title: United States defamation law

text: After "Stratton Oakmont, Inc. v. Prodigy Services Co.", 1995 N.Y. Misc. Lexis 229 (N.Y. Sup. Ct. May 24, 1995), applied the standard publisher/distributor test to find an online bulletin board liable for post by a third party, Congress specifically enacted (1996) to reverse the "Prodigy" findings and to provide for private blocking and screening of offensive material. § 230(c) states "that no provider or user of an interactive computer shall be treated as a publisher or speaker of any information provided by another information content provider", thereby providing forums immunity for statements provided by third parties. Thereafter, cases such as "Zeran v. America Online", , and "Blumenthal v. Drudge", , have demonstrated that although courts are expressly uneasy with applying § 230, they are bound to find providers like AOL immune from defamatory postings. This immunity applies even if the providers are notified of defamatory material and neglect to remove it, because provider liability upon notice would likely cause a flood of complaints to providers, would be a large burden on providers, and would have a chilling effect on freedom of speech on the Internet.


title: United States defamation law

text: In "Barrett v. Rosenthal", , the California Supreme Court ruled that does not permit web sites to be sued for libel that was written by other parties.


title: United States defamation law

text: To solve the problem of libel tourism, the SPEECH Act makes foreign libel judgments unenforceable in U.S. courts, unless those judgments are compliant with the U.S. First Amendment. The act was passed by the 111th United States Congress and signed into law by President Barack Obama.


title: United States defamation law

text: In 2014 the Ninth Circuit Court ruled in "Obsidian Finance Group, LLC v. Cox" that liability for a defamatory blog post involving a matter of public concern cannot be imposed without proof of fault and actual damages. Bloggers saying libelous things about private citizens concerning public matters can only be sued if they are negligent i.e., the plaintiff must prove the defendant's negligence – the same standard that applies when news media are sued. The Court held that in defamation cases not the identity of the speaker, but rather the public-figure status of a plaintiff and the public importance of the statement at issue provide the First Amendment foundation.


title: United States defamation law

text: Defamation law in the United States is much less plaintiff-friendly than its counterparts in European and the Commonwealth countries, due to the enforcement of the First Amendment. One very important distinction today is that European and Commonwealth jurisdictions adhere to a theory that every publication of a defamation gives rise to a separate claim, so that a defamation on the Internet could be sued on in any country in which it was read, while American law only allows one claim for the primary publication.


title: United States defamation law

text: In the United States, a comprehensive discussion of what is and is not libel or slander is difficult, because the definition differs between different states. Some states codify what constitutes slander and libel together into the same set of laws. Some states have criminal libel laws on the books, though these are old laws which are very infrequently prosecuted. Washington State has held its criminal libel statute unconstitutional applying the state and federal constitutions to the question.


title: United States defamation law

text: Most defendants in defamation lawsuits are newspapers or publishers, which are involved in about twice as many lawsuits as are television stations. Most plaintiffs are corporations, businesspeople, entertainers and other public figures, and people involved in criminal cases, usually defendants or convicts but sometimes victims as well. In no state can a defamation claim be successfully maintained if the allegedly defamed person is deceased.


title: United States defamation law

text: Section 230 of the Communications Decency Act of 1996 generally immunizes from liability parties that create fora on the Internet in which defamation occurs from liability for statements published by third parties. This has the effect of precluding all liability for statements made by persons on the Internet whose identity cannot be determined.


title: United States defamation law

text: In the various states, whether by case law or legislation, there are generally several "privileges" that can get a defamation case dismissed without proceeding to trial. These include the litigation privilege, which makes statements made in the context of litigation non-actionable, and the allegedly defamatory statement being "fair comment and criticism", as it is important to society that everyone be able to comment on matters of public interest. The United States Supreme Court, however, has declined to hold that the "fair comment" privilege is a constitutional imperative.


title: United States defamation law

text: One defense is reporting or passing through information as a general information or warning of dangerous or emergent conditions, and intent to defame must be proven. Also, the truth of the allegedly defamatory statement will always negate the claim (whether because the plaintiff fails to meet his/her burden of proving falsity or because the defendant proves the statement to be true).


title: United States defamation law

text: All states except Arkansas, Missouri and Tennessee recognize that some categories of false statements are so innately harmful that they are considered to be defamatory "per se". In the common law tradition, damages for such false statements are presumed and do not have to be proven.


title: United States defamation law

text: Statements are defamatory per se where they falsely impute to the plaintiff one or more of the following things:


title: United States defamation law

text: On the federal level, there are no criminal defamation or insult laws in the United States. However, 23 states and 2 territories have criminal defamation/libel/slander laws on the books, along with 1 state (Iowa) establishing defamation/libel as a criminal offense through case law (without statutorily defined crime):


title: United States defamation law

text: Between 1992 and August 2004, 41 criminal defamation cases were brought to court in the United States, among which six defendants were convicted. From 1965 to 2004, 16 cases ended in final conviction, among which nine resulted in jail sentences (average sentence, 173 days). Other criminal cases resulted in fines (average fine, $1,700), probation (average of 547 days), community service (on average 120 hours), or writing a letter of apology.


title: Acker Bilk

text: Bernard Stanley "Acker" Bilk, (28 January 1929 – 2 November 2014) was a British clarinetist and vocalist known for his breathy, vibrato-rich, lower-register style, and distinctive appearance – of goatee, bowler hat and striped waistcoat.


title: Acker Bilk

text: Bilk's 1962 instrumental tune "Stranger on the Shore" became the UK's biggest selling single of 1962. It spent more than 50 weeks on the UK charts, peaking at number two, and was the second No. 1 single in the United States by a British artist.


title: Acker Bilk

text: Bilk was born in Pensford, Somerset, in 1929. He earned the nickname "Acker" from the Somerset slang for "friend" or "mate". His parents tried to teach him the piano but, as a boy, Bilk found it restricted his love of outdoor activities, including football. He lost two front teeth in a school fight and half a finger in a sledging accident, both of which he said affected his eventual clarinet style.


title: Acker Bilk

text: On leaving school Bilk joined the workforce of W.D. & H.O. Wills's cigarette factory in Bristol; he stayed there for three years, putting tobacco in the cooling room and then pushing tobacco through a blower. He then undertook three years of National Service with the Royal Engineers in the Suez Canal Zone. He learned the clarinet there after his sapper friend, John A. Britten, gave him one bought at a bazaar and for which Britten had no use. The clarinet had no reed, so Britten fashioned a makeshift one for the instrument from scrap wood. Bilk later borrowed a better instrument from the army and kept it after demobilisation. After National Service, Bilk joined his uncle's blacksmith business and qualified in the trade.


title: Acker Bilk

text: Bilk played with friends on the Bristol jazz circuit and in 1951 moved to London to play with Ken Colyer's band. Bilk disliked London, so returned west and formed his own band in Pensford called the Chew Valley Jazzmen, which was renamed the Bristol Paramount Jazz Band when they moved to London in 1951. Their agent then booked them for a six-week gig in Düsseldorf, Germany, playing in a beer bar seven hours a night, seven nights a week. During this time, Bilk and the band developed their distinctive style and appearance, complete with striped waistcoats and bowler hats.


title: Acker Bilk

text: After returning from Germany, Bilk became based in Plaistow, London, and his band played in London jazz clubs. It was from here that Bilk became part of the boom in trad jazz in the United Kingdom in the late 1950s. In 1960, their single "Summer Set" (a pun on their home county), co-written by Bilk and pianist Dave Collett, reached number five on the UK Singles Chart, and began a run of 11 chart hit singles. ("Summer Set" was also used prominently in Daniel Farson's controversial 1960 television documentary "Living for Kicks", a portrait of British teenage life at the time). In 1961 "Acker Bilk and His Paramount Jazz Band" appeared at the Royal Variety Performance.


title: Acker Bilk

text: Bilk was not an internationally known musician until 1962, when the experimental use of a string ensemble on one of his albums and the inclusion of a composition of his own as its keynote piece won him an audience outside the UK. He had composed a melody, entitled "Jenny" after his daughter, but was asked to change the title to "Stranger on the Shore" for use in a British television series of the same name. He went on to record it as the title track of a new album in which his deep and quavering clarinet was backed by the Leon Young String Chorale.


title: Acker Bilk

text: The single was not only a big hit in the United Kingdom, where it stayed on the charts for 55 weeks, helped by Bilk being the subject of the TV show "This Is Your Life", but also topped the American charts. As a result, Bilk was the second British artist to have a single in the number-one position on the "Billboard" Hot 100 singles chart. (Vera Lynn was the first, with "Auf Wiederseh'n Sweetheart" in 1952.) "Stranger on the Shore" sold over one million copies, and was awarded a gold disc. At the height of his career, Bilk's public relations workers were known as the "Bilk Marketing Board", a pun on the Milk Marketing Board.


title: Acker Bilk

text: At the height of his international fame in 1962, he appeared in two theatrical motion pictures. "It's Trad, Dad!" (released in the United States by Columbia Pictures as "Ring-a-Ding Rhythm") was a Richard Lester musical combining dixieland and rock-and-roll specialties; "Mr. Acker Bilk" and his band were the best represented, with three songs and a speaking role for Bilk. The second picture, "Band of Thieves", was a comedy starring "Mr. Acker Bilk" and his group as musicians in prison. His music was also heard on the soundtracks to films such as "Bitter Harvest" (1963), "West 11" (1963), and the musical comedy "It's All Over Town" (1964). He also played a cameo role in the latter film.


title: Acker Bilk

text: Bilk's success tapered off when British rock and roll made its big international impact beginning in 1964 and he shifted direction to the cabaret circuit. However, he did record a series of well-regarded albums in the mid-1960s. Three of them, including the 1965 collaboration "Together", with the Danish jazz pianist and composer Bent Fabric ("The Alley Cat"), were also released successfully in the United States on the Atlantic Records subsidiary Atco. In 1968 the album "Blue Acker", produced by Denis Preston and with arrangements by Stan Tracey, illustrated that Bilk remained highly regarded as a musician, even by those (like Tracey) on the "modern jazz" side of things. Duncan Heining rates it as "one of the highlights of British jazz of the period".


title: Acker Bilk

text: Bilk finally had another chart success in 1976 with "Aria", which went to number five in the United Kingdom. In May 1977 Bilk and his Paramount Jazz Band provided the interval act for the Eurovision Song Contest. His last chart appearance was in 1978, when the TV-promoted album released on Pye/Warwick, "Evergreen", reached 17 in a 14-week album chart run. In the early 1980s, Bilk and his signature hit were newly familiar, due to "Stranger on the Shore" being used in the soundtrack to "Sweet Dreams", the film biography of country music singer Patsy Cline. "Aria" featured as a central musical motif in the 2012 Polish film "".


title: Acker Bilk

text: Bilk continued to tour with his Paramount Jazz Band, as well as performing concerts with his two contemporaries, Chris Barber and Kenny Ball, both of whom were born in 1930, as "The 3Bs". Bilk also provided vocals on many of his tracks, including on "I'm an Old Cowhand", "The Folks Who Live on the Hill", "White Cliffs of Dover", "Travellin On" and "That's My Home".


title: Acker Bilk

text: One of his recordings was with the Chris Barber band, sharing the clarinet spot with the band's regular reedsmen, John Crocker and Ian Wheeler. Bilk made a CD with Wally Fawkes for the Lake label in 2002. He appeared on three albums by Van Morrison: "Down the Road"; "What's Wrong With This Picture?"; and "".


title: Acker Bilk

text: In 2012 Bilk said that, after 50 years, he was "fed up" with playing his most famous tune, "Stranger on the Shore".


title: Acker Bilk

text: Bilk died in Bath, Somerset, on 2 November 2014, at the age of 85. He was survived by his wife and two children.


title: Acker Bilk

text: Bilk's last recorded interview was for Cornish community station Penwith Radio (now Coast FM) and was broadcast on Sunday 16 November 2014 at 9:00 pm.


title: Acker Bilk

text: Bilk married his childhood sweetheart, Jean Hawkins, whom he met in the same class at school in 1954. The couple had two children: Jenny and Pete. After living near London in Potters Bar for many years the couple retired to Pensford.


title: Acker Bilk

text: In 1997, Bilk was diagnosed with throat cancer, which was treated through surgery and then followed by daily radiation therapy at Bristol Haematology and Oncology Centre. Subsequently, he had eight keyhole operations for bladder cancer and suffered a minor stroke.


title: Acker Bilk

text: Bilk was part of a consortium which took over the Oxford Cheetahs speedway team in 1972. They were rebranded as Oxford Rebels as part of the takeover.


title: Acker Bilk

text: Bilk has been described as the "Great Master of the Clarinet". "Stranger on the Shore" – which he was once quoted as calling "my old-age pension" – remains a standard of jazz and popular music alike.


title: 6.5×50mmSR Arisaka

text: The 6.5x50mmSR Arisaka is a semi-rimmed rifle cartridge with a 6.5 mm (.264 in) diameter bullet. It is also known as 6.5 Jap in the United States. It was the standard Japanese military cartridge from 1897 until the late 1930s for service rifles and machine guns when it was gradually replaced by the 7.7×58mm Arisaka.


title: 6.5×50mmSR Arisaka

text: The 6.5x50mmSR was first introduced as the Type 30 cartridge with a round-nosed bullet, by the Imperial Japanese Army in 1897, for the newly adopted Type 30 Arisaka infantry rifle and carbine. The new rifle and cartridge replaced the 8×52mm Murata round used in the Type 22 Murata rifle. In 1902, the Imperial Japanese Navy also adopted the 6.5x50mmSR for their Type 35 rifles. In 1907, a spitzer round was adopted as the Type 38 cartridge for all subsequent Japanese service small arms in 6.5 mm caliber.


title: 6.5×50mmSR Arisaka

text: The 6.5 mm Japanese round was later criticized as being under-powered in comparison to other contemporary military cartridges such as the .30-06, .303 British, 7.92×57mm Mauser, and 7.62×54mmR. For this reason, it was gradually replaced by the more powerful 7.7×58mm cartridge in 1938. Both cartridges were used until the end of the war, which created difficulty in supplying Japanese forces with the appropriate ammunition. Because of the long barrel of the Type 38 rifle, one benefit of the 6.5 mm round was that it produced very little muzzle flash and smoke. Furthermore, the 6.5 mm round with the Type 38 spitzer bullet had a desirable flat trajectory, and effective terminal ballistics with rapid yaw on impact causing severe wounds. Larger caliber military cartridges are also optimal for machine guns to use for long-range firing, and rifles were often only made to chamber them in the interest of logistics. Japan had the 7.7 mm cartridge in use only by machine guns for years before developing a rifle for the round.


title: 6.5×50mmSR Arisaka

text: The early 6.5×50mm Type 30 cartridges had a cupronickel, round-nosed bullet weighing fired with approximately of smokeless powder. This was later changed with the adoption of the Type 38 when Japan, in line with the other great powers around the same time, changed to the pointed, or spitzer, bullet in the first decade of the twentieth century. The Type 38 spitzer round fired a bullet with a powder charge of for a muzzle velocity of around .


title: 6.5×50mmSR Arisaka

text: The Type 38 spitzer version of the 6.5×50mm cartridge remained unchanged until after the adoption of the Type 11 light machine gun in 1922. The relatively short barrel (17.5 inches) produced excessive flash with standard ammunition (initially intended for Type 38 rifles with barrels more than a foot longer). By combining nitrocellulose with nitroglycerine, a new propellant for the cartridge was introduced to reduce the muzzle flash and visible powder signature. The powder burned much more completely in a shorter barrel and produced much less flash as a result. The new round was marked by a circled "G" on the ammunition cartons for the Type 11 light machine gun.


title: 6.5×50mmSR Arisaka

text: This special ammunition was also issued to soldiers carrying the Type 96 light machine gun introduced in 1936, and to snipers issued the Type 97 sniper rifle, introduced in 1937. The advantage of the new ammunition to the sniper was that it aided in his concealment as the ammunition produced less muzzle flash than standard rounds and thus did not give away the sniper's position.


title: 6.5×50mmSR Arisaka

text: The 6.5 mm gallery ammunition was also produced for the Japanese military which incorporated a paper or wood bullet. These were either all brass rounds or, more commonly, red-varnished wood with a metal base and rim. Ammunition used in the spigot-type Japanese grenade launchers often has paper bullets and can be identified by the staked primers. An armour-piercing bullet was later developed and introduced in 1932 which was designated as the Type 92 armour-piercing ball.


title: 6.5×50mmSR Arisaka

text: During the Second Sino-Japanese War, Chinese forces managed to capture large quantities of Type 38 rifles and Type 11 light machine guns. China's chronic lack of weaponry forced them to use these captured weapons en masse during the war. After the war, both nationalist and communist forces continued to use them in the civil war that followed. Some Chinese units were still using these weapons during the Korean War.


title: 6.5×50mmSR Arisaka

text: After observing the effectiveness of the Type 30 6.5×50mm round used against them during the Russo-Japanese War of 1904–1905, leading Russian arms designers chambered early Russian semi-automatic rifle designs for the Japanese round. Since the standard Russian military rifle cartridge of the time, the 7.62×54mmR rimmed round, was too powerful and generated excessive recoil in an automatic weapon, a 6.5 mm round was seen as more appropriate. Early designs by Vladimir Fedorov utilized 6.5×50 mm, including the Fedorov Avtomat rifle which was issued to troops, though in small numbers. Later, Russian troops on the Armenian front were issued with Type 38 carbines by the tsar's government. Russians also tended to modify the Type 38's magazine latch, as it was found that gloved hands would sometimes inadvertently nudge the magazine release and dump the ammunition.


title: 6.5×50mmSR Arisaka

text: In 1914, approximately 150,000 Arisaka Type 30 and Type 38 rifles and carbines were sold to British forces (mainly to the Royal Navy), where they were used for training. The 6.5×50mm round was subsequently produced in Britain by the Kynoch company and was officially adopted for British service as the caliber Mk II in 1917. The Arab armies, organized by British captain T. E. Lawrence, to fight against the Ottoman Empire during World War I, were armed with a portion of the 500,000 rifles purchased from Japan from 1914 to 1916, and many were the obsolete Type 30 rifles which had seen heavy service during the Russo-Japanese War in 1904-1905. In all, the 6.5×50 mm Japanese semi-rimmed round has been used in either Japanese or domestically designed weapons by Japan, Russia, the United Kingdom, China, North Korea, South Korea, Thailand, Finland and Indonesia. Many of the British naval Arisakas were given to the White Russians.


title: 6.5×50mmSR Arisaka

text: The 6.5 mm Arisaka rifles were used mainly by the British for training, homeland defense, and by naval units. In 1916, the rifles were shipped to Russia and none were left by the end of World War I.


title: 6.5×50mmSR Arisaka

text: The Russians, having acquired 600,000 Type 30 and Type 38 rifles by direct purchase from Japan during World War I or by capture during the Russo-Japanese War, warehoused some of these rifles in Finland. During the Russian Revolution, many Finns seized the chance for independence and took Arisakas from Russian arsenals. They were used mainly by Finnish cavalry and, after Finland's independence, experiments were taken to upgrade the Type 38s to 7.92×57mm Mauser. With parts and ammunition drying up, Finland relegated the Arisaka to the reserves and the merchant marines before trading a large number of them off to Estonia. Finnish-issued Arisakas have district numbers and an "S" branded on the stock.


title: 6.5×50mmSR Arisaka

text: As Arisaka rifles have increased in popularity with collectors, modern manufacture has resumed. The cartridge is available for retail in Europe and North America, and is manufactured by Norma of Sweden, and Precision Cartridge Inc. Brass cases are also manufactured and sold by Prvi Partizan (PPU) for purposes of hand loading (PPU brass headstamped as "6.5x51R"). Reloadable boxer-primed cases are sometimes produced by reforming .220 Swift brass. Bullets are .264 caliber.


title: 6.5×50mmSR Arisaka

text: Other 6.5×50mm long-arms used by Japan included a few Type 13 Mukden Arsenal Mauser rifles produced at the Hoten Arsenal in Manchuria (Manchukuo). These rifles were built on Danish Nielsen & Winther machinery originally for the Manchurian warlord Chang Tso Lin beginning in 1924. When Japan took over the arsenal after the Manchurian Incident of 1931, the Type 13 rifle continued to be produced in 7.92×57mm Mauser caliber, however, an unknown number were also produced in 6.5×50mm. The Type I rifles built by Italy for Japan under the terms of the Anti-Comintern pact from 1939 to 1943 are in standard 6.5×50mm Jap. Though Italian in origin, they do not safely fire the longer, but outwardly similar, 6.5×52mm Carcano round. An unknown number of Dutch M1895 Mannlicher rifles and carbines captured by Japanese forces during the seizure of the Dutch East Indies in 1942 were converted to 6.5×50mm from the 6.5×53mm Dutch rimmed chambering.


title: M. N. Nambiar

text: Manjeri Narayanan Nambiar (7 March 1919 – 19 November 2008) was an Indian actor who worked predominantly in Tamil cinema, known mostly for his villain roles in an eight decade long career. He has also appeared in a few Malayalam films.


title: M. N. Nambiar

text: He appeared in many MGR movies as a villain. Some of the famous ones include Enga Veettu Pillai, Aayirathil Oruvan, Nadodi Mannan, Naalai Namadhe, Padagotti, Thirudathe, En Annan, Kaavalkaaran and Kudiyirundha Koyil.


title: M. N. Nambiar

text: Manjeri Narayan Nambiar was born on 7 March 1919 at Kandakkai near Mayyil in Cannanore (Kannur) in North Malabar region of Kerala. He was the son of Kelu Nambiar and Manjeri Kalyani Amma. While he was still a child, his father died. He later moved to live and study in Ooty with his elder sister and brother-in-law. He became interested in acting when he was 13 and he joined Nawab Rajamanikkam's troupe. He learnt discipline here which is according to him the major life skill at Madurai Bala nada vinodha kana sabha. From then on acting became the only thing that occupied him. His first film was "Bhaktha Ramadoss", shot in 1935 in Hindi and Tamil, where he played as a comedian along with T.K.Sampangi.


title: M. N. Nambiar

text: Though he started as a hero, Nambiar soon started donning the role of a villain — so much so that today his name is synonymous with villainy in Kollywood. Nambiar has worked with seven generations of actors. His first pay was Rs.3 with "Boys Company". He would retain Rs.1 and send Rs.2 to his mother. A man of very limited needs, he has never eaten food not cooked by his wife, Rugmini Nambiar.


title: M. N. Nambiar

text: He made quite a statement in the early 50s with his portrayal of 11 roles in Digambara Samiyar, one of his films as the Lead. His arresting performance in films such as "Manthiri Kumari", "Velaikaari", "Ayirathil Oruvan", "Thillana Mohanambal", "Missiyamma" and "Nenjam Marappadillai" paved way for a very successful career that spanned over five decades.


title: M. N. Nambiar

text: A majority of the more than 1000 films that he has done is in Tamil, though he has acted in Telugu, Malayalam and Hindi, besides an English film `The Jungle' (with Rod Cameron, the film's hero, directed by William Burke) in which he appears in a few brief scenes. The film was released in 1952. The Hindi film he acted in was a remake of the Tamil "Kanavane Kankanda Deivam." After becoming popular in Tamil films he started his own drama troupe called Nambiar Nataka Mandram. They staged two plays — `Kaviyin Kanavu' and a comedy play `Kalyana Supermarket.'


title: M. N. Nambiar

text: M.N.Nambiar was that rare contradictory personality - a cruel, charming villain on the silver screen while being a very pious man in real life. He was also a pure vegetarian and teetotaler. He was also an ardent devotee of Sabarimala Sri Ayyappan. He has had a long association with the temple, and visited the shrine more than 65 times over the last half a century; this has led to him being called Maha Guruswamy. His colleagues noted that he died during the famous Sabarimala season and it may be due to the blessing of his Lord.


title: M. N. Nambiar

text: His favourite films remain `Aayirathil Oruvan' with MGR, `Ambikapathi' with Sivaji Ganesan, `Missiyamma' with Gemini Ganesan, `Nenjam Marappathillai' directed by Sridhar and `Thooral Ninu Pochu' with Bhagyaraj. This was the film that made him do character roles, something that he continued to do till his death. He also acted as hero in two films `Kalyani' and `Kavitha' produced by Modern Theaters. He has done stage, films and also acted on TV dramas like 'Oviyam' and Velan. When it comes to acting, he supposedly likes all the actors; but of special mention are M. R. Radha and Savitri. Both, in his opinion, were brilliant in their own way.


title: M. N. Nambiar

text: Nambiar suffered from bacterial infection and died at his residence in Chennai on 19 November 2008. He was survived by his wife Rugmini Amma, 2 sons — one, a senior BJP leader Sukumar Nambiar, and the other, Mohan Nambiar, a prominent businessman based in Coimbatore and a daughter, Sneha Nambiar. His eldest son Sukumar Nambiar died on 8 January 2012 aged 63 and later , his wife Rugmini Amma also died on 11 April 2012 aged 82.


title: M. N. Nambiar

text: "If there was anyone who could act with both the top heroes (Sivaji Ganesan and M. G. R.) of Tamil cinema then, it was Nambiar. At one point, directors could not think of anyone else but him to play villain."


title: M. N. Nambiar

text: "He was a villain only when the camera got rolling...otherwise, he’d always keep us laughing with his ready wit,"


title: M. N. Nambiar

text: "In ‘Nenjam Marappadillai,’ he plays a really old man...the makeup would take hours together, but he would be extremely patient. His skin was flawless and almost pink...he took great care of his health."


title: M. N. Nambiar

text: "I have acted with him in several films. He would be very jovial and enthusiastic on the sets. When one worked with him, one forget the burden of work. He was very fond of me and I always had great regard and respect for him. His passing away is a great loss indeed."


title: Insurrextion (2002)

text: The 2002 Insurrextion was the third annual Insurrextion professional wrestling pay-per-view event produced by the American promotion, World Wrestling Federation (WWF, now WWE). It was held exclusively for wrestlers from the promotion's Raw brand division, which made it the promotion's first-ever Raw-exclusive PPV. The event took place on May 4, 2002, at the Wembley Arena in London, England and was broadcast exclusively in the United Kingdom.


title: Insurrextion (2002)

text: This event was the last live televised event to run under the WWF name. Due to a lawsuit by the World Wildlife Fund over the "WWF" initialism, the promotion quietly changed its name to World Wrestling Entertainment (WWE) over the next two days. The company officially began to use the WWE name beginning with the May 6, 2002, episode of "Raw". Thus, it was the last WWF PPV of the Attitude Era.


title: Insurrextion (2002)

text: In addition, a series of notorious incidents on the return flight to the United States occurred, which has been referred to as the "plane ride from hell". Wrestlers Scott Hall and Curt Hennig were fired following the event for their involvement in the incidents, while Goldust and Ric Flair were also reprimanded by the company for their involvement in other incidents during the flight.


title: Insurrextion (2002)

text: Insurrextion was an annual United Kingdom-exclusive pay-per-view (PPV) produced by the American professional wrestling promotion, World Wrestling Federation (WWF, now WWE), since 2000. The 2002 event was the third event in the Insurrextion chronology and was held on May 4 at the Wembley Arena in London, England. It was also the first Insurrextion produced under the brand extension introduced in March, which divided the roster into two separate brands, Raw and SmackDown!, where wrestlers were exclusively assigned to perform. The 2002 event was in turn made exclusive to wrestlers of the Raw brand, which was the promotion's first Raw-exclusive PPV produced.


title: Insurrextion (2002)

text: The event featured nine professional wrestling matches and two pre-show matches that involved different wrestlers from pre-existing scripted feuds and storylines. Wrestlers portrayed villains, heroes, or less distinguishable characters in the scripted events that built tension and culminated in a wrestling match or series of matches.


title: Insurrextion (2002)

text: The 2002 Insurrextion was the final PPV produced under the WWF name as the company was renamed to World Wrestling Entertainment (WWE) just two days after the event. This name change came as a result of a lawsuit from the World Wildlife Fund over the "WWF" initialism.


title: Insurrextion (2002)

text: During the flight back to the United States, a series of incidents occurred that has been referred to as the "plane ride from hell", which has been described as one of professional wrestling's most infamous scandals. The Boeing 757 plane that was chartered included an open bar, and many of the wrestlers indulged. This led to many incidents, including physical altercations and the sexual harassment of two female flight attendants, Taralyn Cappellano and Heidi Doyle. Scott Hall had a history of alcoholism. Although he did not have a match at the PPV, he did interfere in a match and he did perform at the house shows during this UK tour. In addition to pranking other wrestlers with shaving cream, he said sexually vulgar things to Doyle before passing out. Curt Hennig, known for being a prankster, also pranked wrestlers with the shaving cream, including Brock Lesnar, which resulted in a shoot fight between the two that almost caused them to accidentally open the plane's emergency exit. Goldust also said vulgar things to Cappellano, and later got on the public address system and started to sing a song for his ex-wife and fellow wrestler, Terri Runnels, who was also on the plane. Additionally, Ric Flair exposed himself to both flight attendants and allegedly grabbed their hands and had them touch his private parts; Flair denied the accusations. Both Hall and Hennig were fired following the event, while Goldust and Flair were also reprimanded by the company. A 2004 lawsuit was filed by both Cappellano and Doyle, although WWE settled out of court with both women. Vice's "Dark Side of the Ring" series covered the incident in September 2021.


title: Erik Stocklin

text: Erik Flynn Stocklin (born September 24, 1982) is an American actor. He is known for his recurring roles on television series such as "Mistresses", "Stalker" and "Good Trouble", and for his leading role in the Netflix original series "Haters Back Off".


title: Erik Stocklin

text: Stocklin was born in Freehold, New Jersey. He attended Southern Connecticut State University and earned a bachelor's degree in theatre in 2007. While in college, he played for four summers with the Elm Shakespeare Company in New Haven, Connecticut. He also trained at the Circle in the Square Theatre School in New York City. In 2008, he moved to California.


title: Erik Stocklin

text: Stocklin has played leading roles in feature films including "Donner Pass" (2011) and "The Bad Guys" (2015). He also appeared on television in recurring roles on "Mistresses" (2013) and "Stalker" (2014–2015), and he guest-starred on "The Vampire Diaries" (2011), "Bones" (2014) and "Timeless" (2018), among others. He has also appeared in national commercials for Marmot, Apple, Hyundai, Mazda and McDonald's.


title: Erik Stocklin

text: In 2016 and 2017, he co-starred in the Netflix series "Haters Back Off", opposite series creator Colleen Ballinger, whom he married in 2018. Stocklin appeared in two 2019 episodes of the Netflix series "Lucifer". In 2021, Stocklin and Ballinger, began a weekly podcast titled "Relax! with Colleen and Erik". In 2021 and 2022, he played Matt in the television series "Good Trouble".


title: Erik Stocklin

text: Stocklin began dating Colleen Ballinger, his co-star from "Haters Back Off", by early 2018. The couple wed later the same year. They have three children: a son, Flynn Timothy Stocklin, born on December 10, 2018, and twins, Wesley Koy and Maisy Joanne Stocklin, born on November 6, 2021.


title: Remand (detention)

text: Remand, also known as pre-trial detention, preventive detention, or provisional detention, is the process of detaining a person until their trial after they have been arrested and charged with an offence. A person who is on remand is held in a prison or detention centre or held under house arrest. Varying terminology is used, but "remand" is generally used in common law jurisdictions and "preventive detention" elsewhere. However, in the United States, "remand" is rare except in official documents and "kept in custody until trial" is used in the media and even by judges and lawyers in addressing the public. Detention before charge is referred to as custody and continued detention after conviction is referred to as imprisonment.


title: Remand (detention)

text: Because imprisonment without trial is contrary to the presumption of innocence, pretrial detention in liberal democracies is usually subject to safeguards and restrictions. Typically, a suspect will be remanded only if it is likely that he or she could commit a serious crime, interfere with the investigation, or fail to come to the trial. In the majority of court cases, the suspect will not be in detention while awaiting trial, often with restrictions such as bail.


title: Remand (detention)

text: Research on pre-trial detention in the United States has found that pre-trial detention increases the likelihood of convictions, primarily because individuals who would otherwise be acquitted or have their charges dropped enter guilty pleas. A 2021 review of existing research found that "the current pretrial system [in the US] imposes substantial short- and long-term economic harms on detained defendants in terms of lost earnings and government assistance, while providing little in the way of decreased criminal activity for the public interest... the costs of cash bail and pretrial detention are disproportionately borne by Black and Hispanic individuals, giving rise to large and unfair racial differences in cash bail and detention that cannot be explained by underlying differences in pretrial misconduct risk."


title: Remand (detention)

text: The pre-charge detention period is the period of time during which an individual can be held and questioned by police, prior to being charged with an offence. Not all countries have such a concept, and in those that do, the period for which a person may be detained without charge varies by jurisdiction.


title: Remand (detention)

text: The prohibition of prolonged detention without charge, "habeas corpus", was first introduced in England about a century after the 1215 Magna Carta; the use of "habeas corpus ad subjiciendum" in 1305 was cited by William Blackstone.


title: Remand (detention)

text: Under Article 8 of the Charter of Fundamental Rights and Basic Freedoms of the Czech Republic, which has the same legal standing as the Czech Constitution, a suspect must be immediately familiarised with the grounds of detention, must be interviewed and within 48 hours either released or charged and handed over to a court. The court then has a further 24 hours either to order a custody, or to release the person detained.


title: Remand (detention)

text: Detailed rules of detention are included in the Criminal Procedural Code. The police may arrest and detain a suspect after obtaining prosecutor's consent. In an urgent case the police may detain a suspect without the consent. In both cases, however, the police detention may take place only when grounds for pre-trial detention exist (see below). The statutory limits of 48 + 24 hours must be complied with and reaching the time limit should aways trigger immediate release, unless a court has ordered pre-trial custody.


title: Remand (detention)

text: Anybody may detain a person, who was caught while perpetrating a crime (not a misdemeanor) or immediately after it, when capturing of the perpetrator is necessary to either ascertain the perpetrator's identity or to prevent the perpetrator from escaping or to secure evidence. The perpetrator must immediately be handed over to the police, or when that is not possible, detention of the perpetrator must be immediately reported to the police.


title: Remand (detention)

text: According to the reply of Supreme People's Court, detention refers to the detention of Suspect, Defendant in a specific place in accordance with the law, restricting or temporarily depriving them Compulsory measures for personal freedom include arrest and detention.


title: Remand (detention)

text: Criminal detention is when public security department and Prosecutor’s Office are dealing with criminal cases, the current criminals or major suspects are temporarily deprived of their personal freedom and detained in a statutory emergency situation, and One way to conduct a review.


title: Remand (detention)

text: The 2012 amendments to the Criminal Procedure Law added a system for reviewing criminal suspects in custody after arrest. On 13 January 2016, the Supreme People’s Procuratorate issued the “Regulations on the People’s Procuratorate for Handling Custody Necessity Review Cases (Trial)”. The arrested criminal suspects and defendants , May apply to the procuratorial organ for a review of the necessity of detention. If the procuratorial organ considers that detention is unnecessary after the review, it will recommend that the case-handling agency release it or change its compulsory measures.


title: Remand (detention)

text: If the investigation cannot be terminated after the expiration of the preceding article, it may be extended for two months with the approval or decision of the People’s Procuratorate of the province, autonomous region, or municipality directly under the Central Government.


title: Remand (detention)

text: Extended Custody is based on the "Criminal Procedure Law of the People's Republic of China", for criminal suspects and defendants in the investigation, review and prosecution, trial stage custodial time exceeded Illegal acts that stipulate the time limit of custody by law. If the criminal suspect or defendant has been detained for more than five years, and the case is still in the stages of investigation, review and prosecution, first instance, and second instance, it is a case of'prolonged detention without decision'. Prolonged unresolved cases may also have overdue custody, or there may be no overdue custody after legal procedures have been approved.


title: Remand (detention)

text: According to the "Criminal Procedural Law of the People's Republic of China", the investigative agency’s criminal detention period for criminal suspects is 30 days. In addition, there can be a maximum period of 7 days for arrest and review. When the case is transferred from the public security organ to the procuratorate and the court, the procedure of "changing custody" must be carried out in accordance with the law.


title: Remand (detention)

text: If a criminal suspect or defendant is found to have been detained for an extended period of time, if the detention center fails to promptly report to the People’s Procuratorate in writing and notify the case-handling agency, the procuratorate stationed in the detention center shall report to the chief prosecutor for approval and issue a "Notice of Correction of Illegal Laws" to the detention center in the name of this court.


title: Remand (detention)

text: In the Republic of Ireland, a person brought before the District Court and charged may be either released on bail or held on remand () while awaiting trial. Typically this is for less than 8 days, but it can be as long as 30 days. Cloverhill Prison is the main remand prison in the Dublin area. If the prisoner's court appearance is in 4 days or less, they may be held at a Garda station.


title: Remand (detention)

text: In recent years, there has been an increase in the number of prisoners held on remand for minor offences, Fr. Peter McVerry noting that remand was almost always used if the defendant was homeless or severely mentally ill.


title: Remand (detention)

text: In the United States, a person is protected by the federal Constitution from being held in prison unlawfully. The right to have one's detention reviewed by a judge is called "habeas corpus". The U.S. Constitution states that "The Privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion the public Safety may require it". A declaration of a state of emergency can suspend the right to "habeas corpus".


title: Remand (detention)

text: The Sixth Amendment requires criminal defendants to be "informed of the nature and cause of the accusation". The U.S. Bill of Rights thus grants some protection against being held without criminal charge, subject to the courts' interpretation of what due process means. Federal authorities have also exercised the power to arrest people on the basis of being a material witness. Involuntary commitment of the mentally ill is another category of detention without criminal prosecution, but the right of "habeas corpus" still applies. The scope of such detentions is also limited by the Bill of Rights.


title: Remand (detention)

text: The executive's military powers have been used to justify holding enemy combatants as prisoners of war, unlawful combatants, and civilian internees; the latter two practices have been controversial, especially with regard to the indefinite detention implied by uncertainty as to when the "War on Terror" might be declared to have ended. Administrative detention, a term applied to many of these categories, is also used to imprison illegal immigrants.


title: Remand (detention)

text: In Swedish law, "Häktning" is a pre-trial supervision measure, where a suspect can be jailed for crimes that have a prison term of at least one year. There are two degrees of suspicion: reasonable suspicion is the lower level, and probable cause is the higher level.


title: Remand (detention)

text: Remanding occurs if the committed crime has a statutory minimum penalty of at least one year, and includes:


title: Remand (detention)

text: A person may be held in custody normally for no more than 14 days (or seven days if the degree of suspicion is reasonable suspicion). After the period, a new hearing is held to determine whether or not "häktning" should be extended. For suspects under age 18, "serious reasons" for detention decisions are needed and should be notified to court. From July 2021, a person remanded under "häktning" cannot be held in custody for longer than six to nine months in total (three months for minors).


title: Remand (detention)

text: A person who was remanded but was not sentenced or freed after trial is entitled to financial compensation, which is determined by the Chancellor of Justice. The compensation can vary, but it is usually 30,000 SEK for the first month; 20,000 SEK for every subsequent month, up to and including the sixth month; and 15,000 SEK for every month after that. Any loss of income is also compensated. In 2007, 1200 people were compensated.


title: Remand (detention)

text: If a prisoner is sentenced, the remand time counts as part of the prison time, such that less time remains after the trial.


title: Remand (detention)

text: The Committee for the Prevention of Torture of the Council of Europe has repeatedly criticised pre-trial detention in Sweden for the high percentage of cases where restrictions on communication are applied. In Sweden, communication restrictions include no visits, no telephone calls, no newspapers, and no TV.


title: Remand (detention)

text: The term "remand" may be used to describe the process of keeping a person in detention rather than granting bail. A prisoner who is denied, refused or unable to meet the conditions of bail, or who is unable to post bail, may be held in a prison on remand. Although remanded prisoners are usually detained separately from sentenced prisoners, due to prison overcrowding they are sometimes held in a shared accommodation with sentenced prisoners. Reasons for being held in custody on remand vary depending on the local legal system, but may include:


title: Remand (detention)

text: In most countries, remand prisoners are considered innocent until proven guilty by a court and may be granted greater privileges than sentenced prisoners. For example, most jurisdictions that prohibit convicted criminals from voting in elections will still allow remand prisoners to vote, unless they have been disqualified from voting for some other reason. Other privileges commonly granted include:


title: Remand (detention)

text: Not all remand prisons grant these privileges; in particular, remand prisoners are often forced to wear prison uniforms and denied additional visitation rights, supposedly for safety reasons, although some facilities allow remand prisoners to wear a uniform that is a different color or otherwise clearly distinguishable from the uniforms of convicted criminals. Often they are denied all visits and all newspaper and media access, for risk of interfering with the investigation, such as communicating a story with fellow remand prisoners.


title: Remand (detention)

text: Under Article 8 (5) of the Charter of Fundamental Rights and Basic Freedoms, which has the same legal standing as the Constitution, nobody shall be taken into custody except on the basis of a court decision, and for reasons and a detention period stipulated by the law.


title: Remand (detention)

text: Detailed rules of remand custody are contained in the Criminal Procedural Code. A person may be remanded in custody by the decision of a court only when a number of preconditions is met cumulatively:


title: Remand (detention)

text: one third of the maximum detention periods time may be exhausted in pre-trial proceedings and two thirds may be exhausted during the trial. Reaching the maximum time is always reason for immediate release.


title: Remand (detention)

text: An exception to the time limits above arises in cases of remand due to concern of "(b)" interfering with witnesses or similar frustration of proceedings, in which case the maximum pre-trial detention period may be only three months, except where the charged person has already been influencing witnesses or otherwise frustrating the proceedings.


title: Remand (detention)

text: The court must review the reasons for the pre-trial custody every three months and decide either to continue it, or to release the charged person. Both the prosecutor and the person in custody may file a complaint against any decision on custody, which leads to review by an appellate court.


title: Remand (detention)

text: Special rules of remand pertain to persons who are processed for extradition, e.g. illegal foreigners, those detained due to international (foreign) warrant or the European Arrest Warrant.


title: Remand (detention)

text: In the Czech Republic, remand takes place in remand prisons or in separated sections of standard prisons. Remand prisons are often in city centres and appertain to court houses. Most remand prisons are over 80 years old, with some, like Pankrác Prison, being more than 125 years old. Men, women and juveniles are held separately. Also persons charged with committing different types of crimes (e.g. unintentional, intentional, violent, etc.) are held separately.


title: Remand (detention)

text: Cells have capacity varying between 1–8 beds, with most having between 2–4 beds. Some remand prisons have rooms intended for watching TV, gyms or chapels, but these are exceptional mainly due to overcrowding and lack of space. All have special areas for interviews between the inmates and their attorneys, visiting rooms and courtyards for out-walks.


title: Remand (detention)

text: Each cell has a WC divided from the rest of the cell-space and running cold water. Each cell-mate has own bed, storage locker and chair.


title: Remand (detention)

text: Inmates which are held due to concern of influencing witnesses are held in isolation with very limited possibility of contact with other inmates as well as the outer world (apart from interviews with own attorneys).


title: Remand (detention)

text: At any given time in 2011, there were around 2.500 inmates in the Czech remand prisons (including ~170 women and ~45 juveniles), compared to some 20.500 convicted inmates (for 10,6 million population). The average length of remand custody is around 100 days, with few inmates spending in remand more than 2 years.


title: Remand (detention)

text: More than half of foreign inmates of the Czech remand prisons are from Slovakia, Ukraine and Vietnam. Other numerous foreigners are from Bulgaria, Moldova, North Macedonia, Poland, Romania, Russia and Serbia. When it comes to non-European states, there are numerous detainees from Nigeria, Algeria, Morocco, Uzbekistan, Kazakhstan and Mongolia. There are mostly only few individuals of other nationalities.


title: Remand (detention)

text: Remanding a suspect following arrest and until their first hearing at a magistrates' court is a decision made by the police using the criteria set above. Any such person ‘remanded in police custody’ will be transported from the police cells to the next available sitting magistrate's court. This may be the same day, or may require the remanded individual to stay in police custody overnight or over the weekend. At the first hearing, the court will decide whether it necessary to remand the suspect until the end of the trial. If the suspect is not remanded the court may issue bail conditions for suspect to abide to until the trial. Adults will be held on court remand at a regular prison, while those below the age of 18 will be held at a secure centre for young people. If a remanded suspect is convicted and given a prison sentence, the time they spent on remand is deducted from the length of the sentence. In some cases, a convicted suspect has been released immediately after being sentenced, if the time they spent on remand was longer than or equal to the sentence they received.


title: Remand (detention)

text: The Eighth Amendment to the United States Constitution prohibits excessive bail. Under the US Code, pretrial detention of federal suspects is allowed only under certain circumstances, such as when the defendant is a danger to witnesses or jurors.


title: Remand (detention)

text: Studies of pretrial detention in the United States have found that it significantly increases the probability of conviction and the length of sentences, largely because individuals who would otherwise be acquitted in trial enter guilty pleas. Studies have found that pretrial detention also lowers the defendants' prospects in the labour market, and contributes to poverty traps whereby individuals unable to pay bail end up accruing more debt. A 2017 study, using data from New York City, found that pretrial detention increases the likelihood of recidivism.


title: Remand (detention)

text: Pre-trial detention has been described as a "necessary evil". A 2013 report by the Centre for Crime and Justice Studies concluded that pre-trial detention was being overused worldwide, and that most were being held for minor crimes. A 2014 report by the Open Society Foundations called it a "massive and widely ignored pattern of human rights abuse".


title: Remand (detention)

text: A person must be found guilty "beyond reasonable doubt" in order to be convicted at a trial. However, pre-trial detention requires a lower threshold such as "reasonable suspicion". In most countries, the prosecution only need to prove that the charges are well-founded and that there is a sufficient threat that the defendant will commit another crime or undermine the judicial process. In the United States, the system of money bail means that a defendant can be detained even if neither of these threats can be identified, solely because nobody was willing or able to deposit the bail money for them.


title: Remand (detention)

text: In the "Harvard Law Review", Stephanie Bibas also noted its impact on plea bargaining. Pretrial detention alters a defendant's incentives by making his or her best-case scenario not zero days in jail, but the length of time served pretrial. Therefore, a defendant may be more likely to plead guilty if the chance of acquittal is low, or if the expected sentence on a guilty plea is less than the amount of jail time that would be served pretrial. Pretrial detainees may also find it harder to mount an effective defence.


title: Remand (detention)

text: The Open Society Foundation report also concluded that some detainees face worse conditions than convicted prisoners; for example the suicide rate is three times higher worldwide.


title: Remand (detention)

text: In the U.S., pretrial detention has been found to negatively affect local labor markets, especially in areas with high percentages of Black residents, suggesting racialized collateral impacts on employment.


title: Remand (detention)

text: The July 2022 result of a "New York Times" examination of handwritten lists of names of Egyptian civilians imprisoned indefinitely in pre-trial detention exposed the mockery of the country’s legal limits. There have been no public records of the number of detainees held in pre-trial detention, but according to the "Times" analysis, more than 4,500 people were held under such system of pre-trial detention, some even for more than six months. The Egyptian judicial system has been criticized for falsely charging political opponents of Abdel Fattah el-Sisi for ‘terrorist links’. Often no formal complaint is filed or evidence is presented, preventing detainees from legally fighting in their defense before getting locked up. Meanwhile, human rights groups estimate that at least 60,000 political prisoners have been detained in Egypt, including pretrial detainees and those tried and sentenced for suspicion of having terror links or intolerable political points of view.


title: Highway to Hell (song)

text: "Highway to Hell" is a song by Australian rock band AC/DC. It is the opening track of their 1979 album "Highway to Hell". It was initially released as a single in 1979.


title: Highway to Hell (song)

text: The song was written by Angus Young, Malcolm Young and Bon Scott, with Angus Young credited for writing the guitar riff which became an instant classic. AC/DC had made several studio albums before and were constantly promoting them via a grueling tour schedule, referred to by Angus Young as being on a highway to hell, hence the name.


title: Highway to Hell (song)

text: The song is in the key of A Major. The title and lyrics reflect the arduous nature of touring constantly and life on the road. The highway that inspired the title, Canning Highway, connects the Perth Kwinana freeway to its port Fremantle and was home to many of Bon Scott's favourite pubs and hotels, including the Raffles Hotel.


title: Highway to Hell (song)

text: "There were hundreds of riffs going down every day," recalled Malcolm Young. "But this one, we thought, 'That's good.' It just stuck out like a dog's balls."


title: Highway to Hell (song)

text: "Cash Box" called it a "bone crunching, gut-wrenching exercise in primal guitar rock" with "simple yet effective riffing" and "ballsy vocals."


title: Highway to Hell (song)

text: The single spent 45 weeks on the German Singles Chart, peaked at #30 in its 19th week on the chart. Bon Scott was found dead in the back of a friend's car, just over six months after the song was released.


title: Highway to Hell (song)

text: "Highway to Hell" was produced by Mutt Lange as part of the album by the same name, and his work is regarded as a significant factor in delivering one of the classic AC/DC albums, the emergence of the double-guitar sound, which was later perfected on "Back in Black", and improved backing vocals with Malcolm Young, joined by Cliff Williams for the first time.


title: Highway to Hell (song)

text: "Highway to Hell" won the 'Most Played Australian Work Overseas' category at the 2009 APRA Awards. In 2013, an internet campaign attempted to get it to number one in the UK Christmas singles chart.


title: Highway to Hell (song)

text: In January 2018, as part of Triple M's "Ozzest 100", the 'most Australian' songs of all time, "Highway to Hell" was ranked number 40.


title: Highway to Hell (song)

text: In 2020, "The Guardian" ranked the song number seven on their list of the 40 greatest AC/DC songs, and in 2021, "Kerrang" ranked the song number five on their list of the 20 greatest AC/DC songs.


title: All Summer Long (album)

text: All Summer Long is the sixth album by American rock band the Beach Boys, released July 13, 1964 on Capitol Records. Regarded as their first artistically unified collection of songs, as well as one of the first true concept albums, it marked the Beach Boys' first LP that was not focused on themes of cars or surfing. Instead, the songs are semi-autobiographical and relate to the experiences of a typical Southern Californian teenager, a theme encapsulated by the title track, "All Summer Long", and the often-imitated front cover, a modernist style photo collage depicting the band members fraternizing with young women on a beach.


title: All Summer Long (album)

text: The album was recorded between April and May 1964 during the height of Beatlemania and the British Invasion. It was produced and largely written by Brian Wilson, who sought to raise the quality of his group's repertoire and sound following the disappointing results of "Shut Down Volume 2". Also intended as a riposte to the Beatles, "All Summer Long" contained the band's most complex arrangements and refined vocal performances on a record to date. Among the included songs are "Wendy", "Drive-In", "Don't Back Down", and a rendition of the Mystics' 1959 hit "Hushabye".


title: All Summer Long (album)

text: Heralding the album era, "All Summer Long" reached number 4 in the U.S. during a 49-week chart stay and yielded one single, "I Get Around", the band's first number-one hit in the U.S., cementing the group's sustainability in a market then dominated by British acts. To support the album, the group embarked on their first extended tour, playing about 70 shows over the course of the summer. A version of "Little Honda" by the Hondells became a top 10 hit, while "Girls on the Beach" later served as the theme for the 1965 film of the same name. In the UK, "All Summer Long" was issued in June 1965 and failed to chart. By then, it had been certified gold by the RIAA, indicating 500,000 units sold.


title: All Summer Long (album)

text: Wilson later cited "All Summer Long" as "a turning point" for the band, and his first LP that could compete against Phil Spector and the Beatles. Subsequent to this album, the Beach Boys rarely recorded songs about cars or surfing, but continued to be stereotyped as a group who exclusively sang about such subject matter, even as their musical sophistication continued to grow with such releases as "The Beach Boys Today!" (1965) and "Pet Sounds" (1966).


title: All Summer Long (album)

text: Early in 1964, the Beach Boys completed their fifth album, "Shut Down Volume 2", and embarked on their first tour of Australia and New Zealand, lasting from January 13 to February 2. The tour was highly successful, but led to the dismissal of their manager, Murry Wilson, who had frustrated the group with his overbearing practices and his disruptive behavior at recording sessions. Concurrently, the band were conscious of a new rival group, the Beatles, whose "I Want to Hold Your Hand" topped the U.S. charts on February 1. The Beach Boys' latest single, "Fun, Fun, Fun", then stalled at number five, with the Beatles occupying the top three positions. The fourth position was held by the Four Seasons, the act that most closely rivaled the Beach Boys before this point.


title: All Summer Long (album)

text: By February 7, the British Invasion had officially commenced with the Beatles' arrival in New York City. Mike Love recalled, "To varying degrees, all of us in the Beach Boys were rattled, but most of all Brian [Wilson], who saw the Beatles as a challenge to his emerging position as a leader in pop music." Wilson said in a 1966 interview, "I knew we were good but it wasn't until the Beatles arrived that I knew we had to get going.[...] When we saw how everybody was screaming for the Beatles, it was like, 'Whooa!' We couldn't believe it. I was shook up as hell." His 1991 memoir, "", states that he had "suddenly felt unhip[...] as if we looked more like golf caddies than rock and roll stars" and considered scrapping "Shut Down Volume 2". After discussing the matter with Love, they concluded that competing with the Beatles in terms of public image was a pointless pursuit, leading them to concentrate their efforts on trying to outdo their rivals in the recording studio.


title: All Summer Long (album)

text: Capitol Records, whose roster included both the Beach Boys and the Beatles, responded the next month by rush-releasing "Shut Down Volume 2", becoming the first Beach Boys LP to miss the top 10 since their second, "Surfin' U.S.A." (1963). Moreover, the record company had begun allocating much of their marketing resources to the Beatles. Band promoter Fred Vail recalled, "The Beach Boys had been it for two years, but now people thought the Beatles were the future. And loyalties ran thin at Capitol. Now they didn't have to cater to Murry and the Beach Boys, and so they didn't." In the meantime, Wilson continued working freelance, writing and producing several singles for other acts, none of which became hits.


title: All Summer Long (album)

text: "All Summer Long" was largely recorded between April 2 and May 19, 1964, at United Western Recorders in Hollywood. According to music historian Keith Badman, Wilson had been disappointed by the simplicity, reliance on filler, and overall rushed quality of "Shut Down Volume 2", and endeavored for "All Summer Long" to be a more refined and sophisticated effort. The album marked the band's most complex arrangements on a record to date, as well as their first that was not focused on themes of cars or surfing. Wilson remarked, "We needed to grow. Up to this point we had milked every idea dry. We milked it fucking dry. We had done every possible angle about surfing and then we did the car routine. But we needed to grow artistically."


title: All Summer Long (album)

text: Academic Kier Keightley writes that "All Summer Long" consists of seven "up-tempo/dance numbers", four "ballads", and one "novelty sound collage", with subject matter ranging from "car and motorbike racing" and "teen romance" to "the consumption of mass media forms of entertainment" and "various other forms of summer fun". None of the songs are about cars (although one track, "Little Honda", is about a motorcycle), and the only reference to surfing is in "Don't Back Down".


title: All Summer Long (album)

text: Biographer Mark Dillon states that the album generally projects "a whole season of teenaged good times" with the exception of "a couple of numbers that threaten to kill the buzz", listing "We'll Run Away" and "Wendy". He goes on to describe the lyrical content as "the entire scrapbook[...] of mid-'60s SoCal teenage life", a theme that is reinforced by the front cover. Biographer David Leaf referred to the album as "more autobiographical" than previous records and "the first time the Beach Boys recorded a complete album about their own Southern California lifestyle." He suggested that the album qualified as one of "the first real concept albums".


title: All Summer Long (album)

text: Production-wise, the album introduced exotic textures to the band's sound as exemplified by the use of piccolo and xylophone in the title track. The majority of the instrumentation was provided by the band members themselves, with Carl Wilson and Al Jardine on guitars, Brian on bass, and Dennis Wilson on drums. Studio musicians augmented their sound on select tracks. At Brian's behest, the group also spent many more hours than usual refining their vocal performances. Biographer Jon Stebbins writes,


title: All Summer Long (album)

text: It was their last album mixed in true stereo until "Friends" (1968). "Let's Live (Before We Die)", a discarded track, was released on the 2014 compilation "Keep an Eye on Summer – The Beach Boys Sessions 1964". The compilation also included many alternate versions and session highlights of other tracks, sourced from the "All Summer Long" sessions.


title: All Summer Long (album)

text: "I Get Around" is an autobiographical song that describes the group's reaction to their newfound fame and success. Mike Love said that it was "really about our own experiences: how we had this instant fame, some fortune, had traveled all over the country, but did any of that bring us happiness? Maybe we needed to find a different kind of place." Biographer Peter Ames Carlin distinguished the song for its "jarring rhythmic shifts, fuzz guitar, off-kilter organ riffs, and Brian's own wailing falsetto", while Leaf called it "a major, revolutionary step in Brian's use of dynamics".


title: All Summer Long (album)

text: "All Summer Long" encapsulated the album's general theme, with the lyrics offering a list of activities, events, and feelings associated with summertime. The line "Remember when you spilled Coke all over your blouse?" is a reference to Wilson's first meeting with singer Marilyn Rovell, his girlfriend at the time, although in real life, he had accidentally spilled hot chocolate on her. The song later became popularly known for its use in the ending credits of George Lucas's 1973 film "American Graffiti".


title: All Summer Long (album)

text: "Hushabye", the album's only cover song, is a rendition of the Mystics' 1959 doo-wop standard, written by Doc Pomus and Mort Shuman.


title: All Summer Long (album)

text: "Little Honda" is about Honda-brand scooters, which are also mentioned in "All Summer Long" ("miniature golf and Hondas in the heat"). The song was briefly considered for release as a Beach Boys single. After Capitol voiced objections, Wilson gave it to his collaborator, Gary Usher, who produced a version that became a hit for the Hondells in late 1964.


title: All Summer Long (album)

text: "We'll Run Away" portrays a young couple wishing to elope while their respective parents warn them against such an impulse. It was the last song that Wilson co-wrote with Gary Usher for many years. Leaf notes that the "church-like sound of the Hammond organ", heard prominently at the end, was an unorthodox application of the instrument on a rock record.


title: All Summer Long (album)

text: "Carl's Big Chance", recorded to showcase Carl's guitar-playing, is the album's only instrumental track and the final surf instrumental released on any of their studio albums. It serves as a companion piece to "Denny's Drums" from "Shut Down Volume 2". Musicologist Philip Lambert speculates that the track was based on "Can I Get a Witness", a recent hit for Marvin Gaye.


title: All Summer Long (album)

text: "Wendy" portrays a man's dejection after discovering that the woman whom he thought was his girlfriend was actually romantically involved with somebody else. Wilson, who later named his firstborn child "Wendy", stated that the song was musically influenced by the Four Seasons. Leaf suggests that the song has "one of the most unusual introductions of any record from the rock era", making it "one of the most distinctive Beach Boys tracks ever."


title: All Summer Long (album)

text: "Do You Remember?" is a celebration of 1950s rock 'n' roll performers such as Little Richard, Chuck Berry, and Elvis Presley. It is essentially a revision of "The Big Beat", a song that Wilson had written and produced for Bob & Sheri in 1963.


title: All Summer Long (album)

text: "Girls on the Beach" is a ballad in a similar vein to Wilson's 1963 song "Surfer Girl", but more musically complex and sexualized. Stebbins cited the line "the sun in her hair / the warmth of the air", sung by Dennis, as "[o]ne of the most perfect uses of [his] sexy voice", and the closing block harmonies as "one of the group's finest moments". The song later served as the theme to the 1965 Paramount Pictures film "The Girls on the Beach", where the Beach Boys made a cameo appearance as themselves. Although the plot centered on the Beatles, the film featured scenes in which the Beach Boys lip sync to this song, "Little Honda", and the "Surfin' U.S.A." track "Lonely Sea".


title: All Summer Long (album)

text: "Drive-In" was inspired by the group's outings at the Studio Drive-In in Culver City, California. The song gives the listener advice on how to enter a drive-in theater without paying for admission, among other things, and climaxes with a line alluding to contraception ("If you say you watched the movie, you're a couple of liars / And remember, only you can prevent forest fires"). During the filming of the 1995 documentary "", director Don Was attempted to coax Wilson into discussing the unfinished album "Smile". To achieve this, he approached Wilson by asking him what he considered to be "the heaviest work" that he had ever done. Wilson suddenly became excited by the question and proceeded to give vivid recollections of the tracking date for "Drive-In", which he considered to be the best record he had ever made. The footage was not used in the documentary.


title: All Summer Long (album)

text: "Our Favorite Recording Sessions" is a collage of outtakes and studio chatter culled from the album's recording sessions. According to biographer Timothy White, it distinguished itself from the similar "Shut Down" track "'Cassius' Love vs. 'Sonny' Wilson" by being "truly spontaneous. As such, it came closer than anything previously available to disclosing the Boys' taut (Mike jesting edgily about throwing Brian across the room) as tensions in their relentless studio regime escalated."


title: All Summer Long (album)

text: "Don't Back Down" is the last surfing-themed song that the Beach Boys recorded during this early era of the band's history. Initial pressings mislabeled the title as "Don't Break Down".


title: All Summer Long (album)

text: The front cover of "All Summer Long" is a modernist style photo collage that depicts the band members fraternizing with young women on a beach. The photo shoot, conducted by Capitol art directors and photographers George Jerman and Ken Veeder, was held at Paradise Cove in Malibu, California, the same setting used for the cover photo of the band's debut album "Surfin' Safari" (1963). Dillon wrote in 2012 that the "All Summer Long" cover art remained "much imitated to this day", although Kieghtley notes that the design was itself heavily indebted to the work of visual artist Piet Mondrian. Music historian Luis Sanchez comments,


title: All Summer Long (album)

text: The back of the sleeve included written comments from each of the band members. Dennis wrote: "They say I live a fast life. Maybe I just like a fast life. I wouldn't give it up for anything in the world. It won't last forever, either. But the memories will." Brian answered a frequently asked question about "how I come up with my ideas" by explaining that he drew inspiration from the "feelings" associated with common teenage experiences. He then remarked, “A sociologist might say I am trying to generate a feeling of social superiority."


title: All Summer Long (album)

text: Lead single "I Get Around" was issued on May 11, 1964, and subsequently became the Beach Boys' first chart-topping U.S. hit, as well as America's first number-one hit by a native group since November 1963. In the UK, the single was released in June 1964 and reached number 7 on the "Record Retailer" chart – the band's first UK hit to breach the top ten. The single represented both a successful response by Wilson to the British Invasion, and the launch of an unofficial rivalry between him and the Beatles.


title: All Summer Long (album)

text: Released on July 13, "All Summer Long" debuted on the U.S. "Billboard" charts on August 1 and remained there for 49 weeks, peaking at number 4 on August 22. On September 21, Capitol issued the extended play record "Four by the Beach Boys", a truncated version of "All Summer Long" that consisted of "Little Honda", "Hushabye", "Don't Back Down", and "Wendy". It sold at underwhelming volumes, charting at number 44.


title: All Summer Long (album)

text: "All Summer Long" was certified gold by the RIAA in February 1965. In the UK, the album was issued in June that year, accompanied in March by the single "All Summer Long", both of which failed to chart.


title: All Summer Long (album)

text: From July 3 to August 8, 1964, the Beach Boys embarked on a 36-date "Summer Safari" tour of the U.S., followed by a 30-date regional tour that lasted from August 21 to September 30. This was the band's first extensive tour, as their prior public appearances had been limited by the scholastic obligations of one or more members (Carl Wilson, the final hold-out in the group, graduated from high school that June). The setlists at these concert dates included three "All Summer Long" selections: "I Get Around", "Wendy", and "Little Honda". At least two concert reviewers referred to the Beach Boys as "America's answer to the Beatles". Every date was sold out, earning the group approximately $20,000 per show (equivalent to $ in ). From the second summer tour alone, they grossed a total of $328,693 (equivalent to $ in ).


title: All Summer Long (album)

text: On September 27, the band made their first appearance on "The Ed Sullivan Show", where they performed "I Get Around" and "Wendy". Two days later, the band concluded their tour with a performance at the Memorial Auditorium in Worcester, Massachusetts, however, the show was cancelled after 15 minutes due to fan bedlam that had surrounded the venue. Brian felt that audiences at Beach Boys concerts had become more uproarious as a result of the excitement that had been generated by the Beatles. He said, "[W]e'd do a concert and the kids would scream at us but we'd think, 'Hey, wait a minute. You're screaming for the Beatles through us.


title: All Summer Long (album)

text: In October, recordings from the band's August 1 performance at the Civil Memorial Auditorium in Sacramento, California were released as the live album "Beach Boys Concert" – their first LP to top the national charts. The album included only one "All Summer Long" track: "I Get Around. An expanded reissue, "Live in Sacramento 1964" (2014), added performances of "Wendy" and "Little Honda".


title: All Summer Long (album)

text: A reviewer from the magazine "Record Mail" wrote of the album, "With their surfing and high pitched harmony sounds they have become extremely distinctive along with some kooky lyrics". In Britain, "NME" reviewer stated, "The Beach Boys are an acquired taste which I don't have, but at least they produce some solid 'beatful' sounds."


title: All Summer Long (album)

text: Actress Peggy Lipton told "Teen Set" that John Lennon and Paul McCartney had been "infatuated with the Beach Boy sound.[...] They played "All Summer Long" all night long and asked me many questions about them. Paul and John were fascinated by Brian’s style of composing and arranging."


title: All Summer Long (album)

text: AllMusic reviewer Richie Unterberger wrote that "All Summer Long" was the band's best album of the early 1960s, though he lamented the inclusion of "disposable filler" in the form of "Our Favorite Recording Sessions" and "Do You Remember?".


title: All Summer Long (album)

text: "Icons of Rock" co-editor Scott Schinder praised "All Summer Long" as an improvement over their previous LP and "the most consistent and satisfying Beach Boys album to date", affording highlights to the title track, "I Get Around", "Wendy", and "Don't Back Down". Mike Segretto, author of "33 1/3 Revolutions Per Minute: A Critical Trip Through the Rock LP Era", said that the album marked the point when the band "really entered the game" and delivered a "completely solid" album.


title: All Summer Long (album)

text: Among biographers, Jon Stebbins cited "All Summer Long" as one of the band's "strongest LPs ever". Mark Dillon opined that Wilson "took a Beach Boys album to new heights" and successfully "held his own against the Beatles", with "Our Favorite Recording Sessions" being the only weak track. In John Tobler's "100 Great Albums of the Sixties" (1994), "All Summer Long" is praised for its "fine harmonies".


title: All Summer Long (album)

text: Luis Sanchez, author of the 33⅓ book about "Smile", wrote of "All Summer Long", "None of the group's previous albums come close to the unity of vision and feeling they show here.[...] The brilliance of "All Summer Long" is in the way it enlarges the outlook of the group's brand of California pop to the point where genre labels seem unable to contain it."


title: All Summer Long (album)

text: In the estimation of music historian Larry Starr, Wilson had entered "a period of aggressive experimentation" by mid-1964, and, by raising his creative ambitions with the Beach Boys, had established a successful career model that would itself be followed by the Beatles and other British Invasion acts throughout 1965 and 1966. Starr additionally writes that "I Get Around" and the "Shut Down Volume 2" track "The Warmth of the Sun" reflected "the beginnings of a significant trend: namely, the increasing importance of album tracks, and eventually of albums themselves, in the development of adventurous popular music. Rock 'n' roll was on its way to becoming rock."


title: All Summer Long (album)

text: Wilson's 1991 memoir states of "All Summer Long", "I finally felt the Beach Boys had put out an LP that was competitive with [Phil] Spector and the Beatles. The vocals were tight, the production was sharper and more inventive than anything we'd done previously. We were in a higher harmonic place and generally more exciting musically." His 2016 memoir, "I Am Brian Wilson", calls it "a turning point for me and for the band—or maybe it makes more sense to say it's a turning point for how I understood how to write for the band."


title: All Summer Long (album)

text: Subsequent to this album, the Beach Boys rarely recorded songs about cars or surfing, but continued to be stereotyped as a group who exclusively sang about such subject matter. Their 1965 release "The Beach Boys Today!" was their first album that completely avoided those subjects, and like "All Summer Long", represented another leap forward in the group's musical sophistication, later to culminate with the 1966 album "Pet Sounds".


title: All Summer Long (album)

text: Per Craig Slowinski. These credits are incomplete, having been amalgamated from all tracks except "Drive-In", "We'll Run Away", "Carl's Big Chance", "Do You Remember?", and "Our Favorite Recording Sessions'.


title: Roy Rogers (drink)

text: A Roy Rogers is a non-alcoholic mixed drink made with cola and grenadine syrup, and traditionally garnished with a maraschino cherry. The drink's lack of alcoholic content allows it to be served as a "mocktail" to people who do not, cannot, or don't want to drink alcohol. The drink is named after Roy Rogers (1911–1998), an actor and singer.


title: Roy Rogers (drink)

text: The Roy Rogers is similar to other non-alcoholic beverages—specifically the Shirley Temple, which follows a similar recipe, but uses ginger ale or lemon-lime soda instead of cola.


title: Triangle wave

text: A triangular wave or triangle wave is a non-sinusoidal waveform named for its triangular shape. It is a periodic, piecewise linear, continuous real function.


title: Triangle wave

text: Like a square wave, the triangle wave contains only odd harmonics. However, the higher harmonics roll off much faster than in a square wave (proportional to the inverse square of the harmonic number as opposed to just the inverse).


title: Triangle wave

text: where formula_2 is the floor function. This can be seen to be the absolute value of a shifted sawtooth wave.


title: Triangle wave

text: A more general equation for a triangle wave with amplitude formula_4 and period formula_5 using the modulo operation and absolute value is:


title: Triangle wave

text: A phase shift can be obtained by altering the value of the formula_8 term, and the vertical offset can be adjusted by altering the value of the formula_9 term.


title: Triangle wave

text: As this only uses the modulo operation and absolute value, it can be used to simply implement a triangle wave on hardware electronics.


title: Triangle wave

text: Note that in many programming languages, the codice_1 operator is a remainder operator (with result the same sign as the dividend), not a modulo operator; the modulo operation can be obtained by using codice_2 in place of codice_3. In e.g. JavaScript, this results in an equation of the form codice_4.


title: Triangle wave

text: A triangle wave with period "p" and amplitude "a" can be expressed in terms of sine and arcsine (whose value ranges from −"π"/2 to "π"/2):


title: Triangle wave

text: The identity formula_12 can be used to convert from a triangle "sine" wave to a triangular "cosine" wave. This phase-shifted triangle wave can also be expressed with cosine and arccosine:


title: Triangle wave

text: It is possible to approximate a triangle wave with additive synthesis by summing odd harmonics of the fundamental while multiplying every other odd harmonic by −1 (or, equivalently, changing its phase by ) and multiplying the amplitude of the harmonics by one over the square of their mode number, (which is equivalent to one over the square of their relative frequency to the fundamental).


title: Triangle wave

text: where is the number of harmonics to include in the approximation, is the independent variable (e.g. time for sound waves), formula_16 is the fundamental frequency, and is the harmonic label which is related to its mode number by formula_17.


title: Triangle wave

text: This infinite Fourier series converges quickly to the triangle wave as tends to infinity, as shown in the animation.


title: Triangle wave

text: The arc length per period for a triangle wave, denoted by "s", is given in terms of the amplitude "a" and period length "p" by


title: Space Man

text: "Space Man" is a song by the British singer and songwriter Sam Ryder, released as a single on 22 February 2022 through Parlophone Records. It represented the United Kingdom at the Eurovision Song Contest 2022 in Turin, Italy, after being internally selected through TaP Music and the BBC, the British broadcaster for the Eurovision Song Contest. It was co-written by Ryder alongside Grammy-winning singer-songwriter Amy Wadge and Max Wolfgang in London, during the COVID-19 pandemic, a year before it was chosen as the UK entry for Eurovision. The song is featured on Ryder's debut album "There's Nothing but Space, Man!", which was released on 9 December 2022.


title: Space Man

text: "Space Man" was met with positive reviews, with praise for Ryder's vocals, positive attitude and desire to change how the British public and press view the Eurovision Song Contest. The single was recorded at Cube Recording Studios in Cornwall England. Described as an uplifting pop track with comparisons made to Elton John, it became one of the favourites to win the contest. Ryder embarked on a promotional tour for the song, including giving televised performances at Capital's Summertime Ball and at the Platinum Party at the Palace.


title: Space Man

text: At the contest in Italy, the song won the jury vote and finished in second place with 466 points, becoming the highest-scoring UK Eurovision entry. Ryder scored the UK their best result in the contest since 1998 and their first top three result since 2002. After the contest, the song peaked at number two on the UK Singles Chart, becoming the highest-charting UK Eurovision entry since Gina G's "Ooh Aah... Just a Little Bit" in 1996. It has been certified gold by the British Phonographic Industry (BPI).


title: Space Man

text: The song was released on 22 February 2022 on all major streaming platforms. , it has received 39 million streams on Spotify, becoming the most streamed UK Eurovision entry on the platform. An acoustic version was released on April 20. The song was available to purchase in three limited editions. On 6 May, physical copies of the song were available to pre-order, and was released on 13 May. On 18 May, a Eurovision guitar solo version was released. On 1 June, a limited signed Platinum Jubilee edition was made available for pre-order, and released on 7 June. The song was later included on the 2022 edition of "Now That's What I Call Music!".


title: Space Man

text: The music video, filmed in Budapest, Hungary, was released onto the Eurovision YouTube channel on 10 March 2022. As of December 2022, it has been received over 7 million views.


title: Space Man

text: Ryder embarked on a European tour to promote his single. Following the announcement that he would be representing the UK at Eurovision, Space Man had its TV debut performance on BBC's "The One Show," and he was interviewed on the same day. He travelled to Bulgaria to perform the song on "The Nikolaos Tsitiridis Show" and also recorded the UK 'live-on-tape' backup performance for Eurovision. He continued with his promotions in Netherlands, Serbia, and San Marino, and to other countries within Europe.


title: Space Man

text: Besides televised performances he attended radio events and Eurovision pre parties throughout Europe. For his interviews on "This Morning" and "Good Morning Britain," he was praised for his positive attitude to see change in how the British public and press views the Eurovision Song Contest. On 22 April 2022, the song was performed at the York Hall for "Eurovision House Party".


title: Space Man

text: On 7 May 2022, following his second rehearsal run in Turin, Italy, Ryder's live performance received positive reviews from critics and fans. It was confirmed that he had brought the biggest prop of the competition, a huge illuminated metallic structure. Following Ryder's rehearsal, he rose up in the betting odds and became one of the favourites to win the contest. On 12 May 2022, the BBC aired a documentary detailing Ryder's journey to Eurovision.


title: Space Man

text: Ryder continued with promotional activities following the Eurovision final. He gave interviews across the UK on daytime and night time talk shows, including "The One Show" and "Good Morning Britain". He continued his promotions on radio stations including BBC Radio 1, BBC Radio 2, and Capital. He performed the single at the Platinum Party at the Palace, in which he received positive reviews.


title: Space Man

text: On 21 October 2021, the day after the official list of participants in Eurovision 2022 was released, the BBC announced its plans for the British national selection, opting for an internal process no longer in collaboration with record label BMG, but with TaP Music instead. The management company's leading artists include Dua Lipa, Ellie Goulding and Lana Del Rey. Kate Phillips (BBC commissioning editor) stated that the new collaboration "will enable the BBC to tap into some great music talent" and that the broadcaster has "big ambitions for the 2022 contest". On 25 January 2022, TaP revealed that they had started shortlisting potential acts for the contest – with established, emerging and brand new artists having approached them for the Eurovision project – and that they had worked with BBC Radio 1 and Scott Mills in order to choose the British representative.


title: Space Man

text: Sam Ryder was announced as the chosen entrant with the song "Space Man" on 10 March 2022. The entry was revealed by Scott Mills on BBC Radio 1's breakfast show with Greg James, with "Space Man" having previously featured as 'Tune of the Week' on Mills' afternoon show on Radio 1. It was later announced that TaP Music would donate their consultancy fees to the Migrant Offshore Aid Station, to support those affected by the 2022 Russian invasion of Ukraine.


title: Space Man

text: The Eurovision Song Contest 2022 was held at the PalaOlimpico in Turin, Italy. The two semi-finals were held on 10 and 12 May and the grand final on 14 May 2022. Since the United Kingdom is a member of the "Big Five", they qualified directly for the final. In addition to their participation in the final, the United Kingdom was also required to broadcast and vote in one of the two semi-finals. This was decided via a draw held during the semi-final allocation draw on 25 January 2022, when it was announced that the United Kingdom would be voting in the second semi-final.


title: Space Man

text: Despite winning the jury vote, the United Kingdom ultimately finished second behind Ukraine, but nevertheless, Ryder achieved the United Kingdom's best result at the contest since 1998.


title: Space Man

text: The "Evening Standard" described the song as "a solidly written pop song; whether it'll win over our European cousins remains to be seen."


title: Space Man

text: James Hall in "The Daily Telegraph" stated "Ryder represents our greatest hope of rising from the Eurovision ashes for years. [...] Not only can he sing, but he can perform too thanks to his time on the metal circuit and in Nashville. He has charisma. [...] Picking him is a clever move."


title: Space Man

text: Simon Duke in the "Chronicle Live" stated "Following his first rehearsal in Turin, Italy, he has been declared as the UK's best Eurovision hope in years".


title: Space Man

text: El Hunt for magazine "Bustle" described "Space Man" thus: "Covered with galactic sliding guitars and more than a hint of Elton John, the song imagines floating in space as a lonely, isolated astronaut with the longing to be grounded back down to earth again. And fair play, it's not too bad."


title: Space Man

text: Caroline Frost in "The Spectator" said "Listen to this year's entry, and you will hear hints of Sir Elton's 'Rocket Man"'" and 'Tiny Dancer"'." At last we’re taking it seriously, and we're channelling the best of British pop music, one of our greatest soft powers. But this year, for the first in decades, we can at least say we tried. And everyone loves a trier."


title: Space Man

text: George Griffiths from The Official Charts Company said "'Space Man' is one of the most exciting entries the UK has sent in recent memory. [...Ryder's] entry, is a scatter-shot pop banger, with an electrifying chorus that does seem at points like it's lifting up into the atmosphere. One thing is certain the UK are taking Eurovision seriously this year."


title: Space Man

text: Angelica Frey in "The Guardian" stated "'Space Man' has filching celestial vibes from Elton John’s 'Rocket Man', to the Beatles’ 'Across the Universe' and R.E.M.'s 'Man on the Moon'. His strident chorus notes really hit you between the eyes but 'Space Man' is our best entry for many years."


title: Space Man

text: William Lee Adams from "Vice" and "Wiwibloggs" described his entry as a "emotive ballad with his voice gliding across varied terrain, from deep to gritty to a glorious falsetto. I still can’t help but root for Sam."


title: Space Man

text: Nick Reilly for "Rolling Stone" UK stated: "Ryder is the UK’s brightest Eurovision hope we've had in years and is the strongest song that we have sent in a decade. A good song is nothing without a great singer, and Ryder’s impressive vocal range proves that he’s a huge talent in his own right. His entry allows those vocals to soar once more. Anchored by a soaring, stadium-sized chorus that is bound to grab the hearts of the continent."


title: Space Man

text: Rachel Aroesti for "The Guardian" stated: "the song is a rollicking power ballad about loneliness that recalls classic British pop such as Elton John’s 'Rocket Man', Bowie’s 'Starman', and Queen. Co-written with Ed Sheeran collaborator Amy Wadge, it is slick, dramatic and formidably catchy, and it’s not hard to see why Ryder is our best bet in ages."


title: Space Man

text: The song has been covered by Dutch singer and YouTuber Davina Michelle, Norwegian singer and violinist Alexander Rybak, and Swedish singer Måns Zelmerlöw.


title: Space Man

text: Ryder himself performed a mashup of the song with elements of "I Wanna Be Your Slave" by Italian rock band Måneskin, during "Your Lyrics, Different Song" with Scott Mills on BBC Radio 1. The song was performed by both Ryder and Swedish Eurovision entrant Cornelia Jakobs on the social media app TikTok.


title: Space Man

text: "Space Man" debuted at number seventy-eight on the UK Singles Chart. Following the Eurovision final, the OCC reported that at the midweek stage, it was a contender for the number one spot. On 20 May, it reached a new peak of number two, becoming the highest-charting UK Eurovision entry since Gina G's "Ooh Aah... Just a Little Bit" in 1996. It also marked fifty years since a UK runner up at Eurovision last had a top ten, five and three UK Single. It topped the Official Singles Sales and Downloads Charts.


title: Space Man

text: "Space Man" reached number one on The Official Big Top 40 charts, and achieved moderate success in other European countries. The song peaked at number five in Iceland and reached the top fifteen in Lithuania, Sweden, and the German Download Charts. It reached the top twenty in Belgium, the Australian Digital Tracks and also number twenty-two in Ireland, becoming the highest charting UK Eurovision entry on the Irish Singles Chart since 2014. It also charted in the Netherlands, Switzerland, Greece, Turkey, Slovakia and on the "Billboard" Global 200.


title: Space Man

text: "Space Man" won the Marcel Bezençon Press Award. Ryder was the first UK act to win the award in this category.


title: Leandro Damião

text: Leandro Damião da Silva dos Santos (; born 22 July 1989), known as Leandro Damião or simply Damião, is a Brazilian professional footballer who plays as a striker for Japanese club Kawasaki Frontale. He has been capped at international level by Brazil.


title: Leandro Damião

text: Damião began his career as a midfielder, playing for local teams in Jardim Alegre, Paraná. Having failed a trial as a midfielder at Atlético Ibirama, he had a new opportunity as a striker and was signed by team.


title: Leandro Damião

text: Known as Leandrão at the time, Damião was first loaned to in 2007, before playing the 2008 Campeonato Brasileiro Série C for Marcílio Dias; he would later join Cidade Azul in the same year. Back to Atlético Ibirama, he scored eight goals in the 2009 Campeonato Catarinense and was transferred to Internacional, initially for the under-20 team.


title: Leandro Damião

text: At Internacional, he won three titles with the club's under-20 side and earned a call-up to the B team. He scored twice in his Campeonato Gaúcho debut and was then called up to the first team for their 2010 Copa Libertadores campaign. Damião won his first major title in August 2010 when he helped Internacional defeat Guadalajara in the Copa Libertadores Finals. He scored the club's second goal in their second leg victory in Porto Alegre to win the competition 5–3 on aggregate. His performances at the Porto Alegre club earned him a place in the Brazil national football team and praise from Ronaldo, also drawing the interest of European clubs.