title: Winch

text: Winches are frequently used as elements of backstage mechanics to move scenery in large theatrical productions. They are often embedded in the stage floor and used to move large set pieces on and off.


title: Winch

text: Wakeskate winching is a sport where a person on a waterski or snowboard is propelled across the water with a winch. The winch consists of a gas-powered engine, spool, rope, frame, and sometimes a simple transmission. The person being towed walks (or swims) away from the winch, while extending the rope. When the winch is engaged, it pulls the boarder in at a speed ranging from . The winch may be mounted to a vehicle, set into the ground by stakes, or tied to a tree. The cable may also be run through pulleys mounted offshore so that it pulls the person away from where the winch is located, and multiple pulleys may be used to multiply the force applied by a small but high revving motor instead of using a transmission.


title: Winch

text: Lever winches are winches that use self-gripping jaws instead of spools to move rope or wire through the winch. Powered by moving a handle back and forth, they allow one person to move objects several tons in weight.


title: Winch

text: This is a vertical spool with a ratchet mechanism similar to a conventional winch, but with no crank handle or other form of drive. The line is wrapped around the spool and can be tightened or reeled in by pulling the tail line. The winch takes the load once the pull is stopped with little operator tension needed to hold it. These also allow controlled release of the tension by the operator using the friction of the line around the ratcheted spool. They are used on small sailing boats and dinghies to control sheets and other lines, and in larger applications to supplement and relieve tension on the primary winches.


title: Winch

text: An air winch, sometimes known as an air hoist or air tugger, is an air-powered version of a winch. It is commonly used for the lifting and the suspension of materials. In the oil and gas, construction, and maritime industries, air winches are frequently preferred to electric, diesel, and hydraulic winches because of their durability, versatility, and safety.


title: Diogo Alves

text: Diogo Alves (1810 – February 19, 1841) was a Spanish serial killer and robber. Between 1836 and 1840, he killed 70 people. The crimes he committed were all in the area of the Águas Livres Aqueduct, thus earning the title "Aqueduct Murderer". He was sentenced to death and hanged on 19 February 1841, along with one of his accomplices. His head was separated from his body and placed in a flask to preserve it for scientific purposes, and it is now a tourist attraction.


title: Diogo Alves

text: Born in Galicia to a peasant family, Alves fell from the family horse while at a young age and hit his head, earning the nickname "Pancada" ("blow"). At the age of nineteen, his parents sent him to work in Lisbon. After changing jobs several times and ceasing to write to his parents, he began to drink and gamble, meeting up with innkeeper Maria "Parreirinha" Gertrudes. It is believed that this connection instigated Alves to kill. He began to commit crimes, earning a second nickname "The Aqueduct Murderer". He robbed poor passers-by, and then dumped them from a height of 60 meters to simultaneously avoid identification and present the deaths as suicides, a ploy which initially succeeded.


title: Diogo Alves

text: The murders on the aqueduct remained unproven, but a jury sentenced Alves and his gang for other crimes, in particular, murdering the four family members of a doctor. Maria's 11-year-old daughter, Maria da Conceição, testified in court against the gang. Her mother was eventually sent to a lifelong exile in African colonies.


title: Diogo Alves

text: Alves became the penultimate (often mistakenly claimed to be the last) criminal to be hanged in Portugal. His actions at the time intrigued scientists from the then Medical-Surgical School of Lisbon. After his hanging, in an attempt to study his brain, Alves' head was severed and preserved. However, such intended studies seem to never have happened, given the preserved head does not present any signs of having been examined. It is still preserved in a glass vessel, in a solution of formaldehyde. Scientists could never explain what led him to buy a false key for the Aqueducts, where he was hiding, and how many people he had robbed and killed. The severed head is currently in the anatomical theater of the University of Lisbon's Faculty of Medicine, following the formation of a phrenology cabinet made by José Lourenço da Luz Gomes, which allowed the preservation of Alves' skull, along with that of Matos Lobo (one of the last people to be executed in Portugal) in the old medical-surgical school. The head of Diogo Alves was one of the most significant objects of the passage in "One hundred pieces for the Museum of Medicine", which took place in the National Museum of Ancient Art in 2005.


title: Wall Street bombing

text: The Wall Street bombing occurred at 12:01 pm on Thursday, September 16, 1920, in the Financial District of Manhattan, New York City. The blast killed thirty people immediately, and another ten died later of wounds sustained in the blast. There were 143 seriously injured, and the total number of injured was in the hundreds.


title: Wall Street bombing

text: The bombing was never solved, although investigators and historians believe it was carried out by Galleanists (Italian anarchists), a group responsible for a series of bombings the previous year. The attack was related to postwar social unrest, labor struggles, and anti-capitalist agitation in the United States.


title: Wall Street bombing

text: The Wall Street bomb killed more people than the 1910 bombing of the "Los Angeles Times", which was the deadliest act of terrorism on U.S. soil up to that point.


title: Wall Street bombing

text: At noon, a horse-drawn wagon passed by lunchtime crowds on Wall Street and stopped across the street from the headquarters of the J.P. Morgan & Co. bank at 23 Wall Street, on the Financial District's busiest corner. Inside the wagon, of dynamite with of heavy, cast-iron sash weights exploded in a timer-set detonation, sending the weights tearing through the air. The horse and wagon were blasted into small fragments, but the driver was believed to have left the vehicle and escaped.


title: Wall Street bombing

text: The 40 fatalities were mostly young people who worked as messengers, stenographers, clerks, and brokers. Many of the wounded suffered severe injuries. The bomb caused more than US$2 million ($ million today) in property damage and destroyed most of the interior spaces of the Morgan building.


title: Wall Street bombing

text: Within one minute of the explosion, William H. Remick, president of the New York Stock Exchange (NYSE), suspended trading in order to prevent a panic. Outside, rescuers worked feverishly to transport the wounded to the hospital. James Saul, a 17-year-old messenger, commandeered a parked car and transported 30 injured people to an area hospital. Police officers rushed to the scene, performed first aid, and appropriated all nearby automobiles as emergency transport vehicles.


title: Wall Street bombing

text: The Justice Department's Bureau of Investigation (BOI, the forerunner of the Federal Bureau of Investigation, or FBI) did not immediately conclude that the bomb was an act of terrorism. Investigators were puzzled by the number of innocent people killed and the lack of a specific target, other than buildings that suffered relatively superficial, non-structural damage. Exploring the possibility of an accident, police contacted businesses that sold and transported explosives. By 3:30 pm, the board of governors of the NYSE had met and decided to open for business the next day. Crews cleaned up the area overnight to allow for normal business operations, but in doing so they destroyed physical evidence that might have helped police investigators solve the crime. The Sons of the American Revolution had previously scheduled a patriotic rally for the day after (September 17) to celebrate Constitution Day at exactly the same intersection. On September 17, thousands of people attended the rally in defiance of the previous day's attack.


title: Wall Street bombing

text: The New York assistant district attorney noted that the timing, location, and method of delivery all pointed to Wall Street and J.P. Morgan as the targets of the bomb, suggesting in turn that it was planted by radical opponents of capitalism, such as Bolsheviks, anarchists, communists, or militant socialists. Investigators soon focused on radical groups opposed to U.S. financial and governmental institutions and known to use bombs as a means of violent reprisal. Often throughout the Gilded Age radical ideology and violence was used as a form of protest by groups to initiate change. When simple protests were not enough, these extremists would resort to ruthless measures to be heard. Although the violence proved to be detrimental to their overall cause, many historians saw that this was a clear point of radical behavior aimed at facilitating transformation throughout the classes. They observed that the Wall Street bomb was packed with heavy sash weights designed to act as shrapnel, then detonated on the street in order to increase casualties among financial workers and institutions during the busy lunch hour.


title: Wall Street bombing

text: Officials eventually blamed anarchists and communists for the Wall Street bombing. "The Washington Post" called the attack an "act of war". The bombing stimulated renewed efforts by police and federal investigators to track the activities and movements of foreign radicals. Public demands to track down the perpetrators led to an expanded role for the BOI, including the bureau's General Intelligence Division headed by J. Edgar Hoover. The New York City Police Department (NYPD) also pushed to form a "special, or secret, police" to monitor "radical elements" in the city.


title: Wall Street bombing

text: On September 17, the BOI released the contents of flyers found in a post office box in the Wall Street area just before the explosion. Printed in red ink on white paper, they said: "Remember, we will not tolerate any longer. Free the political prisoners, or it will be sure death for all of you." At the bottom was: "American Anarchist Fighters". The BOI quickly decided that the flyer eliminated the possibility of an accidental explosion. William J. Flynn, director of the BOI, suggested the flyers were similar to those found at the June 1919 anarchist bombings.


title: Wall Street bombing

text: The BOI investigation stalled when none of the victims turned out to be the driver of the wagon. Though the horse was newly shod, investigators could not locate the stable responsible for the work. When the blacksmith was located in October, he could offer the police little information. Investigators questioned tennis champion Edwin Fischer, who had sent warning postcards to friends, telling them to leave the area before September 16. He told police he had received the information "through the air". They found Fischer made a regular habit of issuing such warnings, and had him committed to Amityville Asylum, where he was diagnosed as insane but harmless. Meanwhile, Robert W. Wood helped to reconstruct the bomb mechanism.


title: Wall Street bombing

text: The BOI and local police investigated the case for over three years without success. Occasional arrests garnered headlines but each time they failed to support indictments. Most of the initial investigation focused on anarchists and communists, such as the Galleanist group, whom authorities believed were involved in the 1919 bombings. During President Warren G. Harding's administration, officials evaluated the Soviets and the Communist Party USA as possible masterminds of the bombing. In 1944, the FBI, successor to the BOI, investigated again. It concluded that its agents had explored many radical groups, "such as the Union of Russian Workers, the I.W.W., Communist, etc. ... and from the result of the investigations to date it would appear that none of the aforementioned organizations had any hand in the matter and that the explosion was the work of either Italian anarchists or Italian terrorists."


title: Wall Street bombing

text: One Galleanist in particular, Italian anarchist Mario Buda (1884–1963), an associate of Sacco and Vanzetti and the owner of a car which led to the arrest of the latter for a separate robbery and murder, is alleged by some historians, including Paul Avrich, to be the man most likely to have planted the bomb. Avrich and other historians theorize that Buda acted in revenge for the arrest and indictment of Sacco and Vanzetti. Buda's involvement as the Wall Street bombmaker was confirmed by statements made by his nephew Frank Maffi and fellow anarchist Charles Poggi, who interviewed Buda in Savignano sul Rubicone, Italy, in 1955. Buda (at that time known by the alias of Mike Boda) had eluded authorities at the time of the Sacco and Vanzetti arrests, was experienced in the use of dynamite and other explosives, was known to use sash weights as shrapnel in his time bombs, and is believed to have constructed several of the largest package bombs for the Galleanists. These included the Milwaukee Police Department bombing, which was a large black powder bomb that killed nine policemen in Milwaukee, Wisconsin, the time of the bombing, but he was neither arrested nor questioned by police.


title: Wall Street bombing

text: After leaving New York, Buda resumed the use of his real name in order to secure a passport from the Italian vice-consul, then promptly sailed for Naples. By November, he was back in his native Italy, never to return to the United States. Galleanists still in the U.S. continued the bombing and assassination campaign for another 12 years, culminating in a 1932 bomb attack targeting Webster Thayer, the presiding judge in the Sacco and Vanzetti trial. Thayer, who survived the ensuing blast that destroyed his house and injured his wife and housekeeper, moved his residence to his club for the last year and a half of his life, where he was guarded 24 hours a day.


title: Wall Street bombing

text: The bombing has inspired several books, notably "The Day Wall Street Exploded", by Beverly Gage, "The Death Instinct", by Jed Rubenfeld, and "Buda's Wagon: A Brief History of the Car Bomb" (2007) by Mike Davis.


title: Wall Street bombing

text: Upton Sinclair writes about this event in the book Oil!, chapter 11, section 9, second and third paragraphs. He argues that there was no conspiracy, rather the bombing was negligence from a truck driver carrying hazardous material who ignored the rules for their safe transport.


title: Wall Street bombing

text: The bombing is the subject of the PBS series "American Experience" episode "The Bombing of Wall Street", broadcast in February 2018.


title: Wall Street bombing

text: In 2019, Black Metal band Outer Darkness released a song, "Whiskered Men With Bombs," about the incident.


title: Birch beer

text: Birch beer is a beverage, commonly found as a carbonated soft drink made from herbal extracts and birch bark. It was originally made from the extracts of both oak and pine barks (which are sometimes combined). There are dozens of brands of birch beer available.


title: Birch beer

text: The one ingredient used in all recipes of Birch beer is birch sap. Most recipes use some fermentation, but the amount of alcohol in the beverage depends on the brand. The process of fermenting birch syrup is done using baker's yeast. The process of fermentation is done to decompose sugar to alcohol. Other common ingredients include sugar, cinnamon, vanilla beans, and water. Homemade recipes of Birch beer also include honey and malt.


title: Birch beer

text: Various types of birch beer made from birch bark are available as well, distinguished by color. The color depends on the species of birch tree from which the birch oil is extracted (though enhancements by artificial coloring are commonly present). Popular colors include brown, red, blue and clear (often called white birch beer), though others are possible.


title: Birch beer

text: After the bark is collected, it is distilled to make birch oil. The oil is added to the carbonated drink to give it the distinctive flavor, reminiscent of wintergreen and methyl salicylate. Black birch is the most common source of extract in the northeastern region of the United States, where that species is indigenous.


title: Birch beer

text: In the dairy country of southeastern and central Pennsylvania, an ice cream soda made with vanilla ice cream and birch beer is called a "birch beer float", while chocolate ice cream and birch beer makes a "black cow".


title: Birch beer

text: Alcoholic birch beer, in which the birch sap is fermented, has been known from at least the seventeenth century. The following recipe is from 1676:


title: Cult of Luna

text: Cult of Luna is a Swedish heavy metal band from Umeå founded in 1998. They are known for post-metal music similar to the contemporary bands Neurosis and Isis. The band was signed to Earache Records in the early 2000s and released five albums, including the commercially successful albums "Salvation" (2004) and "Somewhere Along the Highway" (2006). After an extended period of inactivity, Cult of Luna returned with its Indie Recordings debut "Vertikal" (2013) and companion EP "Vertikal II" (2013), both drawing inspiration from Fritz Lang's 1927 film, "Metropolis". In 2016 the band released their space-themed collaborative album, "Mariner", featuring American vocalist Julie Christmas.


title: Cult of Luna

text: They formed from the remnants of a Umeå hardcore punk band called Eclipse in 1998. They slowly garnered critical appreciation and underground popularity with early releases "Cult of Luna" (2001) and "The Beyond" (2003); however, it is 2004's "Salvation" that can be considered their 'breakthrough' release. This was followed by "Somewhere Along the Highway" in 2006, another largely well-received album.


title: Cult of Luna

text: In August 2006, the band released a remake of "Marching to the Heartbeats" from "Somewhere Along the Highway" entitled "Heartbeats" solely on the internet community MySpace. The song was available for download for a few days and was later removed. The point was to see if the song would be kept alive by file sharing, and was also apparently a statement against the conservative music industry, said keyboardist Anders Teglund in an interview.


title: Cult of Luna

text: In 2008 the band released its fifth album, "Eternal Kingdom". It was released in Europe on June 16, followed by its release in the United States on July 8.


title: Cult of Luna

text: In 2009 they released the "Fire Was Born" DVD including a live performance from 2008, an interview with the band, as well as all of the band's videos.


title: Cult of Luna

text: On October 18, 2009, the band released "Eviga riket", a hardback book/audiobook covering the story and themes from "Eternal Kingdom." The book and audiobook are bilingual, printed and spoken both in Swedish and English. The audiobook contains new pieces of music and soundscapes written by the band. "Eviga riket" was released the 23 of February 2010.


title: Cult of Luna

text: On October 8, 2012, the band announced the title of their sixth studio album as "Vertikal", as well as the first leg of their upcoming European tour. The release dates were confirmed as November 5, with the European release on January 25, 2013, and the American release four days later on January 29, 2013. A companion EP, "Vertikal II" was released on September 20, 2013. It includes the three songs with which Cult of Luna intended to conclude "Vertikal" as well as a remix of "Vicarious Redemption" by Justin Broadrick.


title: Cult of Luna

text: On December 17, 2013, the band announced that they'd be taking a break of sorts for the foreseeable future stating "2013 have been a very active year for us and neither do we want or think it is good to continue in that pace" they also said "Sooner or later we will return in one form or another".


title: Cult of Luna

text: In May 2014 the band curated the Beyond The Redshift festival in London, held across 3 venues with Cult Of Luna closing the festival with a headlining set at the Forum.


title: Cult of Luna

text: During the recording sessions and supporting tours for "Vertikal", Cult of Luna made two major lineup changes that weren't publicly addressed until 2016. While recording the album in 2012, keyboardist Anders Teglund "left the band unexpectedly" and later was replaced by Kristian Karlsson of Pg Lost. Founding guitarist Erik Olofsson told the band he wished to leave, and his final live performance with the band became 2014's Beyond the Redshift festival. Cult of Luna stated that while he is no longer a full-time member, "he is still a part of the Cult of Luna universe." He has been temporarily replaced by David Johansson of Kongh.


title: Cult of Luna

text: On April 8, 2016, Cult of Luna released its seventh studio album titled "Mariner" — a collaborative release with the American vocalist Julie Christmas, formerly of Made Out of Babies and Battle of Mice. Contrasting the industrial- and city-focused "Vertikal", "Mariner" explores themes relating to outer space.


title: Cult of Luna

text: Before "Mariner" was officially released, Cult of Luna had already begun writing new music for their eighth studio album. Persson stated that the band already had the album's concept and theme in mind, stating: "The last few records have been this kind of continuous journey from the forest to the sky and I know where we're going after this."


title: Cult of Luna

text: Johannes Persson stated in an interview in April 2016 that in 2013 he never talked about taking a break as previously reported, "what I wanted to say [...] is that we didn't have anything planned for the future" and added "for sure I never used the word hiatus".


title: Cult of Luna

text: In December 2016 Cult of Luna announced new live release "Years in a Day" scheduled for April 21, 2017. A live bundle limited to 7000 copies would feature a DVD of a show in Paris from the "Somewhere Along the Highway" 10th anniversary tour in 2015, 2 CDs featuring the band's performances at the Roadburn Festival in 2013 and 2016, digital audio and some other bonuses. Preorders of "Years in a Day" started on January 20, 2017 along with preorders of two live vinyl albums from the shows at Roadburn Festival in 2013 and 2016. These are the same as those included on CD in "Years in a Day". The two live vinyl albums are limited to 500 copies each. A live triple disc vinyl album from the show at La Gaîté Lyrique in Paris, which is the same as on the DVD in "Years in a Day", was also released on April 21, 2017. The vinyl is limited to 1000 copies on orange vinyl with yellow splatter. It was also released on black vinyl and CD.


title: Cult of Luna

text: In November 2017 Cult of Luna announced the release of live album and documentary "Mariner Live" in April 2018. Prior to the official release, the band released a short version of the documentary on the making of the "Mariner" album and the tour in support of it on the band's YouTube channel. The live album features the entire performance of "Mariner" which was recorded in November 2016 in Kortrijk, Belgium .


title: Cult of Luna

text: At the end of 2018, Cult of Luna announced the beginning of recording sessions and posted teaser photos from the studio on band's social media throughout 2019. A number of 2019 European summer festival appearances were confirmed along the way. On March 20, 2019 the band announced signing a deal with Metal Blade Records and first batch of European tour dates scheduled for autumn 2019. On May 6, 2019, the new song "The Silent Man" became available on all platforms, and the band announced that "A Dawn to Fear" would be released on 20 September 2019. "Loudwire" named it one of the 50 best metal albums of 2019.


title: Cult of Luna

text: On November 12, 2020 Cult of Luna announced the release of a new EP titled "The Raging River" for February 5, 2021 through their own newly founded label Red Creek Recordings. ""The Raging River" feels more like a bridge. A midpoint that needs to be crossed so we can finish what we started with 2019's 'A Dawn to Fear,'" the band adds.


title: Cult of Luna

text: On November 4, 2021, Cult of Luna announced the release of a new album titled "The Long Road North" for February 11, 2022.


title: Cult of Luna

text: Cult of Luna's sound has progressed from early material being heavily doom metal-influenced to one much less aggressive and more concerned with orchestration. Fans and critics have termed this sound post-metal, progressive metal, sludge metal, and doom metal. The band is considered to be at the forefront of the genre, along with contemporary proponents Neurosis and Isis.


title: Cult of Luna

text: Its songs are often long, slow, repetitive and crushing, heavy sections of distorted guitars often interspersed with orchestral interludes and extended, post-rock-esque forays. The group shuns conventional song structures, opting for a sound that evolves throughout a song, sometimes toward a climactic crescendo, instead of a verse-chorus-verse pattern. That style, incorporating sections of "light and dark" into their music, has led to comparisons with contemporaries such as Isis (with whom they have toured), Callisto and Pelican, as well as the significantly older Neurosis. Former singer Klas Rydberg, however, has stated that decidedly Radiohead are an influence.


title: Cult of Luna

text: As the band progressed, the imagery they employed became less overt and less "doom metal". In some ways, the albums showed a shift from anger with modern society as in "Cult of Luna", to disgust with the ruling parties in "The Beyond" and "Salvation". The video for single "Leave Me Here" is concerned with propaganda and tacit governmental control over the individual. Similar concerns are addressed in contemporaries Isis' "Panopticon", centered on the theme of Big Brother-like government surveillance. Early material made Christian references; to the devil, Faust and the four horsemen of the apocalypse. Over the course of the following albums, these seem to have disappeared, though "Salvation" does have overarching spiritual themes.


title: Cult of Luna

text: "Somewhere Along the Highway" is slightly different from the previous releases in its thematic basis. It focuses on personal matters, specifically male loneliness, instead of macroscopic concerns addressed in the previous albums.


title: Pan's People

text: Pan's People were a British all-female dance troupe most commonly associated with the BBC TV music chart show "Top of the Pops", from the late 1960s to the mid-1970s. They appeared on many other TV shows in the UK and elsewhere in Europe, and also performed in nightclub cabaret.


title: Pan's People

text: They were the second dance troupe to appear regularly on "Top of the Pops", succeeding the Go-Jos in May/June 1968. Starting with monthly appearances, they became a weekly feature of the programme following its revamp and time extension in January 1970, continuing in the show until April 1976. As a result of line-up changes just one dancer, Ruth Pearson, appeared on the whole run.


title: Pan's People

text: Due to their weekly exposure on British television the group acquired a high profile, and in addition as a result of the increasing number of preserved recordings from 1973 onwards, the 'classic' line-up which existed from 1972 to 1974 is still widely recognised today. The dancers in this line-up were:


title: Pan's People

text: Ruth Pearson (13 July 1946 – 27 June 2017) – member 1967–1976 and choreographer on some shows 1967–1970


title: Pan's People

text: The principal choreographer for Pan's People's entire existence was Flick Colby (23 March 1946 – 26 May 2011), who was also a dancer from 1966 to 1972.


title: Pan's People

text: The origins of Pan's People lie in the Dance Centre-based Katy-Dids, a six-girl jazz dance group formed in May 1964 comprising Linda Bywaters, Linda Lawrence, Jenny Ferle, Lyn Wolseley, Diane South and Ann Chapman. This group, renamed the Beat Girls following the commencement of their residence on "The Beat Room" in July 1964, subsequently appeared on many music and light entertainment TV programmes in the UK and Netherlands.


title: Pan's People

text: Following numerous line-up changes, by December 1966 only two members were left who had appeared in "The Beat Room", which ended in January 1965:


title: Pan's People

text: Following an Equity-backed dispute with their management over pay rates for Dutch shows, three members, Colby, Lord and Wilde, walked out and formed a new group on 8 December 1966 in London. After considering other names, including "Dionysus's Darlings" they agreed on the name "Pan's People", named after the Greek god Pan as the "god of dance, music and debauchery". By 18 December, they were joined by two of the remaining three Beat Girls, Harris and Fergusson. This marked the end of the Beat Girls as a regular act on British television; however, with new recruits joining Diane South, that group continued their Dutch engagements from January 1967, finally ceasing to perform in May 1968.


title: Pan's People

text: By Christmas 1966 Pan's People recruited Felicity Balfour (sometimes called Felicity Balfour Smith), who had briefly been in the Beat Girls, and had been a schoolfriend of Dee Dee Wilde. Thus they formed a sextet, with Colby also acting as choreographer.


title: Pan's People

text: Press accounts during the lifetime of the group omit the Beat Girls involvement from Pan's People's history; however, modern-day recollections include this time though sometimes incorrectly as a continuation of the previous group.


title: Pan's People

text: Their first TV appearance was in the Belgian TV programme "Vibrato" in January 1967, with the initial line-up.


title: Pan's People

text: In February/March 1967, Felicity Balfour's contract was terminated, due to her being unsettled in the group. After Pan's People, amongst other subsequent activities she performed with the Denise Shaune dancers, and worked in musical theatre, notably forming part of the original London cast of "Joseph and the Amazing Technicolor Dreamcoat".


title: Pan's People

text: Following an audition, Balfour was replaced by Ruth Pearson (1946–2017). Like Lord, Pearson was an original Beat Girls member, performing in the group until early 1966, then in a prior Beat Girls breakaway group, Tomorrow's People.


title: Pan's People

text: The new line-up with Pearson appeared on "The Dickie Valentine Show" in September and October 1967, replacing the Beat Girls from the 1966 series. All the Pan's People in this line-up, except for Pearson, had appeared in the earlier series.


title: Pan's People

text: The group were to appear in a ballet performed with the Yardbirds in December 1967, but it was cancelled shortly before it was to be performed.


title: Pan's People

text: Also in December 1967, Penny Fergusson left to do other work, and was replaced by Louise Clarke (1949–2012)


title: Pan's People

text: In February 1968 three of Pan's People (Lord, Colby and Wilde) appeared on the West German show "Beat Beat Beat" with Tom Jones. This series was unique in that Ruth Pearson got sole choreography credit.


title: Pan's People

text: In the final change before the "Top of the Pops" era, Lorelly Harris chose to leave in March 1968, ultimately going into the Bluebell Girls. She was replaced by Andrea (Andi) Rutherford. (1947–2015).


title: Pan's People

text: Colby's future husband, James Ramble, was manager, initially in partnership with promoter Rik Gunnell, but solo by the time of his marriage to Colby in 1967. He retained this role into 1970, the year of his divorce from Colby. In 1970 he claimed to have created two rules, one that the dancers must wear their hair down, and second that they must get married rather than have partners; however, the second rule was also reported later the same year as marriage was not allowed until the end of 1971.


title: Pan's People

text: Following the end of his management, the troupe members managed themselves - later accounts of the history of Pan's People focus on this second structural phase.


title: Pan's People

text: "Top of the Pops" began on 1 January 1964 as a weekly programme playing a selection of records from the current charts. From November 1964, "Top of the Pops" had an all-girl dance troupe regularly appearing, the Go-Jos, formed and choreographed by another ex-Beat Girl, Jo Cook. Through to the beginning of 1968, professional dancing had been restricted to approximately monthly appearances by this group, performing to one track on the show typically where the artist couldn't attend.


title: Pan's People

text: This situation began to change in January 1968: whilst still in the Beat Girls, Diane South appeared solo on the show, dancing to the song "Judy in Disguise (With Glasses)".


title: Pan's People

text: On several occasions Pan's People presented brochures to the BBC with a view to appearing on "Top of the Pops", the last being in March 1968, but up to this point they had not been employed on any BBC programme.


title: Pan's People

text: In late March 1968, the producers held an open audition for dancers on "Top of the Pops" to appear on 4 April 1968 to a routine to "Simon Says" by the 1910 Fruitgum Company. Four dancers were engaged, Dee Dee Wilde and Ruth Pearson from Pan's People (who along with the four other Pan's People had auditioned individually rather than as part of a group), and Janice (Janie) Kells and Jackie Dalton (both later in the Young Generation). An established choreographer, Virginia Mason, arranged the dancing. However, a BBC database recording band appearances only indicates 'disc' for this performance, omitting mention of dancers, so there is no direct evidence this performance was ever broadcast.


title: Pan's People

text: Following the performance, the two Pan's People participants spoke to the producer of the show, Colin Charman, and persuaded him to hire Pan's People as a group. This led a further routine with three members of Pan's People (Wilde, Pearson and Colby) with no extra dancers, and choreographed by Colby. The exact date and performance varies in different sources, alternatively:


title: Pan's People

text: The two early performances are sometimes stated in contemporary sources as Go-Jo performances, but the Go-Jos were not involved.


title: Pan's People

text: Subsequently, the entire Pan's People sextet appeared in a routine set to "US Male" by Elvis Presley on 30 May 1968.


title: Pan's People

text: The final performance of the Go-Jos was either to the 1910 Fruitgum Company, whose track was on "Top of the Pops" on 4 and 25 April 1968 or the Rolling Stones, transmitted on 20 June 1968. By either scenario, Pan's People were left as the sole dance troupe by July 1968.


title: Pan's People

text: Following the changes in the line-up during their first year, Pan's People by the time of their first appearance on "Top of the Pops" were:


title: Pan's People

text: This is often called the 'Original' line-up, though several dancers had joined subsequent to its formation.


title: Pan's People

text: 'Disc' indicates the track is played with the accompanying footage either of the audience or dancers.


title: Pan's People

text: Penny Fergusson briefly rejoined the group for the Frankie Howerd show (broadcast August to September 1969) when Ruth Pearson worked as a choreographer on the "" TV show (broadcast September to October 1969). In both 1968 and 1969, Pearson was co-credited with Colby for choreography on some shows.


title: Pan's People

text: Two male dancers, Adrian Le Peltier and Gary Downie, also occasionally accompanied the group between 1968 and 1970, in "Happening for Lulu", the "Bobbie Gentry Show" and "Top of the Pops".


title: Pan's People

text: The group also did shows, their manager said in June 1969, "So far this year they have had 24 free days...to compensate it would be a bad week if the girls didn't pick up at least £90 each".


title: Pan's People

text: From November 1969, "Top of the Pops" began broadcasting in colour. Each week, from 22 January 1970 up until September 1970, the group performed a short routine during the opening credits. New titles were produced using Andi Rutherford as a dancer, that debuted on 1 October 1970, however, this was only used for 5 editions before finally being replaced in early November by the iconic C.C.S cover version of 'Whole Lotta Love'.


title: Pan's People

text: The earliest known footage of Pan's People on "Top of the Pops" is rehearsal footage for 1 January 1970 edition.


title: Pan's People

text: From 22 January 1970 the programme was extended from 25 to 45 minutes; the group appeared weekly from this point on. Also from this date, Colby as choreographer and the group began to be listed in the end credits of the programme and in "Radio Times".


title: Pan's People

text: Colby chose to concentrate full-time on choreographing the group's routines, with her last performance as a dancer in February 1972. She was not replaced, so the number of dancers reduced to five.


title: Pan's People

text: Andi Rutherford married in December 1971; in September 1972 she ceased dancing due to pregnancy, managing the group till March 1973. She then left on maternity leave though she never returned, eventually forming her own troupe, Sister-matic, in 1976. She was replaced as a dancer in December 1972 by Cherry Gillespie, initially appearing in the show in gift-wrapping.


title: Pan's People

text: On 16 May 1974 Clarke made her last performance, dancing to R Dean Taylor's "There's a Ghost In My House", leaving Pan's People to start a family; Sue Menhenick was selected to succeed her, and made her first appearance on 6 June 1974, dancing to "Summer Breeze" by the Isley Brothers.


title: Pan's People

text: The dancers rehearsed three days a week for the show. Rehearsals began on the Monday morning prior to that week's show, with Colby scripting a routine, and a costume fitting later the same day. Rehearsals ended with a run-through a few hours before the show on the Wednesday.


title: Pan's People

text: However, due to "Top of the Pops" being a chart show, problems could arise - Pearson recalled: "We can often spend three or four days rehearsing an intricate dance routine to a certain record. Then, on the Tuesday, when the new pop charts come out, we learn that the record we're planning for the show has actually gone down in the charts, instead of up . . . so it's out. Dropped. We then have to do a completely different record number, and go on the programme with maybe only one day's rehearsal on it. This really isn't fair on us, because we are judged on our performance on screen. I'm sure viewers do not know that we've had to change the number, sometimes only a day before we do the show".


title: Pan's People

text: In August 1974 the group released a double A-side record "You Can Really Rock And Roll Me"/"The Singer Not The Song" on the Epic label with Cherry Gillespie on lead vocal. However, it did not chart. A second single, "He's Got Magic", followed in 1975 but was again unsuccessful.


title: Pan's People

text: In March 1975, Carolyne Argyle joined the group. However, she left the group that June without ever performing, because she was viewed as struggling to learn the routines in the timescales needed for the show. Although she stated an intention to continue dancing, she ultimately had an acting career.


title: Pan's People

text: In September 1975 Lord left (after marrying Robert Powell on 29 August), and two members joined the troupe, Mary Corpe and Lee Ward. These were the last permanent additions to the group, and briefly brought its line-up back to six members for the first time since 1972.


title: Pan's People

text: After planning to quit earlier in the year to coincide with her planned marriage and the unsuccessful membership of Caroline Argyle, Dee Dee finally quit in October 1975.


title: Pan's People

text: "Blue Peter" presenter Lesley Judd became a temporary member of the group for a one-off routine, dancing to "Rodrigo's Guitar Concerto De Aranjuez" by Manuel and the Music of the Mountains, transmitted on "Top of the Pops" on 12 February 1976. The rehearsals and behind-the-scenes footage of the routine were featured on "Blue Peter". Judd had been a dancer in the late 1960s and, as an occasional member, had appeared alongside Flick Colby, Babs Lord and Dee Dee Wilde in the Beat Girls 10 years before in the "Dickie Valentine Show" and in the Pathé film "Jetaway Getaway". She had also briefly been in the Go-Jos and Young Generation so was in four prominent 1960s dance groups.


title: Pan's People

text: In early 1976, the last remaining original "Top of the Pops" dancer, Ruth Pearson, now approaching 30, was looking to retire. At the same time Flick Colby and "Top of the Pops" production staff had become keen to develop a new group for the show, with both male and female dancers and also moving away from all dancers in the same costumes and performing the same moves. Ruth recalled: "Flick and I made the decision. The writing was on the wall when Dee and Babs left. I think our time had passed". Senior BBC management did not have full knowledge of the intention to adopt a new group format, and later expressed disapproval of this change.


title: Pan's People

text: By March 1976, the replacement group for Pan's People, Ruby Flipper, had been selected and began rehearsing, with just two of the existing Pan's People, Sue Menhenick and Cherry Gillespie, retained as dancers, with Ruth Pearson retiring. There was to be no role in the new group for the remaining two dancers, Mary Corpe and Lee Ward, but they continued to appear in Pan's People while the Ruby Flipper rehearsals began.


title: Pan's People

text: However, following the Pan's People performance transmitted on 1 April 1976, Lee Ward left the group. She was reported as saying, with regard to the change to a mixed-gender group, "It's a big mistake. Men rush home to watch sexy ladies. They do not want to see other men." Following this, Ward ended her career as a dancer.


title: Pan's People

text: The final performance on "Top of the Pops" was on 29 April 1976 dancing to "Silver Star" by The Four Seasons. The end of Pan's People went otherwise unmentioned on the show, though it marked the end both of Pearson's eight years on the show as a dancer, and Corpe's seven-month run. Mary Corpe initially joined Nigel Lythgoe's Young Generation but returned to "Top of the Pops" for two performances in Zoo in 1982.


title: Pan's People

text: The following week, the mixed-gender seven-member Ruby Flipper made their first appearance on the show with Colby as choreographer, Pearson as manager, and Menhenick and Gillespie starting the performance on their own, then joined by the five new dancers.


title: Pan's People

text: Most dates pre-1972 are approximate. The "Top of the Pops" era is denoted by the two red lines. Narrow width lines denote members not appearing on "Top of the Pops". The dates of Adrian LePeltier and Gary Downie performing on "Top of the Pops" are not known.


title: Pan's People

text: Pan's People performed at a time when the BBC routinely wiped the videos of the "Top of the Pops" shows to save money on new tapes and because it was not thought that anyone would want to watch the shows again. However, organisations such as the BFI and Kaleidoscope have spent time searching archives and as a result many recorded dance routines have been rediscovered. More recently they have found roughly 40 lost dances on home video tapes and have extracted digital footage from the very fragile analogue tapes. Estimated video survivals by year:


title: Pan's People

text: Even after their departure from "Top of the Pops" Pan's People were much in demand for personal appearances. Dee Dee Wilde continued to dance with and manage a new group of girls under the name Pan's People: Pauline Crawford, Abigail Higgins, Patricia McSherry, Francesca Whitburn and Sarah Woollett. Also members for a short time during this period were the future Hot Gossip dancers Sarah Brightman and Carol Fletcher. In 1979, the troupe released another single "Magic Man"/"Club Lido" in New Zealand on the RTC label. "Club Lido" was subsequently released in the UK on the GM label. It failed to chart, and was correctly predicted to be a 'miss' when it was reviewed by the panel on an edition of "Juke Box Jury" broadcast on 18 August 1979 on BBC1, when the group appeared as a surprise to the panel of Dave Bartram, Keith Chegwin, Dana and Bonnie Tyler.


title: Pan's People

text: Babs Lord married actor Robert Powell and became an amateur yachtswoman and world explorer, with several trips to the Himalayas, the Sahara, both Poles and the jungle in Guyana. By 2013 she had visited both the North and South Poles. Lord was the subject of BBC's "This Is Your Life" in November 2001. She appeared on the final regular weekly edition of "Top of the Pops" on 30 July 2006, the only member of any of the show's dance troupes to appear in person at the recording.


title: Pan's People

text: Cherry Gillespie appeared with Roger Moore in "Octopussy" (1983), and was also in the TV series "The Hot Shoe Show" (1983–84); she sang on the album from the show. In 1997 she appeared as a panellist on Channel Five's nostalgia quiz show "Wowfabgroovy".


title: Pan's People

text: In November 2013, Signum Books released the autobiography "Pan's People: Our Story", authored by Babs Powell, Ruth Pearson, Dee Dee Wilde, Cherry Gillespie and writer Simon Barnard.


title: Klaw (character)

text: Klaw (Ulysses Klaue) is a fictional character appearing in American comic books published by Marvel Comics. The character is depicted as a human physicist who has been transformed into solid sound, and who wears a sonic emitter on his right wrist as a prosthetic device. He is a supervillain often in conflict with the Fantastic Four and the Avengers, and he is also an enemy of the Black Panther and Ka-Zar.


title: Klaw (character)

text: The character is featured in other Marvel-endorsed products such as arcade and video games, animated television series, and merchandise such as trading cards. Andy Serkis portrayed Klaue in the Marvel Cinematic Universe (MCU) films "" (2015) and "Black Panther" (2018), and the Disney+ series "What If...?" (2021).


title: Klaw (character)

text: The character first appeared in "Fantastic Four" #53 (1966) and was created by Stan Lee and Jack Kirby.


title: Klaw (character)

text: Ulysses Klaue is the son of Nazi war criminal Colonel Fritz Klaue of the Blitzkrieg Squad led by Baron Strucker. He was sent by Adolf Hitler to Wakanda to learn their secrets. After World War II, he moved back to Belgium, later anglicized his name to "Klaw," and raised his son with tales of Wakanda.


title: Klaw (character)

text: Klaw later becomes a physicist, working in the field of applied sonics. In order to continue his design of a sound transducer which converts sound waves into physical mass, Klaw steals the metal vibranium to power his device. This is a metal substance known to exist only in certain meteoric deposits in the small African nation of Wakanda. By stealing this rare mineral, Klaw comes into conflict with the Wakandan ruler/superhero T'Chaka whom Klaw murders in cold blood. T'Chaka's adolescent son T'Challa, who watched his father fall to the invaders, then attacks Klaw to avenge his father. Klaw manages to escape at the cost of his right hand.


title: Klaw (character)

text: Years later, Ulysses resurfaces with a sonic emitter/gun on his right wrist as a replacement prosthetic device for his missing hand that can create any kind of object or creature he can conceive by only using sound. He has also created a device that turns him into a being composed solely of sound, making him immortal in the process. Klaw as a professional criminal battles T'Challa (who has now officially become the newest Black Panther) and superhero team the Fantastic Four in New York state, but he is defeated.


title: Klaw (character)

text: Klaw is imprisoned but freed by the Crimson Cowl, which turns out to be an alias of Ultron. Joining the second incarnation of the Masters of Evil, Klaw and the other villains battle superhero team the Avengers. The Avengers, however, defeat them, with the Black Panther subduing Klaw. Klaw would attempt to reform the second Masters of Evil to fight the Avengers, but his scheme would be foiled by the all-female team the Lady Liberators.


title: Klaw (character)

text: Managing to escape custody again, Klaw journeys back to Wakanda where he helps steal a device capable of augmenting the metal-disintegrating property of a vibranium alloy. Encountering the Thing, the Human Torch, and the Black Panther, Klaw is defeated.


title: Klaw (character)

text: Klaw later joins forces with the murderous Solarr and traps the Avengers within a solid sound barrier. Klaw threatens to execute them if the Black Panther does not abdicate the throne of Wakanda to him. Realizing that Klaw himself is disguised as one of the hostages while using a sound creation of himself to appear outside the barrier, the Panther manages to expose and subdue Klaw and Solarr before he could make good his threat.


title: Klaw (character)

text: Klaw is later freed from prison by a member of the extra dimensional race of Sheenareans, who wish him to use his sonic powers to help open a dimensional portal big enough for their invading armada to enter Earth. Klaw agrees and after a skirmish with Ka-Zar in London, travels with the Sheenarean to the Savage Land where there is a vibranium deposit large enough to create the portal. After Ka-Zar repulses the invaders, Klaw flees into the Sheenarean dimension, and unable to salvage anything substantial from his allies, uses their technology to return to Earth.


title: Klaw (character)

text: Materializing in the Nexus of All Realities located in the Florida Everglades, Klaw happens upon the wand of the Molecule Man. Helping the Molecule Man find a body to possess, Klaw and his new ally travel to New York to wreak revenge on their common enemy, the Fantastic Four. Klaw is subdued by the visiting Impossible Man.


title: Klaw (character)

text: Klaw finds his powers waning, resulting in him having to manipulate a group of street youths into helping him gain the material needed to restore his power. With Black Panther's help, Klaw's scheme backfires. He finds himself imprisoned within his own gun-hand, stored at research facility Project Pegasus. In "Marvel Two-in-One" #57-58 (Nov.-Dec 1979), Klaw is freed by fellow villain Solarr, although both are defeated by a group of heroes, including the Thing, Quasar, Giant-Man, and Aquarian.


title: Klaw (character)

text: Klaw's career soon takes a downward spiral, after an encounter with the mutant Dazzler results in his humanoid form being dissolved and his sound energy being blasted out into space, where it ends up being collected by Galactus. His energy is found by Doctor Doom during the limited series "Secret Wars". Doom restores Klaw to normal. The loss of his physical form has had repercussions; Klaw now has the mind of a child and is quite insane, a symptom of which is speaking in rhyme. Doom exploits Klaw's madness, convincing the villain to re-dissect him as part of a mad gambit to steal the powers of both Galactus and the Beyonder. However, the Beyonder possesses Klaw after losing his powers, leading to Klaw tricking Doom into giving up his stolen Godhood and teleporting the two back to Earth, where Klaw's mental state slowly heals.


title: Klaw (character)

text: Klaw fights Daredevil and Vision, before being recruited by the Wizard to join his latest incarnation of the Frightful Four. Attacking the Fantastic Four while the group are performing a delicate scientific procedure on the Human Torch (whose powers had gone out of control), Klaw throws The Thing into the medical pod that was attempting to drain the excess radiation from Torch, resulting in Ben Grimm being returned to normal. Klaw and his teammates, along with the Fantastic Four, are quickly captured by the rogue Watcher Aron, who ultimately returns Klaw and his fellow villains to prison after the Fantastic Four break free.


title: Klaw (character)

text: Klaw's imprisonment would not last. Escaping during the Acts of Vengeance story line, Klaw is taken in by A.I.M., who plant a pain-control device into his gun-hand to control him. He is then sent to attack the reformed supervillainess Volcana, in hopes of luring out her lover Molecule Man but abandons the battle when his gun-hand is destroyed. Klaw is later recruited by the "Pacific Overlords" group, led by Doctor Demonicus, but turns against the group and instead aids the West Coast Avengers in defeating them when it becomes apparent that Demonicus had become a thrall of a dangerous demon. He later joins Justine Hammer's version of the Masters of Evil, fighting the Thunderbolts on several occasions. When Earth's vibranium deposits begin to explode due to a 'vibranium cancer' introduced into the world when Captain America's shield was broken and improperly repaired, Klaw travels to Wakanda with the goal of absorbing the sound energy of the imminent explosion to become even stronger. Captain America is able to defeat him when he uses the damaged shield to absorb Klaw's attack. The blast realigns the shield molecules so that the shield is repaired and the vibranium cancer destroyed.


title: Klaw (character)

text: Klaw features in the opening arc of the fourth Black Panther series, a flashback story that features the origin of the title character. The character ultimately resurfaces again, having (through unknown means) successfully uploaded his sound based essence onto the Internet and later been downloaded, via BitTorrent, by the Wizard to fight the Fantastic Four again as part of a new incarnation of the Frightful Four.


title: Klaw (character)

text: Klaw is later seen with Wizard's Frightful Four when it comes to helping Intelligencia capture Mister Fantastic.


title: Klaw (character)

text: Chameleon later poses as Klaw in order to infiltrate Intelligencia and be ready for the Sinister Six to attack them.


title: Klaw (character)

text: Klaw is enlisted by the Wizard to capture Carnage, so that he can be added to the latest version of the Frightful Four, alongside Karl Malus. The Wizard's attempts to control the symbiote (which is in control of Kasady's lobotomised body) fail, so he decides to bond it to Malus, and subdue his mind. Klaw subdues Malus, and the operation is a success, creating "Superior Carnage". The "Frightful Foundation" then attack New York city hall, as part of Wizard's plan to get his clone son's attention. During a battle with Superior Spider-Man, Wizard loses control of Superior Carnage, who stabs Klaw with a vibranium spear, causing him to detonate. The sonic explosion tears the symbiote away from Malus, and onto Wizard, but it then abandons him for Kasady (Whom Superior Spider-Man had brought to the scene). As Carnage attempts to kill Wizard, Klaw, whose consciousness had been projected onto the "sound wall" of the universe by the explosion, focuses the last of his strength into creating a bolt of lightning that brings down Carnage, separating the symbiote from its host. Klaw reflects that that could be his final act, as his essence spreads further into the sound wall, and will soon be too thin for him to retain his consciousness.


title: Klaw (character)

text: During the "" storyline, Klaw is an inmate of Pleasant Hill, a gated community established by S.H.I.E.L.D.


title: Klaw (character)

text: Courtesy of a vibranium-powered sonic converter, Ulysses Klaw was converted into a being composed of psionically "solidified" sound, giving him a somewhat inhuman appearance. The character is described as having superhuman durability and strength sufficient to lift tons of matter. The molybdenum steel sound generator that serves as a prosthetic appliance on Klaw's right wrist is able to transform ambient sound to perform a series of functions, including the projection of intense high-volume sonic waves and blasts of concussive force and the creation of mobile sound/mass constructs. The sound converter was invented by Klaw and later improved by AIM scientists and technicians. Klaw can also sense his surroundings using sonar. When he fought Volcana while trying to abduct Molecule Man he demonstrated the ability to create "cohesive sound". This was essentially an entangling/crushing construct that absorbed ambient noise to increase its size and strength. The noise from the target's struggles to remove the construct would make it larger and stronger. Volcana was only able to escape it by changing into her ash form. After Klaw became temporarily commingled with the ship of the cosmic entity Galactus and reconstructed by Doctor Doom, he became able to create semi-autonomous creatures that he could direct to attack his foes and his creatures are similarly made of solidified sound and display a similar superhuman strength level as Klaw himself.


title: Klaw (character)

text: Klaw is unable to regain his original organic form. He has a susceptibility to vibranium, which can cause his mass/energy form to temporarily collapse. He is also subject to temporary mild insanity when forced to exist as sonic energy without humanoid form for long periods of time. As a result of his transformation, Klaw was at first unable to exist outside a medium that allows the propagation of sound waves (i.e. in a vacuum) without the technological improvements made to his sonic converter by AIM. But after being reconstituted by A.I.M. his "solid sound" body has different properties than normal sound waves and is not affected by a vacuum. It was demonstrated that in this form that Klaw could also generate and direct sonic attacks through physical objects without needing his emitter by merely touching the material.


title: Klaw (character)

text: In the Heroes Reborn universe, created by Franklin Richards, Klaw appeared as a member of Loki's Masters of Evil.


title: Klaw (character)

text: Ulysses Klaue appears in media set in the Marvel Cinematic Universe (MCU), portrayed by Andy Serkis. This version is an Afrikaner arms dealer, an old acquaintance of Tony Stark from before the events of the live-action film "Iron Man", and was literally branded a thief when Klaue successfully stole a large amount of Vibranium from Wakanda. Klaue first appears in the 2015 live-action film "", and makes a subsequent appearance in the 2018 live-action film "Black Panther". Additionally, Serkis voices an alternate timeline version of Klaue in the Disney+ animated series "What If...?" episode "What If... Killmonger Rescued Tony Stark?"


title: Kremenchuk

text: Kremenchuk (; ) is an industrial city in central Ukraine which stands on the banks of the Dnipro River. The city serves as the administrative center of the Kremenchuk Raion (district) in Poltava Oblast (province). Kremenchuk is administratively incorporated as a city of oblast significance administered by its own city council and does not form a part of the raion. Its population is approximately Along with its city-satellites Svitlovodsk and Horishni Plavni, it is an urban agglomeration and transportation hub.


title: Kremenchuk

text: Although not as large as some other oblast centers and cities of regional significance, Kremenchuk has a large industrial center in Ukraine and Eastern Europe. A KrAZ truck plant, the Kremenchuk Oil Refinery of Ukrtatnafta, the Kriukiv Railway Car Building Works, and Kremenchuk Hydroelectric Power Plant, in nearby Svitlovodsk, are located in or near Kremenchuk. Highway M22 crosses the Dnieper over the dam of the power plant.


title: Kremenchuk

text: Originally established on the left bank, Kremenchuk eventually incorporated the city of on the right bank. The Kryukiv Railway Car Building Works is one of the oldest railway-repair and rail-car-building factories in Eastern Europe, dating from 1869.


title: Kremenchuk

text: Kremenchuk's Ukrtatnafta oil refinery is the largest in Ukraine and for a while was the only one operating since the beginning of the conflict with Russia that left refineries in the Donbas inactive. Because of Russian attacks during the 2022 Russian invasion of Ukraine, the refinery is expected to be out of operation for the remainder of 2022.


title: Kremenchuk

text: Kremenchuk was founded in 1571 as a fortress. The name Kremenchuk is explained as deriving from the word "kremen" - flint (a mineral) because the city is located on a giant chert plate. An alternative explanation says that "Kremenchuk" is the Turkish for "small fortress".


title: Kremenchuk

text: In 1625, at Lake Kurukove in Kremenchuk, the Treaty of Kurukove was signed between the Cossacks and the Poles. Since the establishment of Cossack Hetmanate, the city was part of the Chyhyryn Polk (regiment). Following the Russo-Polish War (1654–1667) and Treaty of Andrusovo, the city was secured by Tsardom of Russia and became part of the Myrhorod Polk (regiment) within the left-bank Cossack Hetmanate. The city played a key role of the Russian colonization policy of Ukraine and their striving for the shores of Black Seas as regional administrative center of the early Novorossiya Governorate and Yekaterinoslav Vice-regency (Namestnichestvo). With creation of Novorossiya Governorate, in Kremenchuk was created Dnieper Pikers Regiment and coincidentally few years later (1768–69) in the neighboring regions of Poland started out so called Koliyivshchyna (literally the Piker's unrest). Here in 1786 started his military career the Russian general Alexander Suvorov when he was appointed a commander the local garrison (in preparation of the 1787–1792 Russo-Turkish War).


title: Kremenchuk

text: Following the loss in the Crimean War, in Russia started intensively to be installed a network of railroads and in 1869 in Kryukiv were built small railcar repair shops, while in 1872 the city of Kriukiv was connected with Kremenchuk by a railroad bridge over Dnieper. In 1870 in Kremenchuk was built a factory in production and maintenance of agrarian equipment and iron cast products. In 1899 in Kremenchuk was introduced a network of tramway transportation that existed until the complete establishment of Soviet regime in Ukraine in 1921.


title: Kremenchuk

text: During the Russian February Revolution of 1917 the power in city was controlled by a council (soviet) of workers' deputies which was dominated by the Russian Social Democratic Labour Party and the head of the city council became a future Ukrainian Communist leader Yuriy Lapchynskyi. During the Ukrainian–Soviet War, on 26 January 1918 the Russian Bolshevik troops secured the city, however already in February of the same year they had to withdraw due to the treaty of Brest-Litovsk and advance of German and Ukrainian armies. Following the World War I hostilities between the Bolshevik Russia and Ukraine renewed and on 1 February 1919 the Russian Red Army once again secured the city. However, in May of the same year Kremechuk was engulfed in the insurgency of Otaman Grigoriev who earlier sided with Bolsheviks and drove the international force of Triple Entante from Odessa. From July to December 1919 the city was occupied by the Russian "White Guard" troops of Anton Denikin. Following their withdrawal, the Denikin's troops blew up the railroad bridge.


title: Kremenchuk

text: In 1920–1922, the city was an administrative center of briefly existed Kremenchuk Governorate during a peasant insurgency (Kholodnyi Yar) near Chyhyryn (just west of the city). During 1930s the Kremenchuk's industry was transformed, its Kriukiv railcar repair shops became a railcar manufacturing factory, while its factory in production of agrarian equipment changed to manufacturing road equipment.


title: Kremenchuk

text: During World War II (1939-1945), Kremenchuk suffered heavily under Nazi occupation. It was occupied from September 15, 1941, to September 29, 1943. More than 90% of the city's buildings were leveled over the course of the war. 29 September, the day when the city was liberated from the Nazis in 1943, is celebrated in Kremenchuk as the City Day. Despite a remarkable post-war recovery and a healthier economy, Kremenchuk lacks much of the architectural charm and distinctly Ukrainian (rather than Russian) character of its sister city, the oblast capital of Poltava.


title: Kremenchuk

text: During the Cold War, Kremenchuk became the headquarters for the 43rd Rocket Division of the 43rd Army of the Soviet Strategic Rocket Forces. The division was equipped with R-12 Dvina intercontinental ballistic missiles.


title: Kremenchuk

text: In 1975 the city of Kryukiv was merged with Kremenchuk, while Kremenchuk was divided in two raions in city.


title: Kremenchuk

text: In 2014 during the mass demolition of monuments to Vladimir Lenin in Ukraine, in the city were removed two monuments of the Russian Communist leader in the city center and near the Kryukiv Railcar Factory.


title: Kremenchuk

text: Oleh Babayev, the mayor of Kremenchuk was assassinated on July 26, 2014. Oleh Babayev opposed separatism and promoted national unity, prior to becoming mayor he was a member of the Batkivshchyna political party which opposed Victor Yanukovich. His political views and Kremenchuk's large industrial base may have been the motivation for the attack.


title: Kremenchuk

text: During the 2014 pro-Russian unrest in Ukraine security at the Kremenchuk Reservoir was heightened as it was seen as a possible target for saboteurs.


title: Kremenchuk

text: During the 2022 Russian invasion of Ukraine, Kremenchuk has been under attack by Russian forces. On April 27 and May 12 an oil refinery was hit by Russian missiles and will be out of operation for months. On June 27 a shopping mall was hit by Russian missiles and caught fire, 16 people died and 59 were injured. Just after the strike, a nearby factory was hit. Russian authorities claimed that the factory hosted weapons supplied by the US and European countries. In 2014, the factory was known to repair armoured personnel carriers (BTR-70s).


title: Kremenchuk

text: Kremenchuk is the economic center of the Poltava Oblast and one of the leading industrial centers of Ukraine. , it contributed about 7 percent of the national economy and accounted for more than 50 percent of the industrial output in Poltava Oblast. The city is home to KrAZ, a truck-manufacturing company (one of the largest in Eastern Europe) as well as a major European oil refinery operated by Ukrtatnafta, the road-making machine works, Kremenchuk Automobile Assembly Plant, the Kryukivsky Car Manufacturing Plant, train railway rolling stock wagons, the wheel plant, the carbon black plant, the steel works and others.


title: Kremenchuk

text: The light industries of the city include tobacco (JTI), confectionery (Roshen), a knitting factory as well as milk and meat processing plants.


title: Kremenchuk

text: Kremenchuk is one of the most important railway junctions in Central Ukraine (thanks to its geographical position and a bridge over the River Dnipro) and a major river port on the main river of Ukraine.


title: Kremenchuk

text: Kremenchuk is home to HK Kremenchuk ice hockey team who compete in the Ukrainian Championship and FC Kremin Kremenchuk football team.


title: Kremenchuk

text: Beside FC Kremin, the city was also represented by number of other professional football clubs such as FC Adoms Kremenchuk, FC Naftokhimik Kremenchuk, and FC Vahonobudivnyk Kremenchuk.


title: Kremenchuk

text: The city has several sports schools, about six stadiums including Polytechnic Stadium (main city stadium), Kremin Stadium, and others, as well as couple of swimming pools and couple of athletic halls.


title: Lincoln Continental Mark V

text: The Continental Mark V is a personal luxury coupe that was marketed by the Lincoln division of Ford Motor Company from the 1977 to 1979 model years in North America. The fourth generation of the Mark series, the model line brought an extensive modernization to the exterior and interior of the Mark IV. The Mark V introduced a sharp-edged exterior design theme, adopted by Lincoln vehicles into the end of the 1980s.


title: Lincoln Continental Mark V

text: At long, the Mark V is the longest two-door coupe ever sold by Ford Motor Company; the fifth generation Lincoln Continental sedans (233 inches long) are the only longer passenger cars ever marketed by Ford. While only sold for three years, the Mark V is the best-selling generation of the Mark series, with 228,262 examples produced.


title: Lincoln Continental Mark V

text: All Continental Mark Vs were assembled alongside the Lincoln Continental at the now-closed Wixom Assembly Plant in Wixom, Michigan. For 1980, the Mark V was replaced by the downsized Continental Mark VI; though remaining a full-size vehicle, the Mark VI saw significant reductions in exterior dimensions.


title: Lincoln Continental Mark V

text: For 1977, to reduce internal competition between the two model lines, Ford split the Ford Thunderbird from the Mark series (counterparts since the 1969 Mark III), repackaging it as the counterpart of the Mercury Cougar XR7. Replacing the slow-selling Ford Elite, the new Thunderbird gave Ford a stronger offering against the Chrysler Cordoba, Dodge Charger and the General Motors quartet of the Buick Regal, Chevrolet Monte Carlo, Oldsmobile Cutlass Supreme, and Pontiac Grand Prix.


title: Lincoln Continental Mark V

text: The Continental Mark V shares its chassis architecture with its predecessor, the Continental Mark IV (developed as a counterpart of the 1972–1976 Ford Thunderbird). During the development of the Mark V, Ford was unable to justify the expense of designing an all-new platform for the vehicle. However, following the successful launch of the Mark IV, a significant design departure would also be considered risky. Although sharing many underpinnings with the Mark IV, in the interest of fuel economy, many updates were performed by Ford engineers. Four-hundred pounds of curb weight was cut bringing the Mark V down to 4600 pounds from the Mark IVs 5000 pounds.


title: Lincoln Continental Mark V

text: In the interest of fuel economy, the 1977 Continental Mark V was equipped with the smallest-displacement engine fitted in a Lincoln or Continental since 1957. Shared with the Ford Thunderbird/Mercury Cougar and Ford LTD/Mercury Marquis, the standard engine for the Mark V was a 400 cubic-inch V8. Outside of California, the 460 V8 remained available as an option. In 1979, the dual-exhaust version of the 400 was discontinued; the 460 was discontinued in the Mark V (and in all Lincolns) by 1980.


title: Lincoln Continental Mark V

text: Marketed as the flagship vehicle of the Lincoln-Mercury Division, the Continental Mark V showcased a new design theme for the Lincoln brand, with styling features from the Mark V appearing on various Lincoln vehicles throughout the 1980s.


title: Lincoln Continental Mark V

text: The exterior design of the Mark V began life in the late 1960s, as an alternative design proposal for what would become the Continental Mark IV. During the development of the Mark V, chassis designers intended for the vehicle to use specially-designed (wider) Michelin tires, leading to widely flared wheel openings in the design. Alongside the Lincoln Continental, the Mark V was styled with sharp-edged fender lines. In contrast to Lincoln design precedents, the Mark V shifted towards horizontal edges, with a nearly flat roofline. To increase visibility, the rear window and quarter windows were enlarged.


title: Lincoln Continental Mark V

text: In Mark-series tradition, the Mark V retained the Continental "spare tire" decklid, oval opera windows, hidden headlights, and a radiator-style grille; the front fenders were given functional louvers behind the front wheels as standard equipment. In a style similar to the Mark III, the Mark V was designed with vertical dual tail lights. During its development, stylists initially designed tail lights that curved into top of the rear fender blades; the design was modified after controversial reviews from focus groups.


title: Lincoln Continental Mark V

text: While technically considered a $187 option, all Mark Vs were fitted with a vinyl roof unless specifically ordered without one. For 1979, the vinyl roof could no longer be deleted.


title: Lincoln Continental Mark V

text: Previously standard issue on Marks III and IV, Ford's 7.5-liter (460 cid) V8 (now the industry's largest remaining) was optional for 1977, as a smaller 6.6 L (400 cid) V8 became standard. The 7.5 L V8 was not available at all on Mark V in the state of California, as the powerplant was unable to meet that state's tougher EPA certification standards. Lincoln felt so bad about this, that for 1977 only, California-bound Mark Vs were offered with the newly optional turbine-style aluminum wheels as standard equipment, to compensate for the missing engine option.


title: Lincoln Continental Mark V

text: Also, 1977 was the first year since 1960 that a Mark-series model came with an all-metal, body-color painted (non-vinyl covered) roof as standard equipment. The full-vinyl roof – previously standard on Mark IV - was now optional, as was the rear-quarter Landau roof. The Givenchy Designer Series had exclusive use of a new, forward-placed, front-vinyl roof in all three years of the Mark V's production.


title: Lincoln Continental Mark V

text: Mark IV's successful Designer Series Editions continued with revised color combinations on the new Mark V, as well as revised Luxury Group Option color trim packages. First available in mid-1975, as the "Versailles Option", a renamed-for-1977 "Majestic Velour Luxury Group" carried over to the Mark V - for 1977 only (minus the upper door trim panel wood-tone moldings - which were on Mark IV with the Versailles option). The returning Gold/Cream and new Cordovan Luxury Groups came with an available unique (small block pattern) "Romano Velour" on the seat pillow inserts and matching upper door panel inserts - this too was also a relatively rare 1977-only one hit wonder.


title: Lincoln Continental Mark V

text: Another limited-run, mid-year introduction was the Spring Luxury Group option, which came in the customer's combination of selecting Dove Grey (1N) or Dark Blue Metallic (3G) for the exterior paint color, a choice of Dove Grey or Dark Blue for the vinyl roof color, bodyside molding color and paint stripe color - with those same Dove Grey and Dark Blue colors in a standard two-tone leather interior.


title: Lincoln Continental Mark V

text: Luxury wheel covers, dating back to the 1972 Mark IV, were carryover as standard on all Mark Vs, except for Designer Series models. The Mark IV-era forged aluminum wheels carried on as optional, as would new-for-1977 Turbine Style aluminum wheels (machined wheel lip and spoke edges with argent grey accent paint between the spokes, with bright, cup-style metal center caps). These new Turbine Style wheels would be standard on Designer Series models.


title: Lincoln Continental Mark V

text: Standard tires in all three years were Michelin (225-15) steel-belted radials with a narrow white sidewall design.


title: Lincoln Continental Mark V

text: First optional in 1975, and remaining so through the end of the 1979 model year, were Goodyear's LR78-15" Custom Polysteel radials, in a Lincoln-exclusive dual band wide whitewall design.


title: Lincoln Continental Mark V

text: To increase trunk space, a new-for-1977 inflatable spare tire option (which includes a pressurized canister of propellant) would replace the standard conventional full-size spare. Regardless of any exterior wheel option selected, the standard, conventional spare tire would be of either Michelin or Goodyear brand (matching the vehicle's four exterior tires), but would be mounted on a standard, 15-inch conventional steel wheel.


title: Lincoln Continental Mark V

text: An optional Illuminated Entry System—a timed (25-second) interior courtesy light illumination system with lighted door lock cylinder rings (activated by lifting either exterior door handle)—also made its debut for 1977. This feature would set the stage for Ford's exclusive and popular Illuminated/Keyless Entry System (with driver's door belt molding mounted keypad), which would first be seen on the then newly downsized Continental Mark VI, Lincoln Continental, Ford Thunderbird and Mercury Cougar XR-7 beginning in the 1980 model year.


title: Lincoln Continental Mark V

text: A larger radiator, heater core inlets and hoses were new, for improved coolant flow and heater performance. Door lock cylinders and ignition lock switches were also revised for greater theft protection. The standard 6.6 L (400 cid) V8 engine got a slight detuning for better fuel economy, while the 7.5 L V8 soldiered on for one more year.


title: Lincoln Continental Mark V

text: A super-luxurious (and expensive) Diamond Jubilee Edition Mark V was introduced to help commemorate Ford Motor Company's 75th anniversary. The Diamond Jubilee Edition was available on both the Thunderbird over at Ford, as well as the Continental Mark V. Designer Series Editions and the Luxury Group offerings continued with revised color selections and trim.


title: Lincoln Continental Mark V

text: With the mid-1977 introduction of Versailles, Lincoln was the first American car manufacturer to produce a two-stage base-coat/clear-coat paint process for their mid-sized luxury sedan. For 1978, this new two-stage paint process was expanded to both the Mark V and Continental, (for metallic colors only). This process produced a rich, deep, and especially glossy finish, because the paint pigment was protected beneath a layer of high-gloss clear acrylic enamel. Non-metallic, solid paint colors still continued to use the traditional, single-stage paint process (no clearcoat).


title: Lincoln Continental Mark V

text: Joining the optional Full Vinyl and Rear Landau Vinyl roof options for 1978, was a new, full-length, simulated convertible "Carriage Roof" option (available only in white canvas-embossed vinyl - with interior rear seat side-quarter trim panel vanity mirrors - in place of the normally standard opera windows, which were deleted with this option). The Power Glass Moonroof option was not available on Mark V when equipped with the Carriage Roof.


title: Lincoln Continental Mark V

text: Also new options for 1978: a digital (L.E.D. display) "Miles-to-Empty" fuel indicator (which replaced the standard "Low Fuel" warning light unit in its location within the instrument panel below the fuel gauge), new Wire Wheel Covers (non-locking), a fully integrated Garage Door Opener control (built into the lower edge of the driver's side illuminated visor-vanity mirror), a new driver's side outside mirror-mounted Illuminated Thermometer, as well as Ford's new 40-channel CB radio with fully integrated hand-held microphone and controls, which also included a new, integrated tri-band (AM/FM/CB) power antenna - in place of the standard issue (AM/FM) power antenna.


title: Lincoln Continental Mark V

text: Also new, (for 1978 only), were slightly revised standard Luxury wheel covers, with fewer ribs along the outside diameter of a slightly more-convex/bulging brushed center portion of the wheel cover. This wheel cover style would then only appear one more time, on the downsized 1980 Lincoln Continental and Town Car and Town Coupé models.


title: Lincoln Continental Mark V

text: 1978 also marked Ford's first usage of (the short-lived; 1978–79) electro-mechanical seat belt warning chimes, available, and standard only on Diamond Jubilee Edition. Lesser Mark Vs (in all years) were equipped with a traditional basic seatbelt warning buzzer, and for those whoever owned or own one ever started the car with the driver's door open, and not buckled in, the separately wired "key in ignition" warning buzzer unit would also start to buzz, triggering both units at the same time, each at a slightly different sound frequency.


title: Lincoln Continental Mark V

text: In the engine compartment, the now-seemingly gigantic 7.5 L (460 cid) V8 and dual-exhaust 400 V8 are discontinued, all in the name of helping Ford Motor Company meet the US government-mandated Corporate Average Fuel Economy (CAFE) standards which were enforced beginning in 1978.


title: Lincoln Continental Mark V

text: A new AM/FM stereo radio with cassette tape player, as well as Ford's new top-of-the-line Electronic AM/FM Stereo Search Radio with Quadrasonic 8-track tape player, were added as new radio options. The latter received a floor-mounted foot-switch (inboard of the physically identical floor-mounted headlamp dimmer switch), which would allow the driver to left-foot-tap the switch to scan radio stations or advance tracks on the 8-track player, without having to take their hands off the steering wheel.


title: Lincoln Continental Mark V

text: As Mark V and Continental were in their final year of being the largest, and the last "traditional-sized luxury" production cars in America (and the world, for that matter), a commemorative "Collector's Series" package (a few months later, an actual stand-alone listed model) was introduced. The ever-popular Designer Series and optional Luxury Group offerings continued - yet again in newly revised color and trim selections.


title: Lincoln Continental Mark V

text: The 1972-style Luxury Wheel Covers returned for Mark V's final year as standard issue (on all but Collector's Series and Designer Series models) - as would the optional Wire Wheel Covers (now standard on Emilio Pucci Designer Series) and Forged Aluminum Wheels. The also-optional very popular Turbine Style Aluminum Wheels continued with argent accent paint between the spokes, except on Collector's Series, and the Cartier, Bill Blass and Givenchy Designer Series - where these models would be treated to color-keyed paint between the spokes, for unique added flair.


title: Lincoln Continental Mark V

text: The Carriage Roof option (still only available in white canvas-embossed vinyl; but now standard on Bill Blass Designer Series) received new interior rear quarter trim panel inserts (a blanked off, color-keyed padded vinyl insert filler panel covering the area where the deleted opera windows were - with round (non-switch-operated) reading/courtesy lights in the center of these panels on each side; thus effectively replacing 1978's rear quarter panel vanity mirrors). These new interior quarter trim panel inserts would also appear on the Collector's Series, (in color-keyed vinyl, or cloth – depending on the seat trim color) as the exterior landau roof design also eliminated the opera windows on this model. Here, though, the reading/courtesy lights in these quarter panel inserts had control switches above the rear seat quarter armrests, to allow them to operate as customary door-jamb activated interior courtesy lights, as well as rear seat passengers being able to switch them on and off independently as true reading lamps.


title: Lincoln Continental Mark V

text: 1978's electro-mechanical seat belt warning chimes carried over into 1979...and were now not only standard on Collector's Series, but were also standard on the Designer Series models as well. From 1980-on, selected (higher-end) trim levels of Ford-Lincoln-Mercury models would adopt the use of a solid state, all-electronic combination (seat belt, 'key in ignition' and optional 'headlamps-on') warning chime module, with no moving parts, and no more buzzers.


title: Lincoln Continental Mark V

text: Full and Rear Landau vinyl roof options continued for 1979. The all-metal, body-color painted roof also continued as standard equipment - though would rarely be seen. This all-metal roof style would not appear on a Mark again until the introduction of the all-new, Fox-based aerodynamic Mark VII for 1984.


title: Lincoln Continental Mark V

text: Standard on all Mark Vs are four-wheel disc brakes (continuing is the "Sure-Track" anti-skid brake system from the Mark IV, as an option), a "Cartier" embossed logoed sweep-hand clock with day/date feature, and full power accessories including Automatic Temperature Control air conditioning, power windows, six-way power driver's seat, power radio antenna, etc.


title: Lincoln Continental Mark V

text: A new optional feature for the 1978 Mark V was the "Miles-To-Empty" indicator. This was a small rectangular display, located to the right of the steering wheel, which sat in place of the standard equipment "low fuel" warning lamp. The amber LED readout would indicate the estimated distance (in miles) available before reaching empty based on remaining fuel, fuel consumption, and driving habits. This system was a precursor to the electronic digital full-instrumentation which would be available on the 1980 Continental Mark VI. The system represents a first for an American automobile manufacturer, as it is the first dashboard LED display of an automobile's mechanical function.


title: Lincoln Continental Mark V

text: Through its production, the Continental Mark V was produced in several different editions to highlight the Mark V. While not a specific edition, the Luxury Group option package allowed buyers near-complete control over selecting exterior and interior trim options. Carrying on a tradition from the Mark IV, the Designer Series editions were Mark Vs with specially-selected exterior and interior trim.


title: Lincoln Continental Mark V

text: Two commemorative editions of the Mark V were produced: the 1978 Diamond Jubilee Edition (marking the 75th anniversary of Ford Motor Company) and 1979 Collector's Series (marking the end of Mark V production). In addition to edition-specific exterior and interior trim, both editions included virtually every available feature for the Mark V.


title: Lincoln Continental Mark V

text: From 1973 to 1981, Lincoln offered the Luxury Group option for Mark-series buyers, effectively allowing a customer to custom-design their vehicle from the dealer. In the example of the 1977–1979 Mark V, the Luxury Group was derived from an interior color name (see below), selected below. Following the color selection, the customer selected cloth or leather/vinyl interior trim. On the exterior, the customer chose the paint color(s); depending on preferences, one color could be chosen or as many as four. The roof style was chosen (landau or full-length; theoretically, a painted metal roof was available) along with its color. In addition to the roof choice, the customer chose the color of the bodyside molding (otherwise black) and the decklid paint stripe; the customer would also choose over several combinations of wheels or wheel covers and whitewall tires.


title: Lincoln Continental Mark V

text: Along with various combinations of exterior and interior trim, customers ordering the Luxury Group ordered any options from the Mark V option list. With a nearly endless number of potential combinations, the Luxury Group allowed a potential Mark V customer to build a vehicle ranging from understated and elegant to dramatically flashy, or anywhere in between.


title: Lincoln Continental Mark V

text: Below are some examples of the Luxury Group Mark Vs available throughout its three-year production run:


title: Lincoln Continental Mark V

text: Continuing the Designer Series special edition option packages introduced by the Mark IV, the Continental Mark V returned the Bill Blass, Cartier, Givenchy, and Emilio Pucci Designer Series. A "designer label" cosmetic upgrade, the four option packages each consisted of designer-coordinated exterior paint colors, interior upholstery and trim, vinyl roof and body-side moldings. Each Designer Series was distinguished by a corresponding designer's logo decal on the decklid, the designer's signature embedded in the opera window glass, along with a 22-karat gold-plated nameplate plaque to be mounted on the instrument panel (customers would receive this shortly after taking delivery of their new Mark V Designer Series).


title: Lincoln Continental Mark V

text: Along with each Designer Series differing from each other, all four Designer Series were changed in colors and trim each year. In 1979, the Bill Blass, Cartier, and Givenchy Designer Series adopted color-keyed alloy wheels alongside the Collector's Series (a feature introduced on the Diamond Jubilee Edition).


title: Lincoln Continental Mark V

text: To commemorate the 75th anniversary of Ford Motor Company in 1978; Ford released "Diamond Jubilee Editions" of the 1978 Ford Thunderbird and Continental Mark V. Adding $8,000 to the price of a Mark V, the Continental Mark V Diamond Jubilee was the most expensive vehicle ever sold by Ford Motor Company at the time, raising the price of the Mark V to over $21,000 ($ in dollars ). Only four options were available: the 460 V8 (with or without dual exhaust), a power moonroof, and a 40-channel CB radio.


title: Lincoln Continental Mark V

text: In a style similar to the Designer Series, the Diamond Jubilee Edition was given its own design. The exterior was given a nearly monochromatic exterior, with color-keyed body moldings, vinyl top, wheels, grille, hood ornament, and trunklid; two colors were available and exclusive to the edition (Diamond Blue and Jubilee Gold). Chrome trim was largely limited to the window and grille surrounds, bumpers, and trim of the fender vents (exclusive to the edition). Alongside the Lincoln Versailles, the Diamond Jubilee Edition was one of the first Ford Motor Company vehicles to utilize clearcoat paint.


title: Lincoln Continental Mark V

text: The interior was given its own model-specific trim. The split front bench seat was replaced by cloth bucket seats with a center console with a padded armrest; the rest of the interior included padded leather on high-wear areas. Designed to provide extra storage, the console stored an umbrella on the underside of the armrest. Matching its name, the opera windows featured simulated diamond chips inside the glass, with a Diamond Jubilee script on the window the hood ornament featured crystal-style inserts. All Diamond Jubilee Marks were supplied with a leather bound owner's manual and tool kit. Every new owner was given car keys matching the interior trim and could request a Ford-created cookbook entitled ""Ford Diamond Jubilee Recipe Collection"."


title: Lincoln Continental Mark V

text: In total, 5,159 Diamond Jubilee Edition Continental Mark Vs were produced. For 1979, the edition was repackaged as the Collector's Series.


title: Lincoln Continental Mark V

text: To commemorate the end of Continental Mark V production, the 1978 Diamond Jubilee Edition was repackaged for 1979 as the "Collector's Series". An $8,000 option for the Mark V ($ in dollars ), the Collector's Series Edition had a base price of nearly $22,000 ($ in dollars ). Alongside the Mark V, Lincoln marketed a similar edition of the Lincoln Continental sedan.


title: Lincoln Continental Mark V

text: Distinguished from all other examples of the Mark V by its lack of opera windows, the Collector's Series was produced in four colors Midnight Blue Moondust Metallic, White, Diamond Blue Moondust Metallic (shared with the Diamond Jubilee Edition), and Light Silver Moondust Metallic. In a slightly monochromatic appearance, midnight blue and white cars have matching vinyl tops while silver and diamond-blue cars have midnight blue vinyl tops; all examples were given a gold-colored grille with a gold-trimmed hood ornament. Inside the trunk, both the trunk floor and the underside of the decklid were lined with color-keyed midnight-blue 18-ounce carpeting.


title: Lincoln Continental Mark V

text: As with the Diamond Jubilee Edition, the Collector's Series included virtually every available feature as standard equipment on the Mark V. A cloth interior with a center console, rear-seat armrest, and bucket seats was standard; as a delete option, the Collector's Series could be ordered with a standard Mark V leather interior. Another delete option replaced the 8-track tape player with a cassette player.


title: Lincoln Continental Mark V

text: In total, 6,262 Collector's Series editions were produced. 3,900 Midnight Blue examples were built, with 2,040 White (an unknown number without any vinyl top), 197 Diamond Blue, and 125 Silver.


title: Lincoln Continental Mark V

text: Although only on sale for three model years, with a total of 228,262 examples sold, the Continental Mark V is the best-selling version of the Continental Mark Series.


title: Lincoln Continental Mark V

text: Excerpts from "Motor Trend", April 1980, which compared the then-new Mark VI (a Cartier 351-2 model with a 2.73:1 diff) against the Mark V (a Bill Blass model with a 3.08:1 diff):


title: Lincoln Continental Mark V

text: ""...another automotive era ended in 1979. The press releases summed it up by calling the '79 Continental "the last traditionally full-sized American car." The hardware of the matter is that the car is one of the largest mass-produced passenger cars ever to roll off an assembly line. With an overall length of 230.3 inches, a wheelbase of 120.3 inches, and a curb weight of 4,763 pounds, it is a dinosaur, and the changing nature of the times will no longer tolerate such blatantly consumptive machines for personal transportation..."


title: Lincoln Continental Mark V

text: "...The 1979 Mark V was the essence of unconstrained American automotive opulence, conceived in a time when fuel economy and space efficiency were the concerns of lesser cars."


title: Lincoln Continental Mark V

text: "...Though the styling of the Mark V was unchanged from '78 to '79, there were some mechanical and engineering refinements...Weight reduction techniques that included use of plastics, high-strength lightweight steel, thinner glass, and aluminum for such engine parts as the intake manifold and water pump produced a 400-pound weight reduction [from 1978], as compared to the 930 pounds surrendered by the Mark VI models."


title: Lincoln Continental Mark V

text: "...Even with the weight loss, the Mark V is a huge piece of machinery, albeit a desirable one in terms of potential value. It is the last of a breed and has sufficient quality and style to assure eventual classic status It is entirely likely that, in 10 years, the owners of such cars will discover that they have a piece of collectible automotive machinery."


title: Lincoln Continental Mark V

text: "...To drive the Mark V is to be the captain of your own huge, luxurious ship. In an operational sense, the Mark V is massive, smooth and competent only in boulevard or highway applications...What it was designed to do, it does very well. It isolates the driver and passengers from the outside world, and when you're driving, it makes you feel - and makes other people think you are - rich. Even with its rather straight-lined, sharp-edged styling, the car has a certain rakishness and projects the image of the driver as an elegant rogue."


title: Lincoln Continental Mark V

text: "...This intangible quality is exactly what we found lacking in the Mark VI. It has a more formal look - the result of a more squared-off roof and trunk line - that would tend to make you think of the driver as a successful accountant...The interior produces none of that feeling of decadence. It is light and airy, as opposed to the cocoon feeling of the Mark V, and has a little too much space-age gadgetry and undisguised plastic to fit the traditional definitions of luxury."


title: Non-English-based programming languages

text: Non-English-based programming languages are programming languages that do not use keywords taken from or inspired by English vocabulary.


title: Non-English-based programming languages

text: The use of the English language in the inspiration for the choice of elements, in particular for keywords in computer programming languages and code libraries, represents a significant trend in the history of language design. According to the HOPL online database of languages, out of the 8,500+ programming languages recorded, roughly 2,400 of them were developed in the United States, 600 in the United Kingdom, 160 in Canada, and 75 in Australia.


title: Non-English-based programming languages

text: Thus, over a third of all programming languages have been developed in countries where English is the primary language. This does not take into account the usage share of each programming language, situations where a language was developed in a non-English-speaking country but used English to appeal to an international audience (see the case of Python from the Netherlands, Ruby from Japan, and Lua from Brazil), and situations where it was based on another programming language which used English.


title: Non-English-based programming languages

text: The concept of international style programming languages was inspired by the work of British computer scientists Christopher Strachey, Peter Landin, and others. It represents a class of languages of which the line of the algorithmic languages ALGOL was exemplary.


title: Non-English-based programming languages

text: ALGOL 68's standard document was published in numerous natural languages. The standard allowed the internationalization of the programming language. On December 20, 1968, the "Final Report" (MR 101) was adopted by the Working Group, then subsequently approved by the General Assembly of UNESCO's IFIP for publication. Translations of the standard were made for Russian, German, French, Bulgarian, and then later Japanese. The standard was also available in . ALGOL 68 went on to become the GOST/ГОСТ-27974-88 standard in the Soviet Union.


title: Non-English-based programming languages

text: In English, Algol68's case statement reads case ~ in ~ out ~ esac. In Russian, this reads выб ~ в ~ либо ~ быв.


title: Non-English-based programming languages

text: Localization is the core feature of the Citrine Programming Language. In Citrine, every human language has its own version, for instance the West Frisian language version is called Citrine/FY. Citrine features localized keywords, localized numbers and localized punctuation. Users can translate code files from one language into another using a string-based approach. At the time of writing, Citrine supports 111 human languages. Support is not limited to well-known languages; all natural human languages are being accepted for inclusion, up to EGIDS-6.