title: Dassault Mirage F1

text: Starting in October 1979, these aircraft were engaged in combat missions against the forces of the Polisario Front, operating in Western Sahara. During their early combat operations, Moroccan Mirage F1s used unguided bombs, rockets, and their internal cannons to attack Polisario targets. In November 1979, the first Moroccan Mirage F1 was shot down by a Polisario 9K31 Strela-1, and its pilot was killed. Another one was shot down by an SA-7 on 6 December, and two more followed in February 1980. With the losses to Polisario air defences mounting, Moroccan pilots started using toss bombing tactics to minimize their exposure to air defences, that had meanwhile been reinforced with 2K12 Kub/SA-6 medium-range SAM systems. Using this technique, in early January 1982, Moroccan Mirages even started attacking SA-6 sites. However, the strikes had very poor results, due to the inaccuracy of this technique. Moreover, the soft sand of the Sahara desert caused a lot of bombs to fail to detonate.


title: Dassault Mirage F1

text: To solve these issues, several measures were taken. The Moroccans started using bombs equipped with daisy cutter fuses, and later South African-made Jupiter airburst fuses. Moroccan Mirages also starting operating in hunter-killer teams, with one aircraft fitted with long-range cameras and/or ESM equipment guiding one or two low-flying Mirage F1s to attack the targets it detected. These tactics proved highly successful, and they became the principal way in which Moroccan Mirages operated for the remainder of the war. Moreover, the aircraft were modified with chaff/flare dispensers. Lastly, ECM pods were bought to increase the aircraft's survivability against SA-6s, and the first were delivered in 1983. All this, combined with better training of the Moroccan pilots (including during joint exercises with the French and the Americans), resulted in much improved effectiveness of operations against Polisario forces. In total, over the course of the war in Western Sahara, twelve Mirage F1s were shot down by the POLISARIO. Four pilots were killed, and five were taken prisoner.


title: Dassault Mirage F1

text: On 17 August 2015, a Moroccan Mirage F1 crashed due to a bird strike; its pilot ejected successfully.


title: Dassault Mirage F1

text: During 1971, South Africa commenced its search for a replacement for the Mirage III; as a result, it chose to purchase a licence to manufacture both the Mirage F1 and its engine with the intention of producing up to 100 Mirage F1s. However, this license was quickly cancelled as a consequence of the impending 1977 arms embargo. The SAAF proceeded to procure 16 Mirage F1CZs and 32 Mirage F1AZs, which were quickly delivered by Dassault prior to the embargo being implemented, the first of these deliveries occurring in 1975.


title: Dassault Mirage F1

text: Both the F1CZ and F1AZ variants of the South African Air Force (SAAF) saw considerable action during operations in the Border War. In November 1978, the first five F1CZs were deployed to South-West Africa (Namibia), tasked with providing escort for reconnaissance flights over Southern Angola. From 1980, such deployments as escort aircraft became regular. Due to teething problems with the F1AZ, F1CZs were initially assigned the strike role in southern Angola using Matra M155 rocket pods or 250 kg bombs.


title: Dassault Mirage F1

text: F1CZs of 3 Squadron downed two Angolan MiG-21s in 1981 and 1982. On 6 November 1981, during Operation Daisy, two F1CZs were vectored by GCI to intercept two MiG-21s heading south. Major Johan Rankin shot down the wingman with cannon fire, as the missiles failed to lock on to the MiGs. On 5 October 1982, while escorting a Canberra of 12 Squadron on a photo-reconnaissance sortie, Rankin and his wingman engaged two MiG-21s on an intercept course. He fired two Magic AAMs at one of the MiGs, damaging the aircraft with the second missile. Rankin then attacked the second MiG and destroyed it with cannon fire. The first MiG was able to return to base, but sustained additional damage making a belly landing.


title: Dassault Mirage F1

text: In May 1982, an Angolan Mi-8 helicopter that the SADF believed to be carrying senior officers was located and destroyed in the Cuvelai area. The helicopter was located with rotors running on the ground by a pair of F1CZs and destroyed by 30mm cannon fire.


title: Dassault Mirage F1

text: Two F1AZs of 1 Squadron were lost over Angola. On 20 February 1988, while flying an interdiction sortie in F1AZ '245' against a road convoy during Operation Hooper, Major Ed Every was shot down by an SA-13 Gopher SAM. F1AZ '223' was lost almost a month later, on 19 March, when Captain Willie van Coppenhagen flew into the ground while returning from a diversionary strike at night. A SAAF Board of Inquiry was unable to determine the causes of the crash.


title: Dassault Mirage F1

text: Two F1AZs and a F1CZ were also damaged by enemy action, but were able to return to base. On 7 June 1980, while attacking SWAPO's Tobias Haneko Training Camp during Operation Sceptic (Smokeshell), Major Frans Pretorius and Captain IC du Plessis were both hit by SA-3 Goa SAMs. The aircraft piloted by Du Plessis was hit in a fuel line and he had to perform a deadstick landing at AFB Ondangwa. Pretorius's aircraft sustained heavier damage and had to divert to Ruacana forward airstrip, where he landed with only the main undercarriage extended. Both aircraft were repaired and returned to service. During the last phase of the Bush war 683 combat sorties were flown by the F1AZs, and more than 100 SAMs were fired at them.


title: Dassault Mirage F1

text: On 27 September 1987, during Operation Moduler, an attempt was mounted to intercept two Cuban FAR MiG-23MLs. Captain Arthur Piercy's F1CZ was damaged by either an AA-7 Apex or AA-8 Aphid AAM fired head-on by Major Alberto Ley Rivas. The explosion destroyed the aircraft's drag chute and damaged the hydraulics. Piercy was able to recover to AFB Rundu, but the aircraft overshot the runway. The impact with the rough terrain caused Piercy's ejection seat to fire; he failed to separate from the seat and suffered major spinal injuries.


title: Dassault Mirage F1

text: In February 1987, three F1AZs fired several V-3B missiles at a group of MiG-23s without success. This was repeated again in February 1988 when a F1AZ fired a missile at a MiG-23 and fired its 30mm cannon, again without success. Various other unsuccessful attempts were made during the 1987–88 period.


title: Dassault Mirage F1

text: Apart from operations from Namibia in July 1981, a pilot of the Mozambican Air Force defected with his MiG-17. He flew from his base near Maputo towards South Africa. Two F1AZs returning from a training exercise intercepted the MiG-17. In March 1981 two F1AZs intercepted a Zimbabwean Army CASA C-212 and forced it to land in South Africa after asserting that the aircraft had strayed into South African airspace.


title: Dassault Mirage F1

text: The SAAF lost an additional six F1AZs and three F1CZs to various mishaps. F1CZ '205' caught fire after landing and was repaired using the tail section of F1CZ '206' (Piercy's aircraft).


title: Dassault Mirage F1

text: In June 1975, with tension growing with Morocco, Spain decided to strengthen its Air Force and bought 15 Mirage F1C that were allocated to Albacete AB. In mid-1976 there was still some tension with Morocco and Algerian and Libyan MiG-25 flights on the Mediterranean, which would lead the Spanish Air Force to purchase ten more Mirage F1C and two years later order 48 Mirage F1C and F1E.


title: Dassault Mirage F1

text: Some years later Spain also bought 12 F1EDA/DDA's retired from Qatar Air Force, which donated some equipment and weapons used by those Mirage F1s. In Spanish service the F1CE was known as the C.14A, the F1EE was the C.14B and the two-seater F1EDA as the C.14C.


title: Dassault Mirage F1

text: They served mainly as Spain's primary air defence interceptors and interdiction as secondary role until they were superseded by Spain's EF-18A Hornets. They served with Ala 11 (11th Wing) in Manises (Ex-Qatari planes), Ala 14 in Albacete, and Ala 46 at Gando in the Canary Islands. Ala 46 used their Mirage F1s mainly as air defence planes, using same deep blue color pattern as French planes.


title: Dassault Mirage F1

text: In October 1996, Thomson-CSF was awarded a FFr700 million (US$96m) contract to upgrade 48 F1C/E single-seaters and 4 F1EDA trainers to Mirage F1M standard (see below). Ex-Qatar Mirage F1s were left outside the upgrade, as it was a different version, and were the first ones to be retired. As well as a service-life extension, this improved the avionics and added anti-shipping capability with a modernised Cyrano IVM radar and Exocet compatibility.


title: Dassault Mirage F1

text: From July 2006 to November 2006, Spanish Mirage F1s were deployed to Lithuania as a part of NATO's Baltic Air Policing mission; during this deployment, they were scrambled twice to intercept undisclosed intruders. On 20 January 2009, a pair of Spanish F1s from the 14th Wing crashed near their base during a routine Spanish Air Force dogfight training mission, resulting in the deaths of all three crew members. The wreckage of the two jets, including the remains of the aircrew, was found about apart. By 2009, there were 38 F1M's in service with Escuadrón 141 (141st Squadron) "Patanes" and Escuadrón 142 (142nd Squadron) "Tigres" of Ala 14.


title: Dassault Mirage F1

text: In 2013, the Spanish Air Force retired its fleet of Mirage F1s, having progressively phased the type out of service as increasing numbers of the Eurofighter Typhoon had become available. During 2013, it was reported that Spain may sell sixteen F1M's to Argentina but it seems they now have the budget to buy new Kfirs instead. The deal went through and Argentina bought the Spanish Mirages in October 2013, but the deal was scrapped in March 2014 after pressure from the United Kingdom on Spain to not assist in FAA modernization over tensions between the countries over the Falkland Islands. In November 2017, Draken International announced that it had acquired 22 F1Ms from Spain and would refurbish and upgrade them for use as adversary aircraft.


title: Dassault Mirage F1

text: Libya procured 16 Mirage F1ED interceptors, 6 F1BD two-seaters, and 16 Mirage F1ADs to equip the Libyan Air Force. The F1AD model is a specialized strike variant that lacks the standard radar unit; it is instead outfitted with a retractable fuel probe mounted on the nose. Four F1ADs were subsequently upgraded into a multirole configuration.


title: Dassault Mirage F1

text: Throughout the day of 18 August 1981, a total of 70 Libyan aircraft, including Mikoyan-Gurevich MiG-23s, MiG-25s, Sukhoi Su-22s, Su-22Ms and Mirage F1s, approached a US Navy carrier battle group as a show of strength. They were escorted until their withdrawal from its vicinity by McDonnell Douglas F-4 Phantom IIs and Grumman F-14 Tomcats.


title: Dassault Mirage F1

text: Even though they weren't involved continuously, Libyan Mirage F1s participated in the war in Chad intensively and proved their worth during the Libyan campaigns through the 1980s. From 1981, a detachment was deployed at Marten es-Serra in southern Libya. Both the F1AD and F1ED versions were used in this war. Even though the Mirage F1ED was designed foremost as an interceptor, it was mainly used for ground attack purposes like the F1AD, although some combat air patrols were flown as well. When operating in Chad, the Mirage F1AD's typical combat configuration consisted of a pair of 1.300 litre drop tanks and a pair of Belouga CBUs. Operations were performed almost exclusively during daylight hours and from high altitudes, which resulted in limited effectiveness. Together with Mirage 5s, MiG-23s, and Sukhoi Su-22s, Mirage F1s were instrumental in the success enjoyed during different campaigns against the Chadian troops in the early 1980s: operating over the open and barren desert terrain, they caused heavy damage, for no Mirage F1 losses in exchange.


title: Dassault Mirage F1

text: Both Libyan Mirage F1 squadrons were staffed by some of the best pilots and officers in the Air Force, and the Libyans put extra care in the maintenance of these aircraft. Indeed, US Navy pilots involved in the 1981 encounters with Libyan fighters concluded that the Mirage F1 pilots were markedly superior to those flying Soviet-made aircraft.


title: Dassault Mirage F1

text: The Mirage F1 fleet saw action during the 2011 Libyan Civil War. The Libyan Air Force posed little threat to coalition forces, partially as a result of insufficient equipment and a heavy reliance upon older aircraft acquired from the Soviet Union, but remained effective against poorly armed anti-Gaddafi rebels. On 21 February 2011, a pair of Libyan aircraft landed in Malta after they had been ordered to bomb protesters in Benghazi; both of the pilots claimed political asylum. Following the death of Muammar Gaddafi and the end of the civil war, France and Libya formed an agreement in 2012 to modernise the remaining Mirage F1 fleet, as well as covering the potential purchase of additional Mirage F1s that had been formerly operated by the French Air Force.


title: Dassault Mirage F1

text: Single-seat ground-attack fighter aircraft, with limited daylight-only air-to-air capability. Fitted with lightweight EMD AIDA 2 ranging radar instead of Cyrano IV of other variants, with laser rangefinder under nose, retractible refuelling probe and more fuel.


title: Dassault Mirage F1

text: The French Air Force also ordered 20 Mirage F1Bs, a two-seat operational conversion trainer; these were delivered between October 1980 and March 1983. The extra seat and controls added only 30 cm (12 in) to the length of the fuselage, but at the cost of less internal fuel capacity and the loss of the internal cannons.


title: Dassault Mirage F1

text: The empty weight increased by 200 kg (440 lb), partly due to the addition of two Martin-Baker Mk 10 zero-zero ejection seats, in place of the Mk 4 used in the F1C, which had a forward speed limitation.


title: Dassault Mirage F1

text: In all other aspects the F1B is a combat-capable aircraft and it can compensate for lost capacity with cannon pods and drop tanks.


title: Dassault Mirage F1

text: When it became clear that the Mirage F1 was becoming a successful production aircraft, Dassault began investigating the possibility of a dedicated reconnaissance version for its most important client, the French Air Force. However, the escalating cost of fighter aircraft meant that add-on pods for this purpose were a more economical alternative.


title: Dassault Mirage F1

text: Many French Air Force aircraft, as well as those of some export clients (such as Iraq's Mirage F1EQ), did indeed have a variety of reconnaissance pods available, which were attached to the underside of the main fuselage. However, the development of a tactical reconnaissance aircraft for the French Air Force continued, and the first Mirage F1CR flew on 20 November 1981.


title: Dassault Mirage F1

text: A total of 64 Mirage F1CRs were ordered by the French Air Force. The first air force unit equipped with the CR was "Escadron de Reconnaissance" 2/33 which became operational in September 1983.


title: Dassault Mirage F1

text: The Mirage F1CT is a ground attack version of the Mirage F1C-200. Following their replacement in the air defence role by the Mirage 2000, the French Air Force had a number of surplus Mirage F1C-200s, and in 1988 it launched a conversion programme to turn these aircraft into interim ground attack aircraft to replace elderly Mirage IIIEs and Mirage 5s. The Mirage F1CT program brought the avionics of the F1C up to the standard of the F1CR, with the radar upgraded with the additional air-to-ground modes of the Cyrano IVM-R, an improved navigation/attack system fitted, with a laser rangefinder fitted under the nose. It was fitted with new Mk 10 ejection seats, while improved radar detection and warning devices, chaff/flare dispensers, and secure radios were also added. It gained the ability to carry a variety of air-to-ground weapons, including rockets, cluster bombs and laser-guided bombs, while retaining the F1C's air-to-air armament.


title: Dassault Mirage F1

text: Two prototypes were converted by Dassault, the first flying on 3 May 1991, with a further 55 converted by the workshops of the French Air Force at Clermont Ferrand by 1995.


title: Dassault Mirage F1

text: The South African Air Force (SAAF) flew both the Mirage F1AZ ground-attack version as well as the radar-equipped Mirage F1CZ fighter. The first two examples of the first order (48 aircraft, comprising 32 F1AZ and 16 F1CZ) were delivered on 5 April 1975. In July of that year, the remainder of the F1CZs were delivered and 3 Squadron was recommissioned to operate the aircraft from AFB Waterkloof. In 1975 the F1CZs also appeared at a South African airshow, the public were not informed that it was already in service.


title: Dassault Mirage F1

text: The F1AZ was developed in conjunction with Dassault and the SAAF as a dedicated ground attack variant. The F1AZs were delivered between November 1975 and October 1976 and were assigned to 1 Squadron. Paramount Group, a South African-based company owns the intellectual property for the Mirage F1AZ.


title: Dassault Mirage F1

text: The F1AZ has a laser-based rangefinder, permitting the highly accurate fusing and aiming of unguided munitions, such as bombs and rockets. Optical design was by the Optics (later ELOPTRO) division of Armscor in South Africa.


title: Dassault Mirage F1

text: The F1AZ features an integrated ground-attack system, comprising two on-board computers that can identify targets at a distance of 5 km. A laser range finder, situated below its conical nose, is connected to the computers to provide them with target info without emitting radar signals. After target identification and information gathering, bombs are automatically released at the right moment, known as CCRP, or 'Computer Controlled Release Point'. While the range-finding ability of the EMD AIDA 2 radar permits the use of combat and visual interception missiles, the helmet-mounted sight element enables the pilot to make off-boresight engagements, without waiting until achieving an optimum firing position. The F1AZ is equipped with two internal DEFA 30mm cannons with 125 rounds each, and carries a wide variety of external ordnance, including various types of bombs, cluster munitions, missiles, and rocket launchers.


title: Dassault Mirage F1

text: Despite their retirement in 1997, the accuracy of the F1AZ's armament delivery is still considered classified information by the SAAF; analysis by informed news services (e.g., "Jane's Defence Weekly") and pilot reports (e.g., Commandant Dick Lord, 'Vlamgat', 1999) conclude that the F1AZ has accuracies within the order disclosed by the USAF for their F-15E Strike Eagle in unguided ballistic mode.


title: Dassault Mirage F1

text: In 2004, up to 21 F1AZs were reported in storage at AFB Hoedspruit, awaiting a possible buyer. In April 2006, it was reported that Aerosud had purchased the surviving Mirage F1AZs and spares.


title: Dassault Mirage F1

text: South Africa granted Aerosud a contract to fit the Dassault Mirage F1 with the Klimov RD-33 engine used in the MiG-29 fighter. Although overtaken by the decision of the South African Air Force to buy the SAAB JAS 39 Gripen, the upgrade was technically successful.


title: Dassault Mirage F1

text: On 17 August 2006, French news agency "Agence France-Presse" (AFP) reported that two upgraded ex-South African F1AZs had taken part in a fly-past over Libreville earlier that day in celebration of Gabon's independence day. The refurbishment and upgrade of the aircraft was carried out by Aerosud. Aerosud Group managing director Dr. Paul Potgieter confirmed his company's involvement, but declined to give numbers or cite figures.


title: Dassault Mirage F1

text: Developed for the participation in the "European" NATO fighter competition of early seventies, seeking to replace the F-104G. It was equipped with a more powerful engine, the SNECMA M53, and other improvements. Failed to succeed, the contest was eventually won by the General Dynamics F-16. The Mirage F1 came in second place


title: Dassault Mirage F1

text: The F1M upgrade (unrelated to the M-53 prototype) was applied to 48 Spanish F1CE/EE and four F1EDA trainers under a FFr700 million (US$96m) contract awarded to Thomson-CSF in October 1996. The prototype F1M flew in April 1998, and CASA delivered the remainder between March 1999 and 15 March 2001. The project included a revised cockpit with colour LCDs and a Smart HUD from Sextant Avionique, a Sextant inertial navigation system with GPS interface; NATO-compatible Have Quick 2 secure communications; Mode 4 digital IFF; a defensive aids suite; and flight recorders. The radar was upgraded to Cyrano IVM standard, adding sea search and air to ground ranging modes.


title: Dassault Mirage F1

text: The Royal Moroccan Air Force started in 2005 the 350 million euro MF2000 upgrade program to modernise 27 F1CH, F1EH and F1EH-200 aircraft. Changes included replacement of the old Cyrano IV radar by a RC400 (RDY-3) radar based on that used by the Mirage 2000-5, a revised cockpit, and improved armament, with Damocles targeting pods, MICA air-to-air missiles and AASM guided bombs added. This upgrade was performed by ASTRAC (Association Sagem Thales pour la Rénovation d'Avions de Combat).


title: Dassault Mirage F1

text: The Dassault Mirage F1 has been operated by fourteen air forces, with five of them still doing so. Out of these, three have been European, five Middle Eastern (with one still flying the type), and five African (four still operating it).


title: Nissan VQ engine

text: The VQ is a family of V6 24V automobile engines developed by Nissan with displacements varying from 2.0 L to 4.0 L. It is an aluminum block DOHC 4-valve (per cylinder) design with aluminum heads. It is fitted with Nissan's EGI/ECCS sequential multi-point fuel injection (MPFI) system. Later versions feature various implementations of variable valve timing and replace MPFI with direct fuel injection (marketed as NEO-Di). The VQ series engine was honored by Ward's 10 Best Engines list almost every year from the list's inception. The VQ series replaced the VG series of engines.


title: Nissan VQ engine

text: This DOHC 24-valve V6 has bore and stroke dimensions of respectively, along with a compression ratio ranging from 9.5 to 10.0:1. It produces to at 6400 rpm and at 4400 rpm (lean burn).


title: Nissan VQ engine

text: The VQ23DE is a 2.3 L (2349 cc) engine equipped with CVTC (Continuously Variable-valve Timing Control). Bore and stroke are , with a compression ratio of 9.8:1. It produces at 6000 rpm and at 4400 rpm.


title: Nissan VQ engine

text: This engine is similar to the VQ20DE, but has a displacement. Bore and stroke are , with a compression ratio of 9.8 to 10.3:1. It produces at 6400 rpm and of torque. Later versions produce at 6000 rpm and at 3200 rpm. In some Nissans, this engine was replaced by the QR25DE.


title: Nissan VQ engine

text: The VQ25DET is a turbocharged engine with CVTC. Bore and stroke are , with a compression ratio of 8.5:1. It produces at 6400 rpm and at 3200 rpm.


title: Nissan VQ engine

text: The VQ30DE has a bore and stroke of respectively with a compression ratio of 10.0:1. It produces to at 6400 rpm and at 4400 rpm. The VQ30DE was on the Ward's 10 Best Engines list from 1995 through 2001. It is an aluminum open deck block design with microfinished internals and a relatively light weight.


title: Nissan VQ engine

text: An improved version of the VQ30DE is known by the designation VQ30DE-K. The K designation stands for the Japanese word kaizen which translates to "improvement". The engine was used in the 2000–2001 Nissan Maxima and adds a true dual-runner intake manifold for better high-end performance compared to some earlier Japanese and Middle-East market versions of this engine (2000-2001 Infiniti I30 models added an additional fenderwell intake, boosting power to ). The VQ30DEK produces . The 1995–1999 US spec VQ30DE was equipped with only a single runner intake manifold.


title: Nissan VQ engine

text: The VQ30DET is a turbocharged version of the VQ30DE. Bore and stroke remain the same at respectively, and it has a compression ratio of 9.0:1. It produces and . From 1998 onwards, it produces at 6000 rpm and at 3600 rpm.


title: Nissan VQ engine

text: The twin-turbo VQ30DETT is an engine used only in Nissan's race cars, primarily in the Super GT (formerly the JGTC). First used on the Skyline GT-R race cars during the 2002 season, this engine subsequently powered the Fairlady Z race cars. Homologation rules allow them to use the VQ30DETT in lieu of the stock VQ35DE. Race output of this engine is estimated at around .


title: Nissan VQ engine

text: The VQ30DETT was replaced in 2007 by the VK45DE for use in the Super GT Fairlady Z's and later in the GT-R.


title: Nissan VQ engine

text: The VQ35DE is used in many modern Nissan vehicles. Bore and stroke are . It uses a similar block design to the VQ30DE, but adds variable valve timing (CVTCS). It produces from of power and of torque depending on the application.


title: Nissan VQ engine

text: The VQ35DE is built in Iwaki and Decherd, TN. It was on the Ward's 10 Best Engines list from 2002 through to 2007 and again in 2016.


title: Nissan VQ engine

text: It features forged steel connecting rods, a microfinished one-piece forged crankshaft, and Nissan's nylon intake manifold technology. It has low-friction molybdenum-coated pistons and the intake is a high-flow tuned induction system. Since its inception Nissan has improved upon the VQ35DE with changes keeping it an efficient class leading V6 engine. The engine was updated in 2005 as the VQ35HR (Hight-Rev). It included exhaust timing, a higher rev limit, as well as minor internal upgrades boosting the output to 313 horsepower.


title: Nissan VQ engine

text: A modified version of the VQ35DE, called the S1, is produced by Nismo (Nissan's motorsports and performance division) for the Fairlady Z S-Tune GT. It produces at 7,200 rpm, a higher rev-limit than that of the original VQ35DE.


title: Nissan VQ engine

text: The VQ40DE is a longer stroke variant of the VQ35DE. Bore and stroke are . Compression ratio is 9.7:1


title: Nissan VQ engine

text: Improvements include continuously variable valve timing, variable intake system, silent timing chain, hollow and lighter camshafts and friction reduction (microfinished surfaces, moly coated pistons). It is port fuel injected with platinum-tipped spark plugs. It produces at 5600 rpm and at 4000 rpm.


title: Nissan VQ engine

text: The DD series is a variant of the DE series engines with direct fuel injection (NEO-Di) and eVTC (electronically controlled continuously variable valve timing).


title: Nissan VQ engine

text: The engine has Bore and stroke of 85 mm and 73.3 mm respectively, with a compression ratio of 11 to 11.3:1. It produces to at 6400 rpm and at 4400 rpm.


title: Nissan VQ engine

text: The engine has Bore and stroke of 93 mm and 73.3 mm, with a compression ratio of 11.0:1. It produces to at 6400 rpm and at 3600 rpm.


title: Nissan VQ engine

text: The 2.5 L VQ25HR (for "High Revolution" or "High Response") is only offered on longitudinally-mounted engine vehicles which tend to be rear wheel drive or all-wheel drive. Bore and stroke are , with a compression ratio of 10.3:1. It produces at 6,800 rpm and at 4,800 rpm. It has dual CVTC for both intake and exhaust, microfinished camshafts and a redline of 7,500 rpm.


title: Nissan VQ engine

text: The VQ35HR engine was first seen in the US with the introduction of the updated 2007 G35 Sedan model, which debuted in August 2006. Nissan updated the VQ line with the addition of the 3.5 L VQ35HR (for "High Revolution"). It produces (US market: using the revised SAE certified power benchmark) at 6,800 rpm and at 4,800 rpm, using a compression ratio of 10.6:1. As of 2009, the Infiniti EX35 produces and the same torque presumably due to tighter regulations. It has NDIS (Nissan Direct Ignition System) and CVTC with hydraulic actuation on the intake cam and electromagnetic on the exhaust cam. Redline is 7,600 rpm. Reportedly over 80% of the internal components were redesigned or strengthened to handle an increased RPM range sporting a lofty 7,600 rpm redline. A new dual-path intake (two air cleaners, throttle bodies, etc.) lowers intake tract restriction by 18 percent and new equal-length exhaust manifolds lead into mufflers that are 25 percent more free-flowing for all around better airflow. The electrically actuated variable valve timing on the exhaust cams to broaden the torque curve is new over the "DE" engine. The new engine block retained the same bore and stroke, but the connecting rods were lengthened and the block deck was raised by 8.4 mm to reduce piston side-loads. This modification, along with the use of larger crank bearings with main bearing caps reinforced by a rigid ladder-type main cap girdle to allow the engine reliably rev to 7600 rpm. With an increase in compression ratio from 10.3:1 to 10.6:1 these changes add 6 more horsepower ( total + 3 hp ram air effect not measured by SAE testing = ). Peak torque is up 8 pound-feet from the older "DE" engine, vs and the torque curve is higher and flatter across most of the rpm range, and especially in the lower rpm range. The VQ35HR was utilized in rear-wheel-drive platforms while the VQ35DE continued to power Nissan's front-wheel-drive vehicles. In 2010, Nissan introduced a hybrid version of the VQ35HR, pairing the engine to a lithium-ion battery pack.


title: Nissan VQ engine

text: By 2007, Nissan's ambition to increase the competitiveness of the Z33 chassis in Super Taikyu racing resulted in the development of a larger displacement engine based on the original VQ35HR Block. The end result was the VQ38HR powered Nismo Type 380RS-C which went on to dominate ST class 1 racing. The 3.8-liter racing engine in the 380RS-C develops maximum power of more than , and maximum torque of . In order to use this new engine in Super GT GT500, limited numbers of the engine were reproduced in the street-legal Fairlady Z Nismo Type 380RS. The VQ38HR engine mounted in the 380RS is a detuned, street version of the racing engine used in the 380RS-C. The engine displacement remains the same, while the intake manifold and exhaust, air-fuel ratio, ignition timing, VTC and other specs have been optimized for street use. The engine produces maximum power of at 7200 rpm, and maximum torque of at 4800 rpm.


title: Nissan VQ engine

text: The VHR series is a variation of the VQ-HR engine series with Nissan's VVEL (Variable Valve Event and Lift).


title: Nissan VQ engine

text: It has a compression ratio of 11.0:1, with a displacement of , thanks to a bore x stroke of and a redline of 7,500 rpm. <br>


title: Nissan VQ engine

text: It is rated at at 7,000 rpm and of torque at 5,200 rpm, and up to at 7,400 rpm and of torque at 5,200 rpm.


title: Nissan VQ engine

text: Although the engine VQ37VHR gains only and in the Nissan 370Z Nismo, torque over the VQ35HR and this higher torque arrives at 5,200 rpm vs 4,800 rpm in the VQ35HR, the torque curve itself is improved and flattened via VVEL variable valve timing for better throttle response and low rpm torque.


title: Madison Iseman

text: Madison Iseman (born February 14, 1997) is an American actress. She is known for playing Charlotte in the CMT comedy television series "Still the King", She is also known for playing Rain Burroughs in "Fear of Rain", Bethany Walker in "" and "", Sarah Quinn in "", Lennon/Alison in "I Know What You Did Last Summer", and Mary Ellen in "Annabelle Comes Home".


title: Madison Iseman

text: Iseman is from Myrtle Beach, South Carolina, and is the daughter of Susan and John Iseman, a dentist. She attended a virtual school.


title: Madison Iseman

text: Iseman went through four auditions over a period of several months for her role on "Still The King". She has appeared in the series "Modern Family" and "Henry Danger".


title: Madison Iseman

text: In 2017, Iseman became known for playing Bethany in "". In the same year, she played Pam in "Beauty Mark". She next had lead roles in two horror films, "", released in October 2018, and "Annabelle Comes Home", released in June 2019. She also reprised her role as Bethany in the 2019 film "", the sequel to "Jumanji: Welcome to the Jungle".


title: Madison Iseman

text: In April 2019, Iseman was cast in the lead role of Rain Burroughs in the film "Fear of Rain", which premiered in February 2021. In January 2021, she was cast in the television series "I Know What You Did Last Summer", part of the franchise of the same name, in which she played twins Allison and Lennon. The series was cancelled after one season in 2022. She will star alongside Mackenyu, Famke Janssen and Sean Bean in "Knights of the Zodiac", the live-action film adaptation of the manga series "Saint Seiya", which is set for release in 2023.


title: Madison Iseman

text: In 2012, Iseman went on a music/missions trip to Kenya for two weeks. As of August 2013, she was active with the First United Methodist Church while in Myrtle Beach. She owns a cat.


title: Mode (music)

text: In music theory, the term mode or modus is used in a number of distinct senses, depending on context.


title: Mode (music)

text: Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek "tonoi" do not otherwise resemble their mediaeval/modern counterparts.


title: Mode (music)

text: In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system of the Notre-Dame school at the turn of the 12th century. In the mensural notation that emerged later, modus specifies the subdivision of the "longa".


title: Mode (music)

text: Outside of Western classical music, "mode" is sometimes used to embrace similar concepts such as "Octoechos", "maqam", "pathet" etc. (see #Analogues in different musical traditions below).


title: Mode (music)

text: Regarding the concept of mode as applied to pitch relationships generally, Harold S. Powers proposed that "mode" has "a twofold sense", denoting either a "particularized scale" or a "generalized tune", or both. "If one thinks of scale and tune as representing the poles of a continuum of melodic predetermination, then most of the area between can be designated one way or the other as being in the domain of mode".


title: Mode (music)

text: In 1792, Sir Willam Jones applied the term "mode" to the music of "the Persians and the Hindoos". As early as 1271, Amerus applied the concept to "cantilenis organicis", i.e. most probably polyphony. It is still heavily used with regard to Western polyphony before the onset of the common practice period, as for example "modale Mehrstimmigkeit" by Carl Dahlhaus or "Tonarten" of the 16th and 17th centuries found by Bernhard Meier.


title: Mode (music)

text: The word encompasses several additional meanings. Authors from the 9th century until the early 18th century (e.g., Guido of Arezzo) sometimes employed the Latin "modus" for interval, or for qualities of individual notes. In the theory of late-medieval mensural polyphony (e.g., Franco of Cologne), "modus" is a rhythmic relationship between long and short values or a pattern made from them; in mensural music most often theorists applied it to division of longa into 3 or 2 breves.


title: Mode (music)

text: The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale, but differs from it by also involving an element of melody type. This concerns particular repertories of short musical figures or groups of tones within a certain scale so that, depending on the point of view, mode takes on the meaning of either a "particularized scale" or a "generalized tune". Modern musicological practice has extended the concept of mode to earlier musical systems, such as those of Ancient Greek music, Jewish cantillation, and the Byzantine system of "octoechoi", as well as to other non-Western types of music.


title: Mode (music)

text: By the early 19th century, the word "mode" had taken on an additional meaning, in reference to the difference between major and minor keys, specified as "major mode" and "minor mode". At the same time, composers were beginning to conceive "modality" as something outside of the major/minor system that could be used to evoke religious feelings or to suggest folk-music idioms.


title: Mode (music)

text: Early Greek treatises describe three interrelated concepts that are related to the later, medieval idea of "mode": (1) scales (or "systems"), (2) "tonos" – pl. "tonoi" – (the more usual term used in medieval theory for what later came to be called "mode"), and (3) "harmonia" (harmony) – pl. "harmoniai" – this third term subsuming the corresponding "tonoi" but not necessarily the converse.


title: Mode (music)

text: These names are derived from an ancient Greek subgroup (Dorians), a small region in central Greece (Locris), and certain neighboring peoples (non-Greek but related to them) from Asia Minor (Lydia, Phrygia). The association of these ethnic names with the octave species appears to precede Aristoxenus, who criticized their application to the "tonoi" by the earlier theorists whom he called the "Harmonicists." According to Bélis (2001), he felt that their diagrams, which exhibit 28 consecutive dieses, were "... devoid of any musical reality since more than two quarter-tones are never heard in succession."


title: Mode (music)

text: Depending on the positioning (spacing) of the interposed tones in the tetrachords, three "genera" of the seven octave species can be recognized. The diatonic genus (composed of tones and semitones), the chromatic genus (semitones and a minor third), and the enharmonic genus (with a major third and two quarter tones or dieses). The framing interval of the perfect fourth is fixed, while the two internal pitches are movable. Within the basic forms, the intervals of the chromatic and diatonic genera were varied further by three and two "shades" ("chroai"), respectively.


title: Mode (music)

text: In contrast to the medieval modal system, these scales and their related "tonoi" and "harmoniai" appear to have had no hierarchical relationships amongst the notes that could establish contrasting points of tension and rest, although the "mese" ("middle note") may have had some sort of gravitational function.


title: Mode (music)

text: The term "tonos" (pl. "tonoi") was used in four senses: "as note, interval, region of the voice, and pitch. We use it of the region of the voice whenever we speak of Dorian, or Phrygian, or Lydian, or any of the other tones". Cleonides attributes thirteen "tonoi" to Aristoxenus, which represent a progressive transposition of the entire system (or scale) by semitone over the range of an octave between the Hypodorian and the Hypermixolydian. According to Cleonides, Aristoxenus's transpositional "tonoi" were named analogously to the octave species, supplemented with new terms to raise the number of degrees from seven to thirteen. However, according to the interpretation of at least three modern authorities, in these transpositional "tonoi" the Hypodorian is the lowest, and the Mixolydian next-to-highest – the reverse of the case of the octave species, with nominal base pitches as follows (descending order):


title: Mode (music)

text: Ptolemy, in his "Harmonics", ii.3–11, construed the "tonoi" differently, presenting all seven octave species within a fixed octave, through chromatic inflection of the scale degrees (comparable to the modern conception of building all seven modal scales on a single tonic). In Ptolemy's system, therefore there are only seven "tonoi". Pythagoras also construed the intervals arithmetically (if somewhat more rigorously, initially allowing for 1:1 = Unison, 2:1 = Octave, 3:2 = Fifth, 4:3 = Fourth and 5:4 = Major Third within the octave). In their diatonic genus, these "tonoi" and corresponding "harmoniai" correspond with the intervals of the familiar modern major and minor scales. See Pythagorean tuning and Pythagorean interval.


title: Mode (music)

text: In music theory the Greek word "harmonia" can signify the enharmonic genus of tetrachord, the seven octave species, or a style of music associated with one of the ethnic types or the "tonoi" named by them.


title: Mode (music)

text: Particularly in the earliest surviving writings, "harmonia" is regarded not as a scale, but as the epitome of the stylised singing of a particular district or people or occupation. When the late-6th-century poet Lasus of Hermione referred to the Aeolian "harmonia", for example, he was more likely thinking of a melodic style characteristic of Greeks speaking the Aeolic dialect than of a scale pattern. By the late 5th century BC, these regional types are being described in terms of differences in what is called "harmonia" – a word with several senses, but here referring to the pattern of intervals between the notes sounded by the strings of a lyra or a kithara.


title: Mode (music)

text: However, there is no reason to suppose that, at this time, these tuning patterns stood in any straightforward and organised relations to one another. It was only around the year 400 that attempts were made by a group of theorists known as the harmonicists to bring these "harmoniai" into a single system and to express them as orderly transformations of a single structure. Eratocles was the most prominent of the harmonicists, though his ideas are known only at second hand, through Aristoxenus, from whom we learn they represented the "harmoniai" as cyclic reorderings of a given series of intervals within the octave, producing seven octave species. We also learn that Eratocles confined his descriptions to the enharmonic genus.


title: Mode (music)

text: In the "Republic", Plato uses the term inclusively to encompass a particular type of scale, range and register, characteristic rhythmic pattern, textual subject, etc. He held that playing music in a particular "harmonia" would incline one towards specific behaviors associated with it, and suggested that soldiers should listen to music in Dorian or Phrygian "harmoniai" to help make them stronger but avoid music in Lydian, Mixolydian or Ionian "harmoniai", for fear of being softened. Plato believed that a change in the musical modes of the state would cause a wide-scale social revolution.


title: Mode (music)

text: The philosophical writings of Plato and Aristotle (c. 350 BC) include sections that describe the effect of different "harmoniai" on mood and character formation. For example, Aristotle stated in his "Politics":


title: Mode (music)

text: Aristotle continues by describing the effects of rhythm, and concludes about the combined effect of rhythm and "harmonia" (viii:1340b:10–13):


title: Mode (music)

text: The word "ethos" (ἦθος) in this context means "moral character", and Greek ethos theory concerns the ways that music can convey, foster, and even generate ethical states.


title: Mode (music)

text: Some treatises also describe "melic" composition (μελοποιΐα), "the employment of the materials subject to harmonic practice with due regard to the requirements of each of the subjects under consideration" – which, together with the scales, "tonoi", and "harmoniai" resemble elements found in medieval modal theory. According to Aristides Quintilianus, melic composition is subdivided into three classes: dithyrambic, nomic, and tragic. These parallel his three classes of rhythmic composition: systaltic, diastaltic and hesychastic. Each of these broad classes of melic composition may contain various subclasses, such as erotic, comic and panegyric, and any composition might be elevating (diastaltic), depressing (systaltic), or soothing (hesychastic).


title: Mode (music)

text: According to Thomas J. Mathiesen, music as a performing art was called "melos", which in its perfect form (μέλος τέλειον) comprised not only the melody and the text (including its elements of rhythm and diction) but also stylized dance movement. Melic and rhythmic composition (respectively, μελοποιΐα and ῥυθμοποιΐα) were the processes of selecting and applying the various components of melos and rhythm to create a complete work. According to Aristides Quintilianus:


title: Mode (music)

text: Tonaries, lists of chant titles grouped by mode, appear in western sources around the turn of the 9th century. The influence of developments in Byzantium, from Jerusalem and Damascus, for instance the works of Saints John of Damascus (d. 749) and Cosmas of Maiouma, are still not fully understood. The eight-fold division of the Latin modal system, in a four-by-two matrix, was certainly of Eastern provenance, originating probably in Syria or even in Jerusalem, and was transmitted from Byzantine sources to Carolingian practice and theory during the 8th century. However, the earlier Greek model for the Carolingian system was probably ordered like the later Byzantine "oktōēchos", that is, with the four principal (authentic) modes first, then the four plagals, whereas the Latin modes were always grouped the other way, with the authentics and plagals paired.


title: Mode (music)

text: The 6th-century scholar Boethius had translated Greek music theory treatises by Nicomachus and Ptolemy into Latin. Later authors created confusion by applying mode as described by Boethius to explain plainchant modes, which were a wholly different system. In his "De institutione musica", book 4 chapter 15, Boethius, like his Hellenistic sources, twice used the term "harmonia" to describe what would likely correspond to the later notion of "mode", but also used the word "modus" – probably translating the Greek word τρόπος ("tropos"), which he also rendered as Latin "tropus" – in connection with the system of transpositions required to produce seven diatonic octave species, so the term was simply a means of describing transposition and had nothing to do with the church modes.


title: Mode (music)

text: Later, 9th-century theorists applied Boethius's terms "tropus" and "modus" (along with "tonus") to the system of church modes. The treatise "De Musica" (or "De harmonica institutione") of Hucbald synthesized the three previously disparate strands of modal theory: chant theory, the Byzantine "oktōēchos" and Boethius's account of Hellenistic theory. The late-9th- and early 10th-century compilation known as the "Alia musica" imposed the seven octave transpositions, known as "tropus" and described by Boethius, onto the eight church modes, but its compilator also mentions the Greek (Byzantine) echoi translated by the Latin term "sonus". Thus, the names of the modes became associated with the eight church tones and their modal formulas – but this medieval interpretation does not fit the concept of the ancient Greek harmonics treatises. The modern understanding of mode does not reflect that it is made of different concepts that do not all fit.


title: Mode (music)

text: According to Carolingian theorists the eight church modes, or Gregorian modes, can be divided into four pairs, where each pair shares the "final" note and the four notes above the final, but they have different intervals concerning the species of the fifth. If the octave is completed by adding three notes above the fifth, the mode is termed "authentic", but if the octave is completed by adding three notes below, it is called "plagal" (from Greek πλάγιος, "oblique, sideways"). Otherwise explained: if the melody moves mostly above the final, with an occasional cadence to the sub-final, the mode is authentic. Plagal modes shift range and also explore the fourth below the final as well as the fifth above. In both cases, the strict ambitus of the mode is one octave. A melody that remains confined to the mode's ambitus is called "perfect"; if it falls short of it, "imperfect"; if it exceeds it, "superfluous"; and a melody that combines the ambituses of both the plagal and authentic is said to be in a "mixed mode".


title: Mode (music)

text: Although the earlier (Greek) model for the Carolingian system was probably ordered like the Byzantine "oktōēchos", with the four authentic modes first, followed by the four plagals, the earliest extant sources for the Latin system are organized in four pairs of authentic and plagal modes sharing the same final: protus authentic/plagal, deuterus authentic/plagal, tritus authentic/plagal, and tetrardus authentic/plagal.


title: Mode (music)

text: Each mode has, in addition to its final, a "reciting tone", sometimes called the "dominant". It is also sometimes called the "tenor", from Latin "tenere" "to hold", meaning the tone around which the melody principally centres. The reciting tones of all authentic modes began a fifth above the final, with those of the plagal modes a third above. However, the reciting tones of modes 3, 4, and 8 rose one step during the 10th and 11th centuries with 3 and 8 moving from B to C (half step) and that of 4 moving from G to A (whole step).


title: Mode (music)

text: After the reciting tone, every mode is distinguished by scale degrees called "mediant" and "participant". The mediant is named from its position between the final and reciting tone. In the authentic modes it is the third of the scale, unless that note should happen to be B, in which case C substitutes for it. In the plagal modes, its position is somewhat irregular. The participant is an auxiliary note, generally adjacent to the mediant in authentic modes and, in the plagal forms, coincident with the reciting tone of the corresponding authentic mode (some modes have a second participant).


title: Mode (music)

text: Only one accidental is used commonly in Gregorian chant – B may be lowered by a half-step to B. This usually (but not always) occurs in modes V and VI, as well as in the upper tetrachord of IV, and is optional in other modes except III, VII and VIII.


title: Mode (music)

text: In 1547, the Swiss theorist Henricus Glareanus published the "Dodecachordon", in which he solidified the concept of the church modes, and added four additional modes: the Aeolian (mode 9), Hypoaeolian (mode 10), Ionian (mode 11), and Hypoionian (mode 12). A little later in the century, the Italian Gioseffo Zarlino at first adopted Glarean's system in 1558, but later (1571 and 1573) revised the numbering and naming conventions in a manner he deemed more logical, resulting in the widespread promulgation of two conflicting systems.


title: Mode (music)

text: Zarlino's system reassigned the six pairs of authentic–plagal mode numbers to finals in the order of the natural hexachord, C–D–E–F–G–A, and transferred the Greek names as well, so that modes 1 through 8 now became C-authentic to F-plagal, and were now called by the names Dorian to Hypomixolydian. The pair of G modes were numbered 9 and 10 and were named Ionian and Hypoionian, while the pair of A modes retained both the numbers and names (11, Aeolian, and 12 Hypoaeolian) of Glarean's system. While Zarlino's system became popular in France, Italian composers preferred Glarean's scheme because it retained the traditional eight modes, while expanding them. Luzzasco Luzzaschi was an exception in Italy, in that he used Zarlino's new system.


title: Mode (music)

text: In the late-18th and 19th centuries, some chant reformers (notably the editors of the Mechlin, Pustet-Ratisbon (Regensburg), and Rheims-Cambrai Office-Books, collectively referred to as the Cecilian Movement) renumbered the modes once again, this time retaining the original eight mode numbers and Glareanus's modes 9 and 10, but assigning numbers 11 and 12 to the modes on the final B, which they named Locrian and Hypolocrian (even while rejecting their use in chant). The Ionian and Hypoionian modes (on C) become in this system modes 13 and 14.


title: Mode (music)

text: Given the confusion between ancient, medieval, and modern terminology, "today it is more consistent and practical to use the traditional designation of the modes with numbers one to eight", using Roman numeral (I–VIII), rather than using the pseudo-Greek naming system. Medieval terms, first used in Carolingian treatises, later in Aquitanian tonaries, are still used by scholars today: the Greek ordinals ("first", "second", etc.) transliterated into the Latin alphabet protus (πρῶτος), deuterus (δεύτερος), tritus (τρίτος), and tetrardus (τέταρτος). In practice they can be specified as authentic or as plagal like "protus authentus / plagalis".


title: Mode (music)

text: A mode indicated a primary pitch (a final), the organization of pitches in relation to the final, the suggested range, the melodic formulas associated with different modes, the location and importance of cadences, and the affect (i.e., emotional effect/character). Liane Curtis writes that "Modes should not be equated with scales: principles of melodic organization, placement of cadences, and emotional affect are essential parts of modal content" in Medieval and Renaissance music.


title: Mode (music)

text: Dahlhaus lists "three factors that form the respective starting points for the modal theories of Aurelian of Réôme, Hermannus Contractus, and Guido of Arezzo":


title: Mode (music)

text: The oldest medieval treatise regarding modes is "Musica disciplina" by Aurelian of Réôme (dating from around 850) while Hermannus Contractus was the first to define modes as partitionings of the octave. However, the earliest Western source using the system of eight modes is the Tonary of St Riquier, dated between about 795 and 800.


title: Mode (music)

text: Various interpretations of the "character" imparted by the different modes have been suggested. Three such interpretations, from Guido of Arezzo (995–1050), Adam of Fulda (1445–1505), and Juan de Espinosa Medrano (1632–1688), follow:


title: Mode (music)

text: Modern Western modes use the same set of notes as the major scale, in the same order, but starting from one of its seven degrees in turn as a tonic, and so present a different sequence of whole and half steps. With the interval sequence of the major scale being W–W–H–W–W–W–H, where "W" means a whole tone (whole step) and "H" means a semitone (half step), it is thus possible to generate the following modes:


title: Mode (music)

text: For the sake of simplicity, the examples shown above are formed by natural notes (also called "white notes", as they can be played using the white keys of a piano keyboard). However, any transposition of each of these scales is a valid example of the corresponding mode. In other words, transposition preserves mode.


title: Mode (music)

text: Although the names of the modern modes are Greek and some have names used in ancient Greek theory for some of the "harmoniai", the names of the modern modes are conventional and do not refer to the sequences of intervals found even in the diatonic genus of the Greek octave species sharing the same name.


title: Mode (music)

text: Each mode has characteristic intervals and chords that give it its distinctive sound. The following is an analysis of each of the seven modern modes. The examples are provided in a key signature with no sharps or flats (scales composed of natural notes).


title: Mode (music)

text: The Ionian mode is the modern major scale. The example composed of natural notes begins on C, and is also known as the C-major scale:


title: Mode (music)

text: The Dorian mode is very similar to the modern natural minor scale (see Aeolian mode below). The only difference with respect to the natural minor scale is in the sixth scale degree, which is a major sixth (M6) above the tonic, rather than a minor sixth (m6).


title: Mode (music)

text: The Phrygian mode is very similar to the modern natural minor scale (see Aeolian mode below). The only difference with respect to the natural minor scale is in the second scale degree, which is a minor second (m2) above the tonic, rather than a major second (M2).


title: Mode (music)

text: The single tone that differentiates this scale from the major scale (Ionian mode) is its fourth degree, which is an augmented fourth (A4) above the tonic (F), rather than a perfect fourth (P4).


title: Mode (music)

text: The single tone that differentiates this scale from the major scale (Ionian mode) is its seventh degree, which is a minor seventh (m7) above the tonic (G), rather than a major seventh (M7). Therefore, the seventh scale degree becomes a subtonic to the tonic because it is now a whole tone lower than the tonic, in contrast to the seventh degree in the major scale, which is a semitone tone lower than the tonic (leading-tone).


title: Mode (music)

text: The Aeolian mode is the sixth mode. It is also called the natural minor scale. The example composed of natural notes begins on A, and is also known as the A natural-minor scale:


title: Mode (music)

text: The distinctive scale degree here is the diminished fifth (d5). This makes the tonic triad diminished, so this mode is the only one in which the chords built on the tonic and dominant scale degrees have their roots separated by a diminished, rather than perfect, fifth. Similarly the tonic seventh chord is half-diminished.


title: Mode (music)

text: The modes can be arranged in the following sequence, which follows the circle of fifths. In this sequence, each mode has one more lowered interval relative to the tonic than the mode preceding it. Thus, taking Lydian as reference, Ionian (major) has a lowered fourth; Mixolydian, a lowered fourth and seventh; Dorian, a lowered fourth, seventh, and third; Aeolian (natural minor), a lowered fourth, seventh, third, and sixth; Phrygian, a lowered fourth, seventh, third, sixth, and second; and Locrian, a lowered fourth, seventh, third, sixth, second, and fifth. Put another way, the augmented fourth of the Lydian mode has been reduced to a perfect fourth in Ionian, the major seventh in Ionian to a minor seventh in Mixolydian, etc.


title: Mode (music)

text: The first three modes are sometimes called major, the next three minor, and the last one diminished (Locrian), according to the quality of their tonic triads. The Locrian mode is traditionally considered theoretical rather than practical because the triad built on the first scale degree is diminished. Because diminished triads are not consonant they do not lend themselves to cadential endings and cannot be tonicized according to traditional practice.


title: Mode (music)

text: Use and conception of modes or modality today is different from that in early music. As Jim Samson explains, "Clearly any comparison of medieval and modern modality would recognize that the latter takes place against a background of some three centuries of harmonic tonality, permitting, and in the 19th century requiring, a dialogue between modal and diatonic procedure". Indeed, when 19th-century composers revived the modes, they rendered them more strictly than Renaissance composers had, to make their qualities distinct from the prevailing major-minor system. Renaissance composers routinely sharped leading tones at cadences and lowered the fourth in the Lydian mode.


title: Mode (music)

text: The Ionian, or Iastian, mode is another name for the major scale used in much Western music. The Aeolian forms the base of the most common Western minor scale; in modern practice the Aeolian mode is differentiated from the minor by using only the seven notes of the Aeolian mode. By contrast, minor mode compositions of the common practice period frequently raise the seventh scale degree by a semitone to strengthen the cadences, and in conjunction also raise the sixth scale degree by a semitone to avoid the awkward interval of an augmented second. This is particularly true of vocal music.


title: Mode (music)

text: Traditional folk music provides countless examples of modal melodies. For example, Irish traditional music makes extensive usage not only of the major mode, but also the Mixolydian, Dorian, and Aeolian modes. Much Flamenco music is in the Phrygian mode, though frequently with the third and seventh degrees raised by a semitone.


title: Mode (music)

text: Zoltán Kodály, Gustav Holst, and Manuel de Falla use modal elements as modifications of a diatonic background, while modality replaces diatonic tonality in the music of Claude Debussy and Béla Bartók.


title: Mode (music)

text: While the term "mode" is still most commonly understood to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian modes, in modern music theory the word is often applied to scales other than the diatonic. This is seen, for example, in melodic minor scale harmony, which is based on the seven rotations of the ascending melodic minor scale, yielding some interesting scales as shown below. The "chord" row lists tetrads that can be built from the pitches in the given mode (in jazz notation, the symbol Δ is for a major seventh).


title: Mode (music)

text: The number of possible modes for any intervallic set is dictated by the pattern of intervals in the scale. For scales built of a pattern of intervals that only repeats at the octave (like the diatonic set), the number of modes is equal to the number of notes in the scale. Scales with a recurring interval pattern smaller than an octave, however, have only as many modes as notes within that subdivision: e.g., the diminished scale, which is built of alternating whole and half steps, has only two distinct modes, since all odd-numbered modes are equivalent to the first (starting with a whole step) and all even-numbered modes are equivalent to the second (starting with a half step).


title: Mode (music)

text: The chromatic and whole-tone scales, each containing only steps of uniform size, have only a single mode each, as any rotation of the sequence results in the same sequence. Another general definition excludes these equal-division scales, and defines modal scales as subsets of them: according to Karlheinz Stockhausen, "If we leave out certain steps of a[n equal-step] scale we get a modal construction". In "Messiaen's narrow sense, "a mode is any scale" made up from the 'chromatic total,' the twelve tones of the tempered system".


title: Jeep Cherokee (XJ)

text: The Jeep Cherokee (XJ) is a sport utility vehicle manufactured and marketed across a single generation by Jeep in the United States from 1983 through 2001 — and globally through 2014. It was available in two- or four-door, five-passenger, front engine, rear- or four-wheel drive configurations.


title: Jeep Cherokee (XJ)

text: Sharing the name of the original, full-size Cherokee SJ model, the 1984 XJ Cherokee was Jeep's first all-new design since the 1963 SJ "Wagoneer", as well as the first American off-road vehicle built with fully integrated body-and-frame (unibody) design, and formed the mechanical basis for the Jeep Comanche (MJ) pickup truck (1985–1992).


title: Jeep Cherokee (XJ)

text: Jeep marketed XJs as "Sportwagons", precursor to the modern sport utility vehicle (SUV), before that term was used. The XJ is credited for spawning competitors, as other automakers noticed the design cannibalizing sales from regular cars, supplanting the role of the station wagon and transforming the vehicle type "from truck to limousine in the eyes of countless suburban owners," though GM had also launched road-biased, RWD and 4WD compact SUVs, the Chevrolet S-10 Blazer and GMC S-15 Jimmy, one year earlier, initially available in 2-door form only.


title: Jeep Cherokee (XJ)

text: The 2007 book "Jeep Off-Road" called the XJ a "significant link in the evolution of the 4x4." In 2011 "Kiplinger" magazine selected the XJ as one of the "cars that refuse to die." Automotive journalist Robert Cumberford, writing for "Automobile", called the Jeep XJ one of the 20 greatest cars of all time — for its design, and "possibly the best SUV shape of all time, it is the paradigmatic model to which other designers have since aspired."


title: Jeep Cherokee (XJ)

text: Designs of the compact-size XJ Cherokee date back to 1978 when a team of American Motors (AMC) and Renault engineers drew several sketches. Clay models were based on the then-current full-size SJ Cherokee. Early sketches of the XJ Cherokee had a European influence, and most of the styling cues were done by AMC engineers under the direction of Dick Teague, vice president of design.


title: Jeep Cherokee (XJ)

text: Noticing that General Motors was developing a new two-door S-10-based Blazer, AMC decided to develop an entirely new four-door model in addition to a two-door version. American Motors' vice president of engineering, Roy Lunn, designed what is known as the "Quadra-Link" suspension, that limited rollovers. Renault's François Castaing developed the drivetrain using a much smaller engine than normally found in 4WD vehicles and reduced the weight of the new model. It "is noteworthy as the first nonmilitary 4x4 with unibody construction." The unconventional design enhanced XJ's durability and off-road capability that eventually won over most critics, even those models with the early underpowered GM engines. The XJ is described "as the first small crossover SUV in the U.S.," with "plenty of the Jeep toughness (and a straight-six engine) built-in." The design and market positioning of the XJ, along with the AMC Eagle essentially "foreshadowed the car-based crossover utility-vehicle fad."


title: Jeep Cherokee (XJ)

text: ""The new XJ Jeep ... was 1,200 pounds lighter, 31 inches shorter, six inches narrower and four inches lower than the Cherokee SJ it replaced, and yet — thanks to unibody construction — the XJ kept 90 percent of its predecessor’s interior volume."" And, not only was fuel economy much improved, but ""articulation is also better, as is ground clearance, as well as approach, departure and breakover angles. These, along with its smaller profile, make the XJ better both off-road and on.""


title: Jeep Cherokee (XJ)

text: Although the XJ models had just been introduced, AMC quickly began the development of its successor. To compete against its much larger rivals, the smallest U.S. automaker created a business process that is now known as "product lifecycle management" (PLM) to speed up its product development process. By 1985, development and engineering was based on computer-aided design (CAD) software systems while new systems stored all drawings and documents in a central database. The pioneering PLM was so effective that after Chrysler purchased AMC in 1987, it expanded the system throughout its own enterprise.


title: Jeep Cherokee (XJ)

text: British TV presenter and motoring expert Quentin Willson described the XJ Jeep as "a real 4x4 icon" and one of the "few truly great cars... which, despite being left behind by newer models, still offer fresh and urgent possibilities. Cars which become more relevant the older they get."


title: Jeep Cherokee (XJ)

text: The XJ Cherokee introduced for the 1984 model year was the first Jeep with a ladder-boxed chassis integrated into a single monocoque unit rather than the traditional separate body-on-frame construction. The design was rigid and sturdy with approximately 3,200 welds in a completed body, "yet wonderfully lightweight, [the] Uniframe permitted outstanding performance even with AMC's new four-cylinder engine."


title: Jeep Cherokee (XJ)

text: Both two- and four-door versions of the XJ Cherokee were offered throughout its lifetime, each having exactly the same track and wheelbase measurements. Two-door models, however, received longer doors and front seats that could fold forward to assist in rear passenger entry and exit. This was in addition to extended-length rear windows that did not open, although an optional rear vent window was available on some models.


title: Jeep Cherokee (XJ)

text: This version was the first to be sold in Europe; it was launched in 1989 in France (marketed through Renault), in 1992 in some markets, and 1993 for the United Kingdom. Early versions only came with the inline six-cylinder engine. The four-cylinder engine did not arrive in Europe until 1995.


title: Jeep Cherokee (XJ)

text: In mid-1985, a two-wheel-drive version of the Cherokee was added to the lineup. This marked the first time any Jeep product was offered with two-wheel drive since 1967, and was done in the hopes of attracting a few more buyers who did not need (or want to pay for) four-wheel drive. When the XJ Cherokee-based Comanche (MJ) truck was introduced, it was also available in two- and four-wheel drive. The new two-wheel-drive models shared the front suspension (from the track bar, control arms, ball joints) with four-wheel-drive models. Jeep simply used a single axle tube from hub to hub with no differential between, resulting in an inexpensive front suspension.


title: Jeep Cherokee (XJ)

text: For 1996, partially to comply with new U.S. OBD-II exhaust and evaporative emissions regulations, the engine management system was upgraded to Chrysler's then-new "JTEC" PCM. This added the side benefits of improving reliability and easing diagnostics.


title: Jeep Cherokee (XJ)

text: American Motors's compact XJ Cherokee was to be replaced by a new and larger model known as the ZJ (later named the Jeep Grand Cherokee when introduced in 1993) that was under development by AMC. However, the smaller model's continuing popularity caused Chrysler executives to rethink this decision, and while the ZJ models were introduced in 1993, the XJ models were retained until 2001. The Jeep XJ has remained a popular choice by off-roading enthusiasts due to its potent off-roading capability in stock form. Its popularity has resulted in strong ongoing aftermarket support in the form of a wide variety of products.


title: Jeep Cherokee (XJ)

text: A variation on the Cherokee from 1983 until 1990 was the Jeep Wagoneer. These were unrelated to the similarly named full-sized Grand Wagoneer models that had carried the Wagoneer name before this point. The compact XJ Wagoneer was available initially in two trim levels: the "Wagoneer" and the "Wagoneer Limited" with the "base" Wagoneer version soon discontinued. Both Wagoneers were distinguished from the Cherokee for the 1983 through 1985 model years by a slightly different grille and a smaller "Jeep" emblem offset to the driver's side. The single rectangular sealed beam headlamps were changed for 1986 to vertically stacked quad low and high beam headlights with front turn signal lights relocated behind the grille. Where the Cherokee tail lights were 50-percent split with a red section above an amber section, the tail lights on Wagoneers had a single red lens. The Wagoneer Limited came with vinyl wood trim on the sides and cloth seats with leather bolsters. "Limited" was embossed on the front seat backs and in the center of the rear seat back. The standard equipment list was extensive and included air conditioning, cruise control, power disk brakes, rear window wiper and washer, and adjustable steering wheel.


title: Jeep Cherokee (XJ)

text: In the early- to mid-1990s, the Jeep Cherokee started becoming popular for government and police use. The Cherokee AHB police package was introduced during the 1992 model year. Starting in 1996, Jeep released a special version of the XJ Cherokee SE for police and fleet use. It featured no interior rear door handles and a revised high output version of the 4.0 L "Power-Tech" inline six-cylinder engine. The new HO engine replaced the previous version of the 4.0 L engine in all installations.


title: Jeep Cherokee (XJ)

text: The Cherokee was also made in right-hand drive format, initially for the United States Postal Service. As a spin-off, it allowed Jeep in later years to enter right-hand drive markets — the Cherokee went on sale in both the United Kingdom and Ireland in 1993. It was also sold in Japan, but due to the country's strict ""Shaken"" motor-vehicle inspection laws, many used Japanese-market Cherokees have found their way back to the U.S., for use by rural mail carriers.


title: Jeep Cherokee (XJ)

text: After 13 years of production, February 1997 saw the Cherokee receive updated exterior and interior styling. Both the two- and four-door bodies remained in production, receiving a steel liftgate (replacing the fiberglass one used previously), restyled taillights, additional plastic molding along the doors, as well as a new front header panel that featured more aerodynamic styling. The spare tire remained mounted to the interior rear quarter panel on the driver's side in the trunk. A new, unique spare tire carrier was invented by Peter Gruich while working for Jeep Special Programs that utilized the trailer hitch bar and a unique pivot bracket and although it was the only external spare tire carrier to pass the full Jeep durability test, it was not offered for sale.


title: Jeep Cherokee (XJ)

text: The interior was similarly updated with an all-new design and instrument panel featuring the first blow-molded symmetrical instrument panel retainer structure. This instrument panel featured a unique cluster/airbag bracket invented by Peter Gruich that allowed the interchange of the two components in order for the vehicle to be sold in the right-hand and left-hand drive markets with both driver and passenger airbags. A beeper also replaced the buzzer. A stiffer unibody frame brought improvements to noise, vibration, and harshness (NVH) measurements. Also contributing to NVH improvements were new door seals that reduced wind noise at higher speeds.


title: Jeep Cherokee (XJ)

text: In the middle of the 1999 model year, vehicles with the 4.0 L engine received a revised intake manifold. This was done to help counteract smaller exhaust porting on the latest casting of cylinder heads, which was done to meet more stringent emissions control laws. Both the four- and six-cylinder engines were offered through the 2000 model year, though only the straight-six was available in 2001. For the 2000 and 2001 model years, all six-cylinder XJs received a distributor-less ignition system using coil-on-plug ignition and wasted spark, replacing the distributor-type system previously used. Coupled with better exhaust porting and the newer intake manifolds, the coil-on-plug gave a minor increase in power and improved emissions performance over the previous models. Transmission, axle, and transfer case choices were carried over from the previous models.


title: Jeep Cherokee (XJ)

text: However, major changes were underway with a new executive, Wolfgang Bernhard, who was known as a "cost-slasher" nicknamed "whirlwind", who came from Mercedes-Benz to turn Chrysler around. "One of the first moves Bernhard made when he came to Chrysler in 2000 was to help kill the Jeep Cherokee, an aging, somewhat bland SUV." Thus, the (XJ) Cherokee line was replaced in 2001 by the Jeep Liberty (KJ), although it retained the "Cherokee" nameplate in most foreign markets.


title: Jeep Cherokee (XJ)

text: The Cherokee (XJ) remains a popular vehicle among off-roading enthusiasts. Its design has been noted as one of the greatest of all time. "Popular Mechanics" listed the XJ as one of "the 25 greatest boxy cars of all time".


title: Jeep Cherokee (XJ)

text: When (XJ) Cherokee production ended in June 2001, the portion of the Toledo South Assembly Plant devoted to its production was torn down.


title: Jeep Cherokee (XJ)

text: By 1997, the XJ Cherokee became popular in police and government fleets. Production of the Cherokee Special Service Package continued for the 1997 model year into the 2001 model year. It still had the same features as the 1996 Cherokee Special Service Package, but the engine now produced . In 2001, when the XJ Cherokee ceased production and was replaced by the Jeep Liberty, the Cherokee Special Service Package was discontinued. The Jeep Liberty never featured a special service package, however, police, and government agencies used the Liberty in their fleets.


title: Jeep Cherokee (XJ)

text: All the transfer cases used on the Cherokee were chain-driven two-speed units with aluminum housings. Command-Trac was standard on XJ models built with 4WD.


title: Jeep Cherokee (XJ)

text: The Jeep XJ utilizes front and rear beam axle components (live axles) as opposed to an independent suspension. The live axle configuration offers advantages in off-road capability and performance at the expense of some on-road comfort and driveability. Mid-1985 and later two-wheel drive models used the same suspension and steering mechanisms with a single tube connecting axle ends, which also meant no transfer case, no front driveshaft, and no front differential.


title: Jeep Cherokee (XJ)

text: The Jeep XJ utilizes a coil spring with a separate shock absorber front suspension and a leaf spring with a separate shock absorber rear suspension.


title: Jeep Cherokee (XJ)

text: The Quadra-Link front suspension design locates the axle with four leading control arms to control longitudinal movement and rotation about the lateral axis (drive and braking reaction), two above the axle and two below it. A panhard rod, also referred to as a track bar, is used to locate the axle laterally. Two coil springs are seated on top of the axle housing as well as two gas-charged shock absorbers. The suspension used on vehicles with the optional UpCountry package provided one inch of lift over the standard suspension. A sway bar is utilized to reduce body roll in turns.


title: Jeep Cherokee (XJ)

text: The XJ uses a leaf spring rear suspension. Each leaf pack contains four leaf springs with a fixed eye at the front of the spring and a compression-style shackle at the rear of the spring. Two gas-charged shock absorbers are also used, along with a mild anti-sway/anti-roll bar. The suspension used on vehicles with the optional UpCountry package did not employ the rear anti-sway/anti-roll bar and provided one inch of lift over the standard suspension.


title: Jeep Cherokee (XJ)

text: The XJ was introduced to left-hand drive European markets in 1985, one year after its American debut. However, right-hand drive European markets only began to officially receive them (in RHD form) in 1993, although a small number of personal imports had been reaching the UK in left-hand drive form for a number of years before that. Models were offered in both markets until the XJ's discontinuation in 2001, at which point it was replaced by the Jeep Cherokee (KJ) which retained the Cherokee name for sale in Europe despite sharing little mechanical heritage with its predecessor. The Cherokee was often sold in Europe as part of Renault's lineup and was occasionally referred to as the Renault Jeep Cherokee in marketing, although it was never sold with Renault badges. However, motorsports versions of the Cherokee that competed in the Dakar Rally did wear Renault badges.


title: Jeep Cherokee (XJ)

text: A van version of the XJ was offered in addition to the standard passenger vehicles in some European markets. Available in both right- and left-hand-drive models, they were designed to comply with relaxed motor tax regulations in some EU member states governing vehicles intended for primarily commercial use. Both two- and four-door versions are known to have been sold, with the main differences from the standard models being metal panels in place of the rear side windows, no rear seats, and a completely flat cargo area. Two- and four-wheel-drive variants were available, powered by the VM Motori 2.5 L diesel engine mated to the Aisin AX-15 manual transmission. Photographs of this model can be found here.


title: Jeep Cherokee (XJ)

text: American Motors established the first automobile manufacturing joint venture in the People's Republic of China to assemble the four-door Cherokee. Production continued after Chrysler's buyout of AMC. The Chinese market BJ 7250 (rear-wheel drive) and BJ 2021 (four-wheel drive) had a raised roof in the rear, as they were often meant to be chauffeur-driven. The BJ2021 was available with a 2.5 L engine and a 4-speed manual gearbox for the 1985 through 2005 model years. For 1993, a 4 L 6 cylinder version was available paired to a 5-speed manual transmission. The BJ7250 uses the same 2.5 L engine as the BJ2021, but has a 5 speed manual gearbox instead of a 4-speed unit.


title: Jeep Cherokee (XJ)

text: The BJ2021 is 4290 millimeters in length, 1800 millimeters in width, and 1620 millimeters in height as well as sitting on a 2580 millimeter wheelbase. The BJ7250, however, is 90 millimeters shorter in length, 40 millimeters shorter in width and 10 millimeters taller in height and is 5 millimeters shorter in wheelbase


title: Jeep Cherokee (XJ)

text: Production under Mercedes-Benz continued in the partnership that was renamed Beijing-Benz DaimlerChrysler Automotive. The most recent model with an updated grille, headlights, and other upgrades was known as the Jeep 2500 and was produced until 2005. It is notable that AMC's original Cherokee design continued to be built and sold after being virtually unchanged for over twenty years.


title: Jeep Cherokee (XJ)

text: The design of the Chinese market Jeeps was similar to that of the U.S.-market Jeeps, with the exception of a new front grille and headlamps, as well as new tail lamps. The interior also got a new steering wheel and center console.


title: Jeep Cherokee (XJ)

text: The BJ2500, produced by Beijing Jeep was available with the 2.4 L 4G64 engine from Mitsubishi, 2.5 L and 2.7 L engines known as C498QA. Pricing ranged from 115,000 and 127,900 yuan (16,600 to 18,470 USD) for 2.5 L models and was 128,000 yuan for the 2.7 L version ($18,480 USD). while 4.0 L and 4.7 L engines were known as C698QA1 and C8V93Q respectively, and both power the Jeep Grand Cherokee (WJ).


title: Jeep Cherokee (XJ)

text: After 2009 Beijing Auto Works continued the production of the Chinese-market XJ Cherokee as the BAW Qishi 骑士 (Knight in Chinese). The Qishi uses a 2.0 L I4 and 2.2 L I4 known as the 4G20 and 4G22, both old Nissan units, and a 5-slot grille, along with 6-lug wheels. Production ended in 2014. All Chinese specification Jeeps had a 5-speed manual gearbox as standard.


title: Jeep Cherokee (XJ)

text: Chinese car manufacturer Shuanghuan Auto, who are known for their copy of the Toyota Land Cruiser Prado (J120) front end, BMW X5 (E53) rear end and BMW X3 side skirt designed car, the Shuanghuan SCEO, also made a copy of the Jeep Cherokee XJ known as the Shuanghuan SHZJ213. The BJ212 platform was used to make the car. The SHZJ213 used a 2.4-liter BAW 492 engine paired to a 5-speed manual gearbox. Production ran from 1994 until 1997.


title: Jeep Cherokee (XJ)

text: The XJ was manufactured in Toledo, Ohio, USA; Beijing, China; Ferreyra, Argentina; Cairo, Egypt; and in Valencia, Venezuela, with production reaching approximately 3 million between 1983 and 2001.


title: Jeep Cherokee (XJ)

text: On February 22, 2013, Chrysler released press photos of the new replacement for the Liberty, and also announced that the new model would bring back the Cherokee name. The new Cherokee (KL) is built on the compact U.S. wide platform, and features a nine-speed automatic, a choice of a 2.4 L Tigershark I4 with Fiat's electro-hydraulic MultiAir 2 variable valve timing and variable valve lift or a 3.2 L V6 based on the Pentastar 3.6 L V6, and front and four-wheel drive (the latter courtesy of Jeep's Selec-Terrain system). The Liberty was sold outside of North America as the Jeep Cherokee (KK), allowing the new Cherokee to be easily marketed globally. Jeep also believes the Cherokee name will attract previous Jeep owners, because of the name's heritage. The new Cherokee is built in Toledo, Ohio. As of mid-2017 the new Cherokee (KL) is produced in Belvidere, Illinois.


title: Sean Patrick Flanery

text: Sean Patrick Flanery is an American actor, author, and martial artist. He is known for playing Connor MacManus in "The Boondock Saints" (1999) and its sequel "" (2009), Greg Stillson in the USA Network television series "The Dead Zone", Jeremy "Powder" Reed in "Powder" (1995), Indiana Jones in the ABC television series "The Young Indiana Jones Chronicles", as well as Bobby Dagen in "Saw: The Final Chapter" (2010). He is also known for his role as Sam Gibson on the CBS soap opera "The Young and the Restless" in 2011. He starred in "Devil's Carnival", a short film which was screened on tour beginning in April, 2012. In 2016, he published his first novel, "Jane Two", a coming-of-age story drawing inspiration from his own childhood and early experiences.


title: Sean Patrick Flanery

text: Flanery was born on October 11, 1965 in Lake Charles, Louisiana, and was raised in Houston, Texas. His mother, Genie (née LeDoux), is a real estate broker, and his father, Paul Flanery, is a medical equipment salesman. His ancestry includes Irish, Cajun (French), and English. After attending Awty International School, Flanery graduated from Dulles High School in Sugar Land, and attended the University of St. Thomas in Houston.


title: Sean Patrick Flanery

text: Flanery started acting in college after he joined an acting class to meet a girl on whom he had a crush. He later moved to Los Angeles, California, to pursue his acting career. Since 1988 he has appeared in over 53 films, including "Powder", "Simply Irresistible", and "D-Tox". He is best known, however, for playing Connor MacManus in "The Boondock Saints" and Indiana Jones in "The Young Indiana Jones Chronicles". He had a brief role as the ascended being, Orlin, in the "Stargate SG-1" episode "Ascension". He appeared on the TV show "The Dead Zone" in the role of Vice-President, Greg Stillson, until its cancellation. Flanery also appeared in an installment of Showtime's "Masters of Horror" playing a town sheriff who later became one of the antagonistic entity's possessed hosts in the episode "The Damned Thing". In March 2010 he was cast in the lead role in the sci-fi horror film "Mongolian Death Worm". He also had a supporting role in 2010's "Saw 3D". Flanery appeared in The Black Keys' music video "Howlin' For You", which was released on February 10, 2011. In April 2011 Flanery headed to the CBS soap "The Young and the Restless," playing the part of Sam, Sharon Newman's boyfriend from New Mexico.


title: Sean Patrick Flanery

text: Flanery won the award for Outstanding Guest Performer in a Digital Daytime Drama Series at the 46th Annual Daytime Creative Arts Emmy Awards for his role as Ty Garrett on "The Bay."


title: Sean Patrick Flanery

text: He is married to Playboy model and actress Lauren Michelle Hill and they have 2 sons. He has a daughter from a previous relationship - Lola Flanery, born on May 26, 2005, who is also an actress.


title: Sean Patrick Flanery

text: He once had a dog named Donut who is named after the donuts she devoured shortly after being adopted by Flanery.


title: Sean Patrick Flanery

text: Flanery won the 1997 Toyota Pro-Celebrity Race at the Toyota Grand Prix of Long Beach as the celebrity driver; the "Alfonso Ribeiro rule" (whereby if a celebrity wins, he must be classified as a professional the next time) forced him to "defend" his title as a professional driver under TGPLB rules, and he won the 1998 race as a professional driver.


title: Sean Patrick Flanery

text: Flanery is also a 3rd degree black belt in Brazilian Jiu-Jitsu, which he teaches. He placed first in the Master 1/ Blue/ Male/ Light division at the 2003 American National IBJJF Jiu-jitsu Championship and the 2003 Pan Jiu-jitsu IBJJF Championship by the International Brazilian Jiu-Jitsu Federation. Flanery indicated in an interview that, at one point, he considered competing in mixed martial arts, saying "If it didn’t come around so late in my life, that would’ve 100 percent been my trajectory."


title: Donald Sterling

text: Donald T. Sterling (born Donald Samuel Tokowitz; April 26, 1934) is an American attorney and businessman who was the owner of the San Diego / Los Angeles Clippers professional basketball franchise of the National Basketball Association (NBA) from 1981 to 2014.


title: Donald Sterling

text: In April 2014, Sterling was banned from the NBA for life and fined $2.5 million by the league after private recordings of him making racist comments were made public. In May, Sterling's wife Shelly reached an agreement for the Sterling Family Trust to sell the Clippers for $2 billion to Steve Ballmer, which Sterling contested in court. The NBA Board of Governors approved the sale of the Clippers to Ballmer in August 2014. Sterling settled his lawsuit against the NBA in November 2016 and remains active in Los Angeles real estate.


title: Donald Sterling

text: Donald Sterling was born Donald Tokowitz on April 26, 1934, in Chicago. His family moved to the Boyle Heights area of Los Angeles when he was two years old. His parents, Susan and Mickey, were Ashkenazi Jewish immigrants. He attended Theodore Roosevelt High School in Los Angeles, where he was on the school's gymnastics team and served as class president; he graduated in 1952. He then attended California State University, Los Angeles (class of 1956) and Southwestern University School of Law (class of 1960) in Los Angeles.


title: Donald Sterling

text: When he was 25, he and his wife Shelly changed their surname to "Sterling", filing a formal petition to do so on December 9, 1959. They cited the difficulty among his peers to pronounce "Tokowitz" and the belief that there would be financial benefits for the change.


title: Donald Sterling

text: In 1961, Sterling started his career as a divorce and personal injury attorney, building an independent practice when Jews had fewer opportunities at prestigious law firms. His biggest ventures were in real estate, which he began when he purchased a 26-unit apartment building in Beverly Hills.


title: Donald Sterling

text: In the 1960s, Sterling also purchased Lesser Towers, a pair of large apartment buildings in the Westwood area of Los Angeles, and renamed them the Sterling Towers (now the Sterling International Towers). In 1976, he leased the California Bank Building on Wilshire Boulevard in Beverly Hills and renamed it Sterling Plaza. The Art Deco landmark was built in 1930 by MGM cofounder Louis B. Mayer. In 2000, Sports Illustrated senior writer Franz Lidz revealed that Sterling had a 99-year lease with the Mayer estate that required him to pay a relatively small annual fee and 15% of any rental income, which was why Sterling had remained the sole tenant. "With no other tenant," Lidz reported, "the Mayer estate faces another 75 years with virtually no income from its Sterling Plaza property. By sitting and waiting, Sterling may force a fire sale." As of April 2014, he owned 162 properties in Los Angeles.


title: Donald Sterling

text: Sterling and Los Angeles Lakers majority owner Jerry Buss were each indirectly responsible for the other owning his respective NBA franchise. The first instance came in 1979, when Buss used the money he made from selling a portion of his apartment buildings to Sterling (worth $2.7 million), which covered the remaining balance in purchasing the Lakers, the Kings hockey team, and The Los Angeles Forum from Jack Kent Cooke for $67 million. Two years later, Buss suggested that Sterling purchase his own NBA franchise, and Sterling bought the San Diego Clippers for $12.5 million.


title: Donald Sterling

text: At his introductory news conference in San Diego, Sterling vowed to "spend unlimited sums" to build the Clippers into a contender, and he embarked on a county-wide marketing campaign featuring his smiling face on billboards and the backs of buses. The seminal ads read: "My Promise: I will make you proud of the Clippers". Unlike Buss' instant success with the Lakers (including winning an NBA championship in his first season as owner, 1979–80), Sterling and his Clippers struggled through many lackluster seasons, and they did not have their first winning season until the 1991–92 season, 11 years into his ownership. In Sterling's 33 years of owning the Clippers through 2013–14, the Clippers lost 50 or more games 22 times, 60 or more on eight occasions, and 70 games once. Their 9–41 record in the lockout-shortened 1998–99 season projected to another 60-loss season.


title: Donald Sterling

text: The NBA in 1982 fined Sterling $10,000, the largest sum ever levied against an owner at the time, after he commented that he would accept the Clippers finishing in last place in order to draft an impact player like Ralph Sampson. In June 1982, Sterling attempted to move the team to Los Angeles. This prompted an investigation of the Clippers by an NBA committee of six owners. In September, the group recommended that Sterling's ownership be terminated, having found that he was late in paying creditors and players. Days before a league scheduled vote in October to remove Sterling, he agreed to sell the team, and the league sought buyers who would keep the franchise in San Diego. At the suggestion of David Stern, then the league's vice president, Sterling was able to maintain his position as owner, instead handing over operations duties of the franchise to Alan Rothenberg, who became the team's president. By February 1983, Stern called the Clippers a "first-class" franchise, and the ouster of Sterling was no longer pursued.


title: Donald Sterling

text: Encouraged by friend Al Davis' victory over the National Football League in an antitrust lawsuit that allowed him to move his Oakland Raiders to Los Angeles without league approval, Sterling moved the Clippers from San Diego to Los Angeles in 1984, despite again being denied permission from the NBA to do so. The NBA, subsequently fined him $25 million. He sued the league for $100 million, but dropped the suit when the league agreed to decrease the fine to $6 million. Sterling was widely criticized for his frugal operation of the Clippers, due in part to a consistent history of losing seasons. The club was long considered the laughingstock of the NBA. With the Clippers' move into Staples Center in the 1999–2000 NBA season, the team began to become a contender, winning 47 games in the 2005–06 season. This was a record for the most victories in a single season since the franchise moved to California. It was also only the second winning season in Sterling's tenure as owner. In the lockout-shortened 2011–2012 season they made the playoffs with the best winning percentage in their history (.606) and they won their first round series against the Memphis Grizzlies, 4–3, before being swept by the San Antonio Spurs, 4–0, in the conference semi-finals. Led by Blake Griffin and Chris Paul, the Clippers posted two more winning campaigns in 2012–13 and 2013–14, setting new franchise records for regular-season wins with 56 and 57, respectively.


title: Donald Sterling

text: Sterling rebuffed numerous offers from other cities to relocate the Clippers and was steadfast in his refusal to move the team out of Los Angeles, let alone sell the team. While the team played a few games in Anaheim in the Arrowhead Pond (now the Honda Center) for a few years before the Staples Center opened, he was not willing to move the team there permanently. In later years, he showed an increased willingness to spend. In 2003, Sterling signed Elton Brand to a six-year, $82 million deal, the biggest contract in franchise history. He matched the contract the Utah Jazz offered restricted free agent Corey Maggette: a deal worth $45 million over six years. The Clippers signed higher-priced veteran free agents, such as Cuttino Mobley in 2005, Tim Thomas in 2006, and Los Angeles native Baron Davis in 2008. In another first during the Sterling tenure of Clippers ownership, the team gave a four-year contract extension to head coach Mike Dunleavy Sr., as well as a five-year extension to center Chris Kaman. Both extensions took effect starting in the 2007–08 NBA season.


title: Donald Sterling

text: Under Sterling's ownership, only Dunleavy and Bill Fitch (1994–1998) lasted four seasons or more as Clippers head coach; as of the 2009–10 NBA season, Dunleavy entered his seventh season as Clippers head coach, by far the longest tenure in franchise history, but was relieved of his coaching duties on February 4, 2010. Dunleavy was also the club's general manager, but was fired from that position a month later. The Clippers accused Dunleavy of defrauding the team, and he sued the club for money owed on the remainder of his contract; an arbitrator ordered the Clippers to pay Dunleavy $13 million in 2011. The Clippers also went to court with former head coaches Fitch and Bob Weiss. Weiss, who signed a three-year contract but was fired in 1994 after one season, had to sue to receive money that was still owed him. In 2001, the Clippers sued the 63-year-old Fitch, whom the team had fired in 1998, after they stopped paying him for failing to seek employment to reduce the team's obligation for payment. The suit reached an undisclosed settlement before going to court.


title: Donald Sterling

text: Sterling spent $50 million to build a state-of-the-art practice facility and team headquarters in Los Angeles' Playa Vista mixed-use development neighborhood. This followed the lead of several other NBA franchises, including the Lakers, Sacramento Kings, Cleveland Cavaliers, and Detroit Pistons, in having their own facility dedicated exclusively for team use. The facility was completed and opened in September 2008, in time for the start of the team's training camp. The team previously practiced at a local health club in suburban El Segundo, and before that at Los Angeles Southwest College.


title: Donald Sterling

text: Sterling's ownership was viewed critically. "ESPN The Magazine" in 2009 named the Clippers the worst franchise in professional sports. Uncharacteristic for an owner, Sterling in 2010 heckled players on his own team—with Baron Davis receiving the harshest treatment—while the owner sat courtside during home games.