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When the series returned in 2011, MTV allowed Beavis to use the word "fire" once again uncensored. During the first video segment, "Werewolves of Highland", the first new episode of the revival, Beavis utters the word "fire" a total of seven times within 28 seconds, with Butt-Head saying it once as well. In February 1994, watchdog group Morality in Media claimed that the death of eight-month-old Natalia Rivera, struck by a bowling ball thrown from an overpass onto a highway in Jersey City, New Jersey, near the Holland Tunnel by 18-year-old Calvin J. Settle, was partially inspired by "Beavis and Butt-Head". The group said that Settle was influenced by the episode "Ball Breakers", in which Beavis and Butt-Head load a bowling ball with explosives and drop it from a rooftop. While Morality in Media claimed that the show inspired Settle's actions, the case's prosecutors did not. It was later revealed by both prosecutors and the defendant that Settle did not have cable TV, nor did he watch the show. MTV also responded by broadcasting the program after 11:00 p.m. and included a disclaimer, reminding viewers:
Beavis and Butt-Head are not real. They are stupid cartoon people completely made up by this Texas guy whom we hardly even know. Beavis and Butt-Head are dumb, crude, thoughtless, ugly, sexist, self-destructive fools. But for some reason, the little wienerheads make us laugh. This was later changed to: Beavis and Butt-Head are not role models. They're not even human. They're cartoons. Some of the things they do would cause a person to get hurt, expelled, arrested, possibly deported. To put it another way: don't try this at home. This disclaimer also appears before the opening of their Sega Genesis and Super NES games as well as their Windows game "Beavis and Butt-Head in Virtual Stupidity". They were famously lambasted by Senator Fritz Hollings (D-SC) as "Buffcoat and Beaver". This subsequently became a running gag on the show where adults mispronounced their names.
Beavis and Butt-Head have been compared to idiot savants because of their creative and subversively intelligent observations of music videos. This part of the show was mostly improvised by Mike Judge. With regard to criticisms of the two as "idiots", Judge responded that a show about straight-A students would not be funny. Revivals. The series has been revived two times. Once in 2011 as a continuation of the original on MTV (Season 8), and then in 2022 as a reboot series on Paramount+ (Seasons 9-10). It was announced that Season 3 of the revival (the 11th season overall) would premiere exclusively on Comedy Central. The show's 2011 revival saw mixed reviews. Karen Olsson from "The New York Times" found it "dumber and funnier" than the original run, and Brian Lowry of "Variety" "still a rowdy, guilty hoot." Others found it tiresome: "Slate" Troy Patterson called it a "grim" rehash, and James Poniewozik writing for "Time" found it not as "innovative" but still amusing. Matthew Gilbert from "the Boston Globe" felt television was now too dumb for them: "The problem is, there actually isn’t much of a need for the two dopes and their anti-wisdom anymore." Conversely, Tom Carson for "GQ" found it "just right [...] Judge anticipated the trickle-down version of popland's Age of Meta."
Its 2022 revival received critical acclaim. "The New York Times" Jason Zinoman extolled the revival: "[the show] remains singular [...] they all hit comic notes ‌with moseying cadences you can’t find elsewhere." Jesse Hassenger from "The Wrap" wrote "Beavis and Butt-Head have a tendency to mold their environment in their image. Or are they just so timelessly American that surprisingly little adaptation is necessary?" Daniel Fienberg at "The Hollywood Reporter" called it "solidly amusing, if rarely remarkable." Lowry, now for CNN, viewed it "proudly stupid"; similarly Andy Greene, for "Rolling Stone", "really loved" the new take. Films. There have been two "Beavis and Butthead" films that have been released: "Beavis and Butthead Do America" (1996) and "Beavis and Butthead Do the Universe" (2022). The two films have received largely positive reviews. "Beavis and Butthead Do America" (1996). The first theatrical adaptation, "Beavis and Butthead Do America", is a comedy road-trip film that was released in the US on December 20, 1996. Its UK and European releases came later in 1997. Along with several of the series regulars, it also features the voices of Bruce Willis, Demi Moore, Cloris Leachman, Robert Stack, Eric Bogosian, Richard Linklater, Greg Kinnear (in an uncredited role) and David Letterman (credited as Earl Hofert). The film follows the duo's cross-country trip as accidental fugitives. The film was a commercial success, opening at number one at the US box office and grossed more than $60 million. It held the highest December opening gross of all time before being passed by "Scream 2" a year later in 1997. It received positive reviews with critics complimenting the film's humor as "unexpectedly funny."
"Beavis and Butthead Do the Universe" (2022). The second adaptation, "Beavis and Butthead Do the Universe", is a sci-fi comedy film that was released as a Paramount+ exclusive on June 23, 2022. A "Beavis and Butthead" follow-up film was rumored long after "Do America"'s release, but such a project never materialized. In February 2021, a sequel film was announced to be released on Paramount+ with an unspecified release date. A trailer was eventually released for the film on June 2, 2022, showcasing footage as well as the film's new subtitle; its release date was later that month on June 23. Work for the film was done remotely via zoom due to the COVID-19 pandemic. The film follows the titular duo as they get transported from 1998 to 2022 via space, coming into conflicts with their alternate-universe selves and the US government. The film received a highly positive reception from reviewers who praised it as a "return to form" for the franchise. The film served as a lead-in to its Paramount+ revival. Related media.
Merchandise. MTV marketed the program with a surplus of merchandise, with items as varied as clothing, hats, and aftershave. Judge found it difficult to extend his sensibility to the consumer products that bore his name; he noted that he had no involvement in the show's video games. From 1994 to 1996, Marvel Comics published a monthly "Beavis and Butt-Head" comic under the Marvel Absurd imprint by a variety of writers, but with each issue drawn by artist Rick Parker. It was also reprinted by Marvel UK, which created new editorial material. "Daria". A spin-off based on classmate Daria Morgendorffer premiered in 1997. Mike Judge was not involved at all except to give permission for use of the character (created by Glenn Eichler and designed by Bill Peckmann). The only reference to the original show is Daria's mentioning that Lawndale cannot be a second Highland "unless there's uranium in the drinking water here too". Music. An album inspired by the series, "The Beavis and Butt-Head Experience", was released on Geffen Records. The label's namesake, David Geffen, came up with the concept for the album. He was sold on the show's success upon its debut, and contacted MTV to make a deal to co-finance the album and later film. The album features many hard rock and heavy metal bands such as Megadeth, Primus, Nirvana and White Zombie. Moreover, Beavis and Butt-Head do a duet with Cher on "I Got You Babe" and a track by themselves called "Come to Butt-Head". The track with Cher also resulted in a music video directed by Tamra Davis and Yvette Kaplan. It sold over two million copies worldwide.
In 2015, the pair were featured in commissioned skits on the album "Speedin' Bullet 2 Heaven" by Kid Cudi. Chart success. The Beavis and Butt-Head duet with Cher on "I Got You Babe" was released as a single in the UK, Australia, Europe and the US, the UK CD had a special limited edition sticker to promote "The Beavis and Butt-Head Experience" available with the release. On January 15, 1994, the song charted at number 35 in the UK charts and stayed on the charts for 4 weeks. On December 4, 1993, the song charted on the "Billboard" Bubbling Under Hot 100 chart in the US peaking at number 8. The single also charted at number 69 in Australia, 19 in Belgium, 18 in Denmark, 69 on the European Hot 100, 9 on the Netherlands Dutch Top 40, 10 on the Netherlands top 100 and number 40 in Sweden. Slot game. In 2019, Gauselmann Group's UK-based games studio Blueprint Gaming launched the Beavis and Butt-Head online slot game. The game features moments and scenes from the TV show and film. The branded game was among the 10 most exposed slot games in UK online casinos days after its release in late May 2019.
Bromeliales Bromeliales is an order of flowering plants. Such an order has been recognized by a few systems of plant taxonomy, with a various placement. It appears that it always has had the same circumscription: consisting only of the family Bromeliaceae, the bromeliad or pineapple family. The order is not recognized in the APG II system, of 2003, which places the plants involved in the order Poales. Some examples are:
Brassicales The Brassicales (or Cruciales) are an order of flowering plants, belonging to the malvid group of eudicotyledons under the APG IV system. Well-known members of Brassicales include cabbage, cauliflower, Brussels sprout, broccoli, kale, mustard, turnip, bok choy, rapeseed, radish, horseradish, caper, papaya, moringa or drumstick tree, mignonette, nasturtium, and arabidopsis. One character common to many members of the order is the production of glucosinolate (mustard oil) compounds. Most systems of classification have included this order, although sometimes under the name Capparales (the name chosen depending on which is thought to have priority). The order typically contains the following families: Classification. The following diagram shows the phylogeny of the Brassicales families along with their estimated ages, based on a 2018 study of plastid DNA: On 20 April 2020, a newly described monotypic species from Namibia, namely, "Tiganophyton karasense" is placed under this order as a monotypic member of new family Tiganophytaceae, which is closely related to Bataceae, Salvadoraceae and Koeberliniaceae.
Historic classifications. Under the Cronquist system, the Brassicales were called the Capparales, and included among the "Dilleniidae". The only families included were the Brassicaceae and Capparaceae (treated as separate families), the Tovariaceae, Resedaceae, and Moringaceae. Other taxa now included here were placed in various other orders. The families Capparaceae and Brassicaceae are closely related. One group, consisting of "Cleome" and related genera, was traditionally included in the Capparaceae but doing so results in a paraphyletic Capparaceae. Therefore, this group is generally now either included in the Brassicaceae or as its own family, Cleomaceae. Gallery of type genera. Setchellanthaceae is sometimes known as the azulita family.
Bulletin board system A bulletin board system (BBS), also called a computer bulletin board service (CBBS), is a computer server running software that allows users to connect to the system using a terminal program. Once logged in, the user performs functions such as uploading and downloading software and data, reading news and bulletins, and exchanging messages with other users through public message boards and sometimes via direct chatting. In the early 1980s, message networks such as FidoNet were developed to provide services such as NetMail, which is similar to internet-based email. Many BBSes also offered online games in which users could compete with each other. BBSes with multiple phone lines often provided chat rooms, allowing users to interact with each other. Bulletin board systems were in many ways a precursor to the modern form of the World Wide Web, social networks, and other aspects of the Internet. Low-cost, high-performance asynchronous modems drove the use of online services and BBSes through the early 1990s. "InfoWorld" estimated that there were 60,000 BBSes serving 17 million users in the United States alone in 1994, a collective market much larger than major online services such as CompuServe.
The introduction of inexpensive dial-up internet service and the Mosaic web browser offered ease of use and global access that BBS and online systems did not provide, and led to a rapid crash in the market starting in late 1994 to early 1995. Over the next year, many of the leading BBS software providers went bankrupt and tens of thousands of BBSes disappeared. Today, BBSing survives largely as a nostalgic hobby in most parts of the world, but it is still a popular form of communication for middle aged Taiwanese (see PTT Bulletin Board System). Most surviving BBSes are accessible over Telnet and typically offer free email accounts, FTP services, and IRC. Some offer access through packet switched networks or packet radio connections. History. Precursors. A precursor to the public bulletin board system was Community Memory, which started in August 1973 in Berkeley, California. Microcomputers did not exist at that time, and modems were both expensive and slow. Community Memory ran on a mainframe computer and was accessed through terminals located in several San Francisco Bay Area neighborhoods. The poor quality of the original modem connecting the terminals to the mainframe prompted Community Memory hardware person, Lee Felsenstein, to invent the Pennywhistle modem, whose design was influential in the mid-1970s.
Community Memory allowed the user to type messages into a computer terminal after inserting a coin, and offered a "pure" bulletin board experience with public messages only (no email or other features). It did offer the ability to tag messages with keywords, which the user could use in searches. The system acted primarily in the form of a buy and sell system with the tags taking the place of the more traditional classifications. But users found ways to express themselves outside these bounds, and the system spontaneously created stories, poetry and other forms of communications. The system was expensive to operate, and when their host machine became unavailable and a new one could not be found, the system closed in January 1975. Similar functionality was available to most mainframe users, which might be considered a sort of ultra-local BBS when used in this fashion. Commercial systems, expressly intended to offer these features to the public, became available in the late 1970s and formed the online service market that lasted into the 1990s. One particularly influential example was PLATO, which had thousands of users by the late 1970s, many of whom used the messaging and chat room features of the system in the same way that would later become common on BBSes.
The first BBSes. Early modems were generally either expensive or very simple devices using acoustic couplers to handle telephone operation. The user would pick up the phone, dial a number, then press the handset into rubber cups on the top of the modem. Disconnecting at the end of a call required the user to pick up the handset and return it to the phone. Examples of direct-connecting modems did exist, and these often allowed the host computer to send it commands to answer or hang up calls, but these were very expensive devices used by large banks and similar companies. With the introduction of microcomputers with expansion slots, like the S-100 bus machines and Apple II, it became possible for the modem to communicate instructions and data on separate lines. These machines typically only supported asynchronous communications, and synchronous modems were much more expensive than asynchronous modems. A number of modems of this sort were available by the late 1970s. This made the BBS possible for the first time, as it allowed software on the computer to pick up an incoming call, communicate with the user, and then hang up the call when the user logged off.
The first public dial-up BBS was developed by Ward Christensen and Randy Suess, members of the Chicago Area Computer Hobbyists' Exchange (CACHE). According to an early interview, when Chicago was snowed under during the Great Blizzard of 1978, the two began preliminary work on the Computerized Bulletin Board System, or CBBS. The system came into existence largely through a fortuitous combination of Christensen having a spare S-100 bus computer and an early Hayes internal modem, and Suess's insistence that the machine be placed at his house in Chicago where it would be a local phone call for more users. Christensen patterned the system after the cork board his local computer club used to post information like "need a ride". CBBS officially went online on 16 February 1978. CBBS, which kept a count of callers, reportedly connected 253,301 callers before it was finally retired. Smartmodem. A key innovation required for the popularization of the BBS was the Smartmodem manufactured by Hayes Microcomputer Products. Internal modems like the ones used by CBBS and similar early systems were usable, but generally expensive due to the manufacturer having to make a different modem for every computer platform they wanted to target. They were also limited to those computers with internal expansion, and could not be used with other useful platforms like video terminals. External modems were available for these platforms but required the phone to be dialed using a conventional handset. Internal modems could be software-controlled to perform outbound and inbound calls, but external modems had only the data pins to communicate with the host system.
Hayes' solution to the problem was to use a small microcontroller to implement a system that examined the data flowing into the modem from the host computer, watching for certain command strings. This allowed commands to be sent to and from the modem using the same data pins as all the rest of the data, meaning it would work on any system that could support even the most basic modems. The Smartmodem could pick up the phone, dial numbers, and hang up again, all without any operator intervention. The Smartmodem was not necessary for BBS use but made overall operation dramatically simpler. It also improved usability for the caller, as most terminal software allowed different phone numbers to be stored and dialed on command, allowing the user to easily connect to a series of systems. The introduction of the Smartmodem led to the first real wave of BBS systems. Limited in speed and storage capacity, these systems were normally dedicated solely to messaging, private email and public forums. File transfers were extremely slow at these speeds, and file libraries were typically limited to text files containing lists of other BBS systems. These systems attracted a particular type of user who used the BBS as a unique type of communications medium, and when these local systems were crowded from the market in the 1990s, their loss was lamented for many years.
Higher speeds, commercialization. Speed improved with the introduction of 1200 bit/s asynchronous modems in the early 1980s, giving way to 2400 bit/s fairly rapidly. The improved performance led to a substantial increase in BBS popularity. Most of the information was displayed using ordinary ASCII text or ANSI art, but a number of systems attempted character-based graphical user interfaces (GUIs) which began to be practical at 2400 bit/s. There was a lengthy delay before 9600 bit/s models began to appear on the market. 9600 bit/s was not even established as a strong standard before V.32bis at 14.4 kbit/s took over in the early 1990s. This period also saw the rapid rise in capacity and a dramatic drop in the price of hard drives. By the late 1980s, many BBS systems had significant file libraries, and this gave rise to leechingusers calling BBSes solely for their files. These users would use the modem for some time, leaving less time for other users, who got busy signals. The resulting upheaval eliminated many of the pioneering message-centric systems.
This also gave rise to a new class of BBS systems, dedicated solely to file upload and downloads. These systems charged for access, typically a flat monthly fee, compared to the per-hour fees charged by "Event Horizons BBS" and most online services. Many third-party services were developed to support these systems, offering simple credit card merchant account gateways for the payment of monthly fees, and entire file libraries on compact disk that made initial setup very easy. Early 1990s editions of "Boardwatch" were filled with ads for single-click install solutions dedicated to these new sysops. While this gave the market a bad reputation, it also led to its greatest success. During the early 1990s, there were a number of mid-sized software companies dedicated to BBS software, and the number of BBSes in service reached its peak. Towards the early 1990s, BBS became so popular that it spawned three monthly magazines, "Boardwatch", "BBS Magazine", and in Asia and Australia, "Chips 'n Bits Magazine" which devoted extensive coverage of the software and technology innovations and people behind them, and listings to US and worldwide BBSes. In addition, in the US, a major monthly magazine, "Computer Shopper", carried a list of BBSes along with a brief abstract of each of their offerings.
GUIs. Through the late 1980s and early 1990s, there was considerable experimentation with ways to develop user-friendly interfaces for BBSes. Almost every popular system used ANSI-based color menus to make reading easier on capable hardware and terminal emulators, and most also allowed cursor commands to offer command-line recall and similar features. Another common feature was the use of autocomplete to make menu navigation simpler, a feature that would not re-appear on the Web until decades later. A number of systems also made forays into GUI-based interfaces, either using character graphics sent from the host, or using custom GUI-based terminal systems. The latter initially appeared on the Macintosh platform, where TeleFinder and FirstClass became very popular. FirstClass offered a host of features that would be difficult or impossible under a terminal-based solution, including bi-directional information flow and non-blocking operation that allowed the user to exchange files in both directions while continuing to use the message system and chat, all in separate windows. Will Price's "Hermes", released in 1988, combined a familiar PC style with Macintosh GUI interface. (Hermes was already "venerable" by 1994 although the Hermes II release remained popular.) Skypix featured on Amiga a complete markup language. It used a standardized set of icons to indicate mouse driven commands available online and to recognize different filetypes present on BBS storage media. It was capable of transmitting data like images, audio files, and audio clips between users linked to the same BBS or off-line if the BBS was in the circuit of the FidoNet organization.
On the PC, efforts were more oriented to extensions of the original terminal concept, with the GUI being described in the information on the host. One example was the Remote Imaging Protocol, essentially a picture description system, which remained relatively obscure. Probably the ultimate development of this style of operation was the dynamic page implementation of the University of Southern California BBS (USCBBS) by Susan Biddlecomb, which predated the implementation of the HTML Dynamic web page. A complete Dynamic web page implementation was accomplished using TBBS with a TDBS add-on presenting a complete menu system individually customized for each user. Rise of the Internet and decline of BBS. The demand for complex ANSI and ASCII screens and larger file transfers taxed available channel capacity, which in turn increased demand for faster modems. 14.4 kbit/s modems were standard for a number of years while various companies attempted to introduce non-standard systems with higher performancenormally about 19.2 kbit/s. Another delay followed due to a long V.34 standards process before 28.8 kbit/s was released, only to be quickly replaced by 33.6 kbit/s, and then 56 kbit/s.
These increasing speeds had the side effect of dramatically reducing the noticeable effects of channel efficiency. When modems were slow, considerable effort was put into developing the most efficient protocols and display systems possible. TCP/IP ran slowly over 1200 bit/s modems. 56 kbit/s modems could access the protocol suite more quickly than with slower modems. Dial-up Internet service became widely available in the mid-1990s to the general public outside of universities and research laboratories, and connectivity was included in most general-use operating systems by default as Internet access became popular. These developments together resulted in the sudden obsolescence of bulletin board technology in 1995 and the collapse of its supporting market. Technically, Internet service offered an enormous advantage over BBS systems, as a single connection to the user's Internet service provider allowed them to contact services around the world. In comparison, BBS systems relied on a direct point-to-point connection, so even dialing multiple local systems required multiple phone calls. Internet protocols also allowed a single connection to be used to contact multiple services simultaneously; for example, downloading files from an FTP library while checking the weather on a local news website. Even with a shell account, it was possible to multitask using job control or a terminal multiplexer such as GNU Screen. In comparison, a connection to a BBS allowed access only to the information on that system.
Estimating numbers. According to the FidoNet Nodelist, BBSes reached their peak usage around 1996, the same period when the World Wide Web and AOL became mainstream. BBSes rapidly declined in popularity thereafter, and were replaced by systems using the Internet for connectivity. Some of the larger commercial BBSes, such as MaxMegabyte and ExecPC BBS, evolved into Internet service providers. The website "textfiles.com" is an archival history of BBSes. It includes a list of over 100,000 BBSes that once existed during a span of 20 years. The creator and maintainer of "textfiles.com", Jason Scott, also produced "", a film that chronicles the history of BBSes and has interviews with well-known figures from the BBS heyday. In the 2000s, most traditional BBS systems migrated to the Internet using Telnet or SSH protocols. As of September 2022, between 900 and 1000 are thought to be active via the Internet fewer than 30 of these being of the traditional "dial-up" (modem) variety. Software and hardware. Unlike modern websites and online services that are typically hosted by third-party companies in commercial data centers, BBS computers (especially for smaller boards) were typically operated from the system operator's home. As such, access could be unreliable, and in many cases, only one user could be on the system at a time. Only larger BBSes with multiple phone lines using specialized hardware, multitasking software, or a LAN connecting multiple computers, could host multiple simultaneous users.
The first BBSes each used their own unique software, quite often written entirely or at least customized by the system operators themselves, running on early S-100 bus microcomputer systems such as the Altair 8800, IMSAI 8080 and Cromemco under the CP/M operating system. Soon after, BBS software was being written for all of the major home computer systems of the late 1970s erathe Apple II, Atari 8-bit computers, Commodore PET, TI-99/4A, and TRS-80 being some of the most popular. In 1981, the IBM Personal Computer was introduced and MS-DOS soon became the operating system on which the majority of BBS programs were run. RBBS-PC, ported over from the CP/M world, and "Fido" BBS, developed by Tom Jennings (who later founded FidoNet) were the first notable MS-DOS BBS programs. Many successful commercial BBS programs were developed, such as PCBoard BBS, RemoteAccess BBS, Magpie and Wildcat! BBS. Popular freeware BBS programs included Telegard BBS and Renegade BBS, which both had early origins from leaked WWIV BBS source code.
BBS systems on other systems remained popular, especially home computers, largely because they catered to the audience of users running those machines. The ubiquitous Commodore 64 (introduced in 1982) was a common platform in the 1980s. Popular commercial BBS programs were Blue Board, Ivory BBS, Color64 and CNet 64. There was also a devoted contingent of BBS users on TI-99/4A computers, long after Texas Instruments had discontinued the computer in the aftermath of their price war with Commodore. Popular BBSes for the TI-99/4A included Techie, TIBBS (Texas Instruments Bulletin Board System), TI-COMM, and Zyolog. In the early 1990s, a small number of BBSes were also running on the Commodore Amiga. Popular BBS software for the Amiga were ABBS, Amiexpress, C-Net, StormforceBBS, Infinity and Tempest. There was also a small faction of devoted Atari BBSes that used the Atari 800, then the 800XL, and eventually the 1040ST. The earlier machines generally lacked hard drive capabilities, which limited them primarily to messaging.
MS-DOS continued to be the most popular operating system for BBS use up until the mid-1990s, and in the early years, most multi-node BBSes were running under a DOS based multitasker such as DESQview or consisted of multiple computers connected via a LAN. In the late 1980s, a handful of BBS developers implemented multitasking communications routines inside their software, allowing multiple phone lines and users to connect to the same BBS computer. These included Galacticomm's MajorBBS (later WorldGroup), eSoft The Bread Board System (TBBS), and Falken. Other popular BBS's were Maximus and Opus, with some associated applications such as BinkleyTerm being based on characters from the Berkley Breathed cartoon strip of Bloom County. Though most BBS software had been written in BASIC or Pascal (with some low-level routines written in assembly language), the C language was starting to gain popularity. By 1995, many of the DOS-based BBSes had begun switching to modern multitasking operating systems, such as OS/2, Windows 95, and Linux. One of the first graphics-based BBS applications was Excalibur BBS with low-bandwidth applications that required its own client for efficiency. This led to one of the earliest implementations of Electronic Commerce in 1996 with replication of partner stores around the globe. TCP/IP networking allowed most of the remaining BBSes to evolve and include Internet hosting capabilities. Recent BBS software, such as Synchronet, Mystic BBS, EleBBS, DOC, Magpie or Wildcat! BBS, provide access using the Telnet protocol rather than dialup, or by using legacy DOS-based BBS software with a FOSSIL-to-Telnet redirector such as NetFoss.
Presentation. BBSes were generally text-based, rather than GUI-based, and early BBSes conversed using the simple ASCII character set. However, some home computer manufacturers extended the ASCII character set to take advantage of the advanced color and graphics capabilities of their systems. BBS software authors included these extended character sets in their software, and terminal program authors included the ability to display them when a compatible system was called. Atari's native character set was known as ATASCII, while most Commodore BBSes supported PETSCII. PETSCII was also supported by the nationwide online service Quantum Link. The use of these custom character sets was generally incompatible between manufacturers. Unless a caller was using terminal emulation software written for, and running on, the same type of system as the BBS, the session would simply fall back to simple ASCII output. For example, a Commodore 64 user calling an Atari BBS would use ASCII rather than the native character set of either. As time progressed, most terminal programs began using the ASCII standard, but could use their native character set if it was available.
COCONET, a BBS system made by Coconut Computing, Inc., was released in 1988 and only supported a GUI (no text interface was initially available but eventually became available around 1990), and worked in EGA/VGA graphics mode, which made it stand out from text-based BBS systems. COCONET's bitmap and vector graphics and support for multiple type fonts were inspired by the PLATO system, and the graphics capabilities were based on what was available in the Borland Graphics Interface library. A competing approach called Remote Imaging Protocol (RIP) emerged and was promoted by Telegrafix in the early to mid-1990s but it never became widespread. A teletext technology called NAPLPS was also considered, and although it became the underlying graphics technology behind the Prodigy service, it never gained popularity in the BBS market. There were several GUI-based BBSes on the Apple Macintosh platform, including TeleFinder and FirstClass, but these were mostly confined to the Mac market. In the UK, the BBC Micro based OBBS software, available from Pace for use with their modems, optionally allowed for color and graphics using the Teletext based graphics mode available on that platform. Other systems used the Viewdata protocols made popular in the UK by British Telecom's Prestel service, and the on-line magazine Micronet 800 whom were busy giving away modems with their subscriptions.
Over time, terminal manufacturers started to support ANSI X3.64 in addition to or instead of proprietary terminal control codes, e.g., color, cursor positioning. The most popular form of online graphics was ANSI art, which combined the IBM Extended ASCII character set's blocks and symbols with ANSI escape sequences to allow changing colors on demand, provide cursor control and screen formatting, and even basic musical tones. During the late 1980s and early 1990s, most BBSes used ANSI to make elaborate welcome screens, and colorized menus, and thus, ANSI support was a sought-after feature in terminal client programs. The development of ANSI art became so popular that it spawned an entire BBS "artscene" subculture devoted to it. The Amiga "Skyline BBS" software in 1988 featured a script markup language communication protocol called Skypix which was capable of giving the user a complete graphical interface, featuring rich graphics, changeable fonts, mouse-controlled actions, animations and sound. Today, most BBS software that is still actively supported, such as Worldgroup, Wildcat! BBS and Citadel/UX, is Web-enabled, and the traditional text interface has been replaced (or operates concurrently) with a Web-based user interface. For those more nostalgic for the true BBS experience, one can use NetSerial (Windows) or DOSBox (Windows/*nix) to redirect DOS COM port software to telnet, allowing them to connect to Telnet BBSes using 1980s and 1990s era modem terminal emulation software, like Telix, Terminate, Qmodem and Procomm Plus. Modern 32-bit terminal emulators such as mTelnet and SyncTerm include native telnet support.
Content and access. Since most early BBSes were run by computer hobbyists, content was largely technical, with user communities revolving around hardware and software discussions. As the BBS phenomenon grew, so did the popularity of special interest boards. Bulletin Board Systems could be found for almost every hobby and interest. Popular interests included politics, religion, music, dating, and alternative lifestyles. Many system operators also adopted a theme in which they customized their entire BBS (welcome screens, prompts, menus, and so on) to reflect that theme. Common themes were based on fantasy, or were intended to give the user the illusion of being somewhere else, such as in a sanatorium, wizard's castle, or on a pirate ship. In the early days, the file download library consisted of files that the system operators obtained themselves from other BBSes and friends. Many BBSes inspected every file uploaded to their public file download library to ensure that the material did not violate copyright law. As time went on, shareware CD-ROMs were sold with up to thousands of files on each CD-ROM. Small BBSes copied each file individually to their hard drive. Some systems used a CD-ROM drive to make the files available. Advanced BBSes used Multiple CD-ROM disc changer units that switched 6 CD-ROM disks on demand for the caller(s). Large systems used all 26 DOS drive letters with multi-disk changers housing tens of thousands of copyright-free shareware or freeware files available to all callers. These BBSes were generally more family-friendly, avoiding the seedier side of BBSes. Access to these systems varied from single to multiple modem lines with some requiring little or no confirmed registration.
Some BBSes, called elite, WaReZ, or pirate boards, were exclusively used for distributing cracked software, phreaking materials, and other questionable or unlawful content. These BBSes often had multiple modems and phone lines, allowing several users to upload and download files at once. Most elite BBSes used some form of new user verification, where new users would have to apply for membership and attempt to prove that they were not a law enforcement officer or a "lamer." The largest elite boards accepted users by invitation only. Elite boards also spawned their own subculture and gave rise to the slang known today as leetspeak. Another common type of board was the "support BBS" run by a manufacturer of computer products or software. These boards were dedicated to supporting users of the company's products with question and answer forums, news and updates, and downloads. Most of them were not a free call. Today, these services have moved to the Web. Some general-purpose Bulletin Board Systems had special levels of access that were given to those who paid extra money, uploaded useful files or knew the system operator personally. These specialty and pay BBSes usually had something unique to offer their users, such as large file libraries, warez, pornography, chat rooms or Internet access.
Pay BBSes such as The WELL and Echo NYC (now Internet forums rather than dial-up), ExecPC, PsudNetwork and MindVox (which folded in 1996) were admired for their close, friendly communities and quality discussion forums. However, many free BBSes also maintained close communities, and some even had annual or bi-annual events where users would travel great distances to meet face-to-face with their on-line friends. These events were especially popular with BBSes that offered chat rooms. Some of the BBSes that provided access to illegal content faced opposition. On July 12, 1985, in conjunction with a credit card fraud investigation, the Middlesex County, New Jersey Sheriff's department raided and seized The Private Sector BBS, which was the official BBS for grey hat hacker quarterly 2600 Magazine at the time. The notorious Rusty n Edie's BBS, in Boardman, Ohio, was raided by the FBI in January 1993 for trading unlicensed software, and later sued by Playboy for copyright infringement in November 1997. In Flint, Michigan, a 21-year-old man was charged with distributing child pornography through his BBS in March 1996.
Networks. Most early BBSes operated as individual systems. Information contained on that BBS never left the system, and users would only interact with the information and user community on that BBS alone. However, as BBSes became more widespread, there evolved a desire to connect systems together to share messages and files with distant systems and users. The largest such network was FidoNet. As is it was prohibitively expensive for the hobbyist system operator to have a dedicated connection to another system, FidoNet was developed as a store and forward network. Private email (Netmail), public message boards (Echomail) and eventually even file attachments on a FidoNet-capable BBS would be bundled into one or more archive files over a set time interval. These archive files were then compressed with ARC or ZIP and forwarded to (or polled by) another nearby node or hub via a dialup Xmodem session. Messages would be relayed around various FidoNet hubs until they were eventually delivered to their destination. The hierarchy of FidoNet BBS nodes, hubs, and zones was maintained in a routing table called a Nodelist. Some larger BBSes or regional FidoNet hubs would make several transfers per day, some even to multiple nodes or hubs, and as such, transfers usually occurred at night or in the early morning when toll rates were lowest. In Fido's heyday, sending a Netmail message to a user on a distant FidoNet node, or participating in an Echomail discussion could take days, especially if any FidoNet nodes or hubs in the message's route only made one transfer call per day.
FidoNet was platform-independent and would work with any BBS that was written to use it. BBSes that did not have integrated FidoNet capability could usually add it using an external FidoNet front-end mailer such as SEAdog, FrontDoor, BinkleyTerm, InterMail or D'Bridge, and a mail processor such as FastEcho or Squish. The front-end mailer would conduct the periodic FidoNet transfers, while the mail processor would usually run just before and just after the mailer ran. This program would scan for and pack up new outgoing messages, and then unpack, sort and "toss" the incoming messages into a BBS user's local email box or into the BBS's local message bases reserved for Echomail. As such, these mail processors were commonly called "scanner/tosser/packers". Many other BBS networks followed the example of FidoNet, using the same standards and the same software. These were called FidoNet Technology Networks (FTNs). They were usually smaller and targeted at selected audiences. Some networks used QWK doors, and others such as RelayNet (RIME) and WWIVnet used non-Fido software and standards.
Before commercial Internet access became common, these networks of BBSes provided regional and international e-mail and message bases. Some even provided gateways, such as UFGATE, by which members could send and receive e-mail to and from the Internet via UUCP, and many FidoNet discussion groups were shared via gateway to Usenet. Elaborate schemes allowed users to download binary files, search gopherspace, and interact with distant programs, all using plain-text e-mail. As the volume of FidoNet Mail increased and newsgroups from the early days of the Internet became available, satellite data downstream services became viable for larger systems. The satellite service provided access to FidoNet and Usenet newsgroups in large volumes at a reasonable fee. By connecting a small dish and receiver, a constant downstream of thousands of FidoNet and Usenet newsgroups could be received. The local BBS only needed to upload new outgoing messages via the modem network back to the satellite service. This method drastically reduced phone data transfers while dramatically increasing the number of message forums.
FidoNet is still in use today, though in a much smaller form, and many Echomail groups are still shared with Usenet via FidoNet to Usenet gateways. Widespread abuse of Usenet with spam and pornography has led to many of these FidoNet gateways to cease operation completely. Shareware and freeware. Much of the shareware movement was started via user distribution of software through BBSes. A notable example was Phil Katz's PKARC (and later PKZIP, using the same ".zip" algorithm that WinZip and other popular archivers now use); also other concepts of software distribution like freeware, postcardware like JPEGview and donationware like Red Ryder for the Macintosh first appeared on BBS sites. Doom from id Software and nearly all Apogee Software games were distributed as shareware. The Internet has largely erased the distinction of sharewaremost users now download the software directly from the developer's website rather than receiving it from another BBS user "sharing" it. Today, shareware often refers to electronically distributed software from a small developer. Many commercial BBS software companies that continue to support their old BBS software products switched to the shareware model or made it entirely free. Some companies were able to make the move to the Internet and provide commercial products with BBS capabilities. Features. A classic BBS had: The BBS software usually provides:
String Quartet No. 16 (Beethoven) The String Quartet No. 16 in F major, Op. 135, by Ludwig van Beethoven was written in October 1826 and was the last major work he completed. Only the final movement of the Quartet Op. 130, written as a replacement for the "Große Fuge", was composed later. Beethoven dedicated the composition to his patron and admirer, Johann Nepomuk Wolfmayer. The Schuppanzigh Quartet premiered the work on 23 March 1828, one year after Beethoven's death. The Op. 135 quartet is the shortest of Beethoven's late quartets. Under the introductory slow chords in the last movement, which is headed (The difficult decision), Beethoven wrote in the manuscript (Must it be?) to which he responds, with the faster main theme of the movement, (It must be!). It is in four movements: The autograph manuscript of the first movement of the work is preserved in the Beethoven House. The performance of the work takes around 22–25 minutes. The work features in Czech author Milan Kundera's "The Unbearable Lightness of Being", where the character Tomas uses the phrases and to describe his approach to fate.
Symphony No. 9 (Beethoven) The Symphony No. 9 in D minor, Op. 125, is a choral symphony, the final complete symphony by Ludwig van Beethoven, composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. The symphony is regarded by many critics and musicologists as a masterpiece of Western classical music and one of the supreme achievements in the history of music. One of the best-known works in common practice music, it stands as one of the most frequently performed symphonies in the world. The Ninth was the first example of a major composer scoring vocal parts in a symphony. The final (4th) movement of the symphony, commonly known as the Ode to Joy, features four vocal soloists and a chorus in the parallel key of D major. The text was adapted from the "An die Freude (Ode to Joy)", a poem written by Friedrich Schiller in 1785 and revised in 1803, with additional text written by Beethoven. In the 20th century, an instrumental arrangement of the chorus was adopted by the Council of Europe, and later the European Union, as the Anthem of Europe.
In 2001, Beethoven's original, hand-written manuscript of the score, held by the Berlin State Library, was added to the Memory of the World Programme Heritage list established by the United Nations, becoming the first musical score so designated. History. Composition. The Philharmonic Society of London originally commissioned the symphony in 1817. Beethoven made preliminary sketches for the work later that year with the key set as D minor and vocal participation also forecast. The main composition work was done between autumn, 1822 and the completion of the autograph in February, 1824. The symphony emerged from other pieces by Beethoven that, while completed works in their own right, are also in some sense forerunners of the future symphony. The "Choral Fantasy", Op. 80, composed in 1808, basically an extended piano concerto movement, brings in a choir and vocal soloists for the climax. The vocal forces sing a theme first played instrumentally, and this theme is reminiscent of the corresponding theme in the Ninth Symphony.
Going further back, an earlier version of the Choral Fantasy theme is found in the song "Gegenliebe" ("Returned Love") for piano and high voice, which dates from before 1795. According to Robert W. Gutman, Mozart's Offertory in D minor, "Misericordias Domini", K. 222, written in 1775, contains a melody that foreshadows "Ode to Joy". Premiere. Although most of Beethoven's major works had been premiered in Vienna, the composer planned to have his latest compositions performed in Berlin as soon as possible, as he believed he had fallen out of favor with the Viennese and the current musical taste was now dominated by Italian operatic composers such as Rossini. When his friends and financiers learned of this, they pleaded with Beethoven to hold the concert in Vienna, in the form of a petition signed by a number of prominent Viennese music patrons and performers. Beethoven, flattered by the adoration of the Viennese, premiered the Ninth Symphony on 7 May 1824 in the Theater am Kärntnertor in Vienna along with the overture "The Consecration of the House" () and three parts (Kyrie, Credo and Agnus Dei) of the "Missa solemnis". This was Beethoven's first onstage appearance since 1812 and the hall was packed with an eager and curious audience with a number of noted musicians and figures in Vienna including Franz Schubert, Carl Czerny, and the Austrian chancellor Klemens von Metternich.
The premiere of the Ninth Symphony involved an orchestra nearly twice as large as usual and required the combined efforts of the Kärntnertor house orchestra, the Vienna Music Society (Gesellschaft der Musikfreunde), and a select group of capable amateurs. While no complete list of premiere performers exists, many of Vienna's most elite performers are known to have participated. The soprano and alto parts were sung by two famous young singers of the day, both recruited personally by Beethoven: Henriette Sontag and Caroline Unger. German soprano Henriette Sontag was 18 years old when Beethoven asked her to perform in the premiere of the Ninth. 20-year-old contralto Caroline Unger, a native of Vienna, had gained critical praise in 1821 appearing in Rossini's "Tancredi". After performing in Beethoven's 1824 premiere, Unger then found fame in Italy and Paris. Italian opera composers Bellini and Donizetti were known to have written roles specifically for her voice. Anton Haizinger and Joseph Seipelt sang the tenor and bass/baritone parts, respectively.
Although the performance was officially conducted by Michael Umlauf, the theatre's Kapellmeister, Beethoven shared the stage with him. Because two years earlier, Umlauf had watched as the composer's attempt to conduct a dress rehearsal for a revision of his opera "Fidelio" ended in disaster, Umlauf instructed the singers and musicians to ignore the almost completely deaf composer. At the beginning of every part, Beethoven, who sat by the stage, gave the tempos. He was turning the pages of his score and beating time for an orchestra he could not hear. There are a number of anecdotes concerning the premiere of the Ninth. Based on the testimony of some of the participants, there are suggestions that the symphony was under-rehearsed (there were only two complete rehearsals) and somewhat uneven in execution. On the other hand, the premiere was a great success. In any case, Beethoven was not to blame, as violinist Joseph Böhm recalled: Beethoven himself conducted, that is, he stood in front of a conductor's stand and threw himself back and forth like a madman. At one moment he stretched to his full height, at the next he crouched down to the floor, he flailed about with his hands and feet as though he wanted to play all the instruments and sing all the chorus parts. – The actual direction was in [Louis] Duport's hands; we musicians followed his baton only.
Reportedly, the scherzo was completely interrupted at one point by applause. Either at the end of the scherzo or the end of the symphony (testimonies differ), Beethoven was several bars off and still conducting; the contralto Caroline Unger walked over and gently turned Beethoven around to accept the audience's cheers and applause. According to the critic for the "Theater-Zeitung", "the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creations with the most absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them." The audience acclaimed him through standing ovations five times; there were handkerchiefs in the air, hats, and raised hands, so that Beethoven, who they knew could not hear the applause, could at least see the ovations. Editions. The first German edition was printed by B. Schott's Söhne (Mainz) in 1826. The Breitkopf & Härtel edition dating from 1864 has been used widely by orchestras. In 1997, Bärenreiter published an edition by Jonathan Del Mar. According to Del Mar, this edition corrects nearly 3,000 mistakes in the Breitkopf edition, some of which were "remarkable". David Levy, however, criticized this edition, saying that it could create "quite possibly false" traditions. Breitkopf also published a new edition by Peter Hauschild in 2005.
Instrumentation. The symphony is scored for the following orchestra. These are by far the largest forces needed for any Beethoven symphony; at the premiere, Beethoven augmented them further by assigning two players to each wind part. Woodwinds Brass Percussion Strings Form. The symphony is in four movements. The structure of each movement is as follows: Beethoven changes the usual pattern of Classical symphonies in placing the scherzo movement before the slow movement (in symphonies, slow movements are usually placed before scherzi). This was the first time he did this in a symphony, although he had done so in some previous works, including the String Quartet Op. 18 no. 5, the "Archduke" piano trio Op. 97, the "Hammerklavier" piano sonata Op. 106. And Haydn, too, had used this arrangement in a number of his own works such as the String Quartet No. 30 in E major, as did Mozart in three of the Haydn Quartets and the G minor String Quintet. I. Allegro ma non troppo, un poco maestoso. The first movement is in sonata form without an exposition repeat. It begins with open fifths (A and E) played "pianissimo" by tremolo strings. The opening, with its perfect fifth quietly emerging, resembles the sound of an orchestra tuning up, steadily building up until the first main theme in D minor at bar 17.
Before the development enters, the tremolous introduction returns. The development can be divided into four subdivisions, with adheres strictly to the order of themes. The first and second subdivisions are the development of bars 1–2 of the first theme (bars 17–18 of the first movement) . The third subdivision develops bars 3–4 of the first theme (bars 19–20 of the first movement). The fourth subdivision that follows develops bars 1–4 of the second theme (bars 80–83 of the first movement) for three times: first in A minor, then to F major twice. At the outset of the recapitulation (which repeats the main melodic themes) in bar 301, the theme returns, this time played "fortissimo" and in D , rather than D . The movement ends with a massive coda that takes up nearly a quarter of the movement, as in Beethoven's Third and Fifth Symphonies. A performance of the first movement typically lasts about 15 minutes. II. Molto vivace. The second movement is a scherzo and trio. Like the first movement, the scherzo is in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in the "Hammerklavier" piano sonata, written a few years earlier. At times during the piece, Beethoven specifies one downbeat every three bars—perhaps because of the fast tempo—with the direction "ritmo di tre battute" (rhythm of three beats) and one beat every four bars with the direction "ritmo di quattro battute" (rhythm of four beats). Normally, a scherzo is in triple time. Beethoven wrote this piece in triple time but punctuated it in a way that, when coupled with the tempo, makes it sound as if it is in quadruple time.
While adhering to the standard compound ternary design (three-part structure) of a dance movement (scherzo-trio-scherzo or minuet-trio-minuet), the scherzo section has an elaborate internal structure; it is a complete sonata form. Within this sonata form, the first group of the exposition (the statement of the main melodic themes) starts out with a fugue in D minor on the subject below. For the second subject, it modulates to the unusual key of C major. The exposition then repeats before a short development section, where Beethoven explores other ideas. The recapitulation (repeating of the melodic themes heard in the opening of the movement) further develops the exposition's themes, also containing timpani solos. A new development section leads to the repeat of the recapitulation, and the scherzo concludes with a brief codetta. The contrasting trio section is in D major and in duple time. The trio is the first time the trombones play. Following the trio, the second occurrence of the scherzo, unlike the first, plays through without any repetition, after which there is a brief reprise of the trio, and the movement ends with an abrupt coda.
The duration of the complete second movement is about 14 minutes when two frequently omitted repeats are played. III. Adagio molto e cantabile. The third movement is a lyrical, slow movement in B major—the subdominant of D minor's relative major key, F major. It is in a double variation form, with each pair of variations progressively elaborating the rhythm and melodic ideas. The first variation, like the theme, is in time, the second in . The variations are separated by passages in , the first in D major, the second in G major, the third in E major, and the fourth in B major. The final variation is twice interrupted by episodes in which loud fanfares from the full orchestra are answered by octaves by the first violins. A prominent French horn solo is assigned to the fourth player. A typical performance of the third movement lasts around 15 minutes. IV. Finale. The choral finale is Beethoven's musical representation of universal brotherhood based on the "Ode to Joy" theme and is in theme and variations form.
The movement starts with an introduction in which musical material from each of the preceding three movements—though none are literal quotations of previous music—are successively presented and then dismissed by instrumental recitatives played by the low strings. Following this, the "Ode to Joy" theme is finally introduced by the cellos and double basses. After three instrumental variations on this theme, the human voice is presented for the first time in the symphony by the baritone soloist, who sings words written by Beethoven himself: ""O Freunde, nicht diese Töne!' Sondern laßt uns angenehmere anstimmen, und freudenvollere"." ("Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones!"). At about 25 minutes in length, the finale is the longest of the four movements. Indeed, it is longer than several entire symphonies composed during the Classical era. Its form has been disputed by musicologists, as Nicholas Cook explains: Cook gives the following table describing the form of the movement:
In line with Cook's remarks, Charles Rosen characterizes the final movement as a symphony within a symphony, played without interruption. This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole, with four "movements": Rosen notes that the movement can also be analysed as a set of variations and simultaneously as a concerto sonata form with double exposition (with the fugato acting both as a development section and the second tutti of the concerto). Text of the fourth movement. The text is largely taken from Friedrich Schiller's "Ode to Joy", with a few additional introductory words written specifically by Beethoven (shown in italics). The text, without repeats, is shown below, with a translation into English. The score includes many repeats. In the second last section of the text, starting from the line "Brüder, über'm Sternenzelt", Beethoven goes back to the medieval sacred music tradition: the composer recalls a liturgical hymn, more specifically a psalmody, using the eighth mode of Gregorian chant, the "Hypomixolydian". The religious questions are musically characterized by archaistic moments, veritable "Gregorian fossils" inserted into a "quasi-liturgical" structure based on the sequence first versicle – response – second versicle – response – hymn. Beethoven's employment of this sacred music style has the effect of attenuating the interrogative nature of the text when is mentioned the prostration to the supreme being.
Towards the end of the movement, the choir sings the last four lines of the main theme, concluding with "Alle Menschen" before the soloists sing for one last time the song of joy at a slower tempo. The chorus repeats parts of "Seid umschlungen, Millionen!", then quietly sings, "Tochter aus Elysium", and finally, "Freude, schöner Götterfunken, Götterfunken!". Reception. The symphony was dedicated to the King of Prussia, Frederick William III. Music critics almost universally consider the Ninth Symphony one of Beethoven's greatest works, and among the greatest musical works ever written. The finale, however, has had its detractors: "Early critics rejected [the finale] as cryptic and eccentric, the product of a deaf and ageing composer." Verdi admired the first three movements but lamented what he saw as the bad writing for the voices in the last movement: Performance challenges. Metronome markings. Conductors in the historically informed performance movement, notably Roger Norrington, have used Beethoven's suggested tempos, to mixed reviews. Benjamin Zander has made a case for following Beethoven's metronome markings, both in writing and in performances with the Boston Philharmonic Orchestra and Philharmonia Orchestra of London. Beethoven's metronome still exists and was tested and found accurate, but the original heavy weight (whose position is vital to its accuracy) is missing and many musicians have considered his metronome marks to be unacceptably high.
Re-orchestrations and alterations. A number of conductors have made alterations in the instrumentation of the symphony. Notably, Richard Wagner doubled many woodwind passages, a modification greatly extended by Gustav Mahler, who revised the orchestration of the Ninth to make it sound like what he believed Beethoven would have wanted if given a modern orchestra. Wagner's Dresden performance of 1864 was the first to place the chorus and the solo singers behind the orchestra as has since become standard; previous conductors placed them between the orchestra and the audience. 2nd bassoon doubling basses in the finale. Beethoven's indication that the 2nd bassoon should double the basses in bars 115–164 of the finale was not included in the Breitkopf & Härtel parts, though it was included in the full score. Notable performances and recordings. The British première of the symphony was presented on 21 March 1825 by its commissioners, the Philharmonic Society of London, at its Argyll Rooms conducted by Sir George Smart and with the choral part sung in Italian. The American première was presented on 20 May 1846 by the newly formed New York Philharmonic at Castle Garden (in an attempt to raise funds for a new concert hall), conducted by the English-born George Loder, with the choral part translated into English for the first time. Leopold Stokowski's 1934 Philadelphia Orchestra and 1941 NBC Symphony Orchestra recordings also used English lyrics in the fourth movement.
Richard Wagner inaugurated his Bayreuth Festspielhaus by conducting the Ninth; since then it is traditional to open each Bayreuth Festival with a performance of the Ninth. Following the festival's temporary suspension after World War II, Wilhelm Furtwängler and the Bayreuth Festival Orchestra reinaugurated it with a performance of the Ninth. Leonard Bernstein conducted a version of the Ninth Symphony at the Konzerthaus Berlin with (Freedom) replacing (Joy), to celebrate the fall of the Berlin Wall during Christmas of 1989. This concert was performed by an orchestra and chorus made up of many nationalities: from East and West Germany, the Bavarian Radio Symphony Orchestra and Chorus, the Chorus of the Berlin Radio Symphony Orchestra, and members of the Sächsische Staatskapelle Dresden, the Philharmonischer Kinderchor Dresden (Philharmonic Children's Choir Dresden); from the Soviet Union, members of the orchestra of the Kirov Theatre; from the United Kingdom, members of the London Symphony Orchestra; from the US, members of the New York Philharmonic; and from France, members of the Orchestre de Paris. Soloists were June Anderson, soprano, Sarah Walker, mezzo-soprano, Klaus König, tenor, and Jan-Hendrik Rootering, bass. Bernstein conducted the Ninth Symphony one last time with soloists Lucia Popp, soprano, Ute Trekel-Burckhardt, contralto, Wiesław Ochman, tenor, and , bass, at the Prague Spring Festival with the Czech Philharmonic and in June 1990; he died four months later in October of the same year.
In 1998, Japanese conductor Seiji Ozawa conducted the fourth movement for the 1998 Winter Olympics opening ceremony, with six different choirs simultaneously singing from Japan, Germany, South Africa, China, the United States, and Australia. In 1923, the first complete recording of Beethoven's Ninth Symphony was made by the acoustic recording process and conducted by Bruno Seidler-Winkler. The recording was issued by Deutsche Grammophon in Germany; the records were issued in the United States on the Vocalion label. The first electrical recording of the Ninth was recorded in England in 1926, with Felix Weingartner conducting the London Symphony Orchestra, issued by Columbia Records. The first complete American recording was made by RCA Victor in 1934 with Leopold Stokowski conducting the Philadelphia Orchestra. Since the late 20th century, the Ninth has been recorded regularly by period performers, including Roger Norrington, Christopher Hogwood, and Sir John Eliot Gardiner. The BBC Proms Youth Choir performed the piece alongside Georg Solti's UNESCO World Orchestra for Peace at the Royal Albert Hall during the 2018 Proms at Prom 9, titled "War & Peace" as a commemoration to the centenary of the end of World War One.
At 79 minutes, one of the longest Ninths recorded is Karl Böhm's, conducting the Vienna Philharmonic in 1981 with Jessye Norman and Plácido Domingo among the soloists. Influence. Many later composers of the Romantic period and beyond were influenced by the Ninth Symphony. An important theme in the finale of Johannes Brahms' Symphony No. 1 in C minor is related to the "Ode to Joy" theme from the last movement of Beethoven's Ninth Symphony. When this was pointed out to Brahms, he is reputed to have retorted "Any fool can see that!" Brahms's first symphony was, at times, both praised and derided as "Beethoven's Tenth". The Ninth Symphony influenced the forms that Anton Bruckner used for the movements of his symphonies. His Symphony No. 3 is in the same key (D minor) as Beethoven's 9th and makes substantial use of thematic ideas from it. The slow movement of Bruckner's Symphony No. 7 uses the A–B–A–B–A form found in the 3rd movement of Beethoven's piece and takes various figurations from it. In the opening notes of the third movement of his Symphony No. 9 ("From the New World"), Antonín Dvořák pays homage to the scherzo of Beethoven's Ninth Symphony with his falling fourths and timpani strokes.
Béla Bartók borrowed the opening motif of the scherzo from Beethoven's Ninth Symphony to introduce the second movement (scherzo) in his own Four Orchestral Pieces, Op. 12 (Sz 51). Michael Tippett in his Third Symphony (1972) quotes the opening of the finale of Beethoven's Ninth and then criticises the utopian understanding of the brotherhood of man as expressed in the Ode to Joy and instead stresses man's capacity for both good and evil. In the film "The Pervert's Guide to Ideology", the philosopher Slavoj Žižek comments on the use of the Ode by Nazism, Bolshevism, the Chinese Cultural Revolution, the East-West German Olympic team, Southern Rhodesia, Abimael Guzmán (leader of the Shining Path), and the Council of Europe and the European Union. Compact disc format. One legend is that the compact disc was deliberately designed to have a 74-minute playing time so that it could accommodate Beethoven's Ninth Symphony. Kees Immink, Philips' chief engineer, who developed the CD, recalls that a commercial tug-of-war between the development partners, Sony and Philips, led to a settlement in a neutral 12-cm diameter format. The 1951 performance of the Ninth Symphony conducted by Furtwängler was brought forward as the perfect excuse for the change, and was put forth in a Philips news release celebrating the 25th anniversary of the Compact Disc as the reason for the 74-minute length.
TV theme music. "The Huntley–Brinkley Report" used the opening to the second movement as its theme music during the run of the program on NBC from 1956 until 1970. The theme was taken from the 1952 RCA Victor recording of the Ninth Symphony by the NBC Symphony Orchestra conducted by Arturo Toscanini. A synthesized version of the opening bars of the second movement were also used as the theme for "Countdown with Keith Olbermann" on MSNBC and Current TV. A rock guitar version of the "Ode to Joy" theme was used as the theme for "Suddenly Susan" in its first season. Use as (national) anthem. During the division of Germany in the Cold War, the "Ode to Joy" segment of the symphony was played in lieu of a national anthem at the Olympic Games for the United Team of Germany between 1956 and 1968. In 1972, the musical backing (without the words) was adopted as the Anthem of Europe by the Council of Europe and subsequently by the European Communities (now the European Union) in 1985. The "Ode to Joy" was used as the national anthem of Rhodesia between 1974 and 1979, as "Rise, O Voices of Rhodesia". During the early 1990s, South Africa used an instrumental version of "Ode to Joy" in lieu of its national anthem at the time "Die Stem van Suid-Afrika" at sporting events, though it was never actually adopted as an official national anthem.
Use as a hymn melody. In 1907, the Presbyterian pastor Henry van Dyke Jr. wrote the hymn "Joyful, Joyful, we adore thee" while staying at Williams College. The hymn is commonly sung in English-language churches to the "Ode to Joy" melody from this symphony. Year-end tradition. The German workers' movement began the tradition of performing the Ninth Symphony on New Year's Eve in 1918. Performances started at 11 p.m. so that the symphony's finale would be played at the beginning of the new year. This tradition continued during the Nazi period and was also observed by East Germany after the war. The Ninth Symphony is traditionally performed throughout Japan at the end of the year. In December 2009, for example, there were 55 performances of the symphony by various major orchestras and choirs in Japan. It was introduced to Japan during World War I by German prisoners held at the Bandō prisoner-of-war camp. Japanese orchestras, notably the NHK Symphony Orchestra, began performing the symphony in 1925 and during World War II; the Imperial government promoted performances of the symphony, including on New Year's Eve. In an effort to capitalize on its popularity, orchestras and choruses undergoing economic hard times during Japan's reconstruction performed the piece at year's end. In the 1960s, these year-end performances of the symphony became more widespread, and included the participation of local choirs and orchestras, firmly establishing a tradition that continues today. Some of these performances feature massed choirs of up to 10,000 singers.
WQXR-FM, a classical radio station serving the New York metropolitan area, ends every year with a countdown of the pieces of classical music most requested in a survey held every December; though any piece could win the place of honor and thus welcome the New Year, i.e. play through midnight on January 1, Beethoven's Choral has won in every year on record. Other choral symphonies. Prior to Beethoven's ninth, symphonies had not used choral forces and the piece thus established the genre of choral symphony. Numbered choral symphonies as part of a cycle of otherwise instrumental works have subsequently been written by numerous composers, including Felix Mendelssohn, Gustav Mahler, Ralph Vaughan Williams and Charles Ives among many others. Other ninth symphonies. The scale and influence of Beethoven's ninth led later composers to ascribe a special significance to their own ninth symphonies, which may have contributed to the cultural phenomenon known as the curse of the ninth. A number of other composers' ninth symphonies also employ a chorus, such as those by Kurt Atterberg, Mieczysław Weinberg, Edmund Rubbra, Hans Werner Henze, and Robert Kyr. Anton Bruckner had not originally intended his unfinished ninth symphony to feature choral forces, but the use of his choral "Te Deum" in lieu of the uncompleted Finale was supposedly sanctioned by the composer. Dmitri Shostakovich had originally intended his Ninth Symphony to be a large work with chorus and soloists, although the symphony as it eventually appeared was a relatively short work without vocal forces.
Of his own Ninth Symphony, George Lloyd wrote: "When a composer has written eight symphonies he may find that the horizon has been blacked out by the overwhelming image of Beethoven and his one and only Ninth. There are other very good No. 5s and No. 3s, for instance, but how can one possibly have the temerity of trying to write another Ninth Symphony?" Niels Gade composed only eight symphonies, despite living for another twenty years after completing the eighth. He is believed to have replied, when asked why he did not compose another symphony, "There is only one ninth", in reference to Beethoven. References. Notes Citations Sources External links. Scores, manuscripts and text Analysis Audio Video Other material
Piano Trios, Op. 1 (Beethoven) Ludwig van Beethoven's Opus 1 is a set of three piano trios (written for piano, violin, and cello), first performed in 1795 in the house of Prince Lichnowsky, to whom they are dedicated. The trios were published in 1795. Despite the Op. 1 designation, these trios were not Beethoven's first published compositions; this distinction belongs rather to his "Dressler Variations" for keyboard (WoO 63). Clearly he recognized the Op. 1 compositions as the earliest ones he had produced that were substantial enough (and marketable enough) to fill out a first major publication to introduce his style of writing to the musical public. No. 1 in E-flat major. The first movement opens with an ascending arpeggiated figure (a so-called Mannheim Rocket, like that opening the first movement of the composer's own Piano Sonata no 1, Opus 2 no 1), No. 3 in C minor. Unlike the other piano trios in this opus, the third trio does not have a scherzo as its third movement but a minuet instead. This third piano trio was later reworked by Beethoven into the C minor string quintet, Op. 104.
Piano Trios, Op. 70 (Beethoven) Op. 70 is a set of two Piano Trios by Ludwig van Beethoven, written for piano, violin, and cello. Both trios were composed during Beethoven's stay at Countess Marie von Erdödy's estate, and both are dedicated to her for her hospitality. They were published in 1809. The first, in D major, known as the "Ghost", is one of his best known works in the genre (rivaled only by the "Archduke Trio"). The D major trio features themes found in the second movement of Beethoven's Symphony No. 2. The All-Music Guide states that "because of its strangely scored and undeniably eerie-sounding slow movement, it was dubbed the 'Ghost' Trio. The name has stuck with the work ever since. The ghostly music may have had its roots in sketches for a Macbeth opera that Beethoven was contemplating at the time." According to Lewis Lockwood, Beethoven's pupil Carl Czerny wrote in 1842 that the slow movement reminded him (Czerny) of the ghost scene at the opening of Shakespeare's "Hamlet", and this was the origin of the nickname. James Keller also attributes the nickname to Czerny, adding, "You may discard as erroneous the oft-encountered claim that this movement of the "Ghost" Trio is a reworking of music Beethoven originally sketched as the Witches Chorus for his "Macbeth".
These pieces are representative of Beethoven's "Middle" stylistic period, which went from roughly 1803 to 1812, and which included many of his most famous works. Beethoven wrote the two piano trios while spending the summer of 1808 back once again in Heiligenstadt, Vienna, where he had completed his Symphony No. 5 the previous summer. He wrote the two trios immediately after finishing his "Sinfonia pastorale", Symphony No. 6. This was a period of uncertainty in Beethoven's life, in particular because he had no dependable source of income at the time. Although these two trios are sometimes numbered as "No. 5" and "No. 6", the numbering of Beethoven's twelve piano trios is not standardized, and in other sources the two Op. 70 trios may be shown as having different numbers, if any. Piano Trio in E-flat major, Op. 70 No. 2. The second movement is in double variation form.
Piano Trio, Op. 97 (Beethoven) The Piano Trio in B-flat major, Op. 97, by Ludwig van Beethoven is a piano trio completed in 1811. It is commonly referred to as the Archduke Trio, because it was dedicated to Archduke Rudolph of Austria, the youngest of twelve children of Leopold II, Holy Roman Emperor. Rudolf was an amateur pianist and a patron, friend, and composition student of Beethoven. Beethoven dedicated about a dozen compositions to him. The Archduke Trio was written late in Beethoven's so-called "middle period". He sketched out the draft for it in the summer of 1810 and completed the composition in March 1811. It follows the traditional four movement structure with sonata form in the first and rondo sonata form in the last movement. It also allows for a more prominent part for the piano than previous compositions. Historical Context.
First performances. Two days after completion in 1811, Beethoven played the Archduke Trio in an informal setting at the Baron Neuworth's residency with no known performance after until 1814. The first public performance was given by Beethoven himself, Ignaz Schuppanzigh (violin), and Josef Linke (cello) at the Viennese hotel "Zum römischen Kaiser" on April 11, 1814. At the time, Beethoven's deafness compromised his ability as a performer, and after a repeat performance a few weeks later, Beethoven never appeared again in public as a pianist. The violinist and composer Louis Spohr witnessed a rehearsal of the work, and wrote, "on account of his deafness there was scarcely anything left of the virtuosity of the artist which had formerly been so greatly admired. In "forte" passages the poor deaf man pounded on the keys until the strings jangled, and in "piano" he played so softly that whole groups of notes were omitted, so that the music was unintelligible unless one could look into the pianoforte part. I was deeply saddened at so hard a fate."
The pianist and composer Ignaz Moscheles attended the premiere, and wrote about the work, "in the case of how many compositions is the word 'new' misapplied! But never in Beethoven's, and least of all in this, which again is full of originality. His playing, aside from its intellectual element, satisfied me less, being wanting in clarity and precision; but I observed many traces of the grand style of playing which I had long recognized in his compositions." Structure. The work is in four movements. A typical performance runs more than 40 minutes in length. Allegro moderato. This first movement is in the home key of B-flat major and is in Sonata form. The first two measures present a motif consisting of five notes which are used throughout the trio in various altered forms. The main theme remains "piano" until the coda where it returns at a "fortissimo" indication. Scherzo (Allegro). Also in the home key of B-flat major, the second movement consists of a fast scherzo and trio rather than the traditional slow movement. Some editions show the repeats of scherzo and trio sections, but Beethoven published it originally as written out repeats. The triad used as motivic material in the first movement is presented as scales here in the second.
Andante cantabile, ma però con moto. The third movement is in the key of D major and follows variation form and is approached attacca to the finale movement. There has been some debate over the specific tempo intended by Beethoven as to the authenticity of the inclusion of "con moto" in the score. Allegro moderato. This finale movement is as expected in the home key of B-flat major and employs a loose interpretation of the Rondo Sonata form structure: A B A' B A' (Coda) The similarities between all four movements rhythm can be seem culminated here where Beethoven increasingly shortens the rhythmic values before bar lines. During the lengthy coda, there is a stray in key centers as far as A major and E flat Major until returning to B-flat major at the end. Beethoven himself indicated during a rehearsal of the piece that it should not be played in a gentle manner, but with much energy and force. Reception. Though there were complaints directed towards Beethoven after the public premiere regarding his abilities as a performer due to his increasing deafness, the trio itself enjoyed much success and was quickly considered as one of his masterpieces. His reputation and credibility as a composer did not diminish, but rather continued to soar. Music journals such as the "Allgemeine Musikalische Zeitung" viewed the trio as typical of the composer's output with nothing out of the ordinary. They considered the scherzo to be contrapuntal in nature, which speaks to what music textures were still acceptable for audiences at this time between the Classical and Romantic eras. Likewise, in 1823 the "Allgemeine Musikalische Zeitung" issued a call to musicians to perform the piece with much dedication and inspiration.
Violin Sonata No. 5 (Beethoven) The Violin Sonata No. 5 in F major, Op. 24, is a four movement work for violin and piano by Ludwig van Beethoven. It was first published in 1801. The work is commonly known as the Spring Sonata ("Frühlingssonate"), although the name "Spring" was apparently given to it after Beethoven's death. The sonata was dedicated to Count Moritz von Fries, a patron to whom Beethoven also dedicated two other works of the same year—the String Quintet in C major, Op. 29 and the Violin Sonata No. 4—as well as his later Symphony No. 7 in A major. The autograph manuscript of the sonata is preserved in the Austrian National Library. Origin. Beethoven initially intended to pair this work with his Violin Sonata No. 4, Opus 23, and the two sonatas complement each other in both key and character. However, the two were not published together and thus have different opus numbers. The reason for the separation is unknown. Structure. The work is in four movements: The entire sonata takes approximately 22 minutes to perform. References. Notes Sources
Barratry (common law) Barratry ( , from Old French ("deceit, trickery")) is a legal term that, at common law, described a criminal offense committed by people who are overly officious in instigating or encouraging prosecution of groundless litigation, or who bring repeated or persistent acts of litigation for the purposes of profit or harassment. Although it remains a crime in some jurisdictions, barratry has frequently been abolished as being anachronistic and obsolete. If barratrous litigation is deemed to be for the purpose of silencing critics, it is known as a strategic lawsuit against public participation (SLAPP). Jurisdictions that otherwise have no barratry laws may have SLAPP laws. Barratry by country. Australia. In Australia, the term barratry is predominantly used in the first sense of a frivolous or harassing litigant. The concept has fallen into disuse in Australia. New South Wales. The offence of being a common barrator was abolished in New South Wales by Section 4A of the Maintenance, Champerty and Barratry Abolition Act 1993.
Victoria. The offence of being a common barrator was abolished in Victoria by section 2 of the Abolition of Obsolete Offences Act 1969. Canada. In Canada, barratry, alongside all common law offences except contempt of court and contempt of Parliament, was abolished by the 1953 consolidation of the "Criminal Code". United Kingdom. England and Wales. In England and Wales the common law offence of being a common barrator was abolished by section 13(1)(a) of the Criminal Law Act 1967. History. Being a common barrator was an offence under the common law of England. It was classified as a misdemeanor. It consisted of "persistently stirring up quarrels in the Courts or out of them". It is uncertain whether, in the ordinary way, persons charged with commission of the offence were dealt with by indictment. In 1966, the Law Commission recommended for the offence to be abolished. It said that there had been no indictments for this offence for "many years" and that, as an indictable misdemeanor, it was "wholly obsolete". Its recommendation was implemented by the Criminal Law Act 1967.
Scotland. In Scots law, barratry referred to the crime committed by a judge who is induced by bribery to pronounce judgment. United States. Several jurisdictions in the United States have declared barratry (in the sense of a frivolous or harassing litigant) to be a crime as part of their tort reform efforts. For example, in the U.S. states of California, Oklahoma, Pennsylvania, Virginia, and Washington, barratry is a misdemeanor. In Texas, barratry is a misdemeanor on the first conviction, but a felony on subsequent convictions.
Bomber A bomber is a military combat aircraft that utilizes air-to-ground weaponry to drop bombs, launch torpedoes, or deploy air-launched cruise missiles. There are two major classifications of bomber: strategic and tactical. Strategic bombing is done by heavy bombers primarily designed for long-range bombing missions against strategic targets to diminish the enemy's ability to wage war by limiting access to resources through crippling infrastructure, reducing industrial output, or inflicting massive civilian casualties to an extent deemed to force surrender. Tactical bombing is aimed at countering enemy military activity and in supporting offensive operations, and is typically assigned to smaller aircraft operating at shorter ranges, typically near the troops on the ground or against enemy shipping. Bombs were first dropped from an aircraft during the Italo-Turkish War, with the first major deployments coming in the First World War and Second World War by all major airforces, damaging cities, towns, and rural areas. The first bomber planes in history were the Italian Caproni Ca 30 and British Bristol T.B.8, both of 1913. Some bombers were decorated with nose art or victory markings.
During WWII with engine power as a major limitation, combined with the desire for accuracy and other operational factors, bomber designs tended to be tailored to specific roles. Early in the Cold War however, bombers were the only means of carrying nuclear weapons to enemy targets, and held the role of deterrence. With the advent of guided air-to-air missiles, bombers needed to avoid interception. High-speed and high-altitude flying became a means of evading detection and attack. With the advent of ICBMs the role of the bomber was brought to a more tactical focus in close air support roles, and a focus on stealth technology for strategic bombers. Classification. Strategic. Strategic bombing is done by heavy bombers primarily designed for long-range bombing missions against strategic targets such as supply bases, bridges, factories, shipyards, and cities themselves, to diminish the enemy's ability to wage war by limiting access to resources through crippling infrastructure or reducing industrial output. Current examples include the strategic nuclear-armed bombers: B-2 Spirit, B-52 Stratofortress, Tupolev Tu-95 'Bear', Tupolev Tu-22M 'Backfire' and Tupolev Tu-160 "Blackjack"; historically notable examples are the: Gotha G.IV, Avro Lancaster, Heinkel He 111, Junkers Ju 88, Boeing B-17 Flying Fortress, Consolidated B-24 Liberator, Boeing B-29 Superfortress, and Tupolev Tu-16 'Badger'.
Tactical. Tactical bombing, aimed at countering enemy military activity and in supporting offensive operations, is typically assigned to smaller aircraft operating at shorter ranges, typically near the troops on the ground or against enemy shipping. This role is filled by tactical bomber class, which crosses and blurs with various other aircraft categories: light bombers, medium bombers, dive bombers, interdictors, fighter-bombers, attack aircraft, multirole combat aircraft, and others. History. The first use of an air-dropped bomb (actually four hand grenades specially manufactured by the Italian naval arsenal) was carried out by Italian Second Lieutenant Giulio Gavotti on 1 November 1911 during the Italo-Turkish war in Libya – although his plane was not designed for the task of bombing, and his improvised attacks on Ottoman positions had little impact. These picric acid-filled steel spheres were nicknamed "ballerinas" from the fluttering fabric ribbons attached. Turks carried out the first ever anti-airplane operation in history during the Italo-Turkish war. Although lacking anti-aircraft weapons, they were the first to shoot down an airplane by rifle fire. The first aircraft to crash in a war was the one of Lieutenant Piero Manzini, shot down on 25 August 1912.
Early bombers. On 16 October 1912, Bulgarian observer Prodan Tarakchiev dropped two of those bombs on the Turkish railway station of Karağaç (near the besieged Edirne) from an Albatros F.2 aircraft piloted by Radul Milkov, during the First Balkan War. This is deemed to be the first use of an aircraft as a bomber. The first heavier-than-air aircraft purposely designed for bombing were the Italian Caproni Ca 30 and British Bristol T.B.8, both of 1913. The Bristol T.B.8 was an early British single engined biplane built by the Bristol Aeroplane Company. They were fitted with a prismatic Bombsight in the front cockpit and a cylindrical bomb carrier in the lower forward fuselage capable of carrying twelve 10 lb (4.5 kg) bombs, which could be dropped singly or as a salvo as required. The aircraft was purchased for use both by the Royal Naval Air Service and the Royal Flying Corps (RFC), and three T.B.8s, that were being displayed in Paris during December 1913 fitted with bombing equipment, were sent to France following the outbreak of war. Under the command of Charles Rumney Samson, a bombing attack on German gun batteries at Middelkerke, Belgium was executed on 25 November 1914.
The dirigible, or airship, was developed in the early 20th century. Early airships were prone to disaster, but slowly the airship became more dependable, with a more rigid structure and stronger skin. Prior to the outbreak of war, Zeppelins, a larger and more streamlined form of airship designed by German Count Ferdinand von Zeppelin, were outfitted to carry bombs to attack targets at long range. These were the first long range, strategic bombers. Although the German air arm was strong, with a total of 123 airships by the end of the war, they were vulnerable to attack and engine failure, as well as navigational issues. German airships inflicted little damage on all 51 raids, with 557 Britons killed and 1,358 injured. The German Navy lost 53 of its 73 airships, and the German Army lost 26 of its 50 ships. The Caproni Ca 30 was built by Gianni Caproni in Italy. It was a twin-boom biplane with three 67 kW (80 hp) Gnome rotary engines and first flew in October 1914. Test flights revealed power to be insufficient and the engine layout unworkable, and Caproni soon adopted a more conventional approach installing three 81 kW (110 hp) Fiat A.10s. The improved design was bought by the Italian Army and it was delivered in quantity from August 1915.
While mainly used as a trainer, Avro 504s were also briefly used as bombers at the start of the First World War by the Royal Naval Air Service (RNAS) when they were used for raids on the German airship sheds. Strategic bombing. Bombing raids and interdiction operations were mainly carried out by French and British forces during the War as the German air arm was forced to concentrate its resources on a defensive strategy. Notably, bombing campaigns formed a part of the British offensive at the Battle of Neuve Chapelle in 1915, with Royal Flying Corps squadrons attacking German railway stations in an attempt to hinder the logistical supply of the German army. The early, improvised attempts at bombing that characterized the early part of the war slowly gave way to a more organized and systematic approach to strategic and tactical bombing, pioneered by various air power strategists of the Entente, especially Major Hugh Trenchard; he was the first to advocate that there should be "... sustained [strategic bombing] attacks with a view to interrupting the enemy's railway communications ... in conjunction with the main operations of the Allied Armies."
When the war started, bombing was very crude (hand-held bombs were thrown over the side) yet by the end of the war long-range bombers equipped with complex mechanical bombing computers were being built, designed to carry large loads to destroy enemy industrial targets. The most important bombers used in World War I were the French Breguet 14, British de Havilland DH-4, German Albatros C.III and Russian Sikorsky Ilya Muromets. The Russian Sikorsky Ilya Muromets, was the first four-engine bomber to equip a dedicated strategic bombing unit during World War I. This heavy bomber was unrivaled in the early stages of the war, as the Central Powers had no comparable aircraft until much later. Long range bombing raids were carried out at night by multi-engine biplanes such as the Gotha G.IV (whose name was synonymous with all multi-engine German bombers) and later the Handley Page Type O; the majority of bombing was done by single-engined biplanes with one or two crew members flying short distances to attack enemy lines and immediate hinterland. As the effectiveness of a bomber was dependent on the weight and accuracy of its bomb load, ever larger bombers were developed starting in World War I, while considerable money was spent developing suitable bombsights.
World War II. With engine power as a major limitation, combined with the desire for accuracy and other operational factors, bomber designs tended to be tailored to specific roles. By the start of the war this included: Bombers of this era were not intended to attack other aircraft although most were fitted with defensive weapons. World War II saw the beginning of the widespread use of high speed bombers which began to minimize defensive weaponry in order to attain higher speed. Some smaller designs were used as the basis for night fighters. A number of fighters, such as the Hawker Hurricane were used as ground attack aircraft, replacing earlier conventional light bombers that proved unable to defend themselves while carrying a useful bomb load. Cold War. At the start of the Cold War, bombers were the only means of carrying nuclear weapons to enemy targets, and had the role of deterrence. With the advent of guided air-to-air missiles, bombers needed to avoid interception. High-speed and high-altitude flying became a means of evading detection and attack. Designs such as the English Electric Canberra could fly faster or higher than contemporary fighters. When surface-to-air missiles became capable of hitting high-flying bombers, bombers were flown at low altitudes to evade radar detection and interception.
Once "stand off" nuclear weapon designs were developed, bombers did not need to pass over the target to make an attack; they could fire and turn away to escape the blast. Nuclear strike aircraft were generally finished in bare metal or anti-flash white to minimize absorption of thermal radiation from the flash of a nuclear explosion. The need to drop conventional bombs remained in conflicts with non-nuclear powers, such as the Vietnam War or Malayan Emergency. The development of large strategic bombers stagnated in the later part of the Cold War because of spiraling costs and the development of the Intercontinental ballistic missile (ICBM) – which was felt to have similar deterrent value while being impossible to intercept. Because of this, the United States Air Force XB-70 Valkyrie program was cancelled in the early 1960s; the later B-1B Lancer and B-2 Spirit aircraft entered service only after protracted political and development problems. Their high cost meant that few were built and the 1950s-designed B-52s are projected to remain in use until the 2040s. Similarly, the Soviet Union used the intermediate-range Tu-22M 'Backfire' in the 1970s, but their Mach 3 bomber project stalled. The Mach 2 Tu-160 'Blackjack' was built only in tiny numbers, leaving the 1950s Tupolev Tu-16 and Tu-95 'Bear' heavy bombers to continue being used into the 21st century.
The British strategic bombing force largely came to an end when the V bomber force was phased out; the last of which left service in 1983. The French Mirage IV bomber version was retired in 1996, although the Mirage 2000N and the Rafale have taken on this role. The only other nation that fields strategic bombing forces is China, which has a number of Xian H-6s. Modern era. Currently, only the United States Air Force, the Russian Aerospace Forces' Long-Range Aviation command, and China's People's Liberation Army Air Force operate strategic heavy bombers. Other air forces have transitioned away from dedicated bombers in favor of multirole combat aircraft. At present, these air forces are each developing stealth replacements for their legacy bomber fleets, the USAF with the Northrop Grumman B-21, the Russian Aerospace Forces with the PAK DA, and the PLAAF with the Xian H-20. , the B-21 is expected to enter service by 2026–2027. The B-21 would be capable of loitering near target areas for extended periods of time. Other uses. Occasionally, military aircraft have been used to bomb ice jams with limited success as part of an effort to clear them. In 2018, the Swedish Air Force dropped bombs on a forest fire, snuffing out flames with the aid of the blast waves. The fires had been raging in an area contaminated with unexploded ordnance, rendering them difficult to extinguish for firefighters.
Cue sports Cue sports are a wide variety of games of skill played with a cue, which is used to strike billiard balls and thereby cause them to move around a cloth-covered table bounded by elastic bumpers known as . Cue sports are also collectively referred to as billiards, though this term has more specific connotations in some varieties of English. There are three major subdivisions of games within cue sports: Billiards has a long history from its inception in the 15th century, with many mentions in the works of Shakespeare, including the line "let's to billiards" in "Antony and Cleopatra" (1606–07). Enthusiasts of the sport have included Mozart, Louis XIV of France, Marie Antoinette, Immanuel Kant, Napoleon, Abraham Lincoln, Mark Twain, George Washington, Jules Grévy, Charles Dickens, George Armstrong Custer, Theodore Roosevelt, Lewis Carroll, W. C. Fields, Babe Ruth, Bob Hope, and Jackie Gleason. History. All cue sports are generally regarded to have evolved into indoor games from outdoor stick-and-ball lawn games, specifically those retroactively termed ground billiards, and as such to be related to the historical games jeu de mail and palle-malle, and modern trucco, croquet, and golf, and more distantly to the stickless bocce and bowls.
The word "billiard" may have evolved from the French word or , meaning 'stick', in reference to the , an implement similar to a golf putter, and which was the forerunner to the modern cue; however, the term's origin could have been from French , meaning 'ball'. The modern term "cue sports" can be used to encompass the ancestral mace games, and even the modern cueless variants, such as finger billiards, for historical reasons. "Cue" itself came from , the French word for 'tail'. This refers to the early practice of using the tail or butt of the mace, instead of its club foot, to strike the ball when it lay against a . A recognizable form of billiards was played outdoors in the 1340s, and was reminiscent of croquet. King Louis XI of France (1461–1483) had the first known indoor billiard table. Louis XIV further refined and popularized the game, and it swiftly spread among the French nobility. While the game had long been played on the ground, this version appears to have died out (aside from trucco) in the 17th century, in favor of croquet, golf and bowling games, even as table billiards had grown in popularity as an indoor activity.
James VI and I had a "bilzeart burde" covered with green cloth at Holyrood Palace in 1581. The imprisoned Mary, Queen of Scots, had a billiard table at Tutbury Castle. She complained when her was taken away (by those who eventually became her executioners, who were to cover her body with the table's cloth). A 1588 inventory of the Duke of Norfolk's estate included a "billyard bord coered with a greene cloth ... three billyard sticks and 11 balls of yvery". Billiards grew to the extent that by 1727, it was being played in almost every Paris café. In England, the game was developing into a very popular activity for members of the gentry. By 1670, the thin butt end of the mace began to be used not only for shots under the cushion (which itself was originally only there as a preventative method to stop balls from rolling off), but players increasingly preferred it for other shots as well. The footless, straight cue as it is known today was finally developed by about 1800. Initially, the mace was used to push the balls, rather than strike them. The newly developed striking cue provided a new challenge. Cushions began to be stuffed with substances to allow the balls to rebound, in order to enhance the appeal of the game. After a transitional period where only the better players would use cues, the cue came to be the first choice of equipment.
The demand for tables and other equipment was initially met in Europe by John Thurston and other furniture makers of the era. The early balls were made from wood and clay, but the rich preferred to use ivory. Early billiard games involved various pieces of additional equipment, including the "arch" (related to the croquet hoop), "port" (a different hoop, often rectangular), and "king" (a pin or skittle near the arch) in the early 17th to late 18th century, but other game variants, relying on the cushions (and pockets cut into them), were being formed that would go on to play fundamental roles in the development of modern billiards. The early croquet-like games eventually led to the development of the carom billiards category. These games are played with three or sometimes four balls on a table without holes in which the goal is generally to strike one with a , then have the cue ball rebound off of one or more of the cushions and strike a second object ball. Variations include straight rail, balkline, one-cushion, three-cushion, five-pins, and four-ball, among others.
One type of obstacle remained a feature of many tables, originally as a hazard and later as a target, in the form of pockets, or holes partly cut into the table bed and partly into the cushions, leading to the rise of pocket billiards, including "pool" games such as eight-ball, nine-ball, straight pool, and one-pocket; Russian pyramid; snooker; English billiards; and others. In the United States, pool and billiards had died out for a bit, but between 1878 and 1956 the games became very popular. Players in annual championships began to receive their own cigarette cards. This was mainly due to the fact that it was a popular pastime for troops to take their minds off battle. However, by the end of World War II, pool and billiards began to die down once again. It was not until 1961 when the film "The Hustler" came out that sparked a new interest in the game. Now the game is generally well-known and has many players of all different skill levels. As a sport. The games with regulated international professional competition, if not others, have been referred to as "sports" or "sporting" events, not simply "games", since 1893 at the latest. Quite a variety of particular games (i.e., sets of rules and equipment) are the subject of present-day competition, including many of those already mentioned, with competition being especially broad in nine-ball, snooker, three-cushion, and eight-ball.
Snooker, though a pocket billiards variant and closely related in its equipment and origin to the game of English billiards, is a professional sport organized at an international level, and its rules bear little resemblance to those of modern pool, pyramid, and other such games. A "Billiards" category encompassing pool, snooker, and carom has been part of the World Games since 2001. Equipment. Billiard balls. Billiard balls vary from game to game, in size, design and quantity. Russian pyramid and kaisa have a size of 68 mm ( in). In Russian pyramid there are 16 balls, as in pool, but 15 are white and numbered, and the is usually red. In kaisa, five balls are used: the yellow (called the "kaisa" in Finnish), two red object balls, and the two white cue balls (usually differentiated by one cue ball having a dot or other marking on it and each of which serves as an object ball for the opponent). Carom billiards balls are larger than pool balls, having a diameter of 61.5 mm ( in), and come as a set of two cue balls (one colored or marked) and an object ball (or two object balls in the case of the game four-ball).
Standard pool balls are 57.15 mm ( in), are used in many pool games found throughout the world, come in sets of two of object balls, seven and seven , an and a ; the balls are racked differently for different games (some of which do not use the entire ball set). Blackball (English-style eight-ball) sets are similar, but have unmarked of and balls instead of solids and stripes, known as "casino" style. They are used principally in Britain, Ireland, and some Commonwealth countries, though not exclusively, since they are unsuited for playing nine-ball. The diameter varies but is typically slightly smaller than that of standard solids-and-stripes sets. Snooker balls are smaller than American-style pool balls with a diameter of 52.5 mm ( in), and come in sets of 22 (15 reds, 6 "", and a cue ball). English billiard balls are the same size as snooker balls and come in sets of three balls (two cue balls and a red object ball). Other games, such as bumper pool, have custom ball sets. Billiard balls have been made from many different materials since the start of the game, including clay, bakelite, celluloid, crystallite, ivory, plastic, steel and wood. The dominant material from 1627 until the early 20th century was ivory. The search for a substitute for ivory use was not for environmental concerns, but based on economic motivation and fear of danger for elephant hunters. It was in part spurred on by a New York billiard table manufacturer who announced a prize of $10,000 for a substitute material. The first viable substitute was celluloid, invented by John Wesley Hyatt in 1868, but the material was volatile, sometimes exploding during manufacture, and was highly flammable.
Tables. There are many sizes and styles of billiard tables. Generally, tables are rectangles twice as long as they are wide. Table sizes are typically referred to by the nominal length of their longer dimension. Full-size snooker tables are long. Carom billiards tables are typically . Regulation pool tables are , though pubs and other establishments catering to casual play will typically use tables which are often coin-operated, nicknamed . Formerly, ten-foot pool tables were common, but such tables are now considered antiques. High-quality tables have a made of thick slate, in three pieces to prevent warping and changes due to temperature and humidity. The slates on modern carom tables are usually heated to stave off moisture and provide a consistent playing surface. Smaller bar tables are most commonly made with a single piece of slate. Pocket billiards tables of all types normally have six pockets, three on each side (four corner pockets, and two side or middle pockets). Cloth. All types of tables are covered with billiard cloth (often called "felt", but actually a woven wool or wool/nylon blend called baize). Cloth has been used to cover billiards tables since the 15th century.
Bar or tavern tables, which get a lot of play, use "slower", more durable cloth. The cloth used in upscale pool (and snooker) halls and home billiard rooms is "faster" (i.e., provides less friction, allowing the balls to roll farther across the table ), and competition-quality pool cloth is made from 100% worsted wool. Snooker cloth traditionally has a nap (consistent fiber directionality) and balls behave differently when rolling against versus along with the nap. The cloth of the billiard table has traditionally been green, reflecting its origin (originally the grass of ancestral lawn games), and has been so colored since at least the 16th century, but it is also produced in other colors such as red and blue. Television broadcasting of pool as well as 3 Cushion billiards prefers a blue colored cloth which was chosen for better visibility and contrast against colored balls. Rack. A rack is the name given to a frame (usually wood, plastic or aluminium) used to organize billiard balls at the beginning of a game. This is traditionally triangular in shape, but varies with the type of billiards played. There are two main types of racks; the more common triangular shape which is used for eight-ball and straight pool and the diamond-shaped rack used for nine-ball.
There are several other types of less common rack types that are also used, based on a "template" to hold the billiard balls tightly together. Most commonly it is a thin plastic sheet with diamond-shaped cut-outs that hold the balls that is placed on the table with the balls set on top of the rack. The rack is used to set up the "break" and removed once the break has been completed and no balls are obstructing the template. Cues. Billiards games are mostly played with a stick known as a cue. A cue is usually either a one-piece tapered stick or a two-piece stick divided in the middle by a joint of metal or phenolic resin. High-quality cues are generally two pieces and are made of a hardwood, generally maple for billiards and ash for snooker. The end of the cue is of larger circumference and is intended to be gripped by a player's hand. The of the cue is of smaller circumference, usually tapering to an terminus called a (usually made of fiberglass or brass in better cues), where a rounded leather is affixed, flush with the ferrule, to make final contact with balls. The tip, in conjunction with chalk, can be used to impart spin to the cue ball when it is not hit in its center.
Cheap cues are generally made of pine, low-grade maple (and formerly often of ramin, which is now endangered), or other low-quality wood, with inferior plastic ferrules. A quality cue can be expensive and may be made of exotic woods and other expensive materials which are artfully inlaid in decorative patterns. Many modern cues are also made, like golf clubs, with high-tech materials such as woven graphite. Recently, carbon fiber woven composites have been developed and utilized by top professional players and amateurs. Advantages include less flexibility and no worry of nicks, scratches, or damages to the cue. Skilled players may use more than one cue during a game, including a separate cue with a hard phenolic resin tip for the opening break shot, and another, shorter cue with a special tip for . Mechanical bridge. The mechanical bridge, sometimes called a "rake", "crutch", "bridge stick" or simply "bridge", and in the UK a "rest", is used to extend a player's reach on a shot where the cue ball is too far away for normal hand bridging. It consists of a stick with a grooved metal or plastic head which the cue slides on.
Some players, especially current or former snooker players, use a screw-on cue butt extension instead of or in addition to the mechanical bridge. Bridge head design is varied, and not all designs (especially those with cue shaft-enclosing rings, or wheels on the bottom of the head), are broadly tournament-approved. In Italy, a longer, thicker cue is typically available for this kind of tricky shot. For snooker, bridges are normally available in three forms, their use depending on how the player is hampered; the standard rest is a simple cross, the 'spider' has a raised arch around 12 cm with three grooves to rest the cue in and for the most awkward of shots, the 'giraffe' (or 'swan' in England) which has a raised arch much like the 'spider' but with a slender arm reaching out around 15 cm with the groove. Chalk.
Cue tip chalk (invented in its modern form by straight rail billiard pro William A. Spinks and chemist William Hoskins in 1897) is made by crushing silica and the abrasive substance corundum or aloxite (aluminium oxide), into a powder. It is combined with dye (originally and most commonly green or blue-green, like traditional billiard cloth, but available today, like the cloth, in many colours) and a binder (glue). Each manufacturer's brand has different qualities, which can significantly affect play. High humidity can also impair the effectiveness of chalk. Harder, drier compounds are generally considered superior by most players. Major games. There are two main varieties of billiard games: carom and pocket. The main carom billiards games are straight rail, balkline and three cushion billiards. All are played on a pocketless table with three balls; two cue balls and one object ball. In all, players shoot a cue ball so that it makes contact with the opponent's cue ball as well as the object ball. Others of multinational interest are four-ball and five-pins.
The most globally popular of the large variety of pocket games are pool and snooker. A third, English billiards, has some features of carom billiards. English billiards used to be one of the two most-competitive cue sports along with the carom game balkline, at the turn of the 20th century and is still enjoyed today in Commonwealth countries. Another pocket game, Russian pyramid and its variants like kaisa are popular in the former Eastern bloc. Games played on a carom billiards table. Straight rail. In straight rail, a player scores a point and may continue shooting each time his cue ball makes contact with both other balls. Some of the best players of straight billiards developed the skill to the balls in a corner or along the same rail for the purpose of playing a series of to score a seemingly limitless number of points. The first straight rail professional tournament was held in 1879 where Jacob Schaefer Sr. scored 690 points in a single turn (that is, 690 separate strokes without a miss). With the balls repetitively hit and barely moving in endless "nursing", there was little for the fans to watch.
Balkline. In light of these skill developments in straight rail, the game of balkline soon developed to make it impossible for a player to keep the balls gathered in one part of the table for long, greatly limiting the effectiveness of nurse shots. A is a line parallel to one end of a billiards table. In the game of balkline, the players have to drive at least one object ball past a balkline parallel to each rail after a specified number of points have been scored. Cushion billiards. Another solution was to require a player's cue ball to make contact with the rail cushions in the process of contacting the other balls. This in turn saw the three-cushion version emerge, where the cue ball must make three separate cushion contacts during a shot. This is difficult enough that even the best players can only manage to average one to two points per turn. This is sometimes described as "hardest to learn" and "require most skill" of all billiards. Games played on a pool table. There are many variations of games played on a standard pool table. Popular pool games include eight-ball, nine-ball, straight pool and one-pocket. Even within games types (e.g. eight-ball), there may be variations, and people may play recreationally using relaxed or local rules. A few of the more popular examples of pool games are given below.
In eight-ball and nine-ball, the object is to sink object balls until one can legally pocket the winning eponymous ". Well-known but waning in popularity is straight pool, in which players seek to continue sinking balls, rack after rack if they can, to reach a pre-determined winning score (typically 150). Related to nine-ball, another well-known game is rotation, where the lowest-numbered object ball on the table must be struck first, although any object ball may be pocketed (i.e., combination shot). Each pocketed ball is worth its number, and the player with the highest score at the end of the rack is the winner. Since there are only 120 points available (1 + 2 + 3 ⋯ + 15 = 120), scoring 61 points leaves no opportunity for the opponent to catch up. In both one-pocket and bank pool, the players must sink a set number of balls; respectively, all in a particular , or all by . In snooker, players score points by alternately potting and various special ". Speed pool. Speed pool is a standard billiards game where the balls must be pocketed in as little time as possible. Rules vary greatly from tournament to tournament. The International Speed Pool Challenge has been held annually since 2006.
Games played on a snooker table. English billiards. Dating to approximately 1800, English billiards, called simply billiards in many former British colonies and in the UK where it originated, was originally called the "winning and losing carambole game", folding in the names of three predecessor games, "the winning game", "the losing game" and "the carambole game" (an early form of straight rail), that combined to form it. The game features both (caroms) and the pocketing of balls as objects of play. English billiards requires two and a red . The object of the game is to score either a fixed number of points, or score the most points within a set time frame, determined at the start of the game. Points are awarded for: Snooker. Snooker is a pocket billiards game originated by British officers stationed in India during the 19th century, based on earlier pool games such as black pool and life pool. The name of the game became generalized to also describe one of its prime strategies: to " the opposing player by causing that player to foul or leave an opening to be exploited.
In the United Kingdom, snooker is by far the most popular cue sport at the competitive level, and major national pastime along with association football and cricket. It is played in many Commonwealth countries as well, and in areas of Asia, becoming increasingly popular in China in particular. Snooker is uncommon in North America, where pool games such as eight-ball and nine-ball dominate, and Latin America and Continental Europe, where carom games dominate. The first World Snooker Championship was held in 1927, and it has been held annually since then with few exceptions. The World Professional Billiards and Snooker Association (WPBSA) was established in 1968 to regulate the professional game, while the International Billiards and Snooker Federation (IBSF) regulates the amateur games.
Big Dipper (disambiguation) The Big/Great Dipper is the American English term for seven stars of the Ursa Major constellation (The Plough in British English). Big Dipper also may refer to:
Bursa Bursa () is a city in northwestern Turkey and the administrative center of Bursa Province. The fourth-most populous city in Turkey and second-most populous in the Marmara Region, Bursa is one of the industrial centers of the country. Most of Turkey's automotive production takes place in Bursa. As of 2019, the Metropolitan Province was home to 3,056,120 inhabitants, 2,161,990 of whom lived in the 3 city urban districts (Osmangazi, Yıldırım and Nilüfer) plus Gürsu and Kestel. Its rich history provides various places of interest in Bursa. Bursa became the capital of the Ottoman Empire (back then the Ottoman Beylik) from 1335 until the 1360s. A more recent nickname is ("") referring to the parks and gardens located across the city, as well as to the vast, varied forests of the surrounding region. Bursa has a rather orderly urban growth and borders a fertile plain. The mausoleums of the early Ottoman sultans are located in Bursa, and the city's main landmarks include numerous edifices built throughout the Ottoman period. Bursa also has thermal baths, old Ottoman mansions, palaces, and several museums. Mount Uludağ, known in classical antiquity as the Mysian Olympus or alternatively Bithynian Olympus, towers over the city, and has a well-known ski resort.
The shadow play characters Karagöz and Hacivat are based on historic personalities who lived and died in Bursa in the 14th century. History. The earliest known human settlement near Bursa's current location was at Ilıpınar Höyüğü around 5200 BC. It was followed by the ancient Greek city of Cius, which Philip V of Macedon granted to Prusias I, the King of Bithynia, in 202 BC. King Prusias rebuilt the city with the advice of general Hannibal of Carthage, who took refuge with Prusias after losing the war with the Roman Republic and renamed it Prusa (; sometimes rendered as "Prussa"). After 128 years of Bithynian rule, Nicomedes IV, the last King of Bithynia, bequeathed the entire kingdom to the Roman Empire in 74 BC. An early Roman Treasure was found near Bursa in the early 20th century. Composed of a woman's silver toilet articles, it is now in the British Museum. Under Byzantine rule, the town became a garrison city in 562, where imperial guards were stationed. Already by the mid-6th century, Bursa was known as a famous silk textile manufacturing centre.

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