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

Question: Who followed Menucha Rochel Slonim's father?

The following are given passages.
Context 1: Passage 1:
Maxime Bono
Maxime Bono (born 1 November 1947 in Algiers, Algeria) is a French politician and a member of the Socialist Party  He has been mayor of La Rochelle from April 1999 to April 2014, president of the Agglomeration community of La Rochelle from January 2000 to April 2014  and an MP of the Charente-Maritime's 1st constituency from April 1999 until June 2012  During his two mandates, he was a member of the Socialist, Radical, Citizen and Miscellaneous Left parliamentary group 

Legal studies and work
Maxime Bono studied public law in the Law and Economics Faculty of the University of Toulouse, graduating with a licence in 1971  He has been a tax inspector between 1972 and 1982 
In 1983, he became cultural councillor of the municipality of La Rochelle  In 1985, he became representative in the cabinet of Michel Crépeau, then mayor of La Rochelle  In 1986, he became chief of the staff of Michel Crépeau 

Political career (1975–2012)
Early period (1975–1999)
He has been a member of the Socialist party since 1974 
He has been a first deputy mayor of La Rochelle during ten years (1989–1999)  He was in charge of cultural affairs during this period  From 1993 to 1999, he has been a vice president of the Community of cities of La Rochelle  He was in charge of economics during this period  From 1992 to 1999, he has represented the La Rochelle 6th canton in the General Council of Charente-Maritime 
From 1995 to 1999, he has been a president of the municipality-owned company of the public transportation of La Rochelle 

Mayor of La Rochelle (1999−2014) and MP (1999−2012)
A mayor of La Rochelle since 1971, an MP of the Charente-Maritime's 1st constituency (1973–1993, again from 1997), a former Minister (1981–1986) during the first presidential mandate of François Mitterrand, Michel Crépeau died in Paris on 30 March 1999, after a heart attack which had arisen few days earlier during a parliamentary session of the National Assembly 
In April 1999, Maxime Bono succeeded him as a mayor of La Rochelle, a president of the Community of cities of La Rochelle and an MP of the Charente-Maritime's 1st constituency (the nine cantons of La Rochelle and the two cantons of the Île de Ré)  In January 2000, the Community of cities turned into the Agglomeration community of La Rochelle, which currently groups together eighteen towns and villages of Aunis On 27 April 1999, he resigned as a general councillor of La Rochelle-6 because of the law of the accumulation of mandates ("Cumul des mandats") 
However, he didn't seek a third parliamentary mandate in 2012  In the National Assembly, he sat as a member in the committee of the sustainable development and spatial planning  Olivier Falorni (Divers Gauche) succeeded him as an MP of the Charente-Maritime's 1st constituency In 2013, he decided not to seek a further mayoral mandate, hinting at his defeat at the 2012 parliamentary elections as one of the reasons motivating his decision  Following the 2014 French municipal elections, Maxime Bono was succeeded as mayor of La Rochelle and President of the La Rochelle Agglomeration Community by Jean-François Fountaine (Divers Gauche) 

Elections (2001-2008)
Municipal elections
In the 2001 municipal elections, Maxime Bono's miscellaneous left list largely overtook the absolute majority from the first round (67 36%, 15,190 votes)  He even polled more than his predecessor Michel Crépeau in 1995 (58 02%) 

In the 2008 municipal elections, his miscellaneous left list again largely overtook the absolute majority from the first round  Despite the competition of six lists and a lower percentage than in 2001, his municipal list polled 58 93% (15 400 votes) and got 41 of the 49 seats 

Parliamentary elections
The first constituency of the Charente-Maritime consists of La Rochelle, some of its surrounding towns and villages (Dompierre-sur-Mer, Esnandes, L'Houmeau, Lagord, Marsilly, Nieul-sur-Mer, Périgny, Puilboreau, Saint-Xandre) and the ten municipalities of the Île de Ré (Ars-en-Ré, La Couarde-sur-Mer, La Flotte, Le Bois-Plage-en-Ré, Les Portes-en-Ré, Loix, Rivedoux-Plage, Saint-Clément-des-Baleines, Saint-Martin-de-Ré, Sainte-Marie-de-Ré) 

La Rochelle in 2002
Polling 37 12% (21,138 votes) in the first round, Maxime Bono largely overtook the UMP candidate Catherine Normandin (27 63%, 15,731 votes)  In the run-off, he was elected as MP with 53 02% (28,725 votes) He attained his highest score in La Rochelle in the first round (41 45%, 12,027 votes) and in the run-off (57 74%, 15,834 votes)  Except for Dompierre-sur-Mer where he was overtaken by four votes by Catherine Normandin, he headed in the first round in all the surrounding towns and villages of La Rochelle  Except for Lagord and Marsilly, he got the absolute majority in the run-off in all the surrounding towns and villages of La Rochelle  In the first round, he arrived in second position in the ten municipalities of the Île de Ré; his lowest score was in La Couarde-sur-Mer (21 71%)  In the second round, he was defeated by Catherine Normandin in the ten municipalities of the Île de Ré; his lowest score was in Les Portes-en-Ré (32 08%) 

La Rochelle in 2007
Polling 40 77% (23,928 votes) in the first round, Maxime Bono overtook the UMP candidate Dominique Morvant, then general councillor of La Rochelle-4 (35 95%, 21,099 votes)  In the run-off, he was re-elected as MP with 55 05% (32,345 votes)  Compared to 2002, he slightly increased his parliamentary score He attained his highest score in Esnandes in the first round (45 49%) and in the run-off (62 84%)  In La Rochelle, he polled 45 14% (13 120 votes) in the first round and 60 69% (17 667 votes) in the run-off  Except for Marsilly in the first round and the run-off, he headed in the first round and got the absolute majority in the run-off in all the surrounding towns and villages of La Rochelle  In the first round, he arrived in second position in the ten municipalities of the Île de Ré; like in 2002, his lowest score was in La Couarde-sur-Mer (23 11%)  In the run-off, he was defeated by Dominique Morvant in the ten municipalities of the Île de Ré; his lowest score was in Loix (32 44%) 

Former local mandates
President of the Community of cities of La Rochelle: April 1999-January 2000
General councillor of La Rochelle-6 : 30 March 1992 – 27 April 1999
Mayor of La Rochelle : 19 April 1999 - 5 April 2014
President of the Agglomeration community of La Rochelle : January 2000 - April 2014

National mandate
MP of the Charente-Maritime's 1st constituency (30 March 1999−19 June 2012) : Socialist, Radical, Citizen and Miscellaneous Left parliamentary group, member of the committee of the sustainable development and spatial planning
Passage 2:
Cornelius Demarest House
Cornelius Demarest House is located in Rochelle Park, Bergen County, New Jersey, United States  The house was added to the National Register of Historic Places on January 10, 1983 

See also
National Register of Historic Places listings in Bergen County, New Jersey
Passage 3:
Jean Guiton
Jean Guiton (2 July 1585 – 15 March 1654) was born in La Rochelle, where he followed the occupation of ship-owner  He became a notable Huguenot leader during the Naval battle of Saint-Martin-de-Ré and siege of La Rochelle 
Having been nominated Admiral of the fleet of La Rochelle, Jean Guiton fought the Naval battle of Saint-Martin-de-Ré against Royal forces on 27 October 1622 He later participated to the uprising of Soubise in 1625, leading to the Capture of Ré island by Royal forces that same year 
He became mayor of La Rochelle and, during the 1627-1628 Siege of La Rochelle, he organized an energetic resistance to the troops of king Louis XIII  The scene is still visible today in the City Hall (Hotel de Ville) of La Rochelle, where a marble table with a chip made by his dagger is on display 
Then, Richelieu offered him leadership in the royal fleet and he fought Spain  One of his daughters married the son of the famous Protestant admiral Abraham Duquesne, Abraham Duquesne-Guiton 
Like many other Rochelais (people from La Rochelle), Jean Guiton was a Huguenot 


== Notes ==
Passage 4:
James T  Schleifer
James Thomas Schleifer is an American historian, and emeritus Dean of the Mother Irene Gill Memorial Library, and professor at the College of New Rochelle 

Life
He graduated from Yale University with a Ph D  in 1972   He also lectures at Yale University 

Awards
1981 Merle Curti Award

Works
"Tocqueville: Écrits et discours politiques"  LA REVUE TOCQUEVILLE / THE TOCQUEVILLE REVIEW, VOL  XIII No  2, 1992
Eduardo Nolla, ed  (1996)  "How Many Democracies?"  Liberty, Equality, Democracy  NYU Press  ISBN 978-0-8147-5778-9 
The making of Tocqueville's Democracy in America  University of North Carolina Press  1980  ISBN 978-0-8078-1372-0 
Cheryl B  Welch, ed  (2006)  "Tocqueville's Democracy in America Reconsidered"  The Cambridge Tocqueville Companion  Cambridge University Press  ISBN 978-0-521-84064-4 
Passage 5:
Menucha Rochel Slonim
Rebbetzin Menucha Rochel Slonim (1798–1888) was a daughter of Rabbi Dovber Schneuri, the second Rebbe of the Chabad Hasidic dynasty  She is regarded a matriarch to the Chabad dynasty as well as Hebron's Jewish population in general 

Origin of name
Rebbetzin Slonim was born on the 19 Kislev, 5559 AM (27 November 1798), the same day her grandfather, Rabbi Shneur Zalman of Liadi was released from imprisonment in S  Petersburg  Her father chose the name Menucha because in Hebrew the word "menucha" means "peace and quiet"  He said, "Henceforth we shall have a little Menucha " She was named Rochel after an aunt that died in her youth 
Her husband's last name was originally Griver, a descendant of Rabbi Moses Isserles, the Rema; they chose to change it to Slonim (this was when it was still easy to change names)  They then moved to Hebron 

Emigration to Hebron
After she fell dangerously ill, her father promised that she would live to emigrate to the Land of Israel  In 1845, with the blessing of her brother-in-law, Rabbi Menachem Mendel Schneersohn, she and her family emigrated to Hebron  To allay her fears of rainstorms on the journey to Hebron, Rabbi Schneersohn blessed her to "walk between the raindrops "

Life in Hebron
For forty-three years she served as the matriarch of the Hebron community  New brides and barren women would request blessings from her  Before she died on the 24th of Shevat, 5648 AM (6 February 1888), she sent a letter to the then Rebbe, Rabbi Sholom Dovber Schneersohn, informing him of her imminent passing  She thus lived during the leadership of all of the first five Lubavitcher Rebbes She became renowned among both townspeople and beyond, Jews and non-Jews alike for her curative and salvation abilities, and was nicknamed "the grandmother Menucha Rachel"  Every bride who visited the Tomb of Machpela on the day of her wedding came to get her blessing and the Admor Rebbe Elazar Mendel of Lelov used to visit her home three times a week when staying in Hebron  He was strict about standing when she entered or left the room and always asked her to bless him 

Her family went on to become leaders of the Hebron Jewish community, helping unite the Sephardic and Ashkenazic Jewish communities and reaching out to the Arabic community  Her son was Rabbi Yehuda Leib Slonim, who was the father of Rebbetzin Moshke Devora Epstein, who inherited Menucha Rochel's home when she got married  Other children included Rabbi Mordechai Dov Slonim 
Rabbi Yaakov Yosef Slonim was the chief Ashkenazi rabbi during the 1929 Hebron massacre  His son was Eliezer Dan Slonim, who spoke fluent Arabic and was a member on the city council and a director of the Anglo-Palestine Bank  He had excellent relations with the British Mandate authorities and Arab community and was reported to have not believed in rumors of an impending riot  He and his family were slaughtered as they attempted to make a barricade in the Slonim family house  One-year-old Shlomo Slonim (1928-2014) survived the massacre  He was the grandson of Rabbi Yaakov Yosef Slonim and son of Eliezer Dan Slonim  Shlomo Slonim went on to join the Irgun Tzvai Leumi, the Haganah, and the Israel Defense Forces  He worked for Bank Leumi for almost 50 years, was married for 50 years, and had 4 children  His photo as a wounded toddler is included in the Museum of the Jewish Community of Hebron  as are many photos of the Slonim family 

Annual visits to grave in Hebron
Today, the grave of Menucha Rochel Slonim receives hundreds of visitors every year, especially on the anniversary of her passing  It is located in the Old Jewish cemetery, Hebron  The grave made headlines in 1997, when the H1 and H2 sections of the city were created  Concerned residents and supporters protested the government to ensure that the cemetery and Menucha Rochel's final resting place were not left outside of the designated area  Other venerated Jewish scholars buried in the cemetery include Eliyahu de Vidas, Solomon Adeni, Elijah Mizrachi and Yehuda Bibas 
Today, the local Chabad chapter in Hebron leads visits to her grave and continues her legacy  In 2002 The Menucha Rochel Kollel, a learning center moved to a historic building adjacent to the grave of Menucha Rochel in the cemetery  Daily classes and services are held there 
Passage 6:
Gillardeau oysters
Gillardeau oysters are a brand of edible oysters that are produced by the Gillardeau family and their small private company, which was founded in 1898 in Bourcefranc-le-Chapus near La Rochelle and the Île d'Oléron in western France Gillardeau now produces roughly half its oysters in Normandy, near Utah Beach, and half in County Cork, Ireland, He also gets his oysters from P  Sugrue one of the worlds top growers from Kerry Ireland  where the waters are cleaner, there are fewer parasites and less agricultural runoff, and the area is easier to farm with tractors 
Passage 7:
Daddy's Home 2
Daddy's Home 2 (titled on screen as Daddy's Home Two)  is a 2017 American Christmas buddy comedy film directed by Sean Anders and written by Anders and John Morris  A sequel to Daddy's Home (2015), it stars Will Ferrell, Mark Wahlberg, Linda Cardellini, John Cena, with John Lithgow and Mel Gibson  The plot follows now-reformed fathers Brad and Dusty (Ferrell and Wahlberg), now co-parenting Dusty's kids, who have to deal with their own fathers (Lithgow and Gibson) visiting for the holidays 
Unlike its predecessor, Red Granite Pictures was not involved in the film's production  Principal photography on the film began in Massachusetts in March 2017 and it was released in the United States by Paramount Pictures on November 10, 2017  Although the film received generally negative reviews from critics, it grossed over $180 million worldwide against a production budget of $69–70 million 

Plot
Finally friends, Brad Whitaker and Dusty Mayron co-parent Dusty's two children, Megan and Dylan, who take turns at each father's house  Dusty has remarried to Karen, a doctor/novelist, and is a stepfather to her daughter Adrianna  The men decide to have a joint Christmas rather than separate ones, after Megan embarrassingly admits during a school recital, that she does not like Christmas anymore due to the stress and embarrassment caused by the dual arrangement  She'd prefer one "together Christmas" 
Dusty's tough fighter pilot/Space Shuttle astronaut father Kurt and Brad's overbearing and cheerful father, Don, unexpectedly arrive for Christmas  Megan and Dylan warmly embrace Don, as he is very present in their lives, while Kurt hasn't seen them since they were toddlers  From his envy of the affection the children show Don, Kurt rents a large cabin through Airbnb, to house them all through the holiday week 
Brad and Dusty's co-parenting is put to the test by Kurt's meddling  Dusty’s beef with Kurt mainly stems from the fact that he was rarely there for him as a child  Especially painful was when, during a youth Glee Club recital he embarrassed himself by missing his solo part when Kurt left to make out with a woman during his part  Sara, meanwhile, tries to bond with Karen, but is appalled by her shoplifting clothes from a store and not caring if Adriana and Megan drink alcoholic eggnog  She later becomes concerned Don isn’t with his wife, whom he claims couldn’t come as she was staying home to take care of her ill brother 
Dylan develops a crush on a little girl staying in the cabin next door, causing Megan and Adrianna to constantly tease him in front of her  Brad gives him some “advice", and Dusty interjects when he thinks Brad is having what looks like “the talk” with Dylan, although they had agreed to do it together  As the trees on the Christmas tree farm are small, Kurt suggests they illegally go on to private property to cut one down  Brad mistakes a cell tower for a tree and is electrocuted 
After bowling, the family takes the kids to see Santa  There, Kurt tries to convince Dylan to ask Santa for a shotgun, but Don talks him out of it  Megan, however, wants one instead and is granted permission after Kurt makes a sexist comment  Out hunting the next day, Megan accidentally shoots Kurt in the shoulder, sending him to the hospital  While Kurt is down, she shoots two turkeys, surprising him  Sara confronts Brad over Don’s odd behavior, but he refuses to believe her 
Brad, Dusty, Don and Kurt go to an improv comedy club, where they have a good time until Kurt picking up a woman at the bar annoys Dusty  Brad enters Don into the improv show, and Dusty chooses the topic of a husband confronting his cheating wife as the subject of the skit  As it progresses, it is revealed that Don has separated from his wife in real life  Sara comforts Don about his divorce in front of an eggnog bowl, but when Dusty reveals his part in the skit, Don and Brad become furious and Dusty and Brad's relationship becomes strained  When they leave, Megan and Adrianna sneak cups of alcoholic eggnog  Brad, attempting to get back at Dusty, invites Adrianna's father, Roger  Roger intimidates Dusty as he had done to Brad in the first film 
The entire family takes part in a live nativity  Brad fights with Dusty because he wants to play Joseph  A drunken Megan begins to swear, and an equally drunk Adrianna falls from her platform, then the crowd breaks up  Instead of Dusty fighting Brad, he almost fights Roger, and Don is repeatedly hit in the face with ice-balls 
On Christmas Day the families, depressed from all the arguing, pack up to leave  On their way out of town, they are forced back due to a blizzard, taking shelter at a movie theater  They see Missile Tow, a holiday action comedy film starring Liam Neeson  When the power cuts off during the movie, everyone goes to the lobby where each man confronts his father about his secrets, lies, and attitudes, and reconcile 
Remembering advice given to him by Kurt, Dylan walks toward the girl he has a crush on to kiss her, but instead kisses Adrianna  Kurt pushes Dusty to stand up to Adrianna and punish her for her recent behavior, but he instead tells her he loves her  He then tells Roger that loving Adrianna means loving her real father as well as he is also part of the family  Roger almost leaves without Adrianna  However, he has a change of heart after everyone breaks out into a song of "Do They Know It's Christmas?" (during which the power comes back on) and he decides to stay 
Sometime later, at the airport, Don and Kurt are preparing to head back to their respective homes  Adrianna, who has grown close with Don, reveals she signed him up for a dating app for seniors so he can move on from Brad’s mother  Kurt and Don go up the terminal escalators, where Kurt reveals to Don that he switched out the tickets and they are going to spend New Year's together in Las Vegas to find dates more effectively 
As Brad's mother arrives, Dusty and Brad discover Brad's new stepfather is Sully Sullenberger, pilot of the 2009 "Miracle on the Hudson" flight  They remember watching the film Sully together recently, and Dusty appears to be excited to meet him  However, an infuriated Brad runs down the terminal, screaming that Sully will never replace his father and "You only have one good story, my father has a million" 

Cast
Production
In April 2016, the sequel was announced, with Will Ferrell and Mark Wahlberg reprising their roles, Sean Anders and John Morris writing the script, and Anders directing  In January 2017, it was reported that Mel Gibson and John Lithgow were being sought to play the main characters' fathers in the film  The two were later confirmed to star, along with Linda Cardellini, John Cena, Owen Vaccaro and Scarlett Estevez, reprising their roles Principal photography began on March 20, 2017  Scenes were filmed in Concord, Massachusetts, Clinton, Massachusetts, Framingham, Massachusetts, Lawrence, Massachusetts and Great Barrington, Massachusetts 

Release
The film was released in the United States on November 10, 2017 Daddy's Home 2 was released on Digital HD on February 6, 2018, and was released on Blu-ray and DVD on February 20, 2018 

Reception
Box office
Daddy's Home 2 grossed $104 million in the United States and Canada, and $76 6 million in other territories, for a worldwide total of $180 6 million, against a production budget of  $69–70 million In the United States and Canada, Daddy's Home 2 opened alongside Murder on the Orient Express, and was projected to gross around $20 million from 3,575 theaters in its opening weekend  The film made $10 7 million on its first day, including $1 5 million from Thursday night previews at 2,500 theaters, up from the $1 2 million made by the first film  It went on to debut to $29 7 million, finishing second at the box office, behind holdover Thor: Ragnarok ($57 million)  In its second weekend, the film made $14 4 million (a drop of 51 3%), finishing 4th behind Justice League, Wonder and Thor: Ragnarok 

Critical response
On Rotten Tomatoes, Daddy's Home 2 holds an approval rating of 21% based on 129 reviews, and an average rating of 4 1/10  The website's critical consensus reads, "A formulaic comedy that's unlikely to spread much yuletide merriment, Daddy's Home 2 can only muster a few stray yuks from its talented cast " On Metacritic, the film has a weighted average score of 30 out of 100 based on 26 critics, indicating "generally unfavorable reviews"  Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale Alonso Duralde of TheWrap was critical of what he described as the film's sloppiness and laziness, saying, "Director Sean Anders and his co-writer John Morris execute what are supposed to be the laughs with blunt force  The jokes announce themselves with heavy footsteps, and almost none of them land, stranding a talented cast with terrible material that they’re straining to sell " Richard Roeper of the Chicago Sun-Times gave the film 1 out of 4 stars, saying: "After enduring last week’s lousy and lazy A Bad Moms Christmas, I would have bet it would be many a year before we’d see another holiday comedy more sour and cynical and profoundly unfunny  I sit corrected "Glenn Kenny of RogerEbert com gave the film 2 5 out of 4 stars, writing, "I found the sequel better than the original—the writing sharper, the jokes fresher and smarter, the comic interaction between the lead characters consistently engaging  I mentioned this to my incredulous wife, who said, 'So you’re saying it's the Godfather, Part 2 of the Daddy’s Home series' "

Accolades
Possible sequel
In an interview, Mark Wahlberg mentioned that they would like to get Liam Neeson for the third installment of the film 

See also
List of Christmas films
Passage 8:
Jean Duvignaud
Jean Duvignaud (22 February 1921 – 17 February 2007) was a French novelist, sociologist and anthropologist  He was born in La Rochelle, Charente-Maritime, on February 22, 1921 
Duvignaud was a secondary school teacher first at Abbeville, then at Étampes (1947–1956), where he taught Georges Perec  After submitting his doctoral thesis, he taught at the University of Tours  In 1972, he founded the magazine Cause commune with Georges Perec and Paul Virilio  For a time he was in a relationship with Clara Malraux, the ex-wife of novelist André Malraux He died (aged 85) in La Rochelle on February 17, 2007 

Bibliography
L'Acteur, esquisse d'une sociologie du comédien, Paris, Gallimard, 1965  Rééd  L'Archipel, 1995
Durkheim, sa vie, son œuvre, Paris, PUF, 1965
Visites d'Atelier Marta Pan, Cimaise, N 87, Juin Spetembre 1968
Sociologie du théâtre, Paris, PUF, 1965  Rééd  Quadrige, 1999
Georges Gurvitch, symbolisme social et sociologie dynamique, Paris, Seghers, 1969
Anthologie des sociologues français contemporains, Paris, PUF, 1970
Spectacle et société, Paris, Denoël, 1970
Introduction à la sociologie, Paris, Gallimard, 1971
Sociologie de l'art, Paris, PUF, 1972
L'Anomie, hérésie et subversion, Paris, Anthropos, 1973
Le Langage perdu, essai sur la différence anthropologique, Paris, PUF, 1973
Fêtes et civilisations, Paris, Weber, 1974
Le Théâtre contemporain, culture et contre-culture, Paris, Larousse, 1974
Le Ça perché, Paris, Stock, 1976
Le Don du rien, essai d'anthropologie de la fête, Paris, Plon, 1977
Le Jeu du jeu, Paris, Balland, 1980
L' Or de la République, Paris, Gallimard, 1984
Le Propre de l'homme, histoires du comique et de la dérision, Paris, Hachette, 1985
La Solidarité, liens de sang et liens de raison, Paris, Fayard, 1986
Chebika, étude sociologique, Paris, Gallimard, 1978  Rééd  Paris, Plon, 1990
La Genèse des passions dans la vie sociale, Paris, PUF, 1990
Dis l'Empereur, qu'as-tu fait de l'oiseau ?, Arles, Actes Sud, 1991
Fêtes et civilisations ; suivi de La fête aujourd'hui, Arles, Actes Sud, 1991
Perec ou La cicatrice, Arles, Actes Sud, 1993
Le singe patriote  Talma, un portrait imaginaire (novel), Arles, Actes Sud, 1993
L'oubli ou La chute des corps, Arles, Actes Sud, 1995
Le pandémonium du présent, idées sages, idées folles, Paris, Plon, 1998
Le prix des choses sans prix, Arles, Actes Sud, 2001
Les octos, béant aux choses futures, Arles, Actes Sud, 2003
Le sous-texte, Arles, Actes Sud, 2005
La ruse de vivre, état des lieux, Arles, Actes Sud, 2006
Passage 9:
Julien Berger
Julien Berger is a Belgian rugby union player who currently plays for his national side and the French club La Rochelle as a scrum-half  He has played for La Rochelle since 2009 and has played 14 games, but had only started in 5 (during the 2011–12 season) 
Passage 10:
Peter Conrad (sociologist)
Peter Conrad (born 1945, raised in New Rochelle, NY) is an American medical sociologist who has researched and published on numerous topics including ADHD, the medicalization of deviance, the experience of illness, wellness in the workplace, genetics in the news, and biomedical enhancements 

Biography
He has been a member of the faculty at Brandeis University since 1979 and since 1993 has been the Harry Coplan Professor of Social Sciences   He received his B A  in Sociology at State University of New York at Buffalo (1967), M A, from Northeastern University (1970) and Ph D  in Sociology from Boston University in 1976   Prior to Brandeis, he taught at Suffolk University in Boston, Massachusetts (1971–75) and Drake University in Des Moines, Iowa (1975–78)   At Brandeis he served as chair of the Department of Sociology for nine years and since 2002 as chair of the interdisciplinary program "Health:  Science, Society and Policy" (HSSP)    He has also been a visiting professor at New York University, Gadjah Mada University (Yogyakarta, Indonesia), University of London, Royal Holloway, and Queen's University Belfast (Northern Ireland) 

Personal life
He lives in Lincoln, MA with his wife, Dr  Libby Bradshaw   They have two children, Rya (b  1980) and Jared (b  1985) 

Published works
Conrad is the author of over one hundred articles and chapters and a dozen books, including Identifying Hyperactive Children:  The Medicalization of Deviant Behavior (1975, 2004),  Deviance and Medicalization:  From Badness to Sickness (with Joseph W  Schneider, 1980, 1992), Having Epilepsy:  The Experience and Control of Illness (1983) and The Medicalization of Society:  On the Transformation of Human Conditions into Treatable Disorders (2007)   He has also edited or co-edited numerous volumes, including Handbook of Medical Sociology, 5th edition (2000) and eight editions of Sociology of Health and Illness:  Critical Perspectives (1981–2009), a widely used text for undergraduates 

Awards
He has received numerous academic honors including the Charles Horton Cooley Award (1981) for Deviance and Medicalization, a Distinguished Fulbright Fellowship (1997), the Leo G  Reeder Award (2004) from the American Sociological Association for "distinguished contributions to medical sociology", and the Lee Founder's Award (2007) "made in recognition of significant achievements that, over a distinguished career, have demonstrated continuing devotion to the ideals of the founders of the Society for the Study of Social Problems and especially to the humanist tradition of Alfred McClung Lee and Elizabeth Briant Lee "
Passage 11:
Shelly Steely
Anne Rochelle Steely Ramirez (born October 23, 1962), née Anne Rochelle Steely, is a former long-distance runner who competed internationally for the United States   She specialized in the 3,000 meters on the track and later competed in road running events 
She made her international debut in cross country and helped the United States the women's team title at the IAAF World Cross Country Championships in 1985   Her focus changed to the 3,000 meters, a distance in which she was a two-time US champion (outdoors in 1991 and indoors in 1992)  She reached the final of that event at the 1991 World Championships in Athletics and the 1992 Barcelona Olympics 
Steely's performances deteriorated and she was diagnosed with hyperthyroidism  However, she made an athletic comeback in 1998 and she won two national road titles, as well as appearing at the Goodwill Games and IAAF World Half Marathon Championships that year  She made one more appearance at the World Half Marathon event in 2000, but retired to focus on education studies 

Career
Early life and college career
Steely was born in Reading, Pennsylvania, and attended Bishop Conwell High School in Levittown, Pennsylvania   She received an athletic scholarship to attend the University of Florida in Gainesville, Florida, where she ran for the Florida Gators track and field team in National Collegiate Athletic Association (NCAA) competition  Steely was fifth in the 10,000 meters at the NCAA Outdoors in 1983, but found greater success over shorter distances the following year: she won both the 5000 meters and 3000 meters Southeastern Conference (SEC) titles  She was third in the 3,000 meters at the 1984 NCAA Outdoors and made two podium finishes at the USA Outdoor Track and Field Championships (third over 5,000 meters, second over 3,000 meters)  She also reached the semi-finals of the US Olympic Track and Field Trials that year In her final year at Florida, she took a sweep of the SEC long-distance titles, winning the 3,000, 5,000 and 10,000-meter distance races   During her time as a Gator runner, she won five All-American honors and nine All-SEC honors, and was later inducted into the University of Florida Athletic Hall of Fame as a "Gator Great" in 2006 Steely made her international debut for the United States in 1985, and her fifteenth-place finish at the 1985 IAAF World Cross Country Championships helped the American women (including Cathy Branta and Betty Springs) to the long race team title  She made two more appearances at that competition, taking part in the 1989 and 1990 editions  She also competed on the international cross country circuit in Europe, including a win at the Cross Internacional de Venta de Baños 

World and Olympic competition
She began training in New Mexico and improved her best times in the 3,000 and 5,000 meters in 1990, and was ranked highly at the national level  She began to expand her oeuvre to include road running and that year she took wins at the Cooper River Bridge Run and Great Cow Harbor 10K races, as well as shorter distance wins at the Fifth Season Race and the Jean Bouin Memorial in Spain  The following year saw her make a career breakthrough on the track  She won the national title in the 3,000 meters with a significant personal best run of 8:49 00 minutes  This gained her a place on the national team for the 1991 World Championships in Athletics  Steely ran a personal record of 8:48 54 minutes in the qualifying rounds, only finishing behind two eventual medalists (Susan Sirma and Yelena Romanova)  She did not perform as well in the final, however, and ended the competition in fourteenth place  She ended her season with road wins at the Phoenix 10K and Senior Bowl 10K She claimed her second national title at the start of the following year, winning the 3,000 meters at the USA Indoor Track and Field Championships with a time of 8:51 29 minutes  A third title followed on the roads that May as she took the 5,000 meters U S  title in Cedar Rapids, Iowa  In the outdoor season she ran a career best time of 8:41 28 minutes for the 3,000 meters and her runner-up placing at the Olympic Trials saw her make the US Olympic Team for the first time  At the 1992 Barcelona Olympics, both Steely and PattiSue Plumer (the trials winner) made the event final and Steely came seventh, two spots behind her compatriot 

Switch to roads and retirement
She won the Carlsbad 5000 the following March  Steely was the 1993 USA Outdoor runner-up in the 3,000 meters but was replaced in the national team for the 1993 World Championships in Athletics  Her performances waned over the next three years and she did not compete at all in 1996  She was later diagnosed with a hyperthyroid condition Steely returned to compete in 1998 and ran frequently, mainly out of necessity as she no longer had a sponsor  She was in the top three at the 1998 USA Outdoors in the 10,000 meters, came fourth in the event at the 1998 Goodwill Games, and ranked second nationally in the distance that year  She won the US titles in the 25-kilometer and 10-mile events that year, as well as runner-up placing in the national 12-kilometer and half marathon events  Her performance over the latter distance gained her a spot at the 1998 IAAF World Half Marathon Championships, where she placed 42nd overall She ran in the 10,000 meters at the 1999 USA Outdoor Championships (coming fifth) and competed at the 2000 IAAF World Half Marathon Championships  However, she moved on from her athletic career to focus on obtaining an Educational specialist degree 

Personal bests
1500 m – 4:05 07 mins (1992)
3000 m – 8:41 28 mins (1992)
5000 m – 15:08 67 mins (1992)
10,000 m – 32:41 14 mins (1990)
Half marathon – 1:13:33 hrs (1998)

International competition record
See also
Florida Gators
List of University of Florida alumni
List of University of Florida Athletic Hall of Fame members
List of University of Florida Olympians
Passage 12:
La Jarne
La Jarne (French pronunciation: ​[la ʒaʁn]) is a commune in the Charente-Maritime department in southwestern France  It is 7 km southeast of the city of La Rochelle 

Population
See also
Communes of the Charente-Maritime department
Passage 13:
June Rochelle
June Rochelle is an American contemporary gospel singer, songwriter, executive media producer, editor, and talent scout from Indianapolis, Indiana  Her music infuses gospel, soul, pop, r&b, and jazz  Her debut album, Changing Places, garnered a Grammy ballot  Her next albums are Play This, and June Rochelle Christmas ' Rochelle is the first African-American to headline ABC's-RTV6 Circle of Lights  She was previously a backing vocalist for Diana Ross and Celine Dion  June Rochelle is also the founder of Good Deeds People a public-benefit charity and June Rochelle Media 
Passage 14:
Jean-Louis Raduit de Souches
Jean-Louis Raduit de Souches (16 August 1608 to 12 August 1682), also known as Ludwig de Souches, was a French-born professional soldier who spent a number of years in the Swedish Army before switching to Imperial service in 1642  Although he was a capable officer who reached the rank of Field Marshal, his career was marred by a tendency to quarrel with his colleagues and superiors 
Born into a family of minor French Protestant nobility, de Souches went into exile after the Siege of La Rochelle in 1629  He served in the Swedish army when it entered the Thirty Years' War against Emperor Ferdinand III and by 1642 was colonel of an infantry regiment  However, he fell out with his superior officer and switched sides, joining the Imperial army 
He established his reputation in the defence of Brno against the Swedes in 1645 and was promoted Field Marshal in 1664  When Emperor Leopold joined the Franco-Dutch War in 1673, de Souches was appointed commander of Imperial forces in the Low Countries but had a poor relationship with his Dutch and Spanish allies and was removed in December 1674  
This was the end of his military career; he retired to his estates in at Jevišovice in Moravia, where he died on 12 August 1682 and was buried in the Church of St  James (Brno) 

Personal details
Jean-Louis Raduit de Souches was born on 16 August 1608, son of Jean Ratuit, Sieur de Barres (died 1614), and his wife Marguerite de Bourdigalea (died after 1636)  Both parents were members of the Huguenot nobility, originally from Aunis, who owned property in the Protestant stronghold of La Rochelle  His elder brother was killed serving with the French army in 1636, while he also had a sister, Marguerite (died 1654) His first wife Anna Elisabeth de Hoffkirchen died in 1663; they had two sons, Jean Louis (died 1717) and Charles Louis (1645–1691), who both served in the Imperial Army, and two daughters, Anna Dorotha (1652–1724) and Eleonora  Anna Salome Aspermont-Reckheim (1648–1729) became his second wife in 1677; they had no surviving children 

Career
Thirty Years War
Souches began his military career during the siege of La Rochelle, part of the 1627 to 1629 Huguenot rebellions against Louis XIII of France  When the town surrendered in October 1628, he went into exile in Protestant Sweden, where he joined the army led by Gustavus Adolphus which entered the Thirty Years War in 1630  By 1636, he was captain in an infantry regiment which unsuccessfully defended Stargard against an Imperial force; he narrowly escaped court martial after accusing his commanding officer of negligence  This was symptomatic of a quarrelsome tendency which followed him throughout his career 

In May 1636, France formally entered the Thirty Years War in alliance with Sweden; the rapid expansion of the French army created vacancies for experienced officers and de Souches used the opportunity to return home  He was unable to obtain a satisfactory position and returned to Sweden in August 1639, where he was promoted colonel of a regiment in the force that invaded Bohemia in early 1640  However, he later fell out with his superior officer whom he challenged to a duel in violation of military regulations; he resigned from the Swedish army in early 1642 and a few months later was appointed colonel in the Imperial army Over the next two years, de Souches took part in the 1643 invasion of Pomerania and an attack on the Swedish-held city of Olomouc in Moravia  Although both actions were unsuccessful, he impressed his superiors sufficiently to be given command of defending Brno in May 1645 against a force led by Lennart Torstensson; after a siege described as "one of the epic stands of the Imperial army", the Swedes retreated in August having lost 8,000 men  This contributed to the failure of Torstensson's attempt to attack Vienna and helped speed up peace negotiations at Westphalia  Until the end of the war, de Souches contributed to regaining Swedish-occupied cities in the Erblande like the capture of Jihlava in 1647 De Souches was rewarded with promotion to the rank of general and granted lands outside Brno; when the war finally ended in 1648, he was placed in charge of supervising the withdrawal of Swedish troops from Moravia and made Governor of Špilberk Castle  In 1649, he was elevated to the Moravian nobility on condition he converted to Catholicism within the next three years 

Later career
In 1654, Sweden attacked the Polish–Lithuanian Commonwealth, initiating the Second Northern War  When the fighting expanded to include Brandenburg-Prussia in 1657, Austria joined the anti-Swedish coalition  With de Souches in charge of the infantry, an army under Melchior von Hatzfeldt was sent to support Poland and helped recapture Kraków in August 1657  De Souches later commanded the Austrian contingent at the Siege of Toruń, whose Swedish garrison surrendered in December 1658  In 1659, he was given command of an army of 13,000 which invaded Swedish Pomerania and besieged Stettin; before the town fell, the Treaty of Oliva ended the war in May 1660, while de Souches quarrelled with his colleague Raimondo Montecuccoli and was ordered home to Moravia The 1663 to 1664 Austro-Turkish War began when Ottoman forces invaded Hungary and over-ran large parts of eastern and southern Moravia  Having successfully defended Brno and Olomouc, de Souches was promoted Field Marshall in May 1664 and given command of one of three separate forces operating in Hungary, with the other two led by Montecuccoli and Miklós Zrínyi  Although he won a minor victory at Levice in July 1664, while Montecuccoli stopped the main Ottoman advance at Saint Gotthard in August, Leopold was concerned by the expansionist policies of Louis XIV of France and agreed the Peace of Vasvár a few days later 
          
In October 1664, de Souches was appointed Governor of Komárom, an important town on the modern Slovakian/Hungarian border, and spent the next few years supervising the construction of new fortifications there, as well as other towns in the region  He also became a member of the Hofkriegsrat, or Imperial War Council, although his duties were largely nominal  When Austria entered the Franco-Dutch War in 1673 as an ally of the Dutch Republic and Spain, he was appointed commander of Imperial troops in the Low Countries and took part in the Battle of Seneffe in August 1674  The Imperial troops suffered minimal casualties in what was the bloodiest battle of the war and his Allies subsequently claimed de Souches had ignored requests for support  One suggestion is he did so under instructions from Emperor Leopold, who wanted to conserve resources for the Rhineland campaign, which he viewed as having far greater strategic significance Shortly thereafter, the Allies attacked the town of Oudenarde; siege operations commenced on 16 September, and the French began marching to its relief three days later  The Dutch and Spanish redoubled efforts to breach the walls before their arrival, but without advising his colleagues, de Souches withdrew the Imperial artillery to Ghent  Since his troops would not fight without their guns, and the Dutch and Spanish could not face the French on their own, the Allies were forced to abandon the siege  After strong protests from the Dutch States General, supported by some of his Austrian colleagues, de Souches was relieved of his command  In December 1674, Emperor Leopold set up an enquiry into his conduct, which resulted in de Souches being dismissed from his remaining military positions  He retired to his estates at Jevišovice in Moravia, where he died on 12 August 1682 and was buried in the Church of St  James (Brno) 
Passage 15:
Chaya Mushka Schneersohn
Chaya Mushka Schneersohn was the daughter of Rabbi Dovber Schneuri, the second Rebbe of the Chabad Hasidic movement, and the wife of Rabbi Menachem Mendel Schneersohn the third Rebbe Chaya Mushka Schneerson died on December 9, 1860 O S  (Tevet 8, 5621; December 21, 1860 N S ), and was buried in the town of Lubavitch near her grandmother Rebbetzin Sterna and her mother Rebbetzin Sheina 

History
Chaya Mushka Schneersohn married the third Rebbe of Chabad, Rabbi Menachem Mendel Schneersohn  She is known in the Chabad community as "Rebbetzin Chaya Mushka " Rebbetzin Chaya Mushka was an advocate for Agunot, women who are bound to their marriages by Jewish law whether through the husband's disappearance or refusal to comply with divorce proceedings Chaya Mushka held the personal custom of reciting the Slichot prayers during the week between Rosh Hashana, the Jewish New Year, and Yom Kippur, the Day of Atonement 
Passage 16:
Hunt Slonem
Hunt Slonem (born Hunt Slonim, July 18, 1951) is an American painter, sculptor, and printmaker  He is best known for his Neo-Expressionist paintings of butterflies, bunnies, and his tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species  Slonem's works are included in many important museum collections all over the world; he is exhibiting regularly at both public and private venues, and he has received numerous honors and awards 

Early life
Hunt Slonem was born in Kittery, Maine, in an upper middle class family, the eldest of four children  His father was a Navy officer, and mother – a homemaker who spent much of her time doing volunteer work  As a result of his father's military career, Slonem's family moved around as frequently as every two to three years  He lived in Hawaii, Virginia, Connecticut, California and Washington State  Slonem's grandmother was a Tennessee native who married a Minnesota-born amateur artist and educator who became the Superintendent of Public Schools in Duluth, Minnesota  It was Slonem's grandfather who always encouraged young Hunt to paint   "I grew up around painting, and my parents dabbled in painting themselves  I was given paints as a child, and I wanted to be a painter from first grade onwards," Slonem told the online magazine Art Interview  His younger brother, Jeffrey Slonim, is a prolific journalist, and contributing editor of the Interview Magazine, and his cousin is the best-selling author Tama Janowitz After completing school, which included living in Nicaragua as an exchange student when he was 16 years old, Slonem commenced undergraduate studies at Vanderbilt University in Nashville, Tennessee  He then spent about six months of his sophomore year at the University of the Americas in San Andrés Cholula, Puebla, Mexico, but later graduated with a Bachelor of Arts degree in Painting and Art History from Tulane University in New Orleans, Louisiana  He also took courses at the Skowhegan School of Painting and Sculpture in Maine, where he was exposed to such influential artists from the New York area as Louise Nevelson, Alex Katz, Alice Neel, Richard Estes, Jack Levine, and Al Held  During that period, Slonem altered the "i" to an "e" in his family name as a nod to numerology  He moved to New York in 1973 to further his art practice, and Manhattan had become his consistent base ever since 

Career
I would say my whole life could be summed up by the word 'exotica' 
Hunt Slonem's artistic career began in New York, in the late 1970s  When he first came to Manhattan, in 1973, he was hired by the Department of Social Services to teach painting to senior citizens  He was unhappy at his job and seriously considered moving to Amsterdam when, unexpectedly, in 1975, he got a call from artist Janet Fish who offered him her studio for the summer  That telephone call turned Slonem's life around  Shortly afterwards, In 1976, Hunt Slonem received a painting grant from the Elizabeth Greenshields Foundation in Montreal, Quebec, Canada, and began painting in earnest  His first solo show was held at New York's Harold Reed Gallery in 1977, followed by a major exhibition at the prestigious Fischbach Gallery  As Slonem's career progressed, he was introduced to people like Andy Warhol, Liza Minnelli, Sylvia Miles, and Truman Capote  Through Jeffrey Slonim, who would later serve as an usher at Andy Warhol's funeral, he also met and befriended the Belgian-born actress Monique van Vooren, the star of Warhol's film Flesh for Frankenstein  He soon became a habitué of New York's trendiest hot spots and an active participant in the city's burgeoning art scene Slonem's move to New York had a profound influence on his development as an artist  According to the New York Times, he fell in love with "a very particular kind of New York life, one most people can only fantasize about  But people this determinedly unusual do exist here, and that is one of the city's surest charms  They feed off the city and the city feeds off them " Novelist Tama Janowitz put it succinctly, saying, "His pictures are the subtext of Manhattan, an imaginary, vivid and grotesquely evocative world that bubbles beneath the paved-over, gray city of New York which he physically inhabits -- a city where people have come from all over the world, bringing their images of other places and other lives with them "Despite living in the heart of Manhattan,  Slonem remained true to his boyhood fascination with exotica, which he had developed as a youth in Hawaii and during his time as a foreign exchange student in Managua, Nicaragua  His paintings expressed a strong affinity for nature, especially the various species of exotic butterflies and tropical birds living on the island  He soon became well known for creating grisaille paintings of small birds in their cages   He often painted them wet-on-wet and grit off the surfaces to denote wire enclosures after the birds had been strategically placed  Art critic Roberta Smith wrote in the New York Times that Slonem's "witty Formalism strategy meshes the creatures into the picture plane and sometimes nearly obliterates them as images, but it also suspends and shrouds them in a dim, atmospheric light that is quite beautiful  If Joseph Cornell had concentrated on painting, the results might have looked like this " Birds also fill the surface of his largest project yet – a 6-foot by 86 foot mural he painted for the iconic Bryant Park Grill Restaurant in New York City, completed in 1995  According to The New Yorker, "The most notable aspect of the [restaurant's] interior is an 86-foot long mural by the artist Hunt Slonem, which depicts hundreds of birds, similar to those found in the artist's studio, where he can be found painting away with a bird or two perched on his shoulders "Hunt Slonem's oil paintings pivot between the fantastic and the natural  These natural forms ultimately become the subjects for many of his artworks, appearing in large lavishly colored paintings and constructed sculptures  As an artist, he endeavors to explore the many expressive faculties of color  His paintings are layered with thick brushstrokes of vivid color, often cut into in a cross-hatched pattern that adds texture to the overall surface of the painting  Slonem often hides his subjects "behind a grid of incised lines, blurring their contours and emphasizing the paint's tactile quality " This surface patterning combines with the rich colors and recognizable subject matter to create paintings that are physically and aesthetically rich  Poet and critic John Ashbery observed, "From the narrow confines of his grids, half cage, half perch, Slonem summons dazzling explosions of the variable life around us that need only to be looked at in order to spring into being "Slonem's obsessive and repetitive rendering of his subjects reflects his desire to explore issues of spatial complexity, compression and density in what the acclaimed Metropolitan Museum of Art curator Henry Geldzahler deemed "a consistent investigation of post-cubist abstraction " The repetitive imagery also makes a reference to Andy Warhol  "I was influenced by Warhol's repetition of soup cans and Marilyn," says Slonem  "But I'm more interested in doing it in the sense of prayer, with repetition    It's really a form of worship " He is not interested in realism or, unlike Warhol, in advertising or media, and his paintings are neither narrative nor specific in detail  Rather, Slonem's work is deeply rooted in the act of painting  His jarring color choices, spontaneous mark making, and scratched hatch marks are the result of his ongoing fascination with the manipulation and implementation of paint  For Slonem, cross-hatching has "a feeling of a tapestry, it's like weaving  I'm making colors bleed into each other, I'm revealing the under-painting  I'm making these marks to allow the light to come through, basically  So you're seeing about five levels of paint, instead of one " It is this kind of devotion to the process of painting that prompted Henry Geldzahler to observe in 1993 that "Slonem is a painter, a painter's painter with an enormous bag of technical tricks which become apparent to the viewer the longer he stands before the work "Another recurring theme of Slonem's pictorial work is portrait painting, and that of Abraham Lincoln in particular  He is interested in history and memorabilia, and for him, the "larger-than-life" Lincoln is a catchall  In Slonem's words, "On Marilyn [Monroe]'s desk, she had a picture of her mother and a picture of Lincoln  And she said, 'I really didn't know who my father was, so it might as well be Abraham Lincoln '" According to the Interview Magazine, "Slonem's portraits of Lincoln feel personal, and in surprising ways, he's close to the long-deceased " "I work with diviners and mystics, and one of them started channeling Lincoln in my house," says Slonem  "[Lincoln] guided me to paint certain things, like my doves: he wanted me to paint them as a symbol of freedom "In the early 1980s, Slonem began working on a new series of so-called "Rabbit paintings "  The idea for this critically acclaimed series came to him after he had discovered that the year of his birth, 1951, was the year of the Rabbit in the Chinese zodiac calendar  He often repeats imagery in this series, just like in his other series, because, he told the Wall Street Journal, the act is similar to spiritual meditation: "Mantras are holy because you repeat them " This theme continued to inspire Slonem over the years, and the series is as prominent in his work today as it was over thirty years ago Apart from painting, Slonem is also making sculptures, like the sizable, "Tocos," an 18-foot acrylic and aluminum tower of toucans exhibited at the Polk Museum of Art in 2012  He has also restored several historic houses  "I consider it part of my art form,"  Slonem said in an interview with NewsChief com   His "art form" also includes Gothic revival furniture - in his homes, studios, and exhibits  In 2009, Bergdorf Goodman, a luxury department store in New York City, recreated Slonem's distinct art-filled living room for its windows display  In Slonem's view, "Art incorporated with furniture becomes a work of art itself "In 2008, German automaker Audi enlisted Hunt Slonem to create an exclusive design for its sleek new A5 coupe, and he created a one-of-a-kind design based on one of his oil painting for the car's exterior  "It's an earlier work of mine with birds flying through the sky; the original work is in the collection of the Colby Museum in Maine, where I was born," said Slonem of the piece, which is painted in blues, blacks, reds, and whites with cockatoos  The mobile artwork was unveiled in conjunction with the New York International Auto Show at the Audi Forum in Manhattan  The "Hunt Slonem Audi A5," as it was dubbed, then toured Audi dealerships throughout the United States, before returning to New York where it was auctioned off to benefit a cancer research charity In 2010, Albert Maysles, the Oscar-nominated documentary filmmaker (Salesman, Gimme Shelter, Grey Gardens), announced that he will be shooting a feature-length documentary on Hunt Slonem's life and his art In 2014, he collaborated with fashion accessories company Echo Design Group for a limited edition scarf and handbag collection 

Museum exhibitions and collections
Since 1977, Slonem had solo shows at many prestigious contemporary art galleries including the Fischbach Gallery in New York and the Serge Sorokko Gallery in San Francisco  His work has been exhibited globally, including in Madras, Quito, Venice, Gustavia, San Juan, Guatemala City, Paris, Amsterdam, Madrid, Stockholm, Oslo, Cologne, Tokyo, and Hong Kong  His work has been shown in thirty-one different museums including the Hunter Museum of American Art in Chattanooga, Tennessee, in 1981; the Museo Diocesano d'arte sacra Sant'Apollonia in Venice, Italy, in 1986; the Albany Museum of Art in Albany, Georgia, in 2007; the  Istanbul Museum of Modern Art in Istanbul, Turkey, in 2007; Museo de Arte de El Salvador in San Salvador, El Salvador, in 2010; the National Gallery for Foreign Art in Sofia, Bulgaria, in 2010;  the Alexandria Museum of Art in Alexandria, Louisiana in 2011, the Polk Museum of Art in Lakeland, Florida in 2012, the Moscow Museum of Modern Art in 2015, and the Russian State Museum in St  Petersburg, Russia in 2017, among others Slonem has been an active participant in the Art in Embassies Program sponsored by the United States Department of State, alongside other American artists including Jim Dine, Julian Schnabel, Sol LeWitt, Jasper Johns, Ellsworth Kelly, and Jeff Koons, who received the first ever Medal of Arts from the Department of State for his "outstanding commitment" to the program  Through Art in Embassies, Slonem's paintings have been exhibited globally revealing, as Hillary Clinton put it, "the rich history and cultural heritage of the United States and the experiences that we share with peoples of different countries, backgrounds and faiths  Every exhibition reminds us of the diversity of mankind and the values that bind us together "Hunt Slonem's paintings are widely represented in important private collections all over the world  According to the San Francisco Chronicle, "Slonem's work has attracted many well-known [Hollywood] art collectors including Sharon Stone, Gina Gershon, Brooke Shields, Julianne Moore, Mandy Moore, Kate Hudson, and J Lo", among others   "I'm a big fan of Hunt's work," Brooke Shields told Daily Front Row  "It's whimsical without being too sweet "  A March 2012 issue of Architectural Digest features Shields's Manhattan townhouse, with three of Slonem's "rabbit paintings" prominently displayed on her living room wall Over fifty museums internationally include Hunt Slonem's paintings in their collections, among them the Smithsonian American Art Museum; the National Gallery of Art in Washington, D C ; the Brooklyn Museum of Art in Brooklyn, NY; the Boston Museum of Fine Arts in Boston, Massachusetts; Fundació Joan Miró in Barcelona, Spain; the Würth Museum in Künzelsau, Germany; the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R  Guggenheim Museum all in New York 

Personal life
Until 2010, Slonem occupied a Tenth Street studio in Manhattan that was 40,000 square feet, divided into 89 rooms  In 2010, Slonem moved to a 15,000 square foot fourth floor former headquarters of the film company Moviola, on West 45th Street  The space served as his painting studio and was divided into a number of small rooms, all of which Slonem painted in old Louisiana plantation-house colors  The studio housed his ever-expanding quirky collections, from Neo-Gothic chairs to top hats, to marble busts of Marie Antoinette, to various objets d'art, mined from flea markets and antique fairs  In an interview in Vincent Katz's book Pleasure Palaces: The Art & Homes of Hunt Slonem, he describes his collecting technique as "cluttering "  For him, objects are "friends;" the more there are, the more he is inspired  "I have to have a certain amount of stuff in place before I can function and paint," he says  Although, Slonem still lives in the loft apartment he moved into in 1973, according to the Wall Street Journal, he does nearly all his entertaining at his new 25,000 square foot West 34th Street studio in the industrial Hell's Kitchen neighborhood of Manhattan where he moved in 2011  He christened the third floor loft space with a birthday party attended by more than 200 people Hunt Slonem also owns two historically important Louisiana plantations—one called Albania Plantation, on the Bayou Teche in St  Mary Parish, about two hours' drive northwest of New Orleans, and the other – the Lakeside Plantation, in a remote location near the town of Batchelor, one hour north of Baton Rouge  According to the New York Times, the Batchelor property includes "an 1832 plantation house called Lakeside, pink if you please, as surprising in this community of shoebox houses as an aged diva in a pink organdy dress at McDonald's  Also as indifferent, inasmuch as a house can be indifferent, to the bruising of time " It was once owned by Marquis de La Fayette whose close relationship with lifelong friends such as Thomas Jefferson, Benjamin Franklin, James Monroe, John Adams, and Robert Livingston played a pivotal role in the Louisiana Purchase   In a show of gratitude, the United States gave La Fayette land which is known today as Lakeside Plantation  The property is listed in the National Register of Historic Places listings in Louisiana 
Passage 17:
Sébastien Fauqué
Sébastien Fauqué is a French rugby union player, born 6 March 1977 in Tarbes (Hautes-Pyrénées), who plays as fly half for La Rochelle 
He arrived at US Montauban from US Dax after a spell at Castres Olympique and a first professional contract at Section Paloise  He was the backup for David Aucagne at Pau and Thomas Castaignède at Castres  He trained at two clubs: Riscle and Lourdes  After the 2008 season, and after six seasons at Montauban, he joined RC Toulon, who were promoted to Top 14 

Honours
Club
Pro D2 Champions : 2006

Personal
Best player of Pro D2: 2006 (383 points, 22 more than second placed Antoine Vignau-Tuquet)2nd : 2005 (397 points, 18 less than first place Martin Vickers-Pearson)
Best kicker in Pro D2: 2006 (353 points, 22 more than second placed Antoine Vigneau-Tuquet)2nd : 2005 (377 points, 3 less than first placed Martin Vickers-Pearson)

Notes
External links
(in French) Player profile at lequipe fr
(in French) Statistics at itsrugby fr
"Sébastien Fauqué"  itsrugby co uk  Retrieved 13 November 2021 
Passage 18:
Gaston de Gerlache
Baron Gaston de Gerlache de Gomery (Brussels, 17 November 1919 – Oudenaarde, 13 July 2006) was a Belgian polar explorer 
Gaston de Gerlache was the son of Adrien de Gerlache, and followed in the tracks of his father by leading the second Belgian expedition to Antarctica in 1957–1958, 60 years after his father led the 1897–1899 Belgian Antarctic Expedition aboard the ship Belgica 
Gaston de Gerlache and his crew established the King Baudouin Base in 1958 in the context of the International Geophysical Year  On 11 December 1958 an aircraft with four Belgians, led by Gaston de Gerlache crashed in the Crystal Mountains, 250 km from King Baudouin Base, Antarctica  The crew was searched for and rescued on 16 December by the Soviet polar pilot V  M  Perov on an Li-2 aircraft, that had taken off from Mirny Station In 1960 Gaston de Gerlache published his travel journal Retour dans l'antarctique  A year later he made a documentary about his expedition named Plein sud 
An article, "Belgium in the Antarctic", written by Gaston de Gerlache de Gomery appeared in the Geographical magazine (May 1962 issue) 
Mount Gaston de Gerlache in the Queen Fabiola Mountains on Antarctica was named after him 
Passage 19:
Marvin Felix Camillo
Marvin Felix Camillo (1937 in Newark, New Jersey – January 22, 1988 in La Rochelle, France) was an American theater director and actor, noted for his founding of The Family theater company, a group in New York largely made up of ex-convicts 

Stage productions
Short Eyes (1974)
The Cool World (1960)
Context 2: Passage 1:
Lockheed Martin A2100
The A2100 is a model of communications satellite spacecraft made by Lockheed Martin Space Systems  It is used as the foundation for telecommunications payloads in geosynchronous orbit, as well as GOES-R weather satellites and GPS Block IIIA satellites  Over 40 satellites use the A2100 bus 

History
The first satellite, AMC-1, was launched September 8, 1996, and has achieved 15-year on-orbit service life   Since 1996 there have been over 45 of the A2100 based satellites launched, with over 400 years of total on-orbit service 
Other A2100 spacecraft include JCSAT-13 and VINASAT-2, which were launched May, 2012 on an Ariane 5 rocket, as well as Arabsat-6A and Hellas Sat 4/SaudiGeoSat-1 of Saudi Arabia's Arabsat-6G program In 2002, Lockheed Martin Commercial Space Systems was given a Frost and Sullivan Satellite Reliability Award for excellence in the production of flexible and reliable communications satellites used in geosynchronous Earth orbit A2100 customers includes communications companies around the world, including Astra, Telesat, SKY Perfect JSAT Group and others 

Design
The Lockheed Martin A2100 geosynchronous spacecraft series is designed for a variety of telecommunications needs including Ka band broadband and broadcast services, fixed satellite services in C-band and Ku band payload configurations, high-power direct broadcast services using the Ku band frequency spectrum, and mobile satellite services using UHF, L-band and S-band payloads The A2100 satellite system was developed by the Astro Space team at its East Windsor, New Jersey facility, with team members delivering a flexible common bus with fewer components, lower spacecraft weight, and reduced customer delivery time The A2100 is being supplanted by the LM2100, an evolutionary upgrade with several new features  The military version is the LM2100 Combat Bus 

Propulsion system
The attitude control system includes reaction wheels, with momentum desaturation and main motor maneuver attitude control propulsion provided by small monopropellant hydrazine motors  This hydrazine supply is contained in a central propellant tank of 0 90 m diameter and up to 2 00 m length depending on the customer's requirements 
This tank's maximum length was later increased to 2 55 m 
The liquid apogee engine uses hydrazine fuel from the central tank along with nitrogen tetroxide oxidizer from two flanking tanks of 0 54 m diameter and up to 1 65 m long 
Orbit maintenance is performed by the small hydrazine motors and ion thrusters 
The maximum propellant supply (with the largest tanks at 95% fill factor) are 1368 kg of hydrazine fuel and 627 kg of nitrogen tetroxide oxidizer 
According to Moog-ISP, the A2100 platform uses its LEROS bipropellant Liquid Apogee Engine 

Satellite orders
A2100A
A2100AX
A2100AXS
A2100M (Military)
LM2100 (Modernized)
LM2100M (Modernized Military)
Cancelled orders
Passage 2:
Communications satellite
A communications satellite is an artificial satellite that relays and amplifies radio telecommunication signals via a transponder; it creates a communication channel between a source transmitter and a receiver at different locations on Earth  Communications satellites are used for television, telephone, radio, internet, and military applications   Many communications satellites are in geostationary orbit 22,300 miles (35,900 km) above the equator, so that the satellite appears stationary at the same point in the sky; therefore the satellite dish antennas of ground stations can be aimed permanently at that spot and do not have to move to track the satellite  Others form satellite constellations in low Earth orbit, where antennas on the ground have to follow the position of the satellites and switch between satellites frequently 
The high frequency radio waves used for telecommunications links travel by line of sight and so are obstructed by the curve of the Earth   The purpose of communications satellites is to relay the signal around the curve of the Earth allowing communication between widely separated geographical points   Communications satellites use a wide range of radio and microwave frequencies  To avoid signal interference, international organizations have regulations for which frequency ranges or "bands" certain organizations are allowed to use  This allocation of bands minimizes the risk of signal interference 

History
Origins
In October 1945, Arthur C  Clarke published an article titled "Extraterrestrial Relays" in the British magazine Wireless World  The article described the fundamentals behind the deployment of artificial satellites in geostationary orbits to relay radio signals  Because of this, Arthur C  Clarke is often quoted as being the inventor of the concept of the communications satellite, and the term 'Clarke Belt' is employed as a description of the orbit 

The first artificial Earth satellite was Sputnik 1 which was put into orbit by the Soviet Union on 4 October 1957  It was developed by Mikhail Tikhonravov and Sergey Korolev, building on work by Konstantin Tsiolkovsky  Sputnik 1 was equipped with an on-board radio transmitter that worked on two frequencies of 20 005 and 40 002 MHz, or 7 and 15 meters wavelength  The satellite was not placed in orbit to send data from one point on Earth to another; the radio transmitter was meant to study the properties of radio wave distribution throughout the ionosphere   The launch of Sputnik 1 was a major step in the exploration of space and rocket development, and marks the beginning of the Space Age 

Early active and passive satellite experiments
There are two major classes of communications satellites, passive and active  Passive satellites only reflect the signal coming from the source, toward the direction of the receiver  With passive satellites, the reflected signal is not amplified at the satellite, and only a very small amount of the transmitted energy actually reaches the receiver   Since the satellite is so far above Earth, the radio signal is attenuated due to free-space path loss, so the signal received on Earth is very, very weak  Active satellites, on the other hand, amplify the received signal before retransmitting it to the receiver on the ground  Passive satellites were the first communications satellites, but are little used now 
Work that was begun in the field of electrical intelligence gathering at the United States Naval Research Laboratory in 1951 led to a project named Communication Moon Relay  Military planners had long shown considerable interest in secure and reliable communications lines as a tactical necessity, and the ultimate goal of this project was the creation of the longest communications circuit in human history, with the moon, Earth's natural satellite, acting as a passive relay  After achieving the first transoceanic communication between Washington, D C , and Hawaii on 23 January 1956, this system was publicly inaugurated and put into formal production in January 1960 

The first satellite purpose-built to actively relay communications was Project SCORE,  led by Advanced Research Projects Agency (ARPA) and launched on 18 December 1958, which used a tape recorder to carry a stored voice message, as well as to receive, store, and retransmit messages  It was used to send a Christmas greeting to the world from U S  President Dwight D  Eisenhower  The satellite also executed several realtime transmissions before the non-rechargeable batteries failed on 30 December 1958 after eight hours of actual operation The direct successor to SCORE was another ARPA-led project called Courier  Courier 1B was launched on 4 October 1960 to explore whether it would be possible to establish a global military communications network by using "delayed repeater" satellites, which receive and store information until commanded to rebroadcast them  After 17 days, a command system failure ended communications from the satellite NASA's satellite applications program launched the first artificial satellite used for passive relay communications in Echo 1 on 12 August 1960  Echo 1 was an aluminized balloon satellite acting as a passive reflector of microwave signals  Communication signals were bounced off the satellite from one point on Earth to another  This experiment sought to establish the feasibility of worldwide broadcasts of telephone, radio, and television signals 

More firsts and further experiments
Telstar was the first active, direct relay communications commercial satellite and marked the first transatlantic transmission of television signals  Belonging to AT&T as part of a multi-national agreement between AT&T, Bell Telephone Laboratories, NASA, the British General Post Office, and the French National PTT (Post Office) to develop satellite communications, it was launched by NASA from Cape Canaveral on 10 July 1962, in the first privately sponsored space launch Another passive relay experiment primarily intended for military communications purposes was Project West Ford, which was led by Massachusetts Institute of Technology's Lincoln Laboratory  After an initial failure in 1961, a launch on 9 May 1963 dispersed 350 million copper needle dipoles to create a passive reflecting belt  Even though only about half of the dipoles properly separated from each other, the project was able to successfully experiment and communicate using frequencies in the SHF X band spectrum An immediate antecedent of the geostationary satellites was the Hughes Aircraft Company's Syncom 2, launched on 26 July 1963  Syncom 2 was the first communications satellite in a geosynchronous orbit  It revolved around the earth once per day at constant speed, but because it still had north–south motion, special equipment was needed to track it  Its successor, Syncom 3, launched on 19 July 1964, was the first geostationary communications satellite  Syncom 3 obtained a geosynchronous orbit, without a north–south motion, making it appear from the ground as a stationary object in the sky A direct extension of the passive experiments of Project West Ford was the Lincoln Experimental Satellite program, also conducted by the Lincoln Laboratory on behalf of the United States Department of Defense  The LES-1 active communications satellite was launched on 11 February 1965 to explore the feasibility of active solid-state X band long-range military communications  A total of nine satellites were launched between 1965 and 1976 as part of this series 

International commercial satellite projects
In the United States, 1962 saw the creation of the Communications Satellite Corporation (COMSAT) private corporation, which was subject to instruction by the US Government on matters of national policy  Over the next two years, international negotiations led to the Intelsat Agreements, which in turn led to the launch of Intelsat 1, also known as Early Bird, on 6 April 1965, and which was the first commercial communications satellite to be placed in geosynchronous orbit  Subsequent Intelsat launches in the 1960s provided multi-destination service and video, audio, and data service to ships at sea (Intelsat 2 in 1966–67), and the completion of a fully global network with Intelsat 3 in 1969–70  By the 1980s, with significant expansions in commercial satellite capacity, Intelsat was on its way to become part of the competitive private telecommunications industry, and had started to get competition from the likes of PanAmSat in the United States, which, ironically, was then bought by its archrival in 2005 When Intelsat was launched, the United States was the only launch source outside of the Soviet Union, who did not participate in the Intelsat agreements  The Soviet Union launched its first communications satellite on 23 April 1965 as part of the Molniya program  This program was also unique at the time for its use of what then became known as the Molniya orbit, which describes a highly elliptical orbit, with two high apogees daily over the northern hemisphere  This orbit provides a long dwell time over Russian territory as well as over Canada at higher latitudes than geostationary orbits over the equator 

Satellite orbits
Communications satellites usually have one of three primary types of orbit, while other orbital classifications are used to further specify orbital details  MEO and LEO are non-geostationary orbit (NGSO) 

Geostationary satellites have a geostationary orbit (GEO), which is 22,236 miles (35,785 km) from Earth's surface  This orbit has the special characteristic that the apparent position of the satellite in the sky when viewed by a ground observer does not change, the satellite appears to "stand still" in the sky   This is because the satellite's orbital period is the same as the rotation rate of the Earth   The advantage of this orbit is that ground antennas do not have to track the satellite across the sky, they can be fixed to point at the location in the sky the satellite appears 
Medium Earth orbit (MEO) satellites are closer to Earth  Orbital altitudes range from 2,000 to 36,000 kilometres (1,200 to 22,400 mi) above Earth 
The region below medium orbits is referred to as low Earth orbit (LEO), and is about 160 to 2,000 kilometres (99 to 1,243 mi) above Earth As satellites in MEO and LEO orbit the Earth faster, they do not remain visible in the sky to a fixed point on Earth continually like a geostationary satellite, but appear to a ground observer to cross the sky and "set" when they go behind the Earth beyond the visible horizon  Therefore, to provide continuous communications capability with these lower orbits requires a larger number of satellites, so that one of these satellites will always be visible in the sky for transmission of communication signals   However, due to their closer distance to the Earth, LEO or MEO satellites can communicate to ground with reduced latency and at lower power than would be required from a geosynchronous orbit 

Low Earth orbit (LEO)
A low Earth orbit (LEO) typically is a circular orbit about 160 to 2,000 kilometres (99 to 1,243 mi) above the earth's surface and, correspondingly, a period (time to revolve around the earth) of about 90 minutes Because of their low altitude, these satellites are only visible from within a radius of roughly 1,000 kilometres (620 mi) from the sub-satellite point  In addition, satellites in low earth orbit change their position relative to the ground position quickly  So even for local applications, many satellites are needed if the mission requires uninterrupted connectivity 
Low-Earth-orbiting satellites are less expensive to launch into orbit than geostationary satellites and, due to proximity to the ground, do not require as high signal strength (signal strength falls off as the square of the distance from the source, so the effect is considerable)  Thus there is a trade off between the number of satellites and their cost 
In addition, there are important differences in the onboard and ground equipment needed to support the two types of missions 

Satellite constellation
A group of satellites working in concert is known as a satellite constellation  Two such constellations, intended to provide satellite phone and low-speed data services, primarily to remote areas, are the Iridium and Globalstar systems  The Iridium system has 66 satellites, which orbital inclination of 86 4° and inter-satellite links provide service availability over the entire surface of Earth  Starlink is a satellite internet constellation operated by SpaceX, that aims for global satellite Internet access coverage 
It is also possible to offer discontinuous coverage using a low-Earth-orbit satellite capable of storing data received while passing over one part of Earth and transmitting it later while passing over another part   This will be the case with the CASCADE system of Canada's CASSIOPE communications satellite  Another system using this store and forward method is Orbcomm 

Medium Earth orbit (MEO)
A medium Earth orbit is a satellite in orbit somewhere between 2,000 and 35,786 kilometres (1,243 and 22,236 mi) above the earth's surface   MEO satellites are similar to LEO satellites in functionality  MEO satellites are visible for much longer periods of time than LEO satellites, usually between 2 and 8 hours  MEO satellites have a larger coverage area than LEO satellites  A MEO satellite's longer duration of visibility and wider footprint means fewer satellites are needed in a MEO network than a LEO network  One disadvantage is that a MEO satellite's distance gives it a longer time delay and weaker signal than a LEO satellite, although these limitations are not as severe as those of a GEO satellite 
Like LEOs, these satellites do not maintain a stationary distance from the earth   This is in contrast to the geostationary orbit, where satellites are always 35,786 kilometres (22,236 mi) from the earth 
Typically the orbit of a medium earth orbit satellite is about 16,000 kilometres (10,000 mi) above earth  In various patterns, these satellites make the trip around earth in anywhere from 2 to 8 hours 

Examples of MEO
In 1962, the communications satellite, Telstar, was launched  It was a medium earth orbit satellite designed to help facilitate high-speed telephone signals  Although it was the first practical way to transmit signals over the horizon, its major drawback was soon realised  Because its orbital period of about 2 5 hours did not match the Earth's rotational period of 24 hours, continuous coverage was impossible  It was apparent that multiple MEOs needed to be used in order to provide continuous coverage 
In 2013, the first four of a constellation of 20 MEO satellites was launched  The O3b satellites provide broadband internet services, in particular to remote locations and maritime and in-flight use, and orbit at an altitude of 8,063 kilometres (5,010 mi)) 

Geostationary orbit (GEO)
To an observer on Earth, a satellite in a geostationary orbit appears motionless, in a fixed position in the sky   This is because it revolves around the Earth at Earth's own angular velocity (one revolution per sidereal day, in an equatorial orbit) 
A geostationary orbit is useful for communications because ground antennas can be aimed at the satellite without their having to track the satellite's motion  This is relatively inexpensive 
In applications that require many ground antennas, such as DirecTV distribution, the savings in ground equipment can more than outweigh the cost and complexity of placing a satellite into orbit 

Examples of GEO
The first geostationary satellite was Syncom 3, launched on 19 August 1964, and used for communication across the Pacific starting with television coverage of the 1964 Summer Olympics  Shortly after Syncom 3, Intelsat I, aka Early Bird, was launched on 6 April 1965 and placed in orbit at 28° west longitude  It was the first geostationary satellite for telecommunications over the Atlantic Ocean 
On 9 November 1972, Canada's first geostationary satellite serving the continent, Anik A1, was launched by Telesat Canada, with the United States following suit with the launch of Westar 1 by Western Union on 13 April 1974 
On 30 May 1974, the first geostationary communications satellite in the world to be three-axis stabilized was launched: the experimental satellite ATS-6 built for NASA 
After the launches of the Telstar through Westar 1 satellites, RCA Americom (later GE Americom, now SES) launched Satcom 1 in 1975   It was Satcom 1 that was instrumental in helping early cable TV channels such as WTBS (now TBS), HBO, CBN (now Freeform) and The Weather Channel become successful, because these channels distributed their programming to all of the local cable TV headends using the satellite   Additionally, it was the first satellite used by broadcast television networks in the United States, like ABC, NBC, and CBS, to distribute programming to their local affiliate stations   Satcom 1 was widely used because it had twice the communications capacity of the competing Westar 1 in America (24 transponders as opposed to the 12 of Westar 1), resulting in lower transponder-usage costs  Satellites in later decades tended to have even higher transponder numbers By 2000, Hughes Space and Communications (now Boeing Satellite Development Center) had built nearly 40 percent of the more than one hundred satellites in service worldwide  Other major satellite manufacturers include Space Systems/Loral, Orbital Sciences Corporation with the Star Bus series, Indian Space Research Organisation, Lockheed Martin (owns the former RCA Astro Electronics/GE Astro Space business), Northrop Grumman, Alcatel Space, now Thales Alenia Space, with the Spacebus series, and Astrium 

Molniya orbit
Geostationary satellites must operate above the equator and therefore appear lower on the horizon as the receiver gets farther from the equator  This will cause problems for extreme northerly latitudes, affecting connectivity and causing multipath interference (caused by signals reflecting off the ground and into the ground antenna) 
Thus, for areas close to the North (and South) Pole, a geostationary satellite may appear below the horizon  Therefore, Molniya orbit satellites have been launched, mainly in Russia, to alleviate this problem 
Molniya orbits can be an appealing alternative in such cases  The Molniya orbit is highly inclined, guaranteeing good elevation over selected positions during the northern portion of the orbit  (Elevation is the extent of the satellite's position above the horizon  Thus, a satellite at the horizon has zero elevation and a satellite directly overhead has elevation of 90 degrees )
The Molniya orbit is designed so that the satellite spends the great majority of its time over the far northern latitudes, during which its ground footprint moves only slightly  Its period is one half day, so that the satellite is available for operation over the targeted region for six to nine hours every second revolution  In this way a constellation of three Molniya satellites (plus in-orbit spares) can provide uninterrupted coverage 
The first satellite of the Molniya series was launched on 23 April 1965 and was used for experimental transmission of TV signals from a Moscow uplink station to downlink stations located in Siberia and the Russian Far East, in Norilsk, Khabarovsk, Magadan and Vladivostok  In November 1967 Soviet engineers created a unique system of national TV network of satellite television, called Orbita, that was based on Molniya satellites 

Polar orbit
In the United States, the National Polar-orbiting Operational Environmental Satellite System (NPOESS) was established in 1994 to consolidate the polar satellite operations of
NASA (National Aeronautics and Space Administration)
NOAA (National Oceanic and Atmospheric Administration)  NPOESS manages a number of satellites for various purposes; for example, METSAT for meteorological satellite, EUMETSAT for the European branch of the program, and METOP for meteorological operations 
These orbits are sun synchronous, meaning that they cross the equator at the same local time each day  For example, the satellites in the NPOESS (civilian) orbit will cross the equator, going from south to north, at times 1:30 P M , 5:30 P M , and 9:30 P M 

Beyond geostationary orbit
There are plans and initiatives to bring dedicated communications satellite beyond geostationary orbits 
NASA proposed LunaNet as a data network aiming to provide a „Lunar Internet for cis-lunar spacecraft and Installations 
The Moonlight Initiative is an equivalent ESA project that is stated to be compatible and providing navigational services for the lunar surface  Both programmes are satellite constellstions of several satellites in various orbits around the Moon 
Other orbits are also planned to be used  Positions in the Earth-Moon-Libration points are also proposed for communication satellites covering the Moon alike communication satellites in geosynchronous orbit cover the Earth  Also, dedicated communication satellites in orbits around Mars supporting different missions on surface and other orbits are considered, such as the Mars Telecommunications Orbiter 

Structure
Communications Satellites are usually composed of the following subsystems:

Communication Payload, normally composed of transponders, antennas, and switching systems
Engines used to bring the satellite to its desired orbit
A station keeping tracking and stabilization subsystem used to keep the satellite in the right orbit, with its antennas pointed in the right direction, and its power system pointed towards the sun
Power subsystem, used to power the Satellite systems, normally composed of solar cells, and batteries that maintain power during solar eclipse
Command and Control subsystem, which maintains communications with ground control stations  The ground control Earth stations monitor the satellite performance and control its functionality during various phases of its life-cycle The bandwidth available from a satellite depends upon the number of transponders provided by the satellite  Each service (TV, Voice, Internet, radio) requires a different amount of bandwidth for transmission  This is typically known as link budgeting and a network simulator can be used to arrive at the exact value 

Frequency allocation for satellite systems
Allocating frequencies to satellite services is a complicated process which requires international coordination and planning  This is carried out under the auspices of the International Telecommunication Union (ITU) 
To facilitate frequency planning, the world is divided into three regions:

Region 1: Europe, Africa, the Middle East, what was formerly the Soviet Union, and Mongolia
Region 2: North and South America and Greenland
Region 3: Asia (excluding region 1 areas), Australia, and the southwest PacificWithin these regions, frequency bands are allocated to various satellite services, although a given service may be allocated different frequency bands in different regions  Some of the services provided by satellites are:

Fixed satellite service (FSS)
Broadcasting satellite service (BSS)
Mobile-satellite service
Radionavigation-satellite service
Meteorological-satellite service

Applications
Telephony
The first and historically most important application for communication satellites was in intercontinental long distance telephony  The fixed Public Switched Telephone Network relays telephone calls from land line telephones to an earth station, where they are then transmitted to a geostationary satellite   The downlink follows an analogous path   Improvements in submarine communications cables through the use of fiber-optics caused some decline in the use of satellites for fixed telephony in the late 20th century 
Satellite communications are still used in many applications today  Remote islands such as Ascension Island, Saint Helena, Diego Garcia, and Easter Island, where no submarine cables are in service, need satellite telephones  There are also regions of some continents and countries where landline telecommunications are rare to non existent, for example large regions of South America, Africa, Canada, China, Russia, and Australia  Satellite communications also provide connection to the edges of Antarctica and Greenland  Other land use for satellite phones are rigs at sea, a backup for hospitals, military, and recreation  Ships at sea, as well as planes, often use satellite phones Satellite phone systems can be accomplished by a number of means  On a large scale, often there will be a local telephone system in an isolated area with a link to the telephone system in a main land area  There are also services that will patch a radio signal to a telephone system  In this example, almost any type of satellite can be used  Satellite phones connect directly to a constellation of either geostationary or low-Earth-orbit satellites  Calls are then forwarded to a satellite teleport connected to the Public Switched Telephone Network  

Television
As television became the main market, its demand for simultaneous delivery of relatively few signals of large bandwidth to many receivers being a more precise match for the capabilities of geosynchronous comsats   Two satellite types are used for North American television and radio: Direct broadcast satellite (DBS), and Fixed Service Satellite (FSS) 
The definitions of FSS and DBS satellites outside of North America, especially in Europe, are a bit more ambiguous  Most satellites used for direct-to-home television in Europe have the same high power output as DBS-class satellites in North America, but use the same linear polarization as FSS-class satellites  Examples of these are the Astra, Eutelsat, and Hotbird spacecraft in orbit over the European continent  Because of this, the terms FSS and DBS are more so used throughout the North American continent, and are uncommon in Europe 
Fixed Service Satellites use the C band, and the lower portions of the Ku band  They are normally used for broadcast feeds to and from television networks and local affiliate stations (such as program feeds for network and syndicated programming, live shots, and backhauls), as well as being used for distance learning by schools and universities, business television (BTV), Videoconferencing, and general commercial telecommunications  FSS satellites are also used to distribute national cable channels to cable television headends 
Free-to-air satellite TV channels are also usually distributed on FSS satellites in the Ku band  The Intelsat Americas 5, Galaxy 10R and AMC 3 satellites over North America provide a quite large amount of FTA channels on their Ku band transponders 
The American Dish Network DBS service has also recently used FSS technology as well for their programming packages requiring their SuperDish antenna, due to Dish Network needing more capacity to carry local television stations per the FCC's "must-carry" regulations, and for more bandwidth to carry HDTV channels 
A direct broadcast satellite is a communications satellite that transmits to small DBS satellite dishes (usually 18 to 24 inches or 45 to 60 cm in diameter)  Direct broadcast satellites generally operate in the upper portion of the microwave Ku band  DBS technology is used for DTH-oriented (Direct-To-Home) satellite TV services, such as DirecTV, DISH Network and Orby TV in the United States, Bell Satellite TV and Shaw Direct in Canada, Freesat and Sky in the UK, Ireland, and New Zealand and DSTV in South Africa 
Operating at lower frequency and lower power than DBS, FSS satellites require a much larger dish for reception (3 to 8 feet (1 to 2 5 m) in diameter for Ku band, and 12 feet (3 6 m) or larger for C band)   They use linear polarization for each of the transponders' RF input and output (as opposed to circular polarization used by DBS satellites), but this is a minor technical difference that users do not notice  FSS satellite technology was also originally used for DTH satellite TV from the late 1970s to the early 1990s in the United States in the form of TVRO (Television Receive Only) receivers and dishes  It was also used in its Ku band form for the now-defunct Primestar satellite TV service 
Some satellites have been launched that have transponders in the Ka band, such as DirecTV's SPACEWAY-1 satellite, and Anik F2  NASA and ISRO have also launched experimental satellites carrying Ka band beacons recently Some manufacturers have also introduced special antennas for mobile reception of DBS television  Using Global Positioning System (GPS) technology as a reference, these antennas automatically re-aim to the satellite no matter where or how the vehicle (on which the antenna is mounted) is situated   These mobile satellite antennas are popular with some recreational vehicle owners   Such mobile DBS antennas are also used by JetBlue Airways for DirecTV (supplied by LiveTV, a subsidiary of JetBlue), which passengers can view on-board on LCD screens mounted in the seats 

Radio broadcasting
Satellite radio offers audio broadcast services in some countries, notably the United States  Mobile services allow listeners to roam a continent, listening to the same audio programming anywhere 
A satellite radio or subscription radio (SR) is a digital radio signal that is broadcast by a communications satellite, which covers a much wider geographical range than terrestrial radio signals 

Amateur radio
Amateur radio operators have access to amateur satellites, which have been designed specifically to carry amateur radio traffic  Most such satellites operate as spaceborne repeaters, and are generally accessed by amateurs equipped with UHF or VHF radio equipment and highly directional antennas such as Yagis or dish antennas  Due to launch costs, most current amateur satellites are launched into fairly low Earth orbits, and are designed to deal with only a limited number of brief contacts at any given time  Some satellites also provide data-forwarding services using the X 25 or similar protocols 

Internet access
After the 1990s, satellite communication technology has been used as a means to connect to the Internet via broadband data connections  This can be very useful for users who are located in remote areas, and cannot access a broadband connection, or require high availability of services 

Military
Communications satellites are used for military communications applications, such as Global Command and Control Systems  Examples of military systems that use communication satellites are the MILSTAR, the DSCS, and the FLTSATCOM of the United States, NATO satellites, United Kingdom satellites (for instance Skynet), and satellites of the former Soviet Union  India has launched its first Military Communication satellite GSAT-7, its transponders operate in UHF, F, C and Ku band bands  Typically military satellites operate in the UHF, SHF (also known as X-band) or EHF (also known as Ka band) frequency bands 

Data collection
Near-ground in situ environmental monitoring equipment (such as weather stations, weather buoys, and radiosondes), may use satellites for one-way data transmission or two-way telemetry and telecontrol  It may be based on a secondary payload of a weather satellite (as in the case of GOES and METEOSAT and others in the Argos system) or in dedicated satellites (such as SCD)  The data rate is typically much lower than in satellite Internet access 

See also
Passage 3:
INSAT-4CR
INSAT-4CR was a communications satellite operated by ISRO as part of the Indian National Satellite System  Launched in September 2007, it replaced the INSAT-4C satellite which had been lost in a launch failure the previous year  The satellite was initially stationed in geostationary orbit at a longitude of 74 degrees east, with expected operational life of at least ten years, however this may have been reduced by the underperformance of the Geosynchronous Satellite Launch Vehicle which placed it into orbit  INSAT-4CR is planned to be replaced by GSAT-31, which was launched on February 6, 2019 

Spacecraft
INSAT-4CR was constructed by ISRO, and is based around the I-2K satellite bus  A 2,168-kilogram (4,780 lb) spacecraft, it is equipped with twelve Ku band transponders operating at a frequency of 36 MHz, with 140 Watt travelling wave tube amplifiers  The satellite has an effective isotropic radiated power of 51 5 dBW  An additional Ku band signal is used as a beacon for tracking 
INSAT-4CR operated in a geostationary orbit at a longitudes of 74° East and  48° East, providing communications to India  Broadcasting capacity on INSAT-4CR was allocated to Airtel Digital TV and Sun Direct DTH  At launch, the satellite was carrying 1,218 kilograms (2,685 lb) of fuel, for raising itself into geostationary orbit, and subsequently operating there for a planned twelve years  Increased expenditure of fuel reaching geostationary orbit, due to launch underperformance, may have resulted in a loss of up to five years of operational life 

Launch
INSAT-4CR was launched on 2 September 2007 by the fifth flight of the Geosynchronous Satellite Launch Vehicle, GSLV-F04  The launch occurred at 12:51 UTC on 2 September 2007  The third stage of the carrier rocket underperformed, resulting in the satellite being placed into a lower than planned orbit 
As a result of the underperformance during its launch, INSAT-4CR had to expend maneuvering and station keeping propellant to raise its orbit by more than had originally been planned  It was subsequently reported by Indian news agencies that ISRO had lost track of the satellite's orbit, and could not locate the spacecraft until NASA identified it several days later, however, ISRO denied these claims  As a result of these failures, the operational lifetime of the satellite was reportedly decreased by up to five years 

End of life and replacement
Towards the end of its service life INSAT-4CR was relocated from 74°E to 48°E slot on 10 February 2017 where it stayed until being retired and placed into graveyard orbit on 24 November 2020  Services of INSAT-4CR were handed over to GSAT-31 
Passage 4:
NOAA-4
NOAA-4, also known as ITOS-G was a weather satellite operated by the National Oceanic and Atmospheric Administration (NOAA)  It was part of a series of satellites called ITOS, or improved TIROS  NOAA-4 was launched on a Delta rocket on November 15, 1974  The launch carried two other satellites: AMSAT-OSCAR 7 and Intasat  It remained operational for 1463 days until it was deactivated by NOAA on November 18, 1978 
Passage 5:
FedSat
FedSat (Australia's 'Federation Satellite'; sometimes FedSat 1; COSPAR 2002-056B, SATCAT 27598) was an Australian scientific research satellite launched from Tanegashima Space Center, Japan by a NASDA H-IIA launch vehicle  on 14 December 2002 (NASDA is now merged with JAXA)  The satellite was developed by the Cooperative Research Centre for Satellite Systems, a cooperative made up of several universities, commercial organisations and government bodies  The ground station was at the Institute for Telecommunications Research, part of the University of South Australia, near Adelaide  Since 2005 it was operated by the Australian Department of Defence 

Payloads
The satellite had six payloads, as given below:

Communications Payload: A collection of three components (UHF transponder, Ka-band transponder and base-band processor) used to perform several experiments in satellite communications 
High Performance Computing Experiment: A reconfigurable computer based on a Xilinx XQR4062 FPGA, the first of its kind to be used in space 
GPS Payload: A Global Positioning System receiver built by NASA  Conceived especially for ionospheric studies between GPS constellation levels and FedSat orbit 
NewMag Payload: A magnetometer built by the University of Newcastle, Australia, used to take measurements of the Earth's magnetic field near its poles 
Star Camera: An experimental star camera built by the University of Stellenbosch, used to determine the position of the satellite in space by analysing images of surrounding stars 
Compact Disk: A nickel "master" disk "cultural time capsule" with tracks including Paul Kelly's performance of the song he co-wrote with Kev Carmody, "From Little Things, Big Things Grow", and recorded statements from several hundred Australian school children about how they imagined a future Australia and its place in the Asia-Pacific The satellite platform, comprising the structural/thermal components, power system, attitude control system, onboard computer and groundlink, was originally developed in the United Kingdom by Space Innovations Limited  It was later completed along with integration of payloads in Canberra, Australia 

Declared Dead
The spacecraft's battery failed in May 2007 and the mission has been terminated, after lasting 18 months longer than expected 
Passage 6:
SICRAL 1B
SICRAL 1B is a military communications satellite built by Thales Alenia Space for Italian Armed Forces  It is a dual-use spacecraft: Telespazio will use some of the satellite's transmission capacity and some will be used by the Italian defense ministry and NATO  The spacecraft is based on the Italsat 3000 bus and includes one EHF/Ka band, three UHF-band and five active SHF-band transponders  It is designed to be operable for 13 years 

Construction
Thales Alenia Space was the prime contractor for development and construction of the SICRAL 1B satellite 

Launch
On April 20, 2009 Sea Launch used a Zenit-3SL to carry SICRAL 1B into a geosynchronous transfer orbit  Liftoff from the Ocean Odyssey launch platform took place at 08:16 GMT 
Passage 7:
ATS-6
ATS-6 (Applications Technology Satellite-6)  was a NASA experimental satellite, built by Fairchild Space and Electronics Division It has been called the world's first educational satellite as well as world's first experimental Direct Broadcast Satellite as part of the Satellite Instructional Television Experiment between NASA and Indian Space Research Organisation (ISRO)  It was launched May 30, 1974, and decommissioned July 1979  At the time of launch, it was the most powerful telecommunication satellite in orbit  ATS-6 carried no fewer than 23 different experiments, and introduced several breakthroughs  It was the first 3-axis stabilized spacecraft in geostationary orbit  It was also the first to use experimentally with some success electric propulsion in geostationary orbit  It also carried several particle physics experiments, including the first heavy ion detector in geostationary orbit 
During its five-year life, ATS-6 transmitted connection programming to various countries, including India, the United States and other regions  The vehicle also conducted air traffic control tests, was used to practice satellite-assisted search and rescue techniques, carried an experimental radiometer subsequently carried as a standard instrument aboard weather satellites, and pioneered direct broadcast TV 
ATS-6 was a precursor to many technologies still in use today on geostationary spacecraft: large deployable antenna, 3-axis attitude control with slewing capabilities, antenna pointing through RF sensing, electric propulsion, meteorological radiometer in geostationary orbit, and direct to home broadcasting  It is also possible that ATS-6 was a forerunner of the large ELINT satellites such as Mentor 

Launch
ATS-6 was launched on May 30, 1974, by a Titan III-C launch vehicle  The spacecraft was inserted directly in the geosynchronous orbit  This reduced the on-board fuel requirements to less than 40 kilograms (88 lb) (for a total mass at launch of nearly 1,400 kilograms (3,100 lb))  The highly accurate orbit insertion further lowered the amount of fuel required for final positioning to 9 kilograms (20 lb)  This enabled a life extension from the original 2 year to 5 years, even accounting for the premature failure of the electric propulsion subsystem (the station-keeping fuel requirement being around 1 6 kilograms per year (3 5 lb/a)) 

Structure, power subsystem and antenna
One of the major innovations of ATS-6 was an in-flight deployable antenna of more than 9 metres (30 ft) in diameter  The antenna reflector was furled during launch under the launch vehicle fairing, and was deployed in orbit much like an umbrella  The antenna reflector was built from 48 aluminum ribs, supporting a metallized Dacron mesh  The antenna feeds (in C, S, L, UHF and VHF bands) were placed on the spacecraft body, facing the antenna reflector, and linked to the antenna and the solar panels masts by a carbon-fiber reinforced plastic (CFRP) truss  The solar panels were rigidly mounted on two deployable masts  They were of hemi-cylinder shape, thus providing a relatively constant power (595 W beginning of life)  Electric power was supplied during eclipses by two Nickel cadmium batteries of 15-A·h capacity, powering a regulated 30 5-V bus  The satellite dimensions in orbit were 15 8-metre (52 ft) width by 8 2-metre (27 ft) height 
This deployable antenna parabola was designed and developed by Lockheed Missiles and Space Company (LMSC), now Lockheed Martin, under subcontract to Fairchild Aerospace, after several years of small study contracts at LMSC   The program manager at LMSC was GKC (Colin) Campbell   The deployment of the reflector was initiated by pyrotechnically operated SQUIB cable cutters   Deployment time was on the order of 2 5 seconds producing 3,400 newton-metres (2,500 lb⋅ft) of torque at the spacecraft interface   The reflector surface was designed for optimal operation at S-Band frequencies  It weighed 83 kilograms (182 lb) at launch and stowed into a toroidal volume (doughnut shaped) approximately 1 8 metres (6 ft) in diameter and 250 millimetres (10 in) thick   Three models were fabricated, the STM or structural test model, the F reflector and the G reflector   The STM was destroyed by Fairchild shortly after the program was finished and the F model was launched with the spacecraft in 1972   The G model sat unprotected in the Farchild parking lot for several years before it was donated to the Smithsonian   Bill Wade, the assistant program manager and test manager on the program supported The Smithsonian in the restoration by providing a complete set of drawings and specifications and visited the Silver Hill facility to provide technical guidance At the time of launch it was the largest parabolic surface launched into orbit 

Three-axis stabilisation
ATS-6 has been the first geostationary satellite with three-axis stabilization and pointing , This subsystem was capable of a highly accurate pointing (better than 0 1° through the inertial measurement units, down to 0 002° by using a radio-frequency interferometer )  Furthermore, the satellite was able to follow low earth orbit satellites through slewing, by tracking the low earth-orbit satellite through an S-band RF sensing  The system was also able to perform orbitography of the tracked satellite, and was a precursor to the operational system TDRSS 
This highly advanced (for the time) pointing subsystem used earth and sun sensors, a star tracker pointed to the pole star, Polaris, and three inertial sensors  The sensor measurements were fed to two digital computers (nominal and redundant), as well to a back-up analog computer  It was also possible to orient the satellite by using radio-frequency sensors   Actuators were three momentum wheels, and hot gas (hydrazine mono-propellant) thrusters  One of the momentum wheels having failed in July 1975, an alternative scheme was developed, allowing station-keeping with the two remaining wheels and thrusters 

Electric propulsion
ATS-6 was equipped with two electric thrusters based on the acceleration of cesium ions, that were to be used for North-South Station Keeping  This subsystem development followed earlier failed attempts on the previous ATS spacecraft  Each of the thrusters had a mass of 16 kilograms (35 lb), used 150 W of electric power, and produced a thrust of 4 newton-metres (3 0 lbf⋅ft), with a specific impulse of 2500s  The on-board supply of cesium would have been sufficient for 4400 hours of thrust  Unfortunately, both thrusters failed prematurely, one after 1 hour of operation, one after 95 hours  However, some of the experiments objectives could be met, such as the measurement of the effective thrust, the absence of any interference with the radio-frequency payloads (from 150 MHz to 6 GHz), no cesium redeposition on the critical parts of the payload (such as the radiometer), and the correct neutralisation of the spacecraft versus its environment 

Payload
Radiometer
A radiometer was on board ATS-6, mounted on the earth-facing panel  This instrument was (for the time) of very high resolution  It operated on two channels: infra-red (10 5 to 12 5 µm) and visible light (0 55 to 0 75 µm)  Images taken with the radiometer covered the whole earth disk, with a resolution of 1,200 lines of 2,400 pixels each (11-kilometre (6 8 mi) square pixel in infra-red, and 5 5-kilometre (3 4 mi) square in visible light)  The IR detector was passively cooled at 115K, and the visible light detector maintained at 300K  A complete image of earth's disk was transmitted to ground every 25 minutes  Several hundreds images were taken and transmitted, until a mechanical component of the radiometer failed, two and a half months after launch 

Telecommunication experiments
The main mission of ATS-6 was to demonstrate the feasibility of direct-to-home (DTH) television broadcasting  To this end, in addition to the high-gain antenna, the spacecraft payload was able to receive in any of the VHF, C, S and L-bands, and to transmit in S-band (2 GHz) through a 20-W solid state transmitter, in L-band (1650 MHz) at 40W, in UHF (860 MHz) at 80W (which was used for the Satellite Instructional Television Experiment (SITE)), and with a TWTA-based transmitter of 20 W in C-band (4 GHz)  The antenna produced two spots on earth of 400,000 square kilometres (150,000 sq mi) each, in which the TV broadcast could be received with 3 metres (9 8 ft) diameter antennas  This payload was first used over the United States for tele-education and tele-medicine experiments, from August 1974 to May 1975 as part of the HET, or Health, Education, Telecommunications experiment developed jointly by NASA and the US Department of Health, Education, & Welfare (now DHHS)  The spacecraft was then moved over the geo-stationary arc from 94 °W to 35 °E, in collaboration with the Indian Space Agency (ISRO), who had deployed in India more than 2500 receive ground stations  The move of the satellite from 94 degrees West to 35 degrees East, a journey of 12,800 kilometres (8,000 mi), was actioned from the ground station at Rosman North Carolina  This relocation involved 2 rocket burns of the onboard rocket motor  The 2nd burn lasting 5 hours 37 minutes and 17 seconds  The longest burn ever done by a chemical rocket in space at that time  A tele-education programme was started – Satellite Instructional Television Experiment or SITE – and run for one year  During the experiment, a receive station was offered by the Indian Government to Arthur C  Clarke, who was living in Sri Lanka  This experiment was highly successful, and encouraged ISRO to start building an operational program, with the Indian spacecraft  INSAT IB (launched 1983)  After the SITE experiment, the satellite was brought back over the United States, and served notably as a data-relay and tracking satellite for low-orbit spacecraft such as Nimbus 6, and for the Apollo-Soyuz flight 

Particle physics experiments
Several particle physics experiments were on board ATS-6  The most significant measured low energy protons (from 25 keV to 3 6 MeV), as well as detected heavy ions (up to 6 MeV)  This latter experiment allowed to detect the first heavy ions (Z > 6) with an energy  E > 4 MeV, in geostationary orbit 

Propagation experiments
Finally, ATS-6 embarked several radio beacons, which allowed to measure electromagnetic propagation properties of the atmosphere at 13, 18, 20 and 30 GHz 

Decommissioning
By June 30, 1979, only one of the four ATS-6 station keeping thrusters was working, and was showing signs of unreliability  This thruster was used to move ATS-6 out of geostationary orbit to an orbit several hundred kilometers higher  This was to vacate the geostationary slot for the next satellite 

See also
1974 in spaceflight
Applications Technology Satellite
Passage 8:
Optus
Singtel Optus Pty Limited (commonly referred to as Optus) is an Australian telecommunications company headquartered in Macquarie Park, a suburb in the Northern Sydney region of Sydney, New South Wales, Australia  It is a wholly owned subsidiary of Singaporean telecommunications company Singtel  
Optus is the second-largest wireless carrier in Australia, with over 10 million subscribers as of 2022, and it's mobile network covers 98 5% of the Australian population 

History
AUSSAT and deregulation (1981–1990)
Optus can trace its beginnings back to the formation of the Government-owned AUSSAT Pty Limited in 1981  In 1982, Aussat selected the Hughes 376 for their initial satellites, with the first, AUSSAT A1, launched in August 1985  AUSSAT satellites were used for both military and civilian satellite communications, and delivering television services to remote outback communities 

With Aussat operating at a loss and with moves to deregulate telecommunications in Australia, the government decided to sell Aussat, coupled with a telecommunications licence  The licence was sold to Optus Communications – a consortium including:
logistics firm Mayne Nickless (24 99%);
UK telecommunications company Cable & Wireless (24 50%);
US telecommunications company BellSouth (24 50%);
AIDC Limited (10 00%);
insurance and investment company AMP (10 00%); and
insurance and investment company National Mutual (6 02%) The new telecommunications company was designed to provide competition to then government owned telecommunications company Telecom Australia, now known as Telstra 

Founding of Optus (1991–present)
Optus gained the second general carrier licence in January 1991 After privatisation, AUSSAT became Optus and its first offering to the general public was to offer long-distance calls at cheaper rates than that of its competitor Telstra  The long-distance calling rates on offer were initially available by consumers dialing 1 before the area code and phone number  Following this, a ballot process was conducted by then regulator AUSTEL, with customers choosing their default long-distance carrier  Customers who made no choice or did not respond to the mailout campaign automatically remained as a Telstra long-distance customer  Customers who remained with Telstra could dial the override code of 1456 before the area code and phone number to manually select Optus as the carrier for that single call  Since 1 July 1998, consumers have the choice of preselecting their preferred long-distance carrier or dialling the override code before dialling a telephone number 
The group began by building an interstate fibre optic cable and a series of exchanges between Optus' interstate network and Telstra's local network  It also laid fibre optics into major office buildings and industrial areas, and focused on high bandwidth local, (interstate) long distance, and interstate calls for business  In its early years, Optus was only able to offer local and long-distance calls to residential customers through Telstra's local phone network  Telstra would carry residential to residential calls to Optus' exchanges, and then the calls would be switched to Optus' long-distance fibre optic network 
Optus was the main sponsor of the 1997 ARL season 

2022 cyberattack
Around 22 September 2022, Optus systems sustained a significant cyberattack that resulted in a major data breach of both current and former customers' personal information, including customers’ names, dates of birth, phone numbers and email addresses, with a smaller subset of customers having their street addresses, driving licence details and passport numbers leaked  Optus CEO Kelly Bayer Rosmarin urged customers to exercise "heightened awareness" regarding transactions with their Optus and other accounts  Rosmarin emphasised that passwords were not compromised  The CEO said that the "worst-case scenario" regarding the number of customers whose data had been leaked was 9 8 million customers, but believes the actual number to be far lower On 24 September 2022, Australian news outlets The Age and The Sydney Morning Herald reported that Optus was investigating the authenticity of a ransom demand of US$1 million made on a hacking forum  The demand gave Optus one week to pay the ransom in cryptocurrency else the data will be sold for US$300,000 to whoever else wants it On 6 October, the Australian Federal Police announced the arrest of a 19-year-old man who had allegedly threatened 93 Optus customers by saying that he would use their information leaked in the attack to commit financial crimes, unless they paid AUD $2,000 In response to the cyberattack, the Australian federal government announced emergency regulation on 6 October, in the form of a 12-month amendment to the Telecommunications Regulations 2021 to "enable telecommunications companies to temporarily share approved government identifier information with regulated financial services entities "On 11 October, the Office of the Australian Information Commissioner launched an investigation, the aim of which is to explore the company's handling of customers' data 

Corporate affairs
Chief Executive Officer
Kelly Bayer Rosmarin commenced as CEO of Optus and Consumer Australia on 1 April 2020 
A senior executive, Kelly joined Optus as Deputy CEO on 1 March 2019 following a variety of executive roles including Group Executive, Institutional Banking and Markets at the Commonwealth Bank of Australia 

The hybrid fibre-coax rollout
These practices meant that Optus was the largest customer of Telstra  To become competitive Optus would need to lay its own local phone network  To provide a killer application for this, the Australian Federal government sold subscription television licences  Optus, as well as the Seven Network, businessman Kerry Stokes and American cable company Cablevision, formed the Optus Vision consortium  News Corporation and Telstra created the rival Foxtel consortium 
Telstra's local phone network did not have the capability to deliver Foxtel pay television to consumers in the early 1990s, so Telstra identified a need to create a broadband network to support this new product 
As Telstra and Optus could not agree on terms for a joint broadband cable roll out, they laid two competing cable networks, in addition to Telstra's existing copper network, at a combined cost estimated of over A$6bn 
Whilst Telstra focused on creating a broadband network specifically for broadcast, Optus designed their cable network to provide telephony services in addition to broadcast television 
Optus is no longer a customer of Telstra's after deciding to move the funding used to lease Telstra's copper network into constructing their hybrid fibre-coaxial network, the first in Australia 

Takeovers
Cable and Wireless with 24 5% stakeholder bought out Bell South's equal 24 5% shareholding in July 1997  The company returned to profitability in 1998 and changed its name to Cable and Wireless Optus Pty Limited  Government relaxation of foreign ownership restrictions paved the way for the company to be floated - with Cable and Wireless increasing its holding to 52 5%) - and listed on the Australian Stock Exchange on 17 November 1998 During 2001, Singtel launched a takeover bid for Cable and Wireless Optus which was ultimately successful and the company became known as Singtel Optus Pty Limited 
In May 2004, Optus announced a $226 8 million bid for UEComm  The takeover was approved in July and completed in August In July 2005, Optus announced it would acquire Alphawest Ltd  for A$25 9 million  The buyout was completed in November 2005 and Alphawest is now an operating division of Optus Business 
On 12 January 2006, Optus acquired the remaining 74 15% of Virgin Mobile Australia for U$22 6 m, giving it 100% ownership 

OptusNet
Optus Communications offered its first business-focused internet products in 1998 under the OptusNet product family, offering in-house developed dial-up and high-speed services  Optus purchased one of Australia's pioneer ISPs, Microplex, in 1998 to provide consumer dial-up internet services  Separate to this, under the Optus Vision brand, a cable broadband arm began as a joint venture with U S  cable and content provider Excite@Home and was known as Optus@Home from its introduction in 1999 until it was renamed in 2002  ADSL services were offered from February 2004  ADSL2+ services were provided from December 2005 

OPEL Networks
In June 2007, joint venture subsidiary OPEL Networks was awarded government funding towards the cost of building a regional broadband network  Optus was to be contracted to build the network on behalf of OPEL In April 2008, after a change of the Federal Government from the Liberal Party of Australia coalition to the Australian Labor Party, the new government terminated the funding agreement and the project was halted, with its functions to be replaced by the National Broadband Network 

Terria
Optus is part of a consortium – now known as Terria – that in July 2006 announced their intention to make a combined bid to build the proposed National Broadband Network 

Products and services
Optus's Customer Solutions and Services (CS&S) organisation is responsible for providing support to Optus Business customers  CS&S works with Optus' subsidiary Alphawest to support information technology services across Optus' large business, corporate and government client base 
Retail services are sold to customers via phone, internet or through retail outlets, especially franchise chains such as Optus World, Network Communications, Strathfield, Telechoice, and Allphones 
Key Optus products and services include:

Voice
Residential and Commercial POTS for local and long-distance telephony
Commercial VoIP and VoDSL
Intelligent Network applications, such as free call, 1300 and Interactive voice response services

Wireless
GSM/GPRS utilising 900 MHz/1800 MHz covering 98 5% of the population
3G/HSPA provided by 2100 MHz for large regional centres and metropolitan and 900 MHz for regional as well as metropolitan coverage  The dual frequencies covers 98 5% (98 8% with the use of an external antenna) of the population
4G/LTE provided by 700 / 1800 / 2100 / 2300 / 2600 MHz Covering 95 9% of the Australian population (As of July 2017) 
5G provided by 2300 MHz and 3500 MHz
Satellite Telephony covering all of Australia 

Internet access
NBN Internet (via Cable, FTTB, FTTC, FTTN, FTTP, Fixed wireless and Satellite)
Residential Dial-Up Internet in all states
Residential Broadband Internet (via cable and DSL) in all states (except the Northern Territory) 
Commercial and wholesale internet access
Secure Gateway services for Federal Government departments
NBN WIRELESS - not continued for new connects

Television
Optus Television service provided in Sydney, Melbourne & Brisbane, including Foxtel Digital

Subsidiaries
A number of notable wholly owned subsidiaries operate as part of the Singtel Optus group  These are:

Information Technology & Network Services
Alphawest
Uecomm
Mobile Telephony
SIMplus
Virgin Mobile AustraliaUntil 20 January 2013, Optus sold mobile services under the brand name Boost Mobile Optus also has a 50% stake in the now defunct OPEL Networks Other wholly owned subsidiaries of note no longer have a significant active role as individual entities  These are as follows:
Reef Networks was formed in 1999 to provide an optical fibre link between Brisbane and Cairns in Queensland  Optus gained exclusive access to this link in 2001, ahead of acquiring the organisation in 2005 XYZed was established by Optus in 2000 to provide wholesale business-grade DSL services under an individual brand, but today provides a collection of products only as part of the Optus Wholesale & Satellite division  XYZed established a network of DSLAMs inside Telstra telephone exchanges, utilising Unconditioned Local Loop services to reach end users 

Infrastructure
Optus' fully owned network infrastructure consists of the following:

Network backbone
ExtraTerrestrial Fibre Optic Network
Cairns to Brisbane
Brisbane to Sydney (fully diverse over two physically separate paths)
Sydney to Melbourne (fully diverse over two physically separate paths, one via Canberra, one via the coast)
Melbourne to Adelaide
Adelaide to Perth
SDH Digital Microwave
Hobart to Launceston
Satellite
Fleet of geostationary satellites (See Optus fleet of satellites)
International Earth Stations in Sydney and Perth
National Earth Stations in Brisbane, Canberra, Melbourne, Adelaide, Perth, Hobart and Darwin
Regional exchanges in Sydney (Rosebery), Melbourne, Brisbane, Canberra, Adelaide and Perth 
Telehousing Data Centres in Melbourne and Sydney

Customer access network
Hybrid fibre-coaxial (HFC) network in Sydney, Brisbane and Melbourne, providing consumer fixed telephony, cable internet and cable television services 
CBD optical fibre rings in Sydney, Melbourne, Brisbane, Adelaide, Perth, Canberra and Wollongong, providing direct access for corporate and government services 
DSLAMs in certain Telstra local telephone exchanges in all states  Originally only providing business-grade DSL services, newer installations also provide consumer DSL and POTS telephony OptusNet also provides Cable internet  In August 2010, OptusNet released an upgrade of its HFC network to the DOCSIS 3 0 standard, which enabled customers to access a maximum theoretical downstream bandwidth of 100 Megabits  OptusNet is also one of the few ISPs in Australia to currently provide ADSL2+ via its own DSLAMs, which it also resells to other ISPs 

Mobile network
Mobile network equipment is from Nortel, Nokia and Huawei and antennas are sourced from Andrews, RFS, Argus and Kathrein The Optus network operates on the following bandwidth frequencies across Australia:

3G UMTS 900/2100 MHz
4G LTE 700 / 1800 / 2100 / 2300 / 2600 MHz network which has been in progressive rollout since 2012  VoLTE is currently being rolled out across Australia  For now, VoLTE is only available in CBD and metro areas in Sydney, Melbourne, Adelaide, Brisbane, Perth and Canberra on selected devices purchased on postpaid contracts  Until VoLTE has been fully rolled out, voice calling is still reliant on the 3G network (and formerly the 2G network until it was terminated) 
5G NR 3500 MHz rollout started in October 2019The 2G GSM 900/1800 MHz network was terminated on 3 April 2017 in Western Australia and Northern Territory  2G GSM was completely terminated on 1 August 2017 when 2G was disconnected in Victoria, New South Wales, Australian Capital Territory, Queensland, Tasmania and South Australia  To remain connected, a device that is capable of running 3G at 900 MHz is now required after 2G was completely disconnected across Australia 

Partly owned infrastructure
Part-owned network infrastructure includes:

3G mobile network, a joint venture with Vodafone Australia
Southern Cross Cable, a fully diverse submarine optical fibre link across the Pacific Ocean between Sydney, New South Wales and California in the United States  The Singtel group owns a 40% interest in Southern Cross Cables Limited  This interest was originally owned by Singtel Optus Pty Limited, before ownership was transferred to parent company Singtel during the March 2006 - June 2006 quarter 

Advertising and sponsorship
Between 1994 and 2005 Optus had the naming rights to the Carlton football clubs original home ground in Princes Park  It was called Optus Oval until the ground was retired by the AFL in 2005  
In 2016, Optus signed a 10-year partnership agreement with the Australian Olympic Committee to be the official partner of the Australian Olympic Team and the Australian Paralympic Team until 2026 In 2017, Optus won naming rights to Perth Stadium where it would be known as Optus Stadium  Optus and the Government of Western Australia agreed to a 10-year naming right worth approximately A$50 million Optus also has a long-term partnership with the Adelaide Crows in the AFL  Optus has been a partner of the Collingwood Magpies in the AFL Women's since 2018 Optus is the current major sponsor for the No  25 Walkinshaw Andretti United Holden ZB Commodore driven by Chaz Mostert

Outsourcing
Since 2005, Optus has outsourced some customer service functions to Concentrix and 247 ai, with the outsourcer providing 800 staff operating offshore in India, supplementing Optus' 3,000-plus onshore call centre staff  Some functions have also been supplemented in the Philippines  Optus also uses 24/7 Inc  for telephone & chat based offshore support 
In October 2006, Optus announced that it would outsource 100 contracting jobs to another Singtel subsidiary, IT company NCS, in Singapore 

Achievement and Rewards
See also
4G Australia
Internet in Australia
National Broadband Network
Telecommunications in Australia
Passage 9:
TDRS-6
TDRS-6, known before launch as TDRS-F, is an American communications satellite, of first generation, which is operated by NASA as part of the Tracking and Data Relay Satellite System  It was constructed by TRW, and is based on a custom satellite bus which was used for all seven first generation TDRS satellites 

History
TDRS-F was deployed from Space Shuttle Endeavour during the STS-54 mission in 1993  Endeavour was launched from Launch Complex 39B at the Kennedy Space Center, at 13:59:30 UTC on 13 January 1993  TDRS-F was deployed from Endeavour around six hours after launch, and was raised to geosynchronous orbit by means of an Inertial Upper Stage 

Deployment
The two-stage solid-propellent Inertial Upper Stage made two burns  The first stage burn occurred shortly after deployment from Endeavour, and placed the satellite into a geosynchronous transfer orbit (GTO)  At 02:26 UTC on 14 January 1993, it reached apogee, and the second stage fired, placing TDRS-F into geosynchronous orbit  At this point, it received its operational designation, TDRS-6 

Operation
In 1994, it was placed at a longitude 46 0° West of the Greenwich Meridian, to serve as an on-orbit spare  In 1996, it was moved to 47 0° West, where it remained until 2005, when it was repositioned to 174 0° West, where, as of August 2009, it was used to provide communications with spacecraft in Earth orbit, such as the International Space Station (ISS) and spacecraft bringing astronauts to the ISS 

See also
List of TDRS satellites
Passage 10:
Hans K  Ziegler
Hans K  Ziegler (March 1, 1911, Munich, Germany – December 11, 1999 Colts Neck Township, New Jersey, United States) was a pioneer in the field of communication satellites and the use of photovoltaic solar cells as a power source for satellites 

Life
Hans Ziegler was born in Munich, Germany  There, he studied at the Technische Hochschule, which is today the Technische Universität München (TUM), and began his career as Wissenschaftlicher Assistant (Scientific Assistant)  Following that, he was a researcher in German industry for ten years  During the Second World War, he worked for the company Rosental Selb in Bavaria on high tension porcelain 
In 1947, he came to the US with Wernher von Braun under Operation Paperclip, by means of which the USA gained Nazi engineers and scientists  He went to the US Army Signal Corps' Laboratories in Fort Monmouth, New Jersey, and became a US citizen in 1954 
Ziegler's work in the US was very influential in the development of military electronics, especially in the electronics for the early phases of the US space program  During the thirty years he worked as an engineer in the field of electronics and electrical engineering in the research and development department of the U S  Army in Fort Monmouth, N J  (from 1947 to 1976), he held the top position of Chief Scientist for 12 years  In Fort Monmouth, he worked as a Scientific Consultant, Assistant Director of Research, Director of the Astro-Electronics Division and Chief Scientist (1959)  After the Army was restructured, he became Deputy for Science and Chief Scientist of the US Army Electronics Command in 1963 and Director of the US Army Electronics Technology & Devices Laboratory from 1971 until his retirement 
In May 1954, after examining the solar cells of Daryl Chapin, Calvin Fuller and Gerald Pearson at Bell Laboratories, Ziegler wrote, "Future development [of the silicon solar cell] may well render it into an important source of electrical power [as] the roofs of all our buildings in cities and towns equipped with solar [cells] would be sufficient to produce this country's entire demand for electrical power "Referring to silicon solar cells, he said to the head of the U  S  Signal Corps, General James O'Connell, at a meeting in September 1955, "In fact, in the long run, mankind has no choice but to turn to the sun if it wants to survive "He and his team produced a report on the prospects for application of this technique in the field of communication and they named the supply of energy for artificial satellites as the most important application  He knew that he was not the first to suggest this application  For example, the science fiction author, Arthur C  Clarke had already made this suggestion in 1945, but without having a concrete technology for it at that time 
Ziegler participated in the development of the first planned satellites  The first satellite,
Explorer 1, still went into space without solar cells, since it was a quick, less-than-ideal solution after the start of the Sputnik to show the American public that America's scientists could also start a satellite  The actual scheduled satellite project, Project Vanguard, successfully put a satellite named Vanguard I in orbit around Earth on March 17, 1958 
Over the objections of the Navy, which still thought that solar cells were not a mature technology, this satellite had four solar cells on its outer hull, due to the persistent work of Ziegler, which powered the instruments and performed their duties reliably for more than seven years  After this success, solar cells were established as the energy supply for satellites  He was also involved with the development of the first communication satellite in the world, SCORE, which was started in 1958 
He was awarded the Meritorious Civilian Service Award by the US Department of Defense in 1963 as a " world pioneer in communications satellites and solar energy systems to power satellites"  When he retired in 1977, he was decorated with the highest award of the Army for "exceptional civilian service" 
Ziegler was the author of many technical papers, a member of the IEEE, and represented the US, in military and civilian matters, in many national and international committees  In 1958, he was a member of the US delegation to the International Geophysical Year in Moscow, USSR, and in 1964, he gave advice on the scientific activities in Antarctica and at the South Pole, under the direction of the US National Science Foundation 
Ziegler's wife Friederike died in 1996  He last lived in Colts Neck Township, New Jersey and died at the age of 88 on December 11, 1999  He was survived by his daughters, Christine Griffith and Friederike Meindl, and his son, Hans 

See also
Solar power
Solar panel
Active solar
Photovoltaic components, projects and howtos
Context 3: Passage 1:
The Things They Carried
The Things They Carried (1990) is a collection of linked short stories by American novelist Tim O'Brien, about a platoon of American soldiers fighting on the ground in the Vietnam War   His third book about the war, it is based upon his experiences as a soldier in the 23rd Infantry Division 
O'Brien generally refrains from political debate and discourse regarding the Vietnam War  He was dismayed that people in his home town seemed to have so little understanding of the war and its world  It was in part a response to what he considered ignorance that he wrote The Things They Carried  It was published by Houghton Mifflin in 1990 Many of the characters are semi-autobiographical, sharing similarities with figures from his memoir If I Die in a Combat Zone, Box Me Up and Ship Me Home (1973/paperback 1999)  In The Things They Carried, O'Brien plays with the genre of metafiction; he writes using verisimilitude  His use of real place names and inclusion of himself as the protagonist blurs fiction and non-fiction  As part of this effect, O'Brien dedicates The Things They Carried to the fictional men of the "Alpha Company," giving it “the form of a war memoir,” states O’Brien 

Plot summaries
"The Things They Carried"
Lieutenant Jimmy Cross, the leader of a platoon of soldiers in Vietnam, carries physical reminders of Martha, the object of his unrequited love  Thoughts of Martha often distract Lieutenant Cross from his team's objectives  A death in the squad under his supervision causes Cross to reconsider his priorities; as he was heartbroken, he burns and throws away all reminders of Martha in order to focus on the mission and avoid distractions : 1 
"Love"
Cross and O'Brien reminisce about the war and about Martha  O'Brien asks if he can write a story about Cross, expressing his memories and hopes for the future; Cross agrees, thinking that perhaps Martha will read it and come find him : 26 
"Spin"
A series of unrelated memories from the war are narrated from O'Brien's point of view  It includes moments of camaraderie and beauty: a joke of a hate letter to the Draft Board; learning a rain dance between battles : 30 
"On the Rainy River"
O'Brien gets drafted as soon as he graduates from college  He is reluctant to go to war and considers fleeing the draft; he begins to travel north to the Canada–US border on the Rainy River  Near the border, he encounters an elderly stranger who allows him to work through his internal struggle  O'Brien is given the opportunity to escape; however, the societal pressures are too much for him  He goes to war ashamed with his inability to face the consequences of leaving : 37 
"Enemies and Friends"Told in two sections, the developing relationship between soldiers Jensen and Strunk is shown  At first regularly antagonized by one another, the two are drawn toward respect and friendship by the stress and horrors of warfare  Ultimately, they agree that if one should be wounded, the other must deal a fatal blow as a form of mercy : 59 
"How to Tell a True War Story"
O'Brien explores the telling of war stories by comrades, revealing that truth is delicate and malleable  Anything can be faked     but generally, only the worst events can be proven real  He concludes that, in the end, the truth of a story doesn't matter so much as what the story is trying to say : 62 
"The Dentist"
In order to mourn Curt Lemon, a man O'Brien did not know well, he shares a brief recollection about a bizarre interaction between Lemon and an army dentist  Lemon, who is afraid of dentists, faints before the dentist can examine him  Later that night, however, he complains of a phantom tooth ache so severe a tooth is pulled - even though it's perfectly healthy  Lemon has felt he needs to prove himself in front of his men and be the fearless man all soldiers are supposed to be : 82 
"Sweetheart of the Song Tra Bong"
O'Brien recounts the legendary (and almost certainly exaggerated) tale of Rat Kiley's first assignment, near the Song Tra Bong river  The area is so isolated that one of the soldiers flies his hometown girlfriend in by helicopter  At first, she cooks, cleans, and tends to the soldiers' wounds, but she gradually assimilates into Vietnamese guerrilla culture, even wearing a necklace made of human tongues, and disappears into the jungle : 85 
"Stockings"
O'Brien explains how Henry Dobbins wore the stockings of his girlfriend around his neck to bed, and sometimes to battle  Even when the girlfriend breaks things off, he keeps the stockings around his neck, as their powers have been demonstrated : 111 
"Church"
The platoon discovers an abandoned building being used as a sort of church, inhabited by monks who bring them food and supplies  The men discuss their relationships with churches, and for the most part, appreciate the interaction with other people and the peace of the building  Henry Dobbins wants to become a priest, but decides otherwise : 113 
"The Man I Killed"
O'Brien describes a man he killed in My Khe, and how he did it  He makes up a life story for the man, torturing himself with the idea that the victim had been a gentle soul : 118 
"Ambush"
O'Brien's daughter asks if he killed anyone in the war; he lies to her that he did not  He then tells the story of an ambush outside My Khe, in which O'Brien kills a young man who may or may not have wanted to harm him : 125 
"Style"The platoon witnesses a young Vietnamese girl dancing through the burned remains of her village, and argue over whether it's a ritual or simply what she likes to do  Later, Azar mocks the girl, and Dobbins rebukes him : 129 
"Speaking of Courage"
After his service, Norman Bowker is at a loss  His former girlfriend has married someone else, his closest friends are dead  He reflects on the medals he won in Vietnam, and imagines telling his father about both these and the medals he did not win  Ultimately, although he has no one to share these memories with, he finds catharsis in imagined conversations : 131 
"Notes"
O'Brien says that Bowker asked him to write the previous story, and that he hanged himself three years later unable to regain his footing and find any meaning in life after the war  O'Brien muses over the suspicion that, without Harvard and writing, he too might have lost the will to live after returning from Vietnam : 149 
"In the Field"
When Kiowa is killed on the banks of a river, during a mission led by Jimmy Cross, Cross takes responsibility for his death  He writes to Kiowa's father while the others search for the body - as usual, Azar jokes around at first  Another soldier also feels responsible for the death, as he did not save Kiowa; the story ends with the body being found in the mud, and both soldiers left to their guilt : 155 
"Good Form"
O'Brien reiterates that the real truth does not have to be the same as the story truth, and that it is the emotions evoked by the story that matter  He says that his story about killing a man on the trail outside My Khe was fabricated, but he wanted to provoke the same feelings in the reader that he felt during the war : 171 
"Field Trip"
After finishing the story, "In the Field," O'Brien says, he and his ten-year-old daughter visit the site of Kiowa's death with an interpreter  The field looks different from his memory of it, but he leaves a pair of Kiowa's moccasins in the spot where he believes Kiowa sank  In this way, he comes to terms with his friend's death : 173 
"The Ghost Soldiers"
O'Brien recounts the two times he was wounded  The first time, he is treated by Rat Kiley, and is impressed with the man's courage and skill  The second time, he is treated by Kiley's replacement, Bobby Jorgenson; Jorgenson is incompetent, and nearly kills O'Brien  Furious, O'Brien promises revenge, but can recruit only Azar  They scare Jorgenson by pretending to be enemy soldiers, but the soldier proves that he is not a coward, so O'Brien lets go of his resentment : 180 
"Night Life"
O'Brien tells the second-hand account of Rat Kiley's injury: warned of a possible attack, the platoon is on edge  Kiley reacts by distancing himself, the stress causing him first to be silent for days on end, and then to talk constantly  He has a breakdown from the pressure of being a medic, and shoots himself in the toe in order to get released from combat  No one questions his bravery : 208 
"The Lives of the Dead"
O'Brien remembers his very first encounter with a dead body, that of his childhood sweetheart Linda  Suffering from a brain tumor, Linda died at the age of nine and O'Brien was deeply affected by her funeral  In Vietnam, O'Brien explains, the soldiers keep the dead alive by telling stories about them; in this way, he keeps Linda alive by telling her story : 213  The thought and presence of death has shown to have a large effect on O'Brien 

Characters
Main characters
Tim O'Brien
The narrator and the protagonist  While modeled after the author and sharing the same name, O'Brien (within the book) is a fictional character  The author intentionally blurs this distinction 
Lt  Jimmy Cross
The platoon leader, who is obsessed with a young woman back home, Martha (who does not return his feelings)  He later believes that his obsession led to the death of Ted Lavender 
Bob "Rat" Kiley
A young medic whose exaggerations are complemented by his occasional cruelty  Eventually, he sees too much gore and begins to break down, imagining "the bugs are out to get [him] "
Norman Bowker
A soldier who O'Brien says attempted to save Kiowa the night he died  When Kiowa slips into the "shitfield", Bowker repeatedly tries to save him but is unable to; as a result, he feels guilty for Kiowa's death after the war  His memories continue to haunt Norman at home as he realizes that the world has moved on from the war, and wants nothing to do with the "hell" in Vietnam  He is continually haunted by the fact that he could not save Kiowa from sinking under the "shitfield" on a rainy night  However, O'Brien admits eventually that Norman did not fail to save Kiowa, that was fictional, and it is implied that O'Brien himself was the one who could not save him  After the war he briefly assists O'Brien in writing a story about Vietnam, but he hangs himself with a jump rope in an Iowa YMCA facility, leaving no note and his family shocked 
Henry Dobbins
Machine gunner   A man who, despite having a rather large frame, is gentle and kind  He is very superstitious; as a result, he wears his girlfriend's pantyhose around his neck as a protective "charm", even after she dumps him  He briefly contemplates becoming a monk after the war due to their acts of charity 
Kiowa
A compassionate and talkative soldier; he demonstrates the importance of talking about one's problems and traumatic experiences  He is also a devout Baptist and a Native American that occasionally feels contempt and distrust towards white people  However, he appears to be Tim O'Brien's best friend in the company  Kiowa often helps other soldiers deal with their own actions, such as taking the lives of other human beings  He is eventually killed when camping out in the "shitfield "
Mitchell Sanders
He is the radiotelephone operator for the platoon  Like O'Brien, he is also a storyteller and is portrayed as a mentor 
Ted Lavender
A grenadier  He dies from a gunshot wound to the back of the head  He is notorious for using tranquilizers to cope with the pain of war, and for carrying a (rather large—six to eight ounces) stash of "premium dope" with him  Cross blames himself for Lavender's death, as he was fantasizing about Martha when Lavender was shot 
Curt Lemon
A young man who frequently attempts to assume the role as a tough soldier  However, he is also good friend of Rat Kiley  Lemon dies after setting off a rigged artillery shell  In one of the book's more disturbing scenes, O'Brien and Dave Jensen help clear the trees of Curt's scattered remains, during which Jensen sings "Lemon Tree" (something that "wakes [Tim] up")  After Lemon dies, Kiley writes a long, eloquent letter to Lemon's sister, describing his friendship with Lemon and emphasizing how good a person Lemon was; Lemon's sister never responds, which crushes Kiley emotionally 
Azar
A young, rather unstable soldier who engages in needless and frequent acts of brutality  In one story, he blows up an orphan puppy that Ted Lavender had adopted by strapping it to a Claymore mine, then detonating it  He also aids Tim O'Brien in gaining revenge on Bobby Jorgenson, but mocks O'Brien when he's not willing to take the revenge further  At one point, Azar breaks down emotionally, revealing that his cruelty is merely a defense mechanism 
Dave Jensen and Lee Strunk
Minor soldiers who are the main characters of "Enemies" and "Friends"  Jensen fights with Strunk over a stolen jackknife, but they became uneasy friends afterwards  They each sign a pact to kill the other if he is ever faced with a "wheelchair wound"  After Strunk steps on a rigged mortar round and loses a leg, he begs Jensen not to kill him  Jensen obliges, but seems to have an enormous weight relieved when he learns "Strunk died somewhere over in Chu Lai"  Jensen is sometimes mentioned singing "Lemon Tree" after Curt Lemon's abrupt death  Jensen also appears in "The Lives of the Dead", where he pressures O'Brien to shake hands with a dead Vietnamese 
Bobby Jorgenson
Rat Kiley's replacement, after Rat "put a round through his foot" due to breaking under pressure  Green and terrified, he is slow to aid O'Brien when he is shot in the behind   Jorgenson nearly kills O'Brien after failing to treat him for shock  Filled with rage after his recovery, O'Brien elicits help from Azar to conspire and punish Jorgenson with a night of terrifying pranks   Later, O'Brien and Jorgenson become friends  Jorgenson may be a reference to a similarly-named character from The Caine Mutiny 

Themes
Genre
The Things They Carried is a war novel   Literary Critic David Wyatt points out that O'Brien's novel is similar to the works of Wilfred Owen, Stephen Crane, George Orwell, and Ernest Hemingway  O’Brien utilizes a style of writing that combines both fiction and nonfiction together into one piece  When asked to describe how he blurs this line between the two genres, O’Brien says "I set out to write a book with the feel of utter and absolute reality, a work of fiction that would read like nonfiction and adhere to the conventions of a memoir: dedicating the book to the characters, using my name, drawing on my own life  This was a technical challenge  My goal was to compose a fiction with the texture, sound and authentic-seeming weight of nonfiction "Truth vs Reality
Another theme that is highlighted in the short story "Good Form" is when the narrator makes a distinction between "story truth" and "happening truth " O’Brien talks about truth and reality in relation to the story by describing, "I can say that the book’s form is intimately connected to how I, as a human being, tend to view the world unfolding itself around me  It’s sometimes difficult to separate external 'reality' from the internal processing of that reality " O'Brien's fluid and elliptical negotiation of truth in this context finds echoes in works labeled as 'non-fiction novels' 
Imagination/Comedy
Another important theme O'Brien highlights is the emphasis on imagination and pretending  He says that this theme, "That’s an important part of my work  I’m a believer in the power of the imagination in ordinary human lives, and it’s much more important that we often credit " O'Brien goes on to say, "And that is, I think, key to why I’m a fiction writer  If that element were not present, I’d be doing nonfiction  Or I wouldn’t be a writer at all " Tim O'Brien also alludes to the difficulty in using dark comedy as a theme by say, "My guess is that I’ll be remembered, if I’m remembered at all, for my so-called tragedies: The Things They Carried, Going After Cacciato, If I Die in a Combat Zone and In the Lake of the Woods  Personally, I consider Tomcat in Love, if not my best book, certainly up there among the best  Yet I realize the most “literary” folks will disagree  In the end, it’s a matter of taste, I suppose  My sense of humor, which tends toward the outrageous, is plainly not for everyone "Morality
O’Brien also shows the constant struggle of morality throughout the story during the Vietnam War  A paper from Brigham Young University highlights the conflict that soldiers face when transitioning from civilian life to soldier life in relation to morality  It states, “As demonstrated through the soldiers’ experiences with pleasure, the soldiers’ moral code must change from that of their civilian lives in order for them to find moral justification in the everyday violence war requires ” The paper goes on to acknowledge that, “In O’Brien’s The Things They Carried, the concept of morality is complicated by the treatment of violence and a connection between violence and pleasure; resultantly, morality must be defined on a spectrum rather than a binary scale ”Belief
Additionally, the character Tim references writing the book Going After Cacciato which the author Tim had written and published previously  The theme of believing in the people around you and having reliable people with you comes from the time period being filled with people who are opposed to the action of war  This causes the people who are drafted into the mutual hate to band together to live 

Publication
Before the book's publication in 1990, five of the stories: "The Things They Carried," "How to Tell a True War Story,"  "Sweetheart of the Song Tra Bong," "The Ghost Soldiers," and "The Lives of the Dead" were published in Esquire "Speaking of Courage" was originally published (in heavily modified form) as a chapter of O'Brien's earlier novel Going After Cacciato 
"The Things They Carried" was also included in the 1987 volume of The Best American Short Stories, edited by Ann Beattie and the second edition of Literature: Approaches to Fiction, Poetry, and Drama by Robert DiYanni 

Reception
The Things They Carried has received critical acclaim and has been established as one of the preeminent pieces of Vietnam War literature  It has sold over 2 million copies worldwide and celebrated its 20th anniversary in 2010  It has received multiple awards such as France's Prix du Meilleur Livre Etranger Award and the Chicago Tribune Heartland Prize, as well as being a finalist for the Pulitzer Prize and National Book Critics Circle Award O'Brien has expressed surprise at how the book has become a staple in middle schools and high schools, stating that he "certainly hadn't imagined fourteen year-old kids and eighteen year-olds and those even in their early twenties reading the book and bringing such fervor to it, which comes from their own lives, really  The book is applied to a bad childhood or a broken home, and these are the things they're carrying  And in a way, it's extremely flattering, and other times, it can be depressing "In 2014, the book was included in Amazon com's list of 100 Books to Read in a Lifetime and credited as the inspiration for a National Veterans Art Museum exhibit It was included in the Library of Congress 2016 exhibit "America Reads" of the public’s choice of 65 of "the most influential books written and read in America and their impact on our lives" 

Adaptations
Film
The story "Sweetheart of the Song Tra Bong" was made into a film in 1998 titled A Soldier's Sweetheart, starring Kiefer Sutherland A film adaptation of the book, directed by Rupert Sanders and starring Tom Hardy, is currently in pre-production  Scott B  Smith is adapting the script 

Theatre
The legal rights to adapt the book into a play were awarded to James R  Stowell  The book was adapted into a play and it premiered at The History Theatre in Saint Paul, Minnesota, March 14, 2014  A second production was performed at The Lied Center, Lincoln Nebraska November 5, 2015  The stories "The Things They Carried", "On the Rainy River", "How to Tell a True War Story", "Sweetheart of the Song Tra Bong", "The Man I Killed", and "Lives of the Dead" were adapted for the theatre in March 2011 by the Eastern Washington University Theatre Department as part of the universities' Get Lit! Literary Festival in cooperation with the National Endowment for the Arts The Big Read 2011, of which The Things They Carried was the featured novel  The same department remounted the production in December 2011 for inclusion as a Participating Entry in the Kennedy Center American College Theater Festival  The production was selected as an alternate for KCACTF Region VII, as well as receiving other KCACTF honors for the production's director, actors, and production staff 

Music
The band TV Girl features a song off their 2014 album French Exit called "Pantyhose"  The song alludes to the "Stockings" chapter from the book and references Henry Dobbins and his girlfriend's stockings, which he ties around his neck to keep him from harm  Lyrics such as, "And when the bullets came, he didn't duck; He wrapped her pantyhose around his neck; And he could feel their magic working; Keeping him from harm; Away to some place mystical and warm; His lucky charm" clearly references to Dobbins and his tactic that the scent of his girlfriend's stockings protect him and take him some place far from Vietnam 

Games
Carry  A game about war  is a 2006 tabletop role-playing game designed by Nathan D  Paoletta  Its author describes it as "heavily inspired by the films Platoon and Full Metal Jacket and the novel The Things They Carried" 
Passage 2:
Winter Saloon
The Winter Saloon, also known as Harm's Bar, is a historic structure in Norwood Young America, Minnesota, United States  The building was placed on the National Register of Historic Places (NRHP) on January 4, 1980 

Structure
The Winter Saloon is located on the corner of Elm and Hazel Streets in the central business district of historic Norwood, Minnesota   The town merged with neighboring Young America in 1997 to become Norwood Young America   The L-shaped, two story wood frame structure is sheathed in clapboard and topped with a gable roof   The orientation of the plan allows the commercial section to front the main street while the residential section is set back to allow for a front porch and small lawn The gable end of the commercial section forms the street facade   The original fenestration remains, including the design of the store front, the four-over-four double hung windows with peaked cornices and a fanlight near the top of the gable   The second floor of the commercial section originally served as a meeting hall and has an exterior enclosed staircase   The residential section is divided into three bays which front on the street   A one-story porch running the length of the street facade, and uses a simple configuration supported by three square posts with beveled corners   The windows for this section are two-over-two double hung and capped with simple cornices 

Significance
The Winter Saloon is the oldest and best preserved of Norwood Young America's bars, and is a dominating architectural feature in the small downtown   The original owners, the Winter Brothers, received the first liquor license in Norwood in 1891   Known as a "thirst parlor", it was located on the first floor of the commercial portion of the building   The second floor meeting hall was used by various fraternal organizations such as the Degree of Honor and Modern Woodmen   The proprietor lived in the residential section of the building At the time the first liquor license was issued in 1891 it cost $2 08   The bar went through a series of owners until Prohibition in 1919   In 1934, after the law was repealed, the bar was purchased by George Harm, Sr   A liquor license at that time cost $200 00   The bar remained in three generations of his family and was open at the time the building was listed on the NRHP in 1980; during this period the cost of a liquor license peaked at $1500 in 1954 

See also
National Register of Historic Places listings in Carver County, Minnesota
Passage 3:
Take Me Home, Country Roads
"Take Me Home, Country Roads", also known simply as "Country Roads", is a song written by Bill Danoff, Taffy Nivert and John Denver  It was released as a single performed by Denver on April 12, 1971, peaking at number two on Billboard's US Hot 100 singles for the week ending August 28, 1971  The song was a success on its initial release and was certified Gold by the RIAA on August 18, 1971, and Platinum on April 10, 2017  The song became one of John Denver's most popular songs  It has continued to sell, with over 1 6 million digital copies sold in the United States The song is considered a symbol of West Virginia  In March 2014, it became one of the four official state anthems of West Virginia  In 2023, the song was selected by the Library of Congress for inclusion in the National Recording Registry 

Composition
Inspiration for the title line had come while Taffy Nivert and Bill Danoff, who were married, were driving along Clopper Road in Montgomery County, Maryland to a gathering of Nivert's family in Gaithersburg, with Nivert behind the wheel while Danoff played his guitar  "I just started thinking, country roads, I started thinking of me growing up in western New England and going on all these small roads," Danoff said  "It didn't have anything to do with Maryland or anyplace "To Danoff, the lyric "(t)he radio reminds me of my home far away" in the bridge is quintessentially West Virginian, an allusion to when he listened to the program Saturday Night Jamboree, broadcast from Wheeling, West Virginia, on WWVA at his home in Springfield, Massachusetts during his childhood in the 1950s Danoff was influenced by friend and West Virginian actor Chris Sarandon and members of a West Virginia commune who attended Danoff's performances  Of the commune members, Danoff remarked, "They brought their dogs and were a very colorful group of folks, but that is how West Virginia began creeping into the song " While the song was inspired by Danoff's upbringing in Springfield, Massachusetts, he "didn't want to write about Massachusetts because [he] didn't think the word was musical "Starting December 22, 1970, Denver was heading the New Year's bill at The Cellar Door, with Fat City opening for him, just as Denver had opened at the same club for then-headliner David Steinberg  After the club's post-Christmas reopening night on Tuesday, December 29 (Cellar Door engagements ran from Tuesday to Sunday, and this booking was for two weeks), the three returned to the couple's apartment for an impromptu jam  On the way, Denver's left thumb was broken in a collision  He was rushed to the emergency room, where the thumb was splinted  When they returned to the apartment, Denver said he was "wired, you know "When Danoff and Nivert ran through what they had of the song they had been working on for about a month, planning to sell to Johnny Cash, Denver "flipped"  He decided he had to have it, prompting them to abandon plans for the sale  The verses and chorus were still missing a bridge, so the three of them went about finishing 
Nivert got out an encyclopedia to learn more about West Virginia  The first thing she encountered was the Rhododendron, the state flower, so she kept trying to work the word Rhododendron into the song  Rhododendron was the title that Nivert had written down on the lyric sheet, which they later sent to ASCAP  The three stayed up until 6:00 a m , changing words and moving lines around When they finished, on the morning of Wednesday, December 30, 1970, Denver announced that the song had to go on his next album  Later that night, during Denver's first set, Denver called his two collaborators back to the spotlight, where the trio changed their career trajectories, reading the lyrics from a single, handheld, unfolded piece of paper  According to Len Jaffe, a Washington, D C -based singer-songwriter who attended the show where Denver premiered the song, this resulted in a five-minute standing ovation  The next day was Denver's 28th birthday  They recorded it in New York City in January 1971 
"Take Me Home, Country Roads" is written in a Key of A major and composed in a tempo of 82 beats per minute per common time 

Commercial performance and legacy
"Take Me Home, Country Roads" appeared on the LP Poems, Prayers & Promises and was released as a 45 in the spring of 1971  Original pressings credited the single to "John Denver with Fat City"  It broke nationally in mid-April but moved up the charts very slowly  After several weeks, RCA Records called John and told him they were giving up on the single  His response: "No! Keep working on it!" They did, and the single went to number 1 on the Record World Pop Singles Chart and the Cash Box Top 100, and number 2 on the U S  Billboard Hot 100, topped only by "How Can You Mend a Broken Heart" by The Bee Gees 
On August 18, 1971, it was certified Gold by the RIAA for a million copies shipped  The song continued to sell in the digital era  As of January 2020, the song has also sold 1,591,000 downloads since it became available digitally Denver's recording of "Take Me Home, Country Roads" was selected by the Library of Congress for preservation in the National Recording Registry in 2023 

Reception in West Virginia
"Take Me Home, Country Roads" received an enthusiastic response from West Virginians  On November 1, 2017, the West Virginia Tourism Office announced it had obtained the rights to use "Take Me Home, Country Roads", in its marketing efforts  "'Country Roads' has become synonymous with West Virginia all over the world," said West Virginia Tourism Commissioner Chelsea Ruby  "It highlights everything we love about our state: scenic beauty, majestic mountains, a timeless way of life, and most of all, the warmth of a place that feels like home whether you've lived here forever or are just coming to visit " The opening phrase of the song, "Almost heaven", became a primary tourism office slogan The song is the theme song of West Virginia University, and it has been performed during every home football pregame show since 1972  The song is played for other athletic events and university functions, including after football games, for which the fans are encouraged to stay in the stands and sing the song along with the team  On September 6, 1980, at the invitation of West Virginia Governor Jay Rockefeller, songwriters Danoff, Nivert, and Denver performed the song during pregame festivities to a sold-out crowd of Mountaineer fans  This performance marked the dedication of the current West Virginia University Mountaineer Field and the first game for head coach Don Nehlen The popularity of the song inspired resolutions in the West Virginia Legislature to adopt "Take Me Home, Country Roads" as an official state song  On March 7, 2014, the West Virginia Legislature approved a resolution to make "Take Me Home, Country Roads" an official state song of West Virginia, alongside three other pieces: "West Virginia Hills", "This Is My West Virginia", and "West Virginia, My Home Sweet Home"  Governor Earl Ray Tomblin signed the resolution into law on March 8, 2014 The song was played at the funeral for West Virginia Senator Robert Byrd at the state capitol in Charleston, West Virginia on July 2, 2010 The Mountain State Brewing Company based in Thomas, West Virginia, produces an amber ale named "Almost Heaven", which it says is "named after John Denver's ode to West Virginia, 'Country Roads'" 

Personnel
John Denver – vocals, 6- & 12-string acoustic guitar
Bill Danoff – backing vocals
Taffy Nivert – backing vocals
Eric Weissberg – banjo, steel guitar
Mike Taylor – acoustic guitar
Richard Kniss – double bass
Gary Chester – drums, percussion

Charts
Certifications
Cover versions
Hermes House Band version
Dutch pop band Hermes House Band covered the song and released it as "Country Roads"  This version was first released in Germany on May 21, 2001, and was issued in the United Kingdom on December 3, 2001, where it was a contender for the 2001 Christmas number-one single  This version was a chart success in Europe, reaching number one in Scotland, number two in Germany and Ireland, and the top 10 in Austria, Denmark, and the United Kingdom 

Track listings
Charts
Certifications
Olivia Newton-John version
Olivia Newton-John released a cover version in January 1973 that reached number 6 in Japan and number 15 in the UK  It was the lead single from her third studio album, Let Me Be There  This version, as well as the song itself, features prominently in the Japanese animated film, Whisper of the Heart 

Fallout 76 version
A cover version of the song, a collaboration between Copilot Music and Sound and the vocal group Spank, was commissioned for and featured in both the teaser and full E3 2018 trailers for the 2018 video game Fallout 76, with its plot events are set in West Virginia  Released as an iTunes-only single on July 4, 2018, the song reached No  1 on the iTunes singles chart  It debuted at No  41 on Billboard's Hot Country Songs chart that week and at No  21 on Billboard's Country Digital Songs the following week  The official YouTube upload of the original John Denver recording, initially uploaded in 2013, would later edit its description in response to the song's use for the game  In Australia, a promotional Fallout 76 vinyl featuring the cover was included with the December 2018 issue of STACK Magazine exclusively from retailer JB Hi-Fi 

Forever Country
The song found further chart success as part of the Forever Country medley and video, created in 2016 to celebrate the 50th anniversary of the Country Music Association Awards 
Passage 4:
Absorption of water
In higher plants water and minerals are absorbed through root hairs which are in contact with soil water and  from the  root hairs zone a little the root tips 

Active absorption
Active absorption refers to the absorption of water by roots with the help of adenosine triphosphate, generated by the root respiration: as the root cells actively take part in the process, it is called active absorption  According to Jenner, active absorption takes place in low transpiring and well-watered plants, and 4% of total water absorption is carried out in this process  The active absorption is carried out by two theories; active osmotic water absorption and Active non-osmotic water absorption  In this process, energy is not required 
Active absorption is important for the plants 

Active osmotic water absorption
The root cells behave as an ideal osmotic pressure system through which water moves up from the soil solution to the root xylem along an increasing gradient of D P D  (suction pressure, which is the real force for water absorption)  If the solute concentration is high and water potential is low in the root cells, water can enter from soil to root cells through endosmosis  Mineral nutrients are absorbed actively by the root cells due to utilisation of adenosine triphosphate (ATP)  As a result, the concentration of ions (osmotica) in the xylem vessels is more in comparison to the soil water  A concentration gradient is established between the root and the soil water  The solute potential of xylem water is more in comparison to that of soil and correspondingly water potential is low than the soil water  If stated, water potential is comparatively positive in the soil water  This gradient of water potential causes endosmosis  The endosmosis of water continues until the water potential both in the root and soil becomes equal  It is the absorption of minerals that utilise metabolic energy, but not water absorption  Hence, the absorption of water is indirectly an active process in a plant's life  Active transport is in an opposite direction to that of diffusion 

Active non-osmotic water absorption
Sometimes water is absorbed against a concentration gradient  This requires the expenditure of metabolic energy released from the respiration of root cells  There is no direct evidence, but some scientists suggest the involvement of energy from respiration  In conclusion, it is said that the evidence supporting active absorption of water are themselves poor 
This mechanism is carried out without utilisation of metabolic energy  Here, only the roots act as an organ of absorption or passage  Hence, sometimes it is called water absorption 'through roots', rather than 'by' roots  It occurs in rapidly transpiring plants during the daytime, because of the opening of stomata and the atmospheric conditions  The force for absorption of water is created at the leaf end i e  the transpiration pull  The main cause behind this transpiration pull, water is lifted up in the plant axis like a bucket of water is lifted by a person from a well  Transpiration pull is responsible for dragging water at the leaf end, the pull or force is transmitted down to the root through column of water in the xylem elements  The continuity of the water column remains intact due to the cohesion between the molecules and it act as a rope  Roots simply act as a passive organ of absorption  As transpiration proceeds, water absorption occurs simultaneously to compensate the water loss from the leaf end  Most volume of water entering plants is by means of passive absorption  Passive transport is no different from diffusion, it requires no input of energy: there is free movement of molecules from their higher concentration to their lower concentration  The water will enter the plant via the root cells that can be found in the roots where mainly passive absorption occurs  Also, with the absorption of water, minerals and nutrients are also absorbed 

See also
Root
Peter Atkins
Otto Renner
Kenneth Thimann
Passage 5:
Humanitarian civic assistance activities
In the United States Department of Defense, Humanitarian Civic Assistance (HCA) is relief and development activities that take place in the context of an overseas military exercise, training or operation  Under the HCA program, U S  military personnel participating in overseas deployments carry out humanitarian activities such as road and school construction, vaccination of children and animals, and well-digging  HCA programs are often executed with the involvement of host-country civilian and military personnel  U S  National Guard or reserve units are involved in many HCA activities 
HCA programs cannot be carried out solely for humanitarian purposes  The deployment's primary purpose must be training of U S  forces, readiness exercises or military operations  In describing the deployments which HCA accompanies, DoD states that

overseas deployments are an integral aspect of maintaining a forward U S  military presence, ensuring operational readiness to respond to crises, and preparing National Guard and Reserve Forces to perform their wartime missions  These exercises enhance U S  military operational readiness by providing unique training opportunities in remote and austere environments  During these deployments, U S  Forces practice command and control procedures, logistical operations and sustainment over extended distances 
HCA activities are now being described as "a key tool in the War on Terrorism " According to DoD, HCA activities 

directly support efforts to counter ideological support for terrorism - one of the fundamental elements of our national strategy and security cooperation initiatives  These humanitarian activities are often preventative in nature, focused at the root cause of ideological extremism, and provide access to regions where traditional military-to-military engagement is virtually impossible  They also provide significant training opportunities for U S  military personnel while also serving the basic economic and social needs of people in the countries supported 
The Humanitarian Mine Action (HMA) program falls within the HCA programs authorized by Section 401 of Title 10, U S  Code  The HMA program trains host nations in clearing landmines and other explosive remnants of war, while also providing U S  military personnel with training and readiness-enhancing experiences by giving them "access to geographical areas otherwise not easily available to US forces "  The program is directly supervised by the geographic combatant commanders  
The budget for Humanitarian Civic Assistance projects is presented in a yearly Defense Department report  The amounts indicate "incidental expenses" -- the cost of materials, supplies, and some services  The funding listed below does not include costs for transportation, personnel, fuel, or the repair of equipment  Expenses reported as HCA are only those components of a deployment which are directly related to the project at hand  Thus the dollar amounts categorized as "HCA" are very small when compared with the activity's actual expense 
Passage 6:
Grievous Bodily Harm
Grievous Bodily Harm is a 1988 Australian crime film directed by Mark Joffe starring Colin Friels and John Waters 

Plot
Crime reporter Tom Stewart (Colin Friels) and a cop (Bruno Lawrence) look for a deranged schoolteacher (John Waters) who goes on a murder spree while looking for the lover he thought to be dead 

Cast
John Waters as Morris Martin
Colin Friels as Tom Stewart
Bruno Lawrence as Det  Sgt  Ray Birch
Kim Gyngell as Mick
Gary Stalker as Derek Allen
Joy Bell as Claudine
Shane Briant as Stephen Enderby
Caz Lederman as Vivian Enderby
John Flaus as Neil Bradshaw

Production
The script was written by Warwick Hind, a former executive at Greater Union  Errol Sullivan showed the script to Richard Brennan, who raised up to around a $1 million of the budget; the remainder was raised through Antony I  Ginnane  Richard Brennan says the actual cost of the film was $3 million but various fees put it up to $3 4 million 

Awards
The film was nominated for 4 AFI Awards in 1988, including best picture 

Box office
Grievous Bodily Harm grossed $82,267 at the box office in Australia  However it did sell to American company Fries Entertainment for over $1 million 

See also
Cinema of Australia
Passage 7:
You're the Best Thing That Ever Happened to Me
"You're the Best Thing That Ever Happened To Me" — also known simply as "Best Thing That Ever Happened To Me" — is a song written by Jim Weatherly, and produced by Don Law  It was first recorded in 1973 by Ray Price from his album You're the Best Thing That Ever Happened To Me  The song enjoyed two runs of popularity, each by an artist in a different genre 
Weatherly told Tom Roland in The Billboard Book of Number One Country Hits that he wrote the song in 1971 and let his father-in-law first record it as a Christmas present for the latter's wife  "I thought it was really strange that nobody'd written a song with that title — possibly somebody had, but I'd never heard it — so I just sat down and let this stream of consciousness happen  I basically wrote it in a very short period of time, probably 30 minutes or an hour "

The versions
Ray Price country version
The song's first run of popularity, as "You're the Best Thing That Ever Happened to Me," came in 1973, when country music singer Ray Price took the song to number 1 on the Billboard Hot Country Singles chart on October 6, 1973 
For that version, it represented a last and a first  The "last" was Price's seventh and most recent No  1 single, in a string dating back to his 1956 hit "Crazy Arms " The "first": It was the No  1 single on the debut program of American Country Countdown, which used the Billboard chart in its programming  Although it fell short of the top 40 in his native United States, the song was an easy listening hit in Canada, his third such hit there 

Gladys Knight & the Pips pop/R&B version
In the early- to mid-1970s, Gladys Knight & the Pips recorded several of Weatherly's songs, and in 1974, they dipped into his catalog once again with their rendition of the song  Their version, titled "Best Thing That Ever Happened to Me," reached number 3 on the Billboard Hot 100 that spring and topped the Hot Soul Singles for two weeks  The single was certified gold by the RIAA for sales of one million copies  It also reached the top 10 in the United Kingdom 

James Cleveland gospel version
In 1975, legendary gospel singer Rev  James Cleveland & The Charles Fold Singers recorded a live version of the song, which was cited (in the song) as an adaptation of the Gladys Knight & The Pips version of the song 

Chart history
The Persuaders R&B version
In 1974, The Persuaders also recorded a version, taken from their album of the same name Their version was quieter, less brassy, and more introspective than The Pips' version The song reached number 85 on the Billboard Hot 100 chart 

Dean Martin pop version
The song was also recorded by Dean Martin in 1973 

Andy Williams version
Andy Williams released a version in 1974 on his album, The Way We Were 

Steve Lawrence version
Steve Lawrence released a version in 1973 under MGM Records label 

Chart performance
Ray Price version
Passage 8:
Zig & Sharko
Zig & Sharko (French: Zig et Sharko) is a French animated slapstick comedy television series created and directed by Olivier Jean-Marie and produced by Xilam Animation  The series' premise focuses on the lives of Zig, a brown hyena, and Sharko, a great white shark, over their conflicts regarding the mermaid Marina, in which Zig seeks to devour her while Sharko loves and protects her  The series employs silent comedy: characters either do not speak; rather they use unintelligible vocalizations, gestures, and occasional pictograms in speech balloons (the Indian version dubs Hindi dialogue over the animation instead) 
Three seasons with a total of 78 half-hour episodes (234 seven-minute segments) were originally broadcast on December 21, 2010, followed by an official premiere on January 10, 2011 on Canal+ Family, with the second and third seasons airing on Gulli, and reruns airing on TF1  A third season was announced in December 2018  A fourth season was announced in 2022 

Premise
The series focuses on the exploits and adventures of a group of characters - Zig, a brown hyena; Sharko, a great white shark; Marina, a mermaid with red hair; and Bernie, a hermit crab  Much of the stories of each episode revolve around an eternal war over Marina between Zig, who attempts to capture her to eat her, and Sharko, who loves her and acts as her bodyguard against Zig's various plans  The show itself draws inspiration for its plot and slapstick humor from the cartoons of Wile E  Coyote and the Road Runner, in that Zig often makes use of various items or concocts plans based on things he witnesses with Sharko and Marina, but is often foiled in the process by Sharko, bad luck, or a combination of both  Although the pair are enemies to each other because of their constant battles and grudges, they are also good friends, akin to the relationship of Tom and Jerry  Alongside the main characters, the show is frequently populated by minor background characters, many of whom are animals and aquatic creatures that, alongside Zig and Sharko, are portrayed as anthropomorphic beings 
Throughout the first season, much of the plots revolve around the oceans surrounding a tropical volcanic island, in which Marina often spends the day residing on a rocky pinnacle off the coast during the day, while residing in an underwater home that she shares with Sharko  In the second season, the plots shifted to the island itself, including its beaches, volcano, and jungle, with some changes for the main characters - Marina takes residence in an ornate, life-sized sandcastle, built by Sharko; Zig and Bernie live with a cargo plane pilot in his crashed plane within the jungle; and Sharko operates as a lifeguard for the aquatic lifeforms who frequent the beaches  In the third season, the main characters and the island's inhabitants move onto a cruise ship to travel the oceans, where much of the season's plots take place 

Characters
None of the characters in the series speak; a form of gibberish speech is sometimes used, but most interactions involve hand signals and body language to convey what a character is thinking about  The show's main characters include:

Zig is an anthropomorphic brown hyena, and best friends with Bernie since childhood  He frequently plots to capture Marina to eat her, but his schemes for this purpose are often foiled by Sharko  He is often desperate and eager to eat Marina on sight, but is no better outside of his main motive  He has a comically dry and wheezy voice  The design of the character's behavior and characteristics were in part inspired by the cartoon character Wile E  Coyote 
Sharko is an anthropomorphic great white shark, who appears brutish and tough, but is dorky with a heart of gold  He loves Marina and will do anything to protect her from harm, which include Zig's schemes  He is often portrayed as muscular and athletic, and is a fan of table tennis  In spite of his devotion to Marina, he can sometimes occasionally cause trouble for himself  During the first few episodes of the series, he was unable to get around on the island and can only swim in the ocean  Later on, he is capable of walking on dry land using his tail as feet 
Marina is a mermaid, who is good-natured, intelligent, bubbly and romantic - intrigued by anything new she encounters  She maintains a positive relationship with the other characters in the show, including Zig  although this makes her quite naive to Zig's intentions to eat her  She is portrayed as wearing a small living sea star in her hair, and capable of walking on her tail (using her fins as feet)  Her design was likely inspired by the character Ariel, from The Little Mermaid 
Bernie is a red anthropomorphic hermit crab, and Zig's best friend since childhood  He often collaborates in Zig's schemes to capture Marina, though holds no grudge against her or Sharko, in reality  He is often denoted as being quite smart, and capable of coming to the rescue when needed Aside from the main characters, various episodes feature a variety of background and minor characters to the stories - jungle animals, aquatic lifeforms, and various human characters - in the first season, one of these human characters is portrayed as a Japanese cargo ship captain, who, as a running gag, frequently crashes his ship into the island and is forced to return home with a rubber dingy  Throughout the first season, several episodes featured the supporting character of Neptune, based on the mythological Roman god of the sea and portrayed as a vain, muscular merman with numerous killer whale henchmen, who competed with Sharko for Marina's love, despite her disliking him  Marina despises him and often has to rely on Sharko and Zig to keep him at bay  The second season introduces Poseidon, portrayed as a muscular elderly merman, who served as Marina's adopted father in the episode "Father-In-Law", and an amnesiac human cargo plane pilot who often exhibits the behavior of a monkey due to his condition - one episode revolves around a flashback, where the pilot has met up with actual simians 

Episodes
Production and development
In 2008, the television group Canal+ decided to develop pilot episodes for nine out of 135 animation projects received, including Zig and Sharko, for television broadcast during the 2010–11 season  A development budget of 6 to 6 5 million euros (7 1 to 7 69 million US dollars) was allocated to the series  The original title was The Mermaid, the Hyena and the Shark, and it is a co-production between the television channels TF1 and Canal+ Family which broadcast later this series  The type of animation is similar to the American series of Tex Avery, Bob Clampett and Tom and Jerry 
Dong Woo Animation and Armada TMT were the animation studios chosen for the series, similar to that of Space Goofs' second season and Oggy and the Cockroaches' third and fourth seasons  The development of the series was carried out by the French studios Xilam Animation  The series’ first season has been ordered and picked up by Xilam in 2009, which premiered on Canal+ on December 21, 2010, the series was launched on Canal+ Family on February 12, 2011, on Cartoon+ every Saturday at 7:40 pm  Xilam then produced a second season in 2013, changing its art style to match some of its modern TV shows, like Paprika and Lupin's Tales 

Distribution
On May 6, 2015, the official YouTube channel of Zig & Sharko was created, with all of the episodes – in a high-quality, widescreen format – from seasons 1 to 3  The channel made also various compilations  The channel made episodes with English title cards  As of August 2021, the channel has 11 9 million subscribers making it one of the Top 10 most-subscribed French channels on the site  As of November 2020, "The Were-Yena" (the 67th episode of the first season) is the most-viewed episode of the official channel, with over 99 million views  The most-viewed compilation has 118 million views 

Spin-off
In 2021, a spin-off series was created by Alexandre Simard, Mathieu Peters-Houg and Lucille Briand for Xilam, named The Adventures of Bernie  The series focused on the titular character who, while helping Zig in his next scheme to target and eat Marina, is sent off their island home in a freak accident and ends up in the depths of the rock-bottom ocean  The episodes focus on Bernie's endeavors in using his intelligence and inventive skills to find a way back home, and to Zig, all while meeting with a variety of new characters along the way  The series takes place in the same universe with a different art style like Oggy and the Cockroaches: Next Generation, and employs silent slapstick humor, but with each episode being three and a half minutes long – with the exception of the first episode 
Passage 9:
Conscription in Australia
Conscription in Australia, also known as National Service following the Second World War, has a controversial history in the country which dates back to the implementation of compulsory military training and service in the first years of nationhood  Military conscription for peacetime service was abolished in 1972        
However, in times of war, the Defence Act 1903 allows the Governor-General of Australia to authorise conscription for service in the Defence Force, provided it is approved by the Parliament of Australia within 90 days 

History
Universal Training Scheme
In 1909, the Deakin government introduced an amendment to the Defence Act 1903, the Defence Act 1909, which allowed for a form of conscription for boys from 12 to 14 years of age and for youths of 18 to 20 years of age for the purposes of home defence  The Act, which passed with the combined support of the Protectionist Party and the Australian Labor Party, did not allow soldiers to be conscripted for overseas service  
Following recommendations arising from a visit to Australia by Field Marshal Kitchener to report on the country's defence readiness, the Australian Labor Party government instituted a system of compulsory military training for all males aged between 12 and 26 from 1 January 1911 John Barrett, in his study of boyhood conscription, Falling In, noted:

In 1911 there were approximately 350,000 boys of an age (10–17 years) to register for compulsory training up to the end of 1915  Since 'universal' was a misnomer, about half that number were exempted from training, or perhaps never registered, reducing the group to 175,000 
There was quite extensive opposition to the so-called "boy conscription"  By July 1915, there had been about 34,000 prosecutions and 7,000 detentions of trainees, parents, employers or other persons required to register 

World War I
Under Labor Prime Minister Billy Hughes, full conscription for overseas service was attempted during the First World War in two plebiscites 
The first plebiscite was held on 28 October 1916 and narrowly rejected conscription with a margin of 49% for and 51% against  The plebiscite of 28 October 1916 asked Australians:

Are you in favour of the Government having, in this grave emergency, the same compulsory powers over citizens in regard to requiring their military service, for the term of this War, outside the Commonwealth, as it now has in regard to military service within the Commonwealth?
A second plebiscite was held on 20 December 1917 and defeated by 46% for and 54% against  This question was put to Australians:

Are you in favour of the proposal of the Commonwealth Government for reinforcing the Commonwealth Forces overseas?
After the failure of the first plebiscite, Billy Hughes and his supporters left the Australian Labor Party parliamentary caucus and took with them a good deal of the parliamentary party's talent  They created a new National Labor Party, and Hughes survived as prime minister by forming a conservative Nationalist government, which was dependent for survival on the Commonwealth Liberal Party  The remainder of the Labor Party, under the new leader, Frank Tudor, then expelled Hughes and all of those who had followed him  Following the split, Labor stayed out of office for ten years 

After the first plebiscite, the government used the War Precautions Act and the Unlawful Associations Act to arrest and prosecute anti-conscriptionists such as Tom Barker, the editor of Direct Action and many other members of the Industrial Workers of the World and E  H  Coombe, who had three sons at the front, of the Daily Herald  The young John Curtin, then a member of the Victorian Socialist Party, was also arrested  Anti-conscriptionist publications, in one case, even when it was read into Hansard, were seized by government censors in police raids 

Other notable opponents to Conscription included the Catholic Archbishop of Melbourne Daniel Mannix, Queensland Labor Premier Thomas Ryan, Vida Goldstein and the Women's Peace Army  Most trade unions actively opposed conscription  Archbishop Mannix, born in County Clare, stated that Ireland had been more wronged by Great Britain than Belgium had been by Germany Many people thought positively of conscription as a sign of loyalty to Britain and thought that it would also support those men who were already fighting  However, trade unions feared that their members might be replaced by cheaper foreign or female labour and so opposed conscription  Some groups argued that the whole war was immoral, and it was unjust to force people to fight 
South Africa and India were the only other participating countries not to introduce conscription during the First World War 

Divided nation
The conscription issue deeply divided Australia with large meetings held both for and against  The women's vote was seen as important, with large women's meetings and campaign information from both sides aimed at women voters  The campaigning for the first plebiscite was launched by Hughes at a huge overflow meeting at the Sydney Town Hall, where he outlined the government's proposals  That was followed by a huge pro-conscription meeting at the Melbourne Town Hall on 21 September Anti-conscriptionists, especially in Melbourne, were also able to mobilise large crowds, with a meeting filling the Exhibition Building on 20 September 1916; 30,000 people on the Yarra bank on Sunday, 15 October, and 25,000 the following week; a "parade of women promoted by the United Women's No-Conscription Committee – an immense crowd of about 60,000 people gathered at Swanston St between Guild Hall and Princes Bridge, and for upwards of an hour the street was a surging area of humanity"  An anti-conscription stop work meeting called by five trade unions held on the Yarra Bank mid-week on 4 October attracted 15,000 people  It was passed on 21 September 1916, and mandatory registration and enrolment commenced while the first plebiscite campaign was underway  By 5 October, The Age reported that of 11607 men examined, 4581 were found fit, approximately 40 percent The Age noted in the article "Influence of the IWW" that "the great bulk of the opposition to conscription is centred in Victoria"  Many meetings in inner Melbourne and Sydney were disrupted by anti-conscriptionists with speakers being howled down from the audience in what The Age described as "disgraceful exhibition" and "disorderly scenes" The issue deeply divided the Labor Party, with ministers such as Hughes and George Pearce vigorously arguing the need for conscription for Australia to help the Allies win the war  They were supported by many within the party, including Labor's first prime minister, Chris Watson and NSW Labor Premier William Holman  Hughes denounced anti-conscriptionists as traitors and a climate of bitter sectarianism developed since most Roman Catholics opposed conscription and most others supported it 
By the end of the war in November 1918, a total of 416,809 men had voluntarily enlisted in the Army, representing 38 7 percent of the white male population aged between 18 and 44 On 1 November 1929, the mandatory service provisions of the Defence Act were suspended, ending 18 years of conscription for home defence 

World War II
In 1939, at the start of World War II, all unmarried men aged 21 were to be called up for three months' military training  The men could serve only in Australia or its territories  Conscription was effectively introduced in mid-1942, when all men aged 18–35 and single men aged 35–45 were required to join the Citizen Military Forces (CMF)  Volunteers with the Australian Imperial Force (AIF) scorned CMF conscripts as "chocolate soldiers", or "chockos", because they were believed to melt under the conditions of battle, or it might be an allusion to George Bernard Shaw's Arms and the Man in which Bluntschli filled his backpack with chocolate bars, rather than ammunition  However, several CMF Militia units fought under difficult conditions, suffered extremely high casualties in 1942 and slowed the Japanese advance on the Kokoda Track in New Guinea, then an Australian territory The Papuan campaign of 1942 led to a significant reform in the composition of the Australian Army  During the campaign, the restriction banning CMF personnel from serving outside Australian territory hampered military planning and caused tensions between the AIF and CMF  In late 1942 and early 1943, Prime Minister John Curtin overcame opposition within the Australian Labor Party to extending the geographic boundaries in which conscripts could serve to include most of the South West Pacific, and the necessary legislation was passed in January 1943  The 11th Brigade was the only CMF formation to serve outside Australian territory, however, when it formed part of Merauke Force in the Dutch East Indies in 1943 and 1944 

Korean War
In 1951, during the Korean War, national service was introduced under the National Service Act 1951  All Australian males aged 18 had to register for 176 days training (99 days full-time) and two years in the CMF  Later, the obligation was 140 days of training (77 days full-time) and three years' service in the CMF   In 1957 the system was changed to emphasise skill rather than numbers, then ended in 1959  The regular military forces remained voluntary 

Vietnam War
In 1964, compulsory national service for 20-year-old males was introduced under the National Service Act 1964  The selection of conscripts was made by a sortition or lottery draw based on date of birth, and conscripts were obligated to give two years of continuous full-time service, followed by a further three years on the active reserve list  The full-time service requirement was reduced to 18 months in October 1971 The Defence Act was amended May 1964 to provide that national servicemen could be obliged to serve overseas, a provision that had been applied only once before, during World War II  The 1964 amendments applied only to the permanent military forces and excluded the Citizen Military Forces  In 1965, the Defence Act was again amended to require the CMF to serve overseas, which had not been included in the 1964 amendments "Defence Act 1965"  Federal Register of Legislation  Office of Parliamentary Counsel (Australia)  Section 16  Retrieved 26 January 2023  In March 1966, the government announced that national servicemen would be sent to South Vietnam to fight in units of the Australian Regular Army and for secondment to American forces  Requirements for overseas service were detailed by the Minister for the Army, Malcolm Fraser, on 13 May 1966  Men who wished to avoid national service could join the Citizen Military Forces and serve only inside Australia, claim a student deferment or attempt a conscientious objection application  To be exempted on the basis of conscientious objection, an applicant needed to demonstrate his moral objection to "all" wars in court and to be legalised as a pacifist  That meant that the rate of success for conscientious objection applications was generally low 

Opposition
During the late 1960s, domestic opposition to the Vietnam War and conscription grew in Australia  In 1965, a group of concerned Australian women formed the anti-conscription organisation Save Our Sons, which was established in Sydney with other branches later formed in Wollongong, Melbourne, Brisbane, Perth, Newcastle and Adelaide  The movement protested against conscription of Australians to fight in the Vietnam War and made the plight of men under 21, who were not yet eligible to vote, a focus of their campaign  In 1970, five Save-Our-Sons women were jailed in Melbourne for handing out anti-conscription pamphlets on government property  The group, which included Jean Maclean, Irene Miller and Jo Maclaine-Ross, was dubbed "The Fairlea Five" after Fairlea women's prison in which they were incarcerated  Barbara Miller is understood to be related to the decorated conscript Simon Anderson, who mysteriously disappeared in 1970 

Young men who were subject to the conscription lottery also formed their own anti-conscription organisation, the Youth Campaign Against Conscription  Like Save Our Sons, it spread to other states: New South Wales, Victoria, Queensland and Western Australia  It was the YCAC that imported the concept of draft-card burning from the United States and ushered in a new form of resistance to conscription, active non-compliance  Instead of merely not registering (passive non-compliance with the National Service Scheme), the young conscripts actively demonstrated their distaste for the government's actions by destroying their registration cards  Unlike in the United States, that was not legal and so its importance remained symbolic 
There were several high-profile controversies caused by the government's heavy-handed treatment of conscientious objectors, including William White and Simon Townsend (who later became a well-known television personality)  In 1969 the Gorton administration was severely embarrassed by a renowned This Day Tonight story in which a conscientious objector, who had been on the run from police for several months, was interviewed live in the studio by the journalist Richard Carleton, who then posed awkward questions to the Army Minister about why TDT had been able to locate the man within hours and bring him to the studio when the federal police had been unable to capture him, and the event was made even more embarrassing for the government because the man was able to leave the studio before the police had arrived to arrest him 
By 1969, public opinion was turning against the war  A Gallup Poll in August showed that 55 percent of those surveyed favoured bringing Australian troops home, and only 40 percent favoured them staying  That was the first poll to show less than 50% approval for the government's policy, and all polls after August 1969 were to reveal a majority in favour of bringing the troops home  In October, during his policy speech for the 1969 federal elections, the opposition leader, Gough Whitlam, declared that if elected, the ALP would make sure that all Australian troops in Vietnam would be home 'by Christmas' Around then, opposition to conscription became more radical  Active non-compliers began to call themselves "draft resisters"  Instead of waiting to be called up, draft resisters wrote letters to the Minister for National Service detailing their intention not to comply with conscription  Under law, that immediately rendered them liable for service  A number of these young men formed a draft resisters' union, active in at least two states: New South Wales and Victoria  They included men such as Bob Scates and Michael Hamel-Green  They went underground while maintaining a public presence, appeared at protests and were spirited away by the crowd before they could be arrested  In December 1972, while 'underground' as a draft resister, Barry Johnson stood as the Australian Labor Party (ALP) candidate in the seat of Hotham against Minister Don Chipp 
Australian government cabinet documents released by Australian National Archives in 2001 show that in 1970, the conservative government was initially concerned about the growth of conscientious objection and of outright opposition to the National Service Act  Reportedly, the cabinet considered instituting an option of alternative civilian work program for conscientious objectors in an attempt to reduce the numbers of objectors going to jail  That was never instituted but was widely rumoured at the time  Such work would have been menial labouring jobs in remote locations such as north and western Queensland, western New South Wales and northern South Australia In Cabinet Submission Number 200 for 1970, Appendix 1, case studies of 17 men awaiting prosecution for failure to undertake service show a broad spectrum of opposition to conscription including:

Religious opposition such as Christadelphians, Jehovah's Witnesses
Moral opposition to wars
Moral opposition to the Vietnam War in particular
Opposition based upon the compulsion and authoritarian nature of conscription and its conflict with democratic processes and ideals The documents reveal that draft resistance and draft dodging never posed a threat to the number of conscripts required, but the public opposition by draft resisters such as John Zarb, Michael Matteson and Robert Martin had an increasingly-political effect  Conscription ended in December 1972, and the remaining seven men in Australian prisons for refusing conscription were freed in mid-to-late December 1972 ef 63,735 national servicemen served in the Army, of whom 15,381 were deployed to Vietnam  Approximately 200 were killed 

See also
Australian Defence Force
Billy Hughes egg-throwing incident
Passage 10:
Get Right with the Man
Get Right with the Man is the fourth studio album by American musical duo Van Zant  It was released in 2005 by Columbia Records  It peaked at number 2 on the Top Country Albums chart, and was certified Gold by the RIAA  The album includes the singles "Help Somebody", "Nobody Gonna Tell Me What to Do" and "Things I Miss the Most" 
The song "I'm Doin' Alright", was featured in the 2006 EA Sports game NASCAR 07 
This album has been released with the Copy Control protection system in some regions 

Track listing
Personnel
Taken from liner notes 
Van ZantJohnny Van Zant – lead vocals, background vocals
Donnie Van Zant – lead vocals, background vocalsAdditional MusiciansBekka Bramlett – background vocals
Tom Bukovac – electric guitar
Perry Coleman – background vocals
Eric Darken – percussion
Glen Duncan – fiddle
Kenny Greenberg – electric guitar
Greg Morrow – drums, percussion
Russ Pahl – lap steel guitar, steel guitar, banjo
Michael Rhodes – bass guitar
Jeffrey Steele – background vocals
Trez – background vocals
John Willis – acoustic guitar
Glenn Worf – bass guitar
Reese Wynans – B3 organ, keyboards, piano, Wurlitzer

Chart performance
Singles
Certifications



ground_truth: Menachem Mendel Schneersohn

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

Question: What is the experimental satellite being forerunner to communication satellite of INSAT-4CR's manufacturer called?

The following are given passages.
Context 4: Passage 1:
I Can Only Imagine (MercyMe song)
"I Can Only Imagine" is a song by Christian rock band MercyMe  Written and composed by lead singer Bart Millard, it was originally recorded for the band's 1999 independent album The Worship Project before being included on their 2001 major-label debut album Almost There  The song was the last to be written for The Worship Project; in writing it, Millard drew upon his thoughts about his father's death  Lyrically, it imagines what it would be like to be in front of God in heaven; it opens with just a piano before building to include guitar and drums 
After being released on October 12, 2001, as the second single from Almost There, "I Can Only Imagine" became a major success on Christian radio; it spent two weeks at No  1 on the Radio & Records Christian AC chart and became the most-played Christian single of 2002  It became an unexpected mainstream hit in 2003, peaking at No  71 on the Billboard Hot 100 and No  5 on the Billboard Adult Contemporary chart while also hitting top 40, adult top 40, and country radio charts  The song returned to the charts after its story was adapted into a 2018 film of the same name, peaking at No  1 on the Billboard Christian Songs chart and No  10 on the Billboard Digital Songs chart 
"I Can Only Imagine" received positive reviews from critics  Particular praise was given to its lyrics, and some critics called it the best song on Almost There  It received the Dove Awards for Song of the Year and Pop/Contemporary Recorded Song of the Year at the 33rd GMA Dove Awards, also garnering Millard the award for Songwriter of the Year; he also won the Songwriter of the Year award at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards  In 2004, CCM Magazine ranked it as the fourth-best song in Christian music, and it has since become the most-played song in the history of Christian radio as well as the best-selling Christian song of all time; it has been certified five-times platinum by the Recording Industry Association of America (RIAA), and as of April 2018, it has sold over 2 5 million copies 

Background and recording
MercyMe was formed in 1994 by vocalist Bart Millard, guitarist Mike Scheuchzer, and keyboardist Jim Bryson  The band later brought on drummer Robby Shaffer and bassist Nathan Cochran  In their early years, they independently released four Christian alternative rock albums, drawing influence from the grunge style of rock music popular at the time  However, they realized that their original songs from these albums failed to connect with their audiences while their covers of popular worship songs were much more popular  Because of this, the band decided to write and produce an album of original worship songs  This album,  The Worship Project, utilized a simple verse–chorus format designed to easily fit on a PowerPoint screen In the last phases of production, MercyMe needed one more song to include on the album  Late at night on the band's bus, Millard found an old notebook with the phrase "I can only imagine" written in it  He began to write a song, basing it on his personal feelings about his father Arthur's death  Early in Bart's life, Arthur had been physically and emotionally abusive towards his family, with Bart being beaten severely at points; Arthur and his wife Adele eventually divorced, and Bart was sent to live with his mother after an especially extreme whipping  Bart kept in contact with his father, however, who  was later diagnosed with pancreatic cancer when Bart was 15  His father began to make amends for his actions and started becoming more religiously observant, reading the Bible and going to church regularly  As Arthur progressively became more ill, his relationship with his son improved dramatically; by the time Arthur died in 1991, when Bart was 18, the two were very close  Millard said that "I got a front row seat to see this guy go from being a monster to falling desperately in love with Jesus  By the time he passed away when I was a freshman in college, not only was he my best friend, he was like the Godliest man I’d ever known"  After Arthur's death, Bart became obsessed with the phrase "I can only imagine" after hearing his grandmother say that she could only imagine what Arthur was seeing in heaven  Millard found comfort in the thought and began to write it on anything he could find Once Millard started writing the song, he estimated that it took him only about ten minutes to write the lyrics  Millard said that it was one of the few songs he had ever written where there were not any mistakes in the writing process; "it was just written the way it is and left at that"  MercyMe initially attempted to record "I Can Only Imagine" as a fast song, but after several failed attempts, Millard talked with Bryson about arranging it into a slower version  As the band was tearing down the equipment in their recording studio, Bryson began playing a piano intro  Millard immediately decided to use the intro, and the rest of the song was completed in around five minutes  Although the rest of the band did not see how it would fit on the record, as it didn't meet the basic verse-chorus format the rest of the album had, they felt it needed to be included on it because it meant so much to Millard The Worship Project was released on October 14, 1999  Sales for the album far exceeded the band's previous efforts; Millard estimated the album's overall sales at 100,000, which other sources peg the album's sales as of 2006 at 60,000 or 65,000 copies  The difficulty of meeting sales demands when selling the album directly, in addition to having to book and manage for themselves, led the band to pursue a contract with a record label; MercyMe would sign with INO Records in 2000  "I Can Only Imagine" was one of several songs from the band's independent records that were selected to be included on their debut album with INO, Almost There (2001) 

Composition
"I Can Only Imagine" is set in the key of E major and has a tempo of 80 beats per minute  Bart Millard's vocal range in the song spans from the low note of B3 to the high note of G♯5  Millard is credited with writing and composing the song  A contemporary Christian and pop song, "I Can Only Imagine" has been considered both a ballad and a power ballad  The song opens up with only a piano, building up to include guitar and drums The song has a directly Christian message; its religious lyrics weren't edited for mainstream radio  In the song, the narrator wonders what it would be like to stand before God in heaven  In the refrain, the singer ponders "Will I dance for You Jesus/or in awe of you be still/Will I stand in Your presence or to my knees will I fall/Will I sing hallelujah/will I be able to speak at all/I can only imagine/I can only imagine"  Regarding the lyrical theme of "I Can Only Imagine", Millard explained to Fox News that "I was always told that if [my father] could choose, he would rather be in Heaven than here with me  As a Christian I believed that, but as an 18-year-old it was a little hard to swallow  So the questions in the song came from me asking God what was so great about Him that my dad would rather be there "

Critical reception
Critical reception for "I Can Only Imagine" was positive  Steve Losey of AllMusic praised it as being "passionate" and "emotionally compelling"  Kevin Chamberlin of Jesus Freak Hideout said the song's lyrics were "amazing"  It was called the "definite highlight" of Almost There by New Release Tuesday's Kevin McNeese, who also praised its piano intro, saying it "instantly invokes chills", as well as the song's lyrical content  Charisma writer Margaret Feinburg lauded the song's "heart-gripping" lyrics, and it was cited as the centerpiece of the album by Megumi Nakamura of Cross Rhythms, who called it "beautiful and touching"  Writing for CCM Magazine, Adam Woodroof described the song as "heavenly" and said it was the highlight of Almost There  Although Russ Breimeier of Christianity Today called it "beautiful and inspiring", he questioned if "I Can Only Imagine" was actually a worship song At the 33rd GMA Dove Awards in 2002, I Can Only Imagine" earned the GMA Dove Awards for Pop/Contemporary Recorded Song of the Year and Song of the Year  Millard won the award for Songwriter of the Year at the same ceremony as well as at the 25th American Society of Composers, Authors and Publishers (ASCAP) Christian Music Awards, held on June 2, 2003   In 2004, CCM Magazine ranked "I Can Only Imagine" as the fourth-greatest song in Christian music 

Legacy
"I Can Only Imagine" has been regarded as MercyMe's "breakthrough hit" as well as their signature song  It is the most-played song in the history of Christian radio and one of the most-played songs in the history of contemporary music  As of April 2018, it is the best-selling Christian song of all-time  It has consistently ranked among the best-selling Christian digital songs each year in the Billboard year-end charts, ranging from number 19 in 2016 to number three in 2018  It is often requested to be played at funerals  "I Can Only Imagine" was named the official inspirational song for the state of Oklahoma in 2018; the measure was passed by the Oklahoma Legislature and signed by Governor Mary Fallin The story behind "I Can Only Imagine" was adapted into a film  Directed by the Erwin Brothers and starring J  Michael Finley as Bart Millard and Dennis Quaid as Arthur Millard, the movie was released to theaters on March 16, 2018  It received mixed to positive reviews from critics, and exceeded initial expectations at the box office, grossing $17 1 million in its opening week  This was the fourth best-ever opening for a faith-based film, behind only The Passion of the Christ, Son of God, and Heaven Is for Real  The film finished its theatrical run having grossed $83 4 million in the United States and Canada and $1 8 million in other territories for a worldwide total of $85 2 million  As of August 2019, it ranks as the fifth-highest grossing music biopic of all-time in the United States (behind Bohemian Rhapsody, Straight Outta Compton, Walk the Line, and Rocketman) and was the highest-grossing independent film of 2018 

Release and promotion
Originally, "I Can Only Imagine" was set to be released by fellow Christian artist Amy Grant  Millard had initially declined a request from Grant's record label to allow her to record the song; some segments of the Christian community had reacted negatively to her divorce, and Millard wasn't sure if he wanted to be involved  After consulting with his pastor, who felt Millard should accept the opportunity, he began to reconsider, and finally agreed to let her cover it after talking with Grant over the phone  Grant had planned to release her version of the song as the lead single from her upcoming album and MercyMe would release a different song as their first single, hoping to capitalize on having written what would presumably become a major hit for Grant  The band released their first single from Almost There, "Bless Me Indeed (Jabez's Song)", which performed poorly at Christian radio, leading to poor sales of the album  Plans were made to release another single from the record, but the band's manager, Scott Brickell, decided to reach out to Grant to see if she still planned to release her version as a single  Grant gave MercyMe her blessing to release the song as a single and signed the rights back to the band; "I Can Only Imagine" was released on October 12, 2001, as the album's second single The song debuted on the Christian AC chart on November 2, 2001, reached the No  1 position on February 22, 2002, and spent two weeks at the top spot  It also peaked at No  15 on the Radio & Records Christian CHR chart  The song became the most-played song on Christian radio in 2002  As a result of its success on radio, Almost There experienced a "surge" in sales, debuting on the Billboard 200 in December 2001 and entering the top ten on the Christian Albums chart in January 2002  The song stayed on Christian radio for so long that plans to release a third single from Almost There were cancelled, with the band instead beginning work on a new album In 2003, a Dallas mainstream radio station, 100 3 Wild-FM, played the song on its morning show, The Fitz Radio Program  They had responded to a caller's repeated requests and the urgings of the program's producer, Todd Sheppard, a former seminary student  Although it had been played almost as joke, it soon became the most requested and most played song on the station  After hearing the song played on the station, Millard called-in and spoke with the crew, and MercyMe then came in and played the song live  Big Gay Steven, one of the show's hosts, described their audience's response to the song as "overwhelming"  As other mainstream stations around the country began to play the song, MercyMe's label, INO Records, partnered with Curb Records to market the single to mainstream radio  Its initial success was seen as surprising due to its overtly religious themes, although several other Christian artists had begun achieving mainstream success at the same time, including Stacie Orrico, whose singles "Stuck" and "(There's Gotta Be) More to Life" had both hit the Billboard Hot 100  Curb began to promote the song to adult contemporary and Top 40 radio, and INO and Curb released a double A-side physical single, "I Can Only Imagine/Word of God Speak", in September 2003 "I Can Only Imagine" debuted on the Adult Contemporary chart on May 23, 2003, eventually peaking at No  5 for the chart week of September 8, 2003  "I Can Only Imagine" spent 30 weeks on the chart  The song debuted on the Billboard Hot 100 for the chart week of October 11, 2003 at No  76  The song peaked at No  71 and spent 16 non-consecutive weeks on the chart  "I Can Only Imagine" also peaked at No  1 on the Billboard Hot 100 Singles Sales chart, a component chart of the Billboard Hot 100 that ranks the best-selling physical single releases, for 10 weeks  During the week of November 22, 2003, it became the first No  1 physical single to be outsold by the highest-selling digital single of the week; for that week, "I Can Only Imagine" sold 7,500 physical copies in the United States while Outkast's "Hey Ya!" sold 8,500 digital downloads  The song also charted on the Mainstream Top 40, Adult Top 40, and Country Songs charts In 2012, "I Can Only Imagine" appeared on France's Syndicat National de l'Édition Phonographique (SNEP) chart, spending two weeks and peaking at No  65  In March 2018, following the release of the film I Can Only Imagine, which was based on the song's story, it appeared on the Billboard Christian Songs chart; because the chart had been created after the song's original run on Christian radio, it was eligible to chart for the first time  It debuted at No  2 on the Billboard Christian Songs chart and also spent a third week at No  1 on the Billboard Christian Digital Songs chart; the song had spent 425 weeks on the chart at that point, the longest run of any song in the chart's history  "I Can Only Imagine" peaked at No  1 on the Christian Songs chart on March 31, 2018, and spent three weeks at the top spot  It also peaked at No  10 on the Billboard Digital Songs chart and ranked at No  8 on the 2018 year-end Christian Songs chart In April 2010, "I Can Only Imagine" was certified platinum by the RIAA, signifying sales of over 1 million digital downloads  It was the first single by any artist in the Christian music genre to go platinum  The song was certified double platinum in September 2014, triple platinum in June 2018, and quadruple platinum in September 2019  As of March 2018, it has sold 2 5 million copies, making it the best-selling Christian single of all time 

Music video
A music video was released for "I Can Only Imagine"  According to Millard, the video's inspiration came from seeing people holding empty picture frames at their concerts, symbolizing their deceased loved ones  Millard said that the "I've had so many people after a show pull out a picture of someone they've lost  These people embrace these photos and I just thought how can we tap into that"  The video features everyday people as well as several music artists including Michael Tait, Tammy Trent, Bob Herdman, and Jesse Katina, each holding an empty picture frame to signify their loss of a loved one; as the video progresses, they are holding pictures of their loved ones including Millard with his father's photograph 

Live performances
Despite including "I Can Only Imagine" on The Worship Project, MercyMe initially did not perform the song in concerts because they felt it did not fit with the rest of the record  The band's first performance of the song did not come until the summer after the release of The Worship Project at a summer camp at the request of a camp counselor  The band has played the song at every show since as of February 2009 MercyMe's 2004 concert tour (the Imagine Tour) and 2018–19 tour (the Imagine Nation Tour) both took their name from the song MercyMe performed "I Can Only Imagine" at the 33rd GMA Dove Awards, with an accompanying "inspiring video that underscored the emotional and inspirational power of song"  The band also performed the song at the 40th GMA Dove Awards, held on April 23, 2009, in a medley with "Finally Home"  At the 2017 National Prayer Breakfast, MercyMe performed the song with President Donald Trump in attendance  In March 2018, MercyMe performed "I Can Only Imagine" live on Fox & Friends to promote the film 

Other versions
Both an acoustic and live version of "I Can Only Imagine" were included in the Platinum edition of Almost There, which was released in August 2006  MercyMe released a new recording of the song on their iTunes Originals album, which was released in March 2008  On their compilation album 10, MercyMe released a new recording of the song featuring the London Session Orchestra as well as a live version  For their 2018 compilation album I Can Only Imagine: The Very Best of MercyMe, released to commemorate the release of the movie, the band recorded an updated recording titled "I Can Only Imagine (The Movie Session)", which peaked at No  19 on the Billboard Christian Songs chart "I Can Only Imagine" has been covered by several artists  In 2002, Amy Grant released her reworked version of the song, titled "Imagine" and paired with "Sing the Wondrous Love of Jesus", on her album Legacy    Hymns and Faith  Country singer Jeff Carson's 2003 cover peaked at No  50 on the Country Songs chart, and in 2014, gospel singer Tamela Mann's cover of the song spent 13 weeks atop the Billboard Gospel Songs chart  In May 2017, Aliyah Moulden, the third-place finisher on the 12th season of the reality competition show The Voice, performed the song on the show; her version debuted and peaked at No  4 on the Billboard Christian Songs chart, selling 15,000 copies in its first week and spending two weeks on the chart in total 

Track listing
CD release
"I Can Only Imagine" – 4:06 (Bart Millard)
"Word of God Speak" – 3:07 (Peter Kipley, Millard)

Personnel
(Credits from the album liner notes)MercyMe

Bart Millard – vocals
Jim Bryson – keyboards
Nathan Cochran – bass guitar, background vocals
Mike Scheuchzer – guitar, background vocals
Robby Shaffer – drumsAdditional performers

Paltrow Performance Group – stringsTechnical

Julian Kindred – engineer
Pete Kipley – producer, programming
Skye McCaskey  – engineer
Salvo – mixing
Shane Wilson – mixing

Release and radio history
Charts and certifications
Certifications
Passage 2:
WEBZ
WEBZ (99 3 FM) is a commercial urban adult contemporary radio station located in Mexico Beach, Florida (Panama City metro)  The station is owned by iHeartMedia 

External links
Official Website

WEBZ in the FCC FM station database
WEBZ on Radio-Locator
WEBZ in Nielsen Audio's FM station database
Passage 3:
Adult contemporary music
Adult contemporary music (AC) is a form of radio-played popular music, ranging from 1960s vocal and 1970s soft rock music to predominantly ballad-heavy music of the present day, with varying degrees of easy listening, pop, soul, R&B, quiet storm and rock influence  Adult contemporary is generally a continuation of the easy listening and soft rock style that became popular in the 1960s and 1970s with some adjustments that reflect the evolution of pop/rock music Adult contemporary tends to have lush, soothing and highly polished qualities where emphasis on melody and harmonies is accentuated  It is usually melodic enough to get a listener's attention, and is inoffensive and pleasurable enough to work well as background music  Like most of pop music, its songs tend to be written in a basic format employing a verse–chorus structure  The format is heavy on romantic sentimental ballads which mostly use acoustic instruments (though bass guitar is usually used) such as acoustic guitars, pianos, saxophones, and sometimes an orchestral set  The electric guitars are normally faint and high-pitched  However, recent adult contemporary music may feature synthesizers (and other electronics, such as drum machines) An AC radio station may play mainstream music, but it usually excludes hip-hop and some forms of dance-pop and teen pop, as these are less popular among adults, the target demographic  AC radio often targets the 25–44 age group, the demographic that has received the most attention from advertisers since the 1960s  A common practice in recent years of adult contemporary stations is to play less newer music and more hits of the past, even some songs that never even charted the AC charts   This de-emphasis on new songs slows the progression of the AC chart Over the years, AC has spawned subgenres including "hot AC" (also known as "modern AC"), "soft AC" (also known as "lite AC"), "urban AC" (a softer type of urban contemporary music), "rhythmic AC" (a softer type of rhythmic contemporary), and "Christian AC" (a softer type of contemporary Christian music)  Some stations play only "hot AC", "soft AC", or only one of the variety of subgenres  Therefore, it is not usually considered a specific genre of music; it is merely an assemblage of selected songs from artists of many different genres 

History
1960s: Early roots; easy listening and soft rock
Adult contemporary traces its roots to the 1960s easy listening format, which adopted a 70—80% instrumental to 20–30% vocal mix  A few offered 90% instrumentals, and a handful were entirely instrumental  The easy listening format, as it was first known, was born of a desire by some radio stations in the late 1950s and early 1960s to continue playing current hit songs but distinguish themselves from being branded as "rock and roll" stations  Billboard first published the Easy Listening chart July 17, 1961, with 20 songs; the first number one was "Boll Weevil Song" by Brook Benton  The chart described itself as "not too far out in either direction" Initially, the vocalists consisted of artists such as Frank Sinatra, Doris Day, Johnny Mathis, Connie Francis, Nat King Cole, Perry Como, and others  The custom recordings were usually instrumental versions of current or recent rock and roll or pop hit songs, a move intended to give the stations more mass appeal without selling out  Some stations would also occasionally play earlier big band-era recordings from the 1940s and early 1950s After 1965, differences between the Hot 100 chart and the Easy Listening chart became more pronounced  Better reflecting what middle of the road stations were actually playing, the composition of the chart changed dramatically  As rock music continued to harden, there was much less crossover between the Hot 100 and Easy Listening chart than there had been in the early half of the 1960s  Roger Miller, Barbra Streisand and Bobby Vinton were among the chart's most popular performers One big impetus for the development of the AC radio format was that, when rock and roll music first became popular in the mid-1950s, many more conservative radio stations wanted to continue to play current hit songs while shying away from rock  These middle of the road (or "MOR") stations also frequently included older, pre-rock-era adult standards and big band titles to further appeal to adult listeners who had grown up with those songs 
Another big impetus for the evolution of the AC radio format was the popularity of easy listening or "beautiful music" stations, stations with music specifically designed to be purely ambient  Whereas most easy listening music was instrumental, created by relatively unknown artists, and rarely purchased (especially as singles, although Jackie Gleason's beautiful music albums sold well in the 1950s), AC was an attempt to create a similar "lite" format by choosing certain tracks (both hit singles and album cuts) of popular artists 

1970s: Soft rock forms as a radio format
By the late 1960s hard rock had been established as one of the rock genres leading hard rock and soft rock to became distinct popular forms in the rock scene, and as major radio formats in the US  Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies  Major artists included Carole King, Cat Stevens, James Taylor and Bread In the early 1970s, softer songs by The Carpenters, Anne Murray, John Denver, Barry Manilow, and even Barbra Streisand, began to be played more often on "Top 40" radio  Top 40 radio stations played the Top 40 hits regardless of genre   As the texture of much of the music played on Top 40 radio began to soften, the Hot 100 and Easy Listening/AC charts became more similar  Easy Listening radio began playing songs by artists who had begun in other genres, such as rock and roll or R&B  Much of the music recorded by singer-songwriters such as Diana Ross, James Taylor, Carly Simon, Carole King and Janis Ian got as much, if not more, airplay on AC stations than on Top 40 stations  AC stations also began playing softer songs by Elvis Presley, Linda Ronstadt, Elton John, Rod Stewart, Billy Joel, and other rock-based artists  Soon after, the adult contemporary format began evolving into the sound that later defined it, with rock-oriented acts as Chicago and the Eagles, becoming associated with the format  In addition, several early disco songs, did well on the Adult Contemporary format 
Soft rock reached its commercial peak in the mid-to-late 1970s with acts such as Toto, England Dan & John Ford Coley, Air Supply, Seals and Crofts, Dan Fogelberg, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade  By 1977, some radio stations, notably New York's WTFM and NBC-owned WYNY, and Boston's WEEI, had switched to an all-soft rock format  As Softrock 103, WEEI was famous for its promotional campaigns, featuring slogans such as "Joni, without the baloni " and "The Byrds, without the nyrds "  However, different forms of popular music  targeted to different demographic groups, such as disco vs  hard rock, began to emerge in the late-1970s  This led to specialized radio stations that played specific genres of music, and generally followed the evolution of artists in those genres 

1980s: Adult contemporary succeeds as radio format
On April 7, 1979, the Easy Listening chart officially became known as Adult Contemporary, and those two words have remained consistent in the name of the chart ever since  Adult contemporary music became one of the most popular radio formats of the 1980s  The growth of AC was a natural result of the generation that first listened to the more "specialized" music of the mid-late 1970s growing older and not being interested in the heavy metal and rap/hip-hop music that a new generation helped to play a significant role in the Top 40 charts by the end of the decade 
Mainstream AC itself has evolved in a similar fashion over the years; traditional AC artists such as Barbra Streisand, the Carpenters, Dionne Warwick, Barry Manilow, John Denver, and Olivia Newton-John found it harder to have major Top 40 hits as the 1980s wore on, and due to the influence of MTV, artists who were staples of the Contemporary Hit Radio format, such as Richard Marx, Michael Jackson, Bonnie Tyler, George Michael, Phil Collins, Laura Branigan and Journey began crossing over to the AC charts with greater frequency  Collins has been described by AllMusic as "one of the most successful pop and adult contemporary singers of the '80s and beyond"  However, with the combination of MTV and AC radio, adult contemporary appeared harder to define as a genre, with established soft-rock artists of the past still charting pop hits and receiving airplay alongside mainstream radio fare from newer artists at the time 
The amount of crossover between the AC chart and the Hot 100 has varied based on how much the passing pop music trends of the times appealed to adult listeners  Not many disco or new wave songs were particularly successful on the AC chart during the late 1970s and early 1980s, and much of the hip-hop and harder rock music featured on CHR formats later in the decade would have been unacceptable on AC radio 
Although dance-oriented, electronic pop and ballad-oriented rock dominated the 1980s, soft rock songs still enjoyed a mild success thanks to Sheena Easton, Amy Grant, Lionel Richie, Christopher Cross, Dan Hill, Leo Sayer, Billy Ocean, Julio Iglesias, Bertie Higgins, and Tommy Page  No song spent more than six weeks at No  1 on this chart during the 1980s, with nine songs accomplishing that feat  Two of these were by Lionel Richie, "You Are" in 1983 and "Hello" in 1984, which also reached No  1 on the Hot 100 
In 1989, Linda Ronstadt released Cry Like a Rainstorm, Howl Like the Wind, described by critics as "the first true Adult Contemporary album of the decade", featuring American soul singer Aaron Neville on several of the twelve tracks  The album was certified Triple Platinum in the United States alone and became a major success throughout the globe  The Grammy Award-winning singles, "Don't Know Much" and "All My Life", were both long-running No  1 Adult Contemporary hits  Several additional singles from the disc made the AC Top 10 as well  The album won over many critics in the need to define AC, and appeared to change the tolerance and acceptance of AC music into mainstream day to day radio play 

1990s: Subgenre formations/radio crossovers
The early 1990s marked the softening of urban R&B in the shape of new jack swing, at the same time alternative rock emerged and traditional pop saw a significant resurgence  This in part led to a widening of the market, not only allowing to cater to more niche markets, but it also became customary for artists to make AC-friendly singles  At the same time, the genre began adopting elements from hard rock as tastes were shifting towards louder music, while AC stations in general began playing more rock acts  "Softer" features such as light instrumental music (carried over from the beautiful music format—many AC stations carried the format until the early 1970s), new age songs and most pre-1964 artists were gradually phased out from AC radio throughout the early to mid-1990s 
Unlike the majority of 1980s mainstream singers, the 1990s mainstream pop/R&B singers such as All-4-One, Boyz II Men, Christina Aguilera, Backstreet Boys and Savage Garden generally crossed over to the AC charts  Latin pop artists such as Lynda Thomas, Ricky Martin, Marc Anthony, Selena, Enrique Iglesias and Luis Miguel also enjoyed success in the AC charts 
In addition to Celine Dion, who has had significant success on this chart, other artists with multiple number ones on the AC chart in the 1990s include Mariah Carey, Phil Collins, Michael Bolton, Bryan Adams, Whitney Houston and Shania Twain  Newer female Adult album alternative singer-songwriters such as Sarah McLachlan, Natalie Merchant, Jewel, Melissa Etheridge and Sheryl Crow also broke through on the AC chart during this time In 1996, Billboard created a new chart called Adult Top 40, which reflects programming on radio stations that exists somewhere between "adult contemporary" music and "pop" music  Although they are sometimes mistaken for each other, the Adult Contemporary chart and the Adult Top 40 chart are separate charts, and songs reaching one chart might not reach the other  In addition, hot AC is another subgenre of radio programming that is distinct from the Hot Adult Contemporary Tracks chart as it exists today, despite the apparent similarity in name 
In response to the pressure on Hot AC, a new kind of AC format cropped up among American radio recently  The urban adult contemporary format (a term coined by Barry Mayo) usually attracts a large number of African Americans and sometimes Caucasian listeners through playing a great deal of R&B (without any form of rapping), gospel music, classic soul and dance music (including disco) 
Another format, rhythmic AC, in addition to playing all the popular hot and soft AC music, past and present, places a heavy emphasis on disco as well as 1980s and 1990s dance hits, such as those by Amber, and Black Box, and includes dance remixes of pop songs, such as the Soul Solution mix of Toni Braxton's "Unbreak My Heart" 
In its early years of existence, the smooth jazz format was considered to be a form of AC, although it was mainly instrumental, and related a stronger resemblance to the soft AC-styled music  For many years, George Benson, Kenny G and Dave Koz had all had crossover hits that were played on both smooth jazz and soft AC stations 

2000s–present: AC music goes mainstream and mainstream music goes AC
During the 2000s, the AC market gained an increased presence in the music industry, as its radio formats were popular nationwide—Smooth jazz and "Urban AC" stations were ubiquitous in the East Coast, while Soft rock and "adult standards" stations were common in the Midwest, and pop-oriented "Hot AC" and "world music"/Hispanic AC stations were easily found in the West Coast and the "Sun Belt"  This led to the presence of numerous genres on the AC charts, often crossing to the "pop" charts, winning over many critics in the need to define AC, and increased the tolerance and acceptance of AC music into mainstream day-to-day radio play 
Josh Groban's single "You Raise Me Up" and Michael Bublé's cover of "Fever" are often cited as key examples of the high production values and ballad-heavy sound that defined 2000s-era AC, often dubbed as "jazz-pop", heavily carrying classical, jazz and traditional pop influences  Artists such as Nick Lachey, James Blunt, Jamie Cullum, John Mayer, Jason Mraz, Norah Jones, Diana Krall, Amy Winehouse and Susan Boyle also achieved great success during this period  During most of the 2000s, country music/countrypolitan musicians such as Kelly Clarkson, Clay Aiken, Billy Joel, Garth Brooks, Shania Twain, LeAnn Rimes and Carrie Underwood scored hits on soft AC, particularly in Southern states  A popular trend in the late 1990s and 2000s was remixing dance music hits into adult contemporary ballads, especially in the US, (for example, the "Candlelight Mix" versions of "Heaven" by DJ Sammy, "Listen To Your Heart" by D H T , and "Everytime We Touch" by Cascada) 
Key to the success of AC in the 2000s was the 25–34 demographic which had outgrown the pop music offerings of the time, most new rock became too alternative and harsh for AC radio and most new pop was now influenced heavily by dance-pop, hip-hop and electronic dance music  At the same time, the music industry also began to focus on older audiences and markets generally considered "niche" 
During the late 2000s, certain pop songs began entering the AC charts instead, generally after having recently fallen off the Hot 100  Adrian Moreira, senior vice president for adult music for RCA Music Group, said, "We've seen a fairly tidal shift in what AC will play"  Rather than emphasizing older songs, adult contemporary now began playing many of the same songs as top 40 and adult top 40, but only after the hits had become established  An article on MTV's website by Corey Moss describes this trend as: "In other words, AC stations are where pop songs go to die a very long death  Or, to optimists, to get a second life " As adult contemporary has long characterized itself as family-friendly, "clean" versions of pop songs began appearing on the AC chart, as were the cases of "Perfect" by P!nk, and "Forget You" by Cee Lo Green, both in 2011 AC radio's shift into more mainstream pop was a result of the changes on the broadcasting landscape following the 2005–2007 economic downturn and eventual recession, as advertisers preferred more profitable chart-based formats, which meant the demise of many AC-based formulas, primarily those aimed at older audiences, with tastes changing towards more modern music among all age groups  Diminishing physical record sales throughout the 2010s also proved a major blow to the AC genre, and there are concerns that the portable people meter, a device being used to determine radio listenership, may be incompatible with AC songs and may not accurately pick up that a person is listening to an AC station because of the pitches and frequencies used in the style Key AC artists of the early to mid-2010s included Bruno Mars, Coldplay, Adele, Arcade Fire, Meghan Trainor, Maroon 5 and Ed Sheeran, featuring a more pop-influenced, uptempo style than the typical AC fare of previous years, also featuring production values reminiscent of the Motown sound and the so-called Wall of Sound that dominated the soul-heavy pop charts of the early 1960s, when the Easy Listening chart was first introduced  The earlier years of the decade also saw alternative and indie rock acts such as Wilco, Feist, The 1975, Imagine Dragons, Mumford & Sons, Of Monsters and Men and The Lumineers quickly becoming AC mainstays, although these were eventually replaced by rhythm-based rock bands such as Panic! at the Disco, Neon Trees, X Ambassadors, Sheppard, Bastille, American Authors, Fitz and the Tantrums, Foster the People, Twenty One Pilots, Walk the Moon and Milky Chance



ground_truth: ATS - 6 (Applications Technology Satellite - 6)

ATS-6

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

Question: During the war in which The Things They Carried is set, when was conscription introduced by the country where the film Grievous Bodily Harm was later released?

The following are given passages.
Context 4: 
During the middle of the decade, newer artists such as CeeLo Green, OneRepublic, Rachel Platten, Christina Perri, Andy Grammer, James Bay, Sara Bareilles, Shawn Mendes, Sia, Sam Smith, Gavin Degraw, Charlie Puth and Colbie Caillat as well as acts that were popular in the 1990s and early 2000s such as Britney Spears and Christina Aguilera were added to the rotation of most AC stations 
As trap music and similar styles of hip-hop began dominating top 40 stations during the last years of the 2010s, AC stations began picking up rhythmic artists like Rihanna, Lady Gaga, Ellie Goulding, Taio Cruz and Pitbull as well as EDM artists like Avicii, Daft Punk, Calvin Harris, David Guetta and Tiesto  Meanwhile, younger artists like Camila Cabello, Justin Bieber, Selena Gomez, Ariana Grande, Nick Jonas and the Jonas Brothers and Halsey began to be featured on AC stations more than on top 40 stations 

Adult contemporary formats
In radio broadcasting, adult contemporary is divided into several sub-formats, each with their own musical direction and demographic targeting  Hot adult contemporary formats generally feature an uptempo rotation of recent hits that appeal to a wide adult audience  A station formatted as "adult contemporary" with no qualifier, also referred to as "mainstream adult contemporary", generally has a similar playlist to hot AC stations, but with a broader rotation of classic hits from past decades Soft adult contemporary formats have a more conservative sound oriented primarily towards adult women, urban AC focuses on R&B and soul music that appeal to African American adults, and rhythmic AC focuses on dance music and other rhythmic genres 

Hot adult contemporary
Hot adult contemporary (hot AC) radio stations play a wide range of the present day's popular music that appeals towards the 18–54 age group; it serves as a middle ground between the youth-oriented contemporary hit radio (CHR) format, and adult contemporary formats (such as "mainstream" and soft AC) that are typically targeted towards a more mature demographic  They generally feature uptempo hit music with wide appeal, such as pop and pop rock songs, while excluding more youth-oriented music such as hip-hop  Recurrents usually reflect familiar and youthful music that adults had grown up with  Likewise, mature material from pop acts such as the Backstreet Boys, Jason Mraz, John Mayer, and Pink have also been prominent within the format The "hot AC" designation began to appear in the 1990s, to describe adult contemporary stations with a more energetic presentation and uptempo sound than their softer counterparts  An early example of the format, Houston's KHMX Mix 96 5, climbed from 14th place in the market to 3rd in the six months after its launch  The station's format and branding was widely replicated by other stations  Many hot AC outlets are among the top stations in their respective market Initially focused more on pop rock, the format has evolved to reflect changes in the composition of this audience; by the mid-2000s, the format had evolved to include more uptempo pop music, while alternative and indie rock crossovers (such as Foster the People, Imagine Dragons, Lovelytheband, and Twenty One Pilots) became more prevalent within the format during the 2010s These developments helped to expand the popularity of the format among younger listeners such as millennials; Nielsen Audio ranked hot AC as the third most-popular format among millennials, behind pop and country music  Of the format's expanding demographic reach, WOMX-FM program director Dana Taylor stated that hot AC stations "may not be the radio station that everybody agrees on, but it's a radio station that everybody goes, 'I'm okay with that' " The increasingly downtempo direction of pop hits in the mid-to-late 2010's also helped to attract additional listeners Hot AC stations typically keep a larger body of recent hits in rotation than those with rigid, chart-driven formats like CHR and urban contemporary  As these stations' playlists have become concentrated towards airing only the current hits at a given time, hot AC airplay can build and sustain a song's popularity over a long-term period  This effect has been credited in helping build an audience for early singles from new acts such as Adele, Rachel Platten ("Fight Song", which gained prominence for its use during Hillary Clinton's 2016 US presidential election campaign), and Max Schneider (whose 2016 single "Lights Down Low", over a year after its original release, became a sleeper hit on the Billboard Mainstream Top 40 and Hot 100 due in part to strong hot AC airplay) The popularity of the hot AC format prompted many mainstream AC stations to add uptempo music to their playlists, while still maintaining a deeper rotation of older hits than hot AC stations 

Modern adult contemporary
Modern adult contemporary refers to AC formats with a stronger lean towards modern rock and pop rock 
In the 1990s and early 2000s, modern AC was typically targeted towards women, with Mike Marino of KMXB in Las Vegas describing the format as reaching "an audience that has outgrown the edgier hip-hop or alternative music but hasn't gotten old and sappy enough for the soft ACs " The format typically focused on female rock acts such as Shawn Colvin, Sheryl Crow, Indigo Girls, Jewel, and Sarah McLachlan, and folk rock-influenced bands such as Counting Crows and The Wallflowers  Today, the format is fairly uncommon, with KTCZ in the Minnesota Twin Cities being one of the few modern AC stations left 

Soft adult contemporary
The Soft adult contemporary format typically targets women 25–54 and at-work listening  Soft AC playlists are generally conservative in comparison to hot AC, focusing on pop and power ballads, soft rock, and other familiar, light hits  Upon its establishment in the 1980s, the soft AC format was positioned as being a more upbeat version of easy listening that would appeal better to a younger audience, mainly by excluding instrumental beautiful music  Easy listening stations had begun shifting to the format out of concern that their existing programming would not appeal to the current generation of listeners In a 1990 article, James Warren of the Chicago Tribune characterized soft AC stations as being "as middle-of-the-road and unthreatening as modern media get", with personalities that were encouraged to be as inoffensive and "low-profile" as possible, and a more conservative music library than hot AC-leaning stations  In particular, Chicago's WLIT did not have its airstaff talk over the beginning and endings of songs (in contrast to the hot AC-leaning WFYR), and played Bob Seger's "We've Got Tonite" but not "Old Time Rock and Roll" (which was part of WTMX's playlist)  The director of a soft AC station in Connecticut, WEZN-FM, told Warren that he had barred the reading of top-of-hour news headlines, so that listeners wouldn't be tempted to tune away to an all-news station to learn more Soft AC stations tend to be more selective in their music libraries than other adult contemporary stations, preferring proven songs over current hits  Upon the onset of the format's popularity, core artists typically included singers such as Nat King Cole, Perry Como, Neil Diamond, Barry Manilow, Johnny Mathis, and Barbra Streisand  By the 1990s, to improve their appeal among changing demographics, some soft AC stations began to widen their playlist to include selections from contemporary acts with 80s, & 90s, musicians & bands such as Bon Jovi, Bryan Adams, Celine Dion, Roxette, Mariah Carey, Eric Clapton, Phil Collins, Elton John, Cher, Whitney Houston, Journey, and Queen  On the other hand, by 1996, New York's WLTW had begun to phase out its softer music in favor of a more uptempo direction In 2017, Inside Radio reported that soft AC had the third-largest decrease in US stations offering the format over the past decade (at 128), ranking behind only adult standards and oldies—a shift credited to aging demographics and a major boom in the wider-appealing classic hits format (which saw the largest overall increase over the same period)  Consultant Gary Berkowitz argued that the soft AC format had become increasingly irrelevant in comparison to mainstream and hot AC, due to PPM markets preferring uptempo music At the same time, however, soft AC began to experience a resurgence  In April 2016, iHeartMedia flipped its San Francisco classic soul station KISQ to soft AC as The Breeze; as of November 2018, it was the top station in the Bay Area  The trend continued into 2017 and 2018, with iHeartMedia extending its Breeze brand to other soft AC flips, and the brand (among others) being adopted by competitors such as Entercom  Industry analyst Sean Ross argued that older demographics were becoming more lucrative due to changes in listening habits among younger audiences, which prefer digital platforms such as music streaming services over linear terrestrial radio, and also noted how mainstream AC was dependent on the Top 40 charts to break new songs Current soft AC stations have continued to feature recurrents such as Michael Bolton, Celine Dion, Elton John, Fleetwood Mac, Hall & Oates, and Whitney Houston, while contemporary musicians such as Adele and Michael Bublé have also become modern fixtures of the format  In addition, the soft AC sound has diversified to include more songs that are "safe and universal" and not necessarily "soft", with Ross presenting Examples such as Simple Minds' "Don't You (Forget About Me)", as well as the retroactively-defined genre of yacht rock  Over time, some stations have gradually adjusted their playlists to include more recurrents from the 1980s and 1970s (although not to the same extent as other "soft oldies" formats, such as MeTV FM, which have also grown in popularity) 

Urban adult contemporary
The Urban adult contemporary format focuses primarily on current and classic R&B and soul music,  The format typically targets African-American adults: July 2018 numbers from Nielsen Audio recorded it as the top format among African-Americans 25–54 and 35–64  It also has a sizable popularity among younger listeners, ranking behind urban contemporary as the second-most popular format among African-American adults 18–34 in the same report, with an 18 9 audience share The format typically excludes youthful rhythmic music, such as commercial hip-hop and rap, that are usually associated with the urban contemporary format  The urban AC format is also associated with the "quiet storm"—mellower R&B ballads and slow jams, often in a jazz-influenced style  The syndicated evening program Keith Sweat Hotel focuses specifically on such music As urban contemporary stations prefer hit-driven hip-hop songs, labels typically service R&B songs to the urban AC format only  Some current R&B musicians have complained that this is an artificial divide that prevents them from reaching a wider, mainstream audience (citing the relatively smaller number of urban AC outlets in comparison to urban and rhythmic), even with attempts to give some singles a hip-hop-influenced sound to improve the potential for crossover appeal  Some acts have attempted to disassociate themselves from "R&B" to reduce the effect of this stigma, although streaming services have helped to expose R&B to a wider audience beyond urban AC radio 

Rhythmic adult contemporary
The Rhythmic adult contemporary format generally focuses on a variety of current and classic dance music, such as dance-pop, hip-hop, and R&B (often resembling a blend of the Classic hits and hot AC formats in practice)  The exact composition of current and recurrent content can vary between stations, depending on local cultures and the heritage of rhythmic formats in the market, ranging from late-80s/early-90s dance hits (including latin freestyle), to disco and Motown  Rhythmic hot AC has also been used as a format, popularized by stations such as New York's WKTU 

Smooth adult contemporary
The Smooth adult contemporary format is a variant of the smooth jazz format that incorporates mainstream and/or urban adult contemporary songs; they are designed to appeal to a wider range of demographics than a straight smooth jazz format  Some smooth AC stations may limit their airplay of jazz instrumentals to those by better-known performers such as Kenny G 

Christian adult contemporary
Contemporary Christian music (CCM) has several subgenres, one being "Christian AC"  Radio & Records, for instance, lists Christian AC among its format charts  There has been crossover to mainstream and hot AC formats by many of the core artists of the Christian AC genre, notably Amy Grant, Michael W  Smith, Kathy Troccoli, Steven Curtis Chapman, Plumb, and more recently Big Daddy Weave, Casting Crowns, For King & Country, Lauren Daigle, MercyMe, and Newsboys 

Adult album alternative
The Adult album alternative (triple-A or AAA) format generally features a diverse playlist of music that appeals to an adult audience, with a focus on emerging songs and artists, and often featuring songs that were not released as singles  The exact composition of a triple-A station's playlist can vary, with alternative rock, indie rock, and indie pop commonly used as core genres, and some stations featuring more uncommon genres such as alternative country, Americana, blues, folk music, and world music  NPR observed in 2018 that roughly half of all triple-A stations in the U S  were non-commercial stations  With the wide variety of music that is serviced to the format, adult album alternative charts have often served as a feeder for the Adult Top 40, and have been credited for breaking acts such as Dave Matthews Band and Lorde 

Christmas music
Since the 1990s it has become common for many AC stations, particularly soft AC stations, to play primarily or exclusively Christmas music during the Christmas season in November and December  While these tend mostly to be contemporary seasonal recordings by the same artists featured under the normal format, most stations will also air at least some vintage holiday tunes from older pop, MOR, and adult standards artists – such as  
Boney M , The Carpenters, Nat King Cole, Perry Como, Bing Crosby, Percy Faith, Mannheim Steamroller, Dean Martin, Johnny Mathis, Trans-Siberian Orchestra, and Andy Williams – many of whom would never be played on these stations during the rest of the year 
These Christmas music marathons typically start a few weeks before Thanksgiving Day and end after Christmas Day, or sometimes extending to New Year's Day  Afterwards, the stations usually resume their normal music fare  Several stations begin the holiday format much earlier, at the beginning of November especially after Halloween  The roots of this tradition can be traced back to the beautiful music and easy listening stations of the 1960s and 1970s 

Syndicated radio shows and networks carrying the adult contemporary format
Delilah – One of the US's most popular radio shows, Delilah airs primarily in the evening  Its Christmas Edition airs from mid-November to late December 
Intelligence for Your Life – Hosted by John Tesh, this show also airs evenings and also on weekends 
American Top 40 with Ryan Seacrest – One version of AT40 airs on US hot AC stations, which is a little different from its Top-40/CHR counterpart 
Rick Dees Weekly Top 40/Weekly Top 30 – Began offering Hot AC versions of the popular countdown show in June 1996  These shows feature the top 20 Hot AC songs in the US along with about 10 past hits from the 1980s, 1990s and early 2000s (decade)  A softer "AC" version was added in July 2009 to try to fill in the void left by Casey Kasem ending his AC countdown 
Radio Disney Music Top 30 Countdown, One version is for Hot AC stations, the other version is for Mainstream AC stations  Plays the USA Top 30 songs of the week according to Mediabase and a music rating service called ratethemusic com  This show, like Rick Dees' show, is distributed by Compass Media Networks 
Backtrax USA with Kid Kelly – Weekend programs focusing on the '80s and '90s, targeted for hot AC stations 
ABC and Dial Global both offer AC 24-hour networks programming soft and hot AC 
Tom Joyner and Steve Harvey have popular morning shows that air on urban AC (and sometimes Hip-Hop) stations  Both shows are often heard on competing stations in the same city, such as St  Louis, Philadelphia and Atlanta  Joyner's show is syndicated by ABC Radio, and Harvey's show by Premiere Radio Networks 
Retro Rewind with Dave Harris is a weekend-based radio show highlighting a massive playlist of songs from the 1980s and 1990s, interviews, spotlights and contests  The show is done live across the US on Saturday nights, taking audience requests  The show is targeted towards HOT AC and AC radio stations 
The EZ Rock network is a brand/network of soft AC heard in Canada 
Heart - A radio network in the UK that grew throughout 2009 as more stations were rebranded as "Heart" 
Smooth Radio – A UK-wide radio network that formed from six regional Smooth Radio stations 
Smoothfm – A network of two Australian commercial radio stations (based in Sydney and Melbourne) that are focused on providing an eclectic easy-listening playlist, usually featuring ballads 
Nova – A network of five Australian commercial radio station (based in Sydney, Melbourne, Brisbane, Adelaide and Perth) that are very similar to Smoothfm 
The Breeze – A group of New Zealand adult contemporary radio stations owned by MediaWorks Radio  There are 20 stations currently broadcasting throughout New Zealand 
The Bob and Sheri Show – American morning drive show based in Charlotte, North Carolina  Heard on more than 50 AC stations and the American Forces NetworkFormer syndicated programming includes Dick Clark's US Music Survey (1996–2005), Casey's Hot 20/Casey's Countdown/American Top 20/10 (1992–2009) and Top 30 USA 

See also
Adult Contemporary, a chart appearing in Billboard since 1961  This chart is typically (but not exclusively) closer to soft AC 
New-age music
Yacht rock
Passage 4:
The One That Got Away (Katy Perry song)
"The One That Got Away" is a song by American singer-songwriter Katy Perry from her third studio album, Teenage Dream (2010)  The song was produced by Dr  Luke and Max Martin, both of whom also co-wrote the song with Perry  The song is a mid-tempo pop ballad about a lost love  It features a reference to the rock band Radiohead, and compares the strength of the relationship to that of Johnny Cash and June Carter Cash  The song was released on September 30, 2011, by Capitol Records as the album's sixth single 
"The One That Got Away" peaked at number three on the Billboard Hot 100, with Teenage Dream becoming the seventh album in the 53-year history of the Hot 100 to generate at least six top 10s  The single reached the top of the Billboard Hot Dance Club Songs, Adult Top 40, and Mainstream Top 40 charts 
The accompanying music video for the song was directed by Floria Sigismondi and premiered in November 2011, featuring actor Diego Luna  An official remix featuring rapper B o B was released to digital retailers on December 20, 2011  An official acoustic rendition was released to digital retailers on January 16, 2012, this version was included in Teenage Dream: The Complete Confection edition  The song has been covered by several artists, including Kelly Clarkson, Olivia Rodrigo and Conan Gray, Richard Marx, Jordan Pruitt, Selena Gomez & the Scene, and Tate McRae 

Release and artwork
On September 13, 2011, at the New York City's Irving Plaza, Capitol Records confirmed to Billboard that "The One That Got Away" would be the sixth single from Teenage Dream  Perry said in a statement from the label:

"I'm so pleased to select 'The One That Got Away' as my sixth single because this song shows a very different side of me that I haven't shown with my past singles on this record, I think that everyone can relate to this song  I wrote [it] about when you promise someone forever, but you end up not being able to follow through  It's a bittersweet story  Hopefully, the listener learns from hearing it and never has to say they had 'The One' get away "
Later that month, Perry wrote the following message on her Twitter account: "The One That Got Away    It's happening!!!", along with a picture of the official single artwork  The artwork shows a pink-haired Perry looking up at the sky while wearing a disc-shaped hat  The photo gives a whimsical nod to the 1970s, with its distinctively retro appearance  On September 30, the song received radio airplay release in France  Soon it was followed by the release of the song to American mainstream and rhythmic contemporary radio stations on October 11  The single was issued to Italian radios through EMI Music Publishing on October 28  On December 2, the remix EP of "The One That Got Away" was released  The remix featuring American rapper B o B was issued by Capitol Records to American pop and rhythmic radios on December 15, followed by a digital release of the song five days later  Acoustic rendition of the song was released on January 16, 2012 Capitol Records said that they are not specifically releasing the song in hopes of it reaching number one and rewriting Hot 100 history (since Perry was the first woman to obtain five number ones on the chart from one album), rather the decision came out of "Perry's fondness for the song, its ear-catching hook and her obvious track record of success at pop radio"  EMI Music/Capitol Records EVP/marketing and promotion Greg Thompson told Billboard that, "if it goes to No  1, that would be great, If not, we still have a Katy song on the radio in fourth quarter", presumably boosting sales for Teenage Dream in the Christmas season 

Composition and writing
Originally titled "In Another Life", the song was produced by Dr  Luke and Max Martin, both of whom co-wrote it with Perry  It is a midtempo pop song positioned on the piece of E major and has a tempo of 134 beats per minute  Joanna Holcombe from Yahoo! Music noted that the song is about first loves  Leah Greenblatt from Entertainment Weekly, said that the song is "a midtempo ode to a summer-after-high-school love with whom she recalls sharing Mustang makeout sessions to Radiohead'"  Michael Wood from Spin magazine said that the song is one of the album's quieter cuts and that it recalls "Perry's singer-songwriter days at L A 's Hotel Café"  The song follows the chord progression of E–G♯m–C♯m–A, and Perry's vocal range spans from B3 to E5  Kitty Empire noticed that Perry's vocal is wistful throughout the song and that the references to June Carter Cash and Johnny Cash were unexpected  Rob Sheffield from Rolling Stone stated that when Perry sings, 'I was June, and you were my Johnny Cash,' "it's understood that she's thinking of the scrubbed-up Hollywood version of June and Johnny, from Walk the Line " After death of actor Johnny Lewis, media outlets speculated that the song was about him  In 2017, the singer revealed that "The One That Got Away" was about Josh Groban 

Critical reception
The song received mostly positive reviews from critics 
Kerri Mason from Billboard described the song as "delectable", noting that it has more texture than anything on Perry's previous album, One of the Boys  Mikael Wood from Spin magazine said that although "Perry delivers the gurl-gone-wild stuff with requisite sass", she actually "sounds more engaged on 'Not Like the Movies,' and 'The One That Got Away'  Similarly, Kitty Empire from The Guardian praised the collaboration, stating that Perry and Luke are at their most appealing in the song  In a similar note, Rob Sheffield from Rolling Stone, stated that Perry is more at home with the mall romance of "The One That Got Away"  The same opinion was echoed by Greg Kot from Chicago Tribune who felt that Perry sounds more invested in the more "serious" songs on the album, such as "The One That Got Away"  However, he added that it's as if Perry is "determined to balance the summer frothiness with a few shots of 'adult' earnestness"  Leah Greenblatt from Entertainment Weekly was not satisfied with the selection of the song as the sixth single, noting that there are better songs on the album that could have been chosen instead  Robert Copsey of the website Digital Spy awarded the song with four out of five stars and said:

"'Summer after high school, when we first met/ We make out in your Mustang, to Radiohead,' Katy Perry reminisces on the opening of her latest, potentially record-breaking single  We've always known that she had a penchant for the alt-rock, but we wonder if KP's 18-year-old self ever thought she'd be substituting the sounds of Thom Yorke and co  for the sugar-coated melodies that have made her one of the best-known artists on the planet today? 'Used to steal our parents' liquor, and climb through the roof/ Talk about our future, like we had a clue,' she continues over a toe-tapping drum beat and delicate piano riff as she agonises over the loss of her one true love  'In another life, I would be your girl/ We'd keep all our promises/ Be us against the world,' she mourns on a chorus as instantly satisfying as a mugful of Kenco  Word of advice Katy, we'd keep this one well away from Russell if you want to avoid history repeating itself "

Chart performance
On the week ending October 16, 2011, the song debuted at number 94 on the Billboard Hot 100 
In its sixth week it entered the top 10, making Teenage Dream one of only seven albums in Billboard's 53-year history to have six singles enter the top 10  On the chart dated December 24, 2011, the single entered the top five, making Teenage Dream the third album to have six or more top-five singles from one album on the chart following Rhythm Nation 1814 by Janet Jackson and Faith by George Michael  On the charts dated January 7, 2012, helped by the release of the remix with B o B , the single topped the Hot Dance Club Songs chart, the seventh song on the album to do so, setting a new record in the chart  The same week, the song peaked at number three on the Hot 100, making it Perry's only Teenage Dream single to fail to reach number one  As of January 2015, the song has sold more than 2,750,000 copies in the United States alone "The One That Got Away" debuted at number 87 in Australia on the week ending October 10, 2011  before peaking at number 27  In New Zealand, the song debuted at number 40 and later peaked at number 12  It was certified gold by the Recording Industry Association of New Zealand (RIANZ) after selling 7,500 copies there 

Music video
Background
Perry started filming for the video on September 30, 2011  Filming ended on October 2, 2011  The video was shot at the Lima Residence, a contemporary home located in Calabasas, an affluent city in Los Angeles County, California  Mexican actor Diego Luna plays Perry's boyfriend in the video  Photos from the set surfaced online, showing Perry wearing a conservative long-sleeved dress as well as sporting gray hair and prosthetic face wrinkles  The video was directed by Floria Sigismondi, who previously directed the video for "E T " The music video premiered on November 11, 2011 On November 4, 2011, a teaser for the video was released, narrated by Stevie Nicks  Nicks provides the elderly woman's voice, speaking about the past and her desire to go back for one day  The video contains scenes of Katy Perry and her past boyfriend (Luna) fighting, intertwined with scenes of them in love  She is later shown as a nostalgic, elderly woman dressed conservatively and standing by a fence looking into the distance  A seven-minute extended version of the video was shown on November 11, 2011, exclusively at select advance screenings of the motion picture My Week with Marilyn  As of March 2021, the video has more than 900 million views on YouTube 

Synopsis
Released on November 11, 2011, the video begins with an elderly woman (Perry) in a white long-sleeved dress entering her modernistic home, returning from a meeting  After she walks past her husband (played by Herman Sinitzyn), he asks her “How was it?”, and she responds by simply saying “It was fine ”, hinting that the two are in a loveless marriage  While making herself a cup of coffee, the elderly woman, unhappy with her present situation, begins to think about her colorful past when the song begins: her younger self with her artist boyfriend (Luna)  As the song plays, the happy girl and the boyfriend paint portraits of each other, dress up wildly, dance at a stranger's wedding, and give each other a makeshift tattoo 

As the elderly woman sadly reminisces while sitting on her (and the husband's) fancy bedroom alone in a silk nightgown, her younger self and the boyfriend get into an argument which culminates in her splashing red paint on one of his elaborate paintings after he did the same to one of hers and he leaves angrily then drives away  The woman's younger self appears to her older self's bedroom with each on the bed as they both sing  The younger version is also shown in her older self's closet, crying and singing while the boyfriend is seen driving in a Ford Mustang to blow off steam from the fight  At the same time in the present, the older woman is shown driving out of her garage in a similar type of car as the boyfriend is driving in the flashback 
The boyfriend opens the sun visor above him while driving and finds the veil of the dress the younger version of Perry had worn at the wedding  He stares at the veil, hinting that he decides to make up with her  But he is too distracted by the veil and does not notice the large boulders on the road from a small rock slide  He swerves to avoid the rocks and accidentally drives off a cliff, dying in the subsequent crash without getting a chance to make up, while the woman's younger self collapses at the same time (possibly representing the death of her colorful personality)  The song ends abruptly as the sounds of the car violently rolling down the cliff are heard 
While Johnny Cash's cover of "You Are My Sunshine" plays quietly in the background, the woman's older self now sports a dark conservative long-sleeved dress and is revealed to have driven to that same spot where the boyfriend had died  She walks up to the edge of the cliff and leans against a fence when the boyfriend (either a ghost or a hallucination) appears before her on the other side of the fence  The two hold hands, revealing matching tattoos on their hands  When the older woman snaps back to reality, the Johnny Cash music stops suddenly and the boyfriend vanishes  Saddened, the elderly woman turns back and silently walks away from the cliff to return home as the screen fades to black 

Reception
Jillian Mapes of Billboard commented that the video was "beautifully-shot" and praised the interesting plot  A writer of Rolling Stone wrote: "It's a cute clip for a sweet song, but the heavy-handed aging makeup is hard to get over " Erin Strecker from Entertainment Weekly compared the video with Titanic (1997) and Rihanna's video for "We Found Love"  Strecker also noted that the video was more "tragic" than he was expecting from Perry  Jocelyn Vena of MTV News said: "Katy Perry's moody, contemplative clip for 'The One That Got Away' perfectly encapsulates both the joy of falling in love and the heartbreak of letting go  It travels through time and space and recalls the story of Perry's one that got away " Consequence of Sound's Chris Coplan called the video a "little more somber" than the videos Perry made for "E T " and "Last Friday Night (T G I F )" 

Other versions
A seven-minute director's cut version was shown exclusively at select advance screenings of the motion picture My Week with Marilyn on November 11, 2011  The extended version shows a more cinematic side to the plot of the original music video and includes never-before-seen footage, as well as extended dialogue between the characters 
On January 17, 2012, Electronic Arts announced that they would be teaming up with Perry to help promote their new expansion pack for The Sims game franchise called The Sims 3: Showtime, which sees the release of a limited collector's edition that contains in-game content based on herself  An official music video for "The One That Got Away" featuring Perry as a Sim was uploaded on EA's YouTube channel  The storyline shows a female Sim and a male Sim falling in love and getting married  One day, the male Sim collapses in the bathroom floor, he is taken to the hospital and then dies  His wife is then seen mourning at his funeral  Suddenly, she is transported "to another life", Katy Perry's Candyfornia featured in her "California Gurls" music video, where her love interest is still alive and well; they eventually reunite and kiss  It also features most of the in-game content that will be included for the collector's edition of The Sims 3: Showtime and in the stuff pack The Sims 3: Katy Perry's Sweet Treats  As of 2022, the video is reach 1 million views 

Live performances and other versions
"The One That Got Away" was part of the setlist of Perry's worldwide 2011 concert tour, California Dreams Tour  On October 16, 2011, Perry performed the song on the UK version of The X Factor  Perry performed the song at the American Music Awards on November 20, 2011  Her AMA 2011 performance was followed by a lengthy standing ovation, and presentation of a special award acknowledging Perry as the only female to have five number-one singles from the same album in the United States  Perry performed the song as part of a Live Lounge special for BBC Radio 1's Fearne Cotton on March 19, 2012, along with "Part of Me", "Firework", "Thinking of You" and a censored version of "Niggas in Paris" A remix featuring American rapper B o B was released in December 2011  B o B added two new verses, one at the beginning and another replacing the bridge of the album version of the song  The decision for Capitol Records to release a remix and reduce the price of the song to give Perry a sixth number-one song has been criticized by some, noting that this is not Perry's first time adding a featured guest to her single releases  The hit single "E T ", was modified with verses from Kanye West, while "Last Friday Night (T G I F )" was given a remix featuring Missy Elliott  However, Billboard, which compiles the charts, have issued multiple columns defending Perry and Capitol, underlining that they are operating under chart rules and that numerous other acts, such as Rihanna and Britney Spears, used the same tactics for charting purposes over the years  An acoustic version of the song, produced by Jon Brion, was released to the iTunes Store on January 16, 2012, garnering more favorable reviews, with critics noting that "The One That Got Away" sounds very naturally as a ballad  Perry's label, Capitol Records, sponsored a contest in January 2012 encouraging fans to record their own acoustic version of the song for a chance to have it featured on Perry's Facebook wall  The song was also included in the setlist of The Prismatic World Tour, in which it is interpolated with Perry's 2009 song "Thinking of You" 
A violin cover of the song by music student Grace Youn, which Youn had uploaded to YouTube in 2011, was used in the opening scene of Perry's 2012 documentary, Katy Perry: Part of Me  American Idol contestant Alyssa Raghu sang the song in front of Katy Perry on the Top 10 Reveal episode of Season 17 

Formats and track listings
Credits and personnel
Credits adapted from Teenage Dream album liner notes 

Charts
Certifications
Release history
See also
List of Billboard Dance Club Songs number ones of 2012
List of Billboard Hot 100 top-ten singles in 2012



ground_truth: 1964