prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What was the nationality and profession of the person responsible for the concept of a dimensionless number in physics and engineering?

The following are given passages.
Context 1: Passage 1:
Power factor
In electrical engineering, the power factor of an AC power system is defined as the ratio of the real power absorbed by the load to the apparent power flowing in the circuit   Real power is the average of the instantaneous product of voltage and current and represents the capacity of the electricity for performing work  Apparent power is the product of RMS current and voltage  Due to energy stored in the load and returned to the source, or due to a non-linear load that distorts the wave shape of the current drawn from the source, the apparent power may be greater than the real power, so more current flows in the circuit than would be required to transfer real power alone  A power factor magnitude of less than one indicates the voltage and current are not in phase, reducing the average product of the two  A negative power factor occurs when the device (which is normally the load) generates real power, which then flows back towards the source 
In an electric power system, a load with a low power factor draws more current than a load with a high power factor for the same amount of useful power transferred  The higher currents increase the energy lost in the distribution system and require larger wires and other equipment  Because of the costs of larger equipment and wasted energy, electrical utilities will usually charge a higher cost to industrial or commercial customers where there is a low power factor 
Power-factor correction increases the power factor of a load, improving efficiency for the distribution system to which it is attached  Linear loads with a low power factor (such as induction motors) can be corrected with a passive network of capacitors or inductors  Non-linear loads, such as rectifiers, distort the current drawn from the system  In such cases, active or passive power factor correction may be used to counteract the distortion and raise the power factor  The devices for correction of the power factor may be at a central substation, spread out over a distribution system, or built into power-consuming equipment 

General case
The general expression for power factor is given by

  
    
      
        
          
            power factor
          
        
        =
        P
        
          /
        
        
          P
          
            a
          
        
      
    
    {\displaystyle {\mbox{power factor}}=P/P_{a}}
  

  
    
      
        
          P
          
            a
          
        
        =
        
          I
          
            r
            m
            s
          
        
        
          V
          
            r
            m
            s
          
        
      
    
    {\displaystyle P_{a}=I_{rms}V_{rms}}
  where 
  
    
      
        P
      
    
    {\displaystyle P}
   is the real power measured by an ideal wattmeter, 
  
    
      
        
          I
          
            r
            m
            s
          
        
      
    
    {\displaystyle I_{rms}}
   is the rms current measured by an ideal ammeter, and 
  
    
      
        
          V
          
            r
            m
            s
          
        
      
    
    {\displaystyle V_{rms}}
   is the rms voltage measured by an ideal voltmeter   Apparent power, 
  
    
      
        
          P
          
            a
          
        
      
    
    {\displaystyle P_{a}}
  , is the product of the rms current and the rms voltage 
If the load is sourcing power back toward the generator, then 
  
    
      
        P
      
    
    {\displaystyle P}
   and 
  
    
      
        
          
            power factor
          
        
      
    
    {\displaystyle {\mbox{power factor}}}
   will be negative 

Periodic waveforms
If the waveforms are periodic with the same period which is much shorter than the averaging time of the physical meters, then the power factor can be computed by the following

  
    
      
        
          
            power factor
          
        
        =
        P
        
          /
        
        
          P
          
            a
          
        
      
    
    {\displaystyle {\mbox{power factor}}=P/P_{a}}
  

  
    
      
        
          P
          
            a
          
        
        =
        
          I
          
            r
            m
            s
          
        
        
          V
          
            r
            m
            s
          
        
      
    
    {\displaystyle P_{a}=I_{rms}V_{rms}}
  

  
    
      
        P
        =
        
          
            1
            T
          
        
        
          ∫
          
            
              t
              ′
            
          
          
            
              t
              ′
            
            +
            T
          
        
        i
        (
        t
        )
        v
        (
        t
        )
        d
        t
      
    
    {\displaystyle P={\frac {1}{T}}\int _{t'}^{t'+T}i(t)v(t)dt}
  

  
    
      
        
          I
          
            r
            m
            s
          
          
            2
          
        
        =
        
          
            1
            T
          
        
        
          ∫
          
            
              t
              ′
            
          
          
            
              t
              ′
            
            +
            T
          
        
        
          
            i
            (
            t
            )
          
          
            2
          
        
        d
        t
      
    
    {\displaystyle I_{rms}^{2}={\frac {1}{T}}\int _{t'}^{t'+T}{i(t)}^{2}dt}
  

  
    
      
        
          V
          
            r
            m
            s
          
          
            2
          
        
        =
        
          
            1
            T
          
        
        
          ∫
          
            
              t
              ′
            
          
          
            
              t
              ′
            
            +
            T
          
        
        
          
            v
            (
            t
            )
          
          
            2
          
        
        d
        t
      
    
    {\displaystyle V_{rms}^{2}={\frac {1}{T}}\int _{t'}^{t'+T}{v(t)}^{2}dt}
  where 
  
    
      
        i
        (
        t
        )
      
    
    {\displaystyle i(t)}
   is the instantaneous current, 
  
    
      
        v
        (
        t
        )
      
    
    {\displaystyle v(t)}
   is the instantaneous voltage, 
  
    
      
        
          t
          ′
        
      
    
    {\displaystyle t'}
   is an arbitrary starting time, and 
  
    
      
        T
      
    
    {\displaystyle T}
   is the period of the waveforms 

Nonperiodic waveforms
If the waveforms are not periodic and the physical meters have the same averaging time, then the equations for the periodic case can be used with the exception that 
  
    
      
        T
      
    
    {\displaystyle T}
   is the averaging time of the meters instead of the waveform period 

Linear time-invariant circuits
Linear time-invariant circuits (referred to simply as linear circuits for the rest of this article), for example, circuits consisting of combinations of resistors, inductors and capacitors have a sinusoidal response to the sinusoidal line voltage  A linear load does not change the shape of the input waveform but may change the relative timing (phase) between voltage and current, due to its inductance or capacitance 
In a purely resistive AC circuit, voltage and current waveforms are in step (or in phase), changing polarity at the same instant in each cycle  All the power entering the load is consumed (or dissipated) 
Where reactive loads are present, such as with capacitors or inductors, energy storage in the loads results in a phase difference between the current and voltage waveforms  During each cycle of the AC voltage, extra energy, in addition to any energy consumed in the load, is temporarily stored in the load in electric or magnetic fields then returned to the power grid a fraction of the period later 
Electrical circuits containing predominantly resistive loads (incandescent lamps, heating elements) have a power factor of almost 1, but circuits containing inductive or capacitive loads (electric motors, solenoid valves, transformers, fluorescent lamp ballasts, and others) can have a power factor well below 1 
In the electric power grid, reactive loads cause a continuous ebb and flow of nonproductive power   A circuit with a low power factor will use a greater amount of current to transfer a given quantity of real power than a circuit with a high power factor thus causing increased losses due to resistive heating in power lines, and requiring the use of higher-rated conductors and transformers 

Definition and calculation
AC power has two components:

Real power or active power (
  
    
      
        P
      
    
    {\displaystyle P}
  ) (sometimes called average power), expressed in watts (W)
Reactive power (
  
    
      
        Q
      
    
    {\displaystyle Q}
  ), usually expressed in reactive volt-amperes (var)Together, they form the complex power (
  
    
      
        S
      
    
    {\displaystyle S}
  ) expressed as volt-amperes (VA)  The magnitude of the complex power is the apparent power (
  
    
      
        
          |
        
        S
        
          |
        
      
    
    {\displaystyle |S|}
  ), also expressed in volt-amperes (VA) 
The VA and var are non-SI units mathematically identical to the watt, but are used in engineering practice instead of the watt to state what quantity is being expressed  The SI explicitly disallows using units for this purpose or as the only source of information about a physical quantity as used The power factor is defined as the ratio of real power to apparent power  As power is transferred along a transmission line, it does not consist purely of real power that can do work once transferred to the load, but rather consists of a combination of real and reactive power, called apparent power  The power factor describes the amount of real power transmitted along a transmission line relative to the total apparent power flowing in the line The power factor can also be computed as the cosine of the angle θ by which the current waveform lags or leads the voltage waveform, 

Power triangle
One can relate the various components of AC power by using the power triangle in vector space  Real power extends horizontally in the real axis and reactive power extends in the direction of the imaginary axis  Complex power (and its magnitude, apparent power) represents a combination of both real and reactive power, and therefore can be calculated by using the vector sum of these two components  We can conclude that the mathematical relationship between these components is:

  
    
      
        
          
            
              
                S
              
              
                
                =
                P
                +
                j
                Q
              
            
            
              
                
                  |
                
                S
                
                  |
                
              
              
                
                =
                
                  
                    
                      P
                      
                        2
                      
                    
                    +
                    
                      Q
                      
                        2
                      
                    
                  
                
              
            
            
              
                
                  pf
                
              
              
                
                =
                cos
                ⁡
                
                  θ
                
                =
                
                  
                    P
                    
                      
                        |
                      
                      S
                      
                        |
                      
                    
                  
                
                =
                cos
                ⁡
                
                  
                    (
                    
                      arctan
                      ⁡
                      
                        
                          (
                          
                            
                              Q
                              P
                            
                          
                          )
                        
                      
                    
                    )
                  
                
              
            
            
              
                Q
              
              
                
                =
                P
                
                tan
                ⁡
                (
                arccos
                ⁡
                (
                
                  pf
                
                )
                )
              
            
          
        
      
    
    {\displaystyle {\begin{aligned}S&=P+jQ\\|S|&={\sqrt {P^{2}+Q^{2}}}\\{\text{pf}}&=\cos {\theta }={\frac {P}{|S|}}=\cos {\left(\arctan {\left({\frac {Q}{P}}\right)}\right)}\\Q&=P\,\tan(\arccos({\text{pf}}))\end{aligned}}}
  As the angle θ increases with fixed total apparent power, current and voltage are further out of phase with each other  Real power decreases, and reactive power increases 

Lagging, leading and unity power factors
Power factor is described as leading if the current waveform is advanced in phase with respect to voltage, or lagging when the current waveform is behind the voltage waveform  A lagging power factor signifies that the load is inductive, as the load will consume reactive power  The reactive component 
  
    
      
        Q
      
    
    {\displaystyle Q}
   is positive as reactive power travels through the circuit and is consumed by the inductive load  A leading power factor signifies that the load is capacitive, as the load supplies reactive power, and therefore the reactive component 
  
    
      
        Q
      
    
    {\displaystyle Q}
   is negative as reactive power is being supplied to the circuit 

If θ is the phase angle between the current and voltage, then the power factor is equal to the cosine of the angle, 
  
    
      
        cos
        ⁡
        θ
      
    
    {\displaystyle \cos \theta }
  :

  
    
      
        
          |
        
        P
        
          |
        
        =
        
          |
        
        S
        
          |
        
        cos
        ⁡
        θ
      
    
    {\displaystyle |P|=|S|\cos \theta }
  Since the units are consistent, the power factor is by definition a dimensionless number between -1 and 1  When power factor is equal to 0, the energy flow is entirely reactive and stored energy in the load returns to the source on each cycle  When the power factor is 1, referred to as unity power factor, all the energy supplied by the source is consumed by the load  Power factors are usually stated as leading or lagging to show the sign of the phase angle  Capacitive loads are leading (current leads voltage), and inductive loads are lagging (current lags voltage) 
If a purely resistive load is connected to a power supply, current and voltage will change polarity in step, the power factor will be 1, and the electrical energy flows in a single direction across the network in each cycle  Inductive loads such as induction motors (any type of wound coil) consume reactive power with the current waveform lagging the voltage  Capacitive loads such as capacitor banks or buried cables generate reactive power with the current phase leading the voltage  Both types of loads will absorb energy during part of the AC cycle, which is stored in the device's magnetic or electric field, only to return this energy back to the source during the rest of the cycle 
For example, to get 1 kW of real power, if the power factor is unity, 1 kVA of apparent power needs to be transferred (1 kW ÷ 1 = 1 kVA)  At low values of power factor, more apparent power needs to be transferred to get the same real power  To get 1 kW of real power at 0 2 power factor, 5 kVA of apparent power needs to be transferred (1 kW ÷ 0 2 = 5 kVA)  This apparent power must be produced and transmitted to the load and is subject to losses in the production and transmission processes 
Electrical loads consuming alternating current power consume both real power and reactive power  The vector sum of real and reactive power is the complex power, and its magnitude is the apparent power  The presence of reactive power causes the real power to be less than the apparent power, and so, the electric load has a power factor of less than 1 
A negative power factor (0 to −1) can result from returning active power to the source, such as in the case of a building fitted with solar panels when surplus power is fed back into the supply 

Power factor correction of linear loads
A high power factor is generally desirable in a power delivery system to reduce losses and improve voltage regulation at the load  Compensating elements near an electrical load will reduce the apparent power demand on the supply system  Power factor correction may be applied by an electric power transmission utility to improve the stability and efficiency of the network  Individual electrical customers who are charged by their utility for low power factor may install correction equipment to increase their power factor so as to reduce costs 
Power factor correction brings the power factor of an AC power circuit closer to 1 by supplying or absorbing reactive power, adding capacitors or inductors that act to cancel the inductive or capacitive effects of the load, respectively  In the case of offsetting the inductive effect of motor loads, capacitors can be locally connected  These capacitors help to generate reactive power to meet the demand of the inductive loads  This will keep that reactive power from having to flow all the way from the utility generator to the load  In the electricity industry, inductors are said to consume reactive power and capacitors are said to supply it, even though reactive power is just energy moving back and forth on each AC cycle 
The reactive elements in power factor correction devices can create voltage fluctuations and harmonic noise when switched on or off  They will supply or sink reactive power regardless of whether there is a corresponding load operating nearby, increasing the system's no-load losses  In the worst case, reactive elements can interact with the system and with each other to create resonant conditions, resulting in system instability and severe overvoltage fluctuations  As such, reactive elements cannot simply be applied without engineering analysis 

An automatic power factor correction unit consists of a number of capacitors that are switched by means of contactors  These contactors are controlled by a regulator that measures power factor in an electrical network  Depending on the load and power factor of the network, the power factor controller will switch the necessary blocks of capacitors in steps to make sure the power factor stays above a selected value 
In place of a set of switched capacitors, an unloaded synchronous motor can supply reactive power  The reactive power drawn by the synchronous motor is a function of its field excitation  It is referred to as a synchronous condenser  It is started and connected to the electrical network  It operates at a leading power factor and puts vars onto the network as required to support a system's voltage or to maintain the system power factor at a specified level 
The synchronous condenser's installation and operation are identical to those of large electric motors  Its principal advantage is the ease with which the amount of correction can be adjusted; it behaves like a variable capacitor  Unlike with capacitors, the amount of reactive power supplied is proportional to voltage, not the square of voltage; this improves voltage stability on large networks   Synchronous condensers are often used in connection with high-voltage direct-current transmission projects or in large industrial plants such as steel mills 
For power factor correction of high-voltage power systems or large, fluctuating industrial loads, power electronic devices such as the static VAR compensator or STATCOM are increasingly used  These systems are able to compensate sudden changes of power factor much more rapidly than contactor-switched capacitor banks and, being solid-state, require less maintenance than synchronous condensers 

Non-linear loads
Examples of non-linear loads on a power system are rectifiers (such as used in a power supply), and arc discharge devices such as fluorescent lamps, electric welding machines, or arc furnaces  Because current in these systems is interrupted by a switching action, the current contains frequency components that are multiples of the power system frequency  Distortion power factor is a measure of how much the harmonic distortion of a load current decreases the average power transferred to the load 

Non-sinusoidal components
In linear circuits having only sinusoidal currents and voltages of one frequency, the power factor arises only from the difference in phase between the current and voltage  This is displacement power factor Non-linear loads change the shape of the current waveform from a sine wave to some other form  Non-linear loads create harmonic currents in addition to the original (fundamental frequency) AC current  This is of importance in practical power systems that contain non-linear loads such as rectifiers, some forms of electric lighting, electric arc furnaces, welding equipment, switched-mode power supplies, variable speed drives and other devices  Filters consisting of linear capacitors and inductors can prevent harmonic currents from entering the supplying system 
To measure the real power or reactive power, a wattmeter designed to work properly with non-sinusoidal currents must be used 

Distortion power factor
The distortion power factor is the distortion component associated with the harmonic voltages and currents present in the system 

  
    
      
        
          
            
              
                
                  
                    distortion power factor
                  
                
              
              
                
                =
                
                  
                    
                      I
                      
                        1
                      
                    
                    
                      I
                      
                        r
                        m
                        s
                      
                    
                  
                
              
            
            
              
              
                
                =
                
                  
                    
                      I
                      
                        1
                      
                    
                    
                      
                        I
                        
                          1
                        
                        
                          2
                        
                      
                      +
                      
                        I
                        
                          2
                        
                        
                          2
                        
                      
                      +
                      
                        I
                        
                          3
                        
                        
                          2
                        
                      
                      +
                      
                        I
                        
                          4
                        
                        
                          2
                        
                      
                      +
                      ⋯
                    
                  
                
              
            
            
              
              
                
                =
                
                  
                    1
                    
                      1
                      +
                      
                        
                          
                            
                              I
                              
                                2
                              
                              
                                2
                              
                            
                            +
                            
                              I
                              
                                3
                              
                              
                                2
                              
                            
                            +
                            
                              I
                              
                                4
                              
                              
                                2
                              
                            
                            +
                            ⋯
                          
                          
                            I
                            
                              1
                            
                            
                              2
                            
                          
                        
                      
                    
                  
                
              
            
            
              
              
                
                =
                
                  
                    1
                    
                      1
                      +
                      T
                      H
                      
                        D
                        
                          i
                        
                        
                          2
                        
                      
                    
                  
                
              
            
          
        
      
    
    {\displaystyle {\begin{aligned}{\mbox{distortion power factor}}&={\frac {I_{1}}{I_{rms}}}\\&={\frac {I_{1}}{\sqrt {I_{1}^{2}+I_{2}^{2}+I_{3}^{2}+I_{4}^{2}+\cdots }}}\\&={\frac {1}{\sqrt {1+{\frac {I_{2}^{2}+I_{3}^{2}+I_{4}^{2}+\cdots }{I_{1}^{2}}}}}}\\&={\frac {1}{\sqrt {1+THD_{i}^{2}}}}\\\end{aligned}}}
  
  
    
      
        
          
            
              THD
            
          
          
            i
          
        
      
    
    {\displaystyle {\mbox{THD}}_{i}}
   is the total harmonic distortion of the load current  

  
    
      
        T
        H
        
          D
          
            i
          
        
        =
        
          
            
              
                
                  ∑
                  
                    h
                    =
                    2
                  
                  
                    ∞
                  
                
                
                  I
                  
                    h
                  
                  
                    2
                  
                
              
            
            
              I
              
                1
              
            
          
        
        =
        
          
            
              
                I
                
                  2
                
                
                  2
                
              
              +
              
                I
                
                  3
                
                
                  2
                
              
              +
              
                I
                
                  4
                
                
                  2
                
              
              +
              ⋯
            
            
              I
              
                1
              
            
          
        
      
    
    {\displaystyle THD_{i}={\frac {\sqrt {\displaystyle \sum _{h=2}^{\infty }I_{h}^{2}}}{I_{1}}}={\frac {\sqrt {I_{2}^{2}+I_{3}^{2}+I_{4}^{2}+\cdots }}{I_{1}}}}
  
  
    
      
        
          I
          
            1
          
        
      
    
    {\displaystyle I_{1}}
   is the fundamental component of the current and 
  
    
      
        
          I
          
            
              rms
            
          
        
      
    
    {\displaystyle I_{\mbox{rms}}}
   is the total current – both are root mean square-values (distortion power factor can also be used to describe individual order harmonics, using the corresponding current in place of total current)  This definition with respect to total harmonic distortion assumes that the voltage stays undistorted (sinusoidal, without harmonics)  This simplification is often a good approximation for stiff voltage sources (not being affected by changes in load downstream in the distribution network)  Total harmonic distortion of typical generators from current distortion in the network is on the order of 1–2%, which can have larger scale implications but can be ignored in common practice The result when multiplied with the displacement power factor (DPF) is the overall, true power factor or just power factor (PF):

  
    
      
        
          
            PF
          
        
        =
        
          
            
              cos
              ⁡
              
                φ
              
            
            
              1
              +
              T
              H
              
                D
                
                  i
                
                
                  2
                
              
            
          
        
      
    
    {\displaystyle {\mbox{PF}}={\frac {\cos {\varphi }}{\sqrt {1+THD_{i}^{2}}}}}

Distortion in three-phase networks
In practice, the local effects of distortion current on devices in a three-phase distribution network rely on the magnitude of certain order harmonics rather than the total harmonic distortion 
For example, the triplen, or zero-sequence, harmonics (3rd, 9th, 15th, etc ) have the property of being in-phase when compared line-to-line  In a delta-wye transformer, these harmonics can result in circulating currents in the delta windings and result in greater resistive heating  In a wye-configuration of a transformer, triplen harmonics will not create these currents, but they will result in a non-zero current in the neutral wire  This could overload the neutral wire in some cases
and create error in kilowatt-hour metering systems and billing revenue   The presence of current harmonics in a transformer also result in larger eddy currents in the magnetic core of the transformer  Eddy current losses generally increase as the square of the frequency, lowering the transformer's efficiency, dissipating additional heat, and reducing its service life Negative-sequence harmonics (5th, 11th, 17th, etc ) combine 120 degrees out of phase, similarly to the fundamental harmonic but in a reversed sequence   In generators and motors, these currents produce magnetic fields which oppose the rotation of the shaft and sometimes result in damaging mechanical vibrations 

Switched-mode power supplies
A particularly important class of non-linear loads is the millions of personal computers that typically incorporate switched-mode power supplies (SMPS) with rated output power ranging from a few watts to more than 1 kW  Historically, these very-low-cost power supplies incorporated a simple full-wave rectifier that conducted only when the mains instantaneous voltage exceeded the voltage on the input capacitors   This leads to very high ratios of peak-to-average input current, which also lead to a low distortion power factor and potentially serious phase and neutral loading concerns 
A typical switched-mode power supply first converts the AC mains to a DC bus by means of a bridge rectifier  The output voltage is then derived from this DC bus  The problem with this is that the rectifier is a non-linear device, so the input current is highly non-linear  That means that the input current has energy at harmonics of the frequency of the voltage  This presents a problem for power companies, because they cannot compensate for the harmonic current by adding simple capacitors or inductors, as they could for the reactive power drawn by a linear load  Many jurisdictions are beginning to require power factor correction for all power supplies above a certain power level 
Regulatory agencies such as the EU have set harmonic limits as a method of improving power factor  Declining component cost has hastened implementation of two different methods  To comply with current EU standard EN61000-3-2, all switched-mode power supplies with output power more than 75 W must at least include passive power factor correction  80 Plus power supply certification requires a power factor of 0 9 or more 

Power factor correction (PFC) in non-linear loads
Passive PFC
The simplest way to control the harmonic current is to use a filter that passes current only at line frequency (50 or 60 Hz)  The filter consists of capacitors or inductors and makes a non-linear device look more like a linear load  An example of passive PFC is a valley-fill circuit 
A disadvantage of passive PFC is that it requires larger inductors or capacitors than an equivalent power active PFC circuit  Also, in practice, passive PFC is often less effective at improving the power factor 

Active PFC
Active PFC is the use of power electronics to change the waveform of current drawn by a load to improve the power factor   Some types of the active PFC are buck, boost, buck-boost and synchronous condenser   Active power factor correction can be single-stage or multi-stage 
In the case of a switched-mode power supply, a boost converter is inserted between the bridge rectifier and the main input capacitors  The boost converter attempts to maintain a constant voltage at its output while drawing a current that is always in phase with and at the same frequency as the line voltage  Another switched-mode converter inside the power supply produces the desired output voltage from the DC bus  This approach requires additional semiconductor switches and control electronics but permits cheaper and smaller passive components  It is frequently used in practice 
For a three-phase SMPS, the Vienna rectifier configuration may be used to substantially improve the power factor 
SMPSs with passive PFC can achieve power factor of about 0 7–0 75, SMPSs with active PFC, up to 0 99 power factor, while a SMPS without any power factor correction have a power factor of only about 0 55–0 65 Due to their very wide input voltage range, many power supplies with active PFC can automatically adjust to operate on AC power from about 100 V (Japan) to 240 V (Europe)  That feature is particularly welcome in power supplies for laptops 

Dynamic PFC
Dynamic power factor correction (DPFC), sometimes referred to as real-time power factor correction, is used for electrical stabilization in cases of rapid load changes (e g  at large manufacturing sites)  DPFC is useful when standard power factor correction would cause over or under correction   DPFC uses semiconductor switches, typically thyristors, to quickly connect and disconnect capacitors or inductors to improve power factor 

Importance in distribution systems
Power factors below 1 0 require a utility to generate more than the minimum volt-amperes necessary to supply the real power (watts)  This increases generation and transmission costs  For example, if the load power factor were as low as 0 7, the apparent power would be 1 4 times the real power used by the load  Line current in the circuit would also be 1 4 times the current required at 1 0 power factor, so the losses in the circuit would be doubled (since they are proportional to the square of the current)  Alternatively, all components of the system such as generators, conductors, transformers, and switchgear would be increased in size (and cost) to carry the extra current  When the power factor is close to unity, for the same kVA rating of the transformer more load current can be supplied Utilities typically charge additional costs to commercial customers who have a power factor below some limit, which is typically 0 9 to 0 95   Engineers are often interested in the power factor of a load as one of the factors that affect the efficiency of power transmission 
With the rising cost of energy and concerns over the efficient delivery of power, active PFC has become more common in consumer electronics  Current Energy Star guidelines for computers call for a power factor of ≥ 0 9 at 100% of rated output in the PC's power supply  According to a white paper authored by Intel and the U S  Environmental Protection Agency, PCs with internal power supplies will require the use of active power factor correction to meet the ENERGY STAR 5 0 Program Requirements for Computers In Europe, EN 61000-3-2 requires power factor correction be incorporated into consumer products 
Small customers, such as households, are not usually charged for reactive power and so power factor metering equipment for such customers will not be installed 

Measurement techniques
The power factor in a single-phase circuit (or balanced three-phase circuit) can be measured with the wattmeter-ammeter-voltmeter method, where the power in watts is divided by the product of measured voltage and current  The power factor of a balanced polyphase circuit is the same as that of any phase  The power factor of an unbalanced polyphase circuit is not uniquely defined 
A direct reading power factor meter can be made with a moving coil meter of the electrodynamic type, carrying two perpendicular coils on the moving part of the instrument  The field of the instrument is energized by the circuit current flow  The two moving coils, A and B, are connected in parallel with the circuit load   One coil, A, will be connected through a resistor and the second coil, B, through an inductor, so that the current in coil B is delayed with respect to current in A  At unity power factor, the current in A is in phase with the circuit current, and coil A provides maximum torque, driving the instrument pointer toward the 1 0 mark on the scale  At zero power factor, the current in coil B is in phase with circuit current, and coil B provides torque to drive the pointer towards 0  At intermediate values of power factor, the torques provided by the two coils add and the pointer takes up intermediate positions Another electromechanical instrument is the polarized-vane type  In this instrument a stationary field coil produces a rotating magnetic field, just like a polyphase motor  The field coils are connected either directly to polyphase voltage sources or to a phase-shifting reactor if a single-phase application   A second stationary field coil, perpendicular to the voltage coils, carries a current proportional to current in one phase of the circuit  The moving system of the instrument consists of two vanes that are magnetized by the current coil  In operation, the moving vanes take up a physical angle equivalent to the electrical angle between the voltage source and the current source  This type of instrument can be made to register for currents in both directions, giving a four-quadrant display of power factor or phase angle 
Digital instruments exist that directly measure the time lag between voltage and current waveforms  Low-cost instruments of this type measure the peak of the waveforms  More sophisticated versions measure the peak of the fundamental harmonic only, thus giving a more accurate reading for phase angle on distorted waveforms  Calculating power factor from voltage and current phases is only accurate if both waveforms are sinusoidal Power Quality Analyzers, often referred to as Power Analyzers, make a digital recording of the voltage and current waveform (typically either one phase or three phase) and accurately calculate true power (watts), apparent power (VA) power factor, AC voltage, AC current, DC voltage, DC current, frequency, IEC61000-3-2/3-12 Harmonic measurement, IEC61000-3-3/3-11 flicker measurement, individual phase voltages in delta applications where there is no neutral line, total harmonic distortion, phase and amplitude of individual voltage or current harmonics, etc 

Mnemonics
English-language power engineering students are advised to remember:
ELI the ICE man or ELI on ICE – the voltage E, leads the current I, in an inductor L  The current I leads the voltage E in a capacitor C 
Another common mnemonic is CIVIL – in a capacitor (C) the current (I) leads voltage (V), voltage (V) leads current (I) in an inductor (L) 
Passage 2:
Womersley number
The Womersley number (
  
    
      
        α
      
    
    {\displaystyle \alpha }
   or 
  
    
      
        
          Wo
        
      
    
    {\displaystyle {\text{Wo}}}
  ) is a dimensionless number in biofluid mechanics and biofluid dynamics  It is a dimensionless expression of the pulsatile flow frequency in relation to viscous effects  It is named after John R  Womersley (1907–1958) for his work with blood flow in arteries  The Womersley number is important in keeping dynamic similarity when scaling an experiment  An example of this is scaling up the vascular system for experimental study  The Womersley number is also important in determining the thickness of the boundary layer to see if entrance effects can be ignored 
The square root of this number is also referred to as Stokes number, 
  
    
      
        
          Stk
        
        =
        
          
            Wo
          
        
      
    
    {\displaystyle {\text{Stk}}={\sqrt {\text{Wo}}}}
  , due to the pioneering work done by Sir George Stokes on the Stokes second problem 

Derivation
The Womersley number, usually denoted 
  
    
      
        α
      
    
    {\displaystyle \alpha }
  , is defined by the relation

where 
  
    
      
        L
      
    
    {\displaystyle L}
   is an appropriate length scale (for example the radius of a pipe), 
  
    
      
        ω
      
    
    {\displaystyle \omega }
   is the angular frequency of the oscillations, and 
  
    
      
        ν
      
    
    {\displaystyle \nu }
  , 
  
    
      
        ρ
      
    
    {\displaystyle \rho }
  , 
  
    
      
        μ
      
    
    {\displaystyle \mu }
   are the kinematic viscosity, density, and dynamic viscosity of the fluid, respectively  The Womersley number is normally written in the powerless form

In the cardiovascular system, the pulsation frequency, density, and dynamic viscosity are constant, however the Characteristic length, which in the case of blood flow is the vessel diameter, changes by three orders of magnitudes (OoM) between the aorta and fine capillaries  The Womersley number thus changes due to the variations in vessel size across the vasculature system  The Womersley number of human blood flow can be estimated as follows:

  
    
      
        α
        =
        L
        
          
            (
            
              
                
                  ω
                  ρ
                
                μ
              
            
            )
          
          
            
              1
              2
            
          
        
        
         
      
    
    {\displaystyle \alpha =L\left({\frac {\omega \rho }{\mu }}\right)^{\frac {1}{2}}\, }
  
Below is a list of estimated Womersley numbers in different human blood vessels:

It can also be written in terms of the dimensionless Reynolds number (Re) and Strouhal number (St):

The Womersley number arises in the solution of the linearized Navier–Stokes equations for oscillatory flow (presumed to be laminar and incompressible) in a tube   It expresses the ratio of the transient or oscillatory inertia force to the shear force  When 
  
    
      
        α
      
    
    {\displaystyle \alpha }
   is small (1 or less), it means the frequency of pulsations is sufficiently low that a parabolic velocity profile has time to develop during each cycle, and the flow will be very nearly in phase with the pressure gradient, and will be given to a good approximation by Poiseuille's law, using the instantaneous pressure gradient   When 
  
    
      
        α
      
    
    {\displaystyle \alpha }
   is large (10 or more), it means the frequency of pulsations is sufficiently large that the velocity profile is relatively flat or plug-like, and the mean flow lags the pressure gradient by about 90 degrees  Along with the Reynolds number, the Womersley number governs dynamic similarity The boundary layer thickness 
  
    
      
        δ
      
    
    {\displaystyle \delta }
   that is associated with the transient acceleration is inversely related to the Womersley number  This can be seen by recognizing the Womersley number as the square root of the Stokes number 
where 
  
    
      
        L
      
    
    {\displaystyle L}
   is a characteristic length 

Biofluid mechanics
In a flow distribution network that progresses from a large tube to many small tubes (e g  a blood vessel network), the frequency, density, and dynamic viscosity are (usually) the same throughout the network, but the tube radii change  Therefore, the Womersley number is large in large vessels and small in small vessels  As the vessel diameter decreases with each division the Womersley number soon becomes quite small  The Womersley numbers tend to 1 at the level of the terminal arteries  In the arterioles, capillaries, and venules the Womersley numbers are less than one  In these regions the inertia force becomes less important and the flow is determined by the balance of viscous stresses and the pressure gradient  This is called microcirculation Some typical values for the Womersley number in the cardiovascular system for a canine at a heart rate of 2 Hz are:
Ascending aorta – 13 2
Descending aorta – 11 5
Abdominal aorta – 8
Femoral artery – 3 5
Carotid artery – 4 4
Arterioles – 0 04
Capillaries – 0 005
Venules – 0 035
Inferior vena cava – 8 8
Main pulmonary artery – 15It has been argued that universal biological scaling laws (power-law relationships that describe variation of quantities such as metabolic rate, lifespan, length, etc , with body mass) are a consequence of the need for energy minimization, the fractal nature of vascular networks, and the crossover from high to low Womersley number flow as one progresses from large to small vessels 
Passage 3:
Weissenberg number
The Weissenberg number (Wi) is a dimensionless number used in the study of viscoelastic flows  It is named after Karl Weissenberg  The dimensionless number compares the elastic forces to the viscous forces  It can be variously defined, but it is usually given by the relation of stress relaxation time of the fluid and a specific process time  For instance, in simple steady shear, the Weissenberg number, often abbreviated as Wi or We, is defined as the shear rate 
  
    
      
        
          
            
              γ
              ˙
            
          
        
      
    
    {\displaystyle {\dot {\gamma }}}
   times the relaxation time 
  
    
      
        λ
      
    
    {\displaystyle \lambda }
    Using the Maxwell model and the Oldroyd-B model, the elastic forces can be written as the first Normal force (N1) 

  
    
      
        
          Wi
        
        =
        
          
            
              
                elastic forces
              
              
                viscous forces
              
            
          
        
        =
        
          
            
              
                τ
                
                  x
                  x
                
              
              −
              
                τ
                
                  y
                  y
                
              
            
            
              τ
              
                x
                y
              
            
          
        
        =
        
          
            
              2
              λ
              μ
              
                
                  
                    
                      γ
                      ˙
                    
                  
                
                
                  2
                
              
            
            
              μ
              
                
                  
                    γ
                    ˙
                  
                
              
            
          
        
        =
        2
        
          
            
              γ
              ˙
            
          
        
        λ
         
        
      
    
    {\displaystyle {\text{Wi}}={\dfrac {\mbox{elastic forces}}{\mbox{viscous forces}}}={\frac {\tau _{xx}-\tau _{yy}}{\tau _{xy}}}={\frac {2\lambda \mu {\dot {\gamma }}^{2}}{\mu {\dot {\gamma }}}}=2{\dot {\gamma }}\lambda  \,}
  Since this number is obtained from scaling the evolution of the stress, it contains choices for the shear or elongation rate, and the length-scale  Therefore the exact definition of all non dimensional numbers should be given as well as the number itself 
While Wi is similar to the Deborah number and is often confused with it in technical literature, they have different physical interpretations  The Weissenberg number indicates the degree of anisotropy or orientation generated by the deformation, and is appropriate to describe flows with a constant stretch history, such as simple shear  In contrast, the Deborah number should be used to describe flows with a non-constant stretch history, and physically represents the rate at which elastic energy is stored or released 
Passage 4:
Ericksen number
In the study of liquid crystals, the Ericksen number (Er) is a dimensionless number used to describe the deformation of the director field under flow  It is defined as the ratio of the viscous to elastic forces  In the limit of low Ericksen number the elastic forces will exceed the viscous forces and so the director field will not be strongly affected by the flow field  The Ericksen number is named after American mathematics professor Jerald Ericksen of the University of Minnesota   The number is defined:

  
    
      
        
          
            E
            r
          
        
        =
        
          
            
              μ
              v
              L
            
            K
          
        
      
    
    {\displaystyle {\mathit {Er}}={\frac {\mu vL}{K}}}
  where

  
    
      
        μ
      
    
    {\displaystyle \mu }
   is the fluid's dynamic viscosity,

  
    
      
        v
      
    
    {\displaystyle v}
   is a characteristic scale for the fluid's velocity,

  
    
      
        L
      
    
    {\displaystyle L}
   is a characteristic scale length for the fluid flow,

  
    
      
        K
      
    
    {\displaystyle K}
   is an elasticity force, for example the elasticity modulus times an area 
Passage 5:
Qualified Person for Pharmacovigilance
In the European Union, the Qualified Person Responsible For Pharmacovigilance (QPPV) is an individual, usually an employee of a pharmaceutical company, who is personally responsible for the safety of the human pharmaceutical products marketed by that company in the EU  This function was established in 2004 by article 23 of regulation (EC) No 726/2004  The article establishes that the holder of a marketing authorization for a drug for human use must have a QPPV  When a company submits an application for permission to bring a medicinal product onto the market, the company submits a description of its system for monitoring the safety of the product in actual use (a pharmacovigilance system) and proof that the services of a QPPV are in place "The holder of an authorisation for a medicinal product for human use granted in accordance with the provisions of this Regulation shall have permanently and continuously at his disposal an appropriately qualified person responsible for pharmacovigilance "

Responsibilities
Per Article 23, the QPPV is responsible for:

Establishing and maintaining a pharmacovigilance system
Preparing pharmacovigilance reports as defined by regulations
Answering requests from Health Authorities
Providing Health Authorities with any other information relevant to product safetyThe Good Pharmacovigilance Practices (GVP) provide further guidance regarding these responsibilities of the QPPV (Module I, Section I C 1 3: Role of the qualified person responsible for pharmacovigilance in the EU  Per GVP, the QPPV is responsible for the establishment and maintenance of the marketing authorisation holder's pharmacovigilance system and therefore shall have sufficient authority to influence the performance of the quality system and the pharmacovigilance activities and to promote, maintain and improve compliance with the legal requirements  The QPPV is specifically responsible for:

Establishing and maintaining/managing the pharmaceutical company's pharmacovigilance system
Having an overview of the safety profiles and any emerging safety concerns for the company's drugs
Acting as a single contact point for the Health Authorities on a 24-hour basis

Criteria for QPPV role
The QPPV must reside in the EU, and should be permanently and continuously at the disposal of the MAH  Each company (i e  Applicant/Marketing Authorisation Holder or group of Marketing Authorisation Holders using a common pharmacovigilance system) should appoint one QPPV responsible for overall pharmacovigilance for all medicinal products for which the company holds marketing authorisations within the EU 
Detailed information on the role and responsibilities of the QPPV, and guidance for a Marketing Authorisation Holder on how to adequately support the QPPV are specified in Guideline on good pharmacovigilance practices (GVP; Module I – Pharmacovigilance systems and their quality systems) "   At a minimum the QPPV should be appropriately qualified, with documented experience in all aspects of pharmacovigilance in order to fulfil the responsibilities and tasks of the post  If the QPPV is not medically qualified, access to a medically qualified person should be available 
In addition, there are national regulations in some EU member states that also require a nominated individual in that country who has specific legal obligations as a QPPV at a national level 

See also
Pharmacovigilance
European Medicines Agency
Passage 6:
Joseph Fourier
Jean-Baptiste Joseph Fourier (; French: [fuʁje]; 21 March 1768 – 16 May 1830) was a French mathematician and physicist born in Auxerre and best known for initiating the investigation of Fourier series, which eventually developed into Fourier analysis and harmonic analysis, and their applications to problems of heat transfer and vibrations  The Fourier transform and Fourier's law of conduction are also named in his honour  Fourier is also generally credited with the discovery of the greenhouse effect 

Biography
Fourier was born in Auxerre (now in the Yonne département of France), the son of a tailor  He was orphaned at the age of nine  Fourier was recommended to the Bishop of Auxerre and, through this introduction, he was educated by the Benedictine Order of the Convent of St  Mark  The commissions in the scientific corps of the army were reserved for those of good birth, and being thus ineligible, he accepted a military lectureship on mathematics  He took a prominent part in his own district in promoting the French Revolution, serving on the local Revolutionary Committee  He was imprisoned briefly during the Terror but, in 1795, was appointed to the École Normale and subsequently succeeded Joseph-Louis Lagrange at the École Polytechnique 
Fourier accompanied Napoleon Bonaparte on his Egyptian expedition in 1798, as scientific adviser, and was appointed secretary of the Institut d'Égypte  Cut off from France by the British fleet, he organized the workshops on which the French army had to rely for their munitions of war  He also contributed several mathematical papers to the Egyptian Institute (also called the Cairo Institute) which Napoleon founded at Cairo, with a view of weakening British influence in the East  After the British victories and the capitulation of the French under General Menou in 1801, Fourier returned to France 

In 1801, Napoleon appointed Fourier Prefect (Governor) of the Department of Isère in Grenoble, where he oversaw road construction and other projects  However, Fourier had previously returned home from the Napoleon expedition to Egypt to resume his academic post as professor at École Polytechnique when Napoleon decided otherwise in his remark

    the Prefect of the Department of Isère having recently died, I would like to express my confidence in citizen Fourier by appointing him to this place 
Hence being faithful to Napoleon, he took the office of Prefect  It was while at Grenoble that he began to experiment on the propagation of heat  He presented his paper On the Propagation of Heat in Solid Bodies to the Paris Institute on 21 December 1807  He also contributed to the monumental Description de l'Égypte In 1822, Fourier succeeded Jean Baptiste Joseph Delambre as Permanent Secretary of the French Academy of Sciences  In 1830, he was elected a foreign member of the Royal Swedish Academy of Sciences 
Fourier never married In 1830, his diminished health began to take its toll:

Fourier had already experienced, in Egypt and Grenoble, some attacks of aneurysm of the heart  At Paris, it was impossible to be mistaken with respect to the primary cause of the frequent suffocations which he experienced  A fall, however, which he sustained on the 4th of May 1830, while descending a flight of stairs, aggravated the malady to an extent beyond what could have been ever feared 
Shortly after this event, he died in his bed on 16 May 1830 
Fourier was buried in the Père Lachaise Cemetery in Paris, a tomb decorated with an Egyptian motif to reflect his position as secretary of the Cairo Institute, and his collation of Description de l'Égypte  His name is one of the 72 names inscribed on the Eiffel Tower 
A bronze statue was erected in Auxerre in 1849, but it was melted down for armaments during World War II  Joseph Fourier University in Grenoble was named after him 

The Analytic Theory of Heat
In 1822, Fourier published his work on heat flow in Théorie analytique de la chaleur (The Analytical Theory of Heat),  in which he based his reasoning on Newton's law of cooling, namely, that the flow of heat between two adjacent molecules is proportional to the extremely small difference of their temperatures  This book was translated, with editorial 'corrections', into English 56 years later by Freeman (1878)  The book was also edited, with many editorial corrections, by Darboux and republished in French in 1888 There were three important contributions in this work, one purely mathematical, two essentially physical  In mathematics, Fourier claimed that any function of a variable, whether continuous or discontinuous, can be expanded in a series of sines of multiples of the variable  Though this result is not correct without additional conditions, Fourier's observation that some discontinuous functions are the sum of infinite series was a breakthrough  The question of determining when a Fourier series converges has been fundamental for centuries  Joseph-Louis Lagrange had given particular cases of this (false) theorem, and had implied that the method was general, but he had not pursued the subject  Peter Gustav Lejeune Dirichlet  was the first to give a satisfactory demonstration of it with some restrictive conditions  This work provides the foundation for what is today known as the Fourier transform 
One important physical contribution in the book was the concept of dimensional homogeneity in equations; i e  an equation can be formally correct only if the dimensions match on either side of the equality; Fourier made important contributions to dimensional analysis  The other physical contribution was Fourier's proposal of his partial differential equation for conductive diffusion of heat  This equation is now taught to every student of mathematical physics 

Real roots of polynomials
Fourier left an unfinished work on determining and locating real roots of polynomials, which was edited by Claude-Louis Navier and published in 1831  This work contains much original matter—in particular, Fourier's theorem on polynomial real roots, published in 1820  Fourier's theorem on real roots of polynomials states that a polynomial with real coefficients has a real root between any two consecutive zeros of its derivative  François Budan, in 1807 and 1811, had published independently his theorem (also known by the name of Fourier), which is very close to Fourier's theorem (each theorem is a corollary of the other)  Fourier's proof is the one that was usually given, during 19th century, in textbooks on the theory of equations  A complete solution of the problem was given in 1829 by Jacques Charles François Sturm 

Discovery of the greenhouse effect
In the 1820s, Fourier calculated that an object the size of the Earth, and at its distance from the Sun, should be considerably colder than the planet actually is if warmed by only  the effects of incoming solar radiation  He examined various possible sources of the additional observed heat in articles published in 1824 and 1827  However, in the end, because of the large 33-degree difference between his calculations and observations, Fourier mistakenly believed that there is a significant contribution of radiation from interstellar space  Still, Fourier's consideration of the possibility that the Earth's atmosphere might act as an insulator of some kind is widely recognized as the first proposal of what is now known as the greenhouse effect, although Fourier never called it that In his articles, Fourier referred to an experiment by de Saussure, who lined a vase with blackened cork  Into the cork, he inserted several panes of transparent glass, separated by intervals of air  Midday sunlight was allowed to enter at the top of the vase through the glass panes  The temperature became more elevated in the more interior compartments of this device  Fourier concluded that gases in the atmosphere could form a stable barrier like the glass panes  This conclusion may have contributed to the later use of the metaphor of the "greenhouse effect" to refer to the processes that determine atmospheric temperatures  Fourier noted that the actual mechanisms that determine the temperatures of the atmosphere included convection, which was not present in de Saussure's experimental device 

Works
See also
Fourier analysis
Fourier–Deligne transform
Heat equation
Least-squares spectral analysis
List of things named after Joseph Fourier
Passage 7:
Morton number
In fluid dynamics, the Morton number (Mo) is a dimensionless number used together with the Eötvös number or Bond number to characterize the shape of bubbles or drops moving in a surrounding fluid or continuous phase, c 
It is named after Rose Morton, who described it with W  L  Haberman in 1953 

Definition
The Morton number is defined as

  
    
      
        
          M
          o
        
        =
        
          
            
              g
              
                μ
                
                  c
                
                
                  4
                
              
              
              Δ
              ρ
            
            
              
                ρ
                
                  c
                
                
                  2
                
              
              
                σ
                
                  3
                
              
            
          
        
        ,
      
    
    {\displaystyle \mathrm {Mo} ={\frac {g\mu _{c}^{4}\,\Delta \rho }{\rho _{c}^{2}\sigma ^{3}}},}
  where g is the acceleration of gravity, 
  
    
      
        
          μ
          
            c
          
        
      
    
    {\displaystyle \mu _{c}}
   is the viscosity of the surrounding fluid, 
  
    
      
        
          ρ
          
            c
          
        
      
    
    {\displaystyle \rho _{c}}
   the density of the surrounding fluid, 
  
    
      
        Δ
        ρ
      
    
    {\displaystyle \Delta \rho }
   the difference in density of the phases, and 
  
    
      
        σ
      
    
    {\displaystyle \sigma }
   is the surface tension coefficient   For the case of a bubble with a negligible inner density the Morton number can be simplified to 

  
    
      
        
          M
          o
        
        =
        
          
            
              g
              
                μ
                
                  c
                
                
                  4
                
              
            
            
              
                ρ
                
                  c
                
              
              
                σ
                
                  3
                
              
            
          
        
         
      
    
    {\displaystyle \mathrm {Mo} ={\frac {g\mu _{c}^{4}}{\rho _{c}\sigma ^{3}}} }

Relation to other parameters
The Morton number can also be expressed by using a combination of the Weber number, Froude number and Reynolds number,

  
    
      
        
          M
          o
        
        =
        
          
            
              
                W
                e
              
              
                3
              
            
            
              
                
                  F
                  r
                
                
                  2
                
              
              
              
                
                  R
                  e
                
                
                  4
                
              
            
          
        
         
      
    
    {\displaystyle \mathrm {Mo} ={\frac {\mathrm {We} ^{3}}{\mathrm {Fr} ^{2}\,\mathrm {Re} ^{4}}} }
  The Froude number in the above expression is defined as

  
    
      
        
          F
          
            r
            
              2
            
          
        
        =
        
          
            
              V
              
                2
              
            
            
              g
              d
            
          
        
      
    
    {\displaystyle \mathrm {Fr^{2}} ={\frac {V^{2}}{gd}}}
  where V is a reference velocity and d is the equivalent diameter of the drop or bubble 
Passage 8:
Kapitza number
The Kapitza number (Ka) is a dimensionless number named after the prominent Russian physicist Pyotr Kapitsa (Peter Kapitza)  He provided the first extensive study of the ways in which a thin film of liquid flows down inclined surfaces  Expressed as the ratio of surface tension forces to inertial forces, the Kapitza number acts as an indicator of the hydrodynamic wave regime in falling liquid films  Liquid film behavior represents a subset of the more general class of free boundary problems  and is important in a wide range of engineering and technological applications such as evaporators, heat exchangers, absorbers, microreactors, small-scale electronics/microprocessor cooling schemes, air conditioning and gas turbine blade cooling 
After World War II Kapitza was removed from all his positions, including director of his Institute for Physical Problems, for refusing to work on nuclear weapons  He was at his country house and devised experiments to work on there, including his experiments on falling films of liquid Unlike most dimensionless numbers used in the study of fluid mechanics, the Kapitza number represents a material property, as it is formed by combining powers of the surface tension, density, gravitational acceleration and kinematic viscosity 

  
    
      
        K
        a
        =
        
          
            σ
            
              ρ
              (
              g
              sin
              ⁡
              β
              
                )
                
                  1
                  
                    /
                  
                  3
                
              
              
                ν
                
                  4
                  
                    /
                  
                  3
                
              
            
          
        
      
    
    {\displaystyle Ka={\frac {\sigma }{\rho (g\sin \beta )^{1/3}\nu ^{4/3}}}}
  where σ is the surface tension (SI units: N/m), g is gravitational acceleration (m/s2), ρ is density (kg/m3), β is inclination angle (rad), and ν is kinematic viscosity (m2/s) 

Notes
Passage 9:
Fourier number
In the study of heat conduction, the Fourier number,  is the ratio of time, t, to a characteristic time scale for heat diffusion, td  This dimensionless group is named in honor of J B J  Fourier, who formulated the modern understanding of heat conduction  The time scale for diffusion characterizes the time needed for heat to diffuse over a distance, L  For a medium with thermal diffusivity, α, this time scale is td = L2/α, so that the Fourier number is t/td = αt/L2  The Fourier number is often denoted as Fo or FoL The Fourier number can also be used in the study of mass diffusion, if the thermal diffusivity is replaced by a mass diffusivity 
The Fourier number is used in analysis of time dependent transport phenomena, generally in conjunction with the Biot number if convection is present  The Fourier number arises naturally in nondimensionalization of the heat equation 

Definition
The general definition of the Fourier number, Fo, is:
For heat diffusion with a characteristic length scale L in a medium of thermal diffusivity, α,  the diffusion time scale is td =L2/α, so that

where:

α is the thermal diffusivity (m2/s)
t is the time (s)
L is the characteristic length through which conduction occurs (m)

Interpretation of the Fourier number
Consider transient heat conduction in  a slab of thickness L that is initially at a uniform temperature, T0  One side of the slab is heated to higher temperature, Th at time t = 0   The other side is adiabatic  The time needed for the other side of the object to show significant temperature change is the diffusion time, td   
When Fo ≪ 1, not enough time has passed for the other side to change temperature  In this case, significant temperature change only occurs close to the heated side, and most of the slab remains at T0 
When Fo ≅ 1, significant temperature change occurs all the way through the thickness L  None of the slab remains at temperature T0 
When Fo ≫ 1, enough time has passed for the slab to approach steady state  The entire slab approaches temperature Th 

Derivation and usage
The Fourier number can be derived by nondimenionalizing the time-dependent diffusion equation   As an example, consider a rod of length L that is being heated from an initial temperature, T0, by the imposition at time t = 0 of a higher temperature at x = L, TL (with x along the axis of the rod)  The heat equation in one spatial dimension, x, can be applied 

where T is the temperature for 0 < x < L and t > 0  The differential equation can be scaled into a dimensionless form  A dimensionless temperature may be defined as Θ = (T - TL)/(T0 - TL), and the equation may be divided through by α/L2:

The resulting dimensionless time variable is the Fourier number, FoL = αt/L2  The characteristic time scale for diffusion, td =L2/α, comes directly from this scaling of the heat equation  
The Fourier number is frequently used as the nondimensional time in studying transient heat conduction in solids    A second parameter, the Biot number arises in nondimensionalization when convective boundary conditions are applied to the heat equation  Together, the Fourier number and the Biot number determine the temperature response of a solid subjected to convective heating or cooling 

Application to mass transfer
An analogous Fourier number can be derived by nondimensionalization of Fick's second law of diffusion  The result is a mass transfer Fourier number, Fom defined as:
where:

Fom is the mass transfer Fourier number
D is the mass diffusivity (m2/s)
t is the time (s)
L is the length scale of interest (m)The mass transfer Fourier number can be applied to the study of certain time-dependent mass diffusion problems 

See also
Biot number
Convection
Heat conduction
Heat equation
Molecular diffusion
Context 2: Passage 1:
Like a Virgin (album)
Like a Virgin is the second studio album by American singer and songwriter Madonna, released on November 12, 1984, by Sire Records  Following the success of her self-titled debut album, Madonna wanted to become the record producer of her next album  However, her label was not ready to give her the artistic freedom and she chose Nile Rodgers instead to produce the album due to his work with David Bowie  Madonna wrote six songs on the record, five of which feature Steve Bray as a co-writer  The album was recorded at Power Station Studio in New York at a quick pace  Rodgers enlisted the help of his former Chic bandmates Bernard Edwards, who was the bassist, and Tony Thompson, who played drums  Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique introduced at that time 
The album's photographs were shot by Steven Meisel  Madonna wanted the album title and the cover image to make a provocative link between her own religious name Madonna, as the Catholic title for Jesus' mother Mary, and the Christian concept of the virgin birth  While not a substantial musical departure from Madonna's first album, she felt that the material from Like a Virgin was stronger  After its release, Like a Virgin received mixed reviews from music critics; however, retrospective reviews of the album have been much more positive  Like a Virgin was a commercial success and became Madonna's first number one album on the Billboard 200 and set the record as the first female album in history  to sell over five million copies in the United States  The Recording Industry Association of America (RIAA) later certified it diamond for shipment of ten million units  It also reached number one in Germany, the Netherlands, New Zealand, Spain, Italy and the United Kingdom, and remains one of the best-selling albums of all time with sales of over 21 million copies worldwide Five singles were released from the album, including Madonna's first US number-one "Like a Virgin" and her first UK number-one "Into the Groove", the latter of which was introduced on the 1985 international reissue of the album  To promote the album, she embarked on The Virgin Tour, touring North America only  Like a Virgin has attained significance as a cultural artifact of the 1980s  Madonna proved that she was not a one-hit wonder and was able to provide herself with a permanent footing in the music world  Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population, especially "Material Girl" and "Like a Virgin"  According to author J  Randy Taraborrelli, "Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna, Like a Virgin was just such a defining moment " In 2023, the Library of Congress added the album to the National Recording Registry for preservation in the United States, for being a "culturally, historically, or aesthetically significant" recording 

Background
A former dancer and fixture on the New York club scene, Madonna Ciccone became known to the world simply as Madonna, with the release of her 1983 self-titled debut album Madonna  Fueled by hit songs like "Holiday", "Borderline" and "Lucky Star", the album was one of the best selling of the year and helped Madonna become one of the most exciting new artists of the 1980s  When she started work on her second album, Madonna felt that her first album had succeeded in introducing her "street-smart dance queen" persona, and she wanted to solidify and build upon that concept  According to her, "My work, my dedication—the stubbornness for getting Madonna released—had paid off  Now it was time to solidify my future "For Like a Virgin, Madonna attempted to become one of the primary record producers, feeling the need to control the various aspects of her music  She believed that depending on a particular producer for her album was not something that suited her  Madonna said "I learnt my lesson while creating my debut album, and the way [Reggie, the producer of her debut project] Lucas left me in the water with the project, you can't trust men"—referring to the incident, when due to a certain difference of opinion between producer Reggie Lucas and Madonna, Lucas had left the project half-way  However, Warner Bros  Records was not ready to give her the artistic freedom that she wanted  In J  Randy Taraborrelli's biography of Madonna, she commented,

Warner Bros  Records is a hierarchy of old men and it's a chauvinist environment to be working in because I'm treated like this sexy little girl  I had to prove them wrong, which meant not only proving myself to my fans but to my record company as well  That is something that happens when you're a girl  It wouldn't happen to Prince or Michael Jackson  I had to do everything on my own and it was hard trying to convince people that I was worth a record deal  After that, I had the same problem trying to convince the record company that I had more to offer than a one-shot singer  I had to win this fight 
Ultimately, Nile Rodgers was chosen by Madonna as the producer of the album, with the approval of the Warner Brothers executives  Madonna chose Rodgers mostly because of his work as a member of the 1970s band Chic, and his most recent production work with David Bowie on his 1983 album Let's Dance  She commented, "When I was making the record, I was just so thrilled and happy to be working with Nile Rodgers  I idolized Nile because of the whole Chic thing  I couldn't believe that the record company gave me the money so that I could work with him "For his part, Rodgers recalled that he had first seen Madonna perform at a small club in New York in 1983  In an interview with Time magazine, Rodgers explained: "I went to the club to see another woman sing, but when I got there Madonna was onstage  I loved her stage presence and then we met right after that  I kept thinking to myself, 'Damn, is she a star', but she wasn't at that time  I always wanted to work with her and Like a Virgin seemed like a perfect opportunity "

Recording
The album was recorded at Power Station Studio in New York at a quick pace  Rodgers enlisted the help of his former Chic bandmates Bernard Edwards, who was the bassist, and Tony Thompson, who played the drums; they appeared on several tracks of the album  Rodgers decided to be the guitarist, when Edwards requested him to do so, in exchange for their help  The recording sessions did not start until the afternoon as Rodgers, who attended late-night parties, was not accustomed to work in early mornings  The schedule was also difficult for Madonna, who recalled that she used to "go to the swim club on the Upper West Side and go swimming and walk from there to the recording studio  It was impossible for me to reach there at morning " Rodgers recalled that Madonna was a hard worker and incredibly tenacious  He commented: "I am always amazed by Madonna's incredible judgement when it comes to making pop records  I've never seen anyone do it better, and that's the truth  When we did that album, it was the perfect union, and I knew it from the first day in the studio  The thing between us, man, it was sexual, it was passionate, it was creativity     it was pop "Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique at the time which Corsaro believed was going to be the future of recording  To ensure this, Corsaro used a Sony 3324 24-track digital tape recorder and a Sony F1 two-track during the mixing of the tracks  Madonna recorded the lead parts of the songs in a small, wooden, high-ceilinged piano room at the back of Studio C, also known as Power Station's "R&B room"  Corsaro then placed gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps microphone preamplifier and a Pultec equalizer  Once the tracks met with everybody's approval, Robert Sabino added the keyboard parts, playing mostly a Sequential Circuits Prophet-5, as well as some Rhodes piano and acoustic piano, while Rodgers also played a Synclavier  Madonna, although not required, was present every minute of the recording sessions and the mixing process, Corsaro commented: "Nile was there most of the time, but she was there all of the time  She never left" 

Packaging and title
The cover sleeve and images were shot by Steven Meisel, who would become a regular collaborator with Madonna, in a suite at the St  Regis New York  Madonna wanted the album title to make provocative link between her own religious name—Madonna as the Catholic title for Jesus' mother Mary—and the Christian concept of the virgin birth  With the title song alluding to this concept, Madonna wanted the album cover to have mixed messages as well  Author Graham Thompson described that "reclining on a satin sheet, with a bouquet on her lap and wearing a wedding dress, a closer inspection reveals Madonna's image as highly fetishized and sexualized " He added that the heavy make-up, pouting lips, and despoiled hair, along with the tight-fitting bustier and full-length gloves, turned Madonna's image into a figure not of virtue, but of desire  This point, according to Thompson, is further emphasized by the belt she is wearing, the wording on which is just visible as "Boy Toy"  He added: "The image was ambiguous and was based upon the fact that Madonna's appeal at that point of her career was not presenting herself just as an object of desire, but also as a desiring female subject" Stephen Thomas Erlewine from AllMusic commented that the "Steven Meisel-shot cover     was as key to her reinvention as the music of the album itself " William McKeen, author of Rock and roll is here to stay: an anthology, felt that the image was another trigger and testament to the fact that Madonna was the last word on fashion for women and young girls of that era, the epitome of cool  Costume designer Arianne Phillips commented of the Like a Virgin look: "This was one of the most shocking, liberating and influential moments in pop culture/fashion history     Fashion has never been the same " Madonna herself declared: "I have always loved to play cat and mouse with the conventional stereotypes  My Like a Virgin album cover is a classic example  People were thinking who was I pretending to be—the Virgin Mary or the whore? These were the two extreme images of women I had known vividly, and remembered from childhood, and I wanted to play with them  I wanted to see if I can merge them together, Virgin Mary and the whore as one and all  The photo was a statement of independence, if you wanna be a virgin, you are welcome  But if you wanna be a whore, it's your fucking right to be so "

Composition
According to Taraborrelli, "Madonna and Rodgers' collective energy—she wanting to score with a smash second album and he wanting to be the producer to give it to her—drove the production of Like a Virgin with great precision " Madonna also collaborated with her former boyfriend Steve Bray, who co-wrote many of the album's songs  Reflecting on the music composition for the album, Bray noted: "I've always kind of made the rib cage and the skeleton of the songs already—she's there for the last things like the eyebrows and the haircut " The opening track "Material Girl" was written by Peter Brown and Robert Rans  Madonna explained that the concept of the song was similar to her life's situation at that time  According to her, the song was provocative, hence she was attracted to it  "Material Girl" incorporated new wave music and consists of synth arrangements with a robotic voice repeating the hook  The lyrics identify with materialism, with Madonna asking for a rich and affluent life, rather than romance and relationships  Written by Madonna and Steve Bray, "Angel" is the second track on the album  It was one of the first songs developed for the project and, according to Madonna, was inspired by a girl who is saved by, and subsequently falls in love with an angel  "Angel" consists of a three-chord ascending hook, which serves as the verse and chorus  It has vocal harmonies beneath the main chorus and the lyrics repeat the angel-like image of Madonna's savior  The title track "Like a Virgin" was written by Billy Steinberg and Tom Kelly  Steinberg said that the song was inspired by his personal experiences of romance  It was chosen for Madonna by Michael Ostin of Warner Bros  Records, after listening to a demo sung by Kelly  However, Rodgers initially felt that the song did not have a good enough hook and was not suitable for Madonna, but subsequently changed his opinion after the hook was stuck in his mind  He credits Madonna with recognizing the song's potential: "I handed my apology to Madonna and said, 'you know     if it's so catchy that it stayed in my head for four days, it must be something  So let's do it '" "Like a Virgin" is a dance-oriented song, composed of two hooks  Madonna's voice is heard in a high register while a continuous arrangement of drums are heard along the bassline  According to author Rikky Rooksby, the lyrics of the song are ambiguous and consist of hidden innuendo  In sexual terms, the lyrics can be interpreted in different ways for different people In "Over and Over", Madonna sings about determination despite disappointments  The song consists of instrumentation from drums, synths and has a three-chord progression  An emotional moment occurred in the recording studio when Madonna covered the 1978 Rose Royce song "Love Don't Live Here Anymore"  Rodgers recalled: "Madonna had never performed with a live orchestra before  I was very much into doing everything live, so I just said, 'Madonna, you go out there and sing and we will follow you ' At first Madonna was hesitant, but the live setting ended up producing memorable results  She sang and she was overcome with emotions and she started crying, but I left it on the record " The song features Madonna's vocals supported by acoustic guitars and synth strings, with Thompson playing the drum in the second verse  Towards the end, Madonna emotes in the voice of a soul singer "Dress You Up" was the last track to be added to the album as it was submitted late by songwriters Andrea LaRusso and Peggy Stanziale  Although Rodgers rejected it as he felt there was no time to compose a melody and record it for the album, Madonna pushed for the song's inclusion on Like a Virgin, as she particularly liked its lyrics  The song is a drum beat-driven dance track featuring instrumentation of guitars and vocals from a choir  The lyrics are an extended metaphor for fashion and sex, comparing dressing up with passion  "Shoo-Bee-Doo" contains homage to Motown music  Beginning with a slow introduction, the song is in the doo-wop genre and resembles the songs of early Sixties girl groups like The Shirelles or The Crystals  The saxophone breakdown is played by Lenny Pickett  The lyrics discuss relationship problems, and are phrased as clichés in the coda  "Pretender" starts with the chorus and then moves to the verse  It talks about seduction and the insecurity felt by a woman who feels that things are moving too quickly for her with her man  "Stay" is the final track on the album  Using triple-rhythms and double-tracked vocals, the song includes a noise resembling someone slapping a microphone and a spoken sequence which fades away in the end 
"Into the Groove" was added as a bonus track in the 1985 international reissue of Like a Virgin  Madonna's inspiration behind the song was the dance floor, and she wrote it while watching a handsome Puerto Rican man across her balcony  Initially written for her friend Mark Kamins, Madonna later decided to use it in the soundtrack of her 1985 film Desperately Seeking Susan  Unlike the other songs on Like a Virgin, "Into the Groove" was recorded at Sigma Sound Studios, and produced by Madonna and Stephen Bray  Madonna's friend Erika Belle was present during the recording and watched the whole process  In Andrew Morton's Madonna biography, she noted that at one point of the recording, Bray was facing difficulties with the bridge of the song, as the melody thought by him was not syncing with the rest of the composition  Undeterred by his obvious difficulties, Madonna stepped up to the microphone and sang the words "Live out your fantasy here with me"  Bray's problem was solved; Belle remembered the experience as: "[The song] seemed to come out of her, I was awestruck " The song consists of instrumentation from drums, percussion, congas and whistles  Madonna's voice is double-tracked in the chorus  The lyrics are simple, and written as an invitation to dance with the singer, with sexual innuendos and undertones in the meaning 

Promotion
Live performances
Madonna debuted the first single "Like a Virgin" at the first MTV Video Music Awards on September 14, 1984, where she appeared on stage atop a giant wedding cake dressed in a wedding dress, adorned with the infamous "Boy Toy" belt buckle, and veil  The climax of her risqué performance found her masturbating and rolling around on the stage  The performance is noted as one of the iconic performance in MTV's history  On December 13, 1984, Madonna performed "Like a Virgin" on BBC One's program Top of the Pops, wearing punky torn tights, a vivid pink wig, religious accessories and layered mesh tops  It was later voted as the second best Top of the Pops performance of all time  She also appeared at the 1985 Live Aid charity concert, where she performed "Into the Groove" The album was further promoted on her first headlining tour, The Virgin Tour, which only visited cities in the United States and Canada  Early on there were plans to schedule dates in England and Japan due to Madonna's large fan base in both countries  However, the final schedule did not reflect the idea  In the end several more US dates were added and moved to larger concert venues due to overwhelmingly strong ticket sales  Madonna's performance on the tour was described by Taraborrelli as "full of excitement", singing songs from her debut album as well as Like a Virgin, and asking the audience "Will you marry me?" The costumes included colorful new wave jackets for "Holiday" and white wedding gowns similar to the one worn in her "Like a Virgin" music video  Referring to her Detroit roots and contemporary artist Michael Jackson, Madonna sang a verse of "Billie Jean" during "Like a Virgin" The Virgin Tour was a success and collected a total of more than US$5 million  During a 2009 interview with Rolling Stone, interviewer Austin Scaggs asked Madonna regarding her feelings and emotions during the tour, since it was the first time she was playing in arenas  Madonna replied saying,

That whole tour was crazy, because I went from playing CBGB and the Mudd Club to playing sporting arenas  I played a small theater in Seattle, and the girls had flap skirts on and the tights cut off below their knees and lace gloves and rosaries and bows in their hair and big hoop earrings  I was like, 'This is insane!' After Seattle, all of the shows were moved to arenas  I've never done a bus tour  Everyone says they are really fun 

Singles
"Like a Virgin" was released as the lead single from the album in late 1984  It received positive reviews from contemporary critics, who frequently called it one of Madonna's defining songs  It became her first number-one single on the Billboard Hot 100, while reaching the top of the charts in Australia, Canada and Japan and the top-ten of other countries  The song was certified gold by the Recording Industry Association of America (RIAA) on January 10, 1985, for shipping a million copies across United States – the requirement for a gold single prior to 1989  The music video portrayed Madonna sailing down the riverways of Venice in a gondola, as well as roaming around a palace wearing a white wedding dress  With the video, scholars noted Madonna's portrayal of a sexually independent woman, the symbolism of the appearance of a man with lion's mask to that of Saint Mark, and compared the eroticism of the video to the vitality of the city of Venice "Material Girl" was the second single from the album, released in November 1984  Critics have frequently noted "Material Girl" and "Like a Virgin" as the songs that made Madonna an icon  The song was a commercial success, reaching the top-five in Australia, Belgium, Canada, Ireland, Japan and United Kingdom  It reached position two on the Billboard Hot 100 in the United States  The music video was a mimicry of Marilyn Monroe's performance of the song "Diamonds Are a Girl's Best Friend" from the 1953 film Gentlemen Prefer Blondes  The mimicked scenes are interspersed with scenes of a Hollywood producer trying to win the heart of an actress, played by Madonna herself  Discovering that, contrary to her song, the young woman was not impressed by money and expensive gifts, he pretended to be penniless and succeeded in taking her out on a date "Angel" was the third released single from the album, in April 1985  Critics gave mixed review of the song, with one group denoting it as a classic while the others felt it was sub-par compared to the other Madonna singles  "Angel" became Madonna's fifth consecutive top-five single on the Billboard Hot 100 and reached the top of its dance chart "Into the Groove"  was released as a single in Europe, Asia and South America in July 1985  The song was appreciated by contemporary critics as well as authors, who have frequently called it "Madonna's first great single"  "Into the Groove" reached the top of the charts in Australia, Belgium, Ireland, Japan, Netherlands, New Zealand, and the United Kingdom, where it was Madonna's first number-one single  In the United States, the song was only available as the B-side of the 12-inch single of "Angel", therefore it was ineligible to chart on the Billboard Hot 100 at the time  It reached number one on the US Hot Dance Club Play chart where it was listed as a double-sided single with "Angel"  In Australia and Canada, the song also was released as a double-sided single with, "Angel" 
"Dress You Up" was the last single from the album  Critics reacted positively to the dance-pop nature of the track  "Dress You Up" became Madonna's sixth consecutive top-five single in the United States  It also reached the top-ten in Australia, Belgium, Canada, Ireland, New Zealand and the United Kingdom  The music video for the single is taken from the live performance from The Virgin Tour, filmed in Detroit Two further singles were released internationally from the album  "Over and Over" was released in late 1985 exclusively in Italy 
"Love Don't Live Here Anymore" was released in early 1986 exclusively in Japan 

Critical reception
According to Q magazine, Like a Virgin was the album that "propelled [Madonna] into the stratosphere – and rightly so  The songs are smart, funny, sexy and irresistible " Taraborrelli said, "It was Like a Virgin which reflected Madonna as a more versatile and artistic performer and vocals on this album being reflectively sharper in contrast to her early works in the music industry " Michael Paoletta from Billboard commented that the songs on the album sustain a "fevered dance-rock momentum"  In his review for AllMusic, Stephen Thomas Erlewine commented, "Overall, the album adds up to less than the sum of its parts—partially because the singles are so good, but also because on the first album, she stunned with style and a certain joy  Here, the calculation is apparent, and while that's part of Madonna's essence—even something that makes her fun—it throws the record's balance off a little too much for it to be consistent, even if it justifiably made her a star " Debby Miller from Rolling Stone preferred Madonna's debut album over Like a Virgin  In The Village Voice, Robert Christgau was also lukewarm towards the record, writing "[Madonna's] so sure of herself she's asking men and women both to get the hots for the calculating bitch who sells the fantasy even while she bids for the sincerity market where long-term superstars ply their trade  And to make the music less mechanical, she's hired Nile Rodgers, who I won't blame for making it less catchy "Jim Farber from Entertainment Weekly said that "In addition to raising the Madonna/whore ante with songs like the title cut, Virgin cradled the kind of '80s hits ("Dress You Up") built to transcend the Dynasty era " Alfred Soto from Stylus Magazine remembered the first time that he heard the songs from the album and commented, "Lots of critics think something similar occurred when Madonna followed her eponymous debut with Like a Virgin, helmed by Nile Rodgers with all the fixin's—too calculated next to the 'raw passion' of the debut  This is nonsense; it misses how Madonna conflated notions of spontaneity and calculation  Rodgers is the ideal collaborator " Stephen Holden from The New York Times said: "With a tough-cookie voice that's both coy and streetwise, Madonna's singing harks back to the rock-and-roll girl-group tradition that preceded the Beatles  But where girl groups, from the Shirelles to the Ronettes, worshipfully extolled their boyfriends' cars, haircuts and rebel poses, Madonna's point of view is decidedly more self-interested  In matters of love, she is a comparison shopper with a shrewd sense of her own market value  The words 'shiny and new' describe not only the way the love-smitten singer feels in the title song but the sound of the album "Matt Damsker from the Los Angeles Times commented: "Madonna's beating vibrato sometimes makes her sound so robotic in the album " Lou Papineau, while writing for The Providence Journal, said that "In Like a Virgin, Madonna proves she's shallow, but spunky " Sal Cinquemani from Slant Magazine gave a positive review, saying "Though not as innovative as her debut, Like a Virgin stands as one of the most definitive pop artifacts from the indulgent Reagan Era  The mid-tempo ballad 'Shoo-Bee-Doo' and a soulful cover of Rose Royce's 'Love Don't Live Here Anymore' proved Madonna could churn out more than just novelty hits, while the sugary 'Angel' and the irresistible 'Dress You Up' contributed to the singer's record-breaking list of consecutive Top 5 hits (16 in all)  The retro-infused 'Stay' and the percussive 'Over and Over' are the album's hidden gems " Ed Stevenson from People felt that "Madonna does have a sense of humor, though she is buried under so many layers of self-parody it's hard to tell sometimes     She is backed on this by the reliable rhythmic touch of veteran Nile Rodgers, whose contributions have helped her create a tolerable bit of fluff  Hugo Mistry from the Chicago Tribune felt that "Like a Virgin was Madonna's breakthrough, playing off her self-conscious campiness with a series of hot dance tracks, attention-grabbing lyrics and steamy videos "

Commercial performance
Like a Virgin was recorded and finished by September 1984, but the release of the album was held up, much to Madonna's frustration, by the continuing sales of her debut album, which was approaching two million sales in the United States  Like a Virgin debuted at number 70 on the Billboard 200 issued for December 1, 1984  The album reached the top ten of the Billboard 200 on December 8, 1984, and after one month reached the top of the chart on February 9, 1985, where it stayed for three weeks  It also reached a peak of ten on the Top R&B/Hip-Hop Albums chart  After 14 weeks, the album sold 3 5 million copies  By July 1985, Like a Virgin became the first album by a female artist to be certified for sales of five million units in the United States  It was eventually certified ten times platinum (diamond) by the Recording Industry Association of America (RIAA), for shipment of ten million copies of the album  It placed at three on the year-end chart for 1985, with Madonna becoming the top pop artist for the year  After the advent of the Nielsen SoundScan era in 1991, the album sold a further 574,000 copies  It sold additional 882,000 units at the BMG Music Club, which are not counted by the Nielsen SoundScan  In Canada, the album debuted at number 78 on the RPM Albums Chart, on November 10, 1984  It reached a peak of number three, on February 16, 1985  The album was present for a total of 74 weeks on the chart, and was certified diamond by the Canadian Recording Industry Association (CRIA), for shipment of one million copies of the album  Like a Virgin ranked sixth on the RPM Top 100 Albums for 1985  As of June 1986, the album sold more than 750,000 units in Latin America In the United Kingdom, Like a Virgin debuted at number 74 on the UK Albums Chart, on January 12, 1985  However, the album fluctuated on the chart for the next eight months and it was only in September that it finally reached the top of the chart  It spent two alternative weeks at the top (21st Sept and 12th Oct 1985), and a total of 152 weeks on the chart  The album was certified three times platinum by the British Phonographic Industry (BPI) and has sold over a million copies there  In France, the album debuted at number five on the French Albums Chart on October 6, 1985, staying there for eight weeks, then descending down the chart  It was certified two times platinum by the Syndicat National de l'Édition Phonographique (SNEP) for shipment of 600,000 copies  In Australia, the album debuted and peaked at two on the Kent Music Report albums chart, and was certified seven times platinum by the Australian Recording Industry Association (ARIA) for shipment of 490,000 copies of the album  It reached the top of the New Zealand Albums Chart for three consecutive weeks and was certified five times platinum by the Recording Industry Association of New Zealand (RIANZ) for shipment of 75,000 copies  Elsewhere, Like a Virgin reached number one in Germany, the Netherlands and Spain, while peaking within the top five in many other countries, including Austria, Japan, Sweden and Switzerland  It also became Madonna's first number-one album on the European Top 100 Albums, reaching the summit on November 23, 1985, for two weeks, and sold over 2 million copies across Europe at the end of the 1985 year  Like a Virgin has sold more than 21 million copies worldwide and became one of the best-selling albums of all time 

Legacy
After the release of Like a Virgin, Stephen Holden commented in The New York Times: "No phenomenon illustrates more pointedly how pop music history seems to run in cycles than the overnight success of the 24-year-old pop siren known as Madonna  The month before Christmas, Madonna's second album, Like a Virgin sold more than two million copies  Teen-agers were lining up in stores to purchase the album the way their parents had lined up to buy Beatles records in the late 60's " Madonna proved she was not a one-hit wonder with the release of the album which sold 12 million copies worldwide at the time of its release  In 2016, Billboard ranked at number nine in the list of Certified Diamond Albums From Worst to Best  Like a Virgin was ranked fifth in a Billboard poll of albums of the decade—the highest peak by a female performer  In 2023, the Library of Congress added the album to the National Recording Registry for preservation in the United States, for being an "culturally, historically, or aesthetically significant" recording 
Taraborrelli felt that "Like a Virgin is really a portrait of Madonna's uncanny pop instincts empowered by her impatient zeal for creative growth and her innate knack for crafting a good record " He added that the success of the album made it clear what was Madonna's real persona  "She was a street-smart dance queen with the sexy allure of Marilyn Monroe, the coy iciness of Marlene Dietrich and the cutting and protective glibness of a modern Mae West"  Although the album received mixed reviews, Taraborrelli believed that the "mere fact that at the time of its release so many couldn't resist commenting on the record was a testament to the continuous, growing fascination with Madonna     Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna, Like a Virgin was just such a defining moment "Chris Smith, author of 101 Albums That Changed Popular Music, believed that it was with Like a Virgin that Madonna was able to steal the spotlight towards herself  She asserted her sexuality as only male rock stars had done before, moving well beyond the limited confines of being a pop artist, to becoming a focal point for nationwide discussions of power relationships in the areas of sex, race, gender, religion, and other divisive social topics  Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population  Consequence of Sound ranked the album at number two on "The 10 Greatest Sophomore Albums of All Time," calling it the album that "carved out the throne   that would be Madonna's forever: the Queen of Pop "

Track listing
All tracks produced by Nile Rodgers, except "Into the Groove" produced by Madonna and Stephen Bray 

Personnel
Credits adapted from the album's liner notes 

Charts
Certifications and sales
See also
Notes
Passage 2:
Chapter II (Ashanti album)
Chapter II is the second studio album by American singer and songwriter Ashanti  It was released by Murder Inc  and Island Def Jam on July 1, 2003 in the United States  Ashanti reteamed with Murder Inc  head Irv Gotti and producer Chink Santana to work on the album  Chapter II features a guest appearance by rapper Ja Rule, Chink Santana, and Gunnz  Critical reception towards the album was generally mixed, with critics commending the album's autobiographical lyrics, and its fun yet light nature, while other critics felt Chapter II lacked creativity and personality and relied too heavily on the formula of her debut album (2002) 
Upon its release, the album debut at number one on the US Billboard 200 chart with first-week sales of 326,000 units  It also reached the top ten in Canada, Switzerland, and the United Kingdom  Chapter II was eventually certified platinum by the Recording Industry Association of America in August 2003 and gained gold status in Japan and the United Kingdom  At the 46th Annual Grammy Awards, it earned Ashanti three nominations for Best Contemporary R&B Album, Best Female R&B Vocal Performance, and Best R&B Song  Chapter II spawned three singles, including the Billboard Hot 100 number two song "Rock wit U (Awww Baby)", the R&B ballad "Rain on Me" and "Breakup 2 Makeup (Remix)" 

Promotion
Murder Inc  selected "Rock wit U (Awww Baby)," which they considered a continuation from her debut single "Foolish" (2002), to be released as the album's first single from Chapter 2  Issued on May 19, 2003, the song became a commercial success stateside and Ashanti's third solo top ten hit  It peaked at number two on the US Billboard Hot 100, while reaching number four on the Billboard Hot R&B/Hip-Hop Songs chart  Internationally, it was a moderate success, reaching the top five in Canada and Japan, the top ten in the United Kingdom, top twenty in Australia, and the top forty in Ireland, New Zealand, and Switzerland The album's second single "Rain on Me", was released on August 11, 2003  It peaked at number seven on the Billboard Hot 100 and number two on the Hot R&B/Hip-Hop Songs chart  Elsewhere, it reached the top twenty in Belgium and the United Kingdom  In 2004, "Rain on Me" earned Ashanti a Grammy Award nomination for Best Female R&B Vocal Performance  In 2004, a remix version of "Breakup 2 Makeup" featuring labelmate Black Child was released as a single  It served as the lead single from Ashanti's remix compilation album Collectables by Ashanti, released in 2005, reaching number 76 on the Hot R&B/Hip-Hop Songs 

Critical reception
Chapter II received mixed reviews from music critics  At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 51, based on 11 reviews, indicating "mixed or average" reviews  The New York Times writer Kelefa Sanneh remarked that Chapter II "isn't perfect, but once you edit out the skits (which are, without exception, excruciating), you're left with an album that's graceful, beguiling and above all, light, in the best sense of the word " People magazine noted that "the singer's sophomore CD, though, proves wrong those who thought she would be a one-hit-album wonder  Chapter II, which continues the same hip-hop soul theme as her self-titled debut, is the equivalent of a good beach read: It's easy, breezy listening that doesn't require much brainpower "Billboard wrote that Chapter II "doesn't stray too far from its predecessor" and complimented the autobiographical songs on the album  Ernest Hardy from Rolling Stone found that the "album is filled with the same beat-driven, slickly produced midtempo tracks and ballads that made up her debut [and] the disc's best moments have a decidedly old-school feel to them [   ] Still, dullard schoolgirl insights into love and heartache dominate the album; add some boring between-song skits about 'haters,' and Chapter II wears thin long before its halfway mark " While he complimented Ashanti for her writing credits on the album, Entertainment Weekly journalist Tom Sinclair felt that "Chapter II is too mired in tired R&B conventions to achieve true magnificence "Allmusic editor Stephen Thomas Erlewine found that "the songs have about as much personality as Ashanti's voice, but that actually is a point in its favor, since it keeps everything on an even keel and makes Gotti and Santana's stylish production the star  They are the secret ingredients that make Chapter II good romantic mood music for the summer " Alexa Camp from Slant Magazine wrote that "the album's got some great tunes, but they'd be better suited for someone like Mary J  Blige, whom Shany & Co  bite off " Robert Christgau gave Chapter II a "C" rating in his review for The Village Voice, calling it a "pathologically modest follow-up " PopMatters from Maurice Bottomley assured that "Chapter 2 is not going to feature as any scribe's R&B album of the year "

Commercial performance
In the United States, Chapter II debuted at number one on the Billboard 200 with first-week sales of 326,000 units sold  While it became Ashanti's second chart topper, it was a considerable decline from her previous effort Ashanti, which had opened to sales of 502,500 units in April 2002  In total, it remained on the Billboard 200 chart for 30 consecutive weeks  In addition, it reached the top position on Billboard's Top R&B/Hip Hop Albums chart, where it stayed at the top spot for two consecutive weeks  On August 14, 2003, The album was certified platinum by the Recording Industry Association of America (RIAA)  Towards the end of 2003, Billboard ranked the album at number 54 and 27 respectively on its Billboard 200 and Top R&B/Hip-Hop Albums year end chart lists  By January 2005, Chapter II had sold 1 5 million copies, according to Nielsen SoundScan Elsewhere, Chapter II reached the top five on the Canadian and UK Singles Chart  It was certified gold by the British Phonographic Industry (BPI), indicating sales in excess of 100,000 copies, and also went gold in Japan  In Switzerland, it reached the top ten, debuting and peaking at number nine on the Swiss Albums Chart, making it Ashanti's highest-charting album to date  Chapter II also entered the top 20 in Australia and Germany  To date, the album has sold 3 million copies worldwide 

Track listing
Samples
"Intro (Medley)" contains samples of Ashanti tracks "Foolish", "Happy", "Down 4 U" (with Ja Rule, Charli Baltimore & Vita), "Baby" and "Mesmerize" (with Ja Rule) 
"Breakup 2 Makeup" contains a sample of "I'm Gonna Love You Just a Little More Baby" by Barry White 
"Rain on Me" contains a sample of "Look of Love" by Isaac Hayes 
"Then Ya Gone" contains samples of "Ain't I Been Good to You" by The Isley Brothers, and "One Day" by UGK 
"Feel So Good" contains a sample of "Playing Your Game, Baby" by Barry White 
"The Story of 2" contains a sample of "Dream Maker" by Rick James 
"Sweet Baby" contains a sample of "I'm Glad You're Mine" by Al Green 
"U Say I Say" contains a sample of "Never Enough" by Groove Theory 
"I Found Lovin'" is a cover of the same-titled song by Fatback Band 

Personnel
Charts
Certifications
See also
List of Billboard 200 number-one albums of 2003
List of Billboard number-one R&B albums of 2003
Passage 3:
Chapter II (Benga album)
Chapter II is the third studio album by British record producer Benga  The album was released on 6 May 2013 through Sony Music  It entered the UK Albums Chart at number 93 

Background and development
The album was produced from late 2011 to 2013  On 30 November 2011, Benga and Youngman performed at 1Xtra Live  They premiered "Running" live from Bristol  The first official single from the album was "I Will Never Change", released in March 2012  In June 2012, Benga and P Money performed a live version of "High Speed" on BBC Radio 1Xtra in Maida Vale Studios  Benga himself provided vocoded vocals  Several singles released throughout 2012 were omitted from the album: "Icon", "Pour Your Love", "We're Coming Out" and "Open Your Eyes"  However, "Pour Your Love" (released on 24 August 2012) is the only song so far to chart in the United Kingdom, charting at number 189 in the UK Singles Chart 
A series of three heavier songs advertised as "club singles" were released throughout December 2012: "We're Coming Out", "Open Your Eyes" and "To Hell and Back"  The latter is the only one to feature on the album  The album's initial release date was set to be 22 April 2013, but it was delayed by two weeks  Benga supported Example on his 2013 arena tour around the United Kingdom, with Youngman providing vocals for his "Benga Live" sets  Several songs from the album were performed on tour, including "Choose 1"; "Smile"; "Getting 42"; "To Hell and Back"; "I Will Never Change"; and "Forefather", which got its live debut at the Manchester Arena on March 1 with a live PA from Kano  "Smile" features uncredited vocals from Charli XCX 

Singles
"I Will Never Change" is the album's lead single  It was released on 16 March 2012  The track was the first to be written on the album, and its upload on UKF has over one and a half million YouTube views  The official video premiered on Benga's Vevo on 5 April 2013 at a total length of two minutes and one second  The video features the song's waveform being created in stop motion out of 960 differently sized vinyls 
"To Hell and Back" is the second single from the album  It was released on 17 December 2012  On Example's 2013 arena tour, P Money performed a live PA which doesn't feature on the studio version of the track 
"Forefather" with Kano is the third single from the album  It was released on 7 March 2013 and entered the UK Singles Chart at number 123  The official video premiered on Benga's Vevo on 10 March 2013 at a total length of three minutes and thirty-eight seconds  The video compares Benga and Kano's lifestyles in 2003, 2008 and 2013: showing that although their success has changed their surroundings, their music is still "sounding like some old-school KA"  It is the only explicit track on the album 

Track listing
Personnel
Credits adapted from Chapter II album liner notes 
Adegbenga "Benga" Adejumo – mixing, engineering, producer (all tracks), vocals (11)
Autumn Rowe - vocals (8)
Ayo Simpson - engineering (14)
Charlotte Emma "Charli XCX" Aitchison - vocals (2)
Daniel "Danny C" Caim - vocal recording (11)
Daniel Ledinsky - backing vocals (14)
Jack Tarrant - mixing, engineering (8, 14)
Kane "Kano" Robinson - vocals (4)
Michael "Mikey J" Asante - vocal recording, vocal mixing (4)
Paris "P Money" Moore-Williams - vocals (11)
Rowan "Route 94" Jones - co-producer (2)
Rudie Edwards - vocals (14)
Sam Frank - vocals, saxophone (10)
Simon "Youngman" Smith - vocals (6, 13)
Stuart Hawkes - mastering (all tracks)

Chart performance
Weekly charts
Release history
Passage 4:
Rock wit U (Awww Baby)
"Rock wit U (Awww Baby)" is a song by American R&B singer Ashanti  Written by her along with Irv Gotti and Chink Santana for her second studio album, Chapter II (2003), and produced by Gotti and Santana, the song was released by Murder Inc  on May 19, 2003, as the lead single from Chapter II, peaked at number two on the US Billboard Hot 100 for one week and became her first international hit from her second album, reaching number 7 in the UK and number 19 in Australia 

Music video
Directed by Paul Hunter and filmed in Miami in early May 2003, the music video for "Rock wit U (Awww Baby)" features Ashanti at a beach with her boyfriend while they flirt in bed together and driving down the road in a Jeep  In some scenes, the boyfriend watches Ashanti dance for him in the house and behind some trees at night  There is also a scene where she rides on an elephant in the water  The video was nominated at the 2003 MTV Video Music Awards for Best R&B Video 

Samples
The song was sampled for British rapper Aitch's single "Baby"  The single was released on 10 March 2022  It debuted on the UK Official Singles Top 100 on 18 March 2022, placing at number 2 

Track listings
Notes

^[a]  denotes additional producer

Credits and personnel
Credits lifted from the liner notes of Chapter II 

Charts
Certifications
Release history
Passage 5:
Guillotine IV (The Final Chapter)
"Guillotine IV (The Final Chapter)" is the second single from Falling in Reverse's third album Just Like You  It is the fourth and final installment of the Guillotine series that was started by Ronnie Radke when he was the frontman of Escape the Fate  Ronnie Radke sang the first song, "The Guillotine", from Escape the Fate's Dying Is Your Latest Fashion; and Craig Mabbit sang "This War Is Ours (The Guillotine II)" and "The Aftermath (The Guillotine III)" from Escape the Fate's This War Is Ours and their self-titled album, respectively 

Personnel
Falling in ReverseRonnie Radke – lead vocals
Jacky Vincent – lead guitar, backing vocals
Derek Jones – rhythm guitar, backing vocals
Ryan Seaman – drums, percussion, backing vocalsAdditionalCharles Kallaghan Massabo – bass
Passage 6:
Capítulo II: Brinca
Capítulo II: Brinca (English: Chapter II: Jump) is the second studio album by Mexican-American recording artist DJ Kane  It was released on September 13, 2005 by EMI Latin 

Track listing
Passage 7:
Ashanti (singer)
Ashanti Shequoiya Douglas (born October 13, 1980) is an American singer, songwriter and actress  She was first discovered as a teenager and later signed to Murder Inc  Records in 2002  That year, she was featured on Fat Joe's "What's Luv?" and Ja Rule's "Always on Time", both of which became two of the biggest hit songs of 2002  She became the first female artist to occupy the top two positions on the U S  Billboard Hot 100 chart simultaneously with "Foolish" and "What's Luv?" at numbers one and two, respectively 
In 2002, Ashanti released her eponymous debut album, which sold over 505,000 copies throughout the U S  in its first week of release  The album earned her many awards, including eight Billboard Music Awards, two American Music Awards, and a Grammy Award in 2003 for Best Contemporary R&B Album  The album has since been certified triple platinum in the United States and sold six million copies worldwide by the end of 2003  The lead single for the album, "Foolish", was a critical and commercial success; it reached number one on the Billboard Hot 100  With "Foolish", she became the second artist (after The Beatles) to have their first three chart entries in the top ten of the Billboard Hot 100 simultaneously  Ashanti wrote and provided background vocals for Jennifer Lopez's "Ain't It Funny (Murder Remix)", which also reached number one on the Billboard Hot 100 In 2003, Ashanti released her second album, Chapter II, which debuted at number one on the Billboard 200, with first-week sales of 326,000 copies in the U S  The album went platinum, selling over 1 5 million copies in the U S  since its release  The album's singles, "Rock wit U (Awww Baby)" and "Rain on Me", were both commercial successes, peaking at number two and number seven on the Billboard Hot 100 chart, respectively  Chapter II was nominated for a Grammy Award for Best Contemporary R&B Album, and "Rock wit U (Awww Baby)" and "Rain on Me" were each nominated in the categories of Best R&B Song and Best Female R&B Vocal Performance  In November 2003, Ashanti released a Christmas album titled Ashanti's Christmas, which was a modest commercial success 
In 2004, Ashanti released her third studio album, Concrete Rose, the title of which took on Tupac Shakur's pseudonym "The Rose That Grew from Concrete"  The album debuted at number seven in the U S , with first-week sales of 254,000 copies, and became her third platinum-certified album  The first single, "Only U", reached number thirteen on the Billboard Hot 100 and became her biggest hit in the United Kingdom, peaking at number two  A second single, the ballad "Don't Let Them", garnered little chart success after Def Jam refused to fund a music video due to Irv Gotti's legal troubles during his money laundering trial  Her subsequent albums include The Declaration (2008) and Braveheart (2014), the latter of which was released independently, on Ashanti's record label, Written Entertainment 
Aside from music, Ashanti has also acted in various productions  In 2005, she made her feature film debut in Coach Carter alongside Samuel L  Jackson  She also starred as Dorothy Gale in the made-for-television film The Muppets' Wizard of Oz, which attracted nearly 8 million viewers when it premiered  She has since appeared in the films John Tucker Must Die (2006) and Resident Evil: Extinction (2007)  Throughout her career, Ashanti has sold nearly 15 million records worldwide 

Early life
Ashanti Douglas was born on October 13, 1980 in Glen Cove, New York  Her mother, Tina Douglas, is African-American and a former dance teacher, her father, Ken-Kaide Thomas Douglas, is also African-American and a former singer  She is the oldest of her parents' children, with a younger sister named Kenashia "Shia" Douglas  Ashanti's mother named her after the Ashanti Empire in Ghana; in this nation, women had power and influence, and Tina wanted Ashanti to follow that model  Her grandfather, James, was a civil rights activist who was associated with Martin Luther King Jr  in the 1960s Ashanti's mother discovered her full singing potential when she overheard Ashanti singing Mary J  Blige's "Reminisce" at age 12 (after the song was released on Ashanti's birthday)  While attending high school, she began to write songs  As a teenager, she performed in a local talent show and at several small festivals  She got her first taste of acting as a child extra in Spike Lee's Malcolm X (1992) and in Ted Demme's Who's the Man?  She also had a couple of minor appearances in music videos, such as KRS-One's "MC's Act Like They Don't Know" as well as 8-Off's "Ghetto Girl" Ashanti struggled to find success as a singer after being courted by several record labels, including Bad Boy and Jive  Despite this, she continued to perform in and around New York and began hanging out at the Murder Inc  recording studio, hoping for a big break 

Career
2001–2003: Ashanti, Chapter II and Ashanti's Christmas
Ashanti was first noticed by Irv Gotti because of her vocal skills  He asked her to pen hooks for his rap artists and to perform with them in duets  Ashanti provided the melodic response to their call  Ashanti was first featured as a background vocalist on rapper Big Pun's song "How We Roll"  In the same year, Ashanti was featured on fellow labelmate Cadillac Tah's singles "Pov City Anthem" and "Just Like a Thug"  She also appeared on the 2001 The Fast and the Furious soundtrack as a featured artist on Vita's 2001 hip hop remake of Madonna's "Justify My Love" and on the solo track "When a Man Does Wrong"  She was then featured on Fat Joe's "What's Luv?" and Ja Rule's "Always on Time"  "What's Luv?" and "Always on Time" were released simultaneously and became two of the biggest hit songs of 2002  Ashanti became the first female to occupy the top two positions on the U S  Billboard Hot 100 chart simultaneously when "Always on Time" and "What's Luv?" were at numbers one and two, respectively 
Following the success of her collaborations with Ja Rule and Fat Joe, Ashanti released her debut single, "Foolish", which contains a sample of the 1983 song "Stay with Me" by DeBarge (also used by The Notorious B I G  in his 1995 single "One More Chance", and by Big L in "MVP")  This is her biggest success to date, spending ten weeks atop the Billboard Hot 100  She became the second artist (after The Beatles) to have their first three chart entries in the top ten of the Hot 100 simultaneously  Ashanti's self-titled debut album, Ashanti, was released on Irv Gotti's Murder Inc  record label in April 2002  It debuted at number one on the U S  Billboard 200 albums chart  The album has been certified triple platinum in the United States and sold six million copies worldwide  Ashanti wrote the album's twelve tracks, most of which were written on the spot in the studio  Ashanti's follow-up singles, "Happy" and "Baby", were not as successful as her debut single but peaked inside the top ten and top twenty in the U S , respectively  Ashanti's debut album earned her many awards, including eight Billboard Music Awards, two American Music Awards, and a Grammy Award in 2003 for Best Contemporary R&B Album  Ashanti was the first artist to win Best Contemporary R&B Album before the category was last awarded in 2011  She was nominated as Best New Artist and "Foolish" was nominated in the Best Female R&B Vocal Performance category  She also received a Comet Award and two Soul Train Music Awards that same year 
Ashanti became the subject of controversy when it was announced that she would receive the Soul Train Aretha Franklin Award for "Entertainer of the Year", a high school student took offense and started an online petition against her, explaining to The Seattle Times that she was too new to deserve the award  Nearly 30,000 people agreed with him, signing the petition  Many said that established artists such as Mary J  Blige and Missy "Misdemeanor" Elliott or critically acclaimed singers like Alicia Keys and India Arie were more deserving of an award that carries the name of a musical legend  Despite the petition, the Soul Train committee and Don Cornelius stuck by their decision  Ashanti was applauded by her musical peers as she entered the Pasadena Civic Auditorium to accept her award and she was supported onstage by Patti LaBelle, who stated "she's a baby and we have to support our babies "Just before the release of her second album, Ashanti headlined VH1 Divas Duets alongside Whitney Houston, Chaka Khan, Beyoncé and Lisa Marie Presley  During the concert, she performed duets with the Isley Brothers and Stevie Wonder, and participated in the all-star finale performance of Wonder's "Higher Ground "In July 2003, Ashanti released her second album, Chapter II, which debuted at number one on the Billboard 200, with first-week sales of 326,000 copies in the U S  The album went platinum, selling over 1 5  a million copies in the U S  Chapter II's first single, "Rock wit U (Awww Baby)", became a hit, peaking at number two on the Billboard Hot 100  Its video, which showed Ashanti in a bikini frolicking on a beach and riding an elephant, was nominated for two 2003 MTV Video Music Awards  A remix of the song contains interpolations of Michael Jackson's "Rock with You"  The second single, "Rain on Me", reached the number seven spot on the Hot 100 and number two on the Hot 100 R&B Songs chart  Chapter II was nominated for a 2004 Grammy Award for Best Contemporary R&B Album, and "Rock wit U (Awww Baby)" and "Rain on Me" were nominated in the categories of Best R&B Song and Best Female R&B Vocal Performance, respectively  In the "Rain on Me," mini-movie music video—directed by Hype Williams and co-starring Larenz Tate—Ashanti portrays a troubled young woman in an abusive relationship  She received a Lifetime Channel Achievement Award for her message speaking out against domestic violence  That same year, she began dating rapper Nelly In November 2003, Ashanti released a Christmas album titled Ashanti's Christmas  It contained 10 Christmas songs and was a modest commercial success and sold just around 100,000 units in the U S  The album peaked at No  160 in the Billboard charts 

2004–2007: Concrete Rose, Collectibles by Ashanti and acting
Before Concrete Rose was released, Ashanti did some major promotion for her single "Only U", when she premiered it at the 2004 Vibe Music Awards  She featured on "Wonderful"—with Ja Rule and R  Kelly—that year, which peaked at number five in the U S  and at number one in the UK  In December 2004, Ashanti released her third studio album, Concrete Rose, the title of which took on Tupac Shakur's pseudonym "The Rose That Grew from Concrete"  The album debuted at number seven in the U S , with first-week sales of 254,000 copies, and eventually became her third platinum-certified album  The first single, "Only U", reached number thirteen on the Billboard Hot 100 and became her biggest hit in the United Kingdom, peaking at number two  A second single, the ballad "Don't Let Them", garnered little chart success after Def Jam refused to fund a music video due to Irv Gotti's legal troubles during his money laundering trial  The single was released only in the U S , where it failed to chart, and the UK, where it reached the lower end of the top forty  After the release of Concrete Rose, Ashanti released the DVD Ashanti: The Making of a Star, which was available only for a limited time  The deluxe DVD includes an exclusive photo and video shoot footage, music from the albums Ashanti, Chapter II and Concrete Rose, special concert footage, unreleased childhood school performances, and behind-the-scenes interviews with family, friends, and fans 
In 2005, Ashanti focused more on her acting career, making her feature film acting debut in the film Coach Carter alongside Samuel L  Jackson, as well as starring as Dorothy Gale in the made-for-television film The Muppets' Wizard of Oz, which pulled in nearly 8 million viewers when it premiered  She sang "When I'm with You" for the film which was nominated for a Primetime Emmy in the Outstanding Music and Lyrics category  In Coach Carter, she played a pregnant teenager named Kyra who has to decide whether or not to abort her unborn child  The movie opened at number-one at the U S  box office, eventually grossing $67  million domestically  Later in 2005, Ashanti was invited to Oprah Winfrey's Legends Ball, which honored some of the most influential and legendary African American women of the twentieth century in the fields of art, entertainment, and civil rights  In December 2005, Ashanti released a remix album of Concrete Rose titled Collectables by Ashanti  The album was an opportunity for her to fulfill her contract with Def Jam (and have the option of working with another label)  It did not fare well on the charts 
In 2006, she starred in the teen comedy John Tucker Must Die, which opened and peaked at number three at the U S  box office (competing with Pirates of the Caribbean: Dead Man's Chest and Miami Vice) and grossed $68,818,076 worldwide  In 2007, she played a supporting role in the action film Resident Evil: Extinction (2007) 

2008–2010: The Declaration, departure from The Inc  and The Wiz
Her fourth studio album, The Declaration, was released on June 3, 2008,  and sold 86,000 units its first week of release, which were the lowest first-week sales for any of Ashanti's studio albums  In mid-2007, MTV News reported that the first single from The Declaration was "Switch", which was produced by Shy Carter and released digitally in the United States on July 24, 2007  It was later reported that "Switch" may not be included on the album's track listing, and that the first single would be "Hey Baby (After the Club)" it was released to radio and digital outlets on October 16  The song, which does not appear on the U S  editions of the album, peaked at number eighty-seven on the Billboard Hot R&B/Hip-Hop Songs chart  "The Way That I Love You", was released to radio and digital outlets in January 2008, and was referred to as the "first single" in press material and media reports  It reached number two on the Hot R&B/Hip-Hop Songs chart and number thirty-seven on the Billboard Hot 100, becoming Ashanti's first song to reach the top forty since "Only U" in 2004  "Body On Me" was recorded not only for Ashanti's The Declaration, but also for Nelly's fifth studio album Brass Knuckles  The track is produced by Akon and Giorgio Tuinfort  It went to number one on Billboard's Hot Videoclip Tracks chart in its first week, becoming the first number-one single from Nelly's album "Good Good" was released to urban radio stations on July 16, 2008  The song contains elements of Elton John's 1974 single "Bennie and the Jets", and has the same melody arrangement as Michael Jackson's "The Girl Is Mine"  In July 2008, Ashanti was named an ambassador of tourism for Nassau County, Long Island 
In May 2009, Irv Gotti announced that he was officially releasing Ashanti from The Inc  Records, stating that "The relationship has run its course  The chemistry of what's needed — we're in two totally different places  You're talking to somebody that took her and shaped and molded her and put her out there for the world, and it blew up  We [hold the record] for the [fastest] selling debut by a female R&B artist — 503 [thousand]  We did it! My views and philosophies and her views and philosophies are not meeting up " Gotti also admitted that he and Ashanti have not spoken to each other in a long time  A representative for Ashanti did not respond  On September 24, 2009, Ashanti announced her fifth studio album would be released from her new label, Written Entertainment 
Ashanti headlined the cast of The Wiz in the New York City Center Encores! Summer Stars staging from June 12 to July 5, 2009  Ashanti's role as Dorothy has since received mixed reviews from critics as most praised her vocals but was less pleased with her acting ability  BET and Entertainment Weekly both praised the singer's performance as The New York Post and New York Times gave lukewarm reviews  Though the first night was sold out, some of the other shows were unable to follow its success  On October 27, 2008, Ashanti took part in The Yellow Brick Road Not Taken, a one night only concert to celebrate the fifth anniversary of Wicked, featuring songs written by Stephen Schwartz, that were cut from the show 

2011–2014: Hiatus and Braveheart
After a four-year hiatus, Ashanti released the song "Never Too Far Away", which was featured in Morgan Creek's film Dream House starring Daniel Craig, Rachel Weisz with Naomi Watts  The lead single from her fifth studio album, "The Woman You Love" featuring American rapper Busta Rhymes, was released online on December 15, 2011  Ashanti teamed up with Meek Mill and French Montana for the second single "No One Greater", which was produced by 7 Aurelius, Irv Gotti and Chink Santana  In April 2013, she released another single called "Never Should Have", which later won "Best Independent R&B/Soul Performance" at the 2013 Soul Train Awards  A music video for the track was also released In November 2012, it was reported that she had landed her first series regular role in the seventh season of Army Wives, playing Latasha Montclair  The series was canceled on September 24, 2013  In the fall of 2013, she appeared in a guest spot on Law & Order: Special Victims Unit alongside Clay Aiken and Taylor Hicks  She also starred in the Lifetime film Christmas in the City which premiered on December 7, 2013 In August 2013, Ashanti announced her plans to once again work with Ja Rule, who'd been released from prison in July of that year following a six-year sentence stemming from a gun charge  On January 8, 2014, she revealed the official cover art and release date for Braveheart, her fifth album, which was released on March 4, 2014  In January 2014, Ashanti shot the video for the official first single from Braveheart titled "I Got It" featuring Rick Ross  The video was shot in Miami, Florida, and was directed by Eif Rivera  In July, Ashanti announced that the second official single from BraveHeart would be "Early in the Morning" featuring French Montana  Upon release, the album garnered favorable reviews, with music critics describing Braveheart's sound as an "evolution of R&B" and praising the themes of empowerment but criticizing the romantic clichés and lack of interesting moments on the album  On the charts, Braveheart opened at number ten in the U S  Billboard 200, becoming Ashanti's fifth consecutive top-ten album, as well as her first Independent Albums chart-topper  It also debuted in the top thirty of the UK R&B Albums Chart and top-forty of the UK Indie Albums Chart 

2015–present: Current activities and upcoming seventh studio album
In 2015, she announced that she had worked on new music for her seventh album, with an unknown release date  Ashanti collaborated with Michelle Obama for her #Let'sMove campaign to spread awareness of drinking water with her new video and song "Let's Go" released in 2015  In 2016, she collaborated on the song "Seven Day Love" included in the album "Inzombia" by Canadian singer Belly  She has also worked with numerous artists, including Sia, Alicia Keys, John Legend, Queen Latifah, Usher and Kelly Clarkson to interpret the songs of the Broadway musical "Hamilton" for the compilation "The Hamilton Mixtape" In 2017, Ashanti announced her seventh studio album, revealing it would be released in 2018  She denied this in June 2018, confirming the future release of an album in collaboration with rapper Ja Rule  Between 2017 and 2018 she returned to the music scene with several collaborations including the single "Say Less" with Ty Dolla Sign, the track "The Road" by Machel Montano, and the song "Start This Shit Off Right" with Mack Maine, from the album "Tha Carter V" by Lil Wayne Ashanti released the collaboration "Pretty Little Thing" with Afro B in August 2019  She also featured on the soundtrack of the film Stuck, which she produced  In November, Ashanti guest-starred as herself in two episodes of the third season of The CW's Dynasty reboot: "Mother, I'm At La Mirage" and "Something Desperate" In January 2021, Ashanti released her single "2:35 (I Want You)" On March 10, 2022, Ashanti's single "Rock wit U (Awww Baby)" was heavily sampled for British rapper Aitch's single "Baby" In October 2022, Ashanti was featured on Diddy’s “Gotta Move On” remix which also features Bryson Tiller and Yung Miami 

Artistry
Ashanti has a lyric soprano voice type  Critics have referred to her voice as "pretty" and her soprano as "sultry" and "sweet but slight"  Jason Birchmeier of AllMusic noted her reputation for using her "swooning voice" in duets with Big Pun, Fat Joe, and Ja Rule  As a young girl, Ashanti was influenced by Ella Fitzgerald, Whitney Houston, Michael Jackson, Prince, and Tupac Shakur, but she cites Mary J  Blige as the main reason she wanted to pursue a singing career  Further musical influences include Janet Jackson, Mariah Carey, Madonna, Smokey Robinson, Donna Summer, and Blue Magic 

Philanthropy
In 2003, Ashanti partnered with LidRock and the San Francisco-based Family Violence Prevention Fund (FVPF) to raise awareness about the issue of domestic violence during National Domestic Violence Awareness Month and to distribute the "Rain on Me" mini-movie using LidRock's unique platform  Proceeds from the $5 mini-disc went towards helping to stop domestic violence  Ashanti also recorded a public service announcement that appeared in more than 4,000 film screens and reached millions of people  Ashanti also gives back by raising money for sickle cell research and she is active in helping the Make-A-Wish Foundation stating, "I'll go and do just about anything for them " In 2005, Ashanti helped by recording public service announcement and raising money for the Southeast Asia tsunami disaster  Later that year, she helped raise money for the Hurricane Katrina victims and storm evacuees In 2008, Ashanti, along with others celebrities, taped a PSA to help stop violence and discrimination towards the LGBT community in response to the death of Lawrence King, an eighth-grader at E O  Green Junior High School, who was shot because of his sexual orientation and gender expression  That same year, she launched a special on-line campaign called "I Declare Me   " with Wal-Mart  The campaign's core is a very personal focus on the self-definition and empowerment of women across the United States, with its home base at Ashanti's official website  The campaign creates a safe and inclusive on-line space to for women to share testimonies on the site  Participants are able to openly declare their own breakthroughs, revelations, struggles and victories in every life area they choose: career, birth, death, relationships, and personal situations  "I Declare Me   " also invites women to a virtual discussion with Ashanti on such issues as voter registration, teen obesity, and other concerns facing women today 
In September 2009, Ashanti, along with other artists such as Mariah Carey, Beyoncé, Mary J  Blige, Rihanna, Fergie, Sheryl Crow, Miley Cyrus, Melissa Etheridge, Natasha Bedingfield, Keyshia Cole, Ciara, Leona Lewis, LeAnn Rimes and Carrie Underwood, teamed up for the song "Just Stand Up!"  The charity tune for cancer was conceived by Antonio "L A " Reid, who produced it with longtime creative colleague Babyface  All 15 singers (along with Nicole Scherzinger) shared the stage to perform the song live on September 5, 2008, during the "Stand Up to Cancer" television special, which aired simultaneously on ABC, NBC and CBS, and helped raise $100 million for cancer research  As a result of SU2C fund raising endeavors, the SU2C scientific advisory committee, overseen by the American Association for Cancer Research, was able to award 73 6 million dollars towards novel, groundbreaking cancer research in 2009 In November 2009, Ashanti joined the crew of ABC's Extreme Makeover: Home Edition  In the episode, which aired on January 24, 2010, the singer assisted in the rebuilding of the Powell Family home in Buffalo, New York   The efforts from the show expanded significantly to include not just the family home but the entire neighborhood surrounding it  In 2013, Ashanti featured on the 19-track compilation album Songs for a Healthier America, a collaborative project by the Partnership for a Healthier America, whose honorary chair is Michelle Obama, and Hip Hop Public Health  Her song "Just Believe" also featured Artie Green, Gerry Gunn, Robbie Nova and Chauncey Hawkins  Additionally, she is affiliated with the Jumpstart reading program, the Tupperware Brand and the Boys and Girls Club of America 

Personal life
On January 1, 2003, Ashanti met rapper Nelly at a press conference for the 2003 Grammy Awards, and the two later began dating  They ended their relationship after a decade together  In 2023, they reunited and got back together 

Discography
Studio albumsAshanti (2002)
Chapter II (2003)
Ashanti's Christmas (2003)
Concrete Rose (2004)
The Declaration (2008)
Braveheart (2014)

Filmography
Film
Television
Theater
See also
List of awards and nominations received by Ashanti
Context 3: Passage 1:
The Very Best of Jerry Garcia
The Very Best of Jerry Garcia is a two-CD compilation album   It contains songs, mostly previously released, by Jerry Garcia, the Jerry Garcia Band, the Jerry Garcia Acoustic Band, Old & In the Way, and Reconstruction  It is meant to showcase Garcia's work outside the Grateful Dead   The first disc contains studio recordings and the second disc contains live recordings   It was released on September 26, 2006 
Some copies of the album include two bonus discs called More of the Best and Twisted Radio Waves The Very Best of Jerry Garcia was released for Record Store Day as a five-disc LP, in a limited edition of 4,000 copies, on September 26, 2020 

Track listing
Disc one (studio)

From  Garcia:"Deal" (Jerry Garcia, Robert Hunter) – 3:14
"Bird Song" (Garcia, Hunter) – 4:26
"Sugaree" (Garcia, Hunter) – 5:54
"Loser" (Garcia, Hunter) – 4:10
"The Wheel" (Garcia, Hunter) – 4:12From Compliments:"Let It Rock" (Chuck Berry) – 3:12
"Russian Lullaby" (Irving Berlin) – 3:04From Reflections:"Might as Well" (Garcia, Hunter) – 3:54
"Mission in the Rain" (Garcia, Hunter) – 5:04
"I'll Take a Melody" (Allen Toussaint) – 9:28From Cats Under the Stars:"Rubin and Cherise" (Garcia, Hunter) – 5:17
"Cats Under the Stars" (Garcia, Hunter) – 5:31
"Rhapsody in Red" (Garcia, Hunter, John Kahn) – 5:11From Run for the Roses:"Run for the Roses" (Garcia, Hunter) – 3:41
"Knockin' on Heaven's Door" (Bob Dylan) – 7:40
"Without Love" (Clyde McPhatter) – 4:26Disc two (live)

From Breakdown:"Catfish John" (Bob McDill, Allen Reynolds) – 4:06From Almost Acoustic:"Deep Elem Blues" (traditional) – 6:09
"Ripple" (Garcia, Hunter) – 4:21From Garcia Plays Dylan:"Positively 4th Street" (Dylan) – 10:46From Pure Jerry: Theatre 1839, July 29 & 30, 1977:"The Harder They Come" (Jimmy Cliff) – 12:43From How Sweet It Is:"Gomorrah" (Garcia, Hunter) – 6:37Previously unreleased performance by Reconstruction on July 8, 1979:"Dear Prudence" (John Lennon, Paul McCartney) - 11:38From Jerry Garcia Band:"Señor (Tales of Yankee Power)" (Dylan) - 7:45
"Evangeline" (David Hidalgo, Louie Perez) – 4:47From Way After Midnight, the bonus disc for After Midnight: Kean College, 2/28/80:"Deal" (Garcia, Hunter) - 9:12

Personnel
See individual albums for musical personnel 

Production
Compilation producers – James Austin, Joe Gastwirt, Blair Jackson, Peter McQuaid
Product manager – Jimmy Edwards
Tape research, liner notes – Blair Jackson
Remastering – Joe Gastwirt
Discographical annotation – Reggie Collins
Editorial supervision – Dorothy Stefanski
Art direction, design – Jean Krikorian
Photography – Herb Greene, Jon Sievert, Richard E  Aaron, Dave Patrick
Painting – Jerry Garcia
Project assistance – Karen LeBlanc, James O'Toole
Passage 2:
Joe Gooch
Joe Gooch (born 3 May 1977) is an English musician who was known as the lead vocalist and lead guitarist of Ten Years After from 2003 to 2014 

Biography
Gooch was introduced to jazz and blues at an early age  By thirteen, taking his music seriously, he enrolled on a course of classical guitar lessons  The disciplines he learned were good grounding for him, but he soon realised his interest lay outside of the classical sphere, and moved towards rock and blues  At first he was influenced by his childhood heroes, Larry Carlton, Steely Dan, The Beatles, Jimi Hendrix, Eric Clapton, Led Zeppelin, Buddy Guy and later Frank Zappa  Gooch replaced Alvin Lee in Ten Years After, with  limited success, and later formed Hundred Seventy Split with bassist Leo Lyons 
In January 2014, it was announced that both Gooch and Lyons had left Ten Years After 

Album discography
SiRO

SiRO – 1999Ten Years After

Now – 2004
Roadworks (Live) – 2005
Evolution – 2008
Live at Fiesta City (DVD) – 2009Hundred Seventy Split

The World Won't Stop – 2011
Hundred Seventy Split – 2014
Passage 3:
Jerry Garcia
Jerome John Garcia (August 1, 1942 – August 9, 1995) was an American musician best known for being the principal songwriter, lead guitarist, and a vocalist with the rock band Grateful Dead, which he co-founded and which came to prominence during the counterculture of the 1960s  Although he disavowed the role, Garcia was viewed by many as the leader of the band  He was inducted into the Rock and Roll Hall of Fame in 1994 as a member of the Grateful Dead 
As one of its founders, Garcia performed with the Grateful Dead for the band's entire 30-year career (1965–1995)  Garcia also founded and participated in a variety of side projects, including the Saunders–Garcia Band (with longtime friend Merl Saunders), the Jerry Garcia Band, Old & In the Way, the Garcia/Grisman and Garcia/Kahn acoustic duos, Legion of Mary, and New Riders of the Purple Sage (which he co-founded with John Dawson and David Nelson)  He also released several solo albums, and contributed to a number of albums by other artists over the years as a session musician  He was well known for his distinctive guitar playing, and was ranked 13th in Rolling Stone's "100 Greatest Guitarists of All Time" cover story in 2003  In the 2015 version of the list he was ranked at #46 Garcia was renowned for his musical and technical ability, particularly his ability to play a variety of instruments and sustain long improvisations  Garcia believed that improvisation took stress away from his playing and allowed him to make spur of the moment decisions that he would not have made intentionally  In a 1993 interview with Rolling Stone, Garcia noted that "my own preferences are for improvisation, for making it up as I go along  The idea of picking, of eliminating possibilities by deciding, that's difficult for me"  Originating from the days of the "Acid Tests", these improvisations were a form of exploration rather than playing a song already written Later in life, Garcia struggled with diabetes  In 1986, he went into a diabetic coma that nearly cost him his life  Although his overall health improved somewhat after the incident, he continued to struggle with obesity, smoking, and long-standing heroin and cocaine addictions  He was staying in a California drug rehabilitation facility when he died of a heart attack on August 9, 1995, at age 53 

Early life
Garcia's ancestors on his father's side were from Galicia in northwest Spain  His mother's ancestors were Irish and Swedish  He was born in the Excelsior District of San Francisco, California, on August 1, 1942, to Jose Ramon "Joe" Garcia and Ruth Marie "Bobbie" (née Clifford) Garcia, who was herself born in San Francisco  His parents named him after composer Jerome Kern  Jerome John was their second child, preceded by Clifford Ramon "Tiff", who was born in 1937  Shortly before Clifford's birth, their father and a partner leased a building in downtown San Francisco and turned it into a bar, partly in response to Jose being blackballed from a musicians' union for moonlighting Garcia was influenced by music at an early age, taking piano lessons for much of his childhood  His father was a retired professional musician and his mother enjoyed playing the piano  His father's extended family—which had immigrated from Spain in 1919—would often sing during reunions In 1946, two-thirds of four-year-old Garcia's right middle finger was cut off by his brother in a wood splitting accident, while the family was vacationing in the Santa Cruz Mountains  Garcia later confessed that he often used it to his advantage in his youth, showing it off to other children in his neighborhood 
Less than a year after this incident his father died in a fly fishing accident when the family was vacationing near Arcata in Northern California   He slipped after entering the Trinity River, part of the Six Rivers National Forest, and drowned before other fishermen could reach him  Although Garcia claimed he saw the incident, Dennis McNally, author of the book A Long Strange Trip: The Inside Story of the Grateful Dead, argues Garcia formed the memory after hearing others repeat the story  Blair Jackson, who wrote Garcia: An American Life, notes that a local newspaper article describing Jose's death did not mention Jerry being present when he died 

Excelsior District
Following his father's death, Garcia's mother Ruth took over her husband's bar, buying out his partner for full ownership  She began working full-time there, sending Jerry and his brother to live nearby with her parents, Tillie and William Clifford  During the five-year period in which he lived with his grandparents, Garcia enjoyed a large amount of autonomy and attended Monroe Elementary School  At the school, Garcia was greatly encouraged in his artistic abilities by his third grade teacher: through her, he discovered that "being a creative person was a viable possibility in life " According to Garcia, it was around this time that he was opened up to country and bluegrass music by his grandmother, whom he recalled enjoyed listening to the Grand Ole Opry  His elder brother, Clifford, however, staunchly believed the contrary, insisting that Garcia was "fantasizing all [that]     she'd been to Opry, but she didn't listen to it on the radio " It was at this point that Garcia started playing the banjo, his first stringed instrument 

Menlo Park
In 1953, Garcia's mother married Wally Matusiewicz  Subsequently, Garcia and his brother moved back home with their mother and new stepfather  However, due to the roughneck reputation of their neighborhood at the time, Garcia's mother moved their family to Menlo Park  During their stay in Menlo Park, Garcia became acquainted with racism and antisemitism, things he disliked intensely  The same year, Garcia was also introduced to rock and roll and rhythm and blues by his brother, and enjoyed listening to Ray Charles, John Lee Hooker, B  B  King, Hank Ballard, and, later, Chuck Berry  Clifford often memorized the vocals for his favorite songs, and would then make Garcia learn the harmony parts, a move to which Garcia later attributed much of his early ear training In mid-1957, Garcia began smoking cigarettes and was introduced to marijuana  Garcia would later reminisce about the first time he smoked marijuana: "Me and a friend of mine went up into the hills with two joints, the San Francisco foothills, and smoked these joints and just got so high and laughed and roared and went skipping down the streets doing funny things and just having a helluva time"  During this time, Garcia also studied at what is now the San Francisco Art Institute  At San Francisco Art Institute, Garcia was taught by Wally Hedrick, an artist who came to prominence during the 1960s  During the classes, he often encouraged Garcia to draw and paint, noting that Garcia had skill in both areas  Hedrick also introduced Garcia to the fiction of Jack Kerouac, whom Garcia later cited as a major influence 

San Francisco
In June, Garcia graduated from the local Menlo Oaks school  He then moved with his family back to San Francisco, where they lived in an apartment above the family bar, a newly built replacement for the original, which had been torn down to make way for a freeway entrance  Two months later, on Garcia's fifteenth birthday, his mother bought an accordion for him, to his great disappointment  Garcia had long been captivated by many rhythm and blues artists, especially Chuck Berry and Bo Diddley, leaving him craving an electric guitar  After some pleading, his mother exchanged the accordion for a Danelectro with a small amplifier at a local pawnshop  Garcia's stepfather, who was somewhat proficient with instruments, helped tune his guitar to an unusual open tuning 

Cazadero
After a short stint at Denman Junior High School, Garcia attended tenth grade at Balboa High School in 1958, where he often got into trouble for skipping classes and fighting  Consequently, in 1959, Garcia's mother again moved the family to a safer environment, to Cazadero, a small town in Sonoma County, 90 miles (140 km) north of San Francisco  This turn of events did not sit well with Garcia, who had to travel by bus thirty miles (50 km) to Analy High School in Sebastopol, the nearest school  Garcia did, however, join a band at his school known as the Chords  After performing in and winning a contest, the band's reward was recording a song  They chose "Raunchy" by Bill Justis 

Recording career
Relocation and band beginnings
Garcia stole his mother's car in 1960 and was given the option of joining the U S  Army in lieu of prison  He received basic training at Fort Ord  After training, he was transferred to Fort Winfield Scott in the Presidio of San Francisco  Garcia spent most of his time in the army at his leisure, missing roll call and accruing many counts of being AWOL  As a result, Garcia was given a general discharge on December 14, 1960 In January 1961, Garcia drove to East Palo Alto to see Laird Grant, an old friend from middle school  He had purchased a 1950 Cadillac sedan from a cook in the army, which barely made it to Grant's residence before it broke down  Garcia spent the next few weeks sleeping where friends would allow, eventually using his car as a home  Through Grant, Garcia met Dave McQueen in February, who, after hearing Garcia perform some blues music, introduced him to local people and to the Chateau, a rooming house located near Stanford University which was then a popular hangout On February 20, 1961, Garcia got into a car with Paul Speegle, a sixteen-year-old artist and acquaintance of Garcia; Lee Adams, the house manager of the Chateau and driver of the car; and Alan Trist, a companion of theirs  After speeding past the Palo Alto Veterans Hospital, the driver encountered a curve and, speeding around 90 miles per hour (140 km/h), crashed into the guard rail, sending the car rolling turbulently  Garcia was hurled through the windshield of the car into a nearby field with such force that he was literally dislodged from his shoes and later unable to recall the ejection  Lee Adams, the driver, and Alan Trist, who was seated in the back, were thrown from the car as well, resulting in abdominal injuries and a spine fracture, respectively  Garcia escaped with a broken collarbone, while Speegle, still in the car, was fatally injured Lee's reckless driving and crash served as an awakening for Garcia, who later said, "That's where my life began  Before then I was always living at less than capacity  I was idling  That was the slingshot for the rest of my life  It was like a second chance  Then I got serious"  It was at this time that Garcia began to realize that he needed to begin playing the guitar in earnest—a move which meant giving up his love of drawing and painting In April 1961, Garcia first met Robert Hunter, who would become a long-time friend of and lyricist for the Grateful Dead, collaborating principally with Garcia  The two involved themselves in the South Bay and San Francisco art and music scenes, sometimes playing at Menlo Park's Kepler's Books  Garcia performed his first concert with Hunter, each earning five dollars  Garcia and Hunter also played in bands (the Wildwood Boys and the Hart Valley Drifters) with David Nelson, who would later play with Garcia in the New Riders of the Purple Sage and contribute to several Grateful Dead album songs In 1962, Garcia met Phil Lesh, the eventual bassist of the Grateful Dead, during a party in Menlo Park's bohemian Perry Lane neighborhood (where author Ken Kesey lived)  Lesh would later write in his autobiography that Garcia reminded him of pictures he had seen of the composer Claude Debussy, with his "dark, curly hair, goatee, Impressionist eyes"  While attending another party in Palo Alto, Lesh approached Garcia to suggest they record Garcia on Lesh's tape recorder and produce a radio show for the progressive, community-supported Berkeley radio station KPFA  Using an old Wollensak tape recorder, they recorded "Matty Groves" and "The Long Black Veil", among several other tunes  The recordings became a central feature of a 90-minute KPFA special broadcast, "The Long Black Veil and Other Ballads: An Evening with Jerry Garcia"  The link between KPFA and the Grateful Dead continues to this day, having included many fundraisers, interviews, live concert broadcasts, taped band performances and all-day or all-weekend "Dead-only" marathons Garcia soon began playing and teaching acoustic guitar and banjo  One of Garcia's students was Bob Matthews, who later engineered many of the Grateful Dead's albums  Matthews attended Menlo-Atherton High School and was friends with Bob Weir, and on New Year's Eve 1963, he introduced Weir and Garcia Between 1962 and 1964, Garcia sang and performed mainly bluegrass, old-time, and folk music  One of the bands Garcia performed with was the Sleepy Hollow Hog Stompers, a bluegrass act  The group consisted of Garcia on guitar, banjo, vocals, and harmonica, Marshall Leicester on banjo, guitar, and vocals, and Dick Arnold on fiddle and vocals  Soon after this, Garcia, Weir, Ron "Pigpen" McKernan, and several of their friends formed a jug band called Mother McCree's Uptown Jug Champions  Around this time, the psychedelic drug LSD was gaining popularity  Garcia first began using LSD in 1964; later, when asked how it changed his life, he remarked: "Well, it changed everything [   ] the effect was that it freed me because I suddenly realized that my little attempt at having a straight life and doing that was really a fiction and just wasn't going to work out  Luckily I wasn't far enough into it for it to be shattering or anything; it was like a realization that just made me feel immensely relieved "In 1965, Mother McCree's Uptown Jug Champions evolved into the Warlocks, with the addition of Phil Lesh on bass guitar and Bill Kreutzmann on percussion  However, the band discovered that another group (which would later become the Velvet Underground) had recently selected the same name  In response, Garcia came up with "Grateful Dead" by opening a Funk & Wagnalls dictionary to an entry for "Grateful dead"  The definition for "Grateful dead" was "a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial"  The band's first reaction was disapproval  Garcia later explained the group's reaction: "I didn't like it really, I just found it to be really powerful  [Bob] Weir didn't like it, [Bill] Kreutzmann didn't like it and nobody really wanted to hear about it " Despite their dislike of the name, it quickly spread by word of mouth, and soon became their official title 

Career with the Grateful Dead
Garcia served as lead guitarist and one of the principal vocalists and songwriters of the Grateful Dead for the band's entire career  Garcia composed songs such as "Uncle John's Band", "Dark Star", "Franklin's Tower", and "Scarlet Begonias", among many others  Robert Hunter, an ardent collaborator with the band, wrote the lyrics to all but a few of Garcia's songs Garcia was known for his "soulful extended guitar improvisations", which would frequently feature interplay between him and his fellow band members  His fame, as well as the band's, arguably rested on their ability to never play a song the same way twice  Often, Garcia would take cues from rhythm guitarist Bob Weir, remarking that "there are some [   ] kinds of ideas that would really throw me if I had to create a harmonic bridge between all the things going on rhythmically with two drums and Phil [Lesh's] innovative bass playing  Weir's ability to solve that sort of problem is extraordinary  [   ] Harmonically, I take a lot of my solo cues from Bob "When asked to describe his approach to soloing, Garcia commented: "It keeps on changing  I still basically revolve around the melody and the way it's broken up into phrases as I perceive them  With most solos, I tend to play something that phrases the way the melody does; my phrases may be more dense or have different value, but they'll occur in the same places in the song  [   ]"Garcia and the band toured almost constantly from their formation in 1965 until Garcia's death in 1995  Periodically, there were breaks due to exhaustion or health problems, often due to Garcia's drug use  During their three-decade span, the Grateful Dead played 2,314 shows 
Garcia's guitar-playing was eclectic  He melded elements from the various kinds of music that influenced him  Echoes of bluegrass playing (such as Arthur Smith and Doc Watson) could be heard  There was also early rock (like Lonnie Mack, James Burton, and Chuck Berry), contemporary blues (Freddie King and Lowell Fulsom), country and western (Roy Nichols and Don Rich), and jazz (Charlie Christian and Django Reinhardt) to be heard in Garcia's style  Don Rich was the sparkling country guitar player in Buck Owens's "the Buckaroos" band of the 1960s, but besides Rich's style, both Garcia's pedal steel guitar playing (on Grateful Dead records and others) and his standard electric guitar work, were influenced by another of Owens's Buckaroos of that time, pedal steel player Tom Brumley  And as an improvisational soloist, John Coltrane was one of his greatest personal and musical influences 
Garcia later described his playing style as having "descended from barroom rock and roll, country guitar  Just 'cause that's where all my stuff comes from  It's like that blues instrumental stuff that was happening in the late Fifties and early Sixties, like Freddie King " Garcia's style could vary with the song being played and the instrument he was using, but his playing had a number of so-called "signatures"   Among these were lead lines based on rhythmic triplets (examples include the songs "Good Morning Little School Girl", "New Speedway Boogie", "Brokedown Palace", "Deal", "Loser", "Truckin'", "That's It for the Other One", "U S  Blues", "Sugaree", and "Don't Ease Me In") 

Side projects
In addition to the Grateful Dead, Garcia participated in numerous musical side projects, including the Jerry Garcia Band  He was also involved with various acoustic projects such as Old & In the Way and other bluegrass bands, including collaborations with noted bluegrass mandolinist David Grisman  The documentary film Grateful Dawg, co-produced by Gillian Grisman and former NBC producer Pamela Hamilton chronicles the deep, long-term friendship between Garcia and Grisman



ground_truth: French mathematician and physicist

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: When was the American singer, songwriter, record producer, dancer and actress born who's second studio album is Chapter II?

The following are given passages.
Context 3:  When Garcia and Grisman released Not For Kids Only, Hamilton produced their interview and concert for NBC  After several years of producing stories on the Grateful Dead and band members' side projects, Hamilton interviewed Bob Weir for a feature on Garcia's death marking the end of an era 
Other groups in which Garcia participated at one time or another include the Black Mountain Boys, Legion of Mary, Reconstruction, and the Jerry Garcia Acoustic Band  Garcia was also a fan of jazz artists and improvisation: he played with jazz keyboardists Merl Saunders and Howard Wales for many years in various groups and jam sessions, and he appeared on saxophonist Ornette Coleman's 1988 album, Virgin Beauty  His collaboration with Merl Saunders and Muruga Booker on the world music album Blues From the Rainforest launched the Rainforest Band 
Garcia spent a lot of time in the recording studio helping out fellow musician friends in session work, often adding guitar, vocals, pedal steel, sometimes banjo and piano and even producing  He played on over 50 studio albums, the styles of which were eclectic and varied, including bluegrass, rock, folk, blues, country, jazz, electronic music, gospel, funk, and reggae  Artists who sought Garcia's help included the likes of Jefferson Airplane (most notably Surrealistic Pillow, Garcia being listed as their "spiritual advisor")  Garcia himself recalled in a mid-1967 interview that he'd played the high lead on "Today," played on "Plastic Fantastic Lover" and "Comin' Back to Me" on that album  Others include Tom Fogerty, David Bromberg, Robert Hunter (Liberty, on Relix Records), Paul Pena, Peter Rowan, Warren Zevon, Country Joe McDonald, Pete Sears, Ken Nordine, Ornette Coleman, Bruce Hornsby, Bob Dylan, It's a Beautiful Day, and many more  In 1995 Garcia played on three tracks for the CD Blue Incantation by guitarist Sanjay Mishra, making it his last studio collaboration 
Throughout the early 1970s, Garcia, Lesh, Grateful Dead drummer Mickey Hart, and David Crosby collaborated intermittently with MIT-educated composer and biologist Ned Lagin on several projects in the realm of early ambient music; these include the album Seastones (released by Ned Lagin on the Round Records subsidiary) and L, an unfinished dance work composed by Ned Lagin  In 1970, Garcia participated in the soundtrack for the film Zabriskie Point 
Garcia also played pedal steel guitar for fellow-San Francisco musicians New Riders of the Purple Sage from their initial dates in 1969 to October 1971, when increased commitments with the Dead forced him to opt out of the group  He appears as a band member on their debut album New Riders of the Purple Sage, and produced Home, Home on the Road, a 1974 live album by the band  He also contributed pedal steel guitar to the enduring hit "Teach Your Children" by Crosby, Stills, Nash, & Young  Garcia also played steel guitar licks on Brewer & Shipley's 1970 album Tarkio  Despite considering himself a novice on the pedal steel, Garcia routinely ranked high in player polls  After a long lapse from playing the pedal steel, he played it once more during several of the Dead's concerts with Bob Dylan in the summer of 1987 
In 1988, Garcia agreed to perform at several major benefits including the "Soviet American Peace Walk" concert at the Band Shell, in Golden Gate Park, San Francisco, that drew 25,000 people  He was asked to play by longtime friend and fellow musician, Pete Sears, who played piano with all the bands that day, and also procured all the other musicians  Garcia, Mickey Hart and Steve Parish played the show, then were given a police escort to a Grateful Dead show across the bay later that night  Garcia also played with Nick Gravenites and Pete Sears at a benefit given for Vietnam Veteran and peace activist Brian Willson, who lost both legs below the knee when he attempted to block a train carrying weapons to military dictatorships in El Salvador 
Having previously studied at the San Francisco Art Institute as a teenager, Garcia embarked on a second career in the visual arts in the late 1980s  He created a number of drawings, etchings, and water colors  Garcia's artistic endeavors were represented by the Weir Gallery in Berkeley, California from 1989 to 1996  During this period, Roberta Weir (unrelated to Garcia's bandmate Bob Weir) provided Garcia with new art techniques to use, sponsored his first solo show in 1990, and prepared blank etching plates for him to draw on  These would then be processed and printed by gallery staff and brought back to Garcia for approval and signature, usually with a passing of stacks of paper backstage at a Dead show  His annual shows at the Weir Gallery garnered much attention, leading to further shows in New York and other cities  Garcia was an early adopter of digital art media; his artistic style was as varied as his musical output, and he carried small notebooks for pen and ink sketches wherever he toured  Roberta Weir continues to maintain an archive of the artwork of Jerry Garcia  Perhaps the most widely seen pieces of Jerry Garcia's art are the many editions of men's neckties produced by Stonehenge Ltd  and Mulberry Neckware  Some began as etchings, other designs came from his drawings, paintings, and digital art  Garcia's artwork has since expanded into everything from hotel rooms, wet suits, men's sport shirts, a women's wear line, boxer shorts, hair accessories, cummerbunds, silk scarves and wool rugs 

Personal life
Garcia met his first wife, Sara Ruppenthal, in 1963  She was working at the coffee house in the back of Kepler's Books, where Garcia, Hunter, and Nelson regularly performed  They married on April 23, 1963, and on December 8 of that year their daughter Heather was born  They divorced in 1967 Carolyn Adams, a Merry Prankster also known as "Mountain Girl" or "M G ," had a daughter, Sunshine, with Ken Kesey in 1966  Mountain Girl married another Prankster, George Walker, but they soon separated  She and Sunshine then moved into 710 Ashbury with Garcia in late 1966 where they would ultimately live together until 1975  Adams gave birth to Garcia's second and third daughters, Annabelle Walker Garcia (February 2, 1970) and Theresa Adams "Trixie" Garcia (September 21, 1974) In August 1970, Garcia's mother Ruth was involved in a car crash near Twin Peaks in San Francisco  Garcia, who was recording the album American Beauty at the time, often left the sessions to visit his mother with his brother Clifford  She died on September 28, 1970 
In the midst of a March 1973 Grateful Dead engagement at Long Island's Nassau Coliseum, Garcia met Deborah Koons, an aspiring filmmaker from a wealthy Cincinnati, Ohio-based family who would much later marry him and become his widow  After a brief correspondence, he began his relationship with her in mid-1974  This gradually strained his relationship with Adams and culminated in Garcia leaving Adams for Koons in late 1975  The end of his relationship with Koons in 1977 precipitated a brief reconciliation with Adams, including the reestablishment of their household  However, she did not agree with the guitarist's persistent use of narcotics and moved with the children to the Eugene, Oregon area, living near Kesey, in 1978 
Following Adams' departure, Garcia had an affair with Amy Moore  She was a Kentucky-born member of the extended "Grateful Dead family", and the mistress of Texas oil heir Roy Cullen  Their affair lasted circa 1980–1981, and inspired the Garcia-Hunter song "Run for the Roses "Adams and Garcia were married on December 31, 1981, largely as a result of mutual tax exigencies  Despite the legal codification of their union, she remained in Oregon, while Garcia continued to live near the Grateful Dead's offices in San Rafael, California  Garcia lived with a variety of housemates, including longtime Grateful Dead employee and Jerry Garcia Band manager Rock Scully  Scully, who co-managed the Grateful Dead throughout the mid-to-late 1960s before serving as the band's "advance man" and publicist, was dismissed by the group in 1984 for enabling Garcia's addictions and for allegedly embezzling the Garcia Band's profits  Another housemate was Nora Sage, a Deadhead who became Garcia's housekeeper while studying at the Golden Gate University School of Law  The exact nature of their relationship remains unclear, although it is believed to have been platonic due to Garcia's addictions  She later became his art representative While they would briefly reunite following his diabetic coma, Garcia and Adams ultimately divorced in 1994  Phil Lesh has subsequently stated that he rarely saw Adams on any of the band tours  In a 1991 Rolling Stone interview, Garcia stated that "we haven't really lived together since the Seventies" During the autumn of 1978, Garcia developed a friendship with Shimer College student Manasha Matheson, an artist and music enthusiast  They remained friends over the following nine years before initiating a romantic relationship in Hartford, Connecticut on the Grateful Dead's spring 1987 tour  Jerry and Manasha became parents with the birth of their daughter, Keelin Noel Garcia, on December 20, 1987  On August 17, 1990, Jerry and Manasha married at their San Anselmo, California home in a spiritual ceremony free of legal convention  In 1991, Garcia expressed his delight in finding the time to "actually be a father" to Keelin in contrast to his past relationships with his children  A year later, Garcia dedicated his first art book, Paintings, Drawings and Sketches, "For Manasha, with love, Jerry "In January 1993, Barbara "Brigid" Meier, a former girlfriend from the early 1960s, reentered Garcia's life for a brief period  Meier claimed that Garcia had considered her to be the "love of his life" and proposed to her during a Hawaiian vacation shortly after their relationship recommenced  Garcia's "love of his life" sentiment was not reserved for one lover, as he expressed the same feelings to several other women in his life  At Garcia's 1995 funeral, Koons declared that she was "the love of his life" while paying her final respects, whereupon Meier and Ruppenthal, who were both in attendance, simultaneously exclaimed, "He said that to me!"The affair with Meier marked the breakup of Jerry's family life with Manasha and Keelin  Garcia ended the affair with Meier forty-five days later while on tour in Chicago with the Grateful Dead after she confronted him about his drug use Shortly thereafter, Garcia renewed his acquaintance with Deborah Koons in the spring of 1993  They married on February 14, 1994, in Sausalito, California  Garcia and Koons were married at the time of his death 

Lifestyle and health
Because of their public profile, Garcia and his collaborators were occasionally singled out in the American government's war on drugs  On October 2, 1967, 710 Ashbury Street in San Francisco (where the Grateful Dead had taken up residence the year before) was raided after a police tip-off  Grateful Dead members Phil Lesh, Bob Weir, and Ron "Pigpen" McKernan were apprehended on marijuana charges which were later dropped, although Garcia himself was not arrested  The following year, Garcia's picture was used in a defamatory context in a campaign commercial for Richard Nixon Most of the band were arrested again in January 1970, after they flew to New Orleans from Hawaii  After returning to their hotel from a performance, the band checked into their rooms, only to be quickly raided by police  Approximately fifteen people were arrested on the spot, including many of the road crew, management, and nearly all of the Grateful Dead except for Garcia, who arrived later, outgoing keyboardist Tom Constanten, who abstained from all drugs as a member of the Church of Scientology, and McKernan, who eschewed illegal drugs in favor of alcohol According to Bill Kreutzmann, the band's use of cocaine accelerated throughout the early 1970s  After using heroin in a brothel in 1974 (likely on the band's second European tour), Garcia was introduced to a smokeable form of the drug (initially advertised as refined opium) colloquially known as "Persian" or "Persian Base" during the group's 1975 hiatus  Influenced by the stresses of creating and releasing The Grateful Dead Movie and the acrimonious collapse of the band's independent record labels over the next two years, Garcia became increasingly dependent upon both substances  These factors, combined with the alcohol and drug abuse of several other members of the Grateful Dead, resulted in a turbulent atmosphere  By 1978, the band's chemistry began "cracking and crumbling", resulting in poor group cohesion  As a result, Keith and Donna Jean Godchaux left the band in February 1979 With the addition of keyboardist/vocalist Brent Mydland that year amid the ongoing coalescence of the Deadhead subculture, the band reached new commercial heights as a touring group on the American arena circuit in the early 1980s, enabling them to forsake studio recording for several years  Nevertheless, this was offset by such factors as the band's atypically large payroll and Garcia's $700-a-day (equivalent to $2,100 in 2022) drug addiction, resulting in the guitarist taking on a frenetic slate of solo touring outside of the Grateful Dead's rigorous schedule, including abbreviated acoustic duo concerts with Jerry Garcia Band bassist John Kahn that were widely rumored to be a funding conduit for their respective addictions 
Though things seemed to be getting better for the band, Garcia's health was declining  By 1983, Garcia's demeanor onstage had appeared to change  Despite still playing the guitar with great passion and intensity, there were times that he would appear disengaged; as such, shows were often inconsistent  Years of heavy tobacco smoking had affected his voice, and he gained considerable weight  By 1984, he would often rest his chin on the microphone during performances  The so-called "endless tour"—the result of years of financial risks, drug use, and poor business decisions—had taken its toll 
Garcia's decade-long heroin addiction culminated in the rest of the band holding an intervention in January 1985  Given the choice between the band or the drugs, Garcia agreed to check into a rehabilitation center in Oakland, California  A few days later in January, before the start of his program in Oakland, Garcia was arrested for drug possession in Golden Gate Park; he subsequently attended a drug diversion program  Throughout 1985, he tapered his drug use on tour and at home with the assistance of Nora Sage; by the spring of 1986, he was completely abstinent 
Precipitated by an unhealthy weight, dehydration, bad eating habits, and a recent relapse on the Grateful Dead's first stadium tour, Garcia collapsed into a diabetic coma in July 1986, waking up five days later  He later spoke about this period of unconsciousness as surreal: "Well, I had some very weird experiences  My main experience was one of furious activity and tremendous struggle in a sort of futuristic, space-ship vehicle with insectoid presences  After I came out of my coma, I had this image of myself as these little hunks of protoplasm that were stuck together kind of like stamps with perforations between them that you could snap off " Garcia's coma had a profound effect on him: it forced him to have to relearn how to play the guitar, as well as other, more basic skills  Within a handful of months, he had recovered, playing with the Jerry Garcia Band and the Grateful Dead again later that year After Garcia's recovery, the band released a comeback album In the Dark in 1987, which became their best-selling studio album  Inspired by Garcia's improved health, a successful album and the continuing emergence of Mydland as a third frontman, the band's energy and chemistry reached a new peak in the late 1980s 
Amid a litany of personal problems, Mydland died of a speedball overdose in July 1990  His death greatly affected Garcia, leading him to believe that the band's chemistry would never be the same  Before beginning the fall tour, the band acquired keyboardists Vince Welnick and Bruce Hornsby  The power of Hornsby's performances drove Garcia to new heights on stage  However, as the band continued through 1991, Garcia became concerned with the band's future  He was exhausted from five straight years of touring  He thought a break was necessary, mainly so that the band could come back with fresh material  The idea was put off by the pressures of management, and the touring continued  Garcia began using heroin again after several years of intermittent prescription opiate use  Though his relapse was brief, the band was quick to react  Soon after the last show of the tour in Denver, Garcia was confronted by the band with another intervention  After a disastrous meeting, Garcia invited Phil Lesh over to his home in San Rafael, California, where he explained that after the meeting he would start attending a methadone clinic  Garcia said that he wanted to clean up in his own way, and return to making music After returning from the band's 1992 summer tour, Garcia became sick, a throwback to his diabetic coma in 1986  Manasha Garcia nursed Jerry back to health and organized a team of health professionals which included acupuncturist Yen Wei Choong and Randy Baker, MD, a holistic family physician to treat him at home  Garcia recovered over the following days, despite the Grateful Dead having to cancel their fall tour to allow him time to recuperate  Garcia reduced his cigarette smoking and began losing weight  He also became a vegetarian Despite these improvements, Garcia's physical and mental condition continued to decline throughout 1993 and 1994  He began to use narcotics again to dull the pain 
In light of his second drug relapse and current condition, Garcia checked himself into the Betty Ford Center during July 1995  His stay was limited, lasting only two weeks  Motivated by the experience, he then checked into the Serenity Knolls treatment center in Forest Knolls, California, where he died 

Death
Garcia died in his room at the rehabilitation clinic on August 9, 1995  The cause of death was a heart attack  Garcia had long struggled with drug addiction, weight problems, sleep apnea, heavy smoking, and diabetes—all of which contributed to his physical decline  Lesh remarked that, upon hearing of Garcia's death, "I was struck numb  I had lost my oldest surviving friend, my brother " Garcia's funeral was held on August 12, at St  Stephen's Episcopal Church in Belvedere  It was attended by his family, the remaining Grateful Dead members, and their friends, including former pro basketball player Bill Walton and musician Bob Dylan  Deborah Koons barred two of Garcia's former wives from the ceremony On August 13, about 25,000 people attended a municipally sanctioned public memorial at the Polo Fields of San Francisco's Golden Gate Park  Crowds produced hundreds of flowers, gifts, images, and a bagpipe rendition of "Amazing Grace" in remembrance  In the Haight, a single white rose was reportedly tied to a tree near the Dead's former Haight-Ashbury house, where a group of followers gathered to mourn On the morning of April 4, 1996, after a total lunar eclipse earlier that day, Weir and Deborah Koons accompanied by Sanjay Mishra, spread half of Garcia's ashes into the Ganges at the holy city of Rishikesh, India, a site sacred to Hindus  The remaining ashes were poured into the San Francisco Bay  Koons did not allow former wife Carolyn Garcia to attend the spreading of the ashes 

Musical equipment
Garcia played many guitars during his career, which ranged from student and budget models to custom-made instruments  During his thirty-five year career as a professional musician, Garcia used about 25 guitars In 1965, when Garcia was playing with the Warlocks, he used a Guild Starfire, which he also used on the début album of the Grateful Dead  Beginning in late 1967 and ending in 1968, Garcia played black or gold mid-1950s Gibson Les Paul guitars with P-90 pickups  In 1969, he picked up the Gibson SG and used it for most of that year and 1970, except for a small period in between where he used a sunburst Fender Stratocaster 
During Garcia's "pedal steel flirtation period" (as Bob Weir referred to it in Anthem to Beauty), from approximately 1969 to 1972, he initially played a Fender instrument before upgrading to the ZB Custom D-10, especially in his earlier public performances  Although this was a double neck guitar, Garcia used the "E9 neck and the three pedals to raise the tone and two levers to lower it " He employed an Emmons D-10 at the Grateful Dead's and New Riders of the Purple Sage's final appearances at the Fillmore East in April 1971 In 1969, Garcia played pedal steel on three notable outside recordings: the track "The Farm" on the Jefferson Airplane album Volunteers, the track "Oh Mommy" by Brewer and Shipley and the hit single "Teach Your Children" by Crosby, Stills, Nash & Young from their album Déjà Vu, released in 1970  Garcia played on the latter album in exchange for harmony lessons for the Grateful Dead, who were at the time recording Workingman's Dead In 1971, Garcia began playing a sunburst Les Paul  In March and April 1971 – the time period during which the Grateful Dead recorded its second live album, Grateful Dead – Garcia played the "Peanut," a guitar he had received from Rick Turner, who had custom built the guitar's body and incorporated the neck, pickups, and hardware from an early '60s Les Paul 
In May, Garcia began using a 1955 natural finish Stratocaster that had been given to him by Graham Nash in 1969  Garcia added an alligator sticker to the pickguard in the fall of 1971, and the thusly-named "Alligator" would remain Garcia's principal electric guitar until August 1973 
In the summer of 1971, Garcia also played a double-cutaway Les Paul TV Junior 
While Alligator was in the shop in the summer of 1972, he briefly reverted to the sunburst Stratocaster; this can be seen in Sunshine Daydream 
In late 1972, Garcia purchased the first guitar ("Eagle") made by Alembic luthier Doug Irwin for $850 (equivalent to $5,900 in 2022)  Enamored of Irwin's talents, he immediately commissioned his own custom instrument  This guitar, nicknamed "Wolf" for a memorable sticker Garcia added below the tailpiece, was delivered in May 1973 and replaced Alligator on stage in September  It cost $1,500 (equivalent to $9,900 in 2022), an extremely high price for the era Wolf was made with an ebony fingerboard and featured numerous embellishments like alternating grain designs in the headstock, ivory inlays, and fret marker dots made of sterling silver  The body was composed of western maple wood which had a core of purpleheart  Garcia later had Irwin (who ultimately left Alembic to start his own business) replace the electronics inside the guitar, at which point he added his own logo to the headstock alongside the Alembic logo  The system included two interchangeable plates for configuring pickups: one was made for strictly single coils, while the other accommodated humbuckers  Shortly after receiving the modified instrument, Garcia commissioned another custom guitar from Irwin with one caveat: "Don't hold back "During the Grateful Dead's 1974 European tour, Wolf was dropped on several occasions, one of which caused a minor crack in the headstock



ground_truth: October 13, 1980

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who was born later, Jerry Garcia or Joe Gooch?

The following are given passages.
Context 3:  Following filming of The Grateful Dead Movie (in which the guitar is prominently visible) a month later, Garcia returned it to Irwin for repairs  Throughout its absence, Garcia predominantly played several Travis Bean guitars, including the TB1000A (1975) and the TB500 (1976-1977)  On September 28, 1977, Irwin delivered the refurbished Wolf back to Garcia  The wolf sticker which gave the guitar its name had now been inlaid into the instrument; it also featured an effects loop between the pick-ups and controls (so inline effects would "see" the same signal at all times) which was bypassable  Irwin also put a new face on the headstock with only his logo (he later claimed to have built the guitar himself, though pictures through time clearly show the progression of logos, from Alembic, to Alembic & Irwin, to only Irwin) Nearly seven years after he commissioned it, Garcia received his second custom guitar ("Tiger") from Irwin in the summer of 1979 
He first employed the instrument in concert at a Grateful Dead performance at the Oakland Auditorium Arena on August 4, 1979  Its name was derived from the inlay on the preamp cover 
The body of Tiger was of rich quality: the top layer was cocobolo, with the preceding layers being maple stripe, vermilion, and flame maple, in that order  The neck was made of western maple with an ebony fingerboard  The pickups consisted of a single coil DiMarzio SDS-1 and two humbucker DiMarzio Super IIs which were easily removable due to Garcia's preference for replacing his pickups every year or two  The electronics were composed of an effects bypass loop, which allowed Garcia to control the sound of his effects through the tone and volume controls on the guitar, and a preamplifier/buffer which rested behind a plate in the back of the guitar  Fully outfitted, Tiger weighed 13+1⁄2 pounds (6 1 kg)  This was Garcia's principal guitar for the next eleven years, and most played 
In the late 1980s Garcia, Weir and CSN (along with many others) endorsed Alvarez Yairi acoustic guitars   There are many photographs circulating (mostly promotional) of Garcia playing a DY99 Virtuoso Custom with a Modulus Graphite neck   He opted to play with the less decorated model but the promotional photo from the Alvarez Yairi catalog has him holding the "tree of life" model  This hand-built guitar was notable for the collaboration between Japanese luthier Kazuo Yairi and Modulus Graphite of San Rafael   As with most things Garcia, with his passing, the DY99 model is highly valued among collectors 
In 1990, Irwin completed "Rosebud", Garcia's fourth custom guitar  It was similar to his previous guitar Tiger in many respects, but featured different inlays and electronics, tone and volume controls, and weight  Rosebud, unlike Tiger, was configured with three humbuckers; the neck and bridge pickups shared a tone control, while the middle had its own  Atop the guitar was a Roland GK-2 pickup which fed the controller set inside the guitar  The GK2 was used in junction with the Roland GR-50 rack mount synthesizer  The GR-50 synthesizer in turn drove a Korg M1R synthesizer producing the MIDI effects heard during live performances of this period as heard on the Grateful Dead recording Without a Net  Sections of the guitar were hollowed out to bring the weight down to 11+1⁄2 pounds (5 2 kg)  The inlay, a dancing skeleton holding a rose, covers a plate just below the bridge  The final cost of the instrument was $11,000 (equivalent to $24,600 in 2022) In 1993, carpenter-turned-luthier Stephen Cripe tried his hand at making an instrument for Garcia  After researching Tiger through pictures and films, Cripe set out on what would soon become known as "Lightning Bolt", again named for its inlay 
The guitar used Brazilian rosewood for the fingerboard and East Indian rosewood for the body, which, with admitted irony from Cripe, had been taken from a 19th-century bed used by opium smokers  Built purely from guesswork, Lightning Bolt was a hit with Garcia, who began using the guitar exclusively  Soon after, Garcia requested that Cripe build a backup of the guitar  Cripe, who had not measured or photographed the original, was told simply to "wing it "Cripe later delivered the backup, which was known by the name "Top Hat"  Garcia bought it from him for $6,500, making it the first guitar that Cripe had ever sold  However, infatuated with Lightning Bolt, Garcia rarely used the backup 
After Garcia's death, the ownership of Wolf and Tiger came into question  According to Garcia's will, his guitars were bequeathed to Doug Irwin, who had constructed them 
The remaining Grateful Dead members disagreed – they considered his guitars to be property of the band, leading to a lawsuit between the two parties  In 2001, Irwin won the case  However, nearly having been left destitute from a traffic accident in 1998, he decided to place the guitars up for auction in hopes of being able to start another guitar workshop On May 8, 2002, Wolf and Tiger, among other memorabilia, were placed for auction at Studio 54 in New York City  Tiger was sold for $957,500, and Wolf for $789,500  Together, the pair sold for $1 74 million, setting a new world record  Wolf went into in the private collection of Daniel Pritzker who kept it in a secure climate controlled room in a private residence at Utica, N Y  Tiger went to the private collection of Indianapolis Colts owner Jim Irsay 
In May 2017, Wolf was again auctioned, but this time for charity  Pritzker decided to sell the guitar and donate all proceeds to the Montgomery, Alabama based Southern Poverty Law Center Brian Halligan placed the winning bid totaling $1 9M For the majority of 2019 Wolf and Tiger were included in the Play it Loud exhibit at the Metropolitan Museum of Art in New York City  On June 23, 2019 John Mayer played Wolf with Dead & Co  at Citi Field 

Legacy
Garcia was inducted into the Rock and Roll Hall of Fame as a member of the Grateful Dead in 1994  He declined to attend the ceremony; the band jokingly brought a cardboard cutout of Garcia out on stage in his absence In 1987, Vermont ice cream maker Ben & Jerry's introduced their Cherry Garcia flavor dedicated to him  It was the first ice cream flavor dedicated to a musician In 2003, Rolling Stone ranked Jerry Garcia 13th in their list of the "100 Greatest Guitarists of All Time" According to fellow Bay Area guitar player Henry Kaiser, Garcia is "the most recorded guitarist in history  With more than 2,200 Grateful Dead concerts, and 1,000 Jerry Garcia Band concerts captured on tape – as well as numerous studio sessions – there are about 15,000 hours of his guitar work preserved for the ages "On July 30, 2004, Melvin Seals was the first Jerry Garcia Band (JGB) member to headline an outdoor music and camping festival called "The Grateful Garcia Gathering"  Jerry Garcia Band drummer David Kemper joined Melvin Seals and JGB in 2007  Other musicians and friends of Garcia include Donna Jean Godchaux, Mookie Siegel, Pete Sears, G E  Smith, Chuck Hammer, Barry Sless, Jackie Greene, Brian Lesh, Sanjay Mishra, and Mark Karan 
On July 21, 2005, the San Francisco Recreation and Park Commission passed a resolution to name the amphitheater in McLaren Park "The Jerry Garcia Amphitheater " The amphitheater is located in the Excelsior District, where Garcia grew up  The first show to happen at the Jerry Garcia Amphitheater was Jerry Day 2005 on August 7, 2005  Jerry's brother, Tiff Garcia, was the first person to welcome everybody to the "Jerry Garcia Amphitheater "  Jerry Day is an annual celebration of Garcia in his childhood neighborhood  The dedication ceremony (Jerry Day 2) on October 29, 2005, was officiated by mayor Gavin Newsom 
On September 24, 2005, the Comes a Time: A Celebration of the Music & Spirit of Jerry Garcia tribute concert was held at the Hearst Greek Theatre in Berkeley, California  The concert featured Bob Weir, Bill Kreutzmann, Mickey Hart, Bruce Hornsby, Trey Anastasio, Warren Haynes, Jimmy Herring, Michael Kang, Jay Lane, Jeff Chimenti, Mark Karan, Robin Sylvester, Kenny Brooks, Melvin Seals, Merl Saunders, Marty Holland, Stu Allen, Gloria Jones, and Jackie LaBranch 
Georgia-based composer Lee Johnson released an orchestral tribute to the music of the Grateful Dead, recorded with the Russian National Orchestra, entitled "Dead Symphony: Lee Johnson Symphony No  6 " Johnson was interviewed on NPR on the July 26, 2008 broadcast of Weekend Edition, and gave much credit to the genius and craft of Garcia's songwriting  A live performance with the Baltimore Symphony Orchestra, conducted by Johnson himself, was held Friday, August 1 In 2010 the Santa Barbara Bowl in California opened Jerry Garcia Glen along the walk up to the venue  There is a statue of Garcia's right hand along the way 
Seattle rock band Soundgarden wrote and recorded the instrumental song "Jerry Garcia's Finger", dedicated to the singer, which was released as a b-side with their single "Pretty Noose" 
Numerous music festivals across the United States and Uxbridge, Middlesex, UK hold annual events in memory of Jerry Garcia 
On May 14, 2015, an all-star lineup held a tribute concert for Garcia at Merriweather Post Pavilion in Columbia, Maryland  The event was called "Dear Jerry" In 2015, Hunter and Garcia were inducted into the Songwriters Hall of Fame  Hunter accepted the award along with Garcia's daughter, Trixie Garcia, who accepted on behalf of her father 
In 2015, Jerry Garcia's wife, Manasha Garcia and their daughter, Keelin Garcia launched The Jerry Garcia Foundation, a nonprofit charity that supports projects for artistic, environmental, and humanitarian causes  The Foundation's Board members are Bob Weir, Peter Shapiro, Glenn Fischer, Irwin Sternberg, Daniel Shiner, TRI Studios CEO, Christopher McCutcheon and Fender Music Foundation Executive Director, 
Lynn Robison  Keelin Garcia said, "It is a tremendous honor to participate in nonprofit work that is in accordance with my father's values "In 2017 Garcia's music was featured in Red Roses, Green Gold, an off-Broadway musical featuring the music of Garcia and Robert Hunter, with additional music by Phil Lesh, Bob Weir, Mickey Hart, and Hunter's longtime collaborator Greg Anton  The production was directed and choreographed by Rachel Klein, featured a book by Michael Norman Mann, had Jeff Chimenti serving as music supervisor, and was performed at the Minetta Lane Theatre in New York City In 2018, Jerry Garcia family members, Keelin Garcia and Manasha Garcia launched the Jerry Garcia Music Arts independent music label On November 18, 2021, it was announced Jonah Hill would portray Garcia in a forthcoming Grateful Dead biopic written by Scott Alexander and Larry Karaszewski directed by Martin Scorsese for Apple TV+ 

Discography
New Riders of the Purple Sage – New Riders of the Purple Sage – 1971
Hooteroll? – Howard Wales and Jerry Garcia – 1971
Garcia – Jerry Garcia – 1972
Live at Keystone – Merl Saunders, Jerry Garcia, John Kahn, Bill Vitt – 1973
Compliments – Jerry Garcia – 1974
Old & In the Way – Old & In the Way – 1975
Reflections – Jerry Garcia – 1976
Cats Under the Stars – Jerry Garcia Band – 1978
Run for the Roses – Jerry Garcia – 1982
Vintage NRPS – New Riders of the Purple Sage – 1986
Keystone Encores – Merl Saunders, Jerry Garcia, John Kahn, Bill Vitt – 1988
Almost Acoustic – Jerry Garcia Acoustic Band – 1988
Jerry Garcia / David Grisman – Jerry Garcia and David Grisman – 1991
Jerry Garcia Band – Jerry Garcia Band – 1991
Not for Kids Only – Jerry Garcia and David Grisman – 1993

Notes
Passage 4:
Garcia Plays Dylan
Garcia Plays Dylan is an album composed of various live performances featuring Jerry Garcia playing covers of Bob Dylan songs   It is culled from performances from 1973–1995, and features Garcia playing with Grateful Dead, Legion of Mary, Jerry Garcia Band, and Garcia-Saunders   Garcia takes lead vocals on all tracks 
Another collection, Postcards of the Hanging, features more Dylan covers performed by the Grateful Dead (with lead vocals shared among Garcia, Bob Weir and Phil Lesh) 

Track listing
All songs composed by Bob Dylan, except "Tears of Rage" by Richard Manuel and Bob Dylan 
Disc one

"It Takes a Lot to Laugh, It Takes a Train to Cry" – 8:12
"Tough Mama" – 9:17
"Positively 4th Street" – 10:46
"The Wicked Messenger" – 13:20
"Knockin' on Heaven's Door" – 17:15
"Simple Twist Of Fate" – 10:58
"I Shall Be Released" – 7:40Disc two

"When I Paint My Masterpiece" – 14:00
"She Belongs to Me" – 6:31
"Forever Young" – 9:05
"Tangled Up In Blue" – 11:48
"Senor (Tales of Yankee Power)" – 7:16
"Visions of Johanna" – 9:21
"Quinn the Eskimo (The Mighty Quinn)" – 5:15
"It's All Over Now, Baby Blue" – 7:07"Tangled Up In Blue" later released with entire concert on Garcia Live Volume 19
"It's All Over Now, Baby Blue" later released with entire concert on Spring 1990Bonus Disc – Garcia Plays Dylan Again

"It Takes a Lot to Laugh, It Takes a Train to Cry" (acoustic) – 5:38
"Tears of Rage" – 8:19
"Going, Going, Gone" – 18:56

Track information
Disc one

Jerry Garcia & Merl Saunders   Recorded Live at The Boarding House, San Francisco, CA (1/25/73)
Jerry Garcia Band  Recorded Live at Keystone, Berkeley, CA (11/18/75)
Jerry Garcia Band  Recorded Live at Keystone, Berkeley, CA (11/17/75)
Legion Of Mary   Recorded Live at Oriental Theatre, Milwaukee, WI (4/19/75)
Jerry Garcia Band   Recorded Live at Keystone, Berkeley, CA (2/15/76)
Jerry Garcia Band   Recorded Live at Santa Cruz Civic Auditorium, Santa Cruz, CA (2/19/78)
Jerry Garcia Band   Recorded Live at the Warfield Theatre, San Francisco, CA (11/28/87)Disc two

Jerry Garcia Band   Recorded Live at The Stone, San Francisco, CA (2/2/80)
Grateful Dead  Recorded Live at Frost Amphitheater, Palo Alto, CA (4/28/85)
Jerry Garcia Band   Recorded Live at the Warfield Theatre, San Francisco, CA (3/4/88)
Jerry Garcia Band   Recorded Live at Oakland Coliseum, Oakland, CA (10/31/92)
Jerry Garcia Band   Recorded Live at the Warfield Theatre, San Francisco, CA (4/23/93)
Grateful Dead   Recorded Live at Soldier Field, Chicago, IL (7/8/95)
Grateful Dead   Recorded Live at Sullivan Stadium, Foxboro, MA (7/2/89)
Grateful Dead   Recorded Live at Copps Coliseum, Hamilton, Ontario (3/22/90)Bonus Disc - "Garcia Plays Dylan Again"

Garcia/Kahn  Neighbors of Woodcraft, Portland, OR - late show (06/04/82)
Jerry Garcia Band  Greek Theater, Berkeley, CA - (08/05/90)
Legion Of Mary  Keystone, Berkeley, CA - (05/22/75)

Credits
Jerry Garcia - guitar, vocals

Jerry Garcia & Merl Saunders
Merl Saunders - organ
John Kahn - electric bass
Bill Vitt - drums

Jerry Garcia Band
Nicky Hopkins - piano on disc 1, tracks 2-3
John Kahn - bass
Ron Tutt - drums on disc 1, tracks 2-3 & 5
Keith Godchaux - piano on disc 1, tracks 5-6
Donna Godchaux - vocals on disc 1, track 5
Buzz Buchanan - drums on disc 1, track 6
Gloria Jones - vocals on disc 1, track 7, disc 2, tracks 3-5
David Kemper - drums on disc 1, track 7, disc 2, tracks 3-5
Jackie LaBranch - vocals on disc 1, track 7, disc 2, tracks 3-5
Ozzie Ahlers - keyboards on disc 2, track 1
Johnny de Fonseca - drums on disc 2, track 1

Legion of Mary
Merl Saunders - organ
John Kahn - bass
Ron Tutt - drums
Martin Fierro - saxophone

Grateful Dead
Bob Weir - guitar, vocals
Phil Lesh - bass, vocals
Brent Mydland - keyboards, vocals on disc 2, tracks 2 & 7-8
Mickey Hart - drums
Bill Kreutzmann - drums
Vince Welnick - keyboards on disc 2, track 6

See also
List of songs written by Bob Dylan
List of artists who have covered Bob Dylan songs
Passage 5:
Cats Under the Stars
Cats Under the Stars is the only studio album by the American rock band the Jerry Garcia Band  Released in 1978 on Arista Records, the album was the first release by the group, which was a long-running side project of Grateful Dead singer and guitarist Jerry Garcia  While the band continued until 1995, they were primarily a live concert act following the release of Cats Under the Stars and never recorded another studio effort  Grateful Dead members Keith and Donna Godchaux, who were at the time also part of the Garcia Band, contributed to the album 

Recording and release
The album was the first to be recorded at the Grateful Dead's Club Front in San Rafael, a warehouse space that had been acquired for band rehearsals and then converted to a studio  Garcia explained "[Ron] Tutt liked the drum sound in the room and we hadn't really thought about it before, so we whipped the place into a recording studio "The record was not a financial success, but it remained Garcia's favorite, as he said in an interview in the late 1980s: "The record I worked hardest at and liked best was Cats Under the Stars  That was kind of like my baby  It did worse than any other record I ever did  I think I probably gave away more copies than I sold  It was amazingly, pathetically bad  But I’ve learned not to invest a lot of importance in 'em, although it's nice to care about your work "
On another occasion in the early '80s he said "Cats Under the Stars is my favorite one  That's the one that I’m happiest with, from every point of view in which I operate on that record  We did all those tunes on tour right after the album came out, with John and Maria, Keith and Donna and I think Ronnie Tutt was still playing drums with us on those first few tours " (Although Ron Tutt played on the album, he left the band before the album was released and was replaced by Buzz Buchanan )
In the early '90s he still thought well of the album: "As far as I'm concerned Cats Under the Stars is my most successful record — even though it's my least successful record! I've always loved it and it just never went anywhere " In an interview with Joel Selvin he was more succinct; "[Cats Under the Stars] had everything — chops, production, songs "
Cats Under the Stars peaked at No  114 on the Billboard 200 "Rubin and Cherise" was the only song from the album to be subsequently performed by the Grateful Dead, who debuted the song in concert in 1991 

Critical reception
On AllMusic, Lindsay Planer wrote, "Jerry Garcia's fourth solo album was the first to be released under the collective title of the Jerry Garcia Band    However, unlike his previous effort, Cats Under the Stars contains all new original material     Many Deadheads and critics alike feel as if Cats Under the Stars is Garcia's best non-Dead effort   "

Track listing
Side one

"Rubin And Cherise" (Robert Hunter, Jerry Garcia) – 5:17
"Love In The Afternoon" (Hunter, John Kahn) – 4:09
"Palm Sunday" (Hunter, Garcia) – 2:21
"Cats Under The Stars" (Hunter, Garcia) – 5:31Side two

"Rhapsody In Red" (Hunter, Garcia, Kahn) – 5:11
"Rain" (Donna Godchaux) – 5:53
"Down Home" (Kahn) – 1:46
"Gomorrah" (Hunter, Garcia) – 5:26The album was reissued in the All Good Things: Jerry Garcia Studio Sessions box set with the following bonus tracks:

 "Magnificent Sanctuary Band" (Dorsey Burnette) – 3:50
"I'll Be With Thee" (Dorothy Love Coates) – 6:01
"The Way You Do the Things You Do" (Smokey Robinson, Robert "Bobby" Rogers) – 5:01
"Mighty High" (David Crawford, Richard Downing) – 3:04
"Don't Let Go" (Jesse Stone) – 15:59
"Down Home" (Rehearsal Version) (Kahn) – 1:49
"Palm Sunday" (Alternate Take) (Hunter, Garcia) – 2:24Tracks 9 & 11-13 are from a rehearsal session in November 1976 

Personnel
Jerry Garcia BandJerry Garcia - guitar, vocals
Donna Jean Godchaux - vocals
Keith Godchaux - keyboards, background vocals
John Kahn - basses, keyboards, guitar, orchestration
Ron Tutt - drums, percussion
Maria Muldaur - background vocals on tracks 2, 8 & 10Additional musiciansMerl Saunders - organ
Stephen Schuster - flute, clarinet, saxophone
Brian Godchaux - violin
Candy Godchaux - violinProductionEngineers - Betty Cantor-Jackson, Bob Matthews
Assistants - Harry Popick, Steve Parrish, Bill Candelario, Ramrod
Cover art - Kelly Mouse Studios
Passage 6:
Sugaree
"Sugaree" is a song with lyrics by long-time Grateful Dead lyricist Robert Hunter and music by guitarist Jerry Garcia  It was written for Jerry Garcia's first solo album Garcia, which was released in January 1972  As with the songs on the rest of the album, Garcia plays every instrument himself except drums, played by Bill Kreutzmann, including acoustic guitar, bass guitar, and an electric guitar played through a Leslie speaker  Released as a single from the Garcia album, "Sugaree" peaked at #94 on the Billboard Hot 100 in April 1972 and was Garcia's only single ever on that chart The song was first performed live by the Grateful Dead on July 31, 1971, at the Yale Bowl at Yale University, as was the song "Mr  Charlie"  They played the song in numerous other concerts, including those later released as Dick's Picks Volume 3 and One from the Vault 

Predecessors
Rusty York recorded a Marty Robbins-penned song in 1959 (Chess 1730) also called, "Sugaree" Elizabeth Cotten, a North Carolina folksinger, wrote and recorded a song called "Shake Sugaree" in 1966  The chorus of Cotten's song is "Oh lordie me/Didn't I shake sugaree?" Hunter was aware of this song when he wrote "Sugaree "Fred Neil released a song in 1966 on his eponymous album called "I've Got a Secret (Didn't We Shake Sugaree) "
It can also be heard on "Echoes of My Mind - The Best of Fred Neil 1963-1971" 
In 1970, singer-songwriter Keith Colley released the single "Sugaree (Sugar Every Day And Night Girl)" on the Challenge label 

References in popular culture
The song is mentioned in Stephen King's 1981 novel Cujo 
The Persuasions included this song on their 2000 album of Grateful Dead covers, Might as Well… The Persuasions Sing Grateful Dead Graham Parker covered the track on his 2004 album, Your Country Nick Barker covered this song on his album Black Water Blues released in 2009 
Jackie Greene recorded a cover for his 2009 release The Grateful EP 
On the 2016 charity album Day of the Dead, "Sugaree" was covered by Jenny Lewis and the band Phosphorescent 

See also
Dark Star
Musical improvisation
Passage 7:
Sandy Rothman
Sandy Rothman (born January 30, 1946, Miami, Florida) is an American, San Francisco Bay Area bluegrass multi-instrumentalist and record producer   He plays mandolin, dobro and banjo, and he also sings   Rothman was a friend and colleague of Grateful Dead bandleader Jerry Garcia, and a member of the Jerry Garcia Acoustic Band  He played bluegrass with Garcia and David Nelson as the Black Mountain Boys in 1964, and has played with Bill Monroe and his Blue Grass Boys, Earl Taylor, Red Allen, Jimmie Skinner, Larry Sparks, the Kentucky Colonels, Country Joe McDonald, Kathy Kallick and Clarence White, among other musicians  He has been described as "one of the chief biscuits when and where bluegrass music is discussed, scribed, or performed in northern California "

Discography
Almost Acoustic – Jerry Garcia Acoustic Band – Arista Records (1988) (producer and performer)
The Old Road to Home – Sandy Rothman – Tonebar Records (1993) (producer and performer)
Bluegrass Guitar Duets – Sandy Rothman and Steve Pottier – Sierra Records (1994)
Pure Jerry: Lunt-Fontanne, New York City, October 31, 1987 – Jerry Garcia Band and Jerry Garcia Acoustic Band – Jerry Made Records (2004)
Pure Jerry: Lunt-Fontanne, New York City, The Best of the Rest, October 15–30, 1987 – Jerry Garcia Band and Jerry Garcia Acoustic Band – Jerry Made Records (2004)
Songs of the Grateful Dead: A Tribute to Jerry Garcia and Robert Hunter – Jesse McReynolds and Friends, feat  David Nelson and Stu Allen – Woodstock Records (2010) (producer and performer)
Ragged but Right – Jerry Garcia Acoustic Band – Jerry Made Records (2010) (recorded in 1987) (producer and performer)
On Broadway: Act One – October 28th, 1987 – Jerry Garcia Band and Jerry Garcia Acoustic Band – ATO Records (2015)
Electric on the Eel – included on the Jerry Garcia Acoustic Band bonus disc Acoustic on the Eel (2019)



ground_truth: Joe Gooch