title: Rigel

text: The unusual Hα line profile is observed to vary unpredictably. Around a third of the time it is a normal absorption line. About a quarter of the time it is a double-peaked line, that is, an absorption line with an emission core or an emission line with an absorption core. About a quarter of the time it has a P Cygni profile; most of the rest of the time the line has an inverse P Cygni profile, where the emission component is on the short wavelength side of the line. Rarely, there is a pure emission Hα line. The line profile changes are interpreted as variations in the quantity and velocity of material being expelled from the star. Occasional very high-velocity outflows have been inferred, and, more rarely, infalling material. The overall picture is one of large looping structures arising from the photosphere and driven by magnetic fields.


title: Rigel

text: Rigel has been known to vary in brightness since at least 1930. The small amplitude of Rigel's brightness variation requires photoelectric or CCD photometry to be reliably detected. This brightness variation has no obvious period. Observations over 18 nights in 1984 showed variations at red, blue, and yellow wavelengths of up to 0.13 magnitudes on timescales of a few hours to several days, but again no clear period. Rigel's color index varies slightly, but this is not significantly correlated with its brightness variations.


title: Rigel

text: From analysis of "Hipparcos" satellite photometry, Rigel is identified as belonging to the Alpha Cygni class of variable stars, defined as "non-radially pulsating supergiants of the Bep–AepIa spectral types". In those spectral types, the 'e' indicates that it displays emission lines in its spectrum, while the 'p' means it has an unspecified spectral peculiarity. Alpha Cygni type variables are generally considered to be irregular or have quasi-periods. Rigel was added to the General Catalogue of Variable Stars in the 74th name-list of variable stars on the basis of the Hipparcos photometry, which showed variations with a photographic amplitude of 0.039 magnitudes and a possible period of 2.075 days. Rigel was observed with the Canadian MOST satellite for nearly 28 days in 2009. Milli-magnitude variations were observed, and gradual changes in flux suggest the presence of long-period pulsation modes.


title: Rigel

text: From observations of the variable Hα spectral line, Rigel's mass-loss rate due to stellar wind is estimated be solar masses per year (/yr)—about ten million times more than the mass-loss rate from the Sun. More detailed optical and Kband infrared spectroscopic observations, together with VLTI interferometry, were taken from 2006 to 2010. Analysis of the Hα and Hγ line profiles, and measurement of the regions producing the lines, show that Rigel's stellar wind varies greatly in structure and strength. Loop and arm structures were also detected within the wind. Calculations of mass loss from the Hγ line give in 2006-7 and in 2009–10. Calculations using the Hα line give lower results, around . The terminal wind velocity is . It is estimated that Rigel has lost about three solar masses () since beginning life as a star of seven to nine million years ago.


title: Rigel

text: Rigel's distance from the Sun is somewhat uncertain, different estimates being obtained by different methods. The 2007 Hipparcos new reduction of Rigel's parallax is , giving a distance of with a margin of error of about 9%. Rigel B, usually considered to be physically associated with Rigel and at the same distance, has a Gaia Data Release 3 parallax of , suggesting a distance around . However, the measurements for this object may be unreliable.


title: Rigel

text: Indirect distance estimation methods have also been employed. For example, Rigel is believed to be in a region of nebulosity, its radiation illuminating several nearby clouds. Most notable of these is the 5°-long IC 2118 (Witch Head Nebula), located at an angular separation of 2.5° from the star, or a projected distance of away. From measures of other nebula-embedded stars, IC2118's distance is estimated to be .


title: Rigel

text: Rigel is an outlying member of the Orion OB1 association, which is located at a distance of up to from Earth. It is a member of the loosely defined Taurus-Orion R1 Association, somewhat closer at . Rigel is thought to be considerably closer than most of the members of Orion OB1 and the Orion Nebula. Betelgeuse and Saiph lie at a similar distance to Rigel, although Betelgeuse is a runaway star with a complex history and might have originally formed in the main body of the association.


title: Rigel

text: The star system of which Rigel is a part has at least four components. Rigel (sometimes called Rigel A to distinguish from the other components) has a visual companion, which is likely a close triple-star system. A fainter star at a wider separation might be a fifth component of the Rigel system.


title: Rigel

text: William Herschel discovered Rigel to be a visual double star on 1 October 1781, cataloguing it as star 33 in the "second class of double stars" in his Catalogue of Double Stars, usually abbreviated to HII33, or as H233 in the Washington Double Star Catalogue. Friedrich Georg Wilhelm von Struve first measured the relative position of the companion in 1822, cataloguing the visual pair as Σ 668. The secondary star is often referred to as Rigel B or β Orionis B. The angular separation of Rigel B from Rigel A is 9.5 arc seconds to its south along position angle 204°. Although not particularly faint at visual magnitude 6.7, the overall difference in brightness from Rigel A (about 6.6 magnitudes or 440 times fainter) makes it a challenging target for telescope apertures smaller than .


title: Rigel

text: At Rigel's estimated distance, Rigel B's projected separation from Rigel A is over 2,200astronomical units (AU). Since its discovery, there has been no sign of orbital motion, although both stars share a similar common proper motion. The pair would have an estimated orbital period of 24,000years. Gaia Data Release 2(DR2) contains a somewhat unreliable parallax for Rigel B, placing it at about , further away than the Hipparcos distance for Rigel, but similar to the Taurus-Orion R1 association. There is no parallax for Rigel in Gaia DR2. The Gaia DR2 proper motions for Rigel B and the Hipparcos proper motions for Rigel are both small, although not quite the same.


title: Rigel

text: In 1871, Sherburne Wesley Burnham suspected Rigel B to be a binary system, and in 1878, he resolved it into two components. This visual companion is designated as component C (Rigel C), with a measured separation from component B that varies from less than to around . In 2009, speckle interferometry showed the two almost identical components separated by , with visual magnitudes of 7.5 and 7.6, respectively. Their estimated orbital period is 63years. Burnham listed the Rigel multiple system as β555 in his double star catalog or BU555 in modern use.


title: Rigel

text: Component B is a double-lined spectroscopic binary system, which shows two sets of spectral lines combined within its single stellar spectrum. Periodic changes observed in relative positions of these lines indicate an orbital period of 9.86days. The two spectroscopic components Rigel Ba and Rigel Bb cannot be resolved in optical telescopes but are known to both be hot stars of spectral type around B9. This spectroscopic binary, together with the close visual component Rigel C, is likely a physical triple-star system, although Rigel C cannot be detected in the spectrum, which is inconsistent with its observed brightness.


title: Rigel

text: In 1878, Burnham found another possibly associated star of approximately 13th magnitude. He listed it as component D of β555, although it is unclear whether it is physically related or a coincidental alignment. Its 2017 separation from Rigel was , almost due north at a position angle of 1°. Gaia DR2 finds it to be a 12th magnitude sunlike star at approximately the same distance as Rigel. Likely a K-type main-sequence star, this star would have an orbital period of around 250,000 years, if it is part of the Rigel system. A spectroscopic companion to Rigel was reported on the basis of radial velocity variations, and its orbit was even calculated, but subsequent work suggests the star does not exist and that observed pulsations are intrinsic to Rigel itself.


title: Rigel

text: Rigel is a blue supergiant that has exhausted the hydrogen fuel in its core, expanded and cooled as it moved away from the main sequence across the upper part of the Hertzsprung–Russell diagram. When it was on the main sequence, its effective temperature would have been around . Rigel's complex variability at visual wavelengths is caused by stellar pulsations similar to those of Deneb. Further observations of radial velocity variations indicate that it simultaneously oscillates in at least 19 non-radial modes with periods ranging from about 1.2 to 74 days.


title: Rigel

text: Estimation of many physical characteristics of blue supergiant stars, including Rigel, is challenging due to their rarity and uncertainty about how far they are from the Sun. As such, their characteristics are mainly estimated from theoretical stellar evolution models. Its effective temperature can be estimated from the spectral type and color to be around . A mass of at an age of million years has been estimated by comparing evolutionary tracks, while atmospheric modeling from the spectrum gives a mass of .


title: Rigel

text: Although Rigel is often considered the most luminous star within 1,000 light-years of the Sun, its energy output is poorly known. Using the Hipparcos distance of , the estimated relative luminosity for Rigel is about 120,000 times that of the Sun (), but another recently published distance of suggests an even higher luminosity of . Other calculations based on theoretical stellar evolutionary models of Rigel's atmosphere give luminosities anywhere between and , while summing the spectral energy distribution from historical photometry with the Hipparcos distance suggests a luminosity as low as . A 2018 study using the Navy Precision Optical Interferometer measured the angular diameter as . After correcting for limb darkening, the angular diameter is found to be , yielding a radius of . An older measurement of the angular diameter gives , equivalent to a radius of at . These radii are calculated assuming the Hipparcos distance of ; adopting a distance of leads to a significantly larger size.


title: Rigel

text: Due to their closeness to each other and ambiguity of the spectrum, little is known about the intrinsic properties of the members of the Rigel BC triple system. All three stars seem to be near equally hot B-type main-sequence stars that are three to four times as massive as the Sun.


title: Rigel

text: Stellar evolution models suggest the pulsations of Rigel are powered by nuclear reactions in a hydrogen-burning shell that is at least partially non-convective. These pulsations are stronger and more numerous in stars that have evolved through a red supergiant phase and then increased in temperature to again become a blue supergiant. This is due to the decreased mass and increased levels of fusion products at the surface of the star.


title: Rigel

text: Rigel is likely to be fusing helium in its core. Due to strong convection of helium produced in the core while Rigel was on the main sequence and in the hydrogen-burning shell since it became a supergiant, the fraction of helium at the surface has increased from 26.6% when the star formed to 32% now. The surface abundances of carbon, nitrogen, and oxygen seen in the spectrum are compatible with a post-red supergiant star only if its internal convection zones are modeled using non-homogeneous chemical conditions known as the Ledoux Criteria.


title: Rigel

text: Rigel is expected to eventually end its stellar life as a type II supernova. It is one of the closest known potential supernova progenitors to Earth, and would be expected to have a maximum apparent magnitude of around (about the same brightness as a quarter Moon or around 300 times brighter than Venus ever gets.) The supernova would leave behind either a black hole or a neutron star.


title: Rigel

text: The earliest known recording of the name "Rigel" is in the "Alfonsine tables" of 1521. It is derived from the Arabic name ', "the left leg (foot) of Jauzah" (i.e. "rijl" meaning "leg, foot"), which can be traced to the 10th century. "Jauzah" was a proper name for Orion; an alternative Arabic name was ', "the foot of the great one", from which stems the rarely used variant names "Algebar" or "Elgebar". The "Alphonsine tables" saw its name split into "Rigel" and "Algebar", with the note, "et dicitur Algebar. Nominatur etiam Rigel." Alternate spellings from the 17th century include "Regel" by Italian astronomer Giovanni Battista Riccioli, "Riglon" by German astronomer Wilhelm Schickard, and "Rigel Algeuze" or "Algibbar" by English scholar Edmund Chilmead.


title: Rigel

text: With the constellation representing the mythological Greek huntsman Orion, Rigel is his knee or (as its name suggests) foot; with the nearby star Beta Eridani marking Orion's footstool. Rigel is presumably the star known as "Aurvandil's toe" in Norse mythology. In the Caribbean, Rigel represented the severed leg of the folkloric figure "Trois Rois", himself represented by the three stars of Orion's Belt. The leg had been severed with a cutlass by the maiden "Bįhi" (Sirius). The Lacandon people of southern Mexico knew it as "tunsel" ("little woodpecker").


title: Rigel

text: Rigel was known as "Yerrerdet-kurrk" to the Wotjobaluk koori of southeastern Australia, and held to be the mother-in-law of "Totyerguil" (Altair). The distance between them signified the taboo preventing a man from approaching his mother-in-law. The indigenous Boorong people of northwestern Victoria named Rigel as "Collowgullouric Warepil". The Wardaman people of northern Australia know Rigel as the Red Kangaroo Leader "Unumburrgu" and chief conductor of ceremonies in a songline when Orion is high in the sky. Eridanus, the river, marks a line of stars in the sky leading to it, and the other stars of Orion are his ceremonial tools and entourage. Betelgeuse is "Ya-jungin" "Owl Eyes Flicking", watching the ceremonies.


title: Rigel

text: The Māori people of New Zealand named Rigel as "Puanga", said to be a daughter of "Rehua" (Antares), the chief of all-stars. Its heliacal rising presages the appearance of "Matariki" (the Pleiades) in the dawn sky, marking the Māori New Year in late May or early June. The Moriori people of the Chatham Islands, as well as some Maori groups in New Zealand, mark the start of their New Year with Rigel rather than the Pleiades. "Puaka" is a southern name variant used in the South Island.


title: Rigel

text: In Japan, the Minamoto or Genji clan chose Rigel and its white color as its symbol, calling the star "Genji-boshi" (), while the Taira or Heike clan adopted Betelgeuse and its red color. The two powerful families fought the Genpei War; the stars were seen as facing off against each other and kept apart only by the three stars of Orion's Belt.


title: Rigel

text: The MS "Rigel" was originally a Norwegian ship, built in Copenhagen in 1924. It was requisitioned by the Germans during World War II and sunk in 1944 while being used to transport prisoners of war. Two US Navy ships have borne the name USS "Rigel". The SSM-N-6 Rigel was a cruise missile program for the US Navy that was cancelled in 1953 before reaching deployment.


title: Rigel

text: The Rigel Skerries are a chain of small islands in Antarctica, renamed after originally being called Utskjera. They were given their current name as Rigel was used as an astrofix. Mount Rigel, elevation , is also in Antarctica.


title: Rigel

text: Due to its brightness and its recognizable name, Rigel is also a popular fixture in science fiction. Fictional depictions of Rigel can be found in "Star Trek", "The Hitchhiker's Guide to the Galaxy", "The Simpsons" and many more books, films, and games.


title: Albert Hammond

text: Albert Louis Hammond OBE (born 18 May 1944) is a British-Gibraltarian singer, songwriter, and record producer. A prolific songwriter, he also collaborated with other songwriters such as Mike Hazlewood, John Bettis, Diane Warren, Holly Knight and Carole Bayer Sager. Hammond's son Albert Hammond Jr. is a guitarist with American band the Strokes.


title: Albert Hammond

text: Hammond wrote commercially successful singles for artists including Celine Dion, Joe Dolan, Aretha Franklin, Whitney Houston, Diana Ross, Leo Sayer, Tina Turner, Glen Campbell, Julio Iglesias, Willie Nelson, Lynn Anderson and Bonnie Tyler, and bands Ace of Base, Air Supply, Blue Mink, Chicago, Heart, Living in a Box, the Carpenters, the Hollies, the Pipkins, Starship, and Westlife. Notable songs co-written by Hammond include "Make Me an Island" and "You're Such a Good Looking Woman" by Joe Dolan, "Nothing's Gonna Stop Us Now" by Starship, "One Moment in Time" sung by Whitney Houston, "The Air That I Breathe", a hit for the Hollies, "To All the Girls I've Loved Before", a Julio Iglesias/Willie Nelson duet, and "When I Need You" by Leo Sayer. In 2015, he received the British Academy's Ivor Novello Award for Outstanding Song Collection.


title: Albert Hammond

text: He is also a solo singer in his own right. His biggest (and only top 20) U.S. "Billboard" hit was "It Never Rains in Southern California", No. 5 in 1972. Other songs of his include "Down by the River", "The Free Electric Band", "I'm a Train", and "When I'm Gone". For a time, he was part of the Family Dogg, a vocal group with whom he had the hit "A Way of Life". He has also produced for a number of other artists.


title: Albert Hammond

text: Hammond was born in London, after his family had been evacuated from Gibraltar during World War II. Shortly after the war they returned to Gibraltar, where he grew up. In 1960, he started in music with Gibraltarian band The Diamond Boys, which had no real commercial success, but played a part in Spain's introduction to pop and rock music. The Diamond Boys performed at the first nightclubs in Madrid to stage modern bands, alongside Spanish rock and roll pioneers such as Miguel Ríos. In 1966, Hammond co-founded the British vocal group the Family Dogg, reaching number 6 on the UK Singles Chart with "A Way of Life" in 1969, taken from the album of the same name.


title: Albert Hammond

text: In 1970, at age 26, Hammond moved to the United States, continuing his professional career as a musician. However, he had his greatest commercial success in mainland Europe. He is known for his successful singles of the 1970s, released on Columbia subsidiary Mums Records: "Down by the River", "It Never Rains in Southern California", "The Free Electric Band" (his only single to chart in the UK), "Half a Million Miles from Home", "If You Gotta Break Another Heart", "The Peacemaker", "I Don't Wanna Die in an Air Disaster", "I'm a Train" and "99 Miles from L.A." In 1970, under the name 'Steve & Albert', Hammond joined forces with Steve Rowland for the single "Follow The Bouncing Ball", which they heavily promoted, particularly in the UK, where they appeared on "Top Of The Pops" and "The Basil Brush Show", but the single failed to chart.


title: Albert Hammond

text: Hammond also wrote songs for others with frequent collaborator Mike Hazlewood. These include "Little Arrows" for Leapy Lee, "Make Me an Island" (1969) (which Hammond himself recorded in a Spanish disco-style in 1979), and "You're Such a Good Looking Woman" (1970) for Joe Dolan, "Gimme Dat Ding" for the Pipkins in 1970 (itself a cover from the Freddie and the Dreamers album "Oliver in the Overworld"), "Good Morning Freedom" for Blue Mink, "Freedom Come, Freedom Go" for the Fortunes in 1971 and "The Air That I Breathe" which was a hit for the Hollies in 1974. In 1971, Hammond also sang on Michael Chapman's fourth album "Wrecked Again", and worked briefly with the Magic Lanterns on recordings of his and Hazlewood's songs, and other material.


title: Albert Hammond

text: Written with Carole Bayer Sager, "When I Need You" was first recorded by Hammond on his 1976 album "When I Need You". Produced by Richard Perry, Leo Sayer's version made No. 1 on the UK Singles Chart for two weeks in February 1977. Leo Sayer | full Official Chart History | Official Charts Company Commercially successful worldwide, it reached No. 1 in Canada ("RPM" Top Singles, also for two weeks), and on the "Billboard" Hot 100 for a week in May 1977. Leapy Lee released a version of "When I Need You" on his first recording since 1970.


title: Albert Hammond

text: Hammond had success as a singer-songwriter with his Spanish recordings. His releases on Epic Records allowed him to tour every region of Latin America. During this period, he met Manuel Montoya, a CBS Mexico executive, who became his personal manager in 1985. This led to Hammond's Grammy Award-winning production of Lani Hall's "Es Facil Amar", the producer and writer of "Cantaré, Cantarás" (the Latin American equivalent of "We Are the World"), and collaborations with Roberto Livi on recordings by Raphael and Eydie Gormé.


title: Albert Hammond

text: Hammond also had two successful singles in the Philippines during 1981. His songs "When I'm Gone" and "Your World and My World" (from the album of the same title) were popular in the country.


title: Albert Hammond

text: With Hal David, Hammond co-wrote "To All the Girls I've Loved Before", a hit in 1984 for Julio Iglesias and Willie Nelson. Hammond collaborated with Diane Warren on "Nothing's Gonna Stop Us Now", a transatlantic No. 1 in 1987 for Starship, and "I Don't Wanna Live Without Your Love", a hit for Chicago that peaked at No. 3 on the U.S. "Billboard" Hot 100 chart in 1988. With lyricist John Bettis, Hammond co-wrote "One Moment in Time", the theme song to the 1988 Summer Olympics in Seoul, South Korea, as performed by Whitney Houston.


title: Albert Hammond

text: In 1991, Hammond co-wrote "When You Tell Me That You Love Me" recorded by Diana Ross, which reached No. 2 on the UK Singles Chart. In 2005, Ross recorded the song again, this time as a duet with Westlife. Again the song reached No. 2 in the UK.


title: Albert Hammond

text: He wrote several hits for Tina Turner, including "I Don't Wanna Lose You", "Be Tender with Me Baby", "Way of the World", and "Love Thing". Bonnie Tyler recorded the original version of Hammond/Warren's "Don't Turn Around", a UK No. 1 for Aswad in 1988 and a hit for Ace of Base five years later.


title: Albert Hammond

text: In 2005, he released "Revolution of the Heart" (where Todd Sharpville was his music director), and the single "This Side of Midnight".


title: Albert Hammond

text: In 2008, Hammond met Kasaan Steigen of the Los Angeles-based Trigger Management who became his personal manager, during which time Hammond collaborated with British singer Duffy and others. Duffy's resulting album, "Endlessly", co-written and co-produced by Hammond, was released in November 2010.


title: Albert Hammond

text: In 2010, Hammond also worked on "Legend", a new recording of duets of his most successful singles, featuring artists including Elena Paparizou and Bonnie Tyler. It was released on Sony Spain on 23 November that year.


title: Albert Hammond

text: From his first marriage, Hammond has two children. In 1979, he married Argentinian Claudia Fernández, a former model. They had one son, Albert Hammond Jr., guitarist of the American rock band The Strokes and a successful solo musician.


title: Albert Hammond

text: In 1987, Hammond's composition with Diane Warren "Nothing's Gonna Stop Us Now" (recorded by Starship) was nominated for an Oscar, Golden Globe and Grammy Award. In 1988, Hammond won an Emmy Award for the song "One Moment in Time", a song he wrote along with John Bettis.


title: Albert Hammond

text: In 2000, he received the Order of the British Empire (OBE). On 19 June 2008, Hammond was inducted in the Songwriters Hall of Fame.


title: Albert Hammond

text: Half Man Half Biscuit paid tribute to Hammond in their 1986 track "Albert Hammond Bootleg" originally on The Trumpton Riots EP and later added to the 2003 re-release of Back in the DHSS.


title: Savile Row

text: Savile Row (pronounced ) is a street in Mayfair, central London. Known principally for its traditional bespoke tailoring for men, the street has had a varied history that has included accommodating the headquarters of the Royal Geographical Society at 1 Savile Row, where significant British explorations to Africa and the South Pole were planned; and more recently, the Apple office of the Beatles at 3 Savile Row, where the band's impromptu final live performance was held on the roof of the building.


title: Savile Row

text: Originally named Savile Street, it was built between 1731 and 1735 as part of the development of the Burlington Estate. It was designed under the influence of Burlington's interpretation of Palladian architecture, known as "Burlingtonian". Henry Flitcroft, under the supervision of Daniel Garrett, appears to have been the main architect – though 1 and 22–23 Savile Row were designed by William Kent. Initially, the street was occupied mainly by military officers and their wives; later William Pitt the Younger and Irish-born playwright and MP Richard Brinsley Sheridan were residents.


title: Savile Row

text: Tailors started doing business in the area in the late 18th century; first in Cork Street, about 1790, then by 1803 in Savile Row itself. In 1846, Henry Poole, later credited as the creator of the dinner jacket, opened an entrance to Savile Row from his tailoring premises in Old Burlington Street. Founded in 1849 by Henry Huntsman, H. Huntsman & Sons moved to No. 11 Savile Row with the ending of the war in 1919. During the First World War, Huntsman's was a tailor to the military, producing dress uniforms for British officers. In 1969, Nutters of Savile Row modernised the style and approach of traditional Savile Row tailoring; a modernisation that continued in the 1990s with the "New Bespoke Movement", involving the designers Richard James, Ozwald Boateng, and Timothy Everest. The term "bespoke" as applied to fine tailoring is understood to have originated in Savile Row, and came to mean a suit cut and made by hand.


title: Savile Row

text: Savile Row runs parallel to Regent Street between Conduit Street at the northern end and Vigo Street at the southern. Linking roads include New Burlington Place, New Burlington Street, Boyle Street, and Clifford Street.


title: Savile Row

text: The freehold is owned by the Pollen Estate. In 2016 Westminster City Council commenced attempts to protect the street's tailoring heritage under the Savile Row SPA (Special Policy Area).


title: Savile Row

text: As of August 2014, Norway's Oil Fund, the world's largest sovereign wealth fund, had acquired a 57.8% interest in the Pollen Estate. This includes properties in Mayfair, among which is Savile Row.


title: Savile Row

text: The first house in what would become Savile Row was "a fine House and Ground", built in 1674 on the site of what is now No. 1, and occupied by a series of nobles until it was demolished in 1730 in preparation for the laying out of the houses on the east of Savile Row in 1731. Savile Row was built between 1731 and 1735, on freehold land known as Ten Acres belonging to a merchant tailor, William Maddox, as part of the development of the Burlington Estate, and is named after Lady Dorothy Savile, wife of the 3rd Earl of Burlington. Maddox's land, consisting mainly of fruit and other trees covering what would become Savile Row and the streets around, some of which is still owned by his descendants as the Pollen Estate. When initially laid out – under the name Saville Street – Savile Row ran from Burlington Gardens (then Vigo Lane) to Boyle Street, with houses only on the east side, but in the 19th century, houses were built on the west side.


title: Savile Row

text: Initially, the street was occupied by military officers and their wives, along with politicians: William Pitt the Younger wrote letters from the street when it was called Savile Street; Irish-born playwright and MP, Richard Brinsley Sheridan lived at 14 Savile Row in 1813–16, till his death. Jules Verne had Phileas Fogg, his lead character in "Around the World in Eighty Days", live at 7 Savile Row – a "fashionable address" and "the former home of Sheridan". It may have been the affluent and influential nature of the residents of Savile Row that first attracted dealers in luxury goods to the area.


title: Savile Row

text: Tailors started to take premises around Savile Row in the late 18th century, first in Cork Street, about 1790, then by 1803 in Savile Row itself. In 1846, Henry Poole, credited as creator of the dinner jacket or tuxedo, opened an entrance at 37 Savile Row from his late father's tailoring premises at 4 Old Burlington Street. As tailoring moved into the street, the house frontages were altered to bring natural light into the tailors' working area with the addition of glass frontages and light wells. The houses have been much altered over time; the original Burlingtonian design has been mostly lost, though No. 14 still retains much of the original external features.


title: Savile Row

text: The Royal Geographical Society occupied No. 1 from 1870 to 1912, from where significant British exploration was planned, including into Asia, Africa, and the South Pole; and, according to the society, the address "became associated with adventure and travel". David Livingstone was laid out in state at the society's headquarters, before being buried in Westminster Abbey. In 1871, shortly after the Royal Geographical Society moved into Savile Row, so did the Savile Club; a gentlemen's club founded in 1868 as the New Club, occupying rooms overlooking Trafalgar Square; it changed to its current name during its residence at 12 Savile Row, retaining the name when it moved in 1882 to premises in Piccadilly.


title: Savile Row

text: Savile Row was extended to Conduit Street in 1937–38, and by 1939, the Metropolitan Police Station was constructed on the corner of Boyle Street. This police station was damaged in another German bombing raid in September 1940, during which the building opposite, No. 21a, was destroyed, as was No. 7 earlier that month. Fortress House, an eight-storey block of offices faced with Portland stone, was constructed at 23 Savile Row in 1949-50 and occupied by a series of government ministries, ending with a long period of occupation by English Heritage until 2006. It was demolished in 2009 and replaced by a new mixed-use development designed by Eric Parry, Architects.


title: Savile Row

text: In July 1968, the Beatles moved Apple Corps, their multimedia corporation, into 3 Savile Row. A studio was built in the basement; though it was poorly designed, the Beatles recorded "Let It Be" there before a new studio was constructed in 1971 at an estimated cost of $1.5 million. Various artists, including Badfinger, Mary Hopkin, and Marc Bolan recorded in the basement studio until it closed in May 1975. The Beatles' final live performance, known as the "rooftop concert", was held on the roof of the building, on 30 January 1969, and was recorded for the documentary film "Let It Be"; the last words of the band, spoken by John Lennon as the police stopped the performance, were "I hope we passed the audition."


title: Savile Row

text: In 1969, Nutters of Savile Row modernised the style and approach of the traditional tailors; a modernisation which continued in the 1990s with the "New Bespoke Movement", involving the designers Richard James, Ozwald Boateng, and Timothy Everest. With increasing rents and criticisms from Giorgio Armani of falling behind the times, the number of tailors in Savile Row had declined to 19 in 2006, from approximately 40 in the 1950s. However, tailoring businesses have increased since 2006; as of October 2014, a local online directory listed 44 tailoring and clothing businesses on and around Savile Row. Some tailors had expressed concern in 2005 that an increase in commercial development in the area could lead to the death of the business locally, as tailors, many of whom traditionally manufacture their suits in their premises, in basement studios, could be priced out of the local property market. The Savile Row Bespoke Association was founded in 2004 to protect and develop bespoke tailoring as practised in Savile Row and the surrounding streets. The member tailors are typically required to put at least 50 hours of hand labour into each two-piece suit. The Association, along with the owners, the Pollen Estate, is working in partnership with Westminster Council to protect the street's tailoring heritage under the Savile Row SPA (Special Policy Area).


title: Savile Row

text: The Association objected to the American retailer Abercrombie & Fitch's plan to open a children's store at 3 Savile Row, concerned that chain stores entering the street would drive up rents, and took part in, what was then, a successful protest in 2012. However, A&F were allowed to move in and set up a children's store in 2013, although it has since closed.


title: Savile Row

text: Starting in 1946, 14 Savile Row was the home of Hardy Amies which changed ownership several times over the course of its history. In 2018, the company went into administration for a second time, and was attempting to sell its assets in 2019. The Savile Row store was closed in March 2019 and the space taken over by Hackett in June as its flagship store.


title: Savile Row

text: The original architectural plan for Savile Row is believed to have been drawn up by Colen Campbell, with Henry Flitcroft as the main architect of the street, under the supervision of Daniel Garrett; though 1 and 22–23 Savile Row were designed by William Kent, who moved into No. 2. These architects were all under the influence of Burlington's interpretation of Palladian architecture, known as "Burlingtonian", which was to have some influence on English architecture in the 16th century. As tailoring moved into the street, the house frontages were altered to bring natural light into the tailors' working area with the addition of glass frontages and light wells. The houses have been much altered over time; the original Burlingtonian design has been mostly lost, though No. 14 still retains much of the original external features. When the Royal Geographical Society occupied No. 1, they built a glass-roofed map-room in the courtyard, a small astronomical observatory on the roof, and a new portico – which may be the basis for the current appearance of the façade.


title: Savile Row

text: Several of the buildings on Savile Row are listed on the National Heritage List for England; 1 Savile Row (6A Vigo Street) is listed Grade II, 3 Savile Row is listed II*, 12, 12A and 13 are listed II as a group, 14 is listed Grade II*, 17 is listed Grade II, 16 is listed Grade II, and 11 is listed II*.


title: Savile Row

text: Savile Row's reputation is built on bespoke tailoring, where each suit is made to individually fit. The term "bespoke", which has an etymology developing from "to exclaim" through "discussed in advance" and is generally understood to mean "made to order", became associated with fine tailoring, with tailors claiming that the term has been in common use for tailoring since the 17th century. Savile Row tailors argue that "bespoke", in relation to tailoring, is understood to mean a suit cut and made by hand; however, after a ruling by the Advertising Standards Authority in 2008, the term may now also be applied to machine sewed garments, provided they are made-to-measure.


title: Savile Row

text: Customers of the "golden mile of tailoring" have included Lord Nelson, Napoleon III, Winston Churchill, Prince Charles, and Jude Law, Quaid-i-Azam Muhammad Ali Jinnah, the founder of Pakistan used to order his suits from Savile Row. Although it is sometimes reported that Ian Fleming and his character James Bond bought suits in Savile Row, there is no evidence for this in the novels; both Fleming and the Bond film character wore suits designed by non-Savile Row tailors, in particular Anthony Sinclair of nearby Conduit Street.


title: Savile Row

text: Tailors, attracted by the affluent and influential nature of the residents of Savile Row, started to open businesses in the area in the late 18th century, first in Cork Street, about 1790, then by 1803 in Savile Row itself. None of those original tailors survive today, though Henry Poole & Co, who through Edward VII's patronage, helped make the street fashionable, still have a presence in Savile Row. Poole moved the company into 32 Savile Row in 1846, following the death of his father James Poole, and the company is now at No. 15. Henry Poole is credited as creator of the dinner jacket, when he made a smoking jacket for the young Edward VII in 1860.


title: Savile Row

text: Tailoring was softened in the early 20th century by Frederick Scholte when he developed the English drape for the Duke of Windsor. Scholte's "dress soft" style was developed into the "London cut", the house style of Anderson & Sheppard, by Per Anderson, a protégé of Sholte. The "London cut" is a high small armhole with a generous upper sleeve that permits the jacket to remain close to the neck while freeing the arm to move with comfort.


title: Savile Row

text: Though the reputation of tailoring on Savile Row is for bespoke suits, ready-to-wear clothes were introduced by Gieves & Hawkes, a company formed in 1974 by the merger of two separate businesses who both date from the late 19th century: Gieves, a Royal Navy tailor founded in Portsmouth; and Hawkes, a London-based cap-maker and tailor to the British Army. Hardy Amies Ltd further broadened the scope and appeal of tailoring in Savile Row: in 1961, he staged the first men's ready-to-wear catwalk shows, at the Ritz Hotel in London, he designed costumes for the 1966 England World Cup team, and for the 1968 film "", and dressed the Queen, designing the gown used for the Silver Jubilee portrait in 1977. Hardy Amies founded the company in 1946, converting the bombed out shell of No. 14. Amies sold the business to the Luxury Brands Group and retired in 2001, but it went into administration in 2008 when it was bought by Fung Capital. It went back into administration in 2018 but on this occasion no buyer was found and the House was closed.


title: Savile Row

text: Modernisation of tailoring continued in 1969 with Nutters of Savile Row. Nutters of Savile Row was opened on Valentine's Day 1969 by Tommy Nutter and Edward Sexton, who had worked together at Donaldson, Williamson & Ward. Financially backed by Cilla Black and Peter Brown of the Beatles Apple Corps, Nutters used bold window displays, created by the then unknown Simon Doonan; and clients included the Beatles, Mick Jagger, Elton John, and Andrew Lloyd Webber. Nutter left the company in 1976 and went to work at Kilgour. He died in 1992. However, Terry Haste, cutter at Tommy Nutter, continues with John Kent (holder of the Royal Warrant for the Duke of Edinburgh) nearby at 7 Sackville Street.


title: Savile Row

text: Modernisation had slowed by the early 1990s; Savile Row tailors were "struggling to find relevance with an audience that had grown increasingly disassociated". Three tailors, Ozwald Boateng, Timothy Everest (an apprentice of Nutter's), and Richard James, then became known for revitalising the bespoke style for the modern market - having each broken away independently from the Savile Row mould. Public relations professional Alison Hargreaves coined the term "New Bespoke Movement" to describe collectively the work of this "new generation" of tailors. Interest reached a peak in 1997 when the three were featured together in "Vanity Fair". The newcomers altered their shop fronts and used marketing and publicity to their advantage; challenging the traditional Savile Row styling, they brought twists and "a fine sense of colour to bespoke suits." They were seen to "push the envelope of modern suit making and bespoke active wear, creating more contemporary silhouettes with bolder fabrics," and set out to attract celebrity clients, sell their clothing via supermarket chains, and attract wider national and international custom, raising the profile of their new tailoring style.


Lawrence Kohlberg's stages of moral development constitute an adaptation of a psychological theory originally conceived by the Swiss psychologist Jean Piaget. Kohlberg began work on this topic as a psychology graduate student at the University of Chicago in 1958 and expanded upon the theory throughout his life.


title: Lawrence Kohlberg's stages of moral development

text: The theory holds that moral reasoning, a necessary (but not sufficient) condition for ethical behavior, has six developmental stages, each more adequate at responding to moral dilemmas than its predecessor. Kohlberg followed the development of moral judgment far beyond the ages studied earlier by Piaget, who also claimed that logic and morality develop through constructive stages. Expanding on Piaget's work, Kohlberg determined that the process of moral development was principally concerned with justice and that it continued throughout the individual's life, a notion that led to dialogue on the philosophical implications of such research.


text: The six stages of moral development occur in phases of pre-conventional, conventional and post-conventional morality. For his studies, Kohlberg relied on stories such as the Heinz dilemma and was interested in how individuals would justify their actions if placed in similar moral dilemmas. He analyzed the form of moral reasoning displayed, rather than its conclusion and classified it into one of six stages.


text: There have been critiques of the theory from several perspectives. Arguments have been made that it emphasizes justice to the exclusion of other moral values, such as caring; that there is such an overlap between stages that they should more properly be regarded as domains or that evaluations of the reasons for moral choices are mostly "post hoc" rationalizations (by both decision makers and psychologists) of intuitive decisions.


text: A new field within psychology was created by Kohlberg's theory, and according to Haggbloom et al.'s study of the most eminent psychologists of the 20th century, Kohlberg was the 16th most frequently cited in introductory psychology textbooks throughout the century, as well as the 30th most eminent. Kohlberg's scale is about how people justify behaviors and his stages are not a method of ranking how moral someone's behavior is; there should be a correlation between how someone scores on the scale and how they behave. The general hypothesis is that moral behaviour is more responsible, consistent and predictable from people at higher levels.


text: Kohlberg's six stages can be more generally grouped into three levels of two stages each: pre-conventional, conventional and post-conventional. Following Piaget's constructivist requirements for a stage model, as described in his theory of cognitive development, it is extremely rare to regress in stages—to lose the use of higher stage abilities. Stages cannot be skipped; each provides a new and necessary perspective, more comprehensive and differentiated than its predecessors but integrated with them.


text: The understanding gained in each stage is retained in later stages, but may be regarded by those in later stages as simplistic, lacking in sufficient attention to detail.


text: The pre-conventional level of moral reasoning is especially common in children and is expected to occur in animals, although adults can also exhibit this level of reasoning. Reasoners at this level judge the morality of an action by its direct consequences. The pre-conventional level consists of the first and second stages of moral development and is solely concerned with the self in an egocentric manner. A child with pre-conventional morality has not yet adopted or internalized society's conventions regarding what is right or wrong but instead focuses largely on external consequences that certain actions may bring.


text: In Stage one (obedience and punishment driven), individuals focus on the direct consequences of their actions on themselves. For example, an action is perceived as morally wrong because the perpetrator is punished. "The last time I did that I got spanked, so I will not do it again." The worse the punishment for the act is, the more "bad" the act is perceived to be. This can give rise to an inference that even innocent victims are guilty in proportion to their suffering. It is "egocentric", lacking recognition that others' points of view are different from one's own. There is "deference to superior power or prestige".


text: An example of obedience and punishment driven morality would be a child refusing to do something because it is wrong and that the consequences could result in punishment. For example, a child's classmate tries to dare the child to skip school. The child would apply obedience and punishment driven morality by refusing to skip school because he would get punished.


text: Stage two (self-interest driven) expresses the "what's in it for me" position, in which right behavior is defined by whatever the individual believes to be in their best interest, or whatever is "convenient," but understood in a narrow way which does not consider one's reputation or relationships to groups of people. Stage two reasoning shows a limited interest in the needs of others, but only to a point where it might further the individual's own interests. As a result, concern for others is not based on loyalty or intrinsic respect, but rather a "You scratch my back, and I'll scratch yours" mentality, which is commonly described as quid pro quo, a Latin term that means doing or giving something in order to get something in return. The lack of a societal perspective in the pre-conventional level is quite different from the social contract (stage five), as all actions at this stage have the purpose of serving the individual's own needs or interests. For the stage two theorist, the world's perspective is often seen as morally relative. See also: reciprocal altruism.


text: The conventional level of moral reasoning is typical of adolescents and adults. To reason in a conventional way is to judge the morality of actions by comparing them to society's views and expectations. The conventional level consists of the third and fourth stages of moral development. Conventional morality is characterized by an acceptance of society's conventions concerning right and wrong. At this level an individual obeys rules and follows society's norms even when there are no consequences for obedience or disobedience. Adherence to rules and conventions is somewhat rigid, however, and a rule's appropriateness or fairness is seldom questioned.


text: In Stage three (good intentions as determined by social consensus), the self enters society by conforming to social standards. Individuals are receptive to approval or disapproval from others as it reflects society's views. They try to be a "good boy" or "good girl" to live up to these expectations, having learned that being regarded as good benefits the self. Stage three reasoning may judge the morality of an action by evaluating its consequences in terms of a person's relationships, which now begin to include things like respect, gratitude, and the "golden rule". "I want to be liked and thought well of; apparently, not being naughty makes people like me." Conforming to the rules for one's social role is not yet fully understood. The intentions of actors play a more significant role in reasoning at this stage; one may feel more forgiving if one thinks that "they mean well".


text: In Stage four (authority and social order obedience driven), it is important to obey laws, dicta, and social conventions because of their importance in maintaining a functioning society. Moral reasoning in stage four is thus beyond the need for individual approval exhibited in stage three. A central ideal or ideals often prescribe what is right and wrong. If one person violates a law, perhaps everyone would—thus there is an obligation and a duty to uphold laws and rules. When someone does violate a law, it is morally wrong; culpability is thus a significant factor in this stage as it separates the bad domains from the good ones. Most active members of society remain at stage four, where morality is still predominantly dictated by an outside force.


text: The post-conventional level, also known as the principled level, is marked by a growing realization that individuals are separate entities from society, and that the individual's own perspective may take precedence over society's view; individuals may disobey rules inconsistent with their own principles. Post-conventional moralists live by their own ethical principles—principles that typically include such basic human rights as life, liberty, and justice. People who exhibit post-conventional morality view rules as useful but changeable mechanisms—ideally rules can maintain the general social order and protect human rights. Rules are not absolute dictates that must be obeyed without question. Because post-conventional individuals elevate their own moral evaluation of a situation over social conventions, their behavior, especially at stage six, can be confused with that of those at the pre-conventional level.


text: Some theorists have speculated that many people may never reach this level of abstract moral reasoning.


text: In Stage five (social contract driven), the world is viewed as holding different opinions, rights, and values. Such perspectives should be mutually respected as unique to each person or community. Laws are regarded as social contracts rather than rigid edicts. Those that do not promote the general welfare should be changed when necessary to/that meet "the greatest good for the greatest number of people". This is achieved through majority decision and inevitable compromise. Democratic government is ostensibly based on stage five reasoning.


text: In Stage six (universal ethical principles driven), moral reasoning is based on abstract reasoning using universal ethical principles. Laws are valid only insofar as they are grounded in justice, and a commitment to justice carries with it an obligation to disobey unjust laws. Legal rights are unnecessary, as social contracts are not essential for deontic moral action. Decisions are not reached hypothetically in a conditional way but rather categorically in an absolute way, as in the philosophy of Immanuel Kant. This involves an individual imagining what they would do in another's shoes, if they believed what that other person imagines to be true. The resulting consensus is the action taken. In this way action is never a means but always an end in itself; the individual acts because it is right, and not because it avoids punishment, is in their best interest, expected, legal, or previously agreed upon. Although Kohlberg insisted that stage six exists, he found it difficult to identify individuals who consistently operated at that level. Touro College Researcher Arthur P. Sullivan helped support the accuracy of Kohlberg's first five stages through data analysis, but could not provide statistical evidence for the existence of Kohlberg's sixth stage. Therefore, it is difficult to define/recognize as a concrete stage in moral development.


text: In his empirical studies of individuals throughout their life, Kohlberg observed that some had apparently undergone moral stage regression. This could be resolved either by allowing for moral regression or by extending the theory. Kohlberg chose the latter, postulating the existence of sub-stages in which the emerging stage has not yet been fully integrated into the personality. In particular Kohlberg noted a stage 4½ or 4+, a transition from stage four to five, that shared characteristics of both. In this stage the individual is disaffected with the arbitrary nature of law and order reasoning; culpability is frequently turned from being defined by society to viewing society itself as culpable. This stage is often mistaken for the moral relativism of stage two, as the individual views those interests of society that conflict with their own as being relatively and morally wrong. Kohlberg noted that this was often observed in students entering college.


text: Kohlberg suggested that there may be a seventh stage—Transcendental Morality, or Morality of Cosmic Orientation—which linked religion with moral reasoning. Kohlberg's difficulties in obtaining empirical evidence for even a sixth stage, however, led him to emphasize the speculative nature of his seventh stage.


text: Kohlberg's stages of moral development are based on the assumption that humans are inherently communicative, capable of reason and possess a desire to understand others and the world around them. The stages of this model relate to the qualitative moral "reasonings" adopted by individuals and do not translate directly into praise or blame of any individual's actions or character. Arguing that his theory measures moral reasoning and not particular moral conclusions, Kohlberg insists that the "form and structure" of moral arguments is independent of the "content" of those arguments, a position he calls "formalism".


text: Kohlberg's theory follows the notion that justice is the essential characteristic of moral reasoning. Justice itself relies heavily upon the notion of sound reasoning based on principles. Despite being a justice-centered theory of morality, Kohlberg considered it to be compatible with plausible formulations of deontology and eudaimonia.


text: Kohlberg's theory understands values as a critical component of "the right". Whatever the right is, for Kohlberg, it must be universally valid among societies (a position known as "moral universalism"): there can be no relativism. Morals are not natural features of the world; they are prescriptive. Nevertheless, moral judgments can be evaluated in logical terms of truth and falsity.


text: According to Kohlberg, someone progressing to a higher stage of moral reasoning cannot skip stages. For example, an individual cannot jump from being concerned mostly with peer judgments (stage three) to being a proponent of social contracts (stage five). On encountering a moral dilemma and finding their current level of moral reasoning unsatisfactory, an individual will look to the next level. Realizing the limitations of the current stage of thinking is the driving force behind moral development, as each progressive stage is more adequate than the last. The process is therefore considered to be constructive, as it is initiated by the conscious construction of the individual and is not in any meaningful sense a component of the individual's innate dispositions or a result of past inductions.


text: Progress through Kohlberg's stages happens due to the individual's increasing competence, psychologically and in balancing conflicting social-value claims. The process of resolving conflicting claims to reach an equilibrium is called "justice operation." Kohlberg identifies two of these justice operations: "equality," which involves impartial regard for persons, and "reciprocity", which means regard for the role of personal merit. For Kohlberg, the most adequate result of both operations is "reversibility," in which a moral or dutiful act within a particular situation is evaluated in terms of whether or not the act would be satisfactory even if particular persons were to switch roles within that situation (also known colloquially as "moral musical chairs").


text: Knowledge and learning contribute to moral development. Specifically important are the individual's "view of persons" and their "social perspective level", each of which becomes more complex and mature with each advancing stage. The "view of persons" can be understood as the individual's grasp of the psychology of other persons; it may be pictured as a spectrum, with stage one having no view of other persons at all, and stage six being entirely socio-centric. The social perspective level involves the understanding of the social universe, differing from the view of persons in that it involves an appreciation of social norms.


text: Kohlberg established the "Moral Judgement Interview" in his original 1958 dissertation. During the roughly 45-minute tape recorded semi-structured interview, the interviewer uses moral dilemmas to determine which stage of moral reasoning a person uses. The dilemmas are fictional short stories that describe situations in which a person has to make a moral decision. The participant is asked a systemic series of open-ended questions, like what they think the right course of action is, as well as justifications as to why certain actions are right or wrong. The form and structure of these replies are scored and not the content; over a set of multiple moral dilemmas an overall score is derived.


text: A dilemma that Kohlberg used in his original research was the druggist's dilemma: "Heinz Steals the Drug In Europe." Other stories on moral dilemma that Kohlberg used in his research were about two young men trying to skip town, both steal money to leave town but the question then becomes whose crime was worse out of the two. A boy, Joe, saving up money for camp and must decide whether to use his money for camp or give it to his father who wants to use the money to go on a trip with his friends. And a story about Judy and Louise, two sisters, and whether Louise should tell their mother the truth about Judy telling a lie to their mother, that she didn't have money to spend on clothes because she went to a concert.


text: A critique of Kohlberg's theory is that it emphasizes justice to the exclusion of other values and so may not adequately address the arguments of those who value other moral aspects of actions. Carol Gilligan, in her book "In a Different Voice", has argued that Kohlberg's theory is excessively androcentric. Kohlberg's theory was initially based on empirical research using only male participants; Gilligan argued that it did not adequately describe the concerns of women. Kohlberg stated that women tend to get stuck at level 3, being primarily concerned with details of how to maintain relationships and promote the welfare of family and friends. Men are likely to move on to the abstract principles and thus have less concern with the particulars of who is involved. Consistent with this observation, Gilligan's theory of moral development does not value justice above other considerations. She developed an alternative theory of moral reasoning based on the ethics of caring. Critics such as Christina Hoff Sommers argued that Gilligan's research is ill-founded and that no evidence exists to support her conclusion.


text: Kohlberg's stages are not culturally neutral, as demonstrated by its use for several cultures (particularly in the case of the highest developmental stages). Although they progress through the stages in the same order, individuals in different cultures seem to do so at different rates. Kohlberg has responded by saying that although cultures inculcate different beliefs, his stages correspond to underlying modes of reasoning, rather than to beliefs.<ref name="kohlberg/gilligan"></ref> Most cultures do place some value of life, truth, and law, but to assert that these values are virtually universal requires more research. While there had been some research done to support Kohlberg's assumption of universality for his stages of moral development, there are still plenty of caveats and variations yet to be understood and researched. Regarding universality, stages 1, 2, and 3 of Kohlberg's theory can be seen as universal stages cross culturally, only until stages 4 and 5 does universality begin to be scrutinized. According to Snarey and Kelio, Kohlberg's theory of moral development is not represented in ideas like Gemeinschaft of the communitive feeling. While there had been criticism directed towards the cross-cultural universality of Kohlberg's theory, Carolyn Edwards argued that the dilemma interview method, the standard scoring system, and the cognitive-development theory are all valid and productive in teaching and understanding of moral reasoning across all cultures.


text: Another criticism of Kohlberg's theory is that people frequently demonstrate significant inconsistency in their moral judgements. This often occurs in moral dilemmas involving drinking and driving and business situations where participants have been shown to reason at a subpar stage, typically using more self-interested reasoning (stage two) than authority and social order obedience reasoning (stage four). Kohlberg's theory is generally considered to be incompatible with inconsistencies in moral reasoning. Carpendale has argued that Kohlberg's theory should be modified to focus on the view that the process of moral reasoning involves integrating varying perspectives of a moral dilemma rather than simply fixating on applying rules. This view would allow for inconsistency in moral reasoning since individuals may be hampered by their inability to consider different perspectives. Krebs and Denton have also attempted to modify Kohlberg's theory to account for conflicting findings but eventually concluded that the theory cannot account for how most individuals make moral decisions in their everyday lives.


text: Other psychologists have questioned the assumption that moral action is primarily a result of formal reasoning. Social intuitionists such as Jonathan Haidt argue that individuals often make moral judgments without weighing concerns such as fairness, law, human rights or ethical values. Thus the arguments analyzed by Kohlberg and other rationalist psychologists could be considered "post hoc" rationalizations of intuitive decisions; moral reasoning may be less relevant to moral action than Kohlberg's theory suggests.


text: In 1999, some of Kohlberg's measures were tested when Anne Colby and William Damon published a study in which the development was examined in the lives of moral exemplars that exhibited high levels of moral commitment in their everyday behavior. The researchers utilized the moral judgement interview (MJI) and two standard dilemmas to compare the 23 exemplars with a more ordinary group of people. The intention was to learn more about moral exemplars and to examine the strengths and weaknesses of the Kohlberg measure. They found that the MJI scores were not clustered at the high end of Kohlberg's scale; they ranged from stage 3 to stage 5. Half landed at the conventional level (stages 3, 3/4, and 4) and the other half landed at the postconventional level (stages 4/5 and 5). Compared to the general population, the scores of the moral exemplars may be somewhat higher than those of groups not selected for outstanding moral behaviour. Researchers noted that the "moral judgement scores are clearly related to subjects' educational attainment in this study". Among the participants that had attained college education or above, there was no difference in moral judgement scores between genders. The study noted that although the exemplars' scores may have been higher than those of nonexemplars, it is also clear that one is not required to score at Kohlberg's highest stages in order to exhibit high degrees of moral commitment and exemplary behaviour. Apart from their scores, it was found that the 23 participating moral exemplars described three similar themes within all of their moral developments: certainty, positivity, and the unity of self and moral goals. The unity between self and moral goals was highlighted as the most important theme as it is what truly sets the exemplars apart from the 'ordinary' people. It was discovered that the moral exemplars see their morality as a part of their sense of identity and sense of self, not as a conscious choice or chore. Also, the moral exemplars showed a much broader range of moral concern than did the ordinary people and go beyond the normal acts of daily moral engagements.


text: Rather than confirm the existence of a single highest stage, Larry Walker's cluster analysis of a wide variety of interview and survey variables for moral exemplars found three types: the "caring" or "communal" cluster was strongly relational and generative, the "deliberative" cluster had sophisticated epistemic and moral reasoning, and the "brave" or "ordinary" cluster was less distinguished by personality.


text: Kohlberg's body of work on the stages of moral development has been utilized by others working in the field. One example is the "Defining Issues Test" ("DIT") created in 1979 by James Rest, originally as a pencil-and-paper alternative to the Moral Judgement Interview. Heavily influenced by the six-stage model, it made efforts to improve the validity criteria by using a quantitative test, the Likert scale, to rate moral dilemmas similar to Kohlberg's. It also used a large body of Kohlbergian theory such as the idea of "post-conventional thinking". In 1999 the "DIT" was revised as the "DIT-2"; the test continues to be used in many areas where moral testing is required, such as divinity, politics, and medicine.


text: The American psychologist William Damon developed a theory that is based on Kohlberg's research. Still, it has the merit of focusing on and analysing moral reasoning's behavioural aspects and not just the idea of justice and rightness. Damon's methodology was experimental, using children aged between 3 and 9 who were required to share toys. The study applied the sharing resources technique to operationalise the dependent variable it measured: equity or justice.


text: Level 1 – nothing stops the egocentric tendency. The children want all the toys without feeling the need to justify their preference. The justice criterion is the absolute wish of the self;


text: Level 2 – the child wants almost all of the toys and justifies his choice in an arbitrary or egocentric manner (e.g., "I should play with them because I have a red dress", "They are mine because I like them!");


text: Level 4 – the merit criterion emerges (e.g., "Johnny should take more because he was such a good boy");


text: Level 5 – necessity is seen as the most important selection criterion (e.g., "She should take the most because she was sick", "Give more to Matt because he is poor");


text: Level 6 – the dilemmas begin to come up: can justice be achieved, considering only one criterion? The consequence is the combining of criteria: equality + merit, equality + necessity, necessity + merit, equality = necessity + merit.


text: The final level of Damon's mini theory is an interesting display, in the social setting, of the logical cognitive operationalisation. This permits decentration and the combination of many points of view, favouring allocentrism.


title: Paisley (design)

text: Paisley or paisley pattern is an ornamental textile design using the "boteh" () or "buta", a teardrop-shaped motif with a curved upper end. Of Persian origin, paisley designs became popular in the West in the 18th and 19th centuries, following imports of post–Mughal Empire versions of the design from India, especially in the form of Kashmir shawls, and were then replicated locally.


title: Paisley (design)

text: Although the pine cone or almond-like form is of Persian origin, and the textile designs cramming many of them into a rich pattern are originally Indian, the English name for the patterns derives from the town of Paisley, in the west of Scotland, a centre for textiles where paisley designs were produced.


title: Paisley (design)

text: In the mid- to late 1960s, paisley became identified with psychedelic style and enjoyed mainstream popularity, partly due to the Beatles. Consequently, the style was particularly popular during the Summer of Love in 1967. The company Fender made a pink paisley version of their Telecaster guitar, by sticking paisley wallpaper onto the guitar bodies.


title: Paisley (design)

text: The pattern is still commonly seen in Britain and other English-speaking countries on men's ties, waistcoats, and scarfs, and remains popular in other items of clothing and textiles in Iran and South and Central Asian countries.


title: Paisley (design)

text: Some design scholars believe the buta is the convergence of a stylized floral spray and a cypress tree: a Zoroastrian symbol of life and eternity. The "bent" cedar is also a sign of strength and resistance but modesty. The floral motif was originated in the Sassanid dynasty and later in the Safavid dynasty of Persia (1501–1736), and was a major textile pattern in Iran during the Qajar and Pahlavi dynasties. In these periods, the pattern was used to decorate royal regalia, crowns, and court garments, as well as textiles used by the general population. Persian and Central Asian designs usually range the motifs in orderly rows, with a plain background.


title: Paisley (design)

text: There is significant speculation as to the origins and symbolism of Boteh Jehgeh, or "ancient motif", known in English as paisley. With experts contesting different time periods for its emergence, to understand the proliferation in the popularity of Boteh Jehgeh design and eventually Paisley, it is important to understand South Asian history. The early Indo-Iranian people flourished in South Asia, where they eventually exchanged linguistic, cultural, and even religious similarities. The ancient Indo-Iranian people shared a religion called Zoroastrianism. Zoroastrianism, some experts argue, served as one of the earliest influences for Boteh Jegeh's design with the shape representing the cypress tree, an ancient zoroastrian religious symbol. Others contest that the earliest representation of the patterns shape comes from the Sassanid Dynasty, who lived in modern-day Iran, dating to more than 2,200 years BCE and remained in power until the 3rd century CE. The design was representative of a tear drop. Some will argue that Boteh Jehgeh's origins stem from old religious beliefs and its meaning could symbolize the sun, a phoenix, or even an ancient Iranian religious sign for an eagle. Around the same time, a pattern called Boteh was gaining popularity in Iran; the pattern was a floral design, and was used as a high class decoration, mostly serving to decorate royal items that belonged to those of high status. It was said to have been a pattern worn to represent elite social status, such as that of nobility. The pattern was traditionally woven onto silk clothing using silver and gold material. The earliest evidence of the design being traded with other cultures was found at the Red Sea, where it is predicted that the earliest trades took place as far back as the 1400s, with both Egyptian and Greek peoples.


title: Paisley (design)

text: In the 18th and 19th centuries, the British East India Company introduced Kashmir shawls from India to England and Scotland where they were extremely fashionable and soon duplicated. The first place in the western world to imitate the design was the town of Paisley in Scotland, Europe's top producer of textiles at this time. Before being produced in Paisley, thus gaining its name in western culture, the paisley design was originally referred to by westerners simply as just pine and cone design. Technological innovation in textile manufacturing around this time made it so that western imitations of Kashmir shawls became competitive with Indian made shawls from Kashmir.


title: Paisley (design)

text: With the industrial revolution taking place in Europe, paisley shawls were manufactured at an industrial rate, and while the shawls from India could be quite expensive at the time, factory manufactured shawls made it so that the fashion became commonplace among middle-class people, thus boosting the design's popularity even more. While the western world appropriated much of eastern culture and design, the Boteh design was by far the most popular. Records indicate that William Moorcroft, an English businessman and explorer, visited the Himalayan mountains in the mid 1800s; upon his arrival, he was enthralled by Boteh designed Kashmir shawls and tried to arrange for entire families of Indian textile workers to move their lives to the United Kingdom. The earliest paisley shawls made in the United Kingdom, in Paisley, Scotland, were made out of fleece, a material that is put together in such a way that one side can be described as containing a soft, fluffy texture.


title: Paisley (design)

text: In Asia the paisley shawls were primarily worn by males often in formal or ceremonial contexts, but in Europe the shawls were primarily worn by women instead of men. While still holding an accurate resemblance to its original influence, the paisley design would begin to change once it began to be produced in western culture, with different towns in the United Kingdom applying their own spin to the design. The peak period of paisley as a fashionable design ended in the 1870s, perhaps as so many cheap versions were on the market.


title: Paisley (design)

text: The 1960s proved to be a massive time of revival for the paisley design in western culture. Popular culture in the United States developed a sort of fixation on eastern cultures in which many traditionally Indian styles became popularized. Paisley served as one of the styles to be revived, being worn by the likes of the Beatles, even the guitar company Fender used the design to decorate one of their most famous guitars, the Fender Telecaster. Today, the design remains common appearing on jewellery, suit ties, pocket books, cake decorations, tattoos, mouse pads for computers, scarves, and dresses. The pattern also influences furniture design internationally, with many countries using the paisley design for things such as wallpaper, pillows, curtains, and bed spreads.


title: Paisley (design)

text: Local manufacturers in Marseille began to mass-produce the patterns via early textile printing processes in 1640. England, circa 1670, and Holland, in 1678, soon followed. This in turn provided Europe's weavers with more competition than they could bear, and the production and import of printed paisley was forbidden in France by royal decree from 1686 to 1759. However, enforcement near the end of that period was lax, and France had its own printed textile manufacturing industry in place as early at 1746 in some locales. Paisley was not the only design produced by French textile printers; the demand for paisley which created the industry there also made possible production of native patterns such as "toile de Jouy".


title: Paisley (design)

text: In the 1800s, European production of paisley increased, particularly in the Scottish town from which the pattern takes its modern name. Soldiers returning from the colonies brought home cashmere wool shawls from India, and the East India Company imported more. The design was copied from the costly silk and wool Kashmir shawls and adapted first for use on handlooms, and, after 1820, on Jacquard looms.


title: Paisley (design)

text: From roughly 1800 to 1850, the weavers of the town of Paisley in Renfrewshire, Scotland, became the foremost producers of Paisley shawls. Unique additions to their hand-looms and Jacquard looms allowed them to work in five colours when most weavers were producing paisley using only two. The design became known as the "Paisley pattern". By 1860, Paisley could produce shawls with 15 colours, which was still only a quarter of the colors in the multicolour paisleys then still being imported from Kashmir.


title: Paisley (design)

text: In addition to the loom-woven fabric, the town of Paisley became a major site for the manufacture of printed cotton and wool in the 1800s, according to the Paisley Museum and Art Galleries. The paisley pattern was being printed, rather than woven, onto other textiles, including cotton squares which were the precursors of the modern bandanna. Printed paisley was cheaper than the costly woven paisley and this added to its popularity. The key places of printing paisley were Britain and the Alsace region of France.


title: Paisley (design)

text: In Persian language, Boteh can be translated to shrub or bush, while in Kashmir it carried the same meaning but was referred to as Buta, or Bu. One of the earliest evidence of the pattern as it relates to Islamic culture has been found at Noh Gumba mosque, in the city of Balkh in Afghanistan, where it is predicted that the pattern was included in the design as early as the 800s when the mosque was built. In early Iranian culture, the design was woven onto Termeh, one of the most valuable materials in early Iran where the design served to make clothing for the nobility. At this time, the Iranian nobility wore distinct uniforms called Khalaat, historically, the design was commonly found on the Khalaat uniforms. It is stated that at some point in the 1400s, Boteh was transported from Persia to Kashmir. In the same century, in the 1400s, some of the earliest recorded Kashmir shawls were produced in India, records from the 1500s, during Emperor Akbar's reign over the Mughal people in this area indicate that shawl making was already fashionable in India prior to Mughal conquest which took place in the early 1400s. It has been stated that during Emperor Akbars reign over the Mughal empire, Boteh Jehgeh shawls were extremely popular and fashionable. While one shawl was traditionally worn previously, it was during the rule of Emperor Akbar that the emperor decided to wear two shawls at a time to serve as a status symbol. Along with wearing the shawls frequently, Emperor Akbar also used the shawls as gifts to other rulers and high officials. It is believed that by the 1700s, Kashmir shawls were produced in the image that someone today would associate with modern paisley.


title: Paisley (design)

text: While today some people associate bandanas with cowboys or Cholo culture, paisley bandanas were popular during the late 1700s and their popularity in the United States coincides with the American revolution. In the late 18th and early 19th centuries, paisley bandanas began to appear with political and military advertisements printed on them. Such printed bandanas were prevalent during the early and mid- 1900s when World War I and World War II were being fought. It was thought that by purchasing and sporting a pro-war paisley bandana the buyer was helping to support their country in winning the war. The paisley bandana started to feature in Western movies and thus became a symbol of the American West.


title: Paisley (design)

text: Through the 1970s, paisley bandanas were worn by many blue collar and labor workers to keep dust out of their mouths and noses. The bandana's symbolism once again shifted in American minds, being associated with hard work. Famous country singer Willie Nelson began wearing bandanas when he moved from Nashville back to Austin, Texas "just in time to catch the hippie wave cresting at counterculture center the Armadillo World Headquarters." Around the same time, bandanas also became popular with motorcyclists, particularly with Harley Davidson riders and bikers." In the 1970s paisley bandanas also became popular amongst gangs in California, most notably with two well-known rival gangs, the Bloods who would wear red bandanas and the Crips who would wear blue bandanas.


title: Paisley (design)

text: Prince paid tribute to the rock and roll history of paisley when he created the Paisley Park Records recording label and established Paisley Park Studios, both named after his 1985 song "Paisley Park". The Paisley Underground was a music scene active around the same time.


title: Paisley (design)

text: Paisley was a favorite design element of British-Indian architect Laurie Baker. He has made numerous drawings and collages of what he called "mango designs". He used to include the shape in the buildings he designed also.


title: Paisley (design)

text: The modern French words for paisley are ', ' (""; not capitalized, which would mean ", the region") and "" ("palm", which – along with the pine and the cypress – is one of the traditional botanical motifs thought to have influenced the shape of the paisley element as it is now known).


title: Paisley (design)

text: In Chinese, it is known as the "ham hock pattern" (). In Russia, this ornament is known as "cucumbers" ().


title: Cozy Powell

text: Cozy Powell (born Colin Trevor Flooks; 29 December 1947 – 5 April 1998) was an English rock drummer who made his name with major rock bands and artists such as The Jeff Beck Group, Rainbow, Michael Schenker Group, Gary Moore, Robert Plant, Brian May, Whitesnake, Emerson, Lake & Powell, and Black Sabbath.


title: Cozy Powell

text: Powell appeared on at least 66 albums, with contributions on many other recordings. Many rock drummers have cited him as a major influence.


title: Cozy Powell

text: Colin Flooks (Cozy Powell) was born in Cirencester, Gloucestershire, and was adopted. He never knowingly met his birth parents. He started playing drums aged 12 in the school orchestra, thereafter playing along in his spare time to popular singles of the day. The first band Powell was in, called the Corals, played each week at the youth club in Cirencester. During this time the band broke the world record for non-stop playing. Aged 15, Cozy had already worked out an impressive drum solo. The stage name Cozy was borrowed from the jazz drummer Cozy Cole. The Corals also played at a youth club in Latton, a small village from Cirencester.


title: Cozy Powell

text: The semi-professional circuit was next, with semi-pro outfit The Sorcerers, a vocal-harmony pop band. The late nights and usual on-the-road exploits began to affect his education, and Powell left to take an office job to finance the purchase of his first set of Premier drums. The Sorcerers performed in the German club scene of the 1960s.


title: Cozy Powell

text: By 1968 the band had returned to England, basing themselves around Birmingham. Powell struck up friendships with fellow musicians like Robert Plant and John Bonham, future Slade vocalist Noddy Holder, bassist Dave Pegg and Tony Iommi. The Sorcerers now became Youngblood, and a series of singles were released in late 1968 and 1969. The group then linked up with The Move's bassist/singer Ace Kefford to form The Ace Kefford Stand. Five recorded tracks are available on the Ace Kefford album "Ace The Face", released by Sanctuary Records in 2003. Powell also began session work, and, with fellow Sorcerers Dave and Denny Ball, formed Big Bertha.


title: Cozy Powell

text: Powell also played with swamp rocker Tony Joe White at the Isle of Wight Festival 1970. Powell landed the then highly prestigious drumming job with Jeff Beck's group in April 1970. Their first project was to record an album of Motown covers in the USA. This was never finished and remains unreleased. During the sessions, photographs show Cozy Powell and Jeff Beck present at the recording of Stevie Wonder's "Superstition", on which Jeff Beck appears. Cozy has stated in interviews he plays on the record, but this remains to be confirmed. After the recording of two albums, "Rough and Ready" (October 1971) and "Jeff Beck Group" (July 1972), the band fell apart.


title: Cozy Powell

text: In 1972 Powell drummed for two tracks ("Hey Sandy" and "Martha") on Harvey Andrews' album "Writer of Songs". By late 1972 he had joined up with the Ball brothers and singer Frank Aiello to form Bedlam, whose eponymous album was recorded for Chrysalis and released in August 1973.


title: Cozy Powell

text: With Powell's session work at RAK and subsequent solo success (including "Dance with the Devil", which reached No. 3 in the UK singles chart during January 1974), Bedlam fell apart. "Dance With The Devil" was his only solo hit in the United States, peaking at No. 49. The track featured Suzi Quatro on bass. Powell's second hit during 1974 was with "The Man in Black", which reached No. 18. Arrows front man Alan Merrill, also a RAK records artist, played electric bass on '"The Man in Black'" and the b-side '"After Dark". Jeff Beck's studio producer was Mickie Most and Powell soon found himself drafted into sessions for artists signed to Most's RAK label, including Julie Felix, Hot Chocolate, Donovan and Suzi Quatro. To cash in on his chart success, the drummer formed "Cozy Powell's Hammer" in April 1974. The line-up included Bernie Marsden (guitar), Clive Chaman (bass), Don Airey (keyboards) and Frank Aiello (Bedlam) on vocals. Clive Chaman was replaced on bass by Neil Murray in the band in early 1975 for the RAK Rocks Britain Tour. "Na Na Na" was a UK No. 10 hit, and another single "Le Souk" was recorded but never released.


title: Cozy Powell

text: Sharing a love of the power-trio set up (Cream), Cozy Powell formed a band with guitarist Clem Clempson and bassist Greg Ridley (Humble Pie), but when this fell apart Cozy temporarily quit the music business to take up motorcycle racing. His desire to launch a three-piece in the vein of Cream remained; recordings with Tipton, Entwistle & Powell are testament to this as much as sessions with Cream's Jack Bruce and on guitar Uli Jon Roth, briefly after recording for Cinderella: "to get him (Uli Roth) had been the idea of Larry Mazor (at the time manager of Cinderella), Jack met him, but at the time Uli was busy with a symphony. I don't think it would have worked, we had him in mind as well as some other people, like Gary Moore, ideally Jeff Beck really", followed by Clem Clempson, Pat Travers and Pat Thrall with whom they recorded, shopped for a deal - unsuccessfully—until Powell would join Black Sabbath.


title: Cozy Powell

text: In 1975 Powell joined Rainbow and over the next five years he and guitarist Ritchie Blackmore were the only constants in the band's line-up. Rainbow's 1979 album, "Down to Earth", featured Graham Bonnet on vocals and included the singles "Since You Been Gone" and "All Night Long", which reached number 6 and number 5 on the UK charts respectively. During this time, Blackmore evolved the sound of the band from a neo-classical hard rock-heavy metal to a more commercial AOR sound. This proved to be the band's most successful album to date. However, Powell was concerned with the overtly commercial direction of the band and decided to leave Rainbow, although not before they headlined the first Monsters of Rock show at Castle Donington, England, on 16 August 1980. The festival was Powell's last show with the band.


title: Cozy Powell

text: After leaving Rainbow, Powell again worked with vocalist Graham Bonnet, their most notable single being "Night Games" from Bonnet's solo album "Line-Up", which reached number 6 in the UK singles chart. For the rest of the 1980s, Powell assumed short-term journeyman roles with a number of major bands including The Michael Schenker Group. In 1985 he started recording with Phenomena for their self-titled first album, which was released the same year. He also worked briefly with another new supergroup named Forcefield along with Bonnet and later Tony Martin on vocals, former Ian Gillan Band member Ray Fenwick and former Focus member Jan Akkerman on the guitars, Neil Murray and later Laurence Cottle on bass. Cottle would eventually join as a session player for the recording of Black Sabbath's Headless Cross and again was replaced by Murray following that tour.


title: Cozy Powell

text: Powell was invited to join Whitesnake in late of 1982 after his departure from Michael Schenker Group to replace Ian Paice for a presumed farewell tour with the band in Europe, but after the success of the "Saints & Sinners" album in the British and Japanese charts, and a successful tour that culminated in a memorable performance at the Monsters of Rock Festival in August 1983, the band signed with the American label Geffen Records. Due to contractual obligations, the band had to release one more album for their previous label Liberty which would be 1984's "Slide It In". Now under guidance of A&R executive John Kalodner the album was remixed with the help of producer Keith Olsen for the American market with Cozy, guitarist Mel Galley and keyboardist Jon Lord the only remaining members of the previous line up along with singer David Coverdale. Powell's tenure with the band ended in the summer of 1985, as he was offered to join Keith Emerson and Greg Lake in a revamped version of ELP.


title: Cozy Powell

text: Powell worked with Gary Moore in 1988, followed by stints with Black Sabbath from 1988 to 1991, and again in 1994–1995. Between late 1992 and early 1993, Powell put together an occasional touring band using the old band name 'Cozy Powell's Hammer' featuring himself on drums, Neil Murray on bass, Mario Parga on guitar and Tony Martin on vocals and occasional rhythm guitar/synth module. The band performed throughout Europe and appeared on German television. Powell made headlines in 1991 when he appeared on the BBC children's programme "Record Breakers", where he set a world record for the most drums (400) played in under one minute, live on television.


title: Cozy Powell

text: Powell along with Neil Murray were members of Brian May's band, playing on the "Back to the Light" and "Another World" albums. He played with May opening for Guns N' Roses on the second American leg of their Use Your Illusion tour in 1993. The duo also served a spell with blues guitarist Peter Green in the mid-nineties. Powell briefly joined Yngwie Malmsteen for the album "Facing the Animal" in 1997. Powell's last recording session was for Colin Blunstone's "The Light Inside", alongside Don Airey, which was released shortly after Powell's death. The final solo album by Cozy Powell "Especially for You" was released in 1998 after his death, and featured American vocalist John West, Neil Murray, Lonnie Park, Michael Casswell and others.


title: Cozy Powell

text: Powell died on 5 April 1998 following a car crash while driving his Saab 9000 at in bad weather on the M4 motorway near Bristol. He had been dating a married woman who was having problems with her husband. Upset, she phoned him and asked him to come quickly to her house which was approximately away. As he was driving to her house, she phoned him again and asked "Where are you?" He informed her he was on his way and she then heard him say "Oh shit!" followed by a loud bang.


title: Cozy Powell

text: Powell was ejected through the windscreen and died at the scene. According to the BBC report, at the time of the crash Powell's blood-alcohol reading was over the legal limit, and he was not wearing a seat belt, in addition to talking with his girlfriend on his mobile phone. The official investigation also found evidence of a slow puncture in a rear tyre that, it was suggested, could well have caused a sudden collapse of the tyre with a consequent loss of control of the car.


title: Cozy Powell

text: He was living in Lambourn in Berkshire at the time and had returned to the studio shortly before his death to record with Fleetwood Mac founder Peter Green. At the time of death, Powell had recently pulled out of tour rehearsals with Yngwie Malmsteen, having suffered an injury in a motorcycle accident. One of his last phone calls, to Joe Geesin (his fan club editor), was to express distress about this, to describe the physiotherapy treatment he was undergoing, and to voice his enthusiasm for the then-forthcoming Brian May tour.


title: Cozy Powell

text: A memorial plaque in Cirencester was unveiled on 7 January 2016, in a ceremony led by Brian May, with Suzi Quatro, Bernie Marsden, Neil Murray, Don Airey and Tony Iommi in attendance.


title: Cozy Powell

text: In October 2005, Powell made a "new" appearance on an album. Former Black Sabbath vocalist Tony Martin released a studio album ("Scream"), and on it is a track named "Raising Hell". This was a track Powell had recorded the drum track for when he and Martin were in Hammer in 1992, and gave to Martin for "future use". There are apparently as many as 19 additional drum tracks also recorded that could turn up in the future. Judas Priest guitarist Glenn Tipton has also released material recorded during the 1997 "Baptizm of Fire" sessions; this 2006 collection, entitled "Edge of the World", was released under the moniker of Tipton, Entwistle & Powell in memory of John Entwistle and Powell.


title: Cozy Powell

text: Powell had a fascination with fast cars and motorbikes, and raced for Hitachi on the UK saloon car circuit for a few months in the mid-seventies. He was quoted as saying in an interview, "I drive like I drum – madly".


title: StarCraft

text: StarCraft is a military science fiction media franchise created by Chris Metzen and James Phinney and owned by Blizzard Entertainment. The series, set in the beginning of the 26th century, centers on a galactic struggle for dominance among four species—the adaptable and mobile Terrans, the ever-evolving insectoid Zerg, the powerful and enigmatic Protoss, and the godlike Xel'Naga creator race—in a distant part of the Milky Way galaxy known as the Koprulu Sector. The series debuted with the video game "StarCraft" in 1998. It has grown to include a number of other games as well as eight novelizations, two "Amazing Stories" articles, a , and other licensed merchandise such as collectible statues and toys.


title: StarCraft

text: Blizzard Entertainment began planning "StarCraft" in 1995 with a development team led by Metzen and Phinney. The game debuted at the 1996 Electronic Entertainment Expo and used a modified "" game engine. "StarCraft" also marked the creation of Blizzard Entertainment's film department; the game introduced high quality cinematics integral to the storyline of the series. Most of the original development team for "StarCraft" returned to work on the game's expansion pack, ""; that game's development began only shortly after "StarCraft" was released. In 2001, "" began development under Nihilistic Software. Unlike the previous real-time strategy games in the series, "Ghost" was to be a stealth-action game. After three years of development, work on the game was postponed in 2004. Development of a true RTS sequel, "", began in 2003; the game was announced in May 2007 and was released in July 2010. "StarCraft II" continued with the "" expansion, which was released in March 2013. The third and final "StarCraft II" installment, "", was released in November 2015. In 2016, a single-player nine-mission pack, "Nova Covert Ops", was released in form of DLC.


title: StarCraft

text: The original game and its expansion have been praised as one of the benchmark real-time strategy games of its time. The series has gathered a solid following around the world, particularly in South Korea, where professional players and teams participate in matches, earn sponsorships, and compete in televised matches. By June 2007, "StarCraft" and "Brood War" had sold nearly 10 million copies combined. "StarCraft 2: Wings of Liberty" and its sequels obtained similar praise, and also sold very well. By the end of 2017, the franchise's lifetime revenue totaled over $1 billion. In addition, the series was awarded a star on the Walk of Game in 2006, and holds four "Guinness World Records" in the "Guinness World Records Gamer's Edition" of 2008.


title: StarCraft

text: On March 27, 2017, Blizzard announced "", a remastered version of the original "StarCraft", with the core updates being up-to-date graphics and revised dialogue and audio. As of 2017, the original "StarCraft", its "Brood War" expansion, and "StarCraft 2: Wings of Liberty" are free to download and play from Blizzard's website.


title: StarCraft

text: The story focuses on the activities of three species in a part of the Milky Way known as the Koprulu Sector. Millennia before any of the events of the games, a species known as the Xel'Naga genetically engineer the Protoss and later the Zerg in attempts to create pure beings. These experiments backfire and the Xel'Naga are largely destroyed by the Zerg. Centuries before the beginning of "StarCraft" in 2499, the hardline international government of Earth, the United Earth Directorate (UED), commissions a colonization program as part of a solution to overpopulation. On the way, the computers automating the colony ships malfunction, propelling the Terran colonists far off course to the edge of Protoss space. Out of contact with Earth, they form various factions to maintain their interests. Intrigued by the behavior and mentality of the Terrans, the Protoss remain hidden to examine the humans, while protecting them from other threats without their knowledge. The Zerg, however, target the Terrans for assimilation to harness their psionic potential, forcing the Protoss to destroy tainted Terran colonies to contain the Zerg infestation.


title: StarCraft

text: "StarCraft" begins days after the first of these attacks, where the predominant Terran government, the Terran Confederacy, falls into a state of panic as it comes under attack by both the Zerg and the Protoss, in addition to increasing rebel activity led by Arcturus Mengsk against its rule. The Confederacy eventually succumbs to Mengsk's rebels when they use Confederate technology to lure the Zerg into attacking the Confederate capital, Tarsonis. In the consequent power vacuum, Mengsk crowns himself emperor of a new Terran Dominion. During the assault on Tarsonis, Mengsk allows the Zerg to capture and infest his psion second-in-command, Sarah Kerrigan. This betrayal prompts Mengsk's other commander, Jim Raynor, to desert him with a small army. Having retreated with Kerrigan to their primary hive clusters, the Zerg are assaulted by Protoss forces commanded by Tassadar and the dark templar Zeratul. Through assassinating a Zerg cerebrate, Zeratul inadvertently allows the Overmind to learn the location of the Protoss homeworld, Aiur. The Overmind quickly launches an invasion to assimilate the Protoss and gain genetic perfection. Pursued by his own people as a heretic for siding with the dark templar Zeratul, Tassadar returns to Aiur and, with the assistance of Raynor and the templar Fenix, launches an attack on the Overmind and ultimately sacrifices himself to kill the creature.