures 2, Morlocks are instead named Troglocks and appear as enemies of the sixth book.

The Carlocks instead of Morlocks also appear in the online game "Fist Punch 2" as enemies.

In Deponia, Morlocks are instead names Fewlocks, but being referred to as Morlocks once and appear as enemies to the protagonists.

title: Morlock


text:
Extremal black hole

In theoretical physics, an extremal black hole is a black hole with the minimum possible mass that is compatible with its charge and angular momentum.

The concept of an extremal black hole is theoretical and none have thusfar been observed in nature. However, many theories are based on their existence.

In supersymmetric theories, extremal black holes are often supersymmetric: they are invariant under several supercharges. This is a consequence of the BPS bound. Such black holes are stable and emit no Hawking radiation. Their black hole entropy can be calculated in string theory.

It has been suggested by Sean Carroll that the entropy of an extremal black hole is equal to zero. Carroll explains the lack of entropy by creating a separate dimension for the black hole to exist within.

The Hawking radiation of extremal black holes is considered non-thermal (non-Planck distributed), with no associated temperature.

The hypothetical black hole electron is super-extremal (having more charge and angular momentum than a black hole of its mass "should").

title: Extremal black hole


text:
Near-extremal black hole

In theoretical physics, a near-extremal black hole is a black hole which is not far from the minimal possible mass that can be compatible with the given charges and angular momentum. The calculations of the properties of near-extremal black holes are usually performed using perturbation theory around the extremal black hole; the expansion parameter is called non-extremality.

In supersymmetric theories, near-extremal black holes are often small perturbations of supersymmetric black holes. Such black holes have a very small Hawking temperature and consequently emit a small amount of Hawking radiation. Their black hole entropy can often be calculated in string theory, much like in the case of extremal black holes, at least to the first order in non-extremality.

title: Near-extremal black hole


text:
Grafenried

There are several municipalities and communities that have the name Grafenried.

in Bavaria, Germany

 * Grafenried Gem. Nittendorf
 * Grafenried (Sinzing), Regensburg
 * Grafenried (Regen), Regen
 * Grafenried (Cham), Cham

In Switzerland

 * Grafenried, Switzerland, in the Canton of Bern

title: Grafenried


text:
Running with Scissors ("Weird Al" Yankovic album)

Running with Scissors is the tenth studio album by "Weird Al" Yankovic, released on June 29, 1999. It was the fourth studio album self-produced by Yankovic, and his first album for Volcano Records after its acquisition of Scotti Brothers. The musical styles on the album are built around parodies and pastiches of pop and rock music of the late 1990s, largely targeting alternative rock and hip-hop. The album's lead single, "The Saga Begins", however, was a parody of the 1971 single "American Pie" by Don McLean, and it recounts the plot of the film Star Wars: Episode I – The Phantom Menace, which was released around the same time. None of the album's singles charted domestically, although "Pretty Fly for a Rabbi", a parody of "Pretty Fly (For a White Guy)" by the Offspring, charted at number 67 in Australia.

The album featured five parodies. Aside from the aforementioned "The Saga Begins" and "Pretty Fly for a Rabbi", the album also contains lampoons of "One Week" by Barenaked Ladies, "It's All About the Benjamins" by Puff Daddy, and "Zoot Suit Riot" by Cherry Poppin' Daddies. The other half of the album is original material, featuring many "style parodies", or musical imitations of existing artists. These style parodies include imitations of specific artists like Nine Inch Nails and the Rugburns, as well as imitations of different musical genres like zydeco, third-wave ska, and truck-driving country.

Running with Scissors was met with mostly positive reviews, with many critics praising "The Saga Begins"; some, however, felt that the album was rushed. The album peaked at number 16 on the Billboard 200. "The Saga Begins" went on to become one of Yankovic's best-known singles, although it never charted on the Billboard Hot 100. Running with Scissors was Yankovic's seventh Gold record in the United States, and went on to be certified Platinum for sales of over one million copies in the US. The album also was certified Gold in both Australia and Canada.

Recording
In June 1997, Yankovic entered the studio to begin the first of the Running with Scissors sessions, which Yankovic produced himself. Recording with Yankovic were Jon "Bermuda" Schwartz on drums, Steve Jay on bass, and Jim West on guitar. The album was recorded in six sessions. The first session started on June 29, 1997, in which Yankovic recorded the theme song to his television show, The Weird Al Show. The second session, which occurred on October 7, 1998, produced the original song "Germs", and eight days later, on October 15, Yankovic started the third session and recorded three more originals, "Albuquerque", "My Baby's in Love with Eddie Vedder", and "Truck Drivin' Song". The next day, the fourth session resulted in the song "Your Horoscope for Today". On April 19 of the following year, Yankovic recorded four parodies during the fifth session, "Pretty Fly for a Rabbi", "Jerry Springer", "It's All About the Pentiums", and "Grapefruit Diet". The album's sixth and final session occurred on April 20, and resulted in "The Saga Begins", and the album's polka medley, "Polka Power!"

Originals
The album includes "The Weird Al Show Theme", which is the theme song to Yankovic's short-lived television series. "Germs" is a style parody of industrial rock band Nine Inch Nails that tells of the narrator's germophobia. "Your Horoscope for Today" is a style parody of third wave ska, which features Reel Big Fish members Tavis Werts on trumpet and Dan Regan on trombone, and has lyrics about ridiculous horoscopes. Yankovic attributes the lyrics' inspiration to the satirical newspaper The Onion. After Ophiuchus was touted by some papers as the "13th zodiac sign", Yankovic released new lyrics on his Twitter for the sign. In January 2023 an animated music video was released for the song to promote The Illustrated Al graphic novel.

"Albuquerque", an eleven-minute "hard-driving rock narrative", is a style parody of the Rugburns, particularly the song "Dick's Automotive", and tells the fictional life of Yankovic and his various adventures in the town of Albuquerque, New Mexico. Yankovic originally wrote the song to "annoy people for 12 minutes". He felt that it would be an "odyssey" for fans to successfully sit through it, and so it was placed at the album's end. Instead, to Yankovic's surprise, the song has become a fan favorite. "My Baby's in Love with Eddie Vedder" is a style parody of zydeco about a man's frustration that his girlfriend is obsessed with Eddie Vedder, the lead singer for the grunge band Pearl Jam. "Truck Drivin' Song", a detailed account of a truck driver working while simultaneously worrying about their clothing and makeup, is a style parody of truck-driving country. While writing the song, Yankovic listened to C.W. McCall for inspiration.

Parodies and polka
The first parody recorded for the album was "Pretty Fly for a Rabbi", a parody of the Offspring's 1998 single "Pretty Fly (For a White Guy)", about a hip rabbi." In order to accurately write the song, Yankovic consulted several of his Jewish friends as well as several English-to-Yiddish dictionaries. The song's opening line – "Veren zol fun dir a blintsa" – is a Yiddish curse that roughly means "May you turn into a blintz." Originally, Yankovic had wanted voice actress Mary Kay Bergman to sing the song as her South Park character Sheila Broflovski. However, due to legal restrictions, she was only able to say a few lines in the finished product. Yankovic then approached actress Fran Drescher to lend her voice to the song, but this was also unsuccessful. Finally, Yankovic was able to get actress Tress MacNeille – who had been featured in his 1983 parody "Ricky" – to appear in the song.

The second parody recorded for the album was "Jerry Springer", a parody of Barenaked Ladies 1998 hit "One Week". The song is about The Jerry Springer Show, hosted by the eponymous Jerry Springer. In preparation for the song, Yankovic watched "a couple shows" until he understood the "basic formula" for how the episodes unfolded. Originally, there were plans to shoot a video, and Springer was asked if he wanted to be in it. Springer was initially interested, but after hearing the song, he declined because he believed it was too "negative" towards his show. The third parody recorded for the album was "It's All About the Pentiums", a parody of the rock remix of the track "It's All About the Benjamins" by Sean "Puff Daddy" Combs. Yankovic spoke to Combs personally on the phone to make sure that the parody would not emulate the 1996 Coolio incident. Due to time constraints, Yankovic was forced to write the song a few days before the entire album was slated to be mastered, as Yankovic had still been waiting for Combs' approval. By the time Combs responded to him, Yankovic was recording the last session for the album. To give him time to write the lyrics, Yankovic's band recorded the music first. Yankovic noted that "we were mixing the last few songs on the album by the time I finished writing the lyrics to 'Pentiums,' and I wound up recording the lead vocals just a couple days before the album had to be mastered." The fourth parody recorded for the album was "Grapefruit Diet", a pastiche of "Zoot Suit Riot" by the Cherry Poppin' Daddies about an obese man going on such a diet. The song's writer, Steve Perry, called the opportunity to be parodied "an honor" but noted that "Why Weird Al is such an icon is a mystery to me though".

The final parody recorded for the album was "The Saga Begins", which recounts the plot of Star Wars: Episode I – The Phantom Menace from the point of view of Obi-Wan Kenobi to the tune of the 1971 single "American Pie" by Don McLean. Yankovic, who often bases his albums around significant moments in pop culture, felt that the album should have a song centered on the release of The Phantom Menace. Yankovic first considered writing his parody of "Pretty Fly (For a White Guy)" about the film and calling it "Pretty Fly for a Jedi", but he quickly dismissed this idea; he wanted to parody a classic song to commemorate how important the new movie was considered. Yankovic then chose to write a parody of "American Pie" about the film. Because Yankovic wanted the song to be topical, he began writing the lyrics in December 1998, many months before the film was released, gleaning all of the information about the movie's plot entirely from Internet spoilers. The song was completed two months before The Phantom Menace was released to theaters; Yankovic had approached Lucasfilm about the prospect of an advanced screening to ensure that his lyrics were accurate, but the company declined. However, Yankovic later went to a charity screening, whose tickets cost US$500 each. As a result, Yankovic only had to change one line; "He's probably gonna marry her someday" was originally "I hear he's gonna marry her someday". A video which Yankovic later jokingly dubbed "Star Wars Unplugged" was filmed for the song, after The Phantom Menace premiered in theaters.

Much like Yankovic's previous albums, Running with Scissors features a polka medley of then-current hit songs called "Polka Power!". The song was later released as a promotional single in Germany, where Yankovic's recording label felt a polka song might have more success. This was the second time that one of Yankovic's polka medleys was released as a single; in 1985, Scotti Brothers Records released "Hooked on Polkas", from the album Dare to Be Stupid, in Japan.

Artwork and packaging
For nearly 20 years, Yankovic had been known for his hairdo, glasses, and moustache. However, in early 1998, Yankovic grew out his hair, shaved his moustache and underwent LASIK eye surgery to correct his vision, thus making glasses no longer necessary. As such, Running with Scissors was his first album to feature his new look. On the cover, he is shown running on the track at Santa Monica City College, holding a pair of scissors in each hand—a literal depiction of the album's title. The CD booklet contains the complete lyrics to all but one of the album's songs; due to the length of the closing song "Albuquerque", not all of its lyrics fit on the final page of the booklet. Instead of continuing with the "Albuquerque" lyrics, the end of the booklet breaks off mid-sentence and concludes with an apology from Yankovic, in which he states that there was no way he could have fit the rest of the song's lyrics on the existing booklet and that he "should have used a smaller font or a bigger piece of paper or something". Yankovic later released the complete lyrics on the "Ask Al" feature on his website, and had them printed in Weird Al: The Book (2012).

Running with Scissors is also the first of "Weird Al" Yankovic's albums to feature multimedia content. After placing the CD in a CD-ROM drive, one can browse through the files and play a QuickTime movie file containing fourteen minutes of footage from the Disney Channel concert special "Weird Al" Yankovic: (There's No) Going Home.

Promotion
Following the release of Running with Scissors, Yankovic undertook a two-year-long tour called "Touring with Scissors". Starting on July 19, 1999, Yankovic played over 200 shows across the United States and Canada. A live video recording of one of the shows, called "Weird Al" Yankovic Live! was released later in the year. To promote the album, two promotional websites were launched for the singles "It's All About the Pentiums" and "The Saga Begins": "thepentiums.com" and "sagabegins.com", respectively. Each site featured the respective song's music video, as well as additional information, such as behind-the-scenes notes and lyrics.

Critical reception
The album was met with mostly positive reviews from critics. J.D. Considine of Entertainment Weekly gave the album a "B" rating and felt that, while many comedians are unable to translate jokes onto CD, "Yankovic's jokes are eminently listenable." He concluded that "compared with most comedy recordings these days, Running with Scissors is a cut above." Melissa Ruggieri of the Richmond Times-Dispatch graded the album a "B+", writing, "Now on his 10th album, the weird and wacky Al tackles gems such as Don McLean's 'American Pie,' The Offspring's 'Pretty Fly (For a White Guy)' and Barenaked Ladies' 'One Week.' Most of the results are priceless." Warren Rhodes of the Anchorage Daily News named the album the fifth best release of 1999, writing that, "Leaving his long-time label [Scotti Brothers] has inspired the parody king; even his originals are pretty good this time." He also wrote that "the intellect's still there, and his wide-ranging chameleon band has no equal." In The Rolling Stone Album Guide, Running with Scissors was given 3.5 stars out of 5, which denoted that the album averaged between good and excellent. The book wrote that Yankovic's "nasal whine has never been put to more appropriate use than [on] 'Pretty Fly for a Rabbi'."

Not all reviews were positive. Steve Huey of AllMusic gave the album two and a half stars out of five and called it "a mixed bag". Huey felt that both "The Saga Begins" and "Jerry Springer" were clever parodies, whereas "Pretty Fly for a Rabbi" and "It's All About the Pentiums" were not "quite up to his usual standards." Robert Johnson of the San Antonio Express-News was critical of the album, giving it one-and-a-half stars, noting that "in his haste to stay up to the minute, [Yankovic] forgot to make ['The Saga Begins'] funny." He wrote that the album "features recycled ideas (fat jokes, alt-rock hits redone as polkas), tunes that sound better than they play ('Pretty Fly for a Rabbi') and weirdness for its own sake (the 11-minute 'Albuquerque')."

Commercial performance
Running with Scissors was released on June 29, 1999. The album entered the Billboard 200 chart at number 35 on July 17, and went up to its peak position of 16 the following week. The album also charted on the Top Internet Albums, a first for Yankovic, entering at number 7, and eventually peaking at number 3. The album was consecutively certified both Gold and Platinum by Recording Industry Association of America (RIAA) for shipments of over 1,000,000 copies in the United States. , sales in the United States have exceeded 1,182,000 copies, according to Nielsen SoundScan.

In late 2013, Yankovic sued his label, Volcano, and its parent company Sony for unpaid publishing royalties from several of his albums and singles, including Running with Scissors. Yankovic claimed thatdespite the album's successhe never earned royalties from the record. The initial lawsuit was for $5 million; Yankovic won the lawsuit and was awarded an undisclosed sum of money from Sony.

Personnel
Credits adapted from CD liner notes, except where noted.

Band members
 * "Weird Al" Yankovic – lead and background vocals, keyboards, accordion
 * Jim West – guitars, banjo, background vocals
 * Steve Jay – bass guitar, background vocals
 * Jon "Bermuda" Schwartz – drums, percussion, background vocals

Additional musicians
 * Rubén Valtierra – keyboards (tracks 1, 4, 5, 11)
 * Kim Bullard – keyboards (track 6)
 * Warren Luening – trumpet (tracks 4, 7)
 * Joel Peskin – clarinet (tracks 3, 7)
 * Thomas "Snake" Johnson – tuba (track 7)
 * Bill Reichenbach Jr. – trombone (track 4)
 * Lee Thornburg1 – trumpet, trombone (tracks 8, 11)
 * Tavis Werts – trumpet (track 8)
 * Dan Regan – trombone (track 8)
 * Tom Evans – saxophone (tracks 8, 11)
 * Marty Rifkin – pedal steel guitar (track 10)
 * Tom Sauber – fiddle (track 2)
 * Pat Sauber – banjo (track 10)
 * Mary Kay Bergman – female vocal (track 3)
 * Tress MacNeille – female vocal (tracks 3, 5)

Technical
 * "Weird Al" Yankovic – producer
 * Tony Papa – engineer, mixing (tracks 1–3, 5–12)
 * Richie Wise – engineer, mixing (track 4)
 * Jeff Moses – assistant engineer
 * Fredrik Sarhagen – assistant engineer
 * Bernie Grundman – mastering

NOTES
 * 1Misspelled as "Thornberg" in liner notes.