title: White Light/White Heat

text: "White Light/White Heat" was recorded in September 1967 at Mayfair Sound Studios at Seventh Avenue in Manhattan, with work to form its songs being done in the previous summer. The band specifically passed on songs that sounded gentler—though Cale also said that the band simply didn't have enough songs prepared for recording, which led to a reduced track list. "White Light/White Heat" would have far more involvement from Wilson, who originally only produced "Sunday Morning" on "The Velvet Underground & Nico"; however, he would not participate heavily, as he would talk to his girlfriends for most of the time.


title: White Light/White Heat

text: Reed purposefully wanted to go "as high and as hard as we could". At the time, Reed played a 12-string guitar, Gibson, and Epiphone guitars; he also used Vox amplifiers. The band also used Vox distortion pedals to the fullest extent; recording engineer Gary Kellgren reportedly said "you can't do it – all the needles are on red" during the recording sessions. To get the sound of a character receiving a blade through their skull in "The Gift", Reed stabbed or smashed a cantaloupe, at the request of Frank Zappa, who was recording in the same studio. For "Sister Ray", the band worked individually instead of coordinating together–the drums were drowned out due to the level of noise. The song was intentionally recorded in one take to prevent constant shifting of the sound of it, which was what happened with "Heroin" on the previous record. Tucker was disappointed with the final product, as Wilson forgot to turn on some of her drum microphones while recording. According to Reed, Kellgren walked out during the recording of "Sister Ray".


title: White Light/White Heat

text: "I Heard Her Call My Name" was remixed by Reed after the recording process to boost his vocals, which Tucker said ruined the sound of the song. Morrison considered the album a technical failure, additionally citing "I Hear Her Call My Name"; Morrison would quit the band for a couple of days in response. While mixing the album, Reed discovered how the sound of it was distorted since the band played too loudly, and the band couldn't resolve the issue as they had limited studio time. Cale said the band neglected how playing loud would affect the technical quality of the record, and Morrison concluded that it was "doomed" due to its level of distortion and compression. Before its release, Wilson resigned from MGM Records, the owner of the band's label at the time, and would never work with the band again.


title: White Light/White Heat

text: "White Light/White Heat" has been described as experimental rock, noise rock, proto-punk and art rock. "White Heat", at the time, was a slang term for the speed rush from amphetamine. The record's lyrics vary from themes of drug use to sexual references (such as fellatio and orgies), such as the title track "White Light/White Heat", which implies intravenous use of methamphetamine. "Here She Comes Now" is built around a double-entendre. On the album's last track, "Sister Ray", Reed tells a tale of debauchery involving drag queens having a failed orgy. Reed eventually commented on how "Sister Ray" was ahead of its time, particularly its early form of heavy metal.


title: White Light/White Heat

text: The record opens with "White Light/White Heat" which details the physical effects of amphetamine usage. It consists of a simple two-chord progression of G5 and A5, and contains elements of both heavy metal and doo-wop. It is one of the album's songs that has more traditional rock'n'roll elements, and while discussing amphetamine it is also equally influenced by one of Reed's favorite books, Alice Bailey's "A Treatise on White Magic", which inspired the phrase "White Light". Reed was interviewed by a radio station in Oregon, which Richie Unterberger summarizes:


title: White Light/White Heat

text: "The Gift" is a spoken word track whose lyrics and musical backing are separated by left and right stereo channels, described by Wilson as the band having "stereo prefrontal lobes". The story is derived from another story Reed wrote for Shelley Albin, his middle school girlfriend. The song itself is derived from a story Reed penned at Syracuse University. It discusses two characters, Marsha and Waldo, over guitar feedback in the form of a blues-rock instrumental. This would be Cale's first vocal performance for the band, and it showed the group's improvisational roots.


title: White Light/White Heat

text: "Lady Godiva's Operation" contains a lyrical style influenced by William S. Burroughs. Partially inspired by his teenage experience with electroshock treatments, the track is another of Reed's short stories set to music, but is more instrumentally advanced than "The Gift". Cale adds backing vocals, which are "sung" rather than spoken, and he shuddered and imitated the sounds of an oxygen machine while recording the track. What type of operation Lady Godiva is undertaking is unclear, though it seems to be about a transsexual and related to sex change; Reed sings about gender-altering surgery, as seen in the lines "Doctor arrives with knife and baggage / sees the growth as just so much cabbage".


title: White Light/White Heat

text: The title of "Here She Comes Now" is a double entendre. The song was written to be sung by Nico, before the band fell out with her. A folk rock song, it is the only track on the album that resembles contemporary rock. It is also the only song that would be jointly credited to Reed, Cale, and Morrison.


title: White Light/White Heat

text: "I Heard Her Call My Name" is a love song for a dead girl. Reed's guitar playing was inspired by Jimi Hendrix, and the song has been described as free jazz with "banshee-like guitar breaks" by Unterberger. It has elements of garage-rock, while the guitar solo was influenced by jazz saxophonist Ornette Coleman. Reed biographer Howard Sounes summarized the track as "[Tucker] maintaining a frantic beat as [Reed] delivered a speed rap ending with a mind-splitting guitar solo".


title: White Light/White Heat

text: Reed said in a "Rolling Stone" interview that "Sister Ray" was included at the suggestion of Warhol, who asked that he "gotta make sure that you do the 'sucking on my ding-dong' song". The track was written on a train home from a poor performance in Connecticut. Reed explained the song as "a bunch of drag queens taking some sailors home with them, shooting up on smack and having this orgy when the police appear". The title named is after a drag queen. The song also has free jazz influences from Reed's interest in Coleman and Cecil Taylor; it is mostly improvisation. Wilson produced Taylor's album "Jazz Advance" earlier in 1956. The song tells this story through a cast of characters, which Soumes noted is reminiscent of Reed's general songwriting style: it is "a semi-abstract story with use of repetition and drug slang, also playing with the sounds of words, stuttering and jamming words together". Soumes also noted that it contains similar themes to Reed's favorite and most influential books, Hubert Selby Jr.'s "Last Exit to Brooklyn" (1964) and John Rechy's "City of Night" (1963). The instrumental jam was spontaneous, as Reed desired, and it also has no bass guitar. The guitars in the track created a "dense musical backdrop" to its lyrics before a distorted electric organ, played by Cale, joined in. Tucker would state that it was more than just noise, as everyone playing still followed Tucker's beat. The third verse contains explicit sexual references, which was rare for Reed, particularly in the line "She's just suckin' on my ding dong/I'm searchin' for my mainline".


title: White Light/White Heat

text: The title track "White Light/White Heat" was released as a single in November 1967 but failed commercially. The B-side was "Here She Comes Now"; these tracks are the two shortest tracks on the album. The band claimed that it was banned in San Francisco—Reed said that this was because of the former's references to drugs and the latter's references to sex.


title: White Light/White Heat

text: The album was released on January 30, 1968. The original pressing of the record incorrectly listed the track "Here She Comes Now" as "There She Comes Now". Initially, the band had a high ego after its release, but were nevertheless disappointed by its lack of promotion from MGM. Like the band's debut, it was banned on radio, and was a commercial disappointment. It peaked at position 199 on the "Billboard" Top LPs chart, which was lower than their debut. Although the band was disappointed by Verve and MGM's lack of promotion, Verve nevertheless ran a full-page ad in "Rolling Stone" and ran other ads in underground newspapers, including a full-page one in "Hullabaloo", a teen magazine. Verve also ran radio ads advertising "The Gift" and also used the band's history with Warhol as a selling point. MGM included songs from the album as a part of a promotional set of interviews and songs—the set includes an interview with the band members. Bockris, another biographer of Reed's, said that the reaction to it was "even harsher... than the first", with particular criticism directed towards its transgressive lyrics. The band had difficulties distributing the single "White Light/White Heat" and received the most revenue through touring. They also had difficulties attracting larger audiences, even after promotion after appearing at Warhol's Exploding Plastic Inevitable. Ultimately, tension between Reed and Cale led to Cale being fired in a meeting called by Reed.


title: White Light/White Heat

text: The original album cover for "White Light/White Heat" is a faint image of a tattoo of a skull. The tattoo was that of Joe Spencer, who played the lead role in Warhol's 1967 film "Bike Boy". Spencer starred as a hustler in a motorcycle gang and is seen taking a shower in the movie. Although he was not credited for the cover design as with their debut, it was Warhol's idea to use a black-on-black picture of the tattoo. Reed selected the image from the negatives from the film, and it was enlarged and distorted by Billy Name, one of the members of the Factory. Morrison, however, states that the cover was picked by him. On the physical version of the album, this can only be seen when viewing the cover from a certain angle. On the back of the album is a photo of the band members at the Boston Tea Party, a concert venue. Morrison chose the photo and liked it, while Tucker thought that both she and Reed looked terrible on it.


title: White Light/White Heat

text: There also exists a unique MGM Records UK cover, made in 1971, featuring a white background and abstract toy soldiers. The UK cover was not authorized by the band members. In 1974, the album was reissued by MGM under the title "Archetypes". The cover of this version features two men wearing helmets standing in front of a Woolworth's.


title: White Light/White Heat

text: Like other releases by the group, the lyrical themes and avant-garde instrumentation of "White Light/White Heat" did not resonate with mainstream audiences at the time. For example, "Rolling Stone" refused to review the record. Though "Billboard" predicted that the album would become a hot-seller for record stores catering to underground acts, it only briefly appeared on the "Billboard" Top LPs chart. For "Record Mirror", Peter Jones and Norman Jopling called it a "menacing set of acid-rock tunes" and "a hippy must", with repetitive, "growling" blues-style instrumentation and deadpan vocals. The reviewers singled out "Sister Ray" as "behemoth" while comparing "The Gift" to Dylan Thomas' 1940s radio drama "Under Milk Wood". A reviewer for "Billboard" called the lyrics "interesting" and the narrative-heavy songs such as "The Gift" joyful, albeit drowned out by the "pulsating instrumentation". "Melody Maker", on the other hand, wrote off the album as "utterly pretentious, unbelievably monotonous". Peter Reilly of "HiFi/Stereo Review", while erroneously describing the album's release as headed by Warhol, assigned the album ratings of "fair" for recording, "distinct" for stereo quality, and "not so good" for performance.


title: White Light/White Heat

text: Wayne McGuire, writing for "The Boston Sound", praised Cale's bass playing, particularly on "White Light/White Heat", calling him one of the best contemporary bass players. McGuire also considered the album a symbol of progression for the band. Sandy Pearlman, writing for "Crawdaddy", noted its technological and "mechanical" sound while questioning why Warhol wasn't credited for contributing to its cover. "The Listener"s Tim Souster praised "Sister Ray", saying the track shows "pop is at last making decisive steps in a direction with far-reaching implications for the creative development not only of pop itself but of 'serious' music too". Internationally, Dutch magazine "HitWeek" gave the album a positive review, while noting its poor sound quality. British magazine "NME" noted its short track list and called it "weirdo stuff". "Disc" found it to be "staggering". A detailed review by Gene Youngblood in the underground newspaper "Los Angeles Free Press" praised the album, declaring it unique and ahead of its time like the band's debut. Lenny Kaye of "New Times" said the cover artwork could be juxtaposed with that of "The Velvet Underground & Nico".


title: White Light/White Heat

text: Retrospective reviews have been much more positive, and "White Light/White Heat" eventually sold over half a million copies internationally before Reed's death in 2013.


title: White Light/White Heat

text: David Fricke of "Rolling Stone", in a 1985 review of the first three records of the band, said it stood out even compared with contemporary songs, stating that no wave and hardcore songs didn't meet its "sheer industrial discord and locomotive propulsion". Reviewing the deluxe edition of the record, Douglas Walk of "Pitchfork" labeled it a "best new issue". Walk called the album "mysterious" and “a relentless, screeching, thudding, scoffing assault on the pop sensibilities of its time". Thomas Hobbs, in a review for "Crack", praised its production but was divided on its lyrics, saying they “make it a record that's a lot harder to love; perhaps that was the aim all along".


title: White Light/White Heat

text: Other reviews praised the album's abrasive production. Mark Deming of AllMusic considered it "easily the least accessible" of the band's albums, saying: "anyone wanting to hear their guitar-mauling tribal frenzy straight with no chaser will love it, and those benighted souls who think of the Velvets as some sort of folk-rock band are advised to crank their stereo up to ten and give side two a spin." Greg Kot of "Chicago Tribune" described the album as "Loud, abrasive, chilling-the perfect antidote for the Age of Aquarius." "The Guardian" singled out the track "Sister Ray," saying the only appropriate sound to follow the "brutal improvisational workout... is silence". "Record Collector" contended that it "was as near as the VU ever got to sounding trippily à la mode in 1967-68, even if it remains as streaked with street dirt as a discarded pie." Unterberger said the album was perhaps the "loudest... of all time."


title: White Light/White Heat

text: "White Light/White Heat" contains a distorted, feedback-driven, and roughly recorded sound, which is regarded as influential; it foreshadowed the start of punk rock and the no wave genre. The Social Distortion album "White Light, White Heat, White Trash" would be named after "White Light/White Heat". Oregano Rathbone of uDiscoverMusic said the record signalled a significant turn in rock music and for the band; similarly, Mike Boehm of the "Los Angeles Times" considered it a "raw, brutal milestone in the development of what would become punk rock". Joe Viglione of AllMusic called it a grunge classic. Tracks from the record were covered by underground and contemporary artists. British rock band Buzzcocks were formed by Pete Shelley and Howard Devoto out of a shared interest in "Sister Ray". A live cover of "Sister Ray" by British rock band Joy Division, recorded at the Moonlight Club in London on April 2, 1980, was included on the band's 1981 compilation album "Still". Jonathan Richman made the song "Roadrunner" with inspiration from "Sister Ray"; the single was influential in its own right and was ranked on "Rolling Stone"'s 500 Greatest Songs of All Time. David Bowie performed the album's title track routinely after May 1973, and Nirvana covered "Here She Comes Now" in 1990. Reed later boasted that "no group in the world can touch what we did" on the album.


title: White Light/White Heat

text: "White Light/White Heat" has been included in several lists by music publications as one of the greatest albums of the 1960s decade and of all time. It was listed at number 292 on "Rolling Stone" magazine's 2003 list of The 500 Greatest Albums of All Time, with the ranking slipping to number 293 in the 2012 revision and climbing to number 272 in the 2020 reboot of the list. It was voted number 309 in the third edition of Colin Larkin's "All Time Top 1000 Albums" (2000). "Pitchfork" ranked it number 26 on its list of the best albums of the 1960s, behind "Stand!" by Sly and the Family Stone. "NME" ranked it number 89 in its inaugural 1974 list of the top 100 albums of all time, eventually listing it as number 352 on its list of the 500 Greatest Albums of All Time, behind "Sweetheart of the Rodeo" by the Byrds. The album has been listed in unranked "best of" lists, such as "Ultimate Classic Rock"'s top 100 albums of the 1960s. "NME" additionally included it on its "101 Albums To Hear Before You Die". Internationally, French magazine "Rock & Folk" listed it in its 555 albums from 1954–2014, and Italian magazine "" listed it as a rock milestone.


title: White Light/White Heat

text: Robert Dimery included the album in the 2018 edition of his book "1001 Albums You Must Hear Before You Die". Based on its appearances in professional rankings and listings, the aggregate website Acclaimed Music lists "White Light/White Heat" as the 10th most acclaimed album of 1968, the 43rd most acclaimed album of the 1960s and the 199th most acclaimed album in history.


title: White Light/White Heat

text: The album was reissued under the title "Archetypes" by MGM in 1974, though the reason for this is unknown. It was out of print in the United States until 1985, when it received a reissue, along with the group's first three albums. These reissues were unexpectedly successful, which led to further releases under PolyGram such as "Another View". The album was included in the box set "Peel Slowly and See", and was later reissued as a Super Deluxe edition for its 45th Anniversary, including mono versions of tracks, demos, and live performances.


title: 1 Corinthians 13

text: 1 Corinthians 13 is the thirteenth chapter of the First Epistle to the Corinthians in the New Testament of the Christian Bible. It is authored by Paul the Apostle and Sosthenes in Ephesus. This chapter covers the subject of Love. In the original Greek, the word is used throughout the chapter. This is translated into English as "charity" in the King James version; but the word "love" is preferred by most other translations, both earlier and more recent.


title: 1 Corinthians 13

text: Chapter 13 of 1 Corinthians is one of many definitional sources for the word when used to refer to divine love. Introducing his homage to love in 1 Corinthians 11:31, Paul describes as "a more excellent way".


title: 1 Corinthians 13

text: 1 Corinthians 13:12 contains the phrase , which was translated in the 1560 Geneva Bible as "For now we see through a glass darkly" (without a comma). This wording was used in the 1611 KJV, which added a comma before "darkly". This passage has inspired the titles of many works, with and without the comma.


title: 1 Corinthians 13

text: The Greek word (genitive; nominative: ), here translated "glass", is ambiguous, possibly referring to a mirror or a lens. Influenced by Strong's Concordance, many modern translations conclude that this word refers specifically to a mirror. Example English language translations include:


title: 1 Corinthians 13

text: Paul's usage is in keeping with rabbinic use of the term , a borrowing from the Latin . This has the same ambiguous meaning, although Adam Clarke concluded that it was a reference to , clear polished stones used as lenses or windows. One way to preserve this ambiguity is to use the English cognate, "speculum". Rabbi Judah ben Ilai (2nd century) was quoted as saying "All the prophets had a vision of God as He appeared through nine specula" while "Moses saw God through one speculum." The Babylonian Talmud states similarly "All the prophets gazed through a speculum that does not shine, while Moses our teacher gazed through a speculum that shines."


title: 1 Corinthians 13

text: There are other passages from 1 Corinthians 13 that have been influential. Perhaps the most significant portion of 1 Corinthians 13 is the revered passage that defines love and indicates how Christians should love others.


title: 1 Corinthians 13

text: 1 Corinthians 13, verse 1: "Though I speak with the tongues of men and of angels, but have not love, I have become sounding brass or a clanging cymbal."


title: 1 Corinthians 13

text: Bob Dylan paraphrases verse 1 in his song 'Dignity': "I heard the tongues of angels and the tongues of men... wasn't any difference to me."


title: 1 Corinthians 13

text: 1 Corinthians 13, verses 2, 3, 4, 11 and 13 are introspectively digested aloud by ex-slave-trader mercenary, transitioned to Jesuit missionary, Rodrigo Mendoza (played by Robert De Niro) in the Robert Bolt-penned 1986 cinematographic Oscar winner "The Mission", directed by Roland Joffé.


title: Dallas Love Field

text: Dallas Love Field is a city-owned public airport northwest of downtown Dallas, Texas. It was Dallas' main airport until 1974 when Dallas/Fort Worth International Airport (DFW) opened. Love Field covers an area of at an elevation of above mean sea level and has two runways.


title: Dallas Love Field

text: Love Field is the birthplace, corporate headquarters, and a major operating base of Southwest Airlines; as of August 2021, Southwest has a 95% market share at the airport. Several full-service fixed-base operators (FBOs) provide general aviation services: fuel, maintenance, hangar rentals, and air charters. The City of Dallas Department of Aviation headquarters is on the grounds of the airport.


title: Dallas Love Field

text: Dallas Love Field is named after Moss L. Love who, while assigned to the U.S. Army 11th Cavalry, died in an airplane crash near San Diego, California, on September 4, 1913, becoming the tenth fatality in U.S. Army aviation history. His Wright Model C biplane crashed during practice for his Military Aviator Test. Love Field was named by the United States Army on October 19, 1917.


title: Dallas Love Field

text: Dallas Love Field has its origins in 1917 when the Army announced it would establish a series of camps to train prospective pilots after the United States entered into World War I. The airfield was one of 32 new Air Service fields. It was constructed just southeast of Bachman Lake, and it covered over 700 acres and could accommodate up to 1,000 personnel. Dozens of wooden buildings served as headquarters, maintenance, and officers’ quarters. Enlisted men had to bivouac in tents.


title: Dallas Love Field

text: Love Field served as a base for flight training for the United States Army Air Service. In 1917, flight training occurred in two phases: primary and advanced. Primary training took eight weeks and consisted of pilots learning basic flight skills under dual and solo instruction. After completion of their primary training at Love Field, flight cadets were transferred to another base for advanced training.


title: Dallas Love Field

text: After officially opening on October 19, 1917, the first unit stationed at Love Field was the 136th Aero Squadron, which was transferred from Kelly Field, south of San Antonio, Texas. Only a few U.S. Army Air Service aircraft arrived with the 136th Aero Squadron, and most of the Curtiss JN-4 Jenny aircraft to be used for flight training were shipped in wooden crates by railcar. Training units assigned to Love Field during World War I were:


title: Dallas Love Field

text: The 865th Aero Squadron (Repair), was formed at Love Field in March 1918 as a support unit for JN-4 aircraft repair and maintenance. It was assigned to the Aviation Repair Depot, Dallas Texas (at Love Field) in April 1918. It was demobilized in March 1919.


title: Dallas Love Field

text: With the sudden end of World War I in November 1918, the future operational status of Love Field was unknown. Many local officials speculated the U.S. government would keep the field open because of the outstanding combat record established by Love-trained pilots in Europe. Locals also pointed to the optimal weather conditions in the Dallas area for flight training. Cadets in flight training on November 11, 1918, were allowed to complete their training; however, no new cadets were assigned to the base. The separate training squadrons were consolidated into a single Flying School detachment, as many of the personnel assigned were being demobilized.


title: Dallas Love Field

text: In December 1919, Love Field was deactivated as an active duty airfield and converted into a storage facility for surplus De Havilland and JN-4 aircraft, some of the latter having been brought bought back by the Curtiss Aeroplane and Motor Company in the spring of 1919. In what was called "the largest recruiting mission in the spring and summer of 1919", Lt. Col. Henry B. Clagett began with seven DH-4s departing Dallas and flying as far as Boston. A small caretaker unit was assigned to the facility for administrative reasons and it was used intermittently to support small military units.


title: Dallas Love Field

text: In January 1921, 1st Lt William D. Coney attempted to fly from San Diego to Jacksonville with just one stop—at Love Field. In 1921, the aviation repair depot next to Love Field moved to Kelly Field in San Antonio to consolidate with the supply depot at Kelly and form the San Antonio Intermediate Air Depot. In 1923, Dallas was a route point between Muskogee and Kelly Field on the southern division of the model airway. However, by 1923, the decision had been made to phase down all activities at the new base in accordance with sharply reduced military budgets and it was closed. The War Department had ordered the small caretaker force at Love Field to dismantle all remaining structures and to sell them as surplus. The War Department leased out the vacant land to local farmers and ranchers.


title: Dallas Love Field

text: In 1928, Dallas purchased Love Field, which opened for civilian use (first passenger service was by the National Air Transport company). On April 9, 1932, the first paved runways at the airfield were completed, and in March 1939 the airfield had 21 weekday airline departures: 9 American, 8 Braniff and 4 Delta. On October 6, 1940, Love Field's Lemmon Avenue Terminal Building opened on the east side of the airfield.


title: Dallas Love Field

text: "On 6 June 1939, the War Department approved...nine civil school detachments", including one at Dallas (cf. a 1940 school approved for Ft Worth's Hicks Field, a new 1942 Ft Worth Airfield–Tarrant Field at the government plant and that had a four engine pilots' school,) and a Ferrying Command control center at Dallas's Hensley Field.)


title: Dallas Love Field

text: By October 1940 at the Texas Army Airfields, classes had entered the Dallas Texas Aviation School, which provided basic (level 1) flight training using Fairchild PT-19s as the primary trainer (several PT-17 Stearmans and a few P-40 Warhawks were also assigned.) The Gulf Coast ACTC school later moved to Brady, Texas; and Love Field also had an Air Materiel Command modification center. In September 1942, the Air Transport Command activity at Hensley Field moved to Love Field. ATC's 5th Ferrying Group, consisting of Women's Auxiliary Ferrying Squadrons (WAFS) ferried PT-17s, AT-6s and twin-engine Cessna AT-17s; and Love Field was also used by the San Antonio Air Service Command for aircraft overhauls. The 2d Ferrying Squadron of the 5th Ferrying Group was moved by Air Transport Command from Love Field to Fairfax Field at Kansas City on April 15, 1943.


title: Dallas Love Field

text: In September 1943 a new north-south runway 18/36 and northwest-southeast runway 13/31 were completed. Air Force facilities closed at the end of World War II except for Love Field's (call sign Dallas Bomb Plot) for Radar Bomb Scoring that had been established by June 6, 1945 (transferred to Strategic Air Command on March 21, 1946, 10th RBSS Det 1 by 1957).


title: Dallas Love Field

text: On November 29, 1949, American Airlines Flight 157, a Douglas DC-6 en route from New York City to Dallas and Mexico City with 46 passengers and crew, slid off Runway 36 after the flight crew lost control on final approach. The airliner struck buildings and caught fire, killing 28. It was the deadliest air disaster in Texas history at the time and, according to modern reference sources, remains the deadliest crash at the airfield.


title: Dallas Love Field

text: In 1953, Fort Worth opened Amon Carter Field, which would later become Greater Southwest International Airport, to compete with Love Field. Fort Worth had attempted to negotiate with Dallas to collaborate on the new airport, but Dallas repeatedly declined those attempts. Upon completion, all of the passenger airlines were transferred from Fort Worth's previous airline airport, Meacham Field, to Greater Southwest, leaving Love Field and Greater Southwest as the only air transportation options for the Dallas–Fort Worth area.


title: Dallas Love Field

text: The February 1953 C&GS diagram shows Runway 7 ('), Runway 13 (') and Runway 18 (""). On June 1, 1954, Runway 7/25 was closed; it was later removed to allow terminal expansion. Love Field then had two runways: Runway 13/31, the main runway, and the shorter 18/36.


title: Dallas Love Field

text: The April 1957 Official Airline Guide shows 52 weekday departures on Braniff, 45 on American, 25 Delta, 21 Trans-Texas, 12 Central and 9 Continental. Three nonstops a day to Washington DC, three to New York/Newark, six to Chicago, five to California and 12 a week to Mexico City.


title: Dallas Love Field

text: Love Field's new terminal (the third terminal, designed by Donald S. Nelson) opened to the airlines on January 20, 1958, with three one-story concourses, 26 ramp-level gates and the world's first airport moving walkways. Air carriers serving the airport at the time included American Airlines, Braniff International Airways (which was based in Dallas), Central Airlines (which was based in nearby Fort Worth), Continental Airlines, Delta Air Lines and Trans-Texas Airways (which later changed its name to Texas International Airlines).


title: Dallas Love Field

text: Turbine-power flights began on April 1, 1959, when Continental Airlines introduced the Vickers Viscount turboprop. Jet airline flights began on July 12, 1959, when American Airlines started Boeing 707 flights to New York. By 1963, Love Field had direct, no change of plane Boeing 707 jet service to London and Frankfurt jointly operated on a daily basis by Braniff International and Pan American World Airways (Pan Am). The trips were conducted via an interchange agreement between the two airlines with these flights making an intermediate stop at Chicago O'Hare Airport.


title: Dallas Love Field

text: In 1961, Mr. and Mrs. Earle Wyatt gave a large bronze statue titled "One Riot, One Ranger" for display in the airport's new terminal. Famed Texas-born sculptress Waldine Tauch created the piece. The inscription refers to an incident in which a single Texas Ranger was supposedly dispatched to quell a riot. The statue was removed from the airport in June 2020 after it was revealed that the ranger who modeled for the statue had been dispatched to the Dallas area in 1956 to help white supremacist protesters defy lawful efforts to end racial segregation of local public schools.


title: Dallas Love Field

text: On November 22, 1963, United States President John F. Kennedy arrived at Love Field on Air Force One, and was assassinated in Dealey Plaza less than one hour later while his motorcade was traveling from Love Field to the Dallas Trade Mart and died at Parkland Memorial Hospital. Texas Governor John Connally was riding in the presidential limousine and was seriously wounded. Ninety minutes later, Vice President Lyndon B. Johnson was sworn in as president aboard Air Force One before its departure from Love Field to Washington D.C.


title: Dallas Love Field

text: On April 2, 1965, the parallel Runway 13R/31L opened (Runway 13/31 became Runway 13L/31R). The project had been vexed by legal wrangling; safety concerns were raised regarding its proximity to schools and its minimal safety areas, while nearby residents attempted to stop the anticipated increase in jet noise and the removal of homes and businesses adjacent to the airport to accommodate the project.


title: Dallas Love Field

text: Several terminal expansion programs were fueled by the boom in air travel during the 1960s. American Airlines expanded their concourse in 1968 and Braniff opened its "Terminal of the Future." The expansion, showcasing Alexander Girard, Herman Miller and Ray and Charles Eames designs, featured the first rotunda concourse, jet bridges and several airport innovations. Braniff connected their new terminal to new remote parking lots with the Jetrail monorail system in 1970. Texas International expanded their concourse in 1969, and Delta's concourse was expanded in 1970. By 1972, American used 14 gates on the west end of the terminal, Delta used 13 gates, Braniff International and Ozark together used 13 gates on the east end of the terminal, and Texas International used seven gates. According to the Official Airline Guide (OAG), both Braniff International and Delta were operating Boeing 747-100 jumbo jet service from Love Field during the early 1970s with Braniff flying the 747 nonstop to Honolulu and Delta flying 747 nonstops to both Atlanta and Los Angeles.


title: Dallas Love Field

text: In 1964, the Civil Aeronautics Board (CAB), tired of funding competing commercial airports in Dallas and Fort Worth, gave the two cities a six-month period to plan a new regional airport. In 1968, they finalized an agreement to build Dallas/Fort Worth Regional Airport (now Dallas/Fort Worth International Airport or DFW), and to restrict air-carrier operations at their respective municipal airports to promote the new facility. All carriers then operating at Love Field—American, Braniff, Continental, Delta, Eastern, Frontier, Ozark, and Texas International—simultaneously agreed to shift all commercial flights to DFW Airport when it opened in early 1974.


title: Dallas Love Field

text: In 1971, Southwest Airlines—arguing that the CAB had no jurisdiction over purely intrastate flights—received an air operator's certificate from the State of Texas to operate from any airport in the Dallas–Fort Worth metroplex, and began quick, no-frills flights between Love Field, Houston, and San Antonio. Southwest had not signed the 1968 regional airport agreement, and the airline's founders felt that Dallas residents would find the long drive to DFW Airport inconvenient and contrary to the notion of a quick trip. The cities of Dallas and Fort Worth and the Dallas–Fort Worth Regional Airport Board sued, arguing that the 1968 agreement gave them the authority to force Southwest to fly from DFW; however, the courts ruled in Southwest's favor, stating that the cities could not block the airline from using Love Field so long as it remained open as an airport.


title: Dallas Love Field

text: In 1972, Love Field saw an aircraft hijacking. On January 12, 1972, Billy Gene Hurst Jr., a resident of Houston, hijacked Braniff Flight 38, a Boeing 727, as it departed William P. Hobby Airport in Houston bound for Dallas. After the plane landed at Love Field, Hurst allowed all 94 passengers to deplane, but continued to hold the 7 crewmembers hostage. Hurst insisted on flying to South America and made a variety of other demands, including food, cigarettes, parachutes, jungle survival gear, , and a handgun. After a 6-hour standoff, police gave Hurst a package containing parachutes and some other items, and the hostages escaped while he was distracted examining the package's contents. Police stormed the craft soon afterwards and arrested him without serious incident. He was later sentenced to 20 years in prison.


title: Dallas Love Field

text: In 1973, Love Field, which had more than 70 gates and saw frequent Boeing 747 service, reached record enplanements at 6,668,398 and ranked as the eighth busiest airport in the United States. On January 13, 1974, DFW Airport opened, ending most passenger service at Love Field. Greater Southwest International Airport, which was located just south of DFW Airport and lay in its flight path, was permanently closed and subsequently demolished.


title: Dallas Love Field

text: With the drastic reduction in flights and only 467,212 enplanements in 1975, Love Field decommissioned several of its concourses. The city of Dallas attempted to make use of these dormant facilities by leasing some of them to Wesley Goyer who opened the "Llove Entertainment Complex" in November 1975. The main lobby at the front of a former terminal was transformed into movie theaters, ice rink, roller rink, huge video arcades, restaurants and bowling alley. During its first two weeks, the Llove center saw 800 people on weekdays and more than 4,000 during the weekend, exceeding Goyer’s expectations. Llove seemed especially suited for the pre-teen and teen crowd, who could spend the day for a single admission charge of about $3.50. After exceeding expectations initially, By the end of the first full year of operation Llove’s attendance rates had drastically dropped leading to the complex being closed in May 1978.


title: Dallas Love Field

text: After deregulation of the U.S. airline industry in 1978, Southwest Airlines announced plans to start interstate service in 1979, a proposal that was quickly endorsed by federal regulators. This upset local officials, who feared that increased commercial traffic at Love Field could threaten DFW Airport's financial stability. To protect DFW Airport from significant competition at Love Field, Fort Worth-based U.S. Representative (later Speaker of the House) Jim Wright pushed a law through Congress, the Wright Amendment, which restricted air service at Love Field in the following ways: Passenger service on regular mid-sized and large aircraft could only be provided from Love Field to locations within Texas and four neighboring states (Louisiana, Arkansas, Oklahoma, and New Mexico). Airlines could not offer connecting flights, through service on another airline, or through ticketing beyond the five-state region. Long-haul service to other states was only allowed using aircraft with 56 or fewer passenger seats.


title: Dallas Love Field

text: The amendment dissuaded major airlines from starting service out of Love Field, which freed Southwest from direct competition, and the airline continued to build its Love Field operation by offering convenient short-haul flights. This success eventually prompted other airlines to consider using the airport for short-haul trips. Southwest co-founder Lamar Muse started Muse Air, a short-haul competitor operating McDonnell Douglas DC-9 and McDonnell Douglas MD-80 jets between Love Field and Houston in 1982. Muse Air was unable to operate profitably against Southwest at Love Field, and the airline was purchased by Southwest in 1985 which subsequently renamed it TranStar Airlines, and then ultimately shut down in 1987. Continental Airlines expressed its intent to fly out of Love Field in 1985, which led to years of court battles over the interpretation of the Wright Amendment, as Fort Worth and DFW International Airport sought to prevent expansion at Love Field. Although Continental's proposal was ultimately stillborn, it led to a United States Department of Transportation (USDOT) ruling that the Wright Amendment only prohibited through-ticketing specific flight segments to or from Love Field, and that selling a passenger a separate ticket on a connecting flight at another airport—a practice known as double ticketing—was legal if the connecting ticket was requested by the traveler and not solicited by the airline. This further benefited Southwest by allowing a sophisticated passenger to work the system and bypass the Wright ticketing restrictions by flying from Love Field to another airport in the five-state region, changing planes, and then flying on a separate ticket to any city Southwest served.


title: Dallas Love Field

text: In the early 1990s, a faction led by Dallas city councilman Jerry Bartos lobbied for the repeal of the Wright Amendment restrictions, but it soon became mired in lawsuits and was halted by Dallas mayor Steve Bartlett following negotiations with the city of Fort Worth. However, in 1996, Love Field-based aviation company Dalfort Aviation announced the launch of Legend Airlines, a new air carrier that would operate long-haul flights under the 56-passenger exemption. Legend CEO and former FAA administrator T. Allan McArtor stated the airline would use older, larger jets modified in an all-business class configuration, claiming that new regional jets were too expensive and would not provide Dalfort with much-needed overhaul business. However, the USDOT ruled in September 1996 that the 56-seat restriction applied to the "designed capacity" of an airliner rather than to the number of seats actually installed, prompting Legend to seek a change in the law; Texas Rep. Joe Barton was soon calling for the U.S. House to address of the 56-seat rule.


title: Dallas Love Field

text: By July 1997, McArtor had enlisted the help of Senator Richard Shelby of Alabama, who proposed to amend the law to allow Legend to use the refurbished planes. In 1997, the Shelby Amendment was passed by Congress; a compromise of sorts, the new law allowed Love Field flights to three more states: Kansas, Mississippi, and Alabama, and amended the definition of 56-passenger jets that could fly to other states to include any aircraft weighing less than 300,000 pounds with 56 or fewer seats.


title: Dallas Love Field

text: The Shelby Amendment prompted other airlines to consider flying 56-passenger jets out of Love Field, including Continental and Delta. Fort Worth immediately sued Dallas to prevent the Shelby Amendment from going into effect. American Airlines, headquartered at DFW, joined the lawsuits against Dallas, but also said if other airlines were allowed to fly out of Love Field, it would have no choice but to offer competing service. In 1998, after a year of legal decisions and appeals, Continental Express became only the third airline to fly out of Love Field since 1974 with service to George Bush Intercontinental Airport in Houston; however, federal courts blocked the airline's proposed interstate service. Despite the Shelby Amendment, Southwest did not add flights to the new states, citing a lack of demand.


title: Dallas Love Field

text: On February 10, 2000, a federal judge lifted the injunction against Continental Express' proposed interstate service to Cleveland, and the airline announced that flights would begin on June 1. After further legal battles and delays in gaining final approval from the FAA, Legend began the first long-haul service from Love Field since 1974 with a flight to Washington Dulles International Airport (IAD) on April 5, 2000, using a refurbished 56-seat McDonnell Douglas DC-9-30. Legend soon operated scheduled passenger service nonstop from Love Field to Los Angeles (LAX), New York LaGuardia Airport (LGA), Las Vegas (LAS), and Dulles. In addition to continuing their legal efforts, American Airlines launched a direct challenge to Legend with its first flights from Love Field since 1974, starting service on May 1 with refitted 56-seat Fokker 100 jets and offering direct flights to Chicago and Los Angeles.


title: Dallas Love Field

text: In 2000, several federal appeals court decisions finally struck down all lawsuits against the Shelby Amendment. Fort Worth and American Airlines appealed to the U.S. Supreme Court, which refused to review the case. These decisions opened the door to increased long-haul flights out of Love Field using 56-passenger jets, including new service by Delta, whose regional affiliate Atlantic Southeast Airlines began flights to Delta's Atlanta hub in July. The majority of this 56-passenger jet market was composed of business travelers making day trips to other cities. However, Legend was unable to operate profitably with its DC-9 jets configured with 56 seats, and it suspended flight operations indefinitely in early December.


title: Dallas Love Field

text: In November 2004, Southwest announced their active opposition to the Wright Amendment, claiming that the law is anti-competitive and outdated – it placed banners throughout the airport grounds stating the phrase, Wright is wrong. In November 2005, Senator Kit Bond of Missouri attached an amendment to a transportation spending bill to exempt his state from the Wright restrictions. Soon after the bill's passage, Southwest began nonstop flights from Love Field to St. Louis and Kansas City on December 13, 2005. The same day, American Airlines announced that it would start service from Love Field to the same Missouri airports on March 2, 2006, along with flights to the Southwest strongholds of San Antonio and Austin.


title: Dallas Love Field

text: On June 15, 2006, a compromise was reached between American, Southwest, Dallas/Fort Worth Airport and the cities of Dallas and Fort Worth to repeal the Wright Amendment with several conditions. Among them: the ban on nonstop flights outside the Wright zone would remain until 2014; through-ticketing to domestic airports (connecting flights to long-haul destinations) would be allowed immediately; Love Field's maximum gate capacity would be reduced from 32 to 20 gates; and Love Field would handle only domestic flights non-stop. Southwest would be able to operate from 16 gates, American 2 gates, and Continental 2 gates. U.S. Senator Kay Bailey Hutchison led the effort to pass the bill in the Senate while Rep. Kay Granger led a bipartisan Texas House coalition to see the bill through to a successful conclusion in the House. President George W. Bush signed the bill into law on October 13, 2006. Along with the 20-gate cap, the repeal prohibits international commercial flights from the airport, and if Southwest begins flights from any other North Texas airport before 2025, it must give up one Love Field gate.


title: Dallas Love Field

text: On October 17, 2006, Southwest Airlines announced it would begin one-stop or connecting service between Love Field and 25 destinations outside the Wright zone on October 19, 2006. American Airlines made travel between Love Field and locations outside the Wright zone available by October 18, 2006.


title: Dallas Love Field

text: In early 2009, a plan to modernize Love Field was announced. The master plan would replace the terminals with a new 20-gate concourse and expanded baggage facilities. The project also called for a people mover system to connect to Dallas Area Rapid Transit's Burbank Station, but this was eliminated in favor of a cheaper bus connection to Inwood Station.


title: Dallas Love Field

text: Southwest Airlines added Baltimore, Denver, Las Vegas, Orlando, Washington–Reagan and Chicago on October 13, 2014, the day the repeal went into effect. The first flight to operate outside of the Wright Amendment restricted area was Southwest Airlines flight 1013 to Denver (the flight number of which was named after the date). On November 2, 2014, Southwest added new service to Atlanta, Nashville, Fort Lauderdale, Los Angeles, New York–LaGuardia, Phoenix, San Diego, Orange County (California) and Tampa.


title: Dallas Love Field

text: In the early 2010s, the airport saw two significant perimeter security breaches by vehicles. In 2010, a man crashed a pickup truck through a chain-link perimeter fence while being pursued by Dallas police vehicles outside the airport, leading police on a chase around airport grounds until a police vehicle crashed into his truck; the driver was arrested and imprisoned. In the second incident in 2013, a man drove an SUV along a taxiway at high speed after an aviation company employee opened a gate to ask him what he wanted; the man was found sitting in a hangar and was arrested. Airport authorities said that steps would be taken to prevent future incursions.


title: Dallas Love Field

text: To get its merger with US Airways approved by the Department of Justice (DOJ), American Airlines was forced to give up its 2 gates at Love Field. Delta Air Lines, Southwest Airlines and Virgin America all expressed interest, while the DOJ indicated a low cost carrier should receive the gates. The former American Airlines gates were granted to Virgin America on October 13, 2014, thus denying the gates to Delta and Southwest. In 2018, Virgin America merged into Alaska Airlines, and the two gates assigned to Virgin were transferred to Alaska.


title: Dallas Love Field

text: Until 2014, Delta served Love Field by subleasing use of American's gates. After being notified it would have to cease service at Love, Delta threatened to sue the city of Dallas. Southwest agreed to a temporary resolution by agreeing to sublease gate space to Delta until January 2015. When this agreement expired, United Airlines agreed to allow Delta to use one of its gates until July 2015. United had previously agreed to transfer its gate rights to Southwest. The city of Dallas brought a lawsuit in federal court in June 2015 to resolve Delta's claims. In January 2016, Delta won a preliminary injunction to continue service at Love Field using Southwest gate rights, based on federal aviation law and DOT competition policies. As of June 2016, the injunction is being appealed at the United States Court of Appeals for the Fifth Circuit.


title: Dallas Love Field

text: On June 10, 2016, a police officer intervening in a domestic altercation shot and wounded a suspect who rushed at him with a large stone in the vehicle loading zone near the baggage claim. Travelers hearing gunshots stampeded through the security checkpoint, prompting a brief evacuation of the terminal, which in turn caused the cancellation of about 30 flights. This is believed to have been the first shooting ever to take place at the airport.


title: Dallas Love Field

text: In November 2020, the carrier JSX began passenger service from Love Field to Houston Hobby, adding competition to the route dominated by Southwest Airlines. JSX operates from a private terminal on the north side of the airport rather than using the main concourse.


title: Dallas Love Field

text: On April 22, 2021, the airport initiated a $141 million project to completely demolish and rebuild runway 13R/31L, which was last repaved in 1990 using concrete designed to last 20 years at lighter Wright Amendment traffic levels. The project temporarily left Love Field with only a single usable runway. Airport leaders had hoped to repave the runway while air traffic was reduced by the COVID-19 pandemic, but the project was postponed due to pandemic-related funding uncertainties. The project was completed on June 28, 2022.


title: Dallas Love Field

text: At about 11 a.m. on July 25, 2022, a woman drew a gun near the ticket counters outside of the security checkpoint. A nearby Dallas police officer took cover behind a kiosk and ordered her to drop the weapon; she then fired twice into the air, and was shot in the "lower extremities" in a brief exchange of gunfire with the officer, disabling her. She was then apprehended and hospitalized. The incident prompted an evacuation of the terminal and a ground stop, resulting in the cancellation of over 105 flights. No motive for the woman's actions has been identified but she has a history of mental illness and arrests on various charges. She faces charges of aggravated assault against a public servant.


title: Dallas Love Field

text: Dallas Love Field has a single terminal with 20 gates, numbered from 1-20. Alaska Airlines leases two gates (11 and 13), while Southwest leases the remaining eighteen gates. Delta is using a Southwest gate (15) for their flights pending the outcome of the aforementioned lawsuit. There are no lounge facilities at Dallas Love Field.


title: Dallas Love Field

text: Dallas Area Rapid Transit (DART) Route 55, marketed as the Love Link, provides service from the airport terminal to nearby Inwood/Love Field station, which is served by DART's Orange & Green light rail lines. There is no charge for trips on the Love Link departing the airport terminal.


title: Paheli

text: Paheli () is a 2005 Indian Hindi-language fantasy film. It is a remake of the 1973 Hindi movie "Duvidha" by Mani Kaul based on the short story written by Vijayadan Detha in Rajasthani. It was also reported to have been partially inspired by the 1997 Kannada movie "Nagamandala" based on the play of same name by Girish Karnad. Directed by Amol Palekar and produced by Juhi Chawla, Aziz Mirza, Sanjiv Chawla and Shah Rukh Khan, who also plays the male lead, the film tells the story of a wife (Rani Mukerji) whose husband (Khan) goes on a business trip as it is a part of business practices, and visited by a Jinn, disguised as her husband, who is in love with her and takes her husband's place. Detha's story which had earlier been adapted into the 1973 film by Mani Kaul is folkloric in origin. Though "Paheli" diverges from its source material and the earlier adaptations in giving the plot and its lead female character a more feminist agency.


title: Paheli

text: "Paheli" opened the 9th Zimbabwe International Film Festival at the Libertie Cinema Complex in Harare. It was also screened at both the Sundance Film Festival and the Palm Springs International Film Festival. The working title of the movie was "Ghost Ka Dost" (translates to "Friend of a Ghost"). "Paheli" was India's official entry to the 79th Academy Awards.


title: Paheli

text: "Paheli" released on 24 June 2005, and proved to be a moderate commercial success at the box office, grossing ₹32 crore worldwide. It received mixed-to-positive reviews from critics upon release, with praise for its production design, cinematography, costumes and special effects; however its story and screenplay received criticism.


title: Paheli

text: At the 51st Filmfare Awards, "Paheli" received 2 nominations – Best Lyricist (Gulzar for "Dheere Jalna") and Best Male Playback Singer (Sonu Nigam for "Dheere Jalna"). At the 53rd National Film Awards, the film won Best Female Playback Singer (Shreya Ghoshal for "Dheere Jalna").


title: Paheli

text: A young enthusiastic Rajasthani village girl, Lachchi is married off to Kishan, the son of the rich merchant Bhanwarlal, from a distant village. While travelling from her home to her in laws' home, which is too far away, the party stops in the middle of the trip to rest at a dharamshala (spiritual dwelling), where a ghost sees Lachchi, and falls in love with her. Later that night, it is revealed that Kishan, who is a dutiful son, will honor his father's wish to start a new, far-away business on a predetermined auspicious date, which happens to be the very next day. Kishan turns away from his wife at night, to finish his bookkeeping, and in the early morning hours sets off on a business trip that is to last five years. Lachchi is devastated; Gajrobai, her husband's sister-in-law, consoles her, empathizing on the grounds that Gajrobai's husband Sunderlal has also disappeared. The next day, the ghost appears in Bhanwarlal's house, having taken Kishan's shape and voice because of his own attachment to Lachchi.


title: Paheli

text: Despite of pretending to be Kishan in front of everyone else in the house, the ghost reveals his true identity to Lachchi at night. Lachchi is thus presented with a dilemma between the representation of all of her desires in the form of the ghost who has taken the form of her real husband. She takes this newfound, sensual, magical, social, self-confident version of Kishan as hers. As Kishan, the ghost befriends all of the real Kishan's family and keeps Bhanwarlal happy by providing him with magical, possibly illusory, gold coins. His only blunder is in his treatment of the messenger Bhoja, who is perplexed by the idea that Kishan has sent a letter from his business trip only to receive it himself in his own house and offended when the ghost (who appears as Kishan) does not offer him a drink of water. Lachchi and the ghost lives blissfully together for four years, during which he also keeps her in-laws happy and solves many problems of the family and the village. Lachchi then, becomes pregnant with the ghost's child, and the real Kishan returns to see if the rumours about his wife's pregnancy are true. He returns to find the ghost in his (Kishan's) own form at the same time that Lachchi goes into early labor. Lachchi gives birth to a daughter, Lunima. Kishan's family is unable to determine which of the doppelgangers is the real Kishan (the ghost refusing to confess). They decide to visit the king so that he can arbitrate. In the meantime, Sundarlal also returns home and apologizes to Gajrobai for his sudden disappearance for so long and reunites with his family.


title: Paheli

text: On the way to the king they meet an old shepherd, Gadariya who helps them out. He gives three tests in front of the real Kishan. He says the one who can pick up hot coals will prove himself as Bhanwalal's real son, the one who can gather the sheep in time will prove himself as the real husband of the bride, and the one who can enter his water-bottle will prove himself as the real lover of the bride. Kishan tries his best to perform the first two, which the ghost does not even bother to try. When the shepherd says 'the real lover of the bride', the ghost performs the third, impossible feat and enters the water bottle, simply to prove his love for Lachchi. Thus, the real Kishan is found out. The shepherd quickly closes his bottle so the ghost cannot come out of it. Following this revelation, the real Kishan throws away the bottle in the middle of the desert, and everyone returns home. Lachchi is devastated over the loss of the ghost.


title: Paheli

text: In the very end, it is revealed that the ghost has escaped the bottle and taken control of Kishan's body to live with her. While Lachchi tries to confess to her husband that the ghost had not actually fooled her, the ghost exposes his identity to Lachchi by reminding her of the name they were originally going to give their daughter. Thus, Lachchi starts living happily with both her real husband and her ghost lover in the same body. The puppets end the story, remarking that this is a very old folk tale.


title: Paheli

text: In 2004, Palekar went to Shah Rukh Khan with a request for a hearing. After listening to the script, Khan asked Palekar if he could produce it as well as star in it. According to Khan, "Paheli" is a woman's liberation film that deals with the issues of marriage and asks whether a woman must stay with a man only due to marriage and not out of love. "Paheli" was shot entirely in Rajasthan (Jhunjhunu district) over a period of 45 days. A scene involving Bachchan and Khan in the desert was shot in Mumbai on a helipad. One of the scenes was filmed at the Hadi Rani Kund (often confused with Chand Baori) of Todaraisingh.


title: Paheli

text: Taran Adarsh from "Bollywood Hungama" gave it 4/5 stars and said: "On the whole, "Paheli" is one of the finest films produced in recent times. A film like this proves yet again that we don't need to seek inspiration from outsiders [read Hollywood], when Indian literature is rich enough to provide us with captivating stories." Raja Sen from "Rediff.com" called it "A breathtaking dream!", and said: "First things first, this is the best-looking Indian film in a very long time, and ranks up there with the finest ever. Palekar has crafted a delectable fairytale that is incredibly well-shot. Ravi K. Chandran's cinematography is spellbinding as he casts us into the fabulous sandscapes of Rajasthan with fluid harmony. Each frame of the film is picture-perfect, marinated in intoxicating colour. Watching "Paheli" is quite an experience, and it's from the very opening shot of the film that its sheer, magical palette overwhelms us." It was featured in "The Ten Best Indian Films of 2005" list by "Rediff.com", ranked third.


title: Paheli

text: "Paheli" saw 90% occupancy during its opening. The film had a total net gross of in India and an additional US$3.63 million in the overseas market. It was declared an "average " in India, but a "hit" abroad. It proved to be a safe and profitable venture for its distributors.


title: Paheli

text: The film's soundtrack is composed and produced by M. M. Kreem with lyrics by Gulzar. The soundtrack for the film released on 9 May 2005. The song "Dheere Jalna" is based on "Nadira Dhinna" from "Okariki Okaru" (2003).


title: James Drury

text: James Child Drury Jr. (April 18, 1934 – April 6, 2020) was an American actor. He is best known for having played the title role in the 90-minute weekly Western television series "The Virginian", which was broadcast on NBC from 1962 to 1971.


title: James Drury

text: Drury was born in New York City, the son of James Child Drury and Beatrice Crawford Drury. His father was a New York University professor of marketing. He grew up between New York City and Salem, Oregon, where his mother owned a farm. Drury contracted polio at the age of 10.


title: James Drury

text: He studied drama at New York University and took additional classes at UCLA to complete his degree after he began acting in films at MGM.


title: James Drury

text: Drury's professional acting career began when he was 12 years old, when he performed in a road company's production of "Life with Father".


title: James Drury

text: He signed a film contract with MGM in 1954 and appeared in bit parts in films. After he went to 20th Century Fox, he appeared in "Love Me Tender" (1956) and "Bernardine" (1957).


title: James Drury

text: In 1959, Drury was cast as Harding, Jr., in the episode "Murder at the Mansion" on "Richard Diamond, Private Detective". On May 9, 1959, early in his career, Drury appeared as Neal Adams in the episode "Client Neal Adams" of ABC's Western series "Black Saddle".


title: James Drury

text: On Christmas Eve 1959, Drury appeared in "Ten Feet of Nothing" on the syndicated anthology series, "Death Valley Days", hosted by Stanley Andrews. Drury portrayed a young miner, Joe Plato.


title: James Drury

text: In 1960, Drury appeared in different roles in two episodes, "Fair Game" and "Vindication", of another ABC Western series, "The Rebel", starring Nick Adams as a Confederate adventurer roaming through the post-Civil War American West. On November 16, 1960, Drury played young pioneer Justin Claiborne in the episode "The Bleymier Story" of NBC's "Wagon Train". He was also cast in the 1960 Disney movie, "Pollyanna" as George Dodds, the love interest of Nancy Olson.


title: James Drury

text: In 1960, Drury portrayed Joe Darle in the episode "Wall of Silence" of the ABC/Warner Bros. detective series, "Bourbon Street Beat". He made a guest appearance on the CBS drama series "Perry Mason" in 1961 in the role of musician and defendant Eddy King in "The Case of the Missing Melody".


title: James Drury

text: He appeared in secondary roles for Disney. In 1962, he was cast in a substantial role as a lascivious gold prospector in the early Sam Peckinpah Western "Ride the High Country" (1962) opposite Randolph Scott and Joel McCrea. On April 11, 1962, Drury played the title role in an episode of "Wagon Train", "The Cole Crawford Story", (S5, E28).


title: James Drury

text: Around the same time, Drury landed the top-billed leading role of the ranch foreman on "The Virginian", a lavish series that ran for nine seasons until 1971. Drury was put under a 7-year contract with Universal in 1962, and was the front-runner for the role, but he still had to audition three separate times and was required to lose 30 pounds in 30 days to secure the part. Drury reported that he had based his performance of the Virginian on character elements of his maternal grandfather, with whom he had spent much of his childhood.


title: James Drury

text: Drury and his Wilshire Boulevard Buffalo Hunters band performed 54 USO-sponsored shows for troops in Vietnam in three weeks in April 1966.


title: James Drury

text: Drury continued his title role in "The Virginian" after it was reformatted as "The Men from Shiloh" on NBC (1970–1971). He had the lead role of Captain Spike Ryerson in the drama series "Firehouse" on ABC television in 1974.


title: James Drury

text: In 1993, Drury had a guest-starring role as Captain Tom Price on the first three episodes of "Walker, Texas Ranger", opposite Chuck Norris and Clarence Gilyard. Drury also had a cameo role in the 2000 TV movie of "The Virginian" starring Bill Pullman. The film followed Wister's novel more closely than had the television series. Drury appeared in a number of films and other television programs, including "The Young Warriors" and the TV cowboy reunion movie "" with Doug McClure, who played the character Trampas on "The Virginian".


title: James Drury

text: In 1991, Drury was inducted into the Hall of Great Western Performers at the National Cowboy & Western Heritage Museum in Oklahoma City. In 1997 and 2003, he was a guest at the Western Film Fair in Charlotte, North Carolina.


title: James Drury

text: On February 7, 1957, Drury married Cristall Othones, and fathered two sons, Timothy and James III. The couple divorced on November 23, 1964 and on April 27, 1968, he married Phyllis Jacqueline Mitchell; the marriage ended in divorce on January 30, 1979. His third marriage was to Carl Ann Head on July 30, 1979; it lasted until her death on August 25, 2019. Drury had three stepchildren from his previous marriages, a stepdaughter, Rhonda Brown, and two stepsons, Frederick Drury and Gary Schero. Drury died from natural causes on April 6, 2020, just 12 days short of his 86th birthday.


title: James Drury

text: Drury was in the oil and natural gas business in Houston in the late 20th century. His son, Timothy Drury, is a keyboardist, guitarist, and vocalist who has played with the rock groups Eagles and Whitesnake.


title: Tagore family

text: The Tagore family (also spelled as "Thakur"), with over three hundred years of history, has been one of the leading families of Calcutta, India, and is regarded as one of the key influencers during the Bengali Renaissance. The family has produced several persons who have contributed substantially in the fields of business, social and religious reformation, literature, art and music.


title: Tagore family

text: The original surname of the Tagores was Kushari. They were Pirali Brahmin ('Pirali’ historically carried a stigmatized and pejorative connotation) and originally belonged to a village named Kush in the district named Burdwan in West Bengal. The biographer of Rabindranath Tagore, Prabhat Kumar Mukhopadhyaya wrote in the first volume of his book "Rabindrajibani O Rabindra Sahitya Prabeshika" that "The Kusharis were the descendants of Deen Kushari, the son of Bhatta Narayana; Deen was granted a village named Kush (in Burdwan zilla) by Maharaja Kshitisura, he became its chief and came to be known as Kushari."


title: Tagore family

text: Tagores are Bengali Brahmins Rabindranath's biographer, Prabhat Kumar Mukhopadhyaya, wrote in his book named "Rabindrajibani O Rabindra Sahitya Prabeshika" that: "The Kusharis were the descendants of Deen Kushari, the son of Bhatta Narayana; Deen was granted a village named Kush (in Burdwan Zilla) by Maharaja Kshitisura, he became its chief and came to be known as Kushari." Generations later a branch of the Tagore family left its ancestral village in Burdwan and moved to the Eastern part of Bengal . Later on their descendants came back to the Western part of Bengal (now West Bengal) from eastern part of Bengal (now Bangladesh) and settled in the region situated on the right bank of the River Hooghly (Rarh) in the 18th century Panchanan Kushari from Dakshindihi (now in Bangladesh), first settled in Gobindapur region around 1720 near what became Fort William, and then after eviction by the British, moved to Jorasanko region south of Sutanuti).


title: Tagore family

text: Europeans started coming to Bengal in the 16th century, resulting in the founding of Ugulim (Hooghly-Chinsura) by the Portuguese in 1579. The Battle of Plassey in 1757 resulted in the deposition of the last independent Nawab of Bengal. After the Battle of Buxar, the East India Company was given the right to collect revenues from Bengal. By 1793, the British East India Company had abolished the Nizamat (the office of nizam, the local ruler) and had taken control of the former Mughal province of Bengal.


title: Tagore family

text: The Bengal renaissance of the 19th century was a remarkable period of societal transformation in which a whole range of creative activities – literary, cultural, social and economic – flourished. The Bengal Renaissance was the culmination of the process of emergence of the cultural characteristics of the Bengali people that had started in the age of Hussein Shah (1493–1519). This spread over, covering around three centuries, and had a tremendous impact on Bengali society. Incidentally, that coincided with the rise of the Tagore family. The Tagore family attained prominence during this period through its unusual social positioning between Indian and European influences.


title: Tagore family

text: Sir Prodyot Coomar Tagore (1873–1942), son of Jatindramohun Tagore, was a leading philanthropist, art collector, and photographer. He was the first Indian member of the Royal Photographic Society. He was also the Sheriff of Calcutta for the year 1909.


title: Tagore family

text: “The fame of the Jorasanko Tagores stems from the time of Dwarakanath Tagore (1794-1846).” Dwarkanath was the son of Nilmoni Tagore’s second son Rammani Tagore but was adopted by the childless first son RamlochanTagore. He inherited the Jorasanko property and Ramlochan's vast wealth. Dwarakanath was involved in multifarious activities ranging from being an agent of Mackintosh & Co. to being a serestadar, collector and diwan in the 24 Parganas collectorate. However, it was his business prowess that brought him both wealth and fame. In partnership with William Carr, he established Carr, Tagore and Company, the first equal partnership between European and Indian businessmen and the initiator of the managing agency system in India.


title: Tagore family

text: Debendranath's third son, Hemendranath Tagore was a strict disciplinarian who was entrusted with the responsibility of looking after the education of his younger brothers as well as administrating the large family estates. Like most of Debendranath's children, he had varied interests in different fields. On one hand, he composed a number of "Bromhosangeets" and on the other, wrote articles on physical science which he planned to compile and edit into a textbook for school students. If his untimely death had not prevented him from completing the project, this would certainly have been the first science textbook to be written in Bengali. He was known for his physical strength and wrestling skills. Exceptionally for the times, he insisted on formal education for his daughters. He not only put them through school but trained them in music, arts and European languages such as French and German. It was another mark of his forward thinking that he actively sought out eligible grooms from different provinces of India for his daughters and married them off in places as far away as Uttar Pradesh and Assam.


title: Tagore family

text: Rabindranath Tagore (1861–1941), was Debendranath's penultimate son. He was the first Asian to win a Nobel Prize, and was exceptionally talented and the most famous in the family. Rabindranath is best remembered in history for writing what became the national anthems of the nations of India and Bangladesh and for coining the title Mahatma for Indian nationalist leader Mahatma Gandhi. The youngest son of Debendranath Thakur was Budhendranath, who died at a very young age.


title: Tagore family

text: Rabindranath Tagore's son, Rathindranath (1888-1961) was a multi-talented person. Besides being an agriculturist educated in the US, a talented architect, designer, master-carpenter, painter and writer, was also the first 'upacharya' of Visva-Bharati University. Rathindranath Tagore's wife, Pratima Devi (1893-1969), was an artist associated with Shilpa Sadan, Visva Bharati and also associated with dances and dance drama.


title: Tagore family

text: Sharmila Tagore, a well-known Mumbai actress who is connected with Rabindranath Tagore, in an interview stated that her mother's mother, Latika Tagore was the granddaughter of Rabindranath Tagore's brother, Dwijendranath. Pranati Tagore is a renowned and eminent elocutionist, news reader and Bengali actor. She is married to Sunando Tagore, the great-grandson to Satyendranath Tagore.Pragnasundari Debi, granddaughter of Maharshi Debendranath Tagore, married the most famous Assam author Sahityarathi Laxminath Bezbarua. She was a literary phenomenon in her own right, her cookbook Aamish O Niramish Ahar (1900, reprinted 1995) was a standard given to every Bengali bride with her trousseau, and earning her the appellation "India's Mrs Beeton". Nandita, daughter of Mira Devi, the youngest daughter of Rabindranath Tagore, married Krishna Kripalani, a freedom fighter, author and parliamentarian. His biography of Rabindranath, is amongst the best ever written.


title: Tagore family

text: The environment at Jorasanko was filled with literature, music, painting, and theatre. They had their own education system. In the earlier days, the women did not go to school but they were all educated at home. Swarnakumari Debi has recalled how in her early days the governess would write something on a slate which the girls then had to copy. When Debedranath discovered this, he at once stopped such a mindless and mechanical method and brought in a better teacher, Ajodhyanath Pakrashi – a male outsider in the women's quarters... Some of the sons like Ganendra, Gunendra and Jyoitrindra set up their own private theatre. To start with men played in the role of women, but over a period of time even the women joined. The environment in the family played a major role in the development of its members. Even Rabindranath Tagore who went to win the Nobel Prize in literature had very little formal education.


title: Throbbing Gristle

text: Throbbing Gristle were an English music and visual arts group formed in 1975 in Kingston upon Hull by Genesis P-Orridge, Cosey Fanni Tutti, Peter Christopherson, and Chris Carter. They are widely regarded as pioneers of industrial music. Evolving from the experimental performance art group COUM Transmissions, Throbbing Gristle made their public debut in October 1976 on COUM exhibition "Prostitution", and released their debut single "United/Zyklon B Zombie" and debut album "The Second Annual Report" the following year. Lyrical themes mainly revolved around mysticism, extremist political ideologies, sexuality, dark or underground aspects of society, and idiosyncratic manipulation of language.


title: Throbbing Gristle

text: The band released several subsequent studio and live albums—including "" (1978), "20 Jazz Funk Greats" (1979), and "Heathen Earth" (1980)—on their own record label Industrial Records, building a reputation with their transgressive and confrontational aesthetics; they included the extensive use of disturbing visual imagery (such as ironic fascist and Nazi symbolism and pornography), as well as that of sound manipulation (noise and pre-recorded tape-based samples) influenced by works of William S. Burroughs and Brion Gysin.


title: Throbbing Gristle

text: Throbbing Gristle dissolved in 1981 due to interpersonal differences; the individual members went on to participate in other projects, such as Psychic TV, Coil, and Chris & Cosey. The band was reformed in 2004, and released three more studio albums—"TG Now" (2004), "Part Two" (2007), and "The Third Mind Movements" (2009)—before disbanding again after P-Orridge's departure and Christopherson's death in November 2010. P-Orridge later died in March 2020. The band's final studio project, a cover version of the 1970 Nico album "Desertshore" titled "The Desertshore Installation", was released in 2012 under the moniker X-TG.


title: Throbbing Gristle

text: Throbbing Gristle evolved from the performance art group COUM Transmissions, formed in Kingston upon Hull by a group of performers including Genesis P-Orridge and Cosey Fanni Tutti. The last known performance of COUM Transmissions—"Prostitution", an exhibition held in October 1976 at the Institute of Contemporary Arts—was also the public debut of Throbbing Gristle.


title: Throbbing Gristle

text: Throbbing Gristle's confrontational live performances and use of often disturbing imagery, including pornography and photographs of Nazi concentration camps, earned the group a notorious reputation, but they maintained that their mission was to challenge and explore the darker and obsessive sides of the human condition rather than to make attractive music. Throbbing Gristle made extensive use of pre-recorded tape-based samples and special effects to produce a distinctive, highly distorted background, usually accompanied by lyrics or spoken-word performances by Tutti or P-Orridge. Though they asserted that they wanted to provoke their audience into thinking for themselves rather than pushing any specific agenda (as evidenced by the song "Don't Do as You're Told, Do as You Think" on "Heathen Earth"), Throbbing Gristle frequently associated with the anarchist punk scene. They appeared in the fanzine "Toxic Grafity", with a condensation of their own propaganda parody series, Industrial News.


title: Throbbing Gristle

text: In 1977, they released their debut single "United / Zyklon B Zombie", followed by the album "The Second Annual Report". Although pressed in a limited initial run of 786 copies on the band's Industrial Records label, it was rereleased on Mute Records following high demand; however, this later release was reversed, with all tracks playing backwards and in reverse order. This was followed by a series of albums, singles and live performances over a four-year period.


title: Throbbing Gristle

text: In 1981, Michael Sheppard, concert promoter and founder of Transparency Record label, brought Throbbing Gristle to Los Angeles. On 29 May 1981, Throbbing Gristle performed at the Kezar Pavilion in San Francisco in what would be the group's last performance until 2004. Throbbing Gristle announced their dissolution on 23 June 1981, mailing out postcards declaring that their "mission is terminated." In a 1987 interview, Tutti attributed the band's split to her own breakup with P-Orridge, saying, "TG broke up because me and Gen broke up."


title: Throbbing Gristle

text: P-Orridge and Peter Christopherson went on to form Psychic TV, and Tutti and Chris Carter continued to record together under the names of Chris & Cosey, Carter Tutti and Creative Technology Institute. Christopherson participated in Psychic TV's first releases, and later joined John Balance in the latter project Coil. P-Orridge subsequently formed Thee Majesty and PTV3 with the help of his wife Jacqueline "Jaye" Breyer.


title: Throbbing Gristle

text: In 2004, Throbbing Gristle briefly reunited to record and release the limited album "TG Now". On 2 April 2007, TG released the album "Part Two", which the group had finished recording in Berlin. It was originally set to be released by Mute Records in September 2006 but was delayed for unknown reasons.


title: Throbbing Gristle

text: In March 2007, Side-Line announced "Part Two"<nowiki>'</nowiki>s final release date, adding that a string of special live events would take place in 2007.


title: Throbbing Gristle

text: A seven-disc DVD set titled "TGV" was issued in 2007. The set contains old and new footage of the band. "TGV" came packaged in a deluxe box with a 64-page book, all designed by Christopherson.


title: Throbbing Gristle

text: The group performed a reinterpretation of their debut album "The Second Annual Report" twice in 2008 to mark 30 years since its original release. The performance in Paris on 6 June was issued as a limited-edition framed vinyl set titled "The Thirty-Second Annual Report", limited to 777 copies (though some sources claim that there were 785).


title: Throbbing Gristle

text: Throbbing Gristle worked to record an album based on their interpretation of Nico's album "Desertshore". The group issued the entirety of the recording sessions for the album as a limited edition 12-CD set packaged in a custom CD wallet, "The Desertshore Installation", which sold out via mail order from the group's website.


title: Throbbing Gristle

text: In April 2009, Throbbing Gristle toured the United States, appearing at the Coachella Valley Music and Arts Festival and in Los Angeles, New York, San Francisco and Chicago. "The Third Mind Movements", a new release, was made available at these shows, which was edited from jams recorded during the "Desertshore" sessions.


title: Throbbing Gristle

text: A collaboration with Cerith Wyn Evans titled "A=P=P=A=R=I=T=I=O=N" was displayed at Tramway, Glasgow from 7 August to 27 September 2009. Throbbing Gristle contributed a multi-channel soundtrack that was played through 16 hanging Audio Spotlight sound panels that Evans had incorporated into his sculpture.


title: Throbbing Gristle

text: In November 2009, Throbbing Gristle and Industrial Records released their version of the Buddha Machine, titled Gristleism. It was designed by Throbbing Gristle and Christiaan Virant based on FM3's design. Gristleism offers more loops and almost twice the frequency range of the Buddha Machine. The player comes in three colours: black, chrome and red.


title: Throbbing Gristle

text: On 29 October 2010, Throbbing Gristle announced on their website that P-Orridge had informed them that they were no longer willing to perform with Throbbing Gristle and would be returning to their home in New York. Carter, Cosey and Christopherson finished the tour under the name X-TG.


title: Throbbing Gristle

text: P-Orridge's website stated that they had not quit Throbbing Gristle and had merely stopped participating on the current tour; it also said that an explanation would be released when all things were cleared up. However, on 24 November 2010, Christopherson died in his sleep at the age of 55, and the band subsequently dissolved.


title: Throbbing Gristle

text: In 2011, Industrial Records had an official "re-activation", as TG's contract with Mute Records had expired. Because TG has disbanded following the death of Christopherson, the label's plan is to re-release the original TG albums ("The Second Annual Report", "", "20 Jazz Funk Greats", "Heathen Earth" and "Greatest Hits") on the label. Originally intended to be released on 26 September 2011, they had to delay due to a Sony DADC warehouse fire in London. The plan changed to issue each album chronologically once per week starting on Halloween 2011 with "The Second Annual Report" and ending 28 November with "Greatest Hits".


title: Throbbing Gristle

text: Industrial Records announced that a double album, titled "Desertshore/The Final Report", would be released on 26 November 2012. Chris and Cosey produced the album, with the participation of guest vocalists Anohni (from Antony and the Johnsons), Blixa Bargeld (from Einstürzende Neubauten), Marc Almond (from Soft Cell), film director Gaspar Noé and former pornography star Sasha Grey.


title: Throbbing Gristle

text: A group decision had been made before Christopherson's death that the album would be recorded afresh because they were not satisfied with the ICA recordings. Christopherson had been the driving force behind the project and had been working on the record in Bangkok with Danny Hyde, even getting custom instruments made to use for the album. "It was Sleazy's project, then Cosey and Sleazy's, then I came in on it", Carter said in an interview with "The Quietus". After Christopherson died, the "Desertshore" instruments were given to Carter and Cosey, and they began combining the recordings he had been making with the work they had done themselves. They announced plans to debut the album live at AV Festival on 17 March 2012 accompanied by a screening of Philippe Garrel's film "The Inner Scar" "for which "Desertshore" was the soundtrack and inspiration".


title: Throbbing Gristle

text: The band is widely viewed as having created the industrial music genre, along with contemporaries Cabaret Voltaire. The term was coined in the mid-1970s with the founding of Industrial Records by Genesis P-Orridge and Monte Cazazza; on Throbbing Gristle's debut album "The Second Annual Report", they coined the slogan "industrial music for industrial people". The first wave of this music appeared with Throbbing Gristle and Cabaret Voltaire.


title: Throbbing Gristle

text: Alternative Press included Throbbing Gristle in their 1996 list of "100 underground inspirations of the past 20 years."


title: Throbbing Gristle

text: "Wreckers of Civilization", a survey on COUM Transmissions and Throbbing Gristle's original run written by Simon Ford, was published in 1999; its title is a reference to the "Prostitution" exhibition controversy.


title: Throbbing Gristle

text: "", a documentary on both projects consisting of archival footage and photos and interviews with their members, was co-produced by BBC Television and aired on BBC Four in December 2021.


title: Throbbing Gristle

text: Artists which covered songs by Throbbing Gristle include Marc Almond, Esplendor Geométrico, Peaches, The Horrorist, Merzbow, Electrosexual/Hanin Elias, NON, Der Blutharsch, Propaganda and others.


title: Throbbing Gristle

text: During Throbbing Gristle's extensive career they have released numerous volumes of music including studio albums, live releases as well as box sets.


title: Demetress Bell

text: Demetress Carte Bell (born May 3, 1984) is a former American football offensive tackle. After playing college football for Northwestern State, he was drafted by the Buffalo Bills in the seventh round of the 2008 NFL Draft. He played for the Bills for four seasons and one season in Philadelphia. Impressively, Bell made the NFL and played for half a decade without ever having played a down of high school football, or having gone to college with the intent of playing football. He is the son of former basketball star Karl Malone.


title: Demetress Bell

text: Bell, who spelled his first name "Demetrius" until 2012, when he learned his name was actually spelled "Demetress", was born in 1984 to Gloria Bell, then aged 13, of Summerfield, Louisiana, and Karl Malone, a former star player in the National Basketball Association (NBA) and a fellow native of Summerfield, then aged 20. Malone and Demetress Bell had previously spoken on only one occasion prior to repairing their relationship in 2014.


title: Demetress Bell

text: As a young teenager, Bell played more softball than he did Malone's sport of basketball. He did not play organized football at all during that time. Eventually, during high school, he took up basketball and played well enough to receive a scholarship to Northwestern State University, where he played in 88 games over the course of the 2003–04, 2004–05, and 2006–07 seasons. Bell was one of only four NCAA athletes to play both basketball and football in Division I in 2007. After the 2006–07 season, he decided to give up basketball to concentrate on his development in football.


title: Demetress Bell

text: Bell's high school had not fielded a football team, so prior to his attending Northwestern State, he had never played organized football. In the fall of 2005, he red-shirted the basketball season and began playing for the school's football team. He was initially placed in the position of defensive end. The following year, injuries struck the team's offensive line, and he was moved to the left tackle position. He earned second-team All-Louisiana honors that season.


title: Demetress Bell

text: Bell made a bigger name for himself in his senior season of 2007, having focused solely on football. Remaining on the offensive line, he was named an All-Louisiana and an All-Southland Conference first-teamer.


title: Demetress Bell

text: Bell was drafted by the Buffalo Bills in the seventh round of the 2008 NFL Draft. The Bills were encouraged by his raw skills, but saw him as a longer-term project, given his inexperience in having played organized football for only three seasons at that point. However, the team chose to place him on their active roster, rather than assigning him to their practice squad, where he could potentially have been signed away by another team. Consistent with their view of him as a work in progress, Bell was not activated for play in any of the Bills' regular season games in 2008.


title: Demetress Bell

text: In 2009, citing the quality of Bell's performance in the Bills' off-season and pre-season training camps that year, then-Bills head coach Dick Jauron installed Bell as the team's starting left tackle for the 2009 regular season. After earning mixed reviews over the first half of the campaign, including an extremely high number of penalties against him, Bell's year came to a disappointing conclusion when he suffered what would prove to be a season-ending knee injury in a Week 10 game against the Tennessee Titans.


title: Demetress Bell

text: On April 4, 2012, the Philadelphia Eagles signed Bell to a contract that could be worth up to $34.5 million over five years. The first year of this contract was worth $3.25 million and while he played in nine games including five starts, he suffered a few injuries and the Eagles would have been obligated to pay him more than eight million dollars if he was included on the roster in 2013. As such on February 6, 2013, Bell was released from his contract.


title: Demetress Bell

text: On July 21, 2013, Bell was signed by the Dallas Cowboys. He was released by the Cowboys on August 31, 2013.


title: Demetress Bell

text: Laboratory blood tests prepared for the Bell family's 1996 paternity lawsuit against Karl Malone reportedly pointed to an over 99 percent probability that Bell's father was either Malone or a brother of Malone. Malone initially refused to respond to the lawsuit, but eventually reached an out-of-court settlement with the Bell family over the issue. The Bells received a single lump sum payment of a confidential amount, with no on-going child support for Demetress. In speaking later about the settlement, Malone's attorney asserted that it had not included an official court determination of paternity, and noted that Malone "had a lot of brothers".


title: Demetress Bell

text: Although Malone was 20 years old at the time that the 13-year-old Gloria Bell was impregnated, she said that her family chose not to pursue criminal charges against Malone over the relationship. According to Bell, with Malone being a neighbor — Summerfield's population is only a few hundred — her family did not wish to see him jailed, especially since he would then be unable to provide any support for Demetress at all.


title: Demetress Bell

text: In 2008, "The Buffalo News" published a story about Bell that included the claim that he did not know who his father was until after he graduated from high school. However, in a 1998 article in "The Salt Lake Tribune", when Bell was 14 years old, his mother spoke of his shying away from anything to do with Malone because his feelings were hurt by Malone's refusal to acknowledge him.


title: Demetress Bell

text: According to Bell, he has spoken to Malone on one occasion, when Bell was 18 years old. Bell reported that Malone told him that he would have to make his way on his own, as it was too late for the two men to have a father-son relationship.


title: Demetress Bell

text: Bell and Malone began to mend their relationship around 2014, and in 2018, Bell said that he and Malone talk and text "nearly every day" after going on a hunting trip together and had a close relationship. Malone said about his relationship with his older children, "I didn't handle it right; I was wrong ... Father Time is the biggest thief that's out there, and you can't get that back."


title: Demetress Bell

text: Bell has reported that he is very close to Daryl and Cheryl Ford, older twins of Malone that were also the subjects of a paternity suit.


title: Oral tradition

text: Oral tradition, or oral lore, is a form of human communication wherein knowledge, art, ideas and cultural material is received, preserved, and transmitted orally from one generation to another. The transmission is through speech or song and may include folktales, ballads, chants, prose or Poetry verses. In this way, it is possible for a society to transmit oral history, oral literature, oral law and other knowledge across generations without a writing system, or in parallel to a writing system. Religions such as Buddhism, Hinduism, Catholicism, and Jainism, for example, have used an oral tradition, in parallel to a writing system, to transmit their canonical scriptures, rituals, hymns and mythologies from one generation to the next.


title: Oral tradition

text: Oral tradition is information, memories, and knowledge held in common by a group of people, over many generations; it is not the same as testimony or oral history. In a general sense, "oral tradition" refers to the recall and transmission of a specific, preserved textual and cultural knowledge through vocal utterance. As an academic discipline, it refers both to a set of objects of study and the method by which they are studied.


title: Oral tradition

text: The study of oral tradition is distinct from the academic discipline of oral history, which is the recording of personal memories and histories of those who experienced historical eras or events. Oral tradition is also distinct from the study of orality, defined as thought and its verbal expression in societies where the technologies of literacy (especially writing and print) are unfamiliar to most of the population. A folklore is a type of oral tradition, but knowledge other than folklore has been orally transmitted and thus preserved in human history.


title: Oral tradition

text: According to John Foley, oral tradition has been an ancient human tradition found in "all corners of the world". Modern archaeology has been unveiling evidence of the human efforts to preserve and transmit arts and knowledge that depended completely or partially on an oral tradition, across various cultures:


title: Oral tradition

text: All Indigenous African societies use oral tradition to their learn their origin and history, civic and religious duties, crafts and skills, as well as traditional myths and legends. It is also a key socio-cultural component in the practice of their traditional spiritualities, as well as mainstream Abrahamic religions. These African ethnic group also utilize oral tradition to develop and train the human intellect, and memory to retain information and sharpen imagination.


title: Oral tradition

text: "All ancient Greek literature", states Steve Reece, "was to some degree oral in nature, and the earliest literature was completely so". Homer's epic poetry, states Michael Gagarin, "was largely composed, performed and transmitted orally". As folklores and legends were performed in front of distant audiences, the singers would substitute the names in the stories with local characters or rulers to give the stories a local flavor and thus connect with the audience, but making the historicity embedded in the oral tradition unreliable. The lack of surviving texts about the Greek and Roman religious traditions have led scholars to presume that these were ritualistic and transmitted as oral traditions, but some scholars disagree that the complex rituals in the ancient Greek and Roman civilizations were an exclusive product of an oral tradition. The Torah and other ancient Jewish literature, the Judeo-Christian Bible and texts of early centuries of Christianity are rooted in an oral tradition, and the term "People of the Book" is a medieval construct. This is evidenced, for example, by the multiple scriptural statements by Paul admitting "previously remembered tradition which he received" orally.


title: Oral tradition

text: In Asia, the transmission of folklore, mythologies as well as scriptures in ancient India, in different Indian religions, was by oral tradition, preserved with precision with the help of elaborate mnemonic techniques:


title: Oral tradition

text: According to Goody, the Vedic texts likely involved both a written and oral tradition, calling it a "parallel products of a literate society". Mostly recently, research shows that oral performance of (written) texts could be a philosophical activity in early China.


title: Oral tradition

text: It is a common knowledge in India that the primary Hindu books called Vedas are great example of Oral tradition. Pundits who memorized three Vedas were called Trivedis. Pundits who memorized four vedas were called Chaturvedis. By transferring knowledge from generation to generation Hindus protected their ancient Mantras in Vedas, which are basically Prose.


title: Oral tradition

text: The early Buddhist texts are also generally believed to be of oral tradition, with the first by comparing inconsistencies in the transmitted versions of literature from various oral societies such as the Greek, Serbia and other cultures, then noting that the Vedic literature is too consistent and vast to have been composed and transmitted orally across generations, without being written down.


title: Oral tradition

text: Australian Aboriginal culture has thrived on oral traditions and oral histories passed down through thousands of years.