title: Metre (poetry)

text: The most important Classical metre is the dactylic hexameter, the metre of Homer and Virgil. This form uses verses of six feet. The word "dactyl" comes from the Greek word "daktylos" meaning "finger", since there is one long part followed by two short stretches. The first four feet are dactyls ("daa-duh-duh"), but can be spondees ("daa-daa"). The fifth foot is almost always a dactyl. The sixth foot is either a spondee or a trochee ("daa-duh"). The initial syllable of either foot is called the "ictus", the basic "beat" of the verse. There is usually a caesura after the ictus of the third foot. The opening line of the "Aeneid" is a typical line of dactylic hexameter:


title: Metre (poetry)

text: In this example, the first and second feet are dactyls; their first syllables, "Ar" and "rum" respectively, contain short vowels, but count as long because the vowels are both followed by two consonants. The third and fourth feet are spondees, the first of which is divided by the main caesura of the verse. The fifth foot is a dactyl, as is nearly always the case. The final foot is a spondee.


title: Metre (poetry)

text: The dactylic hexameter was imitated in English by Henry Wadsworth Longfellow in his poem "Evangeline":


title: Metre (poetry)

text: Also important in Greek and Latin poetry is the dactylic pentameter. This was a line of verse, made up of two equal parts, each of which contains two dactyls followed by a long syllable, which counts as a half foot. In this way, the number of feet amounts to five in total. Spondees can take the place of the dactyls in the first half, but never in the second. The long syllable at the close of the first half of the verse always ends a word, giving rise to a caesura.


title: Metre (poetry)

text: Dactylic pentameter is never used in isolation. Rather, a line of dactylic pentameter follows a line of dactylic hexameter in the elegiac distich or elegiac couplet, a form of verse that was used for the composition of elegies and other tragic and solemn verse in the Greek and Latin world, as well as love poetry that was sometimes light and cheerful. An example from Ovid's "Tristia":


title: Metre (poetry)

text: The Greeks and Romans also used a number of lyric metres, which were typically used for shorter poems than elegiacs or hexameter. In Aeolic verse, one important line was called the hendecasyllabic, a line of eleven syllables. This metre was used most often in the Sapphic stanza, named after the Greek poet Sappho, who wrote many of her poems in the form. A hendecasyllabic is a line with a never-varying structure: two trochees, followed by a dactyl, then two more trochees. In the Sapphic stanza, three hendecasyllabics are followed by an "Adonic" line, made up of a dactyl and a trochee. This is the form of Catullus 51 (itself an homage to Sappho 31):


title: Metre (poetry)

text: The Sapphic stanza was imitated in English by Algernon Charles Swinburne in a poem he simply called "Sapphics":


title: Metre (poetry)

text: The metrical system of Classical Arabic poetry, like those of classical Greek and Latin, is based on the weight of syllables classified as either "long" or "short". The basic principles of Arabic poetic metre "Arūḍ" or Arud ( ') Science of Poetry ( '), were put forward by Al-Farahidi (786 - 718 CE) who did so after noticing that poems consisted of repeated syllables in each verse. In his first book, "Al-Ard" ( ""), he described 15 types of verse. Al-Akhfash described one extra, the 16th.


title: Metre (poetry)

text: A short syllable contains a short vowel with no following consonants. For example, the word "kataba," which syllabifies as "ka-ta-ba", contains three short vowels and is made up of three short syllables. A long syllable contains either a long vowel or a short vowel followed by a consonant as is the case in the word "maktūbun" which syllabifies as "mak-tū-bun". These are the only syllable types possible in Classical Arabic phonology which, by and large, does not allow a syllable to end in more than one consonant or a consonant to occur in the same syllable after a long vowel. In other words, syllables of the type "-āk-" or "-akr-" are not found in classical Arabic.


title: Metre (poetry)

text: Each verse consists of a certain number of metrical feet ("tafāʿīl" or "ʾaǧzāʾ") and a certain combination of possible feet constitutes a metre ("baḥr").


title: Metre (poetry)

text: The traditional Arabic practice for writing out a poem's metre is to use a concatenation of various derivations of the verbal root "F-ʿ-L" (فعل). Thus, the following hemistich


title: Metre (poetry)

text: Al-Kʰalīl b. ˀAḫmad al-Farāhīdī's contribution to the study of Arabic prosody is undeniably significant: he was the first scholar to subject Arabic poetry to a meticulous, painstaking metrical analysis. Unfortunately, he fell short of producing a coherent theory; instead, he was content to merely gather, classify, and categorize the primary data—a first step which, though insufficient, represents no mean accomplishment. Therefore, al-Kʰalīl has left a formulation of utmost complexity and difficulty which requires immense effort to master; even the accomplished scholar cannot utilize and apply it with ease and total confidence. Dr. ˀIbrāhīm ˀAnīs, one of the most distinguished and celebrated pillars of Arabic literature and the Arabic language in the 20th century, states the issue clearly in his book Mūsīqā al-Sʰiˁr:


title: Metre (poetry)

text: “I am aware of no [other] branch of Arabic studies which embodies as many [technical] terms as does [al-Kʰalīl’s] prosody, few and distinct as the meters are: al-Kʰalīl’s disciples employed a large number of infrequent items, assigning to those items certain technical denotations which—invariably—require definition and explanation. …. As to the rules of metric variation, they are numerous to the extent that they defy memory and impose a taxing course of study. …. In learning them, a student faces severe hardship which obscures all connection with an artistic genre—indeed, the most artistic of all—namely, poetry. ………. It is in this fashion that [various] authors dealt with the subject under discussion over a period of eleven centuries: none of them attempted to introduce a new approach or to simplify the rules. ………. Is it not time for a new, simple presentation which avoids contrivance, displays close affinity to [the art of] poetry, and perhaps renders the science of prosody palatable as well as manageable?”


title: Metre (poetry)

text: In the 20th and the 21st centuries, numerous scholars have endeavored to supplement al-Kʰalīl's contribution.


title: Metre (poetry)

text: Classical Arabic has sixteen established metres. Though each of them allows for a certain amount of variation, their basic patterns are as follows, using:


title: Metre (poetry)

text: The terminology for metrical system used in classical and classical-style Persian poetry is the same as that of Classical Arabic, even though these are quite different in both origin and structure. This has led to serious confusion among prosodists, both ancient and modern, as to the true source and nature of the Persian metres, the most obvious error being the assumption that they were copied from Arabic.


title: Metre (poetry)

text: Persian poetry is quantitative, and the metrical patterns are made of long and short syllables, much as in Classical Greek, Latin and Arabic. "Anceps" positions in the line, however, that is places where either a long or short syllable can be used (marked "x" in the schemes below), are not found in Persian verse except in some metres at the beginning of a line.


title: Metre (poetry)

text: Persian poetry is written in couplets, with each half-line (hemistich) being 10-14 syllables long. Except in the ruba'i (quatrain), where either of two very similar metres may be used, the same metre is used for every line in the poem. Rhyme is always used, sometimes with double rhyme or internal rhymes in addition. In some poems, known as masnavi, the two halves of each couplet rhyme, with a scheme "aa", "bb", "cc" and so on. In lyric poetry, the same rhyme is used throughout the poem at the end of each couplet, but except in the opening couplet, the two halves of each couplet do not rhyme; hence the scheme is "aa", "ba", "ca", "da". A "ruba'i" (quatrain) also usually has the rhyme "aa, ba".


title: Metre (poetry)

text: A particular feature of classical Persian prosody, not found in Latin, Greek or Arabic, is that instead of two lengths of syllables (long and short), there are three lengths (short, long, and overlong). Overlong syllables can be used anywhere in the line in place of a long + a short, or in the final position in a line or half line. When a metre has a pair of short syllables (⏑ ⏑), it is common for a long syllable to be substituted, especially at the end of a line or half-line.


title: Metre (poetry)

text: About 30 different metres are commonly used in Persian. 70% of lyric poems are written in one of the following seven metres:


title: Metre (poetry)

text: "Masnavi" poems (that is, long poems in rhyming couplets) are always written in one of the shorter 11 or 10-syllable metres (traditionally seven in number) such as the following:


title: Metre (poetry)

text: The two metres used for "ruba'iyat" (quatrains), which are only used for this, are the following, of which the second is a variant of the first:


title: Metre (poetry)

text: Classical Chinese poetic metric may be divided into fixed and variable length line types, although the actual scansion of the metre is complicated by various factors, including linguistic changes and variations encountered in dealing with a tradition extending over a geographically extensive regional area for a continuous time period of over some two-and-a-half millennia. Beginning with the earlier recorded forms: the Classic of Poetry tends toward couplets of four-character lines, grouped in rhymed quatrains; and, the Chuci follows this to some extent, but moves toward variations in line length. Han Dynasty poetry tended towards the variable line-length forms of the folk ballads and the Music Bureau yuefu. Jian'an poetry, Six Dynasties poetry, and Tang Dynasty poetry tend towards a poetic metre based on fixed-length lines of five, seven, (or, more rarely six) characters/verbal units tended to predominate, generally in couplet/quatrain-based forms, of various total verse lengths. The Song poetry is specially known for its use of the "ci", using variable line lengths which follow the specific pattern of a certain musical song's lyrics, thus "ci" are sometimes referred to as "fixed-rhythm" forms. Yuan poetry metres continued this practice with their "qu" forms, similarly fixed-rhythm forms based on now obscure or perhaps completely lost original examples (or, ur-types). Not that Classical Chinese poetry ever lost the use of the "shi" forms, with their metrical patterns found in the "old style poetry" ("gushi") and the regulated verse forms of ("lüshi" or "jintishi"). The regulated verse forms also prescribed patterns based upon linguistic tonality. The use of caesura is important in regard to the metrical analysis of Classical Chinese poetry forms.


title: Metre (poetry)

text: The metric system of Old English poetry was different from that of modern English, and related more to the verse forms of most of the older Germanic languages such as Old Norse. It used alliterative verse, a metrical pattern involving varied numbers of syllables but a fixed number (usually four) of strong stresses in each line. The unstressed syllables were relatively unimportant, but the caesurae (breaks between the half-lines) played a major role in Old English poetry.


title: Metre (poetry)

text: In place of using feet, alliterative verse divided each line into two half-lines. Each half-line had to follow one of five or so patterns, each of which defined a sequence of stressed and unstressed syllables, typically with two stressed syllables per half line. Unlike typical Western poetry, however, the number of unstressed syllables could vary somewhat. For example, the common pattern "DUM-da-DUM-da" could allow between one and five unstressed syllables between the two stresses.


title: Metre (poetry)

text: The following is a famous example, taken from The Battle of Maldon, a poem written shortly after the date of that battle (AD 991):


title: Metre (poetry)

text: In the quoted section, the stressed syllables have been underlined. (Normally, the stressed syllable must be long if followed by another syllable in a word. However, by a rule known as "syllable resolution", two short syllables in a single word are considered equal to a single long syllable. Hence, sometimes two syllables have been underlined, as in "hige" and "mægen".) The German philologist Eduard Sievers (died 1932) identified five different patterns of half-line in Anglo-Saxon alliterative poetry. The first three half-lines have the type A pattern "DUM-da-(da-)DUM-da", while the last one has the type C pattern "da-(da-da-)DUM-DUM-da", with parentheses indicating optional unstressed syllables that have been inserted. Note also the pervasive pattern of alliteration, where the first and/or second stressed syllables alliterate with the third, but not with the fourth.


title: Metre (poetry)

text: In French poetry, metre is determined solely by the number of syllables in a line. A silent 'e' counts as a syllable before a consonant, but is elided before a vowel (where "h aspiré" counts as a consonant). At the end of a line, the "e" remains unelided but is hypermetrical (outside the count of syllables, like a feminine ending in English verse), in that case, the rhyme is also called "feminine", whereas it is called "masculine" in the other cases.


title: Metre (poetry)

text: The most frequently encountered metre in Classical French poetry is the alexandrine, composed of two hemistiches of six syllables each. Two famous alexandrines are


title: Metre (poetry)

text: Classical French poetry also had a complex set of rules for rhymes that goes beyond how words merely sound. These are usually taken into account when describing the metre of a poem.


title: Metre (poetry)

text: In Spanish poetry the metre is determined by the number of syllables the verse has. Still it is the phonetic accent in the last word of the verse that decides the final count of the line. If the accent of the final word is at the last syllable, then the poetic rule states that one syllable shall be added to the actual count of syllables in the said line, thus having a higher number of poetic syllables than the number of grammatical syllables. If the accent lies on the second to last syllable of the last word in the verse, then the final count of poetic syllables will be the same as the grammatical number of syllables. Furthermore, if the accent lies on the third to last syllable, then one syllable is subtracted from the actual count, having then less poetic syllables than grammatical syllables.


title: Metre (poetry)

text: Spanish poetry uses poetic licenses, unique to Romance languages, to change the number of syllables by manipulating mainly the vowels in the line.


title: Metre (poetry)

text: Regarding these poetic licenses one must consider three kinds of phenomena: (1) syneresis, (2) dieresis and (3) hiatus


title: Metre (poetry)

text: There are many types of licenses, used either to add or subtract syllables, that may be applied when needed after taking in consideration the poetic rules of the last word. Yet all have in common that they only manipulate vowels that are close to each other and not interrupted by consonants.


title: Metre (poetry)

text: In Italian poetry, metre is determined solely by the position of the last accent in a line, the position of the other accents being however important for verse equilibrium. Syllables are enumerated with respect to a verse which ends with a paroxytone, so that a Septenary (having seven syllables) is defined as a verse whose last accent falls on the sixth syllable: it may so contain eight syllables ("Ei fu. Siccome immobile") or just six ("la terra al nunzio sta"). Moreover, when a word ends with a vowel and the next one starts with a vowel, they are considered to be in the same syllable (synalepha): so "Gli anni e i giorni" consists of only four syllables ("Gli an" "ni e i" "gior" "ni"). Even-syllabic verses have a fixed stress pattern. Because of the mostly trochaic nature of the Italian language, verses with an even number of syllables are far easier to compose, and the Novenary is usually regarded as the most difficult verse.


title: Metre (poetry)

text: Apart from Ottoman poetry, which was heavily influenced by Persian traditions and created a unique Ottoman style, traditional Turkish poetry features a system in which the number of syllables in each verse must be the same, most frequently 7, 8, 11, 14 syllables. These verses are then divided into syllable groups depending on the number of total syllables in a verse: 4+3 for 7 syllables, 4+4 or 5+3 for 8, 4+4+3 or 6+5 for 11 syllables. The end of each group in a verse is called a "durak" (stop), and must coincide with the last syllable of a word.


title: Metre (poetry)

text: The following example is by Faruk Nafiz Çamlıbel (died 1973), one of the most devoted users of traditional Turkish metre:


title: Metre (poetry)

text: In this poem the 6+5 metre is used, so that there is a word-break ("durak" = "stop") after the sixth syllable of every line, as well as at the end of each line.


title: Metre (poetry)

text: In the Ottoman Turkish language, the structures of the poetic foot (تفعل "tef'ile") and of poetic metre (وزن "vezin") were imitated from Persian poetry. About twelve of the most common Persian metres were used for writing Turkish poetry. As was the case with Persian, no use at all was made of the commonest metres of Arabic poetry (the "tawīl", "basīt", "kāmil", and "wāfir"). However, the terminology used to describe the metres was indirectly borrowed from the Arabic poetic tradition through the medium of the Persian language.


title: Metre (poetry)

text: As a result, Ottoman poetry, also known as Dîvân poetry, was generally written in quantitative, mora-timed metre. The moras, or syllables, are divided into three basic types:


title: Metre (poetry)

text: In writing out a poem's poetic metre, open syllables are symbolized by "." and closed syllables are symbolized by "–". From the different syllable types, a total of sixteen different types of poetic foot—the majority of which are either three or four syllables in length—are constructed, which are named and scanned as follows:


title: Metre (poetry)

text: These individual poetic feet are then combined in a number of different ways, most often with four feet per line, so as to give the poetic metre for a line of verse. Some of the most commonly used metres are the following:


title: Metre (poetry)

text: Portuguese poetry uses a syllabic metre in which the verse is classified according to the last stressed syllable. The Portuguese system is quite similar to those of Spanish and Italian, as they are closely related languages. The most commonly used verses are:


title: Metre (poetry)

text: There is a continuing tradition of strict metre poetry in the Welsh language that can be traced back to at least the sixth century. At the annual National Eisteddfod of Wales a bardic chair is awarded to the best , a long poem that follows the conventions of regarding stress, alliteration and rhyme.


title: Metre (poetry)

text: Metre has been applied in Hungarian since 1541 up to the 20th century, partly in hexameter, and partly in other forms, such as the Alcaic, the Asclepiadic, and the Sapphic stanza. Early 19th-century poet Dániel Berzsenyi's poetry has been rendered into English faithfully to his original metre in some translations, namely by Peter Zollman, Adam Makkai, and others. 20th-century poets such as Mihály Babits, Árpád Tóth, Miklós Radnóti, Attila József, and Ágnes Nemes Nagy wrote poetry in metre. The Iliad, the Odyssey, the Aeneid and epic and lyric poetry by Horace, Ovid, and Catullus, have been translated into Hungarian in their original metre, most notably by Gábor Devecseri, as well as by other 20th-century translators.


title: Metre (poetry)

text: Metrical texts are first attested in early Indo-European languages. The earliest known unambiguously metrical texts, and at the same time the only metrical texts with a claim of dating to the Late Bronze Age, are the hymns of the Rigveda. That the texts of the Ancient Near East (Sumerian, Egyptian or Semitic) should not exhibit metre is surprising, and may be partly due to the nature of Bronze Age writing. There were, in fact, attempts to reconstruct metrical qualities of the poetic portions of the Hebrew Bible, e.g. by Gustav Bickell or Julius Ley, but they remained inconclusive (see Biblical poetry). Early Iron Age metrical poetry is found in the Iranian Avesta and in the Greek works attributed to Homer and Hesiod.


title: Metre (poetry)

text: Latin verse survives from the Old Latin period (c. 2nd century BC), in the Saturnian metre. Persian poetry arises in the Sassanid era. Tamil poetry of the early centuries AD may be the earliest known non-Indo-European


title: Metre (poetry)

text: Medieval poetry was metrical without exception, spanning traditions as diverse as European Minnesang, Trouvère or Bardic poetry, Classical Persian and Sanskrit poetry, Tang dynasty Chinese poetry or the Japanese Nara period "Man'yōshū". Renaissance and Early Modern poetry in Europe is characterized by a return to templates of Classical Antiquity, a tradition begun by Petrarca's generation and continued into the time of Shakespeare and Milton.


title: Metre (poetry)

text: Not all poets accept the idea that metre is a fundamental part of poetry. 20th-century American poets Marianne Moore, William Carlos Williams and Robinson Jeffers believed that metre was an artificial construct imposed upon poetry rather than being innate to poetry. In an essay titled "Robinson Jeffers, & The Metric Fallacy" Dan Schneider echoes Jeffers' sentiments: "What if someone actually said to you that all music was composed of just 2 notes? Or if someone claimed that there were just 2 colors in creation? Now, ponder if such a thing were true. Imagine the clunkiness & mechanicality of such music. Think of the visual arts devoid of not just color, but sepia tones, & even shades of gray." Jeffers called his technique "rolling stresses".


title: Metre (poetry)

text: Moore went further than Jeffers, openly declaring her poetry was written in syllabic form, and wholly denying metre. These syllabic lines from her famous poem illustrate her contempt for metre and other poetic tools. Even the syllabic pattern of this poem does not remain perfectly consistent:


title: Metre (poetry)

text: Williams tried to form poetry whose subject matter was centered on the lives of common people. He came up with the concept of the variable foot. Williams spurned traditional metre in most of his poems, preferring what he called "colloquial idioms." Another poet who turned his back on traditional concepts of metre was Britain's Gerard Manley Hopkins. Hopkins' major innovation was what he called sprung rhythm. He claimed most poetry was written in this older rhythmic structure inherited from the Norman side of the English literary heritage, based on repeating groups of two or three syllables, with the stressed syllable falling in the same place on each repetition. Sprung rhythm is structured around feet with a variable number of syllables, generally between one and four syllables per foot, with the stress always falling on the first syllable in a foot.


title: Shivnarine Chanderpaul

text: Shivnarine "Shiv" Chanderpaul (born 16 August 1974) is a Guyanese cricket coach and former captain of the West Indies cricket team. Considered one of the greatest batsmen of his era, Chanderpaul is the first Indo-Caribbean to play 100 Tests for the West Indies.


title: Shivnarine Chanderpaul

text: Chanderpaul captained West Indies in 14 Tests and 16 One Day Internationals. A left-handed batsman, Chanderpaul is well known for his unorthodox batting stance, which has been described as crab-like. He has scored 20,000 runs in international cricket, and in 2008 he was named as one of the five Cricketers of the Year by the "Wisden Cricketers' Almanack", and awarded Sir Garfield Sobers Trophy (ICC Cricketer of the Year) by the International Cricket Council.


title: Shivnarine Chanderpaul

text: He made his international debut at the age of 19, but did not score a century in international cricket for three years, prompting some criticism. Early in his career, he was plagued by injuries, and was even dubbed a hypochondriac until he had a piece of floating bone removed from his foot in 2000. Since then he enjoyed consistent form, scoring over 11,000 runs in Test cricket and is the 8th highest run scorer of all time in the format.


title: Shivnarine Chanderpaul

text: Due to poor performances, Chanderpaul was dropped from the West Indies squad in 2015. After that, he announced his retirement from international cricket in 2016, without a farewell, at the age of 41.


title: Shivnarine Chanderpaul

text: He is currently serving as head coach of the USA senior women's and the USA Under-19 women's teams. In November 2022, he was inducted to the ICC Hall of Fame.


title: Shivnarine Chanderpaul

text: Shivnarine Chanderpaul was born to Hindu Indo-Guyanese parents Kamraj and Uma Chanderpaul in Unity Village, Guyana on 16 August 1974. His father, Kamraj Chanderpaul, helped to nurture his cricketing ability as a youngster. His ancestors moved from India to the West Indies as indentured labours under the indentured labour system. By the age of eight, Chanderpaul was playing for his village's cricket team, and would frequently bat for hours, being bowled at by various members of his family. His father initially took him to the Everest club in Georgetown, but there was not a place for him at the club, and so he instead joined the Demerara Cricket Club. He appeared for the club's under-16 side while only ten. He was later given an opportunity at the Georgetown Cricket Club.


title: Shivnarine Chanderpaul

text: He made his first-class cricket debut for Guyana at the age of 17, facing Leeward Islands in the 1991–92 Red Stripe Cup. He was run out for a duck in his first innings, but scored 90 runs in the second. His List A debut followed a few days later, against Barbados, in which Chanderpaul did not get a chance to bat in a match with no result. He achieved his maiden first-class century in April 1993, playing for the West Indies Board President's XI against the touring Pakistanis. After taking four wickets in the Pakistanis' innings, Chanderpaul was one of three West Indians to score a century, scoring 140 runs, and remaining not out.


title: Shivnarine Chanderpaul

text: During this time, he achieved the highest first-class score of his career, in a 1995–96 Red Stripe Cup match against Jamaica. In the first-innings of the match, which was eventually drawn, he scored 303 not out from 478 deliveries. In 2007, he subsequently joined Durham as an overseas player, and helped the club collect its first major honour by top-scoring in their 2007 Friends Provident Trophy final win.


title: Shivnarine Chanderpaul

text: In March 2008, Chanderpaul caused some controversy when, after batting for Guyana on the first day of a Carib Beer Series match, he left to attend the West Indies Players' Association awards and did not arrive to play the following day. He was 78 not out when he left the match, without notifying his team's manager or coach. He was recorded as retiring out on the scorecard, and later returned on the third day. At the ceremony, Chanderpaul was very successful, winning three awards as the international, Test and ODI cricketer of the year.


title: Shivnarine Chanderpaul

text: During the English summer of 1993, Chanderpaul travelled with the West Indies Under-19 cricket team to England. He was the team's most successful batsman during the Test series, scoring 372 runs at a batting average of 124.00, including a score of 203 not out in the first Test, at Trent Bridge in Nottingham. In the 1993–94 Red Stripe Cup, Chanderpaul was near the top of the batting averages, and, according to the "Wisden Cricketers' Almanack", he was a "contentious selection" for the subsequent Test series against England, in which he was picked as an all-rounder who could bowl leg breaks as well as bat. He bowled 16 overs in England's first innings without taking a wicket, and scored 62 runs in the West Indies reply. Chanderpaul played four Tests during his debut series, and was third amongst West Indian batsmen in terms of both runs scored and batting average, getting 288 runs at 57.60.


title: Shivnarine Chanderpaul

text: Over the following couple of years, Chanderpaul was in and out of the West Indian Test side, missing a visit by Australia altogether.


title: Shivnarine Chanderpaul

text: In his first 18 Test matches, Chanderpaul scored 1,232 runs at an average of 49.28, but despite scoring thirteen half-centuries, his highest score was 82; a Test century eluded him. He reached the milestone in his nineteenth Test, scoring 137 against India. Just over a month later, he repeated the feat in One Day International cricket, striking his maiden century in the format, scoring 109 runs, also against India.


title: Shivnarine Chanderpaul

text: Chanderpaul scored a further century in each of 1998, in a Test match against England, and 1999, in an ODI against South Africa. In the latter match, Chanderpaul and Carl Hooper were the only West Indian batsmen to reach double figures while batting – Chanderpaul scored 150, and Hooper reached 108. Their partnership of 226 was at the time, a record in ODIs for the West Indies, and Chanderpaul's individual total is his highest in ODIs. During this early period of his international career, Chanderpaul suffered with a negative reputation. Along with his failure to convert half-centuries into centuries, he had a tendency to miss matches which was perceived as hypochondria. He was also in the news for late-night partying; on one occasion in 1999, he shot a policeman in the mistaken belief that he was a thief. His career took a turn for the positive in 2000, when he had surgery on his foot to remove a floating bone.


title: Shivnarine Chanderpaul

text: Free of his foot injury, Chanderpaul enjoyed the best series of his career to that point when he scored centuries in three of the five Test matches against India. In addition to his centuries, he also scored three half-centuries, and batted for a record 1,513 minutes between dismissals. The following year, against Australia, Chanderpaul scored a century from 69 balls – which at the time was the third fastest Test century. Later in that same series, the two sides scored exactly the same total in their respective first innings, and Australia then reached 417 in their second, leaving West Indies requiring 418 runs to win. No side had ever successfully chased that many runs to win in a Test previously; writing for Cricinfo, Andrew Miller reported at the end of the third day that "Victory [for the West Indies] is as unlikely as ever, but it remains a remote possibility." On the final two days, Ramnaresh Sarwan and Chanderpaul—batting with a broken finger—both reached centuries, and the West Indies completed the record run-chase with three wickets remaining. He subsequently suffered what ESPNcricinfo described as "an indifferent run"; despite scoring centuries against South Africa and Bangladesh, he averaged just over 35 across eighteen innings, of which six were against either Bangladesh or Zimbabwe. Facing England at Lord's, Chanderpaul narrowly missed out on a century in both innings in July 2004. He remained not out on each occasion, scoring 128 runs in the first innings, and 97 in the second, but the West Indies were beaten by over 200 runs in the contest.


title: Shivnarine Chanderpaul

text: In late 2004, Digicel began a sponsorship deal with the West Indies cricket team, and caused division within the squad. Initially, Chanderpaul was one of five players who did not attend a training camp due to disagreements about resulting commercial issues. For the following series against South Africa, seven of the West Indies best players were omitted from the squad due to contractual issues, but Chanderpaul had resolved his differences, and was named as captain in place of Lara, who was one of the missing players. In the first match of the series, Chanderpaul became only the second player, after Graham Dowling, to score a double century on his debut as captain in Test cricket. He remained 203 not out when he declared the West Indies innings closed; the joint-highest score of his Test career. Only a resolute batting performance from Jacques Kallis rescues a draw for South Africa in the match, although Chanderpaul was criticised for both the timing of his declaration, and later, negative field placings. For the second Test of the series, the West Indies were back to full-strength after the seven missing players cancelled their contracts with Cable & Wireless. Despite the return of Lara, Chanderpaul retained the captaincy. The second and third Tests of the series were both won by South Africa, before a high scoring draw in the fourth Test. Responding to South Africa's 588 for six declared, West Indies scored 747, in which Chanderpaul was one of four players to score a century.


title: Shivnarine Chanderpaul

text: Less than a year after taking on the captaincy, Chanderpaul resigned the position, citing a desire to concentrate on his batting. Although his batting average during his captaincy was only slightly less than his career average, the West Indies only won one Test match and two ODIs out of thirty matches under his charge. The former West Indian bowler, Colin Croft suggested that Chanderpaul "was filling a space until some else could take over the mantle." Chanderpaul's stint as captain was generally criticised in the press; Nagraj Gollapudi, writing for ESPNcricinfo described his style as unconvincing, while Ian Chappell claimed that the West Indies needed a "father figure", rather than Chanderpaul, who he thought was "predictable and reactive".


title: Shivnarine Chanderpaul

text: In early 2007, Chanderpaul recorded his second highest score in ODI cricket, hitting 149 not out in a losing cause against India. Later that year, he was the top-scorer for the West Indies during their series against England, aggregating 446 runs in three Tests at an average of almost 150. His achievements during the series earned him the man of the series accolade, and saw him named as one of the five Cricketers of the Year by the "Wisden Cricketers' Almanack". He was especially praised by "Wisden" for his third instance of batting for 1,000 or more minutes without being dismissed, and for his century in the third Test on a difficult pitch. He scored another century in the fourth match of the series, and was named as the man of the match, despite an England victory. His performances throughout 2007 resulted in him being one of four players short-listed for the ICC Player of the Year award, which was eventually won by Ricky Ponting.


title: Shivnarine Chanderpaul

text: In 2008 Chanderpaul continued in his form during the Sri Lankan and Australian tours of the Caribbean. During the 2008 season he rose to be ranked 5th in the Test batting rankings. By the end of the third test against Australia, Chanderpaul became the fourth West Indian batsman to accomplish 8,000 runs in Test cricket as well as rising in the ranks to 2nd of the ICC test rankings, just 4 points shy of becoming the world's number 1 ranked batsman. In the Test match series against the Australians, Chanderpaul had amassed 442 runs in 6 innings, in 3 of which he had remained not out, at an average of 147.33, including two centuries and three half-centuries. From the West Indies second innings in the first Test, he was not dismissed until the final day of the series – more than 1,000 minutes of batting without losing his wicket – the fourth time he has achieved this feat in Test cricket. Chanderpaul eventually picked as part of the 2008 ICC test team of the year and bestowed with the 2008 ICC Cricketer of the Year award.


title: Shivnarine Chanderpaul

text: In December 2013, Chanderpaul scored his 29th test century against New Zealand in the 3rd test match at Hamilton to equal Donald Bradman's number of centuries. In the process, Chanderpaul also became the sixth highest run-scorer in Test matches, overtaking Allan Border's 11,174 runs. This was also his 17th unbeaten test ton, a new record – one more than Indian legend Sachin Tendulkar(16 unbeaten tons).


title: Shivnarine Chanderpaul

text: In July 2014, he played for the MCC side in the Bicentenary Celebration match at Lord's. During the Third Test against New Zealand, he was out stumped by BJ Watling, the first time in his 20-year career that he had ever done so in any form of the game. In a test series against Bangladesh in 2014, Chanderpaul continued to show his durability by achieving scores of 85*, 84* and 101*.


title: Shivnarine Chanderpaul

text: On 23 January 2016, Chanderpaul announced his retirement from international cricket. Aged 41 at the announcement, Chanderpaul did not play for West Indies since May 2015, and his subsequent exclusion was cited to be a result of poor performances in the home series against England, in which he averaged 15.33 in 3 matches. He was also dropped from the WICB contract in December 2015, signalling the selectors' intention to move forward with younger players, despite the fragility of the West Indies middle order.


title: Shivnarine Chanderpaul

text: Chanderpaul is well known for his unorthodox batting stance, in which he stands facing the bowler, as opposed to most batsmen who stand side-on. He adopts this stance in order to see the ball clearly with both eyes, something he developed as a child when facing hostile fast bowling. Despite this, when he began playing Test cricket, he had a reasonably traditional stance, with his feet only angling slightly forwards. After a year of playing international cricket, he had eliminated the forward angle, and his feet pointed square of the feet in a classical stance. Between 2000 and 2005, he started to rotate his feet forwards, until they eventually pointed almost directly down the wicket, a position he has maintained since. While he faces forwards, his bat is angled towards square-leg, prompting Scyld Berry to describe his stance as "perfectly orthodox... provided the bowler delivers from next to the umpire at square-leg, not the one at the bowler’s end." Chanderpaul's stance has frequently been described as "crab-like", and his batting has been labelled as ugly. It has been suggested that these factors have resulted in him being underrated as a batsman. When the ball is delivered, Chanderpaul moves into a more traditional position to play the ball.


title: Shivnarine Chanderpaul

text: As his stance has developed throughout his time playing international cricket, his batting aggression has undergone a similar transformation. He was first selected for the West Indies based on his attacking style of play; he cites Rohan Kanhai as one of his early influences. It was from Kanhai that Chanderpaul took his nickname, "Tiger". He maintained this style during the early part of his international career, but as the batting of the West Indies side around him grew weaker, he developed a more defensive style of play, and turned himself into what ESPNcricinfo's Vaneisa Baksh described as "the anchor of the team, the solid man." The Australian spin bowler Shane Warne described Chanderpaul as "a bloke you needed to crowbar away from the crease," and he is often labelled as "limpet-like."


title: Shivnarine Chanderpaul

text: On 27 January 2017, Chanderpaul signed a Kolpak deal with Lancashire. Following a successful campaign with the club in 2017 – a season in which he scored three centuries – Chanderpaul decided to extend his contract with Lancashire by signing a one-year deal for the 2018 season. He is also still committed to playing First Class cricket for his native Guyana for the foreseeable future.


title: Shivnarine Chanderpaul

text: In a 2022 YouTube documentary by Vice Media, Jamaican musician Sean Paul stated that one of his signature rap lyrics people assumed to be "Sean De Paul", was actually in reference to Shivnarine, a sporting idol of his.


title: Shivnarine Chanderpaul

text: Chanderpaul scored 30 Test centuries, including two double centuries, and reached the 100-mark 11 times in One Day International matches. He scored 77 first-class centuries.


title: Bad Bunny discography

text: Puerto Rican rapper Bad Bunny has released five studio albums, one mixtape, one extended play, one compilation album, sixty-nine singles as a lead artist and thirty-two singles as a featured artist.


title: Bad Bunny discography

text: His first studio album "X 100pre" was released on Christmas Eve, 2018. It debuted at number eleven on the " Billboard" 200 chart and at number one on the Top Latin Albums chart and received a Latin diamond certification by the Recording Industry Association of America (RIAA) for selling over 600,000 copies in the United States.


title: Bad Bunny discography

text: For his second studio album, he joined J Balvin and released their collaborative album, "Oasis", on June 28, 2019. The album topped the Top Latin Albums chart, debuted in the top ten of the "Billboard" 200 charts, and was certified 2 × Platinum by the RIAA.


title: Bad Bunny discography

text: As of June 2022, the musician has had sixty-five songs enter the " Billboard" Hot 100, including the number-one hit "I Like It" (with Cardi B and J Balvin), and the top-five singles "Mia" (featuring Drake) and "Dakiti" (featuring Jhay Cortez). Moreover, Bad Bunny has collaborated with multiple artists, including Ricky Martin, Jennifer Lopez, Maluma, Daddy Yankee, Anuel AA, Enrique Iglesias, Becky G, Karol G, Farruko, Ozuna, Prince Royce, Briana Medina, and Marc Anthony


title: Chris Hayes

text: Christopher Loffredo Hayes (; born February 28, 1979) is an American political commentator, television news anchor, activist, and author. Hayes hosts "All In with Chris Hayes", a weekday news and opinion television show on MSNBC. Hayes also hosts a weekly MSNBC podcast, "Why Is This Happening?" Hayes formerly hosted a weekend MSNBC show," Up with Chris Hayes". He is an editor-at-large of "The Nation" magazine.


title: Chris Hayes

text: Hayes was born in the Norwood neighborhood of Riverdale in the Bronx, one of three sons of Roger and Geri Hayes. His mother is of Italian descent and his father is of Irish Catholic ancestry. His father moved to New York from Chicago while studying at a Jesuit seminary, and began community organizing in the Bronx. Roger Hayes spent several years leading community organizing at the Community Service Society of New York and works as an assistant commissioner for the NYC Department of Health. Hayes's mother was a school teacher and works for the NYC Department of Education. Hayes was raised Catholic, but stopped attending services in college and became irreligious.


title: Chris Hayes

text: He is a childhood friend and schoolmate of comedian Desus Nice. Hayes attended New York City's prestigious Hunter College High School; his classmates included Immortal Technique and Lin-Manuel Miranda. Hayes directed the latter in Miranda's first musical.


title: Chris Hayes

text: Hayes attended Brown University majoring in philosophy and graduated with a Bachelor of Arts degree in 2001. Speaking of "intellectual formation" at Brown with Ezra Klein, Hayes stated, "I was a philosophy major, but I was very much in this sort of analytic school. But the intellectual culture of the place I was with and the people I was with was very influenced by postmodern critique, by Foucault... particularly." At Brown Hayes met his future wife, Kate Shaw.


title: Chris Hayes

text: Beginning in August 2001, for four years Hayes was a contributor to the independent weekly newspaper "Chicago Reader", where he covered local and national politics. In late 2003, he began a four-year stint at "In These Times", a labor-focused monthly magazine based in Chicago where he was a senior editor.


title: Chris Hayes

text: From 2005 to 2006, Hayes was a Schumann Center Writing Fellow at "In These Times". From 2006 through 2007, Hayes was a Puffin Foundation Writing Fellow at The Nation Institute, and a contributing writer for "The Nation". On November 1, 2007, "The Nation" named him its Washington, D.C. editor, succeeding David Corn.


title: Chris Hayes

text: Hayes wrote extensively on issues central to the liberal community, including what ails the Democratic Party in the post-9/11 era and how the labor movement is changing. He also reported on progressive activists' work to resuscitate the "public option" during the 2009–2010 health care fight when many political insiders wrote it off as dead.


title: Chris Hayes

text: Hayes was an adjunct professor of English at St. Augustine College in Chicago and a Bernard L. Schwartz fellow at New America Foundation from 2008 to 2010.


title: Chris Hayes

text: Hayes guest-hosted "The Rachel Maddow Show" in July 2010 while Maddow was traveling in Afghanistan and later often filled in for Maddow when she was absent. Hayes has also hosted other MSNBC shows such as "The Ed Show", "Countdown With Keith Olbermann", and "The Last Word with Lawrence O'Donnell".


title: Chris Hayes

text: On November 5, 2010, MSNBC announced that Hayes would be filling in for Keith Olbermann during Olbermann's suspension. However, the network later backtracked after finding out that Hayes had also made political contributions—the issue over which Olbermann was being suspended.


title: Chris Hayes

text: Hayes credits Maddow with his becoming a host at MSNBC, saying, "I absolutely would not be doing this if it weren't for her."


title: Chris Hayes

text: On August 1, 2011, MSNBC announced that Hayes would host a two-hour morning show on Saturdays and Sundays, each going into depth on current issues. The first airing of "Up with Chris Hayes" was September 17, 2011, and featured a live interview with Nancy Pelosi.


title: Chris Hayes

text: On May 27, 2012, Memorial Day Weekend, Hayes made comments on air regarding the use of the word "heroism" as applied to American servicemen killed in action, stating, "I feel uncomfortable about the word because it seems to me that it is so rhetorically proximate to justifications for more war. And I don't want to obviously desecrate or disrespect the memory of anyone that's fallen, and obviously there are individual circumstances in which there is genuine, tremendous heroism, you know, hail of gunfire, rescuing fellow soldiers, and things like that. But it seems to me that we marshal this word in a way that is problematic. But maybe I'm wrong about that." His remark generated widespread controversy. Hayes initially defended his comment by urging people to listen to what he had actually said. Nonetheless, he apologized on his blog. Furthermore, on his June 2, 2012, show, he devoted a discussion to his comments and the disconnect between civilians and the military.


title: Chris Hayes

text: On March 14, 2013, MSNBC announced that Hayes would take over the time slot formerly hosted by Ed Schultz, who would move to the weekends. At 34-years old, he became the youngest host of a prime-time show on any of the country's major cable news channels.


title: Chris Hayes

text: According to "The New York Times", the change was made in the hopes that MSNBC can win a wider audience than it did with Schultz. Hayes was said to transition better to "The Rachel Maddow Show" because he is seen as just as policy-oriented as Maddow. "Chris has done an amazing job creating a franchise on weekend mornings," said Phil Griffin, the president of MSNBC. "He's an extraordinary talent and has made a strong connection with our audience."


title: Chris Hayes

text: In May 2018, Hayes launched a weekly podcast called "Why Is This Happening?", featuring interviews with political figures, activists, journalists, writers, and academics. The podcast's first live episode was recorded in November 2018, at Congregation Beth Elohim, in Brooklyn, New York, with author Ta-Nehisi Coates. Hayes' second live episode, held on February 24, 2019, featured an interview with Georgia politician and activist Stacey Abrams.


title: Chris Hayes

text: Hayes criticized the United States government's decision to charge WikiLeaks founder Julian Assange under the Espionage Act of 1917 for his role in the 2010 publication of a trove of Iraq War documents and diplomatic cables leaked by Army intelligence analyst Chelsea Manning. Hayes tweeted: "The Espionage indictment of Assange for publishing is an extremely dangerous, frontal attack on the free press. Bad, bad, bad."


title: Chris Hayes

text: Hayes's first book, "" was published by Crown Publishing Group in June 2012. A review in "The Atlantic" called it "provocative" and "thoughtful," but faulted its policy suggestions as less satisfying. "Kirkus Reviews" called it "forcefully written" and "provocative." Aaron Swartz described the book as "compellingly readable, impossibly erudite, and—most stunningly of all—correct."


title: Chris Hayes

text: Hayes' second book, "A Colony in a Nation" (about the U.S. criminal justice system), was published by W. W. Norton in March 2017.


title: Chris Hayes

text: In April 2017, he was a featured author at the L.A. Times Festival of Books, which took place at the campus of USC.


title: Chris Hayes

text: On July 14, 2007, Hayes married his college sweetheart Kate Shaw, a one-time U.S. Supreme Court law clerk to Justice John Paul Stevens, who is currently a professor of law at the Yeshiva University Benjamin N. Cardozo School of Law and a Supreme Court contributor for ABC News. They met while attending Brown together. His father-in-law is veteran Chicago reporter Andy Shaw. Hayes and Shaw resided in Washington, D.C., until they moved to New York City, where "All in With Chris Hayes" is produced. They have three children.


title: Tami Oldham Ashcraft

text: Tami Lee Oldham Ashcraft () is an American sailor and author who, in 1983, survived 41 days adrift in the Pacific Ocean. Her story inspired the 2018 film "Adrift".


title: Tami Oldham Ashcraft

text: In 1983, Ashcraft's fiancé, 34-year-old British sailor Richard Sharp, was hired to deliver the yacht "Hazaña" from Tahiti to San Diego. The then 23-year-old Ashcraft accompanied him on the crossing. The couple set sail from Papeete Harbor on September 22.


title: Tami Oldham Ashcraft

text: On October 12, the vessel was caught in the path of Hurricane Raymond. As the ship was being hit by waves and winds, Sharp sent Ashcraft below deck. Moments later, she heard him scream "Oh my God!" The yacht capsized and Ashcraft was thrown against the cabin wall and knocked unconscious. When she regained consciousness about 27 hours later, Sharp was gone and the "Hazaña" was severely damaged: the cabin was half-flooded, the masts had broken off the yacht, and the radio and navigation system were inoperable.


title: Tami Oldham Ashcraft

text: Ashcraft rigged a makeshift sail from a broken spinnaker pole and a storm jib (a triangular sail) and fashioned a pump to drain the cabin. Due to the boat damage and the local wind conditions, she determined that her original route to San Diego was no longer viable and decided instead to make the journey to Hawaii.


title: Tami Oldham Ashcraft

text: Without a radio navigation system, Ashcraft was forced to navigate the yacht manually with the help of a sextant and a watch. She survived mainly on canned food during this time. On November 2241 days after the shipwreckAshcraft reached Hilo, Hawaii.


title: Grain of salt

text: To take something with a "grain of salt" or "pinch of salt" is an English idiom that suggests to view something, specifically claims that may be misleading or unverified, with skepticism or to not interpret something literally.


title: Grain of salt

text: In the old-fashioned English units of weight, a grain weighs approximately 65 mg, which is about how much table salt a person might pick up between the fingers as a pinch.


title: Grain of salt

text: Hypotheses of the phrase's origin include Pliny the Elder's "Naturalis Historia", regarding the discovery of a recipe for an antidote to a poison. In the antidote, one of the ingredients was a grain of salt. Threats involving the poison were thus to be taken "with a grain of salt", and therefore less seriously.


title: Grain of salt

text: The phrase ("with a grain of salt") is not what Pliny wrote. It is constructed according to the grammar of modern European languages rather than Classical Latin. Pliny's actual words were ("after having added a grain of salt").


title: Grain of salt

text: An alternative account says that the Roman general Pompey believed that he could make himself immune to poison by ingesting small amounts of various poisons, and he took this treatment with a grain of salt to help him swallow the poison. In this version, the salt is not the antidote. It was taken merely to assist in swallowing the poison.


title: Grain of salt

text: The Latin word ( is the genitive) means both "salt" and "wit", thus the Latin phrase could be translated to either "with a grain of salt" or "with a grain of wit", actually to "with caution"/cautiously.


title: Grain of salt

text: The phrase is typically said "with a pinch of salt" in British English and said "with a grain of salt" in American English.


title: Mazda B engine

text: The Mazda B-series engine - not to be confused with the Mazda B-Series truck - is a small-sized, iron-block, inline four-cylinder with belt-driven SOHC and DOHC valvetrain ranging in displacement from 1.1 to 1.8 litres. It was used from front-wheel drive economy applications to the turbocharged full-time 4WD 323 GTX and rear-wheel drive Miata as well as numerous other models. The Mazda B-series is a "non-interference" design, meaning that breakage of its timing belt does not result in damage to valves or pistons, because the opening of the valves, the depth of the combustion chamber and (in some variants) the shaping of the piston crown allow sufficient clearance for the open valves in any possible piston position.


title: Mazda B engine

text: B1 - (68.0x78.4 mm) - came only as a SOHC 8-valve. It was available in the 1987-1989 Mazda 121 and later model Kia Sephia in European and Asian markets. A fuel-injected variant was used in select European market 1991-1995 Mazda 121s


title: Mazda B engine

text: The BJ engine (78.0x67.5 mm) was a DOHC 16-valve engine, used only in the Japanese market Ford Festiva GT, GT-X, and GT-A models (1986.10-1993.01, GT-A from March 1991). It generates at 7000 rpm and is equipped with Mazda's "EGi" single-point fuel injection. It is a short-stroke version of the B5/B6 engines.


title: Mazda B engine

text: B3 – (71.0×83.6 mm). It was available in SOHC variants and was found in the Kia-built 1988–1993 Ford Festiva, the 1987–1989 Mazda Familia and its derivatives, as well as the Mazda 121 (also known as Autozam Revue) (54 hp and 72 hp version), and the 1987–1989 Ford Laser, and 1994–1997 Ford Aspire. Later variants were used in the Mazda Demio subcompact until 2002.


title: Mazda B engine

text: B5 - (78.0x78.4 mm) - The SOHC 8-valve B5 upped the displacement to 1.5 L and was found in the 1987-1989 Mazda Familia, the 1987-1989 Ford Laser. It was also fitted to the Mazda Étude coupé and fifth-generation BF-series Familia Wagon, as it continued in production until 1994 along the new BG.


title: Mazda B engine

text: There was also a 16-valve, SOHC B5-MI version of the B5, usually fitted with single-point fuel injection ("EGi"). This engine was mainly used in the Japanese domestic market. The B5-ME, equipped with electronic fuel injection, was used by Kia for several of their cars as well as in the Mazda Demio.


title: Mazda B engine

text: B5D - (78.0x78.4 mm) - A Japanese-only variant of the B5 with fuel injection and revised head/intake system. Found in the 1989-1994 BG Familia and Ford Laser S. Power output is at 6,500 rpm and at 5,500 rpm. The Timor S515i also used a B5D, with 110 PS at 5,500 rpm and 145 Nm at 4,400 rpm without variable valve timing and with a 9.2:1 compression ratio. The B5D was also found in the Autozam AZ-3, a Japanese market version of the Mazda MX-3, where it produced . The Kia Rio from 2000-2005 also has the B5 motor, but with a different bore/stroke ratio to all others (75.5mm bore, 83.4mm stroke, 1493cc total). This motor produced and .


title: Mazda B engine

text: B6 — (78.0x83.6 mm) — This was a bored-out version of the B3. The 16-valve SOHC B6 was found in the 1985-1989 and 1990-1994 Mazda 323, 1991-1993 Mazda MX-3 the 1987-1990 Mercury Tracer, and the 1985-1990 Ford Laser. The 16-valve DOHC B6 was also found in the 1994-1998 Ford Laser KJ/KL, 1997-2004 Kia Sephia, Kia Shuma, 2000-2004 Kia Spectra and 2000-2005 Kia Rio (for export markets).


title: Mazda B engine

text: In Japan, the United Kingdom, and Australia a fuel-injected version called the B6F was available. In Europe, the B6 also came in a 16-valve DOHC version, mostly found in the Mazda 323 BG and 323F BG models from 1989 to 1994. This engine was the same 1.6 liter fuel-injected, but with two camshafts and 88 hp. Kia's version of the B6 (16-valve DOHC) had a marginally shorter stroke (at 83.4 mm), for a total displacement of 1,594 cc. This engine was used in the Rio, Sephia II, and Shuma.


title: Mazda B engine

text: B6-2E - (78.0x83.6 mm), also known as B6-ME - This was a variant of the B6-E with a SOHC 16-valve cylinder head.


title: Mazda B engine

text: B6T - (78.0x83.6 mm) - The ubiquitous turbocharged, fuel-injected and intercooled 16-valve DOHC B6, released in 1985 and used in numerous models worldwide including the 1985-1989 Mazda Familia BFMR/BFMP (turbo), 1985-1989 Ford Laser TX3 turbo, and 1991-1994 Mercury Capri XR2. This engine was most commonly found mated to a 4WD drivetrain although FWD models were also available.


title: Mazda B engine

text: Power and torque outputs varied across markets due to emission and fuel standards. The B6T available in North America came with and . The Japanese version was slightly more powerful, producing and due to better intake manifold design and its ability to run 100 octane fuel. For the special rally homologation BFMR Familia GT-Ae model released in 1987, power and torque were raised to and respectively through the use of a slightly different turbocharger; engine internals remained otherwise identical.


title: Mazda B engine

text: B6D - (78.0x83.6 mm) - The same strengthened and fuel-injected 16-valve DOHC B6 but with higher compression, no turbo, and the first Mazda engine to feature Variable Inertia Charge System (VICS). Most commonly found in the 1985-1988 Japanese market Familias, Études and Lasers, this engine was updated in 1989 with revised compression, heads and intake system (in a similar vein to the B5 DOHC) for the 1989-1991 Familia and Laser, then further refined for the 1991-1994 Mercury Capri and 1994 to 1996, second Generation Mazda MX-3 RS. The third-generation B6D features an alloy cam cover, a VLIM (VICS) intake, had a 9:1 compression ratio and produced 107 hp (79 kW).


title: Mazda B engine

text: B6ZE(RS) - (78x83.6 mm) - Developed for the Mazda MX-5/Miata (1989–05) and Mazda Familia sedan GS/LS Full Time 4WD (JP only, 1994–1998). The engine uses a DOHC 16-valve alloy head with a lightened crankshaft and flywheel to allow a 7,200 rpm redline. An aluminum sump with cooling fins is an unusual feature of this engine. The US and European version (1990-1993) had a 9.4:1 compression ratio and produced at 6,500 rpm, and of torque at 5,500 rpm. The later European version (1994-1997) produced at 6,500 rpm, and at 5,500 rpm. It was then updated to at 6,500 rpm and at 5,000 rpm for the models from 1998 to 2005. The Japanese version of the engine also had a 9.4:1 compression ratio and produced at 6,500 and at 5,500. After 1998 the power was increased to at 6,500 and at 5,000.


title: Mazda B engine

text: The B8 (sometimes "BP") is not just a bored and stroked B6. Rather, it uses a new block with widened cylinder spacing. The bore is 83 mm and the stroke is 85 mm. This SOHC engine was used in various Australian Mazda 323s, the American 1990-1994 Mazda Protege, and in Canadian variants of the 323 hatchback. It came with four valves per cylinder (B8-ME or BP-ME). It features hydraulic lash adjusters, a belt-driven cam, an 8.9:1 compression ratio, a 6,000 rpm redline, and multi-port fuel injection. Power outputs are:


title: Mazda B engine

text: The BP, featuring a bore x stroke of , is a DOHC 4 valves per cylinder variant of the B8. This Inline-four engine was called "BP-ZE" by Mazda engineers and featured a forged crankshaft, piston oil squirters, a structural aluminium oil pan with cooling fins, a 7,000 rpm redline, and Variable Inertia Charging System (VICS) which is activated by a control solenoid at high rpm to increase horsepower in the upper rev range. The engine in base form on 91 RON fuel produces at 6,000 rpm and at 4,000 rpm. The engine is a favourite for both N/A and turbo motoring enthusiasts for its robust design, materials and construction. This particular variant can be found in the following vehicles:


title: Mazda B engine

text: There is also a non-performance SOHC version that is most easily recognized by its black stamped-steel oil pan. It also features a cast crankshaft, no oil squirters, a plastic oil pickup tube and less aggressive camshafts. It is found in the 1995-1998 Mazda Protege "ES".


title: Mazda B engine

text: The BPT is a turbocharged and intercooled variant of the BP. It produced at 6,000 rpm and of torque at 4,000 rpm in JDM-spec from G7+ CJ26 AH7 crankshaft. 95 octane rated European models only claimed at 5,500 rpm and at 3,000 rpm.


title: Mazda B engine

text: It featured an IHI RHB5 VJ20 turbocharger, sidemount intercooler, 330 cc blacktop injectors (high impedance). The BPT versions of the Familia and Laser were only available in AWD models, and featured a viscous LSD centre and rear differentials.


title: Mazda B engine

text: The mazda BPD engine (also commonly referred to as a BP2) was a revamp of the original BP engine (sometimes called BP1 for clarity's sake). It featured a larger crank nose, larger piston oil squirters, a main bearing support plate, better flowing inlet and exhaust ports. This was also the base engine for the Mazda Familia GT-R and GT-Ae. It is commonly known as the 'big turbo' variant as it utilised a much larger IHI RHF6CB water-cooled turbocharger (vj23). The BPD was used as the basis for the engine, with changes such as sodium-filled exhaust valves, larger (and front-mounted) intercooler, larger (440 cc) low impedance fuel injectors and stronger engine internals helping to up the performance of the engine to produce 209 hp (156 kW) and 184 lb·ft (255 N·m). The VICS system of the N/A BP has been removed, as well as the boost cut from the ecu. This engine was designed to power Mazda to a world rally championship win, and was thus used in the limited production Mazda Familia "GT-R" (2,200 built) and "GTAe" (300 built).


title: Mazda B engine

text: The 1999 MX-5 uses a modified BP, the BP-4W, which replaces the old hall effect dual Cam Angle Sensor unit mounted at the back of the exhaust cam with two separate Hall Effect units at the front - one on the intake cam gear and one mounted on the oil pump, to the side of the crankshaft pulley. It also has an improved intake system (a better flowing cylinder head because of the angle of the intake ports being changed). There was also a switch from the earlier problematic hydraulic lifters to solid lifters. The engine initially produced 140 hp at 6500 rpm, and 119 lb·ft at 5000 rpm. The United States 2004-2005 Mazdaspeed MX-5 turbo is based on this engine rather than the newer BP-Z3 and produces at 6000 rpm and of torque at 4500 rpm with slightly reduced compression ratio of 9.5:1. The Mazdaspeed turbo engine has no VICS, but does have VTCS which is often mistaken to be related to VICS.


title: Mazda B engine

text: In 2001, Mazda introduced the still BP-Z3 (also called BP-VE) variant of the "BP" engine. It features S-VT variable valve timing on the intake side, no more VICS, but there is Variable Tumble Control System (VTCS) in the BP-Z3. A similar looking but effectively very different set of valves that restrict the intake on cold start for emissions purposes, rather than the torque enhancing set of partial butterflies that increase velocity that are used in VICS. This was found in the 2001+ Miata. The Z family is an evolution of this engine.


title: Mazda B engine

text: In Australia, a version of this engine produced 210 hp (157 kW) and 206 lb·ft (280 N·m) in the Mazda MX-5 "SP".


title: Manchester Arena

text: Manchester Arena, currently referred to as the AO Arena for sponsorship reasons, is an indoor arena in Manchester, England, immediately north of the city centre and partly above Manchester Victoria station in air rights space. The arena has the highest seating capacity of any indoor venue in the United Kingdom, and the second largest in Europe with a capacity of 21,000


title: Manchester Arena

text: The arena is one of the world's busiest indoor arenas, hosting music and sporting events such as boxing and swimming. The arena was a key part of Manchester's bids to host the Olympic Games in 1996 and 2000 and was eventually used for the 2002 Commonwealth Games.


title: Manchester Arena

text: The arena was temporarily closed following a terror attack on 22 May 2017, in which suicide bomber Salman Abedi killed 22 people, and injured 500 more, at the end of an Ariana Grande concert during her Dangerous Woman Tour. Shows and events that were scheduled to take place at the arena were either moved to alternative venues, or cancelled completely. The arena was reopened on 9 September with a special benefit concert headlined by Manchester-born singer Noel Gallagher.


title: Manchester Arena

text: First proposed during the regeneration of Manchester city centre during the 1980s, the structure was designed by DLA Ellerbe Beckett, Ove Arup & Partners, and . The arena is sited in air rights space over the Manchester Victoria railway station and was constructed without disrupting use of the station. The original plans included a glass tower which was not built. It originally hosted a seven-screen multiplex cinema, a multi-purpose arena and multi-storey parking. The former multiplex cinema, which opened in 1996, closed after just four years and is now a call centre. Following the bombing, the foyer underwent renovation.


title: Manchester Arena

text: A large truss measuring spans the roof. Reinforced concrete is used to increase sound insulation. The upper parts of the building are clad in purple-grey with green glass. The arena was opened on 15 July 1995.


title: Manchester Arena

text: The arena is the only indoor venue in the UK to be built following a layout of 360-degree seating. (London's The O2, formerly the Millennium Dome, also has 360-degree seating, but only on its lower tier, whereas Manchester's arena features it on both tiers). Other European indoor venues built to the same concept include the Lanxess Arena (Cologne, Germany), Arena Zagreb (Zagreb, Croatia), Spaladium Arena (Split, Croatia), Kombank Arena (Belgrade, Serbia), O2 Arena (Prague, Czech Republic), and the Barclaycard Arena (Hamburg, Germany).


title: Manchester Arena

text: A three-year £50million re-development started in 2022. The arena's capacity will increase to 24,000, and new public entrances and custom lounges will be opened. Once complete, the increase in capacity will retain the indoor arena's place as the largest in the city after the 23,500-seat Co-op Live Arena opens.


title: Manchester Arena

text: The arena was constructed as part of the city's unsuccessful bid for the 2000 Summer Olympics. Construction cost £52 million of which £35.5m was provided by government grants and £2.5m from the European Regional Development Fund. Although built as an American style sports arena, it has been more successful hosting large music events.


title: Manchester Arena

text: The arena opened in July 1995, sponsored by NYNEX CableComms as NYNEX Arena. In July 1998, it was renamed the Manchester Evening News Arena, or just the "MEN Arena", when it was sponsored by the "Manchester Evening News" newspaper. In December 2011, the newspaper ended its 13 year sponsorship, and the arena was renamed Manchester Arena in January 2012. In July 2013, the arena was renamed Phones 4u Arena after the mobile phone company Phones 4u, but this deal ended in January 2015 after Phones 4u went out of business, renaming the arena back to Manchester Arena. In September 2020, the arena was rebranded as the AO Arena as part of a five year sponsorship deal by the online electricals retailer AO.


title: Manchester Arena

text: On the opening night, 15,000 spectators watched Jayne Torvill and Christopher Dean perform. The crowd was a record for an ice event. Attendance records were set in 1997 when 17,425 people watched Manchester Storm play Sheffield Steelers, a record for an ice hockey match in Europe at that time. When 14,151 people watched Manchester Giants play London Leopards, it set a British record for attendance at a basketball match. The venue attracts over a million customers each year for concerts and family shows, making it one of the world's busiest indoor arenas, and was named "International Venue Of The Year" in 2002 in the 'Pollstar' awards, and was nominated in the same category from 2002 to 2009. The arena was named "Busiest Arena Venue In The World", based on ticket sales for concerts from 2003 to 2007, ahead of other indoor arenas including Madison Square Garden and Wembley Arena. The arena was the 'World's Busiest Arena' from 2001 until 2007 based on ticket sales for concerts, attracting five and a half million customers. It was voted 'Europe's Favourite Arena' at the TPi Awards in 2008 by the touring companies that bring the shows to the venue.


title: Manchester Arena

text: On the evening of 27 May 1999, a reception was held at the arena to celebrate Manchester United's UEFA Champions League triumph in Barcelona 24 hours earlier, following the victorious side's parade around Manchester at the end of the season in which they became the first (and to date only) English team to win the treble of the Premier League, FA Cup and Champions League in the same season.


title: Manchester Arena

text: In 2008, the arena was the world's third busiest arena behind London's The O2 Arena and New York's Madison Square Garden. In 2009, it was the world's second busiest arena behind The O2, and ahead of the Sportpaleis in Antwerp and Madison Square Garden in New York City. Although second to London's The O2, Manchester's arena had its busiest year with over 1,500,000 people attending concerts and family shows. The arena hosts over 250 events annually including comedy, live music and tours, sporting events, and occasionally musicals.


title: Manchester Arena

text: As of 2019, British pop group Take That, who were formed in Manchester, hold the record for the most performances, with 46. During the five-concert Manchester leg of their 2019 tour, the arena was temporarily renamed after the band to honour their 30-year career. Irish pop group Westlife previously held the record with 33 performances.


title: Manchester Arena

text: Spice Girls performed 4 sold-out shows during their Spiceworld Tour in April 1998, 4 sold-out shows in December 1999 on the Christmas in Spiceworld Tour, and 3 sold-out shows in January 2008 on The Return of the Spice Girls World Tour.


title: Manchester Arena

text: Led Zeppelin legends Jimmy Page and Robert Plant performed a sell out concert at the arena on 3 November 1998 as part of their Walking into Clarksdale tour.


title: Manchester Arena

text: On 26 March 2000, English boy band Five performed at this venue as part of their Invincible Tour. The show was also filmed for a concert special called "Five Live" that was released on DVD and VHS later that same year.


title: Manchester Arena

text: Janet Jackson performed here on 31 May 1998 as part of her The Velvet Rope Tour. Jackson was scheduled to perform during her All for You Tour on 5 December 2001, but the show was cancelled with the rest of her European tour because of possible terrorist threats. Her 2016 Unbreakable World Tour was also cancelled, this time because of scheduling conflicts.


title: Manchester Arena

text: Britney Spears performed at the arena for the first time for two sold-out shows on 13 and 14 October 2000 during her Oops!...I Did It Again Tour. She has returned for additional sold-out shows on 1 May 2004 during Onyx Hotel Tour, 17 June 2009 during her Circus Tour, in 2011 for the Femme Fatale Tour, and on 18 August 2018 as part of her .


title: Manchester Arena

text: U2 performed at the arena on 11 and 12 August 2001, for their Elevation Tour. The band came back in 2018 during their Experience + Innocence Tour for two shows on 19 and 20 October.


title: Manchester Arena

text: In 2002, Kylie Minogue performed on six days in May as part of her KylieFever2002 tour. She performed part of her on five days in April 2005. In 2007, she performed on seven days in January as the final part of her . In 2008, she performed on six days in July as part of her X world tour. Minogue performed on four days in April 2011 as part of her . Minogue performed again at the arena on 26 September 2014. The performance marked the 30th time Minogue has performed at the arena. It is a record for Minogue as the venue she has played to most in the world; she has played to 400,000 fans in total in the Manchester Arena.


title: Manchester Arena

text: Barbadian singer Rihanna would perform her first concert in England here, as part of her worldwide Good Girl Gone Bad Tour that ran September 2006 to January 2009, starting and ending in North America. The full concert, named Good Girl Gone Bad Live was released on DVD and Blu-ray on June 9, 2008 by Def Jam Recordings. The concert promoted the songs from the album of the same name, however, also featured songs by Rihanna's two previous albums "Music of the Sun" (2005) and "A Girl like Me" (2006).


title: Manchester Arena

text: Madonna performed twice on her Re-Invention World Tour in Summer 2004, returning in 2009, on the second leg of the Sticky & Sweet Tour. Two shows were planned but one was cancelled due to unknown reasons. Madonna was late on stage in 2015 on the Rebel Heart Tour due to problems with the screen visuals resulting in a shortened set.


title: Manchester Arena

text: Pop/R&B singer Whitney Houston would hold her last concerts ever here, June 16 & 17, 2010 on her Nothing But Love World Tour. Houston died February 11, 2012 at age 48.


title: Manchester Arena

text: In December 2006 comedy rock duo Tenacious D performed as part of their Pick of Destiny Tour, Neil Hamburger was opening act.


title: Manchester Arena

text: In July 2010, the arena celebrated its 15th birthday with a multi-artist gig, presented by Real Radio (North West).


title: Manchester Arena

text: Gorillaz performed at the arena on 12 November 2010 during their Escape to Plastic Beach Tour, and came back on 1 December 2017, as part of their Humanz Tour.


title: Manchester Arena

text: American entertainer Beyoncé performed three sold-out shows at the arena as part of her The Mrs. Carter Show World Tour on 7, 8 and 9 May 2013. She returned on 25 and 26 February 2014 for two more sold-out shows. Both shows became the fastest concert to sell out the entire arena. This was the fifth tour Beyoncé has performed at the arena, following concerts for her Dangerously in Love Tour (2003), Destiny Fulfilled...and Lovin' It (2005), The Beyoncé Experience (2007) and the I Am... World Tour (2009).


title: Manchester Arena

text: In 2014, Katy Perry performed twice at the venue, on 20 and 24 May as part of her third concert tour, Prismatic World Tour.


title: Manchester Arena

text: Olly Murs performed at the arena on 17 and 18 March 2017, as part of the first leg for his new UK tour, Spring & Summer Tour 2017.


title: Manchester Arena

text: Shawn Mendes performed at the arena on 18 April 2017 as the second date of the Illuminate World Tour.


title: Manchester Arena

text: Ariana Grande performed at the arena on 22 May 2017 as part of the Dangerous Woman Tour. After this, a suicide bombing took place at the foyer of the arena.


title: Manchester Arena

text: The arena was reopened by Noel Gallagher's High Flying Birds and a cohort of local stars such as The Courteeners, Blossoms, Rick Astley and comedian Peter Kay as part of the "We Are Manchester" event on 9 September 2017.


title: Manchester Arena

text: Metallica performed at the arena on 28 October 2017 in front of 19,423 people, as a part of their WorldWired Tour.


title: Manchester Arena

text: On 10 December 2017, Mariah Carey brought her All I Want for Christmas Is You, A Night of Joy and Festivity show here.


title: Manchester Arena

text: On 16 December 2017, Liam Gallagher performed here as part of his UK tour to celebrate the release of his debut album As You Were.


title: Manchester Arena

text: On 10 February 2018, Kendrick Lamar performed the 3rd date of the European leg of The Damn Tour. This was his first time performing in Manchester since 2013.


title: Manchester Arena

text: South Korean girl group Blackpink performed their first UK arena concert on 21 May 2019 as part of the Blackpink World Tour (In Your Area) schedule here.


title: Manchester Arena

text: Six time Grammy award-winning artist Christina Aguilera performed her 14th date of The X Tour to full attendance on 12 November 2019.


title: Manchester Arena

text: On 15 April 2022, Dua Lipa performed the 1st date of the European leg of highly anticipated Future Nostalgia Tour. This was her first time performing in Manchester since 2016.


title: Manchester Arena

text: On 7 and 8 May 2022 Little Mix performed 3 shows here. 2 evening shows and 1 Matinée, one of their 3 Matinée shows on The Confetti Tour.


title: Manchester Arena

text: On 5 and 6 April 2023, Celine Dion will perform here during her Courage World Tour. During the her 2017 tour, Dion planned to perform two concerts here, but the shows were moved to Leeds following the arena closure in May 2017. She had previously performed at the arena on 14 November 1996 during her tour and on 2 and 3 May 2008 during her Taking Chances World Tour.


title: Manchester Arena

text: The arena has been the home of three sports teams: the Manchester Storm and Manchester Phoenix ice hockey teams, and the Manchester Giants basketball team with limited success, as it is no longer used by sports teams but is used for one-off sporting events such as boxing and football masters.


title: Manchester Arena

text: Many boxers have had bouts in the arena, such as Amir Khan, Jermaine Johnson, Ricky Hatton, Joe Calzaghe, Mike Tyson, and David Haye. Hatton, from Manchester, became a regular and favourite at the arena. American professional wrestling promotion WWE have regularly hosted both live events and TV tapings at the Arena, including Mayhem in Manchester in 1998, pay-per-view events such as the UK version of No Mercy in 1999, and Rebellion in 2001 and 2002.


title: Manchester Arena

text: The arena hosted mixed martial arts events. UFC 70 on 21 April 2007, and UFC 105 on 14 November 2009 for which it set the European record attendance for the largest UFC event outside the US with 16,000 spectators. The arena also hosted on 26 October 2013 as well as UFC 204 on 8 October 2016, headlining was a middleweight championship match between Dan Henderson and Michael Bisping. The World Taekwondo Qualification Event for the Beijing Olympic Games was held there on 28–30 September 2007 when 103 countries competed for 24 places at the Beijing Olympic Games in 2008. In April 2008, the arena hosted the FINA Short Course World Swimming Championships, the first time the event has been held in the UK. The arena was transformed with two 25 m swimming pools constructed in 18 days and seating provided for 17,250 spectators. On 26 February 2011, it played host to BAMMA 5.


title: Manchester Arena

text: Monster truck racing events have been staged but the floor space has to be extended and the front section of seating in the lower tier removed.


title: Manchester Arena

text: In May 2011, the arena hosted a basketball contest between the Atlanta Dream (WNBA) and the Great Britain women's basketball team, billed as "WNBA Live", the first time a WNBA team had played in Europe. In July 2012, the arena hosted an international between Great Britain men's basketball team and the United States men's basketball team in the buildup to the 2012 Summer Olympics.


title: Manchester Arena

text: On 25 August 2018, a boxing match between KSI and Logan Paul was held at the arena. The match was live streamed via pay-per-view on YouTube.


title: Manchester Arena

text: The first stand-up comedy performance was Peter Kay's final performance of his "Mum wants a bungalow Tour" in July 2003. He worked at the arena when it opened in 1995 and the performance was filmed for DVD release as "Peter Kay at the Manchester Arena". In 2005, Lee Evans set a world record for performing to the biggest audience in front of a crowd of 10,108. Peter Kay's "The Tour That Doesn't Tour Tour...Now On Tour" ran for 20 consecutive nights and 20 nights at the end of the tour – a record for the venue. Alan Carr filmed the DVD for "Spexy Beast" in Manchester.


title: Manchester Arena

text: On 19 July 2011, (with a final dress rehearsal in front of an audience on 16 July 2011) the arena hosted the world premiere of Batman Live, a touring stage show, including theatrical, circus and stage-magic elements, that focuses on the DC Comics superhero Batman.


title: Manchester Arena

text: The arena also hosts the annual convention of Jehovah's Witnesses. In 2014, this was held on 22–24 August.


title: Manchester Arena

text: The arena also hosted "Ant & Dec's Takeaway on Tour: Live" on 15–16 August 2014. Over the two days, about more than 120,000 people attended both matinee and evening shows.


title: Manchester Arena

text: The American league Monster Jam attended the venue for the first time in 2005 during the European Tour. They would not attend again for over ten years until 2019 when a second show took place.


title: Manchester Arena

text: Following the Dangerous Woman Tour concert by American pop singer Ariana Grande on 22 May 2017, a suicide bombing occurred in the arena's foyer area. Greater Manchester Police confirmed that twenty-two adults and children were killed, including the bomber, and 500 were injured. The terrorist group Islamic State (ISIS) claimed responsibility for the attack.


title: Manchester Arena

text: On 14 June 2017, it was confirmed that the arena would remain closed until September, with scheduled concerts either cancelled or moved to other venues. On 9 September 2017, the arena re-opened with a benefit concert featuring Noel Gallagher and other acts associated with the North West. This was broadcast live on BBC Radio Manchester, Key 103 and Radio X.


title: Manchester Arena

text: The arena adjoins Manchester Victoria station which is served by Northern, TransPennine Express, and Metrolink.


title: Red Rose Speedway

text: Red Rose Speedway is the second studio album by the British–American rock band Wings, although credited to "Paul McCartney and Wings". The album was released by Beatles-owned label Apple Records in April 1973, preceded by its lead single, the ballad "My Love". By including McCartney's name in the artist credit, the single and album broke with the tradition of Wings' previous records. The change was made in the belief that the public's unfamiliarity with the band had been responsible for the weak commercial performance of the group's 1971 debut album "Wild Life".


title: Red Rose Speedway

text: Before recording the album, Wings recruited lead guitarist Henry McCullough and released their debut single, "Give Ireland Back to the Irish", which was banned by the BBC for its political message. Recording sessions for the album took place throughout 1972 at five recording studios in London. The group also recorded the non-album singles "Mary Had a Little Lamb", "Hi, Hi, Hi" and "Live and Let Die", the last of which was issued in June 1973. Originally planned as a double album, it was condensed into a single LP at the request of EMI. The company believed that the material was not of a sufficiently high standard and were mindful of the modest sales of "Wild Life" and Wings' first two singles. Members McCullough and Denny Laine later expressed disappointment in the choice of songs on the single album.


title: Red Rose Speedway

text: "Red Rose Speedway" peaked at number 5 on the UK Albums Chart and number 1 on the "Billboard" Top LPs & Tape chart in the US, while "My Love" topped the US "Billboard" Hot 100. Although a commercial success, the album was given a mixed response by music critics, with several reviewers considering the songs to be inconsequential and mediocre. Decades later, it continues to receive mixed reviews. The album was reissued in 1987 and 1993 with bonus tracks and remastered in 2018 as part of the "Paul McCartney Archive Collection". The 2018 remaster includes the reconstructed double LP version of the album.


title: Red Rose Speedway

text: In early 1972, McCartney decided to expand Wings to a five-piece band by adding another guitarist, Henry McCullough, and to begin touring with the group. The band briefly toured British universities in February. They played in small halls, often unannounced, to avoid the media scrutiny that came with performing at more established venues.


title: Red Rose Speedway

text: Despite not releasing an album in 1972, Wings issued three singles while preparing their follow-up to "Wild Life": "Give Ireland Back to the Irish", which was banned by the BBC for its political sentiments; "Mary Had a Little Lamb", based on the nursery rhyme; and "Hi, Hi, Hi", which was banned by the BBC for drug references and sexually suggestive lyrics.


title: Red Rose Speedway

text: Recording for "Red Rose Speedway" began in March 1972. It was initially planned as a double album, and McCartney decided to include some unreleased songs that had originally been recorded during the "Ram" sessions in 1971, before the formation of Wings. Two of those songs, "Get on the Right Thing" and "Little Lamb Dragonfly", appeared on the final album. Sessions were held at Olympic Sound Studios in London, with Glyn Johns as producer. At the first session, McCartney asked Johns to think of him as "the bass player in the band" rather than as Paul McCartney, but then took offence when Johns duly treated him as an ordinary musician. Johns thought Wings were not a genuine band and not of the calibre of artist he usually worked with. Before long, according to author Howard Sounes, citing the producer's recollection, Johns was reading a newspaper in the control room at Olympic as the group smoked marijuana and jammed aimlessly in the studio. On 17 April, Johns told the press that he had quit working on the album due to a "disagreement" with McCartney and that "Now we have respect for each other."


title: Red Rose Speedway

text: Wings continued to record sporadically in between promoting their May 1972 single, "Mary Had a Little Lamb". After the band toured Europe in July and August, further recording sessions took place over October and November 1972 at Abbey Road Studios and Olympic. Morgan, Trident and Island were the other London studios where the band recorded that year.


title: Red Rose Speedway

text: The album was cut down to a single disc by McCartney – according to Henry McCullough, in an attempt to release a more commercial and less expensive record. The decision came about through EMI, however; in addition to believing that the material was not of a sufficiently high standard, the record company were mindful of the modest commercial performance of "Wild Life" and Wings' first two singles. The album ends with an 11-minute medley of the songs "Hold Me Tight", "Lazy Dynamite", "Hands of Love" and "Power Cut", which was made in a similar style to the Beatles' "Abbey Road" medley. "Power Cut" was written during the 1972 miners' strike. Laine later expressed his disappointment that only a single album was issued, saying that in its original form, "Red Rose Speedway" was "more of a showcase for the band". Among the omissions were his composition "I Would Only Smile", and "I Lie Around", on which Laine also sang the lead vocal. McCullough was similarly disappointed that several of McCartney's rock-oriented tracks were cut from the running order, which favoured the more lightweight material from the sessions.


title: Red Rose Speedway

text: "Live and Let Die", the title song to the James Bond film of the same name, was recorded during the sessions for "Red Rose Speedway", but was initially released on the "Live and Let Die" soundtrack album. Laine included "I Would Only Smile" on his 1980 solo album "Japanese Tears". "Mama's Little Girl" was recorded during the sessions and later turned up as the B-side of McCartney's "Put It There" single in 1990. Among the other discarded tracks were "Night Out", "Jazz Street", "Best Friend", "Thank You Darling", "The Mess" (which McCartney introduced on stage as "The Mess (I'm In)" during Wings' live shows) and a cover version of Thomas Wayne's song "Tragedy".


title: Red Rose Speedway

text: The packaging for "Red Rose Speedway" included a 12-page LP-size booklet inside a gatefold sleeve. The booklet featured photos from Wings' live shows taken by Joe Stevens (credited as Captain Snap) and others by Linda. The artwork for the inside gatefold and part of the booklet was designed by Eduardo Paolozzi, while pop artist Allen Jones contributed drawings, a painting and a photo collage, all variously depicting women, throughout the booklet. The graphics were designed by Gordon House. EMI agreed to pay for the lavish packaging, which was originally intended for the planned double album.


title: Red Rose Speedway

text: Breaking with the approach taken on the band's previous releases, the artist credit included McCartney's name rather than Wings alone, and instead of a group picture, only his face appears on the front cover. The image shows McCartney in front of a motorbike engine, with a red rose in his mouth, and was taken by Linda. The motorbike was transported from the United States especially for the shoot, which took place at the photographic studio of the "Sunday Times" building in central London. The back cover featured the foot of a microphone stand and a bouquet of roses, with the image set inside a black background as if spotlit. In the space below this image was a Braille message to Stevie Wonder, reading "We love ya baby".


title: Red Rose Speedway

text: The name change to "Paul McCartney and Wings" was made in the belief that the public's unfamiliarity with the band had been responsible for the disappointing sales of "Wild Life". In the US, Capitol Records were concerned that the positioning of the red rose on the front cover might make McCartney's face unrecognisable to record buyers. Since no artist credit was included with this image, the company issued the album with a blue sticker in the top right-hand corner, identifying the band and listing the songs.


title: Red Rose Speedway

text: The album was preceded by the March 1973 release of its lead single, "My Love" backed with "The Mess". The latter song was recorded live during the band's summer 1972 European tour. With Apple Records giving precedence to two Beatles compilation albums – "1962–1966" and "1967–1970" – "Red Rose Speedway" was not issued until 30 April 1973, in the United States, with the UK release following on 4 May. "My Love" peaked at number 9 on the UK Singles Chart, and topped the US "Billboard" Hot 100 and "Billboard" Adult Contemporary charts. It raised expectations for the album, which peaked at number 5 in the UK and went to number 1 in the US.


title: Red Rose Speedway

text: The original compact disc version, released by EMI's Fame label on 5 October 1987, contained three bonus tracks: "I Lie Around", "Country Dreamer" and "The Mess (Live at The Hague)". An LP version of this CD edition was also released on the same day, omitting the bonus tracks. In 1993, "Red Rose Speedway" was remastered and reissued on CD as part of 'The Paul McCartney Collection' series, with "C Moon", "Hi, Hi, Hi", "The Mess (Live at The Hague)" (the B-side to "My Love") and "I Lie Around" (the B-side to "Live and Let Die") as bonus tracks. "Country Dreamer" was later added to the reissue "Band on the Run" from the same series.


title: Red Rose Speedway

text: In 2018, "Red Rose Speedway" was reissued as part of "Paul McCartney Archive Collection". The bonus content included the reconstructed original double LP version of the album featuring different mixes of "Seaside Woman" and "I Would Only Smile" as to those released on Linda McCartney's "Wide Prairie" and Denny Laine's "Japanese Tears" respectively, the singles "Mary Had a Little Lamb", "Hi, Hi, Hi" and "Live and Let Die" with their respective b-sides, early and rough mixes of several songs as well as previously unreleased studio and live recordings, with the latter taken from the Wings Over Europe Tour. The songs "Country Dreamer" and "Little Woman Love" included on the reissue are the same versions that were previously released on the "Band on the Run" and "Ram" editions of the "Paul McCartney Archive Collection".


title: Red Rose Speedway

text: "Red Rose Speedway" received a mixed response from contemporary music critics, many of whom dismissed its songs as mediocre. According to author and critic Bob Woffinden, writing in 1981, the album was an example of McCartney "continu[ing] to exasperate his audience" before he and Wings finally won respect with the late 1973 release of "Band on the Run". John Pidgeon of "Let It Rock" found the side-two medley typical of McCartney's "lazy" attitude to songwriting and said: ""Red Rose Speedway" sounds as if it was written after a big tea in front of the fire with carpet-slippered feet up; listening to it takes about as much as going ten rounds with a marshmallow fairy." Pidgeon concluded by likening the album to "The Emperor's New Clothes", ruing that McCartney appeared to have no one to challenge his judgment or "kick his arse". "Village Voice" critic Robert Christgau derided McCartney's reliance on "aimless whimsy" and described the work as "Quite possibly the worst album ever made by a rock and roller of the first rank". In a 1977 interview, McCartney said that it typically took him a few months to listen to an album as a whole after its release; in the case of "Red Rose Speedway", he said he "couldn't stand" it. Joe Stevens, Wings' tour photographer in the early 1970s, recalled: "I thought "Red Rose" was a disaster and so did everyone connected with it. Except Paul."


title: Red Rose Speedway

text: According to author Michael Frontani, a generally favourable review in "Rolling Stone", written by musician Lenny Kaye, signified a turnaround from a publication that had been openly hostile towards McCartney since 1970. Frontani adds: "While McCartney's music would continue to be criticized by some commentators as vacuous and facile, Kaye's review appears to mark the point where art of consequence was no longer required of McCartney by rock critics ..." Ian Dove of "The New York Times" noted that McCartney's work continued to pale beside that of his former bandmates John Lennon and George Harrison but deemed "Red Rose Speedway" his best album yet. Writing in the "NME", Tony Tyler acknowledged that the album was "lightweight" and lacking in "intellectual posture" but added: "with all the current heaviness and after-me-the-apocalypse brainstuds around, I for one am bloody pleased to discover a lightweight record that not only fails to alienate, but actually succeeds in impressing via good melodic structure, excellent playing and fine production."


title: Red Rose Speedway

text: Like the "NME", "Rolling Stone" soon changed its opinion of "Red Rose Speedway". Writing in "The Rolling Stone Record Guide" (1979), John Swenson said that the album displayed "the worst aspects of McCartney as solo artist and band-leader" and was "rife with weak and sentimental drivel". In his 1977 book "The Beatles Forever", Nicholas Schaffner described it as "pleasingly plump music – charming, harmless, entertaining fluff ... a perfect background to lazy afternoons in the sun".


title: Red Rose Speedway

text: AllMusic editor Stephen Thomas Erlewine considers "Red Rose Speedway" to be McCartney's "most disjointed album" and "deliberately slight ... in the way a snapshot album is important to a family yet glazes the eyes of any outside observer", but he adds: "Work your way into the inner circle, and McCartney's little flourishes are intoxicating – not just the melodies, but the facile production and offhand invention." Beatles biographer Robert Rodriguez views it as "a wildly uneven assortment of songs", of which the selections comprising the "Abbey Road"-style medley "aren't merely half-finished – they're half-assed". While describing Glyn Johns' disparaging comments about the finished album as "harsh", Howard Sounes writes: "but in a record review one couldn't award it more than three out of five stars."


title: Red Rose Speedway

text: On 18 October 2018, it was officially announced that the album reissues of "Wild Life" and "Red Rose Speedway" would be released on 7 December 2018, as part of the "Paul McCartney Archive Collection" series. The "Red Rose Speedway" reissues were published in several editions:


title: Red Rose Speedway

text: All songs written by Paul and Linda McCartney except "Seaside Woman" written by Linda McCartney, "I Would Only Smile" written by Denny Laine, and "Tragedy" written by Gerald H. Nelson and Fred B. Burch.


title: Red Rose Speedway

text: Originally planned as a double album, this is the track listing from drummer Denny Seiwell's acetates of the early incarnation of "Red Rose Speedway" dated 13 December 1972. Most tracks left off the released version ended up on B-sides, while others remained officially unreleased (such as "Tragedy", "Night Out", "Jazz Street", "1882") until the release of the 2018 "Red Rose Speedway" Deluxe remaster reissue.