title: Pentarchy

text: While the Council did not specify the extent of the authority of Rome or Antioch, it clearly indicated the area, even outside its own province of Egypt, over which Alexandria had authority, by referring to "the ancient customs of Egypt, Libya and Pentapolis, according to which the bishop of Alexandria has authority over all these places".


title: Pentarchy

text: Immediately after mentioning the special traditions of wider authority of Rome, Alexandria and Antioch, the same canon speaks of the organization under metropolitans, which was also the subject of two previous canons. In this system, the bishop of the capital of each Roman province (the "metropolitan") possessed certain rights with regard to the bishops of other cities of the province ("suffragans").


title: Pentarchy

text: In the interpretation of John H. Erickson, the Council saw the special powers of Rome and Alexandria, whose bishops were in effect metropolitans over several provinces, as exceptions to the general rule of organization by provinces, each with its own metropolitan. After the mention of the special traditions of Rome, Alexandria, Antioch and other provinces, canon 6 goes on immediately to speak of the metropolitan form of organization, which was also the topic of the two preceding canons.


title: Pentarchy

text: This Council's recognition of the special powers of Rome, Alexandria and Antioch served as the basis of the theory of the three Petrine sees (Rome and Antioch were said to be founded by Saint Peter and Alexandria by his disciple Mark the Evangelist) that was later upheld, especially in Rome and Alexandria, in opposition to the theory of the five Pentarchy sees.


title: Pentarchy

text: In its seventh canon, the Council attributed special honour, but not metropolitan authority, to the Bishop of Jerusalem, which was then called Aelia, and was in the province (Syria Palaestina) whose capital was Caesarea.


title: Pentarchy

text: The First Council of Constantinople (381) decreed in a canon of disputed validity: "The Bishop of Constantinople, however, shall have the prerogative of honour after the Bishop of Rome; because Constantinople is New Rome." This "prerogative of honour" did not entail jurisdiction outside his own "diocese". The Emperor Theodosius I, who called the Council, divided the eastern Roman Empire into five "dioceses": Egypt (under Alexandria), the East (under Antioch), Asia (under Ephesus), Pontus (under Caesarea Cappadociae), and Thrace (originally under Heraclea, later under Constantinople).


title: Pentarchy

text: The Council also decreed: "The bishops are not to go beyond their dioceses to churches lying outside of their bounds, nor bring confusion on the churches; but let the Bishop of Alexandria, according to the canons, alone administer the affairs of Egypt; and let the bishops of the East manage the East alone, the privileges of the Church in Antioch, which are mentioned in the canons of Nicea, being preserved; and let the bishops of the Asian Diocese administer the Asian affairs only; and the Pontic bishops only Pontic matters; and the Thracian bishops only Thracian affairs." Jerusalem was not put at the head of any of the five dioceses.


title: Pentarchy

text: The transfer of the capital of the empire from Rome to Constantinople in 330 enabled the latter to free itself from its ecclesiastical dependency on Heraclea and in little more than half a century to obtain this recognition of next-after-Rome ranking from the first Council held within its walls. Alexandria's objections to Constantinople's promotion, which led to a constant struggle between the two sees in the first half of the 5th century, were supported, at least until the Fourth Council of Constantinople of 869–870, by Rome, which proposed the theory that the most important sees were the three Petrine ones, with Rome in first place.


title: Pentarchy

text: The Western bishops generally took no part in the First Council of Constantinople with the exception of Ascholius of Thessalonica, who at this time was under Roman jurisdiction. It is popularly believed that it was only until the mid-6th century that the Latin Church recognized it as ecumenical, but the earliest Latin collection of canons (the "Prisca" version) as well as citations of its creed by Pope Leo in his Tome and its canons by his legates during the Council of Chalcedon indicate that it had obtained acceptance long before this point.


title: Pentarchy

text: The Council of Ephesus (431) defended the independence of the Church in Cyprus against the supra-metropolitan interference by Antioch, but in the same period Jerusalem succeeded in gaining supra-metropolitan power over the three provinces of Palestine.


title: Pentarchy

text: After the Council of Chalcedon (451), the position of the Pentarchy's Patriarchate of Alexandria was weakened by a division in which the great majority of its Christian population followed the form of Christianity that its opponents called Monophysitism.


title: Pentarchy

text: The Council of Chalcedon (451), which marked a serious defeat of Alexandria, gave recognition, in its 28th canon, to Constantinople's extension of its power over Pontus and Asia in addition to Thrace. The Council justified this decision on the grounds that "the Fathers rightly granted privileges to the throne of old Rome, because it was the royal city", and that the First Council of Constantinople, "actuated by the same consideration, gave equal privileges to the most holy throne of New Rome, justly judging that the city which is honoured with the Sovereignty and the Senate, and enjoys equal privileges with the old imperial Rome, should in ecclesiastical matters also be magnified as she is, and rank next after her".


title: Pentarchy

text: Pope Leo I, whose delegates were absent when this resolution was passed and who protested against it, recognized the council as ecumenical and confirmed its doctrinal decrees, but rejected canon 28 on the ground that it contravened the sixth canon of Nicaea and infringed the rights of Alexandria and Antioch. By that time Constantinople, as the permanent residence of the emperor, had enormous influence.


title: Pentarchy

text: Canon 9 of the Council declared: "If a bishop or clergyman should have a difference with the metropolitan of the province, let him have recourse to the Exarch of the Diocese, or to the throne of the Imperial City of Constantinople, and there let it be tried." This has been interpreted as conferring on the see of Constantinople a greater privilege than what any council ever gave Rome (Johnson) or as of much lesser significance than that (Hefele).


title: Pentarchy

text: Thus in little more than a hundred years the structural arrangement by provinces envisaged by the First Council of Nicaea was, according to John H. Erickson, transformed into a system of five large divisions headed by the bishops of Rome, Constantinople, Alexandria, Antioch, and Jerusalem. He does not use for these divisions the term "patriarchate" because the term "patriarch" as a uniform term for the heads of the divisions came into use only in the time of Emperor Justinian I in the following century, and because there is little suggestion that the divisions were regarded as quasi-sovereign entities, as patriarchates are in Eastern Orthodox ecclesiology. Because of the decision of the Council of Ephesus, Cyprus maintained its independence from the Antioch division, and the arrangement did not apply outside the empire, where separate "catholicates" developed in Mesopotamia and Armenia.


title: Pentarchy

text: The basic principles of the pentarchy theory, which, according to the Byzantinist historian Milton V. Anastos, "reached its highest development in the period from the eleventh century to the middle of the fifteenth", go back to the 6th-century Justinian I, who often stressed the importance of all five of the patriarchates mentioned, especially in the formulation of dogma.


title: Pentarchy

text: Justinian was the first to use (in 531) the title of "patriarch" to designate exclusively the bishops of Rome, Constantinople, Alexandria, Antioch, and Jerusalem, setting the bishops of these five sees on a level superior to that of metropolitans.


title: Pentarchy

text: Justinian's scheme for a "renovatio imperii" (renewal of the empire) included, as well as ecclesiastical matters, a rewriting of Roman law in the Corpus Juris Civilis and an only partially successful reconquest of the West, including the city of Rome.


title: Pentarchy

text: When in 680 Constantine IV called the Third Council of Constantinople, he summoned the metropolitans and other bishops of the jurisdiction of Constantinople; but since there were representatives of all five bishops to whom Justinian had given the title of Patriarch, the Council declared itself ecumenical. This has been interpreted as signifying that a council is ecumenical if attended by representatives of all five patriarchs.


title: Pentarchy

text: The first Council classified (in the East, but not in the West, which did not participate in it) as ecumenical that mentioned together all five sees of the pentarchy in the order indicated by Justinian I is the Council in Trullo of 692, which was called by Justinian II: "Renewing the enactments by the 150 Fathers assembled at the God-protected and imperial city, and those of the 630 who met at Chalcedon; we decree that the see of Constantinople shall have equal privileges with the see of Old Rome, and shall be highly regarded in ecclesiastical matters as that is, and shall be second after it. After Constantinople shall be ranked the See of Alexandria, then that of Antioch, and afterwards the See of Jerusalem."


title: Pentarchy

text: The 7th and 8th centuries saw an increasing attribution of significance to the pentarchy as the five pillars of the Church upholding its infallibility: it was held to be impossible that all five should at the same time be in error. They were compared to the five senses of the human body, all equal and entirely independent of each other, and none with ascendancy over the others.


title: Pentarchy

text: The Byzantine view of the pentarchy had a strongly anti-Roman orientation, being put forward against the Roman claim to the final word on all Church matters and to the right to judge even the patriarchs. This was not a new claim: in about 446 Pope Leo I had expressly claimed authority over the whole Church: "The care of the universal Church should converge towards Peter's one seat, and nothing anywhere should be separated from its Head." In a synod held in Rome in 864, Pope Nicholas I declared that no ecumenical council could be called without authorization by Rome; and, until Pope Hadrian II (867–872), none of the Popes recognized the legitimacy of all four eastern patriarchs, but only those of Alexandria and Antioch.


title: Pentarchy

text: The principal adviser of the two last-named popes, Anastasius Bibliothecarius, accepted the Byzantine comparison of the pentarchy with the five senses of the human body, but added the qualification that the patriarchate of Rome, which he likened to the sense of sight, ruled the other four.


title: Pentarchy

text: While the theory of the pentarchy is still upheld by the Greek Orthodox Church successor to the Byzantine Church, it is questioned by other Eastern Orthodox, who view it as "a highly artificial theory, never implemented until the great 5c. debates over Christology had removed the Alexandrian (Coptic) Church from communion and fatally split the weakened Church of Antioch. In addition the theory's insistence on the sovereignty of these five patriarchs was at least debatable".


title: Pentarchy

text: The five ancient Patriarchates, (the Pentarchy), listed in order of preeminence ranked by the Quinisext Council in 692:


title: Pentarchy

text: By 661, the Muslim Rashidun Caliphate had taken over the territories assigned to the patriarchates of Alexandria, Antioch and Jerusalem, which thereafter were never more than partially and temporarily recovered. In 732, Leo III the Isaurian, in revenge for the opposition of Pope Gregory III to the emperor's iconoclast policies, transferred Sicily, Calabria and Illyria from the patriarchate of Rome (whose jurisdiction until then extended as far east as Thessalonica) to that of Constantinople. The Constantinople patriarchate, after expanding eastward at the time of the Council of Chalcedon to take in Pontus and Asia, which still remained under the emperor's control, thus expanded equally to the west, and was practically coextensive with the empire.


title: Pentarchy

text: Nearly all the Byzantine writers who treated the subject of the pentarchy assumed that Constantinople, as the seat of the ruler of the empire and therefore of the world, was the highest among the patriarchates and, like the emperor, had the right to govern them. This feeling was further intensified after the East–West Schism in 1054, which reduced the pentarchy to a tetrarchy, but it existed long before that. The idea that with the transfer of the imperial capital from Rome to Constantinople primacy in the Church was also transferred is found in undeveloped form as early as John Philoponus (c. 490 – c. 570); it was enunciated in its most advanced form by Photios I of Constantinople (c. 810 – c. 893), and was embraced by his successors, including Callistus Ι (1350–1353, 1355–1363), Philotheus (1353–1354, 1364–1376), and Nilus (1379–1388).


title: Pentarchy

text: Thus, for the Byzantines of the first half of the second millennium, the government of the Christian Church was a primacy belonging to the patriarchate of Constantinople, which however was choosing not to insist on it with regard to the west. This was illustrated by Nilus Doxapatris, who in 1142–43 insisted strongly on the primacy of the Church of Constantinople, which he regarded as inherited from Rome because of the transfer of the capital and because Rome had fallen into the hands of the barbarians, but who expressly restricted Byzantine authority to the other three eastern patriarchates. Patriarch Callistus, mentioned above, did the same about two hundred years later. "In other words, Rome was definitely excluded from the Constantinopolitan sphere of influence and put on a par with Constantinople, as can be inferred from Nilus's statement that the bishops of Constantinople and Rome, and only these two, were called oecumenical patriarchs."


title: Pentarchy

text: The Patriarchate of Constantinople recognized the patriarchal status of the Bulgarian Orthodox Church (Metropolitanate of Preslav) in 927, which thus became the first autocephalous Patriarchate outside the empire recognized by the Orthodox Church. (Recognition had not been granted to the patriarchates of the Church of the East and Oriental Orthodoxy.) The Georgian Orthodox and Apostolic Church became autocephalous in 486 and was elevated to Patriarchate in 1010. The Serbian Orthodox Church became autocephalous in 1219, and was elevated to Patriarchate in 1346 (although deemed schismatic at first). The Russian Orthodox Church (Metropolitanate of Moscow) was recognized as elevated to Patriarchate in 1589.


title: Pentarchy

text: Today the Eastern Orthodox Church includes nine patriarchates: Ecumenical Patriarchate of Constantinople; Patriarchate of Alexandria; Patriarchate of Antioch; Bulgarian Patriarchate; Georgian Patriarchate; Patriarchate of Jerusalem; Russian Patriarchate; Romanian Patriarchate; Serbian Patriarchate.


title: Pentarchy

text: Within the Catholic Church, in addition to Rome itself and Jerusalem, the cities of Venice, Lisbon and Goa also have status as patriarchates, established in 1451, 1716 and 1886 respectively. There have also been Latin Patriarchates for the remainder of the original pentarchy, namely Constantinople, Alexandria and Antioch, but these were all abolished in 1964. There are, however, various Eastern Catholic Patriarchs who lay claim to these sees.


title: Pentarchy

text: The Western Catholic patriarchates are not autocephalous, like their Eastern Catholic counterparts; they are largely honorific titles , and the other patriarchs are all subject to the Patriarch of Rome, i.e. the Pope.


title: Pentarchy

text: The Roman Catholic Church has partially recognized the Pentarchy, as an equal Pentarchy with an order of precedence starting with Rome (immediately followed by Constantinople). Oriental Orthodoxy still holds to the theory of the three Petrine sees. The Assyrian Church of the East does not recognize the pentarchy.


title: Pentarchy

text: The following are the current archbishops of the Pentarchal sees, along with the churches that recognize them.


title: Galaxy Express 999

text: The manga won the Shogakukan Manga Award for shōnen in 1978. The anime series won the Animage Anime Grand Prix prize in 1981.


title: Galaxy Express 999

text: Matsumoto was inspired to create "Galaxy Express 999" by the idea of a steam train running through the stars in the novel "Night on the Galactic Railroad" by Kenji Miyazawa.


title: Galaxy Express 999

text: An impoverished ten-year-old named Tetsuro Hoshino desperately wants an indestructible machine body, giving him the ability to live forever and have the freedom that the unmechanized don't have. While machine bodies are impossibly expensive, they are supposedly given away for free in the Andromeda Galaxy, the end of the line for the "Galaxy Express 999", a space train that only comes to Earth once a year.


title: Galaxy Express 999

text: The series begins with Tetsuro and his mother making their way to Megalopolis where they hope to get jobs to pay for passes for the "999". Along the way, however, Count Mecha and a gang of "human hunters" kill Tetsuro's mother. Before she dies, she tells him to continue the journey they started, and to get a machine body to live the eternal life she couldn't. Tetsuro tries to forge on toward the city alone, but is quickly overcome by the brutal cold and wind. As he succumbs, he cries out an apology to his mother for failing to fulfill her wish, and hopes that in his next life he will be born as a robot to begin with.


title: Galaxy Express 999

text: Tetsuro is surprised to awaken by the fireplace in the home of a beautiful woman, Maetel, who is the spitting image of his dead mother. Maetel tells him she had heard the entire incident with a long-range directional microphone she had been idly scanning around the area with. Maetel offers him an unlimited use pass for the "999" if he will be her traveling companion, to which Tetsuro agrees. She provides him with a gun and directs him to the Count's residence, telling him that the Count and his henchmen will be too distracted with their revelries to defend themselves against a surprise attack. Tetsuro bursts in on them in their meeting hall and cuts them down with a spray of gunfire. With the Earth police in hot pursuit, Tetsuro and Maetel flee the planet aboard the "999".


title: Galaxy Express 999

text: Along the way, Tetsuro has many adventures on many different and exotic planets and meets many kinds of people, both human and alien, living and machine. Increasingly, Tetsuro realizes that a machine body won't fix all of his problems. In fact, most of the machine people he meets regret the decision to give up their humanity.


title: Galaxy Express 999

text: Eventually, Tetsuro and Maetel reach the Planet Prometheum, the final stop for the "999". He is shocked by the cruelty and indolence of the machine people there, and witnesses a mechanized human committing suicide, an event to which the others react with scoffs and derision. He asks the dying man why he wished to end his life, and is told that eternal life on Prometheum is utterly empty of joy or purpose. When Tetsuro mentions the name of his traveling companion, the man is horrified and tells him that Maetel is in fact the daughter of Queen Prometheum, the supreme ruler of the Machine Empire, and that she is thoroughly untrustworthy. Tetsuro is outraged at having been kept in the dark and rushes off to confront Maetel. Maetel is at a loss for words, but a government spokeswoman inserts herself into their conversation and begins giving answers on Maetel's behalf. Tetsuro is not impressed and he storms off in a blind fury.


title: Galaxy Express 999

text: Tetsuro doesn't understand why he has been betrayed by Maetel, but Maetel has plans of her own, and seeks to destroy the mechanized civilization. With the help of her father, Dr. Ban (only named in the film), whose consciousness resides in a pendant she wears around her neck, Maetel destroys her mother and the planet. Afterwards, Maetel and Tetsuro return to the penultimate station on the Planet of Bats where Tetsuro tells Maetel his intention to return to Earth and lead it toward a new future.


title: Galaxy Express 999

text: Maetel, proud of Tetsuro for his decision to reject mechanization, tells him she has something to take care of and that he should board first. However, Tetsuro finds a letter from Maetel telling him that it was time for them to part ways. Maetel had secretly boarded the "777" (three-seven), a nearby train, with the intention of "leading another boy to his future". However, it is unclear as to whether or not this means that the Mechanization Empire still exists elsewhere, or if Maetel will lead the boy to some other "future". The series ends as the trains both depart the Planet of Bats.


title: Galaxy Express 999

text: The film version of "Galaxy Express 999", released in 1979. Maetel and Tetsuro again set out for the home planet of the Mechanized Empire, visiting four planets. Planet Maetel is a mechanized world where machine bodies are made.


title: Galaxy Express 999

text: "Adieu Galaxy Express 999" is a 1981 sequel to the film adaptation. "Adieu" presents an entirely new storyline which takes place three years after the destruction of Planet Maetel. The Machine Empire now has even more of a stranglehold over the Galaxy. Rumors are afoot of Maetel becoming its new Queen. Tetsuro, now a fifteen-year-old freedom fighter, is shocked when a messenger brings him news that the "999" is returning, and that Maetel wants him to board it. Tetsuro narrowly makes his way to the "999" and departs Earth, now a battlefield.


title: Galaxy Express 999

text: Although Tetsuro finds that Maetel isn't present on the "999", he does meet Metalmena, a machine woman who has replaced the waitress Claire. Also, a mysterious Ghost Train has been traveling the universe and nearly crashes into the "999". The "999" then pouts about the humiliation of being overtaken by the Ghost Train. The "999" heads to the planet La Metal, portrayed here as the birthplace of Prometheum and Maetel. Here Tetsuro helps in the resistance, befriending a cat-like teenaged-boy named Meowdar. While exploring the ruins of an old castle, Tetsuro discovers a portrait of a beautiful, blonde queen who looks very much like Maetel. He learns that it is, in fact, La Metal's Queen Prometheum, even though she looks nothing like she did at their last confrontation. As the "999" departs, Maetel finally makes her appearance.


title: Galaxy Express 999

text: Shortly after leaving La Metal, the "999" is forced to dock at a station where Tetsuro meets a mysterious machine-man named Faust. When Tetsuro attacks him, Faust causes Tetsuro to drop into a flashback where he must relive his mother's death. The "999" continues on to the planet Mosaic, the last stop before Great Andromeda, capital of the mechanized empire. Here Tetsuro finds the Ghost Train and is nearly killed.


title: Galaxy Express 999

text: The "999" finally makes its way to Great Andromeda where Faust greets Tetsuro once more. Meanwhile, Maetel travels down to the center of the planet where Prometheum's consciousness still exists. Maetel is put in charge of the mechanized empire, just as the rumors said. But, again, she intends to put an end to the operations, and attempts to shut Prometheum's machinery down. She reveals the horrible truth to Tetsuro that the energy the machine people use is actually drained from living human beings, and that they were transported there by the Ghost Train. Tetsuro is shocked to find his old friend Meowdar among a pile of dead, drained bodies. Metalmena shows indifference to Meowdar's death, until Tetsuro reveals the source of the energy she has been existing on. As a patrol of guards comes to arrest the group, Metalmena, disgusted and enraged by what she has learned, attacks and destroys them, apparently at the cost of her own life.


title: Galaxy Express 999

text: Prometheum proves that she cannot be killed with just the flip of a switch, and all seems hopeless. At about the same time, a space anomaly called "Siren the Witch" approaches Great Andromeda, attracted to its abundant energy and absorbing all machine energy. With Great Andromeda collapsing, the "999" is set to depart, but Tetsuro must face Faust one last time. After dealing Faust a fatal blow, it is revealed to Tetsuro that Faust is actually Tetsuro's father (In the manga and television series, it is never made clear what became of Tetsuro's father). The "999" heads back to La Metal where Maetel and Tetsuro separate for the last time, and "the boy [Tetsuro] becomes a man".


title: Galaxy Express 999

text: Two songs written and performed by Mary MacGregor, 'Love Light' and the ending theme "Sayonara" were used for the film. Kumiko Kaori recorded a Japanese version of the ending song.


title: Galaxy Express 999

text: In 1996, Matsumoto began a new "GE999" series, set a year after the original, in which the Earth is destroyed and Tetsuro sets out to discover the source of the "darkness" that threatens all life in the universe.


title: Galaxy Express 999

text: The film "Galaxy Express 999: Eternal Fantasy" was released in 1998. This film takes place a few years after the events of Adieu Galaxy Express 999 (2nd anime) and is the third film in the anime series, where Maetel and Tetsuro reunite to save the universe again from another evil. It also serves as a link between this film and "The Galaxy Railways".


title: Galaxy Express 999

text: Also, Space Battleship "Yamato", from the Japanese show of the same name and the English version "Star Blazers", which are both Matsumoto creations, makes a cameo appearance


title: Galaxy Express 999

text: The manga has been partially published in English by Viz. The film was released by Discotek Media on DVD on October 16, 2012 and Blu-ray in 2020. The latter will include a newly produced English dub by Sound Cadence Studios in Dallas, Texas with a new cast.


title: Galaxy Express 999

text: This two-part OVA from 2000 serves as a prelude for "Galaxy Express 999" and explains the series' backstory. Maetel, the protagonist, is the daughter of Queen Prometheum of the Planet La Metal (both from "Queen Millennia"), a wandering planet, and one of the first civilizations to have mechanized their bodies. As Queen Promethium becomes fearful of the natural decline of her people's lifespan on their freezing world, which has fallen out of orbit, she decides to mechanize them all, in order to enable her people to survive the harsh climate. The complete series was released on DVD by Central Park Media.


title: Galaxy Express 999

text: Following on from "Maetel Legend", this 13-part OVA from 2004 reveals that the newly created machine people of La Metal began to mechanise galaxy after galaxy against the will of many humans, and ended up creating rebellions and revolutions. Maetel is asked to return to La Metal to succeed her mother, only to discover the many hardships her mother has inflicted on the humans.


title: Galaxy Express 999

text: In this series, Captain Harlock and Emeraldas (Maetel's sister) also appear, and work together to assassinate Prometheum, along with Maetel. Parallels with "Galaxy Express 999" are prevalent. Instead of a boy who wants a mechanized body meeting her, she met a boy who has a grudge against Prometheum and detests being mechanized.


title: Galaxy Express 999

text: This OVA series was released from December 30, 2006 to January 5, 2007 (on SKY PerfectTV!) in Japan. The story takes place between Seasons 1 and 2 of "Galaxy Railways: Crossroad to Eternity", and presumably after the events of "Galaxy Express 999: Eternal Fantasy", where the Earth has since been destroyed. The OVAs featured Maetel, Tetsuro, and the Conductor, with their original voice actors from the "Galaxy Express 999" television series.


title: Galaxy Express 999

text: For unknown reasons, this series started production earlier than "Galaxy Railways: Crossroad to Eternity", but was aired much later.


title: Galaxy Express 999

text: A manga re-telling of the original manga illustrated by Yuzuru Shimazaki began serialization in Akita Shoten's "Champion Red" magazine on March 19, 2018. The manga was part of a project celebrating Matsumoto's 80th birthday.


title: Galaxy Express 999

text: In 1980, Roger Corman produced an English-language dub of the first "Galaxy Express 999" movie. The movie changed the character names (for example changing Tetsuro to Joey and Harlock to Warlock), and removed approximately 30 minutes of content. Antonia Levi, the author of "Samurai from Outer Space" said that the edited film, released by New World Pictures, was "heavily edited" and that "many "otaku" consider it too damaged to watch."


title: Galaxy Express 999

text: In 1986, Harmony Gold produced rarely seen English dubs of two of the "GE999" television specials, "Galaxy Express 999: Can You Live Like a Warrior?" and "Galaxy Express 999: Can You Love Like a Mother?"


title: Galaxy Express 999

text: The first movie was dubbed into English again in 1996 by Viz, titled "Galaxy Express 999: The Signature Edition". Released on VHS, this dub was produced by Ocean Studios in Vancouver, British Columbia, and was more true to the source material. Viz also released "Adieu, Galaxy Express 999" subbed and dubbed on VHS. They were never released on R1 DVD by the company. For years, the only official English-language release of "Galaxy Express 999" material on DVD were a Korean release of the two movies which utilizes Viz's subtitle scripts. The English dubs of both films were run regularly on the Canadian channel Space in 1997 and 1998. They were also run in a very heavily edited form on the American Sci-Fi Channel.


title: Galaxy Express 999

text: Viz later released five volumes of the second "Galaxy Express" manga, which was the basis for the third film, "Galaxy Express 999: Eternal Fantasy". The original manga has yet to be officially translated into English.


title: Galaxy Express 999

text: A subtitled version of the television series was available on IGN's Direct2Drive service. The streaming website Crunchyroll began streaming a subtitled version on January 9, 2009.


title: Galaxy Express 999

text: DVD versions of both "Galaxy Express 999" and "Adieu, Galaxy Express 999" were released in the United States on June 28, 2011 by Discotek Media. Both DVD's feature the English subbed and dubbed (Viz dub) versions of the movies. Discotek also released "Eternal Fantasy" on DVD on October 16, 2012. It is in Japanese only, but with English subtitles. A Blu-ray release with a newly produced English dub was released in 2020. This dub was produced by Sound Cadence Studios in Dallas, Texas with a new cast.


title: Galaxy Express 999

text: The television series was licensed for a subtitled North American home video release by S'more Entertainment in 2012 as one their first anime releases.


title: Galaxy Express 999

text: During Otakon 2018 on August 12, Discotek Media announced three Blu-ray sets for the entire show in the coming months. Discotek Media's releases will contain a new upscale that preserves more detail and grain, in contrast to Toei Company's Blu-ray Boxes that showed smeared colors to make the picture look smooth. Discotek's first collection, titled "Departure", which contains episodes 1-39, was released on December 24, 2019, followed by "Layover" on July 28, 2020, which contains episodes 40-76 and includes the TV Special "Can You Live Like a Warrior?", whose Harmony Gold dub has been restored for this release. The third collection "Terminus" was released on September 29, 2020. It contained episodes 77-113 along with TV Specials "Eternal Wanderer Emeraldas" and "Can You Love Like a Mother?", the latter's dub also being restored.


title: Galaxy Express 999

text: Game designer Fumito Ueda cited "Galaxy Express 999" as an inspiration behind his video game "Ico" (2001), which was influenced by the manga's relationship involving a woman who is a guardian for the young hero as they adventure through the galaxy.


title: Angela Bettis

text: Angela Marie Bettis (born January 9, 1973) is an American actress, film producer, and director. Following her breakthrough role as Janet Webber in the drama film "Girl, Interrupted" (1999), she earned acclaim for her portrayals of Carrietta White in the television film "Carrie" (2002) and the titular character in the psychological horror film "May" (2002). For "May", she won the Brussels International Festival Award for Best Actress, the Catalan International Film Festival Award for Best Actress and the Fangoria Chainsaw Award for Best Actress. She went on to play Belle Cleek in the horror film "The Woman" (2011) and Mandy in the black comedy film "12 Hour Shift" (2020). For "12 Hour Shift", she earned a nomination for the Critics' Choice Award for Best Actress in a Horror Movie.


title: Angela Bettis

text: In addition to her work in film, Bettis also starred in two Broadway productions: "The Father" in 1996 with Frank Langella and as Abigail Williams in a 2002 revival of Arthur Miller's "The Crucible" alongside Liam Neeson and Laura Linney.


title: Angela Bettis

text: Her debut role was a lead in the romantic tragedy, "Sparrow", directed by Franco Zeffirelli, at the age of 18. She later went on to star in a film called "The Last Best Sunday", before supporting Winona Ryder in "Girl, Interrupted" and Kim Basinger in "Bless the Child".


title: Angela Bettis

text: In 2002, she starred as Abigail Williams in a production of "The Crucible" on Broadway alongside Laura Linney and Liam Neeson. Bettis is most famous for her work in independent horror films, and especially her working relationship with writer/director Lucky McKee. Her title role in McKee's 2002 film "May" won her something of a cult following. Since then, she has appeared in McKee's "Masters of Horror" episode "Sick Girl" and provided a voice-over for his film "The Woods". In 2006, their "May" roles reversed, when McKee acted for Bettis in her directorial debut, "Roman", based on a McKee script. In 2011, she played a major role in McKee's adaptation of Jack Ketchum's "The Woman".


title: Angela Bettis

text: Bettis starred as Carrietta White in "Carrie", a made-for-TV remake of Brian De Palma's 1976 classic, in which her performance was singled out for praise. Linda Stasi of the "New York Post" was positively surprised by her performance and stated that Bettis should win an Emmy for her acting. Ron Wertheimer, who wrote for "The New York Times", said that Bettis expressed the character's emotions well, and lamented that the film "affords Ms. Bettis few opportunities for such genuine acting".


title: Angela Bettis

text: She headlined Tobe Hooper's "Toolbox Murders", an in-name-only remake of an obscure 1970s horror film.


title: Angela Bettis

text: She also starred in the crime thriller "Scar". She had a guest role on the TV show "Dexter's" fifth season as Emily Birch, the first victim of Jordan Chase.


title: Where the Streets Have No Name

text: "Where the Streets Have No Name" is a song by Irish rock band U2. It is the opening track from their 1987 album "The Joshua Tree" and was released as the album's third single in August 1987. The song's hook is a repeating guitar arpeggio using a delay effect, played during the song's introduction and again at the end. Lead vocalist Bono wrote the lyrics in response to the notion that it is possible to identify a person's religion and income based on the street on which they lived, particularly in Belfast. During the band's difficulties recording the song, producer Brian Eno considered erasing the song's tapes to have them start from scratch.


title: Where the Streets Have No Name

text: "Where the Streets Have No Name" was praised by critics and became a commercial success, peaking at number thirteen in the US, number fourteen in Canada, number ten in the Netherlands, and number four in the United Kingdom. The song has remained a staple of their live act since the song debuted in 1987 on The Joshua Tree Tour. The song was performed on a Los Angeles rooftop for the filming of its music video, which won a Grammy Award for Best Performance Music Video.


title: Where the Streets Have No Name

text: The music for "Where the Streets Have No Name" originated from a demo that guitarist The Edge composed the night before the group resumed "The Joshua Tree" sessions. In an upstairs room at Melbeach House—his newly purchased home—he used a four-track tape machine to record an arrangement of keyboards, bass, guitar, and a drum machine. Realising that the album sessions were approaching the end and that the band were short on exceptional live songs, he wanted to "conjure up the ultimate U2 live-song", so he imagined what he would like to hear at a future U2 show if he were a fan. After finishing the rough mix, he felt he had come up with "the most amazing guitar part and song of [his] life". With no one in the house to share the demo with, he recalls dancing around and punching the air in celebration.


title: Where the Streets Have No Name

text: Although the band liked the demo, it was difficult for them to record the song. Bassist Adam Clayton said, "At the time it sounded like a foreign language, whereas now we understand how it works". The arrangement, with two time signature shifts and frequent chord changes, was rehearsed many times, but the group struggled to get a performance they liked. According to co-producer Daniel Lanois, "that was the science project song. I remember having this massive schoolhouse blackboard, as we call them. I was holding a pointer, like a college professor, walking the band through the chord changes like a fucking nerd. It was ridiculous." Co-producer Brian Eno estimates that half of the album sessions were spent trying to record a suitable version of "Where the Streets Have No Name". The band worked on a single take for weeks, but as Eno explained, that particular version had a lot of problems with it and the group continued trying to fix it up. Through all of their work, they had gradually replaced each instrument take until nothing remained from the original performance.


title: Where the Streets Have No Name

text: So much time had been spent on "screwdriver work" that Eno thought it would be best to start from scratch. His idea was to "stage an accident" and have the song's tapes erased. He said that this was not to force abandonment of the song, but rather that it would be more effective to start again with a fresh performance. At one point, Eno had the tapes cued up and ready to be recorded over, but this erasure never took place; according to engineer Flood, fellow engineer Pat McCarthy returned to the control room and upon seeing Eno ready to erase the tapes, dropped the tray of tea he was carrying and physically restrained Eno.


title: Where the Streets Have No Name

text: The studio version of the song was compiled from several different takes. It was one of several songs mixed by Steve Lillywhite in the final months of recording "The Joshua Tree". Drummer Larry Mullen Jr. later said of the song, "It took so long to get that song right, it was difficult for us to make any sense of it. It only became a truly great song through playing live. On the record, musically, it's not half the song it is live."


title: Where the Streets Have No Name

text: "Where the Streets Have No Name" is played in the key of D major at a tempo of 126 beats per minute. The introduction and outro are played in a time signature, while the remainder of the song is in a common signature. The song opens with an instrumental section, starting with chorale-like sustained synthesiser notes. The guitar fades in after 40 seconds; this part consists of a repeated "chiming" six-note arpeggio. A "dotted eighth" delay effect is used to "play" each note in the arpeggio twice, thus creating a rich sound. The bass and drums enter at 1:10.


title: Where the Streets Have No Name

text: The introduction, following a I–IV–I–IV–vi–V–I chord progression, creates a "wall of sound", as described by Mark Butler, against which the vocals emerge after nearly two minutes. The guitar part played for the remainder of the song features The Edge strumming percussive sixteenth notes. The bass and drums continue in regular eighth and sixteenth notes, respectively, while Bono's vocal performance, in contrast, varies greatly in its timbre, ("he sighs; he moans; he grunts; he exhales audibly; he allows his voice to crack") as well as timing by his usage of rubato to slightly offset the notes he sings from the beat.


title: Where the Streets Have No Name

text: This development reaches a climax during the first chorus at the line "burning down love" (A–G–F–D); the melody progresses through a series of scale degrees that lead to the highest note in the song, the A4 at "burning". In later choruses, Bono sings "blown by the wind" with the same melody, stretching the same note even longer. After the third chorus, the song's outro is played, the instrumentation reverting to the same state as it was in the introduction, with a six-note guitar arpeggio played against sustained synthesiser notes.


title: Where the Streets Have No Name

text: The lyrics were inspired by a story that Bono heard about Belfast, Northern Ireland, where a person's religion and income were evident by the street on which they lived. He contrasted this with the anonymity he felt when visiting Ethiopia, saying: "the guy in the song recognizes this contrast and thinks about a world where there aren't such divisions, a place where the streets have no name. To me, that's the way a great rock 'n' roll concert should be: a place where everyone comes together... Maybe that's the dream of all art: to break down the barriers and the divisions between people and touch upon the things that matter the most to us all." Bono wrote the lyrics while on a humanitarian visit to Ethiopia with his wife, Ali; he first wrote them down on an airsickness bag while staying in a village.


title: Where the Streets Have No Name

text: According to him, the song is ostensibly about "Transcendence, elevation, whatever you want to call it." Bono, who compared many of his lyrics prior to "The Joshua Tree" to "sketches", said that "'Where the Streets Have No Name' is more like the U2 of old than any of the other songs on the LP, because it's a sketch—I was just trying to sketch a location, maybe a spiritual location, maybe a romantic location. I was trying to sketch a feeling."


title: Where the Streets Have No Name

text: The open-ended nature of the lyrics has led to many interpretations. Journalist Michael Campbell believed the lyrics send "a message of hope" and wish for a "world that is not divided by class, wealth, race, or any other arbitrary criterion". With regard to the place Bono was referring to in the song, he said, "I'm not sure, really, about that. I used to think it was Belfast..." Journalist Niall Stokes believes the title was influenced by Bono's and his wife Ali's visit to Ethiopia as volunteer aid-workers. Bono has expressed mixed opinions about the open-ended lyrics: "I can look at it now and recognize that [the song] has one of the most banal couplets in the history of pop music. But it also contains some of the biggest ideas. In a curious way, that seems to work. If you get any way heavy about these things, you don't communicate. But if you're flip or throwaway about it, then you do. That's one of the paradoxes I've come to terms with."


title: Where the Streets Have No Name

text: In a 2017 interview, Bono said he still felt that the song's lyrics were incomplete, stating "lyrically it's just a sketch and I was going to go back and write it out". He expressed regret for rhyming "hide" with "inside". However, the Edge disagreed with his comments, stating that he loves the song and that Bono is "very hard on himself". Eno responded by commending the "incomplete" lyrics because he feels "they allow the listener to finish them".


title: Where the Streets Have No Name

text: Originally, the third single from "The Joshua Tree" was meant to be the song "Red Hill Mining Town", but "Where the Streets Have No Name" was released instead, in August 1987. The single was released on 7-inch, 12-inch, cassette and CD single formats. Three B-sides were featured on the single, including "Race Against Time", "Silver and Gold", and "Sweetest Thing", except for the 7-inch release, which only featured the latter two tracks. The 12-inch single featured "Race Against Time" on side A of the record (despite being a "B-side"), and the cassette single featured all four tracks on both sides of the tape. Although not as successful as the album's first two singles, the song did chart well. In the U.S., the song peaked at number 13 on the "Billboard" Hot 100 and number 11 on the Album Rock Tracks charts. The song reached number four on the UK Singles Chart, and it topped the Irish Singles Chart.


title: Where the Streets Have No Name

text: The video begins with an aerial shot of a block in Los Angeles, and clips of radio broadcasts are heard with disc jockeys stating that U2 is planning on performing a concert downtown and expecting crowds of 30,000 people. Police show up to the set and inform the band's crew of the security issue that the film shoot is causing.


title: Where the Streets Have No Name

text: Two minutes into the video, U2 are seen on the roof of a liquor store at the corner of 7th St. and S. Main St., and perform "Where the Streets Have No Name" to a large crowd of people standing in the streets surrounding the building. Towards the end of the song, the police tell the crew that the performance is about to be shut down, and eventually police walk onto the roof while the crowd are booing the police.


title: Where the Streets Have No Name

text: The video for "Where the Streets Have No Name" was directed by Meiert Avis and produced by Michael Hamlyn and Ben Dossett. The band attracted over 1,000 people during the video's filming, which took place on the rooftop of a liquor store in Downtown Los Angeles on 27 March 1987. The band's performance on a rooftop in a public place was a reference to the Beatles' final concert, as depicted in the film "Let It Be".


title: Where the Streets Have No Name

text: During the shoot U2 played an eight-song set, which included four performances of "Where the Streets Have No Name". Prior to filming, a week was spent reinforcing the roof of the liquor store to ensure it would not collapse if it were to be intruded by a group of fans. A backup generator was put on the roof so the shooting could continue in the event that the authorities shut off the power on the primary generator, which happened during filming.


title: Where the Streets Have No Name

text: The depiction of the police attempting to shut down the filming due to safety concerns actually happened during filming, just as seen in the video. Hamlyn was almost arrested following a confrontation with the police. According to Avis, the events depicted in the video show what actually happened that day "almost in real time", and that "getting busted was an integral part of the plan." Band manager Paul McGuinness revealed in 2007 that much of the confrontation with the police was exaggerated; the group were hoping to get shut down by the authorities in order to dramatize the music video, but the police continually gave them extensions for shooting the video. In the background of the video is a sign for The Million Dollar Hotel, which was rebuilt to create some interest, in case no one showed up at the film shoot. Although the video is of a live performance, the audio used is from the studio-recorded version of the song. The video won the Grammy Award for Best Performance Music Video at the 1989 Grammy Awards.


title: Where the Streets Have No Name

text: "Race Against Time" was released on the 12-inch, cassette, and CD versions of the single. The song developed from the band's interest in urban funk, and was described by The Edge as "a kind of Afro-rhythmic piece" and "a study in rhythm." The bass riff in the song, inspired by the bodhrán, was played by The Edge, but stemmed from some of Clayton's unused bass parts. Mullen's drum part was recorded in a single take. The song is primarily an instrumental piece but does contain some lyrics inspired by Bono's trip to Ethiopia after Live Aid and his witnessing firsthand the famine in occurrence; these lyrical references include Bono singing in an Ethiopian language and following it with the phrase "Race against time". Bono said of the song, "It reminds me of the desert. The desert is so empty, but it aches with a strange kind of fullness." John Hutchinson of "Musician" magazine described the song as having an "African flavour" and as being reminiscent of Peter Gabriel. The track was used in the "Miami Vice" episode "Child's Play",


title: Where the Streets Have No Name

text: "Silver and Gold" was written in support of the Artists United Against Apartheid project, which protested the South African apartheid. In 1985, Bono participated in Steven Van Zandt's anti-apartheid "Sun City" project and spent time with Keith Richards and Mick Jagger of The Rolling Stones. When Richards and Jagger played blues, Bono was embarrassed by his lack of familiarity with the genre, as most of U2's musical knowledge began with punk rock in their youth in the mid-1970s. Bono realised that U2 "had no tradition", and he felt as if they "were from outer space". This inspired him to write the blues-influenced song "Silver and Gold", which he recorded with Richards and Ronnie Wood. It was re-recorded by U2 for the "Where the Streets Have No Name" single while the band returned to Dublin in May 1987 during a break between the first and second legs of The Joshua Tree Tour. The song was described by "Musician" as "tough and raw, with Bono in husky and confident voice, underpinned by a sinuous bass line, and with The Edge demonstrating his newfound prowess in blues-based guitar." "Silver and Gold" was played live on The Joshua Tree Tour several times, one performance of which was featured on the band's 1988 album and rockumentary, "Rattle and Hum". Both the studio recording and the Sun City versions were later featured on the bonus disc of the 20th anniversary edition of "The Joshua Tree". The studio version was also included on the limited edition B-sides bonus disk of the band's first compilation album, "The Best of 1980–1990".


title: Where the Streets Have No Name

text: "Sweetest Thing" was written by Bono as an apology to his wife for forgetting her birthday. The song opens with a short piano piece before the rest of the band begins to play. Some of Bono's lyrics have been described as reminiscent of John Lennon. The Edge described it as "a beautiful song... which is pop as it should be—not produced out of existence, but pop produced with a real intimacy and purity", also noting that "It's very new for us." It was re-recorded with some lyrical alterations and released in 1998 as a single in its own right for "The Best of 1980–1990". "Hot Press" editor Niall Stokes stated that this track, along with "Race Against Time", is "an indicator of what U2 might have made instead of "The Joshua Tree"."


title: Where the Streets Have No Name

text: Upon the release of "The Joshua Tree", critics praised "Where the Streets Have No Name". Steve Morse of "The Boston Globe" noted the "bell-like tones from the Edge fram[e] a search for heaven" and along with the subsequent track on the album, "I Still Haven't Found What I'm Looking For", these songs showed how the group were "pilgrims still on a quest; not preachers who claim to have found answers". "The Bergen Record" echoed these sentiments, saying the tracks demonstrated how the band was on a personal and spiritual quest. "Rolling Stone" called it "assertive rock" in their review of "The Joshua Tree". The "San Diego Union-Tribune" said of "Where the Streets Have No Name", "the music charges, like someone fleeing for life". "The Washington Post" said the track is "a bit oblique lyrically, but the implications are clear in Bono's resolute delivery, Dave (the Edge) Evan's quavering guitar, Adam Clayton's cathedral bass and Larry Mullen's rolling thunder drums". "Cash Box" said that it's an "achingly beautiful rocker" with "incredible raw emotion and power."


title: Where the Streets Have No Name

text: "NME" lauded the song as the opening track by saying the album "starts by spitting furiously". The publication praised Bono's impassioned singing and The Edge's guitar playing, which transformed the instrument into "something more than an endlessly abused piece of wood". The review commented that the "last ten seconds are breathtakingly beautiful". "The Rocket" wrote that the song builds a "wall of sound" that Bono's vocals cut through with a "wail of desperation, as the lyrics agonize the need for personal spirituality". The reviewer compared the opening riff to Simple Minds' "Ghostdancing". Reviewing "The Joshua Tree", Stephen Thomas Erlewine of Allmusic called the song an "epic opener". The service's Steve Huey, in a review of the song, praised its "insistent, propulsive rhythmic drive and anthemic chorus", qualities he singled out for making it a fan favorite. He called the song the "perfect album-opener", crediting the "slow build of its arrangement toward a climactic peak". Huey also called Bono's delivery "passionate and grandiose" and "his commitment to the material unshakable". He believed the combination of his vocals and the band's "sonic power" is what gave U2 its "tremendous force".


title: Where the Streets Have No Name

text: "Where the Streets Have No Name" made its concert debut on 2 April 1987 at Arizona State University Activity Center in Tempe, Arizona on the opening night of The Joshua Tree Tour. A version featuring an extended introduction was performed on the closing nights of the third leg of The Joshua Tree tour, again in Tempe, Arizona, on December 19 & 20, 1987, and footage from the performance was featured in the "Rattle and Hum" film. The song has since been played at nearly every full-length concert that U2 has headlined, totaling upwards of 900 performances . The song is widely regarded as one of the group's most popular live songs. Bono said of it, "We can be in the middle of the worst gig in our lives, but when we go into that song, everything changes. The audience is on its feet, singing along with every word. It's like God suddenly walks through the room."


title: Where the Streets Have No Name

text: On The Joshua Tree Tour, "Where the Streets Have No Name" was most often used to open concerts. Fans and critics responded favourably to the song in a live setting. The "San Diego Union-Tribune" wrote that, "From the lofty sonic opening strains of [the song], this audience was up, ecstatic and inflamed." "NME" wrote that the song is one such occasion where "the power afforded their songs is scary", noting that during the song's opening, "the arena ERUPTS". In other reviews, the song was called: "uplifting", "exhilarating", and "powerful". Out of the 109 shows during The Joshua Tree Tour, "Streets" was played at all except 12 of the concerts. During the Lovetown Tour which took place in 1989 and the beginning of 1990, "Streets" was only left out of the set list at one of the 47 concerts.


title: Where the Streets Have No Name

text: The song was performed at every show on the 1992–1993 Zoo TV Tour. Concerts from this tour were elaborate multimedia spectacles that Bono performed as a variety of characters, but for the end of the main set, the group reverted to playing classics, including "Where the Streets Have No Name", straight. Some of these performances of the song were accompanied by footage of the group in the desert from "The Joshua Tree" photo shoot. The video was speeded up for humorous effect—"NME" described the effect as giving it a "silly, Charlie Chaplin quality"—and Bono often acknowledged his younger self on the video screens. This video would make a return during performances on the 2010 and 2011 legs of the U2 360° Tour. Some of the Zoo TV performances of the song had a more electronic dance music arrangement that bore a resemblance to the Pet Shop Boys' synthpop cover of the song (titled "Where the Streets Have No Name (I Can't Take My Eyes off You)"). Bono parodied this by occasionally adopting the deadpan vocal style used in the Pet Shop Boys' interpretation. Critics welcomed the song in the group's set list: "The Independent" said the song "induces instant euphoria, as U2 do what they're best at, slipping into epic rock mode, playing music made for the arena". In two other local newspaper reviews, critics praised the song's inclusion in a sequence of greatest hits.


title: Where the Streets Have No Name

text: For the PopMart Tour of 1997–1998, U2 returned to the electronic dance arrangement they occasionally played on the Zoo TV Tour. The set's massive video screen displayed a video that "Hot Press" described as an "astonishing, ""-style trip into the heart of a swirling, psychedelic tunnel that sucks the audience in towards a horizontal monolith". Near the end of the song, peace doves were shown on the screen and bright beams of light flanking the set's golden arch were projected upwards. "Hot Press" said the effect transformed the stadium into a "UFO landing site".


title: Where the Streets Have No Name

text: Shortly before the third leg of the Elevation Tour, the September 11 attacks occurred in New York City and Washington D.C. During the band's first show in New York City following the attacks, the band performed "Where the Streets Have No Name", and when the stage lights illuminated the audience, the band saw tears streaming down the faces of many fans. The experience was one inspiration for the song "City of Blinding Lights". The band paid tribute to the 9/11 victims during their performance of the song at the Super Bowl XXXVI halftime show on 3 February 2002. The performance featured the names of the September 11 victims projected onto a large white banner behind the band, and concluded with Bono opening up his jacket to reveal the Star Spangled Banner. U2's appearance was later ranked number 1 on "Sports Illustrated"s list of "Top 10 Super Bowl Halftime Shows".


title: Where the Streets Have No Name

text: For the Vertigo Tour, the group originally considered dropping the song from their set lists, but Mullen and Clayton successfully argued against this. All 131 of the Vertigo Tour concerts featured a performance of the song, which were accompanied by the stage's LED video curtains displaying African flags. On the tour's opening night, this reminded Bono that he had originally written the lyrics in an Ethiopian village. He thought this visual accompaniment made the song come full circle, saying, "And here it was, nearly twenty years later, coming back to Africa, all the stuff about parched lands and deserts making sense for the first time." The song was also played at the preview screening of the band's concert film "U2 3D" at the 2007 Cannes Film Festival. At the Glastonbury Festival 2010, The Edge accompanied rock band Muse for a live cover version of the track, later playing it with U2 while headlining Glastonbury in 2011.


title: Where the Streets Have No Name

text: During the Joshua Tree Tour 2017, "Where the Streets Have No Name" leads off the middle act of the show, the sequential playing of the "Joshua Tree" album. It is accompanied by the first of several short films depicting desert landscapes that were created by photographer Anton Corbijn.


title: Where the Streets Have No Name

text: Live performances of "Where the Streets Have No Name" appear in the concert video releases "Rattle and Hum", "", and "", as well as the respective audio releases of the latter two concerts, "Zoo TV Live" and "Hasta la Vista Baby! U2 Live from Mexico City". A second version from the PopMart Tour was featured on "", and later on the U.S. "Please" single. A live recording from Boston during the Elevation Tour was featured in the concert film "", and on the "Walk On" and "Electrical Storm" singles. The concert video and album "" featured another performance from the Elevation Tour, and later performances were featured in the concert films "" and "U2 3D" (Vertigo Tour), and "U2 360° at the Rose Bowl" (U2 360° Tour). The 2004 digital album, "Live from the Point Depot", contains a performance from the Lovetown Tour, only available as part of "The Complete U2" digital box set.


title: Where the Streets Have No Name

text: In 2002, "Q" magazine named "Where the Streets Have No Name" the 16th-"most exciting tune ever". The following year, "Q" ranked the song at number 459 in a special issue of the "1001 Best Songs Ever". Three years later, the magazine's readers voted the track the 43rd-greatest song in history. "Rolling Stone" ranked the song at number 28 on its list of the "100 Greatest Guitar Songs of All Time." In a 2010 poll by fan site @U2, approximately 29% of 4,800 respondents named "Where the Streets Have No Name" as their favourite song from "The Joshua Tree", ranking it as the most popular song from the album. "Consequence of Sound" ranked the song 63rd on its 2012 list of the "100 Greatest Songs of All Time". That same year, "Slant Magazine" published a list of its "100 Best Singles of the 1980s" and placed "Where the Streets Have No Name" 63rd. In 2014, "NME" ranked the song 404th on its list of the "500 Greatest Songs of All Time". In 2019, "Rolling Stone" ranked the song number six on their list of the 50 greatest U2 songs, and in 2020, "The Guardian" ranked the song number one on their list of the 40 greatest U2 songs. In 2022, "New York Magazine's" Vulture.com ranked the song at number one in its list of all 234 U2 songs.


title: King Arthur's family

text: King Arthur's family grew throughout the centuries with King Arthur's legend. Many of the legendary members of this mythical king's family became leading characters of mythical tales in their own right.


title: King Arthur's family

text: In Welsh Arthurian pre-Galfridian tradition, meaning from before the time of Geoffrey of Monmouth's 12th-century "Historia Regum Britanniae" ("History of the Kings of Britain"), Arthur was granted numerous relations and family members. Several early Welsh sources are usually taken as indicative of Uther Pendragon being known as Arthur's father before Geoffrey wrote, with Arthur also being granted a brother (Madog) and a nephew (Eliwlod) in these texts. Arthur also appears to have been assigned a sister in this material – Gwalchmei is named as his sister-son (nephew) in "Culhwch and Olwen", his mother being one Gwyar. "Culhwch and Olwen", the "Vita Iltuti" and the "Brut Dingestow" combine to suggest that Arthur's own mother was named Eigyr. "Culhwch and Olwen" also gives Arthur's half-brother as Gormant, son of Arthur's mother and Ricca, the chief elder of Cornwall, a parallel of later stories of Gorlois, Duke of Cornwall.


title: King Arthur's family

text: The genealogies from the 13th-century Mostyn MS. 117 assert that Arthur is the son of Uthyr, the son of Custennin, the son of Cynfawr, the son of Tudwal, the son of Morfawr, the son of Eudaf, the son of Cadwr, the son of Cynan, the son of Caradoc, the son of Bran, the son of Llŷr. Regarding Arthur's own family, his wife is consistently stated to be Gwenhwyfar, usually the daughter of King Ogrfan Gawr (variation: 'Gogrfan Gawr', "[G]Ogrfan the Giant") and sister to Gwenhwyfach, although "Culhwch" and "Bonedd yr Arwyr" do indicate that Arthur also had some sort of relationship with Eleirch daughter of Iaen, which produced a son named Kyduan (Cydfan). Kyduan was not the only child of Arthur according to Welsh Arthurian tradition – he is also ascribed sons called Amr (Amhar), Gwydre, Llacheu and Duran. (See the Offspring section for further information about Arthur's children.)


title: King Arthur's family

text: In addition to this immediate family, Arthur was said to have had a great variety of more distant relatives, including maternal aunts, uncles, cousins and a grandfather named Anlawd (or Amlawdd) Wledig ("Prince Anlawd"). The latter is the common link between many of these figures and Arthur: thus the relationship of first cousins that is implied or stated between Arthur, Culhwch, Illtud, and Goreu fab Custennin depends upon all of their mothers being daughters of this Anlawd, who appears to be ultimately a genealogical construct designed to allow such inter-relationships between characters to be postulated by medieval Welsh authors. Arthur's maternal uncles in "Culhwch and Olwen", including Llygatrud Emys, Gwrbothu Hen, Gweir Gwrhyt Ennwir and Gweir Baladir Hir, similarly appear to derive from this relationship.


title: King Arthur's family

text: Relatively few members of Arthur's family in the Welsh materials are carried over to the works of Geoffrey of Monmouth and chivalric romancers. His grandfather Anlawd Wledic and his maternal uncles, aunts and cousins do not appear there, and neither do any of his sons or his paternal relatives. Only the core family seem to have made the transition: his wife Gwenhwyfar (who became Guinevere), his father Uther, his mother Eigyr (Igerna) and his sister-son Gwalchmei (Gawain). Gwalchmei's mother – Arthur's sister – failed to make the journey, Gwyar's place being taken by Anna, the wife of Loth, in Geoffrey's account, whilst Modredus (Mordred) is made into a second sister-son for Arthur (a status he did not have as Medraut in the Welsh material).


title: King Arthur's family

text: In addition, new family members enter the Arthurian tradition from this point onwards. Uther is given a new family, including two brothers and a father, while Arthur gains a sister or half-sister, Morgan, first named as his relative by Chrétien de Troyes in "Yvain." A new son of Arthur, named Loholt, is introduced in Chrétien's "Erec and Enide". Another significant new family-member is Arthur's other sister or half-sister known by several names including Morgause, daughter of Gorlois and Igerna (Igraine) and mother of Gawain and Mordred, replacing Anna in the romances. A third half-sister, Elaine, is also added at this time. Drawing on earlier sources, Richard Carew mentions another sister from Igraine and Uther, named Amy. Through the sisters, Arthur is given further nephews (Agravain, Gaheris, Gareth and Gawain by Morgause; Galeschin by Elaine; and Yvain by either Morgan or the fourth sister), who all become Knights of the Round Table. The "Brut Tysilio" makes Gorlois also the father of Cador, who is thus Arthur's half-brother through Igraine; Cador's son Constantine succeeded Arthur as king of Britain in the "Historia Regum Britanniae". Various works mention or feature Arthur's nieces and occasionally also different nephews.


title: King Arthur's family

text: There are furthermore various other more distant family members, such as the case of the historical Romano-British leader Ambrosius Aurelianus being turned into his uncle (Uther's brother) in Geoffrey's tradition deriving Arthur's lineage from the self-proclaimed Western Roman Emperor Constantine II of Britain, who in this version of the legend is presented as Arthur's grandfather. One important figure of no actual blood relation to Arthur is Ector, featuring as secret foster-father of the young Arthur in much of the romance tradition, thus also making Ector's son Kay Arthur's foster-brother.


title: King Arthur's family

text: Although Arthur is given sons in both early and late Arthurian tales, he is rarely granted significant further generations of descendants. This is at least partly because of the premature deaths of his sons, who in the later tradition usually (and prominently) include Mordred. In some cases, including in "Le Morte d'Arthur", Guinevere's failure to produce a legitimate heir contributes to the fall of Arthur.


title: King Arthur's family

text: Amr is the first to be mentioned in Arthurian literature, appearing in the 9th-century "Historia Brittonum":


title: King Arthur's family

text: Why Arthur chose or was forced to kill his son is never made clear. The only other reference to Amr comes in the post-Galfridian Welsh romance "Geraint", where "Amhar son of Arthur" is one of Arthur's four chamberlains along with Bedwyr's son Amhren.


title: King Arthur's family

text: Gwydre is similarly unlucky, being slaughtered by the giant boar Twrch Trwyth in "Culhwch and Olwen", along with two of Arthur's maternal uncles. No other references to either Gwydre or Arthur's uncles survive.


title: King Arthur's family

text: Another son, known only from a possibly 15th-century Welsh text, is said to have died on the field of Camlann:


title: King Arthur's family

text: More is known of Arthur's son Llacheu. He is one of the "Three Well-Endowed Men of the Island of Britain", according to the Triad 4, and he fights alongside Cei in the early Arthurian poem "Pa gur yv y porthaur?". Like his father is in "Y Gododdin", Llacheu appears in the 12th-century and later Welsh poetry as a standard of heroic comparison and he also seems to have been similarly a figure of local topographic folklore too. Taken together, it is generally agreed that all these references indicate that Llacheu was a figure of considerable importance in the early Arthurian cycle. Nonetheless, Llacheu too dies, with the speaker in the pre-Galfridian poem "Ymddiddan Gwayddno Garanhir ac Gwyn fab Nudd" remembering that he had "been where Llacheu was slain / the son of Arthur, awful in songs / when ravens croaked over blood." The romance character based on him, Lohot, also dies young.


title: King Arthur's family

text: Medraut/Mordred is a major exception to this tradition of a childless death for Arthur's sons. Mordred, like Amr, is killed by Arthur – at Camlann – according to Geoffrey of Monmouth and the post-Galfridian tradition but, unlike the others, he is ascribed two sons, both of whom rose against Arthur's successor and cousin Constantine III with the help of the Saxons. However, in Geoffrey's "Historia" (when the motifs of Arthur's killing of Mordred and Mordred's sons first appear), Mordred was not Arthur's son. His relationship with Arthur was reinterpreted in the Vulgate Cycle, as he was made the result of an unwitting incest between Arthur and his sister. This tale is preserved in the later romances, with the motif of Arthur knowing by Merlin that Mordred would grow up to kill him; and so by the time of the Post-Vulgate Cycle Arthur has devised a plot, Herod-like, to rid of all children born on the same day as Mordred in order to try to save himself from this fate. The Post-Vulgate version also features another of Arthur's illegitimate sons, Arthur the Less, who survives for as long as Mordred but remains fiercely loyal to Arthur.


title: King Arthur's family

text: Other literature has expanded Arthur's immediate family further. His daughter named Archfedd is found in only one Welsh source, the 13th-century "Bonedd y Saint". A daughter named Hilde is mentioned in the 13th-century Icelandic "Þiðreks saga" ("Thidrekssaga"), while the "Möttuls saga" from around the same period features a son of Arthur by the named Aristes. Rauf de Boun's 1309 "Petit Brut" lists Arthur's son Adeluf III as a king of Britain, also mentioning Arthur's other children Morgan le Noir (Morgan the Black) and Patrike le Rous (Patrick the Red) by an unnamed Fairy Queen. Later on, a number of early modern works have occasionally given Arthur more of different sons and daughters.


title: King Arthur's family

text: Supposed direct lineage from King Arthur has been professed by some English monarchs, especially the ones of Welsh descent, among them the 15th-century King Henry VII (through Cadwaladr ap Cadwallon), who even named his first-born son after Arthur, and the 16th-century Queen Elizabeth I. In the Scottish Highlands, the descent from King Arthur remains included in rival genealogies of both Clan Arthur (MacArthur) and Clan Campbell, whose traditions involve Arthur's son variably known as Merbis, Merevie, Smerbe, Smerbie, Smerevie, or Smeribhe. In Iberia, medieval and early modern genealogies attributed Queen Baddo, wife of the 6th-century Visigothic King Reccared I, as a daughter of British King Arthur.


title: A Quick One

text: A Quick One is the second studio album by the English rock band the Who, released on 9 December 1966. A version of the album with an altered track listing was released under the name Happy Jack on Decca Records in April 1967 in the United States, where the song "Happy Jack" was a top 40 hit.


title: A Quick One

text: Unlike other albums by the Who, where guitarist Pete Townshend was the primary or sole songwriter, "A Quick One" features significant songwriting contributions from all band members, with singer Roger Daltrey contributing one song, bassist John Entwistle and drummer Keith Moon each contributing two. The album also included a cover of the Holland–Dozier–Holland song "Heat Wave" and ends with a musical suite titled "A Quick One, While He's Away", which served as an inspiration for later rock operas that the Who would become known for.


title: A Quick One

text: The Who's second studio album departs from the R&B emphasis of the first. Part of the marketing push for the album was a requirement that each band member should write at least two of the songs on it, though Roger Daltrey only wrote one ("See My Way"), so this is the Who album least dominated by Pete Townshend's songwriting. It was recorded at IBC Studios, Pye Studios, and Regent Sound in London England in 1966 by record producer Kit Lambert. Townshend said that this push for equal contribution led to the exclusion of the band's singles that he had written.


title: A Quick One

text: "Boris the Spider" was written after John Entwistle had been out drinking with the Rolling Stones' bass guitarist Bill Wyman. They were making up funny names for animals when Entwistle came up with the song. "Boris the Spider" quickly became Entwistle's most popular song, still performed decades later: in later years he often wore a spider necklace, and would have a spider web design inlaid on the body of his custom-made Alembic bass guitar (the latter is pictured on the cover of Entwistle's 1981 album "Too Late the Hero").


title: A Quick One

text: Keith Moon's "I Need You" was originally titled "I Need You (Like I Need a Hole in the Head)". Moon thought the Beatles spoke in a secret language behind his back, and this song was his way of making fun of their northern accents. Although Moon denied that a vocal part in the song was a John Lennon imitation, Entwistle said that, in fact, it was.


title: A Quick One

text: John Entwistle would later cite "Whiskey Man" as the first song he ever wrote. It tells the story of a drunkard whose best friend is a man he sees only after drinking heavily. The drunkard is eventually locked in padded room in a sanitarium, and he laments not being able to share the room with Whiskey Man or even call him. In the first line of the song, Entwistle accidentally sings the word "friend" as "fwend"; not wanting to record an entirely new take, he instead opted to double-track the vocal and sing "flend" as a quick fix.


title: A Quick One

text: "Heat Wave", the only cover track and the only nod to the group's soul influences on the LP, was originally written by Tamla's Holland–Dozier–Holland team and performed by Martha and the Vandellas. It was replaced by "Happy Jack" on the original US release but later included on the 1974 double album repackaging of "A Quick One" and "The Who Sell Out".


title: A Quick One

text: "Cobwebs and Strange" was originally called "Showbiz Sonata". Entwistle claimed that the melody came from the UK television series "The Man from Interpol". Each band member played a wind instrument on the track: Townshend played the penny-whistle, Entwistle the trumpet and French horn, Daltrey the trombone, and Moon the tuba. They recorded the winds while marching around the studio.


title: A Quick One

text: "See My Way," Roger Daltrey's only writing contribution to the record, is a pastiche of Buddy Holly compositions. In order to achieve a deadened tom-tom sound like that of Crickets drummer Jerry Allison's distinctive paradiddles on "Peggy Sue," towels were placed on Moon's drum kit. When this resulted in a sound that didn't satisfy the band, Moon instead played the tom fills on cardboard boxes.


title: A Quick One

text: The mod/pop number "So Sad About Us", according to AllMusic, is "one of the Who's most covered songs". The Merseys, Shaun Cassidy, Primal Scream, the Breeders, Daytona, and the Jam have recorded studio versions.


title: A Quick One

text: "A Quick One, While He's Away" is a nine-minute suite of song snippets telling a story of infidelity and reconciliation, the first foray into an extended form that led to the rock operas "Tommy" and "Quadrophenia".


title: A Quick One

text: The album was intended to be pop music, a sonic participant in the pop art movement. The cover was designed by the pop art exponent Alan Aldridge, with the front cover depicting the band playing their instruments, as the titles of some songs from the album come out of the instruments in the form of onomatopoeiae: "Cobwebs and Strange" for Moon (top left), "Whiskey Man" for Entwistle (bottom left), "See My Way" for Daltrey (top right), and "A Quick One, While He's Away" for Townshend (bottom right). The back cover of the UK release is black, with the title and track listing across the top, and a colour head-shot photograph of each band member with the letters of "The W H O" superimposed individually over their faces. The back cover of the US release is a black-and-white photo montage of the band members accompanied by a short personality sketch of each (notorious among Who fans for Keith Moon's humorous assertion that he was keen on "breeding chickens"). A track listing, a couple of paragraphs touting the band, an ad for their first album, and a technical blurb are also crowded onto the back cover of the US release.


title: A Quick One

text: "Rolling Stone"s Steve Appleford said in 1995 that the album's cheerful pop style has an authentic quality with trifles like "Cobwebs and Strange" that are reconciled by "absolutely perfect, poignant pop tune[s]" such as "So Sad About Us". The album was later described as "fascinatingly quirky" by the magazine.


title: A Quick One

text: In "" (1981), Robert Christgau included the album's American version in his "basic record library". "Rolling Stone" ranked the album #383 on its list of the 500 greatest albums of all time, published in 2003, and #384 in 2012.


title: A Quick One

text: An early version of the Who's second album was to be titled "Jigsaw Puzzle". Its preliminary running order consisted of the following tracks:


title: You're Still the One

text: "You're Still the One" is a song recorded by Canadian singer Shania Twain. It was released as the third single from her third studio album "Come On Over" (1997). The song was written by Twain and Robert John "Mutt" Lange and produced by Lange. It was released in the US on January 27, 1998, and was Twain's first single to be released to pop radio.


title: You're Still the One

text: "You're Still the One" peaked at number two on the US "Billboard" Hot 100 for nine weeks, becoming Twain's first top-ten hit in the US. Although it never topped the chart, the song is recognized as Twain's most successful crossover single and is one of her most successful singles at country radio. In Canada, the song peaked at number seven, and internationally, it reached number one in Australia for four weeks, number three in Ireland, and the top 10 in the Netherlands, New Zealand, and the United Kingdom.


title: You're Still the One

text: "You're Still the One" was nominated for four Grammy Awards in 1999, winning two. It won Best Country Song and Best Female Country Vocal Performance and lost Record of the Year and Song of the Year to fellow Canadian, Celine Dion's "My Heart Will Go On". It was ranked number 46 on VH1's "100 Greatest Songs of the '90s".


title: You're Still the One

text: When Shania Twain and Robert John "Mutt" Lange became romantically involved in the mid 1990s, there was criticism of their relationship, namely claims that the age difference was extreme (he being 17 years older than her), and that Twain was solely using him to further her career. In essence, the critics did not expect their relationship to last. Twain disagreed with these criticisms and wanted to address them in public and this led to her writing "You're Still the One". In an interview with "Top of the Pops" in 1999, she mentioned that she and Lange never intended to write a song about themselves, but that they were simply influenced by the press criticism.


title: You're Still the One

text: In her 2011 memoir "From This Moment On", she described the process of writing the song: she and Lange each wrote separate ideas for songs for the album "Come On Over" and collated them together later. She stated that Lange singing the counter line as backing vocals in the song got her "feeling very excited" and led her to sing the chorus melody and both to come up with the title "You're Still the One". In this ode to the union between her and Lange, Twain expresses her happiness with their relationship, and satisfaction with proving the critics wrong.


title: You're Still the One

text: Twain and Lange divorced twelve years later in 2010 after 17 years of marriage, due to an affair between Lange and her best friend. In her biography, Twain states that she continues to cherish the song in memory of her mother and of her stepfather. She believes that they were meant to be together and that, in spite of all the trials they have been through, her parents shared a very pure and true love.


title: You're Still the One

text: According to the sheet music published at Musicnotes.com by Songs of Polygram International, Inc., the song is written in the key of E major following a chord progression of EE/GAB, and Twain's vocals span from G to B. The song moves at a tempo of 67 beats per minute.


title: You're Still the One

text: "Blender" ranked "You're Still the One" at number 69 in their list of "Greatest Songs Since You Were Born". Dave Fawbert from "ShortList" described it as a "gorgeous song, with a timeless melody and kind of an unusual topic for a sad-sounding love song". "Stacker" placed the song at number 17 in their list of "Best 90s pop songs" in 2019. VH1 ranked it at number 46 in their list of "100 Greatest Songs of the '90s". In 2019, "Rolling Stone" ranked the song number one on its list of the 20 greatest Shania Twain songs.


title: You're Still the One

text: The music video for "You're Still the One" was shot in Malibu and Los Angeles in blue-tinted monochrome and was directed by David Hogan. It was released on January 26, 1998, on CMT.


title: You're Still the One

text: It depicts Twain on a beach at night and features model John Devoe, who later appeared in her video for "That Don't Impress Me Much". The video received heavy rotation, it was Twain's first video to be played on non-country-specific stations such as MTV, VH1, and MuchMusic. The video won awards at the Billboard Music Video Awards, VH1 Viewer's Choice Awards, and was nominated for an MTV Video Music Award. Two versions of the video were made, one with the 'Original Album Version', released to country channels, and the 'International Version' released to pop and international stations. The 'International Version' of the video is available on Twain's compilations "Come On Over: Video Collection" (1999) and "The Platinum Collection" (2001).


title: You're Still the One

text: Another music video was launched on August 1, 2014, with a Paula Fernandes in English and Portuguese. In the introduction to the video, Twain introduces Fernandes and praises: "She's beautiful and has an amazing voice is a big star in Brazil and I invited her to come sing with us tonight."


title: You're Still the One

text: "You're Still the One" debuted at number 75 on the US "Billboard" Hot Country Singles & Tracks chart the week of January 24, 1998. The song spent 24 weeks on the chart, Twain's longest stay at the time, and climbed to number one on May 2, 1998, where it remained for one week. The single became Twain's sixth number-one single, seventh Top 10 single, and ninth Top 20 hit on the US Country chart. "You're Still the One" spent 22 weeks atop the Country Singles Sales chart and 2 weeks at number one on the Hot Country Recurrents chart.


title: You're Still the One

text: At adult contemporary radio, "You're Still the One" debuted number 26, for the week ending February 14, 1998. The single spent 81 weeks on the chart and climbed to number one on June 27, 1998, where it remained for eight non-consecutive weeks. As it was Twain's first release to this format, "You're Still the One" was her first number one, Top 10, and Top 20 single. It also topped the Adult Contemporary Recurrents chart for two weeks, and remained on the chart for 166 weeks.


title: You're Still the One

text: "You're Still the One" is also Twain's most successful single on the "Billboard" Hot 100. It debuted at number 51 on February 14, 1998. It spent 42 weeks on the chart and peaked at number two for nine non-consecutive weeks starting May 2, 1998, making it one of the longest runs at number 2 of any song in the history of the Billboard Hot 100. Next's "Too Close" and Brandy and Monica's "The Boy Is Mine" both held the number one spot while "You're Still the One" stalled at number two due to depleted stock of physical singles.


title: You're Still the One

text: The physical commercial single of "You're Still the One" has sold over two million copies in America. As a result, the single has been certified 2× platinum by the RIAA for shipments of at least 2,000,000 copies.


title: You're Still the One

text: Internationally, "You're Still the One" became Twain's first Top 10 single in the United Kingdom. It debuted at number 10, its peak, on February 28, 1998. It remained on the chart for 10 weeks. In Australia, it became her first, and to date, only number one, staying at the top spot for four weeks in May 1998. It also reached the Top 10 in Ireland, the Netherlands, and New Zealand.


title: You're Still the One

text: "You're Still the One" was both a commercial and critical success, winning many awards over three years. The song was nominated for four Grammy Awards in 1999, winning two. It won Best Country Song and Best Female Country Vocal Performance and lost Record of the Year and Song of the Year to Celine Dion's "My Heart Will Go On". Some of the other notable wins include; the Best Selling Country Single at the 1998 Billboard Music Awards, Single of the Year at the 1998 Canadian Country Music Awards, Song of the Year at the 1999 BMI Country Songwriter Awards and BMI Pop Songwriter Awards. "You're Still the One" also notable won Song of the Year at the 1999 BMI Country Songwriter Awards and BMI Pop Songwriter Awards. In 2006 BMI announced the song surpassed six million plays in the US.


title: You're Still the One

text: The video also won a set of awards including the Best Country Video Award at the 1998 Billboard Music Video Awards, Video of the Year at the 1998 CMT Latin America Awards, and the Viewer's Choice Award for Sexiest Video at the 1998 VH1 Viewer's Choice Awards. The Video was also nominated for Best Female Video at the 1998 MTV Video Music Awards, making Twain the first female country artist to ever be nominated for an MTV Video Music Award.


title: Gran Canaria Airport

text: Gran Canaria Airport , sometimes also known as Gando Airport (), is a passenger and freight airport on the island of Gran Canaria. It is an important airport within the Spanish air-transport network (owned and managed by a public enterprise, AENA), as it holds the sixth position in terms of passengers, and fifth in terms of operations and cargo transported. It also ranks first of the Canary Islands in all three categories, although the island of Tenerife has higher passenger numbers overall if statistics from the two airports located on the island are combined.


title: Gran Canaria Airport

text: The airport is located in the eastern part of Gran Canaria on the Bay of Gando (Bahía de Gando), to the south of Las Palmas, and from the popular tourist areas in the south. In 2014 it handled over 10.3 million passengers, ranking 1st in the Canary Islands and 5th in Spain by passenger traffic. Gran Canaria Airport is an important hub for passengers travelling to West Africa (Morocco, Mauritania, Senegal, Cape Verde, among others), and to the Atlantic Isles of Madeira and the Azores. It serves as base for Binter Canarias, Canaryfly, Ryanair, Norwegian Air Shuttle and Vueling. Other airlines use it as a base to operate charter flights to Cape Verde and Gambia (TUI fly Deutschland and TUI fly Nordic), but only in the winter.


title: Gran Canaria Airport

text: In 1919, Frenchman Pierre George Latécoère was granted clearance from the French & Spanish governments to establish an airline route between Toulouse and Casablanca. This also included stopovers in Málaga, Alicante and Barcelona. The airport opened on 7 April 1930, after King Alfonso XIII signed a royal order announcing that the military air force installations on the Bay of Gando would become a civilian airfield. In its existence, the airport has become the largest gateway into the Canary Islands, as well as the largest in terms of passenger and cargo operations. Although the island of Tenerife has higher passenger numbers overall between the two airports located on the island.


title: Gran Canaria Airport

text: In 1946, the old passenger terminal opened, which took two years to build. In 1948 a runway was built, which was completed and fully tarmacked in 1957.


title: Gran Canaria Airport

text: In 1963, improvements to the airport were made. This included new parking spaces, enlargement of the terminal and the provision of a visual approach slope indicator system. In 1964, a transmission station was built. In 1966 a new control tower was completed, replacing the old control tower that was constructed in 1946. In 1970, work began on the current passenger terminal which opened in March 1973. During this time, a second runway was being built and this was completed in 1980.


title: Gran Canaria Airport

text: On 18 February 1988, Binter Canarias announced that the airline's main base was to be established at Gran Canaria. The base opened on 26 March 1989. In October 1991, the terminal was enlarged with improved facilities so it could handle more passengers.


title: Gran Canaria Airport

text: In December 2010, low-cost carrier Ryanair announced the opening of 3 new bases on the Canary Islands. In addition to Gran Canaria these include Lanzarote and Tenerife South. Ryanair presently operates 30 routes from Gran Canaria. The airport was an official alternative (emergency) landing site for the NASA Space Shuttle, before the ending of the Space Shuttle programme in July 2011.


title: Gran Canaria Airport

text: As of 2011, there was a programme to expand the airport, extending the terminal and creating a new runway. In 2015 this major renovation of Gran Canaria airport was completed. Among the improvements was increasing the number of baggage belts, 16 to 24, check-in counters from 96 to 132 and gates, up to 40. The new terminal area is now fully active, doubling the previous area. There is also a plan for the building of a new runway for the airport.


title: Gran Canaria Airport

text: The airport has one terminal which opened in March 1973. It was extended in October 1991 to increase passenger traffic. Despite being a building of historical interest, in 2013 the original passenger terminal building, opened in 1946, was demolished to make way for a further extension which opened in 2014. Although dramatically expanded over the years the airport remains a single terminal airport.


title: Gran Canaria Airport

text: There are four check-in areas. Check-in Area 1 (desks 101 to 118) is in the newest part of the airport (which opened on 16 July 2014) and serves almost exclusively flights operated by CanaryFly, Air Europa and Binter Canarias (mainly inter-island flights between the Canary Islands or to Morocco). At times of very high demand, check-in Area 1 may provide overflow capacity for Areas 2, 3 and 4. Check-in Area 2 (desks 201 to 234) is located in the first part of the "new" airport which opened in 1973. This area was completely refurbished in 2014 and is normally used for flights handled by Iberia plus some of those handled by Ground Force (Globalia Handling). Check-in Area 3 (desks 301 to 352) is in the second part of the "new" airport which originally opened in 1991 and is used for flights handled by Ground Force. Airline Norwegian Air Shuttle have dedicated check-in desks and self-check-in podiums located at the southern end of Area 3. Check-in Area 4 (desks 401 to 406) is located downstairs between the police station and the main car rental offices (Hertz, Europcar, CICAR, TopCar, Gold Car and Avis Rent a Car System) and is used exclusively by Ryanair.


title: Gran Canaria Airport

text: There are two security filters where passengers pass from the general public areas into the departures area. At these security filters passengers and their hand luggage is scanned to ensure no prohibited items pass. The main security filter is located between Check-in Areas 2 and 3. There is a second filter located in Check-in Area 1 which is intended to serve exclusively passengers of inter-island flights.


title: Gran Canaria Airport

text: The terminal departures area is split into four zones (A, B, C, and D). Zone A is for flights to the other Canary Islands, Zones B and C are for European Union (including Spain), Switzerland, Iceland, and Scandinavian flights and Zone D is for other international flights. The gates in Zone A are at ground floor level at the northern end of the terminal. Other gates are on the first floor (the same level as the security filters into departures) those in Zone D featuring additional security to allow for the screening of international passengers.


title: Gran Canaria Airport

text: There are two arrivals areas numbered "1" and "2" both located downstairs at ground level. Area 1 serves all arrivals of flights originating within Spain and is located at the northern end of the airport. Some of the car rental companies have additional counters in this area as it is a considerable walk to the main car rental area. Area 2 serves all international arrivals and is located at the southern end of the airport. As the majority of arrivals served by area 2 are for tourist flights, many bringing passengers travelling on package holidays organized by tour operators, there is a large coach park (Parking A) located immediately in front of this area. Overflow coach parking (which is required only in the Winter months) is provided at the departures level (Parking B) and is accessed from arrivals area 2 via a purpose-built a pedestrian tunnel with stairs and travelators.


title: Gran Canaria Airport

text: The airport can be reached by several island roads from all points in the island. Bus services are provided by Global with their routes 5, 60, 66, 90 and 91.. There are also special bus services from most towns in Gran Canaria, but access by taxi is usual.


title: Gran Canaria Airport

text: Gran Canaria's main motorway GC1 runs past the airport providing transport links to Las Palmas de Gran Canaria in the North and to the tourist resorts in the South.


title: Gran Canaria Airport

text: Plans have existed for several years to construct a rail link connecting the airport to Las Palmas and Maspalomas. As of 2018, the Tren de Gran Canaria scheme was estimated to be underfunded by €1,500 million.


title: Gran Canaria Airport

text: There is an airbase of the Spanish Air Force to the east of the runways. Beyond several hangars opposite to the passenger terminal, the Gando Air Base ("Base Aérea de Gando") contains ten shelters situated on the southern end of the eastern runway. They harbor the "Ala 46" with F/A-18 Hornets, CASA 212 and the Eurocopter AS 532 of SAR. "Ala 46" or 46 Wing, composed of 462 and 802 fighter squadron, defends the Spanish airspace around the Canary Islands. It is one of the biggest and most important air bases of the Spanish Air Force and is unique for the wide variety of aircraft which it operates.


title: Gran Canaria Airport

text: Military activity was most intense during the mid-1970s, at the time of the crisis of decolonisation of Western Sahara and its occupation by Morocco. Military crises in Western Africa, like the 2013 Mali intervention by France, made Gando Air Base the main air platform for operations in Western Africa area by NATO. In 2006 Spain proposed Gando Air Base as headquarters for the newly created US Africa Command (AFRICOM), but the AFRICOM HQ was ultimately based in Stuttgart (Germany).


title: Gran Canaria Airport

text: The "Canary Islands Air Command" ("Mando Aéreo de Canarias" – "MACAN") is based in the city of Las Palmas. Canary Islands Air Command is the only territorial general Air Command Air Force in Spain; its mission is the maintenance, preparation and command of air units located in the Canary archipelago. Any Spanish military airplane that lands in the Canary Islands is immediately put at the disposal of the Canary Islands Air Command, who can retain it and use it as long as necessary for missions within the islands. This happens sometimes with heavy military transport, antisubmarine warfare and early warning airplanes; the islands do not have these on a permanent basis. Once the plane is released by the Canary Islands Air Command, it can leave the Canary Islands and reverts to the Air Force Commands of mainland Spain.


title: Gran Canaria Airport

text: The deployment base of Gando Air Base is the Lanzarote Military Airfield (Aeródromo Militar de Lanzarote). Lanzarote Military Airfield has permanently its own Air Force troops platoons and the radar for the air defence (the EVA 22, which covers the Eastern Canary Islands and the maritime area up to the Sahara), but it has no permanently based military planes, using the ones from Gando.


title: Gran Canaria Airport

text: Canaryfly has its head office in Hangar L. Binter Canarias also has its head office on the airport grounds.