text:
Talk:Rolling-element bearing

Lubrication
The article on lubricants states that some roller bearings aren't lubricated at all. Maybe that kind of information could be incorporated here? Rvollmert 11:15, 2004 Jul 31 (UTC)

Adding images to the article?
I added a number of images to the article, but these have been repeatedly removed for, I believe, no good reason.

The reasons were:

rm images that are already covered in sub-articles. +commons link so all images are accessible

 * Yeah, along with about 50 other images... you can't be serious.WolfKeeper 20:31, 18 August 2006 (UTC)

This is an unusually high number of images,

 * No, not really. Actually most articles don't have enough images.WolfKeeper 20:31, 18 August 2006 (UTC)

and the two images on the left stack up and break up text..

 * A little, but less so than if we put them on the right. If that's a problem for you, reformat the article, don't remove information. Make them a bit smaller or move them around.WolfKeeper 20:31, 18 August 2006 (UTC)
 * Hmm there seems to be a bug or something in the layout software if the width of the browser is over a particular range the image jumps in and leaves a hole. I've reformatted it and it no longer does that.WolfKeeper 20:31, 18 August 2006 (UTC)

While potentially useful, overview articles don't show all pictures used in sub-articles.

 * There's no such policy. Show me such a policy. In any case we don't show all the pictures, we show one example of each bearing, in thumbnail form, and most of the specific articles have several different examples of the bearing, or they really should have.

Or perhaps you think this is duplication, but it really isn't, the images aren't really in the article they're still in the commons, and are being referred to, so it's not as if we're using more space, the images aren't copied anywhere. And if the image was modified it would change everywhere. There's no problem at all with using images in several places where appropriate.WolfKeeper 20:31, 18 August 2006 (UTC)

 * It's not a policy or technical issue, it's an aesthetics issue. As such, it's pointless to revert multiple times over it.  Anyway, the smaller images do look better.  The images on the left still jump away from the left side at ~1280px wide.  And MSIE renders a lot of gaps between the paragraphs at 1920px wide.  But maybe it's impossible to get perfect. --Interiot 00:02, 19 August 2006 (UTC)

I like the images the way they are now. It looks really good and helped me understand the article MUCH better. -Rebent 14:03, 15 May 2007 (UTC)

Cause of fatigue
Fatigue is not caused by bending it is caused by stress. Particularly in tension. (See fatigue article) (This unsigned comment was added by 69.213.70.93 at 20:54, 30 March 2007)

I think the article is fine. The opening of the Fatigue article says fatigue is caused by "cyclic or fluctuating strains", and in this case the strain arises from the sharp bending at the contact points. As the fatigue article also points out, the stresses involved in fatigue "have maximum values less than (often much less than) the static yield strength of the material". In this sense, it would be very misleading to say fatigue is "caused by" stress. 132.244.246.25 11:00, 15 June 2007 (UTC)

Manufacture of balls for ball bearings
The section under "Types" says "Clever use of surface tension allows balls of high accuracy to be made much more cheaply than comparable cylinders", but the external link "How ball bearings, races, and cages are manufactured" describes a manufacturing method that doesn't seem to involve surface tension at all. Please could someone knowledgeable clarify this? Thanks. 132.244.246.25 11:00, 15 June 2007 (UTC)

I have done several searches on the internet, and have found no information indicating that bearing balls are made using surface tension, nor how they would be made using surface tension (aside from a quick mention of making bearing balls in space, which is certainly not "much more cheaply" than anything). I think the statement is appealing, but inaccurate. If no one can clarify this statement, perhaps it ought to be removed. 67.41.251.212 (talk) 05:01, 27 August 2008 (UTC)

Tapered Bearing Image
The image for the tapered bearings appears to show cylindrical bearings, which are not covered by the article. At any rate, the bearings are most certainly not tapered in any way, so I have removed the image. Apologies if I am missing something important. BeeJones (talk) 15:56, 16 June 2009 (UTC)

 * Unfortunately, they very definitely are tapered, and they are tapered roller bearings. If you look carefully you will notice that the angle of the race way is not parallel with the rotation axis, but a section of a cone.- (User) Wolfkeeper (Talk) 16:29, 16 June 2009 (UTC)

Thrust roller element bearings
I completely disagree with moving the thrust bearing section to the applications section. Roller and ball thrust bearings have a unique design; see and. Yes, tapered roller bearings can be used in thrust applications, but that doesn't make it a thrust bearing. Moreover, Conrad style bearings cannot be properly used in thrust applications, because they are not designed to handle that type of load. Therefore the previous layout should be restored. Wizard191 (talk) 17:47, 12 October 2010 (UTC)

 * All bearings can take differing amounts of axial and radial thrust. If a bearing is designed to take mainly an axial thrust, then it's a thrust bearing. Otherwise it's a radial bearing.Planetscared (talk) 22:35, 12 October 2010 (UTC)

 * But thrust bearings are not a distinct type of bearing in the same sense as ball bearing, roller bearing, tapered rolling bearing etc. are, because (for example) by changing the geometry of the bearing you can change the percentages of axial and radial thrust it can take. There's no distinctly different type of bearing there. And the other types are mutually exclusive, it's either a roller bearing or it isn't. It's either a tapered roller bearing or it isn't. But it can be a roller bearing and thrust bearing or a roller bearing and a radial bearing or you can angle the rollers and be a bit of each.Planetscared (talk) 22:35, 12 October 2010 (UTC)

 * In terms of the text, by putting it in with the others, you're implying that it's distinct from the others, but really it's orthogonal to the others.Planetscared (talk) 22:35, 12 October 2010 (UTC)

 * I mean, tapered roller thrust bearings absolutely do exist, and are a common type.For example And I'm sure that Planetscared (talk) 22:36, 12 October 2010 (UTC)

 * The term "roller thrust bearing" refers to one and only one type of bearing (again see ). It is not a "radial roller bearing", more commonly called a "roller bearing", nor is it a "tapered roller bearing"; therefore it is mutually exclusive of the other types and a unique type of roller bearing. The exact same argument can be made for the ball type bearings (except there's no such thing as a tapered ball bearing, but this is replaced with an "angular contact ball bearing"). As such, it is distinct from the other and not orthogonal, therefore please revert your edits. Wizard191 (talk) 13:56, 13 October 2010 (UTC)

 * It seems to me that this article is/was not trying to define any of those terms, it's talking about rolling element bearings and trying to explain their principles to the reader.Planetscared (talk) 14:50, 13 October 2010 (UTC)

 * Well after you recent changes, I like the new layout, where it independently discusses the elements and the motions/loadings. I've made some more improvements. I'm glad to see that this discussion has brought about an even better article. Cheers! Wizard191 (talk) 18:19, 13 October 2010 (UTC)

 * Excellent, it does seem better, and your changes improved it even more.Planetscared (talk) 21:58, 13 October 2010 (UTC)

'Rolling-element bearing', 'Rolling contact bearing', or 'Rolling bearing'?
This is a question referring to the article title. There is some debate or uncertainty in the academic community and industry as to what these types of bearings are properly referred to as. I believe the title of the article 'Rolling-element bearings' best refers to the bearing type, but am otherwise indifferent to the 'official label', but it seems that some discussion should be had to settle the argument. I have searched quite a bit and found reference to all three labels in both patent listings and academic papers with no seemingly clear bias to nationality or location.Gregzore (talk) 16:34, 19 August 2011 (UTC)

Life calculation models
The life of a rolling bearing is expressed as the number of revolutions or the number of operating hours at a given speed that the bearing is capable of enduring before the first sign of metal fatigue (also known as spalling) occurs on the raceway of the inner or outer ring, or on a rolling element. Calculating the endurance life of bearings is possible with the help of so-called life models. More specifically, life models are used to determine the bearing size – since this must be sufficient to ensure that the bearing is strong enough to deliver the required life under certain defined operating conditions.

Under controlled laboratory conditions, however, seemingly identical bearings operating under identical conditions can have different individual endurance lives. Thus, bearing life cannot be calculated based on specific bearings, but is instead related to in statistical terms, referring to populations of bearings. All information with regard to load ratings is then based on the life that 90% of a sufficiently large group of apparently identical bearings can be expected to attain or exceed. This gives a clearer definition of the concept of bearing life, which is essential to calculate the correct bearing size. Life models can thus help to predict the performance of a bearing more realistically.

The prediction of bearing life is described in ISO 281 and the ANSI/American Bearing Manufacturers Association Standards 9 and 11.

The traditional method to estimate the life of the rolling-element bearings uses the basic life equation:

L_{10} = (C/P)^p $$

Where:
 * $$L_{10}$$ is the 'basic life' (usually quoted in millions of revolutions) for a reliability of 90%, i.e. no more than 10% of bearings are expected to have failed
 * $$C$$ is the dynamic load rating of the bearing, quoted by the manufacturer
 * $$P$$ is the equivalent dynamic load applied to the bearing
 * $$p$$ is a constant: 3 for ball bearings, 4 for pure line contact and 3.33 for roller bearings

Basic life or $$L_{10}$$ is the life that 90% of bearings can be expected to reach or exceed. The median or average life, sometimes called Mean Time Between Failure (MTBF), is about five times the calculated basic rating life. Several factors, the 'ASME five factor model', can be used to further adjust the $$L_{10}$$ life depending upon the desired reliability, lubrication, contamination, etc.

The major implication of this model is that bearing life is finite, and reduces by a cube power of the ratio between design load and applied load. This model was developed in 1924, 1947 and 1952 work by Arvid Palmgren and Gustaf Lundberg in their paper Dynamic Capacity of Rolling Bearings. The model dates from 1924, the values of the constant $$p$$ from the post-war works. Higher $$p$$ values may be seen as both a longer lifetime for a correctly-used bearing below its design load, or also as the increased rate by which lifetime is shortened when overloaded.

This model was recognised to have become inaccurate for modern bearings. Particularly owing to improvements in the quality of bearing steels, the mechanisms for how failures develop in the 1924 model are no longer as significant. By the 1990s, real bearings were found to give service lives up to 14 times longer than those predicted. An explanation was put forward based on fatigue life; if the bearing was loaded to never exceed the fatigue strength, then the Lundberg-Palmgren mechanism for failure by fatigue would simply never occur. This relied on homogeneous vacuum-melted steels, such as AISI 52100, that avoided the internal inclusions that had previously acted as stress risers within the rolling elements, and also on smoother finishes to bearing tracks that avoided impact loads. The $$p$$ constant now had values of 4 for ball and 5 for roller bearings. Provided that load limits were observed, the idea of a 'fatigue limit' entered bearing lifetime calculations: if the bearing was not loaded beyond this limit, its theoretical lifetime would be limited only by external factors, such as contamination or a failure of lubrication.

A new model of bearing life was put forward by FAG and developed by SKF as the Ioannides-Harris model. ISO 281:2000 first incorporated this model and ISO 281:2007 is based on it.

The concept of fatigue limit, and thus ISO 281:2007, remains controversial, at least in the US.

GBLM
In 2015, the SKF Generalized Bearing Life Model (GBLM) was introduced. In contrast to previous life models, GBLM explicitly separates surface and subsurface failure modes – making the model flexible to accommodate several different failure modes. Modern bearings and applications show fewer failures, but the failures that do occur are more linked to surface stresses. By separating surface from the subsurface, mitigating mechanisms can more easily be identified. GBLM makes use of advanced tribology models to introduce a surface distress failure mode function, obtained from the evaluation of surface fatigue. For the subsurface fatigue, GBLM uses the classical Hertzian rolling contact model. With all this, GBLM includes the effects of lubrication, contamination, and raceway surface properties, which together influence the stress distribution in the rolling contact.

In 2019, the Generalized Bearing Life Model was relaunched. The updated model offers life calculations also for hybrid bearings, i.e. bearings with steel rings and ceramic (silicon nitride) rolling elements. Even if the 2019 GBLM release was primarily developed to realistically determine the working life of hybrid bearings, the concept can also be used for other products and failure modes.

 * I work at SKF (Communications) and have submitted this suggestion to update the Life Calculation section with more relevant information. Have tried to avoid any bias coming through and I am using the Talk page as suggested from the Conflict of Interest page to suggest this edit to the current life models section. RobinFSKF (talk) 13:50, 22 November 2019 (UTC)

 * Hi Robin, thanks for that.
 * Looking at this diff, it seems that you've added two paras of intro, and two new paras on GBLM. No changes to the existing text. All looks fine, so I'm happy to copy that across.  Andy Dingley (talk) 14:18, 22 November 2019 (UTC)

 * Great! Thank you Andy, go ahead and copy it over when you are able to. RobinFSKF (talk) 14:26, 22 November 2019 (UTC)

In the GBLM Section, from: Modern bearings and applications show fewer failures, but the failures that do occur are more linked to surface stresses.
 * What I think should be changed:

to: Nowadays, surface distress is the most common cause of bearing failure.

From: Even if the 2019 GBLM release was primarily developed to realistically determine the working life of hybrid bearings, the concept can also be used for other products and failure modes.

to Even if the 2019 GBLM release was primarily developed to realistically determine the working life of hybrid bearings, the concept is also used for certain other products, features and failure modes.

I have gotten updated input from our scientists working on these life models that these changes would be more reflective of where GBLM is today
 * Why it should be changed:

 * References supporting the possible change (format using the "cite" button):

RobinFSKF (talk) 10:40, 2 March 2022 (UTC)

 * ❌ A source was not provided to verify this information. If a source is available, please post it and reopen this request. Z1720 (talk) 01:38, 3 April 2022 (UTC)

title: Talk:Rolling-element bearing


text:
Talk:Cairn Gorm

Untitled
Could any knowledgeable/local folk expand on the funicular railway fuss? I understand it caused a big controversy. Pcb21| Pete 11:16, 31 Jul 2004 (UTC)

 * There's a bit more info at this link:Grinner 13:57, Jul 31, 2004 (UTC)

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Henry Killigrew (playwright)

Henry Killigrew (11 February 1613 – 14 March 1700) was an English clergyman and playwright. He became a chaplain to Charles I, and chaplain and almoner to James, Duke of York (the future James II). Following the Restoration, he became Master of the Savoy.

Life
Killigrew was born in Hanworth on 11 February 1613, the fifth and youngest son of Robert Killigrew and his wife Mary Woodhouse. He was the brother of the dramatist Thomas Killigrew and of Elizabeth Killigrew, Viscountess Shannon, mistress of the future Charles II.

He was educated at Cripplegate, London and at Christ Church, Oxford, graduating B.A. 1632, M.A. 1638, D.D. 1642.

He served as a chaplain in Charles I's army during the English Civil War and was chaplain to James, Duke of York (the future James II) during his time in exile. He was also appointed almoner to James, Duke of York. He served as a canon of Westminster Abbey in 1642 and from 1660 to his death and as rector of Wheathampstead.

In 1663, Henry Killigrew was appointed Master of the Savoy. According to some writers the final ruin of the Savoy Hospital was due to Killigrew's "improvidence, greed, and other bad qualities". A bill was passed in 1697 abolishing its privileges of sanctuary. The hospital was leased out in tenements, and the master appropriated the profits; among the leases granted was one (1699) to Henry Killigrew, the patentee of Drury Lane Theatre, for his lodgings in the Savoy, at a rent of 1 shilling per year for forty years. A commission appointed by William III reported that the relief of the poor (the hospital's intended purpose) was being utterly neglected. In 1702, shortly after Killigrew's death, the hospital was dissolved.

A juvenile play of his, The Conspiracy, was printed surreptitiously in 1638, and in an authenticated version in 1653 as Pallantus and Eudora.

Family
He married Judith and had four children:

 * Henry Killigrew (died 1712), an admiral
 * James Killigrew, also a naval officer, who was killed in an encounter with the French in January 1695 during the Nine Years' War
 * Anne Killigrew (1660-1685), poet and painter, who was maid of honour to the Duchess of York, and was the subject of an ode by Dryden, which Samuel Johnson thought the noblest in the language
 * Elizabeth Killigrew (died 1701) married her father's curate at Wheathampstead, John Lambe, and produced 10 children

title: Henry Killigrew (playwright)


title: File:Quatermass2.jpg


text:
Quatermass 2

Quatermass 2 (retitled Enemy From Space in the United States and Canada) is a 1957 black-and-white British science fiction horror film drama from Hammer Film Productions. It was originally released in the UK as Quatermass II and was produced by Anthony Hinds, directed by Val Guest, and stars Brian Donlevy with co-stars John Longden, Sidney James, Bryan Forbes, Vera Day, and William Franklyn. Quatermass 2 is a sequel to Hammer's earlier film The Quatermass Xperiment (1955). Like its predecessor, it is based on the BBC Television serial Quatermass II written by Nigel Kneale. Brian Donlevy reprises his role as the eponymous Professor Bernard Quatermass, making him the only actor to play the character twice in a film. It is often erroneously considered as the first film sequel to use the '2' / 'II' suffix within the title, though this distinction belongs to Sanshiro Sugata Part II.

The film's story concerns Quatermass's investigation of reports of hundreds of meteorites landing only in the Winnerden Flats area of the UK. His inquiries lead him to a huge industrial complex, strikingly similar to his own plans for a Moon colony. This top-secret facility is in fact the centre of a conspiracy involving the alien infiltration of the highest echelons of the British Government. Quatermass and his allies must now do whatever is necessary to defeat the alien threat before it is too late.

Plot
As Professor Bernard Quatermass struggles to gain government support for his Moon colonisation project, his interest becomes focused on reports of hundreds of meteorites landing in Winnerden Flats. Travelling there with Marsh, his colleague, Quatermass finds a huge complex under construction, based on his lunar colony plans. Marsh finds an undamaged meteorite shaped like a small stone rocket. It then cracks open, releasing a gas, leaving him with an odd V-shaped mark on his face. Uniform-clad guards from the complex arrive, armed with sub-machine guns and sporting similar V-shaped marks, and take Marsh away, knocking down Quatermass and forcing him to leave the area.

Trying to discover what happened to Marsh, Quatermass contacts Inspector Lomax, who had previously assisted him (as seen in The Quatermass Xperiment). Lomax puts him in touch with Vincent Broadhead, a member of parliament, who has been trying to uncover the veil of secrecy surrounding Winnerden Flats and the organization and deliverance of massive quantities of material supplies and manpower without any real explanation as to what it is for. Quatermass joins Broadhead on an official tour of the complex, which he is told has been built to manufacture synthetic food. Slipping away from the visiting party, Broadhead gets inside one of the huge domes dominating the skyline. Quatermass later finds him dying, covered in a poisonous black slime, warning him about what he discovered inside the dome.

Shot at by guards as he exits, Quatermass escapes and rushes to Inspector Lomax, explaining that he believes that the complex is indeed making food, but not for human consumption. Its purpose is to provide a suitable living environment for small alien creatures being housed inside the huge domes. Lomax attempts to alert his superiors, but when he meets the Commissioner of Police, he notices that he, too, is sporting the V-shaped mark; the aliens have taken control of key people in the government.

Quatermass and Lomax then turn to journalist Jimmy Hall, who is skeptical of their story, but asks to visit Winnerden Flats. At the local community centre, they receive a hostile reception from locals employed to do heavy construction and other work at the complex but not told anything more than they need to know. The mood changes, however, when one of the meteorites crashes through the building roof, injuring and infecting barmaid Sheila. Armed guards from the plant arrive and gun-down Hall as he telephones his story into his newspaper. A melee ensues, after which the villagers form a mob that marches on the complex. Rushing the gates, Quatermass, Lomax, and the villagers barricade themselves inside the pressure control room.

Realising that Earth's atmosphere is poisonous to the aliens, Quatermass sabotages their life support system, pumping only pure oxygen into their large domes, suffocating them. Simultaneously, Quatermass' assistant, Brand at the rocket complex, is gunned down by invading Winnerden Flats guards only after he is able to launch an atomic rocket toward the near-Earth asteroid believed to be the alien's staging point. The individual aliens combine their small bodies, creating 150-foot tall masses that soon burst from their three domes. The rocket destroys the asteroid with a nuclear explosion. Their space base destroyed and now being fully exposed to Earth's atmosphere, the giant masses of combined creatures collapse and die. The V-shaped marks disappear from the affected humans, leaving them with no memory of having been under alien control. As they head back to the village, Lomax wonders aloud how he'll make a believable report about all that's happened, while more pointedly, Quatermass questions just how final will that report be...

Production
The first Quatermass film had been a major success for Hammer and, eager for a sequel, they purchased the rights to Nigel Kneale's follow-up before the BBC had even begun transmission of the new serial. For this adaptation, Nigel Kneale himself was allowed to write the first draft of the screenplay, although subsequent drafts were worked on by director Val Guest. The plot is a condensed but largely faithful retelling of the original television serial. The main difference between the two versions is at the climax: in the television version Quatermass blasts off in a rocket to confront the aliens in outer space, whereas in the film the rocket is fired, unmanned, to destroy the aliens' asteroid base. Returning director Val Guest once again employed many cinema vérité techniques to present the fantastic elements of the plot with the greatest degree of realism. Nigel Kneale was critical of the final film, mainly on account of the return of Brian Donlevy in the lead role. Kneale was unhappy with Donlevy's interpretation of the character and also claimed the actor's performance was marred by his alcoholism, a claim denied by Val Guest.

Although Quatermass 2 was financially successful, its box office performance was eclipsed by the massive success of another Hammer film, The Curse of Frankenstein, which was to be the first of their many Gothic horror films. As a result, it would be ten years before Hammer adapted the next Quatermass serial for the cinema with Quatermass and the Pit (1967). Quatermass 2 was, however, the first film for which Hammer pre-sold the distribution rights in the United States, a financial model that would quickly become the norm for subsequent Hammer productions.

Writing
Nigel Kneale had been unhappy with Hammer's adaptation of The Quatermass Experiment, partly because he received no extra remuneration from the sale of the film rights and partly because of the changes made in the film to his original television script. In the wake of his dissatisfaction, Kneale exerted pressure on the BBC to allow him to be more involved in the sale of the rights to his work. Despite being in the final months of his BBC contract, Kneale was allowed to collaborate with Hammer on the adaptation of Quatermass II. The first draft of the screenplay was written by Kneale with input from producer Anthony Hinds. Subsequent drafts were worked on by director Val Guest, as he had done before on The Quatermass Xperiment. Guest recalled of Kneale's script that there was "lots of philosophising and very down-to-earth thinking but it was too long, it would not have held screenwise. So, again, I had to tailor it and sharpen it and hopefully not ruin it". The script was submitted to the British Board of Film Censors (BBFC) in April 1956. BBFC reader Audrey Field commented: "There should be the customary general caution that the sky is not the limit, either in sights or sounds". The BBFC's main objection was to a scene in which a guard from the Winnerden Flats complex murders a family having a picnic. This scene was omitted from the final film, although it is present in the original television presentation.

As with The Quatermass Xperiment, the screenplay for Quatermass 2 condenses many of the events of the original television version. The most significant change is at the climax: Quatermass and his assistant, Pugh, use Quatermass's rocket to travel to the asteroid to take on the aliens on their home ground, whereas in the theatrical film the rocket is fired, unmanned, at the asteroid to destroy it. Several characters from the television version do not appear in the film, most notably Quatermass's daughter, Paula, and his assistant, Leo Pugh (their roles are partially replaced by new character Brand). Conversely, the characters of Inspector Lomax and Quatermass's young assistant Marsh reappear in the film version, having previously been in The Quatermass Xperiment, but not in the television version. The character of Sheila the barmaid also appears only in the film version.

Casting

 * Brian Donlevy as Professor Bernard Quatermass: Donlevy reprised his role as the eponymous professor, much to the despair of Nigel Kneale, who had heavily criticised his interpretation of the role in The Quatermass Xperiment. As had been the case on The Quatermass Xperiment, Donlevy's alcoholism presented challenges for the production. Nigel Kneale recalled visiting the set one day: "He [Donlevy] was so full of whiskey he could hardly stand up. He staggered over to the set and looked dazedly around. They held up an idiot board with his lines on and he said, "What's this movie called?" and they said, "Well, it's called Quatermass 2". He said, "I've got to say all that? There's too much talk. Cut down some of the talk". He tried to read it and he had to have go after go after go, so crippled with drink he hardly knew who he was". Val Guest has denied Kneale's claims: "So many stories have been concocted since, about how he was a paralytic. It's absolute balls, because he was not paralytic. He wasn't stone cold sober either, but he was a pro and he knew his lines". Guest also recalled: "By after lunch he would come to me and say "Give me a breakdown of the story so far. Where have I just been before this scene?" We used to feed him black coffee all morning but then we discovered he was lacing it. But he was a very professional actor and very easy to work with".
 * John Longden as Inspector Lomax: The role of Lomax had originally been played by Jack Warner in The Quatermass Xperiment. When Warner proved unavailable for the sequel, the role was recast and the part given to John Longden. Longden had been a major star of British silent films and had also appeared in several early Alfred Hitchcock films including Blackmail (1929), Elstree Calling (1930) and The Skin Game (1931). Nigel Kneale greatly preferred Longden's authoritative take on the character to Jack Warner's more comedic "breezy sergeant" in the first film.
 * Sid James (credited as "Sydney James") as Jimmy Hall: At the time, James was known as a character actor, specialising mainly in "tough guy" roles, with credits in films such as No Orchids for Miss Blandish (uncredited, 1948), The Lavender Hill Mob (1951), and Hell Drivers (1957). James plays the character of Jimmy Hall in a much more comedic manner than Roger Delgado's interpretation of the equivalent journalist character Hugh Conrad in the television version; Guest cast James in order to "lighten the story a bit". He later went on to enjoy widespread fame in many comedy roles including Hancock's Half Hour (1956–60), the Carry On series of films, and sitcoms such as George and the Dragon (1966), Two in Clover (1969–70) and Bless This House (1971–76).
 * Bryan Forbes as Marsh: Forbes had appeared in a number of supporting roles in films, including The Small Back Room (1949), An Inspector Calls (1954) and The Colditz Story (1955). However, he later became better known as a director, with films such as Whistle Down the Wind (1961), The L-Shaped Room (1962) and The Stepford Wives (1975) among his best-known credits. Forbes later recalled of the film: "I was one of the people attacked by the alien pods. This pod exploded and I ended up with what was supposed to be a terrible alien growth on my face. Come lunchtime and we all went off to the pub. Of course, I couldn't take this stuff off, the makeup was too complex; the landlord refused to serve me".
 * William Franklyn as Brand: Franklyn later became well known for his voiceovers for a series of advertisements for Schweppes tonic water. In 2004 he took over from the late Peter Jones as the Voice of the Book in the radio version of The Hitchhiker's Guide to the Galaxy. He died in 2006.
 * Vera Day as Sheila: Vera Day was first spotted by Val Guest in the musical Wish You Were Here at the London Hippodrome.

Other actors appearing in the film include Charles Lloyd-Pack, Tom Chatto, John Van Eyssen, Percy Herbert, and Michael Ripper.

Filming
Val Guest, who had directed The Quatermass Xperiment, returned for Quatermass 2. Guest once again sought to create a film that felt as real as possible, using many cinema vérité techniques such as hand-held cameras. He was assisted in this respect by the moody, overcast cinematography of director of photography Gerald Gibbs, who also made extensive use of day for night photography for the film's climactic scenes. Guest planned each day's shooting carefully, creating meticulous storyboards detailing all the shots he wanted to make that day.

Filming took place between 28 May and 13 July 1956. The film's budget, at £92,000, was much larger than that of The Quatermass Xperiment. The bigger budget was achieved by the advance sale of the distribution rights in the United States to United Artists. United Artists contributed some £64,000 towards the production of the film, as well as Brian Donlevy's $25,000 fee and his airfare to London from the US. Although filming still occurred at Bray Studios in Berkshire, the larger budget allowed for greater use of location filming in the making of the film than had been possible for its predecessor. The key location used was the oil refinery at Shell Haven in Stanford-le-Hope, Essex, on the Thames Estuary, which represented the secret Winnerden Flats complex. This was exactly the same location as used in the BBC television production of the story. Despite its size, the plant was run by a relatively small number of personnel, simplifying Guest's job of making it appear eerily deserted. Guest was also surprised at how relaxed the plant's management were about allowing him to stage the climactic gun battle at such a potentially flammable location. Focus puller Harry Oakes recalled, however, that a Newman-Sinclair clockwork camera had to be used for some scenes because of the danger posed by sparks from electrical equipment. The scenes of Vincent Broadhead emerging from one of the domes covered in the noxious black slime were particularly difficult to realise, necessitating many retakes. Tom Chatto, playing Broadhead, whose wife was a leading casting director, joked after the scene was finally completed, "Remind me to talk to my wife about casting me in this". The Shell Haven location was further enhanced by the use of matte paintings created by special effects designer Les Bowie to add the giant domes within which the aliens were incubated.

Other locations used included the real-life new town of Hemel Hempstead, Hertfordshire, which was under construction at the time and doubled for the fictional new town of Winnerden Flats. Other scenes were shot in London including Trafalgar Square, where the police agreed to hold up the traffic for just two minutes to allow Guest to take shots of trucks ferrying equipment through London to Winnerden Flats, and in the foyer of the House of Lords for the scene where Quatermass first meets Vincent Broadhead. The climactic scenes of the hurricane caused by the explosion of the Winnerden Flats complex were shot on the South Downs near Brighton. A minor mishap occurred during the filming of this scene when the wind machines blew Brian Donlevy's toupée off his head and the crew had to chase after it. As well as shooting on location, Guest and his crew made use of Stages 2 and 5 of the New Elstree Studios, the first Hammer production to shoot there. This was production designer Bernard Robinson's first film for Hammer; he went on to become their regular set designer, working on many Hammer films.

Reception
Quatermass 2 received its first public screening at a trade show on 22 March 1957; its official première was held two months later at the London Pavilion on 24 May. It went on general release, with supporting feature And God Created Woman, on 17 June. The film received an 'X' Certificate from the BBFC. It was released in the US under the title Enemy From Space.

Quatermass 2 received mixed reviews. Campbell Dixon in The Daily Telegraph found the film "all good grisly fun, if this is the sort of thing you enjoy". The reviewer in The Times remarked that "the writer of the original story, Mr Nigel Kneale, and the director, Mr Val Guest, between them keep things moving at the right speed, without digressions. The film has an air of respect for the issues touched on, and this impression is confirmed by the acting generally". On the other hand, Jympson Harman of the London Evening News wrote: "Science-fiction hokum can be convincing, exciting or just plain laughable. Quatermass II fails on all these scores, I am afraid". Similarly, the reviewer in the Daily Herald felt: "The whole thing is daft and full of stilted dialogue. [...] At the end a detective says: "How am I going to make a report on all this?" I felt the same way".

Legacy
Although commercially successful, Quatermass 2s release was largely overshadowed by the box-office record-breaking performance of Hammer's The Curse of Frankenstein, which was also released in May 1957. Upon this success, Hammer made its priority the production of Gothic horror films. For this reason, although Nigel Kneale had written a new Quatermass serial for the BBC, Quatermass and the Pit (broadcast December 1958 to January 1959), Hammer did not acquire the rights until 1961 and the film version did not appear until 1967. Quatermass 2 is notable, however, for being the first film Hammer pre-sold to a major US distributor, in this case United Artists. This new finance and distribution deal would become the norm for subsequent Hammer films and led to them eventually winding down their own distribution arm, Exclusive Films, in the mid-1960s.

Critical opinion of Quatermass 2 in the years since its release remains divided. Writing in Science Fiction in the Cinema, John Baxter found the film "a faithful but ponderous adaptation of Kneale's TV sequel. There are effective sequences, director Guest and cameraman Gerald Gibbs shooting with light lancing up through the shadows in a manner reminiscent of Jacques Tourneur's Night (or Curse) of the Demon. Otherwise the film is indifferent". Similarly, John Brosnan, in his book The Primal Screen, wrote that "Quatermass 2 isn't as good as the first one, despite a bigger budget. Again the theme is possession (all four Quatermass stories are variations on the same theme) with Kneale again cleverly mixing sf with the supernatural. The alien invasion may be sf but it is presented with the trappings of traditional horror, such as the V-shaped "mark of the devil" that all possessed people display". On the other hand, Bill Warren, in Keep Watching The Skies!, found Quatermass 2 to be "one of the best science fiction films of the 1950s. It is not notably better than [The Quatermass Xperiment], but the story idea is more involving, the production is livelier and there are more events in the unfolding of the story". Kim Newman in 1986 praised the film as "extraordinary" and, comparing it to Invasion of the Body Snatchers (1956), Newman notes that while Don Siegel's film is "a general allegory" about dehumanisation and conformity, Quatermass 2 is "a specific attack on the Conservative Government of the time, down to the inclusion of several characters obviously based on real political figures".

The League of Gentlemen's Mark Gatiss mentions on the DVD commentary for the First Series that a scene where two workmen, who have been abducted by Tubs and Edward, escape, covered in tar, was inspired by the scene in which the Vincent Broadhead character is covered in "synthetic food" from one of the huge outdoor storage domes.

Home media
Quatermass 2 was released on Region 2 DVD in 2003 by DD Video. It contained a number of extra features including commentary by director Val Guest and writer Nigel Kneale, as well as an interview with Val Guest and a trailer for Enemy From Space, as the film is known in the US. The film was first released in the US on All Region NTSC DVD by Anchor Bay Entertainment and is mastered from an archival print that shows every image with razor-sharp clarity and richness; it contains the same extra features as on the Region 2 UK release. The film had been previously released on both VHS cassette and LaserDisc.

In other media
The film was adapted into a 15-page comics story for the August 1978 issue of the magazine Hammer's Halls of Horror (volume 2, #23, published by Top Sellers Ltd). It was drawn by David Lloyd from a script by Steve Parkhouse. The story was titled "Enemy from Space (Quatermass II)."

title: Quatermass 2


text:
Matthew Barney

Matthew Barney (born March 25, 1967) is an American contemporary artist and film director who works in the fields of sculpture, film, photography and drawing. His works explore connections among geography, biology, geology and mythology as well as notable themes of sex, intercourse, and conflict. His early pieces were sculptural installations combined with performance and video. Between 1994 and 2002, he created The Cremaster Cycle, a series of five films described by Jonathan Jones in The Guardian as "one of the most imaginative and brilliant achievements in the history of avant-garde cinema." He is also known for his projects Drawing Restraint 9 (2005), River of Fundament (2014) and Redoubt (2018).

Life and career
Matthew Barney was born March 25, 1967, as the younger of two children in San Francisco, California, where he lived until he was 7. He lived in Boise, Idaho from 1973 to 1985, where his father got a job administering a catering service at Boise State University and where he attended elementary, middle, and high school. His parents divorced and his mother, an abstract painter, moved to New York City, where he would frequently visit. It was there where he was first introduced to the art scene.

Barney was recruited by Yale University in 1985 to play football and planned to go into pre-med, but he also intended to study art. In 1989, he graduated from Yale. His earliest works, created at Yale, were staged at the university's Payne Whitney Gymnasium. In the 1990s, Barney moved to New York, where he worked as a catalog model, a career that helped him finance his early work as an artist. In 2002, Barney had a daughter with his then partner, the singer Björk, with whom he lived in a penthouse co-op in Brooklyn Heights. By September 2013, Barney and Björk were no longer a couple; Björk chronicled the breakup in her 2015 album Vulnicura.

, Barney maintained a studio in Long Island City, Queens.

Matthew Barney is represented by Gladstone Gallery.

Drawing Restraint (1987–present)
The Drawing Restraint series began in 1987 as a series of studio experiments, drawing upon an athletic model of development in which growth occurs only through restraint: the muscle encounters resistance, becomes engorged and is broken down, and in healing becomes stronger. In literally restraining the body while attempting to make a drawing, Drawing Restraint 1–6 (1987–89) were documentations made using video and photography. Drawing Restraint 7 marks the influx of narrative and characterization, resulting in a three channel video and a series of drawings and photographs, for which Barney was awarded the Aperto Prize in the 1993 Venice Biennale.

A series of ten vitrines containing drawings, Drawing Restraint 8 was included in the 2003 Venice Biennale and prefigured the narrative development for Drawing Restraint 9 (2005). A major project consisting of a feature-length film and soundtrack composed by Björk, large-scale sculptures, photographs and drawings, Drawing Restraint 9 was built upon themes such as the Shinto religion, the tea ceremony, the history of whaling, and the supplantation of blubber with refined petroleum for oil. A full-scale survey of Barney's work through Drawing Restraint 9 was held at the San Francisco Museum of Modern Art in 2006 and included over 150 objects of varying media. Drawing Restraint 10 – 16 (2005–07) are site-specific performances that recall the earlier Yale pieces.

Drawing Restraint 17 and 18 were performed at the Schaulager in Basel in 2010 in conjunction with the exhibition "Prayer Sheet with the Wound and the Nail," a survey of the Drawing Restraint series through Drawing Restraint 18.

Drawing Restraint 19 employs a skateboard as a drawing tool. A block of graphite is mounted beneath the skateboard deck on the front end of the board. A skater performs a nose manual (a wheelie on the nose of the board, leaning in the direction of movement) across a smooth surface, tipping the nose of the board forward and leaving behind a drawn graphite line. The piece was part of a benefit art show and auction titled "Good Wood", raising awareness and funds for Power House Productions' Ride It Sculpture Park in Detroit, Michigan. The riding was performed on site by skateboarder Lance Mountain, documented by photographer Joe Brook and published by Juxtapoz Magazine in their February 2013 issue. The board was purchased by People Skate and Snowboard and it is displayed at their only location in Keego Harbor, Michigan.

The Cremaster Cycle (1994–2002)
Matthew Barney's epic Cremaster cycle (1994–2002) is a self-enclosed aesthetic system consisting of five feature-length films that explore processes of creation. The cycle unfolds not just cinematically, but also through the photographs, drawings, sculptures, and installations the artist produces in conjunction with each episode. Its conceptual departure point is the male cremaster muscle, which controls testicular contractions in response to external stimuli. Barney's long-time collaborator Jonathan Bepler composed and arranged the films’ soundtracks.

The project is rife with anatomical allusions to the position of the reproductive organs during the embryonic process of sexual differentiation: Cremaster 1 represents the most "ascended" or undifferentiated state, Cremaster 5 the most "descended" or differentiated. The cycle repeatedly returns to those moments during early sexual development in which the outcome of the process is still unknown. In Barney's metaphoric universe, these moments represent a condition of pure potentiality. As the cycle evolved over eight years, Barney looked beyond biology as a way to explore the creation of form, employing narrative models from other realms, such as biography, mythology, and geology. The photographs, drawings, and sculptures radiate outward from the narrative core of each film installment. Barney's photographs—framed in plastic and often arranged in diptychs and triptychs that distill moments from the plot—often emulate classical portraiture. His graphite and petroleum jelly drawings represent key aspects of the project's conceptual framework.

River of Fundament (2006–2014)
River of Fundament takes the form of a three-act opera and is loosely based on Norman Mailer’s novel Ancient Evenings. In collaboration with composer Jonathan Bepler, Barney combines traditional modes of narrative cinema with filmed elements of performance, sculpture, and opera, reconstructing Mailer’s hypersexual story of Egyptian gods and the seven stages of reincarnation, alongside the rise and fall of the American car industry.

Barney replaced the human body with the body of the 1967 Chrysler Imperial that was the central motif from his earlier film Cremaster 3. The film’s central scene is an abstraction of Mailer’s wake, set in a replica of the late author’s apartment in Brooklyn Heights and featuring Maggie Gyllenhaal, Paul Giamatti, Elaine Stritch, Ellen Burstyn, Peter Donald Badalamenti II, Joan La Barbara, and jazz percussionist Milford Graves.

Redoubt (2018–2021)
Barney began producing a new two-hour film, Redoubt, in 2017, which premiered in March 2019. It is set in the Sawtooth Range of Idaho, United States, and uses multiple layers of myths, including the myth of Diana and Actaeon, as well as references to the controversial reintroduction of wolves into the Sawtooth Mountains and metallurgy, to discuss "humanity's place in the natural world". The Yale University Art Gallery debuted Redoubt on March 1, 2019, alongside an exhibition of large bronze and brass sculptures and electroplated engravings inspired by the film. The show traveled afterward to UCCA Beijing (2019-2020), then Hayward Gallery in London (2020- 2021).

Performance
Barney has explored live performance before an audience. The pieces REN and Guardian of the Veil revisit the language of the Cremaster Cycle, via a ritualistic exploration of Egyptian symbolism inspired by Norman Mailer's novel Ancient Evenings. Guardian of the Veil took place on July 12, 2007, at the Manchester International Festival in England. REN took place on May 18, 2008, in Los Angeles. His October 2, 2010 performance, KHU, the second part in his seven-part performance series in collaboration with Jonathan Bepler inspired by Ancient Evenings, took place in Detroit.

In June 2009, a collaboration between Barney and Elizabeth Peyton, titled Blood of Two, was performed for the opening of the Deste Foundation's exhibition space, the Slaughterhouse, located on the Greek island Hydra. The two-hour performance involved divers retrieving from a nearby cove a vitrine containing drawings which had been submerged for months. A funeral-like procession of fishermen carried the case up a winding set of stairs. At one point, a dead shark was laid on the case, and the fishermen proceeded to the gallery space, carrying the case and shark, accompanied by the onlookers and a herd of goats. At the Slaughterhouse, the case was opened, water poured out, and the drawings revealed. The shark was eventually cooked and fed to the guests.

Public projects
In June 2017, Barney, local art curator Brandon Stosuy, and other artists installed Remains Board on his studio in Long Island City. The board is a large seven-segment digital clock, visible from the United Nations and midtown Manhattan, counting down the days, hours, and minutes remaining in the U.S. president Donald Trump's first term. The Remains Board was initially illuminated during a durational performance of physical comedy by Josh Fadem. On inauguration day in 2021, at 12:00 p.m., Haela Hunt-Hendrix of Liturgy performed a guitar solo beneath the Remains Board as the clock began to approach 00:00:00.

Exhibitions
Following his inclusion in two group shows at Althea Viafora gallery in New York in 1990, Barney's solo debut in 1991 at the Barbara Gladstone Gallery was hailed by The New York Times as "an extraordinary first show". That same year, at the age of twenty-four, he had a solo exhibition at the San Francisco Museum of Modern Art. The Museum Boijmans Van Beuningen, Rotterdam, organized a solo exhibition of his work that toured Europe throughout 1995 and 1996. Barney was subsequently included in many international exhibitions, such as documenta 9 in Kassel (1992); the 1993 and 1995 Biennial exhibitions at the Whitney Museum of American Art, New York; and Aperto ’93 at the 48th Venice Biennale, for which he was awarded the Europa 2000 Prize. For the season 2000/2001 in the Vienna State Opera, Barney designed a large scale picture (176 sqm) as part of the exhibition series "Safety Curtain", conceived by museum in progress.

"Matthew Barney: The Cremaster Cycle", an exhibition of artwork from the entire cycle organized by the Solomon R. Guggenheim Museum, premiered at the Museum Ludwig, Cologne, in June 2002 and subsequently traveled to the Musée d'Art Moderne de la Ville de Paris and the Guggenheim Museum in New York. A large-scale exhibition of the entire “Drawing Restraint” series was organized by the 21st Century Museum for Contemporary Art, Kanazawa, in 2005 and traveled to Leeum, Samsung Museum of Art, Seoul; San Francisco Museum of Modern Art; Serpentine Gallery, London; and Kunsthalle Wien, Vienna. Barney has also had major solo exhibitions organized by Astrup Fearnley Museum of Modern Art in Oslo (2003), Living Art Museum in Reykjavik (2003), Sammlung Goetz in Munich (2007), and Fondazione Merz in Turin (2008). His work has been included in major group exhibitions including "Moving Pictures" at Solomon R. Guggenheim Museum in New York and Guggenheim Bilbao (2002), Venice Biennale (2003), "Quartet: Barney, Gober, Levine, Walker" at Walker Art Center in Minneapolis (2005), Biennial of Moving Images at Centre pour l’Image Contemporaine in Paris (2005), and "All in the Present Must Be Transformed: Matthew Barney and Joseph Beuys" at Deutsche Guggenheim in Berlin (2006).

In 2013, the Morgan Library & Museum mounted “Subliming Vessel: The Drawings of Matthew Barney”, the first museum retrospective devoted to the artist's drawings, later traveling to the Bibliothèque Nationale de France in Paris. In 2014, Barney exhibited "River of Fundament" at Haus der Kunst, Munich. The exhibition later traveled to the Museum of Old and New Art, Hobart, Tasmania and the Museum of Contemporary Art, Los Angeles. "River of Fundament" was considered the largest filmic project since the Cremaster Cycle and first major museum solo exhibition in Los Angeles. In 2019, the Yale University Art Gallery exhibited "Matthew Barney: Redoubt," the first solo museum exhibition in the U.S. since the presentation of "River of Fundament" at the Museum of Contemporary Art, Los Angeles, in 2015–16.

Critical analysis
Barney's work has provoked strong critical reaction, both positive and negative. Barney's work has been compared to performance artists Chris Burden and Vito Acconci, and some critics have argued that Barney's art is simultaneously a critique and a celebration of commercialism and blockbuster filmmaking. Commenting on the Cremaster series' enigmatic nature, Alexandra Keller and Frazer Ward write:

""Rather than reading Cremaster, we are encouraged to consume it as high-end eye candy, whose symbolic system is available to us but hardly necessary to our pleasure: meaning, that is, is no longer a necessary component to art production or reception. Left to its own devices-and it is all devices, Cremaster places us in a framework of mutually assured consumption, consuming us as we consume it.""

The philosopher Arthur C. Danto, well known for his work on aesthetics, has praised Barney's work, noting the importance of Barney's use of sign systems such as Masonic symbology.

Others have asserted Barney's works are contemporary expressions of surrealism. In the words of Chris Chang, Barney's Cremaster films, though "completely arcane, hermetic and solipsistic ... nevertheless periodically provide some of the most enigmatically beautiful experimental film imagery you'll ever see."

"Is Barney's work a new beginning for a new century?", asks Richard Lacayo, writing in Time. "It feels more like a very energetic longing for a beginning, in which all kinds of imagery have been put to the service of one man's intricate fantasy of return to the womb. Something lovely and exasperating is forever in formation there. Will he ever give birth?"

"Barney is the real thing. When he brings his boundless imagination to a subject he goes down to its depths to create images and implant ideas that stay in your mind for ever" writes art historian Richard Dorment in The Daily Telegraph.

Kanye West also admires Barney's work and credited him as an influence on the music video for West's song "Famous".

Awards and prizes

 * Europa 2000 Prize, Aperto '93, 45th Venice Biennale, 1993.
 * Hugo Boss Prize, Guggenheim Museum, 1996.
 * James D. Phelan Art Award in Video, Bay Area Video Coalition, San Francisco Foundation, 1999.
 * Glen Dimplex Award, Irish Museum of Modern Art, Dublin, 2002.
 * Kaiser Ring Award, Museum für moderne Kunst, Goslar, Germany, 2007.
 * Golden Gate Persistence of Vision Award, 54th San Francisco International Film Festival, 2011.

Publications

 * Kirk, Kara. Matthew Barney: New Work. San Francisco Museum of Modern Art, San Francisco, 1991. ISBN 0-918471-23-0.
 * Wakefield, Neville, and Richard Flood. Pace Car for the Hubris Pill. Museum Boijmans Van Beuningen, Rotterdam, 1995. ISBN 90-6918-148-7.
 * Barney, Matthew. Cremaster 4. Foundation Cartier, Paris and Barbara Gladstone Gallery, New York, 1995. ISBN 978-2-86925-051-2.
 * Kertess, Klaus. Matthew Barney: Drawing Restraint Volume 7. Cantz Verlag, Ostfildern, Germany, 1996. ISBN 978-3893227921.
 * Barney, Matthew. Cremaster 1. Kunsthalle Wien, Museum für Gegenwartskunst Basel, Basel, 1997. ISBN 3-85247-013-7.
 * Barney, Matthew. Cremaster 5. Portikus, Frankfurt, and Barbara Gladstone Gallery, New York, 1997. ISBN 978-1-881616-87-0.
 * Flood, Richard, and Matthew Barney. Cremaster 2. Walker Art Center, Minneapolis, 1999. ISBN 978-0-935640-64-9.
 * Barney, Matthew. Cremaster 3. Guggenheim Museum, Distributed Art Publishers, Inc., New York, 2002. ISBN 0-89207-253-9.
 * Barney, Matthew. Matthew Barney/The Cremaster Cycle. Meeting House Square, Temple Bar, Dublin, 2002.
 * Spector, Nancy, and Neville Wakefield. Matthew Barney: The Cremaster Cycle. Guggenheim Museum Publications and Harry N. Abrams, Inc., New York, 2002. ISBN 0-8109-6935-1.
 * Kvaran, Gunnar B., and Nancy Spector. Matthew Barney: The Cremaster Cycle. Astrup Fearnley Museet for Moderne Kunst, Oslo, 2003. ISBN 978-8291430379.
 * McKee, Francis, Hans Ulrich Obrist, and Matthew Barney. Drawing Restraint Volume 1. Walther König, Cologne, 2005. ISBN 0-9795077-0-7.
 * Hasegawa, Itsuko, and Shinichi Nakagawa. Drawing Restraint Volume 2. Uplink Co., Tokyo, 2005. ISBN 4-900728-14-4.
 * Barney, Matthew. Drawing Restraint Volume 3. Leeum Samsung Museum of Art, Seoul, 2005. ISBN 89-85468-34-0.
 * Barney, Matthew. Drawing Restraint Volume 4. JMc & GHB Editions, New York and Sammlung-Goetz, Munich, 2007. ISBN 978-0-9795077-0-0.
 * Wakefield, Neville. Drawing Restraint Volume 5. Walther König, Cologne, 2007. ISBN 978-3-86560-318-0.
 * Barney, Matthew. Matthew Barney. Mönchehaus Museum für Moderne Kunst, Goslar, Germany, 2007.
 * Barney, Matthew, Karsten Löckemann, and Stephan Urbaschek. Matthew Barney. Kunstverlag Ingvild Goetz, Munich, 2007. ISBN 978-3-939894-09-4.
 * Barney, Matthew, and Olga Gambari. Matthew Barney: mitologie contemporanee. Fondazione Merz, Turin, 2009. ISBN 978-88-7757-235-6.
 * Cook, Angus. Matthew Barney and Elizabeth Peyton: Blood of Two. Deste Foundation for Contemporary Art, Greece, Walther König, Cologne, 2009. ISBN 978-9609931403
 * Barney, Matthew. Drawing Restraint Volume 6. Schaulager/Laurenz Foundation, Basel, 2010.
 * Barney, Matthew. Matthew Barney: KHU Playbill. Barney Studio, New York, 2010.
 * Barney, Matthew. Matthew Barney: Prayer Sheet with the Wound and the Nail. Schaulager, Switzerland, and Schwabe Verlag Basel, Basel, 2010. ISBN 978-3796527067
 * Barney, Matthew. Matthew Barney: DJED Playbill, Gladstone Gallery, New York, 2011.
 * Dervaux, Isabelle. Subliming Vessel: the Drawings of Matthew Barney. The Morgan Library & Museum, New York, 2013. ISBN 978-0-8478-3976-6
 * Enwezor, Okwui, Hilton Als, Diedrich Diederichsen, Homi K. Bhabha, David Walsh, and Louise Neri. River of Fundament. N.Y: Skira Rizzoli, New York, 2014.
 * Barney, Matthew, Pamela Franks, and Elisabeth Hodermarsky. Matthew Barney: Redoubt. Conn: Yale University Press, New Haven, 2019. ISBN 978-0-300-24327-7
 * Barney, Matthew, Pamela Franks, and Elisabeth Hodermarsky with the introduction by Philip Tinari.《马修 · 巴尼：堡垒》. Culture and Art Publishing House, Beijing, 2019.ISBN 978-7-5039-6780-1

title: Matthew Barney


text:
Water polo at the 2004 Summer Olympics

Water polo at the 2004 Summer Olympics took place at the Olympic Aquatic Centre where women competed for only the second time in the event at the Summer Olympics.

Twelve teams competed in the men's event, where Russia was trying to avenge their defeat by Hungary at the Sydney Olympics. There were eight teams in the women's event, where holders Australia were hoping to retain the title.

Women`s

 * Canada took the place of the African team.

title: Water polo at the 2004 Summer Olympics


text:
Kasuga-taisha

Kasuga-taisha (春日大社) is a Shinto shrine in Nara, Nara Prefecture, Japan. It is the shrine of the Fujiwara family, established in 768 CE and rebuilt several times over the centuries. The interior is famous for its many bronze lanterns, as well as the many stone lanterns that lead up the shrine.

The architectural style Kasuga-zukuri takes its name from Kasuga Shrine's honden (sanctuary). The Torii at Kasuga-taisha is one of the oldest in Shinto and helped influence the style of Torii seen across much of Japan. Kasuga Shrine, and the Kasugayama Primeval Forest near it, are registered as a UNESCO World Heritage Site as part of the "Historic Monuments of Ancient Nara".

The path to Kasuga Shrine passes through a deer park. In the park, deer are able to roam freely and are believed to be sacred messengers of the Shinto gods that inhabit the shrine and surrounding mountainous terrain. Kasuga Shrine and the deer have been featured in several paintings and works of art of the Nambokucho Period. Over three thousand stone lanterns line the way. The Man'yo Botanical Garden is adjacent to the shrine.

Origin
The birth of this shrine, according to legend, began when the first kami of Kasuga-taisha, Takemikazuchi, rode on the back of a white deer to the top of Mount Mikasa in 768 CE. This kami is said to have traveled from the Kashima Jingu Shrine in order to protect Nara. The shrine location first received favor from the Imperial government in the Heian period as a result of the power from the Fujiwara family as well as Empress Shōtoku.

From 1871 through 1946, Kasuga Shrine was officially designated one of the Kanpei-taisha (官幣大社), meaning that it stood in the first rank of government supported shrines.

Religious significance
The four main kami enshrined here are Ame no koyane, Himegami, Futsunushi no mikoto, and Takemikazuchi no mikoto. Though these are the primary divine beings of Kasuga taisha, they are often grouped together as a syncretic, combined deity known as Kasuga Daimyōjin. Kasuga Daimyōjin is composed of five divine beings and each consists of a Buddhist deity and Shinto kami counterpart. The fifth deity, Ame-no-Oshikumone, was added much later and is said to be the divine child of Ame no koyane and Himegami. The importance of the multifaceted kami was that it became a template for future worshipers who wanted to combine several deities to pray to at once.

Architecture
The architectural style of Kasuga-taisha comes from the name of its main hall (honden) known as Kasuga-zukuri. The shrine complex is protected by four cloisters and contains a main sanctuary, treasure house, several different halls, and large gates. One beautiful aspect of this shrine is the many wisteria trees known as "Sunazuri-no-Fuji" that bloom in late April and early May. This shrine is also home to over 3,000 lanterns which are made of either stone or bronze. An entire hall is devoted to them which is Fujinami-no-ya Hall but the lanterns are only lit during the Setsubun Mantoro and Chugen Mantoro festivals.

The four main kami each have a shrine devoted to them which are all in the same architectural style. They are characterized by sloping gabled roofs, a rectangular structure, katsuogi (decorative logs), and chigi (forked roof structures). The first hall established is dedicated to Takemikazuchi no mikoto, the second to Futsunushi no mikoto, the third to Amenokoyane no mikoto, and the final hall is attributed to the consort, Himegami. Several auxiliary shrines lie outside the main sanctuary that are dedicated to lesser kami. One is allotted to Tsunofuri no kami, that is commonly known as Tsubakimoto Jinja Shrine or Kayabusa Myojin. Kasenomiya Jinja Shrine is attributed to Shinatsuhiko no mikoto and Shinatsuhime who are kami of the winds. Wakamiya Jinja Shrine, created in 1135 CE, is one of the more prominent auxiliary shrines because it houses the kogami, or offspring kami called Ame no Oshikumono no mikoto. The primary worship here revolves around vengeful gods and the dead and is the location of the Kasuga Wakamiya festival.

The Treasure House at this shrine contains hundreds national treasures as well as about many other cultural properties, most of which are from the Heian period. Some of the most noteworthy items that reside here are ornate taiko drums used in gagaku from the Kamakura period, arrows with crystal whistles from the Heian period, and bronze mirrors of the Heian and Nanboku-cho periods.

Kasuga-taisha, like Ise Grand Shrine and Izumo-taisha, continues the tradition of shikinen zōtai (式年造替), the regular rebuilding of shrines. This is a tradition based on the tokowaka (常若) concept of Shinto, in which objects are renewed in order to keep their divine prestige in pursuit of eternity. Like the Ise Grand Shrine, Kasuga-taisha has been rebuilding its shrines to the same specifications every 20 years for more than 1000 years since the Nara period, with the most recent reconstruction being the 60th rebuilding in 2016.

Festivals
During the festivals of Setsubun Mantoro (February 3) and Chugen Mantoro (August 14–15), three thousand shrine lanterns are all lit at once. The Setsubun Mantoro refers to the celebration of the seasonal shift from winter to spring while the Chugen Mantoro relates to the transition of summer to fall. They both take place in order to celebrate the Obon and Setsubun holidays in Japanese culture. At Kasuga Grand shrine, people are seen writing and attaching their wishes, or ema, to the lanterns before lighting them during both festivals. Additionally, it is said that tossing dried beans at these times will ward off bad luck in the future.

March 13 is the Kasuga Matsuri, a local festival which features the dances of gagaku and bugaku. Shinto women perform traditional Japanese Yamato-mai dances that date back to the Heian and Nara periods. This festival also holds a horse celebration which consists of a parade through the streets by a "sacred" horse. One will see people dressed in traditional costumes of the Heian to Edo periods and can experience authentic kagura dance displays with dengaku music.

The Kasuga Wakamiya Festival takes place at the Wakamiya Jinja shrine from December 15 to 18th each year. The main goal of this gathering was to ward off disease while promoting new growth for the spring. Like Kasuga Matsuri, attendants can see kagura performances along with a procession in traditional attire.

Kasugayama Primeval Forest
Kasugayama Primeval Forest is primeval forest of about 250 hectares (620 acres) near the summit of Kasugayama (498 metres (1,634 ft)), and contains 175 kinds of trees, 60 bird types, and 1,180 species of insects. In this area adjacent to Kasuga Grand Shrine, hunting and logging have been prohibited since 841 CE. Because Kasugayama has long been tied to Kasuga Grand Shrine worship, it is regarded as a sacred hill. The forest backdrop of the Kasuga Grand Shrine's buildings today has been unchanged since the Nara period.

title: Kasuga-taisha


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Dying Fetus

Dying Fetus is an American death metal band from Greater Upper Marlboro, Maryland, formed in 1991. Various lineup changes throughout the years have left John Gallagher as the sole remaining original member, as well as the band's driving force. According to Gallagher, the band name was chosen while the members were young and was intended to be offensive. To date, Dying Fetus has released nine studio albums.

Beginnings (1991–1996)
Dying Fetus was founded in 1991 in Upper Marlboro, Maryland, by John Gallagher (guitar, vocals) and Jason Netherton (bass, vocals). The band began in earnest when the pair met up with guitarist/vocalist Nick Speleos in 1992. It was decided then that Gallagher would fill in on drums until a proper drummer was found. The writing of this period resulted in the 1993 demo Bathe In Entrails. In late 1993, the band found drummer Rob Belton, as well as guitarist Brian Latta, who replaced the departing Nick Speleos (which also thrust John Gallagher back into the role of guitarist and vocalist). Together the new four-piece lineup recorded the Infatuation with Malevolence demo in early 1994, later released together with the first demo in 1995 as a compilation on California Indie label Wild Rags Records. Songs included all tracks from both demos as one CD.

In 1996, the band released their first album, Purification through Violence, on short-lived Illinois label Pulverizer Records. The album marked a further refinement of the band's developing sound of death metal riffing, combined with heavy slams, over seven original songs, and one Napalm Death cover, "Scum". Drummer Rob Belton left and the band was joined briefly in 1995 for a year by drummer Casey Buckler, with whom they performed live, yet never recorded with. Casey was asked to leave the band as they agreed he would play drums for a tour they had that year.

Rise to underground prominence (1996–2000)
Relying on self-promotion, the band toured sporadically for 4 years straight starting in summer 1996 with their first full US tour alongside Kataklysm and Monstrosity, with the first appearance of future drummer Erik Sayenga as drummer replacing Casey Buckler. However, by spring 1997, Erik Sayenga left the band, and during a short Texas tour in May 1997, drummer Kevin Talley was located and subsequently joined full-time by the summer of 1997. At this point, the band caught the attention of German indie label Morbid Records, who signed them early in 1998 for a one-album deal. Almost immediately afterwards, the band released their second album, Killing on Adrenaline.

Morbid Records supplied the band with modest promotion in the death metal underground by releasing the album in Europe (while the band released it on their own label 'Blunt Force Records' in North America). Subsequently, they rose to prominence with notable live performances, such as appearances at Milwaukee metalfest (1998-2000) and tours in the US and Canada in 1998 (with Deeds of Flesh) and in Europe (with Deranged). However, guitarist Brian Latta left the band in late 1998, ushering in new guitarist "Sparky" Voyles, and in 1999 the band embarked on their first headlining tour of the US, over three weeks dubbed the "Underground Terrorism" tour. The tour was followed shortly thereafter by the Grotesque Impalement EP, which the band again released on their own Blunt Force Records label imprint.

Relapse Records and new lineup (2000–2003)
By 2000, Dying Fetus caught the attention of another underground metal label, the indie company Relapse Records, who subsequently signed the band.

Once more returning to Steve Carr's Hit and Run Studios in Maryland (where each previous Dying Fetus album was recorded), Dying Fetus recorded in the spring of 2000 their Relapse debut (and overall third full-length album), Destroy the Opposition. This album featured even stronger political themes, and songwriting that was to highly influence the "deathcore" scene in subsequent years. The album was included in Decibel's Top 100 Albums of the decade list for the 2000s (Decibel Magazine Special Edition, December 2009), as well as to Decibel's "Hall of Fame" (#89, July 2012).

However, following the release of Destroy the Opposition, original member Jason Netherton left the band for personal reasons, and thereafter guitarist Voyles and drummer Talley left the band only months after the album's release (they since went on to form the band Misery Index). Gallagher recruited guitarist Mike Kimball, singer Vince Matthews, bassist/backup vocalist Sean Beasley, and the returning Eric Sayenga on drums.

With the new lineup, the band released their 4th album, Stop at Nothing, in 2003, another album featuring Carr's production and strong political themes. A promotional video was shot for the track "One Shot, One Kill".

Lineup changes, return to form (2003–present)
Dying Fetus toured extensively for Stop at Nothing, and got airplay for the music video for "One Shot, One Kill" on Headbanger's Ball. Another vehicle that led to exposure of the band was further support from Relapse Records (with acts such as Mastodon gaining popularity), as well as a full North American tour with GWAR in 2005. However, the Stop at Nothing lineup dissolved slightly in the years that followed as drummer Erik Sayenga parted yet again, and singer Vince Matthews went on to form Criminal Element. However, Dying Fetus came back yet again, bassist Beasley took over on vocals, and drummer Duane Timlin (ex-Divine Empire/Broken Hope) joined the ranks in 2006.

That lineup then recorded War of Attrition, which was released in March 2007. Themes include attacking reality TV, the war on terrorism, racial ignorance, and the flaws in the criminal justice system. Songs include "Homicidal Retribution", "Raping the System", and "Parasites of Catastrophe". Dying Fetus' second music video was made for "Homicidal Retribution".

Yet another lineup change occurred on the Dying Fetus front in July 2007: drummer Duane Timlin was fired due to incompatibilities. The newest drummer for the band is Trey Williams, from the local Baltimore band Severed Head. Mike Kimball also left the band and they've remained a trio since.

On September 15, 2009, Dying Fetus released their sixth album, Descend into Depravity on Relapse Records. Three years later, their follow-up to this record Reign Supreme, would be released on June 19, 2012. The band released the first single from the album, "Subjected to a Beating", on April 2, 2012.

Dying Fetus headlined a US tour being supported by Exhumed, Abiotic and Waking the Cadaver. Devourment was intended to be on the bill to play the tour, but dropped off a month beforehand. Rivers of Nihil appeared in select spots of the tour.

On November 4, 2013, after Avenged Sevenfold were announced as a headliner for Download Festival 2014, a fan of the band claimed that other bands were more deserving of a headline spot at the festival, and said "Everyone is going on about that this is good to give new blood a chance, then why not Machine Head, Lamb of God, Testament, Dying Fetus or Carcass? Give them a chance". Due to the smaller size of the band's fanbase, this sparked a mock internet campaign with the hashtag "#WhyNotDyingFetus?" trending worldwide. On November 6, 2013, Andy Copping announced on his Twitter feed that due to the internet campaign, Dying Fetus had been confirmed to be playing at the festival. The band were the first to play the main stage on the Saturday.

By June 2016, Dying Fetus had been working on their eighth studio album, which was expected to be released in the summer of 2017.

By mid-April 2017, both the band and Relapse Records had announced via social media the release of their eighth studio album, entitled Wrong One to Fuck With, which was released on June 23, 2017, and included a promotional video for Gallagher, Williams, Beasley, and Associates – Death Metal Attorneys at Law.

In 2019, the band's music was featured on the South Park episode "Band in China".

Musical style
Dying Fetus has been described as death metal, grindcore, brutal death metal, and technical death metal, incorporating elements of each into their musical style.

Their sound is noted for its "vicious" blast beats as well as the guttural vocal style of frontman John Gallagher.

Members
Current members
 * John Gallagher – guitars, vocals (1991–present), drums (1991–1994)
 * Sean Beasley – bass (2001–present), vocals (2004–present)
 * Trey Williams – drums (2007–present)

Former members
 * Nick Speleos – guitars, vocals (1991–1994)
 * Rob Belton – drums (1994–1997)
 * Brian Latta – guitars (1994–1999)
 * Jason Netherton – bass, vocals (1991–2000)
 * Kevin Talley – drums (1997–2001)
 * John "Sparky" Voyles – guitars (1999–2001)
 * Bruce Greig – guitars (2001–2002; died 2022)
 * Vince Matthews – vocals (2001–2004)
 * Erik Sayenga – drums (2001–2005)
 * Duane Timlin – drums (2006–2007)
 * Mike Kimball – guitars (2003–2008)

Live musicians
 * Casey Buckler – drums (1995–1996)
 * Erik Sayenga – drums (1996–1997)
 * John Longstreth – drums (2004)

Timeline

title: Dying Fetus


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Talk:Mr Scruff

there is already an article about him called Mr. Scruff, Stefankoegl 11:42, 31 Jul 2004 (UTC)

That's lovely. So why does it link to http://en.wikipedia.org/wiki/Quantic when the reference is to a band by the name of Quantic, and not 'Algebraic form'?

Move discussion in progress
There is a move discussion in progress on Talk:Mr. Scruff which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 02:58, 14 December 2012 (UTC)

title: Talk:Mr Scruff


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Bikya language

Bikya (also known as Furu) is a potentially extinct Southern Bantoid language spoken in Cameroon. It is one of the three, or four, Furu languages. In 1986 four surviving speakers were identified, although only one (a man in his seventies) spoke the language fluently.

English linguist Dr. David Dalby filmed an 87-year-old African woman who spoke Bikya as her native tongue. At the time, it was believed that she was the last Bikya speaker.

It, and presumably all of Furu, is perhaps a Beboid language.

title: Bikya language


text:
Thomas Maclellan, 2nd Lord Kirkcudbright

Thomas Maclellan, 2nd Lord Kirkcudbright was a Scottish nobleman, nephew of Robert Maclellan, 1st Lord Kirkcudbright and the son of William Maclellan and Rosina Agnew.

Maclellan's support for the Covenanters led to his ruin. In 1638 the Solemn League of the Covenant was signed throughout Scotland raising objecting to the enforcement of the use of the Anglican Book of Common Prayer in Scotland. During this period many of the local ministers favoured the Covenant and this caused difficulties that involved Lord Kirkcudbright. Thomas Maclellan was charged with the raising of a feudal army in the parishes of Dunrod, Galtway and Kirkcudbright to support the Solemn League and Covenant. On 28 July 1640 Thomas Maclellan married Janet, a daughter of William Douglas, 1st Earl of Queensberry by Isabel Kerr. In 1640 he was appointed Colonel of the South Regiment, and accompanied the Scottish army into England.

In 1644 the Scottish Parliament appointed him Steward of Kirkcudbrightshire, and subsequently he was present at the Battle of Philiphaugh with his regiment, where, by their gallantry they greatly contributed towards the victory of the Scottish forces. For his good service at Philliphaugh he was awarded by Parliament a significant reimbursement (poss. £750), raised from the estates of Lord Herries, but which it is alleged was never received.

From his habit of always marching at the head of his regiment with a barrel of brandy, which upon long marches and other needful occasions he would freely distribute to his followers, he became very popular among the troops.

Joining the Scottish Army, a force of some 9,000 men, under the Earl of Leven Maclellan's regiment marched to Marston Moor where they joined forces with the English Parliamentary troops under Cromwell. On the battlefield Lord Kirkcudbright's Regiment ‘Dispersed and Overthrew the Royalist Cavalry opposed to them’.

The Royalist James Graham, 1st Marquess of Montrose had taken military control of Scotland, and defeated the Covenanters in a series of battles culminating in the battle of Kilsyth. Part of the Scottish army under Alexander Leslie, including Lord Kirkcudbright's Regiment, was sent north to meet Montrose. This they did at Philliphaugh, near Selkirk.

The prisoners taken at Philliphaugh were executed as traitors, with many shot dead in the courtyard at Newark Castle; others were thrown to their deaths from the parapets of the Ettrick Bridge, drowning in the river below.


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Hank Jones

Henry Jones Jr. (July 31, 1918 – May 16, 2010) was an American jazz pianist, bandleader, arranger, and composer. Critics and musicians described Jones as eloquent, lyrical, and impeccable. In 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award. He was also honored in 2003 with the American Society of Composers, Authors, and Publishers (ASCAP) Jazz Living Legend Award. In 2008, he was awarded the National Medal of Arts. On April 13, 2009, the University of Hartford presented Jones with an honorary Doctorate of Music for his musical accomplishments.

Jones recorded more than 60 albums under his own name, and countless others as a sideman, including Cannonball Adderley's celebrated album Somethin' Else. On May 19, 1962, he played piano as actress Marilyn Monroe sang her famous "Happy Birthday, Mr. President" song to then U.S. president John F. Kennedy.

Biography
Born in Vicksburg, Mississippi, Henry "Hank" Jones moved to Pontiac, Michigan, where his father, Henry Jones Sr., a Baptist deacon and lumber inspector, bought a three-story brick home. One of seven children, Jones was raised in a musical family. His mother Olivia Jones sang; his two older sisters studied piano; and his two younger brothers—Thad, a trumpeter, and Elvin, a drummer—also became prominent jazz musicians. He studied piano at an early age and came under the influence of Earl Hines, Fats Waller, Teddy Wilson, and Art Tatum. By the age of 13, Jones was performing locally in Michigan and Ohio. While playing with territory bands in Grand Rapids and Lansing in 1944, he met Lucky Thompson, who invited Jones to work in New York City at the Onyx Club with Hot Lips Page.

In New York City, Jones regularly listened to leading bop musicians, and was inspired to master the new style. While practicing and studying the music he worked with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine. In autumn 1947, he began touring in Norman Granz's Jazz at the Philharmonic package, and from 1948 to 1953 he was accompanist for Ella Fitzgerald, and accompanying her in England in the fall of 1948, developed a harmonic facility of extraordinary taste and sophistication. During this period he also made several historically important recordings with Charlie Parker, which included "The Song Is You", from the Now's the Time album, recorded in December 1952, with Teddy Kotick on bass and Max Roach on drums.

Engagements with Artie Shaw and Benny Goodman followed, and recordings with artists such as Lester Young, Cannonball Adderley, and Wes Montgomery, in addition to being for a time, "house pianist" on the Savoy label. From 1959 through 1975 Jones was staff pianist for CBS studios. This included backing guests such as Frank Sinatra on The Ed Sullivan Show. He played the piano accompaniment to Marilyn Monroe as she sang "Happy Birthday Mr. President" to John F. Kennedy on May 19, 1962. By the late 1970s, his involvement as pianist and conductor with the Broadway musical Ain't Misbehavin' (based on the music of Fats Waller) had informed a wider audience of his unique qualities as a musician.

During the late 1970s and the 1980s, Jones continued to record prolifically, as an unaccompanied soloist, in duos with other pianists (including John Lewis and Tommy Flanagan), and with various small ensembles, most notably the Great Jazz Trio. The group took this name in 1976, by which time Jones had already begun working at the Village Vanguard with its original members, Ron Carter and Tony Williams (it was Buster Williams rather than Carter, however, who took part in the trio's first recording session in 1976); by 1980 Jones' sidemen were Eddie Gómez and Al Foster, and in 1982 Jimmy Cobb replaced Foster. The trio also recorded with other all-star personnel, such as Art Farmer, Benny Golson, and Nancy Wilson. In the early 1980s Jones held a residency as a solo pianist at the Cafe Ziegfeld and made a tour of Japan, where he performed and recorded with George Duvivier and Sonny Stitt. Jones' versatility was more in evidence with the passage of time. He collaborated on recordings of Afro-pop with an ensemble from Mali and on an album of spirituals, hymns and folksongs with Charlie Haden called Steal Away (1995).

Among his later recordings are For My Father (2005), with bassist George Mraz and drummer Dennis Mackrel, a solo piano recording issued in Japan under the title Round Midnight (2006), and as a side man on Joe Lovano's Joyous Encounter (2005). Jones made his debut on Lineage Records, recording with Frank Wess and with the guitarist Eddie Diehl, but also appeared on West of 5th (2006) with Jimmy Cobb and Christian McBride on Chesky Records. He also accompanied Diana Krall for "Dream a Little Dream of Me" on the album compilation, We all Love Ella (Verve 2007). He is one of the musicians who test and talk about the piano in the documentary Note by Note: The Making of Steinway L1037, released in November 2007.

In early 2000, the Hank Jones Quartet accompanied jazz singer Salena Jones at the Lionel Hampton Jazz Festival in Idaho, and in 2006 at the Monterey Jazz Festival with both jazz singer Roberta Gambarini and the Oscar Peterson Trio.

In June 2005, Jones was awarded an Honorary Doctorate of Music from Berklee College of Music at 20th anniversary of jazz education at the Umbria Jazz Festival, in Perugia, Italy.

Hank Jones lived in Cresskill, NJ, upstate New York and in Manhattan. He died at a Calvary Hospital Hospice in The Bronx, New York, on May 16, 2010, survived by his wife Theodosia.

Awards and recognitions

 * Grammy history
 * Career Wins: 2009: Lifetime Achievement Grammy
 * Career Nominations: 5

title: Hank Jones


text:
Thomas Maclellan

Thomas Maclellan may refer to:

 * Thomas Maclellan of Bombie (died 1597), Provost of Kirkcudbright
 * Thomas Maclellan, 2nd Lord Kirkcudbright (died 1647), Scottish nobleman, grandson of the above

title: Thomas Maclellan


text:
Misery Index (band)

Misery Index is an American death metal band formed in 2001 in Baltimore, Maryland, United States, by Jason Netherton (bass, vocals), Mike Harrison (guitar, vocals), and Kevin Talley (drums). In 2003, the band opened for Dying Fetus and Skinless on their North American tour. From 2006–2010, its line-up consisted of Jason Netherton on bass and vocals, John Voyles on lead guitar, Mark Kloeppel on rhythm guitar and vocals, and Adam Jarvis on drums. In 2010, Voyles left the band and was replaced by Darrin Morris.

Background
Misery Index's music is best described as death metal with strong hardcore punk and grindcore influences. Its lyrics tend to be highly critical of prevailing power structures in modern culture, everyday life and the ills of modern society. Their band name is derived from the economic indicator of the same name, which was also the namesake of the last album by Assück, from whom Misery Index also draw inspiration. Through the years, the band toured extensively, notably performing over 1000 concerts in 44 different countries from 2002 until 2013.

The band runs its own record label, Anarchos Records, through which it has released a handful of titles, including its debut EP Overthrow in 2001, the Dissent EP in 2004, and the 2010 compilation Pulling Out the Nails. Misery Index's debut album, Retaliate, was released on Nuclear Blast Records in 2003. The band signed to Relapse Records in January, 2006, and released its second album, Discordia, in May 2006. Traitors, the band's third album, was released in September 2008 and its fourth album, Heirs to Thievery, was released May 11, 2010. In June 2011, the band signed to Season of Mist Records, and released its fifth full-length, The Killing Gods, in May 2014. On March 8, 2019, the band released their sixth album Rituals of Power. In 2020, the band signed with Century Media Records and released their seventh album Complete Control in May 2022.

Current

 * Jason Netherton – bass, lead vocals (2001–present)
 * Adam Jarvis – drums (2004–present)
 * Mark Kloeppel – rhythm guitar, vocals (2005–present)
 * Darrin Morris – lead guitar (2010–present)

Former

 * John "Sparky" Voyles – lead guitar (2001–2010)
 * Kevin Talley – drums (2001–2002, 2004)
 * Mike Harrison – rhythm guitar, vocals (2001–2002)
 * Matt Byers – drums (2002–2004)
 * Bruce Greig – rhythm guitar (2003–2004; died 2022)

Studio albums

 * Retaliate (2003)
 * Discordia (2006)
 * Traitors (2008)
 * Heirs to Thievery (2010)
 * The Killing Gods (2014)
 * Rituals of Power (2019)
 * Complete Control (2022)

EPs

 * Overthrow CD/12" (2001)
 * Misery Index / Commit Suicide split CD (2002)
 * Misery Index / Structure of Lies split CD (2003)
 * Dissent CD/12" (2004)
 * Misery Index / Bathtub Shitter split 7-inch (2006)
 * Hang Em High 7-inch (2007)
 * Misery Index / Mumakil split CD/7" (2007)
 * Misery Index / Lock Up split 7-inch (2011)
 * Misery Index / I Disavow 7-inch (2018)

Other releases

 * Dead Sam Walking (Compilation) Digital only (2008)
 * Pulling Out the Nails (Compilation) CD/LP (2010)
 * Live in Munich LP (2013)
 * Coffin Up The Nails (Compilation) CD/LP/Cassette (2021)

Music videos

 * The Great Depression (2004)
 * Conquistadores (2006)
 * Traitors (2008)
 * The Calling (2014)
 * The Harrowing (2015)
 * New Salem (2018)
 * Naysayer (2019)
 * Hammering the Nails (2019)
 * Decline and Fall (2019)
 * The Eaters and the Eaten (2022)

title: Misery Index (band)