title: Time After Time (Cyndi Lauper song)

text: Written by Cyndi Lauper and Rob Hyman and produced by Rick Chertoff, "Time After Time" is built over simple keyboard-synth chords, bright, jangly guitars, clock ticking percussion, and elastic bassline. Lyrically, the track is a love song of devotion. Pam Avoledo of "Blogcritics" speculates that, "In 'Time After Time,' Lauper believes she is a difficult person, unworthy of love. She runs away and shuts people out. However, her devoted boyfriend who loves her unconditionally is willing to help her through anything. The relationship is given depth. The couple’s intimacy and history is apparent. They've been together for a long time. They love and have seen each other through every tough part of their life."


title: Time After Time (Cyndi Lauper song)

text: "Time After Time" is written in the key of C major with a tempo of 130 beats per minute in common time. Lauper's vocals span from G to C in the song.


title: Time After Time (Cyndi Lauper song)

text: "Time After Time" has entered many lists of "Best Love Songs of All Time", "Best Ballads from the 80s" and others. Bill Lamb, also from "About.com", placed the song at number 21 on his "Top 100 Best Love Songs Of All Time" list. On "Nerve"'s list of "The 50 Greatest Love Songs of All Time", "Time After Time" was placed at number 5, being called "Lauper's most enduring masterpiece hits at the very essence of commitment," with the article pointing out that "she captures real romance in the most simple and straightforward of lines: 'If you're lost, you can look and you will find me, time after time'."


title: Time After Time (Cyndi Lauper song)

text: The song also entered the Rolling Stone & MTV's "100 Greatest Pop Songs" at number 66. The song also entered VH1's "100 Best Songs of the Past 25 Years and "100 Greatest Songs of the 80s" lists, at numbers 22 and 19 respectively. The song was also present on NME's 100 Best Songs of the 1980s, being ranked at number 79. The website declared that "‘Time After Time’ was a change in tack for Lauper, whose musical persona had previously been unstoppably light and frothy. ‘Time After Time’ was demoed quickly in time for inclusion on her debut ‘She’s So Unusual’, and ended up being a key song for both Lauper’s career and the decade itself."


title: Time After Time (Cyndi Lauper song)

text: The song was featured as an iconic scene in the 1997 film "Romy and Michele's High School Reunion". According to director David Mirkin it "was the only song that had the proper emotion" to fit the scene.


title: Time After Time (Cyndi Lauper song)

text: "Time After Time" became Lauper's first number-one single on the Billboard charts, reaching the top of the "Billboard" Hot 100 chart in June 1984. It also reached the top of the Adult Contemporary and Canadian Singles Chart. In Europe, the single peaked at number 2, on July 9, 1984. In the United Kingdom, "Time After Time" first peaked at number 54 on March 24, 1984, while peaking later at number 3, on July 14, 1984. In New Zealand, the song reached number 3, in Austria it reached number 5, in Switzerland it reached number 7, in France it peaked at number 9 and in Sweden it reached a peak of number 10.


title: Time After Time (Cyndi Lauper song)

text: The video for "Time After Time" was directed by Edd Griles, and its storyline is about a young woman leaving her lover behind. Lauper's mother, brother, and then-boyfriend, David Wolff, appear in the video, and Lou Albano, who played her father in the "Girls Just Want to Have Fun" video, can be seen as a cook. Portions of the video were filmed at the now-demolished Tom's Diner in Roxbury Township, New Jersey, the intersection of Route 46 and Route 10 and at the Morristown train station. Portions of the video were also shot in front of Betty's Department Store in Wharton, New Jersey, which was a staple of the community in the 1970s. According to Lauper, "It was important to me that we were natural and human in the video. I wanted to convey somebody who walked her own path and did not always get along with everyone and did not always marry the guy." The video opens with Lauper watching the 1936 film "The Garden of Allah" and the final scene, where she gets on the train and waves goodbye to David, has Lauper crying for real.


title: Time After Time (Cyndi Lauper song)

text: American R&B singer INOJ recorded her version of the song in 1998. It peaked at number six on the U.S. "Billboard" Hot 100 chart. The music video of this version first aired on BET and The Box.


title: Time After Time (Cyndi Lauper song)

text: Novaspace, a German Eurodance project, covered the song on their album "Supernova" (2003). It reached number six in Germany, number seven in Austria, and number 15 in Australia.


title: Time After Time (Cyndi Lauper song)

text: American alternative rock/pop punk band Quietdrive covered the song for their debut album "When All That's Left Is You" in 2006. The cover version was featured in the 2006 romantic comedy film "John Tucker Must Die" starring Jesse Metcalfe and Brittany Snow. The cover is their only charting song, hitting number 25 on the Mainstream Top 40 Countdown. The cover was certified gold by the RIAA.


title: Time After Time (Cyndi Lauper song)

text: Jazz trumpeter Miles Davis, perhaps the earliest artist to interpret the song, recorded an instrumental version of the song for his 1985 album "You're Under Arrest". The song became a regular part of Davis's live concerts until the end of his career, such as on "Live Around the World" (a live compilation recorded 1988 to 1991, released 1996). Lauper later stated that while the song has been recorded by dozens of musicians, "The most honored I ever felt was when Miles Davis covered it", adding: "the way he played it was pure magic."


title: Time After Time (Cyndi Lauper song)

text: Lauper herself parodied the song on a 1995 episode of "Late Show with David Letterman" as "Lactose Intolerant".


title: Time After Time (Cyndi Lauper song)

text: American indie rock band Sarge recorded a cover of the song in 1997, which was included on a 7" single that year. In 2000, it appeared on their posthumous compilation album Distant. AllMusic's Mike DaRonco said that their version "outshines the original."


title: Time After Time (Cyndi Lauper song)

text: A UK garage version was released by Distant Soundz in 2002 and was a top twenty hit in the UK, peaking at No. 20 on the UK Singles Chart and No. 4 on the UK Dance Singles Chart.


title: Time After Time (Cyndi Lauper song)

text: On "Billboard" charts for the week ending May 14, 2011, Javier Colon's version peaked at number 65 on Hot 100, number 41 on Digital Song Sales number four on Top Heatseekers and number sixteen on R&B/Hip-Hop Digital Songs Sales.


title: Time After Time (Cyndi Lauper song)

text: A cover version by Mabel featured in the McDonald's Christmas commercial in the UK in 2021, and peaked at No. 71 on the UK chart.


title: Shoaib Malik

text: Shoaib Malik (Punjabi, ; born 1 February 1982) is a Pakistani cricketer who plays for the Pakistan national cricket team and currently plays for Karachi Kings in the Pakistan Super League (PSL). He was the captain of the Pakistan national cricket team from 2007 to 2009. He made his One-Day International debut in 1999 against the West Indies and his Test debut in 2001 against Bangladesh. On 3 November 2015, he announced his retirement from Test cricket to focus on 2019 Cricket World Cup. On 2 July 2018, he became the first male cricketer to play 100 T20Is. On 5 July 2019, he announced his retirement from One Day International cricket after Pakistan won their last group stage game against Bangladesh at Lord's at the 2019 Cricket World Cup.


title: Shoaib Malik

text: Shoaib Malik has taken over 150 ODI wickets, and has a batting average in the mid 30s in both Test and ODI cricket. His bowling action has come under scrutiny (particularly his doosra) but he has had elbow surgery to correct this. Malik was ranked second, behind teammate Shahid Afridi, in the ICC ODI all-rounder rankings in June 2008. In March 2010, Malik received a one-year ban from international cricket from the Pakistan Cricket Board (PCB); the ban was overturned two months later. On 13 September 2017, Malik became the highest run–scorer in T20I for Pakistan. On 1 July 2018, Malik also became the first Asian batsman to score 2,000 runs in T20Is, and third overall and first player to play 100 T20Is in the world.


title: Shoaib Malik

text: In August 2018, during the 2018 Caribbean Premier League tournament, he became the fourth batsman to score 8,000 runs in T20s.


title: Shoaib Malik

text: On 10 October 2020, in the 2020–21 National T20 Cup, Shoaib Malik became the first Pakistani batsman to score 10,000 runs in Twenty20 cricket, doing so in Khyber Pakhtunkhwa's match against Balochistan.


title: Shoaib Malik

text: Malik was born in Sialkot. He first played tape-ball cricket in the streets as a child. He began playing cricket seriously in 1993/94 when he attended Imran Khan's coaching clinics in Sialkot. He began as a batsman, and developed his bowling later. He used to get in trouble with his family for playing cricket, as they wanted him to focus on his education. In 1996, Malik attended trials for the U-15 World Cup. He was selected in the squad for his bowling.


title: Shoaib Malik

text: In May 2001, Malik's bowling action was inspected. The PCB group of bowling advisers concluded that his stock off-spinner was legal, although his delivery going the other way was not. He was encouraged to concentrate on his off-spin and to practice bowling his other delivery without bending his arm. In a One Day International (ODI) match against England in June 2001, Malik suffered a fractured right shoulder after falling awkwardly while attempting to take a catch.


title: Shoaib Malik

text: Malik was approached by Gloucestershire County Cricket Club in July 2003 to act as a replacement for Ian Harvey, who was on international duty with Australia. John Bracewell, the club's director of cricket, commented that he was "excited by the prospect of signing an international spinning all-rounder to replace Ian during the Cheltenham Festival and the C&G semi-finals. He will add a new and refreshing dimension to the squad ... which is in keeping with our playing philosophy to both win and entertain". He sufficiently impressed in two County Championship and three one-day matches that resulted in renewing of his contract for the 2004 season. Mark Alleyne, the club's head coach, remarked that "Shoaib did very well for us last year in the short time he was with us and fitted in very well. He is a gifted all-rounder who is worthy of a place in either discipline and as a 21-year-old, he can only get better and I am really pleased at having him in my squad". Over the course of his two seasons at Gloucestershire, Malik played eight first-class matches, scoring 214 runs at an average of 17.83 with two fifties and taking 15 wickets at an average of 45.06, with best bowling figures of 3/76. He also played twelve one-day matches, scoring 345 runs at an average of 43.12 with three fifties and taking 10 wickets at an average of 47.60, with best bowling figures of 3/28.


title: Shoaib Malik

text: In October 2004, Malik was reported to the International Cricket Council (ICC) for having a "potentially flawed bowling action"; eight months later, his action was cleared. In the intervening period, Malik was used mainly as a batsman. He was fined Rs10,000 and was also given a one-Test ban by the Pakistan Cricket Board after admitting to deliberately losing a Twenty20 match for the Sialkot Stallions against Karachi Zebras to knock Lahore Eagles out of the 2004–05 ABN-AMRO Twenty-20 Cup. The inquiry concluded that the incident "damaged Pakistan's cricketing image and had shown disrespect to the crowd", but that "his actions were not part of any match-fixing with no financial implications, but were an immature attempt to express his disappointment at earlier decisions in the competition that he felt went against his side". PCB also declared the match void and Karachi Zebras were denied a place in the triangular phase of the ABN Amro Twenty20 Cup despite initially winning their Pool ‘B’ fixture against Sialkot Stallions.


title: Shoaib Malik

text: During his Test career, Malik has batted at 5 different positions and has the unusual record of batting at every position except 11th in ODIs. Pakistan's problems in finding a reliable opening pair have led to Malik being used as an opener in Test and ODI matches. In Test cricket, he made a big impression with his match-saving innings against Sri Lanka in 2006, during which he batted for the whole day and finished with 148 runs not out. His bowling has been effective at times, especially in one-day cricket where his best bowling figures are four wickets for 19 runs (4/19) in addition to many 3-wicket hauls.


title: Shoaib Malik

text: On the international stage Malik struggled in England. In 12 ODIs across four tours between 2001 and 2006 he scored 98 runs at an average of 8.16, with just two scores above 20, far below his career ODI average of 34.35. Of players who have played at least eight ODIs in England, Malik's is the furthest below his overall average.


title: Shoaib Malik

text: His knock of 128 against India at Centurion in 2009 was later nominated to be one of the Best ODI Batting Performance of the year by ESPNcricinfo.


title: Shoaib Malik

text: Following Inzamam-ul-Haq's resignation as Pakistan captain after the 2007 World Cup, Malik was put forward as one of the names for the captaincy along with Younis Khan and Mohammad Yousuf. After Younus Khan's rejection, Malik was the popular choice as a younger player and was seen to represent a fresh start after the Inzamam era.


title: Shoaib Malik

text: Pakistan's coach, Bob Woolmer, was a strong advocate of Malik's case to become captain; in Woolmer's opinion Malik was "the sharpest tactical tack among his group ... a real presence on the field". Former skipper Imran Khan also backed Malik for the role, stating "He appears to have a good cricket brain and could turn out to be a very good choice for Pakistan cricket". Malik was appointed captain on 19 April 2007 by the Pakistan Cricket Board (PCB), his experience considering his relatively young age and consistent performances were cited as other reasons for his appointment. At the age of just 25, he was Pakistan's fourth youngest captain.


title: Shoaib Malik

text: In Malik's first series as captain, Pakistan defeated Sri Lanka 2–1 in an ODI series in Abu Dhabi. His next assignments were home Test and ODI series against South Africa, which Pakistan lost 1–0 and 3–2 respectively. 3–2 was the score in favour of India when Pakistan subsequently played an ODI series against their arch-rivals. Malik hit 89 and took three wickets in the final match, which Pakistan won by 31 runs.


title: Shoaib Malik

text: Malik's captaincy lasted two years. A report by the coach and manager criticised his leadership, claiming that Malik was "a loner, aloof and involved in his own little world, which is OK but not when the team required a fully committed captain  We do not see any meaningful communication between players and captain other than his five-minute talk during the team meeting". Younis Khan took over as captain on 27 January 2009 after a poor performance against Sri Lanka saw Malik step down. In his two-year tenure as captain, Malik led his country in three Tests, losing two and drawing one, and 36 ODIs, of which Pakistan won 24, and 17 T20Is, winning 12.


title: Shoaib Malik

text: When Pakistan were touring South Africa in December 2018-February 2019, Sarfraz Ahmed, the current captain banned for under ICC for racist comments on SA player Andile Phehlukwayo, Malik had taken charge for his limited overs till that tour 2 ODIs and 3 T20Is. He also took charge of Pakistan's limited over team in the absence of Sarfraz Ahmed who was rested for the ODI series against Australia March 2019.


title: Shoaib Malik

text: In March 2010, Shoaib Malik was given a one-year ban from the national team by the PCB, who charged him for infighting within the team. It was part of a dramatic cull of players after Pakistan's winless tour of Australia, resulting in the fining or banning of seven players. Two months later Lancashire County Cricket Club approached Malik to play for them during [[Twenty20 Cup]in England and the opportunity to play with a club of Lancashire's reputation was too good to pass up". On 29 May 2010, Malik's ban was overturned and his [[Pakistani rupee|Rs]] 2 million fine halved. He was subsequently named in the [[MSL 2019]] squad, and as a result, Malik pulled out of his contract with Lancashire. Pakistan did not make the final of the four-team tournament, and Malik played in two matches, scoring only 47 runs. Mailk was in Pakistan's squad to play Australia and England in England in June–August 2010, but was dropped from the side. A regular in the ODI side, over the previously 12 months he had averaged around 30 with the bat in ODIs, and excluding one score over 50, his batting average hovered around 20. [[Mohsin Khan (Pakistani cricketer)|Mohsin Khan]], Pakistan's chairman of selectors, cited Malik's poor recent form as the reason for dropping him. After Malik's comeback to international cricket in 2015, he was an integral part of the Pakistan squad who were crowned champions of the [[ICC Champions Trophy 2017]] by defeating arch-rivals India in the final.


title: Shoaib Malik

text: In April 2018, he was named in the [[World XI (cricket)|Rest of the World XI]] squad for the [[West Indies v ICC World XI in England in 2018|one-off T20I]] against the [[West Indies national cricket team|West Indies]], to be played at [[Lord's]] on 31 May 2018. In August 2018, he was one of thirty-three players to be awarded a central contract for the 2018–19 season by the [[Pakistan Cricket Board]] (PCB).


title: Shoaib Malik

text: In October 2018, he was named in the squad for the [[Comilla Victorians]] team, following the draft for the [[2018–19 Bangladesh Premier League]].


title: Shoaib Malik

text: In April 2019, he was named in [[2019 Cricket World Cup squads#Pakistan|Pakistan's squad]] for the [[2019 Cricket World Cup]]. He had a horrible World Cup campaign, with only 8 runs from 3 matches, with two golden ducks, and took only 1 wicket with the ball, and was even dropped from the team. Following the Cricket World Cup, Shoaib retired from ODI cricket.


title: Shoaib Malik

text: In June 2020, he was named in a 29-man squad for Pakistan's [[Pakistani cricket team in England in 2020|tour to England]] during the [[COVID-19 pandemic]].


title: Shoaib Malik

text: He was named in [[Pakistan national cricket team|Pakistan]]'s squad for the [[2021 ICC Men's T20 World Cup|2021 ICC T20 World Cup]], where he scored the tournament's joint-fastest fifty.


title: Shoaib Malik

text: Malik is regarded as a flexible player. He is capable of hitting big shots but is also capable of rotating the strike with good placement. He has a strike rate of 80.4 runs per 100 balls, which compares favourably to players such as [[Rahul Dravid]] and [[Inzamam ul-Haq]]. His most brazen display of "power hitting" came in 2003 against South Africa when he scored 82 from 41 balls. As is required of most modern players, he also has displayed good defensive batting at times. With Shoaib Malik Pakistan has become only country to have four batsman in T20I who have scored more than 1,500 runs. These are [[Umar Akmal]], [[Mohammad Hafeez (cricketer, born 1974)|Mohammad Hafeez]], [[Babar Azam]] and Shoaib Malik. He is currently the leading Run scorer for Pakistan in T20 internationals with more than 2,000 Runs (as of 7 Nov 2018).


title: Shoaib Malik

text: Shoaib Malik was captain of the now defunct [[Sialkot Stallions]]. He led them to a world record 8 domestic T20 titles with the last one coming on 18 May 2015.


title: Shoaib Malik

text: In April 2018, he was named as the captain of [[Punjab cricket team (Pakistan)|Punjab]]'s squad for the [[2018 Pakistan Cup]].


title: Shoaib Malik

text: Shoaib Malik was signed by [[Delhi Daredevils]], and played in the [[2008 Indian Premier League|inaugural season]] of the [[Indian Premier League|IPL]]. He could only score 52 runs in 7 matches and picked up 2 wickets in the tournament. He did not play in the [[2009 Indian Premier League|2nd edition]] of IPL (or any edition since then) due to the tense atmosphere after the [[2008 Mumbai attacks]].


title: Shoaib Malik

text: Shoaib Malik was appointed the captain of the [[Karachi Kings]] in the first [[Pakistan Super League|PSL]] tournament. His team under his captaincy won only two matches in the whole tournament which also affected his own performance. In the last match, he handed over the captaincy to [[Ravi Bopara]] and appeared as a player in the match. He was [[2017 Pakistan Super League players draft|retained]] by the kings for the [[2017 Pakistan Super League|second season]]. He had a much better season compared to the first one, as he scored runs in crucial matches and ended the season as third highest-runs scorer for his side, scoring 202 runs in 10 innings. In [[2018 Pakistan Super League|third season]], he joined new PSL franchise [[Multan Sultans]] as their captain. He led his team well during the first part of the tournament but couldn't maintain the form when it mattered the most, as a result finished the tournament at 5th place. He had a good tournament with bat as well, scoring 224 runs across 8 innings with a strike rate of 124.44. As a result of the termination of the Multan Sultans franchise before the [[2019 Pakistan Super League|fourth season of the PSL]] due to fee-payment issues, the PCB created a new team up for bidding, temporarily named as [[The Sixth Team]], of which Malik was assigned the role of captain. After being demoted from Platinum category to Diamond Category and after being released by [[Multan Sultans]], Shoaib Malik was picked by [[Peshawar Zalmi]] in the [[2020 Pakistan Super League players draft]] and will play in the [[2020 Pakistan Super League]] representing [[Peshawar Zalmi]] as an all-rounder.


title: Shoaib Malik

text: Shoaib Malik was part of [[Barbados Tridents]] from 2013 to 2017 and played for them in the [[2013 Caribbean Premier League|1st]], [[2014 Caribbean Premier League|2nd]], [[2015 Caribbean Premier League|3rd]], [[2016 Caribbean Premier League|4th]] and [[2017 Caribbean Premier League|5th]] edition of [[Caribbean Premier League]]. He was signed by [[Guyana Amazon Warriors]] for the [[2018 Caribbean Premier League|sixth edition]] of [[Caribbean Premier League|CPL]]. He was also given the captaincy of [[Guyana Amazon Warriors]]. He was retained by the franchise for the [[2019 Caribbean Premier League|seventh edition]] of [[Caribbean Premier League|CPL]]. He was supposed to play in the [[2020 Caribbean Premier League|eighth edition]] of [[Caribbean Premier League|CPL]] as well but he was named in [[Pakistani cricket team in England in 2020|Pakistan's squad for their tour of England]] and therefore missed the [[2020 Caribbean Premier League|CPL 2020]]. In May 2021, he returned to [[Guyana Amazon Warriors]] again for the [[2021 Caribbean Premier League|9th season]] of [[Caribbean Premier League]].


title: Shoaib Malik

text: In 2013, he was signed by [[Hobart Hurricanes]] for the [[2013–14 Big Bash League season]]. He was retained by [[Hobart Hurricanes]] for the [[2014–15 Big Bash League season]]. He was also part of the [[Hobart Hurricanes]] to participate in the [[2014 Champions League Twenty20|2014 CLT20]].


title: Shoaib Malik

text: In 2014, he was signed by [[Warwickshire County Cricket Club|Warwickshire]] for a six-match deal for the [[2014 T20 Blast]].


title: Shoaib Malik

text: In 2015, Shoaib Malik played for [[Comilla Victorians]] in the third season of [[Bangladesh Premier League]]. In 2016, he was signed by [[Chittagong Vikings]] for the [[2016–17 Bangladesh Premier League|fourth edition]] of [[Bangladesh Premier League]]. He was drafted back into the squad by [[Comilla Victorians]] for the [[2017–18 Bangladesh Premier League|fifth]] and [[2018–19 Bangladesh Premier League|sixth edition]] of [[Bangladesh Premier League]]. He was then signed by [[Rajshahi Royals]] for the [[2019–20 Bangladesh Premier League|seventh edition]] of the [[Bangladesh Premier League]].


title: Shoaib Malik

text: In June 2019, he was selected to play for the Vancouver Knights franchise team in the [[2019 Global T20 Canada]] tournament. In November 2019, he was selected to play for Rajshahi Royals in the [[2019-20 Bangladesh Premier League]]. In October 2020, he was drafted by the Jaffna Stallions for the [[2020 Lanka Premier League|inaugural edition]] of the [[Lanka Premier League]].


title: Shoaib Malik

text: In November 2021, he was selected to play for the [[Jaffna Kings]] following the players' draft for the [[2021 Lanka Premier League]]. In July 2022, he was signed by the [[Jaffna Kings]] for the [[2022 Lanka Premier League|third edition]] of the [[Lanka Premier League]].


title: Shoaib Malik

text: Malik divorced his wife Ayesha Siddiqui on 7 April 2010. On 12 April 2010, Shoaib Malik married Indian Tennis player [[Sania Mirza]] in a traditional [[Marriage in Islam|Hyderabadi Muslim wedding ceremony]] at the Taj Krishna Hotel in Hyderabad, India followed by [[Marriage in Pakistan|Pakistani wedding customs]]. Their [[Walima]] ceremony was held in [[Sialkot]], Pakistan. Their wedding received media and online attention across the world. The couple announced their first pregnancy via social media on 23 April 2018. Their first child, a boy, was born on 30 October 2018.


title: Jawny

text: Jacob Lee-Nicholas Sullenger (born December 23, 1995), known professionally by his stage name Jawny (stylized in all caps; formerly Johnny Utah), is an American singer, songwriter, and producer. He first received recognition after the release of his 2019 single "Honeypie", and was signed to Interscope Records in January 2020. He made his major-label debut with the mixtape "For Abby" in late October 2020.


title: Jawny

text: Jacob Sullenger was born and raised in the San Francisco Bay Area. He first learned how to play guitar at the age of 6 and began composing songs in his early teens. He briefly attended college where he studied nursing, but dropped out to pursue music. He also managed a pizzeria in New Jersey to pay bills.


title: Jawny

text: At the age of 20 in 2016, Sullenger moved to Philadelphia where he began making music under the moniker Johnny Utah. The pseudonym was a reference to Keanu Reeves' character in the 1991 film "Point Break".


title: Jawny

text: In January 2018, he released a self-titled EP via Z Tapes Records. He released several more singles that year, including "Folding Like Honey", "PATTY", and "Crazy For Your Love". His songs also appeared on the Spotify "Bedroom Pop" playlist. In November 2018, the tracks were compiled by Z Tapes Records into a second EP entitled "Big Dogs". Another song from that EP, "Really Meant", appeared in a 2019 episode of the HBO series "High Maintenance".


title: Jawny

text: In April 2019, he released the single "Honeypie", which was later featured on the Spotify playlists, "Fresh Finds" and "Ultimate Indie". That exposure led to the song accruing millions of streams on the platform.


title: Jawny

text: Sullenger was signed to Interscope Records in January 2020 and changed his stage name to Jawny around that time. He also relocated to Los Angeles.


title: Jawny

text: In February 2020, he released the single "Anything You Want". He released his Interscope debut project, "For Abby", in October 2020. Jawny described the 10-track project as a mixtape rather than an EP. One of the collection's singles, "Sabotage," premiered at number 34 on the "Billboard" Alternative Airplay chart in January 2021.


title: Jawny

text: Sullenger was in a romantic relationship with rapper and singer-songwriter Doja Cat from August 2019 to February 2020.


title: Akhand Bharat

text: Akhand Bharat (), also known as Akhand Hindustan, is a term for the concept of an unified Greater India. It posits that modern-day Afghanistan, Bangladesh, Bhutan, India, Maldives, Myanmar, Nepal, Pakistan and Sri Lanka is one nation.


title: Akhand Bharat

text: During the Indian independence movement, Kanaiyalal Maneklal Munshi advocated for "Akhand Hindustan", a proposition that Mahatma Gandhi agreed with, believing that "as Britain wanted to retain her empire by pursuing a policy of divide and rule, Hindu–Muslim unity could not be achieved as long as the British were there." In addition, Mazhar Ali Khan wrote that "the Khan brothers [were] determined to fight for Akhand Hindustan, and challenged the League to fight the issue out before the electorate of the Province." On 7–8 October 1944, in Delhi, Radha Kumud Mukherjee presided over the Akhand Hindustan Leaders' Conference.


title: Akhand Bharat

text: The Indian activist and Hindu Mahasabha leader Vinayak Damodar Savarkar at the Hindu Mahasabha's 19th Annual Session in Ahmedabad in 1937 propounded the notion of an "Akhand Bharat" that "must remain one and indivisible" "from Kashmir to Rameswaram, from Sindh to Assam." He said that "all citizens who owe undivided loyalty and allegiance to the Indian nation and to the Indian state shall be treated with perfect equality and shall share duties and obligations equally in common, irrespective of caste, creed or religion, and the representation also shall either be on the basis of one man one vote or in proportion to the population in case of separate electorates and public services shall go by merit alone."


title: Akhand Bharat

text: The call for creation of the "Akhand Bharat" or "Akhand Hindustan" has on occasions been raised by Hindu nationalist organisations such as the Hindu Mahasabha, Rashtriya Swayamsevak Sangh (RSS), Vishva Hindu Parishad, Shiv Sena, Maharashtra Navnirman Sena, Hindu Sena, Hindu Janajagruti Samiti and Bharatiya Janata Party. One organization sharing this goal, the Akhand Hindustan Morcha, bears the term in its name. Other major Indian political parties such as the centrist Indian National Congress do not subscribe to a call for Akhand Bharat, although India formally claims the entire region of Kashmir (territorially divided between India, Pakistan and China) as an integral part of India through official maps.


title: Akhand Bharat

text: Pre-1947 maps of India, showing the modern states of Pakistan and Bangladesh as part of British India illustrate the borders of a proto-"Akhand Bharat". The creation of an "Akhand Bharat" is also ideologically linked with the concept of "Hindutva" (Hindu nationalism) and the ideas of "sangathan" (unity) and "shuddhi" (purification).


title: Akhand Bharat

text: The first chapter of the Rashtriya Swayamsevak Sangh textbook for standard VII students at Akhil Bharatiya Sanskrit Gyan Pariksha included a map depicting Pakistan and Bangladesh, which along with post-partition India, were territories that were part of "Akhand Bharat" and a trade union magazine of the same organization also included Nepal, Bhutan, and Myanmar.


title: Akhand Bharat

text: While the leadership of the right-wing BJP wavers on the issue, the RSS has always been a strong proponent of the idea. RSS leader H. V. Seshadri's book "The Tragic Story of Partition" stresses the importance of the concept of "Akhand Bharat." The RSS affiliated magazine "Organiser" often publishes editorials by leaders such as the present Sarsanghachalak, Mohan Bhagwat, espousing the philosophy that only "Akhand Bharat" and "sampoorna samaj" (united society) can bring "real" freedom to the people of India. The call for Indian reunification has been supported by Indian Prime Minister Narendra Modi, and BJP National General Secretary Ram Madhav.


title: Akhand Bharat

text: In December 2015, following Narendra Modi's diplomatic visit to Lahore, Pakistan, the BJP National Secretary Ram Madhav (in an interview with Al Jazeera's Mehdi Hassan) described that "The RSS still believes that one day [India, Pakistan and Bangladesh], which have for historical reasons separated only 60 years ago, will again, through popular goodwill, come together and "Akhand Bharat" will be created." In March 2019, RSS leader Indresh Kumar claimed that Pakistan would reunite with India by 2025, that Indians would settle in and migrate to Lahore and Lake Mansarovar in Tibet, that an Indian-allied government had been ensured in Dhaka, and that a European Union-style "Akhand Bharat" would form.


title: Akhand Bharat

text: Former Indian Supreme Court Judge Markandey Katju advocated in Pakistani newspaper "The Nation" that the only solution to the ongoing dispute between India and Pakistan is the reunification of India, Pakistan and Bangladesh under a strong, secular, modern-minded government. He expanded on the reasons for his support for a reunified India in an article for "Newslaundry"; Katju advocated that such a state would be administered by a secular government. Katju serves as the chairman of the Indian Reunification Association (IRA), which seeks to campaign for this cause. The former Indian Deputy Prime Minister Lal Krishna Advani, in April 2004, similarly endorsed a confederation of the sovereign nations of India and Pakistan as a powerful geopolitical entity rivaling the European Union, United States of America, Russian Federation and People's Republic of China.


title: Akhand Bharat

text: Hindu nationalist political groups such as Shiv Sena, have sought the reclamation of Pakistan-administered Kashmir under the pretence of "Akhand Bharat," especially after the abrogation of Article 370 and 35A of the Indian constitution (removing the semi-autonomy of Jammu and Kashmir) in August 2019.


title: Akhand Bharat

text: On 17 November 2020, the RSS campaigners released a calendar based on the "Akhand Bharat" theme. This calendar was prepared by the province patron of the Vishva Hindu Parishad in Jaipur.


title: Killer Klowns from Outer Space

text: Killer Klowns from Outer Space is a 1988 American science fiction horror comedy film written, directed and produced by the Chiodo Brothers, and starring Grant Cramer, Suzanne Snyder, John Allen Nelson and John Vernon. It is the only movie written and directed by the Chiodo Brothers, who also created the practical effects and makeup. It concerns a clan of evil extraterrestrials who resemble clowns. They arrive on Earth and invade a small town in order to capture, kill and harvest the human inhabitants to use as sustenance.


title: Killer Klowns from Outer Space

text: "Killer Klowns from Outer Space" was filmed in Watsonville, California, and at the Santa Cruz Beach Boardwalk. The film utilizes practical effects, including rubber suits. The score was composed by John Massari. The movie received generally positive reviews and has been considered a cult classic.


title: Killer Klowns from Outer Space

text: Sequels have been in development hell since the original film's release. Stephen Chiodo stated in 2016 that he hopes to produce three additional movies, or possibly a television series. In 2018, NBCUniversal's Syfy announced that it was in talks to license the rights to make one or more sequels.


title: Killer Klowns from Outer Space

text: Just outside the town of Crescent Cove, Mike Tobacco and his friend Debbie Stone are parked with other couples at the local lovers' lane when they spot a strange glowing object falling to Earth. Nearby, farmer Gene Green, believing it to be Halley's Comet, ventures into the woods to find the impact site. He stumbles upon a large circus tent-like structure, and he and his dog are captured by mysterious clown-like aliens known as "Klowns". Mike and Debbie arrive to investigate for themselves. Entering the structure, they discover a complex interior with bizarre rooms and eventually realize it is the object and a spaceship. They find a gelatinized Green encased in a cotton candy-like cocoon and are spotted by a klown, who shoots popcorn at them from a bazooka-like weapon and then chases them aided by another one who uses a living balloon dog.


title: Killer Klowns from Outer Space

text: Narrowly escaping to the local police station, they report the incident to one of the officers and Debbie's ex-boyfriend, Dave Hanson, and his curmudgeonly partner, Curtis Mooney. Mike takes Dave to the site of the ship, only to find it has disappeared and left a large crater in its place. They travel to the lovers' lane, only to find all the cars abandoned and covered in the cocoon's substance. The klowns begin encasing townspeople in cocoons using toy-like rayguns. Several klowns perform pranks and mock circus acts which result in the deaths of several onlookers.


title: Killer Klowns from Outer Space

text: Mike and Dave witness a klown using shadow puppets to shrink a crowd of people, then dump them into a bag full of popcorn, which are revealed to be klowns in larval form. Back at the police station, another klown arrives and Mooney arrests it, believing it to be a teenage prankster. Dave returns to the station to find the place ransacked and the klown using a deceased Mooney as a ventriloquist's dummy. Dave shoots the alien in the nose, which causes it to spin wildly and explode.


title: Killer Klowns from Outer Space

text: Mike meets with his friends, Rich and Paul Terenzi, and using the PA speaker on their ice cream truck, they drive around town attempting to warn people of the klowns. At Debbie's house, popcorn from her earlier encounter with the klowns evolves into juvenile klowns and attacks her. As she attempts to escape, she is intercepted by the klowns, who trap her in a giant balloon. Mike, Dave, and the Terenzi's witness Debbie's capture and give chase, following the klowns to the local amusement park, where they have relocated their ship. Journeying through a funhouse, the Terenzi brothers become separated. After Dave and Mike witness a klown using a drinking straw to drink one of the gelatinized townspeople's blood, they rescue Debbie and flee into a maze full of traps.


title: Killer Klowns from Outer Space

text: The trio then finds themselves surrounded by a legion of klowns. The Terenzis arrive in their ice cream truck and use the PA to distract the aliens. A gargantuan klown marionette, Jojo the Klownzilla, appears and destroys the ice cream truck, seemingly killing the Terenzi's, Dave creates a distraction and Mike and Debbie escape before the ship begins to take off. Dave uses his badge to pierce Jojo's nose, causing it to explode and destroy the ship. A clown car drops out of the sky and Dave emerges along with the Terenzi brothers, who miraculously survived by hiding in the ice cream truck's freezer moments before it was destroyed.


title: Killer Klowns from Outer Space

text: As the group watches the fireworks created by the ship's destruction, pies fall from the sky and land on their faces.


title: Killer Klowns from Outer Space

text: The film's original title was simply "Killer Klowns", but the filmmakers added the words ""from Outer Space"" to prevent audiences from assuming the film was a slasher movie. Filming took place in the city of Watsonville and at the Santa Cruz Beach Boardwalk. The film was Christopher Titus' first role in a motion picture. The popcorn gun used by the clowns in the film, which included a compressor that would allow the weapon to actually propel popcorn, was the most expensive prop made for the production, costing $7,000 to create and taking six weeks to build. The legs of the clowns' balloon animal dog were coated in latex by the film's special effects department in order to keep the balloon from popping on the pine needles which covered the ground.


title: Killer Klowns from Outer Space

text: While the Chiodo Brothers were well-known as special effects artists, much of the special effects work was carried out by other artists, allowing the brothers to focus more on their production duties. However, the brothers did personally construct the miniature set for the "Klownzilla" sequence.


title: Killer Klowns from Outer Space

text: Most of the vehicles used in the film were rented and therefore were not allowed to be damaged. Two cars were accidentally damaged; one was driven off a bridge, although it was only intended to roll a short distance, and the Jeep filled with webbing needed $3,000 of repairs after solvent in the webbing damaged the interior.


title: Killer Klowns from Outer Space

text: The Chiodo Brothers wanted to cast comedian Soupy Sales as the security guard killed by the clowns' acidic pies, as he was known for receiving pies in the face on his children's television show "Lunch with Soupy Sales". However, the executive producers did not want to allocate funds to pay for Sales' plane ticket to the production, as they felt that audiences would not know who Sales was.


title: Killer Klowns from Outer Space

text: Jojo the Klownzilla, the colossal klown who appears at the end of the film, was originally intended to be created using stop-motion animation, but was instead portrayed by Charles Chiodo in a rubber suit. In the film's original finale, Deputy Dave dies in the explosion of the clowns' ship, but this was changed after audiences in test screenings desired a more upbeat ending.


title: Killer Klowns from Outer Space

text: Four molds were made for the main clowns. One was peanut shaped, another was triangular, circular, and the final shape was an inverted triangle. From those four molds the effects artists produced two clown characters from each. Klownzilla had its own mask molded specifically for its appearance.


title: Killer Klowns from Outer Space

text: Two of the masks that were used to create the clowns in the film were re-purposed and used to portray trolls in the 1991 film "Ernest Scared Stupid".


title: Killer Klowns from Outer Space

text: The film's score was composed by John Massari. The title song "Killer Klowns" was written and performed by the American punk rock band the Dickies and was released on their album "Killer Klowns from Outer Space" in 1988. Frontman Leonard Phillips wrote the song without seeing the movie. A limited-edition complete soundtrack was released in 2006 through Percepto Records and features twenty-six tracks of the score, the title song "Killer Klowns", and four bonus tracks at a running time just over sixty-nine minutes.


title: Killer Klowns from Outer Space

text: "Killer Klowns from Outer Space" was released in the United States on May 27, 1988. The film was released on VHS by 20th Century Fox Home Entertainment on July 17, 2001, and on VHS and DVD as part of MGM Home Entertainment's "Midnite Movies" line of home media releases on August 28, 2001. MGM released the film on Blu-ray on September 11, 2012.


title: Killer Klowns from Outer Space

text: On May 25, 2013, the film received a 35 mm screening at the Alamo Drafthouse Cinema in Vintage Park in Houston, Texas, as well as a 35 mm screening at the Alamo Drafthouse Cinema in Yonkers, New York on June 20, 2014.


title: Killer Klowns from Outer Space

text: On April 9, 2018, Arrow Films released their special edition Blu-Ray of "Killer Klowns From Outer Space". This release was newly restored, with interviews, documentary featurettes, Klown auditions, bloopers, deleted scenes, a double-sided poster that features the original theatrical poster, as well as art by Sara Deck, and more.


title: Killer Klowns from Outer Space

text: The film has been considered a cult classic. On the review aggregation website Rotten Tomatoes, the film has an average score of 76%, based on 25 critic reviews. The site's consensus reads: ""Killer Klowns from Outer Space"s title promises darkly goofy fun – and more often than not, the movie delivers." Leonard Klady of "The Los Angeles Times" wrote that the film "demonstrates both above-average technical skill and large dollops of imagination". Film critic Leonard Maltin initially declared the film a BOMB ("Strictly tenth-rate."), but gave the movie a second look after a few years; this time, Maltin awarded the picture two-and-a-half out of a possible four stars. In his second review, Maltin wrote "Routinely plotted, but vividly designed, with cheeky humor ... plays its premise to the hilt, all 'circus' bases touched".


title: Killer Klowns from Outer Space

text: Charles Bramesco of "The A.V. Club" recommended the film, writing that "The film is patently absurd, but the filmmakers are fully committed to that absurdity. It's hard not to respect", and noted the film's "enduring appeal". Charles Webb of MTV.com called the performances "a little rough", and wrote "If "Killer Klowns" isn't especially scary, it's only kind of funny but still gets by on the execution of extremely inventive visuals based on the clown/circus motif". Dread Central gave the film three out of a possible five stars. JoBlo.com gave the film a rating of 8/10, stating that the film "is the "king" of '80s B-movies and it delivers the tacky goods by the truckloads". John Gugie of HorrorNews.net gave the film a score of 3/5, calling it "a hit or miss for horror and sci-fi fans".


title: Killer Klowns from Outer Space

text: Author Matthew Chojnacki recommended the film in his book "Alternative Movie Posters: Film Art From the Underground". Jim Craddock, in his book "VideoHound's Golden Movie Retriever", gave the film two-and-a-half out of four bones, calling the film a "Visually striking, campy but slick horror flick that'll make you think twice about your next visit to the big top". Director Brian Herzlinger considers "Killer Klowns from Outer Space" to be "his favorite cult film".


title: Killer Klowns from Outer Space

text: The Chiodo brothers planned to release a "requel" (a portmanteau of "remake" and "sequel"), titled "Return of the Killer Klowns from Outer Space in 3D", in 2012. Stephen Chiodo was to direct the movie, and his brother Charles would be a production designer. Grant Cramer, who starred in the original film as Mike Tobacco, stated that his character would return. According to Cramer, Tobacco now would be a town drunk, whose ramblings about the Klowns are dismissed. When the Klowns come back, Tobacco, who has been preparing for their return, teams up with two young street performers to fight them. Cramer also said that there might be multiple sequels, each centered around a character from the original movie.


title: Killer Klowns from Outer Space

text: It was reported later that the release date had been delayed, but, according to the Facebook page for the film, it was "officially in post-production." A page on a website for the original movie promised that the follow-up film (referred to as a sequel, rather than a "requel") would be released in 2013.


title: Killer Klowns from Outer Space

text: In 2016 interviews, Stephen Chiodo stated that efforts to make further "Killer Klowns" productions had shifted, from planning one or more theatrical releases, to focus on television. He explained the concept of "a trilogy in four parts, with the original film being the first," adding, "We've got it all written out." However, he also ambiguously referred to the same plans as "a long arch series for cable" and "a long-ranging series".


title: Killer Klowns from Outer Space

text: On October 22, 2018, it was announced that the Syfy channel was in talks to license the rights to make one or more sequels to "Killer Klowns from Outer Space", as well as additional movies in the "Critters" franchise.


title: Killer Klowns from Outer Space

text: In 2005, SOTA Toys announced they would produce Killer Klown figurines as part of their Now Playing film action figures line. One figure was produced in 2006. After SOTA stopped producing the toys, Amok Time took over until 2017, when the company announced that its license to produce Killer Klown figures had expired. Both Klown and Shorty figures have become high-end collectibles, and are much sought after by collectors.


title: Killer Klowns from Outer Space

text: John Massari, the composer of the synthesizer-filled score for the movie, rerecorded the music with a full orchestra at Warner Brothers Studios in 2016.


title: Killer Klowns from Outer Space

text: In 2018, Klowns, as well as the infamous ice cream truck from the film, were featured in a "Killer Klowns from Outer Space"-themed "scare zone" at Universal Orlando's 28th annual Halloween Horror Nights event. On July 25, 2019, it was announced that the "Killer Klowns from Outer Space" scare zone of the previous year would be expanded into a full-fledged haunted house attraction for the 2019 event at both the Orlando and Hollywood locations. Later in August, it was revealed that exclusive "Killer Klowns from Outer Space" merchandise would be sold during Halloween Horror Nights. The haunted house later returned for the 2022 edition of Halloween Horror Nights at Universal Studios Hollywood.


title: Killer Klowns from Outer Space

text: In 2021, Spirit Halloween dedicated a section of its seasonal stores to merchandise tied to the movie. In addition to costumes, statues, props, doormats, signage, and life-sized animatronic characters were featured.


title: Killer Klowns from Outer Space

text: In August 2022, it was announced that an asymmetrical multiplayer game based on the film was being developed by Teravision Games and published by Good Shepherd Entertainment with a planned release in early 2023 for Microsoft Windows, PlayStation 4, PlayStation 5, Xbox One and Xbox Series X/S.


title: Chord (music)

text: A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes (also called "pitches") that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords (in which the notes of the chord are sounded one after the other, rather than simultaneously), or sequences of chord tones, may also be considered as chords in the right musical context.


title: Chord (music)

text: In tonal Western classical music (music with a tonic key or "home key"), the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and intervals of a third and a fifth above the root note. Chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in contemporary classical music, jazz and almost any other genre.


title: Chord (music)

text: A series of chords is called a chord progression. One example of a widely used chord progression in Western traditional music and blues is the 12 bar blues progression. Although any chord may in principle be followed by any other chord, certain patterns of chords are more common in Western music, and some patterns have been accepted as establishing the key (tonic note) in common-practice harmony—notably the resolution of a dominant chord to a tonic chord. To describe this, Western music theory has developed the practice of numbering chords using Roman numerals to represent the number of diatonic steps up from the tonic note of the scale.


title: Chord (music)

text: Common ways of notating or representing chords in Western music (other than conventional staff notation) include Roman numerals, the Nashville Number System, figured bass, chord letters (sometimes used in modern musicology), and chord charts.


title: Chord (music)

text: The English word "chord" derives from Middle English "cord", a back-formation of "accord" in the original sense of "agreement" and later, "harmonious sound". A sequence of chords is known as a chord progression or harmonic progression. These are frequently used in Western music. A chord progression "aims for a definite goal" of establishing (or contradicting) a tonality founded on a key, root or tonic chord. The study of harmony involves chords and chord progressions and the principles of connection that govern them.


title: Chord (music)

text: Ottó Károlyi writes that, "Two or more notes sounded simultaneously are known as a chord," though, since instances of any given note in different octaves may be taken as the same note, it is more precise for the purposes of analysis to speak of distinct "pitch classes". Furthermore, as three notes are needed to define any common chord, three is often taken as the minimum number of notes that form a definite chord. Hence, Andrew Surmani, for example, states, "When three or more notes are sounded together, the combination is called a chord." George T. Jones agrees: "Two tones sounding together are usually termed an "interval", while three or more tones are called a "chord"." According to Monath, "a chord is a combination of three or more tones sounded simultaneously", and the distances between the tones are called intervals. However, sonorities of two pitches, or even single-note melodies, are commonly heard as "implying" chords. A simple example of two notes being interpreted as a chord is when the root and third are played but the fifth is omitted. In the key of C major, if the music stops on the two notes G and B, most listeners hear this as a G major chord.


title: Chord (music)

text: Since a chord may be understood as such even when all its notes are not simultaneously audible, there has been some academic discussion regarding the point at which a group of notes may be called a "chord". Jean-Jacques Nattiez explains that, "We can encounter 'pure chords' in a musical work", such as in the "Promenade" of Modest Mussorgsky's "Pictures at an Exhibition" but, "often, we must go from a textual given to a more "abstract" representation of the chords being used", as in Claude Debussy's "Première arabesque".


title: Chord (music)

text: In the medieval era, early Christian hymns featured organum (which used the simultaneous perfect intervals of a fourth, a fifth, and an octave), with chord progressions and harmony - an incidental result of the emphasis on melodic lines during the medieval and then Renaissance (15th to 17th centuries).


title: Chord (music)

text: The Baroque period, the 17th and 18th centuries, began to feature the major and minor scale based tonal system and harmony, including chord progressions and circle progressions. It was in the Baroque period that the accompaniment of melodies with chords was developed, as in figured bass, and the familiar cadences (perfect authentic, etc.). In the Renaissance, certain dissonant sonorities that suggest the dominant seventh occurred with frequency. In the Baroque period, the dominant seventh proper was introduced and was in constant use in the Classical and Romantic periods. The leading-tone seventh appeared in the Baroque period and remains in use. Composers began to use nondominant seventh chords in the Baroque period. They became frequent in the Classical period, gave way to altered dominants in the Romantic period, and underwent a resurgence in the Post-Romantic and Impressionistic period.


title: Chord (music)

text: The Romantic period, the 19th century, featured increased chromaticism. Composers began to use secondary dominants in the Baroque, and they became common in the Romantic period. Many contemporary popular Western genres continue to rely on simple diatonic harmony, though far from universally: notable exceptions include the music of film scores, which often use chromatic, atonal or post-tonal harmony, and modern jazz (especially circa 1960), in which chords may include up to seven notes (and occasionally more). When referring to chords that do not function as harmony, such as in atonal music, the term "sonority" is often used specifically to avoid any tonal implications of the word "chord".


title: Chord (music)

text: Chords are also used for timbre effects. In organ registers, certain chords are activated by a single key so that playing a melody results in parallel voice leading. These voices, losing independence, are fused into one with a new timbre. The same effect is also used in synthesizers and orchestral arrangements; for instance, in Ravel’s "Bolero" #5 the parallel parts of flutes, horn and celesta, being tuned as a chord, resemble the sound of an electric organ.


title: Chord (music)

text: While scale degrees are typically represented in musical analysis or musicology articles with Arabic numerals (e.g., 1, 2, 3, ..., sometimes with a circumflex above the numeral: , , , ...), the triads (three-note chords) that have these degrees as their roots are often identified by Roman numerals (e.g., I, IV, V, which in the key of C major would be the triads C major, F major, G major).


title: Chord (music)

text: In some conventions (as in this and related articles) upper-case Roman numerals indicate major triads (e.g., I, IV, V) while lower-case Roman numerals indicate minor triads (e.g., I for a major chord and i for a minor chord, or using the major key, ii, iii and vi representing typical diatonic minor triads); other writers (e.g., Schoenberg) use upper case Roman numerals for both major and minor triads. Some writers use upper-case Roman numerals to indicate the chord is diatonic in the major scale, and lower-case Roman numerals to indicate that the chord is diatonic in the minor scale. Diminished triads may be represented by lower-case Roman numerals with a degree symbol (e.g., vii indicates a diminished seventh chord built on the seventh scale degree; in the key of C major, this chord would be B diminished seventh, which consists of the notes B, D, F and A).


title: Chord (music)

text: Roman numerals can also be used in stringed instrument notation to indicate the position or string to play. In some string music, the string on which it is suggested that the performer play the note is indicated with a Roman numeral (e.g., on a four-string orchestral string instrument, I indicates the highest-pitched, thinnest string and IV indicates the lowest-pitched, thickest bass string). In some orchestral parts, chamber music and solo works for string instruments, the composer tells the performer which string to use with the Roman numeral. Alternately, the composer starts the note name with the sting to use—e.g., "sul G" means "play on the G string".


title: Chord (music)

text: Figured bass or thoroughbass is a kind of musical notation used in almost all Baroque music ( 1600–1750), though rarely in music from later than 1750, to indicate harmonies in relation to a conventionally written bass line. Figured bass is closely associated with chord-playing basso continuo accompaniment instruments, which include harpsichord, pipe organ and lute. Added numbers, symbols, and accidentals beneath the staff indicate the intervals above the bass note to play; that is, the numbers stand for the number of scale steps above the written note to play the figured notes.


title: Chord (music)

text: For example, in the figured bass below, the bass note is a C, and the numbers 4 and 6 indicate that notes a fourth and a sixth above (F and A) should be played, giving the second inversion of the F major triad.


title: Chord (music)

text: If no numbers are written beneath a bass note, the figure is assumed to be , which calls for a third and a fifth above the bass note (i.e., a root position triad).


title: Chord (music)

text: In the 2010s, some classical musicians who specialize in music from the Baroque era can still perform chords using figured bass notation; in many cases, however, the chord-playing performers read a fully notated accompaniment that has been prepared for the piece by the music publisher. Such a part, with fully written-out chords, is called a "realization" of the figured bass part.


title: Chord (music)

text: Chord letters are used by musicologists, music theorists and advanced university music students to analyze songs and pieces. Chord letters use upper-case and lower-case letters to indicate the roots of chords, followed by symbols that specify the chord quality.


title: Chord (music)

text: In most genres of popular music, including jazz, pop, and rock, a chord name and the corresponding symbol are typically composed of one or more parts. In these genres, chord-playing musicians in the rhythm section (e.g., electric guitar, acoustic guitar, piano, Hammond organ, etc.) typically improvise the specific "voicing" of each chord from a song's chord progression by interpreting the written chord symbols appearing in the lead sheet or fake book. Normally, these chord symbols include:


title: Chord (music)

text: Chord qualities are related with the qualities of the component intervals that define the chord. The main chord qualities are:


title: Chord (music)

text: The basic function of chord symbols is to eliminate the need to write out sheet music. The modern jazz player has extensive knowledge of the chordal functions and can mostly play music by reading the chord symbols only. Advanced chords are common especially in modern jazz. Altered 9ths, 11ths and 5ths are not common in pop music. In jazz, a chord chart is used by comping musicians (jazz guitar, jazz piano, Hammond organ) to improvise a chordal accompaniment and to play improvised solos. Jazz bass players improvise a bassline from a chord chart. Chord charts are used by horn players and other solo instruments to guide their solo improvisations.


title: Chord (music)

text: Interpretation of chord symbols depends on the genre of music being played. In jazz from the bebop era or later, major and minor chords are typically realized as seventh chords even if only "C" or "Cm" appear in the chart. In jazz charts, seventh chords are often realized with upper extensions, such as the ninth, sharp eleventh, and thirteenth, even if the chart only indicates "A". In jazz, the root and fifth are often omitted from chord voicings, except when there is a diminished fifth or an augmented fifth.


title: Chord (music)

text: In a pop or rock context, however, "C" and "Cm" would almost always be played as triads, with no sevenths. In pop and rock, in the relatively less common cases where songwriters wish a dominant seventh, major seventh, or minor seventh chord, they indicate this explicitly with the indications "C", "C" or "Cm".


title: Chord (music)

text: Two-note combinations, whether referred to as chords or intervals, are called "dyads". In the context of a specific section in a piece of music, dyads can be heard as chords if they contain the most important notes of a certain chord. For example, in a piece in C Major, after a section of tonic C Major chords, a dyad containing the notes B and D sounds to most listeners as a first inversion G Major chord. Other dyads are more ambiguous, an aspect that composers can use creatively. For example, a dyad with a perfect fifth has no third, so it does not sound major or minor; a composer who ends a section on a perfect fifth could subsequently add the missing third. Another example is a dyad outlining the tritone, such as the notes C and F# in C Major. This dyad could be heard as implying a D7 chord (resolving to G Major) or as implying a C diminished chord (resolving to Db Major). In unaccompanied duos for two instruments, such as flute duos, the only combinations of notes that are possible are dyads, which means that all of the chord progressions must be implied through dyads, as well as with arpeggios.


title: Chord (music)

text: Chords constructed of three notes of some underlying scale are described as "triads". Chords of four notes are known as "tetrads", those containing five are called "pentads" and those using six are "hexads". Sometimes the terms "trichord", "tetrachord", "pentachord", and "hexachord" are used—though these more usually refer to the pitch classes of any scale, not generally played simultaneously. Chords that may contain more than three notes include pedal point chords, dominant seventh chords, extended chords, added tone chords, clusters, and polychords.


title: Chord (music)

text: Polychords are formed by two or more chords superimposed. Often these may be analysed as extended chords; examples include tertian, altered chord, secundal chord, quartal and quintal harmony and Tristan chord. Another example is when G (G–B–D–F–A–C) is formed from G major (G–B–D) and D major (D–F–A). A nonchord tone is a dissonant or unstable tone that lies outside the chord currently heard, though often resolving to a chord tone.


title: Chord (music)

text: In the key of C major, the first degree of the scale, called the "tonic", is the note C itself. A C major chord, the major triad built on the note C (C–E–G), is referred to as the "one chord" of that key and notated in Roman numerals as I. The same C major chord can be found in other scales: it forms chord III in the key of A minor (A→B→C) and chord IV in the key of G major (G→A→B→C). This numbering indicates the chords's function.


title: Chord (music)

text: Many analysts use lower-case Roman numerals to indicate minor triads and upper-case numerals for major triads, and "degree" and "plus" signs ( and ) to indicate diminished and augmented triads respectively. Otherwise, all the numerals may be upper-case and the qualities of the chords inferred from the scale degree. Chords outside the scale can be indicated by placing a flat/sharp sign before the chord—for example, the chord E major in the key of C major is represented by III. The tonic of the scale may be indicated to the left (e.g., "F:") or may be understood from a key signature or other contextual clues. Indications of inversions or added tones may be omitted if they are not relevant to the analysis. Roman numeral analysis indicates the root of the chord as a scale degree within a particular major key as follows.


title: Chord (music)

text: In the harmony of Western art music, a chord is in "root position" when the tonic note is the lowest in the chord (the bass note), and the other notes are above it. When the lowest note is not the tonic, the chord is "inverted". Chords that have many constituent notes can have many different inverted positions as shown below for the C major chord:


title: Chord (music)

text: Further, a four-note chord can be inverted to four different positions by the same method as triadic inversion. For example, a G chord can be in root position (G as bass note); first inversion (B as bass note); second inversion (D as bass note); or third inversion (F as bass note).


title: Chord (music)

text: Where guitar chords are concerned, the term "inversion" is used slightly differently; to refer to stock fingering "shapes".


title: Chord (music)

text: Many chords are a sequence of notes separated by intervals of roughly the same size. Chords can be classified into different categories by this size:


title: Chord (music)

text: These terms can become ambiguous when dealing with non-diatonic scales, such as the pentatonic or chromatic scales. The use of accidentals can also complicate the terminology. For example, the chord B–E–A appears to be quartal, as a series of diminished fourths (B–E and E–A), but it is enharmonically equivalent to (and sonically indistinguishable from) the tertian chord C–E–G, which is a series of major thirds (C–E and E–G).


title: Chord (music)

text: The notes of a chord form intervals with each of the other notes of the chord in combination. A 3-note chord has 3 of these harmonic intervals, a 4-note chord has 6, a 5-note chord has 10, a 6-note chord has 15. The absence, presence, and placement of certain key intervals plays a large part in the sound of the chord, and sometimes of the selection of the chord that follows.


title: Chord (music)

text: A chord containing tritones is called "tritonic"; one without tritones is "atritonic". Harmonic tritones are an important part of dominant seventh chords, giving their sound a characteristic tension, and making the tritone interval likely to move in certain stereotypical ways to the following chord. Tritones are also present in diminished seventh and half-diminished chords.


title: Chord (music)

text: A chord containing semitones, whether appearing as minor seconds or major sevenths, is called "hemitonic"; one without semitones is "anhemitonic". Harmonic semitones are an important part of major seventh chords, giving their sound a characteristic high tension, and making the harmonic semitone likely to move in certain stereotypical ways to the following chord. A chord containing major sevenths but no minor seconds is much less harsh in sound than one containing minor seconds as well.


title: Chord (music)

text: Triads, also called "triadic chords", are tertian chords with three notes. The four basic triads are described below.


title: Chord (music)

text: Seventh chords are tertian chords, constructed by adding a fourth note to a triad, at the interval of a third above the fifth of the chord. This creates the interval of a seventh above the root of the chord, the next natural step in composing tertian chords. The seventh chord built on the fifth step of the scale (the dominant seventh) is the only dominant seventh chord available in the major scale: it contains all three notes of the diminished triad of the seventh and is frequently used as a stronger substitute for it.


title: Chord (music)

text: There are various types of seventh chords depending on the quality of both the chord and the seventh added. In chord notation the chord type is sometimes superscripted and sometimes not (e.g., Dm7, Dm, and D are all identical).


title: Chord (music)

text: Extended chords are triads with further tertian notes added beyond the seventh: the ninth, eleventh, and thirteenth chords. For example, a dominant thirteenth chord consists of the notes C–E–G–B–D–F–A:


title: Chord (music)

text: The upper structure or extensions, i.e., notes beyond the seventh, are shown in red. This chord is just a theoretical illustration of this chord. In practice, a jazz pianist or jazz guitarist would not normally play the chord all in thirds as illustrated. Jazz voicings typically use the third, seventh, and then the extensions such as the ninth and thirteenth, and in some cases the eleventh. The root is often omitted from chord voicings, as the bass player will play the root. The fifth is often omitted if it is a perfect fifth. Augmented and diminished fifths are normally included in voicings.


title: Chord (music)

text: After the thirteenth, any notes added in thirds duplicate notes elsewhere in the chord; all seven notes of the scale are present in the chord, so adding more notes does not add new pitch classes. Such chords may be constructed only by using notes that lie outside the diatonic seven-note scale.


title: Chord (music)

text: Other extended chords follow similar rules, so that for example maj, maj, and maj contain major seventh chords rather than dominant seventh chords, while m, m, and m contain minor seventh chords.


title: Chord (music)

text: The third and seventh of the chord are always determined by the symbols shown above. The root cannot be so altered without changing the name of the chord, while the third cannot be altered without altering the chord's quality. Nevertheless, the fifth, ninth, eleventh and thirteenth may all be chromatically altered by accidentals.


title: Chord (music)

text: These are noted alongside the altered element. Accidentals are most often used with dominant seventh chords. Altered dominant seventh chords (C) may have a minor ninth, a sharp ninth, a diminished fifth, or an augmented fifth. Some write this as C, which assumes also the minor ninth, diminished fifth and augmented fifth. The augmented ninth is often referred to in blues and jazz as a blue note, being enharmonically equivalent to the minor third or tenth. When superscripted numerals are used the different numbers may be listed horizontally or vertically.


title: Chord (music)

text: An added tone chord is a triad with an added, non-tertian note, such as an added sixth or a chord with an added second (ninth) or fourth (eleventh) or a combination of the three. These chords do not include "intervening" thirds as in an extended chord. Added chords can also have variations. Thus, m, m and m are minor triads with extended notes.


title: Chord (music)

text: Sixth chords can belong to either of two groups. One is first inversion chords and added sixth chords that contain a sixth from the root. The other group is inverted chords in which the interval of a sixth appears above a bass note that is not the root.


title: Chord (music)

text: The major sixth chord (also called, sixth or added sixth with the chord notation 6, e.g., C) is by far the most common type of sixth chord of the first group. It comprises a major triad with the added major sixth above the root, common in popular music. For example, the chord C contains the notes C–E–G–A. The minor sixth chord (min or m, e.g., Cm) is a minor triad, still with a major 6. For example, the chord Cm contains the notes C–E–G–A.


title: Chord (music)

text: The augmented sixth chord usually appears in chord notation as its enharmonic equivalent, the seventh chord. This chord contains two notes separated by the interval of an augmented sixth (or, by inversion, a diminished third, though this inversion is rare). The augmented sixth is generally used as a dissonant interval most commonly used in motion towards a dominant chord in root position (with the root doubled to create the octave the augmented sixth chord resolves to) or to a tonic chord in second inversion (a tonic triad with the fifth doubled for the same purpose). In this case, the tonic note of the key is included in the chord, sometimes along with an optional fourth note, to create one of the following (illustrated here in the key of C major):


title: Chord (music)

text: The augmented sixth family of chords exhibits certain peculiarities. Since they are not based on triads, as are seventh chords and other sixth chords, they are not generally regarded as having roots (nor, therefore, inversions), although one re-voicing of the notes is common (with the namesake interval inverted to create a diminished third).


title: Chord (music)

text: The second group of sixth chords includes inverted major and minor chords, which may be called sixth chords in that the six-three () and six-four () chords contain intervals of a sixth with the bass note, though this is not the root. Nowadays, this is mostly for academic study or analysis (see figured bass) but the Neapolitan sixth chord is an important example; a major triad with a flat supertonic scale degree as its root that is called a "sixth" because it is almost always found in first inversion. Though a technically accurate Roman numeral analysis would be II, it is generally labelled N. In C major, the chord is notated (from root position) D, F, A. Because it uses chromatically altered tones, this chord is often grouped with the borrowed chords but the chord is not borrowed from the relative major or minor and it may appear in both major and minor keys.


title: Chord (music)

text: A suspended chord, or "sus chord", is a chord in which the third is replaced by either the second or the fourth. This produces two main chord types: the suspended second (sus2) and the suspended fourth (sus4). The chords, C and C, for example, consist of the notes C–D–G and C–F–G, respectively. There is also a third type of suspended chord, in which both the second and fourth are present, for example the chord with the notes C–D–F–G.


title: Chord (music)

text: The name "suspended" derives from an early polyphonic technique developed during the common practice period, in which a stepwise melodic progress to a harmonically stable note in any particular part was often momentarily delayed, or suspended, by extending the duration of the previous note. The resulting unexpected dissonance could then be all the more satisfyingly resolved by the eventual appearance of the displaced note. In traditional music theory, the inclusion of the third in either chord would negate the suspension, so such chords would be called added ninth and added eleventh chords instead.


title: Chord (music)

text: In modern lay usage, the term is restricted to the displacement of the third only, and the dissonant second or fourth no longer must be held over (prepared) from the previous chord. Neither is it now obligatory for the displaced note to make an appearance at all, though in the majority of cases the conventional stepwise resolution to the third is still observed. In post-bop and modal jazz compositions and improvisations, suspended seventh chords are often used in nontraditional ways: these often do not function as V chords and do not resolve from the fourth to the third. The lack of resolution gives the chord an ambiguous, static quality. Indeed, the third is often played on top of a sus4 chord. A good example is the jazz standard, "Maiden Voyage".


title: Chord (music)

text: Extended versions are also possible, such as the seventh suspended fourth, which, with root C, contains the notes C–F–G–B and is notated as C. C is sometimes written C since the sus4 is more common than the sus2.


title: Chord (music)

text: A borrowed chord is one from a different key than the home key, the key of the piece it is used in. The most common occurrence of this is where a chord from the parallel major or minor key is used. Particularly good examples can be found throughout the works of composers such as Schubert. For instance, for a composer working in the C major key, a major III chord (e.g., an E major chord) would be borrowed, as this chord appears only in the key of C minor. Although borrowed chords could theoretically include chords taken from any key other than the home key, this is not how the term is used when a chord is described in formal musical analysis.


title: Chord (music)

text: When a chord is analysed as "borrowed" from another key it may be shown by the Roman numeral corresponding with that key after a slash. For example, V/V (pronounced "five of five") indicates the dominant chord of the dominant key of the present home-key. The dominant key of C major is G major so this secondary dominant is the chord of the fifth degree of the G major scale, which is D major (which can also be described as II relative to the key of C major, not to be confused with the supertonic ii namely D minor.). If used for a significant duration, the use of the D major chord may cause a modulation to a new key (in this case to G major).


title: Chord (music)

text: Borrowed chords are widely used in Western popular music and rock music. For example, there are a number of songs in E major which use the III chord (e.g., a G major chord used in an E major song), the VII chord (e.g., a D major chord used in an E major song) and the VI chord (e.g., a C major chord used in an E major song). All of these chords are "borrowed" from the key of E minor.


title: Lynne Frederick

text: Lynne Frederick (25 July 1954 – 27 April 1994) was an English actress, film producer, and fashion model. In a career spanning ten years, she made over thirty appearances in film and television productions. Known for her classic English rose beauty, she often played the girl next door and was famous for her performances in a range of genres, from contemporary science fiction to slasher horror, romantic dramas, classic westerns, and occasional comedies; although her greater successes were in period films and costume dramas.


title: Lynne Frederick

text: In 1980, after the death of her husband, Peter Sellers, she came to national attention over the nature of his controversial will, in which she was listed as the primary beneficiary. She was publicly criticized, ridiculed and perceived as a gold digger by the press and public. Her career and reputation never recovered from the backlash and she was subsequently blacklisted by Hollywood. She lived out the remainder of her years in California, and kept a low profile until her death in 1994.


title: Lynne Frederick

text: In the decades since her death, Frederick's legacy has steadily established a posthumous cult following for her collection of work in motion pictures. Some of her better known performances include her roles in films such as "Nicholas and Alexandra" (1971), "The Amazing Mr. Blunden" (1972), "Henry VIII and His Six Wives" (1972), and "Voyage of the Damned" (1976). Other films of hers such as "Vampire Circus" (1971), "Phase IV" (1974), "Four of the Apocalypse" (1975), "A Long Return" ("Largo retorno") (1975), and "Schizo" (1976) have all become underground hits or established a status as a cult film in their respective genres, contributing to the renewed interest in her life and career.


title: Lynne Frederick

text: She was the first recipient of the award for Best New Coming Actress from the "Evening Standard" British Film Awards in 1973, for her performances in "Henry VIII and His Six Wives" (1972) and "The Amazing Mr. Blunden" (1972). She is one of only eight actresses, and the youngest, to hold this title.


title: Lynne Frederick

text: Frederick was born in Hillingdon, Middlesex, to Andrew Frederick (1914–1983) and Iris C. Frederick (née Sullivan, 1928–2006). While she was very young, her father abandoned the family, and she was brought up by her mother and maternal grandmother, Cecilia. Lynne never knew or met her father, and had no personal relationships or connections with his side of the family. Although her mother was employed as a casting director for Thames Television, they often lived a frugal lifestyle. In her work, Iris gained a reputation for being a stern and imposing individual.


title: Lynne Frederick

text: Frederick was brought up in Market Harborough in Leicestershire. She occasionally faced social stigma due to her parents' divorce. She attended Notting Hill and Ealing High School in London. Her original career choice was to become a schoolteacher of physics and mathematics.


title: Lynne Frederick

text: Frederick was discovered at the age of 15 by Hungarian-American actor and film director Cornel Wilde, who was a friend and colleague of her mother. Wilde had been looking for a young, unknown actress to star in his film adaptation of the best selling post-apocalyptic science fiction novel "The Death of Grass". Wilde first saw her when she came to work with her mother to pose for some test shots and was immediately smitten by her beauty, charisma, and bubbly personality. Despite her having no previous experience in theatre, films, or commercials, Wilde offered her the role without an audition.


title: Lynne Frederick

text: When "No Blade of Grass" (1970) was released, the film received mixed reviews from critics. Notwithstanding the lukewarm reception of the film, Frederick became an overnight sensation, and her career quickly took off. Represented by the talent agency, Hazel Malone Management, Frederick became a teen idol among the British public in the early 1970s, and was seen as the next Hayley Mills and Olivia Hussey. She was regularly featured in newspaper articles and fashion magazines as a model and cover girl. For a spread in the September 1971 edition of British "Vogue", she was photographed by Patrick Lichfield. In addition, she appeared in several television commercials for products that included Camay soap. Frederick then signed a cosmetics contract with Mennen, and became a spokesmodel for Protein 21 shampoo, starring in nationwide print and television advertising campaigns. A British national newspaper also chose her as its "Face of 1971", and she was hailed as one of Britain's most promising newcomers.


title: Lynne Frederick

text: In 1971, she appeared in the biographical film "Nicholas and Alexandra" (1971), in which she played the Grand Duchess Tatiana Nikolaevna of Russia, second eldest daughter of Tsar Nicholas II. For the film's press tour, she toured Europe with her three co-stars Ania Marson, Candace Glendenning, and Fiona Fullerton. That same year, she auditioned for the role of Alice in "Alice's Adventures in Wonderland" (1972), but lost the role to her friend Fiona Fullerton. She was also first runner-up for the role of Saint Clare of Assisi in the Franco Zeffirelli production of "Brother Sun, Sister Moon" (1972), which ultimately went to Judi Bowker.


title: Lynne Frederick

text: Her best-known appearance was in 1972 when she played Catherine Howard, in "Henry VIII and His Six Wives". Her next role was in the 1972 family film "The Amazing Mr. Blunden"; in 1973, she won the "Evening Standard" British Film Award for Best New Actress. She continued to work in film and television projects throughout 1973 and 1974, where she was often cast in the archetypal roles of the girl next door, an ingénue, or a princess. Some of the shows in which she appeared were "Wessex Tales", "Follyfoot", "The Generation Game", and an adaptation of "The Canterville Ghost" where she first met David Niven, who became a lifelong friend.


title: Lynne Frederick

text: Frederick's most prominent television role came in 1974 when she appeared in three episodes of the critically-acclaimed and Emmy-winning series "The Pallisers". The series featured a huge cast of prominent and rising British actors, including Anthony Andrews, of whom she played the love interest.


title: Lynne Frederick

text: Frederick landed a role in the Spanish romance film "A Long Return" ("Largo retorno", 1975), where she also made her debut and only appearance singing on a film's soundtrack. She also appeared alongside Fabio Testi in "Four of the Apocalypse" as well as in the adventure film "Cormack of the Mounties". She returned to playing a teen-aged character in the Spanish film "El Vicio Y La Virtud" (1975).


title: Lynne Frederick

text: Frederick began 1976 with an appearance in a then controversial episode of the BBC series "Play for Today", titled "The Other Woman", in which she played a sexually enigmatic girl who falls for a lesbian artist played by Jane Lapotaire. Later the same year, she delivered a critically-acclaimed performance in the Oscar-nominated film, "Voyage of the Damned" (1976). She followed that with a leading role in a Pete Walker slasher horror film, "Schizo" (1976), a movie that became an underground hit in the horror film genre.


title: Lynne Frederick

text: Along with Frederick's rising mainstream success as an actress, her modelling career was also taking off. Shifting her style and image to that of a more sophisticated glamour girl, Frederick emerged as a movie sex symbol of the late 1970s. Her profile expanded to Japan, and she became a frequent face in the Japanese entertainment magazine, "Screen". She was featured as a celebrity centerfold pin-up, and made the cover three times in the space of eighteen months. Frederick was also listed in several press and editorial publications as one of photographer Terry Fincher's muses.


title: Lynne Frederick

text: By this point in her career, Frederick was earning over £4,000 (£ today) per week for her film work alone. She was also being represented by A-list Hollywood agent, Dennis Selinger, who represented internationally successful British actors such as Vanessa Redgrave, Michael Caine, and Sean Connery. Selinger was gradually preparing Frederick for worldwide crossover stardom in more prolific and mainstream film and television productions, as he had previously done with Susan George. In addition, Frederick had now reached the point where she no longer had to audition for roles, and was being sent stacks of scripts and lucrative film offers.


title: Lynne Frederick

text: Following her marriage to Peter Sellers in 1977, Frederick's career stalled for over a year as Sellers forced her to turn down all the acting offers she was receiving, in order to tend him through poor health. This included supporting and looking after him on the sets of his films. She attempted to make a career comeback in 1978, but the year-long absence had cost Frederick her burgeoning stardom.


title: Lynne Frederick

text: Frederick campaigned and auditioned for several films. The role that she most desired, and spent a great deal of time lobbying for, was the leading role of Meggie Cleary in "The Thorn Birds". Despite her lengthy and accomplished acting résumé, the producers decided they wanted a much bigger catch, Rachel Ward. Other roles she campaigned for included Cosette in the 1978 television adaptation of "Les Misérables" (1978), and Anne Sullivan in the television remake of "The Miracle Worker" (1979), neither of which she received. She made her final onscreen appearance with her husband, Sellers, in the 1979 remake of "The Prisoner of Zenda", which was a box-office and critical flop. Her final credit was as an executive producer on Sellers's last film "The Fiendish Plot of Dr. Fu Manchu" (1980).


title: Lynne Frederick

text: Following Sellers's death, his controversial will, the ongoing feuds with her stepchildren, and her short marriage to David Frost, Frederick became a figure of hate and ridicule in the press and other media. The "Daily Mirror" even featured her in a smear campaign list of disgraced public figures of 1980. Labelled as a “gold digger” and "professional wife", she was consequently shunned and blacklisted from the film industry. By 1982, at age 28, she was considered unemployable and gradually dropped out of the public eye.


title: Lynne Frederick

text: Frederick's first marriage, at 22, was to Peter Sellers. They met at a Dennis Selinger dinner party in 1976 after Frederick had finished making "Schizo" (1976). Sellers initially proposed to her two days after their first meeting, but she turned him down. They courted for a year before he proposed to her again. They eloped to Paris on 18 February 1977.


title: Lynne Frederick

text: Contrary to popular belief, their marriage started well, and they were a popular red carpet couple among the British public. Writer Stephen Bach said of their relationship, “I noticed as he [Peter Sellers] rose, that not once in the long talkative afternoon had he let go of Lynne's hand, nor had she moved away. She transfused him simultaneously with calm and energy, and the hand he clung to was less a hand than a lifeline”. He also added that he believed that Lynne had a unique ability to calm Sellers' manic moods; “the atmosphere was uneasy only until Lynne Frederick came into the room, exuding an aura of calm that somehow enveloped us all like an Alpine fragrance. She was only in her mid-twenties, but instantly observable as the mature center around which the household revolved, an emotional anchor that looked like a daffodil.” David Niven, who was a friend to both Sellers and Frederick, had credited Peter's happiness to Lynne being a devoted and loving wife.


title: Lynne Frederick

text: Their marriage declined as Sellers's health deteriorated. He forced Frederick to forfeit her growing and lucrative acting career to care for him. Sellers's biographer, Ed Sikov, claimed that Frederick was offered a lucrative five-month job in Moscow where she was to lead a big budgeted television miniseries, but Sellers insisted she should turn it down so that he would not be left alone.


title: Lynne Frederick

text: The tension between them increased after the box-office and critical failure of "The Prisoner of Zenda" (1979), followed by negative tabloid reports of rumours of drug use, infidelity, domestic abuse, and other alleged conflicts. Despite their struggles, Frederick stood by Sellers and cared for him as his health continued to decline and he became more temperamental. Although they separated a number of times, they always came back together.


title: Lynne Frederick

text: Sellers was reportedly in the process of excluding her from his will a week before he died of a heart attack on 24 July 1980, the day before her 26th birthday. The planned changes to the will not having been finalised, she inherited almost his entire estate, worth an estimated £4.5 million (£ million today), and his children received £800 each (£ today). Despite appeals from a number of Sellers's friends to make a fair settlement to the children, Frederick allegedly refused to give her stepchildren anything due to their rocky relationship with her and Peter. After Sellers's death, her stepson, Michael Sellers, published an exposé memoir concerning his relationship with his father, "P.S. I Love You: An Intimate Portrait of Peter Sellers". In the book, he accused Frederick of being a deceitful, cunning and narcissistic fraud who only married his father for his money. He also alleged that Frederick had cheated his sisters and him out of their inheritance by intentionally manipulating their father to alter the will in her favour. This led to the press vilifying and labeling her as a "gold digger".


title: Lynne Frederick

text: She briefly married David Frost (on 25 January 1981), and her supposed eagerness to remarry so quickly after Sellers's death caused a loss of reputation in the public eye, and was one of the major factors in her blacklisting. Prior to their marriage, Frederick had known Frost for several years and they were occasional lovers in between relationships. Frederick divorced Frost after 17 months. During the course of their marriage, she suffered a miscarriage in March 1982.


title: Lynne Frederick

text: In December 1982, she married U.S. cardiologist Barry Unger with whom she had her only child, Cassie Cecilia Unger (born 1983). They divorced in 1991.


title: Lynne Frederick

text: After being blacklisted and losing her acting career, Frederick lived a very narrow, private, and reclusive lifestyle. When she divorced Frost, she faced public embarrassment when it was reported that she became intoxicated at a formal restaurant and had to be escorted out. Following this incident, she fled from England to California and never returned to her homeland again. In later years she was known for being fiercely private. Subsequently, she refused to give interviews and distanced herself from the celebrity lifestyle.


title: Lynne Frederick

text: After her divorce from her third husband, Barry Unger, Frederick lived in a Los Angeles mansion that was previously owned by Gary Cooper. As the years went by, she struggled with alcoholism, seizures, and clinical depression. There were also rumors of nervous breakdowns and suicide attempts. Despite participating in numerous recovery treatments at hospitals and clinics, she was unable to rebuild her health. Weary after her years of public scorn and deteriorating conditions, she cloistered herself in her home for days at a time. This led to her mother Iris moving from England to California to live with Frederick to help care for her and her daughter, Cassie.


title: Lynne Frederick

text: Frederick was the sole manager of Sellers's estate. She took such pride in being Sellers's wife that she legally changed her last name to Sellers. It has been reported that when she took part in group therapy sessions, she introduced herself as "Lynne Sellers, the wife of Peter Sellers".


title: Lynne Frederick

text: Frederick, who never met her biological father, regarded actor David Niven as her substitute father. They first met while filming the television film adaptation of "The Canterville Ghost" (1974). They remained close friends over the years until Niven's death in 1983, which occurred just eight weeks after the birth of her daughter.


title: Lynne Frederick

text: As a child, Lynne was very close to her mother, Iris, and grandmother, Cecilia. Her relationship with her mother suffered major damage after she married Peter Sellers in 1977. Five days after the wedding, Iris spoke out against the marriage in an interview with the "Daily Mirror":


title: Lynne Frederick

text: "Time will tell, but I think Lynne has made a terrible mistake. I hope it will work for her sake. He [Peter Sellers] is a brilliant man, but not the kind of son in law I would have chosen. I wasn't invited to the ceremony, but that isn't surprising. When I heard it was taking place, I said: 'The sooner it happens, the sooner it will be over'. Somehow, in view of Sellers's previous record with the ladies who have gone before, I think this marriage may not last too long."


title: Lynne Frederick

text: Feeling hurt and betrayed by this interview, Lynne did not see or speak to her mother again for the duration of her marriage to Sellers. When asked about cutting ties with her daughter, Iris said: "I have my own life to live. Of course I still love her. I’ve cried for her and I miss her a great deal. Lynne is right when she says we were terribly close and it hurts when I see her using the press to make me look the guilty party in all this."


title: Lynne Frederick

text: During the period when Iris was not in communication with Lynne, she continued to publicly blast her daughter’s marriage in the press.


title: Lynne Frederick

text: "My own marriage ended unhappily when Lynne was two. I tried to compensate for her having no father by devoting all the time I wasn't working to her. Perhaps if I had married again she wouldn't gone on choosing men twice her age as boyfriends - looking for a father figure I suppose. She met Peter Sellers on the rebound from David Frost. I thought 'here we go again' but I didn't want to be the one to put it down without giving it a chance. I know I said things later about marital track record not being very good, but at the time I went along with it wondering how long it would be before I was having to give him the 'Lynne regrets' speech. Now I ask you! What mother can be expected to approve of the marriage of her daughter to such a man? My heart bled for her. To me their marriage is doomed right from the start. I hope and pray they'll prove me wrong. God knows I want Lynne to be happy. But this time I must let her sort it out for herself. She must understand that I am staying clear for her sake even though it hurts me to do so."


title: Lynne Frederick

text: After Sellers's death in 1980, Frederick reconciled with her mother. Despite its rekindling, their relationship was never the same again.


title: Lynne Frederick

text: In 1972, while in her late teens, Frederick became involved with Curzon House Club casino owner, Julian Posner, who like Sellers was thirty years her senior. They had an on-and-off relationship for about three years until 1975, while Frederick's acting career continued to blossom. During their off times, Frederick would often discreetly engage in affairs with her friend and future husband, David Frost.