title: Shameless (season 2)

text: The second season of "Shameless", an American comedy-drama television series based on the British series of the same name by Paul Abbott, premiered on January 8, 2012, at Sunday 9:00 p.m. EST on the Showtime television network. Executive producers are John Wells, Paul Abbott and Andrew Stearn, with producer Michael Hissrich. The season concluded after 12 episodes on April 1, 2012. The show's season premiere brought in 1.58 million viewers, which was higher than the season 1 premiere. The episode airing March 4, "Parenthood", received 1.6 million total viewers, its highest rated show of the season. The season finale scored 1.45 million viewers.


title: Shameless (season 2)

text: The second season begins in the summer, a few months after the events of season one. New developments shift in the lives of the Gallaghers' family and friends: Fiona is now waitressing alongside Veronica at a bar; Ian expresses interest in attending West Point; Mickey is sent back to jail after punching a cop; Karen has joined Sex Addicts Anonymous and has a new eccentric partner, Jody; Tony now lives in the house next door to the Gallaghers; Kevin and Veronica begin trying for a baby.


title: Shameless (season 2)

text: With Steve out of the picture, Fiona fails to find a better companion, and is upset when Steve returns to the United States with a wife, Estefania, a drug dealer's daughter whom he only married to survive. When Steve finds out Estefania is still interested in her ex-lover, Marco, Steve attempts to smuggle Marco into the United States to get back into Fiona's good graces. Meanwhile, Karen finds out she is pregnant, and hints to Lip that he may be the father. Though Jody initially takes Karen's hand in marriage, Karen realizes the marriage is a mistake and grows a hatred for her husband, kicking Jody out of her life and letting Lip back in. As her pregnancy progresses, Karen feels she would be an unfit mother and decides to put her baby up for adoption. The brush with becoming a father encourages Lip to drop out of school, creating a disagreement between Lip and Fiona.


title: Shameless (season 2)

text: Frank's abusive mother, Peggy "Grammy" Gallagher is released from prison on medical furlough and immediately storms trouble within the family's already hectic lives. Frank is troubled by Peggy's return, still scarred by his mother's abuse from childhood. When Peggy is diagnosed with terminal cancer, Fiona moves her grandmother into the care of Sheila and Jody, who look after Peggy during her final days. In the process, Sheila and Jody unexpectedly form a sexual relationship. In order to hasten her own death, Peggy dies at the request of being smothered, which is done willingly by Sheila. Frank, clearly conflicted over his mother's death, reconnects with Monica.


title: Shameless (season 2)

text: Though Fiona is suspicious, Monica comes back to care for the children and help out around the house, though unbeknownst to the rest of the family, she is not taking her medication. With Monica around, Fiona slowly begins to branch out for other opportunities—her reprieve is short-lived, however, when Monica and Frank find the family's stash of money and waste it all. Fiona breaks down and attempts to pick up the pieces, as she lets Steve slowly re-enter her life; Steve had successfully smuggled Marco into the United States to reunite with Estefania. During a family dinner, Monica attempts to commit suicide by slitting her wrists in the kitchen, traumatizing the family. Monica is transferred to a psych ward, from which she breaks out of with another patient, running away from her family once again.


title: Shameless (season 2)

text: On the day of Monica's attempted suicide, Karen gives birth in the hospital, but the baby boy is Asian and has Down syndrome. Karen reveals that the father is probably one of her classmates, Timmy Wong, and refuses to do anything with her child. Feeling betrayed by Karen, Lip angrily walks out on her. When the adoptive parents don't want Karen's baby because of his disability, Sheila and Jody steal the baby from the maternity ward to ensure he has a better future. When Sheila refuses to return the baby to the hospital, Karen gives her an ultimatum: choose her or the baby. Sheila chooses the baby.


title: Shameless (season 2)

text: Lip decides to return to school and he makes up with Fiona. The season concludes with a series of new storylines for the subsequent season: Sheila and Jody, now a couple, nickname Karen's baby "Hymie" after "Hiram." Spurned by her mother, Karen runs away, effectively ending her relationship with Lip. Steve, who the family regularly calls Jimmy now, is back together with Fiona. In the season's final scenes, the family gets rid of an unconscious Frank, removing him from their home and good graces.


title: Shameless (season 2)

text: The show's second season began shooting on July 5, 2011 and it premiered on Sunday, January 8, 2012 at a new time slot at 9:00pm.


title: Shameless (season 2)

text: Noel Fisher, Pej Vahdat, Tyler Jacob Moore and Vanessa Bell Calloway return in the second season as Mickey Milkovich, Kash, Tony Markovich and Carol Fisher respectively. The role of Mandy Milkovich, which was originally played by Jane Levy in season one, was recast due to Levy landing a lead role in the ABC show Suburgatory. In late 2011, it was announced that Emma Greenwell would play Levy's character for the duration of the show. Zach McGowan was cast as Jody Silverman, Karen's love interest in the beginning of the season. Stephanie Fantauzzi was cast as Estefania, Steve's Brazilian wife.


title: Shameless (season 2)

text: Review aggregator Rotten Tomatoes gives the second season 100%, based on 11 reviews. The critics consensus reads, "The good times continue to roll in "Shameless's" second season as the series ups the ante with outrageous gags and unabashed joy for the ties that bind."


title: Focus Entertainment

text: Focus Entertainment (formerly Focus Home Interactive) is a French video game developer and publisher based in . Founded in 1996, Focus has published and distributed original titles such as "Sherlock Holmes", "TrackMania", "", and sports games like "Cycling Manager" and "Virtual Skipper".


title: Focus Entertainment

text: On 25 June 2010, it was announced that Focus had acquired the "Cities XL" franchise from now defunct Monte Cristo. In 2012, Focus began working with Giants Software, creator of "Farming Simulator". In April 2018, then-CEO Cédric Lagarrigue left the company after 20 years.


title: Focus Entertainment

text: In June 2020, the company acquired Deck13 for €7.1 million. In April 2021, Focus also acquired Streum On Studio. In August 2021, the company acquired Dotemu for approximately ().


title: Dolly Sinatra

text: Dolly Sinatra (; born Natalina Maria Vittoria Garaventa; ; December 26, 1896 – January 6, 1977) was the mother of American singer Frank Sinatra. She was born in Lumarzo (Province of Genoa), in northern Italy; she immigrated to the United States as an infant.


title: Dolly Sinatra

text: Dolly married Antonino Martino "Marty" Sinatra in 1914, and in 1915 the couple's only child, Frank Sinatra, was born. Dolly was influential in the Sinatras' neighborhood in Hoboken, New Jersey, where they later operated a tavern during Prohibition. She became involved in politics and worked as a midwife. It is believed that she also provided an illegal abortion service in the area. She died in a plane crash in 1977.


title: Dolly Sinatra

text: Natalina Maria Vittoria Garaventa was born on December 26, 1896, in Lumarzo, Genoa, in northern Italy. She was brought to the United States when she was two months old. When she was a child, her pretty face earned her the nickname "Dolly". As an adult, she stood less than five feet tall and weighed approximately 90 pounds. Biographer James Kaplan describes her as having a "politician's temperament—restless, energetic, unreflective". Her father was a lithographer. He was also a peasant.


title: Dolly Sinatra

text: During her teen years, Dolly met Antonino Martino "Marty" Sinatra, born in Lercara Friddi, who immigrated from Catania, Sicily. Though her family opposed it, the couple eloped on Valentine's Day, 1914, and were married at the city hall in Jersey City, New Jersey; they were later remarried in a church.


title: Dolly Sinatra

text: Dolly gave birth to Francis Albert Sinatra on December 12, 1915, in an upstairs tenement at 415 Monroe Street in Hoboken, New Jersey, the couple's only child. Sinatra weighed at birth and had to be with the aid of forceps, which caused severe scarring to his left cheek, neck, and ear, and perforated his ear drum, damage that remained for life. A childhood operation on his mastoid bone left major scarring on his neck, and during adolescence he suffered from cystic acne that scarred his face and neck. The family was Roman Catholic, but due to her son's injuries at birth, his baptism was delayed for several months.


title: Dolly Sinatra

text: Dolly was influential in Hoboken and in local Democratic Party circles. She used her knowledge of Italian dialects and fluent English to translate for immigrants during court proceedings, particularly those pertaining to requests for citizenship. This earned her the respect of local politicians, who made her a Democratic ward leader. She was the first immigrant woman to hold that position in her local third ward, where she reliably delivered as many as six hundred votes for Democratic candidates. In 1919, she chained herself to city hall in support of the Women's suffrage movement. She also worked as a midwife, earning $50 for each delivery, a fair amount of money at the time. These activities kept Dolly away from home during much of her son's childhood. According to Kaplan, Dolly also ran an illegal abortion service that earned her the nickname "Hatpin Dolly". Her reputation as an abortion care provider led one area church to ban her son from singing there.


title: Dolly Sinatra

text: In 1920, Prohibition of alcohol became law in the U.S. Dolly and Marty ran a tavern during those years, allowed to operate openly by local officials who refused to enforce the law. Kaplan notes the possibility that the Sinatras procured their liquor from members of the American Mafia. They purchased the bar, which they named Marty O'Brien's, with money they borrowed from Dolly's parents. Sinatra later recalled spending time at the bar, working on his homework and occasionally singing a song on top of the player piano for spare change. According to Kaplan, Dolly doted on her son, but she also abused him when he angered her, hitting him with a small bat she kept at Marty O'Brien's.


title: Dolly Sinatra

text: Dolly enjoyed gambling while visiting her son in Las Vegas. As she didn't like to lose they would often rig one of the slot machines so that she kept winning.


title: Dolly Sinatra

text: On January 6, 1977, Dolly Sinatra had invited friend Mrs. Anthony Carboni to join her in a private flight, provided by son Frank Sinatra, to come to Vegas for a show and gambling, but shortly after take-off from Palm Springs Municipal Airport, the Gates Learjet 24 crashed into a 10,000-foot (3,048-meter) snowy mountaintop ridge, in the eastern portion of the San Gorgonio Wilderness, killing all aboard. Dolly Sinatra was 80 years old. It was later concluded the crash was due to crew error that killed the four people aboard. Also killed were pilots Donald J. Weier, 36, and Jerold W. Foley, 33, both of Las Vegas, Nevada. Because of darkness, freezing temperatures, and rugged terrain at the crash site, it took days for authorities to recover all the bodies. Dolly Sinatra was later interred at Desert Memorial Park in nearby Cathedral City, California, where her husband, Marty Sinatra, was buried nearly a decade earlier.


title: Dolly Sinatra

text: Dolly Sinatra was portrayed by Academy Award winning actress Olympia Dukakis in the 1992 biographical miniseries "Sinatra".


title: Screamers (1995 film)

text: Screamers is a 1995 science fiction horror film starring Peter Weller, Roy Dupuis, and Jennifer Rubin, and directed by Christian Duguay. The screenplay, written by Dan O'Bannon with a rewrite by Miguel Tejada-Flores, is based on Philip K. Dick's 1953 short story "Second Variety", and addresses themes commonly found in that author's work: societal conflict, confusion of reality and illusion, and machines turning upon their creators. The film received generally negative response from critics at the time of its release, although it has since gained a cult following. A sequel "", was released in 2009, to mixed reviews.


title: Screamers (1995 film)

text: In the year 2078, the planet Sirius 6B, once a thriving mining hub, has been reduced to a toxic wasteland by a war between the mining company, known as the New Economic Block (N.E.B.), and "The Alliance", a group of former mining and science personnel. After miners discovered that their extraction of ore released toxic gases, they went on strike, and the mining company hired mercenaries as strike breakers. Five years into the war, Alliance scientists created and deployed Autonomous Mobile Swords (AMS) — artificially intelligent self-replicating machines that hunt down and kill N.E.B. soldiers on their own. They are nicknamed "screamers" because of a high-pitched noise they emit as they attack. Screamers track targets by their heartbeats, so Alliance soldiers wear "tabs" which broadcast a signal canceling out the wearer's heartbeat and rendering them "invisible" to the machines.


title: Screamers (1995 film)

text: A fragile stalemate is in effect between the two exhausted, poorly supplied, and undermanned armies. The Alliance recovers a message from a dead N.E.B. soldier, killed by screamers as he approached the Alliance compound, guaranteeing safe passage through N.E.B. territory to discuss a truce. When Alliance commanding officer Joe Hendricksson reports this development to his Earth-based superiors, he is told that peace negotiations are already underway on Earth; but Private "Ace" Jefferson, newly arrived from Earth, says that is untrue. Hendricksson is not surprised; he has long suspected that both sides have simply written off Sirius 6B and abandoned their armies.


title: Screamers (1995 film)

text: Hendricksson decides that the only realistic chance of survival for himself and his soldiers is to accept the N.E.B. truce offer. He sets out for a meeting with the N.E.B. commander, accompanied by Jefferson. While traveling through a destroyed city they come upon a war orphan, a young boy named David, clutching a teddy bear. Unwilling to abandon a defenseless civilian, they bring the boy along. The following night they are attacked by a reptilian screamer that they have never before encountered. Hendricksson is alarmed that their Alliance tabs did not protect them.


title: Screamers (1995 film)

text: As the group nears the N.E.B. compound, two enemy soldiers, Becker and Ross, open fire on David, whose chest explodes in a shower of gears, bolts, and wires. They explain to the astonished Alliance men that David was a new "type 3" screamer impersonating a human. Most of the N.E.B. contingent has been wiped out by another "David" screamer that a patrol unwittingly brought into the base; Becker, Ross, and a black marketeer named Jessica are the only survivors.


title: Screamers (1995 film)

text: The group heads to the N.E.B. command center but finds only an empty building and large pools of blood. Locating the mainframe computer, Hendricksson learns that the N.E.B. truce offer was just as false as the Alliance message from Earth. The group retreats to the N.E.B. bunker, pursued by "Davids". The discovery that the screamers have "evolved" new versions on their own that are indistinguishable from humans, and immune to Alliance tabs, leads to paranoia and distrust. Becker becomes convinced that Ross is a screamer and kills him, only to discover that he was human. The four survivors retreat to the Alliance base, only to find that the "Davids" have gained entrance to that compound as well, with equally devastating results. As dozens of "Davids" pour out of the bunker's entrance, Hendricksson fires a micro-nuclear missile into the bunker. Jefferson rushes to the aid of Becker, who was apparently injured in the blast, but Becker's cries of distress are a ruse; he is a "type 2" screamer, and he kills Jefferson. After Hendricksson destroys Becker, only he and Jessica remain.


title: Screamers (1995 film)

text: Now paranoid, Hendricksson worries that Jessica could be a screamer as well. He slashes her hand, and is relieved to see blood dripping from the wound. They locate an emergency escape shuttle. As they prepare it for launch, they are attacked by another "Becker" that Hendricksson destroys. With the shuttle now prepared, they discover it can carry only one person. Hendricksson offers the shuttle to Jessica; but a second "Jessica" arrives, confirming that she is a screamer after all, and even more human-like. Hendricksson resigns himself to death; but to his surprise, Jessica shields him, then sacrifices herself in battle with her lookalike. With her last breath, Jessica confesses her love for Hendricksson.


title: Screamers (1995 film)

text: Hendricksson departs for Earth on the escape shuttle with a single souvenir, the teddy bear carried by the original "David". As the screen fades to black, the bear slowly begins to move on its own.


title: Screamers (1995 film)

text: It premiered at the 1995 Toronto International Film Festival on September 8, 1995. It was released in the United States on January 26, 1996, by Columbia Pictures.


title: Screamers (1995 film)

text: "Screamers" was stuck in development hell for over a decade before finally being produced. Screenwriter Dan O'Bannon had completed his adaptation of Dick's short story "Second Variety" in 1981 (along with his adaptation of another of Dick's short stories, "We Can Remember It For You Wholesale", which became the 1990 film "Total Recall"). By 1983, O'Bannon's screenplay for "Screamers" had been optioned by Tom Naud (SFX designer on the 1981 film "Outland"). However, the production never went ahead as planned. At various times, Charles Fries showed interest in the project, but it was not until the 1990s that "Screamers" went into production. By this time the screenplay had been rewritten by Miguel Tejada-Flores. O'Bannon was unaware that the film had been made until after its release, when his agent called him to notify him of his screenwriting credit for the film. According to O'Bannon, they had kept much of the plot and characters from his original script the same while changing much of the dialogue.


title: Screamers (1995 film)

text: The film, directed by Christian Duguay, was made in Canada. Locations included a quarry in Quebec, in Montreal's Olympic Stadium, as well as Joliette.


title: Screamers (1995 film)

text: James Berardinelli gave the film a positive review, awarding it a rating of three stars (out of four). Berardinelli said that the film "oozes atmosphere" and "underlines an important truth: you don't need a big budget or big-name stars to make this sort of motion picture succeed."


title: Screamers (1995 film)

text: Joe Bob Briggs also reacted positively, calling "Screamers" "a pretty dang decent [movie]" and saying, "I loved it. ... Three and a half stars."


title: Screamers (1995 film)

text: Roger Ebert gave the film two and a half stars (out of four), remarking that it was "made with a certain imagination and intelligence," "the dialogue is often effective," and "what makes the film somewhat intriguing is its "Blade Runner"-like ambiguity: who is, and who isn't, a human being."


title: Screamers (1995 film)

text: "Time Out New York Film Guide" criticized director Christian Duguay's "flashy, aimless direction", saying that the movie "lacks the intelligence to follow through its grim premise", but added that the film "does offer many ... guilty pleasures" and "the design and effects teams have lent scale and impact to the futuristic locations and sets."


title: Screamers (1995 film)

text: "The Science Fiction, Horror, and Fantasy Film Review" gave "Screamers" three stars out of four, calling it a "two-thirds excellent and intelligent science-fiction film" that "builds towards a climax that never arrives ... After an impressive build-up, the film blows its third act and falls into cliches."


title: Screamers (1995 film)

text: "Popcorn Pictures" gave the film two and a half stars out of four, writing: ""Screamers" isn't terrible. The scenes inside the refinery are creepy enough with them stalking and being stalked by the Screamers. But the intro and finale are terrible ways to start and end a film respectively. There was a good film waiting to come out here, it's a shame only half of it did."


title: Screamers (1995 film)

text: Rob Blackwelder of "SplicedWire" said, ""Screamers" is inundated with movie clichés, stock characters, stolen premises and scenes that just don't make sense."


title: Screamers (1995 film)

text: "Beyond Hollywood" wrote, "One of the biggest problems with "Screamers" is the near absence of a likeable character, or at least someone who we actually give a damn about escaping those slice-and-dice robots. ... There's no doubt "Screamers" could have been a lot better than it is. The whole sequence at the refinery is the best of the movie, managing to elicit both a couple of scare scenes and a lot of creepiness. The rest, unfortunately, doesn't live up to that middle section."


title: Screamers (1995 film)

text: The film earned about $5.7 million in the United States and Canada, on a $20 million budget. It was moderately popular in France, Japan, and the Netherlands. Worldwide box office was approximately $7 million.


title: Screamers (1995 film)

text: "", directed by Sheldon Wilson and starring Gina Holden, Jana Pallaske, Greg Bryk, Stephen Amell and Lance Henriksen, was released straight to DVD in 2009.


title: Screamers (1995 film)

text: The sequel is set several years after the events of the original film. Hendricksson died when he deliberately allowed his escape shuttle to burn up in the atmosphere during reentry to Earth. The official determination is that he committed suicide due to post-traumatic stress; but it is strongly implied that he actually did it to prevent the "teddy bear" screamer on board from reaching Earth. Meanwhile, an SOS signal arrives from Sirius 6B. A contingent of seven soldiers, including Hendricksson's daughter Victoria Bronte (Holden), is dispatched to the war torn mining planet to investigate. The film features all of the screamers from the original film, as well as a sleeker, longer, and more serpentine screamer with cutting mandibles for a mouth.


title: Screamers (1995 film)

text: As with "Screamers", critical reaction to "Screamers: The Hunting" was mixed. David Johnson of "DVD Verdict" wrote that "the visual effects were surprisingly effective" and "[p]ractical effects impress as well", but added, "Unfortunately ... the script defaults to a clichéd finale, and a predictable—though well-executed—final twist ending." He concluded, "I had a pretty decent time with ["Screamers: The Hunting"] ... [I]f you're hankering for a serving of effective sci-fi B-movie shenanigans, you could do a lot worse."


title: Screamers (1995 film)

text: Scott Foy of Dread Central wrote, "They've basically recycled the first film but dumbed it and dulled it down considerably, doing away with the paranoia and sense of desolation that gave the original some spark in favor of logic gaps and tedious predictability. ... The best that can be said ... is that most of the production values and make-up effects are top notch for a direct-to-DVD production. Too bad they didn't put as much work into crafting the screenplay."


title: Reel-to-reel audio tape recording

text: Reel-to-reel audio tape recording, also called open-reel recording, is magnetic tape audio recording in which the recording tape is spooled between reels. To prepare for use, the "supply reel" (or "feed reel") containing the tape is placed on a spindle or hub. The end of the tape is manually pulled from the reel, threaded through mechanical guides and over a tape head assembly, and attached by friction to the hub of the second, initially empty "takeup reel". Reel-to-reel systems use tape that is wide, which normally moves at . All standard tape speeds are derived as a binary submultiple of 30 inches per second.


title: Reel-to-reel audio tape recording

text: Reel-to-reel preceded the development of the compact cassette with tape wide moving at . By writing the same audio signal across more tape, reel-to-reel systems give much greater fidelity at the cost of much larger tapes. In spite of the relative inconvenience and generally more expensive media, reel-to-reel systems developed in the early 1940s remained popular in audiophile settings into the 1980s and have re-established a specialist niche in the 21st century.


title: Reel-to-reel audio tape recording

text: Studer, Stellavox, Tascam, and Denon produced reel-to-reel tape recorders into the 1990s, but , only Mechlabor continues to manufacture analog reel-to-reel recorders. , there were two companies manufacturing magnetic recording tape: ATR Services of York, Pennsylvania, and Recording the Masters in Avranches, France.


title: Reel-to-reel audio tape recording

text: Reel-to-reel tape was used in early tape drives for data storage on mainframe computers and in video tape recorders. Magnetic tape was also used to record data signals from analytical instruments, beginning with the hydrogen bomb testing of the early 1950s.


title: Reel-to-reel audio tape recording

text: The reel-to-reel format was used in first magnetic recording system, wire recording and then in the earliest tape recorders, including the pioneering German-British Blattnerphone (1928) machines of the late 1920s which used steel tape, and the German Magnetophon machines of the 1930s. Originally, this format had no name, since all forms of magnetic tape recorders used it. The name arose only with the need to distinguish it from the several kinds of tape cartridges or cassettes such as the endless loop cartridge developed for radio station commercials and spot announcements in 1954, the full-size cassette, developed by RCA in 1958 for home use, as well as the compact cassette developed by Philips in 1962, originally for dictation.


title: Reel-to-reel audio tape recording

text: The earliest machines produced distortion during the recording process which German engineers significantly reduced during the Nazi Germany era by applying a DC bias signal to the tape. In 1939, one machine was found to make consistently better recordings than other ostensibly identical models, and when it was taken apart a minor flaw was noticed. Instead of DC, it was introducing an AC bias signal to the tape, and this was quickly adapted to new models using a high-frequency AC bias that has remained a part of audio tape recording to this day. The quality was so greatly improved that recordings surpassed the quality of most radio transmitters, and such recordings were used by Adolf Hitler to make broadcasts that appeared to be live while he was safely away in another city.


title: Reel-to-reel audio tape recording

text: American audio engineer Jack Mullin was a member of the U.S. Army Signal Corps during World War II. His unit was assigned to investigate German radio and electronics activities, and in the course of his duties, a British Army counterpart mentioned the Magnetophons being used by the allied radio station in Bad Nauheim near Frankfurt. He acquired two Magnetophon recorders and 50 reels of I.G. Farben recording tape and shipped them home. Over the next two years, he worked to develop the machines for commercial use, hoping to interest the Hollywood film studios in using magnetic tape for movie soundtrack recording.


title: Reel-to-reel audio tape recording

text: Mullin gave a demonstration of his recorders at MGM Studios in Hollywood in 1947, which led to a meeting with Bing Crosby, who immediately saw the potential of Mullin's recorders to pre-record his radio shows. Crosby invested $50,000 in a local electronics company, Ampex, to enable Mullin to develop a commercial production model of the tape recorder. Using Mullin's tape recorders, and with Mullin as his chief engineer, Crosby became the first American performer to master commercial recordings on tape and the first to regularly pre-record his radio programs on the medium.


title: Reel-to-reel audio tape recording

text: Ampex and Mullin subsequently developed commercial stereo and multitrack audio recorders, based on the system originally invented by Ross Snyder of Ampex Corporation for their high-speed scientific instrument data recorders. Les Paul had been given one of the first Ampex Model 200A tape decks by Crosby in 1948, and ten years later ordered one of the first Ampex eight-track "Sel Sync" machines for multitracking. Ampex engineers, who included Ray Dolby on their staff at the time, went on to develop the first practical videotape recorders in the early 1950s to pre-record Crosby's TV shows.


title: Reel-to-reel audio tape recording

text: Inexpensive reel-to-reel tape recorders were widely used for voice recording in the home and in schools, along with dedicated models expressly made for business dictation. When the Philips compact cassette was introduced in 1963 it gradually took over and cassettes eventually displaced reel-to-reel recorders for consumer use. However, the narrow tracks and slow recording speeds used in cassettes compromised fidelity and so Ampex produced pre-recorded reel-to-reel tapes for consumers of popular and classical music from the mid-1950s to the mid-'70s, as did Columbia House from 1960 to 1984.


title: Reel-to-reel audio tape recording

text: Following the example set by Bing Crosby, large reel-to-reel tape recorders rapidly became the main recording format used by audiophiles and professional recording studios until the late 1980s when digital audio recording techniques began to allow the use of other types of media (such as Digital Audio Tape (DAT) cassettes and hard disks).


title: Reel-to-reel audio tape recording

text: Even today, some artists of all genres prefer analog tape, claiming it is more "musical" or "natural" sounding than digital processes, despite its inaccuracies. Due to harmonic distortion, bass can thicken up, creating a fuller-sounding mix. High-end frequencies can be slightly compressed. Tape saturation is a unique form of distortion that many artists find satisfying. Though with modern technology, these forms of distortion can be simulated digitally, It is not uncommon for some artists to record directly onto digital equipment and then re-record the tracks to analog reel tape or vice versa.


title: Reel-to-reel audio tape recording

text: The great practical advantage of tape for studios was twofold: it allowed a performance to be recorded without the 30-minute time limitation of a phonograph disc, and it permitted a recorded performance to be edited or erased and re-recorded again and again on the same piece of media without any waste. For the first time, audio could be manipulated as a physical entity, and the recording process was greatly economized by eliminating the requirement for a highly trained disc-cutting engineer to be present at every recording session. Once a tape machine was installed and calibrated, there was no need for any attendant engineering, other than to spool or replace the tape being used on it. Daily maintenance consisted of cleaning and occasionally demagnetizing the heads and guides.


title: Reel-to-reel audio tape recording

text: Tape editing is performed simply by cutting the tape at the required point and rejoining it to another section of tape using adhesive tape, or sometimes glue. This is called a "splice". The adhesive tape used in splicing has to be very thin to avoid impeding the tape's motion, and the adhesive is carefully formulated to avoid leaving a sticky residue on the tape or deck. "Butt" splices (cut at exactly 90 degrees to the tape travel) are used for fast edits from one sound to another, though preferably, the splice is made at a much lower angle across the tape so that any transitional noise introduced by the cut is spread across a few milliseconds of the recording. The low-angle splice also helps to glide the tape more smoothly through the machine and push any loose dirt or debris to the side of the tape path, instead of accumulating in the splice joint. A side-effect of cutting the tape at an angle is that on stereo tapes the edit occurs on one channel a split-second before the other. Long, angled splices can also be used to create a perceptible dissolve from one sound to the next; periodic segments can induce rhythmic or pulsing effects. The use of reels to supply and collect the tape makes it easy for editors to manually move the tape back and forth across the heads to find the exact point they wished to edit. Tape to be spliced is clamped in a "splicing block" attached to the deck near the heads to hold the tape accurately while the edit is made.


title: Reel-to-reel audio tape recording

text: The performance of tape recording is greatly affected by the width of the tracks and the speed of the tape. The wider and faster the better, but of course this uses more tape. These factors lead directly to improved frequency response, signal-to-noise ratio, and high-frequency distortion figures. Tape can accommodate multiple parallel tracks, allowing not just stereo recordings, but multitrack recordings too. This gives the producer of the final edit much greater flexibility, allowing a performance to be remixed long after the performance was originally recorded. This innovation was a great driving force behind the explosion of popular music in the late 1950s and 1960s.


title: Reel-to-reel audio tape recording

text: It was discovered that special effects were possible, such as phasing and flanging, delays and echo by re-directing the signal through one or more additional tape machines, while recording the composite result to another. These innovations appeared on pop recordings shortly after multi-tracking recorders were introduced, although, Les Paul had been using tape echo and speed-manipulation effects on his single-track recordings from the 1940s and '50s.


title: Reel-to-reel audio tape recording

text: For home use, simpler reel-to-reel recorders were available, and a number of track formats and tape speeds were standardized to permit interoperability and prerecorded music.


title: Reel-to-reel audio tape recording

text: Reel-to-reel tape editing also gained cult status when many used this technique on hit singles in the 1980s.


title: Reel-to-reel audio tape recording

text: There has recently been a revival of reel-to-reel, with quite a few companies restoring vintage units and some manufacturing new tape. In 2018, the first new reel-to-reel tape player in over 20 years was released.


title: Reel-to-reel audio tape recording

text: The first prerecorded reel-to-reel tapes were introduced in the United States in 1949; the catalog contained fewer than ten titles with no popular artists. In 1952, EMI started selling pre-recorded tapes in Great Britain. The tapes were two-sided and mono (2 tracks) and were duplicated in real time on modified EMI BTR2 recorders. RCA Victor joined the reel-to-reel business in 1954. In 1955, EMI released 2-track "stereosonic" tapes, although the catalog took longer to be published. Since these EMI tapes were much more expensive than a vinyl LP record, sales were poor; still, EMI released over 300 "stereosonic" titles. Then they introduced their "Twin Packs", which contained the equivalent of two LP albums but played at 3.75ips.


title: Reel-to-reel audio tape recording

text: The heyday of prerecorded reel-to-reel tapes was the mid-1960s, but after the introduction of less complicated cassette tapes and 8-track tapes, the number of albums released on prerecorded reel-to-reel tape dropped dramatically despite their superior sound quality. By the latter 1960s, their retail prices were considerably higher than competing formats, and musical genres were limited to those most likely to appeal to well-heeled audiophiles willing to contend with the cumbersome threading of open-reel tape. The introduction of the Dolby noise-reduction system narrowed the performance gap between cassettes and reel-to-reel, and by 1976 prerecorded reel-to-reel offerings had almost completely disappeared, even from record stores and audio equipment shops. Columbia House advertisements in 1978 showed that only one-third of new titles were available on reel-to-reel; they continued to offer a select number of new releases in the format until 1984.


title: Reel-to-reel audio tape recording

text: Sales were very low and specialized during the 1980s. Audiophile reel tapes were made under license by Barclay-Crocker between 1977 and 1986. Licensors included Philips, Deutsche Grammophon, Argo, Vanguard, Musical Heritage Society and L'Oiseau Lyre. Barclay-Crocker tapes were all Dolby encoded and some titles were also available in the dbx format. The majority of the catalog contained classical recordings, with a few jazz and movie soundtrack albums. Barclay-Crocker tapes were duplicated on modified Ampex 440 machines at four times the playing speed, unlike popular reel tapes which were duplicated at 16 times the playback speed. All of the known pre-recorded reel-to-reels on the market are all documented at the Reel To Reel Index website which focuses on the last reels made during the 1980s and includes photographs of all of them. David Winter also released the complete list of 1950s EMI and Barclay-Crocker tapes.


title: Reel-to-reel audio tape recording

text: Pre-recorded reel-to-reel tapes are also available once again, albeit somewhat expensively as a very high-quality audiophile product, through "The Tape Project", as well as several other independent studios and record labels. Since 2007, The Tape Project has released their own albums, as well as previously-released albums under license from other labels, on open-reel tape. The German label Analogue Audio Association ("AAA") has also re-released albums on open-reel tape to the high-end audiophile market.


title: Reel-to-reel audio tape recording

text: In general, the faster the speed, the better the reproduction quality. Higher tape speeds spread the signal longitudinally over more tape area, reducing the effects of dropouts that can be audible from the medium, and noticeably improve high frequency response. Slower tape speeds conserve tape and are useful in applications where sound quality is not critical.


title: Reel-to-reel audio tape recording

text: Speed units of inches per second or in/s are also abbreviated IPS. in/s and in/s are the speeds that were used for (the vast majority of) consumer market releases of commercial recordings on reel-to-reel tape. in/s is also the speed used in 8-track cartridges. in/s is also the speed used in Compact cassettes.


title: Reel-to-reel audio tape recording

text: In some early prototype linear video tape recording systems developed in the early 1950s from companies such as Bing Crosby Enterprises, RCA, and the BBC's VERA, the tape speed was extremely high, over , to adequately capture the large amount of image information. The need for a high linear tape speed was made unnecessary with the introduction of the now-obsolete professional Quadruplex system in 1956 by Ampex, which segmented the fields of a television image by recording (and reproducing) several tracks at a high-speed across the width of the tape per field of video by way of a vertically spinning headwheel with 4 separate video heads mounted on its edge (a technique called "transverse scanning"), allowing for the linear tape speed to be much slower. Eventually, transverse scanning was accompanied by the later (and less-expensive) technology of helical scanning, which could record one whole field of video per helically-recorded track, recorded at a much lower angle across the width of the tape by the head spinning in the near-horizontal plane, instead of vertically.


title: Reel-to-reel audio tape recording

text: Even though a recording on tape may have been made at studio quality, tape speed was the limiting factor, much like bit rate is today. Decreasing the speed of analog audio tape causes a uniform decrease in the linearity of the frequency response, increased background noise (hiss), more noticeable dropouts where there are flaws in the magnetic tape, and shifting of the (Gaussian) background noise spectrum toward lower frequencies (where it sounds more "granular") "regardless" of the audio content. An MP3 of a noisy rock band at a low bit rate will have many more artifacts than a simple flute solo at the same bit rate, whereas either on low-speed tape will have the same uniform background noise profile and high frequency saturation (weakened high end response). A recording on magnetic audio tape is linear; unlike today's digital audio, not only was jumping from spot to spot to edit time-consuming, but editing was also destructive—unless the recording was duplicated before edit, normally taking the same amount of time to copy, in order to preserve 75-90 percent of the quality of the original. Editing was done either with a razor blade—by physically cutting and splicing the tape on a metal splicing block, in a manner similar to motion picture film editing—or electronically by dubbing segments onto an edit tape. The former method preserved the full quality of the recording but not the intact original; the latter incurred the same quality loss involved in dubbing a complete copy of the source tape, but preserved the original.


title: Reel-to-reel audio tape recording

text: Tape speed is not the only factor affecting the quality of the recording. Other factors affecting quality include track width, oxide formulation, and backing material and thickness. The design and quality of the recorder are also important factors, in many ways that are not applicable to digital recording systems. The machine's speed stability (wow-and-flutter), head gap size, head quality, and general head design and technology, and the machine's alignment (mostly a maintenance issue, but also a matter of design—how well and precisely it can be aligned) electro-mechanically affect the quality of the recording. The regulation of tape tension affects contact between the tape and the heads and has a very significant impact on the recording and reproduction of high frequencies. The track width of the machine, which is a question of format rather than individual machine design, is one of two major machine factors controlling signal-to-noise ratio (assuming the electronics have high enough S/N ratio not to be a factor), the other being tape speed. S/N ratio varies directly with track width, due to the Gaussian nature of tape noise; doubling the track width doubles the S/N ratio (hence, with good electronics and comparable heads, 8-track cartridges should have half the signal-to-noise ratio of quarter-track " tape at the same speed, IPS.)


title: Reel-to-reel audio tape recording

text: Tape formulation affects the retention of the magnetic signal, especially high frequencies, the frequency linearity of the tape, the S/N ratio, print-through, optimum AC bias level (which must be set by a technician aligning the machine to match the tape type used, or more crudely set with a switch to approximate the optimum setting.) Tape formulation varies between different tape types (ferric oxide [FeO], chromium dioxide [CrO], etc.) and also in the precise composition of a specific brand and batch of tape. (Studios therefore generally align their machines for one brand and model number of tape and use only that brand and model.) Backing material type and thickness affect the tensile strength and elasticity of the tape, which affect wow-and-flutter and tape stretch; stretched tape will have a pitch error, possibly fluctuating. Backing thickness also affects print-through, the phenomenon of adjacent layers of tape wound on a reel picking up weak copies of the magnetic signal from each other. Print-through on analog tape causes unintended pre- and post-echoes on playback, and is generally not fully reversible once it has occurred. In professional half-track use, post-echo is considered less problematic than pre-echo (as the echo is largely masked by the signal itself) and therefore tapes stored for long periods are kept "tails-out", where the tape must be first wound "backwards" onto the take-up spool before playback.


title: Reel-to-reel audio tape recording

text: Another quality aspect, not related to audio quality, is the backing material. Typically, acetate was used for cheaper tape, and Mylar for more expensive tape. Acetate would tend to break under conditions that Mylar would survive, though possibly stretch. The quality of the oxide's binder was also important, for it was common with old tape for the backing to wind on the reel, while the oxide falls off.


title: Reel-to-reel audio tape recording

text: In the 1980s, several manufacturers produced certain tape formulations blending polyurethane and polyester as backing material which tended to absorb humidity over many years in storage and partially deteriorate. This problem would only be discovered after an archived tape was opened and required to be played again, after possibly a decade or less on the shelf. The deterioration resulted in a softening of the backing material, making it gooey and sticky which quickly clogged-up tape guides and heads of the reproducer. This phenomenon is known as "Sticky-Shed Syndrome" and can be temporarily reversed by baking the tape at a low temperature for several hours to dry it out and restore firmness. The restored tape may then be played normally for several days or weeks, but will eventually return to a deteriorated state again.


title: Reel-to-reel audio tape recording

text: Electronic noise reduction techniques were also developed to increase the signal-to-noise ratio and dynamic range of analog sound recordings. Dolby noise reduction includes a suite of standards (designated A, B, C, S and SR) for both professional and consumer recording. The Dolby systems use frequency dependent compression/expansion (companding) during the recording/playback, respectively. Initially, Dolby was offered via a stand-alone box that would go between a recorder and amplifier. Later audio devices often included Dolby. DBX is another noise reduction system that uses a more aggressive companding technique to improve both dynamic range and noise level. However, DBX recordings do not sound acceptable when played on non-DBX equipment.


title: Reel-to-reel audio tape recording

text: In the late 1970s there was also the German Telefunken-made High Com NR system, a broadband compander, which was technically very advanced. That was a gain in dynamics of roughly 25 dB that outperformed the well-known Dolby B by far. High Com was included in more sophisticated cassette recorders, mostly alongside the various Dolby systems. Even though this applied to the consumer market, there was no tape hiss at all that an ear could realize. Another advantage was that recorded tapes could be exchanged amongst High Com recorders without any loss of quality in sound. The "pumping effect" mostly reported from critical sound material (e.g. drums or any percussive instrument) with advanced dbx NR did not show in properly calibrated High Com recordings. It did not penetrate the market, possibly due to the less aggressive marketing strategies typical for German companies at that time compared to the widely known Dolby systems.


title: Reel-to-reel audio tape recording

text: Dolby B eventually became the most popular system for Compact Cassette noise reduction. Today Dolby SR is in widespread use for professional analog tape recording.


title: Reel-to-reel audio tape recording

text: As studio audio production progressed and became more and more advanced, it became desirable to record the individual instruments and human voices separately and mix them down to one, two, or more speaker channels later, rather than in real time in the studio before recording. In addition to allowing recording engineers and producers to experiment with different mixing arrangements, effects, etc. on the same performance and to produce multiple versions of a recording (without having multiple duplicates of all the studio control room equipment used for mixing), multi-tracking enables the use of non-real-time effects or effects that cannot be produced in the same studio where the musicians perform. Another huge benefit of multitrack production is that recording of individual tracks or certain instruments could be done at different locations at any later date, if required. This allowed a producer to record basic tracks at a given studio, then take that tape to any other studio in the world that used the same format, and record additional tracks as needed for the same piece of music.


title: Reel-to-reel audio tape recording

text: Reel-to-reel recorders with eight, sixteen, twenty-four, and even thirty-two tracks were eventually built, with as many heads recording synchronized parallel linear tracks. Some of these machines were larger than a laundry washing machine and used tape as wide as . A single new reel of 1" or wider tape, could easily cost $200 to $400. Still, in professional studios, most tapes were recorded only once, and all recording was on new tape, to ensure the maximum quality, as studio time and the time of skilled musicians was much higher than the cost of tape, making it not worth the risk of a recording being lost or degraded due to using media that had been previously recorded upon.


title: Reel-to-reel audio tape recording

text: If more than 24 tracks of recording were required, it was possible in the mid-1970s and onwards with advanced servo-controlled machines to synchronize two (or more) 24-track recorders to behave as a single 48-track recorder (46 usable tracks due to the time code stripped on the first channel of each tape). Such precise synchronization was achieved by recording a time code on one of the tracks on each reel of tape: a computer system would keep the two time codes perfectly synchronized, and transparently as seen by the machine operator.


title: Reel-to-reel audio tape recording

text: As professional audio evolved from analog magnetic tape to digital media, engineers adapted magnetic tape technology to digital recording, producing digital reel-to-reel magnetic tape machines. Before large hard disks became economical enough to make hard disk recorders viable, studio digital recording meant recording on digital tape. Mitsubishi's ProDigi and Sony's Digital Audio Stationary Head (DASH) were the primary digital reel-to-reel formats in use in recording studios from the early 1980s through the mid-1990s. Nagra introduced digital reel-to-reel tape recorders for use in film sound recording. Digital reel-to-reel tape eliminated all the traditional quality limitations of analog tape, including background noise (hiss), high frequency roll-off, wow and flutter, pitch error, nonlinearity, print-through, and degeneration with copying, but the tape media was even more expensive than professional analog open reel tape, and the linear nature of tape still placed restrictions on access, and winding time to find a particular spot was still a significant drawback. Also, while the quality of digital tape did not progressively degrade with use of the tape, the physical sliding of the tape over the heads and guides meant that the tape still did wear, and eventually that wear would lead to digital errors and permanent loss of quality if the tape was not copied before reaching that point. Still, digital reel-to-reel tape represented a significant advance in audio recording technology, and most who could afford to record using digital tape generally did. 3M's 32-track recorder was priced at $115,000 in 1978 ().


title: Reel-to-reel audio tape recording

text: Best known for its lines of tape media and professional analog recorders, with its M series of multitrack and 2-track machines, the Mincom division of 3M spent several years developing a digital recording system, including two years of joint research with the BBC. The result was the 3M Digital Audio Mastering System, which consisted of a 32-track deck (16-bit, 50 kHz audio) running 1-inch tape and a 4-track, 1/2-inch mastering recorder.


title: Reel-to-reel audio tape recording

text: The extremely short wavelengths recorded by a digital tape recorded meant that tape and tape transport cleanliness was an important issue. Specks of dust or dirt were large enough in relation to the signal wavelengths that contamination by such dirt could render a recording unplayable. Advanced digital error correction systems, without which the system would have been unworkable, still failed to cope with poorly maintained tape or recorders, and for this reason a number of tapes made in the early years of digital reel-to-reel recorders are now useless.


title: Reel-to-reel audio tape recording

text: Because digital audio recording technology advanced over the years, with development of cassette-based tape recording formats (such as DAT) and tapeless recording, digital reel-to-reel audio recording is now obsolete, also because no new metal particle reel tapes for digital audio recording are manufactured today - only ferric oxide tapes for analog recording.


title: Reel-to-reel audio tape recording

text: Early reel-to-reel users learned to manipulate segments of tape by splicing them together and adjusting playback speed or direction of recordings. Just as modern keyboards allow sampling and playback at different speeds, a reel-to-reel recorder could accomplish similar tasks in the hands of a talented user.


title: Reel-to-reel audio tape recording

text: In addition, multiple reel-to-reel machines used in tandem can also be used to create echo and delay effects. The Frippertronics configuration used by Brian Eno and Robert Fripp on their 1970s and '80s recordings illustrates these possibilities.


title: Calcium oxalate

text: Calcium oxalate (in archaic terminology, oxalate of lime) is a calcium salt of oxalic acid with the chemical formula . It forms hydrates , where "n" varies from 1 to 3. Anhydrous and all hydrated forms are colorless or white. The monohydrate occurs naturally as the mineral whewellite, forming envelope-shaped crystals, known in plants as raphides. The two rarer hydrates are dihydrate , which occurs naturally as the mineral weddellite, and trihydrate , which occurs naturally as the mineral caoxite, are also recognized. Some foods have high quantities of calcium oxalates and can produce sores and numbing on ingestion and may even be fatal. Tribes with diets that depend highly on fruits and vegetables high in calcium oxalate, such as in Micronesia, reduce the level of it by boiling and cooking them. They are a constituent in 76% of human kidney stones. Calcium oxalate is also found in beerstone, a scale that forms on containers used in breweries.


title: Calcium oxalate

text: Many plants accumulate calcium oxalate as it has been reported in more than 1000 different genera of plants. The calcium oxalate accumulation is linked to the detoxification of calcium () in the plant. Upon decomposition, the calcium oxalate is oxidised by bacteria, fungi, or wildfire to produce the soil nutrient Calcium carbonate.


title: Calcium oxalate

text: The poisonous plant dumb cane ("Dieffenbachia") contains the substance and on ingestion can prevent speech and be suffocating. It is also found in sorrel, rhubarb (in large quantities in the leaves), cinnamon, turmeric and in species of "Oxalis", Araceae, "Arum italicum", taro, kiwifruit, tea leaves, agaves, Virginia creeper ("Parthenocissus quinquefolia"), and "Alocasia" and in spinach in varying amounts. Plants of the genus "Philodendron" contain enough calcium oxalate that consumption of parts of the plant can result in uncomfortable symptoms. Insoluble calcium oxalate crystals are found in plant stems, roots, and leaves and produced in idioblasts. Vanilla plants exude calcium oxalates upon harvest of the orchid seed pods and may cause contact dermatitis.


title: Calcium oxalate

text: Calcium oxalate, as ‘beerstone’, is a brownish precipitate that tends to accumulate within vats, barrels, and other containers used in the brewing of beer. If not removed in a cleaning process, beerstone will leave an unsanitary surface that can harbour microorganisms. Beerstone is composed of calcium and magnesium salts and various organic compounds left over from the brewing process; it promotes the growth of unwanted microorganisms that can adversely affect or even ruin the flavour of a batch of beer.


title: Calcium oxalate

text: Calcium oxalate crystals in the urine are the most common constituent of human kidney stones, and calcium oxalate crystal formation is also one of the toxic effects of ethylene glycol poisoning.


title: Calcium oxalate

text: Calcium oxalate is a combination of calcium ions and the conjugate base of oxalic acid, the oxalate anion. Its aqueous solutions are slightly basic because of the basicity of the oxalate ion. The basicity of calcium oxalate is weaker than that of sodium oxalate, due to its lower solubility in water. Solid calcium oxalate hydrate has been characterized by X-ray crystallography. It is a coordination polymer. featuring planar oxalate anions linked to calcium, which also has water ligands.


title: Calcium oxalate

text: About 76% of kidney stones are partially or entirely of the calcium oxalate type. They form when urine is persistently saturated with calcium and oxalate. Between 1% and 15% of people globally are affected by kidney stones at some point. In 2015, they caused about 16,000 deaths worldwide.


title: Calcium oxalate

text: Some of the oxalate in urine is produced by the body. Calcium and oxalate in the diet play a part but are not the only factors that affect the formation of calcium oxalate stones. Dietary oxalate is an organic ion found in many vegetables, fruits, and nuts. Calcium from bone may also play a role in kidney stone formation.


title: Calcium oxalate

text: In one study of modulators of calcium oxalate crystallization in urine, magnesium-alkali citrate was shown to inhibit CaOx (calcium oxalate) crystallization, “probably via actions of the citrate, but not the Mg.” This was in comparison to magnesium, citrate, and magnesium citrate. Currently the preparation of magnesium-potassium citrate that was used in one positive study is not available in the United States.


title: Greater (film)

text: Greater is a 2016 American biographical sports film directed by David Hunt and starring Christopher Severio as American football player Brandon Burlsworth, a walk-on college player who became an All-American, dying in a car crash 11 days after being drafted high in the 3rd round to the National Football League. The film was released on August 26, 2016.


title: Greater (film)

text: The year is 1999 and Marty Burlsworth is awaiting the funeral of his 22-year-old brother, Brandon. While others, including Marty's mother, Barbara, have accepted the loss and put their faith in God, Marty can not do that as he does not understand why God would take away his brother on the cusp of his stardom in the NFL. That doubt is shared by a stranger, The Farmer, who does what he can to reinforce Marty's anger.


title: Greater (film)

text: As preparations for the funeral begin, the story rewinds to when Brandon was a 12-year-old with big dreams of playing for the University of Arkansas, and then his days playing high school football for Harrison High School football coach Tommy Tice. It is then that Marty and Brandon's long-estranged father, Leo, an alcoholic former musician, tries to get back into their and Barbara's lives. Marty does his best to protect his younger brother, due to being 17 years older than him and often mistaken for being his father.


title: Greater (film)

text: When Brandon does not get a scholarship to become an Arkansas Razorback as an offensive guard, he is determined to join the team as a walk-on in 1994. Offensive line coach Coach Mike Bender does not believe Brandon will make the team, due to Brandon not being large enough for a Division I-level college lineman. The sight of him is not lost on other players such as Nathan Ward, Anthony Lucas, nor Grant Garrettthe latter of whom is assigned as Brandon's roommateand they make fun of him relentlessly.


title: Greater (film)

text: But with hard work, Brandon sheds fat and puts on muscle, eventually proving himself on the field and turning around everyone's opinion of him. By his sophomore season, Arkansas head coach Danny Ford gives him a scholarship, and Brandon earns a starting position at right guard on the offensive line. Inspired by Brandon, the team achieves near greatness in his senior year of 1998, all by working and practicing hard. After the season is over, Brandon is named an All-American, and is then drafted in the 3rd round of the 1999 NFL Draft by the Indianapolis Colts. After attending a workout session in Indianapolis, his position coach tells him that he foresees a great career ahead for him.


title: Greater (film)

text: Eleven days after being drafted, Brandon is killed when he is hit head-on by a tractor trailer. When his brother Marty sees how much he meant to the people of his hometown and how many have shown up for his funeral, he rebuffs The Farmer, deciding to celebrate Brandon's life and move on with his own.


title: Greater (film)

text: While on Rotten Tomatoes the film has an approval rating of 69%, that is based on only 16 reviews, with an average rating of 6.7/10. However, some critics found the work to be more of a faith-based movie rather than a sports movie with Variety describing it as follows. "An insistent, clunky sermon about triumph through faith, David Hunt’s film is so determined to turn its subject into a Christ-like saint that it loses any sense of him as an actual flesh-and-blood man, the result being a third-string sports saga only apt to play to its devout target audience."


title: Canadian whisky

text: Canadian whisky is a type of whisky produced in Canada. Most Canadian whiskies are blended multi-grain liquors containing a large percentage of corn spirits, and are typically lighter and smoother than other whisky styles. When Canadian distillers began adding small amounts of highly-flavourful rye grain to their mashes, people began demanding this new rye-flavoured whisky, referring to it simply as "rye". Today, as for the past two centuries, the terms "rye whisky" and "Canadian whisky" are used interchangeably in Canada and (as defined in Canadian law) refer to exactly the same product, which generally is made with only a small amount of rye grain.


title: Canadian whisky

text: Historically, in Canada, corn-based whisky that had some rye grain added to the mash bill to give it more flavour came to be called "rye".


title: Canadian whisky

text: The regulations under Canada's "Food and Drugs Act" stipulate the minimum conditions that must be met in order to label a product as "Canadian whisky" or "Canadian Rye Whisky" (or "Rye Whisky")—these are also upheld internationally through geographical indication agreements. These regulations state that whisky must "be mashed, distilled and aged in Canada", "be aged in small wood vessels for not less than three years", "contain not less than 40 per cent alcohol by volume" and "may contain caramel and flavouring". Within these parameters Canadian whiskies can vary considerably, especially with the allowance of "flavouring"—though the additional requirement that they "possess the aroma, taste and character generally attributed to Canadian whisky" can act as a limiting factor.


title: Canadian whisky

text: Canadian whiskies are most typically blends of whiskies made from a single grain, principally corn and rye, but also sometimes wheat or barley. Mash bills of multiple grains may also be used for some flavouring whiskies. The availability of inexpensive American corn, with its higher proportion of usable starches relative to other cereal grains, has led it to be most typically used to create base whiskies to which flavouring whiskies are blended in. Exceptions to this include the Highwood Distillery which specializes in using wheat and the Alberta Distillers which developed its own proprietary yeast strain that specializes in distilling rye. The flavouring whiskies are most typically rye whiskies, blended into the product to add most of its flavour and aroma. While Canadian whisky may be labelled as a "rye whisky" this blending technique only necessitates a small percentage (such as 10%) of rye to create the flavour, whereas much more rye would be required if it were added to a mash bill alongside the more readily distilled corn.


title: Canadian whisky

text: The base whiskies are distilled to between 180 and 190 proof which results in few congener by-products (such as fusel alcohol, aldehydes, esters, etc.) and creates a lighter taste. By comparison, an American whisky distilled any higher than 160 proof is labelled as "light whiskey". The flavouring whiskies are distilled to a lower proof so that they retain more of the grain's flavour. The relative lightness created by the use of base whiskies makes Canadian whisky useful for mixing into cocktails and highballs. The minimum three year aging in small wood barrels applies to all whiskies used in the blend. As the regulations do not limit the specific type of wood that must be used, a variety of flavours can be achieved by blending whiskies aged in different types of barrels. In addition to new wood barrels, charred or uncharred, flavour can be added by aging whiskies in previously used bourbon or fortified wine barrels for different lengths of time.


title: Canadian whisky

text: In the 18th and early 19th centuries, gristmills distilled surplus grains to avoid spoilage. Most of these early whiskies would have been rough, mostly unaged wheat whiskey. Distilling methods and technologies were brought to Canada by American and European immigrants with experience in distilling wheat and rye. This early whisky from improvised stills, often with the grains closest to spoilage, was produced with various, uncontrolled proofs and was consumed, unaged, by the local market. While most distilling capacity was taken up producing rum, a result of Atlantic Canada's position in the British sugar trade, the first commercial scale production of whisky in Canada began in 1801 when John Molson purchased a copper pot still, previously used to produce rum, in Montreal. With his son Thomas Molson, and eventually partner James Morton, the Molsons operated a distillery in Montreal and Kingston and were the first in Canada to export whisky, benefiting from Napoleonic Wars' disruption in supplying French wine and brandies to England.


title: Canadian whisky

text: Gooderham and Worts began producing whisky in 1837 in Toronto as a side business to their wheat milling but surpassed Molson's production by the 1850s as it expanded their operations with a new distillery in what would become the Distillery District. Henry Corby started distilling whisky as a side business from his gristmill in 1859 in what became known as Corbyville and Joseph Seagram began working in his father-in-law's Waterloo flour mill and distillery in 1864, which he would eventually purchase in 1883. Meanwhile, Americans Hiram Walker and J.P. Wiser moved to Canada: Walker to Windsor in 1858 to open a flour mill and distillery and Wiser to Prescott in 1857 to work at his uncle's distillery where he introduced a rye whisky and was successful enough to buy the distillery five years later. The disruption of American Civil War created an export opportunity for Canadian-made whiskies and their quality, particularly those from Walker and Wiser who had already begun the practice of aging their whiskies, sustained that market even after post-war tariffs were introduced. In the 1880s, Canada's National Policy placed high tariffs on foreign alcoholic products as whisky began to be sold in bottles and the federal government instituted a bottled in bond program that provided certification of the time a whisky spent aging and allowed deferral of taxes for that period, which encouraged aging. In 1890 Canada became the first country to enact an aging law for whiskies, requiring them to be aged at least two years. The growing temperance movement culminated in prohibition in 1916 and distilleries had to either specialize in the export market or switch to alternative products, like industrial alcohols which were in demand in support of the war effort.


title: Canadian whisky

text: With the deferred revenue and storage costs of the Aging Law acting as a barrier to new entrants and the reduced market due to prohibition, consolidation of Canadian whisky had begun. Henry Corby Jr. modernized and expanded upon his father's distillery and sold it, in 1905, to businessman Mortimer Davis who also purchased the Wiser distillery, in 1918, from the heirs of J.P. Wiser. Davis's salesman Harry Hatch spent time promoting the Corby and Wiser brands and developing a distribution network in the United States which held together as Canadian prohibition ended and American prohibition began. After Hatch's falling out with Davis, Hatch purchased the struggling Gooderham and Worts in 1923 and switched out Davis's whisky for his. Hatch was successful enough to be able to also purchase the Walker distillery, and the popular Canadian Club brand, from Hiram's grandsons in 1926. While American prohibition created risk and instability in the Canadian whisky industry, some benefited from purchasing unused American distillation equipment and from sales to exporters (nominally to foreign countries like Saint Pierre and Miquelon, though actually to bootleggers to the United States). Along with Hatch, the Bronfman family was able to profit from making whisky destined for United States during prohibition, though mostly in Western Canada and were able to open a distillery in LaSalle, Quebec and merge their company, in 1928, with Seagram's which had struggled with transitioning to the prohibition marketplace. Samuel Bronfman became president of the company and, with his dominant personality, began a strategy of increasing their capacity and aging whiskies in anticipation of the end of prohibition. When that did occur, in 1933, Seagram's was in a position to quickly expand; they purchased The British Columbia Distilling Company from the Riefel family in 1935, as well as several American distilleries and introduced new brands, one of them being Crown Royal, in 1939, which would eventually become one of the best-selling Canadian whiskies.


title: Canadian whisky

text: While some capacity was switched to producing industrial alcohols in support of the country's World War II efforts, the industry expanded again after the war until the 1980s. In 1945, Schenley Industries purchased one of those industrial alcohol distilleries in Valleyfield, Quebec, and repurposed several defunct American whiskey brands, like Golden Wedding, Old Fine Copper, and starting in 1972, Gibson's Finest. Seeking to secure their supply of Canadian whisky, Barton Brands also built a new distillery in Collingwood, Ontario, in 1967, where they would produce Canadian Mist, though they sold the distillery and brand only four years later to Brown–Forman. As proximity to the shipping routes (by rail and boat) to the US became less important, large distilleries were established in Alberta and Manitoba. Five years after starting to experiment with whiskies in their Toronto gin distillery, W. & A. Gilbey Ltd. created the Black Velvet blend in 1951 which was so successful a new distillery in Lethbridge, Alberta was constructed in 1973 to produce it.


title: Canadian whisky

text: Also in the west, a Calgary-based business group recruited the Riefels from British Columbia to oversee their Alberta Distillers operations in 1948. The company became an innovator in the practice of bulk shipping whiskies to the United States for bottling and the success of their Windsor Canadian brand (produced in Alberta but bottled in the United States) led National Distillers Limited to purchase Alberta Distillers, in 1964, to secure their supply chain. More Alberta investors founded the Highwood Distillery in 1974 in High River, Alberta, which specialized in wheat-based whiskies. Seagram's opened a large, new plant in Gimli, Manitoba, in 1969, which would eventually replace their Waterloo and LaSalle distilleries. In British Columbia, Ernie Potter who had been producing fruit liqueurs from alcohols distilled at Alberta Distillers built his own whisky distillery in Langley in 1958 and produced the Potter's and Century brands of whisky. Hiram Walker's built the Okanagan Distillery in Winfield, British Columbia, in 1970 with the intention of producing Canadian Club but was redirected to fulfill contracts to produce whiskies for Suntory before being closed in 1995.


title: Canadian whisky

text: After decades of expansion, a shift in consumer preferences towards white spirits (such as vodka) in the American market resulted in an excess supply of Canadian whiskies. While this allowed the whiskies to be aged longer, the unexpected storage costs and deferred revenue strained individual companies. With the distillers seeking investors and multinational corporations seeking value brands, a series of acquisitions and mergers occurred. Alberta Distillers was bought in 1987 by Fortune Brands which would go on to become part of Beam Suntory. Hiram Walker was sold in 1987 to Allied Lyons which Pernod Ricard took over in 2006, with Fortune Brands acquiring the Canadian Club brand. Grand Metropolitan had purchased Black Velvet in 1972 but sold the brand in 1999 to Constellation Brands who in turn sold it to Heaven Hill in 2019. Schenley was acquired in 1990 by United Distillers which would go on to become part of Diageo, though Gibson's Finest was sold to William Grant & Sons in 2001. Seagram's was sold in 2000 to Vivendi, which in turn sold its various brands and distilleries to Pernod Ricard and Diageo. Highwood would purchase Potter's in 2006. Despite the consolidation, the Kittling Ridge Distillery in Grimsby, Ontario, began to produce the Forty Creek brand, though it was sold to the Campari Group in 2014. Later, the Sazerac Company would purchase the brands Seagram's VO, Canadian 83 and Five Star from Diageo in 2018.


title: Canadian whisky

text: Canadian whisky featured prominently in rum-running into the U.S. during Prohibition. Hiram Walker's distillery in Windsor, Ontario, directly across the Detroit River and the international boundary between Canada and the United States, easily served bootleggers using small, fast smuggling boats.


title: Canadian whisky

text: There are several distilleries based in Alberta, including the Alberta Distillers, established in 1946 in Calgary, Alberta. The distillery was purchased in 1987 by Fortune Brands which became Beam Suntory in 2011. The distillery uses a specific strain of yeast which they developed that specializes in fermenting rye. While the distillery exports much of its whisky for bottling in other countries, they also produce the brands Alberta Premium, Alberta Springs, Windsor Canadian, Tangle Ridge, and Canadian Club Chairman's Select.


title: Canadian whisky

text: Black Velvet Distillery (formerly the Palliser Distillery) was established in 1973 in Lethbridge, Alberta it has been owned by Heaven Hill since 2019. They produce the Black Velvet brand which is mostly shipped in bulk for bottling in the American market, with some bottled onsite for the Canadian market. The distillery also produces Danfield's and the Schenley's Golden Wedding and OFC labels.


title: Canadian whisky

text: Highwood Distillery (formerly the Sunnyvale Distillery) was established in 1974 in High River, Alberta, the Highwood Distillery specializes in using wheat in their base whiskies. This distillery also produces vodka, rum, gin and liqueurs. Brands of Canadian whisky produced at the Highwood Distillery include Centennial, Century, Ninety, and Potter's. They also produce White Owl whisky which is charcoal-filtered to remove the colouring introduced by aging in wood barrels.


title: Canadian whisky

text: Gimli Distillery was established in 1968 in Gimli, Manitoba, to produce Seagram brands, the distillery was acquired by Diageo in 2001. The Gimli Distillery is responsible for producing Crown Royal, the best-selling Canadian whisky in the world with 7 million cases shipped in 2017. They also supply some of the whisky used in Seagram's VO and other blends.


title: Canadian whisky

text: Distilleries were established in Ontario during the mid-19th century, with Gooderham and Worts's beginning operations in Toronto's Distillery District in the 1830s. Distilleries continued to operate from the Distillery District until 1990, when the area was reoriented towards commercial and residential development. Other former distilleries in the province includes one in Corbyville, which hosted a distillery operated by Corby Spirit and Wine. A distillery in Waterloo was operated by Seagram to produce Crown Royal until 1992; although the company still maintains a blending and bottling plant in Amherstburg.


title: Canadian whisky

text: Presently, there are several major distilleries based in Ontario. The oldest functioning distillery in Ontario is the Hiram Walker Distillery, established in 1858 in Windsor, Ontario, but modernized and expanded upon several times since. The distillery is owned by Pernod Ricard and operated by Corby Spirit and Wine, of which Pernod has a controlling share. Brands produced at the Walker Distillery include Lot 40, Pike Creek, Gooderham and Worts, Hiram Walker's Special Old, Corby's Royal Reserve, and J.P. Wiser's brands. Most of its capacity is used for contract production of the Beam Suntory brand (and former Hiram Walker brand) Canadian Club, in addition to generic Canadian whisky that is exported in bulk and bottled under various labels in other countries.


title: Canadian whisky

text: Canadian Mist Distillery was established in 1967 in Collingwood, Ontario, the distillery is owned by the Sazerac Company and primarily produces the Canadian Mist brand for export. The distillery also produces whiskies used in the Collingwood brand, introduced 2011, and the Bearface brand, introduced 2018.


title: Canadian whisky

text: Kittling Ridge Distillery was established in 1992 with an associated winery in Grimsby, Ontario, its first whiskies came to market in 2002. The distillery was purchased in 2014 by Campari Group. The distillery produces the Forty Creek brand.


title: Canadian whisky

text: Old Montreal Distillery was established in 1929 as a Corby Spirit and Wine distillery, it was acquired by Sazerac Company in 2011 and modernized in 2018. It produces Sazerac brands and has taken over bottling of Caribou Crossing.


title: Canadian whisky

text: Valleyfield Distillery (formerly the Schenley Distillery) was established in 1945 in a former brewery in Salaberry-de-Valleyfield, Quebec, near Montreal, the distillery has been owned by Diageo in 2008. Seagram's VO is bottled here with flavouring whisky from the Gimli Distillery. Otherwise, the Valleyfield Distillery specializes in producing base whiskies distilled from corn for other Diageo products.


title: Bentley University

text: Bentley University is a private university focused on business, accountancy, and finance and located in Waltham, Massachusetts. Founded in 1917 as a school of accounting and finance in Boston's Back Bay neighborhood, Bentley moved to Waltham in 1968. Bentley awards Bachelor of Science degrees in 14 business fields and Bachelor of Arts degrees in 11 arts and sciences disciplines, offering 36 minors spanning both arts and science and business disciplines. The graduate school emphasizes the impact of technology on business practice, and offers PhD programs in Business and Accountancy, the Bentley MBA with 16 areas of concentration, an integrated MS+MBA, seven Master of Science degrees, several graduate certificate programs and custom executive education programs.


title: Bentley University

text: Bentley's athletic teams compete in Division II of the NCAA (except for men's hockey, which competes in Division I) and are known collectively as the Bentley Falcons. They compete in the Northeast-10 Conference.


title: Bentley University

text: Bentley University was founded in 1917 as the Bentley School of Accounting and Finance by Harry C. Bentley, who served as the school's president until 1953. In 1961, the college was accredited to confer four-year Bachelor of Science degrees under President Thomas Lincoln Morison, who moved the college from its Boylston Street address in Boston to its current-day location in Waltham, Massachusetts. Land for this move was purchased from the Lyman Estate in 1962, and the construction to develop the campus then lasted from 1963 to 1968.


title: Bentley University

text: Gregory H. Adamian, a major driving force in the college's development, became the fourth president in 1970. Under his guidance, the college became accredited to confer four-year Bachelor of Arts degrees in 1971 and graduate degrees in 1973. During this time, the school also changed its name to Bentley College. In 2002, Bentley College opened up a campus in the Middle Eastern country of Bahrain in partnership with the Bahrain Institute of Banking and Finance. The college was accredited to confer its first doctoral degrees in the fields of business and accountancy in 2005. A main fixture of the campus, The Bentley Library, underwent a sweeping renovation in 2006 during which time the school's logo was changed to showcase the clock tower that sits atop the building. One year later, Gloria Cordes Larson, a former state and federal government official and Boston-based lawyer, became the first female president of Bentley College. In 2008, the school changed its name to Bentley University after being authorized by the state board of higher education to do so. Alison Davis-Blake, the former dean of the Carlson School of Management at the University of Minnesota and of the Ross School of Business at the University of Michigan, became Bentley's eighth president in July 2018. She stepped down in June 2020 and was replaced by Interim President Paul Condrin, the chair of the board of trustees. In March 2021, the board unanimously appointed Dr. E. LaBrent Chrite to serve as Bentley's ninth president.


title: Bentley University

text: In 1968, Bentley moved from downtown Boston to Waltham, Massachusetts to accommodate an increasing number of students. The first buildings on the Waltham campus were built between 1965 and 1968. Today, the campus stretches across of land.


title: Bentley University

text: Bentley University's campus is divided into three parts: Upper Campus, Lower Campus, and North Campus.


title: Bentley University

text: Upper Campus contains most of the school's academic buildings and all of its classrooms. It is located on the North side of Beaver Street. Upper campus also contains all three freshman dorms, a few upperclassman dorms, and the university's bookstore.


title: Bentley University

text: Lower Campus contains more upperclassman housing, the Dana Athletic Center, and the Multi-Purpose Arena. It is connected to upper campus via a bridge over Beaver Street. It is located on the South side of Beaver Street.


title: Bentley University

text: North Campus is located a half-mile north of the main entrance to Upper Campus on Forest Street. Transportation to and from North Campus is provided via shuttle bus. North Campus contains only residence hall buildings named: A, B, C and D. Residence halls A and B were opened in 2005 while C and D were opened in 2007, making North Campus the most recent addition to Bentley's housing facilities. Each building has 3 floors and includes an elevator and 2 stairwells. Originally, North Campus was intended to be graduate student housing, but due to the sharp growth of enrollment it is occupied mostly by undergraduates.


title: Bentley University

text: Bentley's McCallum Graduate School of Business offers two master's degrees, the Master of Business Administration (MBA) and the Master of Science. It also has PhD programs.


title: Bentley University

text: Students take four of the required courses in California, five courses online, and the 10th course at Bentley's "User Experience Center".


title: Bentley University

text: The program was designed to accommodate the busy schedules of tech professionals and to draw students from a wide geographic area. Each course is delivered in an executive format: three class meetings on Friday, Saturday and Sunday, followed by four weeks of faculty-monitored virtual teamwork, and closing with a Friday/Saturday meeting in the classroom.


title: Bentley University

text: Bentley is home to a number of academic organizations. Its Fed Challenge team won the National Fed Challenge in 2010, and won second place in 2012. The university is also home to the Bentley Investment Group, a student-run organization charged with managing a portion of the university's endowment fund. Bentley Investment Group started with $250,000 in 1997 with 24 original members, the assets managed by the club has grown substantially over the past few decades. The technology sector of Bentley Investment Group is currently the largest sector. Other notable academic organizations include Bentley Open Market Committee, Bentley Marketing Association, TAMID, and the Bentley Real Estate Group.


title: Bentley University

text: In addition to the intercollegiate and intramural programs, the university offers a number of club sports for students to take part in. These clubs are operated within the Student Activities department, and are financially supported by the student's activity fees. One of the most notable club sports is the Bentley Equestrian Team which was created by Bentley University because of the founder of Bentley University, Harry C. Bentley, enjoyed horseback riding in his free time. Other Club Sports include: cheerleading, dance team, men's rugby, women's rugby, men's ultimate frisbee (2014 USA Ultimate Div-III Champions), women's ultimate frisbee, men's volleyball, men's hockey, women's hockey, and sailing.


title: Bentley University

text: There are currently seven recognized men's fraternities at Bentley University: Alpha Epsilon Pi, Alpha Gamma Pi, Delta Kappa Epsilon, Kappa Sigma, Sigma Chi, Sigma Gamma Delta, and Sigma Pi. Five chapters are inter/national and are governed by the North American Interfraternity Conference. Two of the men's organizations are local groups which means that Bentley University is the only institution that houses these chapters.


title: Bentley University

text: There currently are four recognized women's sororities at Bentley University: Alpha Phi, Gamma Phi Beta, Kappa Delta, and Phi Sigma Sigma. These chapters are governed by the National Panhellenic Conference or the National Association of Latina/Latino Fraternal Organizations, Inc.


title: Bentley University

text: In the 2017–2018 academic year, Greek organizations raised over $60,000 through philanthropic events held on campus.


title: Bentley University

text: There are also two business fraternities on campus, Alpha Kappa Psi and Delta Sigma Pi. They are co-ed, and hold numerous professional events throughout the year.


title: Bentley University

text: There is a chapter of Alpha Psi Omega National Theater Honors Society, which performs a fall musical and a spring play every year.


title: Bentley University

text: There is one co-ed service fraternity, Alpha Phi Omega, chartered 2018, which provides its members opportunities to volunteer through a variety of community service events and fundraisers.


title: Bentley University

text: Bentley's mascot is Flex the Falcon. The university has 23 men's and women's varsity teams. All of the teams compete in the Northeast-10 Conference at the NCAA Division II level, with the exception of the men's hockey program, which was one of the original six founding teams of Atlantic Hockey at the Division I level.


title: Bentley University

text: Bentley is also home to one of the best rugby programs in the Northeast winning two national Division III titles in 2007 and 2008 as well as winning the 2008 Beast of the East tournament. They were also Division II National Qualifiers in 2011 and 2012 as well as Rugby Northeast Conference champions in 2011.


title: Bentley University

text: In 2012, the Bentley Men's Cross Country team finished 26th in the nation at Division II XC Nationals. In 2015, the Bentley Men's Cross Country team qualified for the NCAA Division II Cross Country Championships and finished 30th in the nation.


title: Bentley University

text: After beating Saint Michael's College by a score of 85–65 on February 23, 2008, the Bentley University Men's Basketball team set the record for the longest regular season winning streak in Division II history. Additionally, Bentley has men's, women's, and co-ed intramural programs for the fall, winter, and spring semesters.


title: Bentley University

text: The Bentley Women's Basketball team completed the 2013–2014 season with a 35–0 record, winning the NCAA Division II National Championship.


title: Bentley University

text: The Bentley Men's Ultimate Frisbee team won USA Ultimate's Division III College Championship in 2014.


title: Bentley University

text: Bentley is the #2 ranked school among all NCAA Division II colleges and universities in U.S., according to Next College Student Athlete's 2018 NCSA Power Rankings. The NCSA Power Rankings recognize the best colleges and universities in the U.S. for student-athletes. NCSA ranked Bentley Football #1 for DII schools and #63 overall. Among all DII schools, Bentley also ranked #1 in Men's and Women's Lacrosse; #2 in Men's and Women's Basketball, Men's and Women's Soccer, Men's and Women's Swimming, Men's and Women's Tennis, Men's Golf, Women's Field Hockey, Women's Volleyball, Softball, and Baseball; and #3 in Men's and Women's Track and Field. Bentley University Men's Ice Hockey ranked #20 among NCAA DI schools.


title: Bentley University

text: The Bentley Arena is a multi-purpose ice hockey arena on the campus of Bentley University in Waltham, Massachusetts. It is home to the Bentley Falcons men's ice hockey program, replacing the previous facility, the John A. Ryan Arena. The first hockey game was on February 16, 2018, with Bentley taking on Army West Point. The seating capacity for hockey games is 2,207.


title: Bentley University

text: The 76,000 square foot facility was designed by Architectural Resources Cambridge and built by Suffolk Construction. Ground broke on the Arena in the summer of 2016, and was completed in February 2018.


title: Bentley University

text: In May 2018, the Arena was awarded an LEED Platinum rating, the highest possible rating for sustainability, according to the U.S. Green Building Council.


title: Bentley University

text: Since opening, the arena has hosted various events, such as Bentley's annual Spring Day concert, the Back to Bentley concert, and the Spring Comedy Show.


title: Bentley University

text: Musical artists such as SZA, Vince Staples, and Khalid have performed at the arena, as have comedians such as Nick Offerman, Nick Kroll, and Wayne Brady.


title: Shelley Berman

text: Sheldon Leonard Berman (February 3, 1925 – September 1, 2017) was an American comedian, actor, writer, teacher, and lecturer.


title: Shelley Berman

text: In his comedic career, he was awarded three gold records and he won the first Grammy Award for a spoken comedy recording in 1959. He played Larry David's father on "Curb Your Enthusiasm", a role for which he received a 2008 Emmy Award nomination.


title: Shelley Berman

text: Berman was born in Chicago, the son of Irene (née Marks) and Nathan Berman. He was Jewish. He had a younger brother, Ronald.


title: Shelley Berman

text: He served in the Navy during World War II. He then enrolled in Chicago's Goodman School of Drama at the Art Institute of Chicago (now at DePaul University) as a drama student. There he met fellow student Sarah Herman; they married in 1947. His acting career began with an acting company in Woodstock, Illinois. Leaving Woodstock in 1949, the couple made their way to New York City. He studied acting at the HB Studio. To make ends meet, Berman found employment as a social director, cab driver, speech teacher, assistant manager of a drug store, and a dance instructor at Arthur Murray Dance Studios.


title: Shelley Berman

text: Berman began as a straight actor, receiving his training at the Goodman Theatre in Chicago, performing in stock companies in and around Chicago and New York City.


title: Shelley Berman

text: In the mid-1950s, he became a member of Chicago's Compass Players, which later evolved into The Second City. While performing improvised sketches with Compass, Berman began to develop solo pieces, often employing an imaginary telephone to take the place of an onstage partner.


title: Shelley Berman

text: In 1957, Berman was hired as a comedian at Mister Kelly's in Chicago, which led to other nightclub bookings, and a recording contract with Verve Records. His comedy albums earned him three gold records and he won the first Grammy Award for a spoken comedy recording. Berman appeared on numerous television specials and all of the major variety shows of the day.


title: Shelley Berman

text: He starred on Broadway in "A Family Affair" and continued with stage work in "The Odd Couple", "Damn Yankees", "Where's Charley?", "Fiddler on the Roof", "Two by Two", "I'm Not Rappaport", "La Cage aux Folles", "The Prisoner of Second Avenue" and "Guys & Dolls".


title: Shelley Berman

text: Berman's voice was used as the inspiration for the voice of the Hanna-Barbera cartoon character Fibber Fox, performed by Daws Butler.


title: Shelley Berman

text: Berman also appeared fairly regularly as a panelist (and once as the "Mystery Guest") on the CBS game show "What's My Line" in the early and mid-1960s.


title: Shelley Berman

text: Berman performed both comedic and dramatic roles on television, including appearances on episodes of "The Twilight Zone" (both radio and TV versions), "Bewitched", "Peter Gunn", "The Mary Tyler Moore Show", "Adam-12"," Emergency!", "Brothers", "Night Court", "MacGyver", "L.A. Law", "Friends", "Walker, Texas Ranger", "The King of Queens", "Grey's Anatomy", "Boston Legal", "Lizzie McGuire", "Hannah Montana", "" and the revived "Hawaii Five-0". He also had a recurring role on the short-lived sitcom "Walter & Emily.


title: Shelley Berman

text: From 2002 to 2009, Berman appeared as Larry David's aged father on "Curb Your Enthusiasm", a role for which he received a 2008 Emmy Award nomination.


title: Shelley Berman

text: Among Berman's film credits are "Dementia" (1955, with Shorty Rogers), "The Best Man" (1964, with Henry Fonda and Cliff Robertson), "Divorce American Style" (1967, with Dick Van Dyke and Debbie Reynolds), "Every Home Should Have One" (1970, with Marty Feldman), "Beware! The Blob" (1972, with Robert Walker Jr.), "Rented Lips" (1988, with Martin Mull and Robert Downey Jr.), "Teen Witch" (1989, with Robyn Lively and Zelda Rubinstein), "The Last Producer" (2000, with Burt Reynolds), "Meet the Fockers" (2004, with Robert De Niro and Ben Stiller), "The Holiday" (2006, with Cameron Diaz), and "You Don't Mess with the Zohan" (2008, with Adam Sandler).


title: Shelley Berman

text: For over 20 years, Berman was a lecturer (later lecturer emeritus) in humor writing in the Master of Professional Writing program at the University of Southern California. He was also a teacher for the Improv Olympics program.


title: Shelley Berman

text: Berman married Sarah Herman on April 19, 1947. The two met while they were studying acting at Chicago's Goodman Theatre.


title: Shelley Berman

text: In the mid-1960s, Berman and wife Sarah adopted two children, son Joshua and daughter Rachel. The Bermans were planning Joshua's bar mitzvah when he was diagnosed with a brain tumor. Joshua died on October 29, 1977, at age 12.


title: Shelley Berman

text: Berman and his wife were supporters of the Motion Picture and Television Fund (located in Woodland Hills, California), a charitable organization that offers assistance and care to those in the motion picture and television industries with limited or no resources, and contributed their time and resources to benefit the facilities and the residents.


title: Shelley Berman

text: In the 1980s, the Chamber of Commerce in Canoga Park, California selected Berman to be one of the celebrities to serve a term as honorary mayor of Canoga Park.


title: Shelley Berman

text: In a 2012 podcast interview with Marc Maron, Berman alleged that comedian Bob Newhart plagiarized his improvisational telephone routine style, describing its genesis and saying it was a "very special technique that couldn't really be imitated. It could be stolen. And it was." "I was coming to work at night and a guy stopped his car, passed me by, and said 'Hey, Shelley! There's a guy [who] stole your act!'" When asked by Maron if it was done maliciously, Berman replied, "Maliciously? He wouldn't do it maliciously. Nobody does that. But he did it to make a living. And he became a star."


title: Shelley Berman

text: Shelley Berman did it before I did it. Mike (Nichols) and Elaine (May) did a version of it. There was a thing called 'Cohen on the Telephone,' which was a very, very early recording by Edison [Records] of a guy on the phone...George Jessel had a radio show...At the end, he would call up his mother and tell her how the show had gone. As a kid growing up, I remember listening to him and he would call his mother up and say, 'Mama, this is Georgie'" – he paused, skillfully – "'from the money.'"


title: Shelley Berman

text: Berman died from Alzheimer's disease-related complications at his home in Bell Canyon, California, in the early morning of September 1, 2017. He was 92 years old. His archive was donated to the National Comedy Center in Jamestown, New York.


title: Shelley Berman

text: Comedian Steve Martin praised Berman on Twitter, thanking him for "changing modern stand-up [comedy]". Marc Maron also tweeted "Shelley Berman has hung up the phone. RIP. The guy who inspired me to sit. Great comic."