title: Computer terminal

text: The advance in microprocessors and lower memory costs made it possible for the terminal to handle editing operations such as inserting characters within a field that may have previously required a full screen-full of characters to be re-sent from the computer, possibly over a slow modem line. Around the mid 1980s most intelligent terminals, costing less than most dumb terminals would have a few years earlier, could provide enough user-friendly local editing of data and send the completed form to the main computer. Providing even more processing possibilities, workstations like the TeleVideo TS-800 could run CP/M-86, blurring the distinction between terminal and Personal Computer.


title: Computer terminal

text: Another of the motivations for development of the microprocessor was to simplify and reduce the electronics required in a terminal. That also made it practicable to load several "personalities" into a single terminal, so a Qume QVT-102 could emulate many popular terminals of the day, and so be sold into organizations that did not wish to make any software changes. Frequently emulated terminal types included:


title: Computer terminal

text: The ANSI X3.64 escape code standard produced uniformity to some extent, but significant differences remained. For example, the VT100, Heathkit H19 in ANSI mode, Televideo 970, Data General D460, and Qume QVT-108 terminals all followed the ANSI standard, yet differences might exist in codes from function keys, what character attributes were available, block-sending of fields within forms, "foreign" character facilities, and handling of printers connected to the back of the screen.


title: Computer terminal

text: While early IBM PCs had single-color green screens, these screens were not terminals. The "screen" of a PC did not contain any character generation hardware; all video signals and video formatting were generated by the "video display card" in the PC, or (in most graphics modes) by the CPU and software. An IBM PC monitor, whether it was the green monochrome display or the 16-color display, was technically much more similar to an analog TV set (without a tuner) than to a terminal. With suitable software a PC could, however, emulate a terminal, and in that capacity it could be connected to a mainframe or minicomputer. The Data General/One could be booted into terminal emulator mode from its ROM. Eventually microprocessor-based personal computers greatly reduced the market demand for conventional terminals.


title: Computer terminal

text: In the 1990s especially, "thin clients" and X terminals have combined economical local processing power with central, shared computer facilities to retain some of the advantages of terminals over personal computers:


title: Computer terminal

text: Today, most PC telnet clients provide emulation of the most common terminal, the DEC VT100, using the ANSI escape code standard X3.64, or could run as X terminals using software such as Cygwin/X under Microsoft Windows or X.Org Server software under Linux.


title: Computer terminal

text: Since the advent and subsequent popularization of the personal computer, few genuine hardware terminals are used to interface with computers today. Using the monitor and keyboard, modern operating systems like Linux and the BSD derivatives feature virtual consoles, which are mostly independent from the hardware used.


title: Computer terminal

text: When using a graphical user interface (or GUI) like the X Window System, one's display is typically occupied by a collection of windows associated with various applications, rather than a single stream of text associated with a single process. In this case, one may use a terminal emulator application within the windowing environment. This arrangement permits terminal-like interaction with the computer (for running a command-line interpreter, for example) without the need for a physical terminal device; it can even run multiple terminal emulators on the same device.


title: Computer terminal

text: A character-oriented terminal is a type of computer terminal that communicates with its host one character at a time, as opposed to a block-oriented terminal that communicates in blocks of data. It is the most common type of data terminal, because it's easy to implement and program. Connection to the mainframe computer or terminal server is achieved via RS-232 serial links, Ethernet or other proprietary protocols.


title: Computer terminal

text: A "text terminal", or often just "terminal" (sometimes "text console") is a serial computer interface for text entry and display. Information is presented as an array of pre-selected formed characters. When such devices use a video display such as a cathode-ray tube, they are called a "video display unit" or "visual display unit" (VDU) or "video display terminal" (VDT).


title: Computer terminal

text: The system console is often a text terminal used to operate a computer. Modern computers have a built-in keyboard and display for the console. Some Unix-like operating systems such as Linux and FreeBSD have virtual consoles to provide several text terminals on a single computer.


title: Computer terminal

text: The fundamental type of application running on a text terminal is a command-line interpreter or "shell", which prompts for commands from the user and executes each command after a press of . This includes Unix shells and some interactive programming environments. In a shell, most of the commands are small applications themselves.


title: Computer terminal

text: Another important application type is that of the text editor. A text editor typically occupies the full area of display, displays one or more text documents, and allows the user to edit the documents. The text editor has, for many uses, been replaced by the word processor, which usually provides rich formatting features that the text editor lacks. The first word processors used text to communicate the structure of the document, but later word processors operate in a graphical environment and provide a WYSIWYG simulation of the formatted output. However, text editors are still used for documents containing markup such as DocBook or LaTeX.


title: Computer terminal

text: Programs such as Telix and Minicom control a modem and the local terminal to let the user interact with remote servers. On the Internet, telnet and ssh work similarly.


title: Computer terminal

text: In the simplest form, a text terminal is like a file. Writing to the file displays the text and reading from the file produces what the user enters. In Unix-like operating systems, there are several character special files that correspond to available text terminals. For other operations, there are special escape sequences, control characters and codice_1 functions that a program can use, most easily via a library such as "ncurses". For more complex operations, the programs can use terminal specific "ioctl" system calls. For an application, the simplest way to use a terminal is to simply write and read text strings to and from it sequentially. The output text is scrolled, so that only the last several lines (typically 24) are visible. Unix systems typically buffer the input text until the Enter key is pressed, so the application receives a ready string of text. In this mode, the application need not know much about the terminal. For many interactive applications this is not sufficient. One of the common enhancements is "command-line editing" (assisted with such libraries as readline); it also may give access to command history. This is very helpful for various interactive command-line interpreters.


title: Computer terminal

text: Even more advanced interactivity is provided with "full-screen" applications. Those applications completely control the screen layout; also they respond to key-pressing immediately. This mode is very useful for text editors, file managers and web browsers. In addition, such programs control the color and brightness of text on the screen, and decorate it with underline, blinking and special characters (e.g. box-drawing characters). To achieve all this, the application must deal not only with plain text strings, but also with control characters and escape sequences, which allow moving the cursor to an arbitrary position, clearing portions of the screen, changing colors and displaying special characters, and also responding to function keys. The great problem here is that there are many different terminals and terminal emulators, each with its own set of escape sequences. In order to overcome this, special libraries (such as curses) have been created, together with terminal description databases, such as Termcap and Terminfo.


title: Computer terminal

text: Dumb terminals are those that can interpret a limited number of control codes (CR, LF, etc.) but do not have the ability to process special escape sequences that perform functions such as clearing a line, clearing the screen, or controlling cursor position. In this context dumb terminals are sometimes dubbed "glass Teletypes", for they essentially have the same limited functionality as does a mechanical Teletype. This type of dumb terminal is still supported on modern Unix-like systems by setting the environment variable "TERM" to "dumb". "Smart" or "intelligent" terminals are those that also have the ability to process escape sequences, in particular the VT52, VT100 or ANSI escape sequences.


title: Computer terminal

text: A graphical terminal can display images as well as text. Graphical terminals are divided into vector-mode terminals, and raster mode.


title: Computer terminal

text: A vector-mode display directly draws lines on the face of a cathode-ray tube under control of the host computer system. The lines are continuously formed, but since the speed of electronics is limited, the number of concurrent lines that can be displayed at one time is limited. Vector-mode displays were historically important but are no longer used.


title: Computer terminal

text: Practically all modern graphic displays are raster-mode, descended from the picture scanning techniques used for television, in which the visual elements are a rectangular array of pixels. Since the raster image is only perceptible to the human eye as a whole for a very short time, the raster must be refreshed many times per second to give the appearance of a persistent display. The electronic demands of refreshing display memory meant that graphic terminals were developed much later than text terminals, and initially cost much more.


title: Computer terminal

text: Most terminals today are graphical; that is, they can show images on the screen. The modern term for graphical terminal is "thin client". A thin client typically uses a protocol like X11 for Unix terminals, or RDP for Microsoft Windows. The bandwidth needed depends on the protocol used, the resolution, and the color depth.


title: Computer terminal

text: Modern graphic terminals allow display of images in color, and of text in varying sizes, colors, and fonts (type faces).


title: Computer terminal

text: In the early 1990s, an industry consortium attempted to define a standard, AlphaWindows, that would allow a single CRT screen to implement multiple windows, each of which was to behave as a distinct terminal. Unfortunately, like I2O, this suffered from being run as a closed standard: non-members were unable to obtain even minimal information and there was no realistic way a small company or independent developer could join the consortium. Possibly because of this the standard disappeared without a trace.


title: Computer terminal

text: A terminal emulator is a piece of software that emulates a text terminal. In the past, before the widespread use of local area networks and broadband internet access, many computers would use a serial access program to communicate with other computers via telephone line or serial device.


title: Computer terminal

text: When the first Macintosh was released, a program called MacTerminal was used to communicate with many computers, including the IBM PC.


title: Computer terminal

text: The Win32 console on Windows does not emulate a physical terminal that supports escape sequences so SSH and Telnet programs (for logging in textually to remote computers) for Windows, including the Telnet program bundled with some versions of Windows, often incorporate their own code to process escape sequences.


title: Computer terminal

text: The terminal emulators on most Unix-like systems—such as, for example, gnome-terminal, qterminal, xterm, and Terminal.app—do emulate physical terminals including support for escape sequences; e.g., xterm can emulate the VT220 and Tektronix 4010 hardware terminals.


title: Computer terminal

text: Terminals can operate in various modes, relating to when they send input typed by the user on the keyboard to the receiving system (whatever that may be):


title: Computer terminal

text: There is a distinction between the and the keys. In some multiple-mode terminals, that can switch between modes, pressing the key when "not" in block mode does not do the same thing as pressing the key. Whilst the key will cause an input line to be sent to the host in line-at-a-time mode, the key will rather cause the terminal to transmit the contents of the character row where the cursor is currently positioned to the host, host-issued prompts and all. Some block-mode terminals have both an and local cursor moving keys such as and .


title: Computer terminal

text: Different computer operating systems require different degrees of mode support when terminals are used as computer terminals. The POSIX terminal interface, as provided by Unix and POSIX-compliant operating systems, does not accommodate block-mode terminals at all, and only rarely requires the terminal "itself" to be in line-at-a-time mode, since the operating system is required to provide canonical input mode, where the terminal device driver in the operating system "emulates" local echo in the terminal, and performs line editing functions at the host end. Most usually, and especially so that the host system can support non-canonical input mode, terminals for POSIX-compliant systems are always in character-at-a-time mode. In contrast, IBM 3270 terminals connected to MVS systems are always required to be in block mode.


title: Computer terminal

text: A block-oriented terminal or block mode terminal is a type of computer terminal that communicates with its host in blocks of data, as opposed to a character-oriented terminal that communicates with its host one character at a time. A block oriented terminal may be card-oriented, display oriented, keyboard-display, keyboard-printer, printer or some combination.


title: Computer terminal

text: The IBM 3270 is perhaps the most familiar implementation of a block-oriented display terminal, but most mainframe computer manufacturers and several other companies produced them. The description below is in terms of the 3270, but similar considerations apply to other types.


title: Computer terminal

text: Block-oriented terminals typically incorporate a buffer which stores one screen or more of data, and also stores data attributes, not only indicating appearance (color, brightness, blinking, etc.) but also marking the data as being enterable by the terminal operator vs. "protected" against entry, as allowing the entry of only numeric information vs. allowing any characters, etc. In a typical application the host sends the terminal a preformatted panel containing both static data and fields into which data may be entered. The terminal operator keys data, such as updates in a database entry, into the appropriate fields. When entry is complete (or ENTER or PF key pressed on 3270s), a block of data, usually just the data entered by the operator (modified data), is sent to the host in one transmission. The 3270 terminal buffer (at the device) could be updated on a single character basis, if necessary, because of the existence of a "set buffer address order" (SBA), that usually preceded any data to be written/overwritten within the buffer. A complete buffer could also be read or replaced using the codice_2 command or codice_3 command (unformatted or formatted in the case of the 3270).


title: Computer terminal

text: Block-oriented terminals cause less system load on the host and less network traffic than character-oriented terminals. They also appear more responsive to the user, especially over slow connections, since editing within a field is done locally rather than depending on echoing from the host system.


title: Computer terminal

text: Early terminals had limited editing capabilities – 3270 terminals, for example, only could check entries as valid numerics. Subsequent "smart" or "intelligent" terminals incorporated microprocessors and supported more local processing.


title: Computer terminal

text: Programmers of block-oriented terminals often used the technique of storing "context" information for the transaction in progress on the screen, possibly in a hidden field, rather than depending on a running program to keep track of status. This was the precursor of the HTML technique of storing context in the URL as data to be passed as arguments to a CGI program.


title: Computer terminal

text: Unlike a character-oriented terminal, where typing a character into the last position of the screen usually causes the terminal to scroll down one line, entering data into the last screen position on a block-oriented terminal usually causes the cursor to "wrap"— move to the start of the first enterable field. Programmers might "protect" the last screen position to prevent inadvertent wrap. Likewise a protected field following an enterable field might lock the keyboard and sound an audible alarm if the operator attempted to enter more data into the field than allowed.


title: Doctor Who (series 9)

text: The ninth series of the British science fiction television programme "Doctor Who" premiered on 19 September 2015 with "The Magician's Apprentice" and concluded on 5 December 2015 with "Hell Bent". The series was led by head writer and executive producer Steven Moffat, alongside executive producer Brian Minchin. Nikki Wilson, Peter Bennett, and Derek Ritchie served as producers. The series is the ninth to air following the programme's revival in 2005, and is the thirty-fifth season overall.


title: Doctor Who (series 9)

text: This is the second series starring Peter Capaldi as the Twelfth Doctor, an alien Time Lord who travels through time and space in his TARDIS, which is disguised as a British police box. It also stars Jenna Coleman as the Doctor's companion, Clara Oswald, for her third and final series in the role. Also playing a major recurring role in the series is Maisie Williams as Ashildr, a Viking girl made immortal by the Doctor, which leads to major events resulting from her encounters with the Doctor. The series' main story arc revolves around the mystery of a being called the Hybrid, the combination of two great warrior races. The Doctor's investigation into this being ultimately leads him back to his home planet of Gallifrey, which returns fully in the series.


title: Doctor Who (series 9)

text: Steven Moffat wrote four episodes solo and co-wrote an additional two. The other writers who worked on this series included Toby Whithouse, Jamie Mathieson, Catherine Tregenna, Peter Harness, Mark Gatiss, and Sarah Dollard. The ninth series received acclaim from critics, with many labelling it as the show's strongest season to date. Aspects of the series that were met with the most praise included the writing, directing, and structure of the series, as well as the performances of Peter Capaldi, Jenna Coleman and Maisie Williams.


title: Doctor Who (series 9)

text: The series contains more than one two-part story for the first time since the sixth series in 2011. Episodes such as "The Girl Who Died" / "The Woman Who Lived" and "Face the Raven" / "Heaven Sent" / "Hell Bent" are connected through loose story arcs, but are considered separate when it comes to their respective story numbers.


title: Doctor Who (series 9)

text: The ninth series was the second starring Peter Capaldi as the Twelfth Doctor, and the third and final starring Jenna Coleman as the Doctor's companion Clara Oswald. In "Doctor Who Magazine", Michelle Gomez confirmed that she would return as Missy, the latest incarnation of the Master, who served as the main villain in series 8. In February 2015, it was confirmed that Missy would return in "The Magician's Apprentice" / "The Witch's Familiar", the opening episodes of the series.


title: Doctor Who (series 9)

text: In January 2015, it was announced that actor Paul Kaye had a guest role in the first production block. It was later announced that other guest actors featuring in the first block would include Arsher Ali, Morven Christie, Neil Fingleton, Colin McFarlane, and Steven Robertson.


title: Doctor Who (series 9)

text: Jemma Redgrave returned in the recurring role of Kate Lethbridge-Stewart. Kelly Hunter was also confirmed to be appearing in the opening story, alongside Jaye Griffiths and Clare Higgins. Hunter previously appeared as the Shadow Architect for the Shadow Proclamation in "The Stolen Earth", while Higgins appeared in "The Night of the Doctor" as Ohila, High Priestess of the Sisterhood of Karn. It was announced on 8 May 2015 that Ingrid Oliver would return as Osgood alongside Redgrave for "The Zygon Invasion" / "The Zygon Inversion", a story involving the Zygons, despite her apparent death in the previous series.


title: Doctor Who (series 9)

text: On 5 August 2015, it was announced that Reece Shearsmith, Elaine Tan, Neet Mohan, Bethany Black and Paul Courtenay Hyu would have a role in "Sleep No More".


title: Doctor Who (series 9)

text: Other guests included India Ria Amarteifio, Dasharn Anderson, Harki Bhambra, Daniel Hoffmann-Gill, Aaron Neil, Demi Papaminas, Joey Price and Jami Reid-Quarrell. On 30 March 2015, Maisie Williams, Rufus Hound, Tom Stourton, Ariyon Bakare, Simon Lipkin, Ian Conningham, Murray McArthur, Barnaby Kay, John Voce, and Struan Rodger were announced to be appearing. On 19 April 2015, David Schofield was announced to be playing Viking god Odin. On 4 June 2015, it was announced that Rebecca Front, who starred alongside Capaldi in "The Thick of It", would appear in "The Zygon Invasion". On 10 June 2015, it was announced that Joivan Wade would return as Rigsy, who previously appeared in "Flatline". Robin Soans played Chronolock Guy in "Face the Raven"; Soans previously appeared in Doctor Who as Luvic in "The Keeper of Traken".


title: Doctor Who (series 9)

text: Julian Bleach reprised his role as Davros, having last appeared in the role in 2008's "The Stolen Earth" / "Journey's End", while Joey Price debuted as a younger version of the character. On September 28, 2015 it was announced that Corey Taylor, frontman for the heavy metal band Slipknot, would feature in the fourth episode "Before the Flood", as the scream of the alien warlord Fisher King.


title: Doctor Who (series 9)

text: Before series 8 began, Moffat promised a cliffhanger for series 9, and teased in "Doctor Who Magazine" Issue 475, "I've figured out the cliffhanger to the penultimate episode of series 9. And it's a whopper. Ohh, I don’t think you'll see this coming!" The series saw the return of the cliffhanger, with six of the twelve episodes divided into two-parters. Moffat has stated that the two-part stories are not as connected as similar stories in previous series, but instead are quite different and only vaguely related. In April 2015, Steven Moffat confirmed that "Doctor Who" would run for at least another five years, extending the show until at least 2020.


title: Doctor Who (series 9)

text: As the series coincides with the 10th anniversary of the show's revival, the BBC asked former showrunner and head writer Russell T. Davies to return, but he declined. A BBC source said that plans for the revival anniversary were still to be decided, despite Davies' reluctance to return. He also believed that the success of the revived show meant that "It’s now impossible for it to ever be axed." However, despite the comments made to "Radio Times", in an interview with BBC Radio 2 a week later, Davies said he would love to write more "Doctor Who", specifically a movie.


title: Doctor Who (series 9)

text: Steven Moffat wrote the opening two-parter story, and Catherine Tregenna wrote an episode for the series. Tregenna had previously been involved in "Doctor Who" spin-off series "Torchwood".


title: Doctor Who (series 9)

text: In January 2015, the "Doctor Who" Twitter page reported that filming had begun on episodes written by Toby Whithouse, who had previously contributed episodes "School Reunion", "The Vampires of Venice", "The God Complex" and "A Town Called Mercy". On 16 March 2015, Mark Gatiss confirmed he would be writing an episode for the series. On 30 March 2015, it was confirmed Jamie Mathieson, who previously wrote "Mummy on the Orient Express" and "Flatline" for series 8, would write a new episode called "The Girl Who Died" with Moffat. On 8 May 2015 it was announced that Peter Harness, who wrote series 8's "Kill the Moon", would write a two-part story. Justin Molotnikov was to direct two 60 minute episodes for Doctor Who, according to his CV, though this was removed at a later date. However, he directed the ninth and tenth episodes of the series.


title: Doctor Who (series 9)

text: Filming and principal photography for the ninth series began on 5 January 2015 in Cardiff, with "Under the Lake" and "Before the Flood" making up the first production block. The read-through for the first block took place on 18 December 2014. The second production block consisted of two of Steven Moffat's episodes, the opening two-parter. Filming for the story took place in Tenerife, Spain, in February 2015, directed by Hettie MacDonald, who directed the 2007 episode "Blink".


title: Doctor Who (series 9)

text: On 30 March 2015, it was announced that Ed Bazalgette would direct two episodes, one written by Jamie Mathieson and Steven Moffat and the other by Catherine Tregenna. On 8 May 2015, the BBC announced that filming had started on a two-part episode written by Peter Harness and directed by Daniel Nettheim. On 10 June 2015, it was revealed by the BBC that filming for Block 5 had begun with Justin Molotnikov directing "Face the Raven", written by Sarah Dollard. On 1 July 2015, the BBC confirmed that Rachel Talalay would return to direct the final two episodes of the series, both written by Steven Moffat.


title: Doctor Who (series 9)

text: On 9 July 2015, the first trailer for the series was released, alongside the confirmation of the airdate of "The Magician's Apprentice". The same day, Capaldi, Coleman, Gomez and Moffat promoted the series at San Diego Comic-Con International. On 12 August 2015, the second trailer for the series was released. A prologue to the series was released online on 11 September 2015. A prequel to the series, entitled "The Doctor's Meditation", was released on 15 September 2015 exclusively shown as part of a 3D cinematic release of the previous series' finale.


title: Doctor Who (series 9)

text: At the final 50th anniversary event at the BFI in December 2013, Steven Moffat announced that all future series, including the ninth, would not be split into two parts as had been done since the sixth series. Instead, they would be transmitted continuously, and that this would remain the standard broadcast format.


title: Doctor Who (series 9)

text: When filming began in January 2015, the BBC announced that the series would air late in the same year. A cinema screening of "The Magician's Apprentice" was held on 27 August 2015 in Edinburgh as part of The Guardian Edinburgh International Television Festival. It was also screened along with "The Witch's Familiar" on 10 September 2015 in Cardiff by BAFTA Cymru with a Q&A session following.


title: Doctor Who (series 9)

text: The twelve-episode ninth series premiered on BBC One on 19 September 2015. The series also premiered on 19 September in the United States on BBC America, and in Canada on Space. A screening for "The Magician's Apprentice" was held in the United States on 17 September at SVA Theatre in New York City. The premiere in Canada was preceded by a marathon of "Doctor Who" episodes featuring the Master.


title: Doctor Who (series 9)

text: New Zealand and Australia premiered the series on 20 September on Prime and ABC TV respectively. Episodes were released in Australia on the ABC iview streaming service initially, as opposed to the eighth series, which was simulcast on ABC TV with broadcasts featuring on ABC1 later the same night.


title: Doctor Who (series 9)

text: "Doctor Who"s ninth series received positive reviews, and was hailed by some critics as one of the show's best seasons to date. Series 9 holds a 90% approval rating on online review aggregate site Rotten Tomatoes with an average score of 8.25/10. The site's consensus reads "Peter Capaldi and the writers have settled into an emotionally engaging tone, allowing the show to raise the stakes for the Twelfth Doctor". Reaction to individual episodes has also been highly positive, with scores on the site ranging from 61% to 95%, all certified fresh by the site. Episodes such as "The Woman Who Lived" and "Heaven Sent" received particular acclaim, with critics saying that the former "should be an episode that goes down in "Doctor Who" history" and "stands as perhaps the strongest entry of Season Thirty-Five thus far", whilst the latter was labelled "a masterpiece of the highest order" and "an instant classic". The lowest-scored episode for the season was the episode written by Mark Gatiss, "Sleep No More", which gained a 61% rating.


title: Doctor Who (series 9)

text: In reviews for various episodes across the series, some critics highlighted series 9 as the show's greatest yet. In their review for "Hell Bent", IGN called series 9 "a very strong season of "Doctor Who" – possibly the best season of the modern run of the show", while "New York Magazine" stated "It’s been a largely brilliant season... possibly even the best since the new series began" in their review for the same episode. Discussing the series as a whole, The A.V. Club stated ""Doctor Who" is great again, and this season represents maybe the best mixture yet of the show’s head and its heart". Of the twelve episodes in the season, they awarded five a perfect 'A' grade (the most for any season of the show), while awarding a further five episodes either an A− or a B+. Furthermore, "TVEquals.com" called series 9 "one of the strongest seasons of the show in years".


title: Doctor Who (series 9)

text: Selected pieces of score from this series, as composed by Murray Gold, were released in a 4-CD set on 27 April 2018 by Silva Screen Records along with music from the 2015 Christmas special "The Husbands of River Song", with the third disc consisting primarily of the score from "Heaven Sent".


title: Thrice

text: Thrice is an American rock band from Irvine, California, formed in 1998. The group was founded by guitarist/vocalist Dustin Kensrue and lead guitarist Teppei Teranishi while they were in high school.


title: Thrice

text: Early in their career, the band was known for melodic hardcore punk music based in heavily distorted guitars, prominent lead guitar lines, and frequent changes in complex time signatures. This style is exemplified on their second album, "The Illusion of Safety" (2002) and their third album "The Artist in the Ambulance" (2003). Their fourth album "Vheissu" (2005) made significant changes by incorporating electronic beats, keyboards, and a more experimental sound. In 2007 and 2008, Thrice released "The Alchemy Index", consisting of two studio albums that together make a four-part, 24-song cycle. Each of the four six-song EPs of the Alchemy Index features significantly different styles, based on different aspects of the band's musical esthetic which reflect the elemental themes of fire, water, air and earth, both lyrically and musically. The band's seventh album, "Beggars," was released on August 11, 2009, and their eighth, "Major/Minor" on September 20, 2011. The most recent albums feature a refined combination of the band's different experiments and explorations. In 2011, Thrice announced a final tour and an imminent hiatus.


title: Thrice

text: Kensrue and Teranishi decided to reform the band in 2015 after attending a Brand New concert. In 2016, Thrice released their first post-reunion album, "To Be Everywhere Is to Be Nowhere."


title: Thrice

text: The band's tenth album, "Palms", was released in 2018. Their eleventh studio album "Horizons/East" was released in September 2021. Each album released by Thrice has had a portion of its sales proceeds donated to a new charitable organization.


title: Thrice

text: Dustin Kensrue and Teppei Teranishi knew each other from school and had played in a band called Chapter 11. Teppei recruited his skate park friend Eddie Breckenridge to play bass, who then brought his brother Riley on as a drummer. In 1998, before their first show, they realized they needed a name. Hard-pressed for time, they decided to go with the name 'Thrice' out of desperation. Thrice was initially an inside joke between the band members, and they were going to use it only temporarily for their first show. However, they began to gain fans with the name, and people started to associate them with it, so they were forced to keep it.


title: Thrice

text: In 1999, the band self-released an EP, "First Impressions", which was the product of a two-day session at A-Room Studios with Brian Tochilin. Only 1,000 copies were made and the band members sold them out of their cars. Working with Death by Stereo's Paul Miner, the quartet recorded twelve tracks, and by April 2000, the group had released "Identity Crisis" on Greenflag Records. A portion of the album's proceeds were donated to a local charity called Crittenton Services for Children and Families. More support gigs and local buzz followed, and Thrice sparked the interest of Hopeless/Sub City's Louis Posen. In 2001, Posen signed with the band, reissued "Identity Crisis", and sent the group out on tour with Samiam. Tours with Midtown and Hot Rod Circuit followed.


title: Thrice

text: Thrice re-entered the studio with producer Brian McTernan to record its Hopeless/Sub City debut, "The Illusion of Safety". The album was released in February 2002. The band toured extensively to support it, opening for Further Seems Forever and Face to Face before embarking on its first headlining tour later that year. The band again donated a portion of the album's proceeds, this time choosing a non-profit youth shelter in South Central Los Angeles, A Place Called Home. The band's donations were matched by their label.


title: Thrice

text: The album received generally positive reviews and garnered the attention of several major labels. The band eventually signed with Island Records, who had agreed to match Thrice's charitable donations in the same manner that Hopeless/Sub City had. That fall, the band toured with Hot Water Music and Coheed and Cambria before returning to the studio.


title: Thrice

text: The band re-entered the studio in March and April 2003. On July 22, 2003, the band released its Island Records debut, "The Artist in the Ambulance". The album was again produced by Brian McTernan. The album's title is in reference to "Burn Collector" by Al Burian and is meant to reflect the band's desire to do more than make music and contribute to society through their charitable donations. A portion of the album's proceeds were this time donated to the Syrentha Savio Endowment, a financial aid organization for breast cancer patients. First pressings of the album were packaged in a digipak-style case with postcards containing lyrics and notes from the band.


title: Thrice

text: The album spawned three singles: "All That's Left", "Under a Killing Moon", and "Stare at the Sun." "All That's Left" received significant airplay, and Thrice found themselves playing at larger venues as the year progressed. In addition to returning to the Warped Tour for its 2003 iteration around the time of album's release, a co-headlining fall tour with labelmates Thursday and opener Coheed and Cambria sold out across the United States, as well as a stint on the Honda Civic Tour with Dashboard Confessional, The Get Up Kids, and Hot Water Music.


title: Thrice

text: Throughout 2004, the band continued to tour in support of "The Artist in the Ambulance". Island Records issued a promotional disc (that features an alternate version of "The Artist in the Ambulance") in early 2004 that would become the basis for "If We Could Only See Us Now", a CD/DVD package outlining the group's career. Named after a lyric from "So Strange I Remember You," the CD portion contained live tracks from a performance at the Apple Store and various B-sides. A slot to promote the CD/DVD came on the 2004 Warped Tour, their third time playing the tour.


title: Thrice

text: Thrice spent much of the first half of 2005 working with producer Steve Osborne on the follow-up to "The Artist in the Ambulance". Thrice released "Vheissu" on October 18, 2005 with "Image of the Invisible" as the first single. The album's title was taken from the Thomas Pynchon novel "V.", and featured a wider variety of instrumentation than used in the band's previous albums, including the use of strings, electronics, and a Rhodes Piano. Many of the album's lyrics also feature biblical, spiritual, and abstract themes.


title: Thrice

text: For the band's donations related to this album's sales proceeds, Thrice chose novelist Dave Eggers's charity 826 Valencia, a tutorial program for underprivileged children, which promotes literacy and aids teens in developing creative writing skills. In return, Eggers created the cover art for "Vheissu".


title: Thrice

text: The band toured extensively in support of the album, including headlining the 2006 Taste of Chaos tour and performing "Image of the Invisible" on Jimmy Kimmel Live!. In April 2006, the band released "Red Sky" as the second single from the album. The accompanying video was directed by Tim Hope, who had previously directed videos for Coldplay and Jimmy Eat World. Instead of releasing just a single, Thrice opted to release the "Red Sky EP" in support of the single, which included two previously unreleased tracks and four live tracks.


title: Thrice

text: In September 2006, the band announced plans for a new album (later titled "The Alchemy Index") on their official website. The album was conceived as a series of 4 EPs, each of which represents an element of nature: fire, water, air, and earth. The band maintained a studio blog "Alchemy Index" throughout the recording process.


title: Thrice

text: During the recording process, the band announced that they were leaving Island Records, citing a difference of opinion on the band's future direction as the reason for the split. The band joined Vagrant Records on August 9, 2007.


title: Thrice

text: On October 12, 2007, Thrice released the first two songs from the "Alchemy Index" in their entirety through the band's MySpace page. "The Alchemy Index Vols. I & II" was released on October 16, 2007 and sold 28,000 copies in its first week. It debuted at number 24 on the "Billboard" 200 chart, and it topped at number five on the iTunes top-selling albums. To promote the new album, Thrice toured with the bands MewithoutYou and Brand New, and followed with a series of Canadian shows with bands Say Anything and Attack in Black. The second half of the project, "The Alchemy Index Vols. III & IV - Earth & Air", was released on April 15, 2008.


title: Thrice

text: The final song on each disc is written in the form of a sonnet, depicting the relationship of man with each of the particular elements. Each of these songs is in iambic pentameter, with a concluding rhyming couplet. These final couplets also contain the same vocal melody and chord progression as each other, although they are in different keys.


title: Thrice

text: Thrice toured with Circa Survive and Pelican in spring 2008 to support The Alchemy Index, which had now been released in full. The third-to-last show of this tour—the May 28, 2008, show at the House of Blues in Anaheim—was filmed for a live CD/DVD "Live at the House of Blues". The live album spans 2 CDs and a DVD with live footage and an exclusive interview in which the band answers fan-submitted questions. In fall 2008, they embarked on a tour supporting Rise Against, along with Alkaline Trio and The Gaslight Anthem.


title: Thrice

text: On January 4, 2009, the band announced on its website that writing had begun for the follow-up to "The Alchemy Index", with the title announced as "Beggars" on June 15, 2009. A July update to the band's website revealed the release date to be October 13, 2009. However, after the album was leaked several months in advance, the band announced on their website on July 23, 2009 that the album would be released exclusively to iTunes on August 11. The physical CD was released on September 15, 2009. Bonus content included two b-sides from the Beggars sessions, two remixes, and a studio rendition of their cover of The Beatles' "Helter Skelter".


title: Thrice

text: Feeling that the band's previous two projects ("The Alchemy Index" and "Vheissu") had a "sleepy feeling" to them, Thrice wanted to make a record that was "a little more upbeat and energetic." Thrice's members also hoped to save money and spend more time with their families by building a recording studio in guitarist Teppei Teranishi's home. Originally, the band expressed interest in tracking the record live (i.e. recording the full band all at once, instead of each instrument individually and mixing together at a later time) in the home studio; however Thrice later abandoned the idea of recording this way. Instead, the band recorded songs with "similar vibe[s] musically, and tonally" in the same session. Several wooden devices were constructed by the band for the home studio to make the recordings "sound better." The self-produced album was released through Vagrant Records.


title: Thrice

text: Thrice played The Bamboozle Left festival in April, and played selected dates on the summer's Warped Tour. Throughout the Warped Tour shows, Thrice played "All the World is Mad," "At the Last" and "The Weight."


title: Thrice

text: The song "All the World is Mad" is featured in the Vagrant Song Pack for Guitar Hero, which was released on July 23, 2009. "Deadbolt" appears on "Guitar Hero 5".


title: Thrice

text: In 2009, it was announced that the band would serve as openers for Brand New for their Fall North American tour. Multiple shows were sold out, and the band notably performed a cover of The Beatles's "Helter Skelter". After this leg of the tour, Thrice began a tour with The Dear Hunter, but they had to play without guitarist Teppei Teranishi who left due to a family emergency.


title: Thrice

text: In 2009, while on the Vans Warped Tour in Houston, Texas, the band autographed a Gibson Guitar for the non-profit Music Saves Lives and assisted in their goal of raising the nation's blood supply.


title: Thrice

text: Thrice posted a poll for fans to vote for which song from "Beggars" to use for a music video. "All the World is Mad", "The Weight", "Circles" and "In Exile" were the choices for the poll, with "In Exile" narrowly beating "The Weight" even after some voters hacked into the system to try to choose the winner. The live-themed, black and white music video premiered on MySpace Music on Thanksgiving Day, November 26, 2009, their first live video since 2002's "Deadbolt."


title: Thrice

text: Thrice's spring (2010) tour with Manchester Orchestra was cut short on April 23 when Kensrue had to leave because of an illness in the family.


title: Thrice

text: In an interview with Blare Magazine on June 16, 2010, Kensrue revealed that each member had been writing music for a new Thrice album individually, and that "pretty soon" the band would enter the studio to write and record the album collectively.


title: Thrice

text: On April 20, 2011, Thrice announced on their website that their next album was ready to go and studio-bound. The album was recorded in May 2011 at Red Bull Studios, with most of the parts being recorded there and the band adding overdubs and "tweaking" a few things in Teppei's home recording studio (New Grass Studios) in the days after recording at Red Bull Studios.


title: Thrice

text: The new album, "Major/Minor", was released on September 20, 2011 through Vagrant Records.<ref name="PopMatters Major/Minor Review"></ref>


title: Thrice

text: Following Thrice's spring 2012 tour, the band went on hiatus. In the group's public statement, Kensrue stated that "Thrice is not breaking up," but that the band would be "taking a break from being a full-time band."


title: Thrice

text: Thrice, accompanied by Animals as Leaders and O'Brother, began their farewell tour on May 4, 2012 in San Diego and ended it with a 33-song solo show on June 19, 2012 in Santa Ana. The tour's setlist song pool was determined by a fan vote on their entire song catalog (excluding First Impressions). Thrice's second live album, "Anthology", was released on October 30, 2012 on two CDs and as a quadruple 180 gram LP box set limited to 3000 copies, and features 24 songs recorded at select shows along the tour.


title: Thrice

text: Thrice's last interview aired on June 18, 2012, just one day after the band wrapped up their farewell tour. JC from theFIVE10 Radio spoke with Eddie and Teppei.


title: Thrice

text: Riley Breckenridge plays drums in a grindcore side project called Puig Destroyer with Ian Miller (KWC), Jon Howell (KWC, Tigon), and Mike Minnick (Curl Up and Die). Their self-titled demo is composed of six songs clocking in at about six minutes, which is a reference to the jersey number of Yasiel Puig (66), formerly of the Los Angeles Dodgers, whom the six song demo is inspired by. The name is a reference to both Puig and grindcore band Pig Destroyer. The demo was released on a 7" 45 rpm vinyl by The Ghost Is Clear Records.


title: Thrice

text: Eddie Breckenridge joined the alternative rock band Angels & Airwaves in June 2014, which also features current/former members of Blink-182, Nine Inch Nails and Hazen Street. He is also in the supergroup Less Art with his brother Riley.


title: Thrice

text: On December 22, 2014, the band posted an image on its website showing the view from behind the mixing desk, facing the band performing, overlaid with the text "Thrice 2015." Kensrue and Teranishi were attending a Brand New concert when they decided to reunite the band. Two months later, Thrice began announcing their inclusion in several 2015 music festivals, including New Jersey's Skate and Surf Fest in May; Montebello, Quebec's Amnesia Rockfest in June; Folkestone, UK's Hevy Music Festival in August; and three sites for Riot Fest, Denver in August as well as Chicago and Toronto in September. On October 3, Thrice performed at Taste of Chaos in San Bernardino, CA.


title: Thrice

text: On November 23, 2015, Thrice announced that they would be releasing a new album in 2016. On March 22, 2016, its title was announced as "To Be Everywhere Is to Be Nowhere", with a release date of May 27, 2016. A pre-release track, "Blood on the Sand", was released a few days later. In April 2016, Thrice released the lead single from "To Be Everywhere Is to Be Nowhere", "Black Honey", and announced several summer tour dates throughout the US and Europe. On May 17, ten days before the release of the album, Thrice released the official music video for their song "Black Honey." It features all of the members of the band, and was directed and edited by Y2K and produced by Jason Lester. On May 23, five days before the album was released, Thrice premiered "Death from Above" on BBC Radio 1. Another single, "Hurricane", was released April 6. The song was the highest viewed new video in its debut week in April on Loudwire's Top 10 Video Countdown.


title: Thrice

text: Through a Facebook post on March 27, 2017, Thrice announced a new EP; "Sea Change". It consists of a new track from the "To Be Everywhere Is to Be Nowhere" sessions, as well as a live acoustic version of "Black Honey". It was released on 7-inch vinyl for Record Store Day on April 22, 2017.


title: Thrice

text: In June 2018, the band confirmed that they had signed to Epitaph Records. On June 5, 2018, they released their first song under Epitaph Records called "The Grey." The band also announced a headlining tour with The Bronx and Teenage Wrist. It was later announced "The Grey" was the lead single from their tenth studio album, "Palms". It was slated for release on September 14, 2018. On July 10, 2018, the band released a music video for "The Grey." On August 14, 2018, the band released "Only Us", their second single from "Palms".


title: Thrice

text: "['The Grey'] is about attempting to see what's actually unfolding around you instead of seeing what you have decided is there," said Kensrue.


title: Thrice

text: Riley Breckenridge gave an in-depth interview regarding the album in September 2018. Talking about 'Only Us' Breckenridge stated: "It’s a song about inclusion and compassion and togetherness — realizing that we’re all connected and should be able to rally around that to make the world a better place.".


title: Thrice

text: Palms was produced by Eric Palmquist, whom the band had worked with in the past. Breckenridge also spoke about working with Palmquist on this record saying: "He's great to work with. We communicate really well. He pushes me hard, but he's also a really patient and encouraging person, which is invaluable in a studio setting."


title: Thrice

text: Through an Instagram post on March 1, 2019, Thrice announced a new EP; "Deeper Wells". It consists of four new tracks recorded during the "Palms" sessions. The EP was released on 12" vinyl for Record Store Day on April 13, 2019.


title: Thrice

text: On July 20, 2021, Thrice released a new single "Scavengers." On the same day, they also announced their new album "Horizons/East" via Epitaph Records to be released digitally on September 17, 2021, with a physical release on October 8, 2021. In an Interview on the new record the band announced that they had actually written 20 songs, of which only 10 were included on the record. The rest is planned to be released on a companion record called "Horizons/West".


title: Thrice

text: Dustin Kensrue released his first solo album on Equal Vision Records on January 23, 2007, "Please Come Home". The album opened at 142 on the Billboard 200. The follow-up was released in 2008, and was called "This Good Night Is Still Everywhere." This album featured two original Christmas songs and various covers of Christmas carols.


title: Thrice

text: Dustin Kensrue revived his solo career by gathering Lee Neujahr (drums), Phil Neujahr (bass), and Jonny Sandu (synth) in order to form The Modern Post. The Modern Post released their first EP in 2012 called "The Water & the Blood". Next, Kensrue released a worship album under his own name, "The Water & the Blood", on September 30, 2013. On November 24, 2014, Kensrue's band The Modern Post released a Christmas EP, "Lowborn King", that featured various Christmas songs and an alternate version of Kensrue's song, "This Is War". Kensrue's next release was on April 21, 2015, called "Carry the Fire." Lastly, on March 18, 2016, Kensrue released an album of live covers of popular songs, "Thoughts That Float on a Different Blood".


title: Thrice

text: When asked about his next work, Dustin Kensrue said he will be working on a project with his brother that will be very different from both Thrice and his solo work"."


title: Thrice

text: Teppei Teranishi is in a side project with Chris Jones called Black Unicorn. Chris Jones also played drums and electric guitar on Dustin's solo album.


title: Thrice

text: Dustin Kensrue provided guest vocals and Teppei Teranishi played guitar/provided production on The Out Circuit's album "Pierce The Empire With a Sound".


title: Thrice

text: While mostly considered a post-hardcore band, Thrice has also been described as alternative rock, pop punk, experimental rock, art rock, hard rock, melodic hardcore, emo, screamo, thrash metal, indie rock, hardcore punk, heavy metal, and punk rock. While describing Thrice as post-hardcore, AllMusic's Johnny Loftus also described their sound as a mix of punk, screamo, and pop with progressive tendencies.


title: Thrice

text: Thrice's first two albums, "Identity Crisis" and "The Illusion of Safety" have been described as metal and punk influenced post-hardcore. Thrice's earlier music was known for being melodic, yet fast and based in heavily distorted guitars, prominent lead guitar lines, and frequent changes in complex time signatures. This style was mainly demonstrated on their second album, "The Illusion of Safety," and their third album "The Artist in the Ambulance." Their first three albums have considered to have elements of thrash metal, screamo, and pop punk. On their fourth album, "Vheissu," the band incorporated electronic beats, keyboards, and more experimental and nuanced songwriting. Their fifth and sixth albums, "The Alchemy Index Vols. I & II" and "The Alchemy Index Vols. III & IV," both included two discs, six tracks each. All discs represented one of the four classical elements: Fire, Water, Earth, and Air. The albums were described as a turn to progressive rock. Each of the four parts experiment with different sounds: Fire (heavy rock), Water (trip hop), Air (atmospheric rock), and Earth (folk rock). Their seventh album, "Beggars", and their eighth album, "Major/Minor", included post-rock and indie influences. When describing their ninth studio album, "To Be Everywhere Is to Be Nowhere", Riley Breckenridge said, "I think there is a different sound but I also think that there is a healthy nod to some of our back catalog in a lot of the music. There's stuff on this record that wouldn't necessarily feel out of place on "The Artist in the Ambulance", or "Vheissu" or wouldn't have felt out of place if it was part of "The Alchemy Index" or "Beggars", or "Major/Minor". But at the same time it's also pushing that kind of stuff forward." Similarly, Kensrue said, "I don't know that this new record sounds like a huge jump. It's very different from "Major/Minor" or "Beggars", but I feel like it's not this giant move." When talking about "Palms", Dustin stated that "It's definitely a bit more diverse musically than the last few records. As far as the approach, it's probably most similar to Vheissu in that we were trying to pull from a very wide variety of influences" "Guitar World" called Thrice the "Radiohead of post-hardcore".


title: Thrice

text: Some of Thrice's influences include Deftones, At the Drive-In, Bad Religion, Social Distortion, Radiohead, Sunny Day Real Estate, and Jawbreaker. Nothing More lead vocalist Jonny Hawkins cites Thrice as an influence.


title: George Lynch (musician)

text: George Lynch (born September 28, 1954) is an American guitarist, best known for his work with the hard rock band Dokken and his post-Dokken solo band Lynch Mob. He is considered to be one of the most famous and influential 1980s metal guitarists and is known for his unique playing style and sound. He is ranked No. 47 on "100 Greatest Guitarists of All Time" by "Guitar World" magazine and No. 10 on "Top 10 Metal Guitarists of All Time" by Gibson.


title: George Lynch (musician)

text: Lynch was born in Spokane, Washington and made the small town of Auburn, California his home base between 1971 and 1975.


title: George Lynch (musician)

text: Twice Lynch auditioned for the position of Ozzy Osbourne's lead guitarist — once in 1979, losing to Randy Rhoads. Lynch said "I won the consolation prize. Randy got to tour with Ozzy...and I got to teach at his mom's school."— He Auditioned again in 1982 to replace Brad Gillis. According to Lynch, he was hired for three days before Osbourne changed his mind and decided to go with Jake E. Lee. Lee noted that Lynch "got the gig, but only went on the road for two weeks to watch the show and never actually played with Ozzy." Lynch stated in an interview that he played soundchecks at the side of the stage on a European tour with Osbourne and Brad Gillis as part of an extensive audition. He also rehearsed with the band in Texas but was let go by Osbourne as the band moved operations to Los Angeles. Jake E. Lee auditioned on the day of Lynch's dismissal and while Lee admittedly didn't play well the day of the audition he looked the part and was offered the gig. Osbourne fired Lynch on the spot in front of Lee, whom Lynch had just met. Lynch was devastated and was struggling financially in those years. He had been working as a delivery man for a liquor store and was required by his employer to have short hair. Sharon Osbourne fancied Lee's "look" over Lynch's playing and her influence likely finalized Osbourne's decision to hire Lee.


title: George Lynch (musician)

text: Lynch played in a late 1970s band called The Boyz, working the Sunset Strip clubs in Hollywood alongside Van Halen and Quiet Riot. The Boyz also featured future Dokken drummer Mick Brown, bassist Monte Zufelt and vocalists Lisa Furspanker and Greg Sanford. Their sound and Lynch's playing were so similar to Van Halen that one of their demos was circulated as a "pre-Roth Van Halen recording". The Boyz were set to play a showcase for Gene Simmons and his startup label but Van Halen opened the show and Simmons opted not to stay and see The Boyz. Lynch subsequently formed Xciter before joining Dokken.


title: George Lynch (musician)

text: Dokken had a string of successful platinum albums that prominently featured Lynch's inventive lead guitar work. The instrumental track "Mr. Scary" on "Back for the Attack" contributed to his popularity among guitar players. The band earned a Grammy nomination for Best Metal Performance in 1990.


title: George Lynch (musician)

text: The group parted ways in March 1989 due to internal tensions with lead vocalist Don Dokken. Lynch formed his own hard rock band Lynch Mob, which differed from Dokken in lyrical and guitar complexity, subject matter, song structure, and tuning. Lynch took time off when his wife Christy Lynch had a baby girl, Mariah Lynch.


title: George Lynch (musician)

text: After Don Dokken, Jeff Pilson and Mick Brown reunited in 1994 they decided to bring Lynch back as well for a true reunion of Dokken. The reunited version of Dokken was signed to the Columbia/Sony label and after extensive writing released "Dysfunctional". The album did not do as well as expected and the band was dropped from the label. Dokken then signed on with CMC International and released an "unplugged" show performed in late 1994 titled "One Live Night".


title: George Lynch (musician)

text: The band entered the studio in 1996 with producer Kelly Gray who wanted to take Dokken in a new direction. To the dismay of vocalist and founder Don Dokken the resulting "Shadowlife" was a complete switch from melodic rock to a more alternative sound.


title: George Lynch (musician)

text: Tensions again flared between Don Dokken and Lynch in 1997, leading to Lynch being replaced by former Europe guitarist John Norum. This prompted Lynch to reunite Lynch Mob which entered the studio and demoed three songs later released as an EP titled "Syzygy." Band member Logan decided to pursue other projects before a full album could be completed. Mick Brown decided to stay with Dokken. Lynch organized a short 13 show U.S. tour for Lynch Mob in 1998 with Artension frontman John West, Anthony Esposito and others.


title: George Lynch (musician)

text: When that lineup dissolved, Lynch decided to take Lynch Mob in a totally new direction. The Lynch Mob's radical new look, new lineup and musical approach attracted a younger audience. They released the album "Smoke This" in 1999. After the supporting tour Lynch decided to put Lynch Mob on hold for a couple years, but not before he toured with Lynch Mob's original singer Oni Logan, L.A. Guns' bassist Chuck Garric, and BulletBoys' drummer Jimmy D'Anda in late 2001.


title: George Lynch (musician)

text: Lynch began working with producer/engineer Sean Fodor on the ill-fated Microdot project which featured then-unknown vocalist London LeGrand in early 2002 Only a few songs from that project have been released: "Bulldog Tyranny" on "The Lost Anthology" and three other songs Lynch later released as "The Lynch That Stole Riffness" with Robert Mason taking the helm on vocals.


title: George Lynch (musician)

text: Lynch reformed Lynch Mob in late 2002 with original bassist Anthony Esposito as well as Robert Mason. Lynch Mob recorded an album of re-recorded classic Lynch songs from Dokken and Lynch Mob, updated to a more contemporary (post-2000) approach and sound.


title: George Lynch (musician)

text: Lynch formed a project with former Dokken bassist Jeff Pilson, releasing the "Wicked Underground" album in 2003 under the name Lynch/Pilson. That same year, Lynch put together The George Lynch Group with which he has continued to record and regularly tour. The George Lynch Group performed a marathon 26 shows in 30 days including a much talked about feature on "The Tonight Show" with Jay Leno. This line-up featured Lynch, vocalist Andrew Freeman, drummer Vinny Appice (Black Sabbath, Dio), and Mårten Andersson (Lizzy Borden, Starwood, Legacy). The 2005 "Furious George" album is a cover album, including classic rock tunes from ZZ Top, Jimi Hendrix, The Beatles, AC/DC, and Led Zeppelin.


title: George Lynch (musician)

text: "Let the Truth Be Known" was released under the band name Souls of We in 2008 and features the line-up of: London LeGrand (vocals), Johnny Chow (bass), and Yael (drums) and a myriad of guest contributions.


title: George Lynch (musician)

text: Lynch embarked on a tour in the early fall of 2008 with a reformed Lynch Mob featuring original singer Oni Logan, bassist Marco Mendoza and drummer Scot Coogan. A new Lynch Mob album, titled "Smoke and Mirrors", was released in October 2009 with Logan handling lead vocals.


title: George Lynch (musician)

text: Lynch recorded lead and rhythm guitar tracks in 2009 for seven songs that appear on the debut album of rock singer Raven Quinn. The self-published album was released March 4, 2010.


title: George Lynch (musician)

text: Lynch toured the spring of 2010 with Souls of We and spent the summer and winter touring with Lynch Mob. In the summer of 2010 Souls of We changed their line-up and were forced to discontinue with the name.


title: George Lynch (musician)

text: Lynch currently lives near Los Angeles where he created an instructional guitar website The Guitar Dojo.


title: George Lynch (musician)

text: Lynch produces his own custom hand-built art guitars, marketed under the Mr. Scary Guitars brand, which he makes himself at the ESP Guitars USA custom shop facility.


title: George Lynch (musician)

text: George Lynch and Jeff Pilson joined Mick Brown and Don Dokken for two songs during an encore at a Dokken show at The House of Blues in Anaheim on November 29, 2009. Lynch subsequently announced a reunion of Dokken's "glory days" line-up but the announcement was retracted on February 24. Lynch released a statement on his website claiming that Don did not want the reunion to occur.


title: George Lynch (musician)

text: T&N was formed from 3/4 of the classic Dokken line-up: Lynch, Jeff Pilson, and Mick Brown. They announced plans for a studio album to be released in 2012. The trio's original name was Tooth & Nail but Tooth & Nail was shortened to T&N in March 2012. The band released the album Slave to the Empire on October 31, 2012.


title: George Lynch (musician)

text: Lynch announced plans for a documentary movie: "Shadowtrain: Under A Crooked Sky" about the destruction of the Native American community in the fall of 2011. A crowd-funding campaign was launched in March 2013 to complete the project. The movie was still a work in progress as of late 2014 .


title: George Lynch (musician)

text: Lynch put together Shadowtrain featuring documentary filmmaker and drummer Vincent Nicastro, Pueblo Native American vocalist Gregg Analla (Tribe of Gypsies, Slaviour, Seventhsign), ex-Lynch Mob bassist Gabe Rosales, and keyboardist Donnie Dickman.


title: George Lynch (musician)

text: Lynch's all-star project with vocalist/bassist Doug Pinnick and drummer Ray Luzier known as KXM released its debut in 2014.


title: George Lynch (musician)

text: Lynch announced another project: The Infidels, with Pancho Tomaselli, Sal Rodriguez, and rapper Sen Dog.


title: George Lynch (musician)

text: Lynch completed an album with Stryper frontman Michael Sweet, "Only to Rise," released on January 27, 2015, on Frontiers Records under the name Sweet & Lynch. The recording- line-up features James Lomenzo and Brian Tichy on bass and drums. The duo released a second album "Unified", on November 10, 2017.


title: George Lynch (musician)

text: Lynch teamed up with Living Colour vocalist Corey Glover to form the side project Ultraphonix, releasing the album "Original Human Music" in 2018.


title: George Lynch (musician)

text: In 2019, Lynch reunited with former Dokken bassist Jeff Pilson in the band The End Machine. The band released their self-titled debut in 2019 and released their second album, "The End Machine:Phase 2" in 2021. According to a 2021 interview with Pariah Burke, the band is an intentional return to Lynch's classic sound.


title: George Lynch (musician)

text: Lynch used Charvel and Kramer guitars prior to 1986, most notably their tiger stripe guitars. Lynch has endorsed ESP Guitars since then His unique "Skull and Bones" guitar (affectionately named "Mom") was designed and hand-crafted by artist John 'J. Frog' Garcia. Since George was contracted by ESP at the time, an ESP decal was applied to the headstock. Several George Lynch signature guitars have been produced by ESP Japan:


title: George Lynch (musician)

text: Lynch briefly endorsed PRS Guitars in the early 1990s. He can be seen using two different colored Custom 24 models. He also endorsed the hand-crafted Yamaha L-Series Acoustic Guitars and used these on the Asian 'Unplugged' Clinic tour May/June 2006.


title: George Lynch (musician)

text: Lynch is presently signed with ESP Guitars, which has resulted in ESP's creation of the Lynch Jumbo acoustic, featuring graphics designed by Stephen Jensen.


title: George Lynch (musician)

text: Lynch's use of Marshall, Soldano, Bogner & Diezel amps and effects units to achieve his famous tone is well documented in rock guitar circles. His rig changes with each successive tour. Lynch used the Randall Dragon (non-master volume) tube head for the majority of his sound while on tour in 2005. The design was similar to the older Marshall Plexi heads he used early in the Dokken era.


title: George Lynch (musician)

text: Lynch is a long-time endorser of Randall Amplification and participated in the design of the George Lynch Box for Randall's modular amp system.


title: George Lynch (musician)

text: Seymour Duncan created the Screamin' Demon guitar pickup (SH-12 and TB-12) for Lynch, which is featured on all the ESP Lynch signature guitars. Seymour Duncan also recently designed the new Super V pickup to be featured in the Super V model.


title: George Lynch (musician)

text: Lynch also uses a Morley A/B box called the Tripler and a limited edition Robert Keeley GL Time Machine boost.


title: George Lynch (musician)

text: Lynch designed a new high-nickel content-string through the Dean Markley company with his name on the packaging.


title: George Lynch (musician)

text: Lynch cited Jimi Hendrix, Randy Rhoads, Jeff Beck and Michael Schenker, along with Eddie Van Halen, Allan Holdsworth, Jan Akkerman, Christopher Parkening, Al Di Meola, Roy Buchanan, Albert King, Frank Marino, Muddy Waters, Gary Moore and Yngwie Malmsteen as his musical influences.


title: Black+Decker

text: Black+Decker Inc. is an American manufacturer of power tools, accessories, hardware, home improvement products, home appliances and fastening systems headquartered in Towson, Maryland, north of Baltimore, Maryland, USA, where the company was originally established in 1910. On March 12, 2010, Black & Decker merged with Stanley Works to become Stanley Black & Decker. It remains as a wholly owned subsidiary of that company.


title: Mário Jardel

text: Mário Jardel de Almeida Ribeiro (; born 18 September 1973) is a Brazilian former professional footballer who played as a forward. He was most noted for his positioning on the field and his heading ability. He was a legend for Grêmio, playing a major part in the squad that won the 1995 Copa Libertadores. With his exceptional positioning ability, he was able to become one of Europe's most prolific strikers during his time at Porto, Galatasaray, and Sporting CP, scoring 206 goals in 274 matches for those clubs.


title: Mário Jardel

text: After leaving Sporting CP in 2003 at age 29, Jardel had a succession of brief and unsuccessful stints at clubs in England, Italy, Spain, Cyprus, Bulgaria, Argentina and Australia. He then played for several smaller clubs in Brazil before retiring in 2011.


title: Mário Jardel

text: Jardel made his debut for the Brazil national team in 1996, making a total of 10 appearances and being selected for the 2001 Copa América.


title: Mário Jardel

text: Jardel played first for Vasco da Gama, but moved in 1995 to Grêmio, where he played a major role in the squad that won the 1995 Copa Libertadores, scoring 12 goals to be crowned the tournament's top goal scorer, including a hat-trick in the quarter-finals against Roberto Carlos' Palmeiras, and a goal in the final against Atlético Nacional.


title: Mário Jardel

text: In 1996, Jardel was linked to several teams, and after failing to transfer to Benfica and Rangers (due to the strict British rules involving non-EU players), he signed with Portuguese side Porto, where with help from players such as Zlatko Zahovič, Sérgio Conceição and Ljubinko Drulović, he was the top goalscorer in Europe for three years (1998–99, 1999–00, 2001–02), with a goal average of slightly over one goal "per" match (130 goals in 125 matches for an average of 1.04 "per" match). Although he was top scorer three times, due to the use of coefficients based on each European league's standards, he only won twice, the 1998–99 and 2001–02 European Golden Boots. He lost out to Kevin Phillips in 1999–2000 despite Phillips having scored six fewer goals than Jardel.


title: Mário Jardel

text: In a 2014 interview, Jardel revealed that, during his spell at Porto, he consumed cocaine with the knowledge of both the club's doctor and physiotherapist.


title: Mário Jardel

text: Before the 2000–01 season, Jardel was sold to Turkish club Galatasaray, winners of the 1999–2000 UEFA Cup as the club activated his release clause of US$28 million.


title: Mário Jardel

text: Scoring five goals in his debut match in the Süper Lig suggested Jardel would adapt well to his new club, but towards the end of the season, injuries and growing personal problems hinted he was soon going to leave Turkey. Regardless, he was part of the Galatasaray squad that won the 2000 UEFA Super Cup, himself scoring twice with a golden goal to beat Real Madrid 2–1 in the Super Cup match, and reached the quarter-finals of the 2000–01 UEFA Champions League, with Jardel scoring six goals in the competition and helped in victories against teams such as Rangers, Deportivo de La Coruña, Monaco, Paris Saint-Germain, Milan and Real Madrid. He ended the season with 34 goals.


title: Mário Jardel

text: In 2001–02, Jardel returned to Portugal; Sporting CP signed him on the last day of transfer window and offered a contract worth €11 million over three seasons. Sporting transferred Galatasaray three players: Mbo Mpenza, Robert Spehar and Pavel Horváth (valued €3.4 million), as well as US$5 million in cash.


title: Mário Jardel

text: The 2001–02 season proved largely successful to Jardel, as he scored 42 goals in 30 matches (17 via penalties) as Sporting CP won both the Primeira Liga and the Taça de Portugal. He also won Portuguese Footballer of the Year by "Record" newspaper, one of the only two foreign players to achieve this, the other being the Argentinian Lisandro López.


title: Mário Jardel

text: While the 2001–02 season was arguably the best of Jardel's career, the following 2002–03 season proved to be the beginning of the end. Again omitted from the Brazil national team squad, this time for the 2002 FIFA World Cup (despite his tremendous goal-scoring abilities he was rarely called up), and unfit at the start of the season, he spent the year on the injury list.


title: Mário Jardel

text: During the Christmas break, Jardel returned to his native Fortaleza, where he injured his knee in a swimming pool fall. He scored only nine goals that season. He was granted, alongside Deco, Portuguese citizenship in February 2003.


title: Mário Jardel

text: In August 2003, Jardel moved to English club Bolton Wanderers, with Sporting CP to receive a transfer fee up to €1.5 million based on his performances in the 2003–04 and 2004–05 seasons. However, Jardel failed to score a league goal for the club, though he scored three goals in the League Cup, where Bolton were eventually losing finalists. These goals came in matches against Walsall, where Jardel scored twice, and Liverpool at Anfield.


title: Mário Jardel

text: During the winter break, Jardel went on loan to Italian side Ancona, but could not convince the staff of his physical capabilities. Ancona supporters called him ""lardel"" (a pun on the Italian "lardo", meaning lard) due to him being overweight. Regarding his debut against Milan, an Italian journalist also said, "We stretch a veil of silence in respect of what he has been."


title: Mário Jardel

text: In August 2004, Jardel signed a contract with Argentine club Newell's Old Boys, for which Bolton did not receive any transfer fee.


title: Mário Jardel

text: In September 2005, Jardel signed a contract with Brazilian first-division side Goiás until 31 December 2006.


title: Mário Jardel

text: Jardel returned to Portugal to sign for Beira Mar for the 2006–07 season, for an undisclosed fee. Despite arriving at the club overweight, he worked hard and trained specifically to lose weight and gain physical form and scored one goal on his debut for Beira-Mar in a 2–2 draw against Desportivo das Aves. In the winter transfer season, Jardel signed for the Cypriot team Anorthosis Famagusta.


title: Mário Jardel

text: On 14 July 2007, Jardel played for Scottish Premier League club St Mirren, as a trialist in a 3–0 win over first division side Stirling Albion.


title: Mário Jardel

text: On 14 August 2007, Australian A-League side Newcastle United Jets officially announced at a press conference in Newcastle they had signed Jardel on a one-year contract as their marquee player. Jardel was rumoured to join the club for weeks before the official announcement was made. He arrived in Australia on 12 August 2007 and traveled to Newcastle on 13 August.


title: Mário Jardel

text: Jardel worked hard on his fitness before arriving in Newcastle. He was unable to play for the Jets in the first three rounds as he was in Australia on a tourist visa. He eventually had his sport visa approved before the start of Round 4. He made his debut as a substitute in the 70th minute at EnergyAustralia Stadium against Adelaide United in Round 4. Newcastle won the match 1–0 with a strike from Mark Bridge in the 81st minute.


title: Mário Jardel

text: After joining the Jets, Jardel saw little game time, usually making an appearance as a late substitute. The owner of Newcastle Jets, Con Constantine, who brought Jardel to Newcastle, expressed his desire for Jardel to stay on the field for longer. However, Newcastle head coach Gary van Egmond was reluctant to give the Brazilian a larger role.


title: Mário Jardel

text: On 3 November 2007, Jardel played nearly 20 minutes against Sydney FC. He showed some positive signs, nearly equalising for Newcastle with a trademark header from a Joel Griffiths corner kick. Sydney goalkeeper Clint Bolton saved the initial header before Jardel's follow-up was cleared off the line.


title: Mário Jardel

text: However, after showing glimpses of class, manager van Egmond perceived Jardel to be surplus to requirements and was told he could leave the club halfway through the season. He was reportedly being paid $3,000 "per" week by club owner Con Constantine. He left the club on 24 January 2008 to be with his sick mother in Brazil. The Jets went on to win the 2008 A-League Grand Final.


title: Mário Jardel

text: On 29 June 2008, Jardel joined Campeonato Brasileiro Série B club Criciúma. He scored four goals in the Brazilian Serie B season 2008. Unfortunately for Jardel his club, was relegated from Serie B; finishing 18th with 41 points from 38 games.


title: Mário Jardel

text: Jardel joined to Ferroviário on 4 February 2009. On 11 March 2009, Jardel made his Ferroviário debut with a very classy goal, a reminder of his past years of glory as one of the best finishers ever to play on the Portuguese Liga. In August 2009 he signed a 6-month contract with América de Fortaleza, but released on 30 October 2009.


title: Mário Jardel

text: On 20 January 2010, Jardel signed a contract until the end of 2010 Campeonato Piauiense with Esporte Clube Flamengo. He became a free agent on 10 June 2010.


title: Mário Jardel

text: On 27 June 2010, Jardel arrived in Varna, Bulgaria in order to negotiate terms with Bulgarian club Cherno More Varna. A day later, on 28 June 2010, Jardel signed a one-year contract with the Sailors and was officially presented as a new signing of the club. Jardel was welcomed by 500 fans at his presentation at the Ticha Stadium. He made his new club debut on 17 July, in a friendly match against Romanian side Victoria Brăneşti, with the match ending in a 2–2 draw.


title: Mário Jardel

text: Jardel made his competitive debut for the Sailors during the 2010–11 season on 7 August 2010 in a 0–2 away loss against Lokomotiv Plovdiv, coming on as a substitute for compatriot Marco Tiago. In the next round of A PFG Mário played 26 minutes as a substitute for a 1–0 home win against Akademik Sofia. On 31 October 2010, he scored his first goal for the Bulgarian team, scoring the only goal in a 1–0 victory over Lokomotiv Sofia.


title: Mário Jardel

text: On 28 November 2010, it was reported that Jardel had left Cherno More, in part due to concerns pertaining to the cold weather conditions in Bulgaria.


title: Mário Jardel

text: On 21 December 2010, it was reported that Jardel signed a one-year deal with Atlético Rio Negro Clube from Manaus, Amazonas.


title: Mário Jardel

text: Jardel was capped for the national team first when he was 19 years old. In March 1993, Jardel capped one time for the Brazil national under-20 football team during the FIFA U-20 World Cup in Australia. Brazil became champions of the tournament.


title: Mário Jardel

text: Jardel's debut for the "Seleçao" was as a substitute replacing Ronaldo during a friendly game against Russia in August 1996.


title: Mário Jardel

text: In the 2014 general election, Jardel was elected to the Chamber of Deputies on the Brazilian Social Democratic Party ticket, with 41,000 votes.


title: Mário Jardel

text: According to Brazil's Public Prosecutor's Office, Jardel and 10 other people have extorted staff, nominated fake members and diverted funds for their own benefit. The Prosecutor's Office finished the accusation in February 2016 as a result of the investigation started in 2015 (Operação Gol Contra), triggering the process to terminate Jardel's term in the Chamber of Deputies. Fellow politician Marlon Santos stated at the time that Jardel was involved in activities "which are not compatible with parliamentary ethics". Jardel was also accused by Santos of being involved in drug trafficking, with Santos stating "There is clear proof that the car allocated by the parliament has been used to drive drug dealers around".


title: Mário Jardel

text: On 8 June 2016, the Parliament Ethics commission approved the request to terminate Jardel's term. The case was transferred to the Constitution and Justice Commission, who approved the case in December 2016. A final vote was held in the Parliament in December 2016 where it was unanimously decided to terminate Jardel's term.


title: Elegy Written in a Country Churchyard

text: Elegy Written in a Country Churchyard is a poem by Thomas Gray, completed in 1750 and first published in 1751. The poem's origins are unknown, but it was partly inspired by Gray's thoughts following the death of the poet Richard West in 1742. Originally titled "Stanzas Wrote in a Country Church-Yard", the poem was completed when Gray was living near the Church of St Giles, Stoke Poges. It was sent to his friend Horace Walpole, who popularised the poem among London literary circles. Gray was eventually forced to publish the work on 15 February 1751 in order to preempt a magazine publisher from printing an unlicensed copy of the poem.


title: Elegy Written in a Country Churchyard

text: The poem is an elegy in name but not in form; it employs a style similar to that of contemporary odes, but it embodies a meditation on death, and remembrance after death. The poem argues that the remembrance can be good and bad, and the narrator finds comfort in pondering the lives of the obscure rustics buried in the churchyard. The two versions of the poem, "Stanzas" and "Elegy", approach death differently; the first contains a stoic response to death, but the final version contains an epitaph which serves to repress the narrator's fear of dying.


title: Elegy Written in a Country Churchyard

text: The Elegy quickly became popular. It was printed many times and in a variety of formats, translated into many languages, and praised by critics even after Gray's other poetry had fallen out of favour. But while many have continued to commend its language and universal aspects, some have felt that the ending is unconvincingfailing to resolve the questions raised by the poem in a way helpful to the obscure rustic poor who form its central image.


title: Elegy Written in a Country Churchyard

text: Gray's life was surrounded by loss and death, and many people whom he knew died painfully and alone. In 1749, several events occurred that caused Gray stress. On 7 November, Mary Antrobus, Gray's aunt, died; her death devastated his family. The loss was compounded a few days later by news that his friend since childhood Horace Walpole had been almost killed by two highwaymen. Although Walpole survived and later joked about the event, the incident disrupted Gray's ability to pursue his scholarship. The events dampened the mood that Christmas, and Antrobus's death was ever fresh in the minds of the Gray family. As a side effect, the events caused Gray to spend much of his time contemplating his own mortality. As he began to contemplate various aspects of mortality, he combined his desire to determine a view of order and progress present in the Classical world with aspects of his own life. With spring nearing, Gray questioned if his own life would enter into a sort of rebirth cycle or, should he die, if there would be anyone to remember him. Gray's meditations during spring 1750 turned to how individuals' reputations would survive. Eventually, Gray remembered some lines of poetry that he composed in 1742 following the death of West, a poet he knew. Using that previous material, he began to compose a poem that would serve as an answer to the various questions he was pondering.


title: Elegy Written in a Country Churchyard

text: On 3 June 1750, Gray moved to Stoke Poges, and on 12 June he completed "Elegy Written in a Country Churchyard". Immediately, he included the poem in a letter he sent to Walpole, that said:


title: Elegy Written in a Country Churchyard

text: The letter reveals that Gray felt that the poem was unimportant, and that he did not expect it to become as popular or influential as it did. Gray dismisses its positives as merely being that he was able to complete the poem, which was probably influenced by his experience of the churchyard at Stoke Poges, where he attended the Sunday service and was able to visit the grave of Antrobus.


title: Elegy Written in a Country Churchyard

text: The version that was later published and reprinted was a 32-stanza version with the "Epitaph" conclusion. Before the final version was published, it was circulated in London society by Walpole, who ensured that it would be a popular topic of discussion throughout 1750. By February 1751, Gray received word that William Owen, the publisher of the "Magazine of Magazines", would print the poem on 16 February; the copyright laws of the time did not require Gray's approval for publication. With Walpole's help, he was able to convince Robert Dodsley to print the poem on 15 February as a quarto pamphlet.


title: Elegy Written in a Country Churchyard

text: Walpole added a preface to the poem reading: "The following POEM came into my hands by Accident, if the general Approbation with which this little Piece has been spread, may be call'd by so slight a Term as Accident. It is the Approbation which makes it unnecessary for me to make any Apology but to the Author: As he cannot but feel some Satisfaction in having pleas'd so many Readers already, I flatter myself he will forgive my communicating that Pleasure to many more."


title: Elegy Written in a Country Churchyard

text: The pamphlet contained woodblock illustrations and was printed without attribution to Gray, at his request. Immediately after, Owen's magazine with Gray's poem was printed but contained multiple errors and other problems. In a 20 February letter to Walpole, Gray thanked him for intervening and helping to get a quality version of the poem published before Owen. It was so popular that it was reprinted twelve times and reproduced in many different periodicals until 1765, including in Gray's "Six Poems" (1753), in his "Odes" (1757), and in Volume IV of Dodsley's 1755 compilation of poetry. The revised version of 1768 was that later printed.


title: Elegy Written in a Country Churchyard

text: The poem most likely originated in the poetry that Gray composed in 1742. William Mason, in "Memoirs", discussed his friend Gray and the origins of "Elegy": "I am inclined to believe that the Elegy in a Country Church-yard was begun, if not concluded, at this time [August 1742] also: Though I am aware that as it stands at present, the conclusion is of a later date; how that was originally I shall show in my notes on the poem." Mason's argument was a guess, but he argued that one of Gray's poems from the Eton Manuscript, a copy of Gray's handwritten poems owned by Eton College, was a 22-stanza rough draft of the Elegy called "Stanza's Wrote in a Country Church-Yard". The manuscript copy contained many ideas which were reworked and revised as he attempted to work out the ideas that would later form the "Elegy". A later copy was entered into Gray's commonplace book and a third version, included in an 18 December 1750 letter, was sent to Thomas Wharton. The draft sent to Walpole was subsequently lost.


title: Elegy Written in a Country Churchyard

text: There are two possible ways the poem was composed. The first, Mason's concept, argues that the Eton copy was the original for the "Elegy" poem and was complete in itself. Later critics claimed that the original was more complete than the later version; Roger Lonsdale argued that the early version had a balance that set up the debate, and was clearer than the later version. Lonsdale also argued that the early poem fits classical models, including Virgil's "Georgics" and Horace's "Epodes". According to Mason the early version of the poem was finished in August 1742, but there is little evidence to give such a definite date. He argued that the poem was in response to West's death, but there is little to indicate that Mason would have such information.


title: Elegy Written in a Country Churchyard

text: Instead, Walpole wrote to Mason to say: "The "Churchyard" was, I am persuaded, posterior to West's death at least three or four years, as you will see by my note. At least I am sure that I had the twelve or more first lines from himself above three years after that period, and it was long before he finished it."


title: Elegy Written in a Country Churchyard

text: The two did not resolve their disagreement, but Walpole did concede the matter, possibly to keep the letters between them polite. But Gray's outline of the events provides the second possible way the poem was composed: the first lines of the poem were written some time in 1746 and he probably wrote more of the poem during the time than Walpole claimed. The letters show the likelihood of Walpole's date for the composition, as a 12 June 1750 letter from Gray to Walpole stated that Walpole was provided lines from the poem years before and the two were not on speaking terms until after 1745. The only other letter to discuss the poem was one sent to Wharton on 11 September 1746, which alludes to the poem being worked on.


title: Elegy Written in a Country Churchyard

text: The poem is not a conventional part of the Classical genre of Theocritan elegy, because it does not mourn an individual. The use of "elegy" is related to the poem relying on the concept of , or disquiet regarding the human condition. The poem lacks many standard features of the elegy: an invocation, mourners, flowers, and shepherds. The theme does not emphasise loss as do other elegies, and its natural setting is not a primary component of its theme. Through the "Epitaph" at the end, it can be included in the tradition as a memorial poem, and it contains thematic elements of the elegiac genre, especially mourning. But as compared to a poem recording personal loss such as John Milton's "Lycidas", it lacks many of the ornamental aspects found in that poem. Gray's is natural, whereas Milton's is more artificially designed.


title: Elegy Written in a Country Churchyard

text: In evoking the English countryside, the poem belongs to the picturesque tradition found in John Dyer's "Grongar Hill" (1726), and the long line of topographical imitations it inspired. However, it diverges from this tradition in focusing on the death of a poet. Much of the poem deals with questions that were linked to Gray's own life; during the poem's composition, he was confronted with the death of others and questioned his own mortality. Although universal in its statements on life and death, the poem was grounded in Gray's feelings about his own life, and served as an epitaph for himself. As such, it falls within an old poetic tradition of poets contemplating their legacy. The poem, as an elegy, also serves to lament the death of others, including West, though at a remove. This is not to say that Gray's poem was like others of the graveyard school of poetry; instead, Gray tried to avoid a description that would evoke the horror common to other poems in the elegiac tradition. This is compounded further by the narrator trying to avoid an emotional response to death, by relying on rhetorical questions and discussing what his surroundings lack. Nevertheless, the sense of kinship with Robert Blair's "The Grave" was so generally recognised that Gray's Elegy was added to several editions of Blair's poem between 1761 and 1808, after which other works began to be included as well.


title: Elegy Written in a Country Churchyard

text: The performance is connected with the several odes that Gray also wrote and those of Joseph Warton and William Collins. The poem, as it developed from its original form, advanced from the Horatian manner and became more Miltonic. The poem actively relied on "English" techniques and language. The stanza form, quatrains with an ABAB rhyme scheme, was common to English poetry and used throughout the 16th century. Any foreign diction that Gray relied on was merged with English words and phrases to give them an "English" feel. Many of the foreign words Gray adapted were previously used by Shakespeare or Milton, securing an "English" tone, and he emphasised monosyllabic words throughout his elegy to add a rustic English tone.


title: Elegy Written in a Country Churchyard

text: The poem begins in a churchyard with a speaker who is describing his surroundings in vivid detail. The speaker emphasises both aural and visual sensations as he examines the area in relation to himself:


title: Elegy Written in a Country Churchyard

text: As the poem continues, the speaker begins to focus less on the countryside and more on his immediate surroundings. His descriptions move from sensations to his own thoughts as he begins to emphasise what is not present in the scene; he contrasts an obscure country life with a life that is remembered. This contemplation provokes the speaker's thoughts on the natural process of wastage and unfulfilled potential.


title: Elegy Written in a Country Churchyard

text: The speaker focuses on the inequities that come from death, obscuring individuals, while he begins to resign himself to his own inevitable fate. As the poem ends, the speaker begins to deal with death in a direct manner as he discusses how humans desire to be remembered. As the speaker does so, the poem shifts and the first speaker is replaced by a second who describes the death of the first:


title: Elegy Written in a Country Churchyard

text: The poem concludes with a description of the poet's grave, over which the speaker is meditating, together with a description of the end of the poet's life:


title: Elegy Written in a Country Churchyard

text: An epitaph is included after the conclusion of the poem. The epitaph reveals that the poet whose grave is the focus of the poem was unknown and obscure. Circumstance kept the poet from becoming something greater, and he was separated from others because he was unable to join in the common affairs of their life:


title: Elegy Written in a Country Churchyard

text: The original conclusion from the earlier version of the poem confronts the reader with the inevitable prospect of death and advises resignation, which differs from the indirect, third-person description in the final version:


title: Elegy Written in a Country Churchyard

text: The poem connects with many earlier British poems that contemplate death and seek to make it more familiar and tame, including Jonathan Swift's satirical "Verses on the Death of Dr. Swift". But when compared to other works by the so-called Graveyard poets, such as Blair's "The Grave" (1743), Gray's poem has less emphasis on common images found there. His description of the moon, birds and trees dispels the horror found in them, and he largely avoids mentioning the word "grave", instead using euphemisms.


title: Elegy Written in a Country Churchyard

text: There is a difference in tone between the two versions of the elegy; the early one ends with an emphasis on the narrator joining with the obscure common man, while the later version ends with an emphasis on how it is natural for humans to want to be known. The later ending also explores the narrator's own death, whereas the earlier version serves as a Christian consolation regarding death.


title: Elegy Written in a Country Churchyard

text: The first version of the elegy is among the few early poems composed by Gray in English, including "Sonnet on the Death of Richard West", his "Eton Ode", and his "Ode to Adversity". All four contain Gray's meditations on mortality that were inspired by West's death. The later version of the poem keeps the stoic resignation regarding death, for the narrator still accepts death. The poem concludes with an epitaph, which reinforces Gray's indirect and reticent manner of writing. Although the ending reveals the narrator's repression of feelings surrounding his inevitable fate, it is optimistic. The epitaph describes faith in a "trembling hope" that he cannot know while alive.


title: Elegy Written in a Country Churchyard

text: In describing the narrator's analysis of his surroundings, Gray employed John Locke's philosophy of the sensations, which argued that the senses were the origin of ideas. Information described in the beginning of the poem is reused by the narrator as he contemplates life near the end. The description of death and obscurity adopts Locke's political philosophy as it emphasises the inevitability and finality of death. The end of the poem is connected to Locke's "An Essay Concerning Human Understanding" in that the beginning of the poem deals with the senses and the ending describes how we are limited in our ability to understand the world. The poem takes the ideas and transforms them into a discussion of blissful ignorance by adopting Locke's resolution to be content with our limited understanding. Unlike Locke, the narrator of the poem knows that he is unable to fathom the universe, but still questions the matter.


title: Elegy Written in a Country Churchyard

text: On the difference between the obscure and the renowned in the poem, scholar Lord David Cecil argued: "Death, he perceives, dwarfs human differences. There is not much to choose between the great and the humble, once they are in the grave. It may be that there never was; it may be that in the obscure graveyard lie those who but for circumstance would have been as famous as Milton and Hampden." However, death is not completely democratic because "if circumstances prevented them from achieving great fame, circumstances also saved them from committing great crimes. Yet there is a special pathos in these obscure tombs; the crude inscriptions on the clumsy monuments are so poignant a reminder of the vain longing of all men, however humble, to be loved and to be remembered."


title: Elegy Written in a Country Churchyard

text: The poem ends with the narrator turning towards his own fate, accepting his life and accomplishments. The poem, like many of Gray's, incorporates a narrator who is contemplating his position in a transient world that is mysterious and tragic. Although the comparison between obscurity and renown is commonly seen as universal and not within a specific context with a specific political message, there are political ramifications for Gray's choices. Both John Milton and John Hampden spent time near the setting of Stoke Poges, which was also affected by the English Civil War. The poem's composition could also have been prompted by the entrance of Prince William, Duke of Cumberland into London or by a trial of Jacobite nobility in 1746.