title: God Save the King

text: "God Save the King" is used by both Bailiwicks of the Channel Islands as an alternative to their respective national anthems. Its use case and popular version is generally similar to how it is used in the United Kingdom. However, the anthem has been translated in Jèrriais:


title: God Save the King

text: The meaning is broadly similar to the first paragraph of the English version, except for the first two lines which say "God save our Duke" and "Long live our Duke".


title: God Save the King

text: "God Save the King" was the sole official national anthem until 1977 when "God Defend New Zealand" was added as a second. Since then, "God Save the King" is most often only played when the sovereign, governor-general or other member of the Royal Family is present, or on some occasions such as Anzac Day. The Māori-language version was written by Edward Marsh Williams under the title, "".


title: God Save the King

text: There is a special New Zealand verse in English which was once commonly sung to replace the second and third verses:


title: God Save the King

text: When Rhodesia issued its Unilateral Declaration of Independence from the UK on 11 November 1965, it did so while still maintaining loyalty to Queen Elizabeth II as the Rhodesian head of state, despite the non-recognition of the Rhodesian government by the United Kingdom and the United Nations; "God Save the Queen" therefore remained the Rhodesian national anthem. This was supposed to demonstrate the continued allegiance of the Rhodesian people to the monarch, but the retention in Rhodesia of a song so associated with the UK while the two countries were at loggerheads regarding its constitutional status caused Rhodesian state occasions to have "a faintly ironic tone", in the words of "The Times". Nevertheless, "God Save the Queen" remained Rhodesia's national anthem until March 1970, when the country formally declared itself a republic. "Rise, O Voices of Rhodesia" was adopted in its stead in 1974 and remained in use until the country returned to the UK's control in December 1979. Since the internationally recognised independence of the Republic of Zimbabwe in April 1980, "God Save the King" has had no official status there.


title: God Save the King

text: "God Save the King" is the royal anthem of Saint Vincent and the Grenadines. It is played on royal and vice-regal occasions. The Vice-Regal Salute to the governor general is composed of the chorus of "God Save the King" and followed by that of the National Anthem, "Saint Vincent, Land so Beautiful".


title: God Save the King

text: "God Save the King" (, "God Red die Koningin" when a Queen) was a co-national anthem of South Africa from 1938 until 1957, when it was formally replaced by "Die Stem van Suid-Afrika" as the sole national anthem. The latter served as a sort of "de facto" co-national anthem alongside the former until 1938.


title: God Save the King

text: The melody has often been used, with lyrics slightly or significantly altered, for royal or national anthems of other countries.


title: God Save the King

text: During the 19th century, it was used officially in Sweden, and in Iceland. It was also in official usage for brief periods in Imperial Russia, in Greece and in the Kingdom of Hawaii.


title: God Save the King

text: In Germany, it was used by the kingdoms of Prussia, Hanover, Saxony and Bavaria, and was adopted as anthem of the German Empire ("Heil dir im Siegerkranz") after unification in 1871. It remains as the national anthem of Liechtenstein, and was used by Switzerland until 1961.


title: God Save the King

text: Ludwig van Beethoven composed a set of seven piano variations in the key of C major to the theme of "God Save the King", catalogued as WoO.78 (1802–1803). He also quotes it in his orchestral work "Wellington's Victory". It is also the first song arranged in the collection WoO 157.


title: God Save the King

text: Muzio Clementi used the theme to "God Save the King" in his "Symphony No. 3 in G major", often called the "Great National Symphony", catalogued as WoO. 34. Clementi paid a high tribute to his adopted homeland (the United Kingdom) where he grew up and stayed most of his lifetime. He based the Symphony (about 1816–1824) on "God Save the King", which is hinted at earlier in the work, not least in the second movement, and announced by the trombones in the finale.


title: God Save the King

text: Johann Christian Bach composed a set of variations on "God Save the King" for the finale to his sixth keyboard concerto (Op. 1) written c. 1763.


title: God Save the King

text: Joseph Haydn was impressed by the use of "God Save the King" as a national anthem during his visit to London in 1794, and on his return to Austria composed a different tune, "Gott erhalte Franz den Kaiser" ("God Save Emperor Francis"), for the birthday of the last Holy Roman Emperor and Roman-German King, Francis II, which became the basis for the anthem of the later Austrian Empire, and ultimately for the German national anthem.


title: God Save the King

text: Johann Strauss I quoted "God Save the Queen" in full at the end of his waltz "Huldigung der Königin Victoria von Grossbritannien" (Homage to Queen Victoria of Great Britain) Op. 103, where he also quoted "Rule, Britannia!" in full at the beginning of the piece.


title: God Save the King

text: Siegfried August Mahlmann in the early 19th century wrote alternate lyrics to adapt the hymn for the Kingdom of Saxony, as "Gott segne Sachsenland" ("God Bless Saxony").


title: God Save the King

text: Christian Heinrich Rinck wrote two sets of variations on the anthem: the last movement of his Piano Trio Op. 34 No. 1 (1815) is a set of five variations and a concluding coda; and Theme (Andante) and (12) Variations in C Major on "Heil dir im Siegerkranz" (God Save the King), Op. 55.


title: God Save the King

text: Joachim Raff used this anthem in his Jubelouverture, Opus 103 (1864) dedicated to Adolf, Herzog von Nassau, on the 25th anniversary of his reign.


title: God Save the King

text: Gioachino Rossini used this anthem in the last scene of his "Il viaggio a Reims", when all the characters, coming from many different European countries, sing a song which recalls their own homeland. Lord Sidney, bass, sings "Della real pianta" on the notes of "God Save the King". Samuel Ramey used to interpolate a spectacular virtuoso cadenza at the end of the song.


title: God Save the King

text: Fernando Sor used the anthem in his 12 Studies, Op. 6: No. 10 in C Major in the section marked 'Maestoso.'


title: God Save the King

text: Claude Debussy opens with a brief introduction of "God Save the King" in one of his Preludes, "Hommage à S. Pickwick Esq. P.P.M.P.C.". The piece draws its inspiration from the main character of the Charles Dickens novel "The Pickwick Papers".


title: God Save the King

text: Max Reger wrote "Variations and Fugue on 'Heil dir im Siegerkranz' (God Save the King)" for organ in 1901 after the death of Queen Victoria. It does not have an opus number.


title: God Save the King

text: A week before the Coronation Ode was due to be premiered at the June 1902 "Coronation Gala Concert" at Covent Garden (it was cancelled, owing to the King's illness), Sir Edward Elgar introduced an arrangement of "Land of Hope and Glory" as a solo song performed by Clara Butt at a "Coronation Concert" at the Albert Hall. Novello seized upon the prevailing patriotism and requested that Elgar arrange the National Anthem as an appropriate opening for a concert performed in front of the Court and numerous British and foreign dignitaries. This version for orchestra and chorus, which is enlivened by use of "a cappella" and marcato effects, was also performed at the opening of the British Empire Exhibition at Wembley on St. George's Day, 1924, and recorded under the composer's Baton in 1928, with the LSO and the Philharmonic Choir. Elgar also used the first verse of the Anthem as the climax of a short "Civic Procession and Anthem", written to accompany the mayoral procession at the opening of the Hereford Music Festival on 4 September 1927. This premiere performance was recorded, and is today available on CD; the score was lost following the festival, and Elgar resorted to reconstructing it by ear from the recording.


title: God Save the King

text: Giuseppe Verdi included "God Save the Queen" in his "Inno delle nazioni" (Hymn of the Nations), composed for the London 1862 International Exhibition.


title: God Save the King

text: Benjamin Britten arranged "God Save the Queen" in 1961 for the Leeds Festival. This version has been programmed several times at the Last Night of the Proms.


title: God Save the King

text: Charles Ives wrote "Variations on "America"" for organ in 1891 at age seventeen. It included a polytonal section in three simultaneous keys, though this was omitted from performances at his father's request, because "it made the boys laugh out loud". Ives was fond of the rapid pedal line in the final variation, which he said was "almost as much fun as playing baseball". The piece was not published until 1949; the final version includes an introduction, seven variations and a polytonal interlude. The piece was adapted for orchestra in 1963 by William Schuman. This version became popular during the bicentennial celebrations, and is often heard at pops concerts.


title: God Save the King

text: Muthuswami Dikshitar (1776–1835), one of the musical trinity in South Indian classical (Carnatic) music composed some Sanskrit pieces set to Western tunes. These are in the raga Sankarabharanam and are referred to as "nottu swaras". Among these, the composition "Santatam Pahimam Sangita Shyamale" is set to the tune of "God Save the Queen".


title: God Save the King

text: Sigismond Thalberg (1812–1871), Swiss composer and one of the most famous virtuoso pianists of the 19th century, wrote a fantasia on "God Save the Queen".


title: God Save the King

text: Johan Nepomuk Hummel (1778–1837) wrote the "Variations from God Save the King in D major", op. 10 and quoted the tune briefly in his "Freudenfest-Ouverture in D major" S 148


title: God Save the King

text: Adrien-François Servais (1807–66) and Joseph Ghys (1801–48) wrote "Variations brillantes et concertantes sur l'air "God Save the King"", op. 38, for violin and cello and performed it in London and St Petersburg.


title: God Save the King

text: Georges Onslow (1784–1853) used the tune in his String Quartet No. 7 in G Minor, op.9, second movement.


title: God Save the King

text: Hans Huber used the melody ("Rufst du, mein Vaterland") in the first movement of his Symphony no 3 in C minor, op. 118 ("Heroic").


title: God Save the King

text: Ferdinando Carulli used the melody in Fantaisie sur un air national anglais, for recorder & guitar, Op. 102.


title: God Save the King

text: Gordon Jacob wrote a choral arrangement of God Save the Queen with a trumpet fanfare introduction, for the coronation of Queen Elizabeth II in 1953.


title: God Save the King

text: Jimi Hendrix played an impromptu version of "God Save the Queen" to open his set at the Isle of Wight Festival 1970. Just before walking onto the stage, he asked "How does it [the anthem] go again?". Hendrix gave the same sort of distortion and improvisation of "God Save the Queen", as he had done with "The Star-Spangled Banner" at the Woodstock Festival, 1969.


title: God Save the King

text: The rock band Queen recorded an instrumental version of "God Save the Queen" for their 1975 album "A Night at the Opera". Guitarist Brian May adapted the melody using his distinctive layers of overdubbed electric guitars. This recorded version was played at the end of almost every Queen concert, while vocalist Freddie Mercury walked around the stage wearing a crown and a cloak on their Magic Tour in 1986. The song was played whilst all the Queen members would take their bows. On 3 June 2002, during the Queen's Golden Jubilee, Brian May performed the anthem on his Red Special electric guitar for Party at the Palace from the roof of Buckingham Palace which is featured on the 30th Anniversary DVD edition of "A Night at the Opera".


title: God Save the King

text: In 1977, the Sex Pistols recorded a song titled "God Save the Queen" in open reference to the National Anthem and the Queen's Silver Jubilee celebrations that year, with the song intending to stand for sympathy for the working class and resentment of the monarchy. They were banned from many venues, censored by mainstream media, and reached number 2 on the official U.K. singles charts and number 1 on the NME chart.


title: God Save the King

text: A version of "God Save the Queen" by Madness features the melody of the song played on kazoos. It was included on the compilation album "The Business – the Definitive Singles Collection".


title: God Save the King

text: The anthem was the first piece of music played on a computer, and the first computer music to be recorded.


title: God Save the King

text: Musical notes were first generated by a computer programmed by Alan Turing at the Computing Machine Laboratory of the University of Manchester in 1948. The first music proper, a performance of the National Anthem was programmed by Christopher Strachey on the Mark II Manchester Electronic Computer at same venue, in 1951. Later that year, short extracts of three pieces, the first being the National Anthem, were recorded there by a BBC outside broadcasting unit: the other pieces being "Ba Ba Black Sheep", and "In the Mood". Researchers at the University of Canterbury, Christchurch restored the acetate master disc in 2016 and the results may be heard on SoundCloud.


title: God Save the King

text: The philosopher and reformer Jeremy Bentham praised "God Save the King" in 1796: "the melody recommending itself by beauty to the most polished ears, and by its simplicity to the rudest ear. A song of this complexion, implanted by the habit of half a century in the mass of popular sentiment, can not be refused a place in the inventory of the national blessings." Ludwig van Beethoven wrote "I have to show the English a little of what a blessing 'God Save the King' is".


title: God Save the King

text: There have been calls within the UK for a new national anthem, whether it be for the United Kingdom itself, Britain and/or England (which all currently use "God Save the King"). There are many reasons people cite for wishing for a new national anthem, such as: from a non-religious standpoint claims of "God Save the King" being long outdated and irrelevant in the 21st century, rejection of odes to promoting war and rejection of praising the monarchy from a republican perspective. A further reason is that England has no anthem of its own for sporting contests and the like, whereas Scotland, Northern Ireland, and Wales do; "Flower of Scotland", "Londonderry Air", and "Hen Wlad Fy Nhadau" fill this niche (the former two on an unofficial basis), while England tends to use "God Save the King" exclusively and also unofficially.


title: Volkswagen I.D. R

text: The Volkswagen I.D. R also known as Volkswagen I.D. R Pikes Peak, is a prototype fully electric vehicle designed as part of Volkswagen's I.D. Project, and included within Volkswagen's R series of cars designed specifically for competing in motorsport events. It is the first electric racing car designed by Volkswagen.


title: Volkswagen I.D. R

text: Following the Volkswagen emissions scandal in 2015, the company pulled out of motorsport events such as the World Rally Championship (which they had won every year since 2013), the Dakar Rally (3 straight wins since 2009) and the 24 Hours of Le Mans (13 wins with its Audi and Bentley brands in the 15 years prior to 2014).


title: Volkswagen I.D. R

text: The Volkswagen I.D. R made its competition début at the Pikes Peak International Hill climb in Colorado Springs, Colorado on 24 June 2018. It was driven by Romain Dumas, and the team set a target of beating the existing electric car record of 8:57.118 minutes, set in 2016 by Rhys Millen with the Drive eO PP100. The I.D. R became the first car to complete the hill climb in under eight minutes ("7:57.148"), breaking the outright record set by Sébastien Loeb and the Peugeot 208 T16 Pikes Peak. The average speed during the run was , and through the speed trap.


title: Volkswagen I.D. R

text: In 2018 the Dewar Trophy was awarded to Integral Powertrain (the provider of the motors used by Volkswagen) for their electric motors and drivers. Previous winners include Keith Duckworth for the Cosworth DFV engine and Mercedes AMG High Performance Powertrains for their Formula 1 hybrid powertrain.


title: Volkswagen I.D. R

text: On 3 June 2019 the ID.R used 24.7 kWh to break the electric vehicle lap record on the Nürburgring with a time of 6:05.336, cornering at up to 3.49 "g". The record time was previously held by the NIO EP9 driven by Peter Dumbreck. Again driven by Dumas, the ID. R reached speeds of , for an average of . In 2019, the I.D. R set a new record for the Goodwood Festival of Speed Hillclimb clocking in at 39.90, also by Dumas.


title: Volkswagen I.D. R

text: On 2 September 2019, Dumas set a benchmark with the Volkswagen ID.R on the Shan Big Gate Road on Tianmen Mountain of 7:38.585.


title: Volkswagen I.D. R

text: In February 2020, Volkswagen confirmed that a second version of the I.D. R would be built. Named the I.D. R Evo, this version of the car is expected to continue to make record attempts at various tracks and courses around the world, potentially revisiting some benchmarks set by the original I.D. R car. Volkswagen has since announced it would abandon motorsports for their flagship brand, though they continue to support motorsports for their premium brands.


title: Volkswagen I.D. R

text: The Volkswagen I.D. R features two electric motors, located at each axle, allowing for a combined and of torque. The I.D. R weighs under and has a 0 to time of 2.25 seconds. It has a single 45-kWh battery. The Chassis of the car was co-developed by Norma, French sports prototype and hillclimb specialist.


title: Volkswagen I.D. R

text: The I.D. R appeared in the fifth episode of season 28 of "Top Gear", with host Chris Harris pitting it against a McLaren 720S.


title: Volkswagen I.D. R

text: "RaceRoom Racing Experience" partnered with Volkswagen to feature the I.D. R in a time attack challenge on the Nürburgring Nordschleife; the competition ran from 24 April to 24 October 2019. It would later be featured in the title's 21 December 2020 content update.


title: Armored Core: Verdict Day

text: Armored Core: Verdict Day is a mech action game developed by FromSoftware and was published worldwide in September 2013 by Namco Bandai Games for PlayStation 3 and Xbox 360. It is the 15th installment in the "Armored Core" series and a direct sequel to Armored Core V.


title: Armored Core: Verdict Day

text: The storyline is set in a future world wherein three factions are fighting over natural resources. In online multiplayer mode, which is the main focus of the game, players select a faction and battle players from the others, either in teams or by forming their own team of artificial intelligence-driven mechs. Mechs can be customized with different weapons and skills, and the behavior of AI mechs can be customized as well. The persistent world is reset when one faction dominates the others or when the season ends.


title: Armored Core: Verdict Day

text: "Verdict Day" is set 100 years after the events of "Armored Core V". The contamination that isolated humanity has begun to subside, allowing humans to return to more of the world. The discovery of high-tech Towers once hidden by the contamination has ignited a new "Verdict War" between three different factions. The three factions now controlling the world wage war against each other for world dominance and for control of the mysterious "Towers" once hidden by the contamination. Adding to the conflict is a mysterious group known as "the Reaper Squad", as well as the usage of Unmanned Armored Cores (UNACs).


title: Armored Core: Verdict Day

text: The game follows the story of an unnamed mercenary AC pilot's exploits during the eve of what would come to be known as "the Verdict War". With the assistance of mercenaries Magnolia "Maggy" Curtis and codename: "Fatman", they accept assignments on behalf of the factions, before entering into conflict with the Reaper Squad.


title: Armored Core: Verdict Day

text: "Verdict Day" received "mixed or average reviews" on both platforms according to the review aggregation website Metacritic. Critics pointed the difficulty for newcomers to understand the game and weak story. Most critics agreed that the game would be successful with those who are already into the series but would suffer to add new players to its fanbase. In a more positive light, IGN, although acknowledging the weak graphics and confusing menus of the PS3 version, remarked: "A special kind of magic here that most games would never even attempt".


title: Armored Core: Verdict Day

text: In Japan, "Famitsu" gave it a score of two nines and two eights for a total of 34 out of 40. One editor wrote: "The game's pretty difficult and you have to use a ton of buttons, which makes the hurdles seem pretty high at first. But the more you plug away at it, the more you can really feel how much better you're getting at it, which is nice". Another wrote: "The game's focused primarily on online play and that may scare off some players right there. There is a tutorial, but beyond that, you're pretty much thrown into the wilderness. This makes the missions pretty tough from the start, but the mercenaries and UNAC auto-AI system provide beginners with a fair amount of backup, which is key. It's the kind of game that rewards repeated trial and error as you play, and so if you like that, here it is".


title: The Autobiography of Malcolm X

text: The Autobiography of Malcolm X was published in 1965, the result of a collaboration between civil and human rights activist Malcolm X and journalist Alex Haley. Haley coauthored the autobiography based on a series of in-depth interviews he conducted between 1963 and Malcolm X's 1965 assassination. The "Autobiography" is a spiritual conversion narrative that outlines Malcolm X's philosophy of black pride, black nationalism, and pan-Africanism. After the leader was killed, Haley wrote the book's epilogue. He described their collaborative process and the events at the end of Malcolm X's life.


title: The Autobiography of Malcolm X

text: While Malcolm X and scholars contemporary to the book's publication regarded Haley as the book's ghostwriter, modern scholars tend to regard him as an essential collaborator who intentionally muted his authorial voice to create the effect of Malcolm X speaking directly to readers. Haley influenced some of Malcolm X's literary choices. For example, Malcolm X left the Nation of Islam during the period when he was working on the book with Haley. Rather than rewriting earlier chapters as a polemic against the Nation which Malcolm X had rejected, Haley persuaded him to favor a style of "suspense and drama". According to Manning Marable, "Haley was particularly worried about what he viewed as Malcolm X's anti-Semitism" and he rewrote material to eliminate it.


title: The Autobiography of Malcolm X

text: When the "Autobiography" was published, "The New York Times" reviewer described it as a "brilliant, painful, important book". In 1967, historian John William Ward wrote that it would become a classic American autobiography. In 1998, "Time" named "The Autobiography of Malcolm X" as one of ten "required reading" nonfiction books. James Baldwin and Arnold Perl adapted the book as a film; their screenplay provided the source material for Spike Lee's 1992 film "Malcolm X".


title: The Autobiography of Malcolm X

text: Published posthumously, "The Autobiography of Malcolm X" is an account of the life of Malcolm X, born Malcolm Little (1925–1965), who became a human rights activist. Beginning with his mother's pregnancy, the book describes Malcolm's childhood first in Omaha, Nebraska and then in the area around Lansing and Mason, Michigan, the death of his father under questionable circumstances, and his mother's deteriorating mental health that resulted in her commitment to a psychiatric hospital. Little's young adulthood in Boston and New York City is covered, as well as his involvement in organized crime. This led to his arrest and subsequent eight- to ten-year prison sentence, of which he served six-and-a-half years (1946–1952). The book addresses his ministry with Elijah Muhammad and the Nation of Islam (1952–1963) and his emergence as the organization's national spokesman. It documents his disillusionment with and departure from the Nation of Islam in March 1964, his pilgrimage to Mecca, which catalyzed his conversion to orthodox Sunni Islam, and his travels in Africa. Malcolm X was assassinated in New York's Audubon Ballroom in February 1965, before they finished the book. His co-author, the journalist Alex Haley, summarizes the last days of Malcolm X's life, and describes in detail their working agreement, including Haley's personal views on his subject, in the "Autobiography"s epilogue.


title: The Autobiography of Malcolm X

text: The "Autobiography" is a spiritual conversion narrative that outlines Malcolm X's philosophy of black pride, black nationalism, and pan-Africanism. Literary critic Arnold Rampersad and Malcolm X biographer Michael Eric Dyson agree that the narrative of the "Autobiography" resembles the Augustinian approach to confessional narrative. Augustine's "Confessions" and "The Autobiography of Malcolm X" both relate the early hedonistic lives of their subjects, document deep philosophical change for spiritual reasons, and describe later disillusionment with religious groups their subjects had once revered. Haley and autobiographical scholar Albert E. Stone compare the narrative to the Icarus myth. Author Paul John Eakin and writer Alex Gillespie suggest that part of the "Autobiography"s rhetorical power comes from "the vision of a man whose swiftly unfolding career had outstripped the possibilities of the traditional autobiography he had meant to write", thus destroying "the illusion of the finished and unified personality".


title: The Autobiography of Malcolm X

text: In addition to functioning as a spiritual conversion narrative, "The Autobiography of Malcolm X" also reflects generic elements from other distinctly American literary forms, from the Puritan conversion narrative of Jonathan Edwards and the secular self-analyses of Benjamin Franklin, to the African American slave narratives. This aesthetic decision on the part of Malcolm X and Haley also has profound implications for the thematic content of the work, as the progressive movement between forms that is evidenced in the text reflects the personal progression of its subject. Considering this, the editors of the "Norton Anthology of African American Literature" assert that, "Malcolm's "Autobiography" takes pains to interrogate the very models through which his persona achieves gradual self-understanding...his story's inner logic defines his life as a quest for an authentic mode of being, a quest that demands a constant openness to new ideas requiring fresh kinds of expression."


title: The Autobiography of Malcolm X

text: Haley coauthored "The Autobiography of Malcolm X", and also performed the basic functions of a ghostwriter and biographical amanuensis, writing, compiling, and editing the "Autobiography" based on more than 50 in-depth interviews he conducted with Malcolm X between 1963 and his subject's 1965 assassination. The two first met in 1959, when Haley wrote an article about the Nation of Islam for "Reader's Digest", and again when Haley interviewed Malcolm X for "Playboy" in 1962.


title: The Autobiography of Malcolm X

text: In 1963 the Doubleday publishing company asked Haley to write a book about the life of Malcolm X. American writer and literary critic Harold Bloom writes, "When Haley approached Malcolm with the idea, Malcolm gave him a startled look ..." Haley recalls, "It was one of the few times I have ever seen him uncertain." After Malcolm X was granted permission from Elijah Muhammad, he and Haley commenced work on the "Autobiography", a process which began as two-and three-hour interview sessions at Haley's studio in Greenwich Village. Bloom writes, "Malcolm was critical of Haley's middle-class status, as well as his Christian beliefs and twenty years of service in the U.S. Military."


title: The Autobiography of Malcolm X

text: When work on the "Autobiography" began in early 1963, Haley grew frustrated with Malcolm X's tendency to speak only about Elijah Muhammad and the Nation of Islam. Haley reminded him that the book was supposed to be about Malcolm X, not Muhammad or the Nation of Islam, a comment which angered Malcolm X. Haley eventually shifted the focus of the interviews toward the life of his subject when he asked Malcolm X about his mother:


title: The Autobiography of Malcolm X

text: I said, 'Mr. Malcolm, could you tell me something about your mother?' And I will never, ever forget how he stopped almost as if he was suspended like a marionette. And he said, 'I remember the kind of dresses she used to wear. They were old and faded and gray.' And then he walked some more. And he said, 'I remember how she was always bent over the stove, trying to stretch what little we had.' And that was the beginning, that night, of his walk. And he walked that floor until just about daybreak.


title: The Autobiography of Malcolm X

text: Though Haley is ostensibly a ghostwriter on the "Autobiography", modern scholars tend to treat him as an essential and core collaborator who acted as an invisible figure in the composition of the work. He minimized his own voice, and signed a contract to limit his authorial discretion in favor of producing what looked like verbatim copy. Manning Marable considers the view of Haley as simply a ghostwriter as a deliberate narrative construction of black scholars of the day who wanted to see the book as a singular creation of a dynamic leader and martyr. Marable argues that a critical analysis of the "Autobiography", or the full relationship between Malcolm X and Haley, does not support this view; he describes it instead as a collaboration.


title: The Autobiography of Malcolm X

text: Haley's contribution to the work is notable, and several scholars discuss how it should be characterized. In a view shared by Eakin, Stone and Dyson, psychobiographical writer Eugene Victor Wolfenstein writes that Haley performed the duties of a quasi-psychoanalytic Freudian psychiatrist and spiritual confessor. Gillespie suggests, and Wolfenstein agrees, that the act of self-narration was itself a transformative process that spurred significant introspection and personal change in the life of its subject.


title: The Autobiography of Malcolm X

text: Haley exercised discretion over content, guided Malcolm X in critical stylistic and rhetorical choices, and compiled the work. In the epilogue to the "Autobiography", Haley describes an agreement he made with Malcolm X, who demanded that: "Nothing can be in this book's manuscript that I didn't say and nothing can be left out that I want in it." As such, Haley wrote an addendum to the contract specifically referring to the book as an "as told to" account. In the agreement, Haley gained an "important concession": "I asked for—and he gave—his permission that at the end of the book I could write comments of my own about him which would not be subject to his review." These comments became the epilogue to the "Autobiography", which Haley wrote after the death of his subject.


title: The Autobiography of Malcolm X

text: In "Malcolm X: The Art of Autobiography", writer and professor John Edgar Wideman examines in detail the narrative landscapes found in biography. Wideman suggests that as a writer, Haley was attempting to satisfy "multiple allegiances": to his subject, to his publisher, to his "editor's agenda", and to himself. Haley was an important contributor to the "Autobiography"s popular appeal, writes Wideman. Wideman expounds upon the "inevitable compromise" of biographers, and argues that in order to allow readers to insert themselves into the broader socio-psychological narrative, neither coauthor's voice is as strong as it could have been. Wideman details some of the specific pitfalls Haley encountered while coauthoring the "Autobiography":


title: The Autobiography of Malcolm X

text: You are serving many masters, and inevitably you are compromised. The man speaks and you listen but you do not take notes, the first compromise and perhaps betrayal. You may attempt through various stylistic conventions and devices to reconstitute for the reader your experience of hearing face to face the man's words. The sound of the man's narration may be represented by vocabulary, syntax, imagery, graphic devices of various sorts—quotation marks, punctuation, line breaks, visual patterning of white space and black space, markers that encode print analogs to speech—vernacular interjections, parentheses, ellipses, asterisks, footnotes, italics, dashes ...


title: The Autobiography of Malcolm X

text: In the body of the "Autobiography", Wideman writes, Haley's authorial agency is seemingly absent: "Haley does so much with so little fuss ... an approach that appears so rudimentary in fact conceals sophisticated choices, quiet mastery of a medium". Wideman argues that Haley wrote the body of the "Autobiography" in a manner of Malcolm X's choosing and the epilogue as an extension of the biography itself, his subject having given him carte blanche for the chapter. Haley's voice in the body of the book is a tactic, Wideman writes, producing a text nominally written by Malcolm X but seemingly written by no author. The subsumption of Haley's own voice in the narrative allows the reader to feel as though the voice of Malcolm X is speaking directly and continuously, a stylistic tactic that, in Wideman's view, was a matter of Haley's authorial choice: "Haley grants Malcolm the tyrannical authority of an author, a disembodied speaker whose implied presence blends into the reader's imagining of the tale being told."


title: The Autobiography of Malcolm X

text: In "Two Create One: The Act of Collaboration in Recent Black Autobiography: Ossie Guffy, Nate Shaw, and Malcolm X", Stone argues that Haley played an "essential role" in "recovering the historical identity" of Malcolm X. Stone also reminds the reader that collaboration is a cooperative endeavor, requiring more than Haley's prose alone can provide, "convincing and coherent" as it may be:


title: The Autobiography of Malcolm X

text: Though a writer's skill and imagination have combined words and voice into a more or less convincing and coherent narrative, the actual writer [Haley] has no large fund of memories to draw upon: the subject's [Malcolm X] memory and imagination are the original sources of the arranged story and have also come into play critically as the text takes final shape. Thus "where" material comes from, and "what" has been done to it are separable and of equal significance in collaborations.


title: The Autobiography of Malcolm X

text: In Stone's estimation, supported by Wideman, the source of autobiographical material and the efforts made to shape them into a workable narrative are distinct, and of equal value in a critical assessment of the collaboration that produced the "Autobiography". While Haley's skills as writer have significant influence on the narrative's shape, Stone writes, they require a "subject possessed of a powerful memory and imagination" to produce a workable narrative.


title: The Autobiography of Malcolm X

text: The collaboration between Malcolm X and Haley took on many dimensions; editing, revising and composing the "Autobiography" was a power struggle between two men with sometimes competing ideas of the final shape for the book. Haley "took pains to show how Malcolm dominated their relationship and tried to control the composition of the book", writes Rampersad. Rampersad also writes that Haley was aware that memory is selective and that autobiographies are "almost by definition projects in fiction", and that it was his responsibility as biographer to select material based on his authorial discretion. The narrative shape crafted by Haley and Malcolm X is the result of a life account "distorted and diminished" by the "process of selection", Rampersad suggests, yet the narrative's shape may in actuality be more revealing than the narrative itself. In the epilogue Haley describes the process used to edit the manuscript, giving specific examples of how Malcolm X controlled the language.


title: The Autobiography of Malcolm X

text: While Haley ultimately deferred to Malcolm X's specific choice of words when composing the manuscript, Wideman writes, "the nature of writing biography or autobiography ... means that Haley's promise to Malcolm, his intent to be a 'dispassionate chronicler', is a matter of disguising, not removing, his authorial presence." Haley played an important role in persuading Malcolm X not to re-edit the book as a polemic against Elijah Muhammad and the Nation of Islam at a time when Haley already had most of the material needed to complete the book, and asserted his authorial agency when the "Autobiography"s "fractured construction", caused by Malcolm X's rift with Elijah Muhammad and the Nation of Islam, "overturned the design" of the manuscript and created a narrative crisis. In the "Autobiography"s epilogue, Haley describes the incident:


title: The Autobiography of Malcolm X

text: I sent Malcolm X some rough chapters to read. I was appalled when they were soon returned, red-inked in many places where he had told of his almost father-and-son relationship with Elijah Muhammad. Telephoning Malcolm X, I reminded him of his previous decisions, and I stressed that if those chapters contained such telegraphing to readers of what was to lie ahead, then the book would automatically be robbed of some of its building suspense and drama. Malcolm X said, gruffly, 'Whose book is this?' I told him 'yours, of course,' and that I only made the objection in my position as a writer. But late that night Malcolm X telephoned. 'I'm sorry. You're right. I was upset about something. Forget what I wanted changed, let what you already had stand.' I never again gave him chapters to review unless I was with him. Several times I would covertly watch him frown and wince as he read, but he never again asked for any change in what he had originally said.


title: The Autobiography of Malcolm X

text: Haley's warning to avoid "telegraphing to readers" and his advice about "building suspense and drama" demonstrate his efforts to influence the narrative's content and assert his authorial agency while ultimately deferring final discretion to Malcolm X. In the above passage Haley asserts his authorial presence, reminding his subject that as a writer he has concerns about narrative direction and focus, but presenting himself in such a way as to give no doubt that he deferred final approval to his subject. In the words of Eakin, "Because this complex vision of his existence is clearly not that of the early sections of the "Autobiography", Alex Haley and Malcolm X were forced to confront the consequences of this discontinuity in perspective for the narrative, already a year old." Malcolm X, after giving the matter some thought, later accepted Haley's suggestion.


title: The Autobiography of Malcolm X

text: While Marable argues that Malcolm X was his own best revisionist, he also points out that Haley's collaborative role in shaping the "Autobiography" was notable. Haley influenced the narrative's direction and tone while remaining faithful to his subject's syntax and diction. Marable writes that Haley worked "hundreds of sentences into paragraphs", and organized them into "subject areas". Author William L. Andrews writes:


title: The Autobiography of Malcolm X

text: [T]he narrative evolved out of Haley's interviews with Malcolm, but Malcolm had read Haley's typescript, and had made interlineated notes and often stipulated substantive changes, at least in the earlier parts of the text. As the work progressed, however, according to Haley, Malcolm yielded more and more to the authority of his ghostwriter, partly because Haley never let Malcolm read the manuscript unless he was present to defend it, partly because in his last months Malcolm had less and less opportunity to reflect on the text of his life because he was so busy living it, and partly because Malcolm had eventually resigned himself to letting Haley's ideas about effective storytelling take precedence over his own desire to denounce straightaway those whom he had once revered.


title: The Autobiography of Malcolm X

text: Andrews suggests that Haley's role expanded because the book's subject became less available to micro-manage the manuscript, and "Malcolm had eventually resigned himself" to allowing "Haley's ideas about effective storytelling" to shape the narrative.


title: The Autobiography of Malcolm X

text: Marable studied the "Autobiography" manuscript "raw materials" archived by Haley's biographer, Anne Romaine, and described a critical element of the collaboration, Haley's writing tactic to capture the voice of his subject accurately, a disjoint system of data mining that included notes on scrap paper, in-depth interviews, and long "free style" discussions. Marable writes, "Malcolm also had a habit of scribbling notes to himself as he spoke." Haley would secretly "pocket these sketchy notes" and reassemble them in a sub rosa attempt to integrate Malcolm X's "subconscious reflections" into the "workable narrative". This is an example of Haley asserting authorial agency during the writing of the "Autobiography", indicating that their relationship was fraught with minor power struggles. Wideman and Rampersad agree with Marable's description of Haley's book-writing process.


title: The Autobiography of Malcolm X

text: The timing of the collaboration meant that Haley occupied an advantageous position to document the multiple conversion experiences of Malcolm X and his challenge was to form them, however incongruent, into a cohesive workable narrative. Dyson suggests that "profound personal, intellectual, and ideological changes ... led him to order events of his life to support a mythology of metamorphosis and transformation". Marable addresses the confounding factors of the publisher and Haley's authorial influence, passages that support the argument that while Malcolm X may have considered Haley a ghostwriter, he acted in actuality as a coauthor, at times without Malcolm X's direct knowledge or expressed consent:


title: The Autobiography of Malcolm X

text: Although Malcolm X retained final approval of their hybrid text, he was not privy to the actual editorial processes superimposed from Haley's side. The Library of Congress held the answers. This collection includes the papers of Doubleday's then-executive editor, Kenneth McCormick, who had worked closely with Haley for several years as the Autobiography had been constructed. As in the Romaine papers, I found more evidence of Haley's sometimes-weekly private commentary with McCormick about the laborious process of composing the book. They also revealed how several attorneys retained by Doubleday closely monitored and vetted entire sections of the controversial text in 1964, demanding numerous name changes, the reworking and deletion of blocks of paragraphs, and so forth. In late 1963, Haley was particularly worried about what he viewed as Malcolm X's anti-Semitism. He therefore rewrote material to eliminate a number of negative statements about Jews in the book manuscript, with the explicit covert goal of 'getting them past Malcolm X,' without his coauthor's knowledge or consent. Thus, the censorship of Malcolm X had begun well "prior" to his assassination.


title: The Autobiography of Malcolm X

text: Marable says the resulting text was stylistically and ideologically distinct from what Marable believes Malcolm X would have written without Haley's influence, and it also differs from what may have actually been said in the interviews between Haley and Malcolm X.


title: The Autobiography of Malcolm X

text: In "Making Malcolm: The Myth and Meaning of Malcolm X", Dyson criticizes historians and biographers of the time for re-purposing the "Autobiography" as a transcendent narrative by a "mythological" Malcolm X without being critical enough of the underlying ideas. Further, because much of the available biographical studies of Malcolm X have been written by white authors, Dyson suggests their ability to "interpret black experience" is suspect. "The Autobiography of Malcolm X", Dyson says, reflects both Malcolm X's goal of narrating his life story for public consumption and Haley's political ideologies. Dyson writes, ""The Autobiography of Malcolm X" ... has been criticized for avoiding or distorting certain facts. Indeed, the autobiography is as much a testament to Haley's ingenuity in shaping the manuscript as it is a record of Malcolm's attempt to tell his story."


title: The Autobiography of Malcolm X

text: Rampersad suggests that Haley understood autobiographies as "almost fiction". In "The Color of His Eyes: Bruce Perry's "Malcolm" and Malcolm's Malcolm", Rampersad criticizes Perry's biography, "Malcolm: The Life of a Man Who Changed Black America", and makes the general point that the writing of the "Autobiography" is part of the narrative of blackness in the 20th century and consequently should "not be held utterly beyond inquiry". To Rampersad, the "Autobiography" is about psychology, ideology, a conversion narrative, and the myth-making process. "Malcolm inscribed in it the terms of his understanding of the form even as the unstable, even treacherous form concealed and distorted particular aspects of his quest. But there is no Malcolm untouched by doubt or fiction. Malcolm's Malcolm is in itself a fabrication; the 'truth' about him is impossible to know." Rampersad suggests that since his 1965 assassination, Malcolm X has "become the desires of his admirers, who have reshaped memory, historical record and the autobiography according to their wishes, which is to say, according to their needs as they perceive them." Further, Rampersad says, many admirers of Malcolm X perceive "accomplished and admirable" figures like Martin Luther King Jr., and W. E. B. Du Bois inadequate to fully express black humanity as it struggles with oppression, "while Malcolm is seen as the apotheosis of black individual greatness ... he is a perfect hero—his wisdom is surpassing, his courage definitive, his sacrifice messianic". Rampersad suggests that devotees have helped shape the myth of Malcolm X.


title: The Autobiography of Malcolm X

text: [T]he autobiography iconizes Malcolm twice, not once. Its second Malcolm—the El-Hajj Malik El-Shabazz finale—is a mask with no distinct ideology, it is not particularly Islamic, not particularly nationalist, not particularly humanist. Like any well crafted icon or story, the mask is evidence of its subject's humanity, of Malcolm's strong human spirit. But both masks hide as much character as they show. The first mask served a nationalism Malcolm had rejected before the book was finished; the second is mostly empty and available.


title: The Autobiography of Malcolm X

text: To Eakin, a significant portion of the "Autobiography" involves Haley and Malcolm X shaping the fiction of the completed self. Stone writes that Haley's description of the "Autobiography"s composition makes clear that this fiction is "especially misleading in the case of Malcolm X"; both Haley and the "Autobiography" itself are "out of phase" with its subject's "life and identity". Dyson writes, "[Louis] Lomax says that Malcolm became a 'lukewarm integrationist'. [Peter] Goldman suggests that Malcolm was 'improvising', that he embraced and discarded ideological options as he went along. [Albert] Cleage and [Oba] T'Shaka hold that he remained a revolutionary black nationalist. And [James Hal] Cone asserts that he became an internationalist with a humanist bent." Marable writes that Malcolm X was a "committed internationalist" and "black nationalist" at the end of his life, not an "integrationist", noting, "what I find in my own research is greater continuity than discontinuity".


title: The Autobiography of Malcolm X

text: Marable, in "Rediscovering Malcolm's Life: A Historian's Adventures in Living History", critically analyzes the collaboration that produced the "Autobiography". Marable argues autobiographical "memoirs" are "inherently biased", representing the subject as he would appear with certain facts privileged, others deliberately omitted. Autobiographical narratives self-censor, reorder event chronology, and alter names. According to Marable, "nearly everyone writing about Malcolm X" has failed to critically and objectively analyze and research the subject properly. Marable suggests that most historians have assumed that the "Autobiography" is veritable truth, devoid of any ideological influence or stylistic embellishment by Malcolm X or Haley. Further, Marable believes the "most talented revisionist of Malcolm X, was Malcolm X", who actively fashioned and reinvented his public image and verbiage so as to increase favor with diverse groups of people in various situations.


title: The Autobiography of Malcolm X

text: Haley writes that during the last months of Malcolm X's life "uncertainty and confusion" about his views were widespread in Harlem, his base of operations. In an interview four days before his death Malcolm X said, "I'm man enough to tell you that I can't put my finger on exactly what my philosophy is now, but I'm flexible." Malcolm X had not yet formulated a cohesive Black ideology at the time of his assassination and, Dyson writes, was "experiencing a radical shift" in his core "personal and political understandings".


title: The Autobiography of Malcolm X

text: Eliot Fremont-Smith, reviewing "The Autobiography of Malcolm X" for "The New York Times" in 1965, described it as "extraordinary" and said it is a "brilliant, painful, important book". Two years later, historian John William Ward wrote that the book "will surely become one of the classics in American autobiography". Bayard Rustin argued the book suffered from a lack of critical analysis, which he attributed to Malcolm X's expectation that Haley be a "chronicler, not an interpreter." "Newsweek" also highlighted the limited insight and criticism in "The Autobiography" but praised it for power and poignance. However, Truman Nelson in "The Nation" lauded the epilogue as revelatory and described Haley as a "skillful amanuensis". "Variety" called it a "mesmerizing page-turner" in 1992, and in 1998, "Time" named "The Autobiography of Malcolm X" one of ten "required reading" nonfiction books.


title: The Autobiography of Malcolm X

text: "The Autobiography of Malcolm X" has influenced generations of readers. In 1990, Charles Solomon writes in the "Los Angeles Times", "Unlike many '60s icons, "The Autobiography of Malcolm X", with its double message of anger and love, remains an inspiring document." Cultural historian Howard Bruce Franklin describes it as "one of the most influential books in late-twentieth-century American culture", and the "Concise Oxford Companion to African American Literature" credits Haley with shaping "what has undoubtedly become the most influential twentieth-century African American autobiography".


title: The Autobiography of Malcolm X

text: Considering the literary impact of Malcolm X's "Autobiography", we may note the tremendous influence of the book, as well as its subject generally, on the development of the Black Arts Movement. Indeed, it was the day after Malcolm's assassination that the poet and playwright, Amiri Baraka, established the Black Arts Repertory Theater, which would serve to catalyze the aesthetic progression of the movement. Writers and thinkers associated with the Black Arts movement found in the "Autobiography" an aesthetic embodiment of his profoundly influential qualities, namely, "the vibrancy of his public voice, the clarity of his analyses of oppression's hidden history and inner logic, the fearlessness of his opposition to white supremacy, and the unconstrained ardor of his advocacy for revolution 'by any means necessary.'"


title: The Autobiography of Malcolm X

text: bell hooks writes "When I was a young college student in the early seventies, the book I read which revolutionized my thinking about race and politics was "The Autobiography of Malcolm X"." David Bradley adds:


title: The Autobiography of Malcolm X

text: She [hooks] is not alone. Ask any middle-aged socially conscious intellectual to list the books that influenced his or her youthful thinking, and he or she will most likely mention "The Autobiography of Malcolm X". Some will do more than mention it. Some will say that ... they picked it up—by accident, or maybe by assignment, or because a friend pressed it on them—and that they approached the reading of it without great expectations, but somehow that book ... took hold of them. Got "inside" them. Altered their vision, their outlook, their insight. Changed their lives.


title: The Autobiography of Malcolm X

text: Max Elbaum concurs, writing that ""The Autobiography of Malcolm X" was without question the single most widely read and influential book among young people of all racial backgrounds who went to their first demonstration sometime between 1965 and 1968."


title: The Autobiography of Malcolm X

text: At the end of his tenure as the first African-American U.S. Attorney General, Eric Holder selected "The Autobiography of Malcolm X" when asked what book he would recommend to a young person coming to Washington, D.C.


title: The Autobiography of Malcolm X

text: Doubleday had contracted to publish "The Autobiography of Malcolm X" and paid a $30,000 advance to Malcolm X and Haley in 1963. In March 1965, three weeks after Malcolm X's assassination, Nelson Doubleday Jr., canceled its contract out of fear for the safety of his employees. Grove Press then published the book later that year. Since "The Autobiography of Malcolm X" has sold millions of copies, Marable described Doubleday's choice as the "most disastrous decision in corporate publishing history".


title: The Autobiography of Malcolm X

text: "The Autobiography of Malcolm X" has sold well since its 1965 publication. According to "The New York Times", the paperback edition sold 400,000 copies in 1967 and 800,000 copies the following year. The "Autobiography" entered its 18th printing by 1970. "The New York Times" reported that six million copies of the book had been sold by 1977. The book experienced increased readership and returned to the best-seller list in the 1990s, helped in part by the publicity surrounding Spike Lee's 1992 film "Malcolm X". Between 1989 and 1992, sales of the book increased by 300%.


title: The Autobiography of Malcolm X

text: In 1968 film producer Marvin Worth hired novelist James Baldwin to write a screenplay based on "The Autobiography of Malcolm X"; Baldwin was joined by screenwriter Arnold Perl, who died in 1971 before the screenplay could be finished. Baldwin developed his work on the screenplay into the book "One Day, When I Was Lost: A Scenario Based on Alex Haley's "The Autobiography of Malcolm X"", published in 1972. Other authors who attempted to draft screenplays include playwright David Mamet, novelist David Bradley, author Charles Fuller, and screenwriter Calder Willingham. Director Spike Lee revised the Baldwin-Perl script for his 1992 film "Malcolm X".


title: The Autobiography of Malcolm X

text: In 1992, attorney Gregory Reed bought the original manuscripts of "The Autobiography of Malcolm X" for $100,000 at the sale of the Haley Estate. The manuscripts included three "missing chapters", titled "The Negro", "The End of Christianity", and "Twenty Million Black Muslims", that were omitted from the original text. In a 1964 letter to his publisher, Haley had described these chapters as, "the most material of the book, some of it rather lava-like". Marable writes that the missing chapters were "dictated and written" during Malcolm X's final months in the Nation of Islam. In them, Marable says, Malcolm X proposed the establishment of a union of African American civic and political organizations. Marable wonders whether this project might have led some within the Nation of Islam and the Federal Bureau of Investigation to try to silence Malcolm X.


title: The Autobiography of Malcolm X

text: In July 2018, the Schomburg Center for Research in Black Culture acquired one of the "missing chapters", "The Negro", at auction for $7,000.


title: The Autobiography of Malcolm X

text: The book has been published in more than 45 editions and in many languages, including Arabic, German, French, Indonesian. Important editions include:


title: Thutmose IV

text: Thutmose IV (sometimes read as Thutmosis or Tuthmosis IV, Thothmes in older history works in Latinized Greek; "Thoth is born") was the 8th Pharaoh of the 18th Dynasty of Egypt, who ruled in approximately the 14th century BC. His prenomen or royal name, Menkheperure, means "Established in forms is Re." He was the son of Amenhotep II and Tiaa.


title: Thutmose IV

text: Thutmose IV was born to Amenhotep II and Tiaa, but was not actually the crown prince and Amenhotep II's chosen successor to the throne. Some scholars speculate that Thutmose ousted his older brother in order to usurp power and then commissioned the Dream Stele in order to justify his unexpected kingship. Thutmose's most celebrated accomplishment was the restoration of the Great Sphinx of Giza and subsequent commission of the Dream Stele. According to Thutmose's account on the Dream Stele, while the young prince was out on a hunting trip, he stopped to rest under the head of the Sphinx, which was buried up to the neck in sand. He soon fell asleep and had a dream in which the Sphinx told him that if he cleared away the sand and restored it he would become the next pharaoh. After completing the restoration of the Sphinx, he placed a carved stone tablet, now known as the Dream Stele, between the two paws of the Sphinx. The restoration of the Sphinx, and the text of the Dream Stele would then be a piece of propaganda on Thutmose's part, meant to bestow legitimacy upon his unexpected kingship.


title: Thutmose IV

text: Little is known about his brief ten-year rule. He suppressed a minor uprising in Nubia in his 8th year (attested in his Konosso stela) around 1393 BC and was referred to in a stela as the Conqueror of Syria, but little else has been pieced together about his military exploits. Betsy Bryan, who penned a biography of Thutmose IV, says that Thutmose IV's Konosso stela appears to refer to a minor desert patrol action on the part of the king's forces to protect certain gold-mine routes in Egypt's Eastern Desert from occasional attacks by the Nubians. Thutmose IV's rule is significant because he established peaceful relations with Mitanni and married a Mitannian princess to seal this new alliance. Thutmose IV's role in initiating contact with Egypt's former rival, Mitanni, is documented by Amarna letter EA 29 composed decades later by Tushratta, a Mittanian king who ruled during the reign of Akhenaten, Thutmose IV's grandson. Tushratta states to Akhenaten that:


title: Thutmose IV

text: Dating the beginning of the reign of Thutmose IV is difficult to do with certainty because he is several generations removed from the astronomical dates which are usually used to calculate Egyptian chronologies, and the debate over the proper interpretation of these observances has not been settled. Thutmose's grandfather Thutmose III almost certainly acceded the throne in either 1504 or 1479, based upon two lunar observances during his reign, and ruled for nearly 54 years. His successor Amenhotep II, Thutmose IV's father, took the throne and ruled for at least 26 years but has been assigned up to 35 years in some chronological reconstructions. The currently preferred reconstruction, after analyzing all this evidence, usually comes to an accession date around 1401 BC or 1400 BC for the beginning of Thutmose IV's reign.


title: Thutmose IV

text: The length of his reign is not clear. He is usually given about nine or ten years of reign. Manetho credits him a reign of 9 years and 8 months. However, Manetho's other figures for the 18th Dynasty are frequently assigned to the wrong kings or simply incorrect, so monumental evidence is also used to determine his reign length. Of all of Thutmose IV's dated monuments, three date to his first regnal year, one to his fourth, possibly one to his fifth, one to his sixth, two to his seventh, and one to his eighth. Two other dated objects, one dated to a Year 19 and another year 20, have been suggested as possibly belonging to him, but neither have been accepted as dating to his reign. The readings of the king's name in these dates are today accepted as referring to the prenomen of Thutmose III—Menkheperre—and not Menkhepe[ru]re Thutmose IV himself. Due to the absence of higher dates for Thutmose IV after his Year 8 Konosso stela, Manetho's figures here are usually accepted. There were once chronological reconstructions which gave him a reign as long as 34–35 years. Today, however, most scholars ascribe him a 10-year reign from 1401 to 1392 BC, within a small margin of error.


title: Thutmose IV

text: Like most of the Thutmoside kings, he built on a grand scale. Thutmose IV completed the eastern obelisk at the Temple of Karnak started by Thutmose III, which, at , was the tallest obelisk ever erected in Egypt. Thutmose IV called it the "tekhen waty" or 'unique obelisk.' It was transported to the grounds of the Circus Maximus in Rome by Emperor Constantius II in 357 AD and, later, "re-erected by Pope Sixtus V in 1588 at the Piazza San Giovanni" where it is today known as the Lateran Obelisk.


title: Thutmose IV

text: Thutmose IV also built a unique chapel and peristyle hall against the back or eastern walls of the main Karnak temple building. The chapel was intended for people "who had no right of access to the main [Karnak] temple. It was a 'place of the ear' for the god Amun where the god could hear the prayers of the townspeople." This small alabaster chapel and peristyle hall of Thutmose IV has today been carefully restored by French scholars from the "Centre Franco-Egyptien D'Étude des Temple de Karnak" (CFEETK) mission in Karnak.


title: Thutmose IV

text: Thutmose IV was buried in tomb KV43 the Valley of the Kings but his body was later moved to the mummy cache in KV35, where it was discovered by Victor Loret in 1898. An examination of his mummy conducted by Grafton Elliot Smith revealed that he was extremely emaciated at the time of his death. His height was given as but considering that the feet have been broken off post-mortem, his height in life would have been taller. The forearms are crossed over the chest, right over left. His hair, which is parted in the middle, is about long and dark reddish-brown. His ears are also pierced. Elliot Smith estimated his age to be 25–28 years or possibly older. He was succeeded to the throne by his son, Amenhotep III.


title: Thutmose IV

text: In 1980, James Harris and Edward F. Wente conducted X-ray examinations of New Kingdom Pharaoh's crania and skeletal remains, which included the mummified remains of Thutmose IV. The authors determined that the royal mummies of the 18th Dynasty bore strong similarities to contemporary Nubians with slight differences.


title: Thutmose IV

text: In 2012 a surgeon at Imperial College London analysed the early death of Thutmose IV and the premature deaths of other Eighteenth Dynasty pharaohs (including Tutankhamun and Akhenaten). He concludes that their early deaths were likely as a result of a familial temporal epilepsy. This would account for both the untimely death of Thutmose IV and also his religious vision described on the Dream Stele, due to this type of epilepsy's association with intense spiritual visions and religiosity.


title: Thutmose IV

text: His mummy has the inventory number CG 61073. In April 2021 his mummy was moved from the Museum of Egyptian Antiquities to the National Museum of Egyptian Civilization along with those of 17 other kings and 4 queens in an event termed the Pharaohs' Golden Parade.


title: ICC Men's Player Rankings

text: The International Cricket Council Player Rankings is a widely followed system of rankings for international cricketers based on their recent performances. The current sponsor is MRF Tyres who signed a 4-year deal with the ICC that will last until 2020.


title: ICC Men's Player Rankings

text: The ratings were developed at the suggestion of Ted Dexter in 1987. The intention was to produce a better indication of players' current standing in the sport than is provided by comparing their averages. Career averages are based on a player's entire career and do not make any allowance for match conditions or the strength of the opposition, whereas the ratings are weighted towards recent form and account for match conditions and the quality of the opponent using statistical algorithms.


title: ICC Men's Player Rankings

text: Initially the rankings were for Test cricket only, but separate One Day International rankings were introduced in 1998. Both sets of rankings have now been calculated back to the start of those forms of the game. The rankings include the top 10 Test, ODI and T20I batsmen, bowlers and all-rounders based on the rating of each player.


title: ICC Men's Player Rankings

text: The player rankings are a weighted average of all a player's performances, with recent matches weighted most heavily (so the overall effect of a good or bad performance decline over time). Each match performance is given a rating out of 1000, based on a set of pre-determined criteria, and these figures averaged. This means that the maximum possible overall rating is 1000, and a player gaining a rating of 900 is seen as an exceptional achievement. Separate lists are maintained for batting and bowling and an all-rounder rating is also published, which is obtained by multiplying a player's batting and bowling rating together and dividing by 1000.


title: ICC Men's Player Rankings

text: For batting, the performance rating is based on a combination of runs scored, the rating of the opposition bowlers, match result and comparison to the overall scores in the match.


title: ICC Men's Player Rankings

text: A bowler gains points based on wickets taken, runs conceded and match result, with more points gained for dismissing highly rated batsmen.


title: ICC Men's Player Rankings

text: A damping-factor is applied to a player's rating at the start of their career, so they do not get a full rating for their performances until they have played about 20 Tests.


title: Mayo College

text: Mayo College (informally Mayo) is a boys-only independent boarding school in Ajmer, Rajasthan, India. It was founded in 1875 by Richard Bourke, 6th Earl of Mayo, who was the Viceroy of India from 1869 to 1872. This makes it one of the oldest public boarding schools in India. The principal is Lt. Gen. (Retd) Surendra Kulkarni, who has occupied the post since January 2015 as the 17th principal.The school houses 800 pupils aged between 9 and 18.


title: Mayo College

text: The idea for the college was proposed in 1869 by Colonel Walter. It was founded in 1875 and Colonel Sir Oliver St John became its first principal. The founder's intention was to create an "Eton of India". The 1st Earl of Lytton, Viceroy of India, said in a speech on campus in 1879:


title: Mayo College

text: It aimed to provide the leaders of the princely states with an education similar to that given by Eton College. The British built Mayo for the sons of the Indian upper classes, particularly the princes and nobles of India. Mayo College holds the privilege of educating many members of the Indian Royal Families and also the Royal family of Oman, Said bin Taimur (the 13th Sultan of Muscat and Oman) attended Mayo College from 1922 to 1927 where he mastered English and Urdu.


title: Mayo College

text: The coat of arms was composed from the design furnished by Lockwood Kipling, a former principal of the School of Arts, Lahore, and father of Rudyard Kipling.


title: Mayo College

text: In the upper centre of the shield are Mayo Arms and Quarterings, a Lion Rampant and an open hand. On the right and left are the sun and the moon, typical of Suryavanshi and Chandravanshi, the two great families of Rajputs. Below are the Panch Rang, the five sacred colours of the Rajputs, Red, Gold, Blue, White and Green. In the centre is a Rajput fort – two towers connected by a curtain. The supports are on the right: a Bhil warrior with string bow and full quiver of arrows. On the left a Rajput, armed at all points, wearing a steel helmet with three plumes, a shield on his back, a dagger and katar in his belt, and a suit of chain covered with embroidered cloth and gauntlet on his hand.


title: Mayo College

text: The motto "Let there be Light" is derived from the Bible. The badge is a peacock, the sacred bird of Rajputana, standing on a double-edged, two-handed Rajput sword called Khanda.


title: Mayo College

text: On 12 April 1986, the Indian Postal Service released a stamp showing the main building of Mayo College. The multicolour stamp was designed by India Security Press. The first day cover shows the emblem of the college. The cancellation was designed by Nenu Bagga.


title: Mayo College

text: The Danmal Mathur Museum is housed in Jhalawar House, which it shares with the Art School. The museum showcases priceless antiques and an armoury section. It is considered one of the best collections found in any in school museum of the world.


title: Mayo College

text: There are more than 40 members of the Mayo College General Council including patron, life members, old boys' association representatives and MCGS old girls' representatives.


title: Mayo College

text: The school has a council of monitors consisting of students with posts dealing with school and house duties. There is a monitor and a prefect from each senior house. There are positions held by the students who excel in fields like academics, sports and co-curricular activities. Apart from the council of monitors, there are captains for each sport. Positions are held by the students of 12th class or, rarely, by juniors.


title: Mayo College

text: There are twelve houses of which six are senior houses, 3 holding houses (each for Class 7, 8 and 9) and three junior houses (for Class 4, 5 and 6)


title: Mayo College

text: The senior houses are Ajmer, Bharatpur, Jaipur, Jodhpur, Kashmir and Rajasthan. The holding houses are Bikaner & Tonk, Colvin and Oman. The junior houses are Ajaypal, Durgadas and Prithviraj.


title: Mayo College

text: Mayo College has some of the best sporting facilities among the top boarding schools of India. There are facilities for students and staff consisting of playing fields for football and hockey and a cricket ground with a view of the Aravali Hills and an old red sandstone pavilion.


title: Mayo College

text: Horse riding was discontinued after Independence and revived again in 1993 with ten horses. Today, Mayo College has more than 60 horses and close to 250 boys and girls are trained. Mayo has ten polo players who practice at the Sawai Man Singh II polo ground. Students are trained in events like Show Jumping, Pig Sticking, Tent Pegging, Dressage, etc. Mayo College has participated in national level polo competitions and produced players like Himmat Singh Bedla, Nagender Singh, Pratap Singh, Sarveshwar Singh, Dhruv Singh. The school participated in the SUPA International Polo Tournament held in the UK in 2008. Mayo College actively participates in the Jodhpur polo season and the Delhi Horse Show.


title: Mayo College

text: Squash players may choose between the modern glass-backed courts or the historic Fanshawe courts, open to the sky. Mayo College has a nine-hole golf course which was built recently. It also has many basketball courts.


title: Mayo College

text: Tennis is one of the most popular sports in Mayo College. The Junior School and Senior School boys regularly play tennis in the evening as a daily routine throughout the year. There are around 11 tennis courts on the campus. There are five all-weather synthetic courts and two clay courts in the senior school. The junior school has four clay courts.


title: Mayo College

text: The gymnasium has a permanent instructor and trainer. It attracts approximately 40 boys every afternoon. It is equipped with modern stations, free weights, treadmills and stands.


title: Mayo College

text: Shooting has become a major sport here. The 10m shooting range is one of the best ranges available at any school in India. The college owns imported rifles and pistols and has experienced coaches. Mayo has participated and won medals at national level tournaments.


title: Mayo College

text: "Mayoor" was established in the late 1960s by the principal, Jack Gibson. It is a major bi-monthly newsletter with college news, updates and photos. The editorial team consists of an editor-in-chief who is an English teacher in the school and a team of editors from the student community. "Mayoor" used to have a Hindi section with articles and poems. This was removed when an independent Hindi newsletter called "Paridrishya" was established in 2006.


title: Mayo College

text: "The Mayo Mail" is a weekly newsletter, established in 2008 by a group of students of Grade 7. It has become a publication which prints four fresh sheets every week and is called the "newspaper" of Mayo College. It consists of write-ups on school happenings and activities like the trademark Mayo "Tweets" and "Howlers".


title: Mayo College

text: The independent Hindi magazine called "Paridrishya" was established in 2006. The magazine consists of articles, poems and jottings written by the school community. It has an editor-in-chief, who is a Hindi teacher in the school, and student editors.


title: Mayo College

text: "Reflection", established in 2007, is the student magazine. It is filled with poems, articles and facts that are illustrated with pictures. "Reflection" comes out three times a year.


title: Mayo College

text: The "College Magazine" is the yearbook of Mayo College. It has English and Hindi sections and contains reports, speeches, photographs, poems, articles and case studies of the school.


title: Mayo College

text: Mayo College has educated members of royal families including Bikaner, Alwar, Jammu and Kashmir, Kishangarh, Jaipur, Kangra, Udaipur, Jodhpur, Kutch, Kota and Dewas (Junior).


title: Mayo College

text: Sadashiv Rao II Puar of Dewas (Junior), Muhammad Mahabat Khan III of Junagadh, Yeshwant Rao Puar of Dewas (Junior), Sawai Man Singh II of Jaipur, Hari Singh of Jammu and Kashmir, Maharana Mahendra Singh Mewar, Arvind Singh Mewar of Mewar-Udaipur, Pragmulji III of Kutch, Prince Shivraj Singh of Jodhpur of Marwar-Jodhpur and Kirit Bikram Kishore Deb Barman, erstwhile Maharaja of Tripura from the second oldest continuing ruling lineage after the Mikados of Japan.


title: Mayo College

text: Alumni from Mayo have served in the armed forces and others serve as members of parliament and senior civil servants. Jaswant Singh is one of the few Indian politicians to have been the Minister for Defence, Finance and External Affairs; K. Natwar Singh of the Indian Foreign Service was India's Ambassador to Pakistan and as External Affairs Minister, Admiral Sunil Lanba is the former Navy Chief.


title: Mayo College

text: Lt. Gen. Nathu Singh Rathore, the second Indian officer to graduate from the Royal Military College, Sandhurst, was a distinguished strategist who served as a Division Commander in Burma during the Second World War. He was offered the position of Commander in Chief of the Indian Army in 1949 but declined the position in favour of his senior, K M Cariappa.


title: Mayo College

text: Alumni have been Indian ambassadors to Morocco, Spain, Norway, Brazil, Libya, Switzerland and France.


title: Mayo College

text: The vice-chairman of Tata Motors, Ravi Kant, erstwhile chairman of Shell Oil-India, Vikram Singh Mehta, erstwhile chairman emeritus of Nestlé-India, Narendra Singh of Sarila, former chairman of Air India and Indian Airlines, Probir Sen, erstwhile chairman and MD of Axis Bank, P.J. Nayak, member of the Bank of England Monetary Policy Committee, Sushil Wadhwani, the retired chief general manager and executive director of the Reserve Bank of India and erstwhile managing director of NABARD, Yashwant Thorat, as well as Rakesh Mohan, who was deputy governor of the Reserve Bank of India all studied at Mayo. Mayo also has produced academic economists like Alok Bhargava who researches on food policy issues in developing and developed countries for formulating public policies. Mayo has produced scientists such as the eminent scientist in the field of electronic materials, Amit Goyal.


title: Mayo College

text: Tikaraj Aishwarya Katoch of Kangra, director of Indiabulls, donated the Kangra Amphitheatre in memory of his great-grandfather Maharaja Jai Chand Katoch who was one of the first few students of Mayo College.


title: Mayo College

text: Journalists who attended Mayo include Vir Sanghvi, Siddharth Varadarajan and Manvendra Singh. Writers include Vikram Chandra ("Red Earth & Pouring Rain", "Sacred Games") and Indra Sinha ("Animal's People", shortlisted for the Man Booker Prize), Sudeep Chakravarti ("Tin Fish" and "The Red Sun"). Artists include Jaideep Mehrotra, Red Fashion designer Raghuvendra Rathore, celebrity chef Jiggs Kalra, the actors Ajay Mehta, Bobby Deol, Tinnu Anand, Vivek Oberoi, the filmmakers Pradip Krishen (also an environmentalist and writer of "Trees of Delhi"), Samir Karnik, Goldie Behl, Heeraz Marfatia and the theatre personality, Amir Raza Husain.


title: Mayo College

text: The school has produced sportsmen including Charu Sharma, cricketer Arun Lal and Lokendra Singh Ghanerao (who captained India at polo).


title: Mayo College

text: Eknath Ghate, the acclaimed mathematician and winner of the Shanti Swarup Bhatnagar Prize for Science and Technology, is an alumnus of Mayo College.


title: Mayo College

text: The J. T. M. Gibson Award for Excellence was created in 2007 to be given to old boys who have, consistent with Jack Gibson's ideals, made a difference to society. Honorees include:


title: Brooke McCarter

text: Brooke McCarter (April 22, 1963 – December 22, 2015) was an American actor, producer, director, composer and musician. He is known for the role of Paul in the 1987 vampire horror comedy "The Lost Boys".


title: Brooke McCarter

text: McCarter was born in Bryn Mawr, Pennsylvania, the son of Maria and Brooke McCarter. Brooke was born with athletic and musical talent. Sponsored by Ektelon, Brooke won dozens of trophies, was second in the state of Ohio for the Under 18 division, and earned a racquetball scholarship to Memphis State University. He spent two years in Memphis and one year at Ohio University.


title: Brooke McCarter

text: After winning a modeling contest, Brooke was signed to the Ford modeling agency and moved to New York City, where he studied with acting coach icon Stella Adler and recorded music in the studio. Upon moving to Los Angeles, he made his acting debut in the 1986 skater drama "Thrashin'". During the filming of "The Lost Boys", McCarter became friends with his co-star Corey Haim and became his manager through the 1990s. After having a small part in the John Belushi biographical film "Wired" (1989), he went on a hiatus from acting to focus on other projects. As a composer, he scored the film "Fast Getaway" (1991) and the documentary "Leaves of Green" (2002), which he also directed. He returned to acting in 2009 in Herschell Gordon Lewis's "The Uh-Oh! Show.


title: Brooke McCarter

text: McCarter appeared in such films as "Thrashin'" in 1986, "Wired" in 1989, "The Uh-oh Show" in 2009, and the 1980s television reboot series "The Twilight Zone". McCarter began his career in the entertainment industry as a model with the Ford modeling agency in New York City after winning a national talent search. He soon began doing major campaigns for companies such as Levi's and JC Penney. He engaged in a performing arts curriculum of voice, dance and acting. He then studied with acting coach icon Stella Adler. Upon completing his New York education, he moved to Los Angeles and began working on national commercials for major products such as Pepsi, Miller and Chevrolet.


title: Brooke McCarter

text: McCarter found his first feature film, "Thrashin", a skateboard movie which also featured Tony Hawk, Josh Brolin and the Red Hot Chili Peppers. His first big break came with a co-starring role in the '80s vampire hit "The Lost Boys". McCarter appeared in TV shows such as "The Twilight Zone" and "Route 66". His last feature film was "Wired", about the life of John Belushi starring Michael Chiklis.


title: Brooke McCarter

text: He was also a drummer and music programmer, and scored independent feature films such as "Fast Getaway" and documentaries such as "Leaves of Green", on which he also served as director.


title: Brooke McCarter

text: In 1998, he took a ten-year hiatus from Hollywood to work in the telecommunications industry. During this time he moved to Tampa, Florida, to raise his daughter as a single dad. In 2009, McCarter returned to acting with the lead role in horror icon Herschell Gordon Lewis's "Uh-Oh Show". In recent years he toured horror conventions throughout the U.S. and abroad with his "Lost Boys" co-stars. He also toured the U.S. as a drummer and could be seen in venues throughout the Tampa Bay area hand drumming with his djembes, bongos, congas and tambourines.


title: Brooke McCarter

text: McCarter died in Tampa, Florida on December 22, 2015, at the age of 52 from the genetic liver disorder alpha 1-antitrypsin deficiency (AAT). His death increased awareness of this rare disorder, according to the Alpha-1 Foundation.


title: Magic!

text: Magic! (stylized in all uppercase) is a Canadian reggae fusion band based in Toronto, Ontario. The band is composed of lead vocalist, guitarist/producer Nasri Atweh, guitarist/keyboardist Mark "Pelli" Pellizzer, and bassist Ben Spivak. Active since 2012, the band is signed with Latium, Sony, and RCA Records, releasing their debut studio album "Don't Kill the Magic" in 2014, their second studio album "Primary Colours" in 2016, and their third studio album "Expectations" in 2018. They are best known for their hit single "Rude", which charted at No. 1 in several countries worldwide, including the US and UK.


title: Magic!

text: The band is heavily inspired by the Police and Bob Marley and the Wailers. They are known for having a signature reggae-influenced pop sound.


title: Magic!

text: All members of the band are from the Toronto area of Canada. The lead singer of Magic!, Nasri, had worked with and written songs for different pop acts prior to the start of the band, mainly alongside Adam Messinger, together known as the Messengers. He met Mark Pellizzer in the studio and within a week they wrote the song "Don't Judge Me" for Chris Brown. Nasri described the chemistry between himself and Pellizzer as "different than writing chemistry, it was more artistic." A few weeks later, while Mark was playing a reggae tune on the guitar, Nasri suggested starting a band like "modern-day Police."


title: Magic!

text: Next to join the band was Alex Tanas. He and Mark Pellizzer knew each other, since they both had been members of the Justin Nozuka band for several years.


title: Magic!

text: Prior to joining Magic!, Ben Spivak had been playing with the Toronto-based Julian Taylor Band, releasing Never Gonna Give You Up in 2012. Julian Taylor and Jeremy Elliot had enjoyed success playing in Staggered Crossing with "Further Again" hitting #6 in 2001 on the Canadian Hot 100 chart.


title: Magic!

text: Magic!'s debut single "Rude" was released on October 12, 2013. The song peaked at number six on the Canadian Hot 100 and also proved a great international success, topping the charts in the United States and the United Kingdom and peaking within the top ten of the charts in Australia, New Zealand, Denmark, the Netherlands and Sweden.


title: Magic!

text: "Don't Kill the Magic" was released as the second single from the album on April 4, 2014, peaking at number twenty-two on the Canadian Hot 100 and fifty-three in Australia.


title: Magic!

text: The band released their debut album "Don't Kill the Magic" on June 30, 2014. The album peaked to number 5 on the Canadian Albums Chart and number 6 on the "Billboard" 200.


title: Magic!

text: On October 7, 2014, "Let Your Hair Down" was issued to contemporary hit radio by RCA Records as the third single from the album (the second to be released in the US). It peaked at number 20 on the Canadian Hot 100 chart. The official music video, directed by David Rousseau, was published online on October 31, 2014.


title: Magic!

text: Magic! was among the performers at the 15th Annual Latin Grammy Awards held on November 20, 2014. Marc Anthony joined the band on stage for a special performance of "Rude".


title: Magic!

text: From February until June 2015, Magic! opened for Maroon 5 in North America and Europe on their Maroon V Tour. The band also had additional solo gigs.


title: Magic!

text: In March 2015, Magic! won two Juno Awards - for Breakthrough Group of the Year and Single of the Year, out of five nominations. Adam Messinger won the Juno Award for Producer of the Year.


title: Magic!

text: In April 2015, "No Way No" was released as a single. It peaked at number 23 in Canada. The official video had been uploaded on YouTube since March 2, 2015.


title: Magic!

text: On June 22, 2015, Magic! was awarded the International Achievement Award by SOCAN at the 2015 SOCAN Awards in Toronto.


title: Magic!

text: On July 1, 2015, Magic! performed at Canada Day in Ottawa, and later performed at the Coca-Cola Stage at the Calgary Stampede on July 12, 2015.


title: Magic!

text: On July 17, 2015, Magic! released a new single, "#SundayFunday", this ended up being a non-album single.


title: Magic!

text: On March 25, 2016, Magic! released their first single from their second album "Primary Colours", called "Lay You Down Easy", this was a collaboration with Sean Paul.


title: Magic!

text: On the evening of June 18, 2016, Magic! released their second single from "Primary Colours" called "Red Dress". The song was premiered on Apple's radio station Beats1. The band first heard the song premiered as they were broadcasting a Facebook live video to their fans.


title: Magic!

text: On the morning of June 20, 2016, Magic! was part of the Muscular Dystrophy Association's #LiveUnlimited, they broadcast a live rehearsal video to Facebook to raise money for MDA.


title: Magic!

text: On July 2, Magic! released a special version of their song "No Regrets" in memory of the victims of the shooting on June 12, 2016, at Pulse Nightclub in Orlando, Florida.


title: Magic!

text: On March 10, 2017, they released a new collaboration with Matoma and D.R.A.M. called "Girl at Coachella" on digital and streaming services.


title: Magic!

text: Magic! is featured on Shakira's "Cut Me Deep", a track from her self-titled album, released in March 2014 and on a track on "One Love, One Rhythm", the official 2014 FIFA World Cup album titled "This Is Our Time (Agora é a Nossa Hora)" released in April. They are also featured on Sun Goes Down, a track on David Guetta's album "Listen", which also features Sonny Wilson on the hook, as well as production from "Showtek".


title: Magic!

text: There has been at least one significant remix of "Rude". A remix by Russian-German producer/DJ Zedd was premiered in his set at Lollapalooza 2014. It was released on 2 September 2014, Zedd's 25th birthday. Zedd had said, "I'm gonna give myself a birthday present and release my remix of "Rude" on my bday, sept 2nd!" He also released official, completed full-length audio on his Soundcloud on 28 August 2014, which garnered nearly 400,000 plays within 24 hours. While the original was still in number-one position on the "Billboard" Hot 100, there was speculation that release of the remix on mainstream music outlets online would assist the original song in maintaining its position on the chart.


title: Seasonal energy efficiency ratio

text: In the United States, the efficiency of air conditioners is often rated by the seasonal energy efficiency ratio (SEER) which is defined by the Air Conditioning, Heating, and Refrigeration Institute, a trade association, in its 2008 standard AHRI 210/240, "Performance Rating of Unitary Air-Conditioning and Air-Source Heat Pump Equipment".<ref name="ahri210/240"></ref> A similar standard is the European seasonal energy efficiency ratio (ESEER).


title: Seasonal energy efficiency ratio

text: The SEER rating of a unit is the cooling output during a typical cooling-season divided by the total electric energy input during the same period. The higher the unit's SEER rating the more energy efficient it is. In the U.S., the SEER is the ratio of cooling in British thermal units (BTUs) to the energy consumed in watt-hours. The coefficient of performance (COP), a more universal unit-less measure of efficiency, is discussed in the following section.


title: Seasonal energy efficiency ratio

text: For example, consider a 5000 BTU/h (1465-watt cooling capacity) air-conditioning unit, with a SEER of 10 BTU/(W·h), operating for a total of 1000 hours during an annual cooling season (e.g., 8 hours per day for 125 days).


title: Seasonal energy efficiency ratio

text: The energy efficiency ratio (EER) of a particular cooling device is the ratio of "output" cooling energy (in BTUs) to "input" electrical energy (in watt-hours) at a given operating point. EER is generally calculated using a outside temperature and an inside (actually return-air) temperature of and 50% relative humidity.


title: Seasonal energy efficiency ratio

text: The EER is related to the coefficient of performance (COP) commonly used in thermodynamics, with the primary difference being that the COP of a cooling device is unit-less, because the numerator and denominator are expressed in the same units. The EER uses mixed units, so it doesn't have an immediate physical sense and is obtained by multiplying the COP (or EER) by the conversion factor from BTUs to watt-hours: EER = 3.41214 × COP (see British thermal unit).


title: Seasonal energy efficiency ratio

text: The seasonal energy efficiency ratio (SEER) is also the COP (or EER) expressed in BTU/watt-hour, but instead of being evaluated at a single operating condition, it represents the expected overall performance for a typical year's weather in a given location. The SEER is thus calculated with the same indoor temperature, but over a range of outside temperatures from to , with a certain specified percentage of time in each of 8 bins spanning 5 °F (2.8 °C). There is no allowance for different climates in this rating, which is intended to give an indication of how the EER is affected by a range of outside temperatures over the course of a cooling season.


title: Seasonal energy efficiency ratio

text: Typical EER for residential central cooling units = 0.875 × SEER. SEER is a higher value than EER for the same equipment.


title: Seasonal energy efficiency ratio

text: A SEER of 13 is approximately equivalent to an EER of 11, and a COP of 3.2, which means that 3.2 units of heat are removed from indoors per unit of energy used to run the air conditioner.


title: Seasonal energy efficiency ratio

text: The SEER and EER of an air conditioner are limited by the laws of thermodynamics. The refrigeration process with the maximum possible efficiency is the Carnot cycle. The COP of an air conditioner using the Carnot cycle is:


title: Seasonal energy efficiency ratio

text: where formula_2 is the indoor temperature and formula_3 is the outdoor temperature. Both temperatures must be measured using a thermodynamic temperature scale based at absolute zero such as Kelvin or Rankine. The EER is calculated by multiplying the COP by 3.412 BTU/W⋅h as described above:


title: Seasonal energy efficiency ratio

text: Assuming an outdoor temperature of and an indoor temperature of , the above equation gives (when temperatures are converted to the Kelvin or Rankine scales) a COP of 36, or an EER of 120. This is about 10 times more efficient than a typical home air conditioner available today.


title: Seasonal energy efficiency ratio

text: The maximum EER decreases as the difference between the inside and outside air temperature increases, and vice versa. In a desert climate where the outdoor temperature is , the maximum COP drops to 13, or an EER of 46 (for an indoor temperature of ).


title: Seasonal energy efficiency ratio

text: The maximum SEER can be calculated by averaging the maximum EER over the range of expected temperatures for the season.


title: Seasonal energy efficiency ratio

text: SEER rating reflects overall system efficiency on a seasonal basis and EER reflects the system's energy efficiency at one specific operating condition. Both ratings are useful when choosing products, but the same rating must be used for comparisons.


title: Seasonal energy efficiency ratio

text: Substantial energy savings can be obtained from more efficient systems. For example, by upgrading from SEER 9 to SEER 13, the power consumption is reduced by 30% (equal to 1 − 9/13).


title: Seasonal energy efficiency ratio

text: With existing units that are still functional and well-maintained, when the time value of money is considered, retaining existing units rather than proactively replacing them may be the most cost effective. However, the efficiency of air conditioners can degrade significantly over time.


title: Seasonal energy efficiency ratio

text: But when either replacing equipment, or specifying new installations, a variety of SEERs are available. For most applications, the minimum or near-minimum SEER units are most cost effective, but the longer the cooling seasons, the higher the electricity costs, and the longer the purchasers will own the systems, the more that incrementally higher SEER units are justified. Residential split-system AC units of SEER 20 or more are now available. The higher SEER units typically have larger coils and multiple compressors, with some also having variable refrigerant flow and variable supply air flow.


title: Seasonal energy efficiency ratio

text: In 1987 legislation taking effect in 1992 was passed requiring a minimum SEER rating of 10. It is rare to see systems rated below SEER 9 in the United States because aging, existing units are being replaced with new, higher efficiency units.


title: Seasonal energy efficiency ratio

text: Beginning in January 2006 a minimum SEER 13 was required. The United States requires that residential systems manufactured after 2005 have a minimum SEER rating of 13. ENERGY STAR qualified Central Air Conditioners must have a SEER of at least 14.5. Window units are exempt from this law so their SEERs are still around 10.


title: Seasonal energy efficiency ratio

text: In 2011 the US Department of Energy (DOE) revised energy conservation rules to impose elevated minimum standards and regional standards for residential HVAC systems. The regional approach recognizes the differences in cost-optimization resulting from regional climate differences. For example, there is little cost benefit in having a very high SEER air conditioning unit in Maine, a state in the northeast US.


title: Seasonal energy efficiency ratio

text: Starting January 1, 2015, split-system central air conditioners installed in the Southeastern Region of the United States of America must be at least 14 SEER. The Southeastern Region includes Alabama, Arkansas, Delaware, Florida, Georgia, Hawaii, Kentucky, Louisiana, Maryland, Mississippi, North Carolina, Oklahoma, South Carolina, Tennessee, Texas, and Virginia. Similarly, split-system central air conditioners installed in the Southwestern Region must be a minimum 14 SEER and 12.2 EER beginning on January 1, 2015. The Southwestern Region consists of Arizona, California, Nevada, and New Mexico. Split-system central air conditioners installed in all other states outside the Southeastern and Southwestern regions must continue to be a minimum of 13 SEER, which is the current national requirement.


title: Seasonal energy efficiency ratio

text: There have been many new advances in efficient technology over the past 10 years which have enabled manufacturers to increase their SEER ratings dramatically in order to stay above the required minimums set by the United States department of energy.


title: Seasonal energy efficiency ratio

text: Electric power is usually measured in kilowatts (kW). Electric energy is usually measured in kilowatt-hours (kW·h). For example, if an electric load that draws 1.5 kW of electric power is operated for 8 hours, it uses 12 kW·h of electric energy. In the United States, a residential electric customer is charged based on the amount of electric energy used. On the customer bill, the electric utility states the amount of electric energy, in kilowatt-hours (kW·h), that the customer used since the last bill, and the cost of the energy per kilowatt-hour (kW·h).


title: Seasonal energy efficiency ratio

text: Air-conditioner sizes are often given as "tons" of cooling, where 1 ton of cooling equals . 1 ton of cooling equals the amount of power that needs to be applied continuously over a 24-hour period to melt 1 ton of ice.


title: Seasonal energy efficiency ratio

text: An air-conditioning unit rated at (6 tons), with a SEER rating of 10, operates 1000 hours per year at an electric energy cost of $0.12 per kilowatt-hour (kW·h). What is the annual cost of the electric energy it uses?


title: Seasonal energy efficiency ratio

text: A residence near Chicago has an air conditioner with a cooling capacity of 4 tons and an SEER rating of 10. The unit is operated 120 days each year for 8 hours per day (960 hours per year), and the electric energy cost is $0.10 per kilowatt-hour. What is its annual cost of operation in terms of electric energy? First, we convert tons of cooling to BTU/h: